The Notebooks - The Original Classic Edition. Leonardo Da

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,

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       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 Cura-tors 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 "photogravures" 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

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       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).--