HUGIJENOT ARTISTS DESIGNERS AND CRAYPSNEN IN GREAT ...

70.
Chron's later life studies, suggests that Ch'ron was referring to his
earlier drawings when teaching at the St.Martin's Lane Academy.
In 172 1, Vertue drew up a list of ideal conditions 'For the
Improvement of the ART of Delinein in the Nation' in which the method
of instruction was as follows. Students should practice from a drawing
book containing 'Eys nose mouth facces hands feet etc Arms leggs
and then another book, containing the outlines of whole bodies,'Nen, Women,
& children'. The next stage was to cop, 'drawings that are done after
statues, Busts or Casts describd on Grey paper or Blew hightned with black
and white only'; the last stage consists of drawing 'casts of the Antique
Several heads of the most famous statues,..several hands of the like kind
& some from Nature also, several feet. some trunks or bodys a horses head
& other parts of the limbs'. Vertue suggested 'the Gladiator, Venus,Laocoon,
Hercules, Apollo, Faunus, Boys of Fiamingo' as suitable models for casts.
Vertue then commended a study of anatomy. Geometry, Architecture, perspective
as much as is necessary for rudiments , in each the general rules, Terms
measures, and concluded' Any person having assiduously studied these rules
prescribed may be truely capable of Studying from the Life in the Accademys
from Nature or the Antiques, or paintings of the most celebrated masters
or with a little practice may draw plans buildings, landskips fortifications
32
etc.'
There is no evidence that the methods Yertue suggests were used
as an introduction to life drawing at the Academy of St.Martin's Lane,
but certainly all these methods of teaching art would have been possible.
John Harvey could have taught architecture and perspective; William
Cheselden, as a professional anatomist could have t ight 'the Names,
structure, lenght & Extension of the Bones with the true form of the
principal bones & Jointures. afterwards to observe the great or principle
muscles of the whole body from whence they rise & terminate with their
proper names and use', as Vertue suggested. Drawing manuals of outlines
were available. Louis Ch(ron's sister produced a drawing book in Paris in
1706 entitled 'Livre Dessiner compose de Testes Tires des plus beaux
ouvrages de Raphael', the plates were engraved by the author, but, as she
explains in the introduction,'le trait de la plupart des ces desseins a
dst pris sur celuy des Originau.x' 33 Apart from her membership of a
literary academy in Padua, there is no evidence that Elizabeth Sophie
Chiron had actually visited Rome herself, so it is probable that the