The Notebooks of Leonardo Da Vinci — Complete
Lectio
en
Уровень B2
279 глав
The Notebooks of Leonardo Da Vinci — Complete — оригинал (English) и перевод по клику. Бесплатно.
Оглавление
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1
PROLEGOMENA AND GENERAL INTRODUCTION TO THE BOOK ON PAINTING
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2
LINEAR PERSPECTIVE
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3
SIX BOOKS ON LIGHT AND SHADE
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4
PERSPECTIVE OF DISAPPEARANCE
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5
THEORY OF COLOURS
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6
PERSPECTIVE OF COLOUR AND AERIAL PERSPECTIVE
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7
ON THE PROPORTIONS AND ON THE MOVEMENTS OF THE HUMAN FIGURE
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8
BOTANY FOR PAINTERS, AND ELEMENTS OF LANDSCAPE PAINTING
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9
THE PRACTICE OF PAINTING
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10
STUDIES AND SKETCHES FOR PICTURES AND DECORATIONS
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11
ON THE THREE BRANCHES OF PERSPECTIVE
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12
ON PAINTING AND PERSPECTIVE
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13
THE DISCOURSE ON PAINTING
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14
OF THE 10 ATTRIBUTES OF THE EYE, ALL CONCERNED IN PAINTING
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15
OF THE NATURAL POINT
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16
DEFINITION OF THE NATURE OF THE LINE
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17
IN WHAT WAY THE EYE SEES OBJECTS PLACED IN FRONT OF IT
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18
TO PROVE HOW OBJECTS REACH THE EYE
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19
OF THE CENTRAL LINE OF THE EYE
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20
Chapter L — eonardo has written "_azurro_" (blue) where in the
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21
OF THE PLANE OF GLASS
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22
OF THE DIMINUTION OF OBJECTS AT VARIOUS DISTANCES
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23
OF THE DEGREES OF DIMINUTION
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24
OF EQUAL OBJECTS THE MOST REMOTE LOOK THE SMALLEST
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25
OF A MIXTURE OF NATURAL AND ARTIFICIAL PERSPECTIVE
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26
OF THE THREE KINDS OF LIGHT THAT ILLUMINATE OPAQUE BODIES
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27
WHAT LIGHT AND SHADOW ARE
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28
OF THE NATURE OF SHADOW
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29
FIRST BOOK ON LIGHT AND SHADE
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30
OF LIGHT AND LUSTRE
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31
SHOWS HOW LIGHT FROM ANY SIDE CONVERGES TO ONE POINT
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32
SECOND BOOK ON LIGHT AND SHADE
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33
THIRD BOOK ON LIGHT AND SHADE
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34
OF SIMPLE DERIVED SHADOWS
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35
OF COMPOUND DERIVED SHADOWS
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36
OF THE PYRAMIDAL SHADOW
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37
HOW SHADOWS FADE AWAY AT LONG DISTANCES
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38
THE ACTION OF THE LIGHT AS FROM ITS CENTRE
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39
OF THE SHADOW CAST BY A BODY PLACED BETWEEN 2 EQUAL LIGHTS
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40
FOURTH BOOK ON LIGHT AND SHADE
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41
OF SHADOWS WHICH NEVER COME TO AN END
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42
FIFTH BOOK ON LIGHT AND SHADE
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43
WHERE THERE CAN BE NO REFLECTED LIGHTS
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44
OF THE SHADOW AND ITS MOTION
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45
OF THE MOTION OF SHADOWS
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46
SIXTH BOOK ON LIGHT AND SHADE
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47
OF THE DIMINUTION IN PERSPECTIVE OF OPAQUE OBJECTS
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48
OF LIGHT AND SHADE
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49
ON LIGHT BETWEEN SHADOWS
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50
TO PROVE HOW YOU MAY SEE THE REAL SIZE OF LUMINOUS BODIES
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51
OF LIGHT AND SHADE
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52
OF THE INTERSECTIONS OF THE IMAGES IN THE PUPIL OF THE EYE
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53
OF THE COLOURS OF SIMPLE DERIVED SHADOWS
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54
WHETHER THE COLOURS OF THE RAINBOW ARE PRODUCED BY THE SUN
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55
OF THE COLOURS IN THE FEATHERS OF CERTAIN BIRDS
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56
OF THE VISIBILITY OF COLOURS
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57
OF THE MODE OF TREATING REMOTE OBJECTS IN PAINTING
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58
OF THE COLOUR OF THE ATMOSPHERE · Part 1
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59
OF THE COLOUR OF THE ATMOSPHERE · Part 2
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60
OF THE MOTIONS OF THE FINGERS
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61
OF THE LOINS, WHEN BENT
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62
OF THE DIFFERENT MEASUREMENTS OF BOYS AND MEN
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63
OF THE AGREEMENT OF THE PROPORTION OF THE LIMBS
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64
OF THE HUMAN BODY IN ACTION
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65
OF THE STRENGTH OF MAN
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66
OF THE NATURE OF THE FOLDS IN DRAPERY
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67
OF SMALL FOLDS IN DRAPERIES
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68
OF THE SCARS ON TREES
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69
OF THE RAMIFICATIONS OF PLANTS
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70
OF THE INSERTION OF THE BRANCHES ON PLANTS
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71
A DESCRIPTION OF THE ELM
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72
OF THE INSERTION OF THE LEAVES ON THE BRANCHES
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73
OF THE RAMIFICATIONS OF TREES AND THEIR FOLIAGE
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74
OF THE VISIBILITY OF THESE ACCIDENTS
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75
OF THE SHADOWS OF A LEAF
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76
OF DARK LEAVES IN FRONT OF TRANSPARENT ONES
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77
OF THE LIGHTS ON DARK LEAVES
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78
OF THE LIGHTS ON LEAVES OF A YELLOWISH GREEN
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79
OF A GENERALLY DISTRIBUTED LIGHT AS LIGHTING UP TREES
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80
OF THE SHADOWS OF VERDURE
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81
OF TREES THAT ARE LIGHTED BY THE SUN AND BY THE ATMOSPHERE
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82
OF DEPICTING A FOREST SCENE
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83
OF THE HERBS OF THE FIELD
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84
OF TREES WHICH ARE BETWEEN THE EYE AND THE LIGHT
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85
FROM WHENCE TO DEPICT A LANDSCAPE
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86
OF TREES TO THE SOUTH
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87
OF TREES IN THE EAST
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88
OF THE SHADOWS IN TREES
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89
OF TREES TO THE EAST
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90
OF TREES WHICH CONCEAL THESE SPACES IN ONE ANOTHER
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91
TREES AT A SHORT DISTANCE
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92
OF TREES AND LIGHTS ON THEM
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93
OF PAINTING IN A LANDSCAPE
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94
OF LIGHT AND SHADOW IN A TOWN
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95
OF THE SMOKE OF A TOWN
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96
OF SMOKE AND DUST
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97
A WARNING CONCERNING YOUTHS WISHING TO BE PAINTERS
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98
OF THE ORDER OF LEARNING TO DRAW
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99
OF STUDY AND THE ORDER OF STUDY
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100
WHAT RULES SHOULD BE GIVEN TO BOYS LEARNING TO PAINT
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101
OF THE LIFE OF THE PAINTER IN THE COUNTRY
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102
OF THE LIFE OF THE PAINTER IN HIS STUDIO
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103
OF WHETHER IT IS BETTER TO DRAW WITH COMPANIONS OR NOT
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104
Chapter I — s only apparent. It is quite clear, from the nature of the
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105
OF THE TIME FOR STUDYING SELECTION OF SUBJECTS
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106
THAT A PAINTER IS NOT ADMIRABLE UNLESS HE IS UNIVERSAL
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107
OF VARIETY IN THE FIGURES
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108
OF THE MEANS OF ACQUIRING UNIVERSALITY
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109
OF GAMES TO BE PLAYED BY THOSE WHO DRAW
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110
OF THE PAINTER'S WINDOW AND ITS ADVANTAGE
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111
THAT THE LIGHT FOR DRAWING FROM NATURE SHOULD BE HIGH UP
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112
THE KIND OF LIGHT REQUISITE FOR PAINTING LIGHT AND SHADE
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113
OF THE QUALITY OF LIGHT
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114
OF SELECTING THE LIGHT WHICH GIVES MOST GRACE TO FACES
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115
OF DRAWING AN OBJECT
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116
OF A MODE OF DRAWING A PLACE ACCURATELY
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117
HOW TO LEARN TO PLACE YOUR FIGURES CORRECTLY
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118
A METHOD OF DRAWING AN OBJECT IN RELIEF AT NIGHT
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119
OF JUDGING YOUR OWN PICTURES
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120
OF A METHOD OF LEARNING WELL BY HEART
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121
HOW HIGH THE POINT OF SIGHT SHOULD BE PLACED
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122
OF THE WAY TO DRAW FIGURES FOR HISTORICAL PICTURES
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123
OF DRAWING FROM RELIEF
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124
WHY GROUPS OF FIGURES ONE ABOVE ANOTHER ARE TO BE AVOIDED
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125
WHERE A SPECTATOR SHOULD STAND TO LOOK AT A PICTURE
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126
HOW LIGHT SHOULD BE THROWN UPON FIGURES
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127
OF THE JUDGMENT TO BE MADE OF A PAINTER'S WORK
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128
OF THE TREATMENT OF THE LIGHTS
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129
OF SHADOWS ON BODIES
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130
OF LIGHTS AND SHADOWS
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131
OF SURROUNDING BODIES BY VARIOUS FORMS OF SHADOW
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132
OF THE BACKGROUNDS FOR PAINTED FIGURES
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133
HOW WHITE BODIES SHOULD BE REPRESENTED
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134
WHY A MAN SEEN AT A CERTAIN DISTANCE IS NOT RECOGNISABLE
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135
THE REASON WHY SMALL FIGURES SHOULD NOT BE MADE FINISHED
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136
OF PORTRAIT AND FIGURE PAINTING
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137
OF A METHOD OF KEEPING IN MIND THE FORM OF A FACE
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138
HOW AN ANGRY MAN IS TO BE FIGURED
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139
HOW TO REPRESENT A MAN IN DESPAIR
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140
HOW YOU SHOULD MAKE AN IMAGINARY ANIMAL LOOK NATURAL
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141
OF THE DELUSIONS WHICH ARISE IN JUDGING OF THE LIMBS
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142
OF THE SELECTION OF BEAUTIFUL FACES
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143
OF THE MUSCLES OF ANIMALS
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144
OF GRACE IN THE LIMBS
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145
OF REPRESENTING A MAN SPEAKING TO A MULTITUDE
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146
OF THE DISPOSITION OF LIMBS
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147
OF THE ACTION OF THE FIGURES
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148
OF THE WAY OF REPRESENTING A BATTLE
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149
HOW TO REPRESENT A TEMPEST
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150
TO REPRESENT THE DELUGE
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151
OF THE DELUGE AND HOW TO REPRESENT IT IN A PICTURE
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152
DESCRIPTION OF THE DELUGE
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153
PAPER FOR DRAWING UPON IN BLACK BY THE AID OF YOUR SPITTLE
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154
THE PROPORTIONS OF COLOURS
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155
TO PREPARE A PANEL FOR PAINTING ON
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156
TO REMOVE THE SMELL OF OIL
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157
TO RESTORE OIL COLOURS THAT HAVE BECOME DRY
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158
TO DILUTE WHITE WINE AND MAKE IT PURPLE
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159
PHILOSOPHY AND HISTORY OF THE ART OF PAINTING · Part 1
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160
PHILOSOPHY AND HISTORY OF THE ART OF PAINTING · Part 2
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161
A DRESS FOR THE CARNIVAL
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162
MEASUREMENT AND DIVISION OF A STATUE
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163
THE MOULD FOR THE HORSE
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164
OF MAKING THE MOULD IN PIECES
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165
METHOD OF FOUNDING AGAIN
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166
THE MONUMENT TO MESSER GIOVANNI JACOMO DA TREVULZO
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167
OF TAKING CASTS OF MEDALS
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168
TO CAST BRONZE IN PLASTER
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169
HOW TO REMOVE THE ROUGH EDGES FROM BRONZE
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170
TO PREVENT THE COPPER COOLING IN THE FURNACE
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171
HOW TO PROCEED TO BREAK A LARGE MASS OF BRONZE
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172
TO COMBINE LEAD WITH OTHER METAL
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173
OF THE THICKNESS OF THE COATING
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174
OF THE THICKNESS OF THE GUN
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175
OF THE LENGTH OF THE BODY OF THE GUN
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176
OF LUTING THE FURNACE WITHIN
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177
TO KNOW THE CONDITION OF THE FIRE
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178
OF ALLOYING THE METAL
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179
HOW TO HASTEN THE MELTING · Part 1
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180
HOW TO HASTEN THE MELTING · Part 2
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181
HOW TO HASTEN THE MELTING · Part 3
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182
FOR MAKING A CLEAN STABLE
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183
THE WAY TO CONSTRUCT A FRAME-WORK FOR DECORATING BUILDINGS
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184
CONCERNING ARCHITRAVES OF ONE OR SEVERAL PIECES
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185
ON FISSURES IN WALLS
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186
WHAT IS THE LAW BY WHICH BUILDINGS HAVE STABILITY
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187
OF ARCHED CRACKS, WIDE AT THE TOP, AND NARROW BELOW
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188
OF STONES WHICH DISJOIN THEMSELVES FROM THEIR MORTAR
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189
ON FISSURES IN NICHES
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190
ON THE NATURE OF THE ARCH
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191
OF THE KIND OF PRESSURE IN ARCHES
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192
SECOND RUPTURE OF THE ARCH
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193
ON ANOTHER CAUSE OF RUIN
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194
ON THE PROPER MANNER OF LOADING THE POINTED ARCH
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195
ON THE REMEDY FOR EARTHQUAKES
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196
ON THE POSITION OF THE TIE IN THE ABOVE NAMED ARCH
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197
ON FOUNDATIONS, THE NATURE OF THE GROUND AND SUPPORTS
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198
ON THE RESISTANCE OF BEAMS
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199
ON THE LENGTH OF BEAMS
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200
OF THE ORDER OF THE BOOK
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201
THE ORDER OF THE BOOK
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202
THE ARRANGEMENT OF ANATOMY
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203
OF THE HUMAN FIGURE
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204
ZOOLOGY AND COMPARATIVE ANATOMY
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205
OF THE PALM OF THE HAND
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206
OF THE WAY OF WALKING IN MAN
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207
OF THE EYES IN ANIMALS
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208
OF THE NATURE OF SIGHT
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209
WHY MEN ADVANCED IN AGE SEE BETTER AT A DISTANCE
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210
HOW THE FIVE SENSES ARE THE MINISTERS OF THE SOUL
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211
THE EARTH AS A PLANET
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212
THE METHOD OF PROVING THAT THE EARTH IS A STAR
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213
THE REASON OF THE INCREASED SIZE OF THE SUN IN THE WEST
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214
IN PRAISE OF THE SUN
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215
A METHOD OF SEEING THE SUN ECLIPSED WITHOUT PAIN TO THE EYE
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216
OF THE MOON AND WHETHER IT IS POLISHED AND SPHERICAL
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217
WHAT SORT OF THING THE MOON IS
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218
OF THE NATURE OF THE MOON
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219
THE SPOTS ON THE MOON
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220
OF THE SPOTS ON THE MOON
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221
OF THE SPOTS ON THE MOON
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222
OF HALOS ROUND THE MOON
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223
DIVISIONS OF THE BOOK
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224
THE ORDER OF THE BOOK
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225
THE BEGINNING OF THE TREATISE ON WATER
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226
THE ORDER OF THE FIRST BOOK ON WATER
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227
THE BEGINNING OF THE BOOK ON WATER
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228
OF THE CENTRE OF THE OCEAN
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229
OF THE SEA WHICH CHANGES THE WEIGHT OF THE EARTH
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230
WHETHER THE EARTH IS LESS THAN THE WATER
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231
THE FIGURES OF THE ELEMENTS
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232
OF THE HEAT THAT IS IN THE WORLD
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233
WHY WATER IS SALT
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234
THAT THE OCEAN DOES NOT PENETRATE UNDER THE EARTH
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235
OF THE FLOW AND EBB
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236
WHETHER WATER RISES FROM THE SEA TO THE TOPS OF MOUNTAINS
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237
OF SPRINGS OF WATER ON THE TOPS OF MOUNTAINS
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238
OF THE ORIGIN OF RIVERS
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239
OF THE VIBRATION OF THE EARTH
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240
OF THE SEA WHICH ENCIRCLES THE EARTH
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241
OF THE DELUGE AND OF MARINE SHELLS
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242
OF THE CANAL OF MARTESANA
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243
OF THE FORCE OF THE VACUUM FORMED IN A MOMENT
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244
LAKE OF COMO. VALLEY OF CHIAVENNA · Part 1
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245
LAKE OF COMO. VALLEY OF CHIAVENNA · Part 2
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246
THE ROAD TO ORLEANS
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247
THE COUNTRIES OF THE WESTERN END OF THE MEDITERRANEAN
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248
WHY WATER IS FOUND AT THE TOP OF MOUNTAINS
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249
A METHOD OF ESCAPING IN A TEMPEST AND SHIPWRECK AT SEA
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250
TO ESCAPE THE PERIL OF DESTRUCTION · Part 1
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251
TO ESCAPE THE PERIL OF DESTRUCTION · Part 2
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252
A SIMILE FOR PATIENCE
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253
AS TO WHETHER A SPIRIT HAS A BODY AMID THE ELEMENTS
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254
AS TO WHETHER THE SPIRIT CAN SPEAK OR NOT
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255
EXAMPLE OF THE LIGHTNING IN CLOUDS
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256
THE LOVE OF VIRTUE
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257
THE ALEPO, A FISH
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258
THE CATERPILLAR.--FOR VIRTUE IN GENERAL
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259
THE SCREECH-OWL AND THE OWL
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260
THE MACLI.--CAUGHT WHEN ASLEEP
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261
THE BISON WHICH DOES INJURY IN ITS FLIGHT
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262
LIONS, PARDS, PANTHERS, TIGERS
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263
THE PANTHER IN AFRICA · Part 1
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264
THE PANTHER IN AFRICA · Part 2
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265
THE DIVISION OF THE PROPHECIES · Part 1
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266
THE DIVISION OF THE PROPHECIES · Part 2
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267
THE DIVISION OF THE PROPHECIES · Part 3
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268
DRAUGHTS AND SCHEMES FOR THE HUMOROUS WRITINGS
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269
WHY DOGS TAKE PLEASURE IN SMELLING AT EACH OTHER
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270
OF THE STRUCTURE AND SIZE OF MOUNT TAURUS
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271
Book 43 — OF THE MOVEMENT OF AIR ENCLOSED IN WATER · Part 1
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272
Book 43 — OF THE MOVEMENT OF AIR ENCLOSED IN WATER · Part 2
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273
Book 43 — OF THE MOVEMENT OF AIR ENCLOSED IN WATER · Part 3
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274
Book 43 — OF THE MOVEMENT OF AIR ENCLOSED IN WATER · Part 4
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275
Book 43 — OF THE MOVEMENT OF AIR ENCLOSED IN WATER · Part 5
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276
Book 43 — OF THE MOVEMENT OF AIR ENCLOSED IN WATER · Part 6
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277
Book 43 — OF THE MOVEMENT OF AIR ENCLOSED IN WATER · Part 7
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278
EXPENSES OF THE INTERMENT OF CATERINA · Part 1
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279
EXPENSES OF THE INTERMENT OF CATERINA · Part 2
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