Part Four: Of Draperies and Dressing Figures with Grace
Opening of the fourth part of the Treatise: how cloth should reveal the figure's attitude and gird its limbs
This clean italic page in Francesco Melzi's compilation opens Part Four of the Treatise on Painting, headed 'Of draperies and the manner of dressing figures with grace, Book One.' Four short chapters set the governing principle: drapery must appear inhabited by the body beneath it, showing the figure's attitude and motion while avoiding a confusion of folds over the lit, raised parts. Leonardo distinguishes firm from broken folds according to whether the cloth is thin or thick, and insists that folds gird the limbs rather than cut across them or cast shadows deeper than the surface. A marginal note 'De panni' stands at the lower left.
On this page
Drapery must appear inhabited by the figure
The cloths that dress figures must show themselves to be inhabited by those figures. With a brief encompassing they should reveal the attitude and motion of the figure, avoiding a confusion of many folds, especially over the raised and lit parts, so that these remain recognizable.
Firm or broken folds according to the cloth
Folds should be firm or broken according to the quality of cloth, thin or thick, that one wishes to represent. Both sorts may be used together in the composition of narrative scenes to satisfy differing tastes.
Folds should encircle the limbs, not cut them
Folds must be fitted to gird the clothed limbs, so that no dark-shadowed fold falls on illuminated parts and no over-bright fold on shadowed parts. Their lines should in part run around the covered limbs, never cutting across them, nor with shadows sinking deeper than the surface of the dressed body.
