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| François Boucher Two youths and a dog ca. 1730-35 drawing Hermitage, Saint Petersburg |
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| François Boucher Eraste, from Molière's Le Dépit Amoureux 1734 drawing British Museum |
"All manner of decencie ariseth out of a comely gesture appearing in the motion of our bodies; and as the head in our bodies themselves is accounted to be the principall member, so is it likewise the main instrument whereby we doe expresse such affections and passions of our minde as are most decent and suitable for the present occasions. The head being cast downe, signifieth humbleness; being cast back, arrogance; being hung on either side, languishing; being stiffe and sturdie, it signifieth a churlish barbarousnesse of the minde. Wee have also certaine wayes of graunting, refusing, and avouching with our head; besides that therein are seated the passions of bashfulnesse, doubtfulnesse, admiration, and indignation, incident unto all sorts of men."
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| François Boucher Vinegar seller 1736 drawing Hermitage, Saint Petersburg |
"As for the hands, without which all action is maimed and impotent, it is hard to set downe how many motions they have: for whereas other parts doe assist us while we speake, the hands themselves, if a man may say so, doe speake. For, I pray, doe not the hands demand, promise, call, dismisse, threaten, request, abhorre, feare, aske, deny? doe not the hands expresse joy, sadnesse, doubt, confession, repentance, measure, plentie, number, time? doe not the same hands encourage, beseech, hinder, approve, admire, and witnesse shame? so that in this great diversitie of tongues among all Nations, this seemeth to be the common language of all men."
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| François Boucher Woman in armchair at breakfast ca. 1739 drawing Hermitage, Saint Petersburg |
"Such as are skilful and curious in these matters, give caution not to lift the hand above the eyes, or not to let it fall below the brest: accounting it a great fault to fetch it from the head, or bring it down so low as the belly. Toward the left side it moveth as far as the left shoulder, but not beyond; onely in aversation, thrusting out the hand toward the left side, we bring the left shoulder forward, that it may agree with the head bearing toward the right hand. The left hand never maketh motion alone, but often applyeth it selfe to the right hand: whether wee set our reasons in order upon our fingers, or detest, by turning both palms toward the left side; or resist, or spread them out on either side, endeavoring to give satisfaction, or else making an humble request. The hands expresse also some further affection; so that their motions in small, sorrowfull, temperate things be short; but more extended in all manner of great, joyfull, and cruell or tragicall things."
– from Book Three (chapter four) of The Painting of the Ancients by Franciscus Junius, first published in English in 1638 – edited by Keith Aldrich, Philipp Fehl and Raina Fel for University of California Press, 1991
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| François Boucher Pastoral composition 1740s drawing British Museum |
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| François Boucher Cupid ca. 1740 drawing British Museum |
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| François Boucher Cherubs with candles ca. 1754 drawing British Museum |
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| François Boucher Cherubs ca. 1754 drawing British Museum |
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| François Boucher Sleeping Venus 1760s drawing British Museum |
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| François Boucher Woman bathing at fountain ca. 1764 drawing British Museum |
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| François Boucher Peasant girl with basket ca. 1765 drawing British Museum |
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| François Boucher Académie before 1770 drawing British Museum |
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| after François Boucher Costume study before 1770 drawing British Museum |
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| François Boucher Young woman seen from the back before 1770 drawing British Museum |