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| Pietro Testa Study for River God before 1650 drawing Musée du Louvre |
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| Andrea Sacchi Académie before 1661 drawing Musée du Louvre |
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| Andrea Sacchi Académie before 1661 drawing Musée du Louvre |
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| Andrea Sacchi Académie before 1661 drawing Musée du Louvre |
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| Giovanni Paolo Melchiori Académie ca. 1690 drawing Musée du Louvre |
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| Giovanni Paolo Melchiori Académie ca. 1690 drawing Musée du Louvre |
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| attributed to Carlo Cignani Study for Satyr ca. 1680 drawing Musée du Louvre |
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| Cavaliere d'Arpino (Giuseppe Cesari) Académie before 1640 drawing Musée du Louvre |
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| Cavaliere d'Arpino (Giuseppe Cesari) Hercules Asleep before 1640 drawing Musée du Louvre |
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| Domenico Maria Canuti Hercules supporting the Heavens before 1684 drawing Musée du Louvre |
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| Simone Cantarini (il Pesarese) Study of Sleeping Figure before 1648 drawing Musée du Louvre |
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| Andrea Camassei Académie before 1649 drawing Musée du Louvre |
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| Andrea Camassei Académie before 1649 drawing Musée du Louvre |
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| Mario Balassi Académie before 1667 drawing Musée du Louvre |
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| Francesco Allegrini Study for St Sebastian before 1679 drawing Musée du Louvre |
"The following knowledge is also important for those who wish their works to be well-directed: this is based on observations of great men, and it is advice of total and certain truth. The first thing is that you do not place figures in actions that are too violent because they will not be convincing and will become discomposed in their gestures. Do not have the head and the body facing in the same direction. Nor should the plumb of the neck be lost in a standing figure. Nor should both the arms and legs follow the same movement. Nor should the grace and contours of the nude be covered with drapery. Nor should the figure be doubled over so that the shoulders are lower than the navel. In kneeling figures, do not put the knees together. In laboring figures, work all of the muscles and parts. In the figures of standing, seated, or kneeling women, neither legs nor feet are to be separated, for this is indecent and indecorous. In striding figures only one foot needs to be seen clearly. In a figure carrying a load, the leg bearing the weight – that is, the perpendicular – should not try to indicate movement; rather the freer limb should be the one to express the movement. For every figure, represent the movements and functions required by the age of the figure."
– José Garcia Hidalgo, from Principles for Studying the Sovereign and Most Noble Art of Painting (1693), translated by Zahira Veliz