DOI Page / Citation link:
https://doi.org/10.11588/diglit.48092#0274
248
durer’s literary remains.
[chap.
much that is faulty. He therefore who, by a right understanding, hath
attained a good style, hath it ever in his power to make something
good, as far as that is possible to us; yet he will do so still better if he
study from the life. But to make a good thing is impossible for the
unpractised hand, for these things come not by chance. It also
happeneth, though but seldom, that a man becometh so sure of hand
by great experience gathered from long and diligent practice, that he
out of his own understanding acquired by great pains, can produce
something in his work, finer than any face before him which he might
copy, and better than another can do who setteth himself to draw from
many living men, by reason that this latter lacketh understanding.
Verily we must observe with great care and look that deformity and
uncouthness introduce not themselves into our work. We should therefore
avoid bringing useless things into pictures, which else had been beautiful,
for this is an error. Take an instance from the blind, lame, withered,
crippled, halt, and the like—all these are frightful through defect.
Excess must likewise be shunned, as if one were to draw a man with
three eyes, three hands and feet. The more the ugliness of the afore-
said things is shunned, and the more things upright, strong, pure,
and fitting, which all men commonly love, are made instead thereof,
so much the better will the work please, for such things are held beau-
tiful.
But Beauty is so put together in men and so uncertain is our
judgment about it, that we may perhaps find two men both beautiful
and fair to look upon, and yet neither resembleth the other, in measure
or kind, in any single point or part; and so blind is our perception that
we shall not understand whether of the two is the more beautiful, and if
we give an opinion on the matter it lacketh certainty. Howbeit in
some points the one may surpass the other even though this be
imperceptible to us. Wherefore it followeth that no powerful artist
should wholly abandon himself to depicting one kind of men only;
but he should be practised in many styles and in all kinds, and should
have understanding therein, and then he will be able to make whatever
sort of picture is required of him. Likewise, for the aforesaid reasons,
a man may know how to make wrathful, kindly, and all other figures,
and every figure may be made good in itself. If then one came unto
thee and would have of thee some strange Saturnine or Martial figure,
or one of charming, lovely mien to represent Venus, thou, if thou art
practised in the aforehandled' learning, by its aid shalt lightly know
what standard and style thou shouldst employ for each. By their
bodily proportions it can be shown, in the case of all families of men,
which are of fiery, airy, watery, or earthy temperament; for the power
of art, as aforesaid, mastereth every work.
True artists perceive at once the power that there is in a noble
work, and therefrom ariseth a great love in the mind of him that
understandeth. This they know who have learnt aright and they
recognise a good style in it; for knowledge is sure but opinion
betrayeth oft. Therefore let no one put too much confidence in
himself, lest he err and fail in his work. It is very needful for one
who busieth himself about these things to see many good figures and
durer’s literary remains.
[chap.
much that is faulty. He therefore who, by a right understanding, hath
attained a good style, hath it ever in his power to make something
good, as far as that is possible to us; yet he will do so still better if he
study from the life. But to make a good thing is impossible for the
unpractised hand, for these things come not by chance. It also
happeneth, though but seldom, that a man becometh so sure of hand
by great experience gathered from long and diligent practice, that he
out of his own understanding acquired by great pains, can produce
something in his work, finer than any face before him which he might
copy, and better than another can do who setteth himself to draw from
many living men, by reason that this latter lacketh understanding.
Verily we must observe with great care and look that deformity and
uncouthness introduce not themselves into our work. We should therefore
avoid bringing useless things into pictures, which else had been beautiful,
for this is an error. Take an instance from the blind, lame, withered,
crippled, halt, and the like—all these are frightful through defect.
Excess must likewise be shunned, as if one were to draw a man with
three eyes, three hands and feet. The more the ugliness of the afore-
said things is shunned, and the more things upright, strong, pure,
and fitting, which all men commonly love, are made instead thereof,
so much the better will the work please, for such things are held beau-
tiful.
But Beauty is so put together in men and so uncertain is our
judgment about it, that we may perhaps find two men both beautiful
and fair to look upon, and yet neither resembleth the other, in measure
or kind, in any single point or part; and so blind is our perception that
we shall not understand whether of the two is the more beautiful, and if
we give an opinion on the matter it lacketh certainty. Howbeit in
some points the one may surpass the other even though this be
imperceptible to us. Wherefore it followeth that no powerful artist
should wholly abandon himself to depicting one kind of men only;
but he should be practised in many styles and in all kinds, and should
have understanding therein, and then he will be able to make whatever
sort of picture is required of him. Likewise, for the aforesaid reasons,
a man may know how to make wrathful, kindly, and all other figures,
and every figure may be made good in itself. If then one came unto
thee and would have of thee some strange Saturnine or Martial figure,
or one of charming, lovely mien to represent Venus, thou, if thou art
practised in the aforehandled' learning, by its aid shalt lightly know
what standard and style thou shouldst employ for each. By their
bodily proportions it can be shown, in the case of all families of men,
which are of fiery, airy, watery, or earthy temperament; for the power
of art, as aforesaid, mastereth every work.
True artists perceive at once the power that there is in a noble
work, and therefrom ariseth a great love in the mind of him that
understandeth. This they know who have learnt aright and they
recognise a good style in it; for knowledge is sure but opinion
betrayeth oft. Therefore let no one put too much confidence in
himself, lest he err and fail in his work. It is very needful for one
who busieth himself about these things to see many good figures and