File:Leonardo da Vinci, artist, thinker and man of science (1898) (14782247264).jpg

Identifier: leonardodavincia01mn (find matches)
Title: Leonardo da Vinci, artist, thinker and man of science
Year: 1898 (1890s)
Authors: Müntz, Eugène, 1845-1902
Subjects: Leonardo, da Vinci, 1452-1519
Publisher: London : W. Heinemann New York : C. Scribner's Sons
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

View Book Page: Book Viewer
About This Book: Catalog Entry
View All Images: All Images From Book
Click here to view book online to see this illustration in context in a browseable online version of this book.

Text Appearing Before Image:
ly thanwhen close at hand (cap. 407). In his discussion ofthe weight to be givento remarks made byothers, Leonardo, Ishould think, does somelittle violence to his ownconvictions. Seeing howhe worked himself, it ispretty safe to assert that he laid very little store indeed by the adviceof his colleagues, whether they were professional artists or amateurs.Did he not know more of the secrets of art than the whole of themput together ? The most he did was to ask, now and then, for somelittle technical guidance, as, for instance, when he took the adviceof Giuliano da San Gallo on the process of casting in metal. However this may be, this is what he actually says on the functionof criticism : As a painter should be desirous of hearing what othersthink of his work, he should not repulse an external opinion while heis painting. For we can see clearly that even a man who is not 1 X ^ Ijr-^, J ^M m. ^ Ib^ ^ », #— ^^^n^ EAU OF AN OLD MAN. (Windsor Library.) A Study of Draperies. (the louvre.)
Text Appearing After Image:
rii.Tted by Dr;cg THE TREATISE ON PAINTING 237 a painter knows how another man is shaped, and can see whether thelatter has a humped back, or one shoulder higher than the other, ora nose and mouth too large, or any other natural defect. If we admit that men are able to discern the mistakes of nature, still more must we allow that they can see our faults. We know how a man may deceive himself about his own works. If you cannot convince yourself of this by examining your own productions, look at those of your neighbours, and you will be convinced and profit by their mistakes (cap. 75). If you wish to escape the fault-finding with which painters visit any one who, in this or that branch of art, does not agree with their own way ot seeing things, you must familiarise your-self with the different parts of art, so as to conform in each to the judgments provoked by works of painting. These different parts will be treated of below (cap.114). Farther on Leonardo pointsout, apparently with regr

Note About Images