The Notebooks of Leonardo Da Vinci — Complete, Volume 1

Name: The Notebooks of Leonardo Da Vinci — Complete, Volume 1
Author: da Vinci Leonardo

by da Vinci Leonardo

Read The Notebooks of Leonardo Da Vinci — Complete, Volume 1 by da Vinci Leonardo online, free: 335 chapters, public domain, on Papyras.

Start reading

Preface
Prolegomena and General Introduction to the Book on Painting
Introduction
Introduction
Introduction
Introduction
On the Three Branches of Perspective
On Painting and Perspective
The Discourse on Painting
On the Sections of [the Book on] Painting
Of the Mistakes Made by Those Who Practise Without Knowledge
Introduction to Perspective:—That Is of the Function of the Eye
Of the 10 Attributes of the Eye, All Concerned in Painting
On Painting
Of the Eye
Of the Eye
On Painting
On Painting
On Perspective
_II
On Painting
Of the Natural Point
Definition of the Nature of the Line
How We May Conclude That a Superficies Terminates in a Point?
Of Drawing Outline
In What Way the Eye Sees Objects Placed in Front of It
Perspective
To Prove How Objects Reach the Eye
Elements of Perspective
Perspective
Perspective
Prove How All Objects, Placed in One Position, Are All Everywhere and All in Each Part
How the Images of Objects Received by the Eye Intersect Within the Crystalline Humour of the Eye
The Principle on Which the Images of Bodies Pass in Between the Margins of the Openings by Which They Enter
Of the Movement of the Edge at the Right or Left, or the Upper, or Lower Edge
Of the Central Line of the Eye
As to Whether the Central Line of the Image Can Be Intersected, or Not, Within the Opening
How the Innumerable Rays from Innumerable Images Can Converge to a Point
Of the Plane of Glass
Perspective
Perspective
Perspective
Simple Perspective
Why When an Object Is Placed Close to the Eye Its Edges Are Indistinct
Perspective
Definition
Of Linear Perspective
Of the Degrees of Diminution
I Give the Degrees of the Objects Seen by the Eye as the Musician Does the Notes Heard by the Ear
Perspective
Perspective
Of Equal Objects the Most Remote Look the Smallest
Of a Mixture of Natural and Artificial Perspective
III
Introduction
Of Painting
Of Painting
Of the Three Kinds of Light That Illuminate Opaque Bodies
Of Light
What Light and Shadow Are
Of the Nature of Shadow
What Is the Difference Between a Shadow That Is Inseparable from a Body and a Cast Shadow?
How There Are 2 Kinds of Light, One Separable from, and the Other Inseparable from Bodies
First Book on Light and Shade
The Rays Whether Shaded or Luminous Have Greater Strength and Effect at Their Points Than at Their Sides
Of the Highest Lights Which Turn and Move as the Eye Moves Which Sees the Object
Of Light and Lustre
What Bodies Will Display Lustre but Not Look Illuminated?
Shows How Light from Any Side Converges to One Point
Of the Different Light and Shade in Various Aspects and of Objects Placed in Them
Of Painting
That Portion of a Body in Light and Shade Will Be Least Luminous Which Is Seen Under the Least Amount of Light
Of Perspective
Of Painting
Third Book on Light and Shade
Shadow and Light
Of Simple Derived Shadows
Of Shadow
How a Cast Shadow Can Never Be of the Same Size as the Body That Casts It
Of the Pyramidal Shadow
All Bodies, in Proportion as They Are Nearer to, or Farther from the Source of Light, Will Produce Longer or Shorter Derived Shadows
Of Painting
The Farther the Derived Shadow Is Prolonged the Lighter It Becomes
How Shadows Fade Away at Long Distances
Of the Compound Shadow F, R, C, H Caused by a Single Light
The Action of the Light as from Its Centre
Proof
Of the Shadow Cast by a Body Placed Between 2 Equal Lights
Of Simple Shadows
Answer
Definition
How and When the Surroundings in Shadow Mingle Their Derived Shadow with the Light Derived from the Luminous Body
Fourth Book on Light and Shade
Of Shadows Which Never Come to an End
The Body Which Is Nearest to the Light Casts the Largest Shadow, and Why?
Why a Shadow Larger Than the Body That Produces It Becomes Out of Proportion
Why a Shadow Which Is Larger Than the Body Causing It Has Ill-Defined Outlines
Of Modified Shadows
Of the Opinion of Some That a Triangle Casts No Shadow on a Plane Surface
Of the Way in Which the Shadows Cast by Objects Ought to Be Defined
Where There Can Be No Reflected Lights
Perspective
The Mirror
Of the Shadow and Its Motion
Of the Motion of Shadows
Perspective
That Part of the Reflection Will Be Brightest Where the Reflected Rays Are Shortest
IV
Of the Diminished Distinctness of the Outlines of Opaque Bodies
Of the Diminution in Perspective of Opaque Objects
Of the Atmosphere That Interposes Between the Eye and Visible Objects
Of the Eye
Perspective
Of Painting
Of Painting
Of Light and Shade
Of Ordinary Perspective
Of Light
Why Bodies in Light and Shade Have Their Outlines Altered by the Colour and Brightness of the Objects Serving as a Background to Them
On Light Between Shadows
To Prove How It Is That Luminous Bodies Appear Larger, at a Distance, Than They Are
To Prove How You May See the Real Size of Luminous Bodies
Perspective
Different Portions of a Wall Surface Will Be Darker or Brighter in Proportion as the Light or Shadow Falls on Them at a Larger Angle
V
Of Shadow
Example
Of Painting
Of the Rays Which Convey Through the Air the Images of Objects
Of Painting
Of the Intersections of the Images in the Pupil of the Eye
Of the Nature of the Rays Composed of the Images of Objects, and of Their Intersections
Any Shadow Cast by an Opaque Body Smaller Than the Light Causing the Shadow Will Throw a Derived Shadow Which Is Tinged by the Colour of the Light
Of the Colours of Simple Derived Shadows
Of Painting
Of Colours
Perspective
Perspective
What Portion of a Coloured Surface Ought in Reason to Be the Most Intense
Why Beautiful Colours Must Be in the [Highest] Light
Of Painting
The Answer
That the Eye Has No Part in Producing the Colours of the Rainbow
Of the Colours in the Feathers of Certain Birds
VI
Of the Visibility of Colours
All Colours Are at a Distance Undistinguishable and Undiscernible
How a Painter Should Carry Out the Perspective of Colour in Practice
Of Aerial Perspective
Why the Atmosphere Must Be Represented as Paler Towards the Lower Portion
Of the Mode of Treating Remote Objects in Painting
Of the Colour of the Atmosphere
307. Of Painting
VII
Of Painting
Of the Motions of the Fingers
Of the Loins, When Bent
Of Painting
Of [Change of] Attitude
Of Painting
Of the Different Measurements of Boys and Men
Of Painting
Of Painting
Of the Agreement of the Proportion of the Limbs
How Young Boys Have Their Joints Just the Reverse of Those of Men, as to Size
Of Drawing
Of the Human Body in Action
Of Painting
Of the Strength of Man
Of the Nature of the Folds in Drapery
Example
Of Small Folds in Draperies
VIII
Trees
Of the Scars on Trees
Of the Ramification
Why, Very Frequently, Timber Has Veins That Are Not Straight
Of the Ramifications of Plants
Of the Insertion of the Branches on Plants
A Description of the Elm
Of the Insertion of the Leaves on the Branches
Of the Ramifications of Trees and Their Foliage
Light on Branches and Leaves (420—422)
Of the Visibility of These Accidents
Of the Shadows of a Leaf
Of Dark Leaves in Front of Transparent Ones
Of the Lights on Dark Leaves
Of the Lights on Leaves of a Yellowish Green
Of a Generally Distributed Light as Lighting Up Trees
Of the Shadows of Verdure
Of Trees That Are Lighted by the Sun and by the Atmosphere
On Painting
Of the Herbs of the Field
Of Trees Which Are Between the Eye and the Light
From Whence to Depict a Landscape
Of Trees to the South
Of Meadows
Of the 4 Points of the Compass [in Landscapes]
Of Trees in the East
Of the Shadows in Trees
Objects in High Light Show but Little, but Between Light and Shadow They Stand Out Well
Of the Spaces [Showing the Sky] in Trees Themselves
Of Trees Which Conceal These Spaces in One Another
Of Trees
Trees at a Short Distance
Of Trees and Lights on Them
Of Painting
Of Painting in a Landscape
Of Landscapes
Of Light and Shadow in a Town
Of Towns or Other Buildings Seen in the Evening or the Morning Through the Mist
Why Objects Which Are High Up and at a Distance Are Darker Than the Lower Ones, Even If the Mist Is Uniformly Dense
Of the Smoke of a Town
Of Smoke and Dust
Of Representing Wind
The Wind
Of Clouds, Smoke and Dust and the Flames of a Furnace or of a Burning Kiln
IX
A Warning Concerning Youths Wishing to Be Painters
Of the Order of Learning to Draw
Precepts for Drawing
Of Drawing
Of Painting
How It Is Necessary to a Painter That He Should Know the Intrinsic Forms [Structure] of Man
Of Study and the Order of Study
What Rules Should Be Given to Boys Learning to Paint
How That Diligence [Accuracy] Should First Be Learnt Rather Than Rapid Execution
Of the Life of the Painter in the Country
Of the Life of the Painter in His Studio
Of Whether It Is Better to Draw with Companions or Not
Of Studying, in the Dark, When You Wake, or in Bed Before You Go to Sleep
Of the Time for Studying Selection of Subjects
Of Positions
That a Painter Is Not Admirable Unless He Is Universal
Of the Miserable Pretences Made by Those Who Falsely and Unworthily Acquire the Name of Painters
How, in Important Works, a Man Should Not Trust Entirely to His Memory Without Condescending to Draw from Nature
Of Variety in the Figures
Of the Means of Acquiring Universality
Painting
Of Games to Be Played by Those Who Draw
A Way of Developing and Arousing the Mind to Various Inventions
The Artist's Studio.—Instruments and Helps for the Application of Perspective.—On Judging of a Picture
Of the Painter's Window and Its Advantage
That the Light for Drawing from Nature Should Be High Up
The Kind of Light Requisite for Painting Light and Shade
Of the Quality of Light
Of Selecting the Light Which Gives Most Grace to Faces
Of a Mode of Drawing a Place Accurately
How to Learn to Place Your Figures Correctly
A Method of Drawing an Object in Relief at Night
To Draw a Figure on a Wall 12 Braccia High Which Shall Look 24 Braccia High
How the Mirror Is the Master [and Guide] of Painters
Of Judging Your Own Pictures
Of a Method of Learning Well by Heart
That a Painter Ought to Be Curious to Hear the Opinions of Every One on His Work
How in Small Objects Errors Are Less Evident Than in Large Ones
Why a Painting Can Never Appear Detached as Natural Objects Do
Why of Two Objects of Equal Size a Painted One Will Look Larger Than a Solid One
How High the Point of Sight Should Be Placed
Of the Way to Draw Figures for Historical Pictures
Of Placing a Figure in the Foreground of a Historical Picture
Perspective
Of Drawing from Relief
Why Groups of Figures One Above Another Are to Be Avoided
A Picture of Objects in Perspective Will Look More Lifelike When Seen from the Point from Which the Objects Were Drawn
Where a Spectator Should Stand to Look at a Picture
Of Painting: Of the Darkness of the Shadows, or I May Say, the Brightness of the Lights
How the Painter Must Place Himself with Reference to the Light, to Give the Effect of Relief
That Shadows Cast by a Particular Light Should Be Avoided, Because They Are Equally Strong at the Ends and at the Beginning
How Light Should Be Thrown Upon Figures
Of Helping the Apparent Relief of a Picture by Giving It Artificial Light and Shade
Of Situation
Of the Judgment to Be Made of a Painter's Work
Of the Treatment of the Lights
Of Shadows on Bodies
Of the Way to Make the Shadow on Figures Correspond to the Light and to [the Colour] of the Body
Of Surrounding Bodies by Various Forms of Shadow
On Painting
Of Shadows
Of the Background That the Painter Should Adopt in His Works
How White Bodies Should Be Represented
Why Faces [Seen] at a Distance Look Dark
Why a Man Seen at a Certain Distance Is Not Recognisable
The Reason Why Small Figures Should Not Be Made Finished
Of Painting
Of the Way to Learn to Compose Figures [in Groups] in Historical Pictures
Of a Method of Keeping in Mind the Form of a Face
How You Should Set to Work to Draw a Head of Which All the Parts Shall Agree with the Position Given to It
How to Know Which Side of an Object Is to Be More or Less Luminous Than the Other
The Proof and Reason Why Among the Illuminated Parts Certain Portions Are in Higher Light Than Others
Precepts in Painting
How an Angry Man Is to Be Figured
How to Represent a Man in Despair
How You Should Make an Imaginary Animal Look Natural
Of the Delusions Which Arise in Judging of the Limbs
Of the Selection of Beautiful Faces
Of the Muscles of Animals
Of Undulating Movements and Equipoise in Figures and Other Animals
Of Grace in the Limbs
Of Representing a Man Speaking to a Multitude
Of the Disposition of Limbs
Of Painting
Of Painting
Of the Way of Representing a Battle
Of Lighting the Lower Parts of Bodies Close Together, as of Men in Battle
Of the Way to Represent a Night [Scene]
How to Represent a Tempest
To Represent the Deluge
Of the Deluge and How to Represent It in a Picture
Description of the Deluge
The Artist's Materials
Paper for Drawing Upon in Black by the Aid of Your Spittle
White
The Proportions of Colours
To Prepare a Panel for Painting on
To Remove the Smell of Oil
To Restore Oil Colours That Have Become Dry
Oil
Varnish [or Powder]
Varnish [or Powder]
Varnish [or Powder]
Mould(?)
To Dilute White Wine and Make It Purple
Fire
Fire
He Who Despises Painting Loves Neither Philosophy nor Nature
That Painting Surpasses All Human Works by the Subtle Considerations Belonging to It
That Sculpture Is Less Intellectual Than Painting, and Lacks Many Characteristics of Nature
Of Painting
That Painting Declines and Deteriorates from Age to Age, When Painters Have No Other Standard Than Painting Already Done
_X
Christ
Truth
To Represent Ingratitude
A Dress for the Carnival

More books on Papyras

The Notebooks of Leonardo Da Vinci — Complete, Volume 1

Contents