¶ 483. “The first thing is that you consider the figures, if they have the relief which the place and light demand....
“The second is that the scattering, or rather distribution of the figures be made according to the way in which you wish the story to be.
“The third is that the figures be alert and intent on their particular purpose.”
On the Movements that Mark the Emotions
¶ 122. “The most important thing which can be found in the theory of painting are the movements appropriate to the mental state of each being,—as desire, scorn, wrath, pity and the like.”
The Steps in a Painter’s Education
¶ 82. “Draw first designs of a good master made in the fashion of nature and not mannered; then from a relief, in the presence of a drawing made from that relief; then from a good natural object.”
Judgment versus Dexterity
¶ 62. “That painter who does not doubt learns little. When the work surpasses the judgment of the worker, that worker acquires little, and when the judgment surpasses the work, that work never ceases to grow better, unless avarice prevents it.”