The Notebooks of Leonardo Da Vinci - Complete

OF THE LIFE OF THE PAINTER IN THE COUNTRY.

A painter needs such mathematics as belong to painting. And the absence of all companions who are alienated from his studies; his brain must be easily impressed by the variety of objects, which successively come before him, and also free from other cares [Footnote 6: Leonardo here seems to be speaking of his own method of work as displayed in his MSS. and this passage explains, at least in part, the peculiarities in their arrangement.]. And if, when considering and defining one subject, a second subject intervenes?as happens when an object occupies the mind, then he must decide which of these cases is the more difficult to work out, and follow that up until it becomes quite clear, and then work out the explanation of the other [Footnote 11: Leonardo here seems to be speaking of his own method of work as displayed in his MSS. and this passage explains, at least in part, the peculiarities in their arrangement.]. And above all he must keep his mind as clear as the surface of a mirror, which assumes colours as various as those of the different objects. And his companions should be like him as to their studies, and if such cannot be found he should keep his speculations to himself alone, so that at last he will find no more useful company [than his own].

[Footnote: In the title line Leonardo had originally written del pictore filosofo (the philosophical painter), but he himself struck out_filosofo_. Compare in No. 363 pictora notomista (anatomical painter). The original text is partly reproduced on Pl. CI.]

494.

OF THE LIFE OF THE PAINTER IN HIS STUDIO.

To the end that well-being of the body may not injure that of the mind, the painter or draughtsman must remain solitary, and particularly when intent on those studies and reflections which will constantly rise up before his eye, giving materials to be well stored in the memory. While you are alone you are entirely your own [master] and if you have one companion you are but half your own, and the less so in proportion to the indiscretion of his behaviour. And if you have many companions you will fall deeper into the same trouble. If you should say: "I will go my own way and withdraw apart, the better to study the forms of natural objects", I tell you, you will not be able to help often listening to their chatter. And so, since one cannot serve two masters, you will badly fill the part of a companion, and carry out your studies of art even worse. And if you say: "I will withdraw so far that their words cannot reach me and they cannot disturb me", I can tell you that you will be thought mad. But, you see, you will at any rate be alone. And if you must have companions ship find it in your studio. This may assist you to have the advantages which arise from various speculations. All other company may be highly mischievous.

The distribution of time for studying (495-497).

495.

OF WHETHER IT IS BETTER TO DRAW WITH COMPANIONS OR NOT.

I say and insist that drawing in company is much better than alone, for many reasons. The first is that you would be ashamed to be seen behindhand among the students, and such shame will lead you to careful study. Secondly, a wholesome emulation will stimulate you to be among those who are more praised than yourself, and this praise of others will spur you on. Another is that you can learn from the drawings of others who do better than yourself; and if you are better than they, you can profit by your contempt for their defects, while the praise of others will incite you to farther merits.

[Footnote: The contradiction by this passage of the foregoing chapter is only apparent. It is quite clear, from the nature of the reasoning which is here used to prove that it is more improving to work with others than to work alone, that the studies of pupils only are under consideration here.]

496.

OF STUDYING, IN THE DARK, WHEN YOU WAKE, OR IN BED BEFORE YOU GO TO SLEEP.

I myself have proved it to be of no small use, when in bed in the dark, to recall in fancy the external details of forms previously studied, or other noteworthy things conceived by subtle speculation; and this is certainly an admirable exercise, and useful for impressing things on the memory.

497.

OF THE TIME FOR STUDYING SELECTION OF SUBJECTS.

Winter evenings ought to be employed by young students in looking over the things prepared during the summer; that is, all the drawings from the nude done in the summer should be brought together and a choice made of the best [studies of] limbs and bodies among them, to apply in practice and commit to memory.