The Notebooks of Leonardo Da Vinci (2 page)

In correcting the Italian text for the press, I have had the
advantage of valuable advice from the Commendatore Giov. Morelli,
Senatore del Regno, and from Signor Gustavo Frizzoni, of Milan. The
translation, under many difficulties, of the Italian text into
English, is mainly due to Mrs. R. C. Bell; while the rendering of
several of the most puzzling and important passages, particularly in
the second half of Vol. I, I owe to the indefatigable interest taken
in this work by Mr. E. J. Poynter R. A. Finally I must express my
thanks to Mr. Alfred Marks, of Long Ditton, who has most kindly
assisted me throughout in the revision of the proof sheets.

The notes and dissertations on the texts on Architecture in Vol. II
I owe to my friend Baron Henri de Geymuller, of Paris.

I may further mention with regard to the illustrations, that the
negatives for the production of the "photo-gravures" by Monsieur
Dujardin of Paris were all taken direct from the originals.

It is scarcely necessary to add that most of the drawings here
reproduced in facsimile have never been published before. As I am
now, on the termination of a work of several years' duration, in a
position to review the general tenour of Leonardos writings, I may
perhaps be permitted to add a word as to my own estimate of the
value of their contents. I have already shown that it is due to
nothing but a fortuitous succession of unfortunate circumstances,
that we should not, long since, have known Leonardo, not merely as a
Painter, but as an Author, a Philosopher, and a Naturalist. There
can be no doubt that in more than one department his principles and
discoveries were infinitely more in accord with the teachings of
modern science, than with the views of his contemporaries. For this
reason his extraordinary gifts and merits are far more likely to be
appreciated in our own time than they could have been during the
preceding centuries. He has been unjustly accused of having
squandered his powers, by beginning a variety of studies and then,
having hardly begun, throwing them aside. The truth is that the
labours of three centuries have hardly sufficed for the elucidation
of some of the problems which occupied his mighty mind.

Alexander von Humboldt has borne witness that "he was the first to
start on the road towards the point where all the impressions of our
senses converge in the idea of the Unity of Nature" Nay, yet more
may be said. The very words which are inscribed on the monument of
Alexander von Humboldt himself, at Berlin, are perhaps the most
appropriate in which we can sum up our estimate of Leonardo's
genius:

"Majestati naturae par ingenium."

LONDON, April 1883.

Clavis Sigillorum and Index of Manuscripts.—The author's intention
to publish his MSS. (1).—The preparation of the MSS. for
publication (2).—Admonition to readers (3).—The disorder in the
MSS. (4).—Suggestions for the arrangement of MSS. treating of
particular subjects (5—8).—General introductions to the book on
painting (9—13).—The plan of the book on painting (14—17).—The
use of the book on painting (18).—Necessity of theoretical
knowledge (19, 20).—The function of the eye (21—23).—Variability
of the eye (24).—Focus of sight (25).—Differences of perception by
one eye and by both eyes (26—29).—The comparative size of the
image depends on the amount of light (30—39).

General remarks on perspective (40—41).—The elements of
perspective:—of the point (42—46).—Of the line (47—48).—The
nature of the outline (49).—Definition of perspective (50).—The
perception of the object depends on the direction of the eye
(51).—Experimental proof of the existence of the pyramid of sight
(52—55).—The relations of the distance point to the vanishing
point (55—56).—How to measure the pyramid of vision (57).—The
production of the pyramid of vision (58—64).—Proof by experiment
(65—66).—General conclusions (67).—That the contrary is
impossible (68).—A parallel case (69).—The function of the eye, as
explained by the camera obscura (70—71).—The practice of
perspective (72—73).—Refraction of the rays falling upon the eye
(74—75).—The inversion of the images (76).—The intersection of
the rays (77—82).—Demonstration of perspective by means of a
vertical glass plane (83—85.)—The angle of sight varies with the
distance (86—88).—Opposite pyramids in juxtaposition (89).—On
simple and complex perspective (90).—The proper distance of objects
from the eye (91—92).—The relative size of objects with regard to
their distance from the eye (93—98).—The apparent size of objects
denned by calculation (99—106).—On natural perspective (107—109).

GENERAL INTRODUCTION.—Prolegomena (110).—Scheme of the books on
light and shade (111).—Different principles and plans of treatment
(112—116).—Different sorts of light (117—118).—Definition of
the nature of shadows (119—122).—Of the various kinds of shadows
(123—125).—Of the various kinds of light (126—127).—General
remarks (128—129).—FIRST BOOK ON LIGHT AND SHADE.—On the nature
of light (130—131).—The difference between light and lustre
(132—135).—The relations of luminous to illuminated bodies (136).
—Experiments on the relation of light and shadow within a room
(137—140).—Light and shadow with regard to the position of the
eye (141—145).—The law of the incidence of light
(146—147).—SECOND BOOK ON LIGHT AND SHADE.—Gradations of strength
in the shadows (148—149).—On the intensity of shadows as dependent
on the distance from the light (150—152).—On the proportion of
light and shadow (153—157).—THIRD BOOK ON LIGHT AND
SHADE.—Definition of derived shadow (158—159).—Different sorts of
derived shadows (160—162).—On the relation of derived and primary
shadow (163—165).—On the shape of derived shadows (166—174).—On
the relative intensity of derived shadows (175—179).—Shadow as
produced by two lights of different size (180—181).—The effect of
light at different distances (182).—Further complications in the
derived shadows (183—187).—FOURTH BOOK ON LIGHT AND SHADE.—On the
shape of cast shadows (188—191).—On the outlines of cast shadows
(192—195).—On the relative size of cast shadows (196.
197).—Effects on cast shadows by the tone of the back ground
(198).—A disputed proposition (199).—On the relative depth of
cast shadows (200—202).—FIFTH BOOK ON LIGHT AND
SHADE.—Principles of reflection (203. 204).—On reverberation
(205).—Reflection on water (206. 207).—Experiments with the mirror
(208—210).—Appendix:—On shadows in movement (211—212).—SIXTH
BOOK ON LIGHT AND SHADE.—The effect of rays passing through holes
(213. 214).—On gradation of shadows (215. 216).—On relative
proportion of light and shadows (216—221).

Definition (222. 223).—An illustration by experiment (224).—A
guiding rule (225).—-An experiment (226).—On indistinctness at
short distances (227—231).—On indistinctness at great distances
(232—234).—The importance of light and shade in the Prospettiva
de' perdimenti (235—239).—The effect of light or dark backgrounds
on the apparent size of objects (240—250).—Propositions on
Prospettiva de' perdimenti from MS. C. (250—262).

The reciprocal effects of colours on objects placed opposite each
other (263—271).—Combination of different colours in cast shadows
(272).—The effect of colours in the camera obscura (273. 274).—On
the colours of derived shadows (275. 276).—On the nature of colours
(277. 278).—On gradations in the depth of colours (279. 280).—On
the reflection of colours (281—283).—On the use of dark and light
colours in painting (284—286).—On the colours of the rainbow
(287—288).

General rules (289—291).—An exceptional case (292).—An experiment
(293).—The practice of the Prospettiva de' colori (294).—The rules
of aerial perspective (295—297).—On the relative density of the
atmosphere (298—299).—On the colour of the atmosphere (300—307).

Preliminary observations (308. 309).—Proportions of the head and
face (310—318).—Proportions of the head seen in front
(319—321).—Proportions of the foot (322—323).—Relative
proportions of the hand and foot (324).—Relative proportions of
the foot and of the face (325—327).—Proportions of the leg
(328—331).—On the central point of the whole body (332).—The
relative proportions of the torso and of the whole figure
(333).—The relative proportions of the head and of the torso
(334).—The relative proportions of the torso and of the leg (335.
336).—The relative proportions of the torso and of the foot
(337).—The proportions of the whole figure (338—341).—The torso
from the front and back (342).—Vitruvius' scheme of proportions
(343).—The arm and head (344).—Proportions of the arm
(345—349).—The movement of the arm (350—354).—The movement of
the torso (355—361).—The proportions vary at different ages
(362—367).—The movement of the human figure (368—375).—Of
walking up and down (375—379).—On the human body in action
(380—388).—On hair falling down in curls (389).—On draperies

(390—392).

Classification of trees (393).—The relative thickness of the
branches to the trunk (394—396).—The law of proportion in the
growth of the branches (397—402).—The direction of growth
(403—407).—The forms of trees (408—411).—The insertion of the
leaves (412—419).—Light on branches and leaves (420—422).—The
proportions of light and shade in a leaf (423—426).—Of the
transparency of leaves (427—429).—The gradations of shade and
colour in leaves (430—434).—A classification of trees according to
their colours (435).—The proportions of light and shade in trees
(436—440).—The distribution of light and shade with reference to
the position of the spectator (441—443).—The effects of morning
light (444—448).—The effects of midday light (449).—The
appearance of trees in the distance (450—451).—The cast shadow of
trees (452. 453).—Light and shade on groups of trees
(454—457).—On the treatment of light for landscapes
(458—464).—On the treatment of light for views of towns
(465—469).—The effect of wind on trees (470—473).—Light and
shade on clouds (474—477).—On images reflected in water (478).—Of
rainbows and rain (479. 480).—Of flower seeds (481).

I. MORAL PRECEPTS FOR THE STUDENT OF PAINTING.—How to ascertain the
dispositions for an artistic career (482).—The course of
instruction for an artist (483—485).—The study of the antique
(486. 487).—The necessity of anatomical knowledge (488. 489).—How
to acquire practice (490).—Industry and thoroughness the first
conditions (491—493.)—The artist's private life and choice of
company (493. 494).—The distribution of time for studying (495—
497).—On the productive power of minor artists (498—501).—A
caution against one-sided study (502).—How to acquire universality
(503—506).—Useful games and exercises (507. 508).—II. THE
ARTIST'S STUDIO.—INSTRUMENTS AND HELPS FOR THE APPLICATION OF
PERSPECTIVE.—ON JUDGING OF A PICTURE.—On the size of the studio
(509).—On the construction of windows (510—512).—On the best
light for painting (513—520).—On various helps in preparing a
picture (521—530).—On the management of works (531. 532).—On the
limitations of painting (533—535).—On the choice of a position
(536. 537).—The apparent size of figures in a picture (538.
539).—The right position of the artist, when painting and of the
spectator (540—547).—III. THE PRACTICAL METHODS OF LIGHT AND SHADE
AND AERIAL PERSPECTIVE.—Gradations of light and shade (548).—On
the choice of light for a picture (549—554).—The distribution of
light and shade (555—559).—The juxtaposition of light and shade
(560. 561).—On the lighting of the background (562—565).—On the
lighting of white objects (566).—The methods of aerial perspective
(567—570).—IV. OF PORTRAIT AND FIGURE PAINTING.—Of sketching
figures and portraits (571. 572).—The position of the head
(573).—Of the light on the face (574—576).—General suggestions
for historical pictures (577—581).—How to represent the
differences of age and sex (582. 583).—Of representing the emotions
(584).—Of representing imaginary animals (585).—The selection of
forms (586—591).—How to pose figures (592).—Of appropriate
gestures (593—600).—V. SUGGESTIONS FOR COMPOSITIONS.—Of painting
battle-pieces (601—603).—Of depicting night-scenes (604).—Of
depicting a tempest (605. 606).—Of representing the deluge
(607—609).—Of depicting natural phenomena (610. 611).—VI. THE
ARTIST'S MATERIALS.—Of chalk and paper (612—617).—On the
preparation and use of colours (618—627).—Of preparing the panel
(628).—The preparation of oils (629—634).—On varnishes (635—
637).—On chemical _materials (638—650).—VII. PHILOSOPHY AND
HISTORY OF THE ART OF PAINTING.—The relation of art and nature
(651. 652).—Painting is superior to poetry (653. 654).—Painting is
superior to sculpture (655. 656).—Aphorisms (657—659).—On the
history of painting (660. 661).—The painter's scope (662).

On pictures of the Madonna (663).—Bernardo di Bandino's portrait
(664).—Notes on the Last Supper (665—668).—On the battle of
Anghiari (669).—Allegorical representations referring to the duke
of Milan (670—673).—Allegorical representations
(674—678).—Arrangement of a picture (679).—List of drawings
(680).—Mottoes and Emblems (681—702).

The author's intention to publish his MSS.

1.

How by a certain machine many may stay some time under water. And
how and wherefore I do not describe my method of remaining under
water and how long I can remain without eating. And I do not publish
nor divulge these, by reason of the evil nature of men, who would
use them for assassinations at the bottom of the sea by destroying
ships, and sinking them, together with the men in them. Nevertheless
I will impart others, which are not dangerous because the mouth of
the tube through which you breathe is above the water, supported on
air sacks or cork.