The Notebooks of Leonardo Da Vinci. Complete. Leonardo da Vinci

those who have insufficient knowledge and trust to their own invention and do not have recourse to the imitation of nature; and these variations occur more in the middle of the sides than in front, and more at the back than at the sides.

      351

      When the arm is bent at an angle at the elbow, it will produce some angle; the more acute the angle is, the more will the muscles within the bend be shortened; while the muscles outside will become of greater length than before. As is shown in the example; d c e will shrink considerably; and b n will be much extended.

      [Footnote: See Pl. XIX, No. 2.]

      352

      OF PAINTING.

      The arm, as it turns, thrusts back its shoulder towards the middle of the back.

      353

      The principal movements of the hand are 10; that is forwards, backwards, to right and to left, in a circular motion, up or down, to close and to open, and to spread the fingers or to press them together.

      354

      OF THE MOTIONS OF THE FINGERS.

      The movements of the fingers principally consist in extending and bending them. This extension and bending vary in manner; that is, sometimes they bend altogether at the first joint; sometimes they bend, or extend, half way, at the 2nd joint; and sometimes they bend in their whole length and in all the three joints at once. If the 2 first joints are hindered from bending, then the 3rd joint can be bent with greater ease than before; it can never bend of itself, if the other joints are free, unless all three joints are bent. Besides all these movements there are 4 other principal motions of which 2 are up and down, the two others from side to side; and each of these is effected by a single tendon. From these there follow an infinite number of other movements always effected by two tendons; one tendon ceasing to act, the other takes up the movement. The tendons are made thick inside the fingers and thin outside; and the tendons inside are attached to every joint but outside they are not.

      [Footnote 26: This head line has, in the original, no text to follow.] Of the strength [and effect] of the 3 tendons inside the fingers at the 3 joints.

      The movement of the torso (355-361).

      355

      Observe the altered position of the shoulder in all the movements of the arm, going up and down, inwards and outwards, to the back and to the front, and also in circular movements and any others.

      And do the same with reference to the neck, hands and feet and the breast above the lips &c.

      356

      Three are the principal muscles of the shoulder, that is b c d, and two are the lateral muscles which move it forward and backward, that is a o; a moves it forward, and o pulls it back; and bed raises it; a b c moves it upwards and forwards, and c d o upwards and backwards. Its own weight almost suffices to move it downwards.

      The muscle d acts with the muscle c when the arm moves forward; and in moving backward the muscle b acts with the muscle c.

      [Footnote: See Pl. XXI. In the original the lettering has been written in ink upon the red chalk drawing and the outlines of the figures have in most places been inked over.]

      357

      OF THE LOINS, WHEN BENT.

      The loins or backbone being bent. The breasts are are always lower than the shoulderblades of the back.

      If the breast bone is arched the breasts are higher than the shoulderblades.

      If the loins are upright the breast will always be found at the same level as the shoulderblades.

      [Footnote: See Pl. XXII, No. 1.]

      358

      a b the tendon and ankle in raising the heel approach each other by a finger's breadth; in lowering it they separate by a finger's breadth.

      [Footnote: See Pl. XXII, No. 2. Compare this facsimile and text with Pl. III, No. 2, and p. 152 of MANZI'S edition. Also with No. 274 of LUDWIG'S edition of the Vatican Copy.]

      359

      Just so much as the part d a of the nude figure decreases in this position so much does the opposite part increase; that is: in proportion as the length of the part d a diminishes the normal size so does the opposite upper part increase beyond its [normal] size. The navel does not change its position to the male organ; and this shrinking arises because when a figure stands on one foot, that foot becomes the centre [of gravity] of the superimposed weight. This being so, the middle between the shoulders is thrust above it out of it perpendicular line, and this line, which forms the central line of the external parts of the body, becomes bent at its upper extremity [so as to be] above the foot which supports the body; and the transverse lines are forced into such angles that their ends are lower on the side which is supported. As is shown at a b c.

      [Footnote: See Pl. XXII, No. 3.]

      360

      OF PAINTING.

      Note in the motions and attitudes of figures how the limbs vary, and their feeling, for the shoulderblades in the motions of the arms and shoulders vary the [line of the] back bone very much. And you will find all the causes of this in my book of Anatomy.

      361

      OF [CHANGE OF] ATTITUDE.

      The pit of the throat is over the feet, and by throwing one arm forward the pit of the throat is thrown off that foot. And if the leg is thrown forward the pit of the throat is thrown forward; and. so it varies in every attitude.

      362

      OF PAINTING.

      Indicate which are the muscles, and which the tendons, which become prominent or retreat in the different movements of each limb; or which do neither [but are passive]. And remember that these indications of action are of the first importance and necessity in any painter or sculptor who professes to be a master &c.

      And indicate the same in a child, and from birth to decrepitude at every stage of its life; as infancy, childhood, boyhood, youth &c.

      And in each express the alterations in the limbs and joints, which swell and which grow thinner.

      363

      O Anatomical Painter! beware lest the too strong indication of the bones, sinews and muscles, be the cause of your becoming wooden in your painting by your wish to make your nude figures display all their feeling. Therefore, in endeavouring to remedy this, look in what manner the muscles clothe or cover their bones in old or lean persons; and besides this, observe the rule as to how these same muscles fill up the spaces of the surface that extend between them, which are the muscles which never lose their prominence in any amount of fatness; and which too are the muscles of which the attachments are lost to sight in the very least plumpness. And in many cases several muscles look like one single muscle in the increase of fat; and in many cases, in growing lean or old, one single muscle divides into several muscles. And in this treatise, each in its place, all their peculiarities will be explained—and particularly as to the spaces between the joints of each limb &c. Again, do not fail [to observe] the variations in the forms of the above mentioned muscles, round and about the joints of the limbs of any animal, as caused by the diversity of the motions of each limb; for on some side of those joints the prominence of these muscles is wholly lost in the increase or diminution of the flesh of which these muscles are composed, &c.

      [Footnote: DE ROSSI remarks on this chapter, in the Roman edition of the Trattato, p. 504: "Non in questo luogo solo, ma in altri ancora osserverŕ il lettore, che Lionardo va fungendo quelli che fanno abuso della loro dottrina anatomica, e sicuramente con ciň ha in mira il suo rivale Bonarroti, che di anatomia facea tanta pompa."