This article studies the drawing theory of Francisco de Holanda through the sketchbook De Aestatibus Mundi Imagines (1543-1573). This graphic work reveals the author's artistic life through the parts that compose it. The visual production of Holanda is marked by two poles, chronologically demarcated: i) first stage – Humanist Thought (youth, journey to Italy, treaties Da Pintura Antigua, Diálogos em Roma and Do Tirar Polo Natural) and ii) second stage – Trent Thought (distancing from the court, doctrine of faith, spirituality, treaties Da Fabrica que Falece na Cidade de Lisboa and Da Sciencia do Desenho). The album De Aestatibus Mundi Imagines permeates these two phases, given the interregnum of its production, and show the matrix of thought of Holanda, between classicism and reforms. This period of 20 years alternated between importance of observational drawing in Renaissance humanism and the post-Council of Trent, where the drawing was under suspicion. The studied work materializes through the direction of that conflict.
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