LEON BATTISTA ALBERTI On Painting Notes by JOHN R. SPENCER Routledge & Kegan Paul LONDON eeeBook Two BECAUSE this [proce of] lating may pethaps appear 8 fatiguing thing to young peopl, Tough o prove et hat _aiuing isnot unworthy of consuming al our ime and sadly. ‘Paintogconttinsa divine force which not only makes absent amen presenta fendi ssa to do," but moreover makes the dead seo almost alive. Even afer many centuries they ae secognized with great plesure and with great admiration for ¢he pine, Plutarch says that Casande, on ofthe captains of Alexander, trembled through all hi body because he saw a prac of his King.* Ageulos, the Lacedaemonian, never permited anyone to pane him oto represen him inser; his own form so displeased him that he avoided being known by those who would come ae him.* Thos the fice ofa man ‘whois already dead cetaily lives a long life shough painting Some think hat pining shaped the gods who were adored by the nations. I ceainly was thei rete gif to mort fot Psiating is mos usefil wo that pey* which ois us othe gods and keps our sous fill elgion, They sy tat Phas made ins god Jove sobeausalthaticconsidrablystengthened the religion then current ‘The extent to which painting contbutes to the most hhonosrable delights ofthe sol and tothe dignifed beauy of things can be clely seen not only fom eer things but oOm Paning sey fo yon ee of pe ing hc dng become more rein wb ned bythe eee secession sete Col eel yang rane ne smal paiement el fe ae pa ine, Sar ie es yt Te sn nee aa a Segarra ecco creer st hel oot ye agen gn ey Frere ey oerefainprion Th eck ah fom he as, coe mee ad se sr A sng cen pad ar ec See eee eer mate edn roe Ce eng a dh we Same fle i om em cian | af none nds at Ne hora ghee aor scene ie whe se amr Gui ts Soe Search te cme i Wh nel eter a a embe wah Reisner twee nam ander eas arena melon Sas a oi a at ee ches ole out xa Tid Fert S 2: eninea omen On Paiting Goo yes bei it wate into Crece™ Thy sy tht Buining was bough oo fom Gases the Vey of Masel over Sc." Bu we a ot nce in Knowing sth wath ner of ace ne pence noting vis ike Dliy. We ay however bald snc a of pang abot which sng Te a Bon ‘itn inthis age They ay ha Bopha fates wee SSnching abo mest a shou nos that Artigas 2nd Xeno excanged™ mut int het Paining, and thet Apalls wae to Dues about pining Diogenes Lars coo tas Demis made comms en pasing Snel he ot ars nee weommenial ices by ob get men, ad since pang was tsa by our Lat wate, I slo sha ote ancon Pon [anes wee lea nos espe nas in pang Tesmegiuy, an ancet wat, aged that pag and sce wet a hse ie ion sree Alpi mand prt oo nae fo I mem fu ong When ho ee inallthngs plc and pvt prone and eigioo punting has taken ll he ow honorable pars oil'o atting has eve so eneemed by mol “he ceil refined pics hae ben corde Aries the Thban sold single pica fo one bonded flows. They 97 tht Rhode an bua by ing Dames foe tats siting of Petgens dud pci Ic could bead hth ey of Rhodes stars fo the enemy by atl paiting Py alte many air ach ‘hg in which you can sth god pes hare specs steal honoured by ll The mos noble ize, piotope nd ques kings ot on enjoyed pained gs se Painted with heir own bande Loco Manion, Reman Sstze, and Fabio nobleman wee pues Tarpon 2 Roman kab pated st Vana: Sues pacer and ocosl sq enw» pt Poe age pst . csOn Ponting sd ephowofth pox Eos, pained Heo inch Roman in Scat aN Pin wr oot Spun Theempon New Vieni, and Aland Severs were most deed to ping. Te would be 00 long, fewer torent here ow many pics and kings wee Ty pang No dorian peesayio mete Th tao cepts Thr mb ene ie tats san put on hear and ps nc Src compen fr unde day fir Denes Pl Thro Paves" Ina lnd inch hve wa soch 2 x umf sexier cn ou bach utes re FEdigr Tam eran te toy thse nae ete and red by the sme ges, punting with snare Bot T Ta ie higher gatu fe pe Bsse be sree wah mes diel ngs lower os eno ut wok, Cay de nomber of sep td pass wa tn sh mes en nes nd plebciane leamed and neared enjoyed paining, and Scher puted panes and porta comidoed the choir Tooy fom he pein we op inthe heats Fly Ptr cmt” and nt ew eter Rom cians taghh os png long he neo SRR ply al wel Ths fete cst was ny Sickel amen te Gaels whe su they wil ht tomo be wel duet tang thn psig lng wah feomexy aed msi I ws do su hone amorg woe 6 Ee fete puin, Main, dnogh of Varo, pried by the woes Deca be ke Hot pe, ang bd sich ‘ptm and honour among te Gack bt aw odes ‘Tregane beg dave ean pig evar cay Sel they di thee a of pigs aly een tre worthy ier minds and noble sai” ‘As forme Teeny emsiera ent appeion of pie ing tb the bet neon f mos pes mun es Tigh Dapper ha i pling we ended “ On Paning well a to the educated. Ie occurs rarely in any other art that ‘what delight the esperinced alio moves the inexperienced. Ti the same way you will find that many greatly deste to be well versed in painting. Nate herelf seems to delight in painting, fo in the cut faces of marble she ofen pains eentaurs land faces of bearded and cvely headed kings. Ii id, more- ‘ver, chat ina gem fom Pyeehus all nise Muses, each with her symbol, re tobe found clearly painted by nara” Add eo hie that in no other are dos it happen tha both the experienced tnd the inexperienced of every age apply themlves 9 volon= tal to the leaning and exercising oft. Allow me to speak ‘of myself here. Whenever I tor to painting for my recreation, whic I quently do when Iam tied of moe pesing airs, apply mye to with so much pleasure that Iam surprised thatthe foue hours have passed. Thus this att gives, pleasure and praise to whocver ir skilled in it siches and per petal fame co one who is maser of it. Since these things a0, ‘ince painting sche bet and most ancient ormament of things, ‘worthy offre men, pleasing oleened and unlearned, greatly cneaurage our studious youth to exert themacves at mich 3 possible in painting. "Therefor, I recommend tht he who is devoted t painting should learn thi art. The frst great are of ane who seks 0 ‘obtain eminence in panting isto aequte the fame and renown, ofthe ancients, Te twill to remember that avarice is always the enemy of virus, Rarely can anyone given to acquisition of ‘wealth acquire renown. T have sen many inthe ft Rower of | Teaming suddenly sink to money-making. As a result they acquire citer richce nor prise: However, if they had ine creased thee talent with sud, they would have easy soared inva grea renown. Then they would have acquired much richer and please “Enough has buen sid ofthis up to ere. Let us return to out subject. Paining i divided ino thee parts these divisions we have taken fiom nature @On Painting Sines panting strives to represent things seen, let us note ia shat way things are sen. Fast in sexing thing, we say it oceupies place, Here the punter, in desebing this space, vill, s3y this his guiding an outline with a line i eieumseription, ‘Then, looking at it again, we undersand tar mote plans of the observed body belong together, and ete dhe painter draw~ ingthem nthe places wil ty chat hee making a composion, Finally, we determine more cleatly the colours and qualities ‘ofthe planes. Since evry diffrence in them is bor fom light, ‘we can propery cll thee repeesentaton the reception of ight. "Theteore panting is compored of citcumsciption, come position and reepcion of light. Inthe fllowing we shall eet ‘of chem most bee. ‘irt we will teat of eteumserpton. Circumscrpton des cribes the ornng ofthe outne® in the painting eis said chat Parthasus the painter who talked with Soerter in Xenophon, was most expert in this and had examined these lines carefilly I say chat inthis citcumscription one ought to take geet pains to make these lines so subely that they ean scarcely be sen. The painter Apelles used to practice this and to compete with Protogencs.* Because circumscription i nothing but the desw- jing of the outline, which when dane with too apparent line does not indicate 2 margin ofthe plane but a neat elesvage, T should dese that only the movement ofthe outline be i= scribed. To this, Tins, one muse devote a great amount of practice. No compotion and no reception of light ean be pralsed where there is not also a good eieumserption Ie not ‘unusual however, to see only 2 good cicumscxipeion thats, good drawing—which is mos ples in el, “Here is a good aid for whoever wither to. make use of i Nothing can be found, so I think, which it more uel than that vall which among ny fends T call an icersection.* Tei a thin vel, inely woven, dyed whatever colour plescs you and ‘wich lager threads inthe paalels at you pfx. This veil place between the eye and dhe cing seen othe visual pyramid os On Painting penta though the thins of he el, Tis el ean Be of ftw to you. Fly, i alaye pesca to you the Same changed plan. White you hae pled tan limi you {ck fnd he ee ei of he prams This would eee Slinly be dick wibow te incteton. You Know how Sno ito mite a hing which docs ot cone to seit he sme appesune, fis ist copy pn thansclpue, Vat Know hata che dance aod re poses of the cate ate change, the tng you se seme realy Sheed. There hc ve lb, a very set You, nce it i alway thc same thing inthe proces of sean Secondly, yoo wl ely be able const de nis of ie ad ofthe panes* Hire inti parld you le the fered in cat he non, nano the becky nthe one the chin nd ll utanding Kaas nth place, On uel or on wal, divided into sms pull you wil be St pt eveything ini lace. she vel wl pel Sid you in learing how to pune when jou sein it found ajc and objec in eis Byte hing you wll be abevo tet wit experince nd judgement how very lou vl can bo you Nor wil eat what some mays tha te pintersould tute hig, Bese een thot they ae grea asin paling wel [hey] may pshaps be a mada wl eon Be slew do nothing witout them Ido nt bce that inne pis soul be demanded of he pn, bt puinngs svhich sper good rel and a good liens ofthe subject thould he expected. This do ot belo can ever be doe svkbout th wtf he ve, Ther let we ths icrtion, thai ela we have nd Then, whens pale ies ty bi sll witht te vel a shold noc te ints oF objets within the prs fhe el. Ox may study hem in another mary imagining » lin inne by Hs pet pendiclar wherever dhe linea loc But tne toe lie of he ple ae Hequely ukaown tthe inept ‘On Paining plater—douksfl and uncertain as in dhe fies of man where the doesnot discern the dinance berween the forehead and the templesit would be well ro tach him bow he ean come to ‘understand them, "This ie clerly demonstrated by nature, We sein fat planes ‘that each one marks out lights ad shades with ts lines. Again spherical concave planes ae divided into many planes 2 if chequered with spots of light and shade. Thetelore each part ‘with its highlights, divided by chose which are dack, would thus appear ar many planes. However, ifone continuous plane, beginning shadowy, becomes lle by litle igh, then note the middle of ic with a very fine line so chat the method of colouring it will be ls in douke. ‘Cireumscrpcon,* which pertains not litlevo composition, remains to be rested. For ths itis wel to know what compos tion isn panting. I sy composition is that ule in painting by ‘which che parts ft together” in the painted work, The grees work ofthe painter is the intr. Bodies ate part ofthe ions, ‘members ate parts the bodies, planes ate parts ofthe members. ‘Circumscrption is noching more than a cera rl for designs ing” the orline of the plas, snce some plane are smal asin animals, others ate large as those of buildings and colosi. ‘Concerning the small planes the precepts given up to here will be enough—precepss which we demonsrated when we Tearned how to use the vi. Perhaps we should find new rues for the anger planes. We must remember what has been said above in the inaruction on planes, ays, the pyramid, the inerction, and on the parallels of the pavement, the ect point and fine, On the pavement, drawn with ts Hines and parallels, wall and similar planes which we have called jaent de c be built Hlre I will desribe most brify what T do. Fin I begin with the foundation. I place che width and the length ofthe wall ints pall. In tht lying owe I follow nator. T note that, in any squared body which has ight angles, ‘only two conjoined sides can be sen atone ime, [observe this 7 On Painting in deseribing the foundations of che walls. always commence fire of al wath the nears plane, the greatest of those which are equidistant fiom thecrost-section, These I pu before de others, ‘desribing thir width and height in those parallels of the ‘pavement in uch a way cht for as many bacisasTchoose they ‘cupy as many paalels. To fnd the middle ofeach parallel, T find where dhe diameters matvally itrse And thus, as I ‘wish, draw the foundations. Then the height fellows by nt tall dificult rules, I know the height ofthe wall contains in lis this proportion, that 3s much 25 cis from the place where itstarts on the pavement eo the cent line, so much i ses upwards. When you wih cis quantity ofthe pavement up co the centric Hieto be tie height of aman, thete wl, heer, be these tiree Brat, Since you wish your wall fo be twelve Ici, you go up chee times the dance om the centric line that place on the pavement® Wich chese rules we shall be able o draw ll planes which have angles. “The way in which circles are drawn remains to be reaed Cirle ae drawn from angles. I do icin this manner, Tn a space | make a quadrangle with rght angles, and I divide the Sides of this quadrangle into pare simile co the pars of the bas lie ofthe fist quadrangle inthe painting. From each point tos opposite point I draw lines and ths the space is divided Jnco many small quadeangles. Here I draw a cic a large a 1 ‘want io the line ofthe small quadrangles and the lines ofthe Cirle cut each other mutually. T note all the pois of this tts there place T matk on the parallels ofthe pavement in ‘ny painting Ie would be an exteme and almos neverending Tabour to divide the circle in many places with new minot parallels and with « great number of points ro compl the itl, For this reason, when T ave noted eight or more inter Sections, I continue the ciele in the painting with my mind, {guiding the lines fiom poine to poine** Would it perhaps be Drier to comm to the shadows? Certainly, i the body which :madetheshadow were inthe middle, located by rlein ts plac. 7On Painting ‘Weave considered in what way wit te ad of the parallels the lange angolae and round planes aze drawn. Since we have finished the circumscription, char isthe way of drawing, ‘composition remaine tobe rested. Teswooll be wel to repeat what composition is. Composicon is tha rue of painting by which the parts of the things scent together inthe punting. The greatest work ofthe pain snot 2 colosas, but an irri, Inne gives greater renown to the innllect than any colossus Bodies ate pare of the itis, ‘members are parts ofthe body, planes part ofthe member. ‘The primary pars of painting, cherfore, ae the planes. That sac in bodies which we call beau i born from the com- position ofthe planes. A fice which has is planes here lege and there small, ere ised and there depressed—similar tothe faces of eld womenwould be most ugly in pearance. Those faces which have the plan joined in sch 2 way tha they take shades and ishs agreeably and pleasantly, and haven hacih~ fess of the ele! angles, these we shocld certainly say ate beaut and deli fies. ‘Therefae, in this composition of planes grace and beauty of things should be isensly sought fr. Ke sem co me chat here 4s 90 more certain and ing way fr one who wishes to pursue this chan to take them fom nature, keeping i mind in what ‘way nature, marvelous atfocr of thing, has composed che planes in beatifal odie. In imitating chese ie well both 19 take gest eae and to chink deeply about chem and to make reat ue of our bove-mensioned vi. When we with to put {nto practice what we have eared fom nature, we will always fist note the ims to which we shall daw oo lines Up to here we have talked ofthe composition of planes; members flloe Ft of al take cae tht all dhe members are suitable®™ They are suble when size, fnetion,™ kind colour and othe similar things correspond toa type of beauty. fin a painting the head should be very lage and the breast small, che hard ample and che foot swollen, and the body 2 On Pang pred up, this composition would ceraily be ugly tose. ‘Thecie, we ough to ave a erin rol forthe size ofthe sneer hit messing it would be sf nl” each bone ofthe anima, on this ad mele, then late al of swith its edb" Fer vomeone wil bjt that have sid above thatthe pine bas only todo with things which ate visible He at 2 good memory, Before dessing 2 man we Bt draw him nde, ten eenfold him in draperies, Soin pstng the nude we place Er is bones ad sets which we chen cover ‘with shoo thai i or diicueto undead where each Inuile is Bene, Sine nature hus hte eated the mesure- Imes to meen thee iz not 3 tle wy in rengning them, Seis palmer wil ake this akon hemseles fom ‘atze, They wil po ar mach ody and work nto remember Jing what dy ake om stare a hey doin dacoveing eA. thing to rember to ear a animate body take oof 6 tneers by which che ther ean be messed. Veo, tbe Biches, stssred the beight of man by the tLe seme 3 ‘more worthy thing to me for the other members vo have ree cet the ead because Thavenaied 2 common i ll men thatthe Foot a og 8 om he chin cothe ew ofthe bead “Ths one member iken which cortsponds to ll he other members in sch way that none of them an proportinal™ tothe othr in Tenth and width, ‘Then provide tat every member ca fais anton ia what eis ding. rans expe co drow his hands and fox, but I pce 3 philosopher while he i elkng to show sch mote mode tan hl in feciog** The pier Demon repented apie ino catert 90 tht you woul s9y ve os ‘ing wie one ut on sms ed wally en pot eb ben pint 0 te you cold rege i insy ny ed and a rel. A nas pated in Rome in which “Madege, dead man, wight down thie who ery him. Tn cy one of his members he appeas complaelydead—every- ‘hing hangs, ands, ges and head; everthing als heavily 7On Painting Anyone who testo expe dead body—which i ceinly ‘nos dill bea ood painter, ifheknows how to make cach member of body Huei Ths, in ewer panting tke Gate that each member pero is faneton a0 tha none by the ighestaricslation remains Racid. The members of the desd should be dead tothe very nals of ve pesons every tember shuld be alive in the sme part. The body i sd tolivewhen stat certain volusary movements es sad tbe dead when the members no longer ate able t carey om the Finexons of li that movement and ing. These che Baines, withing to expres lien things, will make every part J motionbut in modon be wil Keplovlnes and gree. ‘The more grcfal movement and the most lively ar those which move upwats ito the ae “Again we say thst composition the members ought ave even hinge in comanon. Te would be abcd if the hands of Helen or of Iphigena were old and gnarled! or if Netors least were youth and his ek smooth 0 Ganymede’ oe ead were weinkled and his highs those ofan ale if Mi, 2 very tong man, were to ave soft and slender Bank if gore whore fei fish ad fll should have moscule arm and lsh hand’. Anyone painting Achemenides, found by ‘Aenes on the island, with the fe which Viggit dscres” Sand the other members not allowing sich consumpevens, ‘would bea paoterto laugh at For ero, all the members cought wo conform to a ein appropiatencs. I should als Iie he member to conepond oon calor, because it would bye lice becoming fr one rho atts hie and plesant fic to have dhe bres andthe other members ugly and diy. ‘There, inthe composition of members we ought 0 fallow whic [hive said abou ss fonction, kind and clout. Then tveeything har is dignity. Te would noe be suitable to deex ‘Venus of Miners inthe rough wool elosk of a sold would be dhe same to des Mar or Jove inthe cloths of = ‘woman. The ane painters tok cate in paning Castor 4 On Pang sd Pallox to mak them sppst bres, but nthe ne 2 Dopnocons nacre appented and nthe other ait. They sho En puns sbow unde the abe of Voesn his anda of Ieblling™so grat was tir dligene in exprening the fincion, Kind and igity of wba thy pained “i ie ah pmer thi aan low ing compotion of boi. Certain dings sid inthe ompostion of members ao appiy he. Bodie oghe 0 amon ogee inh itn in bth sie aden Te srl beard orone who pains the Centr ing er te bungoet to leave ava of wine all standing in such tomo [We would cl] ia wes fin he same diane tne psn should apes ge thn nth, dogs shold Bevequal to boro bts 61 fen ss sf man ed ina bullng arin a cowed casket whee thet ‘ene foom ost down. Forde eons al i shold favors in sax and ia ncn to wha ppeing nthe dione “Th itr which mess both pe and admin wl be so agecbly and plea tative hat wl epee he Spe whurver eed or tend penn i loking and Sophia Th wah x ple ete oma fiom cpiosnss and vr of things. In food and in Stone povely snd abundance lest 3th te ile fom Gh old snd ial. So che souls die by ll copiosnen Sa varie. Fortis eason copiounes and vai pene fn ining. Tsay that it is mos opis whieh in thi Poe amined ld, young, maids, wore, oth, oung Keys fot small dps, bd, hor, sheep, bung, po ics and al sma hinge Tl eae any copious: Sich Eons in that tr rogues the copious ofthe mcr begets mich le when the bel sands aig alte igs here: However, 1 prs this opine be nal wih ean varie, yt modest aod eve with igi and tah, 1 lame tov pars who, whee hey wish 7Om Painting to appear copious, leave nating vacant, It it not composition bur disioloreconfsion which they diseminate. Thete the ‘sts doesnot appear to aim co do something worthy but rather to be in eomul Perhaps soltade willbe pleasing for one who greatly desites ignity in his ists. The majeny of princes is said to be eon tained in the paucity of words with which they make dhe wishes known. Thus in the iors cena suitable number of bodies gives not a litle dignity. Solitude dgplesses me jn ‘sre; noe ean T praise any copioosness which is without lignity* 1 dle solide i ion, nevertlee Tea Ts tht ‘epenses which shrinks foe gy. I tangy approve nen ison th wich Ise bred by aie alee pete. Sine hy are ale, they produce dreams wit few baat. However, my adgomnt wil ‘be mathing antlers (lcomes] filed by the voit of things ‘that neo tor men are notable 10 at wid iy 1 hin peinett (thie the sstomet of Varo who adie no mre thon nie gost ‘0. ange order ead confi Tinevery str vaity is always plesat. A painting in which thre aze bodies in many dismular poses i always especially Pleasing. These some sand erect, planed on one foot, and show all the fice with the hand high and the fingers joyous To thers the face is earned, he arm folded and thee oined ‘And thus to each one is given hit own ation and fection of ‘members; some are seated, thers on one knee, ahers lying. fis allowed bere, there ought to be some nde and others pat nude and part cloched inthe paintings but always make ‘se of shame and modesty. The pats ofthe body uly to se and inthe same way ochers which give lial please should be coveted with draperics, with 2 few fronds or the hand.” The ancien pained the poruait of Antigonos only fiom the part of the face where the eye wat noe Lacking. Tee said that Perils’ head was long and ugly, fr this reason he—valike ther-—was pormayed by painters and sculptor wearing 2 theme. Ploarch says tha when the ancien painters depicted 7 On Painting the hing ithe wet sme ae thm which they didnot wth o ave uno they “corected es nh a hey Could will ping likens Thor ds shave sal that modes and eu should be ued ineey tre or his eon eel not to een thesame ett or pose. The tn wll move he solo te beholder we ih man pune he cll shows the ove teat fis own sole Rapes innate hat ning mae than ene a Gund capable of tings ike hel" we wep wih the weeping, laugh with he aoghing, and gov Wah the geving- The movement fhe sol a mad nen by tmovemet ofte body. Cae and though weigh Shey thatasad pon ands wet icra ing of ule, holding him fb and ciely on hi alld and powy sustained members Inthe mach he fread wre, i had ig lent ill nde Tne ange, bese sger ines he oul the oes aswell wi ie andthe es and lth membre te bored with Colour, iy adds so mah bldnes thre In gay and uppy ten the movers ae ee and wih can lesing ink Ube Tey rie Espino xed he aad expen Flt Poi syne ely Nap oe Ie of he lc eet of tend he er files “And cen f Demon sis eto veal i, is Fae you ala se [at n,n cn and time plc, vm econ nd moe, pred, ied Ses, Thay tht Ate Than, geal to Apel, Uundesoed hes ovement ery we" Thy lea be nde byw wc we como know thin hugh stay Sd diene “Thur al the movements of the body sould be cls clued by ae pine. Ths he may wl ear fom nate, ven though i dic eine che many movements of the woul Who would er ble who fas to cd how “ies sto aempeto paint a loging fe ony fave ”On Pang lade you so that you make t more weeping than happy? Who could ever without the grees study expres fice in which mouth, chi, yes, cheeks, forehead and eyebrows all were in harmony with Laughter of weeping. For this reason it is best to learn them from nature and always to do hese things very rapidly, leting de observer think he sees mare than he actually But let me say something about chese movements. Part of thie I Gbsiate oot of my own mind, par I have lared from ‘nature, Fast ofall T dink that all the bodies ought to move according to what is ordered in the intr. Ina itr keto fee someone who admonishes and poine out to us what is happening chez; or beckons with his hand tose; or menaes swith an angry face and with ashing ees, so tat no one should come near; or shows some danger or marvellous thing there; oF invites us to weep of to Laugh together wit chem. Thus what- ver the painted persons do among themselves ot with the Ibholder, alli pointed towatd ornamencing ot teaching the lorie. imanees of Cypes is praised in his panal the Imma tion of Iphigenia, with which he conquered. Kolo. He pained Calchas sad, Ulyses moresad, and in Menelas, chen, hye would have exhsted his ae in showeing him greatly gue seicken. Not having any way in which to show the gi of the father, he threw a drape over hit ead and Le bis most bizee grief be imagined, eventhough ie was not see.” They pai the ship painted in Rome by our Tuscan painter Gioto.* Eleven disciples [ate portayed) all moved by fear at scing cone of ther companions passing over the water. Each one tupresses with his fice and gesture a cea indication ofa dis trbed sul in such a way that there ae diferent movements and positions in each one “Allow me to past over the movements mot briey. Some movements ofthe soul ate elle aeons, such as aie, jay and fea, desire and othe similar onc. The following ste move sents of the body. Bodies chemselies move in several wy ” (On Pain thing dace, becoming il, ing cred nd mong om atop, We pines who wo show the maven {the sal by movenens ofthe body ate cone sll Stahhe mover ofchangeof pie Athing which mover Ipsec doin even wy: cheat down the seconds tothe ii the thd to th ey tei dep ong Sloe at then says and he even ong soon ste Sl dese movement sn pang Soe bodies se placed Cowra os om yd none body soe pat tppeat oe cheer some diawa back kts igh and otic Breas thee ae ome wo put all rxton in thee move: mens soul eto esate somethings bot pote and Imrvemene which I baw called fom nate, From his we {Paley undestand shah sould be ued wih den on Remember hw man lh poe he ete ody to sippor the ead, hai eer ofl. When be etn ron fie swayed pependicy ender te iad lie te bas of cola, sod sno alway none who Sands eet he essed in he same cton se Thave ned tha the moves a head elon always toc ta cea prof th body have to snes wah lees so eats ivweight Bete, a meber wich commands tothe wa fe had eset ot non oposng pe lke an am ofa balan, We eh when wight held in an excel sm withthe et toga Ike the sede of 4 eke alle thr part ofthe bay wl aco corer tale he igh have noice at ning te rad no tne tums fi fe big than he wold in lsoing se ‘er horney noone en is eps poi whee th chin ouch the sould the wae nese ied 0 much hat the pout fhe shoulder prpendcar shoe the fave Th anavemcts fe lsd the se ey fein oder noo hamper hoes” pts athe ody Teco nate hr th andes so ee ed shoe he aOn Paiing head, nor che elbow over the shoulder, nor the fot above the ne, nor between one feet and the other is ehere more space than that of one fot. Remember that when a hand is extended ‘upward that sume side ofthe body evento the fet allows itso that the hel itself raised of the pavement. ‘The diligent ats will note many similar things by himself Pehaps what T have said is 40 obvious that it may appe superfluous. But, Because Ihave sen nota ew ein these things iscemed best noe to be silent about them, You wil find that in expresing too violent movements and in making the breast and the smal ofthe back visible atthe same time inthe sane figure—a thing which s nether possible nor becoming — some think co be praised because they beat that figures appeae ‘mos lively which mos chow about all their members. For this reson cheir figures appear hackers and actors without any dignity in che painting. Because ofthis they are noe only without grace and sweetness but moreover they show the too fiery and eurbulent imagination ofthe arcs. ‘The painting oughtto have plestant and gracfil movements, suitable to wha is happening ther. The movements and poses of viegns ae acy, fll of simplicity with sweetness of quice rather than strength; even though to Homes, whom Zeunis, followed, robust forms were pleasing even in women” The ‘movements of youths are light, gay, with acetan demonsta- ion of great soul and good free. In men the movements are ‘more adored with frmness, with bea and antl poses. a the old the movements and poses are fiigued the fs no longer support the body, and chey even cling with their hands." Thos ‘each one with dignity has his own movements o express what ‘ver movements ofthe soul e wishes. For the greatest disturb anee of the soul there are similar grest movements of the members. This rule of common mavemens is observed i all animate beings. Ie would not be fing to give plough ox the same movements that you would to Bucephalos, that high- spirited horsof Alexander. Pehaps it would be appropriate in fo On Pang the pining to mak fo wo was changed into a cow, ron sr erred sig ack wi het ek esd et fered "We hve sid enough about dhe movemens of animate beings: now then, sins inanimate things moe in al tose ‘mune which we hae wate ove, kts eat of then an Aklighedtosesome mover in ha ols ofa, brace, foods and obs. The seven onemens ae opel peng in bie where part of i emn in spit asf ishing to hoot fe waves ie ike Batts sound al Uke 2 serpents wile pees er, pat thee. In the same way tranche wi themes now Up, now down, sow a¥ay now nee, hep ononting tema like open Fl et Inhesame wap emerging the anche fm the work aa tre chi hey ace oh even movement that oat ofc eth is Bt of movement As have noted; movenes should be madcated and swe They shuld spear sas tothe ober aber hans marvel os However whee ‘ve shoo lief fd movement inthe dept, eth by Tatu sey and flo enh. oe ths reson wuld be welt place in he pice che face ofthe wd Zephyrs or “Austr who Hows fom the clos making the dapess imowe inthe wind. Thos you wile th ae ge the Bodies, whe thy at ck by the wind, show tbe nade under he dapr in sible pans, Inthe he pas the rapes blown by te wind Ay racy through he at In ‘hi lowing in the nd the par should ake exe no to display any drape agin win Achat hve said aboot the movement of aninute and of inanimate aj Lave sbrered. Once mote you hae fllowet with dilgence what Thve ad abo th consposison af plane, meses and bedi. “The ception of light semis to be etd In he lesons above I hve demoted a et how ig asthe poet Tovar esos. Ihave agit hw the ane elu ecrding ° &On Paling to the light and shade i seceives, will ale ts appearance. I Ihave sai hat white and blac express tothe pater shade and light all oer colours fr the painter are matter co which be ads more ot kes shadow of light. Therefore, let us lave che ther things, Here we must consider solely how the painter ‘ought to wse white and black, cis sid that che antique punters Polygnotos and Timantes sed only our colours. Aglaophon was marveled at beause Ihe liked to paint with one simple colour. Few ofthese great painters would have chosen this small number of eolous, for they so vad a large number tha they thought a moltude of ‘colours more suitable to 2 productive arcs. I certainly agree that copiousnes and variry of colours grely add to the pleasure and fame ofa painting, But I should like the [highest {evel of atainment] in industry and atc rt a the learned ‘maintain, on knowing hove to we Black and whit. Is worsh sll you study and diligenceta know how to use thee ro well, because ight and shade make things appear in rie Ths ‘white and black make paisted chngs appear inelef and win that praise which wat given to Nicis the Achenian pair. ‘They say that Zeuxi," 2 most famous antique painter, was almost leader ofthe others in knowing te fore oflight and shade; lide such peste was given tothe other.” T almost tlbvays consider mediere the punter who doesnot understand tvell the strength of every light and shade in each plane. Tsay the lamed and the unlearned praise those faces which, as though carved, appeat co isue out of che pancl, and they ctitzize those faces in whichis sen no other art than peehaps that of dawing T prelera good drawing with 2 good composition o be well colored, Therefor let ws study fs ofall ight and shade, and remember how one plane is Brighter than another where che faysof ight sik, and hove, where che force of ight is lacking, that sume colour becomes dusky Ie should also be noted that the shadow will lays corespond tothe light in another part is On Paning sp hat opr fa dy i igh wow abe: pa ing lek "As fr imitating the bright with white and the shadow with black, admonish you to ake grat eae to know the disinee planes as each one is covered wit light or shadow. This will be well enough underood by you ffom nature. When you know it well, with great resuain you will commence to place the white where you need ity andy atthe same time, oppose it ‘with black, With this balancing of white and Black the amount of rit in objects is claly reognized. Thus wid tesraine Tide by litle continue rising more white and more black as such 35 you need. "A good judge for you to know is che mtr. Ido not know why pained things have 29 much grace in the mito. Te is ‘marvellous how every weakness in 2 painting is so manifsly Aeformed inthe mirc. Therefore things aken from nature are totrcted with a mitor, Ihave here tly recounted chings ‘which T have learned from narre ‘Remember hat on a fit pane the eolou remains uniform in ‘vay place; in the concave and spherical planes the colour takes varnuons, beeause what is ete light is there datk, in ther places a median colour. This aeration of colours deceives the supid painters, who, as we have sad, chink the placing of the lights to be easy when thy have well dvigned te outlines ofthe planes They should work inchs way. Firs they should cover the phne outro the outlines asf with the lightest dew With whatever white ot Black they need. ‘Then above this another and then another and chu Tiel by lide they should proceed. Whore thee it mote light, dhey should use more ‘whites where the lighe als he white is lost si in smoke. In the same way they should da the contrary with Black.* ‘Bot remember, never make any plan so white that it cannot bbe made whiter. Ifyou should dres 2 Bore in whitest robes, it ibereta top much below che highest whitenes.” The painter hha nothing other than white with which to show the highest, 3On Painting laze of the most highly polished sword, and only Black to show the deepest shadow of night. You wile the fore of this by placing white next to black so char vases by this means appar of silver, of gold and of glas and appeat wo shine inthe painting, Fortis eon Itz severely all painters wo use ‘white 2nd black without much disrion. Te would please me if white were sold to painters ata price higher than the moat precious gems. Ie would eertaialy be useful if white and black were made fom those ver large peas whieh CCleopata destoyed in vinegar, so that panes would be, 25 they ough to be, mise and good managers” and thir works ‘would be erhfil, swost and. pleasing.” T cannot over tamphasze the advantage of cis frugaley to painters. IF chey Should pethap sin inthe dining of black and whit, eis tbe held less against one who uses much blak chan one who Ales ao wel spread out white, Fom day today follow nature sothat hors and obscueehings come tobe hated by you; and ‘asin doing you Tero, so your hand becomes more dlicate in ‘race and beavty. Cenainly by nature we love open and clear ‘ings; hetfore, lose more tghly the way in which iis mos. casyto sin, ‘Wehave weted of white and lack, Now we will eat ofthe ‘ther colours, not where all good and wied colours are found like Vituvin, che architect, but in what way well ground colouts are vied in panting. They say char Euphranor,* an fncien painter, wrote somthing about colours its not found today. Truly, if ever this was siten by others, we have dug thir art up ftom under the eat. It was never writen, we have iawn i fom heaves, We will continue wo us out itllec 35 swe have up to ete I should prefr that all pes and every sore of color shoul be seen in painting for the great delight tnd pleasure of the observer. Grace will be found, wen one colo is greatly diferent fom the others near it. When you pine Diana leading her woop, the robes of one nymph should be green, of another whit, of another rose, of anther yellow, Se On Pang and thus diferent colours to each one 0 that he cleat colours ae always near other difirent darker colours. This contast will, bbe beat where the colours are clear and beight. There is 2 crtain fiendship of eolouts so that one joined with another tives dignity and grace, Rose near green and sky blue gives, bath honour and life. White not only neat as and crocus yellow bor placed near moi any oder gives gladness. Dark ‘olout sand among light with dignity and the light colours torn aboot among the darks. Thus, a I have sid, the paler ssl dispose his ealour.= There are some who use much gold in cei isera, They think gives majty. Ido not praise it. Even though one should paint Viguils Dido whore quiver was of gold, her golden hair knowed with gold, and her purple robe girdled ‘with pure gold, che ecins ofthe hore and eveything of gold, T should not wish gold t be ued, for dere is more admuation and praise forthe pater who imate the rays of gold with colours, Again we se in a plane panel with a gold ground™* that some plane shine where they ought tobe dark and ate dark where they ought tobe light I sy, T would not censure the other curved ornaments joined to the patting such as columns carved bast, capiils and Gondspces even if they ‘were ofthe mest pute and massy gold. Even more, a wll pet= fected irs deserves ornaments of the mot precious gems. ‘Upto ere we have tweated most briefy ofthe three pars of painting. We have tested ofthe circumscription, of the Larger and smaller planes, we have treated of eolous as we believe them to pertain to the use of the pain. Therefore, we thus expies all painting when we say i made up ofthese three things: circumscription, composition and che reception of light. Exp oF Boox Two 8s