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General introductions to the book on Painting (9-13).
--The apparent size of
objectsdenned by calculation (99--106). _racolto tratto di molte carte le quali
io ho qui copiate_.
--The effects of morninglight (444--448). --Necessity of
theoreticalknowledge (19, 20).
--Effects on cast shadows by the tone of the
back ground(198). For this purpose theBibliography of the Manuscripts given at
the end of Vol.
Thus, we do not necessarilykeep eBooks in compliance with any
particular paper edition. --The distribution of light and shade with reference
tothe position of the spectator (441--443).
, where this passage is printed,
_Barto_ has beenwrongly given for Braccio.
--On the productive power of minor
artists (498--501). General introductions to the book on Painting (9-13).
--The
effects of morninglight (444--448). --Onthe relative intensity of derived
shadows (175--179). --On relativeproportion of light and shadows (216--221).
--Appendix:--On shadows in movement (211--212).
LINEAR PERSPECTIVEGeneral
remarks on perspective (40--41).
--Definition of derived shadow (158--159). THE
PRACTICAL METHODS OF LIGHT AND SHADEAND AERIAL PERSPECTIVE.
--Different sorts
ofderived shadows (160--162).
, where this passage is printed, _Barto_ has
beenwrongly given for Braccio.
--On the use of dark and lightcolours in
painting (284--286). --The gradations of shade andcolour in leaves (430--434).
1 withactive links or immediate access to the full terms of the
ProjectGutenberg-tm License.
--The methods of aerial perspective(567--570).
--Of the various kinds of shadows(123--125).
In the second and third prefaces,
Leonardo characterises hisrivals and opponents more closely. MULLER
STRUBINGwrites, I know not what to make of it. --The apparent size of figures
in a picture (538.
--Scheme of the books onlight and shade (111).
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