Quotes of All Topics . Occasions . Authors
All the elements will be seen mixed together in a great whirling mass, now borne towards the centre of the world, now towards the sky; and now furiously rushing from the South towards the frozen North, and sometimes from the East towards the West, and then again from this hemisphere to the other.
Oysters open completely when the moon is full; and when the crab sees one it throws a piece of stone or seaweed into it and the oyster cannot close again so that it serves the crab for meat. Such is the fate of him who opens his mouth too much and thereby puts himself at the mercy of the listener.
It seems that it had been destined before that I should occupy myself so thoroughly with the vulture, for it comes to my mind as a very early memory, when I was still in the cradle, a vulture came down to me, he opened my mouth with his tail and struck me a few times with his tail against my lips.
In order to arrive at knowledge of the motions of birds in the air, it is first necessary to acquire knowledge of the winds, which we will prove by the motions of water in itself, and this knowledge will be a step enabling us to arrive at the knowledge of beings that fly between the air and the wind.
You should often amuse yourself when you take a walk for recreation, in watching and taking note of the attitudes and actions of men as they talk and dispute, or laugh or come to blows with one another... noting these down with rapid strokes, in a little pocket-book which you ought always to carry with you.
There are three aspects to perspective. The first has to do with how the size of objects seems to diminish according to distance: the second, the manner in which colors change the farther away they are from the eye; the third defines how objects ought to be finished less carefully the farther away they are.
Affective gestures pointing to things near either in time or space should be made with the hand not very far from the body of the person pointing; and if these things are distant, the hand of the painter should be more extended and the face turned toward the person to whom he is addressing the demonstration.
As regards this vice, we read that the peacock is more guilty of it than any other animal. For it is always contemplating the beauty of its tail, which it spreads in the form of a wheel, and by its cries attracts to itself the gaze of the creatures that surround it. And this is the last vice to be conquered.
One painter ought never to imitate the manner of any other; because in that case he cannot be called the child of nature, but the grandchild. It is always best to have recourse to nature, which is replete with such abundance of objects, than to the productions of other masters, who learnt everything from her.
Be eager to lend a patient ear to the opinions of others and think long and hard whether whoever finds fault has reason or not to censure you. And if the answer is yes, correct the fault. If no, give the impression that you have not heard him, or if he is a man whom you respect, explain to him why he is mistaken.
O Time! consumer of all things; O envious age! thou dost destroy all things and devour all things with the relentless teeth of years, little by little in a slow death. Helen, when she looked in her mirror, seeing the withered wrinkles made in her face by old age, wept and wondered why she had twice been carried away.
You will never have a greater or lesser dominion than that over yourself...the height of a man's success is gauged by his self-mastery; the depth of his failure by his self-abandonment. ...And this law is the expression of eternal justice. He who cannot establish dominion over himself will have no dominion over others.
When you look at a wall spotted with stains...you may discover a resemblance to various landscapes, beautiful with mountains, rivers, rocks, trees. Or again, you may see battles and figures in action, or strange faces and costumes, and an endless variety of objects which you could reduce to complete and well-drawn figures.
He who draws... ought to take his position so that the eye of the figure he is drawing is on a level with his own... because, generally, figures or people whom you meet in the streets all have their eyes at the same level as yours, and if you make them higher or lower you will find that your portrait will not resemble them.
And you who wish to represent by words the form of man and all the aspects of his membrification, relinquish that idea. For the more minutely you describe the more you will confine the mind of the reader, and the more you will keep him from the knowledge of the thing described. And so it is necessary to draw and to describe.
The painter who is familiar with the nature of the sinews, muscles, and tendons, will know very well, in giving movement to a limb, how many and which sinews cause it; and which muscle, by swelling, causes the contraction of that sinew; and which sinews, expanded into the thinnest cartilage, surround and support the said muscle.
Perspective is nothing more than a rational demonstration applied to the consideration of how objects in front of the eye transmit their image to it, by means of a pyramid of lines. The Pyramid is the name I apply to the lines which, starting from the surface and edges of each object, converge from a distance and meet in a single point.
I know very well that because I am unlettered some presumptuous people will think they have the right to criticize me, saying that I am an uncultured man. What stupid fools! Do they not know that I could reply to them as Marius did to the Roman patricians: "Do those who pride themselves on the works of other men claim to challenge mine?
Those who are in love with practice without knowledge are like the sailor who gets into a ship without rudder or compass and who never can be certain whether he is going. Practice must always be founded on sound theory, and to this Perspective is the guide and the gateway; and without this nothing can be done well in the matter of drawing.
When the sun is covered by clouds, objects are less conspicuous, because there is little difference between the light and shade of the trees and the buildings being illuminated by the brightness of the atmosphere which surrounds the objects in such a way that the shadows are few, and these few fade away so that their outline is lost in haze.
Nature has placed in the front part of man, as he moves, all those parts which when struck cause him to feel pain; and this is felt in the joints of the legs, the forehead and the nose, and has been so devised for the preservation of man, because if such pain were not felt in these limbs they would be destroyed by the many blows they receive.
The Bactrian have two humps; the Arabian one only. They are swift in battle and most useful to carry burdens. This animal is extremely observant of rule and measure, for it will not move if it has a greater weight than it is used to, and if it is taken too far it does the same, and suddenly stops and so the merchants are obliged to lodge there.
In an atmosphere of uniform density the most distant things seen through it, such as the mountains, in consequence of the great quantity of atmosphere which is between your eye and them, will appear blue. Therefore you should make the building... wall which is more distant less defined and bluer... five times as far away, make five times as blue.
Shadow is the obstruction of light. Shadows appear to me to be of supreme importance in perspective, because, without them opaque and solid bodies will be ill defined; that which is contained within their outlines and their boundaries themselves will be ill-understood unless they are shown against a background of a different tone from themselves.
The light for drawing from nature should come from the North in order that it may not vary. And if you have it from the South, keep the window screened with cloth, so that with the sun shining the whole day the light may not vary. The height of the light so arranged as that every object shall cast a shadow on the ground of the same length as itself.
I say that in narrative paintings one should mingle direct contraries close by, because they produce strong contrasts with one another, and all the more so when they are very close together; that is, the ugly next to the beautiful, the big to the small, the old to the young, the strong to the weak; in this way you will vary as much as possible and close by.
O neglectful Nature, wherefore art thou thus partial, becoming to some of thy children a tender and benignant mother, to others a most cruel and ruthless stepmother? I see thy children given into slavery to others without ever receiving any benefit, and in lieu of any reward for the services they have done for them they are repaid by the severest punishments.
To speak of this subject you must... explain the nature of the resistance of the air, in the second the anatomy of the bird and its wings, in the third the method of working the wings in their various movements, in the fourth the power of the wings and the tail when the wings are not being moved and when the wind is favourable to serve as guide in various movements.
All our knowledge hast its origins in our perceptions … In nature there is no effect without a cause … Experience never errs; it is only your judgments that err by promising themselves effects such as are not caused by your experiments … Science is the observation of things possible, whether present or past; prescience is the knowledge of things which may come to pass.
King of the animals — as thou hast described him — I should rather say king of the beasts, thou being the greatest — because thou hast spared slaying them, in order that they may give thee their children for the benefit of the gullet, of which thou hast attempted to make a sepulchre for all animals; and I would say still more, if it were allowed me to speak the entire truth.
There are many occasions when the muscles that form the lips of the mouth move the lateral muscles that are joined to them, and there are an equal number of occasions when these lateral muscles move the lips of this mouth, replacing it where it cannot return of itself, because the function of muscle is to pull and not to push except in the case of the genitals and the tongue.
Now do you not see that the eye embraces the beauty of the whole world? It counsels and corrects all the arts of mankind... it is the prince of mathematics, and the sciences founded on it are absolutely certain. It has measured the distances and sizes of the stars it has discovered the elements and their location... it has given birth to architecture and to perspective and to the divine art of painting.
O time, swift robber of all created things, how many kings, how many nations hast thou undone, and how many changes of states and of various events have happened since the wondrous forms of this fish perished here in this cavernous and winding recess. Now destroyed by time thou liest patiently in this confined space with bones stripped and bare; serving as a support and prop for the superimposed mountain.
There is no doubt that truth is to falsehood as light is to darkness; and so excellent a thing is truth that even when it touches humble and lowly matters, it still incomparably exceeds the uncertainty and falsehood in which great and elevated discourses are clothed; because even if falsehood be the fifth element of our minds, notwithstanding this, truth is the supreme nourishment of the higher intellects.
It reflects no great honor on a painter to be able to execute only one thing well -- such as a head, an academy figure, or draperies, animals, landscapes, or the like -- in other words, confining himself to some particular object of study. This is so because there is scarcely a person so devoid of genius as to fail of success if he applies himself earnestly to one branch of study and practices it continually.
Demetrius was wont to say that there was no difference between the words and speech of the unskilled and ignorant and the sounds and rumblings caused by the stomach being full of superfluous wind. This he said, not without reason, for, as he held, it did not in the least matter from what part of them the voice emanated, whether from the lower parts or the mouth, since the one and the other were of equal worth and importance.
A bird is an instrument working according to mathematical law, which instrument it is within the capacity of man to reproduce with all its movements, but not with a corresponding degree of strength, though it is deficient only in the power of maintaining equilibrium. We may therefore say that such an instrument constructed by man is lacking in nothing except the life of the bird, and this life must needs be supplied from that of man.
This work should commence with the conception of man, and should describe the nature of the womb, and how the child inhabits it, and in what stage it dwells there, and the manner of its quickening and feeding, and its growth, and what interval there is between one stage of growth and another, and what thing drives it forth from the body of the mother, and for what reason it sometimes emerges from the belly of its mother before the due time.
In whatever system where the weight attached to the wheel should be the cause of motion of the wheel, without any doubt the center of the gravity of the weight will stop beneath the center of its axle. No instrument devised by human ingenuity, which turns with its wheel, can remedy this effect. Oh, speculators about perpetual motion, how many vain chimeras have you created in the like quest. Go and take you place with the seekers after gold.
After painting comes Sculpture, a very noble art, but one that does not in the execution require the same supreme ingenuity as the art of painting, since in two most important and difficult particulars, in foreshortening and in light and shade, for which the painter has to invent a process, sculpture is helped by nature. Moreover, Sculpture does not imitate color which the painter takes pains to attune so that the shadows accompany the lights.
Never make heads straight on the shoulders, but turn them aside to the right or to the left, even though they look down, or upward, or straight ahead, because it is necessary for them to look lively and awake and not asleep. And do not depict the front or rear half of the whole person so that too much straightness is displaced, one half above or below the other half; and if you should wish to use stiff figures, do so only in portraying old people.
Let the painter composing narrative pictures take pleasure in wealth and variety, and avoid repeating any part that occurs in it, so that the uniqueness and abundance attract people to it and delight the eye of the observer. I say that a narrative painting requires (depending on the scene), wherever the eye falls, a mixture of men of diverse appearances, of diverse ages and dress, combined together with women, children, dogs, horses, buildings, fields, and hills.
Very great charm of shadow and light is to be found in the faces of those who sit in the doors of dark houses. The eye of the spectator sees that part of the face which is in shadow lost in the darkness of the house, and that part of the face which is lit draws its brilliancy from the splendour of the sky. From this intensification of light and shade the face gains greatly in relief and beauty by showing the subtlest shadows in the light part and the subtlest lights in the dark part.
A bird maintains itself in the air by imperceptible balancing, when near to the mountains or lofty ocean crags; it does this by means of the curves of the winds which as they strike against these projections, being forced to preserve their first impetus bend their straight course towards the sky with divers revolutions, at the beginning of which the birds come to a stop with their wings open, receiving underneath themselves the continual buffetings of the reflex courses of the winds.
Although human ingenuity may devise various inventions which, by the help of various instruments, answer to one and the same purpose, yet will it never discover any inventions more beautiful, more simple or more practical than those of nature, because in her inventions there is nothing lacking and nothing superfluous; and she makes use of no counterpoise when she constructs the limbs of animals in such a way as to correspond to the motion of their bodies, but she puts into them the soul of the body.
You should look at certain walls stained with damp, or at stones of uneven color. If you have to invent some backgrounds you will be able to see in these the likeness of divine landscapes, adorned with mountains, ruins, rocks, woods, great plains, hills and valleys in great variety; and expressions of faces and clothes and an infinity of things which you will be able to reduce to their complete and proper forms. In such walls the same thing happens as in the sound of bells, in whose stroke you may find every named word which you can imagine.
I think it is no small attraction in a painter to be able to give a pleasing air to his figures, and whoever is not naturally possessed of this grace may acquire it by study, as opportunity offers in the following manner: be on the watch to take good parts of many beautiful faces of which the beautiful parts are established by general repute rather than by your own judgement, for you may deceive yourself by selecting faces that resemble your own, since it often seems that such similarities please us; ... so therefore choose the beautiful ones as I tell you and fix them in your mind.
I roamed the countryside searching for the answers to things I did not understand. Why shells existed on the tops of mountains along with the imprints of coral and plant and seaweed usually found in the sea. Why the thunder lasts a longer time than that which causes it and why immediately on its creation the lightening becomes visible to the eye while thunder requires time to travel. How the various circles of water form around the spot which has been struck by a stone and why a bird sustains itself in the air. These questions and other strange phenomena engaged my thought throughout my life.