The Notebooks of Leonardo da Vinci, Vol. I

Volume 1 of two-volume set. Total of 1566 extracts reveal full range of Leonardo's versatile genius: his writings on painting, sculpture, architecture, anatomy, mining, inventions, music. Dual Italian-English texts, with 186 plates on mss. pages, over 500 additional drawings faithfully reproduced.

One of the great geniuses of Western civilization, Leonardo da Vinci (1452–1519) is the true Renaissance man. In addition to his abundant artistic skills, he was a visionary scientist and mechanical engineer who theorized the development of flying machines and solar power.

I. PROLEGOMENA AND GENERAL INTRODUCTION TO THE BOOK ON PAINTING
    Clavis Sigillorum and Index of Manuscripts.?The author's intention to publish his MSS.
    The preparation of the MSS. for publication
    Admonition to readers
    The disorder in the MSS
    Suggestions for the arrangement of MSS. Treating of particular subjects
    General introduction to the book on painting
    The plan of the book on painting
    The use of the book on painting
    Necessity of the theoretical knowledge
    The function of the eye
    Variability of the eye
    Focus of sight
    Differences of perception by one eye and by both eyes
    The comparative size of the image depends on the amount of light
II. LINEAR PERSPECTIVE
    General remarks on perspective
    The elements of perspective:?of the point
    Of the line
    The nature of the outline
    Definition of perspective
    The perception of the object depends on the direction of the eye
    Experimental proof of the existence of the pyramid of sight
    The relations of the distance point to the vanishing point
    How to measure the pyramid of vision
    The production of the pyramid of vision
    Proof by experiment
    General conclusions
    That the contrary is impossible
    A parallel case
    "The function of the eye, as explained by the camera obscura"
    The practice of perspective
    Refraction of the rays falling upon the eye
    The inversion of the images
    The intersection of the rays
    Demonstration of perspective by means of a vertical glass plane
    The angle of sight varies with the distance
    Opposite pyramids in juxtaposition
    On simple and complex perspective
    The proper distance of objects from the eye
    The relative size of objects with regard to their distance from the eye
    The apparent size of objects defined by calculation
    On natural perspective
III. SIX BOOKS ON LIGHT AND SHADE
    GENERAL INTRODUCTION.
      Prolegomena
      Scheme of the books on light and shade
      Different principles and plans of treatment
      Different sorts of light
      Definition of the nature of shadows
      Of the various kinds of shadows
      Of the various kinds of light
      General remarks
    FIRST BOOK ON LIGHT AND SHADE.
      On the nature of light
      The difference between light and lustre
      The relations of luminous to illuminated bodies
      Experiments on the relation of light and shadow within a room
      Light and shadow with regard to the position of the eye
      The law of the incidence of light
    SECOND BOOK ON LIGHT AND SHADE.
      Gradations of strength in the shadows
      On the intensity of shadows as dependent on the distance from the light
      On the proportion of light and shadow
    THIRD BOOK ON LIGHT AND SHADE.
      Definition of derived shadow
      Different sorts of derived shadows
      On the relation of derived and primary shadow
      On the shape of derived shadows
      On the relativity intensity of derived shadows
      Shadow as produced by two lights of different size
      The effect of light at different distances
      Further complications in the derived shadows
    FOURTH BOOK ON LIGHT AND SHADE.
      On the shape of cast shadows
      On the outlines of cast shadows
      On the relative size of cast shadows
      Effects on cast shadows by the tone of the back ground
      A disputed proposition
      On the relative depth of cast shadows
    FIFTH BOOK ON LIGHT AND SHADE.
      Principles of reflection
      On reverberation
      Reflection on water
      Experiments with the mirror
      Appendix:?On shadows in movement
    SIXTH BOOK LIGHT AND SHADE.
      The effect of rays passing through holes
      On gradation of shadows
      On relative proportion of light and shadows
IV. PERSPECTIVE OF DISAPPEARANCE
    Definition
    An illustration by experiment
    A guiding rule
    An experiment
    On indistinctness at short distances
    On indistinctness at great distances
    The importance of light and shade in the Prospettiva de' perdimenti
    The effect of light or dark backgrounds on the apparent size of objects
    Propositions on Prospettiva de' perdimenti from MS. C.
V. THEORY OF COLOURS
    The reciprocal effects of colours on objects placed opposite each other
    Combination of different colours in cast shadows
    The effect of colours in the camera obscura
    On the colours of derived shadows
    On the nature of colours
    On gradations in the depth of colours
    On the reflection of colours
    On the use of dark and light colours in painting
    On the colours of the rainbow
VI. PERSPECTIVE OF COLOUR AND AERIAL PERSPECTIVE
    General rules
    An exceptional case
    An experiment
    The practice of the Prospettiva de' colori
    The rules of aerial perspective
    On the relative density of the atmosphere
    On the colour of the atmosphere
VII. ON THE PROPORTIONS AND ON THE MOVEMENTS OF THE HUMAN FIGURE
    Preliminary observations
    Proportions of the head and face
    Proportions of the head seen in front
    Proportions of the foot
    Relative proportions of the hand and foot
    Relative proportions of the foot and of the face
    Proportions of the leg
    On the central point of the whole body
    The relative proportions of the torso and of the whole figure
    The relative proportions of the head and of the torso
    The relative proportions of the torso and of the leg
    The relative proportions of the torso and of the foot
    The proportions of the whole figure
    The torso from the front and back
    Vitruvius' scheme of proportions
    The arm and head
    Proportions of the arm
    The movement of the arm
&
      The study of the antique
      The necessity of anatomical knowledge
      How to acquire practice
      Industry and thoroughness the first conditions
      The artist's private life and choice of company
      The distribution of time for studying
      On the productive power of minor artists
      A caution against one-sided study
      How to acquire universality
      Useful games and exercises
  II. THE ARTIST'S STUDIO.?INSTRUMENTS AND HELPS FOR THE APPLICATION OF PERSPECTIVE.?ON JUDGING OF A PICTURE.
      On the size of the studio
      On the construction of windows
      On the best light for painting
      On various helps in preparing a picture
      On the management of works
      On the limitations of painting
      On the choice of a position
      The apparent size of figures in a picture
      "The right position of the artist, when painting and of spectator"
  III. THE PRACTICAL METHODS OF LIGHT AND SHADE AND AËRIAL PERSPECTIVE
      Gradations of light and shade
      On the choice of light for a picture
      The distribution of light and shade
      The juxtaposition of light and shade
      On the lighting of the background
      On the lighting of white objects
      The methods of aërial perspective
  IV. OF PORTRAIT AND FIGURE PAINTING.
      Of sketching figures and portraits
      The position of the head
      Of the light on the face
      General suggestions for historical pictures
      How to represent the differences of age and sex
      Of representing the emotions
      Of representing imaginary animals
      The selection of forms
      How to pose figures
      Of appropriate gestures
  V. SUGGESTIONS FOR COMPOSITIONS.
      Of painting battle-pieces
      Of depicting night-scenes
      Of depicting a tempest
      Of representing the deluge
      Of depicting natural phenomena
  VI. THE ARTIST'S MATERIALS.
      Of chalk and paper
      On the preparation and use of colours
      Of preparing the panel
      The preparation of oils
      On varnishes
      On chemical materials
  VII. PHILOSOPHY AND HISTORY OF THE ART OF PAINTING.
      The relation of art and nature
      Painting is superior to poetry
      Painting is superior to sculpture
      Aphorisms
      On the history of painting
      The painter's scope
  X. STUDIES AND SKETCHES FOR PICTURES AND DECORATIONS
      On pictures of the Madonna
      Bernardo di Bandino's portrait
      Notes on the Last Supper
      On the battle of Anghiari
      Allegorical representations referring to the duke of Milan
      Allegorical representations
      Arrangement of a picture
      List of drawings
      Mottoes and Emblems
  REFERENCE TABLE TO THE NUMERICAL ORDER OF THE CHAPTERS