The Notebooks of Leonardo Da Vinci

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The Notebooks of Leonardo Da Vinci, Complete

Author: Leonardo Da Vinci

Release Date: Jan, 2004 [EBook #5000]

[Yes, we are more than one year ahead of schedule]

[Most recently updated June 26, 2002]

Edition: 10

Language: English

The Notebooks of Leonardo Da Vinci

Volume 1

Translated by Jean Paul Richter

1888

PREFACE.

A singular fatality has ruled the destiny of nearly all the most

famous of Leonardo da Vinci's works. Two of the three most important

were never completed, obstacles having arisen during his life-time,

which obliged him to leave them unfinished; namely the Sforza

Monument and the Wall-painting of the Battle of Anghiari, while the

third--the picture of the Last Supper at Milan--has suffered

irremediable injury from decay and the repeated restorations to

which it was recklessly subjected during the XVIIth and XVIIIth

centuries. Nevertheless, no other picture of the Renaissance has

become so wellknown and popular through copies of every description.

Vasari says, and rightly, in his Life of Leonardo, "that he laboured

much more by his word than in fact or by deed", and the biographer

evidently had in his mind the numerous works in Manuscript which

have been preserved to this day. To us, now, it seems almost

inexplicable that these valuable and interesting original texts

should have remained so long unpublished, and indeed forgotten. It

is certain that during the XVIth and XVIIth centuries their

exceptional value was highly appreciated. This is proved not merely

by the prices which they commanded, but also by the exceptional

interest which has been attached to the change of ownership of

merely a few pages of Manuscript.

That, notwithstanding this eagerness to possess the Manuscripts,

their contents remained a mystery, can only be accounted for by the

many and great difficulties attending the task of deciphering them.

The handwriting is so peculiar that it requires considerable

practice to read even a few detached phrases, much more to solve

with any certainty the numerous difficulties of alternative

readings, and to master the sense as a connected whole. Vasari

observes with reference to Leonardos writing: "he wrote backwards,

in rude characters, and with the left hand, so that any one who is

not practised in reading them, cannot understand them". The aid of a

mirror in reading reversed handwriting appears to me available only

for a first experimental reading. Speaking from my own experience,

the persistent use of it is too fatiguing and inconvenient to be

practically advisable, considering the enormous mass of Manuscripts

to be deciphered. And as, after all, Leonardo's handwriting runs

backwards just as all Oriental character runs backwards--that is

to say from right to left--the difficulty of reading direct from the

writing is not insuperable. This obvious peculiarity in the writing

is not, however, by any means the only obstacle in the way of

mastering the text. Leonardo made use of an orthography peculiar to

himself; he had a fashion of amalgamating several short words into

one long one, or, again, he would quite arbitrarily divide a long

word into two separate halves; added to this there is no punctuation

whatever to regulate the division and construction of the sentences,

nor are there any accents--and the reader may imagine that such

difficulties were almost sufficient to make the task seem a

desperate one to a beginner. It is therefore not surprising that the

good intentions of some of Leonardo s most reverent admirers should

have failed.

Leonardos literary labours in various departments both of Art and of

Science were those essentially of an enquirer, hence the analytical

method is that which he employs in arguing out his investigations

and dissertations. The vast structure of his scientific theories is

consequently built up of numerous separate researches, and it is

much to be lamented that he should never have collated and arranged

them. His love for detailed research--as it seems to me--was the

reason that in almost all the Manuscripts, the different paragraphs

appear to us to be in utter confusion; on one and the same page,

observations on the most dissimilar subjects follow each other

without any connection. A page, for instance, will begin with some

principles of astronomy, or the motion of the earth; then come the

laws of sound, and finally some precepts as to colour. Another page

will begin with his investigations on the structure of the

intestines, and end with philosophical remarks as to the relations

of poetry to painting; and so forth.

Leonardo himself lamented this confusion, and for that reason I do

not think that the publication of the texts in the order in which

they occur in the originals would at all fulfil his intentions. No

reader could find his way through such a labyrinth; Leonardo himself

could not have done it.

Added to this, more than half of the five thousand manuscript pages

which now remain to us, are written on loose leaves, and at present

arranged in a manner which has no justification beyond the fancy of

the collector who first brought them together to make volumes of

more or less extent. Nay, even in the volumes, the pages of which

were numbered by Leonardo himself, their order, so far as the

connection of the texts was concerned, was obviously a matter of

indifference to him. The only point he seems to have kept in view,

when first writing down his notes, was that each observation should

be complete to the end on the page on which it was begun. The

exceptions to this rule are extremely few, and it is certainly

noteworthy that we find in such cases, in bound volumes with his

numbered pages, the written observations: "turn over", "This is the

continuation of the previous page", and the like. Is not this

sufficient to prove that it was only in quite exceptional cases that

the writer intended the consecutive pages to remain connected, when

he should, at last, carry out the often planned arrangement of his

writings?

What this final arrangement was to be, Leonardo has in most cases

indicated with considerable completeness. In other cases this

authoritative clue is wanting, but the difficulties arising from

this are not insuperable; for, as the subject of the separate

paragraphs is always distinct and well defined in itself, it is

quite possible to construct a well-planned whole, out of the

scattered materials of his scientific system, and I may venture to

state that I have devoted especial care and thought to the due

execution of this responsible task.

The beginning of Leonardo's literary labours dates from about his

thirty-seventh year, and he seems to have carried them on without

any serious interruption till his death. Thus the Manuscripts that

remain represent a period of about thirty years. Within this space

of time his handwriting altered so little that it is impossible to

judge from it of the date of any particular text. The exact dates,

indeed, can only be assigned to certain note-books in which the year

is incidentally indicated, and in which the order of the leaves has

not been altered since Leonardo used them. The assistance these

afford for a chronological arrangement of the Manuscripts is

generally self evident. By this clue I have assigned to the original

Manuscripts now scattered through England, Italy and France, the

order of their production, as in many matters of detail it is highly

important to be able to verify the time and place at which certain

observations were made and registered. For this purpose the

Bibliography of the Manuscripts given at the end of Vol. II, may be

regarded as an Index, not far short of complete, of all Leonardo s

literary works now extant. The consecutive numbers (from 1 to 1566)

at the head of each passage in this work, indicate their logical

sequence with reference to the subjects; while the letters and

figures to the left of each paragraph refer to the original

Manuscript and number of the page, on which that particular passage

is to be found. Thus the reader, by referring to the List of

Manuscripts at the beginning of Volume I, and to the Bibliography at

the end of Volume II, can, in every instance, easily ascertain, not

merely the period to which the passage belongs, but also exactly

where it stood in the original document. Thus, too, by following the

sequence of the numbers in the Bibliographical index, the reader may

reconstruct the original order of the Manuscripts and recompose the

various texts to be found on the original sheets--so much of it,

that is to say, as by its subject-matter came within the scope of

this work. It may, however, be here observed that Leonardo s

Manuscripts contain, besides the passages here printed, a great

number of notes and dissertations on Mechanics, Physics, and some

other subjects, many of which could only be satisfactorily dealt

with by specialists. I have given as complete a review of these

writings as seemed necessary in the Bibliographical notes.

In 1651, Raphael Trichet Dufresne, of Paris, published a selection

from Leonardo's writings on painting, and this treatise became so

popular that it has since been reprinted about two-and-twenty times,

and in six different languages. But none of these editions were

derived from the original texts, which were supposed to have been

lost, but from early copies, in which Leonardo's text had been more

or less mutilated, and which were all fragmentary. The oldest and on

the whole the best copy of Leonardo's essays and precepts on

Painting is in the Vatican Library; this has been twice printed,

first by Manzi, in 1817, and secondly by Ludwig, in 1882. Still,

this ancient copy, and the published editions of it, contain much

for which it would be rash to hold Leonardo responsible, and some

portions--such as the very important rules for the proportions of

the human figure--are wholly wanting; on the other hand they contain

passages which, if they are genuine, cannot now be verified from any

original Manuscript extant. These copies, at any rate neither give

us the original order of the texts, as written by Leonardo, nor do

they afford any substitute, by connecting them on a rational scheme;

indeed, in their chaotic confusion they are anything rather than

satisfactory reading. The fault, no doubt, rests with the compiler

of the Vatican copy, which would seem to be the source whence all

the published and extensively known texts were derived; for, instead

of arranging the passages himself, he was satisfied with recording a

suggestion for a final arrangement of them into eight distinct

parts, without attempting to carry out his scheme. Under the

mistaken idea that this plan of distribution might be that, not of

the compiler, but of Leonardo himself, the various editors, down to

the present day, have very injudiciously continued to adopt this

order--or rather disorder.

I, like other enquirers, had given up the original Manuscript of the

Trattato della Pittura for lost, till, in the beginning of 1880, I

was enabled, by the liberality of Lord Ashburnham, to inspect his

Manuscripts, and was so happy as to discover among them the original

text of the best-known portion of the Trattato in his magnificent

library at Ashburnham Place. Though this discovery was of a fragment

only--but a considerable fragment--inciting me to further search,

it gave the key to the mystery which had so long enveloped the first

origin of all the known copies of the Trattato. The extensive

researches I was subsequently enabled to prosecute, and the results

of which are combined in this work, were only rendered possible by

the unrestricted permission granted me to investigate all the

Manuscripts by Leonardo dispersed throughout Europe, and to

reproduce the highly important original sketches they contain, by

the process of "photogravure". Her Majesty the Queen graciously

accorded me special permission to copy for publication the

Manuscripts at the Royal Library at Windsor. The Commission Centrale

Administrative de l'Institut de France, Paris, gave me, in the most

liberal manner, in answer to an application from Sir Frederic

Leighton, P. R. A., Corresponding member of the Institut, free

permission to work for several months in their private collection at

deciphering the Manuscripts preserved there. The same favour which

Lord Ashburnham had already granted me was extended to me by the

Earl of Leicester, the Marchese Trivulsi, and the Curators of the

Ambrosian Library at Milan, by the Conte Manzoni at Rome and by

other private owners of Manuscripts of Leonardo's; as also by the

Directors of the Louvre at Paris; the Accademia at Venice; the

Uffizi at Florence; the Royal Library at Turin; and the British

Museum, and the South Kensington Museum. I am also greatly indebted

to the Librarians of these various collections for much assistance

in my labours; and more particularly to Monsieur Louis Lalanne, of

the Institut de France, the Abbate Ceriani, of the Ambrosian

Library, Mr. Maude Thompson, Keeper of Manuscripts at the British

Museum, Mr. Holmes, the Queens Librarian at Windsor, the Revd Vere

Bayne, Librarian of Christ Church College at Oxford, and the Revd A.

Napier, Librarian to the Earl of Leicester at Holkham Hall.

In correcting the Italian text for the press, I have had the

advantage of valuable advice from the Commendatore Giov. Morelli,

Senatore del Regno, and from Signor Gustavo Frizzoni, of Milan. The

translation, under many difficulties, of the Italian text into

English, is mainly due to Mrs. R. C. Bell; while the rendering of

several of the most puzzling and important passages, particularly in

the second half of Vol. I, I owe to the indefatigable interest taken

in this work by Mr. E. J. Poynter R. A. Finally I must express my

thanks to Mr. Alfred Marks, of Long Ditton, who has most kindly

assisted me throughout in the revision of the proof sheets.

The notes and dissertations on the texts on Architecture in Vol. II

I owe to my friend Baron Henri de Geymuller, of Paris.

I may further mention with regard to the illustrations, that the

negatives for the production of the "photo-gravures" by Monsieur

Dujardin of Paris were all taken direct from the originals.

It is scarcely necessary to add that most of the drawings here

reproduced in facsimile have never been published before. As I am

now, on the termination of a work of several years' duration, in a

position to review the general tenour of Leonardos writings, I may

perhaps be permitted to add a word as to my own estimate of the

value of their contents. I have already shown that it is due to

nothing but a fortuitous succession of unfortunate circumstances,

that we should not, long since, have known Leonardo, not merely as a

Painter, but as an Author, a Philosopher, and a Naturalist. There

can be no doubt that in more than one department his principles and

discoveries were infinitely more in accord with the teachings of

modern science, than with the views of his contemporaries. For this

reason his extraordinary gifts and merits are far more likely to be

appreciated in our own time than they could have been during the

preceding centuries. He has been unjustly accused of having

squandered his powers, by beginning a variety of studies and then,

having hardly begun, throwing them aside. The truth is that the

labours of three centuries have hardly sufficed for the elucidation

of some of the problems which occupied his mighty mind.

Alexander von Humboldt has borne witness that "he was the first to

start on the road towards the point where all the impressions of our

senses converge in the idea of the Unity of Nature" Nay, yet more

may be said. The very words which are inscribed on the monument of

Alexander von Humboldt himself, at Berlin, are perhaps the most

appropriate in which we can sum up our estimate of Leonardo's

genius:

"Majestati naturae par ingenium."

LONDON, April 1883.

F. P. R.

CONTENTS OF VOLUME I.

PROLEGOMENA AND GENERAL INTRODUCTION TO THE BOOK ON PAINTING

Clavis Sigillorum and Index of Manuscripts.--The author's intention

to publish his MSS. (1).--The preparation of the MSS. for

publication (2).--Admonition to readers (3).--The disorder in the

MSS. (4).--Suggestions for the arrangement of MSS. treating of

particular subjects (5--8).--General introductions to the book on

painting (9--13).--The plan of the book on painting (14--17).--The

use of the book on painting (18).--Necessity of theoretical

knowledge (19, 20).--The function of the eye (21--23).--Variability

of the eye (24).--Focus of sight (25).--Differences of perception by

one eye and by both eyes (26--29).--The comparative size of the

image depends on the amount of light (30--39).

II.

LINEAR PERSPECTIVE

General remarks on perspective (40--41).--The elements of

perspective:--of the point (42--46).--Of the line (47--48).--The

nature of the outline (49).--Definition of perspective (50).--The

perception of the object depends on the direction of the eye

(51).--Experimental proof of the existence of the pyramid of sight

(52--55).--The relations of the distance point to the vanishing

point (55--56).--How to measure the pyramid of vision (57).--The

production of the pyramid of vision (58--64).--Proof by experiment

(65--66).--General conclusions (67).--That the contrary is

impossible (68).--A parallel case (69).--The function of the eye, as

explained by the camera obscura (70--71).--The practice of

perspective (72--73).--Refraction of the rays falling upon the eye

(74--75).--The inversion of the images (76).--The intersection of

the rays (77--82).--Demonstration of perspective by means of a

vertical glass plane (83--85.)--The angle of sight varies with the

distance (86--88).--Opposite pyramids in juxtaposition (89).--On

simple and complex perspective (90).--The proper distance of objects

from the eye (91--92).--The relative size of objects with regard to

their distance from the eye (93--98).--The apparent size of objects

denned by calculation (99--106).--On natural perspective (107--109).

III.

SIX BOOKS ON LIGHT AND SHADE

GENERAL INTRODUCTION.--Prolegomena (110).--Scheme of the books on

light and shade (111).--Different principles and plans of treatment

(112--116).--Different sorts of light (117--118).--Definition of

the nature of shadows (119--122).--Of the various kinds of shadows

(123--125).--Of the various kinds of light (126--127).--General

remarks (128--129).--FIRST BOOK ON LIGHT AND SHADE.--On the nature

of light (130--131).--The difference between light and lustre

(132--135).--The relations of luminous to illuminated bodies (136).

--Experiments on the relation of light and shadow within a room

(137--140).--Light and shadow with regard to the position of the

eye (141--145).--The law of the incidence of light

(146--147).--SECOND BOOK ON LIGHT AND SHADE.--Gradations of strength

in the shadows (148--149).--On the intensity of shadows as dependent

on the distance from the light (150--152).--On the proportion of

light and shadow (153--157).--THIRD BOOK ON LIGHT AND

SHADE.--Definition of derived shadow (158--159).--Different sorts of

derived shadows (160--162).--On the relation of derived and primary

shadow (163--165).--On the shape of derived shadows (166--174).--On

the relative intensity of derived shadows (175--179).--Shadow as

produced by two lights of different size (180--181).--The effect of

light at different distances (182).--Further complications in the

derived shadows (183--187).--FOURTH BOOK ON LIGHT AND SHADE.--On the

shape of cast shadows (188--191).--On the outlines of cast shadows

(192--195).--On the relative size of cast shadows (196.

197).--Effects on cast shadows by the tone of the back ground

(198).--A disputed proposition (199).--On the relative depth of

cast shadows (200--202).--FIFTH BOOK ON LIGHT AND

SHADE.--Principles of reflection (203. 204).--On reverberation

(205).--Reflection on water (206. 207).--Experiments with the mirror

(208--210).--Appendix:--On shadows in movement (211--212).--SIXTH

BOOK ON LIGHT AND SHADE.--The effect of rays passing through holes

(213. 214).--On gradation of shadows (215. 216).--On relative

proportion of light and shadows (216--221).

IV.

PERSPECTIVE OF DISAPPEARANCE

Definition (222. 223).--An illustration by experiment (224).--A

guiding rule (225).---An experiment (226).--On indistinctness at

short distances (227--231).--On indistinctness at great distances

(232--234).--The importance of light and shade in the Prospettiva

de' perdimenti (235--239).--The effect of light or dark backgrounds

on the apparent size of objects (240--250).--Propositions on

Prospettiva de' perdimenti from MS. C. (250--262).

THEORY OF COLOURS

The reciprocal effects of colours on objects placed opposite each

other (263--271).--Combination of different colours in cast shadows

(272).--The effect of colours in the camera obscura (273. 274).--On

the colours of derived shadows (275. 276).--On the nature of colours

(277. 278).--On gradations in the depth of colours (279. 280).--On

the reflection of colours (281--283).--On the use of dark and light

colours in painting (284--286).--On the colours of the rainbow

(287--288).

VI.

PERSPECTIVE OF COLOUR AND AERIAL PERSPECTIVE

General rules (289--291).--An exceptional case (292).--An experiment

(293).--The practice of the Prospettiva de' colori (294).--The rules

of aerial perspective (295--297).--On the relative density of the

atmosphere (298--299).--On the colour of the atmosphere (300--307).

VII.

ON THE PROPORTIONS AND ON THE MOVEMENTS OF THE HUMAN FIGURE

Preliminary observations (308. 309).--Proportions of the head and

face (310--318).--Proportions of the head seen in front

(319--321).--Proportions of the foot (322--323).--Relative

proportions of the hand and foot (324).--Relative proportions of

the foot and of the face (325--327).--Proportions of the leg

(328--331).--On the central point of the whole body (332).--The

relative proportions of the torso and of the whole figure

(333).--The relative proportions of the head and of the torso

(334).--The relative proportions of the torso and of the leg (335.

336).--The relative proportions of the torso and of the foot

(337).--The proportions of the whole figure (338--341).--The torso

from the front and back (342).--Vitruvius' scheme of proportions

(343).--The arm and head (344).--Proportions of the arm

(345--349).--The movement of the arm (350--354).--The movement of

the torso (355--361).--The proportions vary at different ages

(362--367).--The movement of the human figure (368--375).--Of

walking up and down (375--379).--On the human body in action

(380--388).--On hair falling down in curls (389).--On draperies

(390--392).

VIII.

BOTANY FOR PAINTERS, AND ELEMENTS OF LANDSCAPE PAINTING

Classification of trees (393).--The relative thickness of the

branches to the trunk (394--396).--The law of proportion in the

growth of the branches (397--402).--The direction of growth

(403--407).--The forms of trees (408--411).--The insertion of the

leaves (412--419).--Light on branches and leaves (420--422).--The

proportions of light and shade in a leaf (423--426).--Of the

transparency of leaves (427--429).--The gradations of shade and

colour in leaves (430--434).--A classification of trees according to

their colours (435).--The proportions of light and shade in trees

(436--440).--The distribution of light and shade with reference to

the position of the spectator (441--443).--The effects of morning

light (444--448).--The effects of midday light (449).--The

appearance of trees in the distance (450--451).--The cast shadow of

trees (452. 453).--Light and shade on groups of trees

(454--457).--On the treatment of light for landscapes

(458--464).--On the treatment of light for views of towns

(465--469).--The effect of wind on trees (470--473).--Light and

shade on clouds (474--477).--On images reflected in water (478).--Of

rainbows and rain (479. 480).--Of flower seeds (481).

IX.

THE PRACTICE OF PAINTING

I. MORAL PRECEPTS FOR THE STUDENT OF PAINTING.--How to ascertain the

dispositions for an artistic career (482).--The course of

instruction for an artist (483--485).--The study of the antique

(486. 487).--The necessity of anatomical knowledge (488. 489).--How

to acquire practice (490).--Industry and thoroughness the first

conditions (491--493.)--The artist's private life and choice of

company (493. 494).--The distribution of time for studying (495--

497).--On the productive power of minor artists (498--501).--A

caution against one-sided study (502).--How to acquire universality

(503--506).--Useful games and exercises (507. 508).--II. THE

ARTIST'S STUDIO.--INSTRUMENTS AND HELPS FOR THE APPLICATION OF

PERSPECTIVE.--ON JUDGING OF A PICTURE.--On the size of the studio

(509).--On the construction of windows (510--512).--On the best

light for painting (513--520).--On various helps in preparing a

picture (521--530).--On the management of works (531. 532).--On the

limitations of painting (533--535).--On the choice of a position

(536. 537).--The apparent size of figures in a picture (538.

539).--The right position of the artist, when painting and of the

spectator (540--547).--III. THE PRACTICAL METHODS OF LIGHT AND SHADE

AND AERIAL PERSPECTIVE.--Gradations of light and shade (548).--On

the choice of light for a picture (549--554).--The distribution of

light and shade (555--559).--The juxtaposition of light and shade

(560. 561).--On the lighting of the background (562--565).--On the

lighting of white objects (566).--The methods of aerial perspective

(567--570).--IV. OF PORTRAIT AND FIGURE PAINTING.--Of sketching

figures and portraits (571. 572).--The position of the head

(573).--Of the light on the face (574--576).--General suggestions

for historical pictures (577--581).--How to represent the

differences of age and sex (582. 583).--Of representing the emotions

(584).--Of representing imaginary animals (585).--The selection of

forms (586--591).--How to pose figures (592).--Of appropriate

gestures (593--600).--V. SUGGESTIONS FOR COMPOSITIONS.--Of painting

battle-pieces (601--603).--Of depicting night-scenes (604).--Of

depicting a tempest (605. 606).--Of representing the deluge

(607--609).--Of depicting natural phenomena (610. 611).--VI. THE

ARTIST'S MATERIALS.--Of chalk and paper (612--617).--On the

preparation and use of colours (618--627).--Of preparing the panel

(628).--The preparation of oils (629--634).--On varnishes (635--

637).--On chemical _materials (638--650).--VII. PHILOSOPHY AND

HISTORY OF THE ART OF PAINTING.--The relation of art and nature

(651. 652).--Painting is superior to poetry (653. 654).--Painting is

superior to sculpture (655. 656).--Aphorisms (657--659).--On the

history of painting (660. 661).--The painter's scope (662).

STUDIES AND SKETCHES FOR PICTURES AND DECORATIONS

On pictures of the Madonna (663).--Bernardo di Bandino's portrait

(664).--Notes on the Last Supper (665--668).--On the battle of

Anghiari (669).--Allegorical representations referring to the duke

of Milan (670--673).--Allegorical representations

(674--678).--Arrangement of a picture (679).--List of drawings

(680).--Mottoes and Emblems (681--702).

The author's intention to publish his MSS.

How by a certain machine many may stay some time under water. And

how and wherefore I do not describe my method of remaining under

water and how long I can remain without eating. And I do not publish

nor divulge these, by reason of the evil nature of men, who would

use them for assassinations at the bottom of the sea by destroying

ships, and sinking them, together with the men in them. Nevertheless

I will impart others, which are not dangerous because the mouth of

the tube through which you breathe is above the water, supported on

air sacks or cork.

[Footnote: The leaf on which this passage is written, is headed with

the words _Casi_ 39, and most of these cases begin with the word

'_Come_', like the two here given, which are the 26th and 27th. 7.

_Sughero_. In the Codex Antlanticus 377a; 1170a there is a sketch,

drawn with the pen, representing a man with a tube in his mouth, and

at the farther end of the tube a disk. By the tube the word

'_Channa_' is written, and by the disk the word '_sughero_'.]

The preparation of the MSS. for publication.

When you put together the science of the motions of water, remember

to include under each proposition its application and use, in order

that this science may not be useless.--

[Footnote: A comparatively small portion of Leonardo's notes on

water-power was published at Bologna in 1828, under the title: "_Del

moto e misura dell'Acqua, di L. da Vinci_".]

Admonition to readers.

Let no man who is not a Mathematician read the elements of my work.

The disorder in the MSS.

Begun at Florence, in the house of Piero di Braccio Martelli, on the

22nd day of March 1508. And this is to be a collection without

order, taken from many papers which I have copied here, hoping to

arrange them later each in its place, according to the subjects of

which they may treat. But I believe that before I am at the end of

this [task] I shall have to repeat the same things several times;

for which, O reader! do not blame me, for the subjects are many and

memory cannot retain them [all] and say: 'I will not write this

because I wrote it before.' And if I wished to avoid falling into

this fault, it would be necessary in every case when I wanted to

copy [a passage] that, not to repeat myself, I should read over all

that had gone before; and all the more since the intervals are long

between one time of writing and the next.

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TheNotebooksofLeonardoDaVinci,CompleteAuthor:LeonardoDaVinciReleaseDate:Jan,2004[EBook#5000][Yes,wearemorethanoneyearaheadofschedule][MostrecentlyupdatedJune26,2002]Edition:10Language:EnglishTheNotebooksofLeonardoDaVinciVolume1TranslatedbyJeanPaulRichter1888PREFACE.Asingularfatalityhasruledthedestin...

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The Notebooks of Leonardo Da Vinci

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