Abstract
In the Paragone and elsewhere in his notebooks,1 Leonardo describes painting as a philosophy and a science. He regards the three related forms of endeavor as “vain and full of error” unless they are tested by experience and the five senses.2 Man's soul is known to us only “by the attitudes and movements of the limbs,”3 therefore we must have a thorough knowledge of anatomy, proportion, and perspective to represent what we see. The goal to be attained by the arts through experimental and empirical observation is an Aristotelian one, an accurate imitation of nature.
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