The painter judging his own work and that of others
Why judgment should outrun the hand, and the knowledge a painter needs
The page continues that practice must rest on a good foundation of natural things, or the painter's many works will bring little honour and less gain. A chapter on judging one's own and others' works holds that when the work merely equals the judgment it is a bad sign, when it surpasses the judgment it is worst, and when the judgment surpasses the work it is a perfect sign of an excellent but sparing maker. A further chapter notes that errors are seen more readily in others' works than in one's own, so the painter should first become a good perspectivist, then master the measures of man and other animals, and also be a good architect of the forms of buildings.
On this page
When judgment surpasses the work
When the work stands level with the judgment, that is a poor sign in such judgment; when the work surpasses the judgment it is worst, as with one who marvels at having worked so well; but when the judgment surpasses the work, that is a perfect sign, and a young painter so disposed will be an excellent but sparing maker.
Errors are seen better in others' work
We know for certain that errors are recognised more in the works of others than in one's own, and while reproving the small errors of others one may not see one's own great ones. To flee such ignorance the painter must first become a good perspectivist.
Full knowledge of the measures of the body
After becoming a good perspectivist the painter should have complete knowledge of the measures of man and of other animals. Command of proportion is set out as a prerequisite of praiseworthy work.
And a good architect too
The painter should also be a good architect, that is, as regards the form of buildings and of the other things upon the earth, which are of infinite forms. The more such things he knows, the more his work will be praised.