Painting as Lasting Witness; Virtue Above Treasure
Chapter 65 continued: painting testifies for ages while hoarded money enriches no one's fame after death
Continuing chapter 65 of the Treatise on Painting, Leonardo argues that a painter must correct his work because painting, unlike music, does not die at its creation but long testifies to any ignorance. He dismisses the excuse that correction wastes earning time, reasoning that money beyond one's needs is never truly used or owned. Polishing works with the discourse of the two perspectives brings lasting honor, and he contrasts forgotten wealthy princes with those who lived in poverty to grow rich in virtue, calling science a true daughter and money a mere stepdaughter.
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Painting outlives its maker as a witness, unlike music
Leonardo urges correcting one's work because painting does not die at the moment of its making, as music does, but for a long time bears witness to the maker's ignorance. He rejects the plea that correction squanders earning time, since money beyond life's use is never finished being spent and never truly one's own. Polishing works with the discourse of the two perspectives leaves works that confer lasting honor.
Virtue outlasts treasure; science a daughter, money a stepdaughter
Wealth honors only itself and makes its owner a magnet for envy and a coffer for thieves, and the rich man's fame dies with him while the treasure's fame lives on without honoring the hoarder. Leonardo asks how many emperors and princes are wholly forgotten, and praises those who lived in poverty of money to enrich themselves in virtue. Science is always the witness and trumpet of its creator, a daughter of the one who begets it, whereas money is only a stepdaughter.
