the cloak looks as if it were next the flesh; since you surely cannot wish the cloak to be next the flesh, for you must suppose that between the flesh and the cloak there are other garments which prevent the forms of the limbs appearing distinctly through the cloak. And those limbs which you allow to be seen you must make thicker so that the other garments may appear to be under the cloak. But only give something of the true thickness of the limbs to a nymph [Footnote 9: Una nifa. Compare the beautiful drawing of a Nymph, in black chalk from the Windsor collection, Pl. XXVI.] or an angel, which are represented in thin draperies, pressed and clinging to the limbs of the figures by the action of the wind.
392.
You ought not to give to drapery a great confusion of many folds, but rather only introduce them where they are held by the hands or the arms; the rest you may let fall simply where it is its nature to flow; and do not let the nude forms be broken by too many details and interrupted folds. How draperies should be drawn from nature: that is to say if youwant to represent woollen cloth draw the folds from that; and if it is to be silk, or fine cloth or coarse, or of linen or of crape, vary the folds in each and do not represent dresses, as many do, from models covered with paper or thin leather which will deceive you greatly.
[Footnote: The little pen and ink drawing from Windsor (W. 102), given on Pl. XXVIII, No. 7, clearly illustrates the statement made at the beginning of this passage; the