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A Treatise on Painting

by da Vinci Leonardo

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A Treatise on Painting presents Leonardo da Vinci's insights into the scientific principles underlying the artistic process. Based on writings composed between 1482 and 1499, the treatise argues that painting is fundamentally a discipline governed by natural laws and keen observation. It covers topics such as the importance of understanding human expression, character, and natural phenomena, emphasizing that mastery in painting requires both artistic skill and scientific knowledge. The work was compiled from Leonardo's notebooks by his heir, Francesco Melzi, and seeks to codify the methods and principles that inform realistic representation and the depiction of character.

Originally published in abridged form in 1651 and later restored to its complete form in 1817, the treatise includes illustrations and a biographical account of Leonardo da Vinci. It is considered an important philosophical and practical statement on the art of painting, reflecting the Renaissance era's focus on combining scientific inquiry with artistic expression.

From the opening pages

Illustrated with twenty-three Copper-plates, and other Figures. TO WHICH IS PREFIXED A NEW LIFE OF THE AUTHOR , DRAWN UP FROM AUTHENTIC MATERIALS TILL NOW INACCESSIBLE, By JOHN SIDNEY, HAWKINS, Esq . F.A.S. Ars est habitus quidam faciendi verâ cum ratione. ARISTOT. ETHIC. LIB. 6. London: PRINTED FOR J. TAYLOR, AT THE ARCHITECTURAL LIBRARY, HIGH HOLBORN. M.DCCC.II. TABLE OF CHAPTERS. The Number at the End of each Title refers to the corresponding Chapter in the original Edition in Italian. DRAWING. PROPORTION. Chap. 1. W hat the young Student in Painting ought in the first Place to learn. 2. Rule for a young Student in Painting. 3. 3. How to discover a young Man’s Disposition for Painting. 4. 4. Of Painting, and its Divisions. 47. 5. Division of the Figure. 48. 6. Proportion of Members. 49. 7. Of Dimensions in general. 173. 8. Motion, Changes, and Proportion of Members. 166. 9. The Difference of Proportion between Children and grown Men. 169. 10. The Alterations in the Proportion of the human Body from Infancy to full Age. 167. 11. Of the Proportion of Members. 175. 12. That every Part be proportioned to its Whole. 250. 13. Of the Proportion of the Members. 185. 14. The Danger of forming an erroneous Judgment in regard to the Proportion and Beauty of the Parts. 42. 15. Another Precept. 12. 16. The Manner of drawing from Relievos, and rendering Paper fit for it. 127. 17. Of drawing from Casts or Nature. 31. 18. To draw Figures from Nature. 38. 19. Of drawing from Nature. 25. 20. Of drawing Academy Figures. 30. 21. Of studying in the Dark, on first waking in the Morning, and before going to sleep. 17. 22. Observations on drawing Portraits. 188. 23. The Method of retaining in the Memory the Likeness of a Man, so as to draw his Portrait, after having seen him only once. 189. 24. How to remember the Form of a Face. 190. 25. That a Painter should take Pleasure in the Opinion of every Body. 19. ANATOMY. 26. What is principally to be observed in Figures. 213. 27. Mode of Studying. 7. 28. Of being universal. 22. 29. A Precept for the Painter. 5. 30. Of the Measures of the human Body, and the bending of Members. 174. 31. Of the small Bones in several Joints of the human Body. 229. 32. Memorandum to be observed by…

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