The more perfect a Musician is, the more he is disfigured by whatever small defect he may have.

It seems at first glance that it would be more appropriate to place these Ornaments Atavios: literally "trappings" or "adornments," here referring to the social and technical habits of a musician at the end rather than at the beginning of the work; for what I have done seems as much out of order and reason as a father who seeks to dress and adorn his daughter before she is even born. But consider that many times it is better not to know how to sing, nor compose, nor play, etc., than to know it with vices that disfigure—all the more so because in a preeminent Singer or Musician, every tiny defect seems great, and makes him lose the honor and reputation he has gained for being a skilled Singer or excellent Composer. Just as on the face, spots or warts look worse and disfigure more than large scars on other parts of the body, so do small defects and vices appear worse when seen and recognized in one who is esteemed as a good Singer and perfect Musician, due to the opinion many hold of his skill (which is worthy of being clean of every defect and bad habit). These defects do not seem so large in the rabble and the "little musicians" of low quality. It will not be, I say, so far off the path or without purpose to have begun this book with this section on Ornaments, just as in the judgment of the wise, the clever demonstration of that witty painter was not misplaced, who began to paint a fox starting from the tail, with a sign that said:

original: "Per esser chi tu sei, così conviene"

Pausanias, excellent painter.

And perhaps he wished to allude to the Latin proverb, The tail bears witness to the fox original: "Cauda de vulpe testatur". To this purpose, it will not be unreasonable to relate what Plutarch writes of another painter. He says, then, that a painter named Pausanias made an agreement with a man to paint him a horse that was with its legs upward, because that suited his purpose and intention. But the painter, forgetting this, painted it running. The one who commissioned the painting becoming indignant at this, the painter said smiling: "Turn the board over, and you will find it to your liking." And so it was, for as soon as he turned the board on which the horse was painted, it remained with its legs upward; and thus what previously looked very bad to him, now looked very good, merely by giving it a turn. In the same manner may he do who desires to read these Ornaments at the end: for by turning the book around, what is the beginning shall be the end; and he who does not like them at the end either, let him put them wherever it seems best to him and more to his taste, as long as he remains content and entirely satisfied.

Notices so that each one may take the documents that suit him with entire satisfaction.

Note that in the discourse of this treatise I sometimes use the word thou, other times you, and other times Your Mercies Vs. Ms. / Vuestras Mercedes: a formal address, and this distinction is made with respect to the quality of the person to whom the specific advice being given pertains.

Note also that when I go about stating the parts and conditions that a good Master must have, and the manner in which he must proceed with his disciples, how and in what way; and when I advise something to the Chapel Masters Maestro de Capilla: the director of music in a cathedral or court, it is understood that the disciple must strive to have such parts and conditions when he becomes a Master. Thus, he must take advantage of some notices first as a disciple, and others later as a Master. Let the discreet reader further note that in many and diverse places I use the term MUSICIAN improperly, only so as not to depart from the common way of speaking. Take notice also that under this name, "Master of Music," I speak only of the Masters who give lessons and keep a public school for singing, as well as for counterpoint and composition; and not of the Chapel Masters, nor of those who compose privately.

Look/Note.

Likewise note, that under this term Sacristan or Choir Boy, I mean all those who give themselves out to be great Musicians without being so. But let the Reader who does not understand Latin note that there is no Latin word that (where necessary) does not go explained. Finally, I pray and beseech everyone that if in the progress of reading this Treatise...