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

itself every object produced by nature or resulting from the fortuitous actions of men, in short, all that the eye can see, he seems to me but a poor master who can only do a figure well. For do you not perceive how many and various actions are performed by men only; how many different animals there are, as well as trees, plants, flowers, with many mountainous regions and plains, springs and rivers, cities with public and private buildings, machines, too, fit for the purposes of men, divers costumes, decorations and arts? And all these things ought to be regarded as of equal importance and value, by the man who can be termed a good painter.

 

501.

 

OF THE MISERABLE PRETENCES MADE BY THOSE WHO FALSELY AND UNWORTHILY ACQUIRE THE NAME OF PAINTERS.

Now there is a certain race of painters who, having studied but little, must need take as their standard of beauty mere gold and azure, and these, with supreme conceit, declare that they will not give good work for miserable payment, and that they could do as well as any other if they were well paid. But, ye foolish folks! cannot such artists keep some good work, and then say: this is a costly work and this more moderate and this is average work and show that they can work at all prices?

A caution against one-sided study.

 

502.

 

HOW, IN IMPORTANT WORKS, A MAN SHOULD NOT TRUST ENTIRELY TO HIS MEMORY WITHOUT CONDESCENDING TO DRAW FROM NATURE.

Any master who should venture to boast that he could remember all the forms and effects of nature would certainly appear to me to be graced with extreme ignorance, inasmuch as these effects are infinite and our memory is not extensive enough to retain them. Hence, O! painter, beware lest the lust of gain should supplant in you the dignity of art; for the acquisition of glory is a much greater thing than the glory of riches. Hence, for these and other reasons which might be given, first strive in drawing to represent your intention to the eye by expressive forms, and the idea originally formed in your imagination; then go on taking out or putting in, until you have satisfied yourself. Then have living men, draped or nude, as you may have purposed in your work, and take care that in dimensions and size, as determined by perspective, nothing is left in the work which is not in harmony with reason and the effects in nature. And this will be the way to win honour in your art.

How to acquire universality (503-506).

 

503.

 

OF VARIETY IN THE FIGURES.

The painter should aim at universality, because there is a great want of self-respect in doing one thing well and another badly, as many do who study only the [rules of] measure and proportion in the nude figure and do not seek after variety; for a man may be well proportioned, or he may be fat and short, or tall and thin, or medium. And a painter who takes no account of these varieties always makes his figures on one pattern so that they might all be taken for brothers; and this is a defect that demands stern reprehension.

 

504.

 

HOW SOMETHING MAY BE LEARNT EVERYWHERE.

Nature has beneficently provided that throughout the world you may find something to imitate.

 

505.

 

OF THE MEANS OF ACQUIRING UNIVERSALITY.

It is an easy matter to men to acquire universality, for all terrestrial animals resemble each other as to their limbs, that is in their muscles, sinews and bones; and they do not vary excepting in length or in thickness, as will be shown under Anatomy. But then there are aquatic animals which are of great variety; I will not try to convince the painter that there is any rule for them for they are of infinite variety, and so is the insect tribe.

 

506.

 

PAINTING.

The mind of the painter must resemble a mirror, which always takes the colour of the object it reflects and is completely occupied by the images of as many objects as are in front of it. Therefore you must know, Oh Painter! that you cannot be a good one if you are not the universal master of representing by your art every kind of form produced by nature. And this you will not know how to do if you do not see them, and retain them in your mind. Hence as you go through the fields, turn your attention to various objects, and, in turn look now at this thing and now at that, collecting a store of divers facts selected and chosen from those of less value. But do not do like some painters who, when they are wearied with exercising their fancy dismiss their work from their thoughts and take exercise in walking for relaxation, but still keep fatigue in their mind which, though they see various objects [around them], does not apprehend them; but, even when they meet friends or relations and are saluted by them, although they see and hear them, take no more cognisance of them than if they had met so much empty air.

Useful games and exercises (507. 508).

 

507.

 

OF GAMES TO BE PLAYED BY THOSE WHO DRAW.

When, Oh draughtsmen, you desire to find relaxation in games you should always practise such things as may be of use in your profession, by giving your eye good practice in judging accurately of the breadth and length of objects. Thus, to accustom your mind to such things, let one of you draw a straight line at random on a wall, and each of you, taking a blade of grass or of straw in his hand, try to cut it to the length that the line drawn appears to him to be, standing at a distance of 10 braccia; then each one may go up to the line to measure the length he has judged it to be. And he who has come nearest with his measure to the length of the pattern is the best man, and the winner, and shall receive the prize you have settled beforehand. Again you should take forshortened measures: that is take a spear, or any other cane or reed, and fix on a point at a certain distance; and let each one estimate how many times he judges that its length will go into that distance. Again, who will draw best a line one braccio long, which shall be tested by a thread. And such games give occasion to good practice for the eye, which is of the first importance in painting.

 

508.

 

A WAY OF DEVELOPING AND AROUSING THE MIND TO VARIOUS INVENTIONS.

I cannot forbear to mention among these precepts a new device for study which, although it may seem but trivial and almost ludicrous, is nevertheless extremely useful in arousing the mind to various inventions. And this is, when you look at a wall spotted with stains, or with a mixture of stones, if you have to devise some scene, you may discover a resemblance to various landscapes, beautified with mountains, rivers, rocks, trees, plains, wide valleys and hills in varied arrangement; or again you may see battles and figures in action; or strange faces and costumes, and an endless variety of objects, which you could reduce to complete and well drawn forms. And these appear on such walls confusedly, like the sound of bells in whose jangle you may find any name or word you choose to imagine.

II.

THE ARTIST’S STUDIO.—INSTRUMENTS AND HELPS FOR THE APPLICATION OF PERSPECTIVE.—ON JUDGING OF A PICTURE.

On the size of the studio.

 

509.

 

Small rooms or dwellings discipline the mind, large ones weaken it.

On the construction of windows (510-512).

 

510.

 

The larger the wall the less the light will be.

 

511.

 

The different kinds of light afforded in cellars by various forms of windows. The least useful and the coldest is the window at a. The most useful, the lightest and warmest and most open to the sky is the window at b. The window at c is of medium utility.

[Footnote: From a reference to the notes on the right light for painting it becomes evident that the observations made on cellar-windows have a direct bearing on the construction of the studio-window. In the diagram b as well as in that under No. 510 the window-opening is reduced to a minimum, but only, it would seem, in order to emphasize the advantage of walls constructed on the plan there shown.]

 

512.

 

OF THE PAINTER’S WINDOW AND ITS ADVANTAGE.

The painter who works from nature should have a window, which he can raise and lower. The reason is that sometimes you will want to finish a thing you are drawing, close to the light.

Let a b c d be the chest on which the work may be raised or lowered, so that the work moves up and down and not the painter. And every evening you can let down the work and shut it up above so that in the evening it may be in the fashion of a chest which, when shut up, may serve the purpose of a bench.

[Footnote: See Pl. XXXI, No. 2. In this plate the lines have unfortunately lost their sharpness, for the accidental loss of the negative has necessitated a reproduction from a positive. But having formerly published this sketch by another process, in VON LUTZOW’S Zeitschrift fur bildende Kunst (Vol. XVII, pg. 13) I have reproduced it here in the text. The sharpness of the outline in the original sketch is here preserved but it gives it from the reversed side.]

On the best light for painting (513-520).

 

513.

 

Which light is best for drawing from nature; whether high or low, or large or small, or strong and broad, or strong and small, or broad and weak or small and weak?

[Footnote: The question here put is unanswered in the original MS.]

 

514.

 

OF THE QUALITY OF THE LIGHT.

A broad light high up and not too strong will render the details of objects very agreeable.

 

515.

 

THAT THE LIGHT FOR DRAWING FROM NATURE SHOULD BE HIGH UP.

The light for drawing from nature should come from the North in order that it may not vary. And if you have it from the South, keep the window screened with cloth, so that with the sun shining the whole day the light may not vary. The height of the light should be so arranged as that every object shall cast a shadow on the ground of the same length as itself.

 

516.

 

THE KIND OF LIGHT REQUISITE FOR PAINTING LIGHT AND SHADE.

An object will display the greatest difference of light and shade when it is seen in the strongest light, as by sunlight, or, at night, by the light of a fire. But this should not be much used in painting because the works remain crude and ungraceful.

An object seen in a moderate light displays little difference in the light and shade; and this is the case towards evening or when the day is cloudy, and works then painted are tender and every kind of face becomes graceful. Thus, in every thing extremes are to be avoided: Too much light gives crudeness; too little prevents our seeing. The medium is best.

OF SMALL LIGHTS.

Again, lights cast from a small window give strong differences of light and shade, all the more if the room lighted by it be large, and this is not good for painting.

 

517.

 

PAINTING.

The luminous air which enters by passing through orifices in walls into dark rooms will render the place less dark in proportion as