When you will have thoroughly mastered perspective and have learnt by heart the parts and forms of objects, strive when you go about to observe. Note and consider the circ.u.mstances and the actions or men, as they talk, dispute, laugh or fight together, and not only the behaviour of the men themselves, but that of the bystanders who separate them or look on at these things; and make a note of them, in this way, with slight marks in your little note-book. And you should always carry this note-book with you, and it should be of coloured paper, so that what you {109} write may not be rubbed out; but (when it is used up) change the old for a new one, since these things should not be rubbed out, but preserved with great care, because such is the infinity of the forms and circ.u.mstances of objects, that the memory is incapable of retaining them; wherefore keep these sketches as your guides and masters.

59.

These rules are only to be used in correcting the figures, since every man makes some mistakes in his first composition, and he who is not aware of them cannot correct them; but thou being conscious of thine errors wilt correct thy work and amend errors where thou findest them, and take care not to fall into them again. But if thou attemptest to apply these rules in composition thou wilt never finish anything, and confusion will enter into thy work. Through these rules thou shalt acquire a free and sound judgement, since sound judgement and thorough understanding proceed from reason arising from sound rules, and sound rules are the offspring of sound experience, the common mother of all the sciences and arts. Hence if thou bearest in mind the precepts of my rules thou shalt be able, merely by thy corrected judgement, to judge and recognize any lack of proportion in a work, in perspective, in figures or anything else.

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[Sidenote: Again of the Method of Learning]

60.

I say that the first thing which should be learnt is the mechanism of the limbs, and when this knowledge has been acquired their actions should come next, according to the external circ.u.mstances of man, and thirdly the composition of subjects, which should be taken from natural actions, made fortuitously according to circ.u.mstances; and pay attention to them in the streets and public places and fields, and note them with a brief indication of outlines; that is to say, for a head make an O, and for an arm a straight or a bent line, and the same for the legs and body; and when thou returnest home work out these notes in a complete form. The adversary says that to acquire practice and to do a great deal of work, it is better that the first course of study should be employed in copying diverse compositions done on paper or on walls by various masters, and that thus rapidity of practice and a good method is acquired; to which I reply that this method will be good if it is based on works which are well composed by competent masters; and since such masters are so rare that but few of them are to be found, it is safer to go to nature, than to what to its deterioration is imitated from nature, and to fall into bad habits, since he who can go to the fountain does not go to the water-vessel.

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[Sidenote: Counsel to the Painter]

61.

Every bough and every fruit is born above the insertion of its leaf, which serves it as a mother, giving it water from the rain and moisture from the dew which falls on it from above in the night, and often it shields them from the heat of the sun's rays. Therefore, O painter, who lackest such rules, be desirous, in order to escape the blame of those who know, of copying every one of thy objects from nature, and despise not study after the manner of those who work for gain.

[Sidenote: On Anatomy]

62.

And you who say that it would be better to see practical anatomy than drawings of it, would be right if it were possible to see all the things which are shown in such drawings in a single drawing, in which you, with all your skill, will not see nor obtain knowledge of more than a few veins; and to obtain true and complete knowledge of these veins I have destroyed more than ten human bodies, destroying all the other limbs, and removing, down to its minutest particles, the whole of the flesh which surrounds these veins, without letting them bleed save for the insensible bleeding of the capillary veins. And as one body did not suffice for so long a time I had to proceed with several bodies by degrees until I finished by acquiring perfect knowledge, and this I {112} repeated twice to see the differences. And if you have a love for such things you may be prevented by disgust, and if this does not prevent you, you may be prevented by fear of living at night in company with such corpses, which are cut up and flayed and fearful to see; and if this does not prevent, you may not have a sufficient mastery of drawing for such a demonstration, and if you have the necessary mastery of drawing, it may not be combined with the knowledge of perspective; and if it were you might lack the power of geometrical demonstration, and the calculation of forces, and of the strength of the muscles, and perhaps you will lack patience and consequently diligence. As to whether these qualities are to be found in me or not the hundred and twenty books I have composed will p.r.o.nounce the verdict Yes or No.

Neither avarice nor negligence, but time has hindered me in these.

Farewell.

[Sidenote: On Study]

63.

I have myself proved that it is useful when you are in bed in the dark to work with the imagination, summing up the external outlines of the forms previously studied or other noteworthy things apprehended by subtle speculation; and this is a laudable practice and useful in impressing objects on the memory.

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[Sidenote: On judging Pictures]

64.

We are well aware that faults are more easily recognized in the works of others than in our own, and often in blaming the small faults of others thou wilt ignore great ones in thyself. And to avoid such ignorance see that in the first place thy perspective be sound, then acquire a complete knowledge of the measurements of man and other animals, and of good architecture; that is to say, as far as the forms of buildings and other objects which are on the earth are concerned, and these are infinite in number. The more of them that thou knowest, the more praiseworthy will be thy work; and in cases where thou hast no experience do not refuse to draw them from nature.

[Sidenote: Advice to the Painter]

65.

Certainly while a man is painting he should not be loth to hear every opinion: since we know well that a man, although he be not a painter, is cognizant of the forms of another man, and will be able to judge them, whether he is hump-backed or has a shoulder too high or too low, or whether he has a large mouth or nose, or other defects. And if we know that men are capable of giving a correct judgement on the works of nature, much more ought we to acknowledge their competence to judge our faults, since we know how greatly a man may be deceived in {114} his own work; and if thou art not conscious of this in thyself, study it in others and thou wilt profit by their faults. Therefore be desirous to bear with patience the opinions of others, and consider and reflect well whether he who blames has good ground or not to blame thee, and if thou thinkest that he has, amend thy work; and if not, act as though thou hadst not heard him, and if he should be a man thou esteemest show him by reasoning where his mistake lies.

66.

There is a certain generation of painters who, owing to the scantiness of their studies, must needs live up to the beauty of gold and azure, and with supreme folly declare that they will not give good work for poor payment, and that they could do as well as others if they were well paid. Now consider, foolish people! Cannot such men reserve some good work and say, "This is costly; this is moderate, and this is cheap work," and show that they have work at every price?

[Sidenote: The Painter and the Mirror]

67.

When thou wishest to see whether thy picture corresponds entirely with the objects thou hast drawn from nature, take a mirror and let the living reality be reflected in it, and compare the reflection with thy picture, and consider well {115} whether the subject of the two images are in harmony one with another.

And above all thou shouldst take the mirror for thy master,--a flat mirror, since on its surface the objects in many respects have the same appearance as in painting. For thou seest that a painting done on a flat surface reveals objects which appear to be in relief, and the mirror consisting of a flat surface produces the same effect; the painting consists of one plane surface and the mirror likewise; the picture is impalpable, in so far as that which appears to be round and prominent cannot be grasped by the hands, and it is the same with the mirror; the mirror and the painting reveal the semblance of objects surrounded by light and shade; each of them appears to be at a distance from its surface.

And if thou dost recognize that the mirror by means of outlines, lights and shadows gives relief to objects, and since thou hast in thy colours lights and shadows stronger than those of the mirror, there is no doubt that if thou composest thy picture well, it will also have the appearance of nature when it is reflected in a large mirror.

[Sidenote: The Painter's Mind]

68.

The mind of the painter should continually trans.m.u.te the figure of the notable objects which come before him into so many discourses; and imprint them in his memory and cla.s.sify them {116} and deduce rules from them, taking the place, the circ.u.mstances, the light and the shade into consideration.

[Sidenote: The Variety of Nature]

69.

I say that the universal proportions must be observed in the height of figures and not in their size, because in the admirable and marvellous things which appear in the works of nature there is no work of whatsoever character in which one detail is exactly similar to another; therefore, O thou imitator of nature, pay heed to the variety of features.

70.

Radically wrong is the procedure of some masters who are in the habit of repeating the same themes in the same episodes, and whose types of beauty are likewise the same, for in nature they are never repeated, so that if all the beauties of equal excellence were to come to life again they would compose a larger population than that now existing in our century, and since in the present century no one person is precisely similar to another, so would it be among the beauties mentioned above.

71.

You must depict your figures with gestures which will show what the figure has in his mind, otherwise your art will not be praiseworthy.

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[Sidenote: Mind and Expression]