Attitudes of the Mind and the Reactions of Bystanders
Gestures must reveal intention and vary by age, rank and sex, while bystanders respond to a notable event
A text page from the Trattato della pittura, Book Three, on expressive action in painting. Leonardo requires that a figure's attitude and limbs reveal the intention of its mind, and that gestures vary according to age, rank, and whether the figure is male or female. He urges the painter to note gestures from real life rather than staged imitation, since an act of weeping performed without true cause will be neither prompt nor natural. A final chapter directs how bystanders should react to a notable event, with wondering gestures at an execution or devout gazes at the raising of the host.
On this page
Attitudes must show the mind's intention
Let the attitudes of men be arranged, with their limbs, so that by them the intention of their minds is shown. The actions should be pronounced according to each figure's age and rank, and varied by kind, distinguishing the gestures of men from those of women (Libro A, folios 32-33).
Note gestures from real feeling, not staged
The painter must note the attitudes and movements men make from any circumstance, fixing them at once in the mind. Do not have someone act out weeping as a test without real cause and then draw it, for such an act, not born of the true case, will be neither prompt nor natural (Libro A, folio 48).
How bystanders attend a notable event
All bystanders to an event worthy of note stand with various wondering gestures, as when justice punishes malefactors. In a devout scene let them turn their eyes with gestures of devotion, as at the showing of the host in the sacrifice; but in scenes of laughter or weeping not all need face the event.