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Davinci

Leonardo Da Vinci

The Notebooks of Leonardo Da Vinci, Complete

Volume 1
F. P. R.
LINEAR PERSPECTIVE
SIX BOOKS ON LIGHT AND SHADE
PERSPECTIVE OF DISAPPEARANCE
THEORY OF COLOURS
PERSPECTIVE OF COLOUR AND AERIAL PERSPECTIVE
ON THE PROPORTIONS AND ON THE MOVEMENTS OF THE HUMAN FIGURE
BOTANY FOR PAINTERS, AND ELEMENTS OF LANDSCAPE PAINTING
THE PRACTICE OF PAINTING
STUDIES AND SKETCHES FOR PICTURES AND DECORATIONS
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.
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.
PERSPECTIVE.
SIMPLE PERSPECTIVE.
PERSPECTIVE.
WHY WHEN AN OBJECT IS PLACED CLOSE TO THE EYE ITS EDGES ARE INDISTINCT.
PERSPECTIVE.
PERSPECTIVE.
PERSPECTIVE.
PERSPECTIVE.
PERSPECTIVE.
PERSPECTIVE.
PERSPECTIVE—PROPOSITION.
DEFINITION.
OF LINEAR PERSPECTIVE.
OF THE DIMINUTION OF OBJECTS AT VARIOUS DISTANCES.
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.
Six books on Light and Shade.
GENERAL INTRODUCTION.
INTRODUCTION.
OF PAINTING.
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.
MEMORANDUM OF THINGS I REQUIRE TO HAVE GRANTED [AS AXIOMS] IN MY EXPLANATION OF PERSPECTIVE.
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 PAINTING.
OF LIGHT AND LUSTRE.
WHAT BODIES HAVE LIGHT UPON THEM WITHOUT 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.
SECOND BOOK ON LIGHT AND SHADE.
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.
OF PAINTING.
THIRD BOOK ON LIGHT AND SHADE.
SHADOW AND LIGHT.
OF SIMPLE DERIVED SHADOWS.
OF COMPOUND 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.
ON PAINTING.
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.
FIFTH BOOK ON LIGHT AND SHADE.
OF THE WAY IN WHICH THE SHADOWS CAST BY OBJECTS OUGHT TO BE DEFINED.
OF REVERBERATION.
WHERE THERE CAN BE NO REFLECTED LIGHTS.
PERSPECTIVE.
THE MIRROR.
OF THE SHADOW AND ITS MOTION.
OF THE MOTION OF SHADOWS.
SIXTH BOOK ON LIGHT AND SHADE.
PERSPECTIVE.
THAT PART OF THE REFLECTION WILL BE BRIGHTEST WHERE THE REFLECTED RAYS ARE SHORTEST.
Perspective of Disappearance.
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.
OF PAINTING.
PERSPECTIVE.
PERSPECTIVE.
OF PAINTING.
OF PAINTING.
OF LIGHT AND SHADE.
OF ORDINARY PERSPECTIVE.
OF LIGHT.
OF LIGHT.
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.
Theory of colours.
OF PAINTING.
OF SHADOW.
OF LIGHT AND SHADE.
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.
PERSPECTIVE.
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 ADVERSARY.
THE ANSWER.
THAT THE EYE HAS NO PART IN PRODUCING THE COLOURS OF THE RAINBOW.
OF THE COLOURS IN THE FEATHERS OF CERTAIN BIRDS.
‘Prospettiva de’ colri’ (Perspective of Colour)
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.
Botany for Painters and Elements of Landscape Painting.
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 ACCIDENTS OF COLOURING IN TREES.
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 THE ILLUMINATED PART OF VERDURE AND OF MOUNTAINS.
OF TREES THAT ARE LIGHTED BY THE SUN AND BY THE ATMOSPHERE.
OF DEPICTING A FOREST SCENE.
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.
OF TREES TO THE EAST.
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.
The Practice of Painting.
MORAL PRECEPTS FOR THE STUDENT OF PAINTING.
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.
HOW SOMETHING MAY BE LEARNT EVERYWHERE.
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.

OF THE PAINTER’S WINDOW AND ITS ADVANTAGE.
OF THE QUALITY OF THE LIGHT.
THAT THE LIGHT FOR DRAWING FROM NATURE SHOULD BE HIGH UP.
THE KIND OF LIGHT REQUISITE FOR PAINTING LIGHT AND SHADE.
OF SMALL LIGHTS.
PAINTING.
OF THE QUALITY OF LIGHT.
OF SELECTING THE LIGHT WHICH GIVES MOST GRACE TO FACES.
OF DRAWING AN OBJECT.
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 PAINTING.
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.
OF PAINTING.
WHERE A SPECTATOR SHOULD STAND TO LOOK AT A PICTURE.
THE PRACTICAL METHODS OF LIGHT AND SHADE AND AERIAL PERSPECTIVE.
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 LIGHTS AND SHADOWS.
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 BACKGROUNDS FOR PAINTED FIGURES.
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 PORTRAIT AND FIGURE 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.
THAT A FIGURE IS NOT ADMIRABLE UNLESS IT EXPRESSES BY ITS ACTION THE PASSION OF ITS SENTIMENT.
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 PAINTING.
OF SETTING ON THE LIMBS.
OF THE ACTION OF THE FIGURES.
SUGGESTIONS FOR COMPOSITIONS.
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.
A FINE YELLOW.
WHITE.
THE PROPORTIONS OF COLOURS.
TO PREPARE A PANEL FOR PAINTING ON.
OIL.
TO REMOVE THE SMELL OF OIL.
TO RESTORE OIL COLOURS THAT HAVE BECOME DRY.
OIL.
VARNISH [OR POWDER].
VARNISH [OR POWDER].
VARNISH [OR POWDER].
VARNISH [OR POWDER].
MOULD(?).
TO DILUTE WHITE WINE AND MAKE IT PURPLE.
FIRE.
FIRE.
FIRE.
PHILOSOPHY AND HISTORY OF THE ART OF PAINTING.
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.
CHRIST.
TRUTH.
TO REPRESENT INGRATITUDE.
A DRESS FOR THE CARNIVAL.
Volume 2
OF A STATUE.
MEASUREMENT AND DIVISION OF A STATUE.
THE MOULD FOR THE HORSE.
OF MAKING THE MOULD IN PIECES.
METHOD OF FOUNDING AGAIN.
THE MONUMENT TO MESSER GIOVANNI JACOMO DA TREVULZO.
MINT AT ROME.
POWDER FOR MEDALS.
OF TAKING CASTS OF MEDALS.
STUCCO.
STUCCO.
STUCCO FOR MOULDING.
GLUE.
TO CAST.
TO CAST BRONZE IN PLASTER.
HOW CASTS OUGHT TO BE POLISHED.
HOW TO REMOVE THE ROUGH EDGES FROM BRONZE.
TO FACILITATE MELTING.
TO PREVENT THE COPPER COOLING IN THE FURNACE.
IF YOU HAVE TO MAKE A LARGE CAST.
HOW TO PROCEED TO BREAK A LARGE MASS OF BRONZE.
TO COMBINE LEAD WITH OTHER METAL.
OF THE THICKNESS OF THE COATING.
OF THE THICKNESS OF THE GUN.
OF THE LENGTH OF THE BODY OF THE GUN.
OF THE THICKNESS OF SMALL GUNS.
OF LUTING THE FURNACE WITHIN.
OF RESTORING THE METAL WHEN IT IS BECOMING COOL.
THE CAUSE OF ITS CURDLING.
TO KNOW THE CONDITION OF THE FIRE.
OF ALLOYING THE METAL.
WHEN THE TIN SHOULD BE ADDED TO THE COPPER.
HOW TO HASTEN THE MELTING.
HENRY DE GEYMULLER
ON MOVING HOUSES.
FOR MAKING A CLEAN STABLE.
THE WAY TO CONSTRUCT A FRAME-WORK FOR DECORATING BUILDINGS.
STEPS OF URRBINO.
CONCERNING ARCHITRAVES OF ONE OR SEVERAL PIECES.
Theoretical writings on Architecture.
ON FISSURES IN WALLS.
WHAT IS THE LAW BY WHICH BUILDINGS HAVE STABILITY.
HOW TO PROGNOSTICATE THE CAUSES OF CRACKS IN ANY SORT OF WALL.
ON THE SITUATION OF FOUNDATIONS AND IN WHAT PLACES THEY ARE A CAUSE OF RUIN.
OF CRACKS IN WALLS, WHICH ARE WIDE AT THE BOTTOM AND NARROW AT THE TOP AND OF THEIR CAUSES.
OF ARCHED CRACKS, WIDE AT THE TOP, AND NARROW BELOW.
OF THE CAUSES OF FISSURES IN [THE WALLS OF] PUBLIC AND PRIVATE BUILDINGS.
OF STONES WHICH DISJOIN THEMSELVES FROM THEIR MORTAR.
ON FISSURES IN NICHES.
ON THE SHRINKING OF DAMP BODIES OF DIFFERENT THICKNESS AND WIDTH.
ON THE NATURE OF THE ARCH.
WHAT IS AN ARCH?
OF THE KIND OF PRESSURE IN ARCHES.
OF DISTRIBUTING THE PRESSURE ABOVE AN ARCH.
WHERE AN ARCH BREAKS.
SECOND RUPTURE OF THE ARCH.
ON ANOTHER CAUSE OF RUIN.
ON THE STRENGTH OF THE ARCH.
ON THE LOADING OF ROUND ARCHES.
ON THE PROPER MANNER OF LOADING THE POINTED ARCH.
ON THE EVIL EFFECTS OF LOADING THE POINTED ARCH DIRECTLY ABOVE ITS CROWN.
ON THE DAMAGE DONE TO THE POINTED ARCH BY THROWING THE PRESSURE ON THE FLANKS.
ON THE REMEDY FOR EARTHQUAKES.
ON THE STRENGTH OF THE ARCH IN ARCHITECTURE.
ON THE POSITION OF THE TIE IN THE ABOVE NAMED ARCH.
AN ARCH LOADED OVER THE CROWN WILL GIVE WAY AT THE LEFT HAND AND RIGHT HAND QUARTERS.
ON THE STRENGTH AND NATURE OF ARCHES, AND WHERE THEY ARE STRONG OR WEAK; AND THE SAME AS TO COLUMNS.
THAT ARCH WILL BE OF LONGER DURATION WHICH HAS A GOOD ABUTMENT OPPOSED TO ITS THRUST.
PLAN.
ON FOUNDATIONS, THE NATURE OF THE GROUND AND SUPPORTS.
OF THE SUPPORTS.
EXAMPLE.
ON THE RESISTANCE OF BEAMS.
ON THE LENGTH OF BEAMS.
Anatomy, Zoology and Physiology.
ANATOMY.
OF THE ORDER OF THE BOOK.
THE ORDER OF THE BOOK.
THE ARRANGEMENT OF ANATOMY
NOTE.
ANATOMY.
OF THE HUMAN FIGURE.
ANATOMY.
OF THE HEAD.
ZOOLOGY AND COMPARATIVE ANATOMY.
OF THE PALM OF THE HAND.
OF THE WAY OF WALKING IN MAN.
PHYSIOLOGY.
OF THE EYES IN ANIMALS.
OF THE NATURE OF SIGHT.
WHY MEN ADVANCED IN AGE SEE BETTER AT A DISTANCE.
HOW THE FIVE SENSES ARE THE MINISTERS OF THE SOUL.
HOW THE NERVES SOMETIMES ACT OF THEMSELVES WITHOUT ANY COMMANDS FROM THE OTHER FUNCTIONS OF THE SOUL.
HOW THE BODY OF ANIMALS IS CONSTANTLY DYING AND BEING RENEWED.
Astronomy
THE EARTH AS A PLANET.
THE METHOD OF PROVING THAT THE EARTH IS A STAR.
PERSPECTIVE.
OF THE EYE.
PERSPECTIVE.
THE REASON OF THE INCREASED SIZE OF THE SUN IN THE WEST.
THE SUN.
IN PRAISE OF THE SUN.
OF THE PROOF THAT THE SUN IS HOT BY NATURE AND NOT BY VIRTUE.
PROOF THAT THE NEARER YOU ARE TO THE SOURCE OF THE SOLAR RAYS, THE LARGER WILL THE REFLECTION OF THE SUN FROM THE SEA APPEAR TO YOU.
WHY THE SUN APPEARS LARGER WHEN SETTING THAN AT NOON, WHEN IT IS NEAR TO US.
A METHOD OF SEEING THE SUN ECLIPSED WITHOUT PAIN TO THE EYE.
THE MOON.
OF THE MOON.
OF THE MOON AND WHETHER IT IS POLISHED AND SPHERICAL.
OF THE MOON.
WHAT SORT OF THING THE MOON IS.
OF THE NATURE OF THE MOON.
OF THE MOON.
OF THE MOON.
OF THE MOON.
THE SPOTS ON THE MOON.
OF THE SPOTS ON THE MOON.
OF THE SPOTS ON THE MOON.
OF HALOS ROUND THE MOON.
SECOND ARGUMENT.
Physical Geography.
INTRODUCTION.
DIVISIONS OF THE BOOK.
Book 1 of water in itself.
Book 2 of the sea.
Book 3 of subterranean rivers.
Book 4 of rivers.
Book 5 of the nature of the abyss.
Book 6 of the obstacles.
Book 7 of gravels.
Book 8 of the surface of water.
Book 9 of the things placed therein.
Book 10 of the repairing of rivers.
Book 11 of conduits.
Book 12 of canals.
Book 13 of machines turned by water.
Book 14 of raising water.
Book 15 of matters worn away by water.
Book 9, of accidental risings of water.
THE ORDER OF THE BOOK.
THE BEGINNING OF THE TREATISE ON WATER.
OF THE NATURE OF WATER.
THE ORDER OF THE FIRST BOOK ON WATER.
OF WHAT IS WATER.
THE BEGINNING OF THE BOOK ON WATER.
OF THE CENTRE OF THE OCEAN.
OF THE SEA WHICH CHANGES THE WEIGHT OF THE EARTH.
WHETHER THE EARTH IS LESS THAN THE WATER.
OF THE EARTH.
THE FIGURES OF THE ELEMENTS.
PROVES HOW THE EARTH IS NOT GLOBULAR AND NOT BEING GLOBULAR CANNOT HAVE A COMMON CENTRE.
OF THE HEAT THAT IS IN THE WORLD.
OF THE SEA, WHICH TO MANY FOOLS APPEARS TO BE HIGHER THAN THE EARTH WHICH FORMS ITS SHORE.
OF CERTAIN PERSONS WHO SAY THE WATERS WERE HIGHER THAN THE DRY LAND.
THE OPINION OF SOME PERSONS WHO SAY THAT THE WATER OF SOME SEAS IS HIGHER THAN THE HIGHEST SUMMITS OF MOUNTAINS; AND NEVERTHELESS THE WATER WAS FORCED UP TO THESE SUMMITS.
ON THE OCEAN.
WHY WATER IS SALT.
THAT THE OCEAN DOES NOT PENETRATE UNDER THE EARTH.
FRESH WATER PENETRATES MORE AGAINST SALT WATER THAN SALT WATER AGAINST FRESH WATER.
OF WAVES.
Book 9 of the meeting of rivers and their flow and ebb. The cause is the same in the sea, where it is caused by the straits of Gibraltar. And again it is caused by whirlpools.
OF THE FLOW AND EBB.
SUBTERRANEAN WATER COURSES.
WHETHER WATER RISES FROM THE SEA TO THE TOPS OF MOUNTAINS.
OF SPRINGS OF WATER ON THE TOPS OF MOUNTAINS.
IN CONFIRMATION OF WHY THE WATER GOES TO THE TOPS OF MOUNTAINS.
OF RIVERS.
OF THE ORIGIN OF RIVERS.
Book 9, of the meeting of rivers and of their ebb and flow. The cause is the same in the sea, where it is caused by the straits of Gibraltar; and again it is caused by whirlpools.
OF THE MOVEMENT OF A SUDDEN RUSH MADE BY A RIVER IN ITS BED PREVIOUSLY DRY.
OF THE VIBRATION OF THE EARTH.
ON MOUNTAINS.
OF THE SEA WHICH ENCIRCLES THE EARTH.
GEOLOGICAL PROBLEMS.
A DOUBTFUL POINT.
OF THE DELUGE AND OF MARINE SHELLS.
A CONFUTATION OF THOSE WHO SAY THAT SHELLS MAY HAVE BEEN CARRIED TO A DISTANCE OF MANY DAYS’ JOURNEY FROM THE SEA BY THE DELUGE, WHICH WAS SO HIGH AS TO BE ABOVE THOSE HEIGHTS.
ON THE ATMOSPHERE.
OF MOTION.
Topographical Notes.
ITALY.
CANAL OF FLORENCE.
OF THE CANAL OF MARTESANA.
CANAL.
THE BATH.
OF THE FORCE OF THE VACUUM FORMED IN A MOMENT.
LAKE OF COMO. VALLEY OF CHIAVENNA.
VAL SASINA.
VALLEY OF INTROZZO.
BELLAGGIO.
VALTELLINA.
IN VAL SASINA.
OF PAINTING.
FRANCE.
GERMANY. FRANCE.
SPAIN.
THE ROAD TO ORLEANS
THE COUNTRIES OF THE WESTERN END OF THE MEDITERRANEAN.
WHY THE SEA MAKES A STRONGER CURRENT IN THE STRAITS OF SPAIN THAN ELSEWHERE.
WHY THE CURRENT OF GIBRALTAR IS ALWAYS GREATER TO THE WEST THAN TO THE EAST.
THE LEVANT.
SMALL BOATS.
SITE FOR [A TEMPLE OF] VENUS.
WHY WATER IS FOUND AT THE TOP OF MOUNTAINS.
Naval Warfare.—Mechanical Appliances.—Music.
ON MOVEMENTS;—TO KNOW HOW MUCH A SHIP ADVANCES IN AN HOUR.
A METHOD OF ESCAPING IN A TEMPEST AND SHIPWRECK AT SEA.
TO ESCAPE THE PERIL OF DESTRUCTION.
GREEK FIRE.
Philosophical Maxims. Morals. Polemics and Speculations
PHILOSOPHICAL MAXIMS.
A PRAYER.
OF MECHANICS.
OF THE ERRORS OF THOSE WHO DEPEND ON PRACTICE WITHOUT SCIENCE.
MORALS.
A SIMILE FOR PATIENCE.
POLEMICS.—SPECULATION.
OF SPIRITS.
AS TO WHETHER A SPIRIT HAS A BODY AMID THE ELEMENTS.
AS TO WHETHER THE SPIRIT, HAVING TAKEN THIS BODY OF AIR, CAN MOVE OF ITSELF OR NOT.
AS TO WHETHER THE SPIRIT CAN SPEAK OR NOT.
EXAMPLE OF THE LIGHTNING IN CLOUDS.
Humorous Writings.
STUDIES ON THE LIFE AND HABITS OF ANIMALS.
THE LOVE OF VIRTUE.
ENVY.
CHEERFULNESS.
SADNESS.
PEACE.
RAGE.
GRATITUDE.
AVARICE.
INGRATITUDE.
CRUELTY.
GENEROSITY.
DISCIPLINE.
FLATTERERS OR SYRENS.
PRUDENCE.
FOLLY.
JUSTICE.
TRUTH.
FIDELITY, OR LOYALTY.
FALSEHOOD.
LIES.
VALOUR.
FEAR OR COWARDICE.
MAGNANIMITY.
VAIN GLORY.
CONSTANCY.
INCONSTANCY.
CONTINENCE.
INCONTINENCE.
HUMILITY.
PRIDE.
ABSTINENCE.
GLUTTONY.
CHASTITY.
UNCHASTITY.
MODERATION.
THE EAGLE.
LUMERPA,—FAME.
THE PELICAN.
THE SALAMANDER.
THE CAMELEON.
THE ALEPO, A FISH.
THE OSTRICH.
THE SWAN.
THE STORK.
THE GRASSHOPPER.
THE BAT.
THE PARTRIDGE.
THE SWALLOW.
THE OYSTER.—FOR TREACHERY.
THE BASILISK.—CRUELTY.
THE ASP.
THE DRAGON.
THE VIPER.
THE SCORPION.
THE CROCODILE. HYPOCRISY.
THE TOAD.
THE CATERPILLAR.—FOR VIRTUE IN GENERAL.
THE SPIDER.
THE LION.
THE TARANTULA.
THE SCREECH-OWL AND THE OWL.
THE ELEPHANT.
THE DRAGON.
THE SERPENT.
THE BOA(?)
THE MACLI.—CAUGHT WHEN ASLEEP.
THE BISON WHICH DOES INJURY IN ITS FLIGHT.
LIONS, PARDS, PANTHERS, TIGERS.
THE LIONESS.
THE LION.
THE PANTHER IN AFRICA.
CAMELS.
THE TIGER.
CATOBLEPAS.
THE BASILISK.
THE WEASEL.
THE CERASTES.
THE AMPHISBOENA.
THE IACULUS.
THE ASP.
THE ICHNEUMON.
THE CROCODILE.
THE DOLPHIN.
THE HIPPOPOTAMUS.
THE IBIS.
THE STAG.
THE LIZARD.
THE SWALLOW.
THE WEASEL.
THE WILD BOAR.
THE SNAKE.
THE PANTHER.
THE CHAMELEON.
THE RAVEN.
OF FORESIGHT.
MAGNANIMITY.
FABLES.
A FABLE.
A FABLE.
A FABLE.
A FABLE.
A FABLE.
A FABLE.
A FABLE.
A FABLE.
A FABLE.
A FABLE.
A FABLE.
A FABLE.
A FABLE.
JESTS AND TALES.
A JEST.
A JEST.
A JEST.
A JEST.
A JEST.
PROPHECIES.
THE DIVISION OF THE PROPHECIES.
PROPHECIES.
DRAUGHTS AND SCHEMES FOR THE HUMOROUS WRITINGS.
A FABLE.
THE SAME.
A FABLE.
A JEST.
A SIMILE.
A COMMON THING.
WHY DOGS TAKE PLEASURE IN SMELLING AT EACH OTHER.
TRICKS OF DIVIDING.
TRICKS OF DIVIDING.
Letters. Personal Records. Dated Notes.
OF THE STRUCTURE AND SIZE OF MOUNT TAURUS.
BOOK 43. OF THE MOVEMENT OF AIR ENCLOSED IN WATER.
Miscellaneous Notes.
NAMES OF ENGINEERS.
OF THE INSTRUMENT.
MEMORANDUM.
MEMORARDUM.
Book from Maestro small box,—Paolo Infermieri,—
Book on Arithmetic
CORNELIUS CELSUS.
OF SQUARING THE CIRCLE, AND WHO IT WAS THAT FIRST DISCOVERED IT BY ACCIDENT.
EXPENSES OF THE INTERMENT OF CATERINA.
Section title: Miscellaneous Notes.