Simple and Compound Motion; Match Force to the Weight
Precepts on depicting the figure's movements truthfully and turning the head
A run of short precepts on painting the moving figure. Simple motion is a single bending forward, back, or across; compound motion combines bending down and across at once, and the painter is warned to keep a compound act whole and not weaken it into a simple one. The shown effort must fit the load, so a man lifting a slender stick should not display the force fit for raising a beam. A further rule forbids setting the head straight upon the shoulders: it should turn to one side to give the figure a wakeful, lively air. The page is entirely text.
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Simple versus compound motion of the body
Simple motion is bending the body simply forward, backward, or across; compound motion combines bending down and across at the same time. The painter must render a compound movement whole and true to its action, and not contradict it by substituting a simple act remote from that action.
Show force in proportion to the weight lifted
The motions of the figures should demonstrate the quantity of force fitting for each action. One who lifts a little stick must not be shown exerting the force proper to raising a beam; the display of effort must be prepared according to the quality of the weight being handled.
Never set the head straight upon the shoulders
The heads should never sit straight on the shoulders but be turned across, to the right or left, even when looking up, down, or ahead, so the movements show a wakeful, lively alertness rather than a drowsy one. Nor should the mid-line of the whole figure be set directly in front.