CLIX

Forget not therefore that the principal part of Painting or Drawing after the life consisteth in the truth of the line, as one sayeth in a place that he hath seen the picture of her Majesty in four lines very like, meaning by four lines but the plain lines, as he might as well have said in one line, but best in plain lines without shadowing; for the line without shadow showeth all to a good Judgement, but the shadow without line showeth nothing, as, for example, though the shadow of a man against a white wall sheweth like a man, yet it is not the shadow but the line of the shadow, which is so true that it resembleth excellently well, as drawn by that line about the shadow with a coal, and when the shadow is gone it will resemble better than before, and may, if it be a fair face, have sweet countenance even in the line; for the line only giveth the countenance, but both line and colour giveth the lively likeness, and shadows shew the roundness and the effect or Defect of the light wherein the picture was drawn. This makes me to remember the words also and reasoning of her Majesty when first I came in her highness' presence to draw, who after shewing me how she noted great difference of shadowing in the works and Diversity of Drawers of sundry nations, and that the Italians who had the name to be cunningest and to Draw best, shadowed not. Requiring of me the reason of it, seeing that best to shew oneself needeth no shadow of place but rather the open light, to which I granted, affirmed that shadows in pictures were indeed caused by the shadow of the place or coming in of the light at only one way into the place at some small or high window, which many workmen covet to work in for ease to their sight, and to give unto them a grosser line and a more apparent line to be deserved, and maketh the work imborse well and show very well afar off, which to Limning work needeth not, because it is to be viewed of necessity in hand near unto the Eye. Here her Majesty conceived the reason, and therefore chose her place to sit in for that purpose in the open alley of a goodly garden, where no tree was near nor any shadow at all, save that as the Heaven is lighter than the earth, so must that little shadow that was from the earth; this her Majesty's curious Demand hath greatly bettered my Judgement, besides divers other like questions in Art by her most excellent Majesty, which to speak or write of were fitter for some better clerk. This matter only of the light let me perfect that no wise man longer remain in Error of praising much shadows in pictures which are to be viewed in hand; great pictures high or far off Require hard shadows to become the better then nearer in story work better than pictures of the life; for beauty and good favour is like clear truth, which is not shadowed with the light nor made to be obscured, as a picture a little shadowed may be borne withal for the rounding of it, but so greatly smutted or Darkened as some use Disgrace it, and in like truth ill told, if a very well favoured woman show in a place where is great shadow, yet showeth she lovely not because of the shadow but because of her sweet favour consisting in the line or proportion, even that little which the light scarcely showeth greatly pleaseth, proving the Desire to see more.

Nicholas Hilliard.

CLX

The lights cast from small windows also present a strong contrast of light and shadow, more especially if the chamber lit by them is large; and this is not good to use in painting.

Leonardo.

CLXI

When you are drawing from nature the light should be from the north, so that it may not vary; and if it is from the south keep the window covered with a curtain so that though the sun shine upon it all day long the light will undergo no change. The elevation of the light should be such that each body casts a shadow on the ground which is of the same length as its height.

Leonardo.

CLXII

Above all let the figures that you paint have sufficient light and from above, that is, all living persons whom you paint, for the people whom you see in the streets are all lighted from above; and I would have you know that you have no acquaintance so intimate but that if the light fell on him from below you would find it difficult to recognise him.

Leonardo.

CLXIII

If by accident it should happen, that when drawing or copying in chapels, or colouring in other unfavourable places, you cannot have the light on your left hand, or in your usual manner, be sure to give relief to your figures or design according to the arrangement of the windows which you find in these places, which have to give you light, and thus accommodating yourself to the light on which side soever it may be, give the proper lights and shadows. Or if it were to happen that the light should enter or shine right opposite or full in your face, make your lights and shades accordingly; or if the light should be favourable at a window larger than the others in the above-mentioned places, adopt always the best light, and try to understand and follow it carefully, because, wanting this, your work would be without relief, a foolish thing without mastery.

Cennino Cennini.

CLXIV

You have heard about Merlin's magic art; here in Venice you may see that of Titian, Giorgione, and all the others. In the Palazzo Barbarigo we went to the room which is said to have been Titian's studio for some time. The window faces the south, and the sun is shining on the floor by two o'clock. This made us think, whether you should not, after all, let the sun be there while you are painting. A temperate sunlight in the room makes the lights golden, and through the many, crossing, warm reflections the shadows get clearer and more transparent. But the difficulty is to know how to deal with such a shimmer; it is easier to paint with the light coming from the north. On the other hand, you see that the Venetians never tried to render in painting the impression of real, open sunlight. Their delicate sense of colour found a greater delight in looking at the fine fused tones and shades which are seen when the sunlight is only reflected under the clear blue sky and between the high palaces. Therefore, you often think that you see, for instance, groups of gondoliers on the Piazzetta in gay silvery notes, as in any painting by Paolo Veronese; and in the warm daylight in the great, gorgeous halls of the Palazzo Ducale there are still figures walking about in a colour as golden and fresh as if they were paintings by Titian.

E. Lundgren.