Leonardo Da Vinci: Artist, Thinker and Man of Science, 第 1 卷W. Heinemann, 1898 - 256 頁 |
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第 1 到 5 筆結果,共 30 筆
第 vii 頁
... ACADEMY - HIS WRITINGS ON ART - FRA LUCA PACIOLI AND THE TREATISE ON PROPORTION - LEONARDO'S " ATELIER " AND ITS TEACHING 225-256 LIST OF PLATES IN VOLUME I PHOTOGRAVURES To face I. "THE VIRGIN OF THE ROCKS" (The Louvre) 162.
... ACADEMY - HIS WRITINGS ON ART - FRA LUCA PACIOLI AND THE TREATISE ON PROPORTION - LEONARDO'S " ATELIER " AND ITS TEACHING 225-256 LIST OF PLATES IN VOLUME I PHOTOGRAVURES To face I. "THE VIRGIN OF THE ROCKS" (The Louvre) 162.
第 viii 頁
... face I. STUDIES OF YOUTHFUL HEADS . ( The Louvre ) PAGE 4 II . STUDY OF DRAPERY . ( Windsor Library ) III . STUDY FOR A HEAD OF THE VIRGIN , ASCRIBED TO LEONARDO ( The Uffizi , Florence ) 16 48 56 IV . STUDY FOR A HEAD OF THE VIRGIN ...
... face I. STUDIES OF YOUTHFUL HEADS . ( The Louvre ) PAGE 4 II . STUDY OF DRAPERY . ( Windsor Library ) III . STUDY FOR A HEAD OF THE VIRGIN , ASCRIBED TO LEONARDO ( The Uffizi , Florence ) 16 48 56 IV . STUDY FOR A HEAD OF THE VIRGIN ...
第 2 頁
... faces are reduced to the mere bony substructure ; in others we note the deterioration of the features ; the hooked nose , the chin drawn up to the mouth , the relaxed muscles , the bald head . Foremost among these types is the master's ...
... faces are reduced to the mere bony substructure ; in others we note the deterioration of the features ; the hooked nose , the chin drawn up to the mouth , the relaxed muscles , the bald head . Foremost among these types is the master's ...
第 3 頁
... face ; she is in the hospital , at Santa Catarina . " This is typical of his tantalising brevity . From the very first , we are struck by the care with which Leonardo chose his models . He was no advocate for the frank acceptance of ...
... face ; she is in the hospital , at Santa Catarina . " This is typical of his tantalising brevity . From the very first , we are struck by the care with which Leonardo chose his models . He was no advocate for the frank acceptance of ...
第 20 頁
... faces , drooping eyelids , veiled glances , plaintive smiles : if they charm in spite of their incorrect lines it is because they reflect a last ray of the mystical poetry of the middle ages . This ideal , as far removed from the robust ...
... faces , drooping eyelids , veiled glances , plaintive smiles : if they charm in spite of their incorrect lines it is because they reflect a last ray of the mystical poetry of the middle ages . This ideal , as far removed from the robust ...
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常見字詞
Accademia Adoration Ambrogio Ambrosiana Andrea angel architect artist ASCRIBED TO LEONARDO Beatrice d'Este beauty Beaux Arts Bellincioni Bianca Maria Sforza Bonnat Collection Bramante brilliant bronze Caradosso cartoon century Certosa Christ colour composition contemporary draperies Duke ENGRAVING equestrian statue executed famous figures Filippino Florence Florentine florins Francesco Sforza fresco Galichon Gallery genius Geymüller Gian Galeazzo Giovanni grace hand head Herr Müller-Walde Institut de France Italian Italy Jahrbuch der kg Kunstsammlungen L'Art Last Supper Leonardo da Vinci less Lodovico il Moro Lodovico Sforza Lomazzo Lombardy Lorenzo Lorenzo di Credi Louvre Madonna Magi Mantegna manuscripts master masterpiece Medici Michelangelo Milan monument Morelli Pacioli painter painting Paris Pavia Perugino picture Piero portrait pupil Raphael Renaissance Richter Rocks Rome Santa Maria sculptor Signor sketch STATUE OF FRANCESCO TRATTATO DELLA PITTURA Uffizi Uzielli Valton Vasari Vatican Library Venice Verrocchio Vigevano Virgin Visconti Windsor Library young youth
熱門章節
第 143 頁 - I can equal anyone in architecture, in constructing public and private buildings, and in conducting water from one place to another. I can execute sculpture, whether in marble, bronze, or terra-cotta ; and in painting I can do as much as any other, be he who he may.
第 115 頁 - Ch'ora in pace a consiglio con lui siede, Or armato con lui spiega i colubri ; E sempre par d' una medesma fede , O ne' felici tempi o nei lugubri: Nella fuga lo segue, lo conforta Nell' afflizion, gli é nel periglio scorta.
第 188 頁 - Another, turning with a knife in his hand, upsets a glass upon the table ; another rests his hands upon the table and looks ; another gasps in amazement. Another leans forward to look at the speaker, shading his eyes with his hand ; another, drawing back behind the one who leans forward, looks into the space between the wall and the stooping disciple.
第 242 頁 - ... take for its head that of a mastiff or setter, for its eyes those of a cat, for its ears those of a porcupine, for its nose that of a greyhound, with the eyebrows of a lion, the temples of an old cock and the neck of a water-tortoise.
第 28 頁 - Due giovin par d'etate e par d'amori Leonardo da Vinci e'l Perusino, Pier della Pieve ch'e un divin pittore.
第 142 頁 - Having, most illustrious lord, seen and duly considered the experiments of all those who repute themselves masters in the art of inventing instruments of war, and having found that their instruments differ in no way from such as are in common use, I will endeavour, without wishing to injure anyone else, to make known to your Excellency certain secrets of my own, as briefly enumerated here below :
第 188 頁 - One, in the act of drinking, puts down his glass, and turns his head to the speaker. Another, twisting his fingers together, turns to his companion, knitting his eyebrows. Another, opening his hands and turning the palms towards the spectator, shrugs his shoulders, his mouth expressing the liveliest surprise.
第 142 頁 - I have a way of constructing very light bridges, most easy to carry, by which the enemy may be pursued and put to flight. Others also of a stronger kind, that resist fire or assault, and are easy to place and to remove. I know ways also for burning and destroying those of the enemy. 2. In case of investing a place, I know how to remove the water from ditches, and to make various scaling ladders, and other such instruments. 3. Item : If, on account of the height or strength of position, the place...
第 20 頁 - Romans who always imitated each other and so their art constantly declined from age to age. After these came Giotto, the Florentine, who— not content with imitating the works of Cimabue, his master— being born in the mountains and in a solitude inhabited only by goats and such beasts, and being guided by nature to his art, began by drawing on the rocks the movements of the goats of which he was keeper.
第 218 頁 - A head of a gipsy girl. A head with a hat on. A representation of the Passion, a cast. A head of a girl with her hair gathered in a knot. A head with the brown hair dressed.