Eft X M \ ARRIGO. E .WDOLDJUDae -> I>.T>. — "75^ KOBERTVS BR1DCES. --£'-'- A TREATISE PAINTING fc Y Leonardo da Vinci Translated frorii The Original Italian, And adorn'd with a great Number of Cuts; ■• - ■ •— '-Z To which is prefix'dj The Author's Life; Done from The La ft Edition of the trench. LONDON: Printed for J. Senex, at the Globe in Salisbury Court •, and W. Ta y l o r, at the Ship in Pater" Noftcr-Rowi MDCCXXI. T O ir Thomas Hammer, Bar\ SIR, A Man of Leonardo da Vin~ as Character, can no where be fo properly flicker- ed, as tinder a Man of Tours : That Merit which recom- mended him to the World, will be fare of making him ac- ceptable to Tou ; Nor can that Countenance, and Protection which you always vouchfafe A 2 to The Dedication. to tht Defer ving^ciA of being fhewn to Leonardo. On a Survey of the follow- ing Treatife, I cou'd fee no- thing wanting to make it po- pular, or to give it Credit in the World, but to appear un- der your Patronage : A Piece like/te, Sir, cou'd not receive any New Ad vantage, except- ing from a Name like Tours : ^Tis now, I think, compleat, and may venture abroad with Aflurance ; for who will cjue- ftion the Merits of a Work, that has one of the greateft Genius's of a former Age, for its Author, and one of the bell Judges of the Prefent Age for its Patron. Leo- The "Dedication. Leonardo, I know, Sir, is no Stranger to You : The Won- ders of his Pencil vou are al- ready acquainted with, (Oneof his Paintings being feen inyour Noble Collection;) Pleafe, now to call an Eye onthofe of his Ten : ' Twill be no difagree- able Amufement to compare them together ; to fet the Theory in oppoiltion to the Practice : and to coniider thofe admirable Rules in the* One, which have had fo hap- py an Effeff in the other. Our Author, I'm perfuaded, Sir, will give you Pleafure, in Exchange for the Reputation you give him :'Twas the Con- jideration of this mutual Be- A 3 nefit, The Dedication. nefit that firfl: determined me to offer him into your Hands: If I had any further View, it was only that of fhowing the World, that I have the Hot pour to be, Sir, Tour mojl Humble and Obedient Servant^ John SenMau fo happy in his Genius, fo con] urn- mate in his Profe(fion, fo aciom- plifjjed in the oArts, fo knowing in the Sciences ; and withal, fo much efteemed ly the aAge wherein he liv'd, his Works Jo highly applauded by the oAges which have fncceeded, and his Name, and Me- mory Jtillpreferved withfo much Veneration by 'the present oAge : That, if any thing coiCd equal the Merit of the Man, it muft be the Succefs he met with. Scarce ever, -perhaps, was there a Man of fo extenfive, and yet of fo accurate a Thought ; who coifd range o'er fuch vafb Yields of Science, and, at the fame time, attend fo clofely,to the mi nut eft Gir- cumftances : ''lis this that feems to make tip Leonardo'^ Character \ 'tis this that difiingu ilbes him from the reft of Mankind ; and in this View, he (lands, not only above the greateft Tainters, but on a level with the great eft Men. A 4 T* The Ti anflator's Preface. 'Tit not to befpeak the Reader's Favour in behalf of the following Treat ij "e, that we introduce it with an Elogy on its (Au- thor : On the contrary, the Merit of the eAuthor, if need were, might be fairly argued from the excellency of the Treat ife ; cAnd i?ideed, they are fo well matched, the one to the other, that, as Leonardo cou\l not have written a lejs mafterly Tiece, Jb } neither cou\l that have come from the fiands of a lefs able Mafier. e/lMan who compares the following Ac- count of his Life, with the Work to which it is prefixed, will clear the Hij'corian of rill Flattery, or falfe Colouring : There be- ing fcarce any thing advanced in his Fa- vour, in the former, but what feems au- thorized byfomethingfeen in the latter : fo, that theje without any great Im- propriety, may be jaid to be Counter farts, to each other. How vafi, how Immeufe an oArt is Tainting, as confidered and handled by Leonardo ! Scarce any thing in the whole Sy/iem of Nature, but comes within its Compafs. Not the Minutenefs of the fmalleft Things, not the Magnitude of the largeft that fe cures them from its Cogni- zance ! Naj, as if the various appear- ances of the Material World, were too. fcanty y too limited a Sphere ; it reaches out into the Intellectual World; takes in the Motions and Tajfious of the Unman Soul % The Tranflator's Preface. Soul ; and by the Force of Light and Sha- dow, makes the Operations of an incorpo- real o,4gent, the vifible Objecls of a corpo* real Organ.: The 'Province of a "Painter, as our qAu- thor has fix \I itsTloundarj, feems too wide andfpaciom to have been ever difcharged in its full Extent, bj an) Man but himfelf. The Management of the "Pencil, and the mixture of Colours, with the Kjiovoledge ofPerfpeHive, and a habit of "Vefigning, wherewith mofi "Painters feem to content themfelves, make but a fart of the e Art, as underftood by Leonardo. To tbej'e he calls in the zAffijiance of other ether fenfe; fince, the Scene, by this Means being often, and unexpectedly flnft- ed, we are agreeably amufed, our l/tften- tion is kept alive, and we are feenred from finking into that 'Dullnefs, and In do- dolence, to which a more formal, more 1 Methodical InduHion wotfd be aft to be- tray w. The 'FrofpeB, here,, never falls Upon the Eye ; V/V ever new, ever chang- ing : no fooner is its Novelty gone, and the Edge of the Curioftty taken off, but it va- ni\hes, and the Mind is opportunely re- lieved, with the appearance of a new One. eAgahi, If we confide r the oAge where- in the oAuthor wrote, we (Ihill find out felves fur?iifjpd with one further oArgu- merit, in favour of his want of Method , For, as the Work n&iv [lands, looje, a?u< mconnetfed ; juch of the Obfolete Dog fnata of thofe 'Days , a,? occur, lie entirelj at the Readers Mercy, and may be thrown fy, and pajjed over, without the le aft ( D a- mage to the reft of the Wo'rk : tfherem, had the whole been woven into a Regulai Syfte'm, there had been no taking 0W, with om The Tranfktor's Preface. %ttkt earing; the drawingofafew Threads, moifd not only have disfigured the Reftj hut have even endangered the unraveling of the whole Piece. °Tis for this Reafotf* perhaps, that my Lord BaconV Silva Sil- varum, which is written perfectly in Le- onardo'j manner, continues /fill in Ufe and ' Efteem ; while the more Methodical Tra- ductions ofmoft of our Syflem-Mongers, art become antiquated ana out of 'Date. Having [aid thus much concerning my ttAuthcr, and his V/ork^ the Reader will ' now give me leave to fut in- a Word con- ctrning my felf and my performance. The Brevity, and ^Abrupt nefs of the Original, made a ftricl Translation altogether u/yr advifeable ; it being frequently impoffble to exprefs the oAuthor's Meaning, in any tolerable Englifh, without the help of & little Teriphrafis. That, however, is a Liberty which I have never taken, but on the moft urgent Occafio?is ; nor even then^ but with as much Moderation o£ might be. My Tredecefor, Monfr. Chambre, the applauded aAuthor of the French Tranfla^ tion has taken the fame Meafures ; I wijb'- it may only prove with the fame fuccefs. That Gentleman's Performance, I mfifl own, indeed, to be mafterly, beyond mofi^ Truncations I have \e en; and yet with all its Virtue '/, it cannot be denied but that it has- its Failings, too. In the Courfe of my Tranflation,! found my felf \ pretty fre- guently under a Necejjity of dijfenting from The Tranfiator's Preface. from him, and of putting ConflrucHons on mj oAuthor, very different from what I found in his Verfion. 'But, Mi flakes of this kind, ought, perhaps, to be laid at the printer's, or the Tublifier's Door, rather than at his ; it appearing in no wife pro- bable, that thofe happy Turns which are feen in fome Tlaces, and thofe glaring Overfights which appear in others, fljotfd come from the fame Hand. eAs to the Fi- gures^ a bare Out-line, we thought fuffi- cient for the Turpofe : To have given fi* nified Defigns, wou*d have added confide* rably to the Trice of the 'Book^ without any Addition to its real Value ; thefe be- ing in no wile neceffary, excepting where the Relievo of a 'Body, the Diminution of a Colour, or the Quality of Stuffs in a 'Drapery, are concerned ; and on thofe Oc- cafions we have never failed to make ufe of them. Inftead of dividing the 'Book in* to Chapters, and prefixing Titles to eachj as they flood in the former Editions, it has been thought proper, barely to throw the Work into diftintl Paragraphs, and to affix the fubjeH Matter on the Margin : for, in the former Cafe, be fides that the Courfe of the Reading was too much inter* rupted; the ffjortnefs of the Chapters, and the length of the Titles, would have pro- ved matter of Raillery to fome Readers ;• who might have been fcandalized to fee the Head, fometimes^as big as the Body. THE THE LIFE OF LEONARDO T>A VINCI Eo7tardo da Vinci was born ill the Cattle of Vinci, fituate in the Valley of oArno, a little below Florence. His Father wzsTietro da Vinci, a. Man of a very narrow Fortune ; who having obfer- ved his Son's Inclination to Painting, by feveral little Draughts, and Sketches which he made while he was a Child, refolved to give him what further helps he was capa- ble of. With this view he carried him to Florence, where he placed him under the care of his Friend oAndrew Verocchio, a Painter, of fome Reputation in that City. ^Andrew already faw fomething very ex- B traordinary 2 The L i f e of traordinary in the young Man, and was engaged to be careful of his Education, not only by the Friend fhip which he owed his Father, but by the fweetnefs and vivacity which appeared in the Son. Here Leonar- do found wherewithal to fatisfie the ftrong propenfity which he bore to all the Arts that depend upon Drawing; for his Matter was not only a Painter, but an Engraver, Architect, Carver, and Goldfmith : and fo great a Proficient did the young Leonardo become, that in a little time he exceeded Verocchio himfelf. This was firft difcovered in a Painting of our Saviours Baptifm, which ^Andrew had undertaken for the Religious oU'alom- trofa, without Florence. He would needs have his Pupil a (Tift in the Performance, and gave him the Figure of an Angel, hol- ding fome Drapery to Paint : But he ibon repented his forwardnefs, for Leonardo's Angel proved the finefi: Figure in the Piece, and viiibly difcredited all the reft. (An- drew was fo deeply mortified on this occa- sion, that he took his leave of Painting ; and from that time, never meddled with Palet or Pencil more. Leonardo thought now, that he needed not a Mailer, and accordingly quitting Ve- rocchio, he goes to work by himfelf. Se- veral Paintings which he made about this time, Leonardo da Vinci. ^ t i me, a re ft ill to be feen in Florence. He likewife Painted a Carton, for the King ofTortugal, wherein oAdam and Eve were reprefented in the Garden. This was a finifh'd Piece, the two Capital Figures Were extremely Graceful, the Landskip full of Beauty, and the very Shrubs and Fruit were touch'dwith Incredible exa&nefs. At his Father's requeft, he made a Painting for one of his old Neigh- bours at Vinci ; it confifted wholly of fuch Animals as we have naturally an averfion to, and thefe he joyn'd fo artfully together, and difpofed in fuch humorous attitudes, that like Medufah Head, it ftruck thofe who faw it with horror and amazement. His Father eafily perceiving that this was not a Prefent for a Country Farmer, fold it to fbme Merchants : of whom it was after- wards bought by the Duke of Milan, for three Hundred Florins. He afterwards Painted two very valuable Pieces ; in the one was reprefented our La- dy, and befides her, a VerTel of Water* with Flowers ftanding out of it: In this he fhowed a great deal of addrefs, the Light reflected from the Flowers, being made to throw a Pale rednefs upon the Water. This has been fince in the PolfefTion of Pope Cle- ment the Seventh. The other was a defign which he made for his Friend eAntonio Segni, In it he B 2 had 4 The L i f e of had repre Tented Nepune, in his Carr, drawn by Sea-HoiTes, and attended by Tri- tons and Sea Gods ; the Heavens appeared overfpread with Clouds, which were driven ttyall Parts, by the violence of the Winds ; the Waves were feen to Roll, and the whole Ocean appeared in an uproar. This Piece was perfectly in the Charact- er and manner of Leonardo ; for his Genius was vaft, and his Imagination lively ; and though- he knew that a jure. Proportion, was the Source whence all real Beauty proceed- ed, yet was he to a Degree fond of any thing whimfical or uncommon ; infomuch, trjatif he chanced to meet a Man with any thing odd or ridiculous in his Perfon, he would not fail to follow him, till having view'd the object with attention, and Hx'd the Idea in his Mind, he cou'd make a Draught of it at his own Lodgings. Taul Lomazzo in his Treatife of Painting, allures us, that oAurelo Lovino had a Book of Draughts, wholly performed by Leonardo, in this kind : one may judge of his Talent this way, by a Painting ftill to be feen in the Palace Royal at Taris. The Figures are two Horfemen engaged in Fight, and ftrugling to tear a Flag from each other. Rage and Fury are fo admirably exprefs'd, in the Faces of the two Warriors, their Air appears fo wild, and the Drapery is thrown into Leonardo da Vinci. 5 into lb unufual, tho' at the fame time fo agreeable a Biforder, that a Perfon Who looks on them, is ft ruck with horror, and tickled into Laughter, at the fame time. I pafs over a Medufa\ Head which he Pain- ted ; and another Piece reprefenting the Magi doing Hommage; though there are fome fine Heads in the latter : But his Fan- cy being extremely brisk and volatile, he left both thefe, and feveral others of his "Works nnfinifh'd : Befides, he had fo awful an Idea of Painting, and his Know- ledge in each Part of it was fo Confummate; that with all his Fire and Vivacity, he needed a great deal of Time to finifh what he had begun. • • • Never was Painter more knowing in the Theory of his Art, than Leonardo. He was well skill'd in Anatomy, a Mafter in Opticks, and Geometry, and apply'd hin> felf to the Study of Nature and her Opera- tions, both on Earth, and in the Heavens, with wonderful Alacrity. So many diffe- rent Studies and fuch variety of Reflecti- ons, as they prefent, furnifhed him with all the Knowledge which a Painter could wifh for, and rendered him the ableft Per- fon that his Profeflion has ever known. However his Studies -did not terminate here, but having an Univerfal Genius, and a Tafte for all the Polite Arts, he apply'd B ? himfeif 6 The ILiFEof himfelf to them all, and excell'd in every one. He was a good Architect, an able Carver, and extremely well Verfed in the Mechanicks. He had a fine Voice, nn- derftood Mufick well, Sung to a Miracle, and play'd better than any Mufician of his time. Had he lived in the Fabulous Ages, the Greeks wou'd doubtlefs have made him tjie Son of eApollo ; and wou'd have been the more confirm'd in their Opinion, in that the fame Infpiration which made him a Painter and Mufician, made him a Poet too ; and that the feveral Talents which are fba- red among the Sons and Difciples of that God, were all united in him. The follow- ing Sonnetto is all that is left us, of his Poetry ; Sonnetto Morale. Ch nonpuo quel chevuol y quel che pub vogUa y Qhe quel che nonfipuofolle c voter e. oAdunque faggio e PHuomo da teuere, Che da quel che non pub fuo voter toglia* Tero ctf ogm diletto noftro e doglia St a Jnfi e ?io Saper voter potere^ oAdunque quel Jol pub che coH doner e Ne trahe la Kagionfuor dl ins? JQgVm* • Leonardo da Vinci. 7 Nefemfre e da voler quel che PHtiomofuote^ Spefj'o far dolce quel che tor?ia oAmaro. Tiajijigia quel eft* io yolfepoi cWio Phebbt. eAdunque tu, Let-tor, di que ft e Note, S^a te vuoi eJJ'er buono, e a gP altri caro 9 Vogli Semper foter quel che tu debbi. It wa*s furprizing to fee Leonardo take fo much Pleafure in Exercifes, that appeared absolutely foreign to his Profeffion. He was very Skilful in the management of a Horfe, and took delight in appearing well Moun- ted. He handled his Arms with great Dexterity; and forMeen and Grace, might contend with any Cavalier of his time, his Behaviour was perfectly Polite, his Conver- fation Charming, and his Speech agreeable* fo many extraordinary Qualities meeting to- gether, render'd him the mod accomplifh'd Perfon of the Age he liv'd in : His Compa- ny was coveted by all that knew him ; and no Man ever enjoy'd it without Pleafure, or left it without regret. Kis Time being fnared in fo many feveral Exercifes, may be one Reafbn why fo many of his Works are left unfinifhed ; and in all probability has contributed as much thereto, as the quicknefs of his Fancy, which glanced lightly from one thing to another ; or even afr his Ability itfelf, which wou'd never fuffer him to take up with any thing that was indif- ferent. B 4 Leonar- 8 TheLiFEof Leonardo's Reputation foon fpread itfelf over all Italy, where he began to be known for the firft Man of the Age in all the Po- lite Arts. Lewis Sforza, Sirnamed the Moor, Duke of Milan, called him to his Court, and appointed him a Penfion of five Hundred Crowns. This Prince having immediately before, eftablifh'd an Acade- my for Architecture, prevailed with Leo- nardo to enter himfelf as a Member. This proved the greateft Service to the Compa- ny that the Duke could pofiibly have done : Leonardo was no fooner enter'd than he ba- nifh'd all the old Gothick Fafhions, which the former Academy eftablifh'd under Mi- chelino, above an Hundred years before, had ftill preferv'd ; and reduc'd every thing to the happy Simplicity and Purity of the Ancient Greeks and Romans. About this time, Duke Lewis formed a De- fign of fupplying the City of Milan with Wa- ter, by a new Canal. The execution of this Pro- ject was deputed to Leonardo, and he acquit- ted himfelf of the truft, in a manner that fur- pafs'dall Expectation. The Canal goes by the mmeofMortefana; being extended in Length, above two Hundred Miles: and navigable throughout, it pafTes through the Valteline #nd the Valley of Chiavenna, conducting the Waters of the River oAdda, to the very Wails of Milan \ and enriching both the Ci- ty Leonardo da Vinci. 9 tyand the adjacent Campaign, by its com- munication with the To and the Sea. This was a Noble and a difficult Enterprize, eve- ry way worthy of Leonardo's Genius. He had here feveral Difficulties to grapple with, much beyond what had been met with, in digging the Ancient Canal, which conveys the Waters of the Tefino to the other fide of the City, and which had been made above two Hundred Years before, while Milan was a Republick. But Leonardo Surmounted all Oppofition, he happily at- chieved what fome may think Miraculous : rendering Hills and Valleys Navigable with fecurity. In Order to accomplish his Defign, he re- tired to a Seat of his Friend Sig. MalzPs at Vaverola. He there fpent feveral Years in the Study otThilofophy and Mathematich ; applying himfelf with double Ardour to thofe Parts that might give him Light into the Work he had Undertaken. To the Study of Thilofophy, he joyn'd the Searches of Anti- quity and Hiftory ; and by the Way, Ob- ferved how the Ttolomys had conducted the Waters of the Nile through feveral Parts of Egypt ; and in what Manner Trajan had opened a Commerce with Nicomedia, by rendering Navigable the Lakes and Rivers lying between that City and the Sea. '» After io The Life of After Leonardo had been Labouring for the Service of 'Milan in Quality ofeArchiteff and Engineer; he was called by the Dukes or- der, to Adorn and Beautify it with his Pain- tings. That Prince appointed him to Paint our Lord's Supper, for the Refe&ory of the 'Dominicans of St. Maria delle Gratie. Leo - nar&d furpafs'd himfelf, in this Performance. All the Beauties of his Art are here fhewn in a Manner perfectly furprizing. The Defign, is Grand, but Correct ; the Expreffi- on Noble ; the Colouring, Charming ; and the Heads admirably well varied. There was a Majefty and Sweetnefsin each of the A- poftles Faces ; but beyond the reft, in thofc of the two St. James's : That of our Savi- our was never finifhed; Leonardo derailing ft) exprels the Idea he bad conceived of a God Incarnate ; or even to reach a more exalted Beauty than he had beftpwed on fome of his Followers. While Leonardo was employ'd in this Piece, the Prior of the Convent, thinking his Progrefs too Slow, wou'd be often importuning him to Difpatch ; but all his Solicitations proving vain, he at length had the AfTurance to carry his Complaints to the Duke ; upon this Leonardo is fent for, and being ex- amin'd about the Painting, he allured his Ilighnefs that there were but two Faces wanting to Compleat the Piece,;, the one be- • ing Leon a rdo da Vinci, i i ing our Saviour's,and the other that of Judas: As to the former he own'd himfelf unable to finifh it ; being at a lofs how to Paint the Majefty and Beauty of fo amiable and Auguft a Perfonage. But promifed very fpeedily to Compleat the Latter ; fince to draw the Avarice and Ingratitude of Judas, he needed nothing but to Reprefent the Prior of the Dominicans, who had fo balely rewarded him for all the Pains he had taken, This Work has always been erreerri ed Leonardo's Mafter-Piece. It was ac- commodated to that Part of the Hiftory wherein our Saviour declared to his Apoftles that one of them fhould betray him. The Sentiments which ought to arife in the breads of his Difciples are finely reprefent- ed : The Expreflions of Grief, Fear, Sus- picion, Inquietude, and Love, are admirable. Judas bears all the Marks of a Tray tor and a Villain ; the Treachery that lurks in his breaft fits confefs'd in his Face) and the firft Glance of the Eye fingles him out from the reft. Leonardo has here fhown that he perfectly underftood the Motions of the Soul, knew what Effects they have upon the Body, and was able to Exprefs them in all their Force and Energy upon the Face. _ In this Part of Painting indeed he was Inimitable ; and not only excell'd all the World, but himfelf too. Francis 1 2 The L i f e of Francis the Firft, was fo charmed with this Piece when lie faw it at Milan, that he was not fatisfied till he had tried all means poflible, for its Removal into France. In the end however, this was found Impracti- cable, the Hiftory being Painted on a thick "Wall, and taking up no lefs than thirty Square Feet in Area. The Copy of this Pain- ting now to be feen at St. Germains, was made by order of the faid Francis the Fir ft ; who finding the Original out of his reach, refolv'd to have fbmething as like it as he could get. There is another Copy of it in. large, made by Lowazzo, one of Leonardo's Pupils, and ftill preferved in the Church of St. 'Barnabas at Milan. From thefe two Copies, the curious may Form fome Idea of the Beauties of the Original, which is now utterly defaced. For Leonardo having Painted it in Oil, and upon a Wall not fufBciently fecured from Moifture; the Dampnefs of the Place has mixM it felf with the Colours, and dilated them to that Degree, that the Wall is now re- duc'd to its primitive naked nefs. In the fame Refectory of the Dominicans, may be feen another Piece of Leonardo's, repre*- fenting Duke Lewis, and 'Beatrix hisDutch- efs; both upon their Knees. On the one fide of them appear their Children; and on the other a Leonardo da Vinci, ig a Crucifix. About the fame time he like- wife Painted our Lord's Nativity for the Duke : which laft Piece is now preferved in the Emperor's Cabinet. Leonardo's skill in Anatomy proved of infi- nite fervice to him : this enabled him to give a peculiar force to his Figures, and to dift- inguifh them by their ftrength, from thofb of any other Matter. This he feem'd fen- fible of, and accordingly took all Oppor- tunities of improving it. He held frequent Conferences on the Subject with (Anthony de Tour, Anatomy Profeffor at Tavia : and made abundance of Draughts from the Life, many of which have been fince Col- lected into a Book by his Scholar, Francis Melzi. He drew a Book of Combats for the Ufe of his Friend Sig. 'Borromee, Matter of Arms ; in which were reprelented all the feveral Kinds of Engagements both on Horfe-back and on Foot. He likewife compofed feveral Treaties for the Ufe of the Painters of the new Academy ; of which he had fometime before been Chofen Dr- ieclor,and which through his Extraordinary Care and Conduct, was now in a very flourifhing Condition. After Leonardo's Death, his Writings lay a long Time at Vaverola in the Hands of Sig. Melzi-; till at length being freed from their i\ The Life if their obfcurity, it was their Fate, to be difpers'd to different Parts ; as we fhall hereafter have occafion to obferve. Leonardo frequently retired to Vaverola for the Conveniency of his ftudies. He there found himfelf perfectly at eafe; his Repofe being neither interrupted by theVifitsof his Friends, nor the Cares of the Academy ; and it was in this Retreat that he Com- pos'd the greateft part of his Works, But the Wars of Italy began now to break in upon his quiet : he found his Patron the Duke engaged in an unhapyy War, and not only the Academy but even the State in Danger. The Event proved altoge- ther as Melancholly as the Prefage had been : Duke Lewis was Defeated, taken Prifoner, and Carried into France, where he died in the Cattle ofLoches. The Ac- cademy in fine, was deftroy'd, the Profeflbrs turned adrift, and the Arts effectually banifhed out of Milan. Italy however, prov'd a gainer by thefeMis- fortunes of the Mil anefe-fov Leonardo's School being now broken up, the Scholars fpreacl themfelves over the whole Country. Se- veral of them were Perfons of Extraordi- nary Abilities, and knew how to imitate their Mafter fo well, that People ofmoderate Judgement have been fometimes at a lofs to diftinguifh the Copy from the Original- He Leonardo da Vinci, i 5 He had made Painters, Carvers, Architects, Founders, and Engravers in Criftal and Precious Stones. Out of his School came Francis Melzi, Cefar Sefio, 'Bernard Lovino y oAndrew Salaino, Mark Uggzoni, (Antho- ny 'Boltraffio, Gohho an Extraordinary Painter and Carver, oAnnibal Fontana a worker in Marble and Precious Stones, "Bernazzano an excellent Painter of Land- skips, Taul Lomazzo, and feveral others. Sefto and Lovino, were thofe who have had the greateft Reputation ; but Lomazzo wou'd have furpafs'd them both, had he not unhappily loft his fight in the very flower of his Age : Being thus difabled for the Practice of Painting, he applyed himfelf to it in Speculation ; and while he was blind, wrote feveral Treatifes, admired bv the moft clear lighted : always appealing tb Leonardo as a Standard, and Recommend- ing him to all who wou'd Excel in Paint- ing, as a compleat Model for their Imitation. In 1499, which was tne Year before Duke Lewis's Defeat, Leonardo being at Milan, was defired by the Principals of the Place to contrive fome new Device for the Entertainment of Lewis the 1 2th of France, who was then juft ready to make his Entry through that City. Leo- nardo confented, and accordingly made a very Curious ^Automata : It was the Figure Of 1 6 The L i f e of of a Lion, whofe Infide was fo well furnifh- ed with Machinery, that it March'd out to meet the King, made a fland when it came before him, rear'd up on its hinder Legs,and opening its Bread, prefented aScut- cheon with Flower de Luces quartered on it. Lomazzo is Miftaken when he fays that thlsMachine was made for Francis the Firft, that Prince having never been at Milan, till the Year i $ 1 5. at which Time Leo- nardo was at Rome. The Diforders of Lombard?, and the mis- fortunes of his antient Patrons the Sforzi, obliging Leonardo to quit Milan, he reti- red to Florence, That City enjoy'd all the Calmnefs and Tranquillity neceffary for the Polite Arts to Flourifh under. The Magini- ficence of the Medici, and the good tafte of the principal Inhabitants were powerful attradives, and prevailed more upon Leo- nardo to fettle there, than the Love he bore to it as the Place of his Nativity. The firft thing he undertook here, was the de- fign of an Altar-piece for the Annunciate : In this he reprefented the little Jefw with his Mother, St. oAnne, and St. John. Leo- nardo rendered himfelf extreamly Popular among his Countrymen by this perfor- mance, which was feen and applauded by the whole City: Some Years after this, he carried it with him into France, where at Leonardo oa Vinci, tj at theDefire of 'Francis the Firfl:, he putic irt Colours. But the Piece he took the great* ell Pleafure in, and on which he bellowed the moil Pains, was the Picture of Ufa commonly calPd la Joconde. This Was" a Divine Piece; Francis the Firft was Co char- med with it, that he purchafed it at the price of 4000 Crowns; and it is (till to be feen in his Succeflbr's Cabinet. This work coft Leonardo Four entire Years, and yet after all, , is faid to have been left unfinifhect While he was em ploy M in Painting this Lady, he had Mulicians conftantly attend- ing ; always Plaving upon Inftmments, or Singing with their Voices to divert her, and to prevent her from (hewing a certain Indolence and MelanchoHy, which People out of Action are extreamly liable to. Leonardo about the fame Time Painted fwo other very Valuable Pictures ; The one a Nobleman ok Mantua, and the other a Daughter of oAmericus r Benci, much ad- mired inthofe Days for her Incomparable Beauty. Nor mull we omit a Bora which he finifhed about this Time, and which is Mill to be ken in Varis * The Figure has an uncommon Grace and Sweetneis id its Air ; and might have been reckon'd a. Ma Iter- Piece, had it come ftom any other Hand than Leonardo's. 1 8 The L i f e of In the Year 150$. The Florentines Re- folving to have their Council Chamber Painted, Leonardo, by a Publick Decree, was elected to that Office. He had already ftiade a confiderable progrefs in one fide ol the Chamber, when he had the mortificati- on to find that his Colours did not ftick, but that as faft as they dry'd they loofen'd fion the Wall. Michael oAngelo, in concurrence with Leonardo, painted another fide of the Room ; Michael tho' he was but a young Man,yet was he become a very able Painter and had already acquired a mighty Repu tation : In fomuch that at 29 Years of Ag< he was not affraid to vie with Find wh< was 60. Each had his Friends and Parti 2ans, who far from bringing them to a bet ter Underftanding, help'd the more to im bitter them againft each other ; fo that Mi chael and L^Awr^commenc'd openEnemies About this time Raphael coming fred out of Terugino^s School, was led by Leo nardo^s Reputation to Florence ; the firi view of VincPs Works ftruck him wit' Artonifhment* and wrought a Reformatio in him, to which all the Glory he has fine acquir'd, may juftly be afcribed. He bega now to look upon the dry, harfh manner c his old Matter Terugino with Contempt and to fet before him the Tendernefs an Delicacy of Leonardo for his Imitation; an wit Leonardo da Vinci, ip with fuch Incredible Vigour, as well as Sue- cefs, did he follow his new Matter ; that he arriv'd by degrees at the utmoft Pinnacle of his Art ; and to this day, for the foftnefs and fweetnefs of his Figures, reigns abfolute and without a Rival. Leonardo kept clofe at Florence, till thd 'Year 151$. The moft confiderable Of his Works at that time, were a Piece represen- ting the Virgin^ with her little Son ; and a BaptirVs Head : the one now in the Hands of the *Botti, and the other in thofe. ofCtf* tnillo Qsilbizzi. Leonardo having never yet feen kome 9 refolv'd now to make tlie Tour of that Ci-» ty. The Exaltation of Leo X. to the TW/- ficat, gave him an Occafion of paying his Refpects to the new Pope; and he had there met with a Countenance and Efteem fuka- ble to his Merit, but for an unlucky Adven- ture. Leo, who had an Hereditary Love for Painting, and the Polite Arts, refolv'd td employ him : Leonardo hereupon fets himfelf to the Diftilling of Oils, and the preparing of Varnifh, to cover his Paintings withal: of which the Pope being Inform'dj faicl pertly enough, that he cou'd expect nothing from a Man who thought of Finifhing his Works before he had begun therrh Vafar^ a Zealous Adherent to Michael ^Angelo, af- fures us, that Leonardo met with many other C % Mortifi* 26 The Life of Mortifications while lie was at Rome; and relates fome other little Stories of him, which are the lefs to he Credited, becaufe they appear infinitely beneath a Perfon oi Leonardo's Genius, and were never told but byaProfelsM Enemy. Leonardo foon grew weary of Rome, and having an Invitation from Francis the Firm he removed into France. He was above Seventy Years old when he undertook this Voyage j but the Honour of ferving fo greal a King, fupported him and feem'd to giv^c him new Strength. In efFe£t, the French prov'd as Favourable to him, as the Roman: had been Injurious; and he found enougi in theGoodnefs of King Francisco make birr amends for any affronts he had met with a! Rome. The Court was at Fontainebleau when Leonardo firft. prefented himfelf before the King. Francis recelv'd him in the moil affectionate manner, and fliow'd him al the Marks of Efte'em and Veneration whicl he oou'd any way Exprefs. He was highly pleasM to find the firft Painter in the Worlt at his. Court, tho' by feafon of his Age, h< had but little to expect from him. Tile Fa tignes of his Voyage* and the Change ofth< Climate, in all. probability^ contributed t( the Diitemper of which he died. He fan guifhd feveral Months at Fontainebleau during which time, the King went fre quentlj Leonardo da Vinci. 21 quently to fee him. This Prince making him a Vifit one day, Leonardo to fhow his fenfe of the Favour, rais'd himfelf on his Bed ; at that Inftant he was feiz'd with a Fainting Fit, and Francis ftooping to fup- port him, he Expir'd in the Monarchs Arms. Leonardo died at the A^e of Seventy five Years, extremely Regretted by all who lo- ved the Polite Arts, and Honour'd with the Friendfhip and Efteem of a mighty King. Nature perhaps never was more lavifh, than in the Compofure of this great Man, for fhe gave him even all that fhe had. He was extremely Handfom, and well Shaped, his Strength was furprizing, and he acquitted himfelf with uncommon Applaufe in all Exercifes of the Body. But the Talents of his Mind were ftill more extraordinary than thofe of his Perfon: He join'd to a Polite Behaviour, the greater!: Strength and Elevation of Mind : 4- furprizing Vivacity, to an unwearied Application to Study: a good Stock of teaming , to a pleafing Converfation. He refrain'd from Marriage, that he might work with the more Freedom 5 on which Occafion one of his Friends faid, that Leo- nardo wou'd marry no Miftrefs hut Pain- ting, nor Beget any Children but the Works he perform'd. In his Riper years, he in- C 1 dulged 22 The Life of dulged a Philofupbical Negligence, letting his Hair and his Beard grow ; infomuch, that at length he appear'd like an Ancient Dru- id, or a Modern Religious in a Defart. Some of Leonardo's Paintings are to be feen in England and other Countries, but the greateft part of them are in Florence and France. Befides thofe we have mentioned, Lomazzo Informs us, that he Painted the Conception of the BleiTed Virgin, for the Church of St. Francis at Milan. There are feveral other Pieces in Taris that are known afluredly to be his ; as the Holy Virgin fit- ting in St. aAnn y s Lap, and holding her lit- tle Son. An Herodiade of Exquifite Beau- ty, fometime in the Cardinal de Richlietfs PofTeflion. Another Virgin with her Son. St. John and an Angel, a very valuable Piece, St. John in the Wikjernefs. A Vir- gin, much efteem'd, heretofore in the hands of the Marquis de Sourdis. M. de Charm- ois Secretary to the Duke of Schomberg, had another very noble Piece of Leonardo's, reprefenting JoJ'efh ftruggling to difingage himfelf from Totipher's Wife j the fwcet- nefs and modefty qf the one, and the Beau- tiful aflurance of the other, were admirably exprefs'd, and rais'd all thofe different Emotions in the Mind, which a view of the real TranfaQion would have done. As Leonardo da Vinci. 23 As to the Difcourfes Leonardo had Com- pos'd, and the Draughts he had made, thofe into whofe Hands they are fallen, preferring their private Interefts before thofe of the Publick, &ill keep them in Ob- fcurity. After Leonardo's death they were digefted into Thirteen Volumes, all Writ- ten backwards after the Hebrew manner, and in fo very (mail a Chara&er, that the naked Eye was at a loft to diftinguifh pne Letter from another. A contrivance with- out doubt of the Author to fecure them from becoming too common! The Fate of thefe precious Remains has been as follows. Lelio Gavardi d* y * pofe fome able Matter, who, at the fame time, Novi f e ia may give him an Infight into the -J- Contours of PaiAUn 8' Figures: He ought then to confult Nature, to confirm himfelf in what he has already learnt; * To Draw, t The Out-lines defcribing any Body ; The Frtncb fay, Cwtouritsr une Figure* and, $6 eA. Treatife of 'Pai/itingi aiid, Laftly, Let him apply himfelf to the Study and Imitation of the Greateft Matters, in order to get a habit of reducing what he has learnt into Practice. in what a To Defign well* and to difpofe the Lights Painrer ought arid Shadows of Figures fuitably to their Situa- £i"^ a,1 ^tions, being the moft confiderable Parts of this felS* * """Art, andthofeon which the greateft it refs de- pends^ it is in thefe that a Painter who wou'd rnake any ?reat Proficiency, ought principally to exercife himfelf. Of all Animal Operations we plainly per- ceive Sight to be the moft quick : It moves •with Incredible velocity, and difcovers a Thon- faj«i Objects in an Inftant. But then it iees them very confufedly, and in effect dees not dffcern above One at a time: For "fhc Order to Inftance, if you glance your Eye over a Page be obicrv'd in of this Book, you will immediately perceive it teaching a f u jj f different Characters } but what thefe w'" t0 De * Characters are, or what is intended by them, Will be ftill a Secret : Infomuch that to gain any determinate Knowledge of what you have ieen, you muft confider them Piece- meal, for- cing the Letters into Words, and thofe again into Periods : So a Man who wou'd mount to the Top of a Building, is content to go rip ftep by ftep, as knowing it impoftible otherwife to' reach it : In the fame manner, a Perfon who wou'd attain to a Skill in Painting, muft begin! with the parts of Objects, e'er he can proceed to reprefent them entire \ and muft take them in order, never advancing to a fecond, e'er hd has got a good habit of doing the firft : For otherwife, his time will be thrown away, or at leaft, his advances render'd extremely Slow and Imperceptible. He muft further inure him- lei 'By Leonardo da Vinci.' }i felf to work with Patience and Steadinefs, al- ways remembring that a flow Diligence will out ftrip a hafty Negligence. Some People have a Fancy for Painting, who An fitcl/natl- yet want the neceflary Difpofitions thereto : on not always This is eallly difcoverable in Children, who attendc . d with amufe themfelves with drawing Imperfect *. Gemus t9 Sketches, never troubling themfelves to fha- lntin8 ' dow any thing they undertake. A Painter defer ves but a fmall lhare of Repu- A £ alnter 5° tation who only fucceeds infbmeone Branch e mvera * , of his Art *, as for Inftance in Painting a * Nu- dity, a Head, Drapery, Animals, Landskips, &c. fince the feeavielt Genius by incefTant plod- ding on the fame thing, cannot fail at length, of performing it well. A Painter mull: therefore be Univerfal, and apply himfelf to the Study and Confideration of all Objects , but fo as to attend in a particu- lar manner to thofe parts of each, which are the mofl beautiful and perfect: By this means How a Pai*- his Imagination will become like a Mirrour, re- ter may be- prefenting every thing laid before it, in its come UniYer " proper Character and Colours. fa *r But further, a Painter who is not equally pleas'd with all Parts of his Art, will never be- come Univerfal. My Friend Boticcllo, for In- ftance had a peculiar Pique againfl Landskips, and thought them much beneath his Applica- tion ; the effect of which was, that being a ve- ry forry Landskip Painter, his merit in other matters was the lefs regarded. It was a faying f his, that a Palet full of Colours being thrown againfl: the Wall, wou'd leave a ftain behind it ■ * A Naked Figure, eitWof a Man, or Woman; efpe- ually the latter. - proper- J 2 oA Treatife of Tainting, properly enough reprefenring a Landskip, 'Tis true indeed, that by help of a flrong fancy, one may fpy Heads, Battles, Rocks, Seas^ Clouds, Woods, &c in a Wall fb fmeared • it being here, as in the Ringing; of Bells, where every Body is at liberty to make them fay what be pleafes : But then, though fuch a Fortuitous \ ' mixture of Colours may ftart a hint, or give rife to a new Invention, yet will it not furnifii the lead afliftance towards the Execution, or fl- ushing any thing .it has occafion'd. . A Painter who wou'd appear Univerfal, and pleaie. People of different Tails, mnfl: fetoif fe- veral Figures in the fame Piece, both with very deep and very foft fhadows 5 taking care by the way, to make the reafon of fuch diverfity ap- parent. .. , ....... ,. f A Painter, ought to have his Mind continu- ally at work, and to make Remarks on every „Objedt worthy, of notice, that he meets. He The Courfe 4 0U gh t even to Hand ftiil in order to view them. SceYnhis" w ^ ^ gfeater attention •, and afterwards to Studies. Form rules on, what he hasobferv'd, with re- gard to Lights, Shadows, ..Place and other Cir- cumflances. ^Let him make himfelfa Mailer of the Theory, before he meddle with the Praftice^ and be very curious in comparing the Limbs and Jonttures of different Animals with one, another: taking Minutes of every .thing he learns, the better to fix them in his Memory. A Painter who has no Doubts in his Studies^ makes but a fmall Progrefs in his Art j It being /an infallible Sign, where all things appear eafy, Mow a Painlthat the Workman is inefficient, and the Work ter may judgt a k ove hj s pj tc h # But when once a Painter has! of his Proiki-g 0t a j u fl. Sen f e f t he whole Difficulties of .his! * ncjr * Work,' every new Reflection he makes, will give hini By Leonardo da Vinci; jj>" him new Strength to furmonnt them^ info- much that if he perfeveres in it, every Day will contribute fomething towards his Improve- ment and Perfection. Let a Novice in the firft Place cxercife hisfEJBS? Hand, in copying the Defigns of fomeable Ma-of learning to Iter j After he has got a Habit of doing this, he De % n « may proceed to Relievo's, defigning after them in the Method hereafter to be taught. The firft Sketch of a Hiflory Piece mud be H very flight, and the Figures very imperfectly sketch oJt a jform'dj your principal regard being to theHiftory-piecc. juitnefs of their lunation : having adjufted the * Ordomance of the Piece, you may finifh the Members at your Leifure. Whenever either your own Reflection or the Information of your Friends, points out any fault in your work, correct it immediately ; left in exppfing the Piece to the World, you ex- pofe your own Weaknefs : Nor flatter youf lelf that what'Reputation y'Ou lofe by letting it efcape, may be retriev'd in your next Perfor- mance : 'Tis not with Painting as with Mu tick, Faults to be which dies in the Breath thatT gives it Birth : corr«fted as Painting is of a more durable nature, and what-*" 000 as difco- ever Over- fights of this kind you make Pub1ick, veredi Will be ftanding Reproaches to you ever after- Wards. Nor will it avail to plead Poverty in excufe of your Errors, or to palliate the matter by urging want of Leifure to finifh what you do : The Study of Virtue it lelf will ferve for Food to the Body, as well as the Mind : How * Ordonnance is the placing regularly the Figures, in re- fp-# of the whole Compofure ; or the particular Dii'po* fition of Fig ires, as to the different Groups, Mallei^ Contrails, Decorum, Aipjtft and Situation. D many i j 4 &4 Treatife of Tahiti tig, many Pbllofophers born in the mid It of Plen- ty, have yet abandoned themfelves to Penury and Want, to become the more free arid difen- gaged for Virtue,and the Study thereof. A Painter ne- Nothing deceives us more than the judgment? ver to truftwe form of our own Works } nor aretheOpi- liisownjudg-nions of our Friends much more to be relied ttcnt - ' upon : A Friend is in eficcl: a fecond felf, and therefore to be held in the lame Degree ofiuf- picion. 5 Tis the Critique of our Enemies that we ought to form our felves by : This is ufually lineere \ which is more than 1 can fay cither for my felf, or my Friend. Among other things, I lhall not fcrurde to « _ r . i deliver a new method of afiifting the Invention \ which tho' trifling in appearance may yet be of confiderable fervicc, in opening the mind, A New Art of and putting it upon the Scent of new Thoughts \ invention, and 'tis this i if you look at lime old Wall co- vered with dirt, or the odd appearance of fome ftreak'd Stones, you may difcovcr feveral things like Landskips, Battles, Clouds, un- common * Auitudesy humorous Faces, Dra- peries, &c out of this confuted Mafs of Ob- jects, the Mind will be furnilh'd with abun- dance of Deiigns, and Subjects, perfectly new* the Advan- I have often found it of ufe to recoiled the ta§e of recoi- Ideas of what I had conlidered in the day, after Icdiog in the I was retir'd to Bed, and incompafs'd with the HigHt, »»at Silence and Obfcurity of the Night. For by d^k"^ the c ^ us re P catm g the Contours, and other parts of Day. l " Figures which require a clofer attention, their * Attitude implies little more th.in Action 2nd Pofture; tho" it is fomctimes ufed where neither of thefe would be proper : for Inftance, Ac°uon is not applicable to a dead Corps j nor do wc fay that fuch a Figure is in a handfbm Pofturc, but in a graceful Attitude, or Difpofition. Images jBy Leonardo da VrNci. J$ Images arc ftrongly imprefs'd on the Memory, and familiariz'd to the Mind. If you intend to become, a Proficient, be Hire a Man to go riever to defign any thing (lightly or in hafte*,throu but take time to confider, with regard to lights, ^ ourfe ' which parts receive the ftrongeft, and in fha K ) '^ rv ifl ,\, r "e dows which are the deepelt; obferve how thefi can a ' tca j n mingle together, and irt what quantity, ftilldo Things c6m paring the one with the other. As to the with Eafeand Contours, confider towards what part they are Ex P edm0iU to be directed, what quantity of light and Oia- dow meet within the Lines, where they are more or lefs ftrong, larger or fmaller^ and laftly take care that your lights and (hadows do not terminate abruptly, but that they fall foftly into one another, and at laft lofe them- felves infenfibly like Smoke. After you have once habituated your felf to be thus punctual and exa£t in your Uejigns, Expedition and Dis- patch will come apace. While a Fainter iseinploy'd either in deltgrt- A p a ; nfer fa ing, or Painting, he ought to liften with atten- C0V cc the op- tion to the different Sentiments which diffe-fures ofditfe-> rent People entertain of his Performance : rent Perfons There being no body how Ignorant in Painting 011 hls Wm ' ks * foever, but who nndcrltands the Shape of a Man, and can readily tell whether he be hump- Back'd, crook'd-Lcgg'd, have any thing Mon- ftrous in his Hand, or any the like Blemifh : Why may not a Perfon then, who can fo well diftinguifh the defects of Nature, beallow'dto judge of thofe of Arts? 'Tis Ridiculous in a Painter to confide fo far A Painter t« in his Memory, as to think it capable of retain- Dcn s n aftet ing all he has feed and obferv'd in Nature J 5 a a tUr 'j? ath *5 The Memory is a Faculty too weak, as Well \££ St 1S ow as too narrow for that purpofe, and the only D ?. fur* 3 & eA Treat ife of Tahiting^ fure way, is to Copy as much as poffibte from Kature her lelf. Variety of A Painter lofes a great deal of his Dignity, Proportions by confining his Genius, and never venturing to be*ffe the Life, ought to come from fnch an Altitude as that the Shadows of Bodies projected on tru Plane, may be equal to their heights. In reprefenting of Bodies, yon muft always give them fuch Lights, as are mod fuitable t.o th< Blaces they are fnppofed to be in. For Inftance if they be fuppos'd in the Country, and in the open Air, the Sun being hidden, they ought to be incompafs'd with an almoft Univerfa Light •, if the Sim be (ten, the Shadows mull be very dark with refpedt to the other Parti which receive the Light } and all the Shadow; both Primitive and Derivative, muft have thcii The Lights Extremities bold, and defined : The Light ae ^° per « J F ,*7 cdmpanying theft Shadows, muft be extremely after the Life ^ amt '■> Deca "f e tne Air, to whole Rcflexior or after Be- they owe that little Light they receive, com lityo's. municates at the fame time its own Colour' weakening the Light it conveys, by minglim its own Azure along with it. This is calily ob fervable in White dbje&s , fuch Parts of u hich as are illumined by the Sun, plainly appear, ing tinged with the Colour of that Luminary but difcovers it felf Hill more evidently, wher the Sun, hidden behind a Cloud, illumines i with his Rays, and makes it appear Red anc Inflamed : For then all Bodies receiving Lighl from the Cloud, will be tinged and colourec wuji its Redneji j while. the; other iidesof th< Bodies 'Bj LEONARDO DA VlNCI. J9 Bodies, turned from the Cloud will appear ob- Icure, and tinged with the Azure of the Air ; / f^ that a Peribn, obferving this Object thus dif- ferently illuftrated, will Imagine it of twoCo- lours. 'Tis a certain Maxim then, founded up- on what we know of Nature, and the Caufeof thefe Lidus, and Shadows, that to reprefent them aright, they mull participate of that which produced them \ and that unlefs we make them retain fomething of their firft Caufe, our Imitation of Nature will be Lame and Imperfect. But if the Object you repre- — . lent, be fuppofed in a Chamber a little illumir ,^, tied, and that you view it from without, Han- ding in a Line with the Light that breaks in upon it, the Shadows of that Figure muft of INecciTity be very foft, and the Figure cannot fail, of being very graceful, and of doing Cre- dit to the Painter \ for the * Relievo wiil be bold, notwithftanding the foftnefs of the Sha- dows ; and thefe will be the more eminently fb, on that fide of the Chamber which is the molt enlightened, the Shadows there being almofl: infeniible: The Reafonof which Hiall be delive- red hereafter. Where the Light is too harflily cut by the The Light* Shadows, it has a very ill EffecT: : To evade ?*°? st fo , r F j: which Inconvenience, 'twill be neceflary where p rcsdeh S"J t^. r r t - ^ »• trom the Lite, your Figures are iuppofeu in the open Air, to avoid placing them in the Sun-Shine \ rather feigning a lowering pay, and drawing a few tranfparent Clouds between the Sun and your Figures : By this Means they will be the more * The Relievo is an cmhofTed Figure in Sculpture ; in Painting it is ufei for that part which comes boldly out, m if it were rcaily cmboflTed. D 4 weakly 4o G/4 Treat i fe of Tainting, weakly enlightened, and there will be room for the Extremities of their Shadows, to min- gle and lofe themfdves inlenfibly in the Lights. Howtodehgn In ddigninga Nudity, obferve ftrft, to give i Nudity. ' your Figure its entire Contour; afterwards chu- fing that part of it which you think belt, anc giving it a juft proportion to the reft, proceec to finifh it-, for without this Method you wil never be able to join the feveral Members toge- ther with the Symetry required : Laftly, to adc a [till further Grace to your Figure, obferv* that the Head be never turned the fame wa; with the Stomach-, that the Arm and Lej have never the fame Direction -, that if th Head be turn'd towards the Right Shoulder it be made to ftoop a little on the Left Side that if the Stomach ftrut forwards, the Hea< may be turn'd to the Left Side, and the Part of the Right Side reprefentcd higher than thoi of the Left. How to De- A Perfon who wou'd Defign from the Lift fign form theought to place himfelf in fuch a manner, as tha Life. his" Eye may be in a Level with that of the F gure he is to Copy from. Howtodcfign Take a Square Piece of Glafs, about the fi? exact Plan of >,.> ' 7 7° V V i • i 3 Country, thirds of your Arms-length, that is, about Foot and a half backwards. Having then fixe your Head, by means of fome Contrivance, i firm as not to move or fhake a >ot, {hut one < yonr Eyes, and with the Point of a. Pencil trac every thing upon the Glafs, that you fc through it.' When your Eyes are at libert you may transfer this Defign from the Gla upc f By Leonardo da Vinci." 4* upon Paper, and chalking the Paper, make a fair Copy from it, to be put into Colours at your Leifure •, but be fure to obferve the Aeri- al Perfpcdtive. Landskips ought to be Painted in fuch man- The Light- ner, as that the Trees may appear half in- proper for a lightened and half Shadowed: The belt time Landski P- you can choofe for this Purpofe, is when the Sun is half covered with Clouds •, for then the Trees receive on the one Hand, an Univerfal Light from the Heavens, and on the other, an Univerfal Shadow from the Earth •, and their Parts will be fo much the darker, as they are nearer the Earth. When you have no other Light to work by, How ts d-~ but that of a Candle, obferve to place between %» °y Ca "- the Light, and the Figure you wou'd Copy, a dleLl S nt * Lawn Frame, or an oii'd Paper, or at leait a piece of plain Paper unoiTd, provided it be ve- ry fine and thin*, the Shadows being by this means foftned, their extremities will not ap- pear too abrupt and cut oft\ Lights and Shadows add a furprizing Grace How in Pain- to the Faces of Perfons placed at the entrance tin S. a Heai of a dark Room ; every body who fees them ? SI ^ d ^ n t 11 will be charm'd, provided they be well difpo-* ag c e p f Light fed • and fo as that the Shadow'd fide of the an 4 shadow. Face, may appear obfenred by the darknefs of the Place towards which it is turned •, and at the fame time the Lightened fide, be further illumined by the brightnefs of the Air, which isdiffufed all over it, and by which Means the Shadows become almoft infenfible on that fide : This augmentation of Light and Shadow, gives Figures a great Relieve, and an uncommon Beauty, For 4 2 e>4 Treat if e of Tainting, T r hc Vste For Faces and other Nudities, yo^i mutt have / ce S ° Pe Ind r *iJ a -Chamber open and expofed to the Air, whofe carnations in Walls ^ are wafh'd with a* Carnation Colour. general to be The time you are to chuie for Painting;, is the painted by. Summer, when the Sun is covered with thin- Clouds-, -but if you fear left it fhould break out, you may take care to have the South- Wall of your Chamber rais'd fo high, as to be a Screen to the Northern one, and to prevent the Sua Beams from linking, upon it ; othcrwife the re- flected Rays will make falfe Lights, and fpoil your Shadows. The Method A. Painter moft always confider the Place his D^tnnrthe^!^ 111 ^ 15 t0 be dif K ed ™> and 1Crna ' k th « Figures in a kei&Kt of the Plan in which he intends his Fi- Hiftory-piece. gutes to be placed ; qbferving when he Defigns, that his Sight be as much below the Figure he is upon, as the Place where the Piece is to be expofed, is higher than the Eye of a Spectator : without this Precaution, his Work will inevita- bly be full of Faults, and can never pofiibly have a good Effect. How to De- Hold a Thread with a Plummet fufpended %n a Nudhy ^\\\ your Hand, and obferve what Parts meet in abS y ^o!n 1 ' thc fame Per P endicular Line - thc'Life." 01 " Divide the Head into twelve Degrees, and The Meafurc each Degree into twelve Points, each Point in- or Divifion of to twelve Minutes, the Minutes into Seconds, a Statue. and fo on \ till fueh time as you have found a Mcafure, equal to the fmallcft Parts of your Figure. HowaPainter Let A B rj Tab. i. Fin i.l be a Window himfd/with through which the Light enters, M the Center mull plac< himfelf w it.. regard to thc-of the Light, and Cihe Model : A Painter may Light fluning.here place himfelf where he pleafes, provided upon the Mo- a . i • -- 1 ' * A Flcfli-Colowr. lis *Py Leonardo da Vinci. 45 bk Eye be between the Shadow'd, and the En- lightened part of the Model: Which Place he may find, by difpofing himfelf between the Point M } and that Point of the Model where it ceafes to be enlightened, and begins to be Shadow'd. A High Light, equally diffhfed, and not too Thc /^ t im glittering, fets off" Objects with the utmoft which objeds Grace, and fhows the fmalleft Parts of thelra to*pppear, with the greateft Advantage. thc ™ oft Ad ~ A Painter who has any thing unfeemly, or T'd^,' > ,.- . . J . C F- t, r A I ameers difproportionate in the make ot his own Pcrlon,j uc | frment will be extremely lyablc to bellow the lame fortunes im- biemifh on his Figures : This is particularly ob- ?^- d »pon by fervable in the Hands, as being continually be- j ! ! c De fc« s °* fore our Eyes. A Painter therefore mull apply .£ ow ' 1 ,er ~ himfelf, to correct any falfe I m predion, which an Object, always pre lent to him, may make on Jiis Imagination j and n guard againft that ri- diculous Piece of felf Love, of fancying every thing Beautiful that refcmblcs himfelf. A Painter well acquainted with the Mufcles, Anatomy ne- Tendons, &c will know what, and hQWrma- c . ry for * ny Mufcles concur to the Motion of any Mem- Painter ' ber ; what Mnfcle contracting it felf, occafions any other to retire ^ what Tendons and what Ligaments belong to each Mnfcle, and confpire to make it aft : And will look with Contempt on the Manner of fome Ignorant Painters, who in all forts of Attitudes, do always make the fame Mufcles appear^ in the Arms, Back, Sto- mach, and other Parts. 'Tisa very Grofs tho' a very common Fault, Repetition in repeat the lame Attitudes, and the fame the fame Pain- ■olds of the Drapery, in the fame Painting j and tin S» a. Fault. ") draw all the Faces (b like one another, that • and demands a Pi'ece*' n"ppo- Light equally diffofed on all fides, and which fed to be en- mows all Parts of the Object. By this means lightned by it comes to pafs, that contrary to the Eftab- anothcr. jifli'd Rules of the * Clair- ohfeure, we often fee deep (hadows, where there can be none in Na- ture, or at leafl where they are almoffc Infen- * Cld'tr-obfcure, by the Italians called, Ck'iaro ofcuro, is th,e art of managing Lights and Shadows : So when a Painter chufes an advantageous tight, and difpofes bis Figures fo, as that they receive ihe Light which .ire let off with deep* Shades, he is laid tc. und£rfta,ncj the Qair-obfQyre, fiblc ; *By Leonardo da Vinci. 4$ fible ; and f Reflex's where there cannot pofll- bly be any at all. Painting conlifts of two principal Parts, the Divifion of one is the Defign, that is, the Figure, or Con- Painting. taur, bounding "Bodies, and their Parts: The other is the Colouring, comprehending the Co- lours included within the Contour. Dcpgn'wg is likewife divided into two Parts : Divifion of One whereof is the proportion of the Parts Defl S nin S- with regard both to one another, and to the whole which they Opnftitute : The other is the Attitude, which ought to be proper to the Subject, and to correfpond with the Intention, and the Sentiments fuppofed to be in the Fi- gure represented. There are three things to be confidered in Proport ; on f the Proportions, viz, Juftnefs, Suitablenefs, the Parts, and Motion : Juftnefs takes in the Exact meaftvre of the Parts, confidered, both with re- gard to one another, and to the whole. By Suitablenefs, we mean the Character proper to each Perfon, according to its Age, State, and Condition \ fo that in the fame Figure there be not feen Parts, both of an old Man and a young one :, nor thole of a Woman in the Figure of a Man j nor in a beautiful Body, any other than beautiful Parts. Laftly the Motion, which is nothing but the Attitude and Exprcfhon of the Sentiments of the Soul, requires a Difpoiition in every Figure, that may exprefs what it is doing -, and the manner it wou'd do it in : For it muft be obferv'd that an old Man never appear with the brisknefs and vivacity of a f Riflcx is the Return or Rebound of the Light, bring- ing with it a Colour borrow 'd from the Subject that fends it back. young 4# *A Treat zfe ofPuinting, yonng one, nor the Force and Vigour of a Ro- buft one \ that a Woman never h.3ve the Air of a Man-, and in fhort, that whatever either F^rce or Delicacy, are mown in the Figure, be likewife fern in its Motion. The Motion All the Figures in a Fainting, ought to be and ExpreOion in an Attitude fuitable to the Subject they rcprc-" b? Figures, fent} fo that in viewing them, one may ealily know what they think, and what they wou'd fay. To aiTift your Imagination, in thus fuit- ing the Attitudes to your Figures, consider atten- tively the Gefhires of Mutes, who cxprefs the Thoughts and Conceptions of their Mind, by the Motions of their Eyes, Hands, and whole Body : Nor mult you be fur prized that 1 fend you to a Matter without a Tongue, to learn ait Art of which he is Ignorant himfelf-, fince Ex- perience makes it appear, that he will teach you more by his Anions, than all the World be~ fides, with their Words and. Lectures. A Pain- ter therefore, before he fix bis Attitudes, (hou'd confider the Quality of thofe who fpeak, to- gether with the Nature of the Bufinefs they fpeak on •, in order to apply the Example of a Mute, which I here propofe, to his Purpofe. The contours Never draw the Contours of your Figures in never to be any Colour different from that of the Ground too harHi and t fey arc J n . t l iat j^ never ma fe an y obfciUC apparent. ^ p ro fii es between the Figures and the Ground. » ■ ■ i.i — — * Profile, is that which marks out the Parts, Members, and Jettings out. t&c. of fo\id Bodies, and is oppofed to the Plan •, as when we fay the Profile of a Church, w« mean the Representation of its Height, Depth, and Length, foe. In Sculprure it fignifics a Head drawn fiae- %'ajs, as in Medals, foa, the *By Leonardo da ViNCi* 47 The Faults in little Figures, are not To eafily A Fa »' r n0 « &fcerned as thofe in larger; the Reafon of^° " fi ! y . dl " . ° -Z' • r „i fcovered in A which is, that the extreme Diminution of the final , Thi Parts of little Figures, does not allow us to ex- a$ a i ar g C ne. .'inline itrictly into their Proportion : So that 'tis impoffible to dctcrmin wherein thofe Parts are defective. For inftance, if you look at a Man Three hundred Paces diftant from you, with Delign to examine the Features of his Face, and toobferve whether he be handfome or de- formed or of ordinary Appearance \ you will find that with how much Earneftnefs and At- tention foever you view him, 'twill be impofli- ble for you to difcover to which Clafs he be- longs : The Reafon of which, is without doubt owing to the apparent Diminution of the Parts of the Object, occafioned by its great Diftance from the Eye. If you doubt whether Diftance diminifhes Objects, yon may be eafily convinced by the following Experiment-, hold your Hand at lome diftance from your Face, in fuch man> ner, as that pointing up a Finger, the Tip of it may correfpond to the Top of the fame Per- fons Head, whom you were before obferving \ and you will find that your Finger does not on- ly cover his Face, length-wife, but likewife a confiderable part of his Body } an evident Proof of the apparent Diminution of the Object ! The Painters are apt to lament themfelves,Why the nc- and quarrel with their own Performances, be- /, 'f* ' sin Pain ~ caufe in copying from the Life, they cannot tins " n , "V , • JL. J ° „, r r< j t, i- verbcfobold, give their Figures the lame Force and Relievo, as thofe ^ with which Images appear in a Mirrour , urg- Nature. mg that they have Colours of greater Luftre, and Shadows much deeper than any the Mirrour exhibits \ and laying the whole blame of their Failure, upon their own Ignorance, or Unhap- pinefs 48 oA Treat ife of Tainting, pincfs in the Mariagehient of them \ but they herein abufe themfelves, and impute that to their own Weakncfs, which is an Effect purely Katural : A painted Figure mult of rieceflity ap- pear with left Relikvoj than a Figure fcen in a Mirrour, ( tho' both fuperficjal) unlcfs both the one and the other be only viewed with a jfingle Eye } the Reafon is this : The two Eyes* A B, [Tab. t. Fig. 2.] viewing the two Objects, N M one behind another, M cannot entirely intercept the Sight of N, the Bafe of the vifnal Rays being fo large, that the farther Object di- fcovers it felf beyond the firlr \ but if you only make ufe of one Eye, as 5, [.Tab. i. Fig. 3.] the Object F will intercept the whole Extent of R, becaufe the Pyramid of VifualRays, iiTuing from a Point, has the fir ft Body F for its Bale} by which means the fecond^, of the fame fize, is entirely hidden *. Several Hifto- *^ s an univerfal Fault, and which Painters ry-pi»ces ne- every day run into in Painting the Fronts of ver to be Churches and Chappels, that after finifhing fome painted one Fiiftory- Piece, with the Landskip, Buildings, over another ^.^ t ^cy go on to paint other Pieces, over, and iw iamC b y the fide of the firft ' fti11 chan S in £ tlle ? er - fpettive Point } fo that the fame Front fhall be fainted with feveral different Points of new ; ■ '•■ ■ — — » Leonardo is a little obfciire in this Chapter, and may, perhaps have been miftaken •, the Matter, in a few Words, fcems to be this : Every Painting, is a piece of Perfpe- cftive, and the Figures in it, capable of appearing with as much Relievo^ as the natural Objecfts they reprefent. But the Figures in Painting arc all flat, fo that we cannot turn round them, to view their different Sides ; there be- ing properly but one Point of View, from whence they may be welt fcen •, whereas we filrvcy all the fides of Natu- ral Bodies ; and they always appear with the Rciuvo they really have. Jian *By Leonardo da Vinci. 49 than which nothing can be more abfurd •, the Point of Vkvo in any Painting reprefenting the Eye of a Spectator. If you ask then, how the Life of any Saint divided into feveral Hiftories, may be painted on the fame Front ? I anfwer, that you mnft place your firft Plan, with its per- fpeftive Point, at fnch a height as may be the moll flii table to thofe who are to view it below \ reprefenting yoiir principal Hiftory in large, up* on this firft Plan, and ftill diminifhirtg the Fi- gures and Buildings for the reft of your Subject, according to the different Situations they are placed in. In the reft of the Front towards the Top, you may paint Landskips, with Trees, proportionate to the Figures, or Angels, if the Hiftory require it, or Birds, or barely the Heavens with Clouds and the like Incidents. Without this Conduct, 'twill be much better for you to let thefe forts of Paintings alone \ for your whole Work will be falfe, and contrary to the Rules of Opticks. The Figures illuminated with fome rterticuter Tfie tigUtiti Light, Ihow a greater Relievo, than thofe en- J hl e ch /^"J. es lightened with an univerfal one. For a parti- Jhg™^ cular Light produces Reflex's, which loofen the seiim, Figures from the Ground of the Painting.* Thefe Reflex's rife from the Lights of fome Figures, and Rebound upon the Shadows of thofe oppo- iite to them, giving them a faint Light. A Fi- gure however, expofed to a particular Light, in fome vafl obfeure Placej receives no Reflex % fa that there are no Parts of it to be feen, but what ate enlightncd : But this is never ufed, excepting in Night-Pieces, where the Light muft be very dim and particular. The Contours of Figures diieover more Skill in Greatar vafi*» Deflgnin?, than the Lights and Shadows : The '* ™ she ,, * E firft ^"^ 5© oA Treat if e of Tainting, Shadows of firft requires the greateft ftrength of Thouglit, Figures, than anc } t j ie i attcv t h c g re ater Extent and Compafs-, l"«r/ KC • For tlie Members are confined to a certain Number of Motions-, but the Projections of Shadows, the Qualities of Light, their Degra- dations, &c. are infinite. Take Notes of the Mufclcs and Tendons, uf J int " lc c t " which in different Attitudes, and different Mo- vcral Motions tions are either difcovered or hidden in each of the Body, Member, or at leaft, that are neither the one to be rcmem- nor tne other: And remember that this is a bred by a ftudy f great importance to Painters and Sta- tuaries, whofe Profeffion obliges them to Un- derftand the Mufclcs, their Functions and Ufcs. But further, you mnft make thefe Re- marks on the Human Body, in all its Stages, from Infancy to Old Age •, obferving the Chan- ges each Member is liable to } for lnftance, in growing fatter or leaner, &c. A Remark In AcYions purely Natural, which we per- uponExprefli-form without Reflection, but which at the fame on, and Aui- t j me ^ fp^jng from a ftrong Inclination, a Pain- tudc* ter 1]l0U , d obfcrve what are the fo.fl- E ff c a s dip covering themfclvcs in the Body - 7 and make Sketches of what he Remarks in this kind; for by means of thefe, he will be enabled on occaii- on, to place a Body in the fame Attitude , from whence he may gather, what Parts are concer- ned in the AdVion he wou'd reprefent. Painting only Painting fhou'd only be view'd from one fin- to be viewed gle Place,' as may be obferv'd from the follow- fromibme j n g Example. If you wou'd reprefent a round fingle Place. b qw j j n any high Place, you mult give your Fi- gure an Oval Contour j retreating backwards till Such time as it appear round. AKctuarkup- When in deligning after any Body, you find on^shadows. your fclf unable preeifely to determine now far the 'By Leonardo da Vinci. 5? the Shadows reach % Be fnre to leave them un- finifhed in your Painting: By this Ingenuous piece of Negligence, you will at once (how your own Modcfty, and the ftri&nefs wherewith you imitate Nature. Children that are to be reprefented fitting, How to r«- muft fhow very quick Motions, and even Con- f^ff? 1 llttic tor lions of Body \ on the contrary, if they be 1 ren ' {landing, they fnou'd appear timorous and fearful. To reprefent an old Man Handing, you muft How to re- give him a dull Indolent Attitude, with flowprefent old Motions, his Knees a little bent, his Feet ftrad- Mcn * ling, his Back crooked, his Head Hooping for- wards, and his Arms rather folded, than fpread out too wide. Old Women fliou'd appear eager and pafli- How to re- onate, fiery and outragious as Furies: but this P refent ol< * Character ought to be exprelfed in the Air of Women ° the Face, and the Agitation of the Arms, ra- ther than in the Motions of the Feet. Women mud appear very modeft and refer- How to reS ved in their Air, their Knees clofe together, prcfenc Wo- their Arms a crofs, or folded over the Stomach, men * the Head gracefully bowing, and a little incli- ned on one tide. A thing wholly devoid of Light, is nothing How t0 painC but Darknefs : Now the Night being of this a Night-piece. Nature, to make any Nocturnal Reprefenta- tion, you muft take care that there be a large Fire, to illumine your Objects •, in the conduct of which, you muft obferve the following Rules : Thofe things that are neareft the Fire, muft- be the moft tinged with its Colour, it be- ing a Natural Property of Bodies, that the nearer they are to any Object, the more they receive of its Light, and the more they partake E 2 'of - 3f» cA Treats ft of fainting, ofits Colour i and as the Fire appears of a Red Colour* every thing illumined by it, mifft like- wise be fecn of a Reddifh caff. *, this Rcdnefs always growing; weaker, and partaking more of the blacknefs of the Night, in proportion as the Obje&s arc fartthcr removed from the Fire. As to the Figures, obierve that thofe between you and the Fire, do not appear in the leaft illumined by it 5 for on the iidc that you view them, they are only tinged with the oMcurity of the Night, there being no pofli- bility of their receiving any thing from the brightnels of the Fire: the Figures on either lidc fhou'd appear half Red rind half Black, and thofe feen beyond the Fire, mull be all illumi- ned with a Red Light, upon a Black Ground. As to the Attitudes, fuch Figures as are neareft the Fire, fhou'd hold their Hands before their Faces, and Screen themfelves from the fcor- ching heat of the Fire with the Skirts of theif Cloaths \ turning their Faces the other way, as if they were about to fly from it : Thofe that are further from the Fire, fhoivd like wife appear dazled with the Flame-, covering their Eyes with their Hands, to flicker them from the too powerful Light. How to re- ^ y° u W01 ^ reprefent a Tempeft, conlider prefer a attentively its effects. A high \V ind .either Tcmpeft. upon Sea or Land, forces up every thing it meets with if not fteadily fixed, toilcs it con- fufedly, and whirls it away. In Painting a Tempeft therefore, you muft reprefent the Clouds driven impetuoufly by the Wind, and claming againft each other •, the Air filled with Daft and Sand, fwept from the Shores, and gathered into Eddies } Leaves and even Bran- ches of Trees, difoidcrly blended with other * light •* < B) L E O NARD O D A V 1 N CI. 5 J Light Bodies, and hnrfid with rapidity over the whole Region \ Herbs beaten clofe to the Ground \ ibme Trees torn up, their Roots \\\ the Air, others giving way to the Wind, their Boughs broken, or bent contrary to their na- tural Pofcure, their Leaves ruffled, and folded in different manners *, Men overttirn'd, incum- bered in their Cloaths, covered with TJufl, and fcarce to be known, others who keep upon their Feet appearing behind Ibme Tree, and clinging clofe round it, Icit the Storm fnou'd transport them \ others covering their Eyes with their Hands, for fear of being blinded by the Dnft, bending towards the Earth, with their Drapery irregularly fluttering in the Air, or even flying from them in the Wind. If the Storm be reprefented at Sea, the Waves darn- ing againfr. each other mult cover it with Froth, which being rais'd up by the Wind, may fill the Air as with a thick Cloud :, Yeffels appearing in the middle of the Water, mult difcover Sailers holding the ends of broken Ropes, mat- tered Sails wildly floating, and torn Mails tum- bled upon the Deck*, others may be reprefen- ted upon the Point of Ship-wreck, the Waves breaking in, the Mariners Ihrieking and laying hold of the remaining Wrecks ?of the Vcflel. One may further feign the Air full of Clouds, impctuoully driven by the Winds, ftop'd and rcpnls'd by the Mountain-Tops, and having recollected thcmfelves, incompaflmg them like Waves broken again ft a Rock ; the Pay at the fume time appearing dark and ovcrfhadowed with Dull, Rain, and thick Clouds. In the firft place you mult Paint the Smoke How to re- of Artillery, confufedly mingled in the Air, prefent a Bat- witti the Duft ariiing from the Horfes Feet. ttc - E 3 In oA Treatife of Tazuth/g, In expreffing this mixture obfcrve the follow- ing Rules. Tho' Dud, by rcafbn of its extreme lightnefs, does eafily mount into the Air, yet has it the common afccYion of all natural Bodies, I mean Gravity, by which it returns of it felf towards the Earth-, none but the fined and moil fubtle Parts of it continuing to float in the Air : it mull be Painted therefore of a very thin weak Colour, and not much unlike to that of Air*, the Smoke which mingles it felf with the Air and Dull:, being mounted to a certain Pitch, will appear like dark Clouds •, in the more ele- vated Parts, it will be much more vifiblethan the Dud, and will appear of a Colour fomewhat Azure and Bluciftr, the Dull always retaining its natural Colour. * This mixture of Air, Doll, and Smoke, will appear much brighter on the fide whence the Light comes, than on the oppofite one. The deeper the Combatants are funk inthisClord, the left vifiblethey will be, and the lefs differerc there will be between their Lights and Sh dows. The Faces, Per- fbns, Airs, Arms, and every thing about them, mud be Painted of a Fiery Red Colour, this Rednefs always diminifhing as it is further re* moved from its Origin, and at lad loling it felf intirely. The Figures far diflant, between you and the Light, mull appear dark, upon a light it me * The Authors Wo.ds are, dalla parte che viene il L ■pzri.*qu.f\ct Miftione d* Aria, fumo, Iff Polvcrc, motto piU lu- cidfj cbe dalla oppofita parte. Which the French Tranllator has taken the Liberty to alter, turning them thus, de Me- lange d'/lhy de Fumee, Iff do Tovffi:re, [era beaueoup plus cl air fur I. taut, que vers le has, i. e. This mixture of Air, Smoke ana Duft wiH be much clearer at the top, than towards tho bottom. One of thefe two Meanings, we hope, cannot fail to pleafe the Reader. Ground, ^'Leonardo da Vi^crJ 55 Ground, their Legs being always the lead dif- tinctand vilible; becaule the nearer the Earth, the thicker and grofler is the Duft. If you re- present any Horfemen oct of the main Battle, remember to raife a little Cloud of Duft behind each of them, at the diftance of each fhctchof the Horfe^ taking -care that they weaken and difappear, as they become further removed from the Horfe that rais'd them \ and obferving that thofe which are the far the ft diftant, be the tiigheft, fpread the wideft, and the thinneft % and thofe nearer the lowcfr, denfeft, and moft (fenfible. The Air muft appear full of trains of Fire, darting like Lightning, fome upwards fome down, and others in a level with the Earth. The Balls difcharged from Fire Arms, mufb leave a train of Smoke behind them ; and the Front Figures muft appear coverd with Dull} efpecially their Eye-brows, and other Parts apt: to retain it : The Conquerors muft be reprefen- ted running,, with their Hair fcatter'd abroad, and both that, and their Draperies blown about by the Wind •, their Faces frowning, their Eye- brows fvvelfd, and drawn near one another^ their Members muft make a * ComraB a mong them, fo that if the right Foot ftep the foremofr, the left Arm mult be advan- ced the furtheit. If you reprelent any one fal- len, let the Blood trickling from his Wound, ftain the Dull ; and let the wet Earth all around be mark'd with the Footltcps of Men and Hon fes : You may like wife Paint the Figures of * Qontrafc, iigmiics Quarrel or Oppofuion ; and is ufed to denote the dihoronc Afpedts, and Portions, either of the Parts of a Figure, as in the Place here refer'd to ; or of the Figures forming a Group, or ArTemblage; as for inftance, when one Figaro mows it ielf iide-ways, another full before you, a tjiird on the other tide, JjTc. they make a c 01m art. E 4 Horfes, $6 sATy e at ife of Tainting, Horfes, dragging and tearing their dead Ma fr- ets hanging in the Stirrups, and fmearing the Ground they pais over with Blood : The van- quilh'd mult appear pale, and aftonifhed, their Eye-brows high, their Foreheads fuli of wrink- les, their Noltrils flirunk into an Arch, and fur- row'd from the tip of the Nofe, to the Eyes \ their Mouths gaping, their Lips turn'd back, difcovering the Teeth unclench'd, and in a Pof- ture of fhrieking and lamentation. Let fomc one lying wounded on the Ground, with terror and amazement in his looks, hold one Hand be- fore his Eyes, the Palm towards the Enemy \ with the other fix'd on the Earth, fupport- ing his Body : You may fhow fbme turning their Backs, and flying with open Mouths : the Field of Battle mull be covered with Arms of all forts, trampled under Foot by the Comba- tants-, fhatter'd Helms, Bucklers, broken Swords, fhiver'd Lances, and the like : Among the Slain may appear fome half covered with Dull, and broken Weapons } others as it were quite buried under them : Streams of Blood mult be feen Hiding from the wounded, and flowing into the Duft \ and this mixture of Blcod and Unit, mult cover the Earth with a Purple Mire. Some may be reprcfented in the Pangs of Death, grinding their Teeth, rolling their Eyes, clenching their Fifts, and making ieveral Contorfions of Body, Arms, and Legs : another may be ken difarmed, and thrown down by his Enemy, yet (till defending himfeif with his Teeth and Nails. A Horfe may be ihown broken loofe, and running through the Enemy, with his Main difpers'd, and floating in the Wind, beating down all he meets with: Some one wounded, may be feen tumbling ro ,,,: ■ ' the "By Leonardo da Vinci." "57 the Ground, and covering himlelf with his Buckler i his Antagonift at the fame time Hoop- ing; over him to take away his Life : There may be likewiie reprcfented a whole croud of Men, confufedly fpread under a dead Horfe : Some of the Conquerors may be fhown retiring out of Battle, wiping their Eyes clamm'd up with Duft, and their Checks fmear'd with Filth, form'd out of Sweat and Tears which the Duft had made to trickle from their Eyes : You may likewife rcprefent Squadrons advancing to fiic- cour their Fellows, full of hope, mix'd with circurmfpe&ion •, their Eye-brows drawn up on high,(liadowing their Faces with their Hands,the better to difcern the Enemy through the Duft, and attentively waiting the commands of their Leader. ThcGeneraJ muftbe feen with hisTrun- cheon in his Hand, ranging his Troops,and poin- ting out, what way each Battalion is to move : A River may be reprcfented, and Horfemen feen plunging through it, dafhing the Water all around them, and raifing a Froth where ever they pafs. Nothing in fine muft be feen through- out the whole Field of Battle, but what is full of Horror, Blood, and Carnage. We all allow the Air to be much grofler and How to re- morc denfe in lome Places than in others -, and P refen t w- that fin proportion, as it is higher from the m0tcOb J e s formed thereby, will alleviate, or enligh- ten the Shadows, in Proportion as their Light is ftronger or weaker, and as they are nearer or more Remote from the Body whence the Light proceeds. This Obfervation is made "Lfc of by fome, and as much defpifed by Others : The Painters have even divided themfJves into Factions about it, each Expoling and Ridiculing the other. If you would keep a jilt Mean, and fecure your felf from the Cenfure of either Party, make the proper ufe of both Opinions : Obferving never to make any Reflex's, but where the Neceflity of thofe Reflex\ and their Colours may be evident-, nor ever omitting to make them, but where the Reafon of fuch O- miflion, may beeahly perceive! by every one. Where Re- The Reflex's of Light are more or lefs biii ht, flex's appear that is, they are more or lefs apparent, in pro- th . e mof j-' and portion as the Grmir.d on which they are feen, Ieaft# is more or lefs obfeure. When the Ground is darker than the Reflex, the latter will appear ftrong and fenfible, the former ferving as a Foil to it: fo where the Reflex is found on a Ground brighter than it felt, it mult ot Courfe appear the more Dim, by reafon ot the Whitc- riefs furrounding it, becoming, by this means al- f molt Imperceptible. a Reflex'wHl ^he % e fl ex w ^' De the molt bii^ht and vivid. be the bright-* that part which receives its light between dft. the *By LEONARDO DA VlNCI.' 6$ t hc molt equal Angles \ for Example, fuppofe N the Center of Light [ Tab. i. Fig. 5. ] and A B the enlightened part of the Body A B CFE D+ from whence thc Light is reflected all around thc fhadow'd Concavity of the fame Body ; fup- pofe like wife, the Light reflected on £ to have been tranfmittcd between equal Angles, or An- gles nearly fo : In this Cafe the Reflex E will not have Angles fo equal at the bafe, as the Reflex P\ as may beeafily iben from thc great inequa- lity between the Angles E A B and E B A: Thus thc Point F will receive more Light than thc Point £, and the Reflex F will be brighter than the Reflex £, fince, though the Angles Fand E have the fame bafe, yet the Angles oppofite to the Point F, approach nearer to an equality, than thofe oppofite to the Point E. Further, the Point F, by the Rules of Pcrfpe&ive, muft be more enlightned than the Point £, becaufe it is nearer the Luminous Body A B } whence they receive their Light. The Reflex's of a * Carnation, receiving their of the Co- Light from fome other Carnation, will be of a lour reflected redder more vivid and more Vermilion Colour it0 ^ Fielh ' than any other Part of the Body : The Reafort is, becaufe the Surface of any Opake Body par* takes more of the Colour of the Body from whence it has its light, as that Body is nearer it, and lefs as it is further removed : It likewife participates more or lefs of it, as the Opake Body is greater or fmaller *, becaufe being large, it intercepts the Species of the adjacent Bodies, and prevents them from mingling their Colours * By Carnation is fometimes meant barely a Colour ; at other times it Signifies a naiced Pare of a Figure., uncover- ed with the Drapery, , with M &4 Treat ife of Tainting, tvitb its own ; which, were it fmall, wou'd in- fallibly be the cafe. Sometimes, however, it hap- pens that a Reflex partakes more of the Colour of a fmall Body, that is hear it, than of a larger more remote; the effects of the latter being render'd lefs fenfible, by reafori of its diftance. Where Re- Of a ^ Reflex's, that which is ken on the ilex's are the darkeft Ground,mui\: appear the boldefl and nioft moil fenfible. fenfible; and on the contrary, that appearing on the brightefl; Ground trie dim me ft and lean: diilind : this arifes from the Contrast- between things of different Gbfcurities ; the lea ft oMciire ofthefe ferving to let ofTthe others with the greater Luftre, and the brighter to render the others flill darker and lefs perceptible: Juffc like two things of unequal whitencis, which when oppofed to each other, the whiteft calls a dimnefs and foil on the other, beyond what it had of it felf. Double Reflex's are more powerful than fin'gle ones, and the Shadows interpofed between the incident Rays and thefe Reflex's arc fcarcely fen- fible. A Ample -fa/fev is that which is formed by one cnlighten'd Body alone \ whereas a double Reflex receives Light from two, and a triple one, from three. To come then to the proof of our Propofition, let A be a Luminous Body, [ Tab. i . Fig. 6.']AN and A S direct Re- flex's, N and S parts illumined by y/, Oaod E parts of the fame Bodies, illumined by thefo- flex's, A N E a fimple Reflex, and A N O and jiSOd double Keflex', the fun pie Reflex Eh formed by the enlighten'd Body B D, and the double Reflex by the two enlighten'd Bodies B D, and D R \ hence the Shadow of the double Reflex will be very thin, and fcafce perceptible, being found between the Incident Light and that of the Reflex NO SO. One Of Double and Triple Reflex's. "By Leonardo da ViNcr. 6^ One Body reflecting light upon another, does The Colour not communicate its Colour to that other Bodv,°* f R « flex inch as it appears in it feif •, bat tinges it with but mixed £j a mixture of feveral Colours refulting from dif-of feveral Co, ferent parts of the firfb Body, upon the fame lours. Point of the fecond. For Example, let A be a Yellow Colour, [Tab. i !%•?•] reflected upon the part Oof the Spherical Surface CO E, and let the Blue Colour Shave its Refl?x upon the fame Point • by the mixture of thefe two Co- lours in O, the Reflex will be converted into a Green if the Ground be white; it appearing from Experience, that Blue and Yellow mingled together do form a very beautiful Green. ^ It feldom happens that a Reflex is either of the The Colour- Colour of the Body whence it proceeds, or of of a Reflex the Colour of that upon which it falls } thefe two compofed of Colours ufuaUy mingling themfdves together, thcCoIour °? and out of the mixture forming a third. For In- , e Body itance, fuppofe the Spherical Body DFG £, be «XVn/rf of a Yellow Colour, [Tab. i. Fig. 8.] the Object dm on which B Cot a Blue one, and let H be the Point where it fails. a Reflex fent from C B, ltrikes upon D F G E: The Point H in this cafe will become Green, when illumined by the Light of the Sun diffufcd in the Air. Among Reflex's which have the fame Figure, In w j iat place Force, and Extent, that will fiiow it fllf with a Reflex is the greateft or leaft Strength, which terminates the moll vi- on a Ground the moll or leaft Obfcure. £j d and fcnfi -- The Surfaces of Bodies partake more of the e * Colours of Objects, as their Images are reflected upon them, under Angles nearly equal. Of Co- lours, reflected by Objects upon oppofite Bo- dies, between equal Angles, that will be the moll vivid, whole Reflex comes from the ieail Difl> ancc. Among the Colours of different Ohj< &s, U fending 66 gA Treat jje of Tainting fending their Reflex's from the feme diftance, and at the fame Angles, upon oppofite Bodies, that will be receded with the greateft force a whole Luftre is the ftrongeft. The Object re- flecting its Colour with the greateft Vigour up- on an oppofite Body, is that which has no Co- lour around it, but of its own kind : And on the contrary, of all Repx\,that produced by the greateft number of Objects of different Colours^ will be the moft dim and confufed. The Colour nearefl: any Reflex will communi- cate more of its Tincture, than thofe at a great- er Diftance. Laftly, a Painter muft tinge the Reflex's of his Figures, with the Colours of fuch Parts of the Drapery, as are nearefl: the Carnations on which thefe Reflex's are thrown ; always obferving that thefe reflected Colours do not appear too vivid and diftinct, unlefs where there is fome parti- cular Reafon for the contrary. OfReflc&ed All Reflected Colours are lefs vivid, and ap- Colours* pear with lefs force, than thofe which receive their Light directly ; the direct or incident Light, bearing the fame Proportion to the Light reflected, which the Luminous Bodies occafioning them, bear to one another in bright- nefs and Luftre. A Reflex proceeding from a Body more obfeure than that which receives it, will be weak and almoft infenfible , on the con- trary, where the Ground on which it is received, is darker than the Surface whence it proceeds, it will be bolder and more vifible": Laftly, It will be ft ill more fenfible as the Ground, is more ob- feure, and dimmer, as it is more bright- CftkePofiti- ' As much as the left fide of the Nudity, DA, w of Figures. is»fhorten'd on account of the Pofition of the Figure, fo much the oppofite Side B C, is length- en'dj *By Leonardo da Vinci^ 6f en'd ; that is, in proportion as that part of the Figure between the left Shoulder D, and the Watte A, is diminifhed, the part on the Oppo- fite fide, from B to C is augmented} the Navel or the middle of the Body always continuing ii> the lame height. This diminution of Parts on the left fide of the Figure, arifes from its retting on the left Foot, which by this means becomes the Center of the whole Body : Hence it comes to pals that the middle Point, which is under the Throat between the two Clavicles, quits the Perpendicular in which it was found when the Body was Erefr, and enters into another which palfes through the left Leg, and terminates in the left Foot % and the farther this Line deviates from the middle of the Body, the further, like- wife will the Horizontal Lines which traverfe it, recede from Right Angles , ftill declining to- wards the left fide, on which the Body refts. When you underftand Perfpeclive and Anato- Preliminaries my well, and have a tolerable Notion of the to the paint- Parts and Members of Bodies, take all Occafi- in § f ^°" ons of obfervingthe different Attitudes and Ge- ry " lwe$ * ftures of Men, in different Atlions. For Ex- ample, in your Walks, when the Mind is free and difingaged, obferve the Motion of thofe a- bout you \ whether they be converfing famili- arly together, difputing one among another, quarreling, or even coming to Blows : Oblerve the Behaviour of thofe about them, whether they be indeavouring to feparate them, or a- mufing themfelves with the light of the Scuffle; and whatever you remark in this kind, Defign upon the Spot. For this Purpole, it will be con- venient to have a Pocket«Book always about you, the Leaves of which may be faften'd in fuch manner, 'as to take out without Tearing. For F 2 thele 68 'eA Treatife of Tainting, thefe arc things that you cannot preferve with two much Care •, the Memory it (elf being far unequal to that Infinity of Objects, which prc- fent themfelves to a Painter, aud which he may find Occafion tomakeUfe of, in his future Per- formances. •r . t . The height of the firfb Figure in a Hiftory- pon-ion the Pi ece ? mu ft be lefs than the Life, in Proportion Height of the as it is removed behind the fir ft Line of the Plan firft Figure ia of your Painting} the fame Rule holding in the a Hiftory- Diminution of the Reft, which mnft be all cor- Picce. refpondent to the Diftance of the Flan they are placed in. OftheRelie- That Figure in a Hiftory-Piece, which is vo of Figures fuppofed to be neareit the Eye, ought to have in a Hiftory- the greateil Relievo. The Reafon is evident, Piece. j]nce in feveral Parcels of the fame Colour, that mud of neceflity appear the boldeit and moft perfect, which has the leafl; Air interpofed be- tween it felf and the Eye that views it : } Tis for this Reafon that the Shadows which difcover the Relievo of Opake Bodies, are always ftronger and more obfeure, in proportion as they are nearer 5 the Eye viewing them at a Diftance, being confounded by the Air, and unable to diftinguifh them from the Colours of Objects •, whereas, when they are viewed near at Hand, they appear in all their Force, and give each Bo- dy a Relievo, in proportion to their deepnefs and Obfcurity. Of the Short- When a Painter has only a (ingle Figure to nmgs of Fi~ rcprefent in a Piece, he mould avoid all Short- 6ures * tilings y both of particular Members, and of the wiiole Body ; fince othervvife he will be every Minute expofed to the impertinent Queftions of fuch as are unacquainted with his Art \ But in large Competitions, where a great Number of *By Leonardo da Vjnc^ 69 of Figures are found, he mayufe his Freedom ; and efpecialiy in Battles , where there muft of neceffity appear an infinite variety of Motions, and Contortions, in the Figures engaged in a Scene fo full of Horror and Confufion. In large Hiftory-Pieces, it will be neceflary t°of DiverGt* introduce Figures of various Kinds, with re- of Figures in gard to Shape, Complexion, Carnations and At- a Hiftory- titudes. Some muft he represented Fat and Bur- Picce * ly, others Thin and fhrivel'd ; fome Thick and Short, others Tall and Slendor •, fome Gay and Sprightly, other thoughtful and Melancholly \ fome muft have lank Hair, others Curld \ the brisk and lively Geftnres of fome, muft make a Contraft with the flow and graver Motions of others : In a few Words, there muft be variety in the Form, Colour, Drapery, &c. Of every thing that enters into the Compofition of the Piece. When you underftand the make of a Human How to flu- Body, its Members, Jonftures, and the feveral d / th * Mo - Politions thefe are capable of, apply your felf to ^°™ °^ di Hli * the Study of Motion. And here you will find it *** of confidcrable Service to draw flight Sketches, of any thing in the Actions of thofe about you, thefe may be worthy of notice } taking care by the way that the Perfons be not apprized of what you are doing, fince by this means they will infallibly come fhort of that Force and Spi- rit in the AcYion, which otherwife they wou'd exprefs. Thus when two Men are enraged, with what Violence and Fury do they rufh upon each other ? Their Eye-brows move with brisk- nefs, and their Arms fwing impetuoufly every way, and every Gefture and Motion they (how, confelTes the Rage, Choler, and Paffion that {ranfports them. Now it will be impoflible to F ^ snato 70 e/L Treat ife of Tainting^ make a Model exprefs the Zeal and Fervour, with which a Genuine Rnge is attended -, or even to reprefent the Effects of any Real Paflion, as Grief, Admiration, Fear, Joy, or the like : A Man is not fo much Matter of his Paffions as to raife and lay them when he pleaies. Let a Pain- ter therefore take his Motions and Attitudes from Nature her felf, rather than from thole who wou'd appear to Mimick her ; always re- membring, that a juft Contour^ and a lively Ex- prejfion are the moft Important parts of his Art. The Method Your fir ft Elfay towards Painting a Hiftory- to be taken Piece, fhou'd be the Sketching out \ few flight in learning to figures, and difpofing them together*, but you Pamt Hiftory mu fl. firft be able t0 defign them well on all fides, and to manage the Shortenings and Extenfions of each Member with addrefs : You may then ven- ture to make a Group of two Figures fighting to- gether with equal Courage -, obferving to repre- fent them in different Manners, and Attitudes : laftly, you may proceed to Paint a Combat be- tween a brave Cavalier and a Coward •, taking occafion in all thefe Pieces, to Introduce Variety offuch Accidents and Paffions, as may require Exprejjion, and enrich the Subject. Of theVari- * n Pieces of Hiftory, a Painter mull mow ety neceflary fbmething of a Genius and a Talent at Inventi- on Hiftory- on, by the abundance and variety of his Fi- Picces. gures j ftudioufly avoiding all Repetition of the lame thing, and ftriving to pleafe the Eyes of his Spectators, by an appearance of Novelty. Where the Subject will bear it therefore, let him venture to mingle Men different in Age, Air, and Drefs, with Women, Children, Dogs, Borfes, Buildings, Landskips, Hills, and the like-, taking care that there be fbmething of Dignity in the appearance of a Prince, or a Per- ion ■ ^Leonardo da ViNcrJ 71 foil of Quality, an d that he be diftinguifh'd from" the Populace, He mull further obferve, that in . ■■ the fame * Group, be never feeii the Gay and' Sprightly ,mix'd with the Penfiveand Melanchol- Tick ", it being natural for People of jovial Difpo- portions, to afibciate with thofe of their own. kind, and on the contrary, for the feriousand grave to ftmn thofe of a different Humour. 'Tis a Fault, to which the Italian Painters are The Faces irf extremely liable, to wit the introducing entire a Hiftory- Figures of Emperors and others, imitated from ^"erfifLu the Ancient Statues, into their Pieces \ or at lealt the giving their Figures, the Air and Appear- ance by which fome of the Ancients are diftin- guifli'd : to avoid this Fault, remember never to repeat the fame thing, nor ever give the fame Face, to two Figures in the fame Painting. And in general you may take it for granted, that the more your Vefign is Diverfified, by having that which is ugly, placed near that more beautiful, an Old Man near a Young one, a Robuft Man near a Weak one, the more pleafing your Pain- ting will prove. It often happens that a Painter having defigned fome Animal, will make every Itroke of it ferve for his Purpofe \ but herein he is overfeen, for the Members of the Animal while he was defigning it, were ufually in a Pofture by no means conformable to the Action reprefented in the Painting •, thus having fi- nilh'd the Figure with a great deal of care and ^w . h- ■ . — ■— * — -. ■ ■■ ■h i. .„ ... - ■■■— H i ' ' " " "* * Group, An Afll-mblage or Knot of Figures, gathered together in one Pelotoun, Globus, or Bottom, as it may be called. One may illuftrate it by a Confort of Voices in Mufick, which altogether fuftain one another, and front which, if you take away any one the Harmony, becomes defective ; foif a Group be not well ballanced with Figures, fomcthing or other will appear difagrecablei, F 4 juftnefs* .yfc *4 Treat i fe of Vainting, Jaftnefs, be has the Morti fication at iafr, of find- ing himfelf under a neceffity of effacing it, and fupplying its place with another. How to If yott wou'd have the Neighbourhood of one match the Colour-, give a Grace to another, imitate Ka- Colours in tare, and do that with your Pencil which the fuch a man- R a y S of the Sun do upon a Cloud, in forming a ner a< that Re | nbow . wneTe tne Colours fall fwcetly into GMce 8 Jo C ca a ch one another, without any ftiffnefs appearing in other. their extremes. Obferve further, the following Remark? re- lating to Colours, i . In reprefenting a deep dark- nefs, be fere you oppofc to it a ftrong White; and rofet off a White with the greater force and Lultre, let there be a deep dark oppofed to it. 2. Red will appear more vivid near a pale Yellow, than near a Violet. 3. You mud diftirf- guiih between Colours, which fet one another off with a greater force and brightnefs, and thofe which only add a Grace to each others thus Green gives a Grace to Red, and at the fame time takes it from Blue. Laftly a pale Yel- low or a White, matches very ill with an Azure -, the Union of thefe Colours as we'd of fome others hereafter mentioned, being of mutual duTervice. You rauft always provide a very White Ground. SSun^Tfor Colours which you de fire to appear bright, P «r vivid, provided they be transparent; lor others a White Ground is by no means fuitable ; as is found by Experience, in Painted Glafs, the Co- lours of which appear extremely beautiful, when held between the Eye and the Light, but lofe al! their Luftre when held to a thick dark Air, or an Opake Body. , ' „ , The Shadow of any Colour, mult always par- fth^wticipate of the Colour of its Object ; and that in »f any Colour a greater *By Leonardo da Vinci. j} s greater or lefs Degree, as the Object has more or lefs Light, and as it is nearer, or further dis- tant from the Shadow. Among Colours more oblcnre than the Air, The Variety that will appear the moft vifiblc, which is feen obfervable in at the greateft diftance ; and on the contrary, Sf ™^* 9 , d among thofc brighter than the Air, the furtheft «•,<>" mora removed will be the dimmeft and leaft diftincl -remote. Thus all things in general, may be faid to change the Nature and Quality of their Colour, by be- ing view'd from a great diftance ; the brightelfc in that cafe, appearing more obfeure, and the dimmeft more vivid. A Body loies its Colour at a greater or lefs Ar what di-y diftance, as the Eye and the Objecl are at a ftance the Co- greater or left height from the Earth : This Pro- Iour of * Bo " pofition I thus demonftrate; The Air being dydifapl?e * t * / more or lefs denfe as it is nearer or more remote from the Earth, it follows, that where theEy© and the Objecl: are but a little elevated above the Surface of the Earth, the groflhefs and den* lity of the Interpofed Air muft weaken and ob* fcure the Colour of the Objecl: : But when both! the Eye and the Objecl: are confiderably rais'd above the loweft Region of the Air, the pure^ nefs and fubrilty of the Medium t vf IW yield an eaff Paflfage to the Species of the Objecl, fo that the Eye will receive them without any fenfible Di- minution of their Luftre. In fine, that variety X and degradation, obfervable in the Colour of an > Objecl:, is not only owing to the Light, which at different Hours of the Day is unequally fplen* did, but to the different Rarity and Denfity of the Atmofphere, through which the Colour is sranfinittcd to the Eye. The Shadow of White expoftd to the Air, The Colour ,iYill appear bordering upon Blue. The reaibn of th « sha- k do* of Whit* ♦ 74 <*A Treatife of Tahth/g, is owing to this, that White is not properly a Colour of it felf, but only the Subject or Recep- tacle of other Colours: Now having already fhown, that every Body partakes of the Colour of its Object, that part of a White Surface op- posed to the Air, mud of neceflity appear tinged with its Azure. What Colour The Shadow bordering the moll upon Black, produces the ^ s that which is caft on the Whiteft Surface, darkeft sha-and this Surface is more peculiarly difpofed to dow. produce variety of Shadows, than any other : For White being no Colour of it felf, but bare- ly a difpofition to receive all Colours indifferent- ly, White Surfaces partake more intenfely of the Colour of their Objeds,and render it more vivid, than a Surface of any other Colour : This is par- ticularly obfervable where the Objed is Blacky or of any obfeure Colour, far removed from' White*, in which cafe the White appears fenfi- bly clouded, and there is a vifible difference be- tween the principal Lights, and principal Shadows. A Colour It may fometimes happen, that the fame Co- fometimes ] our fhall not receive any alteration, tho" view'd fame W forcea! at different diftances *, this muft be the cafe,when different rC Di- tne feveral denfities of the Air, and the feveral ilances, and diftances whence the Colours are feen, bear the in Airs of dif- fame proportion : The Proof is as follows } let fercnt Denfi- j h e an Eye, {Tab. i • Fig. 9. ] and H any Colour that you pleafe, placed one Degree diftant from the Eye, and in an Air four Degrees denfe ; fiow,becaufe the fecond Degree above,^ M N L is twice as fubtile as the Degree beneath, the Colour muft be twice the diftance of A H, remo- ved from the Eye in A M N L, to make it ap- pear the fame that it did in the former Degree j and of courfe muft be placed in the Point C : fur- ther *By Leonardo da Vinci. 7$ ther, if the Colour be rais'd to a Degree twice a4 fubtile asthefecond, viz* toO M P N, itmuft be removed to the diftance E i in which cafe the Line of its diftance A F, will be Equivalent in quantity of Air, to the diftance A G, as will appear from the following demonftration ; if in the fame denfity of Air, the diftance A G inter- poled between the Eye and the Colour, take up two Degrees, and A E two Degrees and an half, that difference, is enough to prevent the Colour £7, from undergoing any alteration in its removal to E •, becaufe the two Degrees A C and A F, being in the fame denfity of Air, are alike and equal \ but the Degree of Air C JD, though equal in length to the Degree F G, is neverthelefs un- < equal to it in denfity, becaufe it is found in an Air twice as fubtile as that below \ one half De- gree diftance of which laft, intercepts as much of the Colour, as a whole Degree of the former : By calculating therefore, firft the denfities of the Air, and laftly the diftances, you will find the Colours to have chang'd their places, with- out any alteration in their Luftre : the denfity of the Air you may calculate thus ', The Colour H is placed in an Air four Degrees denfe, the Colour G in two, and that E in one \ now let us fee whether the diftances be in a Reciprocal pro- portion, but converfe *, the Colour E is diftant from the Eye two Degrees and a half, the Co- lour G two Degrees, and the Colour H one ; but thefe diftances not bearing an exact propor- tion to the denfities, we muft proceed to a third Calculus, fomewhat after this manner ; the De- gree A C, we have already fuppofed fimilar and equal to that A F, and the half Degree C B is fimilar, but not equal to the degree A F, as be- ing but half a Degree in length, which at the fame £ g,4 Treat ife of 'Paintings fame time is equal in quantity of Air, to an en-* tire Degree of that above it : The calculation will now be found compleat and fatisfa&ory ^ for A C is equivalent in quantity, to two De- grees of the Air above, and the half Degree C B is equivalent to one entire Degree of the (aid Air, and another Degree is found between B Ej which makes the Sum of A £ equivalent to four Degrees of denfity : Thus A H has like wife four degrees of denfity:, and A G has four in like manner, vit. AFtwo, and F G as many, which added together make four: fo that if the diftance A E, be not double the diftance A C7, nor quad- ruple the diftance A H-, yet. has it that defici- ency fupply'd by the half Degree of dtnfe Air C B, which is equivalent to a whole Degree of the fubtile Air above. Thus have we proved our proportion, which was, that the Colour H C E, will be feen the fame, at different diftances. Of the Per- T ne fame Colour being placed at different fpecftive of diftances, but at equal heights, its Force or Colours. Luftre in each pofition will be proportional to its refpective diftance from the Eye that views it , as may be thus prov'd : fuppofe E BCD di- vided into four parts, each of the fame Colour •, let the fi rft, E> be removed fromthe Eye A^ two Degrees, the fecond B, four Degrees, the third C, tix Degrees, and the fourth T eight •, as is 'jthown in the Arches terminating on the Line A RjZ Tab. i. Fig. 10. 2 tafdy fuppofe the fpacc AR S P, a Degree of fubtile Air, and the fpace SP E T 3 a Degree of denfer Air •, now the Co- lour E to arrive at the Eye A, muft pafs thro' a Degree of denfe Air E S, and another Degree of more fubtile Air S A 5 and the Colour B, mult fend its Species or Image to the Eye Aj through two Degrees of denfe, and two of fubtile Air -, the - *By Leon ah do d\ Vinci. 1 1% the Colour C through three Degrees of denfe Air, and three of Subfile ; and the Colour T through four Degrees of denfe, and as many of fubtile Air : Thus, it appears by this example, that the proportion of the weakening or degra- dation of Colours, is the fame with that of their diftances from the Eye that views them ', but this is only to be underltood of Colours fren at equal heights-, the fame rule not holding, when they arV'fituate in different parts of the Air, whofe different denfities alter and weaken them unequally. A Colour will appear the fame, though remo- How ved into different places where the Air is ofdif- lour » iy - fercnt denfities, provided the diftance and th< p l j r r i a • 1 • 11 -i ia Y literati- denfityof the Air, be reciprocally proportional • tho that is,provided the Colour be no more weakened in ' differ- by the diftance of the Eye, than its Paflage is Places and facilitated by the thinnefs of the Air : This mav where the be thus proved ; fuppofe thefirft or the loweft^^ Air to have four Degrees of denlity, the Colour to be one Degree diftant from the Eye, and the fecond Air, which is higher than the fir ft, to have loft one Degree of its denfity, and to be on- ly pofTcfs'd of three •, add one Degree to the diftance of the Colour } and when the Air which is ftill higher, has loft two Degrees of its den- fity, and the Colour has gained two Degrees in diftance •, then will your firft Colour and your third, be perfectly alike : in a word, if your Co- lour be rais'd fb high,as that the Air,there want three Degrees of its denfity or groffneis, and that the Colour be removed to three Degrees of diftance, then you may reft aftured that the high and diftant Colour, will receive a Diminu- tion of Luftre, equal with that of the lower and nearer Colour , becaufe if the Air on high, want throp ?8 s cA Treat ife of Tainting, three quarters of the denfity of that below, the Colour at its utmoft Altitude, has added three quarters to its Primitive diftance from the Eye j which was the thing we intended to prove. Different Co- 'Tis by no means inipofTuble, but that all the lours may ap- feveral Colours we fee, when involved in a Sha- ^ ure eq ^ ally dow, may equally lofe their different Luftres, means' of the an< ^ a PP ear transform'd into the fingle Colour of fame Shadow. tn e Shadow it felf: This in effecl: is no more than what happens every dark Night, during which, we are unable to diftinguifh either the Figure, or the Colour of any Body whatever : For darfc- nefs being nothing but a mere privation of all Light, both incident and reflected, by means of which we d>fcem the Forms and Colours of Ob- jects ; it follows that the caufe being taken away, Why the Eye the cffe which is topped of ^ Red Colour: In this Cafe, the Light commnnica- teu from B being of the fame Colour with the Body, will tinge with Red the Oppoike Body £} io that if B were of a Red Colour before, its Redneis will now he hcightcn'd, and r^nder'd much more beautiful than that of £ : but ftp- poiius- T$y Leon ak do da Vinci. .Si poling it to have been Yellow before, then will there refult from the mixture of thefe two, a dubious Colour partaking both of the One and the Other. Since 'tis by means of Light that we diicover The moft the Quality of Colours, it follows, that where beautiful part there is the moft Light, we fee moft of the real of a Colour Colour of the Body enlighten'd , and that where £ t b h e c £"t there is the moft darknefs, the greateft fhare of Colour is loft in the Shadow ^ For this Rcafon, a Painter mult alwuys remember to lay the moft perfect and beautiful of his Colours, on the en- lighten'd Parts. TheGreen-Colour, madeofCopper-ruft, com- Of Verdigris; monly called Verdcgris, tho' ground in Oil, will not fail to evaporate in Smoke, and lofe its Beau- ty, unlefs you cover it with a thin Skin of Varnilh, im mediately after laying it on *, but this is not all, for if you wipe it with a Spunge dipt in clear Water, it will rife from the bottom of the Painting, and peel off like a Water-Colour : This is particularly obfervable in Moift Wea- ther, and fee ms to be owing to this, that Ver- digris being a kind of Salt, is eafily dilTolved In moift Air •, and efpecially if foften'd with the additional wetncfs of a Spunge. Some Aloes CavaUlno mix'd with your Ver- How to &&& digris, will make it much more beautiful than itment the was before •, and it wou'd become ltill more fo, bcau£ y of by the mixture of a little Saffron, cou'd it be.^' 2 " 5, prevented from evaporating. The Goodnefs of your Aloes, will be found in its dilfolving in hot Aqua Vita, which diflblves it much better than Cold : And if after ufing any of the Verdigris^ you go flightly over it with fome of this liquified Aloes, you'll find the Colour become incompara- bly beautiful : Further, this Aloes may be ground Q. Iri $% cA Treat ife of 'Painting, in Oil, either by it felf, or with Verdigris, of with any other Colour that you pleaie. Of the mix- Though the Mixture of Colours one with an- ture of Co- other, do almofl: admit of an infinite Variety, lours one y ct niu fl. j c not \ )Q \ rd fc\{ over vvitllOUt a few vith another. tranfient Remarks . Accordingly, in the firft place, 1 fhall lay down a certain Number of fim- ple Colours as a Foundation-, with each of thefe, mixing each of the Red, one by one, afterwards two by too, and three by three, proceeding thus to an entire mixture of all the Colours together : Afterwards, 1 (hall begin to M.nglc thefe Colours over again, two by two, then three by three, four by fontanel foto the end} upon thofe two Colours fhall belaid three,and to thefe three fhall beadded three more, afterwards fix, and fo on, continu- ing this Mixture through all the Proportions : 3Kow, by limple Colouis, I mean fuch as cannot be made or fupply'd out of the Mixture of any- other Colours : White and Black 1 do not reckon among Colours, the one reprefenting Darknefs, and the other Light} thutis,thcone beinga mere Privation of Light, and the other mere Light it felf, either Original or Reflected} I (hall not omit to fpeak of thefe, however, their Ufe be- ing of the laft Importance in Painting, which is nothing in c[k&:, but a Compolltion of Lights and Shadows, that is, of Bright and Obfcurc After White and Black, comes Green and Yel-< low, then A7ure, after Tanivd or Oker, then Violet, and lallly, Red. Thefe Eight being all the fimple Colours in Nature, I now proceed to fpeak of their Mixture. In the firft Place, mix Black and White together, then Black and Yel- low, and Black and Red •, afterwards Yellow and Black, Yellow and Red, &c. But, becaufe Paper begins here to fail me (f ays the Author) 1 (hall treat at large of the Mixture of Colours, in a Work by it felf. The ' *By Leonardo da Vinci. 8j , The Surface of every Opake Body, partakes Of the Sur-" 1 r the Colour of the Body that enlightens it. fac " of d, » rfe his appears in the Inftance of dark Bodies, es * one of which fhow either their Figure or Co- mr, nnlefs the Medium between the Body and he Light, be illumined : If the Opake Body there- )re be Yellow, and that whence the Light ;omes Blue, the illumined part of the Opake Bo- ly inn ft of confequence be Green ; that being he Reful t of Bine and Yellow mingled together. A White Surface is better difpofed for the Re- wha t Surfict :ption of any Colour, than the Surface of any the moft P ro *. ther Body ; provided the latter be not tranf- l" c - wl l° r c" >arent. To prove this, we fay that every emp- lours" 8 y Body is capable of receiving that, which ano- her Body, not empty, cannot receive; now if >u allow White to be empty, or in other 'ords void of all Colour, it follows that being u mined by a Body of any Colour whatever, it nft retain more of that Colour, than Black, hich, like a broken VefTel that has loft its re- nrive Faculty, lets the Colours flip, as faft as receives them. The Surface of any Body, will partake moft A Body wilt "the Colour of that Object which is neareft it : be the moft e reafon is obvious, for the Species iITuinp' t ! n§ ^ with . )tn a nearObjed, mult lodge in greater a bun°-! t8 ^ e ft nee upon the Surface, and make a greater al- Objed. ;ation in its Colour, than thofe emitted from tody more remote •, hence its Colour will be ore vivid, and more perfect in its kind, than it ca me from a Body at a greater diftance. what Body The Colour of an Opake Body will be fo much will appear of le more perfect, as it is nearer another Body the muft f the fame Colour. beautiful Bodies appear^ vifible at greater diftances, mo?thTca*# proportion as their Colours are in greater quan- na tion Q f S G a tities. Fa«g» §4 gA Treatise of Tainting, tides. Hence we fee why Faces difappear even at moderate diftances, the grcatcft (hare of them being poflels'd by Shadows, in companion of which the Lights are very iriconfiderable : Thus, every Face becomes obfeure at a {hotter diftance 3 as the Shadows bear a greater proportion to the Lights: Further, a Face will become fo much" the darker as it has more White oppos'd> either before or behind it. How to De- A Painter, to defign from Relievo's mnft tinge fi.gn from ^ e ~the Surface of his Paper with a Pale imperfect. Jicvo s and to ol , , , ' , ,. r ' r . . prepare the Shadowy he may then proceed to difpoie hiS Paper for that deeper Shadows , and Laftly, To give his Work Purpofe. the finifhing Caft, let him touch his principal lights, but with a great deal of Adrefs and Conduct, it being thefe laft Touches, which, at a Moderate Diftance, do the foonefl difappear to the Eye. Of the Chan- Among Colours of the fame kind, that which ges obfcrvabie is neareft the Eye will undergo the lead; Altera- in Colours ac-tion •, The Reafon of this is Evident, for the cording to ^} r jnterpofed between the Eye and the Objed, L^lefFS- 6 * nas a l wavs f° me E-hcct upon it, and alters its ftance from Colour, either in a greater or lefs Degree ; when the Eye. the interpofed Air, therefore, is found in a fmall Quantity, it muft needs communicate a lefs (hare of its own Azure to the Species tranfmitted through it, and therefore will diicolour it lefs, thanwhen the faid Air, being in a greater Quanti- ty, has both a greater mare of Colour, and makes more Refiftance to the Species, in their Paflage. Of the Ver- In a Campagne of the fame Quality and Kind, dure feen in the Verdure of Trees and Plants will appear ,the Country. m0 re obfeure, and that of Fields more bright. An obfeure Verdure will approach nearer an A7.ure, than a bright one •, Azure being com- pofed of Bright and Obfeure feen at a great De- fiance. Of *By Leonardo da Vinci." 8$ Of all Surfaces, there is none whofe Genuine what Bodies Colour is harder to be difcern'd, than thofe d ° not niovv which are bright and poliftfd : This is obferva-^"* 10 ^ iole, in fome Herbs, and in the Leaves of fome Trees, whole Surfaces being fmooth and mi- ning, aflame that Colour^ which the Sun's Reflex calls upon them \ or, at leaft, that of the Air, which illumines them : Infomnch, that in thofe parrs, where thefe Reflex's ftrike, the Real Co- lour is but little ken. Thefe Bodies, of all others, do belt difcover what Bodies their Natural Colour, whofe Surfaces are the do bcft difc °- rougheft and moft nneaven-, This maybe feen vcr r ^ e,r na ~ in Cloth, Linnen, Leaves of Trees, and Herbs tura that are Furry, on which the Light cannot ga- ther in any Quantity, and which, for that Rea- fon, being unable to receive the Images of neigh- bouring Objects, fend their Colours pure and unadulterated to the Eye : Hence, thefe Bodies ire neither tinged with the bluenefsof the Am- bient Air, nor difcobured with the Rednefs of the letting Sun, even when he paints the Clouds, ind the whole Horizon with his Colour. The Colours, Vivacity, and Light of a pain- The Light of :ed Landskip, will never Vie with thofe ol a aLand sk»p. latural One illumined by the Sun, unlefs the painted Landskip it {elf, be likewife enlight- in'd by the fame Luminary. By how much the Air approaches nearer the of the Per- fiorizon, by fo much it will participate the *P? *" Te oft Jj e nore of an Azure •, and on the contrary, the^ ir, . and the c r II,. i j. , Diminution 01 nore remote trom the Horizon, the dimmer and c j our$ f ee „ nore obfeure, will its Blue be fecn : The Rea- a t a Diftance, on of this, I have already given in my Trea- tife of Perspective, where, 1 have Ihewn, that i Body both receives and reflects a lefs (hare of jght, in Proportion as the Body is thinner, G * and S6 qA Treatife of Tainting, and lefs fubtil. Now it is confefs'd, that the Air far diftant from the Earth, is purer and more refined than that in its Neighbourhood \ of Confequence therefore, the upper Regions of the Heavens mud be darker, and more obfcure than the Air below, through which the Sun- beams penetrating, enlighten an infinity of Atoms fwimming in it, and thereby render it vifible to the Eye : Hence the Species of the abovemention'd dark Regions, palTing through thofe more enlighten'd Ones underneath \ the whitenefs of the latter, mult of Neceffity be qualified by the obfcurity of the former, and will thereby become Azure : Now this Azure will appear Hill brighter, as the Quantity of Aii interpofed between the Eye and the Obfcurei Parts is greater \ as for inftance, fuppofe the Eye placed at P, [Tab. i. Fig. 12.3 and let it look along the Line P R , then lowering a little let it look along the Line P S\ in this latter Calf the Air will appear fbmewhat brighter than ii the former, becaufe, it looks through a greate: quantity of Grofs Air •, but if the Eye look di redtly toward the Horizon, then the Azure whicl appeared deep in the firlr. Line, and fomewha fainter in the lecond, will in a meafure wholh difappear in the third, there being a much grea ter Quantity of grofs Air in the Horizonta Line P D, than in the Oblique One P S or th Perpendicular?^. Of Air feenm -j] iat ^j r a i onej will have its Image reprefenl a Lndskip. ed on tbe Surface of the Water, which is refle died from the Water to the Eye between equz Angles; tnat is, whofe Angle of Incidence i equal to its Angle of Reflexion; Colours a-mi- Every vifible Ob ject, will ' fhow fo much lei niik'd by the of its Natural Colour, as the Medium betwee Medium, . . : , ^ ^Leonardo da Vinci. 87 that Object and the Eye, is more denfe. Two Colours, one whereof fervcs for a The Ground Ground to the other, whether they he illumined, fuitaWe both or fuppos'd in a Shadow, will appear free and J^ r Lights anO. loofe from each other, in proportion as they are ia ows * found in different Degrees-, That is, one Ob- fcure Colour mod never ferve as a ground for another •, but for that Ufe you mull chufe fome very different Colour, as White, or fome other Colour bordering in the fame Degree upon White, as the other appears bordering upon Black. When one White Body fervcs as a Ground what Remw to another, thefe two Whites, will either be d ^ to take equal, or they will not ; If they be equal, thcn* h ™ ™ e m ._ that fuppos'd to be nearefl you, may be a little nates upon obfeured, towards its Extremes bounding on the another, other \ But, if the Ground be lefs White than the Colour laid upon it, then will the latter loofen it felf of courfe from the other, fb that you need not have recourfe to any Expedient or Artifice whatever. White appears the brighter, as the Ground itThe different is found on, is more obfeure, and on the con- effe but herein they are unhappily mifta- ken, for the very contrary method ought com- monly to be obferv'd, excepting where the thing to be reprefented is White \ as we fhall have occafion to fhow more at large underneath. Of the Co- Thofe Objects view'd through the greateft lours of Ob-extent of grofs Air, appear the moll tinged j.tfts far di- with its Azure } fo that the Air communicates a ftant from the g reater ^ arc f j ts Q)i our to a Body feen at two Miles di fiance from the Eye, than to the fame Body when feen at half that difcance : Here fome one may Object, that in Landskips the Trees near at hand, appear brighter than thole at a greater diftunce, which lcems to overthrow our < By Leonardo da. Vinct. 89 our proportion •, but this Objection is ufually falfe, when undevftood of Trees ranged at equal diftances \ and does only hold true, where the neareft Trees are placed fo wide from each other, that between them you fee the Light of the Air, and of the Intermediate Fields, the more remote at the fame time being clofer and more compact, as is often obferv'd on the Banks of Rivers, where the Trees are feen fo near to each other, that they join their Shadows, and prevent either the Verdure of the Fields, or the Brightnefs of the Air from appearing. It muft be obferv'd however, that as the Shadow'd part of a Tree is more large than the part illumined, its Image will be ftronger, and will preferveit fllf better, than that of the other •, for which reafon, a far diftant Tree may happen to appear more obfeure than a near one, notwithstanding the Azure brightnefs communicated by the Air to the latter. That which is beautiful, is not always good ; Degrees of. this is intended for certain Painters, who are fb c ° lou . r * n taken with the beauty of their Colours, that they Paintln S* can find no room for Shadows •, never ufing any but what are flight and almoft infenfible. Thejfe People have no regard, to that force and Relievo which Figures receive from a bold Shadow ^ and are fomewhat like your fine Talkers, who ufe abundance of good Words, but without any meaning. The Ocean has no uniform, univerfal Colour The Sea of appearing the fame throughout ^ a Spectator at different Co- Land fees it obfeure, and efpecially near the Iours ' wh *" Shore, fome White Waves appearing near the j?*" ^ p^ces." Horizon flowly moving, like Flocks of Sheep *, to thofe at Sea it appears Blueifh, and the reafon of this difference, is no hard matter to deter- mine: 9° *A Treatife Of

ear with a fnperior Force, when oppofed one another. Of limple Colours, the firft in order is White: Offimple Co- rns, and Black, we know are excluded by the l ™ r . s * nd 'hilofopher out of the number of Colours, thej££n p °" ne being the caufe of Colour, and the other its irivation *, however, inafmuch as they are indif- tenfibly neceflary for a Painter, we Ihall not :ruple to admit them among the reft, yielding he firft place among fimple Colours to White, r ellow has the fecond, Green the third, Azure he fourth, Red the fifth, and Black the fixth J White we fhall lay down for Light, without /hich no Colour can be feen \ we mull have r ellow to reprefent the Earth, Green for Wa- :r, Azure for Air, Red for Fire, and Black for )arknefs. As to compound Colours, if you de- re to arrive at a fpeedy knowledge of them in 11 their variety, do but take fbme Pieces of Pain- ed Glafs, and through thefe Survey all the feve- al Colours which prefent themfelves to the Eye, 1 a Country Scene •, thus will you find the Co- >ur of every Objed which you view, mingled and dulterated with that of the Glafs, and may eafi- f perceive which undergoes a change more or ?fs to its advantage •, which receives additional eauties, and which are ftripp'd of their original harms •, for inftance, if your Glafs be Painted rich Yellow, you will find Azure, Black and Vhite confiderable fufferers by the mixture, and at $6 qA Trtatife of Taint h/g, af. the fame time, Yellow and Green will be beautified, and made more per fed. Other GlafTes will have their influences on other Co- lours, all which you rtiufl: carefully obferve and confident ftiil chilling out, for your own Ufe, fuch whofe Compofition appears the neweft, and moll agreeable- When you have thus carried yoiir Obfervations through the whole variety of Colours, and have viewed them all through a Glafs of each kind, proceed to combine Glafles of different Colours •, tiling fir ft two, then threCj after four, and eveniivc, or fix, if you find Oc- cafion for lb many \ {till obferving the Rules al- ready laid down for the fimple ones. Remarks on Azure, and Green are not fimple Colours in Colours. themfelves, the former being compofed of Light and Darknefs, that is, of a perfed Black and a per fed White, as we have already obicrved of the Azure of the Air , and the latter, of one iimple Colour, and one Compound, to wit. Azure and Yellow, which together, form a Green. An Image exhibited in a Mirrour does always participate of rhe Colour thereof, and the Mir- rour is reciprocally tinged with theColour of the Image it exhibits ^ thefe do ftill borrow more, the one of the other, as the Colour of the Ob- jed is ftronger than that of the Mirrour ^ and the Image will ever appear more vivid, and pcr- fed in its Colour, as that is nearer and more a- kin to the Colour of the Mirrour. Among the Colours of Bodies, that which is of the brightell White, will be ken at the great- eft diftance; ofconfequence therefore, that will difappear at the fraalleft diftance, which is the moft'oblcure. Amons f B) Leonardo da Vinci^ 97 Among Bodies of equal Whitenefs, and equal- ly diftant from the Eye, that will appear to be the whiten:, which is incompa(Tcd with the grea- teft Obfcurity : And, on the contrary, that Ob- fcurity will be feen the darkeft, which bounds on the brighteft White. Of Colours equally excellent, that will appear the mod perfeft, which is feen neareft its direct contrary : thus, a pale Colour, near a Red one, Black, near White, ( tho' neither the one, nor the other,' properly a Colour, ) Gold, near A- zure } and Green, near Red, appear with Ad- vantage ; it being a natural Property of all Co- lours, to fhow themfelves more, near their Op- polites, than near thofe alike to them. A White Object feen in a dark, thick Air, will appear larger than it is in reality } the Rea- Fon has been already affign'd, where a black Fi- gure was Ihown to inlarge it felf, on a bright Ground. The Medium between the Eye and the Ob- ject, difguifes the latter with its own Colour ; Thus Mountains, at a great Diftance, are feen coloured with Azure } thus a Red Glafs, tinges every thing feen through it, with Red •, And thus the Light around the Stars is altered and obfeured, by the darknefs of the Night. The Genuine Colour of any Body, appears in that part, which neither receives any Shadow, nor any bright Light. When a bright Colour terminates upon an Obfcure one, the Extremities of the former will by that means become brighter, and more vivid \ and thofe of the latter deeper and more ob* (cure. Among Mountains far removed from the Eye, oftkeCoW* ihat will appear of the molt beautiful Azurej of MoiwKixns. H which q3 qA Treatife of Tainting, which is in itfeif the molt obfcure ; and that will be the moft Obfcure, which, is the hightft, and mod covered with Wood , becaufe of the Shrubs found beneath the larger Trees, which being ftladow'd from the Sun, appear Dark and Gloo- my , Now the illumined Air, interpofed be- tween thefe Shadowy Mountains and the Eye, mult of ncccflity have its Azure heighten'd and made more perfect by means thereof : and the tops of High Mountains, being likewife the more Obfcure, by reafbn of the thinnefs of their Medium, will have the fame Effect, on the Air, through which they are viewed. It follows, therefore, from what we have already laid down, that the Mountains thcmfclves, mull appear under the fame divcriity of Azures, with thofe of the Airs through which they are viewed •, and that the ralleft, and the fhadyeft will excel the reft, in the Beauty of their Colour. How a Pain- To enable your felf to manage the Perfpeclive eet may put of Colours, and to make their Changes, Weak- i.» practice the en } n g S? ant | Degradations correfpond to Na- Coioufr' ° fture ' takc the Allowing Method. In fome Open Champagne, chufe out feveral Objects pla- ced at the diftance of one or two hundred Fa- thoms from each other :, be they Men, Trees, Houfcs, or the like. Mow, if for inftance, your fivft Object be a Tree, place a Glafs over againft it, and holding your Eyes fteadily in the fame Pofiuon, Deftgn your Tree upon thcGUTsi tra- cing out the Contour from the Image before your Eye;, having done this, retire backwards till Inch time as the Natural Tree appears nearly ,>sA with that you have DelignM •, Hew you may colour the Figure, taking your Mcafures from the Object appearing at a Diftance , and EOinhir:,:?; it with Care, a.nd Attention, till at length front p.gg. ■ By Leonardo da Vinci^ 99 length it be brought to refemble the Natu- ral Tree, both in Form and Colour •, info- much that by (hutting one Eye, they may ap- pear both painted alike, and both equally di- ftant : Continue the fame Courfe, with regard to the other Objects, at the Second and Third Di- ftance ; treafuring up fuch Pieces as you perform in this way, and confulting them on all Occafi- ons, as Guides and Rules for your Conduct. By the Experiments I have made in this kind, it appears that the fecond Object, at the Diftance of twenty Fathoms, beyond the firft, diminifhes four Fifths of its bignefs. There is (till another kind of Perfpe&ive, Of the Aerial called the Aerial One ; which by the different Perfpeaivc. Colours of the Air, (hows the different Diftan- ces of feveral Objects placed in the fame Line. For Inftance, if in feeing a Number of Buildings riling behind a Wall, which appear of the fame bignefs, and ranged in the fame Line, you have a Defire to paint them, in fuch manner, as that one may appear farther removed from the Eye, than another; To favour thisDefign, you mull reprefent the Air, fomewhat Grofler than Ordi- nary \ becaufc, in that Cafe, it will tinge far di- ftant Bodies very fenfibly with its Azure, as is obferved in Mountains, &c This, once fuppofed* you may fhow the Building which appears firft, on the other fide the Wall, in its natural Colour ; The next, which is to be a little further remo- ved, muft have its Profile a little more flight, and mull farther fhow a faint Tincture of Azure; the Third, which is to be ftill further diftantj mull appear ftill more Azure, in proportion; and, if you wou'd reprefent a Fourth, removed five time the diftance of the laft, you muft di- ftinguifti it with an Azure five Degrees more H % ftrong *oo oATreatife of Tainting, ftrong and fenfible : By this Means, your Build-* ings, tho' painted all in a Line, and of the fame bignefs, will neverthelefs difcover themfelves to be all confiderably different, both in Bignefs and Diftance. Remark on The Meafures of a Human Body, alter in the Koporti- ^h Member, as it is more or lefs bent, and in man°Body " *^'^ rent Afpe&s, always increaiing or diminifh- ing more or lefs on one fide, as they diminifh or increafe more or lefs on the other. The different Man, in his fir ft Infancy, has the breadth of Proportions his Shoulders, equal to the length of his Face; in the Body of as jjkewife, to that part of his Arm between the tha*of a" Shoulder and the Elbow, when the Arm is bent: Child. It ' s > h'kewife, equal to the fpace between the Elbow, and the long Finger \ and further, to _ the interval between the Jontture of the Knee and that of the Foot : But when he is arrived at \y bis utmoft pitch, thefe Meafures become all " double in length, except the Face, which, to- gether with the Head, undergoes very little Al- teration : Thus, a Man come" to his full Growth, if he be well proportioned, ought to be in height ten Faces, the breadth of his Shoulders, two Faces, and all the other parts, j ift mention- ed, as many : For the reft, we mall treat oi' them, when we come to confider the Proporti- ons of all the Parts of a Human Body. children have Little Children have their Jonttures extremely th«tr jonaures fmall and (lender, and the intervals between con " Ary to them grofier and more bulky \ this happens be- \ ° r ^J^ car| k tnc Jwttures have nothing but a bare Skin wit to built and t0 cover them, and a few cartilagcnous Mem- GtoSacfi. branes to bind the Bones together-, all the foft and juicy Flefh being lodged underneath the Skin, between the feveral Jm&ures : While the Man is in his Growth, the Flelh difcharges it fclf *Bj Leonardo da Vinci, ioi felf of a great deal of thefe Superfluities, fb that his Members, in Propprtion, become more (lender : But the JonStures, which confift of no- thing but Bones and Cartilages, not keeping pace with them in this Decreafe*, the effect is, that the Child who had his Jonctures finall and skinny, and the Psrts between them fat and plump, as is feen in the Fingers, Arms, and Shoulders :, when conic to Manhood, has his Jonftum ftrong and bulky •, the fame Parts being bold and prominent in the Man, which were thin and hollow in the Child. Between a Man and a Child, is found a very A remarkable confidcrable difference in the length from one™ 5 """ m Jo-Mure to another-, for a Man, from the Jon- * f e a Ma B u £Ji tture of his Shoulders to his Elbow, and between a child, the Elbow and the tip of the Thumb, and from the Extremity of one Shoulder, to that of the other, has the Meafure of two Heads; whereas the Meafure of a Child in thefe parts is but one. The Realbn appears to be this, that Nature in the fir ft place, employs her felf about the Head, as being the principal Part, and the feat of the Underftanding •, fetting afide the other lefs con- fiderable Parts of her Fabrick, till fhe has for- med the Capital. The Joncluns of the Fingers, grow bigger on The jonaurej every fide when they are bent; the more they of Fingers, are bent, the more this appears, and the more they are ftreightened, the lefs. do they again grow : The fame thing happens in the Toes, and is always more fallible as they are bigger and more flefhy. The Jonttures of the Shoulders, and of the The Motion other flexible Members fhall be explained in my of shoulders. Treatifeof Anatomy; wherein will be fhewn, H 3 the io2 eA'Treatife of Tainting the Caufesof the Motions, in all the Parts of a Human Body, of thcShoul- The Motions produced by the Jontturcs of the £ers. Shoulders, are moftly fimple •, that is, the Ann directed by them, is ufually carried cither up- wards or downwards, backwards or forwards. Though thefe Motions may be faid to be infinite •, yet in EfTecl:, does the Arm in defcribing a Circle on the Wall, fhow all the Motions it is capable of. For every continued Quantity being divili- ble in infinitum, and this Circle being a conti- nued Quantity produced by the Motion of the Arm around its Circumference, it follows of Courfe, that the Motions of the Shoulders are infinite. Nouniverfal Univerfal Meafures of Bodies, arc only to be Meafure to be obferved in the heights not in the breadths of Fi- t"e fC breIdth°s rgUre ^ ]t bein § one of the Wonders of Nature, q£ figures. S tnat * n a ^ ' ier infinite Productions, we never find any one, of what kind foever, precifely like ano- ther. You therefore, whofe Bufinefs it is to /O imitate Nature, confider that Variety which flic fets before your Eyes; and learn from her, to y diverfifie your Contours; avoiding withal, any thing Monfterous and Shocking, as Legs too long, Bodies too fhort, ftrait Brtafts, long Arms, and the like •, and indulging your fcif chiefly in the Joncrures and ThicknciTes of Members \ it be- ing in thefe that Nature her felf feems to afFe& the greateit Variety. The Arm ion- A Painter is indifpenfibly obliged to be ac- gcr when bent, q Ua j n ted with Ofteology ; That is, with the feve- tlian when ^ Bones f erv j ng as Frops tQ bear „ p thc j^fl, ftretchd out. , . , , o r , .1 * wherewith they are covered 5 and with thc jon- tturcs-, which occaficn the limbs in bending to enlarge and diminiih j for thc length of thc Ann w hen front, r • K A T^y LEONARDO DA ViNcr. 10? when extended, is not equal to that of the fame Arm, when contracted •, it always Iofinrz; or gain- ~P ing an eighth part of its Meaflire, as it is ftretch- -^- ed out or drawn in. This fhortening and length- ening of the Arm, is owing to the Bone between the Shoulder and the Elbow-, which withdraw- ing out of its Cavity, when the Elbow is bent into an Acute Angle, [as you fee in the Figure A B ~] adds to the length of that part of the' Arm j and this Addition will be always the greater, as the Angle at the Elbow is more acute; and on the contrary, as the Angle at the Elbow grows more obtufe, this part of the Arm muft become fhortcr. All the Parts of an Animal, mult bear a fuit- The Pact? of ablenefs and conformity to the whole: Thus* 11 AnimaI to where the whole Animal is thick and fnort, each be made lui ~ Member in particular, muft be ib too •, where it Mother! is tall and (lender, the Members mult be tall and flender, likewife ; and where it is of an ordina- ry Make, the Parts mult appear ordinary in like manner. The fame thing muft be underllood of Trees i thofe formerly feil'd, being excepted out of the Number; becaufe thefe, in fending forth new Cyons out of old Trunks, deftroy their na- tural Form, and become, in effect, little better than fomany vegetable Monfters. The Wrift, or Jwliure of the Hand and Arm, of the j foot. V ous fide, which increafes when the Angle of the faid Jonllure is Acute, as in D E F\ and decreafes as that Angle grows more obtufe, as in Fig- ABC. pf the Knee. Among all the Members of a Human Body, whole Jonttures are capable of being bent; the Knee is that alone which lofes of its thicknefs in bending, and becomes more Grofs as it is ftretch'd out more ftreight. Of the Mem- Naked Men employ'd in any laborious Work, bcrsof Nudi-or violent Motion, do only fhow fuch of their ties. Mufcles, as playing along the fide of any mo- ving Member, is the Occafion of its Action :, the kA Mnfcles of each Member appearing more or lefs diftincl: and bold, as the effort it Exerts is more or lefs forcible. Whence an Of two Arms, that will be moved with the Arm moves greateft force, which being heaved out of its with the grea- j^ atura i p fture, receives the molt powerful Af- jeft violence. f]fl- ance f rom t ] ie ot her Members to recover it felf, and to drive it towards the Place whither it would go \ thus the Figure A, heaves back its Arm with the Club £, to recoiled it felf with the greater Force, by the Concurrence of the reft of the Body, and to drive it with the grea- ter Violence upon B. of the Moti- The principal part of Painting lies in the Art on of Man. f making happy Compofitions •, The Exprcjfira is the next part in Dignity, and confifts in giv- ing each Figure the ne'eeflary Attention to what it is doing •, and in making it fhow abrisknefs and vivacity fuitablc to its Character, and agree- ble fixrrU, p. front, p. 10 a,. 'By Leonardo da Vincl 105 blc to the Adion it is about, whether that be flow and heavy, or whether it require a greater ftiare of A&ivity, and Fire: Thus to throw a Dart, a Stone, or any the like proje&ile, let your Figure be fren in Rich an Attitude, and have fnch a Difpofition in all its Members, that its Intention may plainly appear: The two ad- joyning Figures furnifh yon with Inftances of this kind •, where their different Attitudes do plainly (how them engag'd in very different Actions. A fhows the greateft Zeal and Earneft- nefs, and aims a Dart, B appears more cool and languid, grafping a Stone:, now A will certain- ly throw his Dart to a greater Pittance, than B his Stone, becanfe though they both look the fame Way, and feem to aim at the fame Mark, yet in Effect, A makes the mod: refolute Effort; for his Feet are turn'd on the fide oppofite to that where he meditates his ftroke \ fo that in recovering himfelf, the Parts fpring nimbly back to their Place, and difcharge the Dart with in- credible Velocity : On the contrary, the Figure B having his Feet, and the reft of his Body in a natural Situation, a&s at a Difadvantage \ lb that its Motion is more feeble, and the Stone is projected with lefs violence ^ for it may be ob- served, that every Impetus or Effort in general, to have a forcible effect. mu.fi: begin with vio- lent Contorfions, and end in free, eafy and na- tural Motions-, thus a Sling, unlets vehemently agitated it felf, gives but a languid Motion to the Body it projects , and thus an Arrow comes loitering out of the Bow, that is not vigoroufiy drawn. Now the Figure A having launch'd his Dart, will find his whole Force exhauftcd to- wards that Quarter •, fo that though he immedi- ately acquire new Strength, yet that does only enable lo6 (±4 Treat zfe of Tainting, enable him to recoil, and to make a Motion, con-i trary to that already made. Of Attitude, Never let the fame Action be k^w repeated in Members, and the fame Figure *, neither in the principal Mem - their Motions. berSj nor even j n ,-^fc f ma n cr a nd lefs confir derablc, as the Hands or Fingers \ nor ever let the fame Attitude be feen twice in the fame Iii- ftory-piece \ where the Subjed requires a great Number of Figures, therefore, as a Battle, a Combat of Gladiators, or the like, there being kA but three ways of Wounding, viz,, with the Pufh, the Cut, and'the Back-ftroke, it will be necefla- ry to diveriify thefe three inannets as much as poflTible^ forinftance, if one of your Champions lx feen dealing his Blows with his Back towards theSp< d tor, let his Fellow appear (Ide-ways, and a third front-wife : {till varying the fame Action by the different Afpe&s of the Adors. In Battles, a compound Motion has always a very good El- fed, and feemsto animate and inflame theSubjedt. fA compound Motion is that of a Figure, when at ' the fame time it (hows Motions, that appear to. be contrary, as for Example, when a Figure fhows the foreparts of its Legs, and at the iame time, a part of the Body, by the Profile of the Shoulders : But of this we {hall fpeak in its place. The Motions ln the > fe " f the Members and their of the Nockfeveral Motions, take notice now the Mulcics tobeobkrv'd.fwelHngon one fide, fink and difappear on the other : this is particularly obfcrvable in the Necks of Animals, the Motions in that part being three- fold ; two of which are fimple, and l , the "third Compound, partaking of each of the \ * fimple Ones •, thefe, are one of them fhown when the Animal inclines its Neck towards one Shoul- der, and in bowing or raifing its Head \ the other appears when the Neck is turned either towards \ *By Leonardo da Vixcr, 107 towards the right fide or the left, without bending, the Face looking over one of the Shoul- ders, and at the fame time (landing upright: The Third, which we call the Compound Mo- tion, happens when the bend of the Neck is di- ftorted, the Ear being lowered towards one Shoulder, and the Face turned to the fame Place ; or towards the other Shoulder, the Face looking up to Heaven. All the Members muff: appear in the excrcife The Members of that function, to which they weredeftincd j to be made fit for in Ma nee, in dead Bodies or in thole that are^i thcis a flecp, none of the Parts muft appear alive or awake \ thus the Foot which bears the weight of the Body, muft be feen as if funk or Iqueez'd in, and not with its Toes free and difingaged •, ex- cepting where the Figure is pitch'd upon its Heel. The Motions of the Face, occa Honed by fud-Of the Moti- den Agitations in the Mind, are very numerous ^onsof the the chief are Laughing, Weeping, Shrieking, Face ' Singing in feveral Tones, mowing Amazement, Wrath, Joy, Sorrow, Fear, Vexation, Grief, and other the like Motions \ all of which we mail have occafion to confidcr hereafter : As to -£ Laughing and Crying, the Motions they produce in the Face, are very much alike, and the Cha- racters they imprefs on the Mouth, Cheeks, and Eye-lids, not to 'be diftinguifhed. Their only difference appears in the Eye-brows, and. in the fpace that feparates thefe from each other, and fhall be cpnfidered more at large, when we came to treat of the Motions happening in the Face, Hands, and other Members under any fudden furprize. The Knowledge of thefe Motions is of the lad importance to a Painter, and his Fi- gures without this will be dead in a double capa- city } io8 g/4 Treat ife of Tainting, city : Let him beware however, of the other extreme; nor ever make their Motions fo affect- edly animated, as to reprefent the Ferment of a Battle in a Scene of calmncis and compofnre, or the Fury of a Bacchanal, or fantaftick gcfturcs of a Harlequin in a Subject which requires Sobri- ety and Peace. Obferve further, that thole whom you introduce as prefent at the Aclion you exhibit, be attentive to what pafles, with Countenances and Behaviour, full of Admiration, Reverence, Grief, Dilfrnft, Fear, or Joy, as ihall be molt fuitable to the Subject, and to the Perfons forming the Aflembly. Obfcrvations The Bone and Cartilage which compote the for the De- Nofe, may be varied Eight different ways, 5? ning of which Form as many different kinds of Nofcs •, for either they are equallv ftreight, equally con- cave, and equally convex, which is the hx$ kind j or they are ftreight, concave, and con- vex unequally, which is the fecond \ or the Parts above are ftreight, and thofe below cor cave, which is the third fort •, or thofe above aie ftreight, and thole below convex, and this is the fourth fort ; cr elfe they are concave above, and ftreight below, and this is the fifth 5 or concave above, and convex below, which makes the ilxtb ; or laftly, they are convex above, and ftreight below, which is the feventh ■, or con- vex above, and concave below, which is the eighth kind. The fetting on of the Nofe to the Eye-brows, admits but of two different Forms, for it is always, either concave or ftreight. The Forehead is capable of three various Shapes, be- ing either plain, concave, or convex \ the plain is again divided feveral ways, lor it is either hol- low towards the top, or towards the bottom, or faces* *By Leonardo da Vinci." 109^ or it is fo, both at top and bottom ; or elfe it is plain and uniform, both at top and bottom. In order to retain the Air of any Man's Face, A Method of whom you chance to fee, apply your felf to the remembering Study and Obfervation of the feveral different FacK> Faces which prefeht themfelves before you ; al- ways taking cfpecial notice of thofe parts which diftinguifli one Man from another, and which contribute the molt, towards that infinite and amazing variety fo obfervable in the Species; thefe parts, are the Mouth, Eyes, Nofe, Chin, Neck and Shoulders: The Nofe,for inftance, ad- mits of ten different Shapes, and is either ftraight, crumpt, hollow, rais'd above, or be- low the middle, Aquiline, flat, fharp, or round ; all which, appear with the greateft advantage when ken fide-wife: Of Kofes proper to be feen front-wife, there are twelve other kinds; even, big in the middle, fmall in the middle, big about the tip and fmall in the letting on, fmall at the tip and big at the fetting on, Noftrils wide, narrow, tall, low, the Foramina open, or covered with the peak of the Noli. Thus every other part, how minute foever, will afford Ibmething particular for your Obfervati- on, all which being view'd with the neceffary attention, will enable you afterwards to Defign them from your Ideas. If this method be not al- together to your tafr, you may obferve that which follows: Carry always a little Pockct- Book with you, full of various Defigm of the fe- veral parts juft now mentioned •, and when you find a ntceflity to retain any Man's Air, obferve his Face very nicely, taking all his Features afundcr, and conlidering them Piece-meal; re- membring ftill as you go along to call an Eye over your Collection, and to match the natural parts no eATreatife of Tainting, parts of the Face with the Artificial ones in the Book-, putting a mark on fu'chof tiie latter as come neareft the former; to be afterwards join'd together at your Lodgings. Of t he Beauty Never let the Mufcle's in the Face be too bold., of a Face. or terminate too abruptly; but take care that the lights be fweet, and that they lofe them- 3 Jfelves inlenfibly in foft and pleafing Shadows; foi upon your conduct in this point, depends all the Grace and Beauty of the Face. Of the Equi- The Hole of the Neck between the two CLi- iibi i un of Fi- vlcles, mult hang perpendicularly over the Foot g ure s- that bears the Body ; if an Arm be ftretch'd out, the Hole quits its perpendicular, and if a Leg be thrown backwards, the lame Hole advances forwards; fo that in every new Attitude it gets a new Situation. The Motions A Figure whofe Motions are not perfectly ac- of a Figure to commodate to the Sentiment or Paflion it is fup- exprefs the pofed to have, (hows its Members to be in a Sentiment of State of Rebellion, and to want that Duty and its Mmd. Allegiance which they owe to the Mind : There muft be a great deal of Zeal and Application, therefor., cxprefs'd in the Behaviour of a Fi- gure, and its Action muft be fo proper and pecu- liar to the Subject, that it cannot poffibly ferve to fignifie any other thing, nor be ufed on any other occafion, than that it is intended for. Howtotouch In Naked Figures thofe Members muft (how thcMufdes their Mulcles the boldeft and molt diftinct, up- of a Nudity. 011 which the greateft ftrefs is laid ; and that thefe may have the better effect, obferve not to diftradfc the attention of thofe who view them t^ by too great a multiplicity ; only mowing the Mnicles of fuch Members as have the molt con- fide! able lhare in the Action exhibited; in com- parifpn ». /rcrntp. . *By Lf.onardo da Vinci. t\\ parifon with which, the reft muft appear lax and en nervate. A Man either in running, or in a moving; a A Remark on more gentle pace, muft fhow that part which the Motion is over the Leg fupporting his Body, lower than of a Man « the other. The Shoulders or Sides, of Men and other or *u„A-a Animals, will have the greateft differeuce in rent heights their height, when the whole Body is found in of the shout- the molt leifnrely Motion \ and on thecontrary, ders obferva- thefe parts of the Animal will come nearcft to bIc , in Ani " an equality in height, when the Motion of the Motion. " whole Body is the quickeft : This has been al- ready proved in my Treatife of Local Motion, M upon this principle \ that every heavy Body gravitates in the Line of its Motion } ib that if any Whole be moving towards any place, the part which is join'd to it, follows the fhor- teft Line of the Motion of its whole} without throwing its Weight on the Lateral parts of the Came Whole. 'Tis objeded againft the firir. part of what I objection; nave faid, that it is by no means necefTary, that a Man walking (lowly, or Handing ftill, fhou'd prcferve a continual Equilibrium of parts upon the Centre of gravity fupporting the weight of his whole Body \ but on the contrary, that he is frequently feen bending on one fide, even when the weight of his Body does wholly reft upon one Foot \ and that at other times, he difchar- ges part of his weight upon the Leg which is not ftraight, that is, on that bent at the Knee, as is feen in the two Figures B and C: In anfwer to which, 1 aflert that what is not done by the Shoulders of C, is done by its Haunches ; and that it at once preserves its own Equilibrium, and ve- rifies my principle. The. tlft oATreatife of Taint tag, The ftrctch- The ftrctcbing out of an Arm, drives the EquU ' ]L in g out of *nj;y riutn f the Body, into that Foot which (attains * Vu" 1 ^ rF s the whole weight : as is fcen in thofe, who with the Equilwrt- ■ ,-»,,, •• ,-/ • i_ »mof the Bo- Arms ftretchd out can walk upon a nope, with* dy. out 'he ufe of any Pole as a Counterpoise. Of the Cen Every Animal will have the Centre of its tre of Gravi j^ on wh j cn | t re fi- S) f much nearer the per- tymAmmak *pendicular of its Centre of Gravity, as its Mo- tion is more flow \ and on the contrary, the Centre of its Legs will be further removed from the perpendicular of its Centre of Gravity, as it is more quick and nimble in its Motion. Of a Man A Man in bearing a Burthen, has always the tearing a leaden Shoulder higher than the empty one : An Burthen on Inftance f this yo „ have j n the following Fi" his Shoulders. . . ', J _, ... r ^u it? ■ u*. gure, wherein the Central Line or the Weight, both of the Man and his Burthen, paiTes through the Leg which fuftains the whole ^ were it not for this, and did not the Weight of the Body* and of the Burthen, by being equally fhared, thus make an Equilibrium, the Man of neceflity mult tumble to the Ground : Mow, to this it is requifite, that fo much of the Weight of the Body, be thrown on the fide oppofite to that which bears the Burthen, as may make it a Counterpoife to the other •, and this can be no other way done, but by the Man's bending on that fide not laden, till fuch time as it comes to bear its fhare of the additional Load, laid on the orher. And this is the Expedient, which Witty, Inventive Neceffity, has rccourfe to on thefe Occafions. The Equiii- The Weight of a Man who refts only upon hrium of a one L e g ? j s always equally diftributed on both Man, when fidcs of lhe Centra i or Perpendicular Line, Itandin" on , . , r u , • ' A one Foot. , wmch fupports him. A Man *v * /rtmtp. u? "By Leonardo da Vinci.' ti£ A Man, in Walking, has the Centre of hisGra- Gf * Mati' vity, over that of the Leg, which is fet on the WaIIon S« ; Ground. Reft, or Privation of Motion in any Animal, of the Equ& arifes from the Equality, or Privation of Inequa-''^'"'" ° fif » lity, between the oppofite Weights 5 which, as*™™7p n ^ H they occahon it to move by their Inequality, io they keep it iTufpended, and at reft* by their Equality. That fide of the ttody, on which a - Man bends, Of the Bends' is diminifhed, in proportion as the Oppoiite fide f" d , T " ri Y ns J is increafed •, and the bending or flexure of thisJJJ^' ° *°- fide, may, at laft, come to be in a Subduple &i- tio to the ftretching of the other. But this fhnll be confidcred in a particular Treatife. As much, as one fide of any flexible Member is of thc FIc ** lengthened; fo much its oppofite one is fhorten- ^ cs th ° r ^J™ / fed : But the Central Line, being without the fide l STSa ' mz - that is not bent, in a Member that is, never gains, or lofes of its Length. Every Figure, in fuftaining any foreign Of the £$*/* Weight out of the Central Line of its own *"'"'"' or Magnitude, cafts fo much of its own, or of the ^XIS?* ' foreign Weight on the oppofite fide, as ferves to make a perfect Equilibrium about the Central Line, which partes through the whole Mais, and terminates, on that Foot fet on the Ground. Thus, in bearing a Burthen with one Ami, we fee a Man naturally ftretch out the other from him •, and that, not proving a Counterpoilc, he further bends his Body the lame way, till he has call fb much new Weight on that fide, as fuf- fices to refill the Load impofed on the other; We further obferve, that a Marl ready to fall on one fide, never fails to ftretch out the othc* to recover himfelf. ii4 &4 Treat ifc of Taintihgj Different Toreprefent a Man moving a Burthen, con- Ways ofmo-jjdcr that the Motion may be made indifferent We? hi! UneS ' V ' lZs \ either f, ' 0m bel0W «P wards > with a iimple Motion, as in heaving a Weight from the Ground \ or from behind forwards, as in draw- ing a Weight after him ; or limply forwards, as in moving any thing before him : Or, Laftly, From above downwards, as in pulling at a Rope Ty| which plays in a Pully. Here it muft be re- marked that the Weight of a Man's Body draws So much the more, as the Centre of his Gravity is further dijlant from the Centre of the Axis which fuftains him : To this, you muft eonfider the Effort wherewith the Reins, and Legs, when bent, ftrive to recover their Straightnefs 5 and that a Man neither Afcends, Defcends, nor Walks in any other Line whatever, without drawing np the He,e1 of the hind Foot. All Motion All Motion, proceeds from a lofs of EcjuMbri- produced um •, that is, of Equality, or Ballance \ This muft from the lofs always ceafe e'er Motion can commence 1 and ever of the tyffr-the farther any body is reinov'd from its Equili- briums the quicker and more violent is its Motion* Of the Equi* A Figure ftanding on one of its Feet, will al- Hbrium of a ways have the Shoulder of that iide lower than Figure. the other:, and the Hole of the Neck, at the fame time, perpendicularly over the middle of the Leg which fnpports the Body. This will be the Cafe, in whatever Line the Fjguii.bc feui , v\hc- ther its Arms be but little advanced from the Body •, wlie*k*r it be free of any Burthen on its Back, its Shoulder, or- its Hand ^ or iwh»thcr the Leg out of Oliice, be not far detached from the Body,* either forwards or backwards. Of the grace- The Members of a Body, muft be fb managed, fulncfs of the as that they may produce the Effect, intended, Members. by the Figure, in the moil graceful Manner : Thus /rant p. 114,. ^Leonardo da Vinci^ 115 Thus, in reprcfenting a Figure that may appear noble and generous, obferve that its Members be (lender and genteel, the Mufclcs not too bold and apparent, but even thofe which Neceflity requires to be feen, touch'd with Softnefs and Delicacy } . the Members, and efpecially the Arms, muft not appear ftifF and obftinate, that *r~i is, they mull not be ftretch'd out in right Lines with the others Members to Which they are joyn'd; and if it be found neceflary, on account of the Pofition of the Figure, that the right Haunch be feen higher than the Left, let the left Shoulder be higher than the Right •, and let its Jonfturc hang perpendicularly over the molt elevated part of the Haunch : Let the Hole of the Neck, be always directly over the middle of the Jon- Bure of the Foot on which the Figure refts; and let the Leg which does not fupport the Bodyj have its Knee lower than the other Knee, and drawn near the other Leg. As to the Attitudes of the Head and the Arms, they are infinite, and therefore not to be brought within the Compafs of Rules : All 1 think neceflary here to intimate, is, that they mnft be Free, Natural and Various 5 and that without thefe Qualifications, the Mem- bers will appear no better than fo many Pieces of Wood.' With regard to the Difpofition of the Members, Of the j$$£ obferve that in reprcfenting a Perfbn turning, fiuon of thc either backwards, or afide, you never mow his JJjJJfo^fc— Feet, and the other Members directed the lame Body' "roiiiwU way with the Head \ but let them rather fhare the Action among them, and form a kind of Contraft, or Contrariety in the four Principal Jonttures \ which are thofe of the Feet, the Knees, the Haunches, and thc Neck : So that if the Figure ftand on its Right Leg, let the I i Left ii6 a4 Treatife of Tainting, Left Knee be bent* and drawn backwards j its Foot a little rais'd, and fpread outwards-, and the Left Shoulder fomewhat higher than the Right : Let the Nape of the Neck be turn'd di- rectly over the outer Ankle Bone of the Left Foot; and the Left Shoulder hang perpendicu- larly over the Toe of the Right Foot. Further, let it be a ftanding Rule with you, never to turn the Head of your Figures the fame way with the Bread ; Nature havingfo contrived the Neck, that it turns with cafe, on every occafion of looking around us: Laltly, to reprefent a Man fitting, and at work with his Arms, upon any thing fide- wife of him, remember that his Sto- mach be turn'd over the Jonfture of the Haunch. How to di- In a Figure which you reprefent alone, ob- fpofe the ftrve, that no two Members, ever appear to have Members of a t jj e fame Motion : For inftance, if your Figure gure. fl ~ be *" een running by it felf, let not both its Hands be thrown forwards, but it one be be- fore, let the other come behind •, for without this Difpofition, it will never be believ'd that ic runs: If the right Foot be advanced the fore- molt, let the right Arm lag the hindinoft \ fince without this Contrast of parts, and this contra- riety in their Motions, a Man never runs well, and with advantage. If another Figure be intro- duced following the fir ft, with one of its Legs advanced a little forwards, take care to bring the other Leg underneath the Head , and on the contrary, let the Arm of the fame fide, be reaclvd out the foremoft. Of this we ihall fpeak more at large in our Treatife of Motion. Thcmoftim- Your principal care in Dcfigning a Figure, portant parts ■nui ft be, to fet the Head well on the Shoulders, •f the Figure. tne Sufto 9 or Trunk upon the Haunches, and the Haunches and Shoulders upon the Feet. A Fir f By Leonardo da Vjnct. 117 A Fi-zure franding firm on its Feet, makes an How a Body Equilibrium of all its Members, around the Cen-P rcfervcs it$ tral Line, on which it is fuftain'd. A Figure E ! tttllbriUm ' therefore, thus fteady, and thus balanced, ftretch- ing one of its Arms out from the Body, muflrnt the fame time fhift fo much of its weight to the oppofite fide, as is equal to that of the exten- ded Arm : This mule be underftood of every part in general, Tallying out beyond ordinary, from its whole. A Man will never be able to lift a Burthen, How a Figure till he lays a weight of his own, greater than lifts or bears a that of the Load he wou'd lift, in oppofition Burth « n « thereto. The Attitude ofa Figure, mud be fo conducted of the Am- in all its parts, as that the intention of the tude « Mind, may be feen in every Member. The Actions expreis'd in the Figures of Men, Difference of muft be as various, as are their Ages and Quali- Attitudes. ties •, nor mull even the Sex be over lookfd, but both Male, and Female have their different At- titudes. A Painter fhou'd remark the Attitudes, and How a Pain- Motions of Men, fpringing immediately from*" may at- ibmc fudden accident 5 and fix them well in his ta;n to S Ive Memory, or Sketch them ilightly on the fpot. JX to hlT This will be infinitely better, than to wait, till Figures. Ibme Perfon, mimick , for initance, the Action of weeping, without any real occafion for Tears. For fuch an Action having no natural caufe, the effect muft of conrfe be conftrained, and unnatu- ral. It will, however, be ferviceablc to you in the higheit Degree, after having obferv'd the Cir- cumftances of fome natural Action, to difpofe a Model in the fame Attitude : This will affifl: your Imagination, and you will be enabled to I j Paint Ii$ qA Treat if e of Tainting Faint from it, both with the greater Eafe, and Spirit. Of the Acfti- Thole who arc prefcnt at any remarkable ons of thofe Tranfadion, exprefs their Admiration in diffe- prefent at any rent Manners •, as for inftance, in the Execution p™ ar t of Criminals : Where 'tis a matter of Devotion, thofe who attend, call their Eyes on the Object, with various expreffions of Zeal, Refignation, and Piety •, as at the elevation of the Hoff during the Mafs, and other the like folemn occafions : Where the Subject is of fuch a kind, as either to provoke Mirth and Laughter, or Sorrow and Companion, 'tis not neceflary that the Specta- tors fhou'd all turn their Eyes towards the Ob- ject *, but they ought to appear with different Emotions } and it may be convenient in this cafe, to diftributc them into feveral Groups of Perfons, aflembled together to vent their Paflions, either by Laughing, or Lamenting with each other : Where 'tis a Subject that infpires Terror and Af- frightment, thofe who are feen flying, muft ap- pear Pale and Aghaft, with different expreffions of Fear, and Aftonifhmcnt \ their flight muft be difbrderly, and precipitate, but differently Chara&eriz'd ^ as we fhall have occafion to ob- ferve in our Treatife of Motion. "A Rule in A Figure, of a flender delicate Shape, muft ne- Paintinga ver have its Mufcles too bold, and prominent-, Nudity. for Men of this Make, have never much Flefh on their Bones, their flendernefs ariiing from the Want of it } and where there is but little Flefh, the Mufcles can never have much Relievo. Whence the Mufcular Men, have large Bones, arefhort, and jjiufcles be-° tmc k m tnc ^ r Shape, and have but little Fat \ come thick the rcafon is, that the Flefhy Mufcles in grow- and ii;ort. jug, entangle one with another \ fo that the Fat which jBv Leon a r do n a Vinci. i i 9 which ihoifd infinuarc it felf between them, finds no room : Now the Mufcies in thofe Bo- dies which are unfurnifhed v.'ith Fat, being con- tiguous, and unable to dilate thcmfelves, confine their Growth to their thieknefs ; ftill growing the molt, in that pan which is the ftirtnefl remo- ved from their extremes ; that is, towards the middle of their Length and Breadth. Tho' Fat Men, have this in common with Fat Men n Motion \ it being impoflible that the Body ^ u u tMo e t r n ftou'd ftir the kali tittle imaginable, unlefs one part of the Mufcles, be relax'd, while their An- tagonift Mufcles are in Action : And 'tis evident, that the flacken'd Mufcles mull fubfide and dif- appear, in Proportion, as the others diftend and difcover themfelves. The Mufcles in painting a Nudity, be not too rigid and ©f a Nudity exa( ^. j n mar king the Mufcles •, that being not toTexaA and onl Y tedious and troublefome in the Execution, laboured. but even difpleafing to the Eye when eflfe&ed : remember further, to make them the moft vifi- ble on that fide of any Member which it puts forwards to Action \ the nature of a Mufcle be- ing fuch, that in working, its Parts aflemble, and unite themfelves together -, feveral of them, by this Means, difcovering themfelves, which before were unperceiv'd. t>f the Ex- The Mufcle behind the Thigh, (hows a greater tenfions and Variety ofExtenfions, and Contractions, than any theMufcl« other Mufcle in the Body \ the next after this, is that which forms the Buttocks \ the third is that of the Chine \ the fourth that of the Throat; the fifth that of the Shoulder } and the fixth that of the Stomach •, which laft, has its rife under the Paps, and terminates under the Groin. The Liga- In the Wrift of the Arm, about three Inches ment of the f rom the Palm of the Hand, is found a Ligament, Wnft, with- ttie i ar g e fl- which i s without a Mufcle, of any in Mufc?c" y the Human Body, it has its Rife ia the middle of *By Leonardo da Vinci. 121 of one, of the* Fucih of the Arm, and termi- ^ nates in the middle of the other Fucil : its form is Square, its breadth three Inches, and its thicknefs one and an half. Its uie being to keep clofc the Mnfcles of the Arm, and to prevent them from flying off in right Lines, when the Arm is Contracted. In fomc of the Jonclures of the Body, are found Little Bones iittle Bones, fixedin the middle of the Ligaments, f ° rmed «> the with which thefc Jonttures are bound together : ligaments of Thefe are found in the Knees, the Shoulders, S^ r ° the Breaft, and the Feet, and are in Number eight •, viz.. in each Shoulder one, as many in each Knee, and two in each Foot, under the firft JonBure of the great Toe, towards the Heel: And let it be obferved by the Way, that thefe Bones always grow extremely hard, as the Per- fon draws near to Old Age. The Mu fele,whichrifes between theBreafts,and Of the Mufcle the lower Ventricle, or rather, which terminates between the in the lower Ventricle, is found to have three B " a{ ! s and Powers^ being divided length wife by three Ventricle? Ligaments, into ib many Parts-, the firft is the upper Mufcle, which is followed by one of the Ligaments, as large as it felf \ below, is a fecond Mufcle, joyn'd to a fecond Ligament } and laftly, comes the third Mufcle, with the third Ligament, which is fattened to the Qs Pubis of the lower Ventricle : This Partition of the Mu£ cle by the feveral Ligaments, is a Provifion, which Nature has made, on account of the great Motion happening to the Body, when bent or diltended, by means of this Mufcle •, fince, had the Mufcle been all of a Piece, it would have * By the two Fucils, the Author means no more than the Radius and Cubitus of the Arm. had 122 *A Treatife of Tahthig, had two great an Effect, and would have produced too great a Variety of Contractions and Dila- tations, in prejudice to the Shape of the Body, which is more Beauty ful, as the Motions of this Mufcle are left apparent : For if it be required, that the whole Mufcle, dilate it felf nine inches ; and that it afterwards contract it felf as many \ In this Cafe, each of the three Dtvi (ions, having but three -of the Nine to dilate, their natural form will not undergo any great Alteration; and consequently, the general Beauty cf the Body, cannot hereby fuffer any fenfiblc Diminution. The greateft The ntmoft Degree of Contorfion, to which a Contorfion of Man in viewing his hind Parts is able to reach, is, loolD athis*? have his Face lQok perpendicularly down upon hind Parts, ^is Heels : And this is not done without great Difficulty, frnce, befides the Flexure of the Keck , the Legs are likewife to be bent, and the Shoul- der, over which the Head reclines, to be dc- prefs'd. How near the When the Arms arc extended behind the Back, Elbow* may the Elbows Hand at the fame Diitancc from each. i>e drawn to- other, that is found, between the Elbow and the gethcr behmd endo f the long Finger ^ that is, the Elbows at ^he Bade. t k e j r n fc are fl- Approach in this Difpohtion, are jutt removed from each other, the Space, that is between the Tip of the middle Finger and that of the Elbow *, the two Arms in this Situation^ forming a perfect Square : And the fur theft reach of the Arm acrofs the Stomach, is then feea, when the Elbow is found in the middle of the -Stomach; faas that the Elbows, the Shoulders^ OftheDifpo-and the Arms, form an Equilateral Triangle. firion of the A Man dif} ofing himfelf to deal forae violent Member*, ^ Stroke, bends, and turns from the Mask at 3 .^^"L^w^ieh he aims, with a Motion, contrary to rh Hvike with wherewith he intends to fmfce ; wiiere, soltects Vioknce. ins XrrU p. «a, front v. £_L /roTtt />. fja 1 ( *By Leonardo da Vinci. 125 ing all bis Force, he lets it fly •, and difcharges it on the Body that he hits, with a compound Motion, form'd out of that of the Arm, and of '. ihe Weapon that he holds. ; The two Mufcles which ferve to move the Of the Force larger Fucil of the Arm, have their Origin near of the Arms. ihe middle of the Bone named jldjutorium, one behind the other \ the Office of the hindmoft be- pg to ftrctch the Arm, and that of the other to contract it. [ Now, to find which is the greateft Force, whether that wherewith a Man pulls towards Mm, or that wherewith he trufts from him •, it jnuft be obferved, that in my Treatife De Tonde- ribus, I have already prov'd, that of two Weights pjually heavy, that will have the greateft Force, Which is the fartheft removed from the Centre of its Ballance \ whence it follows, that NB and N C being two Mufcles of equal Power \ NC, which is before, will have a greater force, than the other N B, which is behind \ inafmuch as it is faftened to the Arm in C, a place further removed from the middle of the Arm, or from the Elbow A \ than B, which is juft off the middle it felf : So that the Point is now deter- mined. This however, is but a fimple Power : The compound Power being what I now proceed to confider } by a compound Power I mean that, which a Man exerts, when to the A&ion of his Arms, he adds fome other fecondary Force, as the Weight of his Body, or the effort of his Legs and Reins ; An inftance of this Power is (hewn in the adjoyning Figures ; which are feen to ftruggle, the one to thru ft, and the other to pull down a Pillar \ each to that end, making a [oynt effort with his Arms, Reins, and Legs. The 124 qA Treat ife of Tainting, In which The Force wherewith a Man pulls towards Acfhon aMan j,j mj - IS confiderably greater than that wherewith tcft Strength, ^ e t .^ ru ^ :s fr° m ^im. ^he Reafon is, that in whether in 'pulling, the Mufcies of the Arm, which are of thrufting or no ufe in thrufting, joyn their Powers with thoie pulling. f the other Mu feles, which ferve indifferently in thrufting or pulling, and augment their Force ; whereas, in thrufting, the Arm being ftretch'd out ftraight, the Mufcies which give the Elbow its Motion, are of no ufe in the Action •, nicking no effort, beyond what would be made by the Shoulder, if lean'd againft the Thing to be moved: fbthat as there are no Tendons, nor Mufcies, found to contribute towards that Effect, excepting thofe, which when the Reins are bow- ed, or the Legs bent, ferve to reduce them to their Straightnefs again, and which lie under the Thigh, and in the Calf of the Leg ^ it fol- lows, that there being a greater Number of Powers, whichconfpire, and act conjunctly in pull- ing, than in thrufting, the Arms, the Legs, the Back, and even the Stomach, ( as the Body is more or lefs bent, ) contributing to the former, and the force of the Arms being to be "omitted, in the account of thofe acting in the Latter \ the Action of pulling, mult carry with it a greater Power, than that of thrufting : For it mult be remembred, that tho' the fame parts of the Body, concur to the one and to the other, yet, that the Action of the Arms is without Effect in thrufting •, the Arm which is then ftretched out ftraight, and without Motion, being jnft equi- valent to a ftick, interpofed betweeu the Shoul- der, and the thing to be thruft. Of the Fiefli The Ligaments wherewith the^ffarwofthe j^Sur« Bon ^ s Jre covered, together with other things, which arc incompafiing or adhering to thefe Bones, fwell and bent. fubfidc, 'By LEONARDO DA VlNCl. *2«| fubfide, in proportion as the refpe&ive Members are bent, or extended •, that is, they fwcll, and dilate vvithinfide the Angle, formed by the bend of the Members, and at the fame time, are flretch'd, and lengthen'd without fide the faid Angle of the Bend : the middle parts found in the bend, or between the outer or inner Angles, partaking of the Diminution of the one, or Di- latation of the other \ but in a greater, or le(s Degree, as they are nearer, or more remote from the faid Angles of the Jontture. The Leg, cannot poffibly be moved, either to The Leg not the one licle or the other, without turning the*° be turned Thigh at the fame time : This is owing to the JjvJJjJj' fce Structure of the Knee \ for the Bone of the Thigh, Thigh, and that of the Leg, being inferted and fitted into each other, the JonBure is at liberty to play backwards and forwards, fo far, as is ne- ccflary in walking, kneeling, and the like; but is utterly incapable of any lateral Motion, by the very nature of the Articulation. Now if. thisJoH&ure were flexible on every fide, like the. Os Adjutorium in the Shoulder, or that of the. Thigh, where it is joyn'd to the Haunch; the Legs woifd be in a Condition to be moved fide-; wife, as well as backwards, and forwards; and wou'd ufually be found a-crofs and twitted, to the no finall hindrance of the Man and his Mo- tions : Further, this JonBure can only be bent forwards, fo far as to Itraighten the Leg, and to fet it into a Right Line with the Thigh *, nor i^ its flexure backwards unlimitted ; fince, if it were, a Man once down on his Knees, wou'd ne* ver be able to raife himfelf upon his Feet again : Tor, in order to recover himfelf from this Po- iture, we find, that in the firft place, he di£ charges the Weight of his Body upon one Knee. a*4 \l6 oA treat ife efTah/tfog, and by that means, cafes the other ; fb that the other Leg, not being charged, with any Weight bnt its own, eafily raiies the Knee, and fteps its Foot on the Ground-, This done, he returns back his whole Weight upon this Foot, by telling his I-land upon his Knee, and heaving up his Arm, and with that, his Head and Cheft towards the other fide •, being now at liberty to diftend the Thighj and to ftraightcn it into a Line with the Trunk, he raifes himfelf upright on the Foot placed upon the Ground } till, by that means, he erc£ts the other Leg, and fets it to its fellow. Of the Wrin- The Fkfh, in the bend of a Jontture, is always fcles in the Wrinkled, on that fide towards which it is bent, bend of a a fimple Motion, is that which a Man makes, OffimpleMo-^ biding limply either backwards,or forwards- tion. A compound Motion,is that which a Man per- of compound forms, when on any Occafion, he bends both Motion. downwards, and fidewife at the fame time. And here it may not be impertinent toadvertife the Painter, to perfue his compound Motions •, and to make them appear, quite through the Piece he is Painting : That is, having given any the Idea or Intention of the Mind. But this is a Subject which muft be confidered by itfelf: There is further, a third kind of Motion, partaking both of the one and the other*, and a fourth, perfectly different from them all. Thefe two laft Kinds, are thofe of a Madman and a Buf- foon •, and muft be referred to the Chapter of G rote [que Work. The Motions Thofe Actions of the Body which are produ- ct the Bodyced by the Motions of the Mind, are limple and arifing from €a f Vj n0 t wrefted either to this fide or that j the Senu- DCCau f e their Object is in the Mind, which never Mind, °eafy 'moves the Senfes, when it is employed in it and natural, fell. Of the Moti- The Motion occafioned in a Man, by the on arifing prefence of any Object, maybe produced either f ?an ob^eS* 11 - ate ty or i mme( ^ ate ty '-> l ^ lt ar ^ e immediate- ' ly, the Perfon who moves, in the firft Place, cafts his Eyes towards the Object \ his Sight be- ing the belt able of his Senfes, to difcover what By Leonardo da ViN<*r. V29 it is \ letting his Feet at the fame time ftand immoveable, and turning his Thighs, Haunches, and Knees, the fame Way with his Eyes : Thus, in every Rencounter of this kind, remember to be very curious,and exaft in remarking the moft minute Motions, and Geftures that arife. The variety of Motions in Men, is as great Of Comma* as that of the Accidents which befal them, and Motions, that of the Fancies, and Imaginations, which pafs fuccefiively through their Minds. And eve- C ry Accident makes a greater or lefs ImprefHon, according to theirtlifferent Ages, Paflions and Complexions \ The Motions of a young Man, being always very different from thofe exprefTed on the fame Occaiion, by an old one. Every two footed Animal, lowers that Part, of the Motf- Dver the Foot which is raifed, more than that, on of Aiumafo which is over the Foot on the Ground ; his up- per Parts, at the fame time, obferving a quite :ontrary VicifTitude : This may be feen in the Haunches and Shoulders of Men, in Walking-, and in the Heads, and Rumps of Fowls. Obferve that every Part of a Whole, be well Every M«m2 proportion^ to the Whole, of which it is a b " t0 be fu j*i Part •, as if a Man be thick and lhort in his Shape, ^/^ thc let the fame Proportion be continued through w h ich it is a ?very Member : let his Arms, for Inltance, be Part, thick and fliort, his Hands Broad and Brawny, lis Fingers big, and their Jondtures fuitable *, and b of the reft. Obferve a Decorum, or Decency, in your Fi- Decency and fires', ftill making their Actions, Drefs, Beha- Decorum to nour, Poftures, &c. fuitable, and becoming to. bc obfervecf he Dignity, or Meannefs of theFerfons repre- m yoUr *fc" ented. Thus, in the Figure of a King, take surej * :are that the Beard, the Air of the Face, and :he Garb, be Grave and Majeflick*, the Place K stately yjo oATreatife of Tainting, {lately and well adorned •, let his Aitendants ap- pear full of Reverence, and Admiration} their Mien noble, and their Drefs fuitable to the Grandeur and Magnificence of a Princes Court On the other Hand, in a Scene of Low-Life let the Perfons appear mean and ill drefs'd \ lei the Behaviour of thofe about them be rude and familiar-, and let every Member be ftri&b conformable both to the Subject in General, anc to the Character of each refpedtive Figure ir particular •, and remember even there ro mak< the Actions of Old Men, unlike thofe of youn^ Ones} thofe of Women, different from thofe o Men •, and thofeiof Children, different both fron the one and the other. ; Of the mix- Never mix a certain Number of Children aire of Figures yvith an equal number of old Men \ nor of Gen different in tlcmen with Servants •, nor of Women amonj ge, , near their JonEtures, and ap- proached clofe to each other-, and the fides and •middle of his Month, muft be wrinkled down- wards: a Peribn Laughing, on the contrary, having the fides of his Mouth ruifed, and his Eye-brows flat and extended. The Difpofition of the Legs, either in Chil- of the Po- C iJren, or old Men, ought never to be fuch,asfturcsofChil- may (how thole parts in any Quick. Motion, or^ren and old make their AcYions appear too brisk, and nimble. Men * 'Tis not decent either for Women, or young of hcP _ People to be fee n in an Attitude, where their ft ures fWo- Legs are fpread too wide from each other •, that men and .mowing too much freedom, and a flu ranee -.young People, whereas, on the contrary. Legs drawn clofe to .each other, are Indications of Modefty. Thofe who are about to leap are taught by ofaM Nature, without any Reafoning of their own, i eapin(T . to hoift up their Arms and Legs with Impetuo- fity -, Thefe parts obeying the Impetus, and rifing, together with the reft of the Body, 'till fuch time as the Effort is expired. This Impetus is attended with a quick Extenfion of the Body, which before was bent like a Spring, in the Reins, the Jontlure of the Thighs, the Knees, and the Feet -, and the Body, in this Extenfion, defcribes an oblique Line, inclining forwards, and at the fame time riling upwards \ thus the Motion dire&ed forwards, carries the Body in that Dire&ion ; and the Motion intended up- wards, heaves up the Body on high \ and thefe two, thus Conjoyn'd, difcribe a large Arch \ which is the Line, wherein a Man is obferved to leap. K 3' A Man Why a Mam pulling any i $4 qA Treat ife vfTaz ntlng Of a Man \ Man who wou'd launch a Dart, hurl a Jhin WI frlm nySt0nC ' ° r thC HkC > W ' th Vi0le,1CC > ma y be re - him with'vi- P rc f cnte d i n two different Habitudes $ that is, Icnce. he may be either feen preparing himfelf for the Action, or performing the Ad ion it lelf: If you fhow him in a preparatory State, remember that the Haunch, over the Foot which bears the Body, be feen, directly, under the middle Line of the Breaft, and the Hole of the Neck -, and let the Shoulder, of the oppofite fide, be advanced, fb as to hang perpendicularly over the Foot, on which the Body refts •, fo that, if the Right Foot, fupport the Body, let its Toe, be feen perpendicularly under the left Shoulder. A Man, who in retiring, wou'd tear any thing out of the Earth, or dart it in, raifes the V n f, ol !f of Leg oppofite to the Arm wherewith he arils, and the tar th, or, ", '. l . , _ r . . , , T , f, darting it in. Denc is it in the Knee , this, he does, to Ballance raifes the Leg himfelf, on the Foot which fupports the Body •, oppofite to for without thus bending it, he cou'd not pofli- thc Arm, D ] y a ^ ne i t | ier cou [ ( \ i ie re tire, without ftretch- which acls, :•'..• anA k, A •» m % It OUt. and bends it R_. _ .... , - ,_ _ , . r- in the Knee. The Equilibrium of a Human Body, is 01 two Of the Equi- kinds :, to wit, fimple and compound : fimplcis iibrium of a that which a Man makes, in Handing fteady and immoveable on his Feet. In this Situation, whether lie ftretch out his Arms, or remove them in any manner from his Body, or whether he be feen Hooping, his Body being ftrppofted on one Foot ; ftill the Centre of his Gravity will be found perpendicular to the Centre of thai Foot on which he refts : and when his Bcxty refts equally on both Feet, the Centre of his Trunk, will then, be found perpendicularly ovci the middle of the Line, which divides the fpacc between the Centres, of the two Feet. By the compound Equilibrium, we mean that which is mads Body at reft and out of Motion. front- p. r-,4 .&%% I *i I {ixm£ p. 'jfi- I— TSy Leonardo da Vinci. i^j made, when a Man loadsn with fbme Foreign weight, fuftains it by means of different Motions. An Example of this, yon have in the Figure of Hercules, who is \"ccn ttifking j4ntaus,by bearing him up from the Ground, and fqueezing him between his Anns an( ' his Brcaft : in the Con- duel of which, it muft be obferved, that fb much of the weight of his own Body, is thrown behind the Central Line of his Feet, as is equi- valent to the weight added before the Central Line, of the Cud Feet, by the fuftenfion of yiatxus. When a Man becomes weary with ftandingOf a Man long on one Foot, he cafes the wearied Leg, ftjlu,in g ort by throwing part of his weight upon the other : hl l. Feet ' , r , • ° * v, .- • i • l i .. reitine more 1 his, However, is a Polition which ought never on J e than to be fliewn in Practice-, excepting in the Figures t h e ocher. of old Men, or Children, or at lead in fuch as ought to appear Feeble or Fatigued } for this fhows a Weakneis and Wearifbmenefs of Mem- bers, which does but ill fuit with Perfons, un- der other Circumftances. A young Robuft Man, therefore, mult be always feen refting on one Leg •, and if he lean fome little on the other, let it be only as a Difpolition for Motion } to which it is a necelTary preparative, becaufe all Motion arifes from Inequality. Figures,reprefented in a firm, fteady Attitude, Of the Pofiti- mnlt have fome variety in their Members, to on of f is ures ' make a Contraji: that is, if one Arm be advan- cing forwards, let the other ftand ftill, or be cafl backwards ; and if the Figure be fupported on one Leg, the Shoulder over that Leg mult. be lower than the other. Thefe are things ne- ver overlook'd by Men of Judgment, who are always particularly careful to ballancetheFigures Handing on their Feet, fo, as to prevent them K 4 from eA Treatife of Taint ing, from tumbling Headlong: For in retting 01 one Leg, a Man has no ufe of the other \ whici being a little bent, remains as if dead, and dij abled, for any purpofe of fupporting the Body So that fo much of the Body as is over this Leg mnft of neceflity transfer the Centre of its Gra vity over the Jontture of that other Leg, whereo the Body is fuftained. Of the EquiU- A Man {landing firm on his Feet, either lean irium of a equally on both, or he loads one more than th Jtfan ftanding ot i ier . jf h e trea d on both alike, he either load Feet. °" them with the Natural weight of his own Bod alone, or to that he joins the additional weigh of fbme Foreign Burthen ^ when they are ladei with the Natural and the Accidental weigh together, then the oppofite extremes of B Members, are not found equally diftant from th JonBures of his Feet j and when he charges then iimply with his bare Natural weight, thefe ex tremes of the oppofite Members, will then,o: the contrary, be feen equally removed from th Jonttures of the Feet. But of this kind of Eqm Librium, I intend hereafter, a compleat Treatifi 6f Local The Motion made by a Man, or any othe potion. Animal, in fhifting from one place to anothel will be fo much the more, or the lefs quick, a the Centre of his Gravity, is more or lefs remot from the Centre of the Foot, which fupport him. of Quadrupeds The Height of four Footed Animals, varis and their more in thofe which walk, than, in thofc flan Motion. ding Mill *, and this variety is more or lefs coij fiderable, as the Animal is of a larger or lej fize. This is owing to the obliquity of th Legs, when they firft: touch the Ground •, whici raiie the Figure of the Animal, when they com! i jiyntirtj • g .*. • ' i ■ f n ! 'By Leonardo da. Vinci. 137 to ftraighten, and to ftand perpendicularly on the Ground. One half of the Breadth, and Thicknefsof a of the Rela- Man, can never be equal to thole of the other tion which half, unlefs the Members appertaining to each, one half of have their Motions perfectly alike, and equal. * he Bod y In leaping, the Motion of a Mans Head, kJJJJ^jJilfi thrice as quick as that of his Heel, before the Three feveral tip of his Foot, quit the Ground; and twice as Motions in a quick as that of his Flanks. This diverfity is Man who owing to the opening and ftraightening of three Leaps * feveral Angles, at the fame time; the highefb of which, is that formed between the Trunk and the Thighs,forwards ; the fecond that of the Thighs in their Jontture with the Legs, back- wards ; and the third is that forwards, which the Legs form, with the Bone of the Feet. The Memory is in no wife able to retain, nor Every Mem- even the Imagination to conceive, all the feveral ber of an Ani- Vicws and Afpe&s, of any Member of an Ani- mal ca P aole mal ; be it of what kind foever. This may be N un Tber of" demonstrated in the Inftance of a Hand; for different fince every continued Quantity is divifible in in- Views, pnitum, the Motion of the Eye {Xab.l. Fig- 1.] looking at the Hand, and defending from A to B being a continued quantity, may of confe- quence be divided into an Infinity of Parts : Kow the Hand always changing its Figure and Afpec~r, as its Situation alters with regard tQ the Eye, it will be feen under as many different Afpe&s, as there are diftind Parts in the Moti- on ; that is, the Afpe&s of the Hand are varii ed to infinity. And the Refult wou'd be the fame, if the Eye, inftcad of being lower'd from A to By fhou'd be rais'd from B to A ; or if the Eye, were fixed, and the Hand, had its Motion. If *3 8 o4 Treat ife of Taint big, Nature the if y OU wou'd become a Proficient, and pra* Foundation ftj ce ekher wkh p fi( . ^ Applailfc, ftudy Na» on which a, ,, , n/r-n^ , Painter ought tu !" e i ,et ncr De Y 0l]v Miftrefs, nor ever let any always to pro- thing cfcape you, but what is authorized by her ceed. Precept, or Example. of the judg- tj s but an ill fign, when a Painter's Know- Painwforms, 1 ^^ does not S° beyond his Work ", and yet ofhi/own.or'^^ 01 ^. when his Work exceeds his Know- other Mens |edge ^ as it happens in thole who are furprized Works. in rinding how well they have fucceeded : but when the Painter's Knowledge, and Light, fur- pals his Work, fo that he is not iatisfted with himfelf, or his Endeavours, 'tis a very happy Omen \ and the Novice who finds this Difpofi- tion in himfelf, may reft allured that he is de- itined to be an able Artift : 'Tis true, in- deed, a Man of his Turn will never do a great deal, and his Performances will be but few \ but then they will be confummate \ and will bear the molt rigorous Examen, as well as challenge the moll rational Admiration. ThePrccau- 'Tis pall difpute, that the fame Fault, is more tions necefla- c j ear iy f een j n tne vVorks of other Men, than S^ m * n ^r ow n; This furnifhes us with an Argu- Painter, to • r r r> o • j 1 ° • judge of his ment in favour ot Perfpective, and renders it own Perfor- neceffary for the young Painter to qualify him- mances. f e lf therein, at his firil fetting out : His next Bufinefs will be to get a perfect Acquaintance with the Proportions of a Human Body. He may then proceed to make himfelf a Mailer of Architecture \ fb much of it, at leafl, as regards the Form and Regularity of the Out-fides of Buildings } And, whenever, in his future Pra- ctice, he finds Occa lion, for things in which he lias had no great Experience, let him not fail to obferve Nature, and to Defign them from the Life. When he is at Work, it may be of Ser- vice, 'By Leonardo da Vinci. 139 vice, to have a plain Mirrour by him \ wherein he may frequently fnrvey his Piece, which will be there reprelented backwards, and will appear as if it were the Work of fome other Hand \ for by this Means he will be the better enabled to diftinguifti its Faults. And, Laitly, He will find his Account in laying down the Pencil, and retiring frequently to take a little Diverfion. For the Mind, at his Return, will be more free, and the Judgment, more clear, and penetrating ; whereas, a too afllduous Poring, jades the Mind, and rebates its Edge 5 infomuch, that he will then, not only be liable to commit the grolTefl Blunders, but, which is worfe, to overlook them, and to let them eicape immune. If, after imitating any Thing from the Life, The ufe of* you defire to know your Succefs, and to fee how Mirrour in near the Copy approaches the Original \ take a Painting. Mirrour, and presenting it to the natural Object, furvey the Image exhibited therein, and com- pare it very carefully with your Painting. This Method is very Appofite , for if a Mirrour re- prefent Objects with Relievo, Painting does the fame •, Painting has but a (ingle Surface, and a Mirrour has no more ; the Mirrour and the Painting do equally (how the Appearances of things incompafled with Light and Shadow \ and both the one and the other (how their Objects, as at a great Diitance beyond their refpec"tive Sur- faces. Now, ilnce 'tis own'd, that the Mirrour, by means of Lights and Shadows, makes Ob- jects appear with Relievo ; and fince 'tis further confefs'd, that among our Colours, there are fome, whole Lights and Shadows, are ftronger than thofe exhibited in the Mirrour} 'tis evident, that if you do but manage them with the necei- iary Ait and Addrefs, your Painting will like- wjfe 140 oA Treat ife of Tainting, wife appear as a natural Objcft, rcprefentcd in a large Mirrour. From the Mirrour yon will learn the Brights and Obfcurcs of every Object, and among your Colours you will find fomc, brighter than the mod enlightened part of your Jlfodel, as on the contrary, others, more obfeure than the deepen: of its Shadows •, fo that if your Painting have al] the Perfection, whereof it is capable, the Object it reprefents mull: ap- pear perfectly the fame, as it wou'd, were it ex- hibited in a Mirrour : This, however, being allow'd, that the latter be only viewed with one Eye, for the Reafon already delivered in our 48th Page, what manner The beft manner of Painting, is that which of Painting imitates the belt, and makes the Piclurc,bear the the mpft ex-greateft Refemblance to the natural Object re* cdlent. prefents. This matching the Painting with the Life, will do but little Credit, to a certain Set of Painters, who feem to aim at reforming the Works of Nature-, and who, in Painting (for in- ftance)a Child of a Year old, whofe Head in reali- ty is one fifth part of its Height, are fo over fcru- pulous, as only to make it an eighth Part ; and the breadth of his Shoulders, which naturally is equal to the height of its Head, is ftretch'd by thele Gentlemen, to double that Meafure \ thus reducing the Proportions of an Infant, to thofe of a grown Man. Thefe People are fo hardened and confirm'd in their Error, by pradifing, and feeing it practifed fo often, that they perfuade themfelves that Nature, herfclf, nmft be in the wrongs or at leaft, that thofe who imitate her muftbefb, for differing from them. ThefirftAim The great Dcfign of a Painter, is Co to ma- and Defign ofnage a Plane Surface, as that on it may appear a a Painter. j^y ra ;^ an< j funding out from the faid Flarte. And *P>y Leonardo da Vinci. *4* And he, who in this Point furpafles the reft, is the Perfon, to whom th&JPalm of his ProfefTion, is indifputably clue. Now this pitch and perfe- ction of the Art, arifing from a jnft and natural Difpenfation of Lights and Shadows, ufually ex- prefe'd by the Word Clair-obfcure, it follows, that a Painter, in bcfng fparing of his Shadows, where they are rieceflfafy, does an Injury to himfelf 5 and renders both his Name and his Works con- temptible in the Eyes of the knowing, purely to purchafe a falfe Efteem among the Croud } who having no Notion of the Relievo, never mind any thing in a Painting, beyond the Glare, and Pageantry of the Colours. In Painting, 'tis much more difficult, and re- The Diftribu- quires a great deal more Thought and Reflection, tion of the to give the Shadows to a Figure, than to Defign^&\ ts and its Contours, this is eafily proved, for the out qi ,i rfs W more Lines of any Object, may be Defigncd through a Thought and Plane Glafs, fituate between the Eye, and the Addrefs, than thing to be imitated :, but this Invention is ufe- Defigning the lefs, with regard to the Shadows ; on account of Colours * their Diminution, and the infenfibility of their Extremes, which for the molt part are confu- fedly mingled with one another : as I have alrea- dy fhewn in my Treatife of Lights and Sha- dows. The Light mult be call on your Figures, in Rules for- fuch a manner, as may be fuitable to the natural managing the Place in which they are fuppofed to be feen -Lights of yo^ r h t tires that is, if they be illumined by the Sun, let ° their Shadows be deep, and their Lights wide and diffufed \ and let the Shadows of all the Bo- dies around, be feen projected on the Ground: If the Figures be expofed in a thick cloudy Air, make no great Difference between the Parts Illu- mined, and thofe Shadowed •, nor let any Sha- dows 14* eATreatife of Tainting, dows be fecn at their Feet : If they be f ippo- fed in a Chamber, lej their Lights, and .sha- dows be very bold, and well diftinguifhed from each other, and let their Shadows appear on the Ground \ but if the Windows have Shutters, before them, and the Walls be fuppofld White, then the Difference between thtir Lights, and Shadows, mnft be very little, and but j>ift: per- ceptible: if they receive their Light from the i Fire, their illumined Parts muft be reddifh, and ■ vivid, and the Shadows very deep, and thole a- gain, which they project againft the Walls, or on the Ground, bold, and their Extremities fomewhat abrupt :, and let thefe Shadows be Hill inlarged, as they arc fur rh we frequently fee Honfes fo Kitting to exceedingly fcanty, and their Doors fo mifera- bc avoided. oiy fvrU.p. tA6 *By Leonardo da Vinci. 147 bly low, that they fcarce reach to the Knees, of their Inhabitants-, though they be even frppofed nearer the Eye of the Spectator, than the Per- fons who are to enter within them ; thus Ci- ties, and Towns arc (bmetimcs fo pidfully little, that one of the Figures behind, might ftride over them, with eafe. And We have fcen Por- tico's more than once, crowded with People, and yet fupported by fueh (lender Pillars, that one of the Figures has appeared with fome of the Pillars in his Span, railing himfelf up, as with an ordinary Stick : But thcfe, and feveral other Faults of this kind, are to be very ftudi- oufly avoided. The Out-lines or Contours of Rodies, are lb of the 1 .■- faint and indifcernable to the Eye, that theytremes o* a lofe themlelves at the fmalleft diftance, be- BoJ y> «i * tween the Eye, and the Object : thus a Man £ ron!es or cannot diftinguifh the Face of his neareft ontours ' Friend, by the Contour, nor has he any other way to know him, but by his Drefs, Air, and other circumftances} thus arriving by the Know- ledge of the whole, at that of the Part. The firft things which difappear in dark The Effea of Bodies, when removed from the Eye, are their the Removal Terms or Contours-, at a little further diftance, of an ob J ,c \' the Shadows, which divide the parts of contigu- *" . p2t,« _, ,. ' - , - ! /» • °, to the Denga, ous Bodies, ccafe to be feen , further yet, the thicknefs of the Legs, and Feet begin to dwin- dle -, and laftly, the finalleft parts difappear, by little and little •, till at length, the Object being removed to a great diftance, appears no other than a dim con f 11 fed Mafs, without any thing diftind in its Figure or Parts. ' The effrtf of The firft thing which the removal of an Ob- J. e £ e "' oval ject. occalions to difappear in its Colours, is° , ? ts « 1 • 1 n 1 • 1 r 1 • n f 1 .'i w 'tn tvCCarq tneir Luitre ? as being by far their moll lubtilc ro the co- L 2 part :iours, 14^ a 4 Treat ifeof Tainting, part} The iccond thing which .dilappears, or rather which weakens it felf, in being removed, is the Light, becaufe it is Iefs in quantity than the Shadow ; at the third diftance, the princi- pal Shadows begin to fail ; fo that at length, no- thing remains but a general and confufed ob- fcurity. The effect of A Body, of a convex Surface, terminating on boundJjJon anotRcr Body, of the Cine Colour with the another. 3 fitft? the Term or Contour of the convex Bo- dy, will appear more obfcure than that of the other Body, on which it terminates: With re- gard to flat Surfaces, their Term will appear obfeure, on a White Ground, and on a Dark Ground, it will appear brighter, than any other part of the Surface; even though the Light wherewith it is illumined, have an equal force on every part. Of a Mm \ ^/[. m walking again ft the Wind, when it eatnft^he ^lows pretty fbong/docs never keep the Cen- Wind. tre of his Gravity, or Line of Direction, in the ufual difppfition, oyer the Centre of the Foot, on which his Body is fuftained. of the Win- L c t the Window at which a Painter works; which he trouble himfelf about the Wall, on which ^"awX of he Paints •, and especially when his Work is to be half that viewed from a Window, or fome other deter- height. minate Place; becaufe the Eye, is not to concern it felf with the Evennefs or Curvity, of the Sur- face on which the Painting is made \ but only with the Force and Conduct of the Things re- prefented in the Painting : Twill be convenient, however, to chufe a Surface that may be a re- gular Curve, as for inftance, FRG\ [Tab. 2. L 4 Fg. j 52 oATreatife of Tainting, Fig- 6-2 fmce in that Cafe, your Work will be free from the Interruption of Angles. How a Pain- To Paint a Figure which may appear twenty ter may De-four Fathoms high, on a Wall of half that height, fign a Figure Qbferve what follows : Let one half of your Fi- that may a P - be Ve r K d on t h e Wall M N,and the other pear twenty f> r . >° ,,>•„ • i i • 1 . u four Fathoms half on the Arch MR; in order to which, take high, on a the enfuing Method : In the firft Place, on fomc Wall only convenient Place trace out a Wall with an Arch, twelve Fa- f tne f arri e Form, and in the fame Proportions, thoms high. wjth thofe whcreon you arc t0 p a i nt . xhis done, place a Model of your Figure, Defend in Pro- file, and of what hignefs you pleaie, behind this imaginary Wall} drawing Lines from every part of it, to fome fix'd Point, as F, and obferving in what Places they cut the fame fuppolcd Wall, MN\ that you may be afterwards enabled to fet them off" on the real one: By this Means, you will find all the Heights, Juttings out, and the feveral remarkable Points in your Figure: as to the Breadths and ThicknelTcs, thofe which are projected on the ftraight Wall M N, will be found in their due Dimenfions, the Figure being fufficiently diminished, by its diftance from the Wall : But, that part of the Figure which enters the Curviture of the Arch, muir. have its Breadths and Thickncfles further dimi- nifhed, in the lameManner as if it were ftraight •, and to proceed the more furely, it may be con- venient to mark out this Diminution, on fome even Plane, where you may lay your Figure, taken off' from the feign'cl Wall, N K, to be af- terwards Transferr'd in jt^ jull Proportions to the Real Wall. This h a Method, which 1 dare venture to recommend as the belt, ;md the molt fecure, that can be us'd on thefe Occa lions. Obiervc, rt ' I $4 e/2 Treatife of Taint hi g, abfblutely neceffary \ there being a Iefs Portior* of the Heavens, wherewith thefe Bodies arc fuppofed to be illuminated, received within the lower Parts of the Space, between the fa id Bodies, than within thofe which are higher*, as will appear from the following Example. Sup- pofe A BC Dan Arch of the Heavens, [Tab. 2. Fig. 7.3 diffufing Light on the Bodies beneath, and M N two Bodies, bounding the fpace 5 T R H y included between them : It here appears evident that the Point F, muft be left illumined than the Point £, the latter receiving Light from the whole Arch, ABCD> and the for- mer only from a part of it, CD. Of a Plane A Plane Surface, uniform in its Light and Surface on a Colour, will never appear loofe and diltincl^ ?h?fame°Co- from a Ground whofe Light and Colour are the lour with it ~fe me: On the contrary, therefore, they will feif. ftand loofe and free from each other, when their Light and Colour are found different. Of the differ- Regular Bodies are of two kinds, the one ™ *pj*; have Surfaces, that are either Spherical, Ellyp- ffng between" llCd ^ or Curved in fome other Way \ The other a Surface and have feveral Sides or Faces, which form fo ma- * Solid. ny feveral Surfaces, feparated from each other by Angles } and thefe Bodies are either regular or irregular. Now a Spherical or an Oval Bo- dy, will always have a Relievo, and appear rais'd from its Ground, even though both the Gaound and the Body have the fame Colour \ and the fame thing may be obferved of Poligons, or Bo- Thc fmalleft dies of many fides : The reafon is, that they are parts of an naturally difpos'd to produce Shadows on one of objetf, arc their fides, which is what a bare, flat Surface is thofe which incapable of. from tTeT-e 1 Amon g tlie P artS ° f an V B ° d Y' rcrnovCclt0 a diftipear £ Pittance from the Eye, that which is the final- ftrft. left, *By Leonardo da Vinci. 155 led, will difappear the faoneft •, whence it fol- lows, that the largefl Parrs will be thofe which hold out vifible the longed \ for this Reafon, a Painter mull never make the final] Parts of Di- flant Objects diflincl and finifhed \ but ought rather to follow the Rules, which I have elfe where laid down for theft Occafions. And yet how many Painters do we fee, who in reprefen- ting Cities or other Obje&s, far diflant from the Eye, make the Dejigns of their Buildings as bold and finifhed, as if they were feen in the next Neighbourhood. Now this is to go, contrary both to Reafon and Experience \ for where is Sight Jo quick and penetrating, as to difcern the Bounds and la 11 Extremities of Bodies, even at a moderate Diflance ? Remember therefore, to touch the Contours of remote Objects very (light- ly \ and obferve further, that in Painting far diflant Bodies, you never tinge them with fo llrong an Azure, as that it may have a contrary Effect, and make them appear near at hand : Take care, laftly, that in reprefenting a City, feen afar off, you never make the Angles of the Buildings appear ^ lince thofe Angles, being for- med by the Concourfe of two Lines in a Point, and a Point having no Parts, it cannot befup- pofed that they fhou'd be vilible at a Diltance. A Champaign fometimes appears larger, and Whythefame at other times fmallcr than ordinary } this is Champaign owing to the Air, interpofed between the Eye, a PP cars lar g er and the Horizon, which at fbme times is grof- a f fomet » mes fer, and at other times more fubtile than ufual. Among feveral Horizons equally diflant from the Eye, that feen through the groffefl Air, will appear the mofl remote } and on the con- trary, that will feem the neareft, which is feen through an Air, the mofl fubtile. Objects x %6 *A Treat ife of Tainting, Obje&s of unequal Bulk*:, and feen at equal diftances, will appear equally big, when the (e- veral Airs through which they are feen, bear the lame proportions with regard to groflheis, which the unequal Bodies bear to each other with regard to bignefs : with this reftri&ion, that the grofleft Air be found between the Rye, and the fmalleft Body •, and the reft, in the fame order. Now, this maybe proved, by the Per- spective of Colours; by means of which, a Moun- tain, which wou'd be found very finally fhou'd you come to meafure it, is never the lefs made to appear larger than a Hillock, which is feen nearer the Eye, and whofe Dimeniionsare con- fiderably larger; juft as a little Finger held near the Eye, is found to cover a large Mountain, when further removed. MifceiUneous Among Bodies of equal Obfcurity, Bignefs, obfervations Figure, and Diftance from the Eye, that will on Perfpcctive, appear the fmalleft, which is feen on the Whi- •and Colours. te fl. (jround, or in the moft luminous place : this maybe obferved in looking at a Tree, ftiipp'd of its Leaves, and illumined by the Sun, on the fide oppofite to that, whereon you look •, for in that cafe, thole Branches of the Tree, which face the Sun, will be diminilhed to that De- gree, as almoft to become invilible : And the lame thing will be found in holding out a Pike, or other long Pole, flraight between the Eye, and the Sun. Parallel Bodies, placed upright, and feen in a Fog, will appear larger towards the Top, than near the Bottom : the rcafon is, that the Foggy Air, being penetrated by the Rays of the Sun, will appear by fo much the Whiter, as it is the lower. Bodies fivncf. >jy- *By Leonardo da Vinci. *57 Bodies ken at adiilance, appear ill proporti- onal : this happens, becaufe the brighter parts fend their Images to the Eye, ftronger and more feniible, than thofe emitted from the obfeurer parts i and I once obferved, in looking at a Woman, who was drefs'd in Mourning, that her Head which was covered with a White Hood , appeared twice as large as her Shoul- ders which were Black. The Eye looking at a City, in a Foggy Sea- Of Cities and fom or when the Air is rendered grofs, by other Objetfs Smokes, or other Vapours, the Buildings will ^ enin a S rofs appear lefs fenllblc as they are lefs eleva- ir * ted, and on the contrary, they will appear the clearer, and more diitinct, as they are ken at the greater Height. This follows, from what we have already proved, viz., that the Air is more grofs, as it is lower, and more fubtile, as it is higher :, and may be exemplified in the fol- lowing Figure-, where the Tower A F, isleen by the Eye N, in a grofs Air B F, which is dU vided into four Degrees, each more denfe, as it is nearer the Earth. By how much there is lefs Air, interpofed between the Eye and the Object, by fo much will that Object partake lefs of the Colour of i bat Air : whence it follows, that as the greater quantity of Air, is found between the Eye and the Object, the Object mult appear more tin- ged with the Colour of the Air. Now that may be thus demonstrated \ fuppofe A E a Tower, O N the Eye, receiving the Species of the five parts of the find Tower A BC D E : now if the Air were of the lame denfity throughout, there wou'd be found the fame proportion, between the Degree of Azure, contracted by the Foot of the Tower F, and the Degree of Azure, whidi J 58 viTrtatife of Tainting, which the Hi id Tower contracts at the part B i that the Length of the Line MF^ bears to the Length of the L,ine B S: but fince 'tis fhown in the firmer proportion, that the Air is unequal- ly grofs, and that it is denfer as it is lower , it follows, that the proportion between the Co- lours which the Air conveys to the Tower, at different elevations, mu ft exceed the proporti- on of the Lines •, fincc the Line M F, befides the Excels of its Length, pafles through an Air, more denfe than that of the Line B S. Of the Rays The Rays of the Sun, palling through any of the Sun Chafm or Vacuity interpofed between thedif- |>aHLng thro' fcrent den fities of Clouds, illumine every place the interfti- as ^y p a p s anc j t i n cr e cven ftofe which are ob- ces of Clouds.-. J \ , ■ . , . 7 r , . . . icure, with their bnghtnefs •, the only dark parts remaining, being thofe, which arc found be- tween the interruptions of the laid Rays of the Sun. of ob'- an( * m t ^ lc Hcnder Limbs of Animals j for which the laftJnftance, in the Horns and Legs of a Deer, which are loft to the Eye, at a much lefs dift- ance than its Body. In general, however, it may be obit it the fir ft : thing which disappears in an Object, is its Contour which bounds it, and which determines it to be of that Figure. of Linear Linear Perfpeclive confifts in reprefenting by Perfpe in other Words, it* ° g> ' is owing to the Gl^fin.efs, or Refiftence of the Fog, by means of which, the Natural Colour of the Object is weaken'd and alter'd beyond ics due Proportion:, that is, the Diminution of the An- gle under which the Eye lees the Object, at that Diftance, is not equal to the Diminution of the Colour of the laid Object, occafioned by its be- ing feen through that Medium. So that the Ob- ject which we here fappofe at half a Mile's Di- ftance from the Eye, will yet be as far removed ill. Appearance, as when feen on the the Edge of the Horizon, in a clearer Day : Now, you know that a Tower feen at this latter Diftance, ap- pears no taller than a Man } 'Tis no wonder > therefore, if the Magnitude of the foremen- tioned Object, be augmented ; fince, while its Real Diftance is but Haifa Mile, the Eye judges of it from its apparent Diftance, which is vaftly Greater. That Part of any neighbouring Building will Of the Tops appear themoft confufed, which is feen at the and Bottom* greateft Diftance from the Earth ; The Reafon° f » u ii d "»g* is, that there being more Denfe, Cloudy Air be- ta * Fo ^ tween the Eye aad the Ridge of the Building, M 2 than 1 64 cA Treat ifeof Tainting, than between the laid Rye, and the bottom of the Building, the Image of the latter, nuift be more weakened, and difordercd in its Pafiage, than that of the former. Nov mult it be for- gotten, that a Tower, whole Sides are Parallel, being feen at a Diitance, and in a Foggy Air, will appear narrower and more contracted, as it approaches nearer its &*fis.\ This happens, bc- caufe, as we have already fhewn, the Air be- comes more Grofs, as it is nearer the Earth, and more White, as it becomes more Grofs \ and becaufe every objure Object, appears fmal- ler, as the Ground on which it is feen, is more White : For the Medium being Whiter, near the Foot, than the Top of the Tower, it fol- lows, that the Building, on account of its Ob- icurity, mult appear fmaller, and narrower, to- wards its Extreme, than towards its Upper Parts. ofsuildings 1° Buildings which are feen from a far, ei- feen in the ther in the Morning or Evening, the Weather Morning, or being Foggy, orthe Air very Grofs \ thofe fides Evening alone become vifible, v\ riich are turned towards Groft 8 Air. theHorizon,and illumined by the Sun: The other Parts of the Buildings, unillumined by the Sun, remaining almoft of the Colour of the Fog, and fcarccly to be diitinguiflicd from it. The hi h ft Among Bodies {ecu in a Fog, a Cloud, Denfe ObjUs^feen Air, Vapour, Smoke, or only at a Great, at a D^ance, Diitance \ that will appear the inoft Vifible, and and in a Fog,Diitin&,which is the molt elevated \ And among appear more Things equally elevated, that which is found in thou'Vhich the °bfcureft F °g? wiM appear the moft Ob- are lower." ^ ure « Thus the Eye //, viewing ^4 BC, three Towers of equal Height •, it will fee the Top C of the nrft Tower, as low as R , which is found immcrged two Degrees within the Fog j and the frxrnt, p. 164. *By Leonardo da Vinct. 165 the Top of the Middle Towers, will be feeri in the fame Fog; *, but then, fo much of it as ap- pears to the Eye//, will not be funk beneath one Degree of Depth •, fo that the Top C, will ..appear more Objure than the Top B *, and that again, more obfenre than the Top A. The Neck of a Man, or the like Part of any Of the Sha- other Body, rais'd perpendicularly, and covered do "[ s fcen »" with the Prominency of fome other Part, will c B J , *■ vi £ w ~ appear more obfenre, than the Face, or Sideft ance# perpendicular to the Part lb Prominent. This fol- lows from an Axiom which will be eafily allow- ed, viz,. That every Body will be the more il- lumined, as it receives Light from a greater (hare of its luminous Body.. Thus, in [Tab. 2. Fig- 8.3 the Point A is not illumined by any Part of the Heavens K f, the Point B is illumined by the Part/C/7, the Point C 3 by the Part or Arch G K, and the Point V is illumined by the entire Arch KF\ fb tbat the Stomach will be found equally enlightened with the Forehead, the Nofe andtheChin-, thePointsCand £,at the fame time, being lefs enlighten'd, and the Point A none at all. Now, with regard to Faces, it mult be ob- ferv'd, that at different Distances, their fe^ veral Shadows difappear *, none being at length found remaining, but thofe of the Orbits of the Eyes, and of fome other the like Parts j and further, that at a great Diftance, the Sha- dows do all ceafe to be feen, the Lights which fliou'd fhow them, being weaken'd, and at length, entirely loft, by Reafon of their fmallnefs, and the Disproportion they bear to the Shadows *, So that the whole Face becomes obfeure, and ap- pears inverted with one general half-Shadow. Not that there is any real Alteration, either in the Lights, or Shadows themfelves \ for the Ef- M 3 fed f66 ' qA Treat ife of Tainting feet is wholly owing to the Difbmce, which weakning their Force and Imprefiion, difablcs them at lair, from diftinguifbing themfelves •, fy that mingling together, they form what we call a Half-fhadow. Thus, 'tis pittance in like man-, uer, which makes Trees, and other Bodies, ap- pear more Obfcure, than they are in Reality : And, thus Yis Diftance, which occa (ions that A- Zure Colour, wherewith all remote Bodies ap r pear, and which is feen the moll fenfibly, in the fhadowed Parts; thofe more illumined, being more able to preferve their Native Colours, Ge-: nuine, and unadulterated by the Air. why the sha- When theSun is near his fetting, the Shadows dows pioj^- projected on White Walls, open to the Air, WaU towards wi]] a]wa P appear of the Colour of Azure : This the ' ciofe offoHo ws > fr°m wnat we have already ftiewn, the Day., apnwe That the Surface of every Opake Body pear Azure, partakes of the Colour of its Object ; whence, the Whitcnefs of the Wall, being altogether deftitute of Colour, muft affume thofe of its Objects •, which, in this Cafe, are the Sun, and the Heavens : and fince the Sun in his Evenings Vifit to the Horizon, appears Rcddifh, and the Heavens Azure; And fince thofe Places where the Shadows are found, are out of the reach of the Sun; we having elfewhere proved, that no luminous Body has ever feen the Shadow of any Body illuminated by it-, 'Tis Obvious, that the Shadow of the Heavens, projected on the \Vhite Wall, will appear Azure; and further, that the Ground of that Shadow, being illumined by the Sun, will appear Recldifh, in Conformi- ty to the Rcdnefsof its Luminary. Of Smoke 1 That Smoke, which is intcrpofed between the Sun, and the Eye that fees it, mull appear brighter and more Traniparent, than the Smoke feen ffonX.p 166 l By Leonardo da Vino. \6j fcen in any other part of the Painting: The fame tiling may be obferved of Dull, Fog, and other like Bodies-, which ought always to appear obfenre, when you arc placed between them and the Sun. Smoke is more tranfparcnt, and of a Colour lefs deep towards the Extremes of its Mafles, than in the Centre, and towards the Middle. Smoke riles more obliquely, as the Wind which drives it is more ftrong, and violent. Smoke, appears under as many different Co- lours, as there are different Caufes to pro- duce it. Smoke, never projects any Shadows that arc bold and defined } and its Extremes weaken by little and little } becoming infenfible, as it re- moves further from its Origin : Thofe Objects, which are feen through it, appear fo much the lefs fenfible, as it is more Denfe -, and ic is found fo much the Whiter, as it is nearer its Principle, and the more Bluciih, as it is further removed. Fire appears more obfeure, as there is a grea- ter quantity of Smoke, found between it, and the Eye. Where the Smoke, is at the greateft Pittance, Objects are the lean: dimra'd and intercepted by ir. Paint a Landskip, dim and confufed, as if fhrowded in a thick Fog :, Smoke mounting in feveral Places, with Flames glaring in the loweit and thickeft Volumes } and let the Roots of the Mountains appear lefs vifiblc than the Tops ; as we have already obferved of Fogs. 0f Du ^ The Dult rais'd by the Motion of any Ani- mal, appears clearer as it is mounted higher, and on the contrary, moreobfeure as it is lower j fuppofing it between the Sun and the Eye. M 4 The 1 6% qA Treatife of Tainting, Miscellaneous The Surface of every Opake Body, partakes Rules and ?rc- f t ] ie Colour of the Tranfparent .Medium, Paintin & un d between the Eye and that Surface; and by how much that Medium is more denfe, and the fpace between the Eye and the Surface more great *, by {o much the Colour, which the Sur- face borrows from the Medium, is found more ftrong. The Bounds or Contour s of Opake Bodies, are fo much the lefs vifible as thole Bodies are fur- ther removed from the Eye which views them. The parts of Opake Bodies, will be the more ftrongly lhadow'd or illumined, as they are nearer the dark Body, whence they have their Shadow, or the luminous Body that gives them Light. The Surface of every Opake Body, partakes more or lefs of the Colour of its Object, as that Object is more or lefs removed, or as it makes its impreflion with a greater or lefs force. Thofe things which are feen between Light and Darknefs, appear with a greater Relieve, than thofe which are feen, entirely either ill Light or Darknef«. When in representing any diftant Scene, you Paint your Figures bold and diftinct, thefeiii Head of appearing far removed, will be feen near at hand : Ufe fo much Conduct and Dif- cretion, therefore, in your Figures, as that they may (how their Diftances ; nor in imitating any Object, whole bounds on account of their diil- ance, appear dim and indiftinct, mnft you fcruplc to Copy, even that dimnefs,andcontufioa in your Figure. Diftant Objects appear dim and con filled m their Contours for two reaf >ns ; The firft: is, that they come to the Eye under fo ftnall an Angle, 4 has J° 'Bj Leonardo da Vingt. 169 that ttheir effect is like thofe of the fmallefl: Ob- jects % as the Nails of the Fingers, the Bodies of lnfe&ts, or the like Minute Bodies, whofe lit- tlenclfs prevents the Eye, from difcerning their Figurre, or Parts : The fecond is, that remote Objecfb, have fo much Air interpofed between them., and the Eye, that it has theefTe&of a Fog, or fome other den fe Medium, tinging, and difcollouring the Shadows of Objects, with its Whittenefs, and flripping them of their natural obfcuirity, till they appear of a Blueifh Tincture : that being the middle, between Black and Whitte. Though feveral Objects become invifible, on accouint of their diltance, yet thofe illumined by the Sun, can never fail of making fome im- prefliion on the Eye •, the reft, which areunillu- mined, remaining wrapp'd up in Shadow and Obfcurity \ and fince the Air becomes more grofsj, as it approaches nearer the Earth, thole things which are found the loweft, will be the darkeft and mod confufed, thofe more elevated, at the fame time, appearing clearer and more diftinft. When the Sun reddens the Clouds, over the Horizon, with his Beams, thofe Bodies which by reafbn of their diltance, participate of Azure, will be likewife found tinged with a fhare of this Rcdnefs ; and this mixture or unioi of Red and Azure, will beautifie the Champaign, and render it extremely pleafing and agreeable. All the Opake Bodies illumined with this ming- led Colour, will appear very bright, being teen to border moftly upon the Red \ and the Air, will have a Colour like to that of Yellow Flow- er-de-luces. The 170 eA Treatife of Tainting, The Air, between the Earth and the Suit, at the time of his riling or letting, will obRore theObj:dts found underneath it, more than arny other Portion of the Hcmifphere •, it being here, that the Air is found more White, than in any other part. Never draw the Terms or Contours of any Bo- dy terminating on another, or to which another Body ferves as a Ground, too bold and apparent \ but let it be rais'd and loofen'd from the Ground, ofitfelf. One White Curvilinear Body, terminating on another White Body, will have its Contour dim- mer and more obfeure, than any other of its illumined parts \ and on the contrary, this fame Contour , if found on a dark Ground^ will appear brighter, than any other illumined part of the Objeft. That Thing will appear the mod ft para ted and remote from another, which is fecn on a Ground, of a Colour the moft different from its own. The Things which grft lofe themfelves at a diftance, are the Contours of fuch Bodies., as have the lame Colour, and are placed over one ano- ther, as for inftance, one Oak over another Oak, &c. At a greater diftance, the extremes of Bodies, which have a difference in Colour, and which bound on each other, are found to dilappear, as Trees and Plongrfd Ground, Walls, the Ruins of Houfes, the" Fragments of Rocks or Mountains \ lajrly, at a diftance Hill greater, thofe things which are ufually the moft confpicnous, as bright and obJcurc Bodies terminating on each other, dwindle and vanifh. Among Bodies equally elevated above the Eye, that which is placed at the greateft diftance, will ap- e ar *By Leonardo da. Vinci- 171 pear the loweft:-, and of feveral Bodies ranged equally below the Eye, that will appear the loweft, which is placed the neareft. In a Landskip which takes in far diftant Obje&s, thofe, found on the Banks of Ri/ers, or Lakes, will appear lefs, than thofe leen at a diftance from them. Among Bodies of equal denfitics, thofe near- eft the Eye, will appear the leaft denfe \ and on the contrary, thofe more denfe, which are more remote. Every Object appears bigger, as thePupU of the Eye which views it is larger. This you may be convinced of, by looking at one of the Hea- venly Bodies through a final! Pin-hole made in a Paper \ for that little Perforation admitting but a fmall fhare of the Light of the Body, the Object becomes diminifhed, and lofts of its ufu- al Magnitude, in proportion, as the hole of the Paper, is fmaller than the Pupil of the Eye. The Air being replete with grofs Vapours, the Contours of Bodies invefted by it, become dim and confufed •, and the Bodies themfelves appear larger, than they are found to be in ef- fect. The reafon is, that though the Linear Perfpe&ive, does not diminifh the Angle under which the Image of the Object ftrikes the Eye, yet the Perfpeftive of Colours, or the Aerial Perfpeclive throws back the Body, and places it at an imaginary diftance, much greater than its real one } fo that while the one removes the Object from the Eye, the other preferves it, in its natural Magnitude. When the bun is near his fetting, the Dews which are then obferv'd to fall pretty plentiful- ly, thicken and condenfe the Air } lb that all Objects unillumined by the Sun, remain dark and iy« <*A Treatife of Tainting, and confuted \ thofe which are illumined, at the fame time, receiving a Tincture of Red, or Yel? low, according as the Snn is found in the W ori- son. Further, thofe things then illumined by the Sun, will be very evident, and will ftrike the Eye very fenfibly, efpecially Buildings, the Honfesof Towns and Cities, and Caftles in the Country, for their Shadows will be very obfcure and deep, and that oppofition, found between the brightnefs of their upper illumined parts, and the darknefsof their lower and fhadowM ones, will give them an uncommon Force, and Relievo. A Thing illumined by the Sun, is further illu- mined by the Air \ whence arifes two feveral Shadows, whereof, that will be molt obfcure, whole Central Line is directed towards the Cen- tre of the Sun: And obferve that the Central Lines of the two Lights, Primitive and Deriva- tive, being continued within the Shadow, will form the Central Lines of the Primitive and DerivativeShado ws. 'Tisa fine fight, to obferve towards the Eve- ning, how the Tops of Houfes, Towns, Catt- ies, Trees, and other elevated Ob jeers, are il- lumined and gilt with the Beams of thefetting Luminary \ all the reft at the fame time remain- ing dim, and indiftincl, receiving no Light but from a dusky Air, and that too weak to diftin- guifh their Lights from their Shadows. Now thofe tall Objects, being thus tinged and en- lighten'd with the Sun, to reprefent them in a Painting, you muft take fome of the Colour wherewith your Sun is Painted, and mingle it with the Light parts of all the Objects fuppofed to be illumined by it. It *By Leonardo da Vinci." *7? It often happens, that a Cloud appears ote fcure, without receiving a Shadow from any other Cloud: ThU is owing to the fituation of the Eye, which being found near the Cloud, fees only fb much of it, as is fhadow'd •, as in another place, or at a greater diftance, it.wou'd difcover both its fhadow'd and illumined fides. . Of two Bodies equally high, that which is fcen at the greateft diftance from the Eye, will appear the lowcft. Thus of the two Clouds re- prefented in Figure 9. Tab. 2. though that near- eft the Eye, be really the low eft, yet in appear- ance it will be the higheft-, the Section of the vifual Rays of the firft and loweft Cloud, on the perpendicular A iV, being found between the Points M A> and that of the fecond and higher Cloud, between the Points M N, which is below A M. It may likewife happen, by an effect of the Aerial Perfpedive, that of two Clouds, the one w hereof is illumined by the Sun, at his riling or letting, the other at the feme time remaining obfeure and unillumined, the latter, though really the loweft, and the ncarcft, fh ill yet appear both the remoteit, and the higheft. Suppofing upon the Wall BC, [Tab. 2. Fig- 10.3 I Paint the Figure of a Houfe, to appear ~ Painte< f,. at a Miles diftance} and this done, I difcover n ^ u " ^ ac a real Houfe, actually removed to that diftance : an equal dift- thefe two Houfes, I difpofe fo by the fide ofance with the each other, as that the Se&ions of the Line ^Natural Ob- C, made by each Piramid of vifual Rays, be£ a ' thou 8 h equal ; and yet after all, viewing thefe two d °* thefa^c Houfes with both Eyes, they neither appear Angle, equally big, nor equally diftant. The thing principally to be confidered, in f t he order to give a Relievo to Painting, is the Groun< j sifl Ground ; Paintings. 174 c^ Treat ife of Tainting) Ground: In which, it may be obferved, that the Terms or Extremes of Bodies which have con- vex Surfaces, will ufnally fhow themfelves, even though both the Body and the Ground have the Ja me Colour. Now thereafon of this is, that the convex Terms, "or Contours of Bodies do fel- dom receive their Light in the fame manner as their Ground, even when the {lime Light is found to illumine them both-, fo that the Con- tours become frequently either brighter, or more obfeure than the Ground on which they are feen : But fhon'd it happen, that a Contour befides ha- ving the fame Colour, fhou'd likewife be illumi- ned, or obfeured in the fame Degree, with its Ground , in that cale, the Contour muft inevitably be loft, and the Figure remain indirtinguifhable. 'Tis for this veafon, that a Painter can never be too cautious in his Grounds , nor ever avoid this Uniformity of Lights and Colours with too much Study : For, as 'tis his chief aim, to fnow his Figures rais'd, and advanced from the Ground of his Painting, and as this PracYice is found to have a quite contrary erred, to give into it, wou'd be to frulrrate his Endeavours, and to defeat himfelf of his end. How to judge The firfl things you are to confider in a Pain- of a Painting, ting, are, whether the Figures have a RHievo an- fwerablc to the place wherein they aTe found, and to the Light which they receive, and whe- ther the Shadows are not the fame in the Ex- tremes, and in the Middles of Group 5 it being one thing to be incom parted on every fide with Shadows, and another to be barely fhadow'd onafingle fide. Now a Figure in the middle of a Group, is under the firit of thefe circum- ftances, being hemm'd in with dark Bodies on every Hand , Whereas another in the extreme, 'By Leonardo da Vincl 17$ is fhared between the Shadow diffufed from the Group, and the Light it receives from its Lumi- nary. Obferve fecondly. whether by thz Ordonnance or Difpolitton of the Figure, they appear ac- commodated to the Subject ; and well fuited to the Hiilory which they are intended to repre- sent. And thirdly, whether the Figures be atten- tive to the bufiriefs, and to the occafion of their being there ; and whether their Attitudes, and Expreflion, be fuitable to the matter in hand. AnOpakc Body will appear to have lefs ^-Obj«Ss appear itevo, as it is further diftant from the Eye. This wkh l &se- k owine to the Air, found between the Eye J uvo as thcy i . 9s i i-. i i • i i • i - l^ i are more re- and tneOpake Body; which being brighter than motc . the Shadow of the faid Body, weakens the force, and diminiihes the obfeurity of that Shadow ; tinging it, with itsown Light, and adulterating it with its Azure; whence, of courfe the Body lofcs its Relievo. The Contour of any illumined Member, will where the appear more obfeure, as the Ground on which it c t ™ tours J* ve . is [Qcn is more bright ; and for the fame reafon,^™ A it will appear more clear, as its Ground is more obfeure : Laftly, if it be flat, and the Ground bright, like to it in Colour, and equal to it in brightnefs, the Contour will be infen- 'liblc. The Bounds of Bodies are lefs evident, as Q f theBounds they are feen at a greater diftance : This is a or Extremes Maxim that can never be repeated too often; of Bodies* it being the Foundation of a rule of the laft im- portance, viz* that the Contours of Objects muft be drawn more or lefs ftrong, as they are more or lefs remote. Now the termination or boun- ding; 176 tA treatise of Tainting, ding of- one thing upon another, is in reality no more than a Mathematical Line ; nor having the Properties of a Phyfical one : Neither can the Term between two Colours be properly called a Lirie, the one beginning, where the other ends-, without the interpolition of any other thing. Learn therefore, never to be too coarfe in your Contours-, but efpecially where the Objefts are fuppofed at a diftance • Nature, which is every where elfe to be followed, being not here to be departed from. OftheSha- In reprefenting remote Objects, Obferve, ne- dows of re- ver t0 trace tne p rcc jf e Bounds of the Shadows -, moteObjecfts. b utrat h er i eave them at large, and undetermined. Now, for Reprefentations of this kind, it will be proper to pitch on the Evening, or at leaft on fome cloudy Seafon •, fince that, will give you a fair Occafion of leaving your Lights and Sha- dows undefined, and their Bounds fomewhat confufed i and will free you from any Neceflity of the contrary Practice, which is the more to be avoided, as it is not only difficult to execute, but difagreeable in the effect \ the Shadows, in that Cafe, appearing like fo many Spots, or Blotches at a Diftance. Remember, likewife, never to paint your Shadows fo extremely deep, as that by their Blacknefs they Abforb, or Drown their original Colour ', excepting the Place wherein they are found, be dark and gloomy. Laftly, Obferve that the Contours be not fee n ; efpecial- ly thofe of the Hair. Nor, let any of your Lights appear of a pure, untainted white •, un- lefs where 'tis requifite that the Genuine Colour of fome white Objeft fhou'd (how it felf. Various Rules The Figure, and Bounds of an Objeft, are and Precepts never feen diftinclly, either in its Lights or in painting, s nac i ows j but 'tis in the intermediate Parts, where Leonardo da ViNcr." 17/ whereneither the Light, nor the Shadow arecon- fiderahle, that they are the molt clearly diftin- guifh'd. Pcrfpeclive, as it relates to Painting, is divi- ded into three Principal Parts-, the firft of which confifh in dirriinifhing the Magnitude, or Dirnenfions of Bodies, fuitably to their diffe- rent Diftances ; the fecond, confiders the weak- ning, or diminution of the Colours of fuch Bo- dies; and the third, is that which regards the Bounds or Contours of Bodies; teaching how to make them fainter, or more fenfible, as the Ob- jects are more or lefs remote : it depending on the Eale, or Difficulty of tracing the Bounds of Objects, that they appear more or lefs Diftinct, or more or lefs Diftant. The Azure of the Air, is a compound Colour, form'd out of Light and Darknefs : bv Light, I mean, the Particles of Vapours diffufed through the Air, and illumined by the Sun; and by Dark- nefs the pure Air, not charged with any Hetero- genous Particles, to receive and reflect the Light of the Sun: An inftance of this, may be feeil in the Air, interpofed between the Eye and a Mountain, darkened by means of the great Number of Trees wherewith it is befet, or viewed on that fide turned from the Sun ; for the intermediate Air, will here, be found of two Colours; whereof, that oppofed to the obfeure 1 part of the Mountain, will be Azure ; the other being different ; and the mor« fo, if the Light part of the Mountain be feen covered with Snow. Among things equally obfeure, and equi-di- ftant ; that will appear the moll obfeure which Is found on the brightest Ground ; and ficcverfa. N That tjS eA Treat ife of Taint tug. That Figure, which fhows the greateft: fhare of Black and White, will appear with the grea* teft Degree of Relievo -, 'Tis for this Reafon, that I would advife the Painter, to cloath his Figures with the brighteft and molt vivid of his Colours •, thole which are obfeure, being unable, cither to give them a Relievo, or to make them vifible at a Diltance : The Reafon of which, is, that every Shadow is obfeure, either in a grea- ter or lefs Degree, fo that a Drapery, of a dim, obfeure Die will appear too uniform, and alike in its Lights, and Shadows •, whereas, in thofe, whofe Colours are brighter, the Difference be- tween their Lights and Shadows, will be the more evident, and the greater. why a Pain- ^ Painting, though conducted with the grea- ting though tell Art, and finifhed to the la ft Perfection, both imitated with with regard to its Contour, its Lights, its Sha- the greateft dows, and its Colours, will nearer (how a Relievo, perfection j t0 that f he $fc tura i objects, unlefs from Nature, :* - , . ,, t _._ . > . , ' _ , does not ap- tfcefe be view d at a Diftance, and with a fingle pear with as Eye ; as may be thus Demonltrated. Suppofe much *eiicvo,the two Eyes A B, viewing the Object C, at as tbe *S tu ~ l ^ e Concourfe of the two Central Lines, or lln« his vifual Ra V s > A C,BC; ITab.i. Fig. 2.] In Copied: this Cafe, I fay, that the Lines, or Sides of the vifual Angle including thofe two Central Lines, will fee the fpace G D, beyond, and behind the laid Object \ and the Eye A will fee the Space F D, and the Eye B, the Space G E; fo that the two Eyes will lee, behind the Object C, the whole Space F E. By which Means that Object, C, becomes, as it were, tranfparent, according to the ufual Definition of Tranfparency, which is that, beyond which, nething is hidden. Now, this can never happen where the Object is only viewed with a fingle Eye \ and wh v re that Eye, is JJaJb.il. 'Icjeld 'autjrimtuuf pope J?S\ *By LeonardcTda Vi^ar *79 is lefs in Extent than the Object which it views \ whence, the Truth of our Propofition is fairly evinced-, A painted Figure intercepting the whole fpace behind it •, fo that the Eye is pre- cluded from the fight of any part of the Ground, found behind the Circumference of that Fi- gure- i Figures Painted on a bright and illumined a tight Ground, will appear with a greater Relievo, than Ground pro- if Painted on a Ground more obfcure : ■ The rea- Arable to a. fon is, that in order to give your Figure the . *J Qne , • i-' e jrj lit with regard to greater torce and freedom, you make that part raifincrancJ of it, which is the furthefl: removed from the ibofening your Light, the leaft illumined by it-, whence it be- Figures from comes oBfcnre •, fo that coming to terminate on bottom of tht an obfcure Ground, its' extremes are render*d palntlng ' ciim, and appear confuted, and of a Piece with the Ground it felft Infomuch that without the alfiftance of fome Reflex, to be conduced thir ther, your work will remain devoid, both of* Spirit and Grace -, nor will any part of it, ex- cepting its Lights, be fo much as feen, at a dii 1 tance. And this is the effect of an obfcure Ground •, Which prevents the Relievo of Figures^ cutting off, and mutilating them of all their un- illu mined parts. A Figure eXpofed to an univerfal Light, will Ari urtivetfai appear more graceful, than if illdmined by a Li g ht niore .. particular one} the reafort is, that a large and advanta S eods ftrong Light, incompafTes, and (as it were ) [J a * /'&*£ embraces the Relievo's of Bodies } fo that the Fi-cular ai ™ advanced towards tne Place. North \ excepting fuch Trees as preferve their Verdure all the Year, and which are continually fending out new Leaves. What is to be \ n an Autumn-Piece, let everything be re- ofefervcd.n prc f cntcd fuitably to the Senfon. thus to- reprclentmc J • , , • ; r . ~ , ^ t the Autumn wards the beginning of that Quarter^ let the Leaves, found on the oldeft Branches of Trees, begin to appear pale, and in a greater or lefs Degree, as the Soil is more barren or fertile , jlill avoiding the common Fault of Painters, who make no Icruple of giving the fame Co- lour, and the fame kind of Verdure to all forts of Trees, provided they be but view'd from equal di fiances. The fame thing mult be un- derftood of Meadows, Rocks, Trunks of Trees, and of all kinds of Vegetables \ wherein you mult always introduce a variety, in imitation of Nature, who in this, as in other parts of her Kingdom, diverfifies her Works, in a man- ner that furpafles all imagination. A rule to be I 11 representing the Wind, betides bending obferved in he Boughs of Trees, and turning back their rcprefenting t eaves towards the fide, whither the Wind the Wind, blows, obferve that the Dull be rais'd aloft, and confufedly blended with the Air. How to re- ' ^ ^ nower m falling, darkens the Air, and prefent the g' lves ]t a precarious Tincture \ being found to beg.nning of a receive the Light of the Sun on the one fide, Shower. and being Ihadow'd on the tide oppohte thereto, as *Bj Leonardo da VinctJ ill as is obferved in Clouds \ the Earth becomes overfpread with a Dusk, or Gloom, its Light being intercepted by the defending Shower : Objects feen through it, will appear obfciire, and indiftinguifhible, thofe near at hand, being, however, the molt evident and diftinct; and it mult be obferved, that fuch as are found on the fhadow'd fide of the Shower, will be more con- spicuous than thofe on the fide illumined , the realbn of which is, that the former lofe nothing but their Principal Lights, whereas the latter, lofe not only their Lights, but their Shadows too:, their illumined parts being confrfed with the brightnefs of the Air, and the fhadow'd parts, likewife, illumined and weaken'd, by means of the iaicl enlighten d Air. The Shadow of a Bridge, can never be feen Of the Sh*. on the Water running underneath it, unlefs clows of Bru *" that Water have fir It loft its tranfparency, by^eWa^un- being troubled and muddy, The rcafon is, thatdemcach clear Water having a bright and polifh'd Sur-them. face, the Image of the Bridge caft on it, is re- flected back to all parts, placed at equal Angles, between the Eye and the Body of the Bridge 9 and even under the Arches, where the Shadow of the Bridge fhou'd be caft, inftead thereof is exhibited the Image of the Air \ which can ne- ver happen when the Water is foul and turbid \ fince its Luftre, and Tranfparency, to which it owes, that is, it has the effect of a Mirrour, are in that cafe deitroy'd j whence it becomes difpofed to receive a Shadow, in the fame manner as a Dufty Street. Pcrfpective is the Rule of Painting ; the big- of the ufe of nefs of a Painted Figure, ought to difcover the Perfpetfive in diitance at which it is feen: And where a Fi- Painting. N 3 gure 182 qA Treat ife of Tainting gure appears as big as the Life, it will {how it felf to be near the Eye. of the Equiii- The Navel is always found in the Central brmm of Fj- Line of the Stomach, which is over it, and is gum. affrtted in the fame manner by a Foreign or Accidental Weight, as with the Natura- Weight of its own Body: This is feen in ftretch- ing out the Arm, where the Hand at its ex- treme, has the effett of a Weight at the end of a Stilyard •, fo that to prefcrvc the Equi- poife, it becomes neceifary to throw ib much of the Natural Weight of the Body, on the other fide of the Navel, as is equivalent to the accef- fary Weight of the extended Arm and its Hand: To which end it is frequently found necedary to raifc the Heel of that fide, and to keep itfufpended from the Ground, ke ^° nia ^ e a Figure in Marble, in the firft a Statue." 13 P' ace ? f° rm a Model of it in Clay \ and when that is finifhed and dry, place it in a Coffin, large enough to contain the block of Marble, whereon you intend to work. This Coffin ha- ving its fides perforated in fevcral places, you mult provide little White Rods, fuch as will enter precifely within thofe Perforations •, pufii thefe through the fcveral Holes, till they come to touch the fevcral parts of the Model, oppo- site to them; and diftinguiih fo much of the Rods, as remains without the Coffin, with Black, giving each Rod and its rcfpeclive Hole, fome particular mark that you may be enabled, on occahon, to match them again : This done, rake your Clay Model out of its Coffin, and be- llow the Block of Marble in its place, itriking fo much offit, and bringing it fo far down, till fuch tirue as all your Rods enter through their Holes, to their former depth 3 aiid hide their ' . i White ^Leonardo da Vinci.' 18$ White parts within the Coffin : In order to do which with the more conveniency, let your Coffin be fb contrived, as that it may be drawn up, and fufpended •, the Bottom all the while remaining firm under the Marble-, thus your Tools will be the more manageable, and you may cut off as much as you pleafe, with eafe and expedition. Having drawn your De/ign on a Sheet of fine n ow to fe . Paper, well ftretch'd in a Frame, lay over it a cure a Paint- Skin of Pitch and fine Brick- duft, well incorpo- in s from de- rated together, covering this again, with a Lay cay ' and to of Spanifh White and Mafticot : This done, wo- P"*™ 1 ' aI : j /- i t> r i i n.% ir ways frcfli and cecd to Colour your Defign\ and laftly to Var- un fadcd. nifh it, ufing to this Purpofe, fome old Oyl, clear and defecate, but of a good Body: After which, there remains notking, but to flick it to a Glafs \ which mult be flat and very fmooth. 'Twill however, be the better way, to take a fquare piece of Earth well vitrified, laying over it the mixture of White and Mafticot •, after- wards Painting it, applying the Varnifh, and covering it with a Chryftal-, but firft it will be neccfTary, that your Ptunting be well dried in a Stove, after which yon may Varnifh it with Nnt-Oyl and Amber, or barely with Nut-Oil, taking care that it be well purified, and thick- en'd in the Sun *. To Paint upon Linnen, take the following How to apply Method : in the firft place, ftretch the Piece Colours upo& of Linnen intended for your Painting, on a Linnen * Frame, and warn it flightly over with Size, * N. B. The Art of Painting in Enamel., invented not long ago, refers very naturally to this Head ; and as it is now managed, is preferable to that here dilcribed by the Author. N 4 which j 84 &4 Treat ife of Tainting, which being thoroughly dried, lay on your Co- lours with "little Brumes, made of Hog's Brid- les •, and at the fame time, while it is trefh, trace out your Shadows : The Carnations muft be formed of Spanifh White, Lake andMaiticot; and the Shadows, of Black and Umber, with a little mixture of Lake. After you have gone flightly over the feveral parts of your Painting, let it dry \ which done, touch it over again with Lake, that has been ftecp'd a long time in Gum Water-, this being the fitter for the purpofe, becaufe it does not bear any I.uilre when n led, To make your Shadows the deeper, take fome of this Gnmm'd Lake, and mix it with Ink : now this will be a Tin'fture of very good ufe, 11 nee being tranfparent, it will ferve to fhadow feve- ral very different 'Colours, as Lake, Azure, Vermillion, &c. Of the nfe of When on any occafion, you find your felf Perfpe&ive m unable to difcover any difference, in the bright- reprefenting nc f$ Q f the Lights, or in the obfeurity of the Objcc-s that shadows of an Object, that you wouM imitate, appear dim ^ ^ f m fet ^ tbe p er f pc aive either on ac - ' J } . <- r i t • 1 count of dift- of Colours, and only make ufe ol the Lineal ancc or of thePerfpcdive, to climinifh tbe Figures in propor- denfiry of the tion to their diflances •, apd of the Aerial Per- #ed,um. Jpe&ive, to diminim and weaken their eviden- cy, by mowing them lefs finifhcd,and diltincr. The Eye will never difcover the interval be- tween two Objects, differently diftant, by means of the mere Lineal Perfpedive y unleft further aided by the Reafonlng deduced from the Aerial Perfpe&ive. Th$ effcet of That part of an Object which is neareft the tUc difcance i uminous Body, whence it has its Light, will be f fooycXs. li!C raoft ftvongry illumine^ The I . thus the Eye being placed in £, the Member" that Figure M N throws the middle of each circula- te Shorten 'd. ting Fold, further from its extreme, as it is more remote from the Eye; NO mows the ex- tremes almoft ftraight, being found directly over againft the Eye*, and P Q_ has an efiift quite contrary to the firft, N MT The Shadows found within the Folds of the Drapery, will be the more obfeure, as the Car Of th sh - vlt Y or ^denture w bere the Shadow is produ- dowsofthe" ce( ?> is more directly op po fed to the Eye which folds. views it: With this Limitation, however, that the Situation of the Eye, be between the illu- inined, and the fhadow'd part of the Figure. In whatever Action your Figures are enga- ged, let their Draperies be feen in a Difpoiition The Folds of Correfpondent •, (till making the Folds, and Cm? the Drapery tours' confpire together, and accommodating to Correfpond thefe Jo perfectly to the Poftnre, as that there to the Attitude be no room for doubt, or uncertainty, with re- tf the Figure. gard t0 the ml j ttitU( ie of the Figure. And take efpecial care, that none of the Folds be too deep, nor appear to reach below the Surface of the Body. Laftly, whenever you reprefent a Figure dreft with feveral Garments, one over another, take care, that it do not appear as if there were a Skeleton, fo drefs'd : But let the Bignefs of the whole Figure, be fo pro- portion^, as that befides the Thicknefs of the fe- V/U.f. 10S. front: p. >&g. JJ 'By Leonardo da Vinci.' 1891 fcveral Garments, there appear a Body of a reasonable Bulk, underneath. The Folds of the Drapery, wherewith any Member is covered, ought to fall off, and dimi- nim, towards the extremes of the part which they encompafs The Length of thofe Folds, which fet the clofeft to the Body, muft be feen wrinkled on that fide, whereon any Member bends, and is (hortened \ and diftended on the fide oppofite. From the fixth Propofition, of our Treatife of Perfpe&ive, it appears, that the Horizon will be feen exhibited, as in a Mirrour, on that Of the Horf- fide of a Water, oppofite to the Horizon and zon appearing to the Eye. An inftance of this, you have in 111 theW " er « the adjacent Figure, where the Horizon Fis op- pofed to the fide B C, and that fide, at the fame time, oppofd to the Eye. Let the Painter therefore, who wou'd reprefent any wide ex- tent of Water, conlider that this Element has no other Colour, whether bright or obfeure, but what it receives from the brightnefs or ob- fcurityof the place, wherein it is found; inter- mingled with the Colours of fuch other Objects, as it is incompaffed withal. ERRATA. PAge 13. Line 22. for Treaties, read Treatifcs, p. 26. 1. 1. for Vellom, r. Velvet p. 40. ( in the Marg. > for , form the Life, r. from the Life, p. 69. \. 27. for thefe, r. that, p. 112. 1. 30. for orhcr, r. other, p. 141. ( hi the Marg. ) tor Colours r. Contours, p. 1 54. 1. 29. for Gaound, r. Ground, p. 158. 1. 4. for firmer, r. former, p. 157. |. 30. for N, r. and A", p. 1 58. 1. 25. for a light one, r, a kcivy one. INDEX. INDEX. A. A\ R : its Colours, and ■^* Qualities, as it is nearer, or more re- mote from the Earth, Page 57, 58, 86 Air, appearing on the Surface ot Water 86 Whence the Air,has its Azure Colour 85, pi Anatomy : Neceflary tor a Painter, whowou'd Defign Correctly 43, 102 Anatomy to be ftudi- ed-, and how? 50 .Attitudes : To be fuita- ble to the Subject 46, no, 117 How to give Figures their fuitable Atti- tudes 46, 50, 60, 67, 69,117 Attitude of Children Si Of Old-Men ibid. Of Old- Women ib. Of Women ibid* Difference of Attitudes How to know rJhe At- titudes, fuitable td each Subjeft 46, 117 General Rules to be obferved in givi ng Fi- gures their Attitudes *2 7 Attitude of a Figure, Shewing or Pointing at any thing ibid. Attitude, of Toun- People 13 Of a Man in Lear ing ibic. OfaManpreparini toftrikewith Vi olcnce 122, 123 Of a Man throwing any thing with Violence 105, 122,134 Of a Man viewing his Hind-parts 122 Of. INT) Of a Man dragging any thing out of the Earth, or darting it in 134 Of a Man in a Rage 131 Of a Man rifing from his Knees 125, 126 Of a Defperate Man 132 Of a Man Speaking in Publick 131 Of a Man turning round 115 Az.ure: how formed, 96, 177 Whence given to the Air. See Air. The darkeft Bodies ap- pear the moft tinged with Azure, at a Di- fhnce 97,98,160 B. ID Attel : How to be re- ■ L * prefented 53, 54, , 55,5°\57 Beauty : Wherein, that of a Face confifts 1 10 Bignefs. See Magnitude. C. fyHaratler'. Of Old ** Men 51 Of Old Women ibid. Of Children ibid. Of Women ibid, E X Carnation : The Light proper to paint Car- nations by 42 How to compofe Car- nations, proper for ' painting upon Linnen 185 The Carnation of Faces, difappear at a fmall Diftance 84 The Effea of the Dra- pery or Carnations 90 Campaign. &?Landskip. Centre. See Equilibrium. ClairObfcure. See Light. Of the Lights and Sha- dows proper for Fi- gures, Defigned from the Life, or from Re- lievo's 38, 39 The Effecl: of an Uni- verfal Light, on a Croud of Figures 154, I5S How to give Grace to a Face, by means of Lights and Shadows 41,60,145,146 Whence the Know- ledge of the Clair -Ob- fcure, becomes of more Confequence than the Art of De- signing 49, 5°, W Of the Degrees of Brightnefs in the Go- lour of a Painting 89 Of the Lights and Sha- dows proper for Fi- gures INT) gures 38, 39, 141,142, *44 Of large and fm.ill Lights, and their Sha- dows 146 Colours : To be To matrh'd, as that they may loo fen and fepa- rate the Figures from one another 60 Of Reflefted Colours } theirForce andWeak- nefs 66 Colours to be fo match- ed, as that they may give a Grace to each other 72 How to make Colours appear brisk and vi- vid ibid. Of the Colour, of the Shadows of Colours 72 nx Of the Difference ob- fervable in Colours, that are placed at a Diftance 73 At what Diftance Co- lours lofe themfelves entirely ibid. . Colour of the Shadow of White 73,74, 166 What Colour produces the darkcft Shadow 74 On what Occasions a Colour receives no Alteration, from its -being ken at diffe- E X rent Di fiances, or in Airs differently ^S Occafioned by the Me- dium between them and the Eye ib. & 86 Difhnt Objetts appear tinged with Azure 84, 86, 8.8, 89 E X. And in what Proporti- on ih EfTeft of different Co- lours, oppofed to each other 90 Of the Colour of the Shadows of Bodies ib. Of the Diminution of Colours in dark Pla- ces ib* Where a Colour ap- pears the moft beau- tiful gt What Colours the l'eaft liable to change at a Diftance ib. Of Colours *een in Ob- fcure Places 9^,92 Of the Colours com- municated to Objects by the Fire, and by the light of the Dawn, or of the Evening,and their Difference Colour or direft and reflected Light 93 Of th* Colours refult- ing from the Mixture of other Colours 95,96 Divers Remarks upon Colours 96, 97 Of the Colour of Mountains 97,98 The Shadows of Bodies frequently of diffe- rent Colours from their Lights, and why ? 94 O Both I N 1> Both the Lights and Shadows fometimes different from the Genuine Colour of the Objeft ib. How to praftice the Perfpective of Co- lours 98, 99 Of the Rays of the Sun parting thro' Clouds 158 "Why the Shadows pro- jected on a White Bo- dy, towards the clofe of the Day, appear blueifh 166 MifcellaneousRemarks on Colours 168, 169, 170, 171, 172,173 How to apply Colours upon Linnen 183,184 TheEfFeftofthe Me- dium with regard to the Colours of Ob- jects feen through it 157,160 Cowpofition : Variety of Figures to be intro- duced into the Com- pofitionof a Painting 69, 70,71 Cuftoms and Decency to be regarded in the Compofttion ofaPain- • ting 129,130 C'lmpofition of a Pain- ting where a Per Ion is reprefented {peak- ing in a Company. See Attitude 131 E Xi Of a Battle. See Bat- tle. OfaTempeft52,5? Of a Night 511, 52 Of an Imaginary A- nimal J4? Contour \ CoarfeneiTs of Contours to be avoided 46, 176 Diftance renders the Contours of Objects invifible 147 Contour^, the things which lofe the mf elves at the leaft Diftance ibid. 'Tis not by means of the Contours that we know one another's Faces ibid. Contours of Bodies, placed on other Bo- dies 148, 170 Contours on the illu- mined fide of a Body Contours of Bodies, when more or lels fenlible ibid. Contours, no more than Mathematical Lines 176 Control* : To be fhown in the Airs and Fea- tures of Faces, t he Si- tuation of the Mem- bers, &c. in a I lifto- ry piece 55,69,7 1,106 In the Situation of the Members of a fingle 1 N 1) a fingle Figure 115,116 Child, Character and Attitude of Children. See Character and At- titude. D. T\Ecoru)ns to be ob- ferved 129,130 Defign : Method of lear- ning to Defign 33 In Defigning, a Man to accuftom himfelf to finifh every thing he does 35 To Defign from Na- ture, or the Life, at what Diftance the Painter muft place himfelf from the Ob- i eft 37 What Light the fitteft to Defign by from the Life 38,39,42 And how high to be placed 38 How to Defign a Nu- dity 40 How to Defign a Land- skip •, or the Plan of a Campaign 40,4! How to Defign by Can- dle Light 41 A neceflary Precaution for Defigning the Fi- gures of a Hiftory Piece 42 A Method of Defigning E X. from the Life, with jufrnefs ib a Divifion of a Figure in- to feveral Parts, the better to Defign it ib* How a Painter ought to place himfelf in Defigning, with re- gard to the Light that* illumines his Model Whence Men are apt to impofe upon their Judgments, with re- gard to the Beauty of Parts, and the juft- nefs of Proportions 43,44 To Defign corre&ly,it is neceflary to un- derstand Anatomy* See Anatomy. Divifion of Defigning 4$ Three Things princi- pally to be confider'd in the Defign \ Pro- portion, Sutablenefs, and Attitude 45,46 Wherein the Defign has the Advantage of the Clair-Obfcure 49, 50,151 How to Defign froni Relievos 84 The Things principal- ly to be regarded, in defigning a Figure, 116 O2 D/yi INT) Difpofition for Painting, different from an In- clination to it 31 Dijlance : A painted Fi- gure will not appear equally diftant with . a natural Object, tho' both feen under the fame Angle 173 t The feveral Effects of Diftance, with re- gard to the Defign, and with regard to the Colouring 147, 148,154,155,157,159, 160,161,162,165,166, 168,176 How to paint far di- ftant Objects 59,60 Drapery : Of Draperies and their Folds 178, 185,186,187,188,189 Dufi. A Remark upon it in Rifing 167 How to be reprefented 54 E. TJQuilibrium. A Man **-^ changes the Fqui- librium of his Body, in drawing in his Arm, which was be- fore firetch'd out 112,182 Centre of Gravity, in flow Motions ib. Equilibrium of a Man, bearing aBurthen on E X. his Shoulders ibid.& Of a Man {landing on oneFoo<*W. & 114 Of a Man in walk- ing 113. Of every Animal ftanding on its Feet ibid. Of a Man, confide- red in different Attitudes 113,114 Of a Man who wou'd rai fe or lift any Burthen ib. Of a Man at reft 134,135,136 Of a Man walking ag.iinft the Wind 148 ExpreJJion. See Attitude. How to give Figures their fuitable Expref- fion 50 It confifts in the Moti- on of the Parts of the Face, and of other Members 107 What is there to be obferv'd <*/>. & 11 8,132 The Motions of Fi- gures ought to ex- prefs their Senti- ments 1 10 The Exprefiion to be varied according to the different Actions and I N and Accidents of a Fi- gure 127, 128 And according to the different Paffions or Intentions of the Soul 128 Every Member to be in a Pofition corre- fpondent to thePaffi- on exprefTed in the Face ib. ErTeft of the Senti- ments of the Soul up- on the Body ibid. Expreffions of Weep- ing and Laughter and their different effects on the Face, &c. 107 132 Of Joy, Sorrow, &c. ibid. F, TpAults •, lefs viuble in •*■ little things than in large ones 47 To be corrected in a Painting as foon as found 3 3 Whence Painters be- come liable to com- mit them in the Pro- portion of Figures 43,44 In painting one Hifto- T> E X. ry Piece over anothec on the fame Front 48,49 In imitating Figures, from antient Statues 7* In painting Landskips 88 Faces ^ how to paint them from the Life. See Portrait. Figures. Of their Por- tion 66, 67 Finijh. What things to be the moft nniih'd, and what the leaft 59,60 Fire . What Colour it gives Objects illumi- ned by it 92,93 What Effeft it ought to have in a Night- piece 5 J ?52 Fog\ Its Effects on Ob- jefts feen through it 156,157,158,159,163, 164 G. /^Racefulnefs^ in the *-* Defign of a Figure wherein it confifts 11$ In the Lights and Sha- dows 41, 60, 145,146 O 3 Green I N T> E X. Green. Of the Green- nefs or Verdure of the Country 84 What Green borders moil upon Blue ib. firoiwd. What Ground proper for each Light and Shadow 87 What Courfe to take when both the Ground and the Fi- gure are of the fame Colour 87 JifFett of Colours ferv- ing as Grounds to White ib. Of the Grounds of Fi- gures 88, 92 Of the Colour of the Ground fuitable to each Objeft 87, 88 The Colour of the Ground neceflary to give a Relievo to Fi- gures 59, 144, 146, I737][74,i79 Relation of the Ground to the Fi- gures 95 On what Occafions a bright Ground is ne- ceflary 94 Croup. How to learn to difpofe and collet into Groups, the Fi- gures for an Hiftory H. TJEads never to be •*-*• feen ftraight, on the middle of the Shoulders 128 Horizon. Of the Hori- zon appearing in the Water 189 I. JMitation. A Painter •* never fervile to imi- tate another 37 But to imitate Nature ib. & 35 Inclination to Painting different from a Ta- lent to it, how known 31 Invention. A M ethod or Art of Invention 34 Judgment, How a Pain- ter ought to judge of his Performances 34, 138,1*9, A Painter to covet the Opinions of feveral People on his Works 34, 3S A Mirrour a help to his Judgment. See Painting. X. Land- I N T> E K, L. T Andskip. How to de- ■*-*' fign a Landskip 40 The Light proper for Landslips 41? 45 In a Landskip, the Co- lour? of remote Ob- jects, not to be dark- er than thofe that are near 88 Of Trees and Herbs re- prefented in a Land- skip 144 The quality of the Country to be obfer- ved in a Landskip 1 80 And of the Seafon ib. Light. See Clair Ob/cure. The Light wherewith fome particular Fi- gures are illumined, Sometimes different from the general Light of theHiftory •, tut this Practice al- ways to be avoided 44 Which gives the grea- test Grace to Figures whether the Light ftriking full in the Face, or fidewife 60 Universal Lights of bet- ter Effect with regard to the force and gracefulnefs of Fi- gures, than particu- lar ones 179, 180 What Light mows Ob- jects the mofr dMtineT> ly, and to the beft Advantage 43 Dividon of Light 61 The Light proper for Landskips 41, 85 Light. Incident and Reflected, and their Colour 95 Of the Light ofa Night- Pi ecs. See Night. Different Effects of Lights, as they are differently large 146 M. l\/TAgnitude. How to *" reprefent Objects in their juft bignefs59 Whence Objects ap- pear lefs than they are in effect 143 Objects feen in a Fog appear bigger than they are ia reality, and why 163, 171 How to make a Figure appear larger than in effect it is 151,152 Method, The Method to be obferved by thofe who learn to Paint 30 Model. The Choice which a Painter ought to make of his Model 44 Amotion. Whence pro- duced 114 O 4 Mo- I N of the Mo- tion of Quadrupeds 136 Of the Motion of a Man in leaping I33» T 37 Motions of the Neck to be obferved 106, 107 Mountain, How to repre- fent Mountains 59,60, Of the Colour of Mountains 97, 98 Which Mountains ap- pear the moil Azure, ibid. What part of a Moun- tain appears the clear- eft, and moft diftinct 159 The moft remote //% Mufcle. In what Fi- gures, the Mufcles Ought not tq appear bold and evident 118, 119 Of Mufcles that are thick and fhort 1 18 Of INDEX. Of the Mufcles of Fat People 119 Of the Mufcles which difappear in different Motions 50 Where the Mufcles are all feen, the Figure muft be at reft 120 A Painter not to be too fcrupulousin (hewing all the Mufcles ib. Of the extention and fhortening of the ' Mufcles ib. Which Mufcles ought to appear the boldeft and moft inflated 100 Wight. How to repre- fent it 5i)52 Nofe. Its feveral Fi- gures or Shapes J08, 109 O. QLD People. Chara- ^ fter and Attitudes of Old Men and Old Women J09 P. JD Aim ing,P aimer. Ge- * neral Diviiion of Painting 45 In what manner a Pain- ter ought to judge of fyis own and other .Mens Wor^s 174,175 Mifcellaneous Rnles in Painting 168, 169, 170, 171,172,175 Ufe of a Mirrour in Painting 139,140 What manner of Pain- ting the moft perfect 140 What, the Scope and intention of a Pain- ter is ib. Which the moft im- portant part of Pain- ting \ the Defign or the Clair Obfcure 141 How to Paint a fictiti- ous Animal 145 Where a Spectator ought to be plac'd, in order to view a Pain- ting to the beft Ad- vantage 142, 145 How a Painter may judge of himfelf and his own Proficiency, 32»i3S Painting only to be viewed from a fingle Point «o PerfpeElivt. When to be learned 1 Of the Aerial Perfpe- ftive 09 Of the Perfpeftive of Colours 90 How to put in practice the Perfpe&ive of Colours 98,99 How to make a Figure appear I N V E X. appear much larger than it is in effect 151, 152 Obfervations on Per- spective 156,157 Or Linear Perfpeftive 162 Divifion of Perfpettive with regard to Pain- ting 177 Ufe of Perfpecrive 184 Praftice, always to fol- low, and be-built up- on the Theory 36 Point of View, a what height to. be placed 145 Several Paintings never to be painted on the lame Front, with dif- ferent Points of View 48,49 A Painting has only one Point of View ih. & 50 Portrait Picture. The Light proper to paint Portraits or Faces from the Life by 42 Obfervations for paint- ing of Portraits 105 A Method of painting without ever feeing the Perfons above once 109, no How to retain an Idea of the Features of a Man's Face ilp. With what Light Por- traits ought to be il- lumined 142 Progrcjs. How a Pi intter may form a Judg- ment on the Progrfels he has made 32, 1 38 Proportion. See Defigrn. Variety of Figures aid- ling from the diffe- rence of Proportions 36 What Proportion trhe height of the firft Fi- gure in a Hiftoiry*- piece ought to havte 68 Proportions to be E X. Motion of the Shoul- ders 102 Univerfal Proportions of Bodies ib. Flexures of the Mem- bers ib. & 103, 104 Their EfFeft 125,126 Proportion of the Members 103 Different Motions ' of Men 128, 129 Height of the Shoul- ders in different Motions 11 j R. ft F flex. Of Reflex's of r 1 - Light 61,62 Where there can be no Reflex 61 Of the Colour of Re- flex's 62 Of the Brightnefs or Luftre of Reflex's ib. Where they appear the rnoft, and where the lea ft 62 What part of a Reflex ought to be the bright- eft 62, 63 Of the Reflex's of Car- nations 63,64 On what Occafions Re- flex's are the rnoft fenfible 64 Qf double and triple Reflex 's ib. The Colour of a Re- flex never fimple, but compofed of two or more Colours 6$ Reflex's, feldom either of the Colour of the Body whence they proceed, or of that on which they are thrown ib. Of the Colours of Re- flex's, and of the Vi- vacity or weaknefs of thefe Colours 65, 66 Of the Bounds of Re- flex's 66 Relievo. Painted things, never appear with the fame Relievo, where- with natural things appear*, and why 47, 48, 178, 179 What Light gives the greateft Relievo to Figures 49 Relievo the principal thing to be confide- red in a Painting 140, 141, 174 How to give Figures a great Relievo 59, 144 What Figure in a Pain- ting ought to have the greateft Relievo 68 How to give a Relievo to Faces 60, 145, 146 Relievo of Figures far removed from the Eye 175 Difference between the Relievo of painted, and of natural Figures 47, 178 Rcpt-_ 'INDEX. Repetition. In the fame Painting a Fault 43 ,TJie fame Proporti- ons not to be con- ftantly repeated 36 The fame Attitudes not be feen repeated in a Painting 43, 106, 116 Nor the fame Faces 71, 127 *Jorthe fame Folds of Drapery 43 S. OEA. Its Colour diffe- ** rent, according to the different Places whence it is ken 89, 90 Shadow. See Clair Ob- fcure. Every Objett receives feveral Sha- dows at the fame time 37 Shadows, fometime to have their Extremes confufed and imper- ceptible 50 Colour of Shadows 74, 90, 166 Shadows of Bridges feen on the Water 181 Of the Shadows of re- mote Objects 165, 166, 176 Sketch. How to mike the firft Sketches of the Figures of an Hi- ftory Piece 33 Occasional Anions, Motions, and Ge- ftures of Men to be sketched out upon the Spot 50,67, 69, 117 Smoke. Remarks upon Smoke : its Colour, and other Properties 166, 167 Shortening. On what Occafions Figures may be reprefented fhorten'd, and on, what occafions not 68, 6q Shower. How to be re- prefented 180, 181 Statue. Method of forming a Statue 182, 183 Study. The Order. A Painter ought to ob- ferve in his Studies 1, 138 To what he is princi- pally to apply himfelf 30 How he ought to pro- ceed in his Studies 32, I3B,I39 How to make his Stu- dies more ufeful 34 He muft learn to finifh his Works, before he gets a Habit of doing them quick, and with too muchAffurance 35 He muft ftudy Anato- my 42, 102, 103 How to ftudy the Mo- tions INDEX. tions of the Human Body 69 The Order to be ob- ferved in ftudying the Compofition of Hi- ftory- pieces 70 He niuft ft udy Nature, take his Meafures from her, and not truft too far to his own Ideas 35, 36,138 Surface , Of every O- pakeBody, partakers of the Colour of its Objea 83 And of thofe of its Ob- jects ib. T. nr^EmpeJi. How to re- •*- prefcnt a Tempeft Theory to go before the Practice, and the ab- furdity of the contra- ry Courfe 36 V. TfAritty. In "the Airs * of Faces 127, 128 Verdigris. Of Verdigris 81 How to make it more beautiful ib, Verdure. See Green. View. Every Member capable of an infinite Number of different Views 137 Vniverfal. A Painter ought to be Univer- fal 31 What is to be done in order to become Uni- verfal 31? 32, 36 No univerfal Meafures for the Breadths or Thicknenes of Figures 102 W. TTfHite. Not proper- *" ly a Colour 92 The Colour of its Sha- dows when expofed in the Air 73,74,92,166 Wind. Of a Man walk- ing againft it 148 Wind how to reprefent its Effects 180 Window. How a Painter ought to prepare the Window at which he works 148 End of the I NT) EX. BOOKS *B0 K,S "Printed for J. S e n e x, at the Globe in Salisbury Court, and W. Taylor, ft the Ship in Pater- Nofter-Row. i. rr^H E Englifi Atlas, confiding of 3 1 Map^ X_ viz,. Europe, Afia, Africa, America, North and South, Great Britain, Ireland, SpanijJ? Netherlands, Flanders, Artois, Hainault ; Country about Namur and Cambray, Vnited Provinces, France, Cofintry abowx. Paris, Spain, and Portu- gal, Cafiile, New and Old } Italy, Country about ancient Rome, Germany, Denmark, Sweden and Norway, Poland, Mufcovy, Turky in Europe, Turky in AJia, with Arabia and Perfia : The Ancient Geography of that part of Africa which former- ly fiourilhed ; Ancient Greece, North and Souths The whole very ufcful for the better Under- ftanding Ancient and Modern Hiftory : The Maps being all very carefully corrected front the Obfervations of the Royal Societies of Lon* don and Paris. Folio. 2. Sacred Geography, in fix Maps. 1. Shew- ing the fituation of Paradife, and the Country inhabited by the Patriarchs. 2. The Peopling of the World by the Sons of Noah, and the Israel- ites journeying in the Wildernefs. 3. A Plan of the City of Jerufalem, with a View of Solomon's Temple, and the facred Utenfils. 4. The Holy Land, divided into the Twelve Tribes of Ifrael, in which is exa&ly traced our Saviour's Travels. 5. The Land of Canaan. 6. The Travels of St. Paul, and the reft of the Apoftles. The whole very ufeful for the better underftanding the IJoly Bible. Folio. J 3. The *Bo oh 1 ? tinted for ]. Senex and W.Taylof. 3.. The Religunu Philofopher : Or, the right ufe of contemplating the Works of the Creators Wherein all the late Difcoveries in Anatomy, PhU'.ofophy and Aftronomy, are copioufly handled. By Dr. Nieuwentyt, in 3 Vol. 8w. 4-. Hydroflatkks : Or a Treatife of the Morion of Water, and other Fluids \ with the Origin of Fountains, and the Caufe of Winds. Tran- flatced from the French of Monlieur Marriotc, by Dr. Defaulters. %ve. 5 • Phyfco. Mechanical Experiments on vari- ous Subjects. By Fr. Hauksbee, F. R. S. 8w. 6'u Elements of Euclidj with feled Theorems out of Archimedes. By Andrew Taccjuet, with Improvements. 7 . Aftronomical Lectures with ; with a Col- lection of Aftronomical Tables. %ve. 8 . Sir Ifaac Newtons Mathematical Philofb- phy more caiily demonftrated, and Dr. Halley\ Account of Comets illuftrated. %vo. 9.. Aftronomical Principles of Religion, Na- turail and Revealed, in nine Parts. %vo. Thefe Four la ft by the Reverend Mr. Whifton. 1 o. Mathematical Elements of Natural Phi- lo{b>phy, confirmed by Experiments, or an In- troduction to the Newtonian Philofophy. By Dr. James's Gravefandc. Tranflated from the Lat;in by Dr. Defaguliers. %vo. 11. Mr. Ogilbys Actual Survey of all the Prin- cipal Roads throughout England and Wales ; de- fcrilbed by one hundred Copperplates : Correct- ed, Improved, and made Portable, by J. Senex. 1 2. A>/7/'s Introduction to Natural Philofo- phy. Done into Englifl). 8w. 1 3- A Mechanical Account of Fevers. By %. Bellini. Tranflated mo English. 8w, 14. Mr. 'Booh Trintedfor J. Senex and W. TayKof * 14. Mr. Whifl-on's Account of the furpriffing Meteor, leen in the Air, March 6. 1 7 1 5-16. Se- cond Edition. 81/0. 15. — His Account of the Meteor, fcen March 19. 1 718-19. 8vo. 16. Univerfal Arithmetick; or a Treatife- of Arithmetical Compofition and Refolution, by Sir If "aac Newton \ tranflated from the Latin, by Mr. Raphfin, and revifed by Mr. Cunn. %vo. 17. Fires Improved : Or, Anew Method of Building Chimneys fo as to prevent their Smoaak- ing ; tranflated frorfi the French of Monlkcuf Cuager, by Dr. Defaguliers. 1 imo. 1 8. Defcription and Ufe of the Globes. \ 2mio. 19. A Compleat Treatife of the Do&rine' of FraBions, by Mr. Cunn- 1 2 mo. 20. Trigonometry Improved, and Projedtiom of the Sphere made eafy, by Henry Wilfon. 1 2moj. 21. The London Accomptant: Or, Ariith-* metick in all its Parts, by the fame Hand, 1 iww. 22. A New and Exad Map of the Zodiac, wherein the Stars are laid down from the latccfl and bcfl Obfervations ; together, with an Eix- planation of its Ufes, both in Agronomy, amd for determining the Longitude at Sea. By lEd+ mund Halley, L. L. D. Savilian Profeflbr at Ox- ford, and S. R. S. The Newtonian Syitem of Sun, Planets, amd Comets: to which is added, Sir Ifaac Ncwtoon\ Thoughts concerning the Deity ; tranflated fnonl the General Scholium at the End of his Fr'wciftia* Engraven on Copper. Now in the Prefs. The Defcription and Ufes of Madiematucal Inftrnments ; Tranflated from the French of Monliec Bion. By J- Stone. Folio. FINIS* T> ^L to- 6 'H4s I GETTY CENTE Z/At y^ yN M \a mm fejgjg I ZmmmA wmm j5^i w\A mrf'lmm ^Dt^mW ■ ■ ^B ' ^m\mmr WW ■**^M wf S^Ssl L'^l| ;^s^' I * '//// DAVINCrS TREATISE CM PAINTING