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41.
OF DRAWING FROM RELIEF.
In drawing from the round the draughtsman should so place himself
that the eye of the figure he is drawing is on a level with his own.
This should be done with any head he may have to represent from
nature because, without exception, the figures or persons you meet
in the streets have their eyes on the same level as your own; and if
you place them higher or lower you will see that your drawing will
not be true.
5
42.
WHY GROUPS OF FIGURES ONE ABOVE ANOTHER ARE TO BE AVOIDED.
The universal practice which painters adopt on the walls of chapels
is greatly and reasonably to be condemned. Inasmuch as they
represent one historical subject on one level with a landscape and
buildings, and then go up a step and paint another, varying the
point [of sight], and then a third and a fourth, in such a way as
that on one wall there are 4 points of sight, which is supreme folly
in such painters. We know that the point of sight is opposite the
eye of the spectator of the scene; and if you would [have me] tell
you how to represent the life of a saint divided into several
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