s thought fit that it should be, either with long or
a short and turned-up nose, and thus it has determined its height and
figure; and so powerful is the intellect that it gives motion to the
arms of the painter and causes him to reproduce himself, since it
appears to the spirit that this is the true method of portraying man,
and he that does otherwise is in error. And should this spirit find
any one who resembles its body, which it has formed, it loves it and
becomes enamoured with it, and for this reason many men fall in love
and marry wives which resemble themselves, and often the children which
are born of the issue resemble their parents.

76.

The painter should portray his figure according to the measurements of
a natural body, which shall be of universal proper proportions; in
addition to this he should measure himself and see in which part his
own figure varies greatly or less from the aforesaid pattern of
excellence, and when he has ascertained this he should try his utmost
to avoid the defects which exist in his own person in the figures he
portrays.

And know that thou must contend with all thy might against this fault
inasmuch as it is a defect which originated with the intellect; because
the {120} spirit which governs thy body is that which is thine own
intellect, and it is inclined to take pleasure in works similar to that
which it accomplished in forming its body. And this is the reason that
there is no woman, however ugly, who does not find a lover, unless she
be monstrous. So remember to ascertain the defects of thy person and
to avoid reproducing them in the figures thou dost compose.

77.

That painter who has coarse hands will portray the like in his works,
and the same thing will occur in every limb unless he avoids this
pitfall by long study. Therefore, O painter, look well on that part of
thy person which is most ugly, and by thy study make ample reparation
for it, because if thou art bestial, bestial and without intellect will
be thy figures, and similarly both the good and ill which thou hast in
thee will be partially visible in thy compositions.

78.

Men and words are already made, and thou, painter, who knowest not how
to make thy figures move, art like the orator who knows not how to
employ his words.

79.

The movements of men are as varied as the {121} circumstances which
pass through their minds; and men will be more or less actuated by
every circumstance in itse