The Notebooks of Leonardo Da Vinci Read Free Page B

(479. 480).—Of flower seeds (481).
IX.
THE PRACTICE OF PAINTING
    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 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
    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).
    The author's intention to publish his MSS.
    1.
    How by a certain machine many may stay some time under water. And
how and wherefore I do not describe my method of remaining under
water and how long I can remain without eating. And I do not publish
nor divulge these, by reason of the evil nature of men, who would
use them for assassinations at the bottom of the sea by destroying
ships, and sinking them, together with the men in them. Nevertheless
I will impart others, which are not dangerous because the mouth of
the tube through which you breathe is above the water, supported on
air sacks or cork.
    [Footnote: The leaf on which this passage