Transcriber's Note:
###################
This e-text is based on the 1802 edition. The original spelling has been
retained, as well as inconsistencies, such as 'musquetry'/'musketry',
'Du Frêne'/'du Fresne', 'Melzio'/'Meltio'/'Melzi', etc. Uncommon or
old-style spelling has not been altered, such as 'opake' (opaque),
'verdegris' (verdigris), 'dutchess' (duchess), etc. Errors due to bad
print, as well as minor punctuation errors have been tacitly corrected.
In the text, the plates are referenced by using Roman numerals, whereas
the captions of the plates show Arabic numerals; the same applies to
the Table of Chapters and the chapter headings, respectively. This
inconsistency has been retained.
Footnotes related to introductory chapters have been prefixed with the
letter 'i' ([i1]-[i210]); footnotes in da Vinci's own text, however,
are shown in plain Arabic numerals ([1]-[102]).
Italic passages in the original version have been placed between
underscores (_text_); text in small caps has been symbolised by forward
slashes (/small caps/). A superscript character has been denominated by
a preceding caret symbol (^).
The following typographical errors have been corrected:
# p. xviii: 'overspead' --> 'overspread'; 'Vincius ast oculis' -->
'Vincius est oculis'
# p. lxxxiii: 'Vasari, 36,' --> 'Vasari, p. 36'
# p. lxxxv: 'Maestrodi' --> 'Maestro di'
# p. xcii: 'Fontainbleau' --> 'Fontainebleau'
# p. 22: Plate 2: original caption points to page 2; corrected to
page 22.
# p. 37: 'pully' -->'pulley'
# p. 117: 'andso' --> 'and so'
# p. 156: 'A B E D' --> 'C B E D'
# p. 181: 'that that' --> 'than that'
# Footnote 62: 'tranferred' --> 'transferred'
The Table of Chapters has been moved to the beginning of the text for
reasons of clarity and comprehensibility.
A
TREATISE
ON
PAINTING,
BY
LEONARDO DA VINCI.
Printed by /S. Gosnell/,
Little Queen Street, Holborn, London.
[Illustration: LEONARDO DA VINCI,
from a Picture
In the Florentine Museum.
_London, Published by J. Taylor 59 High Holborn_]
A
TREATISE
ON
PAINTING,
BY
_LEONARDO DA VINCI_.
FAITHFULLY TRANSLATED FROM THE
ORIGINAL ITALIAN,
AND NOW FIRST DIGESTED UNDER PROPER HEADS,
/By/ JOHN FRANCIS RIGAUD, /Esq./
ACADEMICIAN OF THE ROYAL ACADEMY OF PAINTING AT LONDON, AND
ALSO OF THE ACADEMIA CLEMENTINA AT BOLOGNA, AND THE ROYAL
ACADEMY AT STOCKHOLM.
Illustrated with twenty-three Copper-plates, and other Figures.
TO WHICH IS PREFIXED
_A NEW LIFE OF THE AUTHOR_,
DRAWN UP FROM AUTHENTIC MATERIALS TILL NOW INACCESSIBLE,
/By/ JOHN SIDNEY, HAWKINS, /Esq./ F.A.S.
Ars est habitus quidam faciendi verâ cum ratione.
ARISTOT. ETHIC. LIB. 6.
London:
PRINTED FOR J. TAYLOR,
AT THE ARCHITECTURAL LIBRARY, HIGH HOLBORN.
M.DCCC.II.
TABLE OF CHAPTERS.
_The Number at the End of each Title refers to the corresponding Chapter
in the original Edition in Italian._
DRAWING.
PROPORTION.
Chap.
1. What the young Student in Painting ought in the first Place to
learn. Chapter 1.
2. Rule for a young Student in Painting. 3.
3. How to discover a young Man's Disposition for Painting. 4.
4. Of Painting, and its Divisions. 47.
5. Division of the Figure. 48.
6. Proportion of Members. 49.
7. Of Dimensions in general. 173.
8. Motion, Changes, and Proportion of Members. 166.
9. The Difference of Proportion between Children and grown Men. 169.
10. The Alterations in the Proportion of the human Body from
Infancy to full Age. 167.
11. Of the Proportion of Members. 175.
12. That every Part be proportioned to its Whole. 250.
13. Of the Proportion of the Members. 185.
14. The Danger of forming an erroneous Judgment in regard to the
Proportion and Beauty of the Parts. 42.
15. Another Precept. 12.
16. The Manner of drawing from Relievos, and rendering Paper fit
for it. 127.
17. Of drawing from Casts or Nature. 31.
18. To draw Figures from Nature. 38.
19. Of drawing from Nature. 25.
20. Of drawing Academy Figures. 30.
21. Of studying in the Dark, on first waking in the Morning, and
before going to sleep. 17.
22. Observations on drawing Portraits. 188.
23. The Method of retaining in the Memory the Likeness of a Man, so
as to draw his Portrait, after having seen him only once. 189.
24. How to remember the Form of a Face. 190.
25. That a Painter should take Pleasure in the Opinion of every
Body. 19.
ANATOMY.
26. What is principally to be observed in Figures. 213.
27. Mode of Studying. 7.
28. Of being universal. 22.
29. A Precept for the Painter. 5.
30. Of the Measures of the human Body, and the bending of Members.
174.
31. Of the small Bones in several Joints of the human Body. 229.
32. Memorandum to be observed by the Painter. 57.
33. The Shoulders. 171.
34. The Difference of Joints between Children and grown Men. 168.
35. Of the Joints of the Fingers. 170.
36. Of the Joint of the Wrist. 176.
37. Of the Joint of the Foot. 177.
38. Of the Knee. 178.
39. Of the Joints. 179.
40. Of the Naked. 220.
41. Of the Thickness of the Muscles. 221.
42. Fat Subjects have small Muscles. 222.
43. Which of the Muscles disappear in the different Motions of the
Body. 223.
44. Of the Muscles. 226.
45. Of the Muscles. 224.
46. The Extension and Contraction of the Muscles. 227.
47. Of the Muscle between the Chest and the lower Belly. 230.
48. Of a Man's complex Strength, but first of the Arm. 234.
49. In which of the two Actions, Pulling or Pushing, a Man has the
greatest Power, _Plate II._ 235.
50. Of the bending of Members, and of the Flesh round the bending
Joint. 236.
51. Of the naked Body. 180.
52. Of a Ligament without Muscles. 228.
53. Of Creases. 238.
54. How near behind the Back one Arm can be brought to the other.
_Plate III._ and _IV._ 232.
55. Of the Muscles. 225.
56. Of the Muscles. 194.
57. Of the bending of the Body. 204.
58. The same Subject. 205.
59. The Necessity of anatomical Knowledge. 43.
MOTION AND EQUIPOISE OF FIGURES.
60. Of the Equipoise of a Figure standing still. 203.
61. Motion produced by the Loss of Equilibrium. 208.
62. Of the Equipoise of Bodies, _Plate V._ 263.
63. Of Positions. 192.
64. Of balancing the Weight round the Centre of Gravity in Bodies.
214.
65. Of Figures that have to lift up, or carry any Weight. 215.
66. The Equilibrium of a Man standing upon his Feet, _Plate VI._
201.
67. Of Walking, _Plate VII._ 202.
68. Of the Centre of Gravity in Men and Animals. 199.
69. Of the corresponding Thickness of Parts on each Side of the
Body. 269.
70. Of the Motions of Animals. 249.
71. Of Quadrupeds and their Motions. 268.
72. Of the Quickness or Slowness of Motion. 267.
73. Of the Motion of Animals. 299.
74. Of a Figure moving against the Wind, _Plate VIII._ 295.
75. Of the Balance of a Figure resting upon its Feet. 266.
76. A Precept. 350.
77. Of a Man standing, but resting more upon one Foot than the
other. 264.
78. Of the Balance of Figures, _Plate IX._ 209.
79. In what Manner extending one Arm alters the Balance. 198.
80. Of a Man bearing a Weight on his Shoulders, _Plate X._ 200.
81. Of Equilibrium. 206.
82. Of Motion. 195.
83. The Level of the Shoulders. 196.
84. Objection to the above answered, _Plate XI._ and _XII._ 197.
85. Of the Position of Figures, _Plate XIII._ 89.
86. Of the Joints. 184.
87. Of the Shoulders. 172.
88. Of the Motions of a Man. 207.
89. Of the Disposition of Members preparing to act with great
Force, _Plate XIV._ 233.
90. Of throwing any Thing with Violence, _Plate XV._ 261.
91. On the Motion of driving any Thing into or drawing it out of
the Ground. 262.
92. Of forcible Motions, _Plate XVI._ 181.
93. The Action of Jumping. 260.
94. Of the three Motions in jumping upwards. 270.
95. Of the easy Motions of Members. 211.
96. The greatest Twist which a Man can make, in turning to look at
himself behind, Plate _XVII._ 231.
97. Of turning the Leg without the Thigh. 237.
98. Postures of Figures. 265.
99. Of the Gracefulness of the Members. 210.
100. That it is impossible for any Memory to retain the Aspects and
Changes of the Members. 271.
101. The Motions of Figures. 242.
102. Of common Motions. 248.
103. Of simple Motions. 239.
104. Complex Motions. 240.
105. Motions appropriated to the Subject. 241.
106. Appropriate Motions. 245.
107. Of the Postures of Women and young People. 259.
108. Of the Postures of Children. 258.
109. Of the Motion of the Members. 186.
110. Of mental Motions. 246.
111. Effect of the Mind upon the Motions of the Body, occasioned by
some outward Object. 247.
LINEAR PERSPECTIVE.
112. Of those who apply themselves to the Practice, without having
learnt the Theory of the Art. 23.
113. Precepts in Painting. 349.
114. Of the Boundaries of Objects called Outlines or Contours. 291.
115. Of linear Perspective. 322.
116. What Parts of Objects disappear first by Distance. 318.
117. Of remote Objects. 316.
118. Of the Point of Sight. 281.
119. A Picture is to be viewed from one Point only. 59.
120. Of the Dimensions of the first Figure in an historical
Painting. 91.
121. Of Objects that are lost to the Sight, in Proportion to their
Distance. 292.
122. Errors not so easily seen in small Objects as in large ones.
52.
123. Historical Subjects one above another on the same Wall to be
avoided. 54.
124. Why Objects in Painting can never detach as natural Objects
do. 53.
125. How to give the proper Dimension to Objects in Painting. 71.
126. How to draw accurately any particular Spot. 32.
127. Disproportion to be avoided, even in the accessory Parts. 290.
INVENTION /or/ COMPOSITION.
128. Precept for avoiding a bad Choice in the Style or Proportion
of Figures. 45.
129. Variety in Figures. 21.
130. How a Painter ought to proceed in his Studies. 6.
131. Of sketching Histories and Figures. 13.
132. How to study Composition. 96.
133. Of the Attitudes of Men. 216.
134. Variety of Positions. 217.
135. Of Studies from Nature for History. 37.
136. Of the Variety of Figures in History Painting. 94.
137. Of Variety in History. 97.
138. Of the Age of Figures. 252.
139. Of Variety of Faces. 98.
140. A Fault in Painters. 44.
141. How you may learn to compose Groups for History Painting. 90.
142. How to study the Motions of the human Body. 95.
143. Of Dresses, and of Draperies and Folds. 358.
144. Of the Nature of Folds in Draperies. 359.
145. How the Folds of Draperies ought to be represented, _Plate
XVIII._ 360.
146. How the Folds in Draperies ought to be made. 361.
147. Fore-shortening of Folds, _Plate XIX._ 362.
148. Of Folds. 364.
149. Of Decorum. 251.
150. The Character of Figures in Composition. 253.
151. The Motion of the Muscles, when the Figures are in natural
Positions. 193.
152. A Precept in Painting. 58.
153. Of the Motion of Man, _Plate XX._ and _XXI._ 182.
154. Of Attitudes, and the Motions of the Members. 183.
155. Of a single Figure separate from an historical Group. 212.
156. On the Attitudes of the human Figure. 218.
157. How to represent a Storm. 66.
158. How to compose a Battle. 67.
159. The Representation of an Orator and his Audience. 254.
160. Of demonstrative Gestures. 243.
161. Of the Attitudes of the By-standers at some remarkable Event.
219.
162. How to represent Night. 65.
163. The Method of awakening the Mind to a Variety of Inventions.
16.
164. Of Composition in History. 93.
EXPRESSION /and/ CHARACTER.
165. Of expressive Motions. 50.
166. How to paint Children. 61.
167. How to represent old Men. 62.
168. How to paint old Women. 63.
169. How to paint Women. 64.
170. Of the Variety of Faces. 244.
171. The Parts of the Face, and their Motions. 187.
172. Laughing and Weeping. 257.
173. Of Anger. 255.
174. Despair. 256.
LIGHT /and/ SHADOW.
175. The Course of Study to be pursued. 2.
176. Which of the two is the most useful Knowledge, the Outlines of
Figures, or that of Light and Shadow. 56.
177. Which is the most important, the Shadow or Outlines in
Painting. 277.
178. What is a Painter's first Aim and Object. 305.
179. The Difference of Superficies, in regard to Painting. 278.
180. How a Painter may become universal. 10.
181. Accuracy ought to be learnt before Dispatch in the Execution.
18.
182. How the Painter is to place himself in regard to the Light,
and his Model. 40.
183. Of the best Light. 41.
184. Of drawing by Candle-light. 34.
185. Of those Painters who draw at Home from one Light, and
afterwards adapt their Studies to another Situation in the
Country, and a different Light. 46.
186. How high the Light should be in drawing from Nature. 27.
187. What Light the Painter must make use of to give most Relief to
his Figures. 55.
188. Advice to Painters. 26.
189. Of Shadows. 60.
190. Of the Kind of Light proper for drawing from Relievos, or from
Nature. 29.
191. Whether the Light should be admitted in Front or sideways; and
which is the most pleasing and graceful. 74.
192. Of the Difference of Lights according to the Situation. 289.
193. How to distribute the Light on Figures. 279.
194. Of the Beauty of Faces. 191.
195. How, in drawing a Face, to give it Grace, by the Management of
Light and Shade. 35.
196. How to give Grace and Relief to Faces. 287.
197. Of the Termination of Bodies upon each other. 294.
198. Of the Back-grounds of painted Objects. 154.
199. How to detach and bring forward Figures out of their
Back-ground. 288.
200. Of proper Back-grounds. 141.
201. Of the general Light diffused over Figures. 303.
202. Of those Parts in Shadows which appear the darkest at a
Distance. 327.
203. Of the Eye viewing the Folds of Draperies surrounding a
Figure. 363.
204. Of the Relief of Figures remote from the Eye. 336.
205. Of Outlines of Objects on the Side towards the Light. 337.
206. How to make Objects detach from their Ground, that is to say,
from the Surface on which they are painted. 342.
CONTRASTE AND EFFECT.
207. A Precept. 343.
208. Of the Interposition of transparent Bodies between the Eye and
the Object. 357.
209. Of proper Back-grounds for Figures. 283.
210. Of Back-grounds. 160.
REFLEXES.
211. Of Objects placed on a light Ground, and why such a Practice
is useful in Painting. 159.
212. Of the different Effects of White, according to the Difference
of Back-grounds. 139.
213. Of Reverberation. 75.
214. Where there cannot be any Reverberation of Light. 76.
215. In what Part the Reflexes have more or less Brightness. 79.
216. Of the reflected Lights which surround the Shadows. 78.
217. Where Reflexes are to be most apparent. 82.
218. What Part of a Reflex is to be the lightest. 80.
219. Of the Termination of Reflexes on their Grounds. 88.
220. Of double and treble Reflexions of Light. 83.
221. Reflexes in the Water, and particularly those of the Air. 135.
COLOURS /and/ COLOURING.
COLOURS.
222. What Surface is best calculated to receive most Colours. 123.
223. What Surface will shew most perfectly its true Colour. 125.
224. On what Surface the true Colour is least apparent. 131.
225. What Surfaces shew most of their true and genuine Colour. 132.
226. Of the Mixture of Colours. 121.
227. Of the Colours produced by the Mixture of other Colours,
called secondary Colours. 161.
228. Of Verdegris. 119.
229. How to increase the Beauty of Verdegris. 120.
230. How to paint a Picture that will last almost for ever. 352.
231. The Mode of painting on Canvass, or Linen Cloth. 353.
232. Of lively and beautiful Colours. 100.
233. Of transparent Colours. 113.
234. In what Part a Colour will appear in its greatest Beauty. 114.
235. How any Colour without Gloss, is more beautiful in the Lights
than in the Shades. 115.
236. Of the Appearance of Colours. 116.
237. What Part of a Colour is to be the most beautiful. 117.
238. That the Beauty of a Colour is to be found in the Lights. 118.
239. Of Colours. 111.
240. No Object appears in its true Colour, unless the Light which
strikes upon it be of the same Colour. 150.
241. Of the Colour of Shadows. 147.
242. Of Colours. 153.
243. Whether it be possible for all Colours to appear alike by
means of the same Shadow. 109.
244. Why White is not reckoned among the Colours. 155.
245. Of Colours. 156.
246. Of the Colouring of remote Objects. 339.
247. The Surface of all opake Bodies participates of the Colour of
the surrounding Objects. 298.
248. General Remarks on Colours. 162.
COLOURS IN REGARD TO LIGHT AND SHADOW.
249. Of the Light proper for painting Flesh Colour from Nature. 36.
250. Of the Painter's Window. 296.
251. The Shadows of Colours. 101.
252. Of the Shadows of White. 104.
253. Which of the Colours will produce the darkest Shade. 105.
254. How to manage, when a White terminates upon another White. 138.
255. On the Back-grounds of Figures. 140.
256. The Mode of composing History. 92.
257. Remarks concerning Lights and Shadows. 302.
258. Why the Shadows of Bodies upon a white Wall are blueish
towards the Evening. 328.
259. Of the Colour of Faces. 126.
260. A Precept relating to Painting. 284.
261. Of Colours in Shadow. 158.
262. Of the Choice of Lights. 28.
COLOURS IN REGARD TO BACK-GROUNDS.
263. Of avoiding hard Outlines. 51.
264. Of Outlines. 338.
265. Of Back-grounds. 334.
266. How to detach Figures from the Ground. 70.
267. Of Uniformity and Variety of Colours upon plain Surfaces. 304.
268. Of Back-grounds suitable both to Shadows and Lights. 137.
269. The apparent Variation of Colours, occasioned by the Contraste
of the Ground upon which they are placed. 112.
CONTRASTE, HARMONY, AND REFLEXES, IN REGARD TO COLOURS.
270. Gradation in Painting. 144.
271. How to assort Colours in such a Manner as that they may add
Beauty to each other. 99.
272. Of detaching the Figures. 73.
273. Of the Colour of Reflexes. 87.
274. What Body will be the most strongly tinged with the Colour of
any other Object. 124.
275. Of Reflexes. 77.
276. Of the Surface of all shadowed Bodies. 122.
277. That no reflected Colour is simple, but is mixed with the
Nature of the other Colours. 84.
278. Of the Colour of Lights and Reflexes. 157.
279. Why reflected Colours seldom partake of the Colour of the Body
where they meet. 85.
280. The Reflexes of Flesh Colours. 81.
281. Of the Nature of Comparison. 146.
282. Where the Reflexes are seen. 86.
PERSPECTIVE OF COLOURS.
283. A Precept of Perspective in regard to Painting. 354.
284. Of the Perspective of Colours. 134.
285. The Cause of the Diminution of Colours. 136.
286. Of the Diminution of Colours and Objects. 356.
287. Of the Variety observable in Colours, according to their
Distance or Proximity. 102.
288. At what Distance Colours are entirely lost. 103.
289. Of the Change observable in the same Colour, according to its
Distance from the Eye. 128.
290. Of the blueish Appearance of remote Objects in a Landscape.
317.
291. Of the Qualities in the Surface which first lose themselves by
Distance. 293.
292. From what Cause the Azure of the Air proceeds. 151.
293. Of the Perspective of Colours. 107.
294. Of the Perspective of Colours in dark Places. 148.
295. Of the Perspective of Colours. 149.
296. Of Colours. 152.
297. How it happens that Colours do not change, though placed in
different Qualities of Air. 108.
298. Why Colours experience no apparent Change, though placed in
different Qualities of Air. 106.
299. Contrary Opinions in regard to Objects seen afar off. 142.
300. Of the Colour of Objects remote from the Eye. 143.
301. Of the Colour of Mountains. 163.
302. Why the Colour and Shape of Objects are lost in some
Situations apparently dark, though not so in Reality. 110.
303. Various Precepts in Painting. 340.
AERIAL PERSPECTIVE.
304. Aerial Perspective. 165.
305. The Parts of the smallest Objects will first disappear in
Painting. 306.
306. Small Figures ought not to be too much finished. 282.
307. Why the Air is to appear whiter as it approaches nearer to the
Earth. 69.
308. How to paint the distant Part of a Landscape. 68.
309. Of precise and confused Objects. 72.
310. Of distant Objects. 355.
311. Of Buildings seen in a thick Air. 312.
312. Of Towns and other Objects seen through a thick Air. 309.
313. Of the inferior Extremities of distant Objects. 315.
314. Which Parts of Objects disappear first by being removed
farther from the Eye, and which preserve their Appearance. 321.
315. Why Objects are less distinguished in proportion as they are
farther removed from the Eye. 319.
316. Why Faces appear dark at a Distance. 320.
317. Of Towns and other Buildings seen through a Fog in the Morning
or Evening. 325.
318. Of the Height of Buildings seen in a Fog. 324.
319. Why Objects which are high, appear darker at a Distance than
those which are low, though the Fog be uniform, and of equal
Thickness. 326.
320. Of Objects seen in a Fog. 323.
321. Of those Objects which the Eye perceives through a Mist or
thick Air. 311.
322. Miscellaneous Observations. 308.
MISCELLANEOUS OBSERVATIONS.
LANDSCAPE.
323. Of Objects seen at a Distance. 313.
324. Of a Town seen through a thick Air. 314.
325. How to draw a Landscape. 33.
326. Of the Green of the Country. 129.
327. What Greens will appear most of a blueish Cast. 130.
328. The Colour of the Sea from different Aspects. 145.
329. Why the same Prospect appears larger at some Times than at
others. 307.
330. Of Smoke. 331.
331. In what Part Smoke is lightest. 329.
332. Of the Sun-beams passing through the Openings of Clouds. 310.
333. Of the Beginning of Rain. 347.
334. The Seasons are to be observed. 345.
335. The Difference of Climates is to be observed. 344.
336. Of Dust. 330.
337. How to represent the Wind. 346.
338. Of a Wilderness. 285.
339. Of the Horizon seen in the Water. 365.
340. Of the Shadow of Bridges on the Surface of the Water. 348.
341. How a Painter ought to put in Practice the Perspective of
Colours. 164.
342. Various Precepts in Painting. 332.
343. The Brilliancy of a Landscape. 133.
MISCELLANEOUS OBSERVATIONS.
344. Why a painted Object does not appear so far distant as a real
one, though they be conveyed to the Eye by equal Angles. 333.
345. How to draw a Figure standing upon its Feet, to appear forty
Braccia high, in a Space of twenty Braccia, with proportionate
Members. 300.
346. How to draw a Figure twenty-four Braccia high, upon a Wall
twelve Braccia high. _Plate XXII._ 301.
347. Why, on measuring a Face, and then painting it of the same
Size, it will appear larger than the natural one. 297.
348. Why the most perfect Imitation of Nature will not appear to
have the same Relief as Nature itself. 341.
349. Universality of Painting. A Precept. 9.
350. In what Manner the Mirror is the true Master of Painters. 275.
351. Which Painting is to be esteemed the best. 276.
352. Of the Judgment to be made of a Painter's Work. 335.
353. How to make an imaginary Animal appear natural. 286.
354. Painters are not to imitate one another. 24.
355. How to judge of one's own Work. 274.
356. Of correcting Errors which you discover. 14.
357. The best Place for looking at a Picture. 280.
358. Of Judgment. 15.
359. Of Employment anxiously wished for by Painters. 272.
360. Advice to Painters. 8.
361. Of Statuary. 351.
362. On the Measurement and Division of Statues into Parts. 39.
363. A Precept for the Painter. 11.
364. On the Judgment of Painters. 273.
365. That a Man ought not to trust to himself, but ought to consult
Nature. 20.
PREFACE
TO THE
PRESENT TRANSLATION.
The excellence of the following Treatise is so well known to all in any
tolerable degree conversant with the Art of Painting, that it would be
almost superfluous to say any thing respecting it, were it not that it
here appears under the form of a new translation, of which some account
may be expected.
Of the original Work, which is in reality a selection from the
voluminous manuscript collections of the Author, both in folio and
quarto, of all such passages as related to Painting, no edition
appeared in print till 1651, though its Author died so long before as
the year 1519; and it is owing to the circumstance of a manuscript
copy of these extracts in the original Italian, having fallen into
the hands of Raphael du Fresne; that in the former of these years
it was published at Paris in a thin folio volume in that language,
accompanied with a set of cuts from the drawings of Nicolo Poussin, and
Alberti; the former having designed the human figures, the latter the
geometrical and other representations. This precaution was probably
necessary, the sketches in the Author's own collections being so very
slight as not to be fit for publication without further assistance.
Poussin's drawings were mere outlines, and the shadows and back-grounds
behind the figures were added by Errard, after the drawings had been
made, and, as Poussin himself says, without his knowledge.
In the same year, and size, and printed at the same place, a
translation of the original work into French was given to the world by
Monsieur de Chambray (well known, under his family name of Freart, as
the author of an excellent Parallel of ancient and modern Architecture,
in French, which Mr. Evelyn translated into English). The style of this
translation by Mons. de Chambray, being thought, some years after, too
antiquated, some one was employed to revise and modernise it; and in
1716 a new edition of it, thus polished, came out, of which it may be
truly said, as is in general the case on such occasions, that whatever
the supposed advantage obtained in purity and refinement of language
might be, it was more than counterbalanced by the want of the more
valuable qualities of accuracy, and fidelity to the original, from
which, by these variations, it became further removed.
The first translation of this Treatise into English, appeared in the
year 1721. It does not declare by whom it was made; but though it
professes to have been done from the original Italian, it is evident,
upon a comparison, that more use was made of the revised edition of
the French translation. Indifferent, however, as it is, it had become
so scarce, and risen to a price so extravagant, that, to supply the
demand, it was found necessary, in the year 1796, to reprint it as it
stood, with all its errors on its head, no opportunity then offering of
procuring a fresh translation.
This last impression, however, being now also disposed of, and a new
one again called for, the present Translator was induced to step
forward, and undertake the office of fresh translating it, on finding,
by comparing the former versions both in French and English with
the original, many passages which he thought might at once be more
concisely and more faithfully rendered. His object, therefore, has
been to attain these ends, and as rules and precepts like the present
allow but little room for the decorations of style, he has been more
solicitous for fidelity, perspicuity, and precision, than for smooth
sentences, and well-turned periods.
Nor was this the only advantage which it was found the present
opportunity would afford; for the original work consisting in fact of
a number of entries made at different times, without any regard to
their subjects, or attention to method, might rather in that state be
considered as a chaos of intelligence, than a well-digested treatise.
It has now, therefore, for the first time, been attempted to place
each chapter under the proper head or branch of the art to which
it belongs; and by so doing, to bring together those which (though
related and nearly connected in substance) stood, according to the
original arrangement, at such a distance from each other as to make
it troublesome to find them even by the assistance of an index; and
difficult, when found, to compare them together.
The consequence of this plan, it must be confessed, has been, that in
a few instances the same precept has been found in substance repeated;
but this is so far from being an objection, that it evidently proves
the precepts were not the hasty opinions of the moment, but settled and
fixed principles in the mind of the Author, and that he was consistent
in the expression of his sentiments. But if this mode of arrangement
has in the present case disclosed what might have escaped observation,
it has also been productive of more material advantages; for, besides
facilitating the finding of any particular passage (an object in itself
of no small importance), it clearly shews the work to be a much more
complete system than those best acquainted with it, had before any idea
of, and that many of the references in it apparently to other writings
of the same Author, relate in fact only to the present, the chapters
referred to having been found in it. These are now pointed out in the
notes, and where any obscurity has occurred in the text, the reader
will find some assistance at least attempted by the insertion of a note
to solve the difficulty.
No pains or expense have been spared in preparing the present work
for the press. The cuts have been re-engraven with more attention
to correctness in the drawing, than those which accompanied the two
editions of the former English translation possessed (even though they
had been fresh engraven for the impression of 1796); and the diagrams
are now inserted in their proper places in the text, instead of being,
as before, collected all together in two plates at the end. Besides
this, a new Life of the Author has been also added by a Friend of the
Translator, the materials for which have been furnished, not from vague
reports, or uncertain conjectures, but from memoranda of the Author
himself, not before used.
Fortunately for this undertaking, the manuscript collections of
Leonardo da Vinci, which have lately passed from Italy into France,
have, since their removal thither, been carefully inspected, and
an abstract of their contents published in a quarto pamphlet,
printed at Paris in 1797, and intitled, "Essai sur les Ouvrages
physico-mathematiques de Leonard de Vinci;" by J. B. Venturi, Professor
of Natural Philosophy at Modena; a Member of the Institute of Bologna,
&c. From this pamphlet a great deal of original intelligence respecting
the Author has been obtained, which, derived as it is from his own
information, could not possibly be founded on better evidence.
To this Life we shall refer the reader for a further account of the
origin and history of the present Treatise, conceiving we have already
effected our purpose, by here giving him a sufficient idea of what he
is to expect from the ensuing pages.
THE LIFE
OF
_LEONARDO DA VINCI_.
Leonardo da Vinci, the Author of the following Treatise, was the
natural son of Pietro da Vinci, a notary of Vinci, in Tuscany[i1], a
village situated in the valley of Arno, a little below Florence, and
was born in the year 1452[i2].
Having discovered, when a child, a strong inclination and talent for
painting, of which he had given proofs by several little drawings and
sketches; his father one day accidentally took up some of them, and
was induced to shew them to his friend Andrea Verocchio, a painter
of some reputation in Florence, who was also a chaser, an architect,
a sculptor, and goldsmith, for his advice, as to the propriety of
bringing up his son to the profession of painting, and the probability
of his becoming eminent in the art. The answer of Verocchio was such as
to confirm him in that resolution; and Leonardo, to fit him for that
purpose, was accordingly placed under the tuition of Verocchio[i3].
As Verocchio combined in himself a perfect knowledge of the arts of
chasing and sculpture, and was a deep proficient in architecture,
Leonardo had in this situation the means and opportunity of acquiring a
variety of information, which though perhaps not immediately connected
with the art to which his principal attention was to be directed,
might, with the assistance of such a mind as Leonardo's, be rendered
subsidiary to his grand object, tend to promote his knowledge of the
theory, and facilitate his practice of the profession for which he
was intended. Accordingly we find that he had the good sense to avail
himself of these advantages, and that under Verocchio he made great
progress, and attracted his master's friendship and confidence, by the
talents he discovered, the sweetness of his manners, and the vivacity
of his disposition[i4]. Of his proficiency in painting, the following
instance is recorded; and the skill he afterwards manifested in other
branches of science, on various occasions, evidently demonstrated how
solicitous he had been for knowledge of all kinds, and how careful in
his youth to lay a good foundation. Verocchio had undertaken for the
religious of Vallombrosa, without Florence, a picture of our Saviour's
Baptism by St. John, and consigned to Leonardo the office of putting
in from the original drawing, the figure of an angel holding up the
drapery; but, unfortunately for Verocchio, Leonardo succeeded so well,
that, despairing of ever equalling the work of his scholar, Verocchio
in disgust abandoned his pencil for ever, confining himself in future
solely to the practice of sculpture[i5].
On this success Leonardo became sensible that he no longer stood in
need of an instructor; and therefore quitting Verocchio, he now began
to work and study for himself. Many of his performances of this period
are still, or were lately to be seen at Florence; and besides these,
the following have been also mentioned: A cartoon of Adam and Eve in
the Garden, which he did for the King of Portugal[i6]. This is highly
commended for the exquisite gracefulness of the two principal figures,
the beauty of the landscape, and the incredible exactitude of the
shrubs and fruit. At the instance of his father, he made a painting for
one of his old neighbours at Vinci[i7]; it consisted wholly of such
animals as have naturally an hatred to each other, joined artfully
together in a variety of attitudes. Some authors have said that this
painting was a shield[i8], and have related the following particulars
respecting it.
One of Pietro's neighbours meeting him one day at Florence, told him he
had been making a shield, and would be glad of his assistance to get it
painted; Pietro undertook this office, and applied to his son to make
good the promise. When the shield was brought to Leonardo, he found it
so ill made, that he was obliged to get a turner to smooth it; and when
that was done, he began to consider with what subject he should paint
it. For this purpose he got together, in his apartment, a collection of
live animals, such as lizards, crickets, serpents, silk-worms, locusts,
bats, and other creatures of that kind, from the multitude of which,
variously adapted to each other, he formed an horrible and terrific
animal, emitting fire and poison from his jaws, flames from his eyes,
and smoke from his nostrils; and with so great earnestness did Leonardo
apply to this, that though in his apartment the stench of the animals
that from time to time died there, was so strong as to be scarcely
tolerable, he, through his love to the art, entirely disregarded it.
The work being finished, Leonardo told his father he might now see it;
and the father one morning coming to his apartment for that purpose,
Leonardo, before he admitted him, placed the shield so as to receive
from the window its full and proper light, and then opened the door.
Not knowing what he was to expect, and little imagining that what he
saw was not the creatures themselves, but a mere painted representation
of them, the father, on entering and beholding the shield, was at first
staggered and shocked; which the son perceiving, told him he might now
send the shield to his friend, as, from the effect which the sight of
it had then produced, he found he had attained the object at which he
aimed. Pietro, however, had too much sagacity not to see that this was
by much too great a curiosity for a mere countryman, who would never
be sensible of its value; he therefore privately bought for his friend
an ordinary shield, rudely painted with the device of an heart with an
arrow through it, and sold this for an hundred ducats to some merchants
at Florence, by whom it was again sold for three hundred to the Duke of
Milan[i9].
He afterwards painted a picture of the Virgin Mary, and by her side a
vessel of water, in which were flowers: in this he so contrived it, as
that the light reflected from the flowers threw a pale redness on the
water. This picture was at one time in the possession of Pope Clement
the Seventh[i10].
For his friend Antonio Segni he also made a design, representing
Neptune in his car, drawn by sea-horses, and attended by tritons and
sea-gods; the heavens overspread with clouds, which were driven in
all directions by the violence of the winds; the waves appeared to be
rolling, and the whole ocean seemed in an uproar[i11]. This drawing was
afterwards given by Fabio the son of Antonio Segni, to Giovanni Gaddi,
a great collector of drawings, with this epigram:
Pinxit Virgilius Neptunum, pinxit Homerus,
Dum maris undisoni per vada flectit equos.
Mente quidem vates illum conspexit uterque,
Vincius est oculis, jureque vincit eos[i12].
In English thus:
Virgil and Homer, when they Neptune shew'd,
As he through boist'rous seas his steeds compell'd,
In the mind's eye alone his figure view'd;
But Vinci _saw_ him, and has both excell'd[i13].
To these must be added the following: A painting representing two
horsemen engaged in fight, and struggling to tear a flag from
each other: rage and fury are in this admirably expressed in the
countenances of the two combatants; their air appears wild, and the
drapery is thrown into an unusual though agreeable disorder. A Medusa's
head, and a picture of the Adoration of the Magi[i14]. In this last
there are some fine heads, but both this and the Medusa's head are said
by Du Fresne to have been evidently unfinished.
The mind of Leonardo was however too active and capacious to be
contented solely with the practical part of his art; nor could it
submit to receive as principles, conclusions, though confirmed
by experience, without first tracing them to their source, and
investigating their causes, and the several circumstances on which
they depended. For this purpose he determined to engage in a deep
examination into the theory of his art; and the better to effect his
intention, he resolved to call in to his aid the assistance of all such
other branches of science as could in any degree promote this grand
object.
Vasari has related[i15], that at a very early age he had, in the short
time of a few months only that he applied to it, obtained a deep
knowledge of arithmetic; and says, that in literature in general, he
would have made great attainments, if he had not been too versatile
to apply long to one subject. In music, he adds, he had made some
progress; that he then determined to learn to play on the lyre; and
that having an uncommonly fine voice, and an extraordinary promptitude
of thought and expression, he became a celebrated _improvisatore_: but
that his attention to these did not induce him to neglect painting
and modelling in which last art he was so great a proficient, that
in his youth he modelled in clay some heads of women laughing, and
also some boys' heads, which appeared to have come from the hand of a
master. In architecture, he made many plans and designs for buildings,
and, while he was yet young, proposed conveying the river Arno into
the canal at Pisa[i16]. Of his skill in poetry the reader may judge
from the following sonnet preserved by Lomazzo[i17], the only one now
existing of his composition; and for the translation with which it is
accompanied we are indebted to a lady.
SONNETTO MORALE.
Chi non può quel vuol, quel che può voglia,
Che quel che non si può folle è volere.
Adunque saggio è l'uomo da tenere,
Che da quel che non può suo voler toglia.
Però ch'ogni diletto nostro e doglia
Sta in sì e nò, saper, voler, potere,
Adunque quel sol può, che co 'l dovere
Ne trahe la ragion suor di sua soglia.
Ne sempre è da voler quel che l'uom puote,
Spesso par dolce quel che torna amaro,
Piansi gia quel ch'io volsi, poi ch'io l'ebbi.
Adunque tu, lettor di queste note,
S'a te vuoi esser buono e a' gli altri caro,
Vogli sempre poter quel che tu debbi.
TRANSLATION.
A MORAL SONNET.
The man who cannot what he would attain,
Within his pow'r his wishes should restrain:
The wish of Folly o'er that bound aspires,
The wise man by it limits his desires.
Since all our joys so close on sorrows run,
We know not what to choose or what to shun;
Let all our wishes still our duty meet,
Nor banish Reason from her awful seat.
Nor is it always best for man to will
Ev'n what his pow'rs can reach; some latent ill
Beneath a fair appearance may delude
And make him rue what earnest he pursued.
Then, Reader, as you scan this simple page,
Let this one care your ev'ry thought engage,
(With self-esteem and gen'ral love 't is fraught,)
Wish only pow'r to do just what you ought.
The course of study which Leonardo had thus undertaken, would, in its
most limited extent by any one who should attempt it at this time, be
found perhaps almost more than could be successfully accomplished;
but yet his curiosity and unbounded thirst for information, induced
him rather to enlarge than contract his plan. Accordingly we find,
that to the study of geometry, sculpture, anatomy, he added those of
architecture, mechanics, optics, hydrostatics, astronomy, and Nature in
general, in all her operations[i18]; and the result of his observations
and experiments, which were intended not only for present use, but
as the basis and foundation of future discoveries, he determined, as
he proceeded, to commit to writing. At what time he began these his
collections, of which we shall have occasion to speak more particularly
hereafter, is no where mentioned; but it is with certainty known, that
by the month of April 1490, he had already completely filled two folio
volumes[i19].
Notwithstanding Leonardo's propensity and application to study, he was
not inattentive to the graces of external accomplishments; he was very
skilful in the management of an horse, rode gracefully, and when he
afterwards arrived to a state of affluence, took particular pleasure in
appearing in public well mounted and handsomely accoutred. He possessed
great dexterity in the use of arms: for mien and grace he might contend
with any gentleman of his time: his person was remarkably handsome,
his behaviour so perfectly polite, and his conversation so charming,
that his company was coveted by all who knew him; but the avocations to
which this last circumstance subjected him, are one reason why so many
of his works remain unfinished[i20].
With such advantages of mind and body as these, it was no wonder that
his reputation should spread itself, as we find it soon did, over all
Italy. The painting of the shield before mentioned, had already, as has
been noticed, come into the possession of the Duke of Milan; and the
subsequent accounts which he had from time to time heard of Leonardo's
abilities and talents, induced Lodovic Sforza, surnamed the Moor,
then Duke of Milan, about, or a little before the year 1489[i21], to
invite him to his court, and to settle on him a pension of five hundred
crowns, a considerable sum at that time[i22].
Various are the reasons assigned for this invitation: Vasari[i23]
attributes it to his skill in music, a science of which the Duke is
said to have been fond; others have ascribed it to a design which the
Duke entertained of erecting a brazen statue to the memory of his
father[i24]; but others conceive it originated from the circumstance,
that the Duke had not long before established at Milan an academy for
the study of painting, sculpture, and architecture, and was desirous
that Leonardo should take the conduct and direction of it[i25]. The
second was, however, we find, the true motive; and we are further
informed, that the invitation was accepted by Leonardo, that he went to
Milan, and was already there in 1489[i26].
Among the collections of Leonardo still existing in manuscript, is a
copy of a memorial presented by him to the Duke about 1490, of which
Venturi has given an abridgment[i27]. In it he offers to make for the
Duke military bridges, which should be at the same time light and very
solid, and to teach him the method of placing and defending them with
security. When the object is to take any place, he can, he says, empty
the ditch of its water; he knows, he adds, the art of constructing a
subterraneous gallery under the ditches themselves, and of carrying
it to the very spot that shall be wanted. If the fort is not built
on a rock, he undertakes to throw it down, and mentions that he has
new contrivances for bombarding machines, ordnance, and mortars, some
adapted to throw hail shot, fire, and smoke, among the enemy; and
for all other machines proper for a siege, and for war, either by
sea or land, according to circumstances. In peace also, he says he
can be useful in what concerns the erection of buildings, conducting
of water-courses, sculpture in bronze or marble, and painting; and
remarks, that at the same time that he may be pursuing any of the above
objects, the equestrian statue to the memory of the Duke's father, and
his illustrious family, may still be going on. If any one doubts the
possibility of what he proposes, he offers to prove it by experiment,
and ocular demonstration.
From this memorial it seems clear, that the casting of the bronze
statue was his principal object; painting is only mentioned
incidentally, and no notice is taken of the direction or management of
the academy for painting, sculpture, and architecture; it is probable,
therefore, that at this time there was no such intention, though it is
certainly true, that he was afterwards placed at the head of it, and
that he banished from it the barbarous style of architecture which till
then had prevailed in it, and introduced in its stead a more pure and
classical taste. Whatever was the fact with respect to the academy, it
is however well known that the statue was cast in bronze, finished, and
put up at Milan, but afterwards demolished by the French when they took
possession of that place[i28] after the defeat of Lodovic Sforza.
Some time after Leonardo's arrival at Milan, a design had been
entertained of cutting a canal from Martesana to Milan, for the purpose
of opening a communication by water between these two places, and, as
it is said, of supplying the last with water. It had been first thought
of so early as 1457[i29]; but from the difficulties to be expected in
its execution, it seems to have been laid aside, or at least to have
proceeded slowly, till Leonardo's arrival. His offers of service as
engineer in the above memorial, probably induced Lodovic Sforza, the
then Duke, to resume the intention with vigour, and accordingly we
find the plan was determined on, and the execution of it intrusted to
Leonardo. The object was noble, but the difficulties to be encountered
were sufficient to have discouraged any mind but Leonardo's; for the
distance was no less than two hundred miles; and before it could be
completed, hills were to be levelled, and vallies filled up, to render
them navigable with security[i30].
In order to enable him to surmount the obstacles with which he
foresaw he should have to contend, he retired to the house of his
friend Signior Melzi, at Vaverola, not far distant from Milan, and
there applied himself sedulously for some years, as it is said, but
at intervals only we must suppose, and according as his undertaking
proceeded, to the study of philosophy, mathematics, and every branch
of science that could at all further his design; still continuing
the method he had before adopted, of entering down in writing
promiscuously, whatever he wished to implant in his memory: and at
this place, in this and his subsequent visits from time to time, he is
supposed to have made the greater part of the collections he has left
behind him[i31], of the contents of which we shall hereafter speak more
at large.