The Notebooks of Leonardo Da Vinci — Complete
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 passages 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. XXX). G. G. Rossi has, I believe, correctly
interpreted Leonardo's feeling towards the antique in the following
note on this passage in manzi's edition, p. 501: "Sappiamo dalla
storia, che i valorosi artisti Toscani dell'età dell'oro dell'arte
studiarono sugli antichi marmi raccolti dal Magnifico LORENZO DE'
MEDICI. Pare che il Vinci a tali monumenti non si accostasse. Quest'
uomo sempre riconosce per maestra la natura, e questo principio lo
stringeva alla sola imitazione dì 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 attitudes 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 circumstances 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 circumstances 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. XXXI.]
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. XXXI.] 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 passage 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 masses 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 passage 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
passage 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 assumes 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 title 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.]
494.
OF THE LIFE OF THE PAINTER IN HIS STUDIO.
To the end that well-being of the body may not injure that of the
mind, the painter or draughtsman must remain solitary, and
particularly when intent on those studies and reflections which will
constantly rise up before his eye, giving materials to be well
stored in the memory. While you are alone you are entirely your own
[master] and if you have one companion you are but half your own,
and the less so in proportion to the indiscretion of his behaviour.
And if you have many companions you will fall deeper into the same
trouble. If you should say: "I will go my own way and withdraw
apart, the better to study the forms of natural objects", I tell
you, you will not be able to help often listening to their chatter.
And so, since one cannot serve two masters, you will badly fill the
part of a companion, and carry out your studies of art even worse.
And if you say: "I will withdraw so far that their words cannot
reach me and they cannot disturb me", I can tell you that you will
be thought mad. But, you see, you will at any rate be alone. And if
you must have companions ship find it in your studio. This may
assist you to have the advantages which arise from various
speculations. All other company may be highly mischievous.
The distribution of time for studying (495-497).
495.
OF WHETHER IT IS BETTER TO DRAW WITH COMPANIONS OR NOT.
I say and insist that drawing in company is much better than alone,
for many reasons. The first is that you would be ashamed to be seen
behindhand among the students, and such shame will lead you to
careful study. Secondly, a wholesome emulation will stimulate you to
be among those who are more praised than yourself, and this praise
of others will spur you on. Another is that you can learn from the
drawings of others who do better than yourself; and if you are