The Notebooks of Leonardo Da Vinci Part 41

522.

OF DRAWING AN OBJECT.

When you draw take care to set up a princ.i.p.al line which you must observe all throughout the object you are drawing; every thing should bear relation to the direction of this princ.i.p.al line.

523.

OF A MODE OF DRAWING A PLACE ACCURATELY.

Have a piece of gla.s.s as large as a half sheet of royal folio paper and set thus firmly in front of your eyes that is, between your eye and the thing you want to draw; then place yourself at a distance of 2/3 of a braccia from the gla.s.s fixing your head with a machine in such a way that you cannot move it at all. Then shut or entirely cover one eye and with a brush or red chalk draw upon the gla.s.s that which you see beyond it; then trace it on paper from the gla.s.s, afterwards transfer it onto good paper, and paint it if you like, carefully attending to the arial perspective.

HOW TO LEARN TO PLACE YOUR FIGURES CORRECTLY.

If you want to acquire a practice of good and correct att.i.tudes for your figures, make a square frame or net, and square it out with thread; place this between your eye and the nude model you are drawing, and draw these same squares on the paper on which you mean to draw the figure, but very delicately. Then place a pellet of wax on a spot of the net which will serve as a fixed point, which, whenever you look at your model, must cover the pit of the throat; or, if his back is turned, it may cover one of the vertebrae of the neck. Thus these threads will guide you as to each part of the body which, in any given att.i.tude will be found below the pit of the throat, or the angles of the shoulders, or the nipples, or hips and other parts of the body; and the transverse lines of the net will show you how much the figure is higher over the leg on which it is posed than over the other, and the same with the hips, and the knees and the feet. But always fix the net perpendicularly so that all the divisions that you see the model divided into by the net work correspond with your drawing of the model on the net work you have sketched. The squares you draw may be as much smaller than those of the net as you wish that your figure should be smaller than nature. Afterwards remember when drawing figures, to use the rule of the corresponding proportions of the limbs as you have learnt it from the frame and net. This should be 3 braccia and a half high and 3 braccia wide; 7 braccia distant from you and 1 braccio from the model.

[Footnote: Leonardo is commonly credited with the invention of the arrangement of a plate of gla.s.s commonly known as the "vertical plane." Professor E. VON BRUCKE in his "Bruchstucke aus der Theorie der bildenden Kunste," Leipzig 1877, pg. 3, writes on this contrivance. "Unsere Glastafel ist die sogenannte Glastafel des Leonardo da Vinci, die in Gestalt einer Glastafel vorgestellte Bildflache."]

524.

A METHOD OF DRAWING AN OBJECT IN RELIEF AT NIGHT.

Place a sheet of not too transparent paper between the relievo and the light and you can draw thus very well.

[Footnote: Bodies thus illuminated will show on the surface of the paper how the copyist has to distribute light and shade.]

525.

If you want to represent a figure on a wall, the wall being foreshortened, while the figure is to appear in its proper form, and as standing free from the wall, you must proceed thus: have a thin plate of iron and make a small hole in the centre; this hole must be round. Set a light close to it in such a position as that it shines through the central hole, then place any object or figure you please so close to the wall that it touches it and draw the outline of the shadow on the wall; then fill in the shade and add the lights; place the person who is to see it so that he looks through that same hole where at first the light was; and you will never be able to persuade yourself that the image is not detached from the wall.

[Footnote: uno piccolo spiracelo nel mezzo. M. RAVAISSON, in his edition of MS. A (Paris), p. 52, reads nel muro-evidently a mistake for nel mezzo which is quite plainly written; and he translates it "fait lui une pet.i.te ouverture dans le mur," adding in a note: "les mots 'dans le mur' paraissent etre de trop. Leonardo a du les ecrire par distraction" But 'nel mezzo' is clearly legible even on the photograph facsimile given by Ravaisson himself, and the objection he raises disappears at once. It is not always wise or safe to try to prove our author's absence of mind or inadvertence by apparent difficulties in the sense or connection of the text.]

526.

TO DRAW A FIGURE ON A WALL 12 BRACCIA HIGH WHICH SHALL LOOK 24 BRACCIA HIGH.

If you wish to draw a figure or any other object to look 24 braccia high you must do it in this way. First, on the surface m r draw half the man you wish to represent; then the other half; then put on the vault m n [the rest of] the figure spoken of above; first set out the vertical plane on the floor of a room of the same shape as the wall with the coved part on which you are to paint your figure. Then, behind it, draw a figure set out in profile of whatever size you please, and draw lines from it to the point f and, as these lines cut m n on the vertical plane, so will the figure come on the wall, of which the vertical plane gives a likeness, and you will have all the [relative] heights and prominences of the figure. And the breadth or thickness which are on the upright wall m n are to be drawn in their proper form, since, as the wall recedes the figure will be foreshortened by itself; but [that part of] the figure which goes into the cove you must foreshorten, as if it were standing upright; this diminution you must set out on a flat floor and there must stand the figure which is to be transferred from the vertical plane r n[Footnote 17: che leverai dalla pariete r n. The letters refer to the larger sketch, No. 3 on Pl. x.x.xI.] in its real size and reduce it once more on a vertical plane; and this will be a good method [Footnote 18: Leonardo here says nothing as to how the image foreshortened by perspective and thus produced on the vertical plane is to be transferred to the wall; but from what is said in Nos. 525 and 523 we may conclude that he was familiar with the process of casting the enlarged shadow of a squaring net on the surface of a wall to guide him in drawing the figure.

Pariete di rilieuo; "sur une parai en relief" (RAVAISSON). "Auf einer Schnittlinie zum Aufrichten" (LUDWIG). The explanation of this puzzling expression must be sought in No. 545, lines 15-17.].

[Footnote: See Pl. x.x.xI. 3. The second sketch, which in the plate is incomplete, is here reproduced and completed from the original to ill.u.s.trate the text. In the original the larger diagram is placed between lines 5 and 6.

1. 2. C. A. 157a; 463a has the similar heading: 'del cressciere della figura', and the text begins: "Se voli fare 1a figura grande b c" but here it breaks off. The translation here given renders the meaning of the pa.s.sage as I think it must be understood. The MS. is perfectly legible and the construction of the sentence is simple and clear; difficulties can only arise from the very fullness of the meaning, particularly towards the end of the pa.s.sage.]

527.

If you would to draw a cube in an angle of a wall, first draw the object in its own proper shape and raise it onto a vertical plane until it resembles the angle in which the said object is to be represented.

528.

Why are paintings seen more correctly in a mirror than out of it?

529.

HOW THE MIRROR IS THE MASTER [AND GUIDE] OF PAINTERS.

When you want to see if your picture corresponds throughout with the objects you have drawn from nature, take a mirror and look in that at the reflection of the real things, and compare the reflected image with your picture, and consider whether the subject of the two images duly corresponds in both, particularly studying the mirror. You should take the mirror for your guide-that is to say a flat mirror-because on its surface the objects appear in many respects as in a painting. Thus you see, in a painting done on a flat surface, objects which appear in relief, and in the mirror-also a flat surface-they look the same. The picture has one plane surface and the same with the mirror. The picture is intangible, in so far as that which appears round and prominent cannot be grasped in the hands; and it is the same with the mirror. And since you can see that the mirror, by means of outlines, shadows and lights, makes objects appear in relief, you, who have in your colours far stronger lights and shades than those in the mirror, can certainly, if you compose your picture well, make that also look like a natural scene reflected in a large mirror.

[Footnote: I understand the concluding lines of this pa.s.sage as follows: If you draw the upper half a figure on a large sheet of paper laid out on the floor of a room (sala be piana) to the same scale (con le sue vere grosseze) as the lower half, already drawn upon the wall (lines 10, 11)you must then reduce them on a 'pariete di rilievo,' a curved vertical plane which serves as a model to reproduce the form of the vault.]

530.

OF JUDGING YOUR OWN PICTURES.

We know very well that errors are better recognised in the works of others than in our own; and that often, while reproving little faults in others, you may ignore great ones in yourself. To avoid such ignorance, in the first place make yourself a master of perspective, then acquire perfect knowledge of the proportions of men and other animals, and also, study good architecture, that is so far as concerns the forms of buildings and other objects which are on the face of the earth; these forms are infinite, and the better you know them the more admirable will your work be. And in cases where you lack experience do not shrink from drawing them from nature. But, to carry out my promise above [in the t.i.tle]-I say that when you paint you should have a flat mirror and often look at your work as reflected in it, when you will see it reversed, and it will appear to you like some other painter's work, so you will be better able to judge of its faults than in any other way. Again, it is well that you should often leave off work and take a little relaxation, because, when you come back to it you are a better judge; for sitting too close at work may greatly deceive you. Again, it is good to retire to a distance because the work looks smaller and your eye takes in more of it at a glance and sees more easily the discords or disproportion in the limbs and colours of the objects.

On the management of works (531. 532).

531.

OF A METHOD OF LEARNING WELL BY HEART.

When you want to know a thing you have studied in your memory proceed in this way: When you have drawn the same thing so many times that you think you know it by heart, test it by drawing it without the model; but have the model traced on flat thin gla.s.s and lay this on the drawing you have made without the model, and note carefully where the tracing does not coincide with your drawing, and where you find you have gone wrong; and bear in mind not to repeat the same mistakes. Then return to the model, and draw the part in which you were wrong again and again till you have it well in your mind. If you have no flat gla.s.s for tracing on, take some very thin kidts-kin parchment, well oiled and dried. And when you have used it for one drawing you can wash it clean with a sponge and make a second.

532.

THAT A PAINTER OUGHT TO BE CURIOUS TO HEAR THE OPINIONS OF EVERY ONE ON HIS WORK.

Certainly while a man is painting he ought not to shrink from hearing every opinion. For we know very well that a man, though he may not be a painter, is familiar with the forms of other men and very capable of judging whether they are hump backed, or have one shoulder higher or lower than the other, or too big a mouth or nose, and other defects; and, as we know that men are competent to judge of the works of nature, how much more ought we to admit that they can judge of our errors; since you know how much a man may be deceived in his own work. And if you are not conscious of this in yourself study it in others and profit by their faults. Therefore be curious to hear with patience the opinions of others, consider and weigh well whether those who find fault have ground or not for blame, and, if so amend; but, if not make as though you had not heard, or if he should be a man you esteem show him by argument the cause of his mistake.

On the limitations of painting (533-535)

533.

HOW IN SMALL OBJECTS ERRORS ARE LESS EVIDENT THAN IN LARGE ONES.

In objects of minute size the extent of error is not so perceptible as in large ones; and the reason is that if this small object is a representation of a man or of some other animal, from the immense diminution the details cannot be worked out by the artist with the finish that is requisite. Hence it is not actually complete; and, not being complete, its faults cannot be determined. For instance: Look at a man at a distance of 300 braccia and judge attentively whether he be handsome or ugly, or very remarkable or of ordinary appearance. You will find that with the utmost effort you cannot persuade yourself to decide. And the reason is that at such a distance the man is so much diminished that the character of the details cannot be determined. And if you wish to see how much this man is diminished [by distance] hold one of your fingers at a span's distance from your eye, and raise or lower it till the top joint touches the feet of the figure you are looking at, and you will see an incredible reduction. For this reason we often doubt as to the person of a friend at a distance.

534.

WHY A PAINTING CAN NEVER APPEAR DETACHED AS NATURAL OBJECTS DO.

Painters often fall into despair of imitating nature when they see their pictures fail in that relief and vividness which objects have that are seen in a mirror; while they allege that they have colours which for brightness or depth far exceed the strength of light and shade in the reflections in the mirror, thus displaying their own ignorance rather than the real cause, because they do not know it. It is impossible that painted objects should appear in such relief as to resemble those reflected in the mirror, although both are seen on a flat surface, unless they are seen with only one eye; and the reason is that two eyes see one object behind another as a and b see m and n. m cannot exactly occupy [the s.p.a.ce of] n because the base of the visual lines is so broad that the second body is seen beyond the first. But if you close one eye, as at s the body f will conceal r, because the line of sight proceeds from a single point and makes its base in the first body, whence the second, of the same size, can never be seen.

[Footnote: This pa.s.sage contains the solution of the problem proposed in No. 29, lines 10-14. Leonardo was evidently familiar with the law of optics on which the construction of the stereoscope depends. Compare E. VON BRUCKE, Bruchstucke aus der Theorie der bildenden Kunste, pg. 69: "Schon Leonardo da Vinci wusste, da.s.s ein noch so gut gemaltes Bild nie den vollen Eindruck der Korperlichkeit geben kann, wie ihn die Natur selbst giebt. Er erklart dies auch in Kap. LIII und Kap. CCCXLI (ed. DU FRESNE) des 'Trattato' in sachgema.s.ser Weise aus dem Sehen mit beiden Augen."

Chap. 53 of DU FRESNE'S edition corresponds to No. 534 of this work.]

535.