Limbs by Age and the Eloquence of Hands and Arms
Trattato della pittura: fitting a body's limbs to its age, and the figure that expresses its mind through gesture
A text page of the Treatise on Painting (running head 'parte') continuing the doctrine of fitting a figure to its age and mind. One chapter warns that the limbs of the young must not be given pronounced muscles, cords and veins, nor old figures the limbs of youth. Two further chapters hold that a figure is not praiseworthy unless it expresses the passion of the mind through action, and that the hands and arms must reveal the mover's intention — as good orators reinforce their words with gesture, unlike dullards who sit like wooden statues. The sheet is text only, with no drawings.
On this page
Limb-structure matched to the age of the whole body
All the parts of any animal must correspond to the age of its whole: the limbs of the young are not to be worked up with pronounced muscles, cords or veins. Some, to show artful and grand draftsmanship, spoil the whole with misplaced limbs; others, for want of skill, give old men the limbs of youth.
A figure that does not show the passion of the mind is not praiseworthy
That figure is not praiseworthy unless, as far as is possible, it expresses through its action the passion of its mind. Outward gesture must carry the inner feeling of the depicted person.
Hands and arms must reveal the mover's intention, like an orator
The hands and arms in all their operations must show the intention of their mover as much as possible, for one of refined judgment accompanies his mental intentions with them. Good orators join hand and arm to their words; dullards who neglect this appear on their tribunal like wooden statues through whose mouth passes, as through a pipe, the voice of a hidden man.