Besides, the way, in which the subject is discussed appears not to support the supposition, that these texts were prepared at a special request of the Duke.

I.

MORAL PRECEPTS FOR THE STUDENT OF PAINTING.

How to ascertain the dispositions for an artistic career.

482.

A WARNING CONCERNING YOUTHS WISHING TO BE PAINTERS.

Many are they who have a taste and love for drawing, but no talent; and this will be discernible in boys who are not diligent and never finish their drawings with shading.

The course of instruction for an artist (483-485).

483.

The youth should first learn perspective, then the proportions of objects.  Then he may copy from some good master, to accustom himself to fine forms.  Then from nature, to confirm by practice the rules he has learnt.  Then see for a time the works of various masters.  Then get the habit of putting his art into practice and work.

[Footnote:  The Vatican copy and numerous abridgements all place this chapter at the beginning of the Trattato, and in consequence DUFRESNE and all subsequent editors have done the same.  In the Vatican copy however all the general considerations on the relation of painting to the other arts are placed first, as introductory.]

484.

OF THE ORDER OF LEARNING TO DRAW.

First draw from drawings by good masters done from works of art and from nature, and not from memory; then from plastic work, with the guidance of the drawing done from it; and then from good natural models and this you must put into practice.

485.

PRECEPTS FOR DRAWING.

The artist ought first to exercise his hand by copying drawings from the hand of a good master.  And having acquired that practice, under the criticism of his master, he should next practise drawing objects in relief of a good style, following the rules which will presently be given.

The study of the antique (486. 487).

486.

OF DRAWING.

Which is best, to draw from nature or from the antique? and which is more difficult to do outlines or light and shade?

487.

It is better to imitate [copy] the antique than modern work.

[Footnote 486, 487:  These are the only two passages in which Leonardo alludes to the importance of antique art in the training of an artist.  The question asked in No. 486 remains unanswered by him and it seems to me very doubtful whether the opinion stated in No. 487 is to be regarded as a reply to it.  This opinion stands in the MS. in a connection—­as will be explained later on—­which seems to require us to limit its application to a single special case.  At any rate we may suspect that when Leonardo put the question, he felt some hesitation as to the answer.  Among his very numerous drawings I have not been able to find a single study from the antique,