II
I shall not hesitate to transpose sentences even when they appear in connected passages, in order, as I hope, to bring out more clearly their connection. For Dürer was not a writer by profession, and his thoughts were often more abundant than he knew how to deal with.
Before starting, however, I must prefix to my quotations some account of the four MS. books in the British Museum from which they are principally taken. Rough drafts in Pirkheimer's handwriting were found among them, but of Dürer's work Sir Martin Conway tells us:
The volumes contain upwards of seven hundred leaves and scraps of paper of various kinds, covered at different dates with more or less elaborate outline drawings, and more or less corrected drafts for works published or planned by Dürer. Interspersed among them are geometrical and other sketches.
He was in the habit of correcting and re-copying, again and again, what he had written. Sometimes he would jot down a sentence alongside of matter to which it had no relation. This sentence he would afterwards introduce in its right connection. There are in these volumes no less than four drafts of the beginning of a Dedication to Pirkheimer of the Books of Human Proportions. Two other drafts of this same dedication are among the Dresden MSS. The opening sentences of the Introduction to the same work were likewise, as will be seen, the subject of frequent revision.
These drafts, notes and sketches date from 1508 to 1523. Some collector had had them cut out, gummed together, and bound without the slightest regard to order, or even to the sequence of consecutive passages. In January 1890 the volumes were taken to pieces and rearranged by Miss Lina Eckenstein, who had previously made the admirable translations of them for Sir Martin Conway's "Literary Remains of Albrecht Dürer," from which my quotations are taken.
The contents of the volumes as rearranged may be roughly described as follows:
Volume 1. Drawings of whole figures and portions of the body, illustrating Dürer's theories of Proportion. Drawings of a solid octogon. Six coloured drawings of crystals. The description of the Ionic order of architecture. Drawings of columns with measurements. A scale for Human Proportions. A table of contents for a work on Geometry. Notes on perspective, curves, folds, &c. The different kinds of temple after Vitruvius. Mathematical diagrams, &c.
Volume II. Draft of a dedicatory letter to King Ferdinand (see page 180). Drafts and drawings for "The Art of Fortification." Drawing of a shield with a rearing horse. Mantles of Netherlandish women and nuns. A Latin inscription for his own portrait. Notes on "Proportion," and on the feast of the Rosenkranz. Scale for Human Proportions. An alphabet. Draft of a dedication for the books on Proportion. Sketch of a skeleton. Studies of architecture. Venetian houses and roofs. Sketches of a church, a house, a tower, a drapery, &c.
Volume III. Drafts of a projected work on Painting and on the study of Proportion. Drafts for the dedication, the preface, and for a work on Esthetics. Drawings of a male body, a female body, and a piece of drapery. Notes and drawings for the proportions of heads, hands, feet, outline curves, a child, a woman, &c.
Volume IV. Proportions of a man, a fat woman, the head of the average woman, the young woman, &c. Short Profession of Faith (see page 130). Scale for Human Proportions, &c. Fragments of the Preface of Essay on Aesthetics, &c. Grimacing and distorted faces. Use of measurements. On the characters of faces, thick, thin, broad, narrow, &c. Sketches of a dragon and of an angel for Maximilian's Triumphal Procession. List of Luther's works (see page 130). Drawings of human bodies proportioned to squares.
[Illustration: "UNA VILANA WENDISCH" Pen drawing with wash background in the collection of Mrs. Seymour face p. 304]
See the description in "Dürer's Schriftlicher Nachlass" (Lange und Fuhse), page 263, from which the above abstract is made.
Sir Martin Conway continues:
In these volumes Dürer is seen, sometimes writing under the influence of impetuous impulse, sometimes with leisurely care, allowing his pen to embroider the script with graceful marginal flourishes.
At what period of his career Dürer first conceived the idea of writing a comprehensive work upon the theory and practice of art is unknown. It was certainly before the year 1512. The following list of chapters may perhaps be an early sketch of the plan.
Ten things are contained in the little book.
The first, the proportions of a young child.
The second, proportions of a grown man.
The third, proportions of a woman.
The fourth, proportions of a horse.
The fifth, something about architecture.
The sixth, about an apparatus through which it can be shown that 'all things may be traced.
The seventh, about light and shade.
The eighth, about colours, how to paint like nature.
The ninth, about the ordering (composition) of the picture.
The tenth, about free painting, which alone is made by Imagination without any other help.