There are three aspects to perspective. The first has to do with how the size of objects seems to diminish according to distance: the second, the manner in which colors change the farther away they are from the eye; the third defines how objects ought to be finished less carefully the farther away they are.

A painter should begin every canvas with a wash of black, because all things in nature are dark except where exposed by the light.

Surely when a man is painting a picture he ought not refuse to hear any man's opinion... Since men are able to form a true judgement as to the works of nature, how much more does it behoove us to admit that they are able to judge our faults.

The young man should first learn perspective, then the proportions of objects. Next, copy work after the hand of a good master, to gain the habit of drawing parts of the body well; and then to work from nature, to confirm the lessons learned.

Sculpture, a very noble art, is one that does not in the execution require the same supreme ingenuity as the art of painting, since in two most important and difficult particulars, in foreshortening and in light and shade... the painter has to invent a process, [whereas] sculpture is helped by nature.

Painting is the same kind of problem as unfolding a long, sustained interlocked argument... It is a proposition commanded by a single unity of conception.