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Leonardo da Vinci's arguments for the supremacy of painting over the arts of poetry, music, and sculpture address issues that have been relevant to debates over the nature of representation since the time Plato discussed imitation until today, maintains Claire Farago in this wide-ranging critical analysis of the first important modern contribution to the comparison of the arts. This study systematically examines 46 passages compiled in the mid-sixteenth century from eighteen of Leonardo's notebooks and their relationship to the artist's holograph writings on painting, providing a critical transcription newly made from the Codex Vaticanus Urbinas 1270 and a new English translation with extensive notes that take into account Leonardo's scientific terminology, the highly contrived form of his rhetorical argumentation, and the role played by his original editors.

Painting --- Paragone (Aesthetics) --- Philosophy --- Leonardo, --- Aesthetics --- Codex Vaticanus Urbinas 1270 --- Ut pictura poesis (Aesthetics) --- Art and literature --- Humanism in art --- Philosophy. --- Da Vinci, Leonardo, --- Leonardo da Vinci, --- Léonard, --- Lieaonaduo, --- Lionardo, --- Liyūnārdū Dāvīnshī, --- Vinchi, Leonardo da, --- Vinci, Leonardo da, --- Леонардо да Винчи, --- Леонардо, --- לאונרדו, --- ליאונארדו, --- ליאונרדו דא וינצ׳י --- ליאורנרדו, --- Aesthetics. --- Codex Vaticanus Urbinas 1270. --- Codex Urbinas 1270 --- Codice Vaticano Urbinate latino 1270 --- Painting - Philosophy --- Leonardo, - da Vinci, - 1452-1519 - Aesthetics --- painting techniques --- paragone [concept] --- art theory --- kunstliteratuur --- Trattato della Pittura --- Leonardo da Vinci --- Leonardo, - da Vinci, - 1452-1519