The Nots of Leonardo Da Vinci | Page 5

light and lustre
(132--135).--The relations of luminous to illuminated bodies (136).

--Experiments on the relation of light and shadow within a room
(137--140).--Light and shadow with regard to the position of the eye
(141--145).--The law of the incidence of light (146--147).--SECOND
BOOK ON LIGHT AND SHADE.--Gradations of strength in the
shadows (148--149).--On the intensity of shadows as dependent on the
distance from the light (150--152).--On the proportion of light and
shadow (153--157).--THIRD BOOK ON LIGHT AND
SHADE.--Definition of derived shadow (158--159).--Different sorts of
derived shadows (160--162).--On the relation of derived and primary
shadow (163--165).--On the shape of derived shadows (166--174).--On
the relative intensity of derived shadows (175--179).--Shadow as
produced by two lights of different size (180--181).--The effect of light
at different distances (182).--Further complications in the derived
shadows (183--187).--FOURTH BOOK ON LIGHT AND
SHADE.--On the shape of cast shadows (188--191).--On the outlines of
cast shadows (192--195).--On the relative size of cast shadows (196.
197).--Effects on cast shadows by the tone of the back ground
(198).--A disputed proposition (199).--On the relative depth of cast
shadows (200--202).--FIFTH BOOK ON LIGHT AND
SHADE.--Principles of reflection (203. 204).--On reverberation
(205).--Reflection on water (206. 207).--Experiments with the mirror
(208--210).--Appendix:--On shadows in movement
(211--212).--SIXTH BOOK ON LIGHT 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 (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