A Treatise on Painting by da Vinci Leonardo, is part of the HackerNoon Books Series. You can jump to any chapter in this book . PREFACE TO THE PRESENT TRANSLATION. here PREFACE TO THE PRESENT TRANSLATION. The excellence of the following Treatise is so well known to all in any tolerable degree conversant with the Art of Painting, that it would be almost superfluous to say any thing respecting it, were it not that it here appears under the form of a new translation, of which some account may be expected. Of the original Work, which is in reality a selection from the voluminous manuscript collections of the Author, both in folio and quarto, of all such passages as related to Painting, no edition appeared in print till 1651, though its Author died so long before as the year 1519; and it is owing to the circumstance of a manuscript copy of these extracts in the original Italian, having fallen into the hands of Raphael du Fresne; that in the former of these years it was published at Paris in a thin folio volume in that language, accompanied with a set of cuts from the drawings of Nicolo Poussin, and Alberti; the former having designed the human figures, the latter the geometrical and other representations. This precaution was probably necessary, the sketches in the Author’s own collections being so very slight as not to be fit for publication without further assistance. Poussin’s drawings were mere outlines, and the shadows and back-grounds behind the figures were added by Errard, after the drawings had been made, and, as Poussin himself says, without his knowledge. In the same year, and size, and printed at the same place, a translation of the original work into French was given to the world by Monsieur de Chambray (well known, under his family name of Freart, as the author of an excellent Parallel of ancient and modern Architecture, in French, which Mr. Evelyn translated into English). The style of this translation by Mons. de Chambray, being thought, some years after, too antiquated, some one was employed to revise and modernise it; and in 1716 a new edition of it, thus polished, came out, of which it may be truly said, as is in general the case on such occasions, that whatever the supposed advantage obtained in purity and refinement of language might be, it was more than counterbalanced by the want of the more valuable qualities of accuracy, and fidelity to the original, from which, by these variations, it became further removed. The first translation of this Treatise into English, appeared in the year 1721. It does not declare by whom it was made; but though it professes to have been done from the original Italian, it is evident, upon a comparison, that more use was made of the revised edition of the French translation. Indifferent, however, as it is, it had become so scarce, and risen to a price so extravagant, that, to supply the demand, it was found necessary, in the year 1796, to reprint it as it stood, with all its errors on its head, no opportunity then offering of procuring a fresh translation. This last impression, however, being now also disposed of, and a new one again called for, the present Translator was induced to step forward, and undertake the office of fresh translating it, on finding, by comparing the former versions both in French and English with the original, many passages which he thought might at once be more concisely and more faithfully rendered. His object, therefore, has been to attain these ends, and as rules and precepts like the present allow but little room for the decorations of style, he has been more solicitous for fidelity, perspicuity, and precision, than for smooth sentences, and well-turned periods. Nor was this the only advantage which it was found the present opportunity would afford; for the original work consisting in fact of a number of entries made at different times, without any regard to their subjects, or attention to method, might rather in that state be considered as a chaos of intelligence, than a well-digested treatise. It has now, therefore, for the first time, been attempted to place each chapter under the proper head or branch of the art to which it belongs; and by so doing, to bring together those which (though related and nearly connected in substance) stood, according to the original arrangement, at such a distance from each other as to make it troublesome to find them even by the assistance of an index; and difficult, when found, to compare them together. The consequence of this plan, it must be confessed, has been, that in a few instances the same precept has been found in substance repeated; but this is so far from being an objection, that it evidently proves the precepts were not the hasty opinions of the moment, but settled and fixed principles in the mind of the Author, and that he was consistent in the expression of his sentiments. But if this mode of arrangement has in the present case disclosed what might have escaped observation, it has also been productive of more material advantages; for, besides facilitating the finding of any particular passage (an object in itself of no small importance), it clearly shews the work to be a much more complete system than those best acquainted with it, had before any idea of, and that many of the references in it apparently to other writings of the same Author, relate in fact only to the present, the chapters referred to having been found in it. These are now pointed out in the notes, and where any obscurity has occurred in the text, the reader will find some assistance at least attempted by the insertion of a note to solve the difficulty. No pains or expense have been spared in preparing the present work for the press. The cuts have been re-engraven with more attention to correctness in the drawing, than those which accompanied the two editions of the former English translation possessed (even though they had been fresh engraven for the impression of 1796); and the diagrams are now inserted in their proper places in the text, instead of being, as before, collected all together in two plates at the end. Besides this, a new Life of the Author has been also added by a Friend of the Translator, the materials for which have been furnished, not from vague reports, or uncertain conjectures, but from memoranda of the Author himself, not before used. Fortunately for this undertaking, the manuscript collections of Leonardo da Vinci, which have lately passed from Italy into France, have, since their removal thither, been carefully inspected, and an abstract of their contents published in a quarto pamphlet, printed at Paris in 1797, and intitled, “Essai sur les Ouvrages physico-mathematiques de Leonard de Vinci;” by J. B. Venturi, Professor of Natural Philosophy at Modena; a Member of the Institute of Bologna, &c. From this pamphlet a great deal of original intelligence respecting the Author has been obtained, which, derived as it is from his own information, could not possibly be founded on better evidence. To this Life we shall refer the reader for a further account of the origin and history of the present Treatise, conceiving we have already effected our purpose, by here giving him a sufficient idea of what he is to expect from the ensuing pages. About HackerNoon Book Series: We bring you the most important technical, scientific, and insightful public domain books. This book is part of the public domain. da Vinci Leonardo (2014). A Treatise on Painting. Urbana, Illinois: Project Gutenberg. Retrieved https://www.gutenberg.org/cache/epub/46915/pg46915-images.html This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at , located at . www.gutenberg.org https://www.gutenberg.org/policy/license.html

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