Part 7

Were a master to boast that he could remember all the forms and effects of nature, he would certainly appear to me to be graced with great ignorance, inasmuch as these effects are infinite and our memory is not sufficiently capacious to retain them. Therefore, O painter, beware lest in thee the lust of gain should overcome the honour of thy art, for the acquisition of honour is a much {93} greater thing than the glory of wealth. Thus, for this and for other reasons which could be given, first strive in drawing to express to the eye in a manifest shape the idea and the fancy originally devised by thy imagination; then go on adding or removing until thou art satisfied; then arrange men as models, clothed or nude, according to the intention of thy work, and see that, as regards dimension and size, in accordance with perspective there is no portion of the work which is not in harmony with reason and natural effects, and this will be the way to win honour in thy art.

[Sidenote: Painting & Sculpture]

34.

I have myself practised the art of sculpture as well as that of painting, and I have practised both arts in the same degree. I think, therefore, that I can give an impartial opinion as to which of the two is the most difficult: the most perfect requires the greater talent, and is to be preferred.

In the first place sculpture requires a certain light, that is to say, a light from above, and painting carries everywhere with it its light and shade; sculpture owes its importance to light and shade. The sculptor is aided in this by the relief which is inherent in sculpture, and the painter places the light and shade, by the accidental quality of his art, in the places where nature would naturally produce it. The sculptor cannot diversify his work by the various colours of objects; painting {94} is complete in every respect. The perspective of the sculptor appears to be altogether untrue; that of the painter can give the idea of a distance of a hundred miles beyond the picture. The sculptors have no aerial perspective; they can neither represent transparent bodies nor reflections, nor bodies as lustrous as mirrors, and other translucent objects, neither mists nor dark skies, nor an infinity of objects which it would be tedious to enumerate. The advantage [of sculpture] is that it is provided with a better defence against the ravages of time, although a picture painted on thick copper and covered over with white enamel, painted with enamel colours and then put in the fire again and baked, is equally resistant. Such a work as far as permanence is concerned exceeds sculpture. They may say that where an error is made it is not easy to correct it. It is poor reasoning to try and prove that the irremediability of an oversight renders the work more honourable. But I say to you that it will prove more difficult to mend the mind of the master who commits such errors than to repair the work he has spoilt. We know well that an experienced and competent artist will not make mistakes of this kind; on the contrary, acting on sound rules, he will remove so little at a time that his work will be brought to a successful close. Again, the sculptor, if he works in clay or wax, can remove and add, and when the work is finished it can be easily {95} cast in bronze, and this is the last and most permanent operation of sculpture, inasmuch as that which is merely of marble is liable to destruction, but this is not the case with bronze. Therefore the picture painted on copper, which with the methods of painting can be reduced or added to, is like bronze, which when it was in the state of a wax model could be reduced or added to. And if sculpture in bronze is durable, this copper and enamel work is more imperishable still; and while the bronze remains black and ugly, this is full of various and delectable colours of infinite variety, as we have described above. If you wish to confine the discussion to painting on panel I am content to pronounce between it and sculpture, saying, that painting is the more beautiful, the more imaginative and the more copious, and that sculpture is more durable, but has no other advantage. Sculpture with little labour shows what in painting seems to be a miraculous thing to do: to make impalpable objects appear palpable, to give the semblance of relief to flat objects, and distance to objects that are near. In fact painting is full of infinite resources of which sculpture cannot dispose.

35.

Sculpture is not a science, but a mechanical art, because it causes the brow of the artist who practises it to sweat, and wearies his body; and for {96} such an artist the simple proportions of the limbs, and the nature of movements and attitudes, are all that is essential, and there it ends, and shows to the eye what it is, and it does not cause the spectator to wonder at its nature, as painting does, which in a plane by its science shows vast countries and far-off horizons.

36.

The only difference between painting and sculpture is that the sculptor accomplishes his work with the greater bodily fatigue, and the painter with the greater mental fatigue. This is proved by the fact that the sculptor in practising his art is obliged to exert his arms and to strike and shatter the marble or other stone, which remains over and above what is needed for the figure which it contains, by manual exercise, accompanied often by profuse sweating, mingled with dust and transforming itself into dirt; and his face is plastered and powdered with the dust of the marble, so that he has the appearance of a baker, and he is covered with minute chips, and it appears as if snow had fallen on him, and his dwelling is dirty and full of chips and the dust of stone.

The contrary occurs in the case of the painter,--we are speaking of excellent painters and sculptors,--since the painter with great leisure sits before his work well clothed, and handles the light brush dipped in lovely colours. He wears {97} what garments he pleases; his dwelling is full of beautiful pictures, and it is clean; sometimes he has music or readers of diverse and pleasant works, which, without any noise of hammers or other confused sounds, are heard with great pleasure.

37.

There can be no comparison between the talent, art and theory of painting and that of sculpture, which leaves perspective out of account,--perspective which is produced by the quality of the material and not of the artist. And if the sculptor says that he cannot restore the superabundant substance which has once been removed from his work, I answer that he who removes too much has but little understanding and is no master. Because if he has mastered the proportions he will not remove anything unnecessarily; therefore we will say that this disadvantage is inherent in the artist and not in the material. But I will not speak of such men, for they are spoilers of marble and not artists.

Artists do not trust to the judgement of the eye, because it is always deceptive, as is proved by him who wishes to divide a line into two equal parts by the eye, and is often deceived in the experiment; wherefore the good judges always fear--a fear which is not shared by the ignorant--to trust to their own judgement, and on this account they proceed by continually checking the {98} height, thickness and breadth of each part, and by so doing accomplish no more than their duty. But painting is marvellously devised of most subtle analyses, of which sculpture is altogether devoid, since its range is of the narrowest. To the sculptor who says that his science is more lasting than that of painting, I answer that this permanence is due to the quality of the material and not to that of the sculptor, and the sculptor has no right to give himself the credit for it, but he should let it redound to nature which created the material.

38.

Painting has a wider intellectual range and is more wonderful and greater as regards its artistic resources than sculpture, because the painter is by necessity constrained to amalgamate his mind with the very mind of nature and to be the interpreter between nature and art, making with art a commentary on the causes of nature's manifestations which are the inevitable result of its laws; and showing in what way the likenesses of objects which surround the eye correspond with the true images of the pupil of the eye, and showing among objects of equal size which of them will appear more or less dark, or more or less clear; and among objects equally low which of them will appear more or less low; or among those of the same height which of them will appear more or less high; or among objects of equal size {99} placed at various distances one from the other, why some will appear more clearly than others. And this art embraces and comprehends within itself all visible things, which sculpture in its poverty cannot do: that is, the colours of all objects and their gradations; it represents transparent objects, and the sculptor will show thee natural objects without the painter's devices; the painter will show thee various distances with the gradations of colour producing interposition of the air between the objects and the eye; he will show thee the mists through which the character of objects is with difficulty descried; the rains which clouded mountains and valleys bring with them; the dust which is inherent to and follows the contention between these forces; the rivers which are great or small in volume; the fishes disporting themselves on the surface or at the bottom of these waters; the polished pebbles of various colours which are collected on the washed sands at bottom of rivers surrounded by floating plants beneath the surface of the water; the stars at diverse heights above us; and in the same manner other innumerable effects to which sculpture cannot attain.

39.

Sculpture lacks the beauty of colours, the perspective of colours; it lacks perspective and it confuses the limits of objects remote from the {100} eye, inasmuch as it represents the limits of objects that are near in the same way as those of distant objects; it does not represent the air which, interposed between the eye and the remote object, conceals that object but as the veils in draped figures, which reveal the naked flesh beneath them; it cannot represent the small pebbles of various colours beneath the surface of the transparent waters.

[Sidenote: To the Painter]

40.

And thou, painter, who desirest to achieve the highest excellence in practice, understand that unless thou build it on the solid foundations of nature, thou shalt reap but scant honour and gain by thy work; and if thy foundation is sound, thy works shall be many and good, and bring great honour to thee, and be of great profit.

41.

When the work exceeds the ideal of the artist, the artist makes scant progress; and when the work falls short of his ideal it never ceases to improve, unless avarice be an obstacle.

42.

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

[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 passers-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-glass 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 glass. 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 circumstance.

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 compass, 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 analysis 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.

When you will have thoroughly mastered perspective and have learnt by heart the parts and forms of objects, strive when you go about to observe. Note and consider the circumstances and the actions or men, as they talk, dispute, laugh or fight together, and not only the behaviour of the men themselves, but that of the bystanders who separate them or look on at these things; and make a note of them, in this way, with slight marks in your little note-book. And you should always carry this note-book with you, and it should be of coloured paper, so that what you {109} write may not be rubbed out; but (when it is used up) change the old for a new one, since these things should not be rubbed out, but preserved with great care, because such is the infinity of the forms and circumstances of objects, that the memory is incapable of retaining them; wherefore keep these sketches as your guides and masters.

59.

These rules are only to be used in correcting the figures, since every man makes some mistakes in his first composition, and he who is not aware of them cannot correct them; but thou being conscious of thine errors wilt correct thy work and amend errors where thou findest them, and take care not to fall into them again. But if thou attemptest to apply these rules in composition thou wilt never finish anything, and confusion will enter into thy work. Through these rules thou shalt acquire a free and sound judgement, since sound judgement and thorough understanding proceed from reason arising from sound rules, and sound rules are the offspring of sound experience, the common mother of all the sciences and arts. Hence if thou bearest in mind the precepts of my rules thou shalt be able, merely by thy corrected judgement, to judge and recognize any lack of proportion in a work, in perspective, in figures or anything else.

{110}

[Sidenote: Again of the Method of Learning]

60.