alberi alia alluminata altezza altri altro ancora anno aria azzurro bocha body braccio ch'e chella chessi chol cholori chome chon chosa chose chosi cioe colla colour corpi corpo cose cosl d'essa dark delli derived shadow detto distance drawing ecquesto equal esso farai fare figure finestra foglie giallo gradezza grossezza illuminated infra Institut de France l'aria l'ochio l'omo Leonardo light and shade lines linia linie locho loco lume lumi luminoso luminous maggiore mano mebra medesimo mezo mezzo modo nascie nature object obra obre obroso ochio ogni onbra oscura oscurita painter painting pariete piate pittore pittura proportion prospettiva puto pyramid quado quale quali qualita quato quela rami razzi sanza sara seen senpre side sieno simile similitudine sketch sole somita sottile spatio spetie stremi superfitie tato tenebre testa trees tutte tutto uolto vede vedera veduta volte
Page 39 - Just as a stone flung into the water A becomes the centre and cause of many circles, and as sound diffuses itself in circles in the air: so any object, placed in the luminous atmosphere, diffuses itself in circles, and fills the surrounding air with infinite images of itself.
Page 324 - The eye, which is called the window of the soul, is the chief means whereby the understanding may most fully and abundantly appreciate the infinite works of nature; and the ear is the second, inasmuch as it acquires its importance from the fact that it hears the things which the eye has seen.
Page 250 - I cannot forbear to mention among these precepts a new device for study which, although it may seem but trivial and almost ludicrous, is nevertheless extremely useful in arousing the mind to various inventions. And this is, when you look at a wall spotted with stains, or with a mixture of stones, if you have to devise some scene, you may discover a resemblance to various landscapes, beautified with mountains, rivers, rocks, trees, plains, wide valleys and hills in varied arrangement; or again you...
Page 262 - When you want to see if your picture corresponds throughout with the objects you have drawn from nature, take a mirror and look in that at the reflection of the real things, and compare the reflected image with your picture, and consider whether the subject of the two images duly corresponds in both, particularly studying the mirror. You should take the mirror for your guide — that is to say a flat mirror — because on its surface the objects appear in many respects as in a painting. Thus you...
Page 180 - From the nipples to the top of the head will be the fourth part of a man. The greatest width of the shoulders contains in itself the fourth part of the man. From the elbow to the tip of the hand will be the fifth part of a man; and from the elbow to the angle of the armpit will be the eighth part of the man. The whole hand will be the tenth part of the man; the beginning of the genitals marks the middle of the man.
Page 11 - Many will think they may reasonably blame me by alleging that my proofs are opposed to the authority of certain men held in the highest reverence by their inexperienced judgments; not considering that my works are the issue of pure and simple experience, who is the one true mistress.
Page 262 - ... the same. The picture has one plane surface and the same with the mirror. The picture is intangible, in so far as that which appears round and prominent cannot be grasped in the hands; and it is the same with the mirror. And since you can see that the mirror, by means of outlines, shadows, and lights, makes objects appear in relief, you, who have in your colours far stronger lights and shades than those in the mirror, can certainly, if you understand how to put them together well, make also your...
Page 65 - I will now consider the places on which they fall; and their curvature, obliquity, flatness, or, in short, any character I may be able to detect in them.] Shadow is the obstruction of light. Shadows appear to me to be of supreme importance in perspective, because without them opaque and solid bodies will be ill defined...
Page 15 - Painting is concerned with all the io attributes of sight; which are: — Darkness, Light, Solidity and Colour, Form and Position, Distance and Propinquity, Motion and Rest. This little work of mine will be a tissue [of the studies] of these attributes, reminding the painter of the rules and methods by which he should use his art to imitate all the works of Nature which adorn the world.
Page 11 - And those men who are inventors and interpreters between Nature and Man, as compared with boasters and declaimers of the works of others, must be regarded and not otherwise esteemed than as the object in front of a mirror, when compared with its image seen in the mirror. For the first is something in itself, and the other nothingness. — Folks little indebted to Nature, since it is only by chance that they wear the human form and without it I might class them with the herds of beasts.