The Notebooks of Leonardo Da Vinci, Leonardo Da Vinci [interesting novels to read TXT] 📗

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 better than they, you can profit by your contempt for their defects, while the praise of others will incite you to farther merits.

[Footnote: The contradiction by this passage of the foregoing chapter is only apparent. It is quite clear, from the nature of the reasoning which is here used to prove that it is more improving to work with others than to work alone, that the studies of pupils only are under consideration here.]

 

496.

 

OF STUDYING, IN THE DARK, WHEN YOU WAKE, OR IN BED BEFORE YOU GO TO SLEEP.

I myself have proved it to be of no small use, when in bed in the dark, to recall in fancy the external details of forms previously studied, or other noteworthy things conceived by subtle speculation; and this is certainly an admirable exercise, and useful for impressing things on the memory.

 

497.

 

OF THE TIME FOR STUDYING SELECTION OF SUBJECTS.

Winter evenings ought to be employed by young students in looking over the things prepared during the summer; that is, all the drawings from the nude done in the summer should be brought together and a choice made of the best [studies of] limbs and bodies among them, to apply in practice and commit to memory.

OF POSITIONS.

After this in the following summer you should select some one who is well grown and who has not been brought up in doublets, and so may not be of stiff carriage, and make him go through a number of agile and graceful actions; and if his muscles do not show plainly within the outlines of his limbs that does not matter at all. It is enough that you can see good attitudes and you can correct [the drawing of] the limbs by those you studied in the winter.

[Footnote: An injunction to study in the evening occurs also in No. 524.]

On the productive power of minor artists (498-501).

 

498.

 

He is a poor disciple who does not excel his master.

 

499.

 

Nor is the painter praiseworthy who does but one thing well, as the nude figure, heads, draperies, animals, landscapes or other such details, irrespective of other work; for there can be no mind so inept, that after devoting itself to one single thing and doing it constantly, it should fail to do it well.

[Footnote: In MANZI’S edition (p. 502) the painter G. G. Bossi indignantly remarks on this passage. “Parla il Vince in questo luogo come se tutti gli artisti avessero quella sublimita d’ingegno capace di abbracciare tutte le cose, di cui era egli dotato” And he then mentions the case of CLAUDE LORRAIN. But he overlooks the fact that in Leonardo’s time landscape painting made no pretensions to independence but was reckoned among the details (_particulari_, lines 3, 4).]

 

500.

 

THAT A PAINTER IS NOT ADMIRABLE UNLESS HE IS UNIVERSAL.

Some may distinctly assert that those persons are under a delusion who call that painter a good master who can do nothing well but a head or a figure. Certainly this is no great achievement; after studying one single thing for a lifetime who would not have attained some perfection in it? But, since we know that painting embraces and includes in