Gesture as the Voice of the Mind; Avoiding Hard Outlines
Learning bodily movement from mutes, and pleasing every kind of critic
Three chapters of the Treatise on Painting. Chapter 114 advises the painter to work in varied manners so as to conform in part with every critic's judgement and escape their blame. Chapter 115 urges that figures have acts proper to their purpose so the viewer reads their thought, recommending the mute as a teacher of expressive movement of hands, eyes, brows and whole body. A brief chapter 116 opens the counsel to flee profiles, meaning the sharp, definite outlines of things.
On this page
Chapter 114: escape the calumnies of rival critics by varied practice
To avoid the blame that painters heap on all whose views differ from their own, one must practise the art in many manners. That way the painter conforms in some part with each judgement that examines his work, the several kinds of which will be treated below.
Chapter 115: figures should express thought, as the mute does
Men's figures should have an act proper to their business, so that on seeing them you grasp what they think or say. This is best learned by imitating the movements of mutes, who speak with hands, eyes, brows and the whole person; Leonardo defends this tongueless teacher, who instructs by deeds better than others do with words. The painter should temper both parties, the friends and enemies of this idea, to suit the speakers and the matter spoken of.
Chapter 116: flee profiles, the sharp terminations of things
The page closes with the opening of a chapter counselling the painter to avoid profiles, that is, the abrupt and clearly defined outlines of things.