A Treatise on Painting

by Leonardo da Vinci

Layout 2

A

TREATISE

ON

PAINTING,

BY

LEONARDO DA VINCI.

 

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Printed by S. Gosnell,
Little Queen Street, Holborn, London.

LEONARDO DA VINCI.

T. Milton. Sculp.

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.

 

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Ars est habitus quidam faciendi verâ cum ratione.

ARISTOT. ETHIC. LIB. 6.

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London:

PRINTED FOR J. TAYLOR,
AT THE ARCHITECTURAL LIBRARY, HIGH HOLBORN.

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M.DCCC.II.

Chapters (not listed in original)

• Preface to the Present Translation
• The Life of Leonardo da Vinci
• Catalogue of the Works of Leonardo da Vinci

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.	Divisions 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.
306.	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 loft 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 fame 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 feme 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 Light? 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 wring forward Figures out of their Background.	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 lighted.	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. III.
240.	No Object appears in its true Colour, unless the Light which strikes upon it be of the fame 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 fame 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 mod 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 fame 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 Handing 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 fame Size, it will appear larger than the natural one.	297.
348.	Why the most perfect Imitation of Nature will not appear to have the fame 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.