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Library/Paris Manuscript G/40

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Paris Manuscript G — 40

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Bibliothèque de l'Institut de France, Paris

A sanguigna.

Del giudizio che hai a fare sopra un'opera

d'un pittore1.

Prima che tu consideri le figure, s'ell'hanno il rilievo qual richiede il sito e 'l lume che le allumina, che l'ombre non sien quel medesimo nelli stremi della storia che nel mezzo, perché altra cosa è l'essere circundato dalle ombre e altro è lo avere le ombre da un sol lato. Quelle son circundate dalle [o]mbre che sono in verso il mezzo della istoria, perché sono aombrate dalle figure interposte in fra loro e 'l lume. E quelle sono aombrate da un sol lato le quali sono interposte in fra lume e la storia, perché dove non vede il lume, vede la storia e vi si rappresenta la scuri[t]à d'essa storia, e dove non vede la storia, vede lo splendore del lume e vi si representa la sua chiarezza.

Secondaria è che 'l seminamento ovver compartizione delle figure sien compartite secondo il caso, nel quale tu voi che sia essa storia. Terza che le figure sieno con prontitudine intente al lor particulare.

In red chalk.

On the judgment you must make upon a painter's work. Before you consider the figures, see whether they have the relief that the setting and the light illuminating them require, and that the shadows are not the same at the extremities of the scene as in the middle, because it is one thing to be surrounded by shadows and another to have shadows on one side only. Those figures are surrounded by shadows that lie toward the middle of the scene, because they are shaded by the figures set between them and the light. And those are shaded on one side only that are set between the light and the scene, because where the figure does not face the light it faces the scene, and the darkness of that scene is represented in it, while where it does not face the scene it faces the splendor of the light, and its brightness is represented in it. Second, that the sowing, or distribution, of the figures be arranged according to the case in which you wish the scene to be. Third, that the figures be, with readiness, intent upon their particular action.

How to Judge a Painter's Work

Relief, the placing of shadows, composition, and figures intent on their purpose

Painting & Perspective

A red-chalk passage lists the things to weigh when judging a painter's work. First, whether the figures have the relief that the setting and its light require, and whether their shadows differ correctly between the middle of the scene, where a figure is surrounded by shadow cast by others standing between it and the light, and the edges, where a figure is shaded on one side only. The note reasons that a figure between the light and the scene shows the scene's darkness where it faces away from the light and the light's brightness where it faces away from the scene. Second, that the figures be distributed to suit the subject; third, that each figure be alert and intent on its particular action.

On this page

Relief and the correct placing of shadows

Before anything, see whether the figures have the relief the site and its light demand, and that shadows are not the same at the edges of the scene as in the middle. A figure in the middle is surrounded by shadow cast by others between it and the light, while a figure at the edge, set between the light and the scene, is shaded on one side only.

Distribute the figures and keep them intent

Second, the sowing or distribution of the figures should be arranged to suit the subject you want the scene to convey. Third, the figures should be alert and intently engaged in their particular action.

Reader's Edition — described with AI from the e-Leo transcription.