Painting Nobler than Music: Sense, Permanence, Universality
Painting satisfies sight, endures through glass, and contains all forms in and beyond nature
Continuing the paragone, this leaf first weighs sculpture, which in its two principal cases is aided by nature with ready-made perspective, shadow, and light and is no imitator of colour, before mounting the central argument that painting surpasses music. Leonardo reasons that painting satisfies the nobler sense of sight, endures where music consumes itself even as it is born, and alone contains every form that exists and that does not exist in nature. By painting are made the images of the gods, the fleeting beauties of time preserved, and the likenesses of famous men kept. He concludes that if music is ranked among the liberal arts, painting must be admitted too.
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Sculpture aided by nature and no imitator of colour
Leonardo argues that sculpture, in its two principal cases, is aided by nature itself with perspective, shadow, and light. Being no imitator of colours, it escapes the labour by which the painter toils to make shadows the companions of the lights.
Painting nobler because it serves the sense of sight
That thing is worthier which satisfies the better sense. Therefore painting, which satisfies the sense of sight, is nobler than music, which satisfies only hearing.
Painting endures while music consumes itself at birth
That thing is nobler which has more permanence. Music consumes itself even as it is born and is thus less worthy than painting, which by means of glass is made eternal.
Painting the container of all forms in and beyond nature
Painting is to be set before all activities because it contains every form that exists and those that do not exist in nature. By it the images of the gods are made and the likenesses of famous men preserved, so that if music sits among the liberal arts, painting must too.