483

The course of instruction for an artist.

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.]

Taken from The Notebooks of Leonardo da Vinci edited by Jean Paul Richter, 1880.

VII * X
Notebooks of Leonoardo da Vinci
VIII: Botany for Painters and Elements of Landscape Painting.
. . .
463,
464
On the treatment of light for views of towns.
465,
466,
467,
468,
469
The effect of wind on trees.
470,
471,
472,
473
Light and shade on clouds.
474,
475,
476,
477
On images reflected in water.
478
Of rainbows and rain.
479,
480
Of flower seeds.
481
How to ascertain the dispositions for an artistic career.
482
The course of instruction for an artist.
483,
484,
485
The study of the antique.
486,
487
The necessity of anatomical knowledge.
488,
489
How to acquire practice.
490
Industry and thoroughness the first conditions.
491,
492
The artist’s private life and choice of company.
493,
494
The distribution of time for studying.
495,
496,
497
On the productive power of minor artists.
498,
499,
500,
501
A caution against one-sided study.
502
How to acquire universality.
503
. . .