Codex Urbinas (Treatise on Painting)

Painting & PerspectiveFront board of the Treatise on Painting's binding

Front Pastedown with Vatican Shelfmark Label

Painting & PerspectiveThe Book of Painting: Whether Painting Is a Science

Painting & PerspectivePainting Versus Poetry, and the Principles of Painting

Front Flyleaf 'I' with Provenance Notes

Blank Flyleaf (Verso) Facing the Opening

Painting & PerspectiveThe Book of Painting: Title Page and Opening Chapter

Painting & PerspectivePainting Compared to Poetry, and Its First Principles

Painting & PerspectivePainting's Principles: Plane Surface, Shadow, Perspective

Painting & PerspectiveChiaroscuro, Astronomy, and the Universality of Painting

Painting & PerspectiveOn Imitable Sciences: Why Painting Is Unique and Noble

Painting & PerspectiveThe Power of Sacred Images; How Painting Embraces Surfaces

Painting & PerspectivePainting Is Philosophy: Motion, Nature, and Surfaces

Optics & LightWhy the eye is least deceived of the senses; in praise of painting

Painting & PerspectiveThe painter as lord and god of all he depicts

Painting & PerspectivePainting goes straight to nature and deceives even animals

Painting & PerspectivePainting to poetry as a body to its shadow

Painting & PerspectivePoetry operates on the blind, painting on the deaf

Optics & LightWhether it is worse to lose the eye or the ear

Painting & PerspectiveAstrology Born from the Eye; the Painter Disputes the Poet

Painting & PerspectiveThe Eye, Window of the Soul: Painting Surpasses Poetry

Painting & PerspectivePainting Against Poetry: the Battle, the Beloved, and God's Image

Painting & PerspectivePainters as Grandsons of God: the Paragone Continued

Painting & PerspectiveThe Deaf Judge and the Blind Judge of Painting and Poetry

Painting & PerspectiveMute Poetry, Blind Painting: the Harmony of an Angelic Face

Painting & PerspectiveThe Paragone: Why the Eye Grasps Harmony All at Once

Painting & PerspectiveThe Difference and Likeness Between Painting and Poetry

Painting & PerspectivePainted Beauty Endures Where Living Beauty Fades

Painting & PerspectivePainting against poetry: the eye and the beauty of the world

Painting & PerspectivePainting, Mother of the Arts, Answers the Poet

Optics & LightIn Praise of the Eye, Window of the Soul

Painting & PerspectivePainting Kindles Love as No Poem Can

Painting & PerspectiveThe Paragone: Painting Moves the Senses More than Poetry

Painting & PerspectiveThe Paragone: King Matthias Chooses the Painting

Painting & PerspectiveThe Paragone: Harmony of Sight and the Nobility of the Eye

Painting & PerspectiveThe Paragone: Painting's Complaint and the Praise of the Eye

Painting & PerspectiveThe Paragone: The Eye as Window of the Soul; Music the Sister of Painting

Painting & PerspectiveThe Paragone: Painting Outlives Music

Painting & PerspectivePainting and Music: Gradations, Proportion, and Mechanical Arts

Painting & PerspectivePainting Nobler than Music: Sense, Permanence, Universality

Painting & PerspectivePainting as a Mental Science; Painter, Poet, and Musician

Painting & PerspectivePoetry Behind Painting and Music; the Poet as Borrower

Painting & PerspectiveWhich Science Is Mechanical; Experience the Mother of Certainty

Painting & PerspectivePainting a Mental Science of Shadow, Light, and Form

Painting & PerspectivePainting a science, sculpture a mechanical art

Painting & PerspectivePainting versus sculpture: bodily labour against mental labour

Sculpture & CastingCutting muscle and hollow: the sculptor's labour of mind

Painting & PerspectiveThe painter's ten considerations against the sculptor's five

Painting & PerspectiveGlazed terracotta of the della Robbia; the round versus relief

Painting & PerspectiveBas-relief's hidden difficulty and the sculptor's enemy: light

Painting & PerspectiveParagone: Why Sculpture Is of Lesser Intellect Than Painting

Painting & PerspectiveParagone: The Sculptor's Errors and the Mind of Painting

Painting & PerspectiveParagone: The Painter Adds, the Sculptor Only Removes

Painting & PerspectiveParagone: Painting as the Greater Mental Discourse

Painting & PerspectiveParagone: All Visible Things Within Painting's Reach

Painting & PerspectiveAerial perspective, and painting compared with sculpture

Painting & PerspectiveParagone: Nature, Not the Sculptor, Makes Light and Shade

Painting & PerspectiveThe Sculptor's Excuse: Painting versus Sculpture

Painting & PerspectivePainting and Sculpture: Permanence, Light, and Illusion

Painting & PerspectivePerspective in Painting, Given Free to Sculpture by Nature

Sculpture & CastingBronze, Copper, and Glass: the Permanence of Painting and Sculpture

Painting & PerspectiveOf Painting and Poetry: Why Painting Is the Higher Art

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Painting & PerspectiveBlank Leaf, Folio 29 verso (Part One)

Painting & PerspectiveBlank Leaf, Folio 30 recto (Part One)

Painting & PerspectiveBlank Leaf with Catchword, Folio 30 verso (Part One)

Painting & PerspectivePart Two Opens: What the Young Painter Should Learn First

Painting & PerspectiveThe Painter's Solitary Life in the Studio

Painting & PerspectiveThe Painter's Mind as a Mirror

Painting & PerspectiveOn the Painter's Judgment; Peril of the Portrait Specialist

Painting & PerspectiveDecorum in Movement and a Mishandled Annunciation Angel

Painting & PerspectiveThe Painter as Mirror; Botticelli's Sponge and Landscape

Painting & PerspectiveStains, Universality, and Precepts on Sketching Limbs

Painting & PerspectivePainting as Lasting Witness; Virtue Above Treasure

Painting & PerspectiveVirtue Nourishes the Soul; Heeding an Enemy's Judgment

Painting & PerspectiveAwakening Invention: Reading Shapes in Stained Walls

Painting & PerspectiveStudying in the Dark, and the Painter's Divine Power

Painting & PerspectiveGames to Train the Draughtsman's Eye

Painting & PerspectiveDiligence Before Speed; Drawing in Company

Painting & PerspectiveLearning by Heart; The Painter Must Be Universal

Painting & PerspectivePainters Who Blame Poor Pay; Heeding Others' Judgment

Painting & PerspectiveDraw from Nature, Not from Memory

Painting & PerspectiveThe Universal Painter and the Variety of Figures

Painting & PerspectivePractice without science: perspective as the painter's guide

Painting & PerspectiveThe Light for Drawing from Nature

Painting & PerspectiveColour of Sunlight and the Grace of Sfumato Shadows

Painting & PerspectiveDrawing Nudes and the Glass for a Correct View

Painting & PerspectiveTracing on Glass, Landscapes and Candlelight Shadows

Painting & PerspectiveSimple and Composite Shadow; Light for Portraying Faces

Painting & PerspectiveThe Squared Net: Drawing the Nude in a Good Pose

Figure StudiesStudy by Season, Attitudes, and Measures of the Statue

Optics & LightWhere to Stand to the Light; Judging Limbs and Anatomy

AnatomyMuscles in Action and the Vice of Repeating Faces

Painting & PerspectiveWhy the Painter Reproduces Himself; the Soul's Judgment

Painting & PerspectiveThe Painter's Own Defects and the Error of Studio Light

Painting & PerspectiveThe Divisions of Painting: Figure, Colour, and Movement

Painting & PerspectiveGesture as the Voice of the Mind; Avoiding Hard Outlines

Painting & PerspectiveErrors Unseen in Small Figures; Diminution with Distance

Optics & LightWhy Two Eyes Rob Painting of Relief; One Vanishing Point

Painting & PerspectiveOne Vanishing Point for Many Scenes; Light That Gives Relief

Painting & PerspectiveTreatise on Painting: expression, relief, and shadow vs. drawing

Painting & PerspectiveTreatise on Painting: the anatomist-painter and the 'wooden' figure

Painting & PerspectiveTreatise on Painting: muscles through life's ages, and natural poses

Painting & PerspectiveTreatise on Painting: soft distant outlines and the origin of painting

Painting & PerspectiveTreatise on Painting: the parts of painting and the primacy of drawing

Painting & PerspectiveTreatise on Painting: outlines, shadow, and the three perspectives

Painting & PerspectiveGrace of Faces, Portrait Light, and Beauty by Contrast

Figure StudiesDepicting Children, Old Men, and Women; Variety of Beauty

Painting & PerspectiveDepicting Old Women and a Night Scene Lit by Fire

Painting & PerspectiveHow to Depict a Tempest

Painting & PerspectiveHow to depict a battle: smoke, dust, and gunfire

Painting & PerspectiveA Battle Scene Concluded; Aerial Perspective Begun

Painting & PerspectiveAerial Perspective: Bright Air, Whitened Horizon, Relief

Painting & PerspectiveWhy Miniatures and Paintings Need Different Finish

Painting & PerspectiveDefinition, Separating Colors, and Light on Faces

Optics & LightReverberation, and Where Reflected Light Cannot Occur

Optics & LightReflections that Lighten Shadows and Stand Against Dark Fields

Optics & LightThe Brightest Part of a Reflection, and the Red of Flesh

Optics & LightDouble and Triple Reflections, and Contrast of Field

Painting & PerspectiveReflected Colour Is Never Pure: Yellow and Blue Make Green

Painting & PerspectiveFour Rules of Reflected Colour, and Advice to the Painter

Painting & PerspectiveEnd of the Reflections; Learning to Compose Figures from Life

Figure StudiesPlacing Figures by Distance; the Balance of a Figure on One Foot

Painting & PerspectiveComposing Narratives: Relief, Foreshortening, and Variety of Men

Figure StudiesVariety of Men and Learning Their Movements from Life

Painting & PerspectiveThe Painter Must Depict Man and the Mind's Concept

Painting & PerspectiveVariety in Narrative Scenes: Faces, Ages, and Decorum

Painting & PerspectiveNarrative Must Move the Viewer; Leave the Limbs Rough

Painting & PerspectiveRough Composition, Stains That Spark Invention, and Colour

Painting & PerspectiveColour Harmony, Contrast, and Painting on White Grounds

Painting & PerspectiveAerial Perspective: How Colours Fade with Distance

Painting & PerspectiveLoss of colour with distance; the shadow-colour of white

Painting & PerspectiveA colour unchanged across varying thicknesses of air

Painting & PerspectiveReckoning air-thickness before distance for colour

Painting & PerspectiveThe perspective of colours: brightening in proportion to distance

Painting & PerspectiveColour-loss proportional to distance; unchanged colour across air

Optics & LightColours made uniform by shadow; darkness that seems but is not

Painting & PerspectiveTrue Color, Reflected Hues, and the Effect of Backgrounds

Painting & PerspectiveHow transparent colours change over what lies beneath

Painting & PerspectiveThe Beauty of Color Lies in Its Illuminated Parts

Painting & PerspectiveVerdigris and the Infinite Mixing of Colors

Painting & PerspectiveA Scheme for Mixing Colors; the Eight Simple Colors

Painting & PerspectiveReflected Color: White the Most Receptive Surface

Painting & PerspectiveFlesh-Tones at a Distance and the Method of Painting Relief

Painting & PerspectiveColor of Greenery; Which Surfaces Show Their True Color

Painting & PerspectiveCommon Perspective: Why Distant Air Appears Blue

Painting & PerspectiveReflection in Water; Grounds Suited to Light and Shade

Optics & LightHow Grounds Change a Color: The Lesson of Falling Snow

Painting & PerspectiveDistant Objects and the Error of Darkening Them

Painting & PerspectiveGrades of Painting; Color of the Sea and of Shadows

Painting & PerspectiveThe Blue of the Air and the Perspective of Colours

Painting & PerspectiveHow the Air Takes On the Colours Behind It

Painting & PerspectiveWhy White Is Not a Colour; Colours in Shadow

Painting & PerspectiveTelling Colours Apart; Incident and Reflected Lights

Painting & PerspectiveColoured Shadows and Relief Against a Light Ground

Painting & PerspectiveGrounds, Colour Harmonies, and the Seven Simple Colours

Painting & PerspectiveThe Six Simple Colors and Their Elements

Painting & PerspectiveBlue and Green as Compound Colors; Mirrored Color

Painting & PerspectiveComplementary Colors, the Medium, and the Blue of Mountains

Painting & PerspectiveDark Woods, Edge Contrast, and Drawing on Glass

Painting & PerspectiveThe Glass-Pane Rule and the Law of Aerial Perspective

Painting & PerspectiveThe Five-Times Rule for Aerial Perspective

Painting & PerspectiveBlank Recto with Quire Signature 'Meltius'

Painting & PerspectiveBlank Verso (Folio 79v)

Painting & PerspectiveBlank Recto (Folio 80r)

Painting & PerspectiveBlank leaf of the Treatise (no text or drawings)

Painting & PerspectiveBlank Recto (Folio 81r)

Painting & PerspectiveBlank Verso (Folio 81v)

Painting & PerspectiveBlank Recto (Folio 82r)

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Painting & PerspectiveHow to Depict a Battle: the Dead, the Dust, the Vanquished

Painting & PerspectivePainting a Battle: Blood, Fallen Men, and Charging Horses

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Figure StudiesPart Three: Movements and Proportions of the Human Figure

Figure StudiesChildren's Slender Joints and the Proportions of Men

Figure StudiesJoints, Shoulder Motion, and the Universal Measures of Bodies

Figure StudiesMeasurements of the Body and the Bending of the Arm

Figure StudiesProportion of the Limbs; Joints of the Hand and Foot

Figure StudiesLimbs That Swell or Shrink When Bent; Muscles in Action

Painting & PerspectiveInvention of Composition and the Figure in Violent Action

Painting & PerspectiveThe Force of Motion and the Three Strokes of Battle

Figure StudiesThe Three Movements of the Neck; Faults of the Painter

Figure StudiesOn Weight-Bearing Feet, Fitting Limbs, and Facial Emotion

Figure StudiesFacial Expression, Varied Airs, and Eight Forms of the Nose

Figure StudiesForms of the Forehead and Nose for a Profile Portrait

Figure StudiesMemorizing Faces, Soft Shadow, and the Falseness of Palmistry

Figure StudiesWhat the Face Reveals, Placing Muscles, and the Throat-Pit's Balance

Painting & PerspectiveExpressive Movement: The Twice-Dead Figure and Motion by Rank

Figure StudiesThe infinite variety of human movement

Painting & PerspectiveWhich Muscles to Show, and the Kinds of Motion

Painting & PerspectiveComposite Motions and the Course of Man

Painting & PerspectiveBalancing on One Foot; the Extended Arm Shifts the Weight

Painting & PerspectiveThe Loaded Shoulder Rises; Ponderation Over the Feet

Painting & PerspectiveBending and Turning; the Counterbalance of Weights

Painting & PerspectiveMan as Mover of Weights; the Balance of the Figure

Figure StudiesThe Grace and Ease of the Limbs

Figure StudiesTurning the Figure; a Lone Running Figure

Figure StudiesBalancing the Figure's Weight at Its Center of Gravity

Figure StudiesAttitudes of the Mind and the Reactions of Bystanders

Figure StudiesThe Quality of Nudes: Slender, Muscular and Fat Bodies

Figure StudiesMuscles in Movement and When to Show Them

Figure StudiesShow Muscles Only in Straining Limbs; Skin Over Muscle Hollows

Figure StudiesDo Not Search Out Every Muscle in a Nude

AnatomyHow Nature Hides the Bones; Skin, Fat, and Aging

AnatomyWhy the Painter Must Know Anatomy

AnatomyTendons Without Muscle and the Body's Sesamoid Bones

Figure StudiesThe Utmost Twist to Look Behind; Arms Behind the Back

Figure StudiesCrossed Arms and the Windup of a Great Blow

Physics & MechanicsThe Elbow as a Lever: Why Pulling Beats Pushing

Physics & MechanicsWhy the Straight Arm Cannot Push, and the Flesh at the Joints

AnatomyThe Knee Bends Only Forward, and Rising from a Kneel

Painting & PerspectiveSimple and Compound Motion; Match Force to the Weight

Painting & PerspectiveDo Not Repeat Movements; Let the Face Show the Emotion

Figure StudiesOn Pose, the Actions of Man, and the Faces of the Passions

Figure StudiesLimbs by Age and the Eloquence of Hands and Arms

Painting & PerspectiveA figure without fitting action is twice dead

Figure StudiesMental Motions: How the Mind Moves the Body and the Eye

Figure StudiesProportion of Every Limb and Figures That Express the Mind

Painting & PerspectiveDecorum in Painting: Rank, Age, and Sex of the Figures

Painting & PerspectiveOld and Young in History Pieces; Depicting the Speaker

Painting & PerspectiveDepicting Anger, Despair, and Limbs Suited to Age

Painting & PerspectiveLaughing versus Weeping in the Human Face

Painting & PerspectivePostures of Women, Rising from the Floor, and the Jump

Painting & PerspectivePushing, Pulling, and the Figure Hurling with Force

Painting & PerspectiveBalance of the Body: Simple and Compound Ponderation

Painting & PerspectiveWeight-Shift, Contrapposto, and the Balance of Standing

Physics & MechanicsWeight on the feet, speed of motion, and how animals walk

Physics & MechanicsThree motions in a man's leap; the endless aspects of a limb

Painting & PerspectiveThe four parts of a figure: attitude, relief, drawing, colour

Painting & PerspectiveAgainst excessive ornament; let the hair play in the wind

Painting & PerspectiveThe painter judging his own work and that of others

Painting & PerspectiveThe mirror as the master of painters

Painting & PerspectiveHow to Recognize a Good Painting; The Mirror as Master

Painting & PerspectiveThe Most Praiseworthy Painting; The Painter's First Aim

Painting & PerspectiveShadows Versus Lineaments; Lighting a Figure by Its Setting

Painting & PerspectiveLight from Above; Where to Stand to View a Painting

Painting & PerspectiveDistant Figures Left Unfinished; Choosing the Background

Painting & PerspectiveTranslucent Flesh Shadows; A Wild Site; An Invented Animal

Painting & PerspectiveHow a Face Is Lit in a West-Facing Street

Painting & PerspectiveDetaching Figures from Their Grounds

Painting & PerspectiveHow Contours and Colours Fade with Distance

Painting & PerspectiveBody Edges, a Figure in the Wind, and the Studio Window

Painting & PerspectiveWhy a Life-Size Painted Face Looks Larger Than Life

Painting & PerspectiveMeasuring paint mixtures by the spoonful to shade a blue object

Physics & MechanicsThe Physics of Gliding Birds and Figures in Motion

Painting & PerspectivePainting a Forty-Braccia Figure in a Space of Twenty

Painting & PerspectiveMaking a Figure Appear Twenty-Four Braccia High

Painting & PerspectiveThe Ten Parts of the Eye and the Seven of Painting

Optics & LightWhy the Air Is Blue; The Definition of Painting

Optics & LightHow the Arch of the Sky Illuminates Bodies Unequally

Painting & PerspectiveDo Not Finish the Details of Distant Objects

Painting & PerspectiveAerial Perspective: Why a Field Looks Larger or Smaller

Painting & PerspectiveAerial Perspective: Thick Air Magnifies Distant Things

Painting & PerspectiveCities in Thick Air; the Tower Divided into Four Degrees

Painting & PerspectiveThe Tower's Colour Proved by Proportion; Sunbeams in Clouds

Painting & PerspectiveBuildings and Mountains Seen Through Thick Air

Painting & PerspectiveA City Seen From Above; Distant Towers and Hilltops

Painting & PerspectiveDistant objects, the blue of far landscapes, and lost detail

Painting & PerspectiveWhy distant things and their colour fade; towers thin in fog

Optics & LightWhy faces look dark and men go unrecognized at a distance

Painting & PerspectiveWhat detail is lost first; the rule of linear perspective

Painting & PerspectiveThe measured rule of diminution; bodies enlarged by fog

Painting & PerspectiveTowers, buildings and cities seen through fog

Painting & PerspectiveTowers fading in fog; shadow-spots on distant faces

Optics & LightWhy evening shadows on white walls turn blue

Painting & PerspectiveSmoke, dust and mist in the landscape

Painting & PerspectiveRules on opaque surfaces, color and edges

Painting & PerspectivePrecepts of painting: confused edges at a distance

Painting & PerspectiveSunset reddening the land; edges of white bodies

Painting & PerspectiveLoss of Edges at a Distance; the Pupil and Vision

Painting & PerspectiveThe setting sun over mist, clouds and city: precepts on light

Painting & PerspectivePainting the Light of the Setting Sun

Painting & PerspectiveWhy a Dark Cloud Looks Higher; Painted vs. Real Distance

Painting & PerspectiveThe Grounds of a Picture and How to Judge a Painting

Painting & PerspectiveShadows in a Scene and the Relief of Distant Figures

Painting & PerspectiveSoft Edges for Distant Things and Remote Figures

Painting & PerspectiveThe Three Parts of Perspective; Why the Air Is Blue

Painting & PerspectiveWhite-and-Black Relief; Why Painting Looks Larger Than Sculpture

Painting & PerspectiveWhy Painting Cannot Match the Relief of Nature

Painting & PerspectiveTransparency of the Painted Object; Near vs Far Relief

Painting & PerspectiveDetaching Figures From Their Field; Universal vs Small Lights

Painting & PerspectiveWhy Painters Repeat Themselves; Painting the Seasons

Painting & PerspectivePainting Trees, Wind, and the Onset of Rain

Painting & PerspectiveRendering a Storm of Wind and Rain

Painting & PerspectiveBridge Shadows and Images in Clear Water

Painting & PerspectiveReflected Images and the Relief of Submerged Bodies

Painting & PerspectiveWhy the Eye Reads a Riverbed Better in Shadow

Painting & PerspectivePerspective, the Bridle and Rudder of Painting

Painting & PerspectiveFigure Balance, the Ten Offices of the Eye, and Carving a Statue

Painting & PerspectivePointing Rods for Marble, and a Painting of Everlasting Varnish

Painting & PerspectiveThin Glass, Colouring on Canvas, and the Smoke of Cities

Painting & PerspectiveWhy Smoke and Dust Read Toward the Sun, and a Perspective Precept

Painting & PerspectiveHow Air Thickness Colours a Mountain's Peak and Base

Optics & LightThe Lower Eye, the Visual Angle, and Reflections in Water

Optics & LightThe Medium Between Eye and Object: Refraction in Crystal

Painting & PerspectivePrecepts on Illumination, Distance and Colour (from Libro A)

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Painting & PerspectiveBlank page, without text or drawings

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Painting & PerspectivePart Four: Of Draperies and Dressing Figures with Grace

Painting & PerspectiveDrapery Must Appear Inhabited, Not a Stripped Bundle

Painting & PerspectiveGarments, Fold Profiles, and the Three Sorts of Cloth

Painting & PerspectiveThe Three Manners of Folds; Varying Drapery in a Scene

Painting & PerspectiveThe Mechanics of Folds: Cloth Returns to Flatness (a b c)

Painting & PerspectiveMantles, Windblown Garments, and Folds in Foreshortening

Painting & PerspectiveOn Dressing Figures: Decorum and the Fashions of His Youth

Painting & PerspectiveThe Follies of Fashion, and Shadows in the Folds of Drapery

Painting & PerspectiveDrapery Folds: Depth, Enclosed Flesh, and Diminution

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Painting & PerspectiveBlank leaf, folio 173r (Treatise, Part Four)

Painting & PerspectiveBlank leaf, folio 173v (Treatise, Part Four)

Painting & PerspectiveBlank leaf, folio 174r (Treatise, Part Four)

Painting & PerspectiveBlank leaf, folio 174v (Treatise, Part Four)

Optics & LightOn Shadow and Light: What Shadow Is

Optics & LightShadow and Light: Primitive, Derivative, Simple and Compound

Optics & LightPrimitive and Derivative Shadow; Which Is Darker

Optics & LightShadow and Darkness; Simple and Compound Shadow

Optics & LightThe Compound Derivative Shadow and Its Boundaries

Optics & LightHow Primitive and Derivative Shadow Are Joined

Optics & LightThe Two Halves of the Compound Derivative Shadow

Optics & LightBoundaries of Compound and Simple Shadow

Optics & LightThe kinds and species of shadow: primitive and derivative

Optics & LightThe figures of derivative shadow and its swift motion

Optics & LightWhen a shadow lags, matches, or blurs beyond its body

Optics & LightReflection, augmented shadow, and simple shadow's darkness

Optics & LightThe five motions of shadows and conditions of projection

Optics & LightGreater light, greater shadow; death of the derivative shadow

Optics & LightThree natures of derivative shadow; the sphere's simple shadow

Optics & LightDerivative shadow springs from the body, not the angle; its three kinds

Optics & LightThe motion of a shadow is faster than the body that casts it

Optics & LightSimple and compound derivative shadows; shadow made visible in the air

Optics & LightDistinct shadow edges; direct versus oblique impact of a shadow

Optics & LightA derivative shadow ringed by lit ground is darker than the primitive

Optics & LightA shadow looks darkest against the whitest ground

Optics & LightThe Science of Shadow: Where Derived Shadow Is Darkest

Optics & LightMultiple Shadows: A Body Casts One for Each Surrounding Light

Optics & LightShadow Between Two Lights; Why a Cast Shadow Enlarges

Optics & LightAttached Shadow vs. Separate Shadow; Rays from a Point

Optics & LightDouble Shadow: Sun-Shadow Cast Within Air-Shadow

Optics & LightWhere Shadow Is Darkest; Shadow and Light Interchange

Optics & LightLight Through a Narrow Slit; Shadows and the Color of Bodies

Painting & PerspectiveDistant White, and Why Remote Shadows Turn Blue

Optics & LightA Dense Body Between Light and Shade; Color of the Object

Optics & LightMedium Shadow and the Brightest Point of a Lit Surface

Optics & LightQuantity of Light and Shadow on Illuminated Bodies

Optics & LightShadows of Cloth, Foliage and Meadows; a Painting Precept

Optics & LightLight of the Hemisphere and the Color of Shadows

Optics & LightReflected Light, and Shadows Lost at a Distance

Painting & PerspectiveHow Shadows and Lights Deceive the Painter's Eye

Optics & LightWhy no body shows its true colour, save blue against a mountain sky

Painting & PerspectiveEvery Surface Borrows the Color of Its Object

Optics & LightShadow as the Privation of Light

Painting & PerspectiveThe Blue of Distant Landscapes

Painting & PerspectiveLight and Shade: Derived Light and the Four Kinds of Light

Painting & PerspectiveLight and Shade: Shadow Cast on a Sphere, with Diagrams

Painting & PerspectiveChiaroscuro: Reflected Colour and the Deception of the Eye

Painting & PerspectiveShadow's Four Considerations: Quality, Quantity, Site, Figure

Optics & LightUniversal and Particular Light on Polished and Shadowy Bodies

Painting & PerspectiveShadows and Lights in Nature: Foliage, Sheer Cloth and Hair

Optics & LightThe Sun's Direct Rays and the Brightest Part of a Lit Body

Optics & LightUniversal and Particular Light, and the Middle Shadow

Optics & LightHighlights, the Middle Shadow, and the Power of Lights

Optics & LightHow the Eye's Position Changes the Light and Shade Seen

Optics & LightDistance, a Sphere's Shadow, and the Darkest Shade

Painting & PerspectiveDistant Objects, Aerial Darkening, and Colour in Shadow

Optics & LightThe Darkest Shadow and the Largest Luminous Angle

Optics & LightWhere the First Light and First Shadow Fall on a Sphere

Optics & LightReflected Light and the Shadow Under Building Eaves

Painting & PerspectiveCounter-Light, Reflection, and Variety in Narrative Pictures

Painting & PerspectiveDistant and Nocturnal Things Lose Their Edges

Optics & LightEqual Shadows from Luminous Bodies of Different Sizes

Optics & LightLighting a Shadowed Sphere; Colour of Painted Shadows

Optics & LightAn Opaque Surface Between a Black and a White Object

Painting & PerspectiveColours in Distant Shadow Become Indiscernible

Optics & LightHow Surfaces Take False Colours: Yellow and Blue Make Green

Optics & LightThe False Violet Shadow of Fire and Air

Optics & LightBlack Tinges White Most; Shadows Darkening into Night

Painting & PerspectiveWhy black garments give a face more relief than white ones

Painting & PerspectiveShadows on faces and the quality of the light

Optics & LightSmall windows, black surfaces, and the effect of distance

Optics & LightWhy shadow reveals form, and the sun's direction on shadows

Optics & LightWhen a surface is evenly lit: three geometric demonstrations

Optics & LightThe brightest point on a screen: shadow and light pyramids

Optics & LightHow a man's shadow changes as he moves or bends

Optics & LightWhen a Body Nears a Smaller Light, Its Shadow Grows

Optics & LightShadows That Shrink, and Shadows Unchanged by Distance

Optics & LightDistance from the Original Light Sets the Derived Shadow

Optics & LightBodies Lit by a Single Window Cast Unequal Shadows

Optics & LightWhy Bodies Facing the Window Squarely Cast Shorter Shadows

Optics & LightColored Shadows and the First Degree of Window Light

Optics & LightDegrees of shadow and light cast by a window on a body

Optics & LightLight of window and sky-horizon falling on a shaded sphere

Optics & LightAngles of least light and the shadow directed to one point

Optics & LightHorizon circle and window: light lines crossing at its middle

Optics & LightEvery shadowy body lies between a dark and a bright pyramid

Optics & LightCrossing lights on a sphere; when the eye can see no shadow

Optics & LightThe Shadow of a Sphere and When the Eye Can See It

Optics & LightDarkest Point of a Sphere Lit by the Sky-Hemisphere

Optics & LightTransparent Shadows and the Principal Shadow of a Limb

Optics & LightWhy the Outlines of Opaque Bodies Are Never Sharp

Optics & LightNearer Bodies Have the More Confused Outlines

Optics & LightLight Striking a Head: Rays and Angles of Illumination

Optics & LightWhere Light Falls Strongest: The Angle of Incident Rays

Optics & LightEdges of Light and Shade; the Highlight That Moves with the Eye

Optics & LightWhich parts of a sphere are most and least illuminated

Optics & LightHow Equal Arcs of the Sky Light a Sphere Evenly

Optics & LightWhy the Shadowed Sphere Is Darkest Where It Sees Most Earth

Optics & LightHow Greater Light Lights a Greater Part of the Sphere

Optics & LightReflected Light Weakens in Proportion to Its Source

Painting & PerspectivePlacing Shadows and Lights on a Faceted Body

Painting & PerspectiveLight on an Octagon's Faces by the Angle of Incidence

Painting & PerspectiveMeasuring Colour by Spoon; Giving the Lights

Painting & PerspectiveArtful Light and Shade to Feign Relief

Painting & PerspectiveTesting a Shadow with the Finger; Light in the Countryside

Painting & PerspectiveSun and Eye Positions; Reminder to the Painter

Painting & PerspectiveColour of shadows and the beauty of shaded bodies

Painting & PerspectiveOf luster: highlights on shaded bodies and dark grounds

Optics & LightLuster versus light: ground, size, power and movement

Optics & LightWhich bodies show luster, and whose colour it takes

Optics & LightLuster in gems and gold; opening of Of Reflections

Optics & LightOf reflections: where shadow between lights is darkest

Optics & LightA Body Lit by the Sky's Hemisphere, and Why It Casts No Reflection

Painting & PerspectiveReflection in Universal Light, Lighting the Muscles, and Painting White

Painting & PerspectiveHow White Drapery Takes the Colors of Air and Meadow Around It

Painting & PerspectiveThe Eye in Light, the Rooftops of a City, and Men in Battle

Painting & PerspectiveDeep Wells, Particular Light, and the Shading of Mountains

Painting & PerspectiveDistant Motion Seems Triple-Slow; Mountain Summits Seen from Above

Painting & PerspectiveAerial perspective: why mountain peaks look darker than bases

Painting & PerspectiveWhy aligned mountain peaks cannot be told apart by the eye

Painting & PerspectiveDistance and color of peaks are not in the same ratio

Painting & PerspectivePeaks that stay too dark; the painter's window test

Painting & PerspectiveA quarter-braccio window shows a hundred-mile horizon

Painting & PerspectiveWhy mountain summits look darker than their bases from afar

Painting & PerspectiveWhy mountains look bluer in summer than in winter

Painting & PerspectiveAerial perspective of mountains; how the 'chain of the world' forms

GeologyHow rivers carve valleys, form lakes, and wear mountains down

Painting & PerspectiveHow mountains grow; painting the plants of mountainous country

Painting & PerspectivePainting mountain summits and the trees down to their roots

Painting & PerspectiveDistant mountains: whitening air and darkened tree-covered crests

Optics & LightPrecepts on light and shadow; a body turning in fixed light

Optics & LightThe shifting shadow of a globe and the perspective of colours

Optics & LightShadow and light on bodies; illumination by air without sun

Optics & LightWhich shadow is darkest; light, curvature and coloured lights

Painting & PerspectiveEdges against backgrounds; distant shadows in one light

Painting & PerspectiveImitating colours at any distance; matching a sunlit mountain

Optics & LightReflected light and the binocular view of two equal objects

Painting & PerspectiveThe visual pyramid and the apparent size of objects

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BotanyOn Trees and Greenery: The Branching of Plants

BotanyRules of Tree Branching: Angles, Thickness, Leaf-Scars

BotanyHow leaves and branches attach and fork on a tree

BotanyLight and Shadow on Foliage; Proportion of Yearly Growth

BotanyConservation of Branch-Thickness; Opposite vs. Alternate Boughs

BotanyWhy Forks Bulge Outward: A Three-Circle Proof

BotanyReading a Tree's Age from Bark and Growth-Rings

BotanyGrowth-Rings as a Record of Years, Seasons and Orientation

BotanyLeaf Arrangement and the Angles of Branches

BotanyBranchings Foreshortened; Leaves Turned to the Dew

BotanyLeaves as the Branch's Nourishment; Four Modes of Growth

BotanyWhy Timber Grains Bend; Trees in Valleys and on Hills

Painting & PerspectiveTrees at a Distance: From Form to Light, Dark, and Color

BotanyNourishment of Cut Branches; Proportion of Branches

BotanyHow Trees Grow and Toward Which Side They Grow Most

BotanyWhy a Branch Grows Thickest Below, and the Making of Bark

BotanyThe Three Modes of Tree Branching

Painting & PerspectiveWhy Trees Bend, and the Four Accidents of Foliage

Painting & PerspectiveThe Transparency of Leaves and the Off-Centre Pith of a Bough

BotanyHow Site Shapes a Tree, and How to Choose Straight Timber

Painting & PerspectiveDrying Timber and the Five Distances of Trees

Painting & PerspectiveHow Lit Leaves Stand Out Against Shadowed Foliage

Painting & PerspectiveWhy Trees Look Lighter Near and Darker Far

Painting & PerspectiveDirections of Tree Shadows Under the Rising Sun

Painting & PerspectiveThe Form of Trunks and the Light on Leaves

Painting & PerspectiveTwo Trees in Sunlight and Light on Rounded Foliage

Painting & PerspectivePainting Trees: Universal Light and the Shadows of Foliage

Painting & PerspectiveHighlights of Leaves: Why Yellow Foliage Gleams Green

Painting & PerspectiveThe Green of Leaves and the Darkness of Trees Against the Sky

Painting & PerspectiveTrees Seen From Above: Distance, Shadow and a Diagram of Crowns

Painting & PerspectiveThe blue of distant trees and the sun on the forest

Painting & PerspectivePlants Between Eye and Light, and the Four Accidents of Foliage

Painting & PerspectiveWhy Distant Bodies Look Round, and the Shadows of Plants

Painting & PerspectiveHow to Light the Masses of Leafy Boughs

Painting & PerspectiveWhy Not to Paint Leaves Transparent to the Sun

Painting & PerspectiveDark Leaves Before Transparent Ones, and the Colour of Foliage

Painting & PerspectiveTrees with Straight Branches, and Trees at Sunrise

Painting & PerspectiveEastern, Southern and Northern Trees at Sunrise

Painting & PerspectiveMeadows, Grasses and the Shadows of Landscape

Painting & PerspectiveShadows of Leafy Branches and the Darkest Part of a Bough

Painting & PerspectiveLandscapes at a Distance and the Painting of Fog

Painting & PerspectiveFog, Buildings, and the Blue of Remote Landscapes

Painting & PerspectiveLandscapes Toward the Sun and Backlit Trees

BotanyDescription of the Elm; Varying the Greens of Foliage

BotanyLeaves Layered Like Ivy; the Leaves of the Walnut

Painting & PerspectiveLandscape Appearances and the Transparency of Trees

BotanyOverlapping Trees, and Wind Seen in Leaves and Meadows

BotanyHow the Wind Bends and Shapes Trees; Waves Over Forests

BotanyBark, Branching, and Massing Foliage in Painting

BotanyPlants Shaped by Storm; Light, Shade and Luster in Leaves

Painting & PerspectiveLuster on Leaves and Matching Their Colors Exactly

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Optics & LightOn Clouds: Their Formation, Light, and Redness

Optics & LightThe Redness and Splendor of Clouds; How Clouds Are Made

Physics & MechanicsThe Nature of Winds and the Weight of Clouds

Optics & LightOvercast Air, Cloud-Shadows, and Clouds Beneath the Moon

Optics & LightClouds by Night Beneath the Moon; A Rule for Their Redness

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Painting & PerspectivePart Eight: On the Horizon

Painting & PerspectiveOn the Horizon: the Nile's white distance and the perspective pyramid

Painting & PerspectiveThe horizon of sky and earth in perspective

Painting & PerspectiveWhy the horizon never sits at the eye's height

Painting & PerspectiveThe horizon on a spherical earth and at sea

Optics & LightThe sea horizon and its reflection in running water

Painting & PerspectivePainting water's colour and why the horizon air turns red

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Painting & PerspectiveTable of Contents, Part One: poetry and painting

Painting & PerspectiveTable of Contents, Part One: painting, poetry and music

Painting & PerspectiveTable of Contents, Part One: painting versus sculpture

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Painting & PerspectiveIndex to Part Two: Precepts of the Painter (chs. 47-72)

Painting & PerspectiveIndex to Part Two: Drawing from Nature (chs. 73-90)

Painting & PerspectiveIndex to Part Two: Light, Shadow, and Attitudes (chs. 91-109)

Painting & PerspectiveIndex to Part Two: Relief, Colour, and Lineaments (chs. 110-124)

Painting & PerspectiveIndex to Part Two: Parts of Painting and What to Depict (chs. 125-152)

Painting & PerspectiveIndex to Part Two: Reflections and Composition (chs. 153-174)

Painting & PerspectiveIndex of Part Two: composing scenes and colour (175-196)

Painting & PerspectiveIndex of Part Two: colour, shadow and glazing (197-213)

Painting & PerspectiveIndex of Part Two: colour, greenery and grounds (213-232)

Painting & PerspectiveIndex of Part Two: colour of distance and grounds (233-255)

Painting & PerspectiveIndex of Part Two: true colour and aerial perspective (256-262)

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Figure StudiesContents of Part Three: Movements and Measures of Man

Figure StudiesContents of Part Three: Movements, Faces and Attitudes

Figure StudiesContents of Part Three: Balance and Motion of the Figure

Figure StudiesContents of Part Three: The Single Figure, Attitudes and Muscles

AnatomyContents of Part Three: Anatomy, Force and Motion of Man

Figure StudiesContents of Part Three: Expression of the Mind in Figures

Figure StudiesTreatise index: the human figure in motion and repose

Painting & PerspectiveTreatise index: judging painting, the mirror, and relief

Painting & PerspectiveIndex to Part Three: figures, distance, and animal motion

Painting & PerspectiveTreatise index: aerial perspective and distant things

Painting & PerspectiveTreatise index: fog, cast shadows, and linear perspective

Painting & PerspectiveTreatise index: relief, weather scenes, and reflections

Painting & PerspectiveTreatise index: the eye, perspective, and reflections in water

Painting & PerspectiveTreatise on Painting — blank verso in the index section

Painting & PerspectiveIndex to Part Four of the Treatise: On Drapery

Painting & PerspectiveTreatise on Painting — blank verso in the index section

Optics & LightIndex to Part Five of the Treatise: On Shadow and Light

Optics & LightIndex to Part Five: Shadow and Light (continued)

Optics & LightIndex to Part Five: Shadow and Light (continued)

Optics & LightIndex to the Book of Light and Shade: chapters 604-622

Optics & LightIndex of the Treatise: shadow, light and colour, ch. 623-639

Optics & LightIndex: quality of shadows and lights, chapters 640-663

Optics & LightIndex: illumination, lustre and chiaroscuro, ch. 664-685

Optics & LightIndex: the eye's position and shadow on spheres, ch. 686-700

Optics & LightIndex: colour of shadows on opaque bodies, ch. 701-718

Painting & PerspectiveIndex to Part Five: Derivative Light and Cast Shadows

Optics & LightIndex to Part Five: Pyramidal Shadow and the Opaque Sphere

Optics & LightIndex to Part Five: Body Outlines, Reflexes, Sphere Shading

Painting & PerspectiveIndex to Part Five: Rules for Lights, Shadows, Feigned Relief

Painting & PerspectiveIndex to Part Five: Lustre, Reflexes, and Lights of Cities

Painting & PerspectiveIndex to Part Five: Mountains and Aerial Perspective

Painting & PerspectiveIndex of chapters: light, shade, colour and perspective

BotanyContents of the sixth part: trees and greenery

BotanyTable of trees: bark, branching and trees seen at a distance

BotanyTable of trees: light, shade and colour of foliage

Painting & PerspectiveIndex: shadows of plants, trees, meadows, and landscapes

BotanyTable of trees: leaves, herbs and painting plant colour

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Painting & PerspectiveIndex to Part Seven of the Treatise: On Clouds

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Painting & PerspectiveIndex to the Eighth and Last Part: On the Horizon

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Painting & PerspectiveHorizon-index variant: blank recto foliated 329a

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Lists & AccountsFolio 330r: blank recto of the inventory leaf

Lists & AccountsMemorandum of the Books Composing the Treatise on Painting

Lists & AccountsEnd of the Book-List: Eighteen Pieces in All

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Painting & PerspectiveBook on Painting: Whether Painting Is a Science

Painting & PerspectivePainting versus Poetry; First Principles of Painting

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Painting & PerspectiveColour-calibration target beside a page of the Trattato

Painting & PerspectiveTreatise leaf photographed with color and scale calibration charts