No. 1 on Pl.  XXXI.] thus for a head make an o, and for an arm a straight or a bent line, and the same for the legs and the body, [Footnote 7:  Lines 5-7 explained by the lower portion of the sketch No. 1 on Pl.  XXXI.] and when you return home work out these notes in a complete form.  The Adversary says that to acquire practice and do a great deal of work it is better that the first period of study should be employed in drawing various compositions done on paper or on walls by divers masters, and that in this way practice is rapidly gained, and good methods; to which I reply that the method will be good, if it is based on works of good composition and by skilled masters.  But since such masters are so rare that there are but few of them to be found, it is a surer way to go to natural objects, than to those which are imitated from nature with great deterioration, and so form bad methods; for he who can go to the fountain does not go to the water-jar.

[Footnote:  This passage has been published by Dr. M. JORDAN, Das Malerbuck des L. da Vinci, p. 89; his reading however varies slightly from mine.]

Industry and thoroughness the first conditions (491-493.)

491.

WHAT RULES SHOULD BE GIVEN TO BOYS LEARNING TO PAINT.

We know for certain that sight is one of the most rapid actions we can perform.  In an instant we see an infinite number of forms, still we only take in thoroughly one object at a time.  Supposing that you, Reader, were to glance rapidly at the whole of this written page, you would instantly perceive that it was covered with various letters; but you could not, in the time, recognise what the letters were, nor what they were meant to tell.  Hence you would need to see them word by word, line by line to be able to understand the letters.  Again, if you wish to go to the top of a building you must go up step by step; otherwise it will be impossible that you should reach the top.  Thus I say to you, whom nature prompts to pursue this art, if you wish to have a sound knowledge of the forms of objects begin with the details of them, and do not go on to the second [step] till you have the first well fixed in memory and in practice.  And if you do otherwise you will throw away your time, or certainly greatly prolong your studies.  And remember to acquire diligence rather than rapidity.

492.

HOW THAT DILIGENCE [ACCURACY] SHOULD FIRST BE LEARNT RATHER THAN
RAPID EXECUTION.

If you, who draw, desire to study well and to good purpose, always go slowly to work in your drawing; and discriminate in. the lights, which have the highest degree of brightness, and to what extent and likewise in the shadows, which are those that are darker than the others and in what way they intermingle; then their masses and the relative proportions of one to the other.  And note in their outlines, which way they tend; and which part of the lines is curved to one side or the other, and where they are more or less conspicuous and consequently broad or fine; and finally, that your light and shade blend without strokes and borders [but] looking like smoke.  And when you have thus schooled your hand and your judgment by such diligence, you will acquire rapidity before you are aware.