[Footnote: The Vatican copy and numerous abridgements all place this chapter at the beginning of the _Trattato_, and in consequence DUFRESNE and all subsequent editors have done the same. In the Vatican copy however all the general considerations on the relation of painting to the other arts are placed first, as introductory.] 484. OF THE ORDER OF LEARNING TO DRAW. First draw from drawings by good masters done from works of art and from nature, and not from memory; then from plastic work, with the guidance of the drawing done from it; and then from good natural models and this you must put into practice. 485. PRECEPTS FOR DRAWING. The artist ought first to exercise his hand by copying drawings from the hand of a good master. And having acquired that practice, under the criticism of his master, he should next practise drawing objects in relief of a good style, following the rules which will presently be given. The study of the antique (486. 487). 486. OF DRAWING. Which is best, to draw from nature or from the antique? and which is more difficult to do outlines or light and shade? 487. It is better to imitate [copy] the antique than modern work. [Footnote 486, 487: These are the only two passages in which Leonardo alludes to the importance of antique art in the training of an artist. The question asked in No. 486 remains unanswered by him and it seems to me very doubtful whether the opinion stated in No. 487 is to be regarded as a reply to it. This opinion stands in the MS. in a connection--as will be explained later on--which seems to require us to limit its application to a single special case. At any rate we may suspect that when Leonardo put the question, he felt some hesitation as to the answer. Among his very numerous drawings I have not been able to find a single study from the antique, though a drawing in black chalk, at Windsor, of a man on horseback (PI. LXXIII) may perhaps be a reminiscence of the statue of Marcus Aurelius at Rome. It seems to me that the drapery in a pen and ink drawing of a bust, also at Windsor, has been borrowed from an antique model (Pl. XXX). G. G. Rossi has, I believe, correctly interpreted Leonardo's feeling towards the antique in the following note on this passage in manzi's edition, p. 501: "Sappiamo dalla storia, che i valorosi artisti Toscani dell'età dell'oro dell'arte studiarono sugli antichi marmi raccolti dal Magnifico LORENZO DE' MEDICI. Pare che il Vinci a tali monumenti non si accostasse. Quest' uomo sempre riconosce per maestra la natura, e questo principio lo stringeva alla sola imitazione dì essa"--Compare No. 10, 26--28 footnote.] The necessity of anatomical knowledge (488. 489). 488. OF PAINTING.