Notebooks of

The Notebooks of Leonardo Da Vinci — Volume 1

Name: The Notebooks of Leonardo Da Vinci — Volume 1
Author: Leonardo, da Vinci, 1452-1519; Richter, Jean Paul, 1847-1937 [Translator]

作者：Leonardo, da Vinci, 1452-1519; Richter, Jean Paul, 1847-1937 [Translator]
体例：题　章数：366
字数：479,126　来源：Project Gutenberg

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共 366 题

The Notebooks of Leonardo Da Vinci
Volume 1
Translated by Jean Paul Richter
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.
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.
Refraction of the rays falling upon the eye (74. 75)
OF THE CENTRAL LINE OF THE EYE.
OF THE PLANE OF GLASS.
PERSPECTIVE.
PERSPECTIVE.
PERSPECTIVE.
PERSPECTIVE.
The angle of sight varies with the distance (86-88)
SIMPLE PERSPECTIVE.
PERSPECTIVE.
PERSPECTIVE.
PERSPECTIVE.
PERSPECTIVE.
PERSPECTIVE.
PERSPECTIVE.
PERSPECTIVE.
PERSPECTIVE--PROPOSITION.
DEFINITION.
The apparent size of objects defined by calculation (99-105)
OF LINEAR PERSPECTIVE.
OF THE DIMINUTION OF OBJECTS AT VARIOUS DISTANCES.
OF THE DEGREES OF DIMINUTION.
PERSPECTIVE.
PERSPECTIVE.
OF EQUAL OBJECTS THE MOST REMOTE LOOK THE SMALLEST.
OF A MIXTURE OF NATURAL AND ARTIFICIAL PERSPECTIVE.
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.
FIRST BOOK ON LIGHT AND SHADE.
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 PAINTING.
SECOND BOOK ON LIGHT AND SHADE.
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.
OF THE PYRAMIDAL SHADOW.
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.
FOURTH BOOK ON LIGHT AND SHADE.
OF SHADOWS WHICH NEVER COME TO AN END.
OF MODIFIED SHADOWS.
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.
OF THE DIMINISHED DISTINCTNESS OF THE OUTLINES OF OPAQUE BODIES.
OF THE DIMINUTION IN PERSPECTIVE OF OPAQUE 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.
ON LIGHT BETWEEN SHADOWS
TO PROVE HOW YOU MAY SEE THE REAL SIZE OF LUMINOUS BODIES.
PERSPECTIVE.
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 COLOURS OF SIMPLE DERIVED SHADOWS.
OF PAINTING.
OF COLOURS.
PERSPECTIVE.
PERSPECTIVE.
PERSPECTIVE.
PERSPECTIVE.
PERSPECTIVE.
WHY BEAUTIFUL COLOURS MUST BE IN THE [HIGHEST] LIGHT.
OF PAINTING.
THE ADVERSARY.
THE ANSWER.
WHETHER THE COLOURS OF THE RAINBOW ARE PRODUCED BY THE SUN.
THAT THE EYE HAS NO PART IN PRODUCING THE COLOURS OF THE RAINBOW.
OF THE COLOURS IN THE FEATHERS OF CERTAIN BIRDS.
OF THE VISIBILITY OF COLOURS.
ALL COLOURS ARE AT A DISTANCE UNDISTINGUISHABLE AND UNDISCERNIBLE.
OF AERIAL PERSPECTIVE.
OF THE MODE OF TREATING REMOTE OBJECTS IN PAINTING.
OF THE COLOUR OF THE ATMOSPHERE.
307. OF PAINTING.
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.
OF DRAWING.
Of walking up and down (375-379)
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.
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.
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 THE SMOKE OF A TOWN.
OF SMOKE AND DUST.
OF REPRESENTING WIND.
THE WIND.
IX.
I.
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.
OF STUDY AND THE ORDER OF STUDY.
Industry and thoroughness the first conditions (491-493.)
WHAT RULES SHOULD BE GIVEN TO BOYS LEARNING TO PAINT.
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 THE TIME FOR STUDYING SELECTION OF SUBJECTS.
OF POSITIONS.
THAT A PAINTER IS NOT ADMIRABLE UNLESS HE IS UNIVERSAL.
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.
II.
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.
HOW THE MIRROR IS THE MASTER [AND GUIDE] OF PAINTERS.
OF JUDGING YOUR OWN PICTURES.
OF A METHOD OF LEARNING WELL BY HEART.
On the limitations of painting (533-535)
HOW IN SMALL OBJECTS ERRORS ARE LESS EVIDENT THAN IN LARGE ONES.
WHY A PAINTING CAN NEVER APPEAR DETACHED AS NATURAL OBJECTS DO.
On the choice of a position (536-537)
HOW HIGH THE POINT OF SIGHT SHOULD BE PLACED.
OF THE WAY TO DRAW FIGURES FOR HISTORICAL PICTURES.
The apparent size of figures in a picture (538-539)
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.
OF PAINTING.
WHERE A SPECTATOR SHOULD STAND TO LOOK AT A PICTURE.
III.
THE PRACTICAL METHODS OF LIGHT AND SHADE AND AERIAL PERSPECTIVE.
HOW LIGHT SHOULD BE THROWN UPON FIGURES.
OF SITUATION.
OF THE JUDGMENT TO BE MADE OF A PAINTER'S WORK.
OF THE TREATMENT OF THE LIGHTS.
The distribution of light and shade (556-559)
OF SHADOWS ON BODIES.
OF LIGHTS AND SHADOWS.
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.
IV.
OF PORTRAIT AND FIGURE PAINTING.
OF A METHOD OF KEEPING IN MIND THE FORM OF A FACE.
I will make further mention of the reason of reflections.
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 PAINTING.
OF SETTING ON THE LIMBS.
OF THE ACTION OF THE FIGURES.
V.
SUGGESTIONS FOR COMPOSITIONS.
OF THE WAY OF REPRESENTING A 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.
VI.
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.
1._opero allor [?] bo [alloro?]_ = "_ou bien de [laurier]_."
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.
VII.
PHILOSOPHY AND HISTORY OF THE ART OF PAINTING.
HE WHO DESPISES PAINTING LOVES NEITHER PHILOSOPHY NOR NATURE.
OF PAINTING.
CHRIST.
TRUTH.
TO REPRESENT INGRATITUDE.
A DRESS FOR THE CARNIVAL.