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| follower of Annibale Carracci Académie ca. 1580-1600 drawing Musée du Louvre |
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| Annibale Carracci Term ca. 1597-1602 drawing (study for fresco) Musée du Louvre |
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| Annibale Carracci Atlante ca. 1597-1602 drawing (study for fresco) Musée du Louvre |
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| Ludovico Carracci Decorative Scheme with Atlantes ca. 1600-1619 drawing Musée du Louvre |
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| attributed to Ludovico Carracci Figure Study ca. 1600-1619 drawing Musée du Louvre |
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| Ludovico Carracci Figure Study ca. 1580-1600 drawing Musée du Louvre |
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| Carracci Academy Young Fisherman ca. 1580-1620 drawing Musée du Louvre |
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| Carracci Academy Hermaphroditus (study of antique statue) ca. 1580-1620 drawing Musée du Louvre |
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| Carracci Academy Satyr tied to a Tree ca. 1580-1620 drawing Musée du Louvre |
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| Agostino Carracci after Raphael Two Putti before 1602 drawing Musée du Louvre |
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| Agostino Carracci Rower ca. 1596-97 drawing (study for fresco) Musée du Louvre |
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| Agostino Carracci Companion of Ulysses ca. 1596-97 drawing (study for fresco) Musée du Louvre |
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| Annibale Carracci Ignudo ca. 1597-1602 drawing (study for fresco) Musée du Louvre |
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| Annibale Carracci Ignudo ca. 1597-1602 drawing (study for fresco) Musée du Louvre |
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| attributed to Agostino Carracci Figure Study before 1602 drawing Musée du Louvre |
"As we are often wrong in our choice of beautiful things, we should first of all define beauty and examine it closely, principally where the human form is concerned, as the human body is the most perfect thing that God created on earth. As we have already remarked that beauty is a result of the proportion of the different parts, we should move on to consider what is necessary in the proportion of these different parts in order to produce this admirable quality, so that the painter may have an exact knowledge of it and may equal the beauty of his subjects when he comes to draw them from life. . . . As proportion goes hand in hand with drawing, it must be observed in all parts of the painter's work. The painter himself must learn to judge the fittingness and balance of each part, and the position of each figure in the picture; to bring them out to their best advantage he must judge the necessary degree of equilibrium or ponderousness that they require, while still attempting as far as possible to attain the degree of excellence in beauty and grace that we referred to above, that inexpressible je ne sais quoi which comes entirely from the drawing."
– André Félibien, from Conversations on the Lives and Works of the Most Excellent Ancient and Modern Painters (1666-88), translated by Jonathan Murphy