Part 6 (1/2)

When you have thoroughly learnt perspective, and have fixed in your s, you should often a and taking note of the attitudes and actions of h or come to blows one with another, both their actions and those of the bystanders who either intervene or stand looking on at these things; noting these doith rapid strokes in this way, in a little pocket-book, which you ought always to carry with you And let this be of tinted paper, so that it e the old for a new one, for these are not things to be rubbed out but preserved with the utence; for there is such an infinite nus that thethem, and therefore you should keep those (sketches) as your patterns and teachers

_Leonardo_

LXVI

Twoat the head, for exa on the steps of a church; I begin, their mother calls them; my sketch-book becomes filled with tips of noses and locks of hair I ure, and I try for the first time to draw in mass, to draw rapidly, which is the only possible way of drawing, and which is to-day one of the chief faculties of ourof an eye the first group that presents itself; if it eneral character; if it stops, I can go on to the details I do one so far as to cover the lining ofsketches of opera-ballets and opera scenery

_Corot_

LXVII

There is ed aany artist

_Eupompus_

LXVIII

When you have clearly and distinctly learned in what good colouring consists, you cannot do better than have recourse to nature herself, who is always at hand, and in comparison of whose true splendour the best coloured pictures are but faint and feeble

However, as the practice of copying is not entirely to be excluded, since theis learned in some measure by it, let those choice parts only be selected which have recomeneral effect, it would be proper to ement of the picture Those sketches should be kept always by you for the regulation of your style Instead of copying the touches of those greatin their footsteps, endeavour only to keep the saeneral principles and way of thinking Possess yourself with their spirit Consider with yourself how a Michael Angelo or a Raffaelle would have treated this subject; and work yourself into a belief that your picture is to be seen and criticised by them when completed Even an attempt of this kind will rouse your powers

_Reynolds_

LXIX

What do you , but without success? Do you et the price you ask? then sell it for less, till, by practice, you shall improve, and command a better price Or do you only mean that you are not satisfied with your work? nobody ever was that I know, except J---- W---- Peg away! While you're at work youfroet out, to keep your hand and eye in practice Don't get into the way of working too s away from Nature

_Charles Keene_

LXX

The purpose of art is no other than to delineate the form and express the spirit of an object, animate or inanimate, as the case s; and if an artist has a thorough knowledge of the properties of the thing he paints he can assuredly ood memory has ever at his command an inexhaustible supply of words and phrases which he freely , so can a painter, who has accu from nature, paint any object without a conscious effort The artist who confines hi from models painted by his master, fares no better than a literatus who cannot rise above transcribing others' co ends in describing a thing or narrating an event, but painting can represent the actual fors Without the true depiction of objects, there can be no pictorial art nobility of sentiment and such-like only come after a successful delineation of the external forinner in art should direct his efforts more to the latter than to the for to his own ideas, not to slavishly copy the iarism is a crime to be avoided not only by men of letters but also by painters

_Okio_ (japanese, eighteenth century)

LXXI

I re , but that in his old age he took to exa Nature, and strove to imitate her as closely as he possibly could; but he found by experience how hard it is not to deviate from her

_Durer_ (quoted by Melancthon)

LXXII