The Nots of Leonardo Da Vinci | Page 6

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 is written, is headed with the
words Casi 39, and most of these cases begin with the word '_Come_',
like the two here given, which are the 26th and 27th. 7. Sughero. In the
Codex Antlanticus 377a; 1170a there is a sketch, drawn with the pen,
representing a man with a tube in his mouth, and at the farther end of
the tube a disk. By the tube the word '_Channa_' is written, and by the

disk the word '_sughero_'.]
The preparation of the MSS. for publication.
2.
When you put together the science of the motions of water, remember
to include under each proposition its application and use, in order that
this science may not be useless.--
[Footnote: A comparatively small portion of Leonardo's notes on
water-power was published at Bologna in 1828, under the title: "_Del
moto e misura dell'Acqua, di L. da Vinci_".]
Admonition to readers.
3.
Let no man who is not a Mathematician read the elements of my work.
The disorder in the MSS.
4.
Begun at Florence, in the house of Piero di Braccio Martelli, on the
22nd day of March 1508. And this is to be a collection without order,
taken from many papers which I have copied here, hoping to arrange
them later each in its place, according to the subjects of which they
may treat. But I believe that before I am at the end of this [task] I shall
have to repeat the same things several times; for which, O reader! do
not blame me, for the subjects are many and memory cannot retain
them [all] and say: 'I will not write this because I wrote it before.' And
if I wished to avoid falling into this fault, it would be necessary in
every case when I wanted to copy [a passage] that, not to repeat myself,
I should read over all that had gone before; and all the more since the
intervals are long between one time of writing and the next.
[Footnote: 1. In the history of Florence in