DOI Page / Citation link:
https://doi.org/10.11588/diglit.75271#0085
incur the censure of the injudicious, than to hazard the losing such
advantages to the pi&ure. Appelles comparing himself with Pio-
togenes said, perhaps he is equal, if not superior to me in some
things, but I am sure I excel him in this: I know when to have
done.
Fledi in pictures, to be seen at a common distance, and especially
portraits should (generally speaking) be well wrought up, and then
touched upon every where in the principal lights, and shadows, and
to pronounce the features; and this more, or less, according to the
sex, age, or character of the person, avoiding narrow, or long con-
tinued strokes, as in the eye-lids, mouth, &c. and too many sharp
ones: this being done by a light hand, judiciously, gives a spirit,
and retains the softness of flesh.
In short, the painter should consider what manner of handling
will best conduce to the end he proposes, the imitation of nature,
or the expressing those raised ideas he has conceived of possible per-
fc&ion in nature, and that he ought to turn his pencil to; always
remembering, that what is soonest done is best, if it is equally good
upon all other accounts.
There are two mistakes very common; one is, because a great
many good pictures are very rough painted, people fancy that is a
good picture that is so. There is bold Painting, but there is also
impudent Painting. Others on the contrary, judge of a picture not
by their eyes, but by their fingers ends, they feel if it be good.
Those appear to know little of the true beauties of the art, that thus
fix upon the lead considerable circumflance of it as if it were all,
or the principal thing to be considered.
The cartons, as they are properly no other than coloured draw-
ings, are handled accordingly, and extremely well. The flesh is ge-
nerally pretty much finished, and then finely touched upon. There
is much hatching with the point of a large pencil upon a prepared
ground. The hair is made with such a pencil for the most part.
K2 Leonardo
advantages to the pi&ure. Appelles comparing himself with Pio-
togenes said, perhaps he is equal, if not superior to me in some
things, but I am sure I excel him in this: I know when to have
done.
Fledi in pictures, to be seen at a common distance, and especially
portraits should (generally speaking) be well wrought up, and then
touched upon every where in the principal lights, and shadows, and
to pronounce the features; and this more, or less, according to the
sex, age, or character of the person, avoiding narrow, or long con-
tinued strokes, as in the eye-lids, mouth, &c. and too many sharp
ones: this being done by a light hand, judiciously, gives a spirit,
and retains the softness of flesh.
In short, the painter should consider what manner of handling
will best conduce to the end he proposes, the imitation of nature,
or the expressing those raised ideas he has conceived of possible per-
fc&ion in nature, and that he ought to turn his pencil to; always
remembering, that what is soonest done is best, if it is equally good
upon all other accounts.
There are two mistakes very common; one is, because a great
many good pictures are very rough painted, people fancy that is a
good picture that is so. There is bold Painting, but there is also
impudent Painting. Others on the contrary, judge of a picture not
by their eyes, but by their fingers ends, they feel if it be good.
Those appear to know little of the true beauties of the art, that thus
fix upon the lead considerable circumflance of it as if it were all,
or the principal thing to be considered.
The cartons, as they are properly no other than coloured draw-
ings, are handled accordingly, and extremely well. The flesh is ge-
nerally pretty much finished, and then finely touched upon. There
is much hatching with the point of a large pencil upon a prepared
ground. The hair is made with such a pencil for the most part.
K2 Leonardo