Draw from Nature, Not from Memory
Answering critics, the honour of the art above gain, and building a work from imagination through drawing.
A text page of the Trattato, in Melzi's neat hand under the running head PARTE. It closes a passage on how to weigh a critic's blame, then gives chapter 76 arguing that no painter should trust memory to hold nature's infinite forms and must instead draw from life, prizing the honour of the art over greed for gain. The foot begins chapter 77, against the hypocrites who blame those who draw on feast days and investigate the works of God.
On this page
Never trust memory alone; draw from the life
In works of importance a master must not believe he can retain within himself all the forms and effects of nature, for those effects are infinite and memory cannot suffice. Anyone so presuming would be adorned with much ignorance. The remedy is to draw from nature.
Honour of the art above the gain of riches
The painter is warned that greed for gain must not overcome in him the honour of the art, for the gain of honour is far greater than the honour of riches. These reasons argue for patient work from nature rather than easy profit.
From imagination to disegno: adding and removing until satisfied
First give demonstrative form to the eye of the intention and invention first formed in the imagination; then go on removing and adding until satisfied. Then arrange men clothed or nude as ordered on the work, keeping every part measured and subject to perspective and confirmed by reason and natural effects.
