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قراءة كتاب A Treatise on Painting

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A Treatise on Painting

A Treatise on Painting

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دار النشر: Project Gutenberg
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A
TREATISE
ON
PAINTING,

BY

LEONARDO DA VINCI.

Printed by S. Gosnell,
Little Queen Street, Holborn, London.

Leonardo Da Vinci

A

TREATISE

ON

PAINTING,

BY

LEONARDO DA VINCI.

FAITHFULLY TRANSLATED FROM THE

ORIGINAL ITALIAN,

AND NOW FIRST DIGESTED UNDER PROPER HEADS,

By JOHN FRANCIS RIGAUD, Esq.

ACADEMICIAN OF THE ROYAL ACADEMY OF PAINTING AT LONDON, AND
ALSO OF THE ACADEMIA CLEMENTINA AT BOLOGNA, AND THE ROYAL
ACADEMY AT STOCKHOLM.

Illustrated with twenty-three Copper-plates, and other Figures.

TO WHICH IS PREFIXED

A NEW LIFE OF THE AUTHOR,

DRAWN UP FROM AUTHENTIC MATERIALS TILL NOW INACCESSIBLE,

By JOHN SIDNEY, HAWKINS, Esq. F.A.S.

Ars est habitus quidam faciendi verâ cum ratione.

ARISTOT. ETHIC. LIB. 6.

London:

PRINTED FOR J. TAYLOR,

AT THE ARCHITECTURAL LIBRARY, HIGH HOLBORN.

M.DCCC.II.

TABLE OF CHAPTERS.

The Number at the End of each Title refers to the corresponding Chapter in the original Edition in Italian.

DRAWING.
PROPORTION.
Chap.
1. What the young Student in Painting ought in the first Place to learn. Chapter 1.
2. Rule for a young Student in Painting. 3.
3. How to discover a young Man’s Disposition for Painting. 4.
4. Of Painting, and its Divisions. 47.
5. Division of the Figure. 48.
6. Proportion of Members. 49.
7. Of Dimensions in general. 173.
8. Motion, Changes, and Proportion of Members. 166.
9. The Difference of Proportion between Children and grown Men. 169.
10. The Alterations in the Proportion of the human Body from Infancy to full Age. 167.
11. Of the Proportion of Members. 175.
12. That every Part be proportioned to its Whole. 250.
13. Of the Proportion of the Members. 185.
14. The Danger of forming an erroneous Judgment in regard to the Proportion and Beauty of the Parts. 42.
15. Another Precept. 12.
16. The Manner of drawing from Relievos, and rendering Paper fit for it. 127.
17. Of drawing from Casts or Nature. 31.
18. To draw Figures from Nature. 38.
19. Of drawing from Nature. 25.
20. Of drawing Academy Figures. 30.
21. Of studying in the Dark, on first waking in the Morning, and before going to sleep. 17.
22. Observations on drawing Portraits. 188.
23. The Method of retaining in the Memory the Likeness of a Man, so as to draw his Portrait, after having seen him only once. 189.
24. How to remember the Form of a Face. 190.
25. That a Painter should take Pleasure in the Opinion of every Body. 19.
ANATOMY.
26. What is principally to be observed in Figures. 213.
27. Mode of Studying. 7.
28. Of being universal. 22.
29. A Precept for the Painter. 5.
30. Of the Measures of the human Body, and the bending of Members. 174.
31. Of the small Bones in several Joints of the human Body. 229.
32. Memorandum to be observed by the Painter. 57.
33. The Shoulders. 171.
34. The Difference of Joints between Children and grown Men. 168.
35. Of the Joints of the Fingers. 170.
36. Of the Joint of the Wrist. 176.
37. Of the Joint of the Foot. 177.
38. Of the Knee. 178.
39. Of the Joints. 179.
40. Of the Naked. 220.
41. Of the Thickness of the Muscles. 221.
42. Fat Subjects have small Muscles. 222.
43. Which of the Muscles disappear in the different Motions of the Body. 223.
44. Of the Muscles. 226.
45. Of the Muscles. 224.
46. The Extension and Contraction of the Muscles. 227.
47. Of the Muscle between the Chest and the lower Belly. 230.
48. Of a Man’s complex Strength, but first of the Arm. 234.
49. In which of the two Actions, Pulling or Pushing, a Man has the greatest Power, Plate II. 235.
50. Of the bending of Members, and of the Flesh round the bending Joint. 236.
51. Of the naked Body. 180.
52. Of a Ligament without Muscles. 228.
53. Of Creases. 238.
54. How near behind the Back one Arm can be brought to the other. Plate III. and IV. 232.
55. Of the Muscles. 225.
56. Of the Muscles. 194.
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