On the Variety of Figures; Becoming a Universal Painter
The painter must render variety, not make all figures seem 'brothers'; land animals share limbs
In this passage of painting theory Leonardo urges the painter to be universal, since it lacks dignity to do one thing well and another badly. Those who study only the measured, proportioned nude and ignore its variety make figures 'as if from one stamp', so that they seem all brothers — a fault deserving great reproof, for a man may be stout and short, or long and thin, or middling. He then argues that becoming universal is easy because all land animals share the same limbs — muscles, nerves and bones — varying only in length or thickness, as the anatomy will show, whereas water animals and insects are of almost infinite variety for which he sets no rule.
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The painter must strive to be universal
The painter must seek to be universal, for it much lacks in dignity to do one thing well and another badly. Mastery of variety is the mark of the universal painter.
Variety of the figure vs. figures that seem 'all brothers'
Many study only the measured and proportioned nude and neglect its variety, though a man may be well-proportioned yet stout and short, or long and thin, or middling. Whoever ignores this variety makes his figures as if from one stamp, so they seem all brothers — a thing deserving great reproof.
All land animals share muscles, nerves and bones
It is easy for a man to become universal, since all land animals share a likeness of limbs — muscles, nerves and bones — differing only in length or thickness, as will be shown in the anatomy.
The near-infinite variety of water animals and insects
The water animals are of many kinds, for which Leonardo will not urge the painter to make a rule, since they are of almost infinite variety; and likewise the insect animals.