When the work exceeds the ideal of the artist, the artist makes scant progress; and when the work falls short of his ideal it never ceases to improve, unless avarice be an obstacle.
Obstacles in the way of truth are finally punished.
But the deaf man, lacking the less noble sense, although he has at the same time lost the gift of speech, since never having heard words spoken he never has been able to learn any language, will nevertheless perfectly understand every attribute of the human body better than a man who can speak and hear; and likewise he will know the works of painters and what is represented in them, and the action which is appropriate to such figures.
You will see palsied and shivering persons move, and their trembling limbs, such as their head and hands, quiver, without the permission of the soul, and the soul, though it expend all its might, cannot prevent these limbs from trembling. The same thing occurs in epilepsy or when limbs are partially truncated, as in the case of tails of lizards.
Nothing should be so greatly feared as empty fame.
Nature is full of infinite causes which are beyond the pale of experience.
You will do as follows if you wish to represent a man talking to a number of people: you must consider the matter which he has to treat, and suit his action to the subject; that is to say, if the matter is persuasive, let his action be appropriate to it; if the matter is argumentative, let the speaker hold one finger of the left hand with two fingers of the right hand, closing the two smaller ones, and with his face turned towards the people and his mouth half open, let him seem to be about to speak, and if he is sitting let him appear as though about to rise, with his head forward; if you represent him standing up, let him lean slightly forward, with his body and head towards the people. You must represent the people silent and attentive, looking at the orator's face with gestures of admiration, and depict some old men with the corners of their mouths pulled down in astonishment at what they hear, their cheeks drawn in and full of lines, their eyebrows raised, and thus causing a number of wrinkles on the forehead; again, some must be sitting with the fingers of their hands clasped and resting on their knee; another, a bowed old man, with one knee crossed over the other, and on the knee let him hold his hand, and let his other elbow rest on his hand, and let the hand support his bearded chin.
Before deducing a general rule from this case repeat the experiment two or three times and see if the same results are produced.
You must first propound the theory and then explain the practice.
ii. Nothing light can remain beneath that which is heavier.
Let him who wishes to see how the soul inhabits its body observe what use the body makes of its daily habitation; that is to say, if the soul is full of confusion and disorder the body will be kept in disorder and confusion by the soul.
The mind of the painter must be like unto a mirror, which ever takes the colour of the object it reflects, and contains as many images as there are objects before it. Therefore realize, O painter, that thou canst not succeed unless thou art the universal master of imitating by thy art every variety of nature's forms, and this thou canst not do save by perceiving them and retaining them in thy mind; wherefore when thou walkest in the country let thy mind play on various objects, observe now this thing and now that thing, making a store of various objects selected and chosen from those of lesser value. And thou shalt not do as some painters, who, when weary of plying {103} their fancy, dismiss their work from their mind and take exercise in walking for relaxation, but retain fatigue in the mind, which, though they see various objects, does not apprehend them, but often when they meet friends and relations and are saluted by them, they are no more conscious of them than if they had met empty air.
But painting excels and lords over music because it does not die as soon as it is born, as occurs with music, the less fortunate; on the contrary, it continues to exist and reveals itself to be what it is, a single surface. O marvellous science, thou givest lasting life to the perished beauty of mortals, which are thus made more enduring than the works of nature, for these undergo forever the changes of time, and time leads them to inevitable old age! And this science is to divine nature as its works are to the works of nature, and on this account it is worshipped.
The bird is an instrument which operates by mathematical laws, and man can reproduce all {150} the movements of this instrument, but cannot attain to the intensity of its power; and can only succeed in acquiring balance. Thus we will say that such an instrument constructed by man lacks only the soul of the bird, and the soul of man must counterfeit the soul of the bird. The spirit in the frame of the bird doubtless would respond to needs of that frame better than would the spirit of man, whose frame is different, more especially in the almost insensible motions of balance; and since we see the bird make provision for the many sensible varieties of movement, we can conclude by such experience that man can acquire knowledge of the more markedly sensible of these movements, and that he will be able to make ample provision against the destruction of that instrument of which he has made himself the spirit and the guide.
Every object naturally seeks to maintain itself in itself.
O blissful and fortunate spirit, whence comest thou? I have known this man well, against my will. He is a receptacle of villainy, he is a very heap of the highest ingratitude combined with all the other vices. But why should I tire myself with vain words? Nothing is to be found in him save the accumulation of all sins, and if there is to be found among them any that possess good, they will not be treated differently than I have been by other men; in short I have come to the conclusion that they are bad if they are enemies, and worse if they are friends.
Proportion is not only to be found in figures and measurements, but also in sound, weight, time and position, and in whatever power which exists.
Labour flies with fame almost hidden in its arm.
Many will abandon their own habitations and take with them their own goods, and go and inhabit other countries.
I will not dwell on false physiognomy and chiromancy {33} because there is no truth in them, and this is manifest because chimeras of this kind have no scientific foundation. It is true that the lineaments of the face partly reveal the character of men, their vices and temperaments; but in the face: (a) the features which separate the cheeks from the lips, and the nostrils and cavities of the eyes, are strongly marked if they belong to cheerful and good-humoured men, and if they are slightly marked it denotes that the men to whom they belong are given to meditation, (b) Those whose features stand out in great relief and depth are brutal and bad-tempered, and reason little, (c) Those who have strongly marked lines between the eyebrows are bad-tempered, (d) Those who have strongly marked lines on the forehead are men full of concealed or unconcealed bewailing.
In order to arrive at knowledge of the motions of birds in the air, it is first necessary to acquire knowledge of the winds, which we will prove by the motions of water in itself, and this knowledge will be a step enabling us to arrive at the knowledge of beings that fly between the air and the wind.
What prompts thee, O man, to abandon thy habitations in the city, to leave thy parents and friends, and to seek rural spots in the mountains and valleys, if it be not the natural beauty of the world, which, if thou reflectest, thou dost enjoy solely by means of the sense of sight? And if the poet wishes to be called a painter in this connection also, why didst thou not take the descriptions of places made by the poet and remain at home without exposing thyself to the heat of the sun? Oh! would not this have been more profitable and less fatiguing to thee, since this can be done in the cool without motion and danger of illness? But the soul could not enjoy the benefit of the eyes, the windows of its dwelling, and it could not note the character of joyous {76} places; it could not see the shady valleys watered by the sportiveness of the winding rivers; it could not see the various flowers, which with their colours make a harmony for the eye, and all the other objects which the eye can apprehend. But if the painter in the cold and rigorous season of winter can evoke for thee the landscapes, variegated and otherwise, in which thou didst experience thy happiness; if near some fountain thou canst see thyself, a lover with thy beloved, in the flowery fields, under the soft shadow of the budding boughs, wilt thou not experience a greater pleasure than in hearing the same effect described by the poet?
And you who say that it would be better to see practical anatomy than drawings of it, would be right if it were possible to see all the things which are shown in such drawings in a single drawing, in which you, with all your skill, will not see nor obtain knowledge of more than a few veins; and to obtain true and complete knowledge of these veins I have destroyed more than ten human bodies, destroying all the other limbs, and removing, down to its minutest particles, the whole of the flesh which surrounds these veins, without letting them bleed save for the insensible bleeding of the capillary veins. And as one body did not suffice for so long a time I had to proceed with several bodies by degrees until I finished by acquiring perfect knowledge, and this I {112} repeated twice to see the differences. And if you have a love for such things you may be prevented by disgust, and if this does not prevent you, you may be prevented by fear of living at night in company with such corpses, which are cut up and flayed and fearful to see; and if this does not prevent, you may not have a sufficient mastery of drawing for such a demonstration, and if you have the necessary mastery of drawing, it may not be combined with the knowledge of perspective; and if it were you might lack the power of geometrical demonstration, and the calculation of forces, and of the strength of the muscles, and perhaps you will lack patience and consequently diligence. As to whether these qualities are to be found in me or not the hundred and twenty books I have composed will pronounce the verdict Yes or No. Neither avarice nor negligence, but time has hindered me in these. Farewell.
The most worthy thing is that which satisfies the most worthy sense; therefore painting, which satisfies the sense of sight, is more worthy than {86} music, which merely satisfies the hearing. The most worthy thing is that which endures longest; therefore music, which is continually dying as soon as it is born, is less worthy than painting, which lasts eternally with the colours of enamel. The most excellent thing is that which is the most universal and contains the greatest variety of things; therefore painting must be set above all other arts, because it contains all the forms which exist and also those which are not in nature, and it should be glorified and exalted more than music, which deals with the voice only.
Fine gold is recognized when it is tested.
If thou, O poet, dost represent the battle and its bloodshed enveloped by the obscure and dark air, amid the smoke of the terrifying and deadly engines, together with the thick dust which darkens the air, and the flight in terror of wretches panic-stricken by horrible death; in this case the painter will surpass thee, because thy pen will be used up before thou hast scarcely begun to describe what the art of the painter represents for thee immediately. And thy tongue shall be parched with thirst and thy body worn out with weariness and hunger before thou canst show what the painter will reveal in an instant of time. And in this painting there lacks nothing save the soul of the things depicted, and every body is represented in its entirety as far as it is visible in one aspect; and it would be a long and most tedious matter for poetry to enumerate all the movements of each soldier in such a war, and the parts of their limbs and their ornaments which the finished picture places before you with great accuracy and brevity; and to such a representation nothing is wanting save the noise of the engines, and the cries of the terrifying victors, {123} and the screams and lamentations of those awe-stricken; neither again can the poet convey these things to the hearing.
On the 23d of April, 1490, I began this book; and started again on the horse. Giacomo came to live with me on Saint Mary Magdalen's day in 1490; {49} he was ten years old. He was a thief, a liar, obstinate, and a glutton. On the second day I had two shirts made for him, a pair of socks and a jerkin, and when I placed the money aside to pay for these things, he stole it out of the purse and I could never force him to confess the fact, though I was quite certain of it--4 lire. On the following day I went to sup with Giacomo Andrea, and this same Giacomo supped for two and did mischief for four, since he broke three bottles, spilled the wine, and after this came to sup where I... Item: on the 7th of September he stole a silver point, worth twelve soldi, from Marco, who was living with me, and took it from his studio; and when Marco had looked for it for some time he found it hidden in Giacomo's box--lire 1, soldi 2. Item: on the 26th of the following January, being in the house of Messer Galeazzo di San Severino, in order to arrange the festivity of his joust, and certain henchmen having undressed to try on the costumes of rustics who were to take part in the aforesaid festivity, Giacomo took the purse of one of them, which was on the bed with other clothes, and stole the money he found in it--2 lire, 4 soldi. Item: Maestro Agostino of Padua gave me while I was in the same house a Turkish hide to have a pair of shoes made of it, and Giacomo stole this from me within a month and sold it to a cobbler for 20 soldi, with which money by his own confession he bought sweets of aniseed. Item: {50} again, on the 2d of April, Giovanni Antonio left a silver point on one of his drawings, and Giacomo stole it; it was worth 24 soldi,--1 lire, 4 soldi. The first year a cloak, 2 lire; six shirts, 4 lire; three doublets, 6 lire: four pairs of socks, 7 lire, 8 soldi.
A science is more useful in proportion as its fruits are more widely understood, and thus, on the other hand, it is less useful in proportion as it is less widely understood. The fruits of painting can be apprehended by all the populations of the universe because its results are subject to the power of sight, and it does not pass by the ear to the brain, but by the same channel by which {62} sight passes. Therefore it needs no interpreters of diverse tongues, as letters do, and it has instantly satisfied the human race in the same manner as the works of nature have done. And not only the human race, but other animals; as was shown in a picture representing the father of a family to whom little children still in the cradle gave caresses, as did the dog and the cat in the same house; and it was a wonderful thing to see such a sight.
A weight seeks to fall to the centre of the earth by the most direct way.
Rather privation of limbs than weariness of doing good. The power of using my limbs shall fail me before the power of being useful. Rather death than weariness. I cannot be satiated with serving. I do not weary of giving help. No amount of work is sufficient to weary me. This is a carnival motto: "Sine lassitudine." Hands in which ducats and precious stones abound like snow never grow weary of serving, but such a service is for its utility only and not for our profit. Nature has formed me thus.
The imagination does not perceive such excellent things as the eye, because the eye receives the images or semblances from objects, and transmits them to the perception, and from thence to the brain; and there they are comprehended. But the imagination does not issue forth from the brain, with the exception of that part of it which is transmitted to the memory, and in the brain it remains and dies, if the thing imagined is not of high quality. And in this case poetry is formed in the mind or in the imagination of the poet, who depicts the same objects as the painter, and by reason of the work of his fancy he wishes to rival the painter, but in reality he is greatly inferior to him, as we have shown above. Therefore with regard to the work of fancy we will say that there is the same proportion between the art of painting and that of poetry as exists between the body and the shadow proceeding from it, and the proportion is still greater, inasmuch as the shadow of such a body at least penetrates to {122} the brain through the eye, but the imaginative embodiment of such a body does not enter into the eye, but is born in the dark brain. Ah! What difference there is between imagining such a light in the darkness of the brain and seeing it in concrete shape set free from all darkness.
What is force? I say that force is a spiritual, incorporate and invisible power, which for a brief duration is produced in bodies that by accidental violence are displaced from their natural state of inertia.
And thou, O man, who wilt gaze in this work of mine on the marvellous works of nature, if thou thinkest it would be an act of wickedness to destroy it, think how much more wicked it is to take the life of a man; and if this his structure appears to thee a miraculous work of art, remember that {32} it is nothing in comparison with the soul which inhabits this structure; for verily, whatever it may be, it is divine. Let it, then, dwell in His work and at His good will, and let not thy rage or malice destroy so great a thing as life, for he who does not value it does not deserve it.
Impetus is the impression of motion conveyed by the motive power to the object moved. Every {152} impression tends to permanence or seeks to attain permanence. That every impression seeks after permanence is proved by the impression made by the sun on the eye which regards it, and in the impression of sound made by the hammer which strikes a bell. Every impression seeks after permanence, as is shown in the image of impetus communicated to the object moved.
A natural and continuous motion seeks to preserve its course along the line of its starting-point, that is to say, let us call starting-point whatever place in which it varies.
It several bodies of equal weight and shape are dropped one after another at equal intervals of time, the distances between each successive body will be equally increased.
Nature has so placed the leaves of the latest shoots of many trees that the sixth leaf is always above the first, and thus in continued succession unless the rule is obstructed. And this she has done for two useful purposes in the plant: firstly, since the branches and the fruit of the following year spring from the bud or eye which is above and in contact with the juncture of the leaves, {177} the water which feeds the shoot may be able to run down and nourish the bud, through the drop being caught in the hollow whence the leaf springs. And the second advantage is that as these buds shoot in the following year, one will not be covered by the other, since the five shoots spring on five different sides.
Men are chosen to be physicians in order to minister to diseases of which they are ignorant.
There is no one so foolish who if offered the choice between everlasting blindness and deafness would not immediately elect to lose both his hearing and sense of smell rather than to be blind. Since he who loves his sight is deprived of the beauty of the world and all created things, and the deaf man loves only the sound made by the percussion of the air, which is an insignificant thing in the world.
Every loss which we incur leaves behind it vexation in the memory, save the greatest loss of all, that is, death, which annihilates the memory, together with life.
A natural action is accomplished in the briefest manner.
He is a poor master whose work is exalted in his {101} own opinion, and he is on the road to perfection in art whose work falls short of his ideal.
Since the eye is the window of the soul, the soul is always fearful of losing it, so much so that if a man is suddenly frightened by the motion or an object before him, he does not with his hands protect his heart, the source of all life; nor his head, where dwells the lord of the senses; nor the organs of hearing, smell and taste. But as soon as he feels fright it does not suffice him to close the lids of his eyes, keeping them shut with all his might, but he instantly turns in the opposite direction; and still not feeling secure he covers his eyes with one hand, stretching out the {21} other to ward off the danger in the direction in which he suspects it to lie. Nature again has ordained that the eye of man shall close of itself, so that remaining during his sleep without protection it shall suffer no hurt.
When you will have thoroughly mastered perspective and have learnt by heart the parts and forms of objects, strive when you go about to observe. Note and consider the circumstances and the actions or men, as they talk, dispute, laugh or fight together, and not only the behaviour of the men themselves, but that of the bystanders who separate them or look on at these things; and make a note of them, in this way, with slight marks in your little note-book. And you should always carry this note-book with you, and it should be of coloured paper, so that what you {109} write may not be rubbed out; but (when it is used up) change the old for a new one, since these things should not be rubbed out, but preserved with great care, because such is the infinity of the forms and circumstances of objects, that the memory is incapable of retaining them; wherefore keep these sketches as your guides and masters.
In the course of scientific exposition the demonstration of a general rule derived from a previous conclusion is not to be censured.
Painting includes in its range the surface, colour and shape of anything created by nature; and philosophy penetrates into the same bodies and takes note of their essential virtue, but it is not satisfied with that truth, as is the painter, who seizes hold of the primary truth of such bodies because the eye is less prone to deception.
The laws of those sciences which are capable of extensive analysis I will confine in brief conclusions, and according to the nature of the material I will interweave mathematical demonstrations, at times deducing results from causes, and at times tracing causes by results. I will add to my conclusions some which are not contained in these, but which can be deduced from them, if the Lord, the Supreme Light, illuminates me, so that I may treat of light.
O time, consumer of things! O envious age! Thou dost destroy all things, and consumest all things with the hard teeth of old age, little by little in a slow death. Helen, when she looked in her mirror and saw the withered wrinkles made in her face by old age, wept, and wondered why she had twice been ravished. O time, devourer of things! O envious age, by which all is consumed!
The subterranean courses of water, like those which are made between the air and the earth, are those which continually consume and deepen the beds of their currents. The earth which is carried by rivers is discharged at the end of their course, that is to say, the earth carried from the highest part of the river's course is discharged at the lowest depth of its course. Where fresh water arises in the sea, the miracle of the creation of an island is manifest, which will be discovered sooner or later in proportion as the quantity of water is greater or less. And an island of this kind is formed by the deposit of earth and stones made by the subterranean current of water in the channels through which it passes.
Painting has a wider intellectual range and is more wonderful and greater as regards its artistic resources than sculpture, because the painter is by necessity constrained to amalgamate his mind with the very mind of nature and to be the interpreter between nature and art, making with art a commentary on the causes of nature's manifestations which are the inevitable result of its laws; and showing in what way the likenesses of objects which surround the eye correspond with the true images of the pupil of the eye, and showing among objects of equal size which of them will appear more or less dark, or more or less clear; and among objects equally low which of them will appear more or less low; or among those of the same height which of them will appear more or less high; or among objects of equal size {99} placed at various distances one from the other, why some will appear more clearly than others. And this art embraces and comprehends within itself all visible things, which sculpture in its poverty cannot do: that is, the colours of all objects and their gradations; it represents transparent objects, and the sculptor will show thee natural objects without the painter's devices; the painter will show thee various distances with the gradations of colour producing interposition of the air between the objects and the eye; he will show thee the mists through which the character of objects is with difficulty descried; the rains which clouded mountains and valleys bring with them; the dust which is inherent to and follows the contention between these forces; the rivers which are great or small in volume; the fishes disporting themselves on the surface or at the bottom of these waters; the polished pebbles of various colours which are collected on the washed sands at bottom of rivers surrounded by floating plants beneath the surface of the water; the stars at diverse heights above us; and in the same manner other innumerable effects to which sculpture cannot attain.