TO DRAW A FIGURE ON A WALL 12 BRACCIA HIGH WHICH SHALL LOOK 24 BRACCIA HIGH.

If you wish to draw a figure or any other object to look 24 braccia high you must do it in this way. First, on the surface _m r_ draw half the man you wish to represent; then the other half; then put on the vault _m n_ [the rest of] the figure spoken of above; first set out the vertical plane on the floor of a room of the same shape as the wall with the coved part on which you are to paint your figure. Then, behind it, draw a figure set out in profile of whatever size you please, and draw lines from it to the point _f_ and, as these lines cut _m n_ on the vertical plane, so will the figure come on the wall, of which the vertical plane gives a likeness, and you will have all the [relative] heights and prominences of the figure. And the breadth or thickness which are on the upright wall _m n_ are to be drawn in their proper form, since, as the wall recedes the figure will be foreshortened by itself; but [that part of] the figure which goes into the cove you must foreshorten, as if it were standing upright; this diminution you must set out on a flat floor and there must stand the figure which is to be transferred from the vertical plane _r n_[Footnote 17: _che leverai dalla pariete r n_. The letters refer to the larger sketch, No. 3 on Pl. XXXI.] in its real size and reduce it once more on a vertical plane; and this will be a good method [Footnote 18: Leonardo here says nothing as to how the image foreshortened by perspective and thus produced on the vertical plane is to be transferred to the wall; but from what is said in Nos. 525 and 523 we may conclude that he was familiar with the process of casting the enlarged shadow of a squaring net on the surface of a wall to guide him in drawing the figure.

_Pariete di rilieuo; "sur une parai en relief"_ (RAVAISSON). _"Auf einer Schnittlinie zum Aufrichten"_ (LUDWIG). The explanation of this puzzling expression must be sought in No. 545, lines 15-17.].

[Footnote: See Pl. XXXI. 3. The second sketch, which in the plate is incomplete, is here reproduced and completed from the original to illustrate the text. In the original the larger diagram is placed between lines 5 and 6.

1. 2. C. A. 157a; 463a has the similar heading: '_del cressciere della figura_', and the text begins: "_Se voli fare 1a figura grande_ b c" but here it breaks off. The translation here given renders the meaning of the passage as I think it must be understood. The MS. is perfectly legible and the construction of the sentence is simple and clear; difficulties can only arise from the very fullness of the meaning, particularly towards the end of the passage.]

527.

If you would to draw a cube in an angle of a wall, first draw the object in its own proper shape and raise it onto a vertical plane until it resembles the angle in which the said object is to be represented.

528.

Why are paintings seen more correctly in a mirror than out of it?

529.

HOW THE MIRROR IS THE MASTER [AND GUIDE] OF PAINTERS.

When you want to see if your picture corresponds throughout with the objects you have drawn from nature, take a mirror and look in that at the reflection of the real things, and compare the reflected image with your picture, and consider whether the subject of the two images duly corresponds in both, particularly studying the mirror. You should take the mirror for your guide--that is to say a flat mirror--because on its surface the objects appear in many respects as in a painting. Thus you see, in a painting done on a flat surface, objects which appear in relief, and in the mirror--also a flat surface--they look the same. The picture has one plane surface and the same with the mirror. The picture is intangible, in so far as that which appears round and prominent cannot be grasped in the hands; and it is the same with the mirror. And since you can see that the mirror, by means of outlines, shadows and lights, makes objects appear in relief, you, who have in your colours far stronger lights and shades than those in the mirror, can certainly, if you compose your picture well, make that also look like a natural scene reflected in a large mirror.

[Footnote: I understand the concluding lines of this passage as follows: If you draw the upper half a figure on a large sheet of paper laid out on the floor of a room (_sala be piana_) to the same scale (_con le sue vere grosseze_) as the lower half, already drawn upon the wall (lines 10, 11)you must then reduce them on a '_pariete di rilievo_,' a curved vertical plane which serves as a model to reproduce the form of the vault.]

530.

OF JUDGING YOUR OWN PICTURES.

We know very well that errors are better recognised in the works of others than in our own; and that often, while reproving little faults in others, you may ignore great ones in yourself. To avoid such ignorance, in the first place make yourself a master of perspective, then acquire perfect knowledge of the proportions of men and other animals, and also, study good architecture, that is so far as concerns the forms of buildings and other objects which are on the face of the earth; these forms are infinite, and the better you know them the more admirable will your work be. And in cases where you lack experience do not shrink from drawing them from nature. But, to carry out my promise above [in the title]--I say that when you paint you should have a flat mirror and often look at your work as reflected in it, when you will see it reversed, and it will appear to you like some other painter's work, so you will be better able to judge of its faults than in any other way. Again, it is well that you should often leave off work and take a little relaxation, because, when you come back to it you are a better judge; for sitting too close at work may greatly deceive you. Again, it is good to retire to a distance because the work looks smaller and your eye takes in more of it at a glance and sees more easily the discords or disproportion in the limbs and colours of the objects.

On the management of works (531. 532).

531.

OF A METHOD OF LEARNING WELL BY HEART.

When you want to know a thing you have studied in your memory proceed in this way: When you have drawn the same thing so many times that you think you know it by heart, test it by drawing it without the model; but have the model traced on flat thin glass and lay this on the drawing you have made without the model, and note carefully where the tracing does not coincide with your drawing, and where you find you have gone wrong; and bear in mind not to repeat the same mistakes. Then return to the model, and draw the part in which you were wrong again and again till you have it well in your mind. If you have no flat glass for tracing on, take some very thin kidts-kin parchment, well oiled and dried. And when you have used it for one drawing you can wash it clean with a sponge and make a second.

532.

THAT A PAINTER OUGHT TO BE CURIOUS TO HEAR THE OPINIONS OF EVERY ONE ON HIS WORK.

Certainly while a man is painting he ought not to shrink from hearing every opinion. For we know very well that a man, though he may not be a painter, is familiar with the forms of other men and very capable of judging whether they are hump backed, or have one shoulder higher or lower than the other, or too big a mouth or nose, and other defects; and, as we know that men are competent to judge of the works of nature, how much more ought we to admit that they can judge of our errors; since you know how much a man may be deceived in his own work. And if you are not conscious of this in yourself study it in others and profit by their faults. Therefore be curious to hear with patience the opinions of others, consider and weigh well whether those who find fault have ground or not for blame, and, if so amend; but, if not make as though you had not heard, or if he should be a man you esteem show him by argument the cause of his mistake.

On the limitations of painting (533-535)

533.

HOW IN SMALL OBJECTS ERRORS ARE LESS EVIDENT THAN IN LARGE ONES.

In objects of minute size the extent of error is not so perceptible as in large ones; and the reason is that if this small object is a representation of a man or of some other animal, from the immense diminution the details cannot be worked out by the artist with the finish that is requisite. Hence it is not actually complete; and, not being complete, its faults cannot be determined. For instance: Look at a man at a distance of 300 braccia and judge attentively whether he be handsome or ugly, or very remarkable or of ordinary appearance. You will find that with the utmost effort you cannot persuade yourself to decide. And the reason is that at such a distance the man is so much diminished that the character of the details cannot be determined. And if you wish to see how much this man is diminished [by distance] hold one of your fingers at a span's distance from your eye, and raise or lower it till the top joint touches the feet of the figure you are looking at, and you will see an incredible reduction. For this reason we often doubt as to the person of a friend at a distance.

534.

WHY A PAINTING CAN NEVER APPEAR DETACHED AS NATURAL OBJECTS DO.

Painters often fall into despair of imitating nature when they see their pictures fail in that relief and vividness which objects have that are seen in a mirror; while they allege that they have colours which for brightness or depth far exceed the strength of light and shade in the reflections in the mirror, thus displaying their own ignorance rather than the real cause, because they do not know it. It is impossible that painted objects should appear in such relief as to resemble those reflected in the mirror, although both are seen on a flat surface, unless they are seen with only one eye; and the reason is that two eyes see one object behind another as _a_ and _b_ see _m_ and _n_. _m_ cannot exactly occupy [the space of] _n_ because the base of the visual lines is so broad that the second body is seen beyond the first. But if you close one eye, as at _s_ the body _f_ will conceal _r_, because the line of sight proceeds