- 1Volume 1 — Preface
- 2F. P. R · Contents of Volume I — Prolegomena and General Introducti…
- 3II — Linear Perspective
- 4III — Six Books on Light and Shade
- 5IV — Perspective of Disappearance
- 6V — Theory of Colours
- 7VI — Perspective of Colour and Aerial Perspective
- 8VII — On the Proportions and on the Movements of the Human Figure
- 9VIII — Botany for Painters, and Elements of Landscape Painting
- 10IX — The Practice of Painting
- 11X — Studies and Sketches for Pictures and Decorations
- 12Introduction
- 13Introduction
- 14Introduction
- 15Introduction
- 16On the Three Branches of Perspective
- 17On Painting and Perspective
- 18The Discourse on Painting
- 19On the Sections of [The Book On] Painting
- 20Of the Mistakes Made by Those Who Practise Without Knowledge
- 21Introduction to Perspective: — That Is of the Function of the Eye
- 22Of the 10 Attributes of the Eye, All Concerned in Painting
- 23On Painting
- 24Of the Eye
- 25Of the Eye
- 26On Painting
- 27On Painting
- 28On Perspective
- 29_ii
- 30On Painting
- 31Of the Natural Point
- 32Definition of the Nature of the Line
- 33How We May Conclude That a Superficies Terminates in a Point?
- 34Of Drawing Outline
- 35In What Way the Eye Sees Objects Placed in Front of It
- 36Perspective
- 37To Prove How Objects Reach the Eye
- 38Elements of Perspective
- 39Perspective
- 40Perspective
- 41Prove How All Objects, Placed in One Position, Are All Everywhere a…
- 42How the Images of Objects Received by the Eye Intersect Within the…
- 43The Principle on Which the Images of Bodies Pass in Between the Mar…
- 44Of the Movement of the Edge at the Right or Left, or the Upper, or…
- 45Of the Central Line of the Eye
- 46As to Whether the Central Line of the Image Can Be Intersected, or…
- 47How the Innumerable Rays from Innumerable Images Can Converge to a…
- 48Of the Plane of Glass
- 49Perspective
- 50Perspective — Perspective
- 51Perspective
- 52Simple Perspective
- 53Perspective — Why When an Object Is Placed Close to the Eye Its Edg…
- 54Perspective — Perspective
- 55Perspective — Perspective
- 56Perspective
- 57Perspective
- 58Perspective — Proposition — Definition
- 59Of Linear Perspective
- 60Of the Diminution of Objects at Various Distances
- 61Of the Degrees of Diminution
- 62Perspective
- 63Perspective
- 64Of Equal Objects the Most Remote Look the Smallest
- 65Of a Mixture of Natural and Artificial Perspective
- 66III
- 67General Introduction
- 68Introduction
- 69Of Painting
- 70Of Painting — Of Painting
- 71Of Painting — Of the Three Kinds of Light That Illuminate Opaque Bo…
- 72Of Light
- 73What Light and Shadow Are
- 74Of the Nature of Shadow
- 75What Is the Difference Between a Shadow That Is Inseparable from a…
- 76How There Are 2 Kinds of Light, One Separable from, and the Other I…
- 77Memorandum of Things I Require to Have Granted [As Axioms] in My Ex…
- 78First Book on Light and Shade
- 79The Rays Whether Shaded or Luminous Have Greater Strength and Effec…
- 80Of the Highest Lights Which Turn and Move as the Eye Moves Which Se…
- 81Of Painting
- 82Of Light and Lustre
- 83What Bodies Have Light upon Them Without Lustre?
- 84What Bodies Will Display Lustre but Not Look Illuminated?
- 85Shows How Light from Any Side Converges to One Point
- 86Of the Different Light and Shade in Various Aspects and of Objects…
- 87Of Painting
- 88Second Book on Light and Shade
- 89Of Perspective
- 90Of Painting
- 91Of Painting
- 92Third Book on Light and Shade
- 93Shadow and Light
- 94Of Simple Derived Shadows
- 95Of Compound Derived Shadows — Of Shadow
- 96How a Cast Shadow Can Never Be of the Same Size as the Body That Ca…
- 97Of the Pyramidal Shadow
- 98Of Painting
- 99The Farther the Derived Shadow Is Prolonged the Lighter It Becomes
- 100On Painting — How Shadows Fade Away at Long Distances
- 101Of the Compound Shadow F, R, C, H Caused by a Single Light
- 102The Action of the Light as from Its Centre
- 103Proof
- 104Of the Shadow Cast by a Body Placed Between 2 Equal Lights
- 105Of Simple Shadows
- 106Answer
- 107Definition
- 108How and When the Surroundings in Shadow Mingle Their Derived Shadow…
- 109Fourth Book on Light and Shade
- 110Of Shadows Which Never Come to an End
- 111The Body Which Is Nearest to the Light Casts the Largest Shadow, an…
- 112Why a Shadow Larger than the Body That Produces It Becomes Out of P…
- 113Why a Shadow Which Is Larger than the Body Causing It Has Ill-Defin…
- 114Of Modified Shadows
- 115Of the Opinion of Some That a Triangle Casts No Shadow on a Plane S…
- 116Fifth Book on Light and Shade — Of the Way in Which the Shadows Cas…
- 117Of Reverberation
- 118Where There Can Be No Reflected Lights
- 119Perspective
- 120The Mirror
- 121Of the Shadow and Its Motion
- 122Of the Motion of Shadows
- 123Sixth Book on Light and Shade — Perspective
- 124That Part of the Reflection Will Be Brightest Where the Reflected R…
- 125IV
- 126Of the Diminished Distinctness of the Outlines of Opaque Bodies
- 127Of the Diminution in Perspective of Opaque Objects
- 128Of the Atmosphere That Interposes Between the Eye and Visible Objects
- 129Of the Eye
- 130Of Painting · Perspective — Perspective
- 131Of Painting
- 132Of Painting
- 133Of Light and Shade
- 134Of Ordinary Perspective
- 135Of Light · Of Light — Of Light
- 136On Light Between Shadows
- 137To Prove How It Is That Luminous Bodies Appear Larger, at a Distanc…
- 138To Prove How You May See the Real Size of Luminous Bodies
- 139Perspective
- 140V
- 141Of Painting — Of Shadow
- 142Of Light and Shade — Example
- 143Of Painting
- 144Of the Rays Which Convey Through the Air the Images of Objects
- 145Of Painting
- 146Of the Intersections of the Images in the Pupil of the Eye
- 147Of the Nature of the Rays Composed of the Images of Objects, and of…
- 148Of the Colours of Simple Derived Shadows
- 149Of Painting
- 150Of Colours
- 151Perspective
- 152Perspective — Perspective
- 153Perspective — Perspective
- 154What Portion of a Coloured Surface Ought in Reason to Be the Most I…
- 155Why Beautiful Colours Must Be in the [Highest] Light
- 156Of Painting
- 157The Adversary — The Answer
- 158That the Eye Has No Part in Producing the Colours of the Rainbow
- 159Of the Colours in the Feathers of Certain Birds
- 160VI
- 161Of the Visibility of Colours
- 162All Colours Are at a Distance Undistinguishable and Undiscernible
- 163How a Painter Should Carry Out the Perspective of Colour in Practice
- 164Of Aerial Perspective
- 165Why the Atmosphere Must Be Represented as Paler Towards the Lower P…
- 166Of the Mode of Treating Remote Objects in Painting
- 167Of the Colour of the Atmosphere
- 168307 | Of Painting
- 169VII
- 170Of Painting
- 171Of the Motions of the Fingers
- 172Of the Loins, When Bent
- 173Of Painting
- 174Of [Change Of] Attitude
- 175Of Painting
- 176Of the Different Measurements of Boys and Men
- 177Of Painting
- 178Of Painting
- 179Of the Agreement of the Proportion of the Limbs
- 180How Young Boys Have Their Joints Just the Reverse of Those of Men,…
- 181Of Drawing
- 182Of the Human Body in Action
- 183Of Painting
- 184Of the Strength of Man
- 185Of the Nature of the Folds in Drapery
- 186Example
- 187Of Small Folds in Draperies
- 188VIII
- 189Trees
- 190Of the Scars on Trees
- 191Of the Ramification
- 192Why, Very Frequently, Timber Has Veins That Are Not Straight
- 193Of the Ramifications of Plants
- 194Of the Insertion of the Branches on Plants
- 195A Description of the Elm
- 196Of the Insertion of the Leaves on the Branches
- 197Of the Ramifications of Trees and Their Foliage
- 198Light on Branches and Leaves (420 — 422)
- 199Of the Accidents of Colouring in Trees — Of the Visibility of These…
- 200Of the Shadows of a Leaf
- 201Of Dark Leaves in Front of Transparent Ones
- 202Of the Lights on Dark Leaves
- 203Of the Lights on Leaves of a Yellowish Green
- 204Of a Generally Distributed Light as Lighting Up Trees
- 205Of the Shadows of Verdure
- 206Of the Illuminated Part of Verdure and of Mountains
- 207Of Trees That Are Lighted by the Sun and by the Atmosphere
- 208Of Depicting a Forest Scene
- 209On Painting
- 210Of the Herbs of the Field
- 211Of Trees Which Are Between the Eye and the Light
- 212From Whence to Depict a Landscape
- 213Of Trees to the South
- 214Of Meadows
- 215Of the 4 Points of the Compass [In Landscapes]
- 216Of Trees in the East
- 217Of the Shadows in Trees
- 218Of Trees to the East
- 219Objects in High Light Show but Little, but Between Light and Shadow…
- 220Of the Spaces [Showing the Sky] in Trees Themselves
- 221Of Trees Which Conceal These Spaces in One Another
- 222Of Trees
- 223Trees at a Short Distance
- 224Of Trees and Lights on Them
- 225Of Painting
- 226Of Painting in a Landscape
- 227Of Landscapes
- 228Of Light and Shadow in a Town
- 229Of Towns or Other Buildings Seen in the Evening or the Morning Thro…
- 230Of the Smoke of a Town
- 231Of Smoke and Dust
- 232Of Representing Wind
- 233The Wind
- 234Of Clouds, Smoke and Dust and the Flames of a Furnace or of a Burni…
- 235IX
- 236I · Moral Precepts for the Student of Painting — A Warning Concerni…
- 237Of the Order of Learning to Draw
- 238Precepts for Drawing
- 239Of Drawing
- 240Of Painting
- 241How It Is Necessary to a Painter That He Should Know the Intrinsic…
- 242Of Study and the Order of Study
- 243What Rules Should Be Given to Boys Learning to Paint
- 244How That Diligence [Accuracy] Should First Be Learnt Rather than Ra…
- 245Of the Life of the Painter in the Country
- 246Of the Life of the Painter in His Studio
- 247Of Whether It Is Better to Draw with Companions or Not
- 248Of Studying, in the Dark, When You Wake, or in Bed Before You Go to…
- 249Of the Time for Studying Selection of Subjects
- 250Of Positions
- 251That a Painter Is Not Admirable Unless He Is Universal
- 252Of the Miserable Pretences Made by Those Who Falsely and Unworthily…
- 253How, in Important Works, a Man Should Not Trust Entirely to His Mem…
- 254Of Variety in the Figures
- 255How Something May Be Learnt Everywhere — Of the Means of Acquiring…
- 256Painting
- 257Of Games to Be Played by Those Who Draw
- 258A Way of Developing and Arousing the Mind to Various Inventions
- 259II — The Artist's Studio — Instruments and Helps for the Applicatio…
- 260Of the Painter's Window and Its Advantage
- 261Of the Quality of the Light — That the Light for Drawing from Natur…
- 262The Kind of Light Requisite for Painting Light and Shade
- 263Of Small Lights
- 264Painting
- 265Of the Quality of Light
- 266Of Selecting the Light Which Gives Most Grace to Faces
- 267Of Drawing an Object
- 268Of a Mode of Drawing a Place Accurately
- 269How to Learn to Place Your Figures Correctly
- 270A Method of Drawing an Object in Relief at Night
- 271To Draw a Figure on a Wall 12 Braccia High Which Shall Look 24 Brac…
- 272How the Mirror Is the Master [And Guide] of Painters
- 273Of Judging Your Own Pictures
- 274Of a Method of Learning Well by Heart
- 275That a Painter Ought to Be Curious to Hear the Opinions of Every On…
- 276How in Small Objects Errors Are Less Evident than in Large Ones
- 277Why a Painting Can Never Appear Detached as Natural Objects Do
- 278Why of Two Objects of Equal Size a Painted One Will Look Larger tha…
- 279How High the Point of Sight Should Be Placed
- 280Of the Way to Draw Figures for Historical Pictures
- 281Of Placing a Figure in the Foreground of a Historical Picture
- 282Perspective
- 283Of Painting — Of Drawing from Relief
- 284Why Groups of Figures One Above Another Are to Be Avoided
- 285Of Painting
- 286Where a Spectator Should Stand to Look at a Picture
- 287III — Of Painting: Of the Darkness of the Shadows, or I May Say, th…
- 288How the Painter Must Place Himself with Reference to the Light, to…
- 289How Light Should Be Thrown upon Figures
- 290Of Helping the Apparent Relief of a Picture by Giving It Artificial…
- 291Of Situation
- 292Of the Judgment to Be Made of a Painter's Work
- 293Of the Treatment of the Lights
- 294Of Shadows on Bodies
- 295Of Lights and Shadows
- 296Of the Way to Make the Shadow on Figures Correspond to the Light an…
- 297Of Surrounding Bodies by Various Forms of Shadow
- 298On Painting
- 299Of Shadows
- 300Of the Backgrounds for Painted Figures
- 301Of the Background That the Painter Should Adopt in His Works
- 302How White Bodies Should Be Represented
- 303Why Faces [Seen] at a Distance Look Dark
- 304Why a Man Seen at a Certain Distance Is Not Recognisable
- 305The Reason Why Small Figures Should Not Be Made Finished
- 306Of Painting
- 307IV · Of Portrait and Figure Painting — Of the Way to Learn to Compo…
- 308Of a Method of Keeping in Mind the Form of a Face
- 309How to Know Which Side of an Object Is to Be More or Less Luminous…
- 310The Proof and Reason Why Among the Illuminated Parts Certain Portio…
- 311Precepts in Painting
- 312That a Figure Is Not Admirable Unless It Expresses by Its Action th…
- 313How an Angry Man Is to Be Figured
- 314How to Represent a Man in Despair
- 315How You Should Make an Imaginary Animal Look Natural
- 316Of the Delusions Which Arise in Judging of the Limbs
- 317Of the Selection of Beautiful Faces
- 318Of the Muscles of Animals
- 319Of Undulating Movements and Equipoise in Figures and Other Animals
- 320Of Grace in the Limbs
- 321Of Representing a Man Speaking to a Multitude
- 322Of the Disposition of Limbs
- 323Of Painting
- 324Of Painting
- 325Of Painting
- 326Of Setting on the Limbs
- 327Of the Action of the Figures
- 328V · Suggestions for Compositions — Of the Way of Representing a Battle
- 329Of Lighting the Lower Parts of Bodies Close Together, as of Men in…
- 330Of the Way to Represent a Night [Scene]
- 331How to Represent a Tempest
- 332To Represent the Deluge
- 333Of the Deluge and How to Represent It in a Picture
- 334Description of the Deluge
- 335VI — The Artist's Materials
- 336Paper for Drawing upon in Black by the Aid of Your Spittle
- 337A Fine Yellow — White
- 338The Proportions of Colours
- 339To Prepare a Panel for Painting On
- 340Oil
- 341To Remove the Smell of Oil
- 342To Restore Oil Colours That Have Become Dry
- 343Oil
- 344Varnish [Or Powder]
- 345Varnish [Or Powder]
- 346Varnish [Or Powder]
- 347Varnish [Or Powder]
- 348Mould(?)
- 349To Dilute White Wine and Make It Purple
- 350Fire
- 351Fire — Fire
- 352VII — Philosophy and History of the Art of Painting
- 353He Who Despises Painting Loves Neither Philosophy nor Nature
- 354That Painting Surpasses All Human Works by the Subtle Consideration…
- 355That Sculpture Is Less Intellectual than Painting, and Lacks Many C…
- 356Of Painting
- 357That Painting Declines and Deteriorates from Age to Age, When Paint…
- 358_x
- 359Christ
- 360Truth
- 361To Represent Ingratitude
- 362A Dress for the Carnival
- 363Volume 2 — XI
- 3647o6 — Of a Statue
- 365Measurement and Division of a Statue
- 366The Mould for the Horse
- 367Of Making the Mould in Pieces
- 368Method of Founding Again
- 369The Monument to Messer Giovanni Jacomo Da Trevulzo
- 370Mint at Rome
- 371Powder for Medals
- 372Of Taking Casts of Medals
- 373Stucco
- 374Stucco
- 375Stucco for Moulding
- 376Glue — To Cast
- 377To Cast Bronze in Plaster
- 378How Casts Ought to Be Polished
- 379How to Remove the Rough Edges from Bronze
- 380To Facilitate Melting
- 381To Prevent the Copper Cooling in the Furnace
- 382If You Have to Make a Large Cast
- 383How to Proceed to Break a Large Mass of Bronze
- 384To Combine Lead with Other Metal
- 385Of the Thickness of the Coating
- 386Of the Thickness of the Gun
- 387Of the Length of the Body of the Gun
- 388Of the Thickness of Small Guns
- 389Of Luting the Furnace Within
- 390Of Restoring the Metal When It Is Becoming Cool
- 391The Cause of Its Curdling — To Know the Condition of the Fire
- 392Of Alloying the Metal
- 393How to Hasten the Melting
- 394Henry de Geymuller — XII
- 395On Moving Houses
- 396For Making a Clean Stable
- 397The Way to Construct a Frame-Work for Decorating Buildings
- 398Steps of Urrbino
- 399Concerning Architraves of One or Several Pieces
- 400_xiii
- 401I — On Fissures in Walls
- 402What Is the Law by Which Buildings Have Stability
- 403How to Prognosticate the Causes of Cracks in Any Sort of Wall
- 404On the Situation of Foundations and in What Places They Are a Cause…
- 405Of Cracks in Walls, Which Are Wide at the Bottom and Narrow at the…
- 406Of Arched Cracks, Wide at the Top, and Narrow Below
- 407Of the Causes of Fissures in [The Walls Of] Public and Private Buil…
- 408Of Stones Which Disjoin Themselves from Their Mortar
- 409II · On Fissures in Niches — On Fissures in Niches
- 410On the Shrinking of Damp Bodies of Different Thickness and Width
- 411III · On the Nature of the Arch — What Is an Arch?
- 412Of the Kind of Pressure in Arches
- 413Of Distributing the Pressure Above an Arch
- 414Where an Arch Breaks — Second Rupture of the Arch
- 415On Another Cause of Ruin
- 416On the Strength of the Arch · On the Loading of Round Arches — On t…
- 417On the Remedy for Earthquakes
- 418On the Strength of the Arch in Architecture — On the Position of th…
- 419An Arch Loaded over the Crown Will Give Way at the Left Hand and Ri…
- 420On the Strength and Nature of Arches, and Where They Are Strong or…
- 421That Arch Will Be of Longer Duration Which Has a Good Abutment Oppo…
- 422Plan
- 423IV — On Foundations, the Nature of the Ground and Supports
- 424Of the Supports — Example
- 425V — On the Resistance of Beams
- 426On the Length of Beams
- 427XIV
- 428I — Anatomy
- 429Of the Order of the Book
- 430The Order of the Book
- 431The Arrangement of Anatomy
- 432Anatomy
- 433Of the Human Figure
- 434Anatomy — Of the Head
- 435II — Zoology and Comparative Anatomy
- 436Of the Palm of the Hand
- 437Of the Way of Walking in Man
- 438III — Physiology
- 439Of the Eyes in Animals
- 440Of the Nature of Sight
- 441Why Men Advanced in Age See Better at a Distance
- 442How the Five Senses Are the Ministers of the Soul
- 443How the Nerves Sometimes Act of Themselves Without Any Commands fro…
- 444How the Body of Animals Is Constantly Dying and Being Renewed
- 445XV
- 446I — The Earth as a Planet
- 447The Method of Proving That the Earth Is a Star
- 448Perspective
- 449Of the Eye
- 450Perspective
- 451The Reason of the Increased Size of the Sun in the West
- 452II · The Sun — In Praise of the Sun
- 453Of the Proof That the Sun Is Hot by Nature and Not by Virtue
- 454Why the Sun Appears Larger When Setting than at Noon, When It Is Ne…
- 455A Method of Seeing the Sun Eclipsed Without Pain to the Eye
- 456III · The Moon — Of the Moon
- 457Of the Moon and Whether It Is Polished and Spherical
- 458Of the Moon
- 459What Sort of Thing the Moon Is
- 460Of the Nature of the Moon
- 461Of the Moon
- 462Of the Moon
- 463Of the Moon
- 464The Spots on the Moon
- 465Of the Spots on the Moon
- 466Of the Spots on the Moon
- 467Of Halos Round the Moon
- 468******** 911 - 912 Missing ***
- 469Second Argument
- 470_xvi
- 471I — Introduction
- 472Divisions of the Book — Book 15 — of matters worn away by water
- 473Book 9 — of accidental risings of water — The Order of the Book
- 474The Beginning of the Treatise on Water
- 475I · Of the Nature of Water — The Order of the First Book on Water
- 476Of What Is Water — The Beginning of the Book on Water
- 477Of the Centre of the Ocean
- 478Of the Sea Which Changes the Weight of the Earth
- 479Whether the Earth Is Less than the Water
- 480Of the Earth
- 481The Figures of the Elements
- 482Proves How the Earth Is Not Globular and Not Being Globular Cannot…
- 483Of the Heat That Is in the World
- 484Of the Sea, Which to Many Fools Appears to Be Higher than the Earth…
- 485Of Certain Persons Who Say the Waters Were Higher than the Dry Land
- 486II · On the Ocean — Why Water Is Salt
- 487That the Ocean Does Not Penetrate under the Earth
- 488Fresh Water Penetrates More Against Salt Water than Salt Water Agai…
- 489Of Waves
- 490Of the Flow and Ebb
- 491III — Subterranean Water Courses
- 492Whether Water Rises from the Sea to the Tops of Mountains
- 493Of Springs of Water on the Tops of Mountains
- 494In Confirmation of Why the Water Goes to the Tops of Mountains
- 495IV · Of Rivers — Of the Origin of Rivers
- 496Water — Of the Movement of a Sudden Rush Made by a River in Its Bed…
- 497Of the Vibration of the Earth
- 498V — On Mountains
- 499Of the Sea Which Encircles the Earth
- 500VI — Geological Problems
- 501A Doubtful Point
- 502Of the Deluge and of Marine Shells
- 503VII — On the Atmosphere
- 504Of Motion
- 505XVII
- 506I · Italy — Canal of Florence
- 507Of the Canal of Martesana
- 508Canal
- 509The Bath
- 510Of the Force of the Vacuum Formed in a Moment
- 511Lake of Como. Valley of Chiavenna
- 512Val Sasina
- 513Valley of Introzzo
- 514Bellaggio
- 515Valtellina
- 516In Val Sasina
- 517Of Painting
- 518II · France · Germany. France — Spain
- 519The Road to Orleans
- 520III — Why the Sea Makes a Stronger Current in the Straits of Spain…
- 521Why the Current of Gibraltar Is Always Greater to the West than to…
- 522IV — The Levant
- 523Small Boats
- 524Site for [A Temple Of] Venus
- 525Why Water Is Found at the Top of Mountains
- 526XVIII
- 527On Movements; — To Know How Much a Ship Advances in an Hour
- 528A Method of Escaping in a Tempest and Shipwreck at Sea
- 529To Escape the Peril of Destruction
- 530Greek Fire
- 531XIX
- 532I — Philosophical Maxims
- 533A Prayer
- 534Of Mechanics
- 535**** Text Beyond This Point Still Needs Some Cleanup ****
- 536Of the Errors of Those Who Depend on Practice Without Science
- 537II — Morals
- 538A Simile for Patience
- 539III — Polemics — Speculation
- 540Of Spirits
- 541As to Whether a Spirit Has a Body Amid the Elements
- 542As to Whether the Spirit, Having Taken This Body of Air, Can Move o…
- 543As to Whether the Spirit Can Speak or Not
- 544Example of the Lightning in Clouds
- 545XX
- 546I · Studies on the Life and Habits of Animals — The Love of Virtue
- 547Envy
- 548Cheerfulness — Sadness
- 549Peace
- 550Rage
- 551Gratitude
- 552Avarice — Ingratitude
- 553Cruelty
- 554Generosity
- 555Discipline
- 556Flatterers or Syrens — Prudence
- 557Folly
- 558Justice
- 559Truth — Fidelity, or Loyalty
- 560Falsehood
- 561Lies
- 562Valour
- 563Fear or Cowardice
- 564Magnanimity — Vain Glory
- 565Constancy
- 566Inconstancy — Continence
- 567Incontinence
- 568Humility
- 569Pride
- 570Abstinence
- 571Gluttony — Chastity
- 572Unchastity — Moderation
- 573The Eagle
- 574Lumerpa, — Fame
- 575The Pelican
- 576The Salamander
- 577The Cameleon
- 578The Alepo, a Fish · The Ostrich · The Swan — The Stork
- 579The Grasshopper — The Bat
- 580The Partridge
- 581The Swallow — The Oyster — For Treachery
- 582The Basilisk — Cruelty · The Asp · The Dragon — The Viper
- 583The Scorpion
- 584The Crocodile. Hypocrisy
- 585The Toad
- 586The Caterpillar — For Virtue in General
- 587The Spider
- 588The Lion
- 589The Tarantula — The Screech-Owl and the Owl
- 590The Elephant
- 591The Dragon
- 592The Serpent
- 593The Boa(?)
- 594The Macli — Caught When Asleep
- 595The Bison Which Does Injury in Its Flight
- 596Lions, Pards, Panthers, Tigers — The Lioness
- 597The Lion
- 598The Panther in Africa
- 599Camels
- 600The Tiger
- 601Catoblepas
- 602The Basilisk
- 603The Weasel — The Cerastes
- 604The Amphisboena · The Iaculus — The Asp
- 605The Ichneumon
- 606The Crocodile
- 607The Dolphin
- 608The Hippopotamus
- 609The Ibis · The Stag · The Lizard · The Swallow · The Weasel · The W…
- 610The Raven — Of Foresight
- 611Magnanimity · II · Fables — A Fable
- 612A Fable
- 613A Fable
- 614A Fable
- 615A Fable
- 616A Fable
- 617A Fable
- 618A Fable
- 619A Fable
- 620A Fable
- 621A Fable
- 622A Fable
- 623A Fable
- 624III · Jests and Tales — A Jest
- 625A Jest
- 626A Jest
- 627A Jest
- 628A Jest
- 629IV · Prophecies — The Division of the Prophecies
- 630Prophecies
- 631V · Draughts and Schemes for the Humorous Writings — A Fable
- 632The Same
- 633A Fable · A Jest — A Simile
- 634A Common Thing
- 635Why Dogs Take Pleasure in Smelling at Each Other
- 636Tricks of Dividing
- 637Tricks of Dividing
- 638XXI
- 639To the Devatdar of Syria, Lieutenant of the Sacred Sultan of Babylon
- 640Of the Structure and Size of Mount Taurus
- 641Book 43 — Of the Movement of Air Enclosed in Water
- 642XXII
- 643Names of Engineers
- 644Of the Instrument
- 645W.p.7.]
- 646Memorandum — W.x.]
- 647Memorardum
- 648Book from Maestro small box, — Paolo Infermieri
- 649Cornelius Celsus
- 650W. Xxiii.]
- 651Of Squaring the Circle, and Who It Was That First Discovered It by…
- 652Expenses of the Interment of Caterina
Notebooks of Leonardo Da Vinci
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