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polished surfaces, nor mists, nor dark skies, nor an infinite number
of things which need not be told for fear of tedium. As regards the
power of resisting time, though they have this resistance [Footnote
19: From what is here said as to painting on copper it is very
evident that Leonardo was not acquainted with the method of painting
in oil on thin copper plates, introduced by the Flemish painters of
the XVIIth century. J. LERMOLIEFF has already pointed out that in
the various collections containing pictures by the great masters of
the Italian Renaissance, those painted on copper (for instance the
famous reading Magdalen in the Dresden Gallery) are the works of a
much later date (see Zeitschrift fur bildende Kunst. Vol. X pg.
3
33, and: Werke italienischer Master in den Galerien von Munchen,
Dresden und Berlin. Leipzig 1880, pg. 158 and 159.)--Compare No.
54, 29.], a picture painted on thick copper covered with white
6
enamel on which it is painted with enamel colours and then put into
the fire again and baked, far exceeds sculpture in permanence. It
may be said that if a mistake is made it is not easy to remedy it;
it is but a poor argument to try to prove that a work be the nobler
because oversights are irremediable; I should rather say that it
will be more difficult to improve the mind of the master who makes
such mistakes than to repair the work he has spoilt.
6
56.
We know very well that a really experienced and good painter will
not make such mistakes; on the contrary, with sound rules he will
465
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