The Notebooks of Leonardo Da Vinci Read Free Page A

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
    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
    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
    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).
VII.
ON THE PROPORTIONS AND ON THE MOVEMENTS OF THE HUMAN FIGURE
    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
    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