As a supplement to the Libro di Pittura I have here added those texts which treat of the Painter's materials,-as chalk, drawing paper, colours and their preparation, of the management of oils and varnishes; in the appendix are some notes on chemical substances. Possibly some of these, if not all, may have stood in connection with the preparation of colours. It is in the very nature of things that Leonardo's incidental indications as to colours and the like should be now-a-days extremely obscure and could only be explained by professional experts-by them even in but few instances. It might therefore have seemed advisable to reproduce exactly the original text without offering any translation. The rendering here given is merely an attempt to suggest what Leonardo's meaning may have been.

LOMAZZO tells us in his Trattato dell'arte della Pittura, Scultura ed Architettura (Milano 1584, libro II, Cap. XIV): "Va discorrendo ed argomentando Leonardo Vinci in un suo libro letto da me (?) questi anni pa.s.sati, ch'egli scrisse di mano stanca ai prieghi di LUDOVICO SFORZA duca di Milano, in determin.a.z.ione di questa questione, se e piu n.o.bile la pittura o la scultura; dicendo che quanto piu un'arte porta seco fatica di corpo, e sudore, tanto piu e vile, e men pregiata". But the existence of any book specially written for Lodovico il Moro on the superiority of Painting over sculpture is perhaps mythical. The various pa.s.sages in praise of Painting as compared not merely with Sculpture but with Poetry, are scattered among MSS. of very different dates.

Besides, the way, in which the subject is discussed appears not to support the supposition, that these texts were prepared at a special request of the Duke.

I.

MORAL PRECEPTS FOR THE STUDENT OF PAINTING.

How to ascertain the dispositions for an artistic career.

482.

A WARNING CONCERNING YOUTHS WISHING TO BE PAINTERS.

Many are they who have a taste and love for drawing, but no talent; and this will be discernible in boys who are not diligent and never finish their drawings with shading.

The course of instruction for an artist (483-485).

483.

The youth should first learn perspective, then the proportions of objects. Then he may copy from some good master, to accustom himself to fine forms. Then from nature, to confirm by practice the rules he has learnt. Then see for a time the works of various masters. Then get the habit of putting his art into practice and work.

[Footnote: The Vatican copy and numerous abridgements all place this chapter at the beginning of the Trattato, and in consequence DUFRESNE and all subsequent editors have done the same. In the Vatican copy however all the general considerations on the relation of painting to the other arts are placed first, as introductory.]

484.

OF THE ORDER OF LEARNING TO DRAW.

First draw from drawings by good masters done from works of art and from nature, and not from memory; then from plastic work, with the guidance of the drawing done from it; and then from good natural models and this you must put into practice.

485.

PRECEPTS FOR DRAWING.

The artist ought first to exercise his hand by copying drawings from the hand of a good master. And having acquired that practice, under the criticism of his master, he should next practise drawing objects in relief of a good style, following the rules which will presently be given.

The study of the antique (486. 487).

486.

OF DRAWING.

Which is best, to draw from nature or from the antique? and which is more difficult to do outlines or light and shade?

487.

It is better to imitate [copy] the antique than modern work.

[Footnote 486, 487: These are the only two pa.s.sages in which Leonardo alludes to the importance of antique art in the training of an artist. The question asked in No. 486 remains unanswered by him and it seems to me very doubtful whether the opinion stated in No. 487 is to be regarded as a reply to it. This opinion stands in the MS. in a connection-as will be explained later on-which seems to require us to limit its application to a single special case. At any rate we may suspect that when Leonardo put the question, he felt some hesitation as to the answer. Among his very numerous drawings I have not been able to find a single study from the antique, though a drawing in black chalk, at Windsor, of a man on horseback (PI. LXXIII) may perhaps be a reminiscence of the statue of Marcus Aurelius at Rome. It seems to me that the drapery in a pen and ink drawing of a bust, also at Windsor, has been borrowed from an antique model (Pl. x.x.x). G. G. Rossi has, I believe, correctly interpreted Leonardo's feeling towards the antique in the following note on this pa.s.sage in manzi's edition, p. 501: "Sappiamo dalla storia, che i valorosi artisti Toscani dell'eta dell'oro dell'arte studiarono sugli antichi marmi raccolti dal Magnifico LORENZO DE' MEDICI. Pare che il Vinci a tali monumenti non si accosta.s.se. Quest' uomo sempre riconosce per maestra la natura, e questo principio lo stringeva alla sola imitazione d essa"-Compare No. 10, 26-28 footnote.]

The necessity of anatomical knowledge (488. 489).

488.

OF PAINTING.

It is indispensable to a Painter who would be thoroughly familiar with the limbs in all the positions and actions of which they are capable, in the nude, to know the anatomy of the sinews, bones, muscles and tendons so that, in their various movements and exertions, he may know which nerve or muscle is the cause of each movement and show those only as prominent and thickened, and not the others all over [the limb], as many do who, to seem great draughtsmen, draw their nude figures looking like wood, devoid of grace; so that you would think you were looking at a sack of walnuts rather than the human form, or a bundle of radishes rather than the muscles of figures.

489.

HOW IT IS NECESSARY TO A PAINTER THAT HE SHOULD KNOW THE INTRINSIC FORMS [STRUCTURE] OF MAN.

The painter who is familiar with the nature of the sinews, muscles, and tendons, will know very well, in giving movement to a limb, how many and which sinews cause it; and which muscle, by swelling, causes the contraction of that sinew; and which sinews, expanded into the thinnest cartilage, surround and support the said muscle. Thus he will variously and constantly demonstrate the different muscles by means of the various att.i.tudes of his figures, and will not do, as many who, in a variety of movements, still display the very same things [modelling] in the arms, back, breast and legs. And these things are not to be regarded as minor faults.

How to acquire practice.

490.

OF STUDY AND THE ORDER OF STUDY.

I say that first you ought to learn the limbs and their mechanism, and having this knowledge, their actions should come next, according to the circ.u.mstances in which they occur in man. And thirdly to compose subjects, the studies for which should be taken from natural actions and made from time to time, as circ.u.mstances allow; and pay attention to them in the streets and piazze and fields, and note them down with a brief indication of the forms; [Footnote 5: Lines 5-7 explained by the lower portion of the sketch No. 1 on Pl. x.x.xI.] thus for a head make an o, and for an arm a straight or a bent line, and the same for the legs and the body, [Footnote 7: Lines 5-7 explained by the lower portion of the sketch No. 1 on Pl. x.x.xI.] and when you return home work out these notes in a complete form. The Adversary says that to acquire practice and do a great deal of work it is better that the first period of study should be employed in drawing various compositions done on paper or on walls by divers masters, and that in this way practice is rapidly gained, and good methods; to which I reply that the method will be good, if it is based on works of good composition and by skilled masters. But since such masters are so rare that there are but few of them to be found, it is a surer way to go to natural objects, than to those which are imitated from nature with great deterioration, and so form bad methods; for he who can go to the fountain does not go to the water-jar.

[Footnote: This pa.s.sage has been published by Dr. M. JORDAN, Das Malerbuck des L. da Vinci, p. 89; his reading however varies slightly from mine.]

Industry and thoroughness the first conditions (491-493.)

491.

WHAT RULES SHOULD BE GIVEN TO BOYS LEARNING TO PAINT.

We know for certain that sight is one of the most rapid actions we can perform. In an instant we see an infinite number of forms, still we only take in thoroughly one object at a time. Supposing that you, Reader, were to glance rapidly at the whole of this written page, you would instantly perceive that it was covered with various letters; but you could not, in the time, recognise what the letters were, nor what they were meant to tell. Hence you would need to see them word by word, line by line to be able to understand the letters. Again, if you wish to go to the top of a building you must go up step by step; otherwise it will be impossible that you should reach the top. Thus I say to you, whom nature prompts to pursue this art, if you wish to have a sound knowledge of the forms of objects begin with the details of them, and do not go on to the second [step] till you have the first well fixed in memory and in practice. And if you do otherwise you will throw away your time, or certainly greatly prolong your studies. And remember to acquire diligence rather than rapidity.

492.

HOW THAT DILIGENCE [ACCURACY] SHOULD FIRST BE LEARNT RATHER THAN RAPID EXECUTION.

If you, who draw, desire to study well and to good purpose, always go slowly to work in your drawing; and discriminate in. the lights, which have the highest degree of brightness, and to what extent and likewise in the shadows, which are those that are darker than the others and in what way they intermingle; then their ma.s.ses and the relative proportions of one to the other. And note in their outlines, which way they tend; and which part of the lines is curved to one side or the other, and where they are more or less conspicuous and consequently broad or fine; and finally, that your light and shade blend without strokes and borders [but] looking like smoke. And when you have thus schooled your hand and your judgment by such diligence, you will acquire rapidity before you are aware.

The artist's private life and choice of company (493-494).

493.

OF THE LIFE OF THE PAINTER IN THE COUNTRY.

A painter needs such mathematics as belong to painting. And the absence of all companions who are alienated from his studies; his brain must be easily impressed by the variety of objects, which successively come before him, and also free from other cares [Footnote 6: Leonardo here seems to be speaking of his own method of work as displayed in his MSS. and this pa.s.sage explains, at least in part, the peculiarities in their arrangement.]. And if, when considering and defining one subject, a second subject intervenes-as happens when an object occupies the mind, then he must decide which of these cases is the more difficult to work out, and follow that up until it becomes quite clear, and then work out the explanation of the other [Footnote 11: Leonardo here seems to be speaking of his own method of work as displayed in his MSS. and this pa.s.sage explains, at least in part, the peculiarities in their arrangement.]. And above all he must keep his mind as clear as the surface of a mirror, which a.s.sumes colours as various as those of the different objects. And his companions should be like him as to their studies, and if such cannot be found he should keep his speculations to himself alone, so that at last he will find no more useful company [than his own].

[Footnote: In the t.i.tle line Leonardo had originally written del pictore filosofo (the philosophical painter), but he himself struck out_filosofo_. Compare in No. 363 pictora notomista (anatomical painter). The original text is partly reproduced on Pl. CI.]