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Book Title: The Notebooks of Leonardo da Vinci, Complete|
The author of the book: Leonardo da Vinci
Format files: PDF
The size of the: 7.91 MB
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Edition: Emereo Classics
Date of issue: March 11th 2013
ISBN 13: 9781486485468
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Reader ratings: 6.1
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Finally available, a high quality book of the original classic edition of The Notebooks of Leonardo Da Vinci Complete. It was previously published by other bona fide publishers, and is now, after many years, back in print. This is a new and freshly published edition of this culturally important work by Leonardo da Vinci Leonardo da Vinci, which is now, at last, again available to you.
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General remarks on perspective (40-41).-The elements of perspective: -of the point (42-46).-Of the line (47-48).-The nature of the outline (49).-Definition of perspective (50).-The perception of the object depends on the direction of the eye (51).-Experimental proof of the existence of the pyramid of sight (52-55).-The relations of the distance point to the vanishing point (55-56).-How to measure the pyramid of vision (57).-The production of the pyramid of vision (58-64).-Proof by experiment (65-66).-General conclusions (67).-That the contrary is impossible (68).-A parallel case (69).-The function of the eye, as explained by the camera obscura (70-71).-The practice of perspective (72-73).-Refraction of the rays falling upon the eye (74-75).-The inversion of the images (76).-The intersection of the rays (77-82).-Demonstration of perspective by means of a vertical glass plane (83-85.)-The angle of sight varies with the distance (86-88).-Opposite pyramids in juxtaposition (89).-On simple and complex perspective (90).-The proper distance of objects from the eye (91-92).-The relative size of objects with regard to their distance from the eye (93-98).-The apparent size of objects denned by calculation (99-106).-On natural perspective (107-109). ...GENERAL INTRODUCTION.-Prolegomena (110).-Scheme of the books on light and shade (111).-Different principles and plans of treatment (112-116).-Different sorts of light (117-118).-Definition of the nature of shadows (119-122).-Of the various kinds of shadows (123-125).-Of the various kinds of light (126-127).-General remarks (128-129).-FIRST BOOK ON LIGHT AND SHADE.-On the nature of light (130-131).-The difference between 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 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.
About Leonardo da Vinci Leonardo da Vinci, the Author:
Many of his most prominent pupils or followers in painting either knew or worked with him in Milan, including Bernardino Luini, Giovanni Antonio Boltraffio and Marco d'Oggione.nb 14 However, he did not stay in Milan for long because his father had died in 1504, and in 1507 he was back in Florence trying to sort out problems with his brothers over his fa
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Read information about the authorIt was on April 15, 1452, that Leonardo was born in the town of Vinci, Republic of Florence, in what is now in Italy, the illegitimate son of a notary and a barmaid. It is from his birthplace that he is known as Leonardo da Vinci. Leonardo seemed to master every subject to which he turned his attention: he was a painter, draftsman, sculptor, architect, and engineer, wrote poetry and stories: the prototype Renaissance man!
His Last Supper (1495-97) and Mona Lisa (La Gioconda, 1503-06) are among the most popular paintings from the Renaissance. He and his rival Michelangelo did great service to the medical arts by accurate paintings of dissections, which were only occasionally allowed by the Church. Yet, his artistry appeared to be an afterthought, as he frequently left his works unfinished, and only about fifteen of his paintings survive. His notebooks reveal that he was centuries ahead of his time in mechanics and physic, fortifications, bridges, weapons, and river diversions to flood the enemy, which aided Italian city-states in their many wars.
Leonardo was an early evolutionist regarding fossils. Through his careful observations he noted that “if the shells had been carried by the muddy deluge they would have been mixed up, and separated from each other amidst the mud, and not in regular steps and layers — as we see them now in our time.” Leonardo reasoned that what is now dry land, where these aquatic fossils were found, must once have been covered by seawater.
He was for a short time accused of homosexuality: there is no evidence Leonardo had any sexual interest in women. As he wrote in his notebooks, “The act of procreation and anything that has any relation to it is so disgusting that human beings would soon die out if there were no pretty faces and sensuous dispositions.”
And what of his religion? It is significant that at the end of his life he felt he had much spiritual negligence to atone for. His first biographer, Giorgio Vasari, wrote in 1550:
"Finally, …feeling himself near to death, [he] asked to have himself diligently informed of the teaching of the Catholic faith, and of the good way and holy Christian religion; and then, with many moans, he confessed and was penitent; and … was pleased to take devoutly the most holy Sacrament, out of his bed. The King, who was wont often and lovingly to visit him, then came into the room; wherefore he, out of reverence … showed withal how much he had offended God and mankind in not having worked at his art as he should have done."
There was much skepticism in Renaissance Italy at the time, and Leonardo was an intellectual genius, not just an artistic genius. While there was great intellectual freedom during the Italian Renaissance, there were limits as long as the Dominicans, the “Hounds of the Lord,” were active. This semblance of a deathbed conversion, by so critical a thinker and so great a genius as Leonardo, who would have nothing to lose by professing piety all his life, can only mean that during his prime years he was a secret freethinker.
Leonardo died quietly on the 2 of May, 1519, a few weeks following his 67th birthday.
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