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question of how to represent the various ages. "Children of tender years should be represented in brusque and awkward movement when they are sitting down, but when standing their attitudes should be timid and anxious" (cap. 142). — " Old people should be slow and lethargic in movement ; when they stand, their knees should be slightly bent, and their feet, set parallel to each other and at the same line across the toes, should be placed slightly apart; their bodies should be inclined forward, their heads bowed, and their arms
not too far from their sides" (cap. 143).—" Women should be represented in modest attitudes, the legs together, the arms crossed, the head bowed.—Old women should be made to look bold and lively, with vehement gestures, like infernal furies. The movements of their heads and arms should be more vivacious than those of the legs" (cap. 144, 145).
He goes on to examine the changes brought about by age in the proportions of the different members (cap. 264, etc.).
It is surprising to find those iconographical formulae which occupy so large a space in the Mount Athos Treatise on Painting, and in the Rationale of Guillaume Durand, entirely absent from the Traltato. Leonardo followed his fancy of the moment; he did not elaborate a programme, like Michelangelo or Raphael. He lacked the gravity, the conviction, the dramatic power, of his two