The Collected Works of Leonardo da Vinci E-Book

Leonardo da Vinci

• Herausgeber: PergamonMedia
• Kategorie: Gesellschafts- und Liebesromane
• Serie: Highlights of World Literature
• Sprache: Englisch
• Veröffentlichungsjahr: 2015

Seitenzahl: 3158

Beschreibung

This comprehensive eBook presents the significant works of this famous and brilliant writer in one ebook - 3390 pages easy-to-read and easy-to-navigate: • The Notebooks of Leonardo da Vinci — CompleteLeonardo da Vinci • Thoughts on Art and Life by Leonardo da Vinci

Leseprobe

Table of Contents

The Notebooks of Leonardo Da Vinci

Volume 1

PREFACE.

F. P. R.

CONTENTS OF VOLUME I.

PROLEGOMENA AND GENERAL INTRODUCTION TO THE BOOK ON PAINTING

II.

LINEAR PERSPECTIVE

III.

SIX BOOKS ON LIGHT AND SHADE

IV.

PERSPECTIVE OF DISAPPEARANCE

V.

THEORY OF COLOURS

VI.

PERSPECTIVE OF COLOUR AND AERIAL PERSPECTIVE

VII.

ON THE PROPORTIONS AND ON THE MOVEMENTS OF THE HUMAN FIGURE

VIII.

BOTANY FOR PAINTERS, AND ELEMENTS OF LANDSCAPE PAINTING

IX.

THE PRACTICE OF PAINTING

X.

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.

_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.

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.

III.

GENERAL INTRODUCTION.

INTRODUCTION.

OF PAINTING.

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.

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.

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.