By Library of Congress. Copyright Office
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Nonfiction: paintings method
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Tanto per ora mi sovviene poter ella rispondere aIle ragioni di cotesti fautori della scultura, partecipatemi questa mattina di ordine di V. S. dal. re Andrea nostro. Ma io pero la consiglierei a non s' inoltrar piu con essi in questa contesa, parendomi ch' ella stia meglio per esercizio di spirito e d'ingegno fra quei che non professino ne I' una ne I'altra di queste due veramente ammirabili arti, quando in eccellenza sono praticatej poiche oramai V. S. nella propria s' e resa cosl. degna di gloria con Ie sue tele, quanto il nostro divino Michelagnolo co' suoi marmi.
475, XV, p. ). 3 See Koyre, op. , p. 122 ff. " 1 But just this rigid separation enabled him to affirm that even the celestial bodies, qua bodies, were bound to deviate from a perfectly circular course, however desirable from a meta= physical point of view, when such a deviation was required by what he had established as the laws of nature. Yet Kepler himself still interpreted these laws of nature, which Newton was to reformulate some 60 years later, as quantitative expressions of qualitative, even animistic, forces.
And that this is true is demonstrated by experience; for, if we were to expose a sculptured figure to the light and were then to proceed to color it in such a way that we paint it dark wherever it is light until its color [tone] is completely unified, the figure would appear devoid of relief altogether. How much more highly must we think of painting if it, not having any [real] relief, yet shows us just as much relief as does sculpture. But why do I say: just as much as sculpture? A thousand times more, since it is not beyond the power of painting to represent, in one and the same plane, not only the relief of one figure which amounts to one or two cubits, but the development in depth of a countryside or an expanse of sea which amounts to many, many miles.