The Notebooks of Leonardo Da Vinci, Volume 1 by Leonardo Da Vinci

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

368.

Of the manner of representing the 18 actions of man. Repose,
movement, running, standing, supported, sitting, leaning, kneeling,
lying down, suspended. Carrying or being carried, thrusting,
pulling, striking, being struck, pressing down and lifting up.

[As to how a figure should stand with a weight in its hand [Footnote
8: The original text ends here.] Remember].

369.

A sitting man cannot raise himself if that part of his body which is
front of his axis [centre of gravity] does not weigh more than that
which is behind that axis [or centre] without using his arms.

A man who is mounting any slope finds that he must involuntarily
throw the most weight forward, on the higher foot, rather than
behind--that is in front of the axis and not behind it. Hence a man
will always, involuntarily, throw the greater weight towards the
point whither he desires to move than in any other direction.

The faster a man runs, the more he leans forward towards the point
he runs to and throws more weight in front of his axis than behind.
A man who runs down hill throws the axis onto his heels, and one who
runs up hill throws it into the points of his feet; and a man
running on level ground throws it first on his heels and then on the
points of his feet.

This man cannot carry his own weight unless, by drawing his body
back he balances the weight in front, in such a way as that the foot
on which he stands is the centre of gravity.

[Footnote: See Pl. XXII, No. 4.]

370.

How a man proceeds to raise himself to his feet, when he is sitting
on level ground.

371.

A man when walking has his head in advance of his feet.

A man when walking across a long level plain first leans [rather]
backwards and then as much forwards.

[Footnote 3-6: He strides forward with the air of a man going down
hill; when weary, on the contrary he walks like a man going up
hill.]

372.

A man when running throws less weight on his legs than when standing
still. And in the same way a horse which is running feels less the
weight of the man he carries. Hence many persons think it wonderful
that, in running, the horse can rest on one single foot. From this
it may be stated that when a weight is in progressive motion the
more rapid it is the less is the perpendicular weight towards the
centre.

373.

If a man, in taking a jump from firm ground, can leap 3 braccia, and
when he was taking his leap it were to recede 1/3 of a braccio, that
would be taken off his former leap; and so if it were thrust forward
1/3 of a braccio, by how much would his leap be increased?

374.

OF DRAWING.

When a man who is running wants to neutralise the impetus that
carries him on he prepares a contrary impetus which is generated by
his hanging backwards. This can be proved, since, if the impetus
carries a moving body with a momentum equal to 4 and the moving body
wants to turn and fall back with a momentum of 4, then one momentum
neutralises the other contrary one, and the impetus is neutralised.

Of walking up and down (375-379)

375.

When a man wants to stop running and check the impetus he is forced
to hang back and take short quick steps. [Footnote: Lines 5-31 refer
to the two upper figures, and the lower figure to the right is
explained by the last part of the chapter.] The centre of gravity of
a man who lifts one of his feet from the ground always rests on the
centre of the sole of the foot [he stands on].

A man, in going up stairs involuntarily throws so much weight
forward and on the side of the upper foot as to be a counterpoise to
the lower leg, so that the labour of this lower leg is limited to
moving itself.

The first thing a man does in mounting steps is to relieve the leg
he is about to lift of the weight of the body which was resting on
that leg; and besides this, he gives to the opposite leg all the
rest of the bulk of the whole man, including [the weight of] the
other leg; he then raises the other leg and sets the foot upon the
step to which he wishes to raise himself. Having done this he
restores to the upper foot all the weight of the body and of the leg
itself, and places his hand on his thigh and throws his head forward
and repeats the movement towards the point of the upper foot,
quickly lifting the heel of the lower one; and with this impetus he
lifts himself up and at the same time extends the arm which rested
on his knee; and this extension of the arm carries up the body and
the head, and so straightens the spine which was curved.

[32] The higher the step is which a man has to mount, the farther
forward will he place his head in advance of his upper foot, so as
to weigh more on _a_ than on _b_; this man will not be on the step
_m_. As is shown by the line _g f_.

[Footnote: See Pl. XXIII, No. 1. The lower sketch to the left
belongs to the four first lines.]

376.

I ask the weight [pressure] of this man at every degree of motion on
these steps, what weight he gives to _b_ and to _c_.

[Footnote 8: These lines are, in the original, written in ink]
Observe the perpendicular line below the centre of gravity of the
man.

[Footnote: See Pl. XXIII, No. 2.]

377.

In going up stairs if you place your hands on your knees all the
labour taken by the arms is removed from the sinews at the back of
the knees.

[Footnote: See Pl. XXIII, No. 3.]

378.

The sinew which guides the leg, and which is connected with the
patella of the knee, feels it a greater labour to carry the man
upwards, in proportion as the leg is more bent; and the muscle which
acts upon the angle made by the thigh where it joins the body has
less difficulty and has a less weight to lift, because it has not
the [additional] weight of the thigh itself. And besides this it has
stronger muscles, being those which form the buttock.

379.

A man coming down hill takes little steps, because the weight rests
upon the hinder foot, while a man mounting takes wide steps, because
his weight rests on the foremost foot.

[Footnote: See Pl. XXIII, No. 4.]

On the human body in action (380-388).

380.

OF THE HUMAN BODY IN ACTION.

When you want to represent a man as moving some weight consider what
the movements are that are to be represented by different lines;
that is to say either from below upwards, with a simple movement, as
a man does who stoops forward to take up a weight which he will lift
as he straightens himself. Or as a man does who wants to squash
something backwards, or to force it forwards or to pull it downwards
with ropes passed through pullies [Footnote 10: Compare the sketch
on page 198 and on 201 (S. K. M. II.1 86b).]. And here remember that
the weight of a man pulls in proportion as his centre of gravity is
distant from his fulcrum, and to this is added the force given by
his legs and bent back as he raises himself.

381.

Again, a man has even a greater store of strength in his legs than
he needs for his own weight; and to see if this is true, make a man
stand on the shore-sand and then put another man on his back, and
you will see how much he will sink in. Then take the man from off
his back and make him jump straight up as high as he can, and you
will find that the print of his feet will be made deeper by the jump
than from having the man on his back. Hence, here, by 2 methods it
is proved that a man has double the strength he requires to support
his own body.

382.

OF PAINTING.

If you have to draw a man who is in motion, or lifting or pulling,
or carrying a weight equal to his own, in what way must you set on
his legs below his body?

[Footnote: In the MS. this question remains unanswered.]

383.

OF THE STRENGTH OF MAN.

A man pulling a [dead] weight balanced against himself cannot pull
more than his own weight. And if he has to raise it he will [be able
to] raise as much more than his weight as his strength may be more
than that of other men. [Footnote 7: The stroke at the end of this
line finishes in the original in a sort of loop or flourish, and a
similar flourish occurs at the end of the previous passage written
on the same page. M. RAVAISSON regards these as numbers (compare the
photograph of page 30b in his edition of MS. A). He remarks: "_Ce
chiffre_ 8 _et, a la fin de l'alinea precedent, le chiffre_ 7 _sont,
dans le manuscrit, des renvois_."] The greatest force a man can
apply, with equal velocity and impetus, will be when he sets his
feet on one end of the balance [or lever] and then presses his
shoulders against some stable body. This will raise a weight at the
other end of the balance [lever], equal to his own weight and [added
to that] as much weight as he can carry on his shoulders.

384.

No animal can simply move [by its dead weight] a greater weight than
the sum of its own weight outside the centre of his fulcrum.

385.

A man who wants to send an arrow very far from the bow must be
standing entirely on one foot and raising the other so far from the
foot he stands on as to afford the requisite counterpoise to his
body which is thrown on the front foot. And he must not hold his arm
fully extended, and in order that he may be more able to bear the
strain he must hold a piece of wood which there is in all crossbows,
extending from the hand to the breast, and when he wishes to shoot
he suddenly leaps forward at the same instant and extends his arm
with the bow and releases the string. And if he dexterously does
every thing at once it will go a very long way.

386.

When two men are at the opposite ends of a plank that is balanced,
and if they are of equal weight, and if one of them wants to make a
leap into the air, then his leap will be made down from his end of
the plank and the man will never go up again but must remain in his
place till the man at the other end dashes up the board.

[Footnote: See Pl. XXIV, No. 3.]

387.

Of delivering a blow to the right or left.

[Footnote: Four sketches on Pl. XXIV, No. 1 belong to this passage.
The rest of the sketches and notes on that page are of a
miscellaneous nature.]

388.

Why an impetus is not spent at once [but diminishes] gradually in
some one direction? [Footnote 1: The paper has been damaged at the
end of line 1.] The impetus acquired in the line _a b c d_ is spent
in the line _d e_ but not so completely but that some of its force
remains in it and to this force is added the momentum in the line _d
e_ with the force of the motive power, and it must follow than the
impetus multiplied by the blow is greater that the simple impetus
produced by the momentum _d e_.

[Footnote 8: The sketch No. 2 on Pl. XXIV stands, in the original,
between lines 7 and 8. Compare also the sketches on Pl. LIV.] A man
who has to deal a great blow with his weapon prepares himself with
all his force on the opposite side to that where the spot is which
he is to hit; and this is because a body as it gains in velocity
gains in force against the object which impedes its motion.

On hair falling down in curls.

389.

Observe the motion of the surface of the water which resembles that
of hair, and has two motions, of which one goes on with the flow of
the surface, the other forms the lines of the eddies; thus the water
forms eddying whirlpools one part of which are due to the impetus of
the principal current and the other to the incidental motion and
return flow.

[Footnote: See Pl. XXV. Where also the text of this passage is given
in facsimile.]

On draperies (390--392).

390.

OF THE NATURE OF THE FOLDS IN DRAPERY.

That part of a fold which is farthest from the ends where it is
confined will fall most nearly in its natural form.

Every thing by nature tends to remain at rest. Drapery, being of
equal density and thickness on its wrong side and on its right, has
a tendency to lie flat; therefore when you give it a fold or plait
forcing it out of its flatness note well the result of the
constraint in the part where it is most confined; and the part which
is farthest from this constraint you will see relapses most into the
natural state; that is to say lies free and flowing.

EXAMPLE.

[Footnote 13: _a c sia_. In the original text _b_ is written instead
of _c_--an evident slip of the pen.] Let _a b c_ be the fold of the
drapery spoken of above, _a c_ will be the places where this folded
drapery is held fast. I maintain that the part of the drapery which
is farthest from the plaited ends will revert most to its natural
form.

Therefore, _b_ being farthest from _a_ and _c_ in the fold _a b c_
it will be wider there than anywhere else.

[Footnote: See Pl. XXVIII, No. 6, and compare the drawing from
Windsor Pl. XXX for farther illustration of what is here stated.]

391.

OF SMALL FOLDS IN DRAPERIES.

How figures dressed in a cloak should not show the shape so much as
that the cloak looks as if it were next the flesh; since you surely
cannot wish the cloak to be next the flesh, for you must suppose
that between the flesh and the cloak there are other garments which
prevent the forms of the limbs appearing distinctly through the
cloak. And those limbs which you allow to be seen you must make
thicker so that the other garments may appear to be under the cloak.
But only give something of the true thickness of the limbs to a
nymph [Footnote 9: _Una nifa_. Compare the beautiful drawing of a
Nymph, in black chalk from the Windsor collection, Pl. XXVI.] or an
angel, which are represented in thin draperies, pressed and clinging
to the limbs of the figures by the action of the wind.

392.

You ought not to give to drapery a great confusion of many folds,
but rather only introduce them where they are held by the hands or
the arms; the rest you may let fall simply where it is its nature to
flow; and do not let the nude forms be broken by too many details
and interrupted folds. How draperies should be drawn from nature:
that is to say if youwant to represent woollen cloth draw the folds
from that; and if it is to be silk, or fine cloth or coarse, or of
linen or of crape, vary the folds in each and do not represent
dresses, as many do, from models covered with paper or thin leather
which will deceive you greatly.

[Footnote: The little pen and ink drawing from Windsor (W. 102),
given on Pl. XXVIII, No. 7, clearly illustrates the statement made
at the beginning of this passage; the writing of the cipher 19 on
the same page is in Leonardo's hand; the cipher 21 is certainly
not.]

_VIII._

_Botany for Painters and Elements of Landscape Painting._

_The chapters composing this portion of the work consist of
observations on Form, Light and Shade in Plants, and particularly in
Trees summed up in certain general rules by which the author intends
to guide the artist in the pictorial representation of landscape._

_With these the first principles of a_ Theory of Landscape painting
_are laid down--a theory as profoundly thought out in its main
lines as it is lucidly worked out in its details. In reading these
chapters the conviction is irresistible that such a_ Botany for
painters _is or ought to be of similar importance in the practice of
painting as the principles of the Proportions and Movements of the
human figure_ i. e. Anatomy for painters.

_There can be no doubt that Leonardo, in laying down these rules,
did not intend to write on Botany in the proper scientific
sense--his own researches on that subject have no place here; it
need only be observed that they are easily distinguished by their
character and contents from those which are here collected and
arranged under the title 'Botany for painters'. In some cases where
this division might appear doubtful,--as for instance in No._
402--_the Painter is directly addressed and enjoined to take the
rule to heart as of special importance in his art._

_The original materials are principally derived from MS._ G, _in
which we often find this subject treated on several pages in
succession without any of that intermixture of other matters, which
is so frequent in Leonardo's writings. This MS., too, is one of the
latest; when it was written, the great painter was already more than
sixty years of age, so we can scarcely doubt that he regarded all he
wrote as his final views on the subject. And the same remark applies
to the chapters from MSS._ E _and_ M _which were also written
between_ 1513--15.

_For the sake of clearness, however, it has been desirable to
sacrifice--with few exceptions--the original order of the passages
as written, though it was with much reluctance and only after long
hesitation that I resigned myself to this necessity. Nor do I mean
to impugn the logical connection of the author's ideas in his MS.;
but it will be easily understood that the sequence of disconnected
notes, as they occurred to Leonardo and were written down from time
to time, might be hardly satisfactory as a systematic arrangement of
his principles. The reader will find in the Appendix an exact
account of the order of the chapters in the original MS. and from
the data there given can restore them at will. As the materials are
here arranged, the structure of the tree as regards the growth of
the branches comes first_ (394-411) _and then the insertion of the
leaves on the stems_ (412-419). _Then follow the laws of Light and
Shade as applied, first, to the leaves (420-434), and, secondly, to
the whole tree and to groups of trees_ (435-457). _After the remarks
on the Light and Shade in landscapes generally_ (458-464), _we find
special observations on that of views of towns and buildings_
(465-469). _To the theory of Landscape Painting belong also the
passages on the effect of Wind on Trees_ (470-473) _and on the Light
and Shade of Clouds_ (474-477), _since we find in these certain
comparisons with the effect of Light and Shade on Trees_ (e. g.: _in
No._ 476, 4. 5; _and No._ 477, 9. 12). _The chapters given in the
Appendix Nos._ 478 _and_ 481 _have hardly any connection with the
subjects previously treated._

Classification of trees.

393.

TREES.

Small, lofty, straggling, thick, that is as to foliage, dark, light,
russet, branched at the top; some directed towards the eye, some
downwards; with white stems; this transparent in the air, that not;
some standing close together, some scattered.

The relative thickness of the branches to the trunk (393--396).

394.

All the branches of a tree at every stage of its height when put
together are equal in thickness to the trunk [below them].

All the branches of a water [course] at every stage of its course,
if they are of equal rapidity, are equal to the body of the main
stream.

395.

Every year when the boughs of a plant [or tree] have made an end of
maturing their growth, they will have made, when put together, a
thickness equal to that of the main stem; and at every stage of its
ramification you will find the thickness of the said main stem; as:
_i k_, _g h_, _e f_, _c d_, _a b_, will always be equal to each
other; unless the tree is pollard--if so the rule does not hold
good.

All the branches have a direction which tends to the centre of the
tree _m_.

[Footnote: The two sketches of leafless trees one above another on
the left hand side of Pl. XXVII, No. 1, belong to this passage.]

396.

If the plant n grows to the thickness shown at m, its branches will
correspond [in thickness] to the junction a b in consequence of the
growth inside as well as outside.

The branches of trees or plants have a twist wherever a minor branch
is given off; and this giving off the branch forms a fork; this said
fork occurs between two angles of which the largest will be that
which is on the side of the larger branch, and in proportion, unless
accident has spoilt it.

[Footnote: The sketches illustrating this are on the right hand side
of PI. XXVII, No. I, and the text is also given there in facsimile.]

397.

There is no boss on branches which has not been produced by some
branch which has failed.

The lower shoots on the branches of trees grow more than the upper
ones and this occurs only because the sap that nourishes them, being
heavy, tends downwards more than upwards; and again, because those
[branches] which grow downwards turn away from the shade which
exists towards the centre of the plant. The older the branches are,
the greater is the difference between their upper and their lower
shoots and in those dating from the same year or epoch.

[Footnote: The sketch accompanying this in the MS. is so effaced
that an exact reproduction was impossible.]

398.

OF THE SCARS ON TREES.

The scars on trees grow to a greater thickness than is required by
the sap of the limb which nourishes them.

399.

The plant which gives out the smallest ramifications will preserve
the straightest line in the course of its growth.

[Footnote: This passage is illustrated by two partly effaced
sketches. One of these closely resembles the lower one given under
No. 408, the other also represents short closely set boughs on an
upright trunk.]

400.

OF THE RAMIFICATION.

The beginning of the ramification [the shoot] always has the central
line [axis] of its thickness directed to the central line [axis] of
the plant itself.

401.

In starting from the main stem the branches always form a base with
a prominence as is shown at _a b c d_.

402.

WHY, VERY FREQUENTLY, TIMBER HAS VEINS THAT ARE NOT STRAIGHT.

When the branches which grow the second year above the branch of the
preceding year, are not of equal thickness above the antecedent
branches, but are on one side, then the vigour of the lower branch
is diverted to nourish the one above it, although it may be somewhat
on one side.

But if the ramifications are equal in their growth, the veins of the
main stem will be straight [parallel] and equidistant at every
degree of the height of the plant.

Wherefore, O Painter! you, who do not know these laws! in order to
escape the blame of those who understand them, it will be well that
you should represent every thing from nature, and not despise such
study as those do who work [only] for money.

The direction of growth (403-407).

403.

OF THE RAMIFICATIONS OF PLANTS.

The plants which spread very much have the angles of the spaces
which divide their branches more obtuse in proportion as their point
of origin is lower down; that is nearer to the thickest and oldest
portion of the tree. Therefore in the youngest portions of the tree
the angles of ramification are more acute. [Footnote: Compare the
sketches on the lower portion of Pl. XXVII, No. 2.]

404.

The tips of the boughs of plants [and trees], unless they are borne
down by the weight of their fruits, turn towards the sky as much as
possible.

The upper side of their leaves is turned towards the sky that it may
receive the nourishment of the dew which falls at night.

The sun gives spirit and life to plants and the earth nourishes them
with moisture. [9] With regard to this I made the experiment of
leaving only one small root on a gourd and this I kept nourished
with water, and the gourd brought to perfection all the fruits it
could produce, which were about 60 gourds of the long kind, andi set
my mind diligently [to consider] this vitality and perceived that
the dews of night were what supplied it abundantly with moisture
through the insertion of its large leaves and gave nourishment to
the plant and its offspring--or the seeds which its offspring had
to produce--[21].

The rule of the leaves produced on the last shoot of the year will
be that they will grow in a contrary direction on the twin branches;
that is, that the insertion of the leaves turns round each branch in
such a way, as that the sixth leaf above is produced over the sixth
leaf below, and the way they turn is that if one turns towards its
companion to the right, the other turns to the left, the leaf
serving as the nourishing breast for the shoot or fruit which grows
the following year.

[Footnote: A French translation of lines 9-12 was given by M.
RAVAISSON in the _Gazette des Beaux Arts_, Oct. 1877; his paper also
contains some valuable information as to botanical science in the
ancient classical writers and at the time of the Renaissance.]

405.

The lowest branches of those trees which have large leaves and heavy
fruits, such as nut-trees, fig-trees and the like, always droop
towards the ground.

The branches always originate above [in the axis of] the leaves.

406.

The upper shoots of the lateral branches of plants lie closer to the
parent branch than the lower ones.

407.

The lowest branches, after they have formed the angle of their
separation from the parent stem, always bend downwards so as not to
crowd against the other branches which follow them on the same stem
and to be better able to take the air which nourishes them. As is
shown by the angle _b a c_; the branch _a c_ after it has made the
corner of the angle _a c_ bends downwards to _c d_ and the lesser
shoot _c_ dries up, being too thin.

The main branch always goes below, as is shown by the branch _f n
m_, which does not go to _f n o_.

The forms of trees (408--411).

408.

The elm always gives a greater length to the last branches of the
year's growth than to the lower ones; and Nature does this because
the highest branches are those which have to add to the size of the
tree; and those at the bottom must get dry because they grow in the
shade and their growth would be an impediment to the entrance of the
solar rays and the air among the main branches of the tree.

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