542

spectator.

WHY GROUPS OF FIGURES ONE ABOVE ANOTHER ARE TO BE AVOIDED.

The universal practice which painters adopt on the walls of chapels is greatly and reasonably to be condemned. Inasmuch as they represent one historical subject on one level with a landscape and buildings, and then go up a step and paint another, varying the point [of sight], and then a third and a fourth, in such a way as that on one wall there are 4 points of sight, which is supreme folly in such painters. We know that the point of sight is opposite the eye of the spectator of the scene; and if you would [have me] tell you how to represent the life of a saint divided into several pictures on one and the same wall, I answer that you must set out the foreground with its point of sight on a level with the eye of the spectator of the scene, and upon this plane represent the more important part of the story large and then, diminishing by degrees the figures, and the buildings on various hills and open spaces, you can represent all the events of the history. And on the remainder of the wall up to the top put trees, large as compared with the figures, or angels if they are appropriate to the story, or birds or clouds or similar objects; otherwise do not trouble yourself with it for your whole work will be wrong.

Taken from The Notebooks of Leonardo da Vinci edited by Jean Paul Richter, 1880.

VII * X
Notebooks of Leonoardo da Vinci
VIII: Botany for Painters and Elements of Landscape Painting.
. . .
522,
523,
524,
525,
526,
527,
528,
529,
530
On the management of works.
531,
532
On the limitations of painting.
533,
534,
535
On the choice of a position.
536,
537
The apparent size of figures in a picture.
538,
539
spectator.
540,
541,
542,
543,
544,
545,
546,
547
Gradations of light and shade.
548
On the choice of light for a picture.
549,
550,
551,
552,
553,
554,
555
The distribution of light and shade.
556,
557,
558,
559
The juxtaposition of light and shade.
560,
561
On the lighting of the background.
562
. . .