Thoughts on Art and Life Part 14

[Sidenote: Counsels]

43.

He is a poor master whose work is exalted in his {101} own opinion, and he is on the road to perfection in art whose work falls short of his ideal.

44.

Small rooms or dwellings help the mind to concentrate itself; large rooms are a source of distraction.

45.

The painter should be solitary, and take note of what he sees and reason with himself, making a choice of the more excellent details of the character of any object he sees; he should be like unto the mirror, which takes the colours of the objects it reflects. And this proceeding will seem to him to be a second nature.

[Sidenote: The Painter in his Studio]

46.

In order that the favourable disposition of the mind may not be injured by that of the body, the painter or the draughtsman should be solitary, and especially when he is occupied with those speculations and thoughts which continually rise up before the eye, and afford materials to be treasured by the memory.

If thou art alone, thou wilt belong to thyself only: if thou hast but one companion, thou wilt only half belong to thyself, and ever less in proportion to the indiscretion of his conduct; and if thou hast many companions, thou wilt encounter {102} the same disadvantage. And if thou shouldst say: "I will follow my own inclination, I will withdraw into seclusion in order the better to study the forms of natural objects"--I say thou wilt with difficulty be able to do this, because thou wilt not be able to refrain from constantly listening to their chatter; and, not being able to serve two masters, thou wilt play the part of a companion ill, and still worse will be the evil effect on thy studies in art. And if thou sayest: "I will withdraw myself, so that their words cannot reach and disturb me"--I, with regard to this, say thou wilt be regarded as a madman; but seest thou not that by so doing thou wilt be alone also?

[Sidenote: Advice to the Painter]

47.

The mind of the painter must be like unto a mirror, which ever takes the colour of the object it reflects, and contains as many images as there are objects before it. Therefore realize, O painter, that thou canst not succeed unless thou art the universal master of imitating by thy art every variety of nature's forms, and this thou canst not do save by perceiving them and retaining them in thy mind; wherefore when thou walkest in the country let thy mind play on various objects, observe now this thing and now that thing, making a store of various objects selected and chosen from those of lesser value. And thou shalt not do as some painters, who, when weary of plying {103} their fancy, dismiss their work from their mind and take exercise in walking for relaxation, but retain fatigue in the mind, which, though they see various objects, does not apprehend them, but often when they meet friends and relations and are saluted by them, they are no more conscious of them than if they had met empty air.

[Sidenote: Precepts]

48.

And thou, O painter, seek to bring about that thy works may attract those who gaze upon them and arrest them with great admiration and delight; and so that they may not attract and forthwith repel them, as the air does to him who in the night season leaps naked from his bed to gaze upon the cloudy and serene sky and forthwith is driven back by the cold, and returns to the bed whence he rose. But let thy works be like the air which draws men from their beds in the hot season, and retains them to taste with delight the cool of the summer; and he who will do well by his art will not strive to be more skilful than learned, nor let greed get the better of glory. Seest thou not among human beauties that it is the beautiful faces which stop the pa.s.sers-by, and not the richness of their ornaments? And this I say to thee who adornest thy figures with gold and other rich ornaments: Seest thou not splendid, youthful beauties, who diminish their excellence by the excess and elaboration of their {104} ornaments? Hast thou not seen women of the mountains dressed in rough and poor clothes richer in beauty than those who are adorned? Make no use of the affected arrangements and headdresses such as those adopted by loutish maids, who, by placing one lock of hair more on one side than the other, credit themselves with having committed a great enormity, and think that the bystanders will forget their own thoughts to talk of them alone, and to blame them.

For such persons have always the looking-gla.s.s and the comb, and the wind, which ruffles elaborate headdresses, is their worst enemy. In thy heads let the hair sport with the wind thou depictest around youthful countenances, and adorn them gracefully with various turns, and do not as those who plaster their faces with gum and make the faces seem as if they were of gla.s.s. This is a human folly which is always on the increase, and the mariners do not satisfy it who bring arabic gums from the East, so as to prevent the smoothness of the hair from being ruffled by the wind,--but they pursue their investigations still further in this direction.

49.

I cannot but mention among these precepts a new means of study, which, although it may seem trivial and almost ridiculous, is nevertheless extremely useful in arousing the mind to {105} various inventions. It is as follows: when you look at walls mottled with various stains or stones made of diverse substances, if you have to invent some scene, you may discover on them the likeness of various countries, adorned with mountains, rivers, rocks, trees, plains, great valleys and hills in diverse arrangement; again, you may be able to see battles and figures in action and strange effects of physiognomy and costumes, and infinite objects which you could reduce to complete and harmonious forms. And the effect produced by these mottled walls is like that of the sound of bells, in the vibrating of which you may recognize any name or word you choose to imagine. I have seen blots in the clouds and in mottled walls which have stimulated me to the invention of various objects, and although the blots themselves were altogether devoid of perfection in any one of their parts, they lacked not perfection in their movement and circ.u.mstance.

50.

Obtain knowledge first, and then proceed to practice, which is born of knowledge.

[Sidenote: Theory and Practice]

51.

Knowledge is the captain, and practice the soldiers.

52.

The painter who draws by practice and by the {106} eye, without the guide of reason, is like the mirror, which reflects all the objects which are placed before it and knows not that they exist.

53.

Many will consider they can reasonably blame me by alleging that my proofs are contrary to the authority of many men held in great esteem by their inexperienced judgements: overlooking the fact that my works are solely and simply the offspring of experience, which is the veritable master.

54.

They who are enamoured of practice without knowledge are like the mariner who puts to sea in a vessel without rudder or compa.s.s, and who navigates without a course. Practice should always be based on sound theory; perspective is the guide and the portal of theory, and without it nothing can be well done in the art of painting.

[Sidenote: Course of Study]

55.

The youth should first learn perspective, and then the measurements of every object; he should then copy from some good master to accustom himself to well-drawn forms, then from nature to acquire confirmation of the theories he has learnt; then he should study for a time the works of various masters, and finally attain the {107} habit of putting into practice and producing his art.

56.

Mathematics, such as appertain to painting, are necessary to the painter, also the absence of companions who are alien to his studies: his brain must be versatile and susceptible to the variety of objects which it encounters, and free from distracting cares. And if in the contemplation and definition of one subject a second subject intervenes,--as happens when the mind is filled with an object,--in such cases he must decide which of the two objects is the more difficult of definition, and pursue that one until he arrives at perfect clearness of definition, and then turn to the definition of the other. And above all things his mind should be like the surface of the mirror, which shows as many colours as there are objects it reflects; and his companions should study in the same manner, and if such cannot be found he should meditate in solitude with himself, and he will not find more profitable company.

[Sidenote: Perspective & Mathematics]

57.

In the study of natural causes and reasons light affords the greatest pleasure to the student; among the great facts of mathematics the certainty of demonstration most signally elevates the mind of the student. Perspective must therefore be {108} placed at the head of all human study and discipline, in the field of which the radiant line is rendered complex by the methods of demonstration; in it resides the glory of physics as well as of mathematics, and it is adorned with flowers of both these sciences.

The laws of those sciences which are capable of extensive a.n.a.lysis I will confine in brief conclusions, and according to the nature of the material I will interweave mathematical demonstrations, at times deducing results from causes, and at times tracing causes by results.

I will add to my conclusions some which are not contained in these, but which can be deduced from them, if the Lord, the Supreme Light, illuminates me, so that I may treat of light.

[Sidenote: Of the Method of Learning]

58.