Codex Atlanticus102 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)
• Walnut oil for painting, with mechanisms and pen-trials
• Perspective and geometric studies
• Squaring the circle: hexagons, bi-angles and proportional circles
• The science of shadow: rays, angles and degrees of darkness
• Mechanical devices, a perspective study and a small reckoning
• Silk-Doubling Machine and a Perspective Instrument
• The Science of Composite Shadow; Church Studies
• Machine studies: a wooden plane, boring machine and gearwork
• The Motion and Foam of Sea Waves
• The Division of Fractions
• On Time the Consumer, with Painters' Colour Notes
• Recipes for perfumes, whites, and reviving oil colours
• Element weights and a nature-printed leaf
• Centres of Gravity of Pyramids, Prisms and Cubes
• Fables of the trees, with aphorisms on time and the soul
• The motion of wind and water, and painting a mountain-fall
• Perspective: the air full of infinite radiant pyramids
• Statics of supports and cords, with a pulley system
• Studies of Falling Water in Tubes and Vessels
• Clear oil for painting colours; recipe for artificial pearls
• Why a Painted Face Seems to Follow the Viewer
• The Sun Reflected in the Waves of the Sea
• Balances, Levers and the Oval Equal to a Circle
• The science of light and shadow: primitive and derivative
• Memoranda list and studies of rays entering the eye
• The theory of the balance: real and potential arms
• How contrast alters the apparent size of dark and bright bodies
• 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
• The air full of images: mirrors reflecting light to infinity
• Gesture in Painting, a Pellet Crossbow and Mechanisms
• Nature, not art: the decline and revival of painting
• The Science of Shadows: Derived Shadow and Foreshortening
• Machine studies with painting notes and a proud aside
• Proportion of the Human Figure and Aerial Perspective
• Latin epigram on Leonardo's portrait of Lucretia
• Motion and impetus, the bow's force, and a bridge of boats
• Bombard flame, cracked towers, and painting at a distance
• How air receives bodies' images in light and shadow
• Every body fills the air with its likeness, as mirrors do
• Quadrature of lunes and an instrument for reflected light
• The painter's life, colour contrast and a coupled-column design
• Shadow of a sphere under star-shaped light, with quadrature figures
• Machine sketches with a 'body born of perspective'
• Light and shadow: derivative shadows, the eye, and colour edges
• Lettered Solids and the Geometry of Vision
• Geometry of Vision: Visual Triangles on a Surface
• On Painting: Infinite Gradations of Light and Shade
• Friction and the Dragging of Weights by Inclined Cords
• Proem on the primacy of perspective and the nature of light
• Modes of perspective: projecting a figure into a room corner
• Reflections of the sun on waves and the angle of vision
• Ornamental vases, perspective studies, a word list and sums
• Wheel-diameter calculation and a recipe for making indigo
• The Soaring Bird: Wind, Wings and the Steering Tail
• Mediterranean currents, waterfalls, weights and a crossbow
• Precepts on apparent size, colour and sound judgement
• Verso catalogued blank; the recto's writing shows through
• Battered Fortress Wall with Round Bastion in Perspective
• Rules of perspective and motion; the magnet and beam flexure
• Radial line construction within a circle
• Faint pencil sketches: vessels, a perspective study, an interlace panel
• Faint sketches: a round colonnade, perspective frames, interlace
• The picture plane and the visual pyramid
• The eye, the pupil, and images of the sun on the sea
• Memorandum of errands, purchases and books to procure
• Weights, siphons and the winding of rivers
• Preface to the treatise on shadow: the seven books
• Optics of the eye: vision, the pupil and lit spheres
• Perspective study of a mazzocchio ring
• Perspective construction of a foreshortened circle
• The eye's pupil, night vision, and pigment recipes
• Perspective Study of a Faceted Ring
• Interlocking Prisms: A Three-Dimensional Solid
• Perspectival Study of a Windowed Structure
• The Mazzocchio: A Faceted Torus in Perspective
• The compound shadow, and shadow in painting and sculpture
• Loom mechanism: warp beams, reed and levers
• Architectural perspective studies and a star-shaped figure
• Mill of the Doccia at Vinci and a colour-grinding machine
• Rays from a Light Source and from the Eye to a Circle
• Profile Head of a Youth and a Pyramid in Perspective
• Heads in profile and front view, with an eye study
• The eye, the pupil, and the visual pyramids
• Angles of contingency on the sphere; concentric-circle diagrams
• Survey of the Nirone, with river and perspective notes
• Lever and balance problems, with a note on aerial perspective
• Notes on the windlass, water pressure and communicating vessels
• An antique-style fireplace, with pavilions and a cube in perspective
• Light Reduced to a Point; the Eye and Water Studies
• A seated man lifting a weight: equilibrium and the centre of gravity
• Rivers, waves and tides; circle geometry and the impact of balls
• Canon of human body proportions
• Table of Contents for a Treatise on Optics and Painting
• Draft letters on the water grant and Salaì's errand
• Proportional compass with adjustable points; screw and frame studies
• Clock gear-trains, an escapement and a colour recipe

Codex Arundel22 pages

• The folds of the limbs' joints, with a spiral line
• Natural perspective mixed with accidental perspective
• 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 science of light and shadow: free and constrained light
• Falling Water, Heavy Bodies, and the Balance
• Why an arc appears of different sizes as the eye moves
• Perspective, refraction, and the visual pyramid of the eye
• Balance arms, a painter's colour account, and relative motion
• Propositions on visual pyramids and rays
• Reversed pyramids and images seen upside down
• The Visual Pyramid and How It Narrows With Distance
• Perspective, the Visual Pyramid, and the Praise of Archimedes
• Relief and Hollow at the Bends of a Limb's Joints
• Trees, foliage and the blue of distant landscapes
• Falling Water, Heavy Bodies, and the Balance's Angles
• Faint geometric sketches: circles, triangles and a box
• Why Rays Bend at the Eye: Vision versus Perspective
• Pigment prices, balances and relative motion
• The visual pyramid: how bodies radiate their images
• Perspective: the diminution of the visual pyramid over distance

Codex Forster I2 pages

• Recipes for varnish and for a harmless room-filling fire
• More recipes for fire effects and varnish

Codex Forster II11 pages

• On perspective: apparent size and the proportion of light and shade
• Nearly Blank Leaf with the Word 'White'
• Geometry, a Prophecy 'Of Kid-Goats', and Stray Notes
• Perspective: equal objects diminish with distance
• Colour Note: "White"
• Perspective Studies of Hollow Parallelepipeds
• A wedge driven under a beam, and a perspective diagram
• The attitudes of figures reacting around a table
• Casting recipe and the burial expenses of Caterina
• On the Pupil's Adjustment to Light and Dark
• Wax crayons, a bouncing muddy ball, and a wine note

Codex Forster III2 pages

• Recipes for Black Drawing Ink and for Casting Bronze
• Hippocrates on semen; a mill rod; reflected colour

Codex Madrid I3 pages

• Sending a Thing Aloft by the Force of Wind
• Boring tool, plane-iron, and canvas-stretching frames
• Recipes for varnish, glue and cloth-dyeing, with number rules

Codex Madrid II17 pages

• On Perspective: the eye and images on a wall
• Red-chalk landscape and perspective sketches
• 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
• The Eye Seeing Through a Window; Dark Objects on a Light Field
• On the mathematical sciences and their offspring
• Dividing the Cube into Pyramids; the Two Mathematical Sciences
• 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
• Perspective of colours; figures pushing and pulling
• On Painting: Green Shadows at Sunset, Piombino 1504
• On the Eye and the Harmony of Shadows with Their Lights
• On Painting: Show Muscles Only Where the Body Exerts Force
• Untranscribed Note at the Head of Folio 128v

Codex Urbinas (Treatise on Painting)566 pages

• Front board of the Treatise on Painting's binding
• The Book of Painting: Whether Painting Is a Science
• Painting Versus Poetry, and the Principles of Painting
• The Book of Painting: Title Page and Opening Chapter
• Painting Compared to Poetry, and Its First Principles
• Painting's Principles: Plane Surface, Shadow, Perspective
• Chiaroscuro, Astronomy, and the Universality of Painting
• On Imitable Sciences: Why Painting Is Unique and Noble
• The Power of Sacred Images; How Painting Embraces Surfaces
• Painting Is Philosophy: Motion, Nature, and Surfaces
• Why the eye is least deceived of the senses; in praise of painting
• The painter as lord and god of all he depicts
• 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
• Painters as Grandsons of God: the Paragone Continued
• The Deaf Judge and the Blind Judge of Painting and Poetry
• Mute Poetry, Blind Painting: the Harmony of an Angelic Face
• The Paragone: Why the Eye Grasps Harmony All at Once
• The Difference and Likeness Between Painting and Poetry
• Painted Beauty Endures Where Living Beauty Fades
• Painting against poetry: the eye and the beauty of the world
• Painting, Mother of the Arts, Answers the Poet
• In Praise of the Eye, Window of the Soul
• Painting Kindles Love as No Poem Can
• The Paragone: Painting Moves the Senses More than Poetry
• The Paragone: King Matthias Chooses the Painting
• 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 Paragone: Painting Outlives Music
• Painting and Music: Gradations, Proportion, and Mechanical Arts
• Painting Nobler than Music: Sense, Permanence, Universality
• Painting as a Mental Science; Painter, Poet, and Musician
• Poetry Behind Painting and Music; the Poet as Borrower
• Which Science Is Mechanical; Experience the Mother of Certainty
• Painting a Mental Science of Shadow, Light, and Form
• Painting a science, sculpture a mechanical art
• Painting versus sculpture: bodily labour against mental labour
• Cutting muscle and hollow: the sculptor's labour of mind
• The painter's ten considerations against the sculptor's five
• Glazed terracotta of the della Robbia; the round versus relief
• Bas-relief's hidden difficulty and the sculptor's enemy: light
• Paragone: Why Sculpture Is of Lesser Intellect Than Painting
• Paragone: The Sculptor's Errors and the Mind of Painting
• Paragone: The Painter Adds, the Sculptor Only Removes
• Paragone: Painting as the Greater Mental Discourse
• Paragone: All Visible Things Within Painting's Reach
• Aerial perspective, and painting compared with sculpture
• Paragone: Nature, Not the Sculptor, Makes Light and Shade
• The Sculptor's Excuse: Painting versus Sculpture
• Painting and Sculpture: Permanence, Light, and Illusion
• Perspective in Painting, Given Free to Sculpture by Nature
• Bronze, Copper, and Glass: the Permanence of Painting and Sculpture
• Of Painting and Poetry: Why Painting Is the Higher Art
• Blank Leaf, Folio 29 verso (Part One)
• Blank Leaf, Folio 30 recto (Part One)
• Blank Leaf with Catchword, Folio 30 verso (Part One)
• Part Two Opens: What the Young Painter Should Learn First
• The Painter's Solitary Life in the Studio
• The Painter's Mind as a Mirror
• On the Painter's Judgment; Peril of the Portrait Specialist
• Decorum in Movement and a Mishandled Annunciation Angel
• The Painter as Mirror; Botticelli's Sponge and Landscape
• Stains, Universality, and Precepts on Sketching Limbs
• Painting as Lasting Witness; Virtue Above Treasure
• Virtue Nourishes the Soul; Heeding an Enemy's Judgment
• Awakening Invention: Reading Shapes in Stained Walls
• Studying in the Dark, and the Painter's Divine Power
• Games to Train the Draughtsman's Eye
• Diligence Before Speed; Drawing in Company
• Learning by Heart; The Painter Must Be Universal
• Painters Who Blame Poor Pay; Heeding Others' Judgment
• Draw from Nature, Not from Memory
• The Universal Painter and the Variety of Figures
• Practice without science: perspective as the painter's guide
• The Light for Drawing from Nature
• Colour of Sunlight and the Grace of Sfumato Shadows
• Drawing Nudes and the Glass for a Correct View
• Tracing on Glass, Landscapes and Candlelight Shadows
• Simple and Composite Shadow; Light for Portraying Faces
• The Squared Net: Drawing the Nude in a Good Pose
• Study by Season, Attitudes, and Measures of the Statue
• Where to Stand to the Light; Judging Limbs and Anatomy
• Muscles in Action and the Vice of Repeating Faces
• Why the Painter Reproduces Himself; the Soul's Judgment
• The Painter's Own Defects and the Error of Studio Light
• The Divisions of Painting: Figure, Colour, and Movement
• Gesture as the Voice of the Mind; Avoiding Hard Outlines
• 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
• Treatise on Painting: expression, relief, and shadow vs. drawing
• Treatise on Painting: the anatomist-painter and the 'wooden' figure
• Treatise on Painting: muscles through life's ages, and natural poses
• Treatise on Painting: soft distant outlines and the origin of painting
• Treatise on Painting: the parts of painting and the primacy of drawing
• Treatise on Painting: outlines, shadow, and the three perspectives
• Grace of Faces, Portrait Light, and Beauty by Contrast
• Depicting Children, Old Men, and Women; Variety of Beauty
• Depicting Old Women and a Night Scene Lit by Fire
• How to Depict a Tempest
• How to depict a battle: smoke, dust, and gunfire
• 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
• Placing Figures by Distance; the Balance of a Figure on One Foot
• Composing Narratives: Relief, Foreshortening, and Variety of Men
• Variety of Men and Learning Their Movements from Life
• The Painter Must Depict Man and the Mind's Concept
• Variety in Narrative Scenes: Faces, Ages, and Decorum
• Narrative Must Move the Viewer; Leave the Limbs Rough
• Rough Composition, Stains That Spark Invention, and Colour
• 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
• Verdigris and the Infinite Mixing of Colors
• 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
• Blank Recto with Quire Signature 'Meltius'
• Blank Verso (Folio 79v)
• Blank Recto (Folio 80r)
• Blank leaf of the Treatise (no text or drawings)
• Blank Recto (Folio 81r)
• Blank Verso (Folio 81v)
• Blank Recto (Folio 82r)
• How to Depict a Battle: the Dead, the Dust, the Vanquished
• Painting a Battle: Blood, Fallen Men, and Charging Horses
• Part Three: Movements and Proportions of the Human Figure
• Joints, Shoulder Motion, and the Universal Measures of Bodies
• Measurements of the Body and the Bending of the Arm
• Proportion of the Limbs; Joints of the Hand and Foot
• Limbs That Swell or Shrink When Bent; Muscles in Action
• Invention of Composition and the Figure in Violent Action
• The Force of Motion and the Three Strokes of Battle
• The Three Movements of the Neck; Faults of the Painter
• On Weight-Bearing Feet, Fitting Limbs, and Facial Emotion
• Facial Expression, Varied Airs, and Eight Forms of the Nose
• Forms of the Forehead and Nose for a Profile Portrait
• Memorizing Faces, Soft Shadow, and the Falseness of Palmistry
• What the Face Reveals, Placing Muscles, and the Throat-Pit's Balance
• Expressive Movement: The Twice-Dead Figure and Motion by Rank
• The infinite variety of human movement
• Which Muscles to Show, and the Kinds of Motion
• Composite Motions and the Course of Man
• Balancing on One Foot; the Extended Arm Shifts the Weight
• The Loaded Shoulder Rises; Ponderation Over the Feet
• Bending and Turning; the Counterbalance of Weights
• Man as Mover of Weights; the Balance of the Figure
• The Grace and Ease of the Limbs
• Turning the Figure; a Lone Running Figure
• Balancing the Figure's Weight at Its Center of Gravity
• Attitudes of the Mind and the Reactions of Bystanders
• The Quality of Nudes: Slender, Muscular and Fat Bodies
• Muscles in Movement and When to Show Them
• Show Muscles Only in Straining Limbs; Skin Over Muscle Hollows
• Do Not Search Out Every Muscle in a Nude
• How Nature Hides the Bones; Skin, Fat, and Aging
• Why the Painter Must Know Anatomy
• Tendons Without Muscle and the Body's Sesamoid Bones
• The Utmost Twist to Look Behind; Arms Behind the Back
• Crossed Arms and the Windup of a Great Blow
• Simple and Compound Motion; Match Force to the Weight
• Do Not Repeat Movements; Let the Face Show the Emotion
• On Pose, the Actions of Man, and the Faces of the Passions
• Limbs by Age and the Eloquence of Hands and Arms
• A figure without fitting action is twice dead
• Mental Motions: How the Mind Moves the Body and the Eye
• Proportion of Every Limb and Figures That Express the Mind
• Decorum in Painting: Rank, Age, and Sex of the Figures
• Old and Young in History Pieces; Depicting the Speaker
• Depicting Anger, Despair, and Limbs Suited to Age
• Laughing versus Weeping in the Human Face
• Postures of Women, Rising from the Floor, and the Jump
• Pushing, Pulling, and the Figure Hurling with Force
• Balance of the Body: Simple and Compound Ponderation
• Weight-Shift, Contrapposto, and the Balance of Standing
• Three motions in a man's leap; the endless aspects of a limb
• The four parts of a figure: attitude, relief, drawing, colour
• Against excessive ornament; let the hair play in the wind
• The painter judging his own work and that of others
• 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 Physics of Gliding Birds and Figures in Motion
• Painting a Forty-Braccia Figure in a Space of Twenty
• Making a Figure Appear Twenty-Four Braccia High
• 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
• White-and-Black Relief; Why Painting Looks Larger Than Sculpture
• 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
• Why Painters Repeat Themselves; Painting the Seasons
• 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
• Pointing Rods for Marble, and a Painting of Everlasting Varnish
• 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)
• Blank page, without text or drawings
• Part Four: Of Draperies and Dressing Figures with Grace
• Drapery Must Appear Inhabited, Not a Stripped Bundle
• Garments, Fold Profiles, and the Three Sorts of Cloth
• The Three Manners of Folds; Varying Drapery in a Scene
• The Mechanics of Folds: Cloth Returns to Flatness (a b c)
• Mantles, Windblown Garments, and Folds in Foreshortening
• On Dressing Figures: Decorum and the Fashions of His Youth
• The Follies of Fashion, and Shadows in the Folds of Drapery
• Drapery Folds: Depth, Enclosed Flesh, and Diminution
• Blank leaf, folio 173r (Treatise, Part Four)
• Blank leaf, folio 173v (Treatise, Part Four)
• Blank leaf, folio 174r (Treatise, Part Four)
• Blank leaf, folio 174v (Treatise, Part Four)
• 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
• 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
• 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
• Blank leaf, folio 242r (opening Part Five)
• Blank leaf, folio 242v
• Blank leaf, folio 242r (Part Five head) — duplicate scan
• Blank leaf, folio 242v — duplicate scan
• Blank leaf, folio 242r (Part Five head) — second duplicate scan
• On Trees and Greenery: The Branching of Plants
• Rules of Tree Branching: Angles, Thickness, Leaf-Scars
• How leaves and branches attach and fork on a tree
• Light and Shadow on Foliage; Proportion of Yearly Growth
• Conservation of Branch-Thickness; Opposite vs. Alternate Boughs
• Why Forks Bulge Outward: A Three-Circle Proof
• Reading a Tree's Age from Bark and Growth-Rings
• Growth-Rings as a Record of Years, Seasons and Orientation
• Leaf Arrangement and the Angles of Branches
• Branchings Foreshortened; Leaves Turned to the Dew
• Leaves as the Branch's Nourishment; Four Modes of Growth
• Why Timber Grains Bend; Trees in Valleys and on Hills
• Trees at a Distance: From Form to Light, Dark, and Color
• Nourishment of Cut Branches; Proportion of Branches
• How Trees Grow and Toward Which Side They Grow Most
• Why a Branch Grows Thickest Below, and the Making of Bark
• The Three Modes of Tree Branching
• 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
• How to Light the Masses of Leafy Boughs
• Why Not to Paint Leaves Transparent to the Sun
• Dark Leaves Before Transparent Ones, and the Colour of Foliage
• Trees with Straight Branches, and Trees at Sunrise
• Eastern, Southern and Northern Trees at Sunrise
• Meadows, Grasses and the Shadows of Landscape
• 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
• Leaves Layered Like Ivy; the Leaves of the Walnut
• 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
• 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
• Blank page of the treatise
• Blank Leaf, Folio 272r (Sixth Part of the Treatise)
• Blank Leaf, Folio 272v (Sixth Part of the Treatise)
• Blank Leaf, Folio 273r (Sixth Part of the Treatise)
• Blank Leaf, Folio 273v (Sixth Part of the Treatise)
• Blank Leaf, Folio 274r (Sixth Part of the Treatise)
• Blank Leaf, Folio 274v (Sixth Part of the Treatise)
• 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
• Blank leaf (folio 299r)
• Table of Contents, Part One: poetry and painting
• Table of Contents, Part One: painting, poetry and music
• Table of Contents, Part One: painting versus sculpture
• Index to Part Two: Precepts of the Painter (chs. 47-72)
• Index to Part Two: Drawing from Nature (chs. 73-90)
• 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: Parts of Painting and What to Depict (chs. 125-152)
• 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)
• Contents of Part Three: Movements and Measures of Man
• Contents of Part Three: Movements, Faces and Attitudes
• Contents of Part Three: Balance and Motion of the Figure
• Contents of Part Three: The Single Figure, Attitudes and Muscles
• Contents of Part Three: Anatomy, Force and Motion of Man
• Contents of Part Three: Expression of the Mind in Figures
• Treatise index: the human figure in motion and repose
• Treatise index: judging painting, the mirror, and relief
• Index to Part Three: figures, distance, and animal motion
• 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
• Treatise on Painting — blank verso in the index section
• Index to Part Four of the Treatise: On Drapery
• Treatise on Painting — blank verso in the index section
• 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 to Part Five: Mountains and Aerial Perspective
• Index of chapters: light, shade, colour and perspective
• Contents of the sixth part: trees and greenery
• Table of trees: bark, branching and trees seen at a distance
• 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
• Memorandum of the Books Composing the Treatise on Painting
• End of the Book-List: Eighteen Pieces in All
• Book on Painting: Whether Painting Is a Science
• Painting versus Poetry; First Principles of Painting
• Colour-calibration target beside a page of the Trattato
• Treatise leaf photographed with color and scale calibration charts

Paris Manuscript A30 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
• Perspective Defined: Painting and the Pyramids of Sight
• Postulates of perspective and the diminishing of distance
• Weight, contact, and the rope that moves more easily coiled
• 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
• Reflected colour and the mirror analogy of the voice
• 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 moving figure: balance in rising, climbing, running, lifting
• Contrapposto: how a figure's sides change when it stands on one foot
• 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
• Foreshortening a Figure onto Wall and Vault to Double Its Height
• Geometric Figures for Perspective and Foreshortening
• Inscribed Polygons Tilted into Perspective
• Perspective diagrams: octagon, gridded circle, and vanishing point
• Viewing perspective from its own vantage; a shadow test
• The proof a-b: viewing distance and a receding colonnade
• Equal figures on a semicircle; the twenty-times rule
• Finding the eye's height and distance in a perspective square
• Figure projecting from a wall; weights, beams, and a float
• Light through apertures and the apparent size of bright bodies

Paris Manuscript B3 pages

• Body Proportions, the Force of Muscles, and Notes on Fame
• Incendiary Bombs, Figure Studies and Stage-Cloth Designs
• Painters' staging, whitewash brushes, and a drawbridge

Paris Manuscript C13 pages

• How light and shadow fall on bodies: primitive and derivative shadow
• 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
• On Shadow: Primary and Derivative Light on Spheres
• Cast Shadows and Their Central Axes
• Cast Shadows and the Blue of Distant Things
• When a Shadow's Shape Follows Body or Light Source
• Mixing Two Shadows: Perfect and Imperfect
• Impact of the derivative shadow and the best-lit surface
• How the eye discerns a body against its background
• The eye and the visual pyramid; light and shadow on bodies
• Perspective, diminution, and shadow on opposed bodies

Paris Manuscript D5 pages

• The Eye: How Images Enter and Bend Within the Eye
• The Human Eye: How Images Cross Twice Within the Eye
• The sun's image on water and the borrowed light of the stars
• The central line of sight and how two eyes double an object
• Species fill all the air, and why the eye cannot fix a remote edge

Paris Manuscript E21 pages

• 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
• Painting: Proportion, Depicting Wind, and Plant Branching
• The Eye, Shadow Proportions, and a Man Moving Weights
• The Eye's Pupil, and a Water-Glass to Enlarge Moon and Stars
• Composite vs. Simple Perspective; a Note on Joints
• Simple and Accidental Perspective
• Painting: Shadow, Colour, Relief, and the Shoulder in Motion
• 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
• Advice to the painter-anatomist on muscles
• Pulley-block loads and drawing the figure's ages
• Dividing a line into equal parts by a triangle
• Light and lustre on polished surfaces
• Definitions of shadow, and weights on the balance
• The Air Between the Eye and the Object
• At Parma, 27 September 1514: Air, Falling Bodies, Perspective
• The Three Perspectives, and the Horse That Loses Its Legs

Paris Manuscript F6 pages

• How an opaque body takes the colour of what faces it
• Why smoke and the sky appear blue
• Perspective: proportional diminution with distance
• On Mixtures: Making Imitation Agate and Marble
• Painting: Why the Shadows on White Are Blue
• Aphorisms, green-pigment recipes, and a bone flask

Paris Manuscript G44 pages

• Painting a leaf in two colours, front and reverse
• How leaf faces take the sky's colour and a yellow-green reverse
• Luster and Transparency of Backlit Foliage
• Never Paint Sunlit Transparent Leaves; Twig Arrangement
• On the Variety of Figures; Becoming a Universal Painter
• Transparency of Backlit Trees Seen One Behind Another
• Page of notes (transcription not available)
• 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
• 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
• The Painter's Lights; Straight Growth and Fine Branching
• The science of weights, with simple and compound perspective
• Painting light and shade on foliage, mountains and battle scenes
• How to Judge a Painter's Work
• 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
• Backgrounds and the Outlines of Painted Bodies
• The Four Accidental Colours of Tree Foliage
• The Aptitude and Range of the Painter; Twig Growth
• How the Gaps in Foliage Vanish with Distance
• On Trees: How Foliage Rounds Off at a Distance
• Description of the Elm: Its Branching and Leaf Spacing
• Painting Foliage, and Why Leaves Face the Sky
• The Walnut: Leaf Distribution and the Weight of Sap
• The Highlights of Leaves: Blue Sky, Yellow Leaves, Green Luster
• The Elder: Paired Leaves That Bend to Catch the Dew
• Perspective: apparent size and distance from the eye
• Branching of plants: elm, fern-like and willow forms
• Perspective of a rhombus and the reading of light and shade
• Birth of branches and the straightness of the grain in wood
• The leaf as mother; situating figures in light
• Representing things in motion; the growth-rings of trees
• On painting: bodies should not be outlined
• Discourse on painting: the three parts of perspective

Paris Manuscript H11 pages

• Perspective through a viewing hole, with four moral maxims
• Rules of appearance for the eye, and crossing water currents
• Shadow gradation and gravel on the river bed
• Lock-gates, reflections in water, and the science of shadow
• Perspective rule, arches, a pile-driver and its costs
• On painting: the shifting highlight; a millstone's power
• Memorandum of painter's materials, with a spoked wheel
• Pigment recipe and mill accounts, with a hinge
• Estimate for painting a room in blue and gold
• Painting estimate for a hall: cornices, scenes and colours
• Perspective study of a sphere on a stand

Paris Manuscript I7 pages

• On common perspective: apparent thickness and background colour
• Irradiation: dark and light objects against contrasting grounds
• Why distant mountains turn blue
• Rolling mill for thin tin plate
• Cloth account, perspective notes, a bee simile and a costume recipe
• Sketches of framed forms with hatched shading
• Franciscan saints and their attributes, in a rectangular frame

Paris Manuscript K5 pages

• 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
• Imitation chalcedony: sifted 'snakes' and a non-yellowing varnish

Paris Manuscript L8 pages

• Fraction sums, and a note on drawing hills
• On Painting: the Pupil and the Look of Shadow
• Colours fading to blue with distance; a rebound test
• Why a shore looks longer than a mountain from the sea
• On painting: knowing anatomy to render nudes
• How to draw landscapes in light and shade
• Varieties of Trees for the Painter
• A Column Under Load, a Subdivided Square and a Colour Note

Paris Manuscript M1 pages

• On Painting: Eye, Object and Light

Ashburnham I (ex-Ms A)55 pages

• Cone rising from a circle to a single point
• Painting-Treatise Page with Two Marginal Sketches
• Perspective Study of an Interior with an Oculus
• Linear Perspective and the Diminution of Forms
• Faint Perspective Constructions and Offset Impressions
• Perspective Projection of a Square and Circle with a Star Figure
• Perspective study: a square and circle projected to a point
• Cast Shadow of Spheres and Rays in a Light Chamber
• 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
• 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
• Geometric Diagrams of Proportion
• 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
• Mirror-script prose page with chapter headings (Ms A)
• Closely written prose page with headings (Ms A)
• Full page of mirror-script prose (Ms A)
• Two overlapping leaves of prose with headings (Ms A)
• Prose page with several chapter headings (Ms A)
• Prose page in Leonardo's mirror script (Ms A)
• 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)
• Treatise page beside the book's bound fore-edge
• Treatise page with the Institut de France stamp
• Treatise page with tiny marginal hill sketches
• Treatise page of three titled sections
• Treatise page with marginal peak sketches
• Treatise page of four titled sections
• Notebook A page: untranscribed treatise text
• Notebook A: two leaves of mirror-script treatise text
• Notebook A page: chapters of mirror-script prose
• Notebook A page: treatise text with a short word-list
• Notebook A page: treatise text with a ray diagram
• Notebook A page: chapters of mirror-script prose
• Full page of treatise prose in mirror-script
• Text leaf with paragraph headings in mirror-script
• Text leaf with a dense marginal note
• Treatise page with small marginal figures
• Treatise page with ray, curve, and triangle diagrams
• Text leaf with sectioned prose in mirror-script
• Full page of Leonardo's mirror-script prose
• Isometric triangle grid with stepped solid and knots

Turin Drawings1 pages

• Head of a Young Woman (Study for an Angel)

Ambrosiana Drawings5 pages

• Red-chalk study of a group of figures
• Study of a male nude torso
• Coloured portrait of a young woman
• Coloured portrait of a young man
• Three Compositional Studies: Seated Women and Children

Uffizi Drawings21 pages

• Drapery Study for a Seated Figure
• Drapery study of cloth over a seated figure's legs
• Drapery Study for a Standing Figure
• Head of a young woman with elaborate curled hair
• Perspective study: arcade, staircase and figures
• Seated Virgin and Child with drapery study
• Drapery study of a kneeling, draped figure
• Head of a young woman, bowed and turned aside
• Head of a youth in a hood, with flowing hair
• Head of a young woman with lowered eyes
• Head of a young woman in a light veil, three-quarter view
• Profile head and bust of a long-haired youth facing right
• Bust of a Youth Crowned with Laurel
• Seated Madonna and Child, in brush and wash
• Head of a woman with lowered eyes and a fillet
• Madonna and Child
• Head of a young woman inclined downward, with a secondary study
• Half-length portrait of a woman with clasped hands
• Studies of the Virgin and Child
• Veiled Woman in Profile
• Allegory of Painting: a Woman at Her Easel with Putti

American Collections16 pages

• Drapery Study of a Kneeling Draped Figure
• Drapery Study of a Standing Draped Figure
• Compositional Studies of Kneeling Figures and a Child
• Geometric Studies of Gridded Spheres and a Square
• Sheet of figure and horse studies for a composition
• Charcoal study of a Madonna group beneath an arch
• Figure composition: youth, kneeling attendant, and women
• Mourning group around a collapsed figure
• Studies for a Virgin and Child group
• Head of a Young Woman in Red Chalk
• Head of a Bearded Man with Long Hair
• Head of a Youth on Blue Prepared Paper
• Holy Family: Virgin and Child with an Aged Saint
• Virgin and Child
• Compositional Study of the Last Supper
• The Last Supper: composition study in red chalk

Accademia Drawings13 pages

• Proportion Study of a Head, with Nude and Horseman
• Proportions of the Head and Bust in Profile
• Study of a Seated Woman Embracing Children
• Three studies of a kneeling, draped figure
• Studies of Dancing Female Figures in Drapery
• Compositional Study of a Supper Scene
• Red Chalk Study of a Seated Group with Infant and Lamb
• Red Chalk Head of a Young Woman, Eyes Lowered
• Pen Sketch of a Crowd of Figures and Horsemen
• Red Chalk Studies of Hands, a Face, and Drapery
• Red Chalk Study of a Bent Arm and Hand
• Compositional Study of a Figure Group with a Rearing Horse
• Studies for a Virgin in Glory and a Group of Figures