Codex Atlanticus4 pages
Codex Arundel8 pages
- How trees and buildings look under an overcast sky
- The blue of distant landscapes and the colours of leaves
- Painting the landscape: wind, cloud light and morning mist
- The bending of a loaded beam, with frames and landscapes
- Crossing-line figure with marginal sketches (untranscribed)
- Trees, foliage and the blue of distant landscapes
- The Great Cavern, and the Two Lines of Fossil Shells
- Bending of a loaded beam, with frames and mechanisms
Codex Forster III2 pages
Codex Madrid II17 pages
- Money reckonings beneath a rocky crag crowned with buildings
- Survey of the Arno Valley at Cascina
- Relief Sketch of Hills around La Verruca (Dolorosa Veruca)
- Stepped Trench: Men Needed to Cast Earth Up by Depth
- Red-chalk landscape and perspective sketches
- Topographic hill profile near Florence: l'Incontro
- Hill profile: Monteoliveto, Bellosguardo, Montici, Bitta
- Faint hill profile continuing the Arno-valley survey
- Hill profile: Rucano, Paradiso, Incontro
- Hill profile with Rucano and Paradiso
- Hill profile (Montici, Edna) with column multiplication
- Faint topographical sketch of the Arno valley
- Hills north of Florence: Fiesole, Ceceri, Monte Morello named
- The Ema and Arno on a hill sketch, with a red-chalk device
- Washed hill sketch: San Miniato and Montici, with a maxim
- Map of Tuscany: the lower Arno valley (Valdarno inferiore)
- Darkness, Shadow, and the Senses of the Cat
Codex Urbinas (Treatise on Painting)74 pages
- The painter as lord and god of all he depicts
- The Deaf Judge and the Blind Judge of Painting and Poetry
- Painting against poetry: the eye and the beauty of the world
- The Painter as Mirror; Botticelli's Sponge and Landscape
- Stains, Universality, and Precepts on Sketching Limbs
- Awakening Invention: Reading Shapes in Stained Walls
- Studying in the Dark, and the Painter's Divine Power
- Games to Train the Draughtsman's Eye
- Tracing on Glass, Landscapes and Candlelight Shadows
- How to Depict a Tempest
- A Battle Scene Concluded; Aerial Perspective Begun
- Aerial Perspective: Bright Air, Whitened Horizon, Relief
- Distant Objects and the Error of Darkening Them
- Translucent Flesh Shadows; A Wild Site; An Invented Animal
- Aerial Perspective: Why a Field Looks Larger or Smaller
- Aerial Perspective: Thick Air Magnifies Distant Things
- Cities in Thick Air; the Tower Divided into Four Degrees
- A City Seen From Above; Distant Towers and Hilltops
- Distant objects, the blue of far landscapes, and lost detail
- Smoke, dust and mist in the landscape
- Rules on opaque surfaces, color and edges
- Sunset reddening the land; edges of white bodies
- The setting sun over mist, clouds and city: precepts on light
- Why Painters Repeat Themselves; Painting the Seasons
- Painting Trees, Wind, and the Onset of Rain
- Rendering a Storm of Wind and Rain
- How Air Thickness Colours a Mountain's Peak and Base
- The Lower Eye, the Visual Angle, and Reflections in Water
- The Blue of Distant Landscapes
- Testing a Shadow with the Finger; Light in the Countryside
- Sun and Eye Positions; Reminder to the Painter
- Deep Wells, Particular Light, and the Shading of Mountains
- Distant Motion Seems Triple-Slow; Mountain Summits Seen from Above
- Aerial perspective: why mountain peaks look darker than bases
- Why aligned mountain peaks cannot be told apart by the eye
- Distance and color of peaks are not in the same ratio
- Peaks that stay too dark; the painter's window test
- A quarter-braccio window shows a hundred-mile horizon
- Why mountain summits look darker than their bases from afar
- Why mountains look bluer in summer than in winter
- Aerial perspective of mountains; how the 'chain of the world' forms
- How rivers carve valleys, form lakes, and wear mountains down
- How mountains grow; painting the plants of mountainous country
- Painting mountain summits and the trees down to their roots
- Distant mountains: whitening air and darkened tree-covered crests
- Why Timber Grains Bend; Trees in Valleys and on Hills
- Painting Trees: Universal Light and the Shadows of Foliage
- The Green of Leaves and the Darkness of Trees Against the Sky
- Trees Seen From Above: Distance, Shadow and a Diagram of Crowns
- The blue of distant trees and the sun on the forest
- Plants Between Eye and Light, and the Four Accidents of Foliage
- Why Distant Bodies Look Round, and the Shadows of Plants
- Trees with Straight Branches, and Trees at Sunrise
- Eastern, Southern and Northern Trees at Sunrise
- Meadows, Grasses and the Shadows of Landscape
- Landscapes at a Distance and the Painting of Fog
- Fog, Buildings, and the Blue of Remote Landscapes
- Landscapes Toward the Sun and Backlit Trees
- Landscape Appearances and the Transparency of Trees
- Overlapping Trees, and Wind Seen in Leaves and Meadows
- How the Wind Bends and Shapes Trees; Waves Over Forests
- Overcast Air, Cloud-Shadows, and Clouds Beneath the Moon
- Index of Part Two: colour, greenery and grounds (213-232)
- Treatise index: judging painting, the mirror, and relief
- Treatise index: aerial perspective and distant things
- Treatise index: fog, cast shadows, and linear perspective
- Treatise index: relief, weather scenes, and reflections
- Index to Part Five: Mountains and Aerial Perspective
- Table of trees: light, shade and colour of foliage
- Index: shadows of plants, trees, meadows, and landscapes
- Table of trees: leaves, herbs and painting plant colour
- Index to Part Seven of the Treatise: On Clouds
- Index to the Eighth and Last Part: On the Horizon
- Horizon-index variant: blank recto foliated 329a
Paris Manuscript B1 pages
Paris Manuscript E2 pages
Paris Manuscript G8 pages
- Shadows, Reflections, and Painting Trees in Overcast Light
- Light and Shade of Cities and Landscapes
- Southern Plants and Meadows in the Morning Light
- The Appearance of Landscapes: The Horizon Circle
- Eastern Trees and the Effect of Viewpoint
- The Shadows of Trees in Distant Woods
- Eastern Trees and the Smoke of Cities
- The Smoke and Dust of Cities
Paris Manuscript H1 pages
Paris Manuscript I2 pages
Paris Manuscript K1 pages
Paris Manuscript L9 pages
- Fortress of Cesena and a large building
- Earth-filled fortification walls against artillery
- Fraction sums, and a note on drawing hills
- Panorama of a town with its port-canal
- A Group of Trees in Red Chalk
- Cartographic Sketch of a Rocky Coast
- A Moving Body on an Inclined Plane
- Weight on a Cord in a Quadrant of a Circle
- How to draw landscapes in light and shade