Pushing, Pulling, and the Figure Hurling with Force
Push and pull treated as one action, and how to pose a man throwing a dart or stone with great impetus.
This page of the Treatise on Painting concludes the analysis of jumping and turns to the mechanics of pushing and pulling, which Leonardo treats as one action differing only in whether the load is before or behind the mover. He locates the centre of the arm's power where the sinews of the shoulder, breast, and shoulder-blade join the upper shoulder bone. A further chapter explains how to pose a man hurling a dart or stone, either gathering himself for the throw or at its completion, describing the contrapposto of foot and opposite shoulder. A small pen sketch of a striding figure launching a spear accompanies the text.
On this page
Pushing and pulling as one action
Pushing and pulling are one and the same action: pushing is an extension of the limbs, pulling an attraction of them, and to each is added the weight of the mover against the load. The only difference is position, for the pusher standing on his feet keeps the load before him while the puller keeps it behind, both drawing along lines toward the centre of the mover's power.
Posing the man who throws with great force
A man hurling a dart, stone, or other object with impetuous motion may be shown in two ways: gathering himself for the throw, or at the moment the motion is finished. In the preparatory pose the inner side of the foot lies on the line of the breast, but the opposite shoulder rides over that foot, so that if the right foot bears the weight, the left shoulder stands above the tip of the right foot.
Sketch of a striding figure hurling a spear
A small pen drawing set into the lower text column shows a nude male figure in mid-stride, twisting his torso and drawing back one arm to launch a spear or dart. The sketch illustrates the throwing pose described in the adjacent chapter, its splayed stance and counter-turned shoulders matching the written contrapposto.