590

The selection of forms.

OF THE MUSCLES OF ANIMALS.

The hollow spaces interposed between the muscles must not be of such a character as that the skin should seem to cover two sticks laid side by side like c, nor should they seem like two sticks somewhat remote from such contact so that the skin hangs in an empty loose curve as at f; but it should be like i, laid over the spongy fat that lies in the angles as the angle n m o; which angle is formed by the contact of the ends of the muscles and as the skin cannot fold down into such an angle, nature has filled up such angles with a small quantity of spongy and, as I may say, vesicular fat, with minute bladders [in it] full of air, which is condensed or rarefied in them according to the increase or the diminution of the substance of the muscles; in which latter case the concavity i always has a larger curve than the muscle.

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.
. . .
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,
594,
595,
596,
597,
598,
599,
600
Of painting battle pieces.
601,
602,
603
Of depicting night-scenes.
604
Of depicting a tempest.
605,
606
Of representing the deluge.
607,
608,
609
Of depicting natural phenomena.
610
. . .