The Da Vinci Notebooks

[Danielle Gorree]

The Notebooks of Leonardo Da Vinci
by Jean Paul Richter
[1883]

Leonardo Da Vinci, arguably the central figure of the Renaissance, has long been considered by many a man of mystery. This is in spite of the fact that we have an unparalleled set of documents which illuminate his thought processes, interests, and deepest beliefs. We have access to hundreds of pages of his notes, jottings, sketches, doodles, and musings, including lists of books he read and even scraps of financial records. All of the known Da Vinci papers as of the mid-19th century are included here in this magnificent collection.

What emerges is the picture of a rationalist. For instance, Da Vinci was one of the first to question the Biblical account of the Flood. He saw the fossils of sea creatures on the tops of mountains and concluded that these could not have been deposited in a forty day flood. He looked at river valleys and did the math; they could only have been eroded over huge horizons of time.

Da Vinci put as much thought into his art as he did his science. Practically half of the writings here relate to detailed studies of the natural world which informed his work as an artist.

This is the first time that the Da Vinci notebooks have appeared on the Internet with all of the images in context. This electronic edition is based on the Project Gutenberg etext, with extensive additional work at sacred-texts, including scanning of missing material, formatting to match the copytext and hyperlinking.


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[Danielle Gorree]

[Danielle Gorree]

The Notebooks of Leonardo Da Vinci
Originally published as
The Literary Works of Leonardo Da Vinci

Translated by Jean Paul Richter

Volume 1
[1883]
These files are based on material produced for Project Gutenberg by Distributed Proofing. Additional scanning, proofing and formatting at sacred-texts.com, April 2006. Images scanned and processed at sacred-texts.com. This text and the associated images are in the public domain in the United States because they were originally published prior to January 1, 1923. These files may be used for any non-commercial purpose provided that proper attribution of the source is included with any copies.

p. v

DEDICATED
BY PERMISSION
TO
HER MOST GRACIOUS MAJESTY
THE QUEEN

[Danielle Gorree]

LIST OF SUBSCRIBERS.
H. R. H. THE PRINCE OF WALES.

H. I. H. THE CROWN PRINCE OF GERMANY.

H. R. H. THE DUKE OF ALBANY.

H. R. H. THE LANDGRÄFIN ANNA OF HESSE, PRINCESS OF PRUSSIA.

 

BERLIN, INDUSTRIAL MUSEUM (1 copy).

    "    MINISTRY OF PUBLIC INSTRUCTION (2 copies).

    "    ROYAL MUSEUM (1 copy).

BONN, ROYAL UNIVERSITY (1 copy).

    "    BOSTON, U. S., BOSTON ATHENÆUM (1 copy).

BRESLAU, PROVINCIAL MUSEUM (1 copy).

ROYAL UNIVERSITY (1 copy).

BUDAPEST, HUNGARIAN NATIONAL GALLERY (1 copy).

CAMBRIDGE, FITZWILLIAM MUSEUM (1 copy).

CASSEL, ROYAL PICTURE GALLERY (1 copy).

COPENHAGEN, ROYAL LIBRARY (1 copy).

    "    ROYAL PICTURE GALLERY (1 copy).

DELFT, POLYTECHNIC (1 copy).

DRESDEN, GENERAL DIRECTION DER KOENIGL. SAMMLUNGEN &c. (1 copy).

DUBLIN, KING'S INN LIBRARY (1 copy).

    "    NATIONAL LIBRARY OF IRELAND (1 copy).

HAGUE, THE, ROYAL LIBRARY (1 copy).

p. viii

HALLE, ROYAL UNIVERSITY (1 copy).

HARROW, VAUGHAN LIBRARY (1 copy).

LONDON, ATHENÆUM CLUB (1 copy).

    "    BURLINGTON FINE ARTS CLUB (1 copy).

    "    FINE ART SOCIETY (2 copies.).

    "    GUILDHALL LIBRARY (1 copy).

    "    NATIONAL GALLERY (1 copy).

    "    NEW UNIVERSITY CLUB (1 copy).

    "    REFORM CLUB (1 copy).

    "    ROYAL ACADEMY OF ARTS (SUBSCRIPTION OF ONE HUNDRED POUNDS).

    "    SOUTH KENSINGTON MUSEUM (1 copy).

MUNICH, ROYAL PINACOTECA (1 copy).

NEW YORK, BROOKLYN LIBRARY (1 copy).

OXFORD, CHRIST CHURCH (1 copy).

PARIS, BIBLIOTHÈQUE NATIONALE DES BEAUX-ARTS (1 copy).

    "    MUSÉE DU LOUVRE (1 copy).

PRAGUE, IMPERIAL AND ROYAL UNIVERSITY (1 copy).

TURIN, ROYAL LIBRARY (1 copy).

VIENNA, THE ALBERTINA (1 copy).

    "    IMPERIAL AND ROYAL UNIVERSITY (1 copy).

    "    MUSEUM OF ART AND INDUSTRY (1 copy).

WEIMAR, GRAND DUCAL MUSEUM (1 copy).

WINDSOR, ROYAL LIBRARY (1 copy).

 

ALMA-TADEMA, L. ESQ., R. A., LONDON (1 copy).

AMSLER & RUTHARDT, BERLIN (2 copies).

ANTINORI, THE MARQUESE, SENATORE DEL REGNO, FLORENCE (1 copy).

ARTOM, SENATORE DEL REGNO, ASTI (1 copy).

ASHER & CO., LONDON (4 copies).

AZEGLIO, THE MARCHESE D', SENATORE DEL REGNO, TURIN (1 copy).

BAIN, JAMES, LONDON (4 copies).

BARING, EDW. CHAS. ESQ., M. P., LONDON (1 copy).

BARTLETT, W. H. AND CO., LONDON (1 copy).

BELL, HUGH ESQ., LONDON (1 copy).

BICKERS AND SONS, LONDON (2 copies).

BIRKETT, THE REVD. A. H., BROMHAM (1 copy).

BLACKER, LOUIS, ESQ. (1 copy).

BODE, DR. W. DIRECTOR OF THE ROYAL MUSEUM, BERLIN (1 copy).

BOWER, R. M. ESQ., LONDON (1 copy).

BRAMBILLA, SIGNOR P., MILAN (1 copy).

BREDINS, HERR A., THE HAGUE (1 copy).

BRIOSCHI, PROF. FRANC., DIRECTOR OF THE POLYTECHNIC, MILAN (I. copy).

p. ix

BRUN, HERR CARL, ZURICH (1 copy).

BUMPUS, JOHN, LONDON (6 copies).

BUMPUS, EDW., LONDON (2 copies).

BUMPUS, T. B., LONDON (1 copy).

BURNS AND OATES, LONDON (2 copies).

BUTE, THE MARQUIS OF (1 copy).

CAGNOLA, SENATORE DEL REGNO, MILAN (1 copy).

CAMPORI, THE MARCHESE G., MODENA (1 copy).

CARTER, DR. F. A., LEAMINGTON (1 copy).

CLEMENT, C. G. ESQ., LONDON (1 copy).

CHRISTIE, A. H. ESQ., LONDON (1 copy).

CIVIL SERVICE SUPPLY ASSOCIATION, LONDON (3 copies):

COLVIN, PROF. SIDNEY, CAMBRIDGE (1 copy).

COOMES'S REGENT LIBRARY, LONDON (2 copies).

COOTE, WALTER, ESQ., LONDON (1 copy).

CORNISH, JOS. AND SONS, LONDON (1 copy).

CORNISH, J. E., MANCHESTER (7 copies).

CORNISH, BROS., BIRMINGHAM (1 copy).

CORSINI, H. H. PRINCE TOMMASO, FLORENCE (1 copy).

DENNY, A., LONDON (1 copy).

DAWSON, BROS., MONTREAL, CANADA (2 copies).

DEVONSHIRE, THE DUKE OF (1 copy).

DOETSCH, HENRY ESQ., LONDON (1 copy).

DOUGLAS AND FOULIS, EDINBURGH (5 copies).

DOWNING AND CO., BIRMINGHAM (1 copy).

DUGUID, JOHN ESQ., DOVER (1 copy).

DUMOLARD, FRATELLI, MILAN (3 copies).

DUNN, JOHN, LONDON (1 copy).

ELLIS AND WHITE, LONDON (1 copy).

EASTLAKE, LADY, LONDON (1 copy).

FRIZZONI, DR. GUSTAVO, MILAN (1 copy).

FÜRSTENBERG, H. S. H., PRINCE KARL EGON ZU (1 copy).

GEROLD, L. C., VIENNA (1 copy).

[Danielle Gorree]

GILBERT AND FIELD, LONDON (1 copy).

GILL, M. H. AND SON, DUBLIN (1 copy).

GIOVANNELLI, H. H. PRINCE, VENICE (1 copy).

GOODE, MRS., BADEN (1 copy).

GRAHAM, W. ESQ., LONDON (1 copy).

GRIMM, PROF. HERMAN, BERLIN (1 copy).

GOWER, LORD RONALD (1 copy).

HABICH, HERR EDW., CASSEL (1 copy).

HAAR AND STEINERT, PARIS (1 copy).

HAMILTON, ADAMS AND CO., LONDON (6 copies).

HATCHARD, MESSRS., LONDON (2 copies).

HARRISON AND SONS, LONDON (1 copy).

p. x

HEIMBÜRGER, FRL. N., ACHERN (1 copy).

HENDERSON AND CO., J. T., LEGHORN (1 copy).

HERTZ, FRL. H., NORTHWICH (1 copy).

HESELTINE, J. P. ESQ., LONDON (1 copy).

HICHENS, ANDREW K., LONDON (1 copy).

HICHENS, J. K., LONDON (1 copy).

HODJES, FIGGIS, AND CO., DUBLIN (1 copy).

HODSON, J. STEWART, ESQ., HASLEMERE (1 copy).

HOEPLI, ULRICO, MILAN (8 copies).

HOLLOND, MRS. ROBT., LONDON (1 copy).

JAMES, F. H. ESQ. M. D., LANCASTER, U. S. (1 copy).

JARROLD AND SONS, NORWICH (1 copy).

JERSEY, THE EARL OF (1 copy).

JOEL, H. F. ESQ., DALSTON (1 copy).

JORDAN, GEH. RATH, DR. M., BERLIN (1 copy).

KLINCKSICK, C., PARIS (2 copies).

LANDRIANI, SIGNOR C., MILAN (1 copy).

LAYARD, SIR HENRY A. (1 copy).

LEHMANN, RUDOLPH ESQ., LONDON (1 copy).

LEIGHTON, SIR F., P. R. A., LONDON (1 copy).

LEUCHNER AND LUBENSKY, GRAZ (1 copy).

LEVIS, DR. GIUSEPPE, MILAN (1 copy).

LIPPMANN, DR., DIRECTOR OF THE ROYAL MUSEUM, BERLIN (1 copy).

LITTLE, BROWN AND CO., BOSTON, U. S. (3 copies).

LOCKWOOD (CROSBY) AND CO., LONDON (2 Copies).

LÖSCHER AND CO., ROME (1 copy).

MC KELVIE AND SONS, GREENOCK (1 copy).

MACLEHOSE AND SONS, GLASGOW (1 copy).

MARKS, A. ESQ., LONG DITTON (1 copy).

MARTIN, SIR THEODORE, K. C. B. (1 copy).

MAXWELL, ANDREW, ESQ., GLASGOW (1 copy).

MENEFEE, R. J., ESQ., LOUISVILLE, U. S. A. (1 copy).

MEYER, DR., DIRECTOR OF THE ROYAL MUSEUM, BERLIN (1 copy).

MILDMAY, H. B. ESQ., LONDON (1 copy).

MINGHETTI, H. E. CAY. MARCO, BOLOGNA (1 copy).

MOLINEUX, R. J., ESQ. GUILDFORD (1 copy).

MONGERI, PROF. GIUS., MILAN (1 copy).

MORELLI, COMM. GIOV. SENATORE DEL REGNO, MILAN (1 copy).

MORISON, TH. ESQ., LONDON (1 copy).

MORRISON, ALFRED ESQ., LONDON (1 copy).

NAST-KOLB, A. VON, GERMAN CONSUL, ROME (1 copy).

NORTHBROOK, THE EARL OF (1 copy).

NUNN, H. AND CO., LONDON (1 copy).

PAPADOPOL, THE CONTE, SENATORE DEL REGNO, VENICE (1 copy).

PARSON, EDW. ESQ., LONDON (1 copy).

p. xi

PETRIE, GEO., DUNDEE (2 copies).

PHILIP, SON AND NEPHEW, LIVERPOOL (1 copy).

PONTI, SIGNOR ANDREA, MILAN (1 copy).

POYNTER, EDW. J. ESQ., R. A., LONDON (1 copy).

POWELL, FRANCIS ESQ., DUNOON (1 copy).

POWERSCOURT, THE VISCOUNT (1 copy).

PRENDERGAST, J. ESQ., SAN FRANCISCO (1 copy).

PRINETTI, C., SENATORE DEL REGNO, MILAN (1 copy).

QUARITCH, BERNARD, LONDON (8 copies).

RADFORD, W. T. ESQ., SIDMOUTH (1 copy).

RAMSDEN, MRS. JOHN, GODALMING (1 copy).

RICHMOND, W. B. ESQ, LONDON (1 copy).

ROBINSON, J. C. ESQ., LONDON (1 copy).

ROSE, J. ANDERSON ESQ., LONDON (1 copy).

ROTH, MATTHIAS, ESQ. M. D., LONDON (1 copy).

ROTHERHAM, L. AND S. SOCIETY (1 copy).

SARTORIS, E. J. ESQ., LONDON (1 copy).

SAUNDERS, W., LONDON (1 copy).

SCHRÖDER, BARON H., LONDON (1 copy).

SCRIBNER AND WELFORD, NEW YORK (6 copies).

SERENA, ARTHUR, ESQ., LONDON (1 copy).

SLOPHER, TH. ESQ., WINCHESTER (1 copy).

SIEMENS, C. W. ESQ., LONDON (1 copy).

SMITH, A. WATSON ESQ., STOUBRIDGE (1 copy).

SMITH, W. H. AND SONS, LONDON (2 copies).

SPALETTI, THE CONTE V., REGGIO (1 copy).

SOTHERAN, H. AND CO., LONDON (11 Copies).

SOUTHAMPTON BOOK SOCIETY (1 copy).

SPENCER, THE EARL OF (1 copy).

SPITHOEVER AND CO., ROME (1 copy).

STANFORD, E., LONDON (1 copy).

STEVENS, B. F., LONDON (2 copies).

STUBLEY, R., BOSTON (1 copy).

STUTFIELD, MARION, BRIGHTON (1 copy).

TEANO, H. H. THE PRINCE, ROME (1 copy).

THIBAUDEAU, A. W. ESQ., LONDON (1 copy).

THOMSON, J. A. ESQ., LIVERPOOL (1 copy).

TRIVULZIO, THE MARCHESE G. G., MILAN (1 copy).

TRÜBNER AND CO., LONDON (4 copies).

TUBBS, BROOKS AND CHRYSTAL, MANCHESTER (2 copies).

UZIELLI, PROF. GUSTAVO, TURIN (1 copy).

VENOSTA, H. E. THE MARCHESE VISCONTI, MILAN (1 copy).

WALLACE, SIR RICHARD, BART., LONDON (1 copy).

WALLIS, HENRY ESQ., LONDON (1 copy).

WALMSLEY, G. G., LIVERPOOL (1 copy).

p. xii

WARDLE, GEORGE ESQ., LONDON (1 copy).

WATERS, G. W., LONDON (1 copy).

WHARNCLIFFE, THE EARL OF (1 copy).

WESTHORP, STERLING ESQ., IPSWICH (1 copy).

WIGAN, FRED. ESQ., LONDON (1 copy).

WILLETT, HENRY ESQ., BRIGHTON (1 copy).

WILLIAMS AND NORGATE, LONDON (1 copy).

WOODGATE, JOHN, ESQ., COLCHESTER (1 copy).

WYLLIE AND SON, ABERDEEN (1 copy).

WYNDHAM, HON. PERCY, LONDON (1 copy).



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[Danielle Gorree]

PREFACE.

A singular fatality has ruled the destiny of nearly all the most famous of Leonardo da Vinci's works. Two of the three most important were never completed, obstacles having arisen during his life-time, which obliged him to leave them unfinished; namely the Sforza Monument and the Wall-painting of the Battle of Anghiari, while the third--the picture of the Last Supper at Milan--has suffered irremediable injury from decay and the repeated restorations to which it was recklessly subjected during the XVIIth and XVIIIth centuries. Nevertheless, no other picture of the Renaissance has become so wellknown and popular through copies of every description.

Vasari says, and rightly, in his Life of Leonardo, "that he laboured much more by his word than in fact or by deed", and the biographer evidently had in his mind the numerous works in Manuscript which have been preserved to this day. To us, now, it seems almost inexplicable that these valuable and interesting original texts should have remained so long unpublished, and indeed forgotten. It is certain that during the XVIth and XVIIth centuries their exceptional value was highly appreciated. This is proved not merely by the prices which they commanded, but also by the exceptional interest which has been attached to the change of ownership of merely a few pages of Manuscript.

That, notwithstanding this eagerness to possess the Manuscripts, their contents remained a mystery, can only be accounted for by the many and great difficulties attending the task of deciphering them. The handwriting is

p. xiv

[Danielle Gorree]

so peculiar that it requires considerable practice to read even a few detached phrases, much more to solve with any certainty the numerous difficulties of alternative readings, and to master the sense as a connected whole. Vasari observes with reference to Leonardos writing: "he wrote backwards, in rude characters, and with the left hand, so that any one who is not practised in reading them, cannot understand them". The aid of a mirror in reading reversed handwriting appears to me available only for a first experimental reading. Speaking from my own experience, the persistent use of it is too fatiguing and inconvenient to be practically advisable, considering the enormous mass of Manuscripts to be deciphered. And as, after all, Leonardo's handwriting runs backwards just as all Oriental character runs backwards--that is to say from right to left--the difficulty of reading direct from the writing is not insuperable. This obvious peculiarity in the writing is not, however, by any means the only obstacle in the way of mastering the text. Leonardo made use of an orthography peculiar to himself; he had a fashion of amalgamating several short words into one long one, or, again, he would quite arbitrarily divide a long word into two separate halves; added to this there is no punctuation whatever to regulate the division and construction of the sentences, nor are there any accents--and the reader may imagine that such difficulties were almost sufficient to make the task seem a desperate one to a beginner. It is therefore not surprising that the good intentions of some of Leonardo s most reverent admirers should have failed.

Leonardos literary labours in various departments both of Art and of Science were those essentially of an enquirer, hence the analytical method is that which he employs in arguing out his investigations and dissertations. The vast structure of his scientific theories is consequently built up of numerous separate researches, and it is much to be lamented that he should never have collated and arranged them. His love for detailed research--as it seems to me--was the reason that in almost all the Manuscripts, the different paragraphs appear to us to be in utter confusion; on one and the same page, observations on the most dissimilar subjects follow each other without any connection. A page, for instance, will begin with some principles of astronomy, or the motion of the earth; then come the laws of sound, and finally some precepts as to colour. Another page will begin with his investigations on the structure of the intestines, and end with philosophical remarks as to the relations of poetry to painting; and so forth.

p. xv


Leonardo himself lamented this confusion, and for that reason I do not think that the publication of the texts in the order in which they occur in the originals would at all fulfil his intentions. No reader could find his way through such a labyrinth; Leonardo himself could not have done it.

Added to this, more than half of the five thousand manuscript pages which now remain to us, are written on loose leaves, and at present arranged in a manner which has no justification beyond the fancy of the collector who first brought them together to make volumes of more or less extent. Nay, even in the volumes, the pages of which were numbered by Leonardo himself, their order, so far as the connection of the texts was concerned, was obviously a matter of indifference to him. The only point he seems to have kept in view, when first writing down his notes, was that each observation should be complete to the end on the page on which it was begun. The exceptions to this rule are extremely few, and it is certainly noteworthy that we find in such cases, in bound volumes with his numbered pages, the written observations: "turn over", "This is the continuation of the previous page", and the like. Is not this sufficient to prove that it was only in quite exceptional cases that the writer intended the consecutive pages to remain connected, when he should, at last, carry out the often planned arrangement of his writings?

What this final arrangement was to be, Leonardo has in most cases indicated with considerable completeness. In other cases this authoritative clue is wanting, but the difficulties arising from this are not insuperable; for, as the subject of the separate paragraphs is always distinct and well defined in itself, it is quite possible to construct a well-planned whole, out of the scattered materials of his scientific system, and I may venture to state that I have devoted especial care and thought to the due execution of this responsible task.

The beginning of Leonardo's literary labours dates from about his thirty-seventh year, and he seems to have carried them on without any serious interruption till his death. Thus the Manuscripts that remain represent a period of about thirty years. Within this space of time his handwriting altered so little that it is impossible to judge from it of the date of any particular text. The exact dates, indeed, can only be assigned to certain note-books in which the year is incidentally indicated, and in which the order

p. xvi

[Danielle Gorree]

of the leaves has not been altered since Leonardo used them. The assistance these afford for a chronological arrangement of the Manuscripts is generally self evident. By this clue I have assigned to the original Manuscripts now scattered through England, Italy and France, the order of their production, as in many matters of detail it is highly important to be able to verify the time and place at which certain observations were made and registered. For this purpose the Bibliography of the Manuscripts given at the end of Vol. II, may be regarded as an Index, not far short of complete, of all Leonardo s literary works now extant. The consecutive numbers (from 1 to 1566) at the head of each passage in this work, indicate their logical sequence with reference to the subjects; while the letters and figures to the left of each paragraph refer to the original Manuscript and number of the page, on which that particular passage is to be found. Thus the reader, by referring to the List of Manuscripts at the beginning of Volume I, and to the Bibliography at the end of Volume II, can, in every instance, easily ascertain, not merely the period to which the passage belongs, but also exactly where it stood in the original document. Thus, too, by following the sequence of the numbers in the Bibliographical index, the reader may reconstruct the original order of the Manuscripts and recompose the various texts to be found on the original sheets--so much of it, that is to say, as by its subject-matter came within the scope of this work. It may, however, be here observed that Leonardo s Manuscripts contain, besides the passages here printed, a great number of notes and dissertations on Mechanics, Physics, and some other subjects, many of which could only be satisfactorily dealt with by specialists. I have given as complete a review of these writings as seemed necessary in the Bibliographical notes.

In 1651, Raphael Trichet Dufresne, of Paris, published a selection from Leonardo's writings on painting, and this treatise became so popular that it has since been reprinted about two-and-twenty times, and in six different languages. But none of these editions were derived from the original texts, which were supposed to have been lost, but from early copies, in which Leonardo's text had been more or less mutilated, and which were all fragmentary. The oldest and on the whole the best copy of Leonardo's essays and precepts on Painting is in the Vatican Library; this has been twice printed, first by Manzi, in 1817, and secondly by Ludwig, in 1882. Still, this ancient copy, and the published editions of it, contain much for which it would be rash to hold Leonardo responsible, and some portions--such as the very

p. xvii

important rules for the proportions of the human figure--are wholly wanting; on the other hand they contain passages which, if they are genuine, cannot now be verified from any original Manuscript extant. These copies, at any rate neither give us the original order of the texts, as written by Leonardo, nor do they afford any substitute, by connecting them on a rational scheme; indeed, in their chaotic confusion they are anything rather than satisfactory reading. The fault, no doubt, rests with the compiler of the Vatican copy, which would seem to be the source whence all the published and extensively known texts were derived; for, instead of arranging the passages himself, he was satisfied with recording a suggestion for a final arrangement of them into eight distinct parts, without attempting to carry out his scheme. Under the mistaken idea that this plan of distribution might be that, not of the compiler, but of Leonardo himself, the various editors, down to the present day, have very injudiciously continued to adopt this order--or rather disorder.

[Danielle Gorree]

I, like other enquirers, had given up the original Manuscript of the Trattato della Pittura for lost, till, in the beginning of 1880, I was enabled, by the liberality of Lord Ashburnham, to inspect his Manuscripts, and was so happy as to discover among them the original text of the best-known portion of the Trattato in his magnificent library at Ashburnham Place. Though this discovery was of a fragment only--but a considerable fragment--inciting me to further search, it gave the key to the mystery which had so long enveloped the first origin of all the known copies of the Trattato. The extensive researches I was subsequently enabled to prosecute, and the results of which are combined in this work, were only rendered possible by the unrestricted permission granted me to investigate all the Manuscripts by Leonardo dispersed throughout Europe, and to reproduce the highly important original sketches they contain, by the process of "photogravure". Her Majesty the Queen graciously accorded me special permission to copy for publication the Manuscripts at the Royal Library at Windsor. The Commission Centrale Administrative de l'Institut de France, Paris, gave me, in the most liberal manner, in answer to an application from Sir Frederic Leighton, P. R. A., Corresponding member of the Institut, free permission to work for several months in their private collection at deciphering the Manuscripts preserved there. The same favour which Lord Ashburnham had already granted me was extended to me by the Earl of Leicester, the Marchese Trivulsi, and the Curators of the Ambrosian Library at Milan, by the Conte Manzoni at Rome and by

p. xviii

other private owners of Manuscripts of Leonardo's; as also by the Directors of the Louvre at Paris; the Accademia at Venice; the Uffizi at Florence; the Royal Library at Turin; and the British Museum, and the South Kensington Museum. I am also greatly indebted to the Librarians of these various collections for much assistance in my labours; and more particularly to Monsieur Louis Lalanne, of the Institut de France, the Abbate Ceriani, of the Ambrosian Library, Mr. Maude Thompson, Keeper of Manuscripts at the British Museum, Mr. Holmes, the Queens Librarian at Windsor, the Revd Vere Bayne, Librarian of Christ Church College at Oxford, and the Revd A. Napier, Librarian to the Earl of Leicester at Holkham Hall.

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

p. xix

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.


F. P. R.

http://sacred-texts.com/aor/dv/v1pref.htm

[Danielle Gorree]

p. xxi

CONTENTS OF VOLUME I.

 

I.
 
 
PROLEGOMENA AND GENERAL INTRODUCTION TO THE BOOK ON PAINTING
 1--24
 
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).
 
 
II.
 
 
LINEAR PERSPECTIVE
 25--65
 
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).
 
 
p. xxii
 
 
III.
 
 
SIX BOOKS ON LIGHT AND SHADE
 67--123
 
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).
 
 
IV.
 
 
PERSPECTIVE OF DISAPPEARANCE
 123--139
 
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).
 
 
V.
 
 
THEORY OF COLOURS
 141--154
 
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).
 
 
VI.
 
 
PERSPECTIVE OF COLOUR AND AERIAL PERSPECTIVE
 155-166
 
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).
 
 
p. xxiii
 
 
VII.
 
 
ON THE PROPORTIONS AND ON THE MOVEMENTS OF THE HUMAN FIGURE
 167-201
 
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).
 
 
VIII.
 
 
BOTANY FOR PAINTERS, AND ELEMENTS OF LANDSCAPE PAINTING
 203-240
 
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).
 
 
IX.
 
 
THE PRACTICE OF PAINTING
 231-332
 
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 ~pxxiv 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).
 
 
X.
 
 
STUDIES AND SKETCHES FOR PICTURES AND DECORATIONS
 333-361
 
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).
 
 
REFERENCE TABLE TO THE NUMERICAL ORDER OF THE CHAPTERS
 
 

 



--------------------------------------------------------------------------------

[Danielle Gorree]

p. xxv

All drawings here reproduced are in pen and ink, unless otherwise stated. The reproductions are of the exact size of the originals, except that Plates I, XVIII and are slightly reduced. Plate I is the frontispiece; Plate II is on p. 124; Plates III--XXXV follow p. 124; Plate XXXVI is on p. 202; Plates XXXVII--LXIV follow p. 202.

LIST OF ILLUSTRATIONS IN VOLUME I.
Pl. I.
 Portrait of Leonardo, by himself, reproduced from the original drawing in red chalk in the Royal Library, Turin--see No. 1368, Note
 
 
Pl. II.
 Three Diagrams, illustrating the theories of Linear Perspective and of Light and Shade: No. 1 from the Ashburnham MS. I No. 1--see text No. 61. Nos. 2 and 3 from MS. C., Institut de France, Paris--see text No. 141
 
 
Pl. III.
 Two Diagrams, illustrating the theory of Light and Shade; from the Ashburnham MS. I: No. 1--see text Nos. 148 and 275--; No. 2--see text No. 149
 
 
Pl. IV.
 Five Diagrams, illustrating the theory of Light and Shade: No. 1 from MS. E, Institut de France, Paris--see text No. 162--; Nos. 2 and 3 from the Ashburnham MS. I--see text Nos. 169 and 173--; Nos. 4 and 5 from the Codex Atlanticus, Ambrosian Library, Milan--see text Nos. 179 and 187
 
 
Pl. V.
 Diagram, illustrating the theory of Light and Shade and Sketches of Figures illustrating the Movements of the Human Figure; from the Royal Library, Windsor Castle--see text Nos. 183 and 597
 
 
Pl. VI.
 Four Diagrams, illustrating the theory of Light and Shade: No. 1 from the Codex Atlanticus, Milan--see text No. 191--; Nos. 2 and 3 from MS. C, Institut de France, Paris--see text Nos. 215 and 216--; No. 4 from the Ashburnham MS. I--see text No. 224
 
 
Pl. VII.
 Five Drawings, illustrating the theory of the Proportions of the Human Figure, from the Royal Library, Windsor Castle; No. 1--see text No. 310--; No. 2--see text Nos. 310 and 339--; No. 3--see text No. 313--; No. 4--see text Nos. 321 and 327--; No. 5--see No 595
 
 
Pl. VIII.
 Two Drawings, illustrating the theory of the Proportions of the Human Figure; No. 1 from MS. A, Institut de France, Paris--see text No. 312--; No. 2 from the Royal Library, Windsor Castle--see text No. 332
 
 
Pl. IX.
 Drawing, illustrating the theory of the Proportions of the Human Figure; from the Accademia at Venice--see text No. 315
 
 
 
 p. xxvi
 
 
Pl. X.
 Drawing in silverpoint on bluish-toned paper, illustrating the theory of Proportions of the Human Figure; from the Royal Library, Windsor Castle--see text No. 316
 
 
Pl. XI.
 Drawing, illustrating the theory of Proportions of the Human Figure; from the Royal Library, Windsor Castle--see text No. 318
 
 
Pl. XII.
 Drawing, illustrating the theory of Proportions in, the Human Figure; from the Royal Library, Turin--see text No. 319
 
 
Pl. XIII.
 Two Drawings illustrating the theory of the Proportions of the Human Figure; from the Royal Library Windsor Castle--see text No. 328
 
 
Pl. XIV.
 Two drawings, illustrating the theory of Proportions of the Human Figure, from the Royal Library, Windsor Castle; No. 1--see text Nos. 326, 330--; No 2.--see text No. 334
 
 
Pl. XV.
 Sketches, illustrating the theory of the Proportions of the Human Figure; from the Royal Library, Windsor Castle--see text Nos. 331 and 345
 
 
Pl. XVI.
 Two Drawings, illustrating the theory of the Proportions of the Human Figure; from the Royal Library, Windsor Castle: No. 1, see text No. 335; No. 2, see text Nos. 339 and 342
 
 
Pl. XVII.
 Two drawings, illustrating the theory of Proportions in the Human Figure; No. 1 from MS. A, Institut de France, Paris--see text No. 313 note--; No. 2 from the Royal Library, Windsor Castle,--see text Nos. 348 and 336
 
 
Pl. XVIII.
 Drawing, illustrating the Proportions of the Human Figure, from the Accademia, Venice --see text No. 343
 
 
Pl. XIX.
 Two Drawings, illustrating the theory of the Proportions of the Human Figure from the Royal Library, Windsor Castle; No. 1--see text No. 347--; No. 2--see text No. 351
 
 
Pl. XX.
 Drawing, illustrating the theory of the Proportions of the Human Figure; from the Royal Library, Windsor Castle--see text No. 349
 
 
Pl. XXI.
 Drawing in red chalk, illustrating the theory of the Movements of the Human Figure--see text No. 356--, and sketch in pen and ink of warriors fighting--see p. 340;--from the Royal Library, Windsor Castle
 
 
Pl. XXII.
 Four Drawings, illustrating the theory of the Movements of the Human Figure: Nos. 1 and 2 from the Royal Library, Windsor Castle--see text Nos. 357 and 358--; Nos. 3 and 4 from Manuscript A, Institut de France, Paris--see text Nos. 359 and 369
 
 
Pl. XXIII.
 Four Drawings, illustrating the theory of the Movements of the Human Figure: No. 1 from the Royal Library, Windsor Castle--see text No. 375--; No. 2, in red chalk, from MS. II.2, South Kensington Museum, London --see text Nos. 376 and 1395--; No. 3, in red chalk, from Manuscript II.2, Institut de France, Paris--see text No. 377--; No. 4 from the Royal Library, Windsor Castle--see text No. 379
 
 
Pl. XXIV.
 Three Drawings, illustrating the theory of the Movements of the Human Figure: No. 1 from the Royal Library, Windsor Castle--see text No. 387--; No. 2 from the Codex Atlanticus, Milan--see text No. 388--; No. 3 from the Leicester Manuscript, Holkham Hall--see text No. 386
 
 
Pl. XXV.
 Drawing, illustrating the representation of the hair falling down in curls; from the Royal Library, Windsor Castle--see text No. 389
 
 
 
 p. xxvii
 
 
Pl. XXVI.
 Charcoal Drawing of a Female Figure, from the Royal Library, Windsor Castle--see text No. 391 and p. 342
 
 
Pl. XXVII.
 Five Drawings, illustrating the Botany for Painters; from the Manuscripts M (1) and G (2 to 5), Institut de France, Paris: No. 1--see text Nos. 395 and 396--; No. 2--see text Nos. 402 and 412--; No. 3--see text No. 413--; No. 4--see text No. 414--; No. 5--see text No. 417
 
 
Pl. XXVIII.
 Five Drawings illustrating the Elements of Landscape Painting; from the Manuscripts M, G, E and I1 in the Institut de France, Paris--No. 1 (MS. M)--see text No. 420--; No. 2 (MS. G)--see text Nos. 424 and 433--; No. 3 (MS. E) see text Nos. 440 and 442--; No. 4 (MS. G)--see text No. 45--; No. 5 (MS. I1)--see text Nos. 188 and 452--;--and two drawings illustrating the theory of the Arrangement of Folds in Draperies: No. 6 from the Ashburnham Manuscript I--see text No. 390--; No. 7 from the Royal Library, Windsor Castle--see text No. 392
 
 
Pl. XXIX.
 Drawing, in red chalk, representing a Landscape; from the Royal Library, Windsor Castle--see text No. 476
 
 
Pl. XXX.
 Drawing of a Bust and minor Sketches; from the Royal Library, Windsor Castle--see text Nos. 486 and 487
 
 
Pl. XXXI.
 Four Drawings illustrating the Practice of Painting: No. 1 from the Codex Atlanticus Milan--see text Nos. 490 and 548--; No. 2 from the Ashburnham Manuscript I--see text No. 512;--No. 3 from Manuscript A, Institut de France, Paris--see text No. 526;--No. 4 from the Ashburnham Manuscript I--see text Nos. 573 and 574
 
 
Pl. XXXII.
 Drawing of a male Head, illustrating the Practice of Painting; from the Royal Library, Windsor Castle--see text Nos. 137, 575
 
 
Pl. XXXIII.
 Study of Female Hands, drawn with the silverpoint on yellowish tinted paper, heightened with white; from the Royal Library, Windsor Castle--see text No. 583
 
 
 
 Drawing of two Men on horseback fighting a Dragon; from the Collection of Baron Edmond de Rothschild, Paris; woodcut page
 293
 
 
 Drawing of Male Figures in various groups, from the Louvre Collections (reduced in size); woodcut page
 297
 
Pl. XXXIV.
 Representation of a Tempest, drawn with the pen and partly washed with Indian ink, from the Royal library, Windsor Castlesee text Nos. 606 and 608
 
 
Pl. XXXV.
 Three Drawings, from the Royal Library, Windsor Castle: No. 1 Sketches referring to the theory of the Proportions of the Human Figure--see text No. 348--; Nos. 2 and 3 referring to the representation of the Deluge--see text Nos. 608 and 609
 
 
Pl. XXXVI.
 Representation of Natural Phenomena; from the Royal Library, Windsor Castle--see text p. 307, note, and No. 477
 
 
Pl. XXXVII.
 Representation of Natural Phenomena; from the Royal Library, Windsor Castle--see text p. 307, note, and No. 477
 
 
Pl. XXXVIII.
 Three Drawings: No. 1 Representation of Natural Phenomena, from the Codex Atlanticus, Milan--see text No 610--; No. 2 Sketch of a Male Figure from the Ashburnham MS. I--see text No. 579--; No. 3 Sketch of Male Figures, from the Royal Library, Windsor Castle--see p. 340
 
 
 
 p. xxviii
 
 
Pl. XXXIX.
 Charcoal Drawing, representing a Deluge, from the Royal Library, Windsor Castle,--see p. 309, note
 
 
Pl. XL.
 Three Drawings from the Royal Library, Windsor Castle: No. 1 Representations of Natural Phenomena, drawn with the pen and washed with Indian ink--see text Nos. 473, 608-610--; No. 2 Sketches of Male Heads in red chalk, illustrating the practice of Figure Painting--see text No. 573--;No. 3 Sketch for a Madonna picture, drawn with the silverpoint on bluish-tinted paper--see text page 343, note
 
 
Pl. XLI.
 Five Drawings illustrating the theory of Painting: No. 1 from the Ashburnham Manuscript I--see text Nos. 142 and 344--; No. 2 from the Codex Atlanticus, Milan--see text No. 200--; Nos. 3 and 4 from MS. F, Institut de France, Paris--see text No. 244;--No. 5 from MS. E, Institut de France, Paris--see text Nos. 197 and 1190
 
 
Pl. XLII.
 A Female Head, preparatory Drawing in silverpoint, on brown-toned paper for the Angel in the picture "La Vierge aux Rochers"; from the Royal Library, Turin--see p. 344
 
 
Pl. XLIII.
 Preparatory Study of Drapery for the same figure, done with the brush and Indian ink on greenish paper, the lights heightened with white; from the Royal Library, Windsor Castle--see pp. 344, 345 note
 
 
Pl. XLIV.
 Bust of a Boy, Study, in red chalk, for the figure of the Infant Christ in the same picture; from the Royal Library, Windsor Castle --see p. 345 note
 
 
 
 The Wall-Painting of the Last Supper, at Milan, woodcut page
 334
 
Pl. XLV.
 Preparatory Sketch for the painting of the Last Supper; from the Royal Library, Windsor Castle--see p. 335
 
 
Pl. XLVI.
 Preparatory Sketch for the painting of the Last Supper drawn in red chalk; from the Accademia, Venice--see text No. 668
 
 
Pl. XLVII.
 Study for the Head of St. Matthew in the painting of the Last Supper, drawn in red chalk; from the Royal Library, Windsor Castle--see p. 333
 
 
Pl. XLVIII.
 Study, in black chalk, for the Head of St. Philip in the same picture; from the Royal Library, Windsor Castle--see p. 333
 
 
Pl. XLIX.
 Study, in charcoal, for St. Peter's right Arm in the same picture; from the Royal Library, Windsor Castle--see p. 333
 
 
Pl. L.
 Study, in red chalk, for the Head of Judas in the same picture; from the Royal Library, Windsor Castle--see p. 333
 
 
 
 Raphael's Sketch after Leonardo's Cartoon of the Battle of Anghiari from the University Galleries, Oxford--see p. 336 foll. on page
 337
 
 
 Study of two Heads of fighting Warriors, for the painting of the Battle of Anghiari, drawn in black chalk; from the Museum at Buda-Pesth--see p. 340 on page
 338
 
 
 Study for a fighting Warrior, for the same painting, drawn in red chalk; from the Museum at Buda-Pesth,--see p. 340 on page
 339
 
Pl. LI.
 Drawing of the Head of a Criminal (the original in red chalk); from the Royal Library, Windsor Castle--see p. 333
 
 
 
 Study of the Head of St. John in the painting of "La Vierge aux Rochers" in the Louvre, Paris--see p. 344, 345, note on page
 342
 
 
 The picture of "La Vierge aux Rochers" in the Louvre, Paris, woodcut on page
 344
 
 
 p. xxix
 
 
Pl. LII.
 Two Drawings: No. 1 Group of Figures, in silverpoint on reddish-toned paper, from the Royal Library, Windsor Castle--see Nos. 665, 666 note and 594 note; No. 2, Sketch of Horsemen fighting, Study for the cartoon of the Battle of Anghiari; from the British Museum, London--see p. 336
 
 
Pl. LIII.
 Study for the Cartoon of the Battle of Anghiari; drawing from the Accademia, Venice--see p. 336
 
 
Pl. LIV.
 Study for the cartoon of the Battle of Anghiari; drawing from the Accademia, Venice--see p. 336
 
 
Pl. LV.
 Study for the Cartoon of the Battle of Anghiari, drawing from the Accademia, Venice--see p. 337
 
 
Pl. LVI.
 Study in black chalk for the Cartoon of the battle of Anghiari, in the Royal Library, Windsor Castle--see p. 338
 
 
Pl. LVII.
 Cesare da Sesto's Copy of part of the Cartoon of the Battle of Anghiari; charcoal Drawing from the Royal Library, Windsor Castle--see p. 337
 
 
Pl. LVIII.
 Studies for Allegorical Compositions; from the Royal Library, Windsor Castle--see text No. 672, note
 
 
Pl. LIX.
 Drawing of an Allegorical Composition; from the Library of Christ Church College, Oxford--see text No. 676
 
 
Pl. LX.
 Four Drawings of Allegorical Representations: No. 1 from the Library of Christ Church College, Oxford--see text No. 676--; No. 2-4 from Manuscript M, Institut de France, Paris--see text Nos. 699-701
 
 
Pl. LXI.
 Allegorical Composition, from the Library of Christ Church College, Oxford--see text No. 677
 
 
Pl. LXII.
 Two Drawings: No. r Portrait of Bernardo di Bandino, when hanged; in the possession of Mons. Thibaudeau, London--see text No. 664--; No. 2: Emblems, from the Royal Library, Windsor Castle--see text No. 681
 
 
Pl. LXIII.
 Studies of Emblems; from the Royal Library, Windsor Castle--see text No. 684
 
 
Pl. LXIV.
 Emblematic Representation; from the Royal Library, Windsor Castle--see text No. 688
 
 





--------------------------------------------------------------------------------

[Danielle Gorree]

p. 1


I.
Prolegomena and General Introduction to the Book on Painting.
Clavis sigillorum.
1. In the few instances in which Leonardo has written from left to right in the ordinary way this is stated in a note. In all other cases the writing is backwards.

2. The numbers printed above the line in the revised text: 2, 3, 4 &c. indicate the heads of the lines in the original MS. In many instances the breaking off of the lines in the original MS. accounts for peculiarities in the construction of Leonardo's sentences. In the translation the numbers refer only to the footnotes and they have been introduced in such passages, which require an explanation.

3. Clerical errors and obvious mistakes in spelling have been corrected in the text, but are given in the notes, so that all the peculiarities of the original text which are omitted in the revised text may be seen at a glance.

4. Leonardo frequently employs the following abbreviations:--

[Danielle Gorree]

[Danielle Gorree]

These occur so constantly and are so unimportant that it has not been thought necessary to point them out. He also uses:

[Danielle Gorree]

p. 2


5. Such abbreviations as are common in familiar speech are retained in the text; e. g. un sol punto.

6. Leonardo's usual way of spelling, ochio spechio for occhio specchio, has also been left unaltered.

7. The combinations of two or three words into one, which Leonardo so frequently used, and which are so puzzling to the eye as to render reading difficult, though plain to the ear, have been separated in the revised text; e. g. leforme ditutti = le forme di tutti. These combinations were, however, intentional no doubt; in almost every case they indicate the author's desire of substituting a sort of phonetic writing for the rules in general use. This doubling of the letters--as, for instance in chessia for che sia and essella for e se la--is, I believe, clear evidence of what may be called the orthography of Leonardo da Vinci. The separation of the words has involved the loss of these doubled letters, but the original spelling has been given, for reference, in the foot notes.

8. Leonardo commonly wrote ā ē ī ō ū or v̊ for an, en, in, on, un. This sign occasionally, but not often, represents m. It has been retained, as it was usual in printed type in the XVth and XVIth centuries.

9. Leonardo sometimes writes j for i, particularly where it is joined to m, n or u; e. g. linje, tienj, mjnor. As he never sets a dot over the ordinary i (at any rate when he writes from right to left), it is plain that he uses j for i (he does not dot the j) simply to avoid confounding ni or ui with m, or mi with nu. As this difficulty cannot occur in print I have restored the usual spelling i for j without referring to it in the notes.

10. Accents and apostrophes are entirely lacking in the original manuscript, but it seemed necessary to introduce them into the printed text. The accent has also been added in those parts of the verb avere in which Leonardo had dropped the h: as ò, ài, à, ànno.