HKB
If the painter wishes to see beautiful things which will enchant him he is able to beget them; if he wishes to see monstrous things which terrify, or grotesque and laughable things, or truly piteous things, he can dispose of all these; if he wishes to evoke places and deserts, shady or dark retreats in the hot season, he represents them, and likewise warm places in the cold season. If he wishes valleys, if he wishes to descry a great {91} plain from the high summits of the mountains, and if he wishes after this to see the horizon of the sea, he can do so; and from the low valleys he can gaze on the high mountains, or from the high mountains he can scan the low valleys and shores; and in truth all quantities of things that exist in the universe, either real or imaginary, he has first in his mind and then in his hands; and these things are of so great excellence that they beget a harmonious concord in one glance, as do the things of nature.
We can safely say that those people are under a delusion who call that painter a good master who can only draw well a head or a figure. Certainly there is no great merit if, after studying a single thing during a whole lifetime, you attain to a certain degree of perfection in it. But knowing, as we do, that painting includes and comprehends all the works produced by nature, or brought about by the fortuitous action of man, and in fact everything that the eye can see, he seems to me to be a poor master who can only do one thing well. Now seest thou not how many and diverse acts are performed by men? Seest thou not how many various animals there are, and likewise trees, plants and flowers; what a variety of mountainous or level places, fountains, rivers, cities, public and private buildings, {92} instruments suitable for human use; how many diverse costumes and ornaments and arts? All these things should be considered of equal effect and value when used by the man who can be called a good painter.
[Sidenote: Painting and Nature]
If you despise painting, which is the only imitator of the visible works of nature, you will certainly despise a subtle invention which with philosophy and subtle speculation apprehends the qualities of forms, backgrounds, places, plants, animals, herbs and flowers, which are surrounded by light and shade. And truly this is knowledge and the legitimate offspring of nature, because painting is begotten by nature. But to be correct, we will say that it is the grandchild of nature, because all visible things are begotten by nature, and these her children have begotten painting. Therefore we shall rightly say that painting is the grandchild of nature and related to God.
Were a master to boast that he could remember all the forms and effects of nature, he would certainly appear to me to be graced with great ignorance, inasmuch as these effects are infinite and our memory is not sufficiently capacious to retain them. Therefore, O painter, beware lest in thee the lust of gain should overcome the honour of thy art, for the acquisition of honour is a much {93} greater thing than the glory of wealth. Thus, for this and for other reasons which could be given, first strive in drawing to express to the eye in a manifest shape the idea and the fancy originally devised by thy imagination; then go on adding or removing until thou art satisfied; then arrange men as models, clothed or nude, according to the intention of thy work, and see that, as regards dimension and size, in accordance with perspective there is no portion of the work which is not in harmony with reason and natural effects, and this will be the way to win honour in thy art.
[Sidenote: Painting & Sculpture]