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The Art Print Masterpiece is an updated and revised second edition of The Secrets of Faking It. This popular manual was an Amazon number 1 bestseller in the Art Reproduction category. If you’re interested in the works of Leonardo da Vinci you can also see a selection of his drawings and an 18 minute slideshow Note: When using the clickable table of contents. If your reader does not have a Back Button , try using the keyboard shortcut Alt + Left Arrow key The Notebooks of Leonardo da Vinci Table of Contents Table of Contents ............................................................................................................................................... PREFACE. ....................................................................................................................................................... F. P. R .............................................................................................................................................................. CONTENTS OF VOLUME I. .......................................................................................................................... PROLEGOMENA AND GENERAL INTRODUCTION TO THE BOOK ON PAINTING ........................... II. ...................................................................................................................................................................... LINEAR PERSPECTIVE ................................................................................................................................ III. .................................................................................................................................................................... SIX BOOKS ON LIGHT AND SHADE .......................................................................................................... IV. .................................................................................................................................................................... PERSPECTIVE OF DISAPPEARANCE ......................................................................................................... V. ..................................................................................................................................................................... THEORY OF COLOURS ................................................................................................................................ VI. .................................................................................................................................................................... PERSPECTIVE OF COLOUR AND AERIAL PERSPECTIVE ..................................................................... VII. ................................................................................................................................................................... ON THE PROPORTIONS AND ON THE MOVEMENTS OF THE HUMAN FIGURE ............................... VIII. ................................................................................................................................................................. BOTANY FOR PAINTERS, AND ELEMENTS OF LANDSCAPE PAINTING ........................................... IX. .................................................................................................................................................................... THE PRACTICE OF PAINTING .................................................................................................................... X. ..................................................................................................................................................................... STUDIES AND SKETCHES FOR PICTURES AND DECORATIONS ........................................................ INTRODUCTION. .......................................................................................................................................... INTRODUCTION. .......................................................................................................................................... INTRODUCTION. .......................................................................................................................................... INTRODUCTION. .......................................................................................................................................... ON THE THREE BRANCHES OF PERSPECTIVE. ...................................................................................... ON PAINTING AND PERSPECTIVE. ........................................................................................................... THE DISCOURSE ON PAINTING. ................................................................................................................ ON THE SECTIONS OF [THE BOOK ON] PAINTING. ............................................................................... OF THE MISTAKES MADE BY THOSE WHO PRACTISE WITHOUT KNOWLEDGE. .......................... INTRODUCTION TO PERSPECTIVE:—THAT IS OF THE FUNCTION OF THE EYE. ........................... OF THE 10 ATTRIBUTES OF THE EYE, ALL CONCERNED IN PAINTING. .......................................... ON PAINTING. ............................................................................................................................................... OF THE EYE. .................................................................................................................................................. OF THE EYE. .................................................................................................................................................. ON PAINTING. ............................................................................................................................................... ON PAINTING. ............................................................................................................................................... ON PERSPECTIVE. ........................................................................................................................................ _II. .................................................................................................................................................................... ON PAINTING. ............................................................................................................................................... OF THE NATURAL POINT. .......................................................................................................................... DEFINITION OF THE NATURE OF THE LINE. .......................................................................................... HOW WE MAY CONCLUDE THAT A SUPERFICIES TERMINATES IN A POINT? ............................... OF DRAWING OUTLINE. ............................................................................................................................. IN WHAT WAY THE EYE SEES OBJECTS PLACED IN FRONT OF IT. .................................................. PERSPECTIVE. ............................................................................................................................................... TO PROVE HOW OBJECTS REACH THE EYE. .......................................................................................... ELEMENTS OF PERSPECTIVE. ................................................................................................................... PERSPECTIVE. ............................................................................................................................................... PERSPECTIVE. ............................................................................................................................................... PROVE HOW ALL OBJECTS, PLACED IN ONE POSITION, ARE ALL EVERYWHERE AND ALL IN EACH PART. ..................................................................................................................................... HOW THE IMAGES OF OBJECTS RECEIVED BY THE EYE INTERSECT WITHIN THE CRYSTALLINE HUMOUR OF THE EYE. .................................................................................................... THE PRINCIPLE ON WHICH THE IMAGES OF BODIES PASS IN BETWEEN THE MARGINS OF THE OPENINGS BY WHICH THEY ENTER. ........................................................................................ OF THE MOVEMENT OF THE EDGE AT THE RIGHT OR LEFT, OR THE UPPER, OR LOWER EDGE. .............................................................................................................................................................. OF THE CENTRAL LINE OF THE EYE. ...................................................................................................... AS TO WHETHER THE CENTRAL LINE OF THE IMAGE CAN BE INTERSECTED, OR NOT, WITHIN THE OPENING. ............................................................................................................................... HOW THE INNUMERABLE RAYS FROM INNUMERABLE IMAGES CAN CONVERGE TO A POINT. ............................................................................................................................................................. OF THE PLANE OF GLASS. ......................................................................................................................... PERSPECTIVE. ............................................................................................................................................... PERSPECTIVE. ............................................................................................................................................... PERSPECTIVE. ............................................................................................................................................... PERSPECTIVE. ............................................................................................................................................... SIMPLE PERSPECTIVE. ................................................................................................................................ PERSPECTIVE. ............................................................................................................................................... WHY WHEN AN OBJECT IS PLACED CLOSE TO THE EYE ITS EDGES ARE INDISTINCT. .............. PERSPECTIVE. ............................................................................................................................................... PERSPECTIVE. ............................................................................................................................................... PERSPECTIVE. ............................................................................................................................................... PERSPECTIVE. ............................................................................................................................................... PERSPECTIVE. ............................................................................................................................................... PERSPECTIVE. ............................................................................................................................................... PERSPECTIVE—PROPOSITION. ................................................................................................................. DEFINITION. .................................................................................................................................................. OF LINEAR PERSPECTIVE. ......................................................................................................................... OF THE DIMINUTION OF OBJECTS AT VARIOUS DISTANCES. ........................................................... OF THE DEGREES OF DIMINUTION. ......................................................................................................... I GIVE THE DEGREES OF THE OBJECTS SEEN BY THE EYE AS THE MUSICIAN DOES THE NOTES HEARD BY THE EAR. ..................................................................................................................... PERSPECTIVE. ............................................................................................................................................... PERSPECTIVE. ............................................................................................................................................... OF EQUAL OBJECTS THE MOST REMOTE LOOK THE SMALLEST. .................................................... OF A MIXTURE OF NATURAL AND ARTIFICIAL PERSPECTIVE. ........................................................ III. .................................................................................................................................................................... GENERAL INTRODUCTION. ....................................................................................................................... INTRODUCTION. .......................................................................................................................................... OF PAINTING. ................................................................................................................................................ OF PAINTING. ................................................................................................................................................ OF PAINTING. ................................................................................................................................................ OF PAINTING. ................................................................................................................................................ OF THE THREE KINDS OF LIGHT THAT ILLUMINATE OPAQUE BODIES. ........................................ OF LIGHT. ...................................................................................................................................................... WHAT LIGHT AND SHADOW ARE. ........................................................................................................... OF THE NATURE OF SHADOW. ................................................................................................................. WHAT IS THE DIFFERENCE BETWEEN A SHADOW THAT IS INSEPARABLE FROM A BODY AND A CAST SHADOW? .................................................................................................................. HOW THERE ARE 2 KINDS OF LIGHT, ONE SEPARABLE FROM, AND THE OTHER INSEPARABLE FROM BODIES. .................................................................................................................. MEMORANDUM OF THINGS I REQUIRE TO HAVE GRANTED [AS AXIOMS] IN MY EXPLANATION OF PERSPECTIVE. ............................................................................................................ FIRST BOOK ON LIGHT AND SHADE. ...................................................................................................... THE RAYS WHETHER SHADED OR LUMINOUS HAVE GREATER STRENGTH AND EFFECT AT THEIR POINTS THAN AT THEIR SIDES. .............................................................................. OF THE HIGHEST LIGHTS WHICH TURN AND MOVE AS THE EYE MOVES WHICH SEES THE OBJECT. ................................................................................................................................................. OF PAINTING. ................................................................................................................................................ OF LIGHT AND LUSTRE. ............................................................................................................................. WHAT BODIES HAVE LIGHT UPON THEM WITHOUT LUSTRE? ......................................................... WHAT BODIES WILL DISPLAY LUSTRE BUT NOT LOOK ILLUMINATED? ...................................... SHOWS HOW LIGHT FROM ANY SIDE CONVERGES TO ONE POINT. ................................................ OF THE DIFFERENT LIGHT AND SHADE IN VARIOUS ASPECTS AND OF OBJECTS PLACED IN THEM. ........................................................................................................................................ OF PAINTING. ................................................................................................................................................ SECOND BOOK ON LIGHT AND SHADE. ................................................................................................. THAT PORTION OF A BODY IN LIGHT AND SHADE WILL BE LEAST LUMINOUS WHICH IS SEEN UNDER THE LEAST AMOUNT OF LIGHT. ................................................................................. OF PERSPECTIVE. ......................................................................................................................................... OF PAINTING. ................................................................................................................................................ OF PAINTING. ................................................................................................................................................ THIRD BOOK ON LIGHT AND SHADE. ..................................................................................................... SHADOW AND LIGHT. ................................................................................................................................. OF SIMPLE DERIVED SHADOWS. .............................................................................................................. OF COMPOUND DERIVED SHADOWS. ..................................................................................................... OF SHADOW. ................................................................................................................................................. HOW A CAST SHADOW CAN NEVER BE OF THE SAME SIZE AS THE BODY THAT CASTS IT. .................................................................................................................................................................... OF THE PYRAMIDAL SHADOW. ................................................................................................................ ALL BODIES, IN PROPORTION AS THEY ARE NEARER TO, OR FARTHER FROM THE SOURCE OF LIGHT, WILL PRODUCE LONGER OR SHORTER DERIVED SHADOWS. ...................... OF PAINTING. ................................................................................................................................................ THE FARTHER THE DERIVED SHADOW IS PROLONGED THE LIGHTER IT BECOMES. ................. ON PAINTING. ............................................................................................................................................... HOW SHADOWS FADE AWAY AT LONG DISTANCES. ......................................................................... OF THE COMPOUND SHADOW F, R, C, H CAUSED BY A SINGLE LIGHT. ......................................... THE ACTION OF THE LIGHT AS FROM ITS CENTRE. ............................................................................ PROOF. ............................................................................................................................................................ OF THE SHADOW CAST BY A BODY PLACED BETWEEN 2 EQUAL LIGHTS. ................................... OF SIMPLE SHADOWS. ................................................................................................................................ ANSWER. ........................................................................................................................................................ DEFINITION. .................................................................................................................................................. HOW AND WHEN THE SURROUNDINGS IN SHADOW MINGLE THEIR DERIVED SHADOW WITH THE LIGHT DERIVED FROM THE LUMINOUS BODY. ................................................................ FOURTH BOOK ON LIGHT AND SHADE. ................................................................................................. OF SHADOWS WHICH NEVER COME TO AN END. ................................................................................ THE BODY WHICH IS NEAREST TO THE LIGHT CASTS THE LARGEST SHADOW, AND WHY? .............................................................................................................................................................. WHY A SHADOW LARGER THAN THE BODY THAT PRODUCES IT BECOMES OUT OF PROPORTION. ................................................................................................................................................ WHY A SHADOW WHICH IS LARGER THAN THE BODY CAUSING IT HAS ILL-DEFINED OUTLINES. ..................................................................................................................................................... OF MODIFIED SHADOWS. ........................................................................................................................... OF THE OPINION OF SOME THAT A TRIANGLE CASTS NO SHADOW ON A PLANE SURFACE. ...................................................................................................................................................... FIFTH BOOK ON LIGHT AND SHADE. .................................................................................................... OF THE WAY IN WHICH THE SHADOWS CAST BY OBJECTS OUGHT TO BE DEFINED. .............. OF REVERBERATION. ............................................................................................................................... WHERE THERE CAN BE NO REFLECTED LIGHTS. .............................................................................. PERSPECTIVE. ............................................................................................................................................. THE MIRROR. .............................................................................................................................................. OF THE SHADOW AND ITS MOTION. ..................................................................................................... OF THE MOTION OF SHADOWS. ............................................................................................................. SIXTH BOOK ON LIGHT AND SHADE. .................................................................................................... PERSPECTIVE. ............................................................................................................................................. THAT PART OF THE REFLECTION WILL BE BRIGHTEST WHERE THE REFLECTED RAYS ARE SHORTEST. .......................................................................................................................................... IV. .................................................................................................................................................................. OF THE DIMINISHED DISTINCTNESS OF THE OUTLINES OF OPAQUE BODIES. ........................... OF THE DIMINUTION IN PERSPECTIVE OF OPAQUE OBJECTS. ....................................................... OF THE ATMOSPHERE THAT INTERPOSES BETWEEN THE EYE AND VISIBLE OBJECTS. ....................................................................................................................................................................... OF THE EYE. ................................................................................................................................................ OF PAINTING. .............................................................................................................................................. PERSPECTIVE. ............................................................................................................................................. PERSPECTIVE. ............................................................................................................................................. OF PAINTING. .............................................................................................................................................. OF PAINTING. .............................................................................................................................................. OF LIGHT AND SHADE. ............................................................................................................................. OF ORDINARY PERSPECTIVE. ................................................................................................................. OF LIGHT. .................................................................................................................................................... OF LIGHT. .................................................................................................................................................... OF LIGHT. .................................................................................................................................................... WHY BODIES IN LIGHT AND SHADE HAVE THEIR OUTLINES ALTERED BY THE COLOUR AND BRIGHTNESS OF THE OBJECTS SERVING AS A BACKGROUND TO THEM. ....................................................................................................................................................................... ON LIGHT BETWEEN SHADOWS ............................................................................................................. TO PROVE HOW IT IS THAT LUMINOUS BODIES APPEAR LARGER, AT A DISTANCE, THAN THEY ARE. ....................................................................................................................................... TO PROVE HOW YOU MAY SEE THE REAL SIZE OF LUMINOUS BODIES. ..................................... PERSPECTIVE. ............................................................................................................................................. DIFFERENT PORTIONS OF A WALL SURFACE WILL BE DARKER OR BRIGHTER IN PROPORTION AS THE LIGHT OR SHADOW FALLS ON THEM AT A LARGER ANGLE. ................. V. ................................................................................................................................................................... OF PAINTING. .............................................................................................................................................. OF SHADOW. ............................................................................................................................................... OF LIGHT AND SHADE. ............................................................................................................................. EXAMPLE. .................................................................................................................................................... OF PAINTING. .............................................................................................................................................. OF THE RAYS WHICH CONVEY THROUGH THE AIR THE IMAGES OF OBJECTS. ......................... OF PAINTING. .............................................................................................................................................. OF THE INTERSECTIONS OF THE IMAGES IN THE PUPIL OF THE EYE. .......................................... OF THE NATURE OF THE RAYS COMPOSED OF THE IMAGES OF OBJECTS, AND OF THEIR INTERSECTIONS. ........................................................................................................................... ANY SHADOW CAST BY AN OPAQUE BODY SMALLER THAN THE LIGHT CAUSING THE SHADOW WILL THROW A DERIVED SHADOW WHICH IS TINGED BY THE COLOUR OF THE LIGHT. .................................................................................................................................................. OF THE COLOURS OF SIMPLE DERIVED SHADOWS. .......................................................................... OF PAINTING. .............................................................................................................................................. OF COLOURS. .............................................................................................................................................. PERSPECTIVE. ............................................................................................................................................. PERSPECTIVE. ............................................................................................................................................. PERSPECTIVE. ............................................................................................................................................. PERSPECTIVE. ............................................................................................................................................. PERSPECTIVE. ............................................................................................................................................. WHAT PORTION OF A COLOURED SURFACE OUGHT IN REASON TO BE THE MOST INTENSE. ...................................................................................................................................................... WHY BEAUTIFUL COLOURS MUST BE IN THE [HIGHEST] LIGHT. .................................................. OF PAINTING. .............................................................................................................................................. THE ADVERSARY. ...................................................................................................................................... THE ANSWER. ............................................................................................................................................. THAT THE EYE HAS NO PART IN PRODUCING THE COLOURS OF THE RAINBOW. ..................... OF THE COLOURS IN THE FEATHERS OF CERTAIN BIRDS. .............................................................. VI. .................................................................................................................................................................. OF THE VISIBILITY OF COLOURS. .......................................................................................................... ALL COLOURS ARE AT A DISTANCE UNDISTINGUISHABLE AND UNDISCERNIBLE. ................. HOW A PAINTER SHOULD CARRY OUT THE PERSPECTIVE OF COLOUR IN PRACTICE. ....................................................................................................................................................................... OF AERIAL PERSPECTIVE. ....................................................................................................................... WHY THE ATMOSPHERE MUST BE REPRESENTED AS PALER TOWARDS THE LOWER PORTION. ..................................................................................................................................................... OF THE MODE OF TREATING REMOTE OBJECTS IN PAINTING. ...................................................... OF THE COLOUR OF THE ATMOSPHERE. .............................................................................................. 307. OF PAINTING. ...................................................................................................................................... VII. ................................................................................................................................................................. OF PAINTING. .............................................................................................................................................. OF THE MOTIONS OF THE FINGERS. ...................................................................................................... OF THE LOINS, WHEN BENT. ................................................................................................................... OF PAINTING. .............................................................................................................................................. OF [CHANGE OF] ATTITUDE. ................................................................................................................... OF PAINTING. .............................................................................................................................................. OF THE DIFFERENT MEASUREMENTS OF BOYS AND MEN. ............................................................. OF PAINTING. .............................................................................................................................................. OF PAINTING. .............................................................................................................................................. OF THE AGREEMENT OF THE PROPORTION OF THE LIMBS. ........................................................... HOW YOUNG BOYS HAVE THEIR JOINTS JUST THE REVERSE OF THOSE OF MEN, AS TO SIZE. .............................................................................................................................................................. OF DRAWING. ............................................................................................................................................. OF THE HUMAN BODY IN ACTION. ........................................................................................................ OF PAINTING. .............................................................................................................................................. OF THE STRENGTH OF MAN. ................................................................................................................... OF THE NATURE OF THE FOLDS IN DRAPERY. ................................................................................... EXAMPLE. .................................................................................................................................................... OF SMALL FOLDS IN DRAPERIES. .......................................................................................................... VIII. ............................................................................................................................................................... TREES. .......................................................................................................................................................... OF THE SCARS ON TREES. ........................................................................................................................ OF THE RAMIFICATION. ........................................................................................................................... WHY, VERY FREQUENTLY, TIMBER HAS VEINS THAT ARE NOT STRAIGHT. .............................. OF THE RAMIFICATIONS OF PLANTS. ................................................................................................... OF THE INSERTION OF THE BRANCHES ON PLANTS. ........................................................................ A DESCRIPTION OF THE ELM. ................................................................................................................. OF THE INSERTION OF THE LEAVES ON THE BRANCHES. ............................................................... OF THE RAMIFICATIONS OF TREES AND THEIR FOLIAGE. .............................................................. LIGHT ON BRANCHES AND LEAVES (420—422). ................................................................................. OF THE ACCIDENTS OF COLOURING IN TREES. ................................................................................. OF THE VISIBILITY OF THESE ACCIDENTS. ......................................................................................... OF THE SHADOWS OF A LEAF. ................................................................................................................ OF DARK LEAVES IN FRONT OF TRANSPARENT ONES. .................................................................... OF THE LIGHTS ON DARK LEAVES. ....................................................................................................... OF THE LIGHTS ON LEAVES OF A YELLOWISH GREEN. ................................................................... OF A GENERALLY DISTRIBUTED LIGHT AS LIGHTING UP TREES. ................................................. OF THE SHADOWS OF VERDURE. ........................................................................................................... OF THE ILLUMINATED PART OF VERDURE AND OF MOUNTAINS. ................................................ OF TREES THAT ARE LIGHTED BY THE SUN AND BY THE ATMOSPHERE. .................................. OF DEPICTING A FOREST SCENE. ........................................................................................................... ON PAINTING. ............................................................................................................................................. OF THE HERBS OF THE FIELD. ................................................................................................................ OF TREES WHICH ARE BETWEEN THE EYE AND THE LIGHT. ......................................................... FROM WHENCE TO DEPICT A LANDSCAPE ......................................................................................... OF TREES TO THE SOUTH. ....................................................................................................................... OF MEADOWS. ............................................................................................................................................ OF THE 4 POINTS OF THE COMPASS [IN LANDSCAPES]. ................................................................... OF TREES IN THE EAST. ............................................................................................................................ OF THE SHADOWS IN TREES. .................................................................................................................. OF TREES TO THE EAST. ........................................................................................................................... OBJECTS IN HIGH LIGHT SHOW BUT LITTLE, BUT BETWEEN LIGHT AND SHADOW THEY STAND OUT WELL. ....................