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dresses, as many do, from models covered with paper or thin leather
which will deceive you greatly.
[
Footnote: The little pen and ink drawing from Windsor (W. 102),
given on Pl. XXVIII, No. 7, clearly illustrates the statement made
at the beginning of this passage; the writing of the cipher 19 on
the same page is in Leonardo's hand; the cipher 21 is certainly
not.]
VIII.
Botany for Painters and Elements of Landscape Painting.
The chapters composing this portion of the work consist of
observations on Form, Light and Shade in Plants, and particularly in
Trees summed up in certain general rules by which the author intends
to guide the artist in the pictorial representation of landscape.
With these the first principles of a Theory of Landscape painting
are laid down--a theory as profoundly thought out in its main
lines as it is lucidly worked out in its details. In reading these
chapters the conviction is irresistible that such a Botany for
painters is or ought to be of similar importance in the practice of
painting as the principles of the Proportions and Movements of the
human figure i. e. Anatomy for painters.
284
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