659.

Though you may be able to tell or write the exact description of forms, the painter can so depict them that they will appear alive, with the shadow and light which show the expression of a face; which you cannot accomplish with the pen though it can be achieved by the brush.

On the history of painting (660. 661).

660.

THAT PAINTING DECLINES AND DETERIORATES FROM AGE TO AGE, WHEN
PAINTERS HAVE NO OTHER STANDARD THAN PAINTING ALREADY DONE.

Hence the painter will produce pictures of small merit if he takes for his standard the pictures of others.  But if he will study from natural objects he will bear good fruit; as was seen in the painters after the Romans who always imitated each other and so their art constantly declined from age to age.  After these came Giotto the Florentine who—­not content with imitating the works of Cimabue his master—­being born in the mountains and in a solitude inhabited only by goats and such beasts, and being guided by nature to his art, began by drawing on the rocks the movements of the goats of which he was keeper.  And thus he began to draw all the animals which were to be found in the country, and in such wise that after much study he excelled not only all the masters of his time but all those of many bygone ages.  Afterwards this art declined again, because everyone imitated the pictures that were already done; thus it went on from century to century until Tomaso, of Florence, nicknamed Masaccio, showed by his perfect works how those who take for their standard any one but nature—­the mistress of all masters—­weary themselves in vain.  And, I would say about these mathematical studies that those who only study the authorities and not the works of nature are descendants but not sons of nature the mistress of all good authors.  Oh! how great is the folly of those who blame those who learn from nature [Footnote 22:  lasciando stare li autori.  In this observation we may detect an indirect evidence that Leonardo regarded his knowledge of natural history as derived from his own investigations, as well as his theories of perspective and optics.  Compare what he says in praise of experience (Vol II; XIX).], setting aside those authorities who themselves were the disciples of nature.

661.

That the first drawing was a simple line drawn round the shadow of a man cast by the sun on a wall.

The painter’s scope.

662.

The painter strives and competes with nature.

X.

Studies and Sketches for Pictures and Decorations.