548--566_) and this by the practical precepts or the treatment of
aerial perspective (_567--570_)._

_In the passage on Portrait and Figure Painting the principles of
painting as applied to a bust and head are separated and placed
first, since the advice to figure painters must have some connection
with the principles of the treatment of composition by which they
are followed._

_But this arrangement of the text made it seem advisable not to pick
out the practical precepts as to the representation of trees and
landscape from the close connection in which they were originally
placed--unlike the rest of the practical precepts--with the theory
of this branch of the subject. They must therefore be sought under
the section entitled Botany for Painters._

_As a supplement to the_ Libro di Pittura _I have here added those
texts which treat of the Painter's materials,--as chalk, drawing
paper, colours and their preparation, of the management of oils and
varnishes; in the appendix are some notes on chemical substances.
Possibly some of these, if not all, may have stood in connection
with the preparation of colours. It is in the very nature of things
that Leonardo's incidental indications as to colours and the like
should be now-a-days extremely obscure and could only be explained
by professional experts--by them even in but few instances. It might
therefore have seemed advisable to reproduce exactly the original
text without offering any translation. The rendering here given is
merely an attempt to suggest what Leonardo's meaning may have been._

_LOMAZZO tells us in his_ Trattato dell'arte della Pittura, Scultura
ed Architettura (Milano 1584, libro II, Cap. XIV): "Va discorrendo
ed argomentando Leonardo Vinci in un suo libro letto da me (?)
questi anni passati, ch'egli scrisse di mano stanca ai prieghi di
LUDOVICO SFORZA duca di Milano, in determinazione di questa
questione, se e piu nobile la pittura o la scultura; dicendo che
quanto piu un'arte porta seco fatica di corpo, e sudore, tanto piu e
vile, e men pregiata". _But the existence of any book specially
written for Lodovico il Moro on the superiority of Painting over
sculpture is perhaps mythical. The various passages in praise of
Painting as compared not merely with Sculpture but with Poetry, are
scattered among MSS. of very different dates._

_Besides, the way, in which the subject is discussed appears not to
support the supposition, that these texts were prepared at a special
request of the Duke._

I.

MORAL PRECEPTS FOR THE STUDENT OF PAINTING.

How to ascertain the dispositions for an artistic career.

482.

A WARNING CONCERNING YOUTHS WISHING TO BE PAINTERS.

Many are they who have a taste and love for drawing, but no talent;
and this will be discernible in boys who are not diligent and never
finish their drawings with shading.

The course of instruction for an artist (483-485).

483.

The youth should first learn perspective, then the proportions of
objects. Then he may copy from some good master, to accustom himself
to fine forms. Then from nature, to confirm by practice the rules he
has learnt. Then see for a time the works of various masters. Then
get the habit of putting his art into practice and work.

[Footnote: The Vatican copy and numerous abridgements all place this
chapter at the beginning of the _Trattato_, and in consequence
DUFRESNE and all subsequent editors have done the same. In the
Vatican copy however all the general considerations on the relation
of painting to the other arts are placed first, as introductory.]

484.

OF THE ORDER OF LEARNING TO DRAW.

First draw from drawings by good masters done from works of art and
from nature, and not from memory; then from plastic work, with the
guidance of the drawing done from it; and then from good natural
models and this you must put into practice.

485.

PRECEPTS FOR DRAWING.

The artist ought first to exercise his hand by copying drawings from
the hand of a good master. And having acquired that practice, under
the criticism of his master, he should next practise drawing objects
in relief of a good style, following the rules which will presently
be given.

The study of the antique (486. 487).

486.

OF DRAWING.


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