Codex Atlanticus215 pages

• Lifting pump with lead-sealed valves and an optical sighting tube
• Equal objects appear smaller with distance
• Equal objects appear smaller with distance (verso)
• Mechanical and throwing-engine studies (no text)
• Geometry, a mirror problem, accounts, and an upright bombard
• How to aim a swivel-gun true with two sights
• The Image of the Sun in a Spherical Mirror
• Quadrature of the triangle, proportion tables and perception
• The science of shadow: rays, angles and degrees of darkness
• Grain mill, furnaces, and a concave burning mirror
• Draft letter to don Giovanni Corno, with an eye and disk study
• Proportional figures, an instrument for refraction and a cutting tool
• The Science of Composite Shadow; Church Studies
• Geometric Figures, the Horizon, and Architectural Sketches
• Hoisting Wheels, a Mile-Gauge Gear, Sums, and Rain-Light
• Machine studies: a wooden plane, boring machine and gearwork
• Blank Leaf (No Writing or Drawings)
• Measuring Distances by Sighting with the Eyes
• Coloured shadows, cord-weights, and De ludo geometrico
• How the size of a light governs a body's shadow
• Ground-floor house plan with garden stair, and structural sketches
• Toothed wheels, proportional circles and gear contact
• Interlaced Knot Designs and a Line on Hope
• Index to a treatise on the movements of water
• The spheres of fire and air: how hail and rain form
• The Curvature of the Earth: How Far Two Men See the Horizon
• A water-filled glass lamp, a house plan and a materials list
• Concave Burning Mirrors and Foundry Notes
• Metalworking Recipes and a Gold Knot Design
• How the Eye Sees Things Placed Before It
• Angle of Incidence at a Spherical Mirror
• Concave mirror from a circle-segment: equal angles
• Reflection geometry: incident line and reflected ray
• Two Mean Proportionals and Cube Roots
• On the common sense, the five senses and the nature of seeing
• Squaring the circle, an inheritance problem, and perspective studies
• Flight of birds: turning, bounding and circling in the air
• Perspective: the air full of infinite radiant pyramids
• The Weight and Pressure of Water in Vessels
• The Sun Reflected in the Waves of the Sea
• The Earth as a Star: the Moon, Water and the Sun's Image
• The science of light and shadow: primitive and derivative
• Prefaces on experience, the muscles, and the eye
• Memoranda list and studies of rays entering the eye
• How the eye judges size; the moon's diameter and lustre
• Water through apertures, falling weights, and images in crystal
• Why a bouncing ball rebounds at equal angles; the eye and mirrors
• How the eye turns images upside down through the pupil
• The eye, mirrors, and binocular double vision
• The pupil in sudden light; ball rebound; light through apertures
• Radiation of light, sound, magnetism and smell through space
• How contrast alters the apparent size of dark and bright bodies
• Two maxims: the bright seen from afar, the heavy part leads motion
• On Light and on the Sea that Girds the Earth
• Fortress plans, counter-mines, and a great bombard
• Images in convex mirrors and their diminution with distance
• The Five Terms of Perspective: Point, Line, Angle, Surface, Body
• Light and the Diminution of Objects with Distance
• Diagrams of Light Rays and the Boundary of the Luminous
• Solar rays through apertures, with sums and accounts
• Solar light through square, cross and round apertures
• How every body fills the air with its image; camera obscura
• The air full of images: mirrors reflecting light to infinity
• On the Eye: Vision by Straight Rays, and the Air Full of Images
• Nature, not art: the decline and revival of painting
• Reflection in a plane mirror and how two people see each other's eyes
• Primitive and Derived Shadow; a Sun-Moon-Eye Diagram
• The Science of Shadows: Derived Shadow and Foreshortening
• Convergence of Light and Shadow: the 5/8 Penumbra
• The Science of Light and Shadow on Spherical Bodies
• The Physics of Percussion and the Generation of Sound
• A Canal Lock, Pyramid Sections, and Notes on Shadows
• The nature of light on opaque and transparent bodies
• A doubt on Noah's Flood, and a description of the Deluge
• Where light falls: diagrams of illumination
• Blank verso, devoid of writing and drawings
• Squaring the Lunes; Flame, Air, and a Note on the Medici
• Proportion of the Human Figure and Aerial Perspective
• The game of geometry: circle transformations and sphere optics
• Binocular vision of a sphere, with balls hung by cords
• Simple and compound shadows from two lights
• Polygons in circles, spiral, and area equivalences
• Faded studies of luminous rays, arcs and small devices
• How air receives bodies' images in light and shadow
• Every body fills the air with its likeness, as mirrors do
• Why the sun's rays cannot fully illuminate the earth
• Quadrature of lunes and an instrument for reflected light
• Angle of contingence to a circle; the eye and inverted vision
• Angle of incidence in a concave mirror and compass constructions
• Shadow of a sphere under star-shaped light, with quadrature figures
• Shadows cast by a sphere, and the squaring of the lune
• Optics glossary: rays, mirrors, reflection and refraction
• Solid geometry: cube, sphere, cone and polyhedra
• Circles, tangency and the quadrature of lunes
• The science of light and shadow through apertures
• Vision, mirrors and the anatomy of the eye
• Why one light casts two shadows behind one body
• Light and shadow: derivative shadows, the eye, and colour edges
• Quadrature of lunes; circles in double proportion
• Lettered Solids and the Geometry of Vision
• Geometry of Vision: Visual Triangles on a Surface
• Derivative Shadows and Measuring the Earth's Radius
• On Painting: Infinite Gradations of Light and Shade
• The whole in every part: circles of sound and light
• Proem on the primacy of perspective and the nature of light
• The centre of light: shadows, the moon, and vision
• Weight, and the swiftness of the eye, sun-ray, and mind
• How the eye sees: the crystalline humour and binocular vision
• Modes of perspective: projecting a figure into a room corner
• Light and shadow on spheres, with sphere geometry and a comet
• Aspects of the moon and reflections of the sun on water
• Light and shadow between sun, moon and earth
• Reflections of the sun on waves and the angle of vision
• Motion of a Heavy Sphere on an Inclined Plane
• How the eye sees spheres and plane surfaces
• Cone-and-circle figures lettered d b a and m p o n
• Precepts on apparent size, colour and sound judgement
• The eye: refraction and inversion of images in vision
• The eye: intersection of visual rays and inverted images
• Figure of the eye: contrary apparent motion of images
• Simple and Compound Shadows from Three Lights
• The Crossbow-Maker's Fallacious Water-Wheel
• Derived Shadows and the Squaring of Curved Figures
• The inversion of the image, with a converging light-ray diagram
• The picture plane and the visual pyramid
• Canal-Cutting at Brivio and the Theory of Cast Shadows
• Refraction Through Water and Crystal; Camera Obscura
• The eye, the pupil, and images of the sun on the sea
• On Flame: the physics of fire, wind and smoke
• Light rays and the gradation of shadow through an aperture
• Solar rays and the shadow cast by a sphere
• The power of light through apertures, and derived shadows
• Derived shadow on steps and slopes, and light through apertures
• The sun's image in water and the roundness of distant light
• The moon's water, reflected sunlight, and eclipse light
• Measuring the sun and moon's size from their distance
• The Moon in Eight Phases and the Sun Reflected on Water
• Flowering Plant, and How Spectacles Restore Aged Sight
• Pyramids of incident and reflected light rays
• Sunlight through an aperture; mirror and reflected rays
• Shaded sphere on a verso devoid of writing
• Preface to the treatise on shadow: the seven books
• Optics of the eye: vision, the pupil and lit spheres
• The sun reflected in water and the book of mirrors
• Light, shadow and the visual pyramids of a sphere
• Diminution of figures and solids along a beam of rays
• Circles, inscribed figures and incident rays on a ring
• Light Rays Through Apertures; Weight on Cords
• The science of derived and primitive shadow
• The eye's pupil, night vision, and pigment recipes
• The Solar Ray Through an Aperture: How Light Changes
• Solar Rays, Squaring the Circle, and a Letter to a Friend
• Geometry: squaring curved-sided figures
• On the motion of flame, smoke, hail and clouds
• On the candle flame, heat and cold, and the winds
• The theory of vision: light, colour and the eye
• Vision, radiant powers and the pinhole image of an eclipse
• The angle of contingency and proportional triangles
• Concave burning mirror: rays reflected to a focus and its profile
• Geometry of incident and reflected rays
• The compound shadow, and shadow in painting and sculpture
• Birds in the Wind, Reflection in a Sphere, and Circle Diagrams
• On local motion and percussion; a diagram of rayed lozenges
• Rays from a Light Source and from the Eye to a Circle
• The eye, the pupil, and the visual pyramids
• Near-blank verso with recto diagram showing through
• Angles of contingency on the sphere; concentric-circle diagrams
• Mirror Optics, Geometry, and Hydraulic Devices
• Self-Acting Water-Raising Instrument
• Light and shadow, the balance, and sunbeams through clouds
• The Eye, an Object and Rays: Seeing Past a Small Body
• The light of the moon: is the moon a mirror of the earth?
• Burning mirrors: solar rays on flat and concave mirrors
• Laws of branching in plants, with shadow and survey notes
• Wheels on Pivots; Crossed Optic Nerves; a Buckle Account
• Reflection in mirrors and the brightest point on a sphere
• Pulley hoists and the pupil as a concave mirror
• Lever and balance problems, with a note on aerial perspective
• Geometry: doubling of areas and solids, an octagon from a square
• Diving and Floating Craft, Screws, and Scattered Notes
• Reflection: where light rebounds at equal angles
• Why a Bell Seems to Keep Sounding After the Strike
• Excavating and hoisting earth, with figures of an egg-shaped mirror
• Gravity, the balance, spring-weapons and a river bridge
• Ray diagrams through a lens-like figure
• The force of a blow, wheels, and a candle between mirrors
• The Species of Objects Fill All the Air
• Light Reduced to a Point; the Eye and Water Studies
• Pyramids of light: concave mirrors, apertures and forked shadows
• Vision through apertures and bodies interposed before the eye
• Light through an aperture, a domed church plan and mechanism sketches
• The coloured circles around the moon, and a note on an Archimedes manuscript
• The Eye and Light; and Fire Struck from Iron
• Visual pyramids, bird flight, and a worm-screw mechanism
• Perspective of vision, projectile motion, and the tides
• Rays converging on a lit surface, a balance and arithmetic
• Note on the persistence of impressions in the senses
• Retained Impressions: Sound, Sight, Water and Moving Bodies
• Table of Contents for a Treatise on Optics and Painting
• Chords, arcs, and the equal angles of reflection
• Measuring the True Size of the World
• Fire in Place of the Solar Mirror
• The balance rule for finding a counterweight
• Counterweight demonstrations, cubes, and artillery bores
• Toothed wheels and screws for lapidary machines
• Gem-polishing mills, pivots and concave mirrors
• Circles in water, sound in air, and images to the eye
• Sheet of mechanical devices with Leonardo's signature
• Ray diagram for concave and convex mirrors
• Mirror figure and tools: drawing, rod-making and sawing
• Light-ray and shadow angle diagrams, with a maxim of Anaxagoras
• Burning Mirror and an Antifriction Device
• Optics: the images of bodies fill every point of the air
• Machines for Grinding Concave Mirrors
• Sheet of mechanisms, springs, flutes and a treadwheel

Codex Arundel83 pages

• Moon-spots, and proportionalities for the angle of incidence
• Constructing the angle of incidence within a circle
• On the angle of incidence: the best-lit point of a circle
• Finding the angle of incidence on a spherical mirror
• Angle of incidence on a spherical mirror
• The sun's image reflected in rippling water
• Reflection in a convex mirror: locating the image
• Does the moon shine by its own light or as a mirror?
• Concave mirrors, the cloud as a bombard, and water reshaping the earth
• Geometric construction for the origin of a reflected ray
• Similar triangles and the angle of incidence in mirrors
• Natural perspective mixed with accidental perspective
• The bird's eye and the angle of incidence on a sphere
• Mirrors and the simulacrum, with a note on Roger Bacon
• Concave burning mirror: angle of incidence and the converging light pyramid
• Burning mirrors: focusing sunlight in a concave mirror
• Reflected cold, and the bounce of a struck heavy body
• The law of equal angles for incident and reflected rays
• Separating the rays of a concave mirror
• Which concave mirror kindles fire fastest
• Why a reflection on water cannot match the object
• Of the Moon: Mirrors, Rays and the Moon's Essence
• Of the Moon: Reflected Sunlight and the New Moon's Brightness
• Finding the Point of Reflection on a Spherical Mirror
• Reflection angles at a circle, with geometric constructions
• Note on light cast through a round aperture
• The nature of mirrors: rays and pyramids of species
• Optical Notes on How Lines, Angles and Shadows Meet the Eye
• Cancelled Notes in a Second Hand
• Text in a Second Hand on Light and Shadow
• Falling weights, and why the moon does not shine like the sun
• On the light seen in the eye and how the eye sees light
• The blue of distant landscapes and the colours of leaves
• Water waves, reflected light rays, and a well-bucket hoist
• Simple and compound motion; the descent of flame
• Painting the landscape: wind, cloud light and morning mist
• Light through a window, the eye's inner sense, and hair recipes
• The science of light and shadow: free and constrained light
• Gravity, levity, a sunlight mirror, and musical drums
• How bodies fill the air with their images
• Pure air receives the images of all bodies at once
• The pupil of the eye, and a struck cube that rounds
• Why an arc appears of different sizes as the eye moves
• Reflection at the surface of water and concave mirrors
• The sun's heat, the point, and the birth of gravity
• The Mirror Image Takes the Colour of Its Mirror
• Perspective, refraction, and the visual pyramid of the eye
• Propositions on visual pyramids and rays
• Reversed pyramids and images seen upside down
• The Intersection of Simple and Compound Shadows
• How Elements Weigh in Motion; Air Drawn from a Vent
• River floods, waves, and a 1502 note of few soldi
• The Visual Pyramid and How It Narrows With Distance
• The Moon's Spots and the Angle of Incidence
• Finding the Angle of Incidence on a Circle
• Finding the Angle of Incidence on a Spherical Mirror
• The Sun's Image Reflected in Rippling Water
• Angle of Incidence on a Convex Mirror
• Similar triangles, a common chord, and mirror incidence
• Proportions of arcs versus their chords and sagittae
• Reflection in curved mirrors; a note on Roger Bacon in print
• The cone of light, the angle of incidence, and a burning mirror
• Large converging-ray diagrams (ff. 88v-84r, backlit)
• Cold reflected from a mirror, and the height of a rebound (f. 85r)
• Concave mirrors: convergence of reflected rays
• On the Moon: reflected light and the sun upon the waves
• Equal angles of incidence and reflection at a circle
• How the eye judges lines, angles and shadows
• The nature of mirrors and the reflection of visual rays
• Diagrams of luminous spheres and cones of rays
• Ray-fans, arcs and geometric sketches (untranscribed)
• Trees, foliage and the blue of distant landscapes
• Simple and composed motion; falling flame and reflected suns
• The Eye, Light Through a Window, and Recipes for the Hair
• Every body infuses its likeness throughout the surrounding air
• The pupil of the eye and percussion in dilatable material
• Reflection in water and air; concave mirrors
• The Golden Chain: Heat, Cold, Gravity and Levity
• Why Rays Bend at the Eye: Vision versus Perspective
• The visual pyramid: how bodies radiate their images
• The science of shadows: simple, compound, and their crossings
• Weight, water and air in motion; a name jotted
• Perspective: the diminution of the visual pyramid over distance

Codex Forster I1 pages

• Direct and reflected light entering a cavern

Codex Forster II6 pages

• On perspective: apparent size and the proportion of light and shade
• Perspective: equal objects diminish with distance
• Can cloud motion be known from their shadows?
• On motion: a cannonball in fog and an arrow bending in water
• Why a fast-spinning pierced body does not hide what is behind it
• On the Pupil's Adjustment to Light and Dark

Codex Forster III10 pages

• Every angle of a triangle as centre of intersecting circles
• A sieve seen from afar; a pulley mechanism
• Which wall is more lit past an opaque body
• Casting recipe and a note on light and apparent size
• Reflected Light Between Two Mirror Surfaces
• Crossing Bodies Appear Multiplied; Birds' Wings
• Concentric Circles Crossed by Bundles of Rays
• On the Doubling of Lights, with Sketches
• Hippocrates on semen; a mill rod; reflected colour
• Mirror Alloy; Light Eating into a Body's Shadow

Codex Madrid I10 pages

• Gear Teeth, Clock Timing, Joints, and the Sun at the Horizon
• Why a Sunlit Sphere Casts a Columnar, Not Conical, Shadow
• Studies of shadow, light-angles, and the cutting of a saw
• Types of pivots and a vane that catches the air
• Gunpowder versus crossbow force, and a mirror drop test
• Apparent speed of runners; weight over a wedge
• Tapered Rollers, a Cord-Breaking Ratio, and a Mirror Template
• Sighting a crossbow with a mirror; ties and struts
• The balance law and a water-driven mirror polisher
• The Blow in indivisible time; weighing bodies in water

Codex Madrid II22 pages

• On Perspective: the eye and images on a wall
• The Apparent Size of Bright and Dark Objects
• Why Two Eyes See Light More Strongly Than One
• Square Roots by a Semicircle, and the Fortress of Piombino
• Darkness, Shadow, and the Senses of the Cat
• On Painting: Universal Light and the Vision of the Owl
• On Painting: The Beauty of Colour, Lustre and Reflected Light
• On Perspective: The Pupil Widens in Dark and Narrows in Light
• On Perspective: The Pupil, Nocturnal Animals and the Owl's Eye
• Near-Blank Leaf with Show-Through of an Eye-and-Window Diagram
• Near-Blank Leaf with Show-Through of Dense Optical Notes
• The Eye Seeing Through a Window; Dark Objects on a Light Field
• Quadrature proofs and the light of the moon
• On the mathematical sciences and their offspring
• The Pyramid as One-Third of the Cube; the Order of the Sciences
• The eye adjusting to light, and muscles in exertion
• Aerial perspective: distant bodies dim and turn blue
• Choosing a site's light to give faces graceful relief
• Colour perspective in shadow; lowering a rectangle to a set height
• On Painting: Green Shadows at Sunset, Piombino 1504
• On the Eye and the Harmony of Shadows with Their Lights
• Squaring and dividing curved-sided triangles (falcate)

Codex Urbinas (Treatise on Painting)340 pages

• Painting's Principles: Plane Surface, Shadow, Perspective
• Chiaroscuro, Astronomy, and the Universality of Painting
• Why the eye is least deceived of the senses; in praise of painting
• Painting goes straight to nature and deceives even animals
• Painting to poetry as a body to its shadow
• Poetry operates on the blind, painting on the deaf
• Whether it is worse to lose the eye or the ear
• Astrology Born from the Eye; the Painter Disputes the Poet
• The Eye, Window of the Soul: Painting Surpasses Poetry
• Painting Against Poetry: the Battle, the Beloved, and God's Image
• The Deaf Judge and the Blind Judge of Painting and Poetry
• Mute Poetry, Blind Painting: the Harmony of an Angelic Face
• In Praise of the Eye, Window of the Soul
• The Paragone: Harmony of Sight and the Nobility of the Eye
• The Paragone: Painting's Complaint and the Praise of the Eye
• The Paragone: The Eye as Window of the Soul; Music the Sister of Painting
• The painter's ten considerations against the sculptor's five
• Bas-relief's hidden difficulty and the sculptor's enemy: light
• Paragone: Why Sculpture Is of Lesser Intellect Than Painting
• Paragone: Painting as the Greater Mental Discourse
• Paragone: All Visible Things Within Painting's Reach
• Paragone: Nature, Not the Sculptor, Makes Light and Shade
• Painting and Sculpture: Permanence, Light, and Illusion
• The Light for Drawing from Nature
• Colour of Sunlight and the Grace of Sfumato Shadows
• Tracing on Glass, Landscapes and Candlelight Shadows
• Simple and Composite Shadow; Light for Portraying Faces
• Study by Season, Attitudes, and Measures of the Statue
• Where to Stand to the Light; Judging Limbs and Anatomy
• The Painter's Own Defects and the Error of Studio Light
• Errors Unseen in Small Figures; Diminution with Distance
• Why Two Eyes Rob Painting of Relief; One Vanishing Point
• One Vanishing Point for Many Scenes; Light That Gives Relief
• Depicting Old Women and a Night Scene Lit by Fire
• A Battle Scene Concluded; Aerial Perspective Begun
• Aerial Perspective: Bright Air, Whitened Horizon, Relief
• Why Miniatures and Paintings Need Different Finish
• Definition, Separating Colors, and Light on Faces
• Reverberation, and Where Reflected Light Cannot Occur
• Reflections that Lighten Shadows and Stand Against Dark Fields
• The Brightest Part of a Reflection, and the Red of Flesh
• Double and Triple Reflections, and Contrast of Field
• Reflected Colour Is Never Pure: Yellow and Blue Make Green
• Four Rules of Reflected Colour, and Advice to the Painter
• End of the Reflections; Learning to Compose Figures from Life
• Composing Narratives: Relief, Foreshortening, and Variety of Men
• Colour Harmony, Contrast, and Painting on White Grounds
• Aerial Perspective: How Colours Fade with Distance
• Loss of colour with distance; the shadow-colour of white
• A colour unchanged across varying thicknesses of air
• Reckoning air-thickness before distance for colour
• The perspective of colours: brightening in proportion to distance
• Colour-loss proportional to distance; unchanged colour across air
• Colours made uniform by shadow; darkness that seems but is not
• True Color, Reflected Hues, and the Effect of Backgrounds
• How transparent colours change over what lies beneath
• The Beauty of Color Lies in Its Illuminated Parts
• A Scheme for Mixing Colors; the Eight Simple Colors
• Reflected Color: White the Most Receptive Surface
• Flesh-Tones at a Distance and the Method of Painting Relief
• Color of Greenery; Which Surfaces Show Their True Color
• Common Perspective: Why Distant Air Appears Blue
• Reflection in Water; Grounds Suited to Light and Shade
• How Grounds Change a Color: The Lesson of Falling Snow
• Distant Objects and the Error of Darkening Them
• Grades of Painting; Color of the Sea and of Shadows
• The Blue of the Air and the Perspective of Colours
• How the Air Takes On the Colours Behind It
• Why White Is Not a Colour; Colours in Shadow
• Telling Colours Apart; Incident and Reflected Lights
• Coloured Shadows and Relief Against a Light Ground
• Grounds, Colour Harmonies, and the Seven Simple Colours
• The Six Simple Colors and Their Elements
• Blue and Green as Compound Colors; Mirrored Color
• Complementary Colors, the Medium, and the Blue of Mountains
• Dark Woods, Edge Contrast, and Drawing on Glass
• The Glass-Pane Rule and the Law of Aerial Perspective
• The Five-Times Rule for Aerial Perspective
• The mirror as the master of painters
• How to Recognize a Good Painting; The Mirror as Master
• The Most Praiseworthy Painting; The Painter's First Aim
• Shadows Versus Lineaments; Lighting a Figure by Its Setting
• Light from Above; Where to Stand to View a Painting
• Distant Figures Left Unfinished; Choosing the Background
• Translucent Flesh Shadows; A Wild Site; An Invented Animal
• How a Face Is Lit in a West-Facing Street
• Detaching Figures from Their Grounds
• How Contours and Colours Fade with Distance
• Body Edges, a Figure in the Wind, and the Studio Window
• Why a Life-Size Painted Face Looks Larger Than Life
• Measuring paint mixtures by the spoonful to shade a blue object
• The Ten Parts of the Eye and the Seven of Painting
• Why the Air Is Blue; The Definition of Painting
• How the Arch of the Sky Illuminates Bodies Unequally
• Do Not Finish the Details of Distant Objects
• 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
• The Tower's Colour Proved by Proportion; Sunbeams in Clouds
• Buildings and Mountains Seen Through Thick Air
• A City Seen From Above; Distant Towers and Hilltops
• Distant objects, the blue of far landscapes, and lost detail
• Why distant things and their colour fade; towers thin in fog
• Why faces look dark and men go unrecognized at a distance
• What detail is lost first; the rule of linear perspective
• The measured rule of diminution; bodies enlarged by fog
• Towers, buildings and cities seen through fog
• Towers fading in fog; shadow-spots on distant faces
• Why evening shadows on white walls turn blue
• Smoke, dust and mist in the landscape
• Rules on opaque surfaces, color and edges
• Precepts of painting: confused edges at a distance
• Sunset reddening the land; edges of white bodies
• Loss of Edges at a Distance; the Pupil and Vision
• The setting sun over mist, clouds and city: precepts on light
• Painting the Light of the Setting Sun
• Why a Dark Cloud Looks Higher; Painted vs. Real Distance
• The Grounds of a Picture and How to Judge a Painting
• Shadows in a Scene and the Relief of Distant Figures
• Soft Edges for Distant Things and Remote Figures
• The Three Parts of Perspective; Why the Air Is Blue
• Why Painting Cannot Match the Relief of Nature
• Transparency of the Painted Object; Near vs Far Relief
• Detaching Figures From Their Field; Universal vs Small Lights
• Painting Trees, Wind, and the Onset of Rain
• Rendering a Storm of Wind and Rain
• Bridge Shadows and Images in Clear Water
• Reflected Images and the Relief of Submerged Bodies
• Why the Eye Reads a Riverbed Better in Shadow
• Perspective, the Bridle and Rudder of Painting
• Figure Balance, the Ten Offices of the Eye, and Carving a Statue
• Thin Glass, Colouring on Canvas, and the Smoke of Cities
• Why Smoke and Dust Read Toward the Sun, and a Perspective Precept
• How Air Thickness Colours a Mountain's Peak and Base
• The Lower Eye, the Visual Angle, and Reflections in Water
• The Medium Between Eye and Object: Refraction in Crystal
• Precepts on Illumination, Distance and Colour (from Libro A)
• On Shadow and Light: What Shadow Is
• Shadow and Light: Primitive, Derivative, Simple and Compound
• Primitive and Derivative Shadow; Which Is Darker
• Shadow and Darkness; Simple and Compound Shadow
• The Compound Derivative Shadow and Its Boundaries
• How Primitive and Derivative Shadow Are Joined
• The Two Halves of the Compound Derivative Shadow
• Boundaries of Compound and Simple Shadow
• The kinds and species of shadow: primitive and derivative
• The figures of derivative shadow and its swift motion
• When a shadow lags, matches, or blurs beyond its body
• Reflection, augmented shadow, and simple shadow's darkness
• The five motions of shadows and conditions of projection
• Greater light, greater shadow; death of the derivative shadow
• Three natures of derivative shadow; the sphere's simple shadow
• Derivative shadow springs from the body, not the angle; its three kinds
• The motion of a shadow is faster than the body that casts it
• Simple and compound derivative shadows; shadow made visible in the air
• Distinct shadow edges; direct versus oblique impact of a shadow
• A derivative shadow ringed by lit ground is darker than the primitive
• A shadow looks darkest against the whitest ground
• The Science of Shadow: Where Derived Shadow Is Darkest
• Multiple Shadows: A Body Casts One for Each Surrounding Light
• Shadow Between Two Lights; Why a Cast Shadow Enlarges
• Attached Shadow vs. Separate Shadow; Rays from a Point
• Double Shadow: Sun-Shadow Cast Within Air-Shadow
• Where Shadow Is Darkest; Shadow and Light Interchange
• Light Through a Narrow Slit; Shadows and the Color of Bodies
• Distant White, and Why Remote Shadows Turn Blue
• A Dense Body Between Light and Shade; Color of the Object
• Medium Shadow and the Brightest Point of a Lit Surface
• Quantity of Light and Shadow on Illuminated Bodies
• Shadows of Cloth, Foliage and Meadows; a Painting Precept
• Light of the Hemisphere and the Color of Shadows
• Reflected Light, and Shadows Lost at a Distance
• How Shadows and Lights Deceive the Painter's Eye
• Why no body shows its true colour, save blue against a mountain sky
• Every Surface Borrows the Color of Its Object
• Shadow as the Privation of Light
• The Blue of Distant Landscapes
• Light and Shade: Derived Light and the Four Kinds of Light
• Light and Shade: Shadow Cast on a Sphere, with Diagrams
• Chiaroscuro: Reflected Colour and the Deception of the Eye
• Shadow's Four Considerations: Quality, Quantity, Site, Figure
• Universal and Particular Light on Polished and Shadowy Bodies
• Shadows and Lights in Nature: Foliage, Sheer Cloth and Hair
• The Sun's Direct Rays and the Brightest Part of a Lit Body
• Universal and Particular Light, and the Middle Shadow
• Highlights, the Middle Shadow, and the Power of Lights
• How the Eye's Position Changes the Light and Shade Seen
• Distance, a Sphere's Shadow, and the Darkest Shade
• Distant Objects, Aerial Darkening, and Colour in Shadow
• The Darkest Shadow and the Largest Luminous Angle
• Where the First Light and First Shadow Fall on a Sphere
• Reflected Light and the Shadow Under Building Eaves
• Counter-Light, Reflection, and Variety in Narrative Pictures
• Distant and Nocturnal Things Lose Their Edges
• Equal Shadows from Luminous Bodies of Different Sizes
• Lighting a Shadowed Sphere; Colour of Painted Shadows
• An Opaque Surface Between a Black and a White Object
• Colours in Distant Shadow Become Indiscernible
• How Surfaces Take False Colours: Yellow and Blue Make Green
• The False Violet Shadow of Fire and Air
• Black Tinges White Most; Shadows Darkening into Night
• Why black garments give a face more relief than white ones
• Shadows on faces and the quality of the light
• Small windows, black surfaces, and the effect of distance
• Why shadow reveals form, and the sun's direction on shadows
• When a surface is evenly lit: three geometric demonstrations
• The brightest point on a screen: shadow and light pyramids
• How a man's shadow changes as he moves or bends
• When a Body Nears a Smaller Light, Its Shadow Grows
• Shadows That Shrink, and Shadows Unchanged by Distance
• Distance from the Original Light Sets the Derived Shadow
• Bodies Lit by a Single Window Cast Unequal Shadows
• Why Bodies Facing the Window Squarely Cast Shorter Shadows
• Colored Shadows and the First Degree of Window Light
• Degrees of shadow and light cast by a window on a body
• Light of window and sky-horizon falling on a shaded sphere
• Angles of least light and the shadow directed to one point
• Horizon circle and window: light lines crossing at its middle
• Every shadowy body lies between a dark and a bright pyramid
• Crossing lights on a sphere; when the eye can see no shadow
• The Shadow of a Sphere and When the Eye Can See It
• Darkest Point of a Sphere Lit by the Sky-Hemisphere
• Transparent Shadows and the Principal Shadow of a Limb
• Why the Outlines of Opaque Bodies Are Never Sharp
• Nearer Bodies Have the More Confused Outlines
• Light Striking a Head: Rays and Angles of Illumination
• Where Light Falls Strongest: The Angle of Incident Rays
• Edges of Light and Shade; the Highlight That Moves with the Eye
• Which parts of a sphere are most and least illuminated
• How Equal Arcs of the Sky Light a Sphere Evenly
• Why the Shadowed Sphere Is Darkest Where It Sees Most Earth
• How Greater Light Lights a Greater Part of the Sphere
• Reflected Light Weakens in Proportion to Its Source
• Placing Shadows and Lights on a Faceted Body
• Light on an Octagon's Faces by the Angle of Incidence
• Measuring Colour by Spoon; Giving the Lights
• Artful Light and Shade to Feign Relief
• Testing a Shadow with the Finger; Light in the Countryside
• Sun and Eye Positions; Reminder to the Painter
• Colour of shadows and the beauty of shaded bodies
• Of luster: highlights on shaded bodies and dark grounds
• Luster versus light: ground, size, power and movement
• Which bodies show luster, and whose colour it takes
• Luster in gems and gold; opening of Of Reflections
• Of reflections: where shadow between lights is darkest
• A Body Lit by the Sky's Hemisphere, and Why It Casts No Reflection
• Reflection in Universal Light, Lighting the Muscles, and Painting White
• How White Drapery Takes the Colors of Air and Meadow Around It
• The Eye in Light, the Rooftops of a City, and Men in Battle
• 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
• Distant mountains: whitening air and darkened tree-covered crests
• Precepts on light and shadow; a body turning in fixed light
• The shifting shadow of a globe and the perspective of colours
• Shadow and light on bodies; illumination by air without sun
• Which shadow is darkest; light, curvature and coloured lights
• Edges against backgrounds; distant shadows in one light
• Imitating colours at any distance; matching a sunlit mountain
• Reflected light and the binocular view of two equal objects
• The visual pyramid and the apparent size of objects
• Light and Shadow on Foliage; Proportion of Yearly Growth
• Why Trees Bend, and the Four Accidents of Foliage
• The Transparency of Leaves and the Off-Centre Pith of a Bough
• Drying Timber and the Five Distances of Trees
• How Lit Leaves Stand Out Against Shadowed Foliage
• Why Trees Look Lighter Near and Darker Far
• Directions of Tree Shadows Under the Rising Sun
• The Form of Trunks and the Light on Leaves
• Two Trees in Sunlight and Light on Rounded Foliage
• Painting Trees: Universal Light and the Shadows of Foliage
• Highlights of Leaves: Why Yellow Foliage Gleams Green
• 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
• Shadows of Leafy Branches and the Darkest Part of a Bough
• Landscapes at a Distance and the Painting of Fog
• Fog, Buildings, and the Blue of Remote Landscapes
• Landscapes Toward the Sun and Backlit Trees
• Description of the Elm; Varying the Greens of Foliage
• Landscape Appearances and the Transparency of Trees
• Overlapping Trees, and Wind Seen in Leaves and Meadows
• Bark, Branching, and Massing Foliage in Painting
• Plants Shaped by Storm; Light, Shade and Luster in Leaves
• Luster on Leaves and Matching Their Colors Exactly
• On Clouds: Their Formation, Light, and Redness
• The Redness and Splendor of Clouds; How Clouds Are Made
• Overcast Air, Cloud-Shadows, and Clouds Beneath the Moon
• Clouds by Night Beneath the Moon; A Rule for Their Redness
• Part Eight: On the Horizon
• On the Horizon: the Nile's white distance and the perspective pyramid
• The horizon of sky and earth in perspective
• Why the horizon never sits at the eye's height
• The horizon on a spherical earth and at sea
• The sea horizon and its reflection in running water
• Painting water's colour and why the horizon air turns red
• Table of Contents, Part One: poetry and painting
• Table of Contents, Part One: painting, poetry and music
• Index to Part Two: Light, Shadow, and Attitudes (chs. 91-109)
• Index to Part Two: Relief, Colour, and Lineaments (chs. 110-124)
• Index to Part Two: Reflections and Composition (chs. 153-174)
• Index of Part Two: composing scenes and colour (175-196)
• Index of Part Two: colour, shadow and glazing (197-213)
• Index of Part Two: colour, greenery and grounds (213-232)
• Index of Part Two: colour of distance and grounds (233-255)
• Index of Part Two: true colour and aerial perspective (256-262)
• 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
• Treatise index: the eye, perspective, and reflections in water
• Index to Part Five of the Treatise: On Shadow and Light
• Index to Part Five: Shadow and Light (continued)
• Index to Part Five: Shadow and Light (continued)
• Index to the Book of Light and Shade: chapters 604-622
• Index of the Treatise: shadow, light and colour, ch. 623-639
• Index: quality of shadows and lights, chapters 640-663
• Index: illumination, lustre and chiaroscuro, ch. 664-685
• Index: the eye's position and shadow on spheres, ch. 686-700
• Index: colour of shadows on opaque bodies, ch. 701-718
• Index to Part Five: Derivative Light and Cast Shadows
• Index to Part Five: Pyramidal Shadow and the Opaque Sphere
• Index to Part Five: Body Outlines, Reflexes, Sphere Shading
• Index to Part Five: Rules for Lights, Shadows, Feigned Relief
• Index to Part Five: Lustre, Reflexes, and Lights of Cities
• Index of chapters: light, shade, colour and perspective
• Table of trees: bark, branching and trees seen at a distance
• Table of trees: light, shade and colour of foliage
• 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 A31 pages

• Preparing a Panel for Painting; Shadow and Statue Proportion
• Weights and Levers; Perspective through a Pane of Glass
• Light, Shadow, and the Appearance of Relief
• Balances, a Beam's Load, and the Proportions of a Head
• Perspective Defined: Painting and the Pyramids of Sight
• Whether United Powers Exceed the Same Powers Divided
• Postulates of perspective and the diminishing of distance
• The visual pyramid and the circular spread of images
• Perspective: the Eye and the Visual Pyramid
• Perspective: the Picture Plane and Diminution with Distance
• Perspective Propositions and the Bisected Right Triangle
• Triangle Subdivisions, Concentric Circles, and Eyeglasses
• Reflected colour and the mirror analogy of the voice
• Concave mirrors, reflected heat, and a bellows to make cold
• Measuring the earth's center and the size of the sun
• Measuring the sun's height and distance from two hilltops
• Where the painter should stand to the light; blow and voice notes
• Perspective and Motion: Moving Light and a Swinging Weight
• The Blow and the Illumination of Air
• The double crossbow, and force proportioned to its projectile
• The beginning of perspective: the visual pyramid
• Perspective Screens: the Square, the Line, and the Point of Diminution
• Measuring the Diminishing Visual Pyramid with a Rod
• How the Eye Sees Simply: Flat versus Curved Perspective Screens
• Viewing perspective from its own vantage; a shadow test
• Figure projecting from a wall; weights, beams, and a float
• Load-bearing of columns, and a mirror for making fire
• Compound pulleys, rope motion, and a half-lit aperture
• What the moon is; why the sun looks larger at sunset
• Light through apertures and the apparent size of bright bodies
• The eye does not see through a single point

Paris Manuscript B4 pages

• Curved mirrors and throwing-engine mechanisms
• Church elevation, fortress plans, and courtyard lighting
• Dividing a circle into seven, and a chamber of eight mirrors
• Chimneys of Pavia castle, towers and a Witelo note

Paris Manuscript C46 pages

• How light and shadow fall on bodies: primitive and derivative shadow
• How shadow varies when light is larger than or equal to a body
• Forked shadows from a pyramidal opaque body
• Uniform shadow, and shade sharper far from the light
• Why bodies near the horizon look larger; sunlight through a chink
• Small light gives sharp shadows; the speed of a cast shadow
• Graded light along the penumbra of a large light source
• Light and Shadow: Angle of Incidence and Compound Shadows
• The Science of Shadow: Foreshortening and Derivative Shadows
• Motion, Voice, and the Blow: Mechanics Demonstrations
• The Motion of Air and Water; Optics of the Pinhole
• The Blow, Pulleys, and Jets of Wine and Water
• Pulleys, Balances and the Three Shapes of a Shadow
• Pyramids of Light and Shade; Why Distant Flames Look Round
• How Many Shadows a Body Casts Between Two Lights
• Visual Rays, and the Pinhole Image of an Aperture
• Where Light and Derived Shadow Mingle in the Air
• Bright Light, Dark Shadow, and the Eye Among Bodies
• Light through an aperture keeps the source's shape
• Derivative shadow keeps the shape of the original shadow
• Which edge of a cast shadow is darkest
• Foreshortened shadows and why a flat surface looks larger
• Colours fade with distance except where sunlight strikes
• Overlapping shadows and where colour vanishes in shade
• Shadows Cast by Four Lights and Four Bodies
• Overlapping Shadows Doubling in Darkness
• Rays Through an Aperture and the Kinds of Shadow
• Memorandum of 23 April 1490 and the Thefts of the Boy Giacomo
• The Eye's Pupil in Darkness and Light; Echo and Reflection
• On Shadow: Primary and Derivative Light on Spheres
• Cast Shadows and Their Central Axes
• The Sun Mirrored upon the Water
• Cast Shadows and the Blue of Distant Things
• When a Shadow's Shape Follows Body or Light Source
• Mixing Two Shadows: Perfect and Imperfect
• Visual rays of two eyes, number games, and the toll of Modena
• How the species of things fill every point of the air
• Derivative light and the strength of its illumination
• Primitive and derivative shadow: darkness set by proportion
• Impact of the derivative shadow and the best-lit surface
• Water in a bucket, shadows from many lights, and the blow of a hammer
• How the eye discerns a body against its background
• Bright backgrounds shrink a body; the echo of a blow
• Waves raised by wading; mixing wine and water; a candle's shadow
• The eye and the visual pyramid; light and shadow on bodies
• Perspective, diminution, and shadow on opposed bodies

Paris Manuscript D34 pages

• Front cover of the notebook
• Spine of the closed notebook
• Fore-edge of the closed notebook
• Edge of the closed notebook's paper block
• Blank guard leaf with library stamp and cataloguer's note
• Blank guard leaf with library stamp
• Blank guard leaf with library stamp
• Blank guard leaf with library stamps
• Blank guard leaf with Institut de France stamp
• The Eye: Unequal Visual Power and the Convex Pupil
• Why a light's rays seem to spread as it nears the eye
• The Eye: How Images Enter and Bend Within the Eye
• The pinhole eye: images enter inverted, the sense sees them upright
• The Human Eye: How Images Cross Twice Within the Eye
• A water-filled glass eye model and the two intersections of vision
• The Human Eye: Pupil Size, Mirrors, and Two-Eyed Vision
• The whole pupil sees: refuting the single-point of vision
• Why the owl sees by night: pupil size and the brain's chamber
• The Human Eye: The Pupil's Adaptation to Light and Dark
• The sun's image on water and the borrowed light of the stars
• The Human Eye: Vision Fills the Whole Pupil, Not a Point
• The pupil widens in the dark; a wider pupil enlarges the image
• The eye: why the right does not appear on the left in vision
• The eye as a camera obscura: how images cross and refract inside it
• The central line of sight and how two eyes double an object
• The human eye: shadows of a stylus and the field seen through an aperture
• Why lights seem to sprout rays: reflection on the edges of the eyelids
• The eye: proportions of images, and where the 'idol' forms
• Species fill all the air, and why the eye cannot fix a remote edge
• Blank flyleaf with Institut de France library stamp
• Blank flyleaf with two Institut de France stamps
• Blank flyleaf with library stamp and pencil number
• Blank flyleaf with stamp and pencil inventory mark
• Coarse browned endpaper with a pen flourish

Paris Manuscript E17 pages

• The motion of shadow; distilling through felt
• Condensation, the Movement of Figures, and Shadows on Muscles
• The Three Kinds of Light and Towers Seen Through Fog
• Backgrounds of Painted Figures and a Perspective of the Four-Sided Wall
• The Eye, Shadow Proportions, and a Man Moving Weights
• The Eye's Pupil, and a Water-Glass to Enlarge Moon and Stars
• The Pupil's Dilation and Colours in Light and Shade
• The colours of shadows and lit surfaces
• How light and shadow fall on trees
• Why winter landscapes must not be painted blue
• The quality and motion of shadows
• The pyramidal shadow and kinds of derivative shadow
• Light and lustre on polished surfaces
• The three natures of derivative shadow
• Definitions of shadow, and weights on the balance
• The Air Between the Eye and the Object
• The Three Perspectives, and the Horse That Loses Its Legs

Paris Manuscript F57 pages

• How an opaque body takes the colour of what faces it
• The true size of the sun and stars, against Epicurus
• Cube and pyramid on a balance; why stars shine at night
• Luminous and shadowy bodies; the sun's size vs Epicurus
• The Convex Mirror: Why Reflection Has No General Rule
• Why smoke and the sky appear blue
• How a dark object appears thinner against a bright field
• A program of river-current studies; a water-filled spherical lamp
• Design for a rectangular crystal reading lens
• The earth as a star; sunlight bent through the air
• Sight Spread Through the Pupil; Air Bubbles Rising in Water
• Sunlight Through Water Bubbles; Objects Smaller Than the Pupil
• Rays Seen Around a Light Arise in the Eye Itself
• Blocking the Lower Ray Extinguishes the Ray Above the Light
• Rays Around a Light Are Made in the Eye; the Finger Test
• How an object darkens the pupil's field; notes on still water
• Why a luminous aperture seems to narrow near an interposed object
• How the images of stars crowd upon the surface of the eye
• The whole sky and its stars imaged in the eye and through a pinhole
• Why stars seen through a pinhole appear diminished
• Why sunlight through an aperture is brightest at its centre
• How light rays penetrate liquids: two refraction experiments
• On the visual power: why images do not converge to a point
• Book 42: on rains - clouds, vapours, snow, hail and frost
• Why two separate lights appear joined at a distance
• The more luminous of two equal objects appears larger
• The Eye and Light: Pupil, Pinhole and Doubled Images
• Pupil Size, Visual Angle and the Rays of Bright Bodies
• Perspective of Solar Rays: the Sun's Image on Wavy Water
• The Sun's Image Across the Sphere of the Ocean
• How the pupil adjusts and a light keeps its size at distance
• Proof that a receding light loses splendour, not size
• Machine for Hauling a Tree Trunk from the Water
• The Adapting Pupil, Angle of Incidence, and Water on Mountains
• Bodies turning in currents, birds in the wind, and a crystal hemisphere
• Recipes for imitation agate, and the earth as a star
• Do the stars shine by their own light or the sun's?
• Why planets look larger at the horizon
• Why only nearby waves reflect the sun's image to the eye
• Perspective: the axis of the angle of incidence on a cylinder
• The sun's image on bubble-like waves and the sphere of a dewdrop
• Why the sun's image on water grows with distance from the eye
• The reflected image of the sun on the sea's waves
• Rays past the moon, and why a distant light looks round
• The moon's day and night, and eclipses of sun, moon and earth
• Waves broken by an obstacle, and reading water by sunlight
• On the Rainbow: Made by the Eye, or by Sun and Cloud?
• Painting: Why the Shadows on White Are Blue
• The Sun's Image in Curved Mirrors; Defining Half-Obliquity
• The Light of the Moon and the Forms of Solar Rays
• On the Spots of the Moon: Against the Transparency Theory
• On the Spots of the Moon: Against Rarity and the Mirror Theory
• Proof That the Sun Is Hot: Concave Mirror and Water-Ball Experiments
• The Sun's Rays and the Element of Fire
• The moon as a polished mirror and the light of the earth
• The seas make the world shine like the moon; light and the eye
• Flow in a long narrow-mouthed ditch; light, distance and vision

Paris Manuscript G37 pages

• Of Lights: Four Kinds of Illumination and Leaf Shadows
• Luster and Transparency of Backlit Foliage
• Never Paint Sunlit Transparent Leaves; Twig Arrangement
• Transparency of Backlit Trees Seen One Behind Another
• Practice without science is a ship without rudder or compass
• How light passes through leaves: transparency and luster
• The pruned willow: shadow and relief of its branches
• Meadow grasses and plants seen against the light
• The wind moves like a river; the three accidents of a leaf
• Concave and Backlit Leaves in Light and Shadow
• Shadows, Reflections, and Painting Trees in Overcast Light
• How a Tree's Shadows Lighten Away from the Ground
• How the Eye Misjudges Neighbouring Lights
• Painting light and shade on foliage, mountains and battle scenes
• The Light of the Moon: Is the Moon Water?
• 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
• How the Gaps in Foliage Vanish with Distance
• The Highlights of Leaves: Blue Sky, Yellow Leaves, Green Luster
• Perspective: apparent size and distance from the eye
• Perspective of a rhombus and the reading of light and shade
• The leaf as mother; situating figures in light
• Proof that the sun is hot by nature, not by virtue
• The eyes of animals: how pupils respond to light
• Draining harbours by caissons; a rotating profile-template
• Subdividing a great disc into 57,600 squares, and its gilding cost
• A machine for grinding and polishing a curved metal surface
• Discourse on painting: the three parts of perspective
• Drawplate armature, edge-power ratios, and an angle-sighting device
• Stucco recipes and a revolvable shaping template
• On Power: Concentration Increases Force
• On Motion and the Aging Eye's Distant Sight
• How Wind Forms, and Why a Cloud's Shadow Outruns It

Paris Manuscript H15 pages

• Perspective through a viewing hole, with four moral maxims
• Rules of appearance for the eye, and crossing water currents
• Heraldic shield, an eye-and-mirror diagram, and a deep well
• Shadow gradation and gravel on the river bed
• Eddies Gnawing Canal Banks; Light Beyond the Mountains
• Eye at an Aperture and Water Rebounding at Equal Angles
• Lock-gates, reflections in water, and the science of shadow
• Slower water at the banks; why the air is blue; fading motion
• Why a larger pupil sees luminous bodies larger
• The larger pupil sees luminous bodies larger
• On painting: the shifting highlight; a millstone's power
• How a luminous body appears to the eye
• Buoyancy: displaced water equals the weight it sustains
• Spingarda with a note on the cat's eye at night
• Apparatus for alternating motion; Latin verb endings

Paris Manuscript I9 pages

• On common perspective: apparent thickness and background colour
• Irradiation: dark and light objects against contrasting grounds
• Experiment on the pupil and the apparent size of stars
• On luminous rays and the power of their extremes
• Optical study with two circles
• Optical study: rays converging on a circle (a, a, b)
• Shadows Cast by Sunlight: Tree and Pyramid
• Shadow of a Pyramid, with a Friction Study
• Why a sphere seen with two eyes never looks perfectly round

Paris Manuscript K26 pages

• Shadows cast by a man at night, with balance sketches
• On Painting: three relations of eye, light and shadow
• On Painting: the reflected object between eye and light
• On painting, and why thunder outlasts its cause
• On Derived Shadow: Its Strength and Cutting
• Light-ray diagram; the force of falling water and a mill paddle
• Thin air and dim sunlight; eddies pressed in glue
• A crystal model of the eye's lens
• The eye's spherical lens, and boiling an eye to dissect it
• Moving eye equals moving light: the firebrand test
• Persistence of vision: a star drawn into a fiery line
• Why two horses on parallel courses seem to run at each other
• A bird flying level appears to lose height as it recedes
• A bird flying level seems to rise as it nears the eye
• A moving eye fixed on a star sees other objects flee backward
• A moving eye fixed on a near object sees the star race across the sky
• Bodies falling from higher up seem to descend nearer the eye
• Apparent motion by distance; a load on an inclined plane
• Nearer moving bodies appear faster than remote ones
• A sphere equal to the pupil is always seen as half
• A sphere smaller than the pupil is seen as more than half
• Experiment: a moving object seen through a pinhole card
• True motion seen when the object lies beyond the pinhole card
• Pinhole vision: straight-line sight and image reversal
• One object seen in two contrary motions at once
• One object seen twice, in two places at the same time

Paris Manuscript L7 pages

• River silt, the earth's shifting centre, and a vision test
• The pupil, the blowpipe, and a divided quadrilateral
• On Painting: the Pupil and the Look of Shadow
• Why a shore looks longer than a mountain from the sea
• How to draw landscapes in light and shade
• Sighting Instrument: The Eye That Takes Aim
• Land-Measure Units and a Water-in-Sunlight Experiment

Paris Manuscript M4 pages

• A branch struck by rays: brightest at a right angle
• Light, Eye and Object: Three Arrangements
• On Painting: Eye, Object and Light
• The Five Regular Solids, with a Tercet

Ashburnham I (ex-Ms A)33 pages

• Opening leaf: mirror-script with a circle-and-center figure
• Cone rising from a circle to a single point
• Crossing cones of vision with balance and angle figures
• Linear Perspective and the Diminution of Forms
• Rays radiating from a circle; study of light or vision
• Perspective study: a square and circle projected to a point
• Projection of spheres to a plane; optics of light and shadow
• Cast Shadow of Spheres and Rays in a Light Chamber
• Densely Written Page with Marginal Sketches
• Cast Shadows of Two Spheres beneath a Luminous Arc
• Geometry of Shadow: Three Spheres under a Luminous Semicircle
• Light and Shadow around a Central Body between Two Spheres
• Shadow within a Cylinder beneath a Luminous Arc
• Light Rays from a Sphere Converging to a Point
• Shadows Cast by Three Spheres onto a Plane
• Cone of Shadow Cast by an Illuminated Sphere
• A Sphere Lit by a Broad Source, Casting a Shadow Pyramid
• Text Page on Light, Shade, and Painting
• Crossing Light Rays and Paired Shadow Triangles
• Light Rays Crossing to Form a Shaded Region
• A Luminous Disc Illuminating a Suspended Sphere
• Light Cones, Cast Shadows, and the Eye
• Text on Light and Shade with a Small Inset Figure
• Treatise Page with Short Section Headings
• Text leaf in mirror-script (untranscribed)
• Shadow-projection diagrams with mirror-script notes
• Text leaf in mirror-script (untranscribed)
• Text leaf in mirror-script (untranscribed)
• Eye, visual rays and a two-lamp shadow study
• Text leaf in mirror-script (untranscribed)
• Notebook A page: treatise text with a ray diagram
• Treatise page with small marginal figures
• Treatise page with ray, curve, and triangle diagrams

Turin Drawings1 pages

• Proportions of the Face and Eye, with Notes