573

The position of the head.

HOW YOU SHOULD SET TO WORK TO DRAW A HEAD OF WHICH ALL THE PARTS SHALL AGREE WITH THE POSITION GIVEN TO IT.

To draw a head in which the features shall agree with the turn and bend of the head, pursue this method. You know that the eyes, eyebrows, nostrils, corners of the mouth, and sides of the chin, the jaws, cheeks, ears and all the parts of a face are squarely and straightly set upon the face.

[Footnote: Compare the drawings and the text belonging to them on Pl. IX. (No. 315), Pl. X (No. 316), Pl. XL (No. 318) and Pl. XII. (No. 319).]

Therefore when you have sketched the face draw lines passing from one corner of the eye to the other; and so for the placing of each feature; and after having drawn the ends of the lines beyond the two sides of the face, look if the spaces inside the same parallel lines on the right and on the left are equal [12]. But be sure to remember to make these lines tend to the point of sight.

[Footnote: See Pl. XXXI, No. 4, the slight sketch on the left hand side. The text of this passage is written by the side of it. In this sketch the lines seem intentionally incorrect and converging to the right (compare I. 12) instead of parallel. Compare too with this text the drawing in red chalk from Windsor Castle which is reproduced on Pl. XL, No. 2.]

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.
. . .
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,
563,
564,
565
On the lighting of white objects.
566
The methods of aerial.
567,
568,
569,
570
Of sketching figures and portraits.
571,
572
The position of the head.
573
Of the light on the face.
574,
575,
576
General suggestions for historical pictures.
577,
578,
579,
580,
581
How to represent the differences of age and sex.
582,
583
Of representing the emotions.
584
Of representing imaginary animals.
585
The selection of forms.
586,
587,
588,
589,
590,
591
How to pose figures.
592
Of appropriate gestures.
593
. . .