1. H o w t o W ri t e T e r m P a p e r s A b o u t C o n t r o v e r s i a l Vi d e o Games There had been a recent uproar, through essays, newscasts, and even government inquiries, regarding video games. Many are putting the blame on video game content for children, teens, and adults doing criminal acts in real life. This topic is a good subject for discussion in term papers. The paper can tackle whether video games really do play a role in the mentality of the people who are playing them. The term paper can also try to discuss whether the interactivity of the video game should make it held at a different standard than sexually suggestive movies, or violent television programs. Lastly, writers can also focus on a specific video game and discuss the why they have become highly controversial. Some controversial video games that can be used in term papers are: 1. G r a n d T h e f t a u t o s e r i e s – No game has received as much media attention for its violence and sexual content than the Grand Theft Auto set of games. term papers could focus on how the series is able to thrive with these aspects despite severe opposition from government characters and citizen watchdogs. 2. R a p e l a y – The term paper could also be about a game that was released in Japan. Rapelay is one of the more daring games that was ever released. It was a rape simulator and had a protagonist whose main goal was to be able to successfully rape women. The term papers could focus on the varying cultural differences that enables a game like this to be released in other countries, while it would have been skewered if it was done so in the states. 3. D o o m – While violent games had already been in the market before this game was launched, Doom was one of the better games that were able to balance gore and gameplay. A writer could create term papers using Doom as a centerpiece for discussing the history of violent/controversial video games. A b o u t t h e A u t h o r: B a m b i H e n d e r s o n is a psychology student from a university in North Carolina.
2. She is interested in the various behaviors of people and the stimuli that affects their thinking. She has studied various term papers regarding this topics, and hopes to one day publish her own collection of journals.

182827. DEL MOTO E MISURA DELL’ ACQUA, di L. da V. Bologna [a spese di Francesco Cardinali ], 4°, pp. 6 + 273-450; ill. V. 42192328. L. da V., DEL MOTO E MISURA DELL’ACQUA. Libri nove ordinati da F. Luigi Maria Arconati. Editi sul codice archetipo barberiniano a cura di E. Carusi ed A. Favaro. [Pubblicazioni dell' Istituto vinciano in Roma, diretto da Mario Cermenati; nuova serie: Testi Vinciani, I]. Bologna, Zanichelli, 8°, pp. xxiii-4I4; ill. V. 43

By  Samuel C. Williams Library

Jack

Since the lifting of weights is one ofthe most common problems of the engineer and mechanic, Leonardo gave it much study, designing devices using the principle of the pulley, the screw, and, as here, the ratchet in a form that anticipates the modern automobile jack.

1730

29. [Caylus Comte de], Auszug derer Kopffe wodurch allerhand Gemuths-Neigungen … in Kupfer gestochen von M. le C. de C. sodan aber copirt worden dutch 1. A. P. in Augspurg. etc. [Augsburg and Paris, 1730.] 11 engraved plates including title and (8) pages of typographic text. f.° V.-

Note: The typographic text is that of Mariette, Paris (V. 48), but the engravings are copied at Augsburg by 1. A. Pf … who adds an engraved title page in German and French.

1767

30. [Caylus Comte de], Recueil de Testes de caractère & de Charges dessinées par L. da V. Florentin & gravées par M. Le C. de Caylus. Aug. Carache del. L. Bonriett sculp. (No typographical text). f.°, 20 engraved pl. including title-page, with 66 figures. V.-

1784

31. DISEGNI di L. da V., incisi e pubblicati da Carlo Giuseppe Gcrli, milanese. Milano, presso Giuseppe Galeazzi, f.° pp. 16 of text and 61 pl. V. 49

1786

32. CHARACATURAS by L. da V. from Drawings by Winceslaus Hollar out of the Portland Museum. Published as the Act directs … by John Clarke, N. 291 Strand, f.°, pp 16 pl. with 61 figures. V. 51

1812

33. Chamberlaine J., Original designs of the most celebrated masters of the Bolognese, Roman, Florentine and Venetian schools; comprising some of the works of L. da V., the Caracci, Claude Lorraine, Raphael, Michael Angelo, the Poussins, and others in His Majesty’s collection; engraved by Bartolozzi, P. W. Tomkins, Schiavonetti, Lewis and other eminent engravers, with biographical and historical sketches of L. da V. and the Caracci. London, Bulmer, large f.°, pp. 2 unnum. + 14; 5 unnum. pl. (of Leonardo’s anatomical drawings not mentioned in table of contents) + 61 pl. and colored frontispiece of Guido’s Christ. See description of V. 52

1830

34. DISEGNI di L. da V., incisi sugli originali da Carlo Giuseppe Gerli, riprodotti con note illustrative da Giuseppe Vallardi. Milano, Ronchi, f.°, pp. 2 unnum. + 20 of text and 61 pl. V. 53

This copy contains an inscription to Lieb by Dr. Verga.

1872

35. SAGGIO delle opere di L. da V. Con ventiquattro tavole fotoiitografiche di scritture e disegni tratti dal Codice Atlantico. Milano, Tito di Giovanni Ricordi impresses large f.°, pp. vii-32 and 24 Pl. V. 54

Also an extract of C. Boito’s section on Leonardo; 10 pages, apparently inscribed by Boito.

1881

36. LES MANUSCRITS de L. de V. (Codice A; B, D; C, E, K; F and 1; G, L and M; H [kept in the Library of the Institute at Paris] and Ashbumam 2038 and 2037 in the Bibliothèque Nationale.) . . . Publiè en fac-similès avec transcription littérale, traduction française … par M. Charles Ravaisson-Mollien. Paris, Quantin, 1881-1891; f.°, 6 v. V- 55-57,-59-61

1888

37. I DISEGNI di L. de V. della Biblioteca di S. M., riprodotti in fototipia da Pietro Carlevaris. Torino, large f.°; 16 pl. V. 58

1891

38. IL CODICE di L. da V., delta Biblioteca del Principe Trivulzio in Milano, trascitto e annotato da Luca Beltrami. Milano, tip. Pagnoni, 4°, pp- 310 incl. fac-similes. V. 62

1893

39. I MANOSCRITTI di L. da V. Codice sul volo degli uccelli e varie altre materie. Pubblicato da T.

Sabachnikoff. Trascrizioni e note di G. Piumati. Traduzione in lingua francese di Carlo Ravaisson-Mollien. Parigi, Rouveyre, 4°, pp. 156 with 47 pl. V. 63

1894

40. IL CODICE ATLANTICO di L. da V., nella Biblioteca Ambrosiana di Milano, riprodotto e pubblicato dalla R. Accademia dei Lincei sotto gli auspici e col sussidio del Re e del Governo. Milano, Hoepli, 1894-1904; 6 v., f.’, PP. xiii-13′i and 1384 pl. V. 64

1898

41. I MANOSCRITTI di L. da V. della Reale Biblioteca di Windsor. Dell’ Anatomia. Fogli A, pubblicati da T. Sabachnikoff, transcritti e annotati da Giovanni Piumati. Con traduzione in lingua francese. Preceduti da uno studio di Mathias-Duval. Parigi, Rouveyre, 40, pp. 202; 34 Pl. V. 65

1910

42. I MANOSCRTTTI di L. da V. delta Reale Biblioteca di Windsor. Dell’ Anatomia. Fogli B,

pubblicati da T. Sabachnikoff, trascritti e annotati da G. Piumati. Con traduzione in lingua francese. Torino, Roux e Viarengo, 40, Pp. 27I; 79 Pl.V. 66

43. FEUILLETS inèdits, reproduits d’après les originaux conservés à la bibliothèque du château de Windsor … Paris: E. Rouveyre, 22 v., f.0 mounted facsimiles, mounted plates. V.-

44. PROBLÈMES DE GÉOMÉTRIE ET D’HYDRAULIQUE … (Forster Library, South Kensington Museum, London.) Paris, 3 v-, 80, facsimiles. V.-

45. SCIENCES PHYSICO-MATHÉMATIQUES . . . (British Museum). Paris, 4 v., 4°, facsimile V.-

Note: Numbers 43, 44 and 45 contain only mechanical facsimiles without apparatus, and are mentioned in a note to V. 66.

1904

46. Beltrami Luca, Disegni di Leonardo e della sua scuola alla Biblioteca Ambrosiana. 26 pl. by Carlo Fumagalli. Milano, Montabone, 4°, pp. 15 of text. V. 67

1906

47. Hind Lewis C., Drawings of L. da V. London and New York, 4°, pp. 18; 48 pl. V. 1688

1909

48. IL CODICE di L. da V. della Biblioteca di Lord Leicester in Holkham Hall, pubblicato sotto gli auspici del R. Istituto lombardo di scienze e lettere da G. Calvi. Mlano, Cogliati, f.°, pp. xxxiii-242;

72 pl. V. 68

1911

49. CATALOGUE des reproductions en facsimile des dessins de L. da V. Paris, Braun & Co. (1911-1912); 2 v., f.°, 80 pl. V.-

50. L. da V., QUADERNI DANATOMIA. (From manuscripts in the Royal Library at Windsor). Pubblicati da Ove C. L. Vangensten, A. Fonahn e H. Hopstock. Con traduzione inglese e tedesca. Christiania, J. Dybwad, 1911-1916. 6 v., f° V. 69-74

1921

51. LES DESSINS de L. de V., par Louis Demonts. Paris: A. Morance, 8°, pp. 18; 25 pl. V. 2601

1922

52. THE DRAWINGS of L. da V., by L. Demonts … Paris, A. Morance, 8°, pp. 18; 25 pl. V.-

1923

53. I MANOSCRITTI E I DISEGNI di L. da V., pubblicati dalla Reale Commissione Vinciana sotto gli auspici del Ministero della Istruzione pubblica. Vol. I, Il Codice Arundel 263 (In the British Museum). Roma, Danesi, 1923-1930. Four parts in 3 books, 4°. V. 75, 76b

Two copies of part 1.

1924

54. L. da Vinci ; ausgewählte Handzeichnungen, mit einer Einleitung von Wilhelm Bode. Berlin: Propyläen-Verlag [1924]; f.°, pp. 8 unnum. +32, incl. plates. V.-

1926

55. BEALE COMMISSIONE VINCIANA . I fogli mancanti al Codice di L. da V. nella Biblioteca Reale di Torino. A cura di Enrico Carusi. Roma, Danesi, 4°, pp. xiv-8; 9 pl. V. 76

Two copies.

1928

56. L. da V., Zeichnungen, herausgegeben von Army E. Popp…. München, R. Piper & Co., 4°, pp. 57; 89 pl. V. 2794

57. I MANOSCRITTI E I DISEGNI di L. da V. pubblicati della Reale Commissione Vinciana sotto

gli auspici del Ministero della Istruzione Pubblica. DISEGNI, Riproduzione fototipica a colori … con introduzione e a cura di A. Venturi. Roma, 1928-34; big f.°

Fascicolo I, pp. 23; 32 pl. (1470-1478). V. 2853

Fascicolo II, pp. 28; 38 pl. (1478-1481). V.-

Fascicolo III, pp 24; 38 pl. (1482-1489). V.-

1930

58. I MANOSCRITTI E I DISEGNI di L. da V. pubblicati dalia Reale Commissione Vinciana sotto gli auspici del Ministero dell’ Educazione Nazionale. Serie Minore. IL CODICE FORSTER nel “Victoria and Albert Museum” . . . Riproduzione fototipica con trascizione critica. Rome, Danesi and La Libreria delta Stato, 1930-1934; large 8°. V.-

Volume I (Forster I), 99 leaves.

Volume II (Forster II, 1), 91 leaves.

Volume III (Forster II 2), 92-284 Il. and 3 unnum. with facs.

Volume IV (Forster III), 137 Il. and 6 unnum. with facs.

1932

59. L. da Vinci, 1452-1519. London, The Studio, Ltd.; New York, W. E. Rudge, f.°, pp. 3 and 12 mounted pl. (Master draughtsmen, No. 2). V.-

1935

60. Clark Kenneth, A catalogue of the drawings of L. da V. in the collection of His Majesty the King at Windsor Castle. New York, The Macmillan Co.; Cambridge, England, The University Press, 1935; 4°, 2 v., pp- Ixiv-199 of text; almost 600 reduced reproductions. V.-

Undated

61. OEuvre de principes de dessin dessinés et gravés par Léonard de Vincy. Paris, “A Paris chez Jean, rue Jean de Beauvais, no. 32,” f.°, 42 plates. V.-

180480. Amoretti Carlo, Memorie Storiche su la vita, gli studi, e le opere di L. da V. Milano, 4°, pp.207;ill. Published as an intro. to Trattato della Pittura, V. 19. V.—81. Amoretti Carlo, Memorie storiche su la vita, gli studi, e el opere di L. da V. Milano, Classici Italiani, 8°, pp.199; ill.V.—Two copies, one with portrait of Leonardo. Note: Nos. 80 and 81 vary only slightly from V.286.181082. Bossi Giuseppe, Del “Cenacolo” di Leonardo da Vinci . . . Milano, f.°, pp. 264 V.298Two copies, one cut down and rebound lacks frontispiece.181183. Bossi G., Delle opinioni di L. da V. intorno alla simmetria dei corpi umani . . . Milano, f.°, pp. 35. V.30284. Guillon abbé ; A., Le “Cénacle” de L. de V…. Milan and Lyon, 8°, pp.xxi-215. V.305181285. [(Boss) G.], Postille alle “Osservazioni sul volume intitolato: ‘Del Cenacolo’ di L. da V….” Milano, 8°,pp.82. V.30786. Verri Carlo, Osservazioni sul volume intitolato “Del Cenacolo” di L. da V., libri quattro di G. Bossi pittore . . . Milano, 8°, pp.200. V.309182087. Mezzanotte Antonio, Il “Cenacolo” di L. da V. descritto in ottava rime. Perugia, 8°, pp.15. V.333182888. Brown John William, The life of L. da V…. London, 8°,pp. xv-256. V.35289. Lanzi Abate Luigi, The history of painting in Italy. Trans. by Thomas Roscoe. London, Simpkin and Marshall, 8°, 6v. V.—183090. TABULA ANATOMICA L. da Va…. Venerem obversam … ostendens. Lunaeburgi, f.°, pp. 3 of text; 1 pl. V.361183591. FOREIGN QUARTERLY REVIEW, Review of Gallenberg’s L. da V.s Leben und Werke (V. 375). London, March, 1835, pp.209-216. V.—183792. Libri Guillaume, Histoire des soences mathématiques en Italie . . . Paris, 1837-1841; 8°, 4 v. V.399184093. Gaye Giovanni, Carteggio inedito di artist) dei secoli XIV, XV e XVI…. Firenze, 8°, 3 v. V.408184194. Gatteschi Stanislao, Elogio di L. da V…. Firenze, 8°, pp. 20. V.415184395. Ranalli Ferdinando, Alcune considerazioni intorno a L. da V. Firenze, 80, pp.28. V.428184496. Delécluze E., Saggio intorno a L. da V. (1452-1519) Siena, 8°, pp.130 V.43497. Lomazzo Gio Paolo, Trattato dell’arte della Pittura Scultura ed Architettura. Roma, Presso Saverio Del-Monte, 8°, 3 v. V.—184698. S[immons] G. F., L. da V.’s painting of the Last Supper. “The Christian Examiner and Religious Miscellany,” Boston, XL, pp. 411-24 V.452Photostat.184899. De M[oulins] G., Sur l’illustre L. de V. législateur de la peinture et sur ses immortelles oeuvres. Bordeaux, 8°,pp.51. V.4641849100. Marx C. F. Heinrich, Ueber Marc’ Antonio Della Torre und L. da V. die begründer der bildlichen Anatomie “Abhandlungen der Kgl. Gesellschaft der Wissenschaften zu Gottingen,” 8°; pp. 20. Sep V.4711850101. MacDonald Diana Louisa, Villa Verrocchio, or The youth of Leonardo. A tale. London, 12°, pp. 284. V.4811853102. Bandello Matteo, Novelle in Raccolta di Novellieri Italiani, Vol. II. Torino, Poma, 8°, pp. 445. V.—Vinci e il Castello di Milano, pp. 27-64.1854103. Rio A. F., The Poetry of Christian Art (Trans. from French). London, Bosworth (12 mo), pp. xi-417. V.—104. Zoncada A., Le dottrine pittoriche di L. da V. “Strenna Artistica,” Milano, VII, pp. iii-xxxi).V. 5141855105. Rio A. F., L. de V. et son école. Paris, 8°, pp.366. V.517106. St. John Bayle, The Louvre, or, Biography of a museum. London, Chapman and Hall, 8°, xxiii-366. V.—107. Vallardi Giuseppe, Disegni di L. da Vinci posseduti da G. V…. Milano,8°, pp. x-67; not ill.V.5201856108. Rio A. F., L. da V. e la sue scuola … Milano, 8°, pp. viii-204. V.5261857109. Turotti Felice, L. da V. e la sue scuola . . . Colla traduzione dell’ opera suddetta di F. Rio. Milano,8°, pp. xi-468. V.539Two copies, one with Rio, other with Turotti on cover.1858110. MAGASIN PITTORESQUE, Recueil de dessins de L. de Vinci au Louvre. Paris, pp. 11-14 and 59-62. V. 54341. in paper cover.111. Rocca P., L. da V. Cenni storici ed artistici. Milano,8°, pp. 93. V. 5461860112. ATTI DEI. REAI.E ISTITUTO LOMBARDO DI SCIENZE, LETTERE ED ARTI, Milano, II (1860 and 1861), fasc. 4, 5, 6, 7, 8 and 9. Mentions Lombardini’s “Dell’origine e de progresso della scienza etc.” (No. 117) V.—113. Clément Charles, L. da V. “Revue des Deux Mondes,” Paris, 1860, pp. 603-643. V.—1861114. Clément Charles, Michel Ange, L. de V., Raphael. Paris, 8°, pp. 403. V. 565115. Comfort G. E., L. da V., “Methodist Quarterly,” New York, pp. 557-581 V. 566Photostat.116. Jarves J. J., Art studies: The “old Masters” of Italy—painting. New York, Derby-Jackson, 8°, pp. xx-504; ill. V.567117. Lombardini Elia, Dell’origine e de progresso della scienza idraulica nel Milanese e in altre parti d’Italia . . . “Memorie del R. Istituto lombardo di scienze e lettere,” Milano, VIII, pp.211-265. V. 559118. Waagen G. F.,L.daV….Berlin,f.°, pp.43 text; 10 ill. V. 5741863119. Houssaye Arsène, L. de V. et les fouilles d’Amboise. “L’Artiste,” Paris, 1863-64, pp. 249-254; 3-7; 25-30; 49-52; 97-100. V. 5845 installments in 2 bound volumes.1864120. Hallam Henry, Introduction to the literature of Europe, in the fifteenth, sixteenth, and seventeenth centuries. London, John Murray, 1864; 8°, pp. 480. V.—Vol. I of seventh ed. in four volumes.121. MONTHLY RELIGIOUS MAGAZINE, Il “Cenacolo” di L. da. V. Boston, XXXI, pp. 363-377. V. 599Photostat.122. Houssaye Arsène, Etudes sur L. de Vinci: ses Historiens.”LArtiste,”Paris, 1865, pp. 169-171; 200-3; 229-30; 248-50.V.—4 installments in bound vol.1865123. Major Richard Henry, Memoir on a Mappemonde by L. da V…. London, Nichols, 1865; 4°, pp.36; ill. V. 6171867124. Hefele Dr., Leonardo’s Last Supper. “Eclectic Magazine” New York, LXIX, pp. 687-693. English trans. of V. 627Photostat.125. JOURNAL OF SPECULATIVE PHILOSOPHY, L. da V.’s Last Supper as treated by Goethe. St. Louis, I, pp. 243-250. V. 629Photostat.126. Niessen John, The Lord’s Supper…. London, 4°, pp. 6 of text; 12 ill. V. 6311868127. D’Adda Gerolamo, L. de V., la gravure milanaise et Passavant.”Gazette des beaux arts,” Paris, XXV, pp. 123-152. V. 639Bound vol. for July through Dec.128. Houssaye Arsène, La Jeunesse de L. de Vinci. “L’Artiste,” Paris, XXXVIII (Jan., Feb. and Mar. in bound vol.), pp. 7-23. V.—1869129. Coliguy Charles, L. de V. Sonnets. “L’Artiste,” Paris, XL (July, Aug. and Sept. in bound vol.), 8°, pp. 60-63. V. 643130. Houssaye Arsène, Histoire de L. de V. Paris, 8° pp. 490. V. 644131. Taine H., Italy, Florence and Venice (trans. by J. Durand). New York, Leypoldt & Holt, 8°, pp. ix-385. V—1870132. Bloemer Friedrich, Aeltere Kunstwerke. Berlin, Kühn, 8° pp. 39.V.—133. EVERY SATURDAY, L. da V.’s Last Supper, Boston, I, p.306. V. 655134. Lübke Wilhelm, Ueber einige Werke Lionardos. “Jahrbücher für Kunstwissenschaft.” Leipzig, III, pp. 70-74. V.658135. Viardot Louis, Wonders of Italian art. New York, Scribner & Co., 8°, pp. xii-343; ill. V.—1871136. Dolce Ludovico, Aretino oder Dialog über Malerei, übersetzt von Cajetan Cerri, mit Einleitung, Noten und Index versehen von R. Eitelberger v. Edelberg. Wien, Braumuller, 8°, pp. xii-118. (Quellenschriften f. Kunstgeschichte etc. II). V.—137. Dozio Giovanni, Degli scritti e disegni di L. da V. e specialmente dei posseduti un tempo e dei posseduti adesso dalla Biblioteca Ambrosiana…. Milano, 8°, pp. 47. V. 6631872138. De Blasis Carlo, L. da Vinci. Milano, 8°,pp. 64. V.669139. Milanesi Gaetano, Documenti inediti reguardanti L. da V. “Arch. storico italiano,” Firenze, XVI, pp. 14. Sep. V. 673140. Riccardi Giuseppe, Intorno a L. da V…. Milano, 8°, pp. 31. V. 675141. Uzielli Gustavo, Ricerche intorno a L. da. V. Firenze, Pellas, 8°, pp.241. V.678Two copies.1873142. Cialdi A., L. da V. fondatore della dottrina del moto ondoso del mare. “Rivista marittima,” Roma, VI, pp. 3-20. V.679143. [D'Adda Gerolamo], L. da V. e la sue libreria . . . Milano, pp. 53. V.680Bound typewritten copy.144. Jordan Max, Das Malerbuch des L. da V…. Leipzig, 8°, pp. iv-106. V. 687145. Mazzenta P. Gio. Ambrosio, Alcune Memorie de’ fatti di L. da V.a Milano e de suoi libri . . . “II Buonarroti” . . . Roma, 1873-74, 1877-78; VIII, pp. 341-350, IX, pp. 164-171, XII,pp. 45-53. V. 6881874146. Austin George L., L. da V. and his works. “International Review,” New York, I, pp. 595-610. Photostat. V. 691147. Grothe Hermann, Ueber Leonardos Bedeutung für die Geschichte der induktiven Wissenschaften. “Allgemeine deutsche polytheknische Zeitung,” 1873, passim, 1874, p.87…. L. da V. als Ingenieur und Phylosoph…. Berlin, 4°, pp.94. V.697148. Heaton Mrs. Charles W., L. da V. and his works…. London and New York, 8°,pp. x-302.V. 6991875149. O’Connell John, An account of a painting of the Madonna, with the child in her arms by L. da Vinci. London [crossed out and 6 Laurel Street, Dalston written in]. n.d.; 8°,pp.11. V.—With the pamphlet are two autograph letters by Mr. O’Connell, the first from 6 Laurel St., Dalston, 26 January 1875 to J. Murray: “In reference to the picture of a Virgin and Child No. 174 by G. Pedrini belonging to you, now at the Royal Academy, I think it may interest you to know that a similar composition is in my possession, also on panel, and which is ascribed to Da Vinci himself . . . ” 3 pages. Mentions in the last paragraph that he is sending him a short pamphlet about the picture. The second letter, undated, is addressed to Messrs. Crowe & Cavalcaselle, and says he has two interesting pictures which may be Titian’s.150. Th. L., Leonardo da Vinci . “Littel’s Living Age,” Boston, CXXIV, pp. 643-663. Photostat. V. 708151. Uzielli Gustavo, Sopra un sonetto attribuito a L. da V. “II Buonarroti, ‘ Roma, X, pp. 177-191; 249-268. V. 7091877151a. Dickens Charles, Pictures from Italy and American notes. A vol. from Complete Works. New York and London, Harper & Bros.,8°, pp.viii-473;ill. V.—152. Field Margaret, L. da. V. “Potter’s American Monthly,” Philadelphia, IX, pp. 309-10 V. 7261878153. Cantor Moritz, L. da V. “Westermann’s illustrierte deutsche Monatshefte.” Braunschweig, XLIV, pp. 369-381. V.741154. Cook C., L. da V. “Scribner’s Monthly,” New York, XVII, pp.337-362. V. 742One bound vol, one copy of mag. and photostat of article.155. Lombardi Eliodoro, Due precetti di L. da V…. Verona, 16°, pp-55. V.744155a. Vasari Giorgio, Le vite de’ piu eccellenti pittori scultori ed architettori. Ed. by Milanesi. Firenze, Sansoni, 1878-85; 8°, 9 v. V.—1879156. Boito Camillo, Leonardo e Michelangelo . . . Milano. [Bound with Storielle Vane, 1876,pp.295], 8°, pp.201. V. 753157. Brun Carl, L. da Bernardino Luini. “Kunst und Kunstler des Mittelalters und der Nenzeit.” Leipzig, Seeman, 4°, pp. 84; ill. V.—158. Courajod Louis, L. de V. et la statue de Francesco Sforza. “L’Art,” Paris, IV, 80, pp.52. Sep. V. 759159. Sweetser M. F., Raphael, L. da V., Michelangelo . . . Boston and New York, 12°,pp. 143.(c.1877-78)- V. 7661880160. Poynter Edward J. and Percy R. Head, Classic and Italian painting. New York and London, 8°, pp.xxix-216; ill. V.—161. Raab Fritz, L. da V. als Naturforscher. Berlin, 8°,pp.40. V. 779162. Richter J. P., Leonardo. New York and London, 8°,pp.138; ill. V.—1881163. LE CÉNACLE par Léonardo de Vinci dans l’ancien Convent de Sainte Marie des Grâces, a Milan. Milan, Lamperti, 1881, (small) pp. 16. V.—164. Yriarte Charles, Florence, L’Histoire—Les Médicis, Les Humanists —Les Lettres—Les Arts. Orné de 500 Gravures et Planches. Paris, Rothschild, royal 4°,pp.379; second ed. V.—1882165. ART JOURNAL, The head of an old man from a drawing in the British Museum by L. da V. London, p. 316. V.8081 p. sep. and plate.166. Tytler Sarah The old masters and their pictures. Boston, Roberts Bros., 8°, pp. viii-363. V.—167. Wallis Henry, Drawings by the old masters. L. da V. “The Art Journal,” London, XXXIV, pp. 33-36. Sep. V. 8301883168. Morelli Giovanni, Italian masters in German galleries. Trans. from the German by L. M. Richter. London, Geo. Bell & Sons, 8°, pp vii-449; ill. (Eng. ed. of V. 777).V.—1884169. Cartwright Julia, A cartoon by Leonardo. “The Magazine of Art,” London, VII, pp. 448-452. V. 851170. Del Badia Iodoco, Intorno alla case abitata da L. da V. in Firenze.”II Buonarroti,” Roma, I, pp. 405-409. Sep. V.854171. Förster Ernst, Urtheile über fünf Bände mit Handzeichnungen von L. da V…. München, 8°, pp. 37. V. 857Two copies.172. Richter Jean Paul, The proposed reproduction of the manuscripts of Leonardo. “The Academy,” London, No. 614, pp. 102-103. V. 869173. Stillman W. J., L. da V. “The Nation,” New York, XXXVIII, pp. 280-281. V.873Photostat.174. Uzielli Gustavo, Sul modo di pubblicare le opere di L. da V. “Il Buonarroti,” Roma, I, pp. 365-388. V 877175. Uzielli Gustavo, Ricerche intorno a L. da V. Serie Seconda. Roma, 8°, pp. xvi-486. V.878Three copies.176. Wilson W. Charles, Notes on the Physical and historical geography of Asia Minor made during journeys in 1879-82. “Proceedings of the Royal Geographical Soc.,” London, VI, pp. 323-325. V. 879Typewritten copy.1885177. Frantz Erich, Das heilige Abendmahl des L. da V.. . . Freiburg, 8°, pp. 83 V. 884178. Müntz M. Eugène, La Renaissance en Italie et en France a L’Epoque de Charles VIII. Paris, Librairie de Firmin-Didot et Cie.,8°, pp. xi-560; ill.179. Padelletti Dino, Le opere scientifiche di L. da V…. Napoli, 8°, pp 34. V. 897180. Prantl von., L. da V. in philosophischer Beziehung. “Sitzungsberichte der Königl. bayer. Akademie der Wissenschaften”; München, Jan. 3, pp. 1-26. V. 8991886181 Geymüller (de) Henry, Les derniers travaux sur L. de V. “Gazette des beaux arts,” Paris, XXXIII, XXXIV, pp. 357-376; 143-164;274-295 V.912Two bound volumes.182. Morelli Giovanni, Le opere dei maestri italiani nelle Gallerie di Monaco, Dresda e Berlino . . . Bologna, pp. xii-471. V. 9171887183. Dühring Dr. E., Kritische Geschichte der allgemeinen Principien der Mechanik. Leipzig, Fues’s Verlag, 8°, pp. xxviii-610. V.—184. Müntz Eugène, Une éducation d’artiste au XVe siècle. La jeunesse de L. da V. “Revue des deux mondes,” Paris, LXXXIII, pp. 647-680. Sep. V. 940185. Ravaisson-Mollien Charles, Pages autographes et apocryphes de L. de V. “Mémoires de la Société nationale des antiquaires de France,” Paris, XLVIII, pp. 132-145. V. 9441888186. Krokow Countess de, Stang’s engraving of L. da V.’s “Last Supper.” “American Architect,” Boston, XXIV, pp. 145-146. V. 959Photostat.187. Ruland C., L.’s Abendmahl gestochen von Rudolph Stang. Weimar, 8°, pp. 8. V. 9671889188. Jacques Pierre, Notice raisonnée sur un “Bacchus” de L. de V. Liège, 16°, pp. 16. V. 988Original and photostat.189. Müller-Walde Paul, L. da V. Lebenskizze und Forschungen . . . München, 1889; 4°, pp. 232. V. 9911890190. Müntz Eugène, Une Cour de la haute-Italie à la fin du XVe siècle.Ludovic le More et L. de V. “Revue des deux mondes,” Paris, CII, CIII (1890-91), pp. 398-420; 114-144. V. 1026 .191. Stillman W. J., L. da Vinci. “The Century Magazine,” New York, XIX, pp. 838-842. V. 1034Mag. and photostat.192. Uzielli Gustavo, L. da V. e tre gentildonne milanesi del secolo XV. “La letteratura,” Torino, 8°, pp. 46. Sep. V.1035193. Uzielli G., L. da V. e le Alpi . . . Torino,8°, pp. 76. Sep. V.10361891194. Fontana Paolo, II Codice di L. da V…. Trivulzio … ed. by Beltrami. Book review from “Archivio Storico Italiano.” (undated, probably 1891 . ) V.—195. Séailles Gabriel, L. de V. savant. Sa méthode et sa conception de la science. “Revue des deux mondes,” Paris, CVII, pp. 131 -149. Sep. V. 10601892196. Calvi Felice, Storia de Castello di Milano. Milano, Vallardi, 8°, pp. 547; ill. V.—197. Marks Alfred, The “St. Anne” of L. da V. “The Athenaeum,” London, Apr. 23, pp. 540-541. V. 1083198. Müntz Eugène, The “St. Anne” of L. da V. “The Athenaeum,” London, May 21, pp. 673-674. V. 1086199. Séailles Gabriel, L’esthétique et l’art de L. de V. “Revue des deux mondes,” Paris, CXI, pp. 302-330. V.1089200. Séailles Gabriel, L. de V. L’artiste et le savant . . . Paris, 8°, pp. xv-550. V. I 090Accompanied by 2 typed copies of chapter summaries.201. Stillmann W. J., Bernardino Luini. “The Century Magazine,” New York, XXII, pp. 47-49. V. 1093Photostat.1893202. Fabriczy (de)Cornelio, II Codice dell’Anonimo Gaddiano. “Archivio storico italiano,” Firenze, XII, pp. 15-94; 275-334. V. 1105202a. Marks Alfred, The “St. Anne” by L. da V. “The Magazine of Art,” London, XVI, pp. 186-191. V. 1111203. Pasolino Pier Desiderio, Caterina Sforza. Roma, Loescher, 8°, 3 v. (V. I missing) V.—204. Pisa Giulio, Un nuovo studio su Leonardo. “Il Pensiero italiano,” Milano, VII, pp. 257-281. V.11191894205. ATLANTIC MONTHLY, A new reading of L. da V. Boston, March, pp. 414-417. Book review. V.1129Also photostat.206. Beltrami Luca, II Castello di Milano sotto il dominio dei Visconti e degli Sforza (1368-1535). Milano, 8°, pp. 739. V.1130207. Fiorini M., II mappomondo di L. da V. ed altre consimili mappe. “Rivista geografica italiana,” Roma, I, pp. 213-223. V. 1135208. Goodyear Wm. H., Renaissance and modern art. New York, Flood end Vincent (Chautauqua Reading Circle), 8°,pp.310; ill. V.—209. Muntz Eugenio, L’Arte Italiana nel Quattrocento, con 472 incisioni e 12 tavole…Milano, Tip. Bernardoni di C. Rebeschini. E. C., 8°, pp. 718.V.—210. Richter J. P., Leonardo. London, 8°, pp. xii-138. V.11571895211. Calonne Ernest, The romance of L. da V. “Nineteenth Century Rev.,” London, XXXVIII, pp.411-426 V.1164212. De Toni G. B., Frammenti vinciani. I: Intorno a M. Antonio della Torre, anatomico veronese del XVI secolo ed all’epoca del suo incontro con L. da V. a Pavia. Con documenti inediti. “Atti del R. Istituto veneto di scienze, lettere ed art),” Venezia, VII (1895 – 96), pp. 190-203. V.1168213. O’Shea John J., The genius of L. da V. “The Catholic World,” New York, May, pp. 235-245. V. 1176Photostat.1896214. De Toni G. B., Frammenti vinciani. II: Una frase allusive a Stefano Ghisi. “Atti del R. Istituto veneto di scenze, lettere ed art),” Venezia, VIII, (1896-97), pp. 7. Sep. V. 1197215. Formenti Arch. C., II Villino Hoepli. Milano, Vi Venti (Settembre, 2). f.°, pp. 25; 17 pl.V.—216. Jameson Anna, Memoirs of early Italian painters, thoroughly revised and in part rewritten by Estelle M. Hurll with 62 portraits. Boston and New York, Houghton, Mifflin, 8°, pp. xxiii-281. V.—217. Uzielli Gustavo, Ricerche intorno a L. da V. Serie I. sec. ed. Torino, 80, pp. lxxiv-663. V. 1210Two copies.1897218. Hagen Luise, L. da V. “Westermann’s illustrierte deutsche Monatsh.,” Braunschweig, LXXXII, pp. 730-760. Sep. V. 1223219. Leighton Lord, Addresses delivered to the students of The Royal Academy. New York, Longmans, Green & Co., 8°, pp. xvi-310. V.—220. Müller-Walde Paul, Beiträge zur Kenntnis des L. da V. “Jahrbuch der Königlich Preussischen Kunstsammlungen.” Berlin XVIII. pp. 1-78. V. 12301898221. Calvi Gerolamo, II manoscritto H di L. da V., il “Five di virtue” e 1’ “Acerba” di Cecco d’Ascoli . . . “Archivio storico lombardo,” Milano, XXV, pp. 48. Sep. V. 1243222. [Denex L. V.], Notices sur deux dessins trouvés en Touraine et dans le Blésois provenant certainement des châteaux royaux d’Amboise et de Chambord; Poitiers, 8°, pp. 6 V.1244This copy has bound with it “Notes complémentaires relatives au dessin L. da Vinci,” 4 pages.223. Müller-Walde Paul, Beiträge zur des L. da V. “Jahrbuch….,” Berlin, XIX, pp. 225-266. V.1255224. Müntz Eugène, L. de V. L’artiste, le penseur, le savant…. Paris, 4°, pp. Vi-554. V.1263225. Muntz Eugene, L. da V., artist, thinker and man of science. New York, Scribner, 2 V., 4°,pp. xii-256; xi-287. V.1264226. Novati Francesco, Scoperte artistiche, Argo nel Castello Sforzesco di Milano. “Emporium,” Bergamo, pp. 154-160. V. 1266227. Rose George B., Renaissance Masters. The art of Raphael, Michelangelo, L. da V., Titian, Coreggio and Botticelli. New York-London. V. 1271Photostat of section on Leonardo.228. Rosenberg Adolf, L. da Vinci. (Künstler-Monographien, herausgegeben von H. Knackfuss, XXXIII). Mit 128 Abbildungen nach Gemälden und Zeichnungen. Bielefeld, 8°, pp. 136. V.1272Two copies.1899229. De Toni G. B., Frammenti vinciani. III: Contributo alla conoscenza di un fonte del manoscritto B. di L. da V. “Ateneo veneto,” Venezia, XXII (Lieb copy dated 1899), pp. 49-64. V. 1248230. Elsaesser Wilhelm, Die Bedeutung L. da V. für die exacter Naturwissenshaften. “Preussische Jahrbucher,” Berlin, XCVII, pp. 272-294. V. 1290231. Keysor Jennie Ellis, L. da V., a sketch. (Young Folk’s Library of Choice Literature, No. 168). Boston Educational Publishing Co., pp. 48; ill. V.—232. LA VITA ITALIANA NEL RINASCIMENTO. Conferenze tenute a Firenze nel 1892. Milano, Treves, 1899; 8°, pp. 349. Earlier edition of V. 1632233. Müller-Walde Paul, Beiträge zur Kenntnis des L. da V. “Jahrbuch der Königlich preussichen Kunstsammlungen.” Berlin. XX. pp. 54-80; 81-116. V. 1306234. Perrod Giovanni, L. da V. anatomico. “Rivista politica e letteraria,” Roma, VI, pp. 128-142. V. 1310Also three copies of photostats of extract, pp. 136-138.235. Wolyuski Achim Leo, L. da V…. Petersburg [1899]; 8°, pp. xvi 706 V. 1351In Russian—profusely illustrated.

By Samuel C. Williams Library

1651

16511. TRATTATO DELLA PITTURA di L. da V., novamente dato in luce, con la Vita dell’istesso autore, scritta da Rafaelle Du Fresne. Si sono giunti i tre libri delta pittura, et it Trattato delta statua di L. B. Alberti, con la Vita del medesimo. Parigi, Langlois, f.°, pp. 16 not num. + 112 + 30 not num. + 62; ill. V. 12 .TRAITÉ DE LA PEINTURE de L. de V., donné au public et trauduit de l’italien en français par R.F.S.d.C. Paris, Langlois,4°, pp. 16+128; ill. V. 217163. TRAITÉ DE LA PEINTURE par L. de V., revu et corrigé. Nouvelle édition augmentée de la Vie de I’Autheur. Paris, Giffart, 16°,PP. liv +34 not num. + 324 + 20 not num.; ill. V. 3Two copies. One lacks frontispiece portrait of Vinci.17214. A TREATISE OF PAINTING by L. da V. Trans. from the Original Italian and adorn’d with a great number of cuts. To which is prefixed the Author’s Life, done from the last edition of the French. London, Printed for J. Senex, at the Globe in Salisbury Court; and W. Taylor, at the Ship in Pater-Noster-Row, 8°, pp. 16 not num. 189 + 16 not num.; ill. V. 4First English edition.17335. TRATTATO DELLA PITRURA di L. da V., nuovamente dato in luce, colla Vita dell’istesso autore scritta da R. Du Fresne. Si sono giunti i tre libri delta pittura, ed it Trattato delta statua di L. B. Alberti, colla Vita del medesimo. E di nuovo ristampato, corretto, ed a maggior perfezione condotto … Napoli, Ricciardo, 4°, pp. 12 not num. + 115 + 18 not num. + 57; ill. V. 717476. DES VORTREFLICHEN florentinischen Mahlers L. da V. höchstnützlicher Traktat von der Mahlerey. Aus dem italiänischen und frantzsösischen in das Teutsche übersetzet … Sveite Auflage. Nürnberg, Weigel, 4°, pp. 20 not num., + 200+ 8 not num.; ill. V. 817867. TRATTATO DELLA PITTURA di L. da V., nuovamente dato in luce con la Vita dell’istesso autore scritta da R. Du Fresne. Si sono aggiunti i tre libri delta pittura ed il Trattato della statua di L. B. Alberti colla Vita del medesimo. In Bologna, nell’ Istituto delle Scienze, f.°, pp. xxiii-202; ill. V. 118. DES HERRN L. von V. ersten Mablers zu Florenz praktisches Werk von der Mablerey . . . Nurnberg, Weigel und Schneider, 4°, pp. 20 not num. + 184+5 not num.; ill. V. 1217929. TRATTATO DELLA PITTURA di L. da V., ridotto alla sua vera lezione sopra una copia a penna di mano di Stefano delta Bella, con le figure disegnate dal medesimo, corredato delle memorie per la Vita dell’autore e del copiatore. Firenze, presso G. Pagard libraio, Jacopo Grazoili stampatore, 4°, pp. xii + lxii + 99; ill. V. 13Two copies. One lacks “ritratto del Principe di Colloredo.”179610. A TREATISE ON PAINTING by L. da V. Trans. from the original Italian. Illustrated with a great number of cuts. To which is added the Life of the author, and a portrait from a picture in the Duke of Tuscany Gallery at Florence. A new edition. “Quam multa vident pictores in umbris et in evidential London, Printed for I. and J. Taylor, at the Architectural Library, High Holbom, 4°, pp. xii + 190 + 19 not num.; ill. V. 14180211. A TREATISE ON PAINTING by L. da V. Faithfully translated from the original Italian, and now first digested under proper heads by John Francis Rigaud Esq…. To which is prefixed a new Life of the author drawn up from authentic materials till now inaccessible, by John Sidney Hawkins. London, Printed for J. Taylor, 8°, pp. xcv-236; ill. (Note: the book really has only 226 pages as the numbers 225 to 234 are omitted by printer’s error.) V. 16Plate 21 is missing.180312. TRAITÉ DE LA PEINTURE de L. de V., précédé de la Vie de l’auteur et du catalogue de ses ouvrages, avec des notes et observations par P. M. Gault Saint Germain. Nouvelle édition, ornée de figures, d’aprés les originaux du Poussin et d’autres grands mâitres. Paris, Perlet, 8°, pp. lxxxviii-413; ill- V. I8180413. TRATTATO DELLA PITTURA di L. da V. Milano, dalla Societa tipografica de’ classici italiani, 8°, pp. [207 and] 255; ill. Two copies. One lacks frontispiece portrait of Vinci and is bound alone. The other is bound with Amoretti’s Memorie as in V. 19181714. TRATTATO DELLA PITTURA di L. da V., tratto da on codice della Biblioteca Vaticana e dedicato alla Maesta di Luigi XVIII Re di Francia e di Navarra. Roma, nella stamperia Re Romanis, 4°, pp. 511. V. 21Two copies. One is bound with a copy of Disegni (V. 22).15. DISEGNI che illustrano l’opera del Trattato della pittura di L. da V., tratti fedelmente dagli originali del Codice Vaticano. Roma, 4°; 22 pl. V. 22182016. TRAITÉ DE LA PEINTURE de L. de V., précédé de la Vie de I’auteur et du catalogue de ses ouvrages avec des notes et observations par P. M. Gault de Saint Germain … Nouvelle édition ornée de figures d’aprés les originaux du Poussin et d’autres grands Mâitres. Genéve, Sestié fils et Cie, 8°, pp.lxxv-356; ill. V. 3183517. A TREATISE ON PAINTING by L. da V. Faithfully trans…. by J. F. Rigaud…. To which is prefixed a Life of the author with a critical account of his works by John William Brown. London, J. B. Nichols and Son, 12°, pp. civ-244; ill. V. 26187718. A TREATISE ON PAINTING by L. da V. Trans. by J. F. Ripud. With a Life of Leonardo by J. W. Brown. New edition, revised. London, George Bell and Sons, 8°, pp. lxvii-238; ill. V. 29188219. L. da V., DAS BUCH VON DER MALEREI, nach dem Codex Vaticanus (Urbinas) 1270, herausgegeben, üubersetzt und erläutert von Heinrich Ludwig. Wien, Bräumuller, 8°, 4 v. pp. 535; 408; 354; 456; ill. (Quellenschriften für Kunstgescbichte und Kunsttechnik des Mittelalters und der Renaissance, Bd. 15-18). V- 31This is the most elaborate and fully critical edition of the Treatise.188520. L. da V., DAS BUCH VON DER MALEREI . Neues Material, aus den Originalmanuscripten gesichtet und dem Cod. Vatic. 1270 eingeordnet von Heinrich Ludwig. Stuttgart, Kohlhammer, 8°, pp. xii-288. V- 32190921. L. da V., TRAKTAT VON DER MALEREI, nach der Uebersetzung von Heinrich Ludwig. Neuherausgegeben und eingeleitet von Marie Herzfeld. Verlegt bei E. Diederichs, Jena, 8°, pp. xxxix-437. V. 35191022. L. de V., TRAITÉ DE LA PEINTURE . Traduit intégralement pour la première fois en français sur le Codex Vaticanus (Urbinas) 1270, complété par des nouveaux fragments tirés des manuscrits du Mäitre, ordonné méthodiquement et accompagné de commentaires par Péladan. Ouvrage orné de 40 figures démonstratives de l’édition princeps et de 100 dessins esthétiques d’après les clichés d’Alinari, Brogi et Fumagalli. Paris, Delagrave, 8°, p. 247. V. 3623. L. de V., TRAITÉ, DU PAYSAGE . Traduit pour la première fois en français, in-extenso sur le Codex Vaticanus, avec un commentaire par Péladan. Ouvrage orné de 140 figures démonstratives de 1′édition du 1817 et de 28 dessins esthétiques dont 24 hors texte. Paris, Delagrave [1910]; 8°, pp. xi-174. V. 37191924. L. de V., TRAITÉ DU PAYSAGE … Peladan … Paris, 8°, pp. xi-174. V.-Reprint of No. 23.192125. DAS MALERBUCH von L. da V., ausgewählt nach der Uebersetzung von H. Ludwig, undzusammengestellt von Dr. Emmy Voigtländer. Leipzig, Voigtländer, 8°, pp. 106; ill. V. 3926. L. de V., TRAITÉ DE LA PEINTURE … Peladan … Paris, Delagrave, 8°, pp. 247. Seventh ed. V. 40

The first part of this catalogue lists editions of Leonardo’s works, the second part lists works on Leonardo. The plan, for the sake of clarity and consistency, is based on the most nearly complete Leonardo bibliography, Ettore Verga’s Bibliografia Vinciana, 1493-1930. Those items in the Lieb collection which are in the Bibliografia Vinciana are herein given the Verga number, designated by V., and the student may refer to that bibliography for a full description of the contents and importance of items thus numbered. Items not listed by Verga are designated by V- and naturally include everything dated after 1930. Most of the works without Verga numbers are described by him in differing editions or are mentioned in his notes; or are works referring only indirectly to Leonardo. Apparently the Lieb collection of Vinciana is the only one in the world formed by an engineer with emphasis on Leonardo’s mechanical genius. It thus contains general works on the history of aviation and technics outside the province of the Bibliografia Vinciana. In the years since Mr. Lieb’s death in 1929 a small number of items have been added by friends of the library and by means of a very small endowment fund, but at present the library has no means of growing after the large and comprehensive plan of its original collector. Each item has been examined carefully. Some of the earlier Treatises (numbers 1, 4, 5, 6, 8, 10, 12, 15, 16, and 23) differ in size, paging or otherwise from Verga’s descriptions. In other items slight changes have been silently made correcting Verga’s misprints and confused treatment of English names. In compiling the catalogue I have enjoyed the constant advice and encouragement of Miss Enid Hawkins, Mr. James Creese, and Dr. Thomas Ollive Mabbott. The unusually complete collection of editions of Leonardo’s works, listed in Part One, is not only the largest in this country, but includes all the facsimiles that have been published to date. One comes to feel that Leonardo’s greatest contribution to humanity was not the Mona Lisa, not any particular drawing, painting or manuscript. What, above all things, he gave to the world was a method and an attitude. He was his own masterpiece. That masterpiece may be studied fully and at one’s leisure in the Lieb Memorial Rooms.MAUREEN COBB MABBOTT 1 Dec. 1936

The illegitimate son of a 25-year-old notary, Ser Piero, and a peasant girl, Caterina, Leonardo was born on April 15, 1452, in Vinci, Italy, just outside Florence. His father took custody of the little fellow shortly after his birth, while his mother married someone else and moved to a neighboring town. They kept on having kids, although not with each other, and they eventually supplied him with a total of 17 half sisters and brothers..

Growing up in his father’s Vinci home, Leonardo had access to scholarly texts owned by family and friends. He was also exposed to Vinci’s longstanding painting tradition, and when he was about 15 his father apprenticed him to the renowned workshop of Andrea del Verrochio in Florence. Even as an apprentice, Leonardo demonstrated his colossal talent. Indeed, his genius seems to have seeped into a number of pieces produced by the Verrocchio’s workshop from the period 1470 to 1475. For example, one of Leonardo’s first big breaks was to paint an angel in Verrochio’s “Baptism of Christ,” and Leonardo was so much better than his master’s that Verrochio allegedly resolved never to paint again. Leonardo stayed in the Verrocchio workshop until 1477 when he set up a shingle for himself.

In search of new challenges and the big bucks, he entered the service of the Duke of Milan in 1482, abandoning his first commission in Florence, “The Adoration of the Magi”. He spent 17 years in Milan, leaving only after Duke Ludovico Sforza’s fall from power in 1499. It was during these years that Leonardo hit his stride, reaching new heights of scientific and artistic achievement.

The Duke kept Leonardo busy painting and sculpting and designing elaborate court festivals, but he also put Leonardo to work designing weapons, buildings and machinery. From 1485 to 1490, Leonardo produced a studies on loads of subjects, including nature, flying machines, geometry, mechanics, municipal construction, canals and architecture (designing everything from churches to fortresses). His studies from this period contain designs for advanced weapons, including a tank and other war vehicles, various combat devices, and submarines. Also during this period, Leonardo produced his first anatomical studies. His Milan workshop was a veritable hive of activity, buzzing with apprentices and students.

Alas, Leonardo’s interests were so broad, and he was so often compelled by new subjects, that he usually failed to finish what he started. This lack of “stick-to-it-ness” resulted in his completing only about six works in these 17 years, including “The Last Supper” and “The Virgin on the Rocks,” and he left dozens of paintings and projects unfinished or unrealized (see “Big Horse” in sidebar). He spent most of his time studying science, either by going out into nature and observing things or by locking himself away in his workshop cutting up bodies or pondering universal truths.

Between 1490 and 1495 he developed his habit of recording his studies in meticulously illustrated notebooks. His work covered four main themes: painting, architecture, the elements of mechanics, and human anatomy. These studies and sketches were collected into various codices and manuscripts, which are now hungrily collected by museums and individuals (Bill Gates recently plunked down $30 million for the Codex Leicester!).

Back to Milan… after the invasion by the French and Ludovico Sforza’s fall from power in 1499, Leonardo was left to search for a new patron. Over the next 16 years, Leonardo worked and traveled throughout Italy for a number of employers, including the dastardly Cesare Borgia. He traveled for a year with Borgia’s army as a military engineer and even met Niccolo Machiavelli, author of “The Prince.” Leonardo also designed a bridge to span the “golden horn” in Constantinople during this period and received a commission, with the help of Machiavelli, to paint the “Battle of Anghiari.”

About 1503, Leonardo reportedly began work on the “Mona Lisa.” On July 9, 1504, he received notice of the death of his father, Ser Piero. Through the contrivances of his meddling half brothers and sisters, Leonardo was deprived of any inheritance. The death of a beloved uncle also resulted in a scuffle over inheritance, but this time Leonardo beat out his scheming siblings and wound up with use of the uncle’s land and money.

From 1513 to 1516, he worked in Rome, maintaining a workshop and undertaking a variety of projects for the Pope. He continued his studies of human anatomy and physiology, but the Pope forbade him from dissecting cadavers, which truly cramped his style.

Following the death of his patron Giuliano de’ Medici in March of 1516, he was offered the title of Premier Painter and Engineer and Architect of the King by Francis I in France. His last and perhaps most generous patron, Francis I provided Leonardo with a cushy job, including a stipend and manor house near the royal chateau at Amboise.

By Museum of Science, Boston

Although suffering from a paralysis of the right hand, Leonardo was still able to draw and teach. He produced studies for the Virgin Mary from “The Virgin and Child with St. Anne”, studies of cats, horses, dragons, St. George, anatomical studies, studies on the nature of water, drawings of the Deluge, and of various machines.

Leonardo died on May 2, 1519 in Cloux, France. Legend has it that King Francis was at his side when he died, cradling Leonardo’s head in his arms.

In addition to being just about the smartest person ever, Leonardo is reported to have been a strikingly handsome man with great strength and a fine singing voice. And unlike his fellow 15th-century Italians, he was a vegetarian and followed strict dietary rules. In fact, he loved animals so much that he would often buy caged animals at the market just to set them free.

Source: http://www.mos.org/leonardo/bio.html

Leonardo Da Vinci is one of the greatest and most ingenious men that history has produced.  His contributions in the areas of art, science, and humanity are still among the most important that a single man has put forth, definitely making his a life worth knowing.   Da Vinci, born on April 15, 1452, is credited with being a master painter, sculptor, architect, musician, engineer, and scientist.  He was born an illegitimate child to Catherina, a peasant girl.  His father was Ser Piero da Vinci, a public notary for the city of Florence, Italy.  For the first four years of his life he lived with his mother in the small village of Vinci, directly outside of the great center of the Renaissance, Florence.  Catherina was a poor woman, with possible artistic talent, the genetic basis of Leonardos talents.  Upon the realization of Leonardos potential, his father took the boy to live with him and his wife in Florence (Why did).  This was the start of the boys education and his quest for knowledge.  Leonardo was recognized by many to be a Renaissance child because of his many talents.  As a boy, Leonardo was described as being handsome, strong, and agile.  He had keen powers of observation, an imagination, and the ability to detach himself from the world around him.  At an early age Leonardo became interested in subjects such as botany, geology, animals (specifically birds), the motion of water, and shadows (About Leonardo).  At the age of 17, in about 1469, Leonardo was apprenticed as a garzone (studio boy) to Andrea del Verrocchio, the leading Florentine painter and sculptor of his day.  In Verrocchios workshop Leonardo was introduced to many techniques, from the painting of altarpieces and panel pictures to the creation of large sculptural projects in marble and bronze.  In 1472 he was accepted in the painters guild of Florence, and worked there for about six years.  While there, Leonardo often painted portions of Verrocchios paintings for him, such as the background and the kneeling angel on the left in the Baptism of Christ (Encarta).  Leonardos sections of the painting have soft shadings, with shadows concealing the edges.  These areas are distinguished easily against the sharply defined figures and objects of Verrocchio, that reflect the style called Early Renaissance.  Leonardos more graceful approach marked the beginning of the High Renaissance.  However, this style did not become more popular in Italy for another 25 year (Gilbert 46).  Leonardo actually started the popularization of this style.  For this reason Leonardo could be called the Father of the High Renaissance.  Leonardos leading skills emerged through his paintings and his techniques.  Leonardos talents soon drew him away from the Guild and in 1472 Leonardo finished his first complete painting, Annunciation.  In 1478 Leonardo reached the title of an Independent Master. His first large painting, The Adoration of the Magi (begun in 1481), which was left unfinished, was ordered in 1481 for the Monastery of San Donato a Scopeto, Florence.  Other works ascribed to his youth are the Benois Madonna (1478), the portrait Ginevra de Benci (1474), and the unfinished Saint Jerome (1481).  Leonardo expanded his skills to other branches of interest and in 1481 Leonardo wrote an astonishing letter to the Duke of Milan, Ludovico Sforza.  In this letter he stated that he knew how to build portable bridges; that he knew the techniques of constructing bombardments and of making cannons; that he could build ships as well as armored vehicles, catapults, and other war machines; and that he could execute sculpture in marble, bronze, and clay.   Thus, he entered the service of the Duke in 1482, working on Ludovicos castle, organizing festivals, and he became recognized as an expert in military engineering and arms.  Under the Duke, Leonardo served many positions.  He served as principal engineer in the Dukes numerous military enterprises and was active as an architect (Encarta).  As a military engineer Leonardo designed artillery and planned the diversion of rivers.  He also improved many inventions that were already in use such as the rope ladder.  Leonardo also drew pictures of an armored tank hundreds of years ahead of its time.  His concept failed because the tank was too heavy to be mobile and the hand cranks he designed were not strong enough to support such a vehicle.   As a civil engineer, he designed revolving stages for pageants.  As a sculptor he planned a huge monument of the Dukes father mounted up on a leaping horse.  The Horse, as it was known, was the culmination of 16 years of work.  Leonardo was fascinated by horses and drew them constantly.  In The Horse, Leonardo experimented with the horses’ forelegs and measurements.    The severe plagues in 1484 and 1485 drew his attention to town planning, and his drawings and plans for domed churches reflect his concern with architectural problems (Bookshelf).  In addition he also assisted the Italian mathematician Luca Pacioli in the work Divina Proportione (1509).   While in Milan Leonardo kept up his own work and studies with the possible help of apprentices and pupils, for whom he probably wrote the various texts later compiled as Treatise on Painting (1651).  The most important painting of those created in the early Milan age was The Virgin of the Rocks.  Leonardo worked on this piece for an extended period of time, seemingly unwilling to finish what he had begun (Encarta).  It is his earliest major painting that survives in complete form.  From 1495 to 1497 Leonardo labored on his masterpiece, The Last Supper, a mural  in the refectory of the Monastery of Santa Maria delle Grazie, Milan.   While painting The Last Supper, Leonardo rejected the fresco technique normally used for wall paintings.  An artist that uses this fresco method must work quickly.  Leonardo wanted to work slowly, revising his work, and use shadows-which would have been impossible in using fresco painting.  He invented a new technique that involved coating the wall with a compound that he had created.  This compound, which was supposed to protect the paint and hold it in place did not work, and soon after its completion the paint began to flake away.  For this reason The Last Supper still exists, but in poor condition (Gilbert 46).  Leonardo had at many times merged his inventive and creative capabilities to enhance life and improve his works.  Although his experiments with plastering and painting failed, they showed his dissatisfaction with an accepted means and his creativity and courage to experiment with a new and untried idea.  Experimentation with traditional techniques is evident in his drawings as well.   During Leonardos 18 year stay in Milan he also produced other paintings and drawings, but most have been lost.  He created stage designs for theater, architectural drawings, and models for the dome of Milan Cathedral.  Leonardo also began to produce scientific drawings, especially of the human body.  He studied anatomy by dissecting human corpses and the bodies of animals.  Leonardos drawings did not only clarify the appearance of bones, tendons, and other body parts but their function in addition.  These drawings are considered to be the first accurate representations of human anatomy.  Leonardo is also credited with the first use of the cross section, a popular technique for diagramming the human body.  Leonardo wrote, The painter who has acquired a knowledge of the nature of the sinews, muscles, and tendons will know exactly in the movement of any limb how many and which of the sinews are the cause of it, and which muscle by its swelling is the cause of this sinews contracting (Wallace 131).  In December, 1499, the Sforza family was driven out of Milan by French forces and Leonardo was forced to leave Milan and his unfinished statue of Ludovico Sforzas father, which was destroyed by French archers that used it for target practice.  Leonardo then returned to Florence in 1500 (Bookshelf). When Leonardo returned to Florence the citizens welcomed him with open arms because of the fame he acquired while in Milan.  The work he did there strongly influenced other artists such as Sandro Botticelli and  Piero di Cosimo.  The work he was to produce would influence other masters such as Michelangelo and Raphael.  In 1502 Leonardo entered the service of Cesare Borgia, Duke of Romagna and son and Chief General of Pope Alexander VI.  For this post he supervised work on the fortress of the papal territories in central Italy.  In 1503 he was a member of a commission of artists to decide on the proper location for the David by Michelangelo (Encarta).   Towards the end of the year Leonardo began to design a decoration for the Great Hall of the Palazzo Vecchio.  Leonardo chose the Battle of Anghiari as the subject of the mural, a victory for Florence in a war against Pisa.  He made many drawings and sketches of a cavalry battle, with tense soldiers, leaping horses and clouds of dust.  In painting The Battle of Anghiari Leonardo again rejected fresco and tried an experimental technique called encaustic.  Once again the experiment was unsuccessful.  Leonardo went on a trip and left the painting unfinished.  When he returned he found that the paint had run and he never finished the painting.  The paintings general appearance is known from Leonardos sketches and other artists’ copies of it (Creighton 45).   During the period of time that Leonardo spent painting the Palazzo Vecchio he also painted several other works, including the most famous portrait ever, the Mona Lisa.  The Mona Lisa, also known as La Gioconda, (after the presumed name of the models husband) became famous because of the unique expression on Lisa del Giocondas face.  She appears to have just started to or finished smiling.  This painting was one of Leonardos favorites and he carried it with him on all of his subsequent travels (Clark 133).   In 1506, Leonardo returned to Milan to finished up some of his projects that he had to abandon during his hasty departure.  He stayed there until 1516 when he moved to Cloux, France, where he stayed with his pupil Melzi.  While in Milan he was named Court Painter to King Louis XII of France, who was then residing in Milan.  For the next six years he traveled from Milan to Florence repeatedly to look after his inheritance.  In 1514 he traveled to Rome under the patronage of Pope Leo X.  During this time Leonardos energy was focused mainly on his scientific experiments.  He then moved to France to serve King Francis I.  It is here in Chateau de Cloux that he died on May 2,1519 (Wallace 127). Leonardo constantly reworked his drawings, studies and mechanical theories. His observations of the motion of water are amazingly accurate.  In Leonardos Studies of Water Formation, the flow patterns observed are swirling around , then below as it forms a pool.  Using modern slow motion cameras’ scientists now study the same effects that Leonardo wrote about and observed with his naked eye (Encarta).   Another study of water and wind is his Apocalyptic Visions.  This is a collected study of hurricanes and storms.  In these highly detailed drawings the pen lines so carefully marked explode into action similar to the storms themselves.  Leonardos mathematical drawings are also highly skilled.  In a math formula Leonardo proved the theory  of perpetual motion false but it still intrigued him.  Among his vast notes were small ideas for a perpetual motion machine.  His ideas for completing this task involved an unbalanced wheel that would revolve forever, conserving its energy.  However these machines were never constructed.  Another mathematical drawing was the Polyhedron.  This three dimensional figure represented proportions to him not only in numbers and measurements but also in sounds, weights, positions and in whatsoever power there may be (Wallace 59). The notebooks of Leonardo contain sketches and plans for inventions that  came into existence almost five-hundred years after the Renaissance.  Leonardo practiced a technique of writing backwards.  It has been postulated that he did this, being left-handed, so that he wouldnt smear the ink by his left hand running across newly-written words.  Moreover, the individual words are spelled backwards.  In order to read the Notebooks one must hold the pages up to a mirror and it is believed by some that Leonardo did this to keep his writing and theories secret.  In any event, contained in the Notebooks are plans and drawings for what we recognize today as the first working propeller, a submarine, a helicopter, a tank,  parachutes, the cannon, perpetual motion machines, and the rope ladder.  There are perfectly executed drawings of the human body, from the proportions of the full figure to dissections in the most minute detail.   It was observed, however, that  Leonardos  interest in the human body and his ability to invent mechanical things were actually not as paramount to him as was his fascination and awe of the natural world (Clark 133).   Leonardo lived to be 67 years old.  He is not known to have ever married or had children.  In fact, it was said of him that he only saw women as reproductive mechanisms (Clark 134).If there is one quality that characterizes the life of Leonardo da Vinci it would be his curiosity for life and the world around him.  Curiosity is the force that motivated him to observe, dissect and document every particle of matter that warranted his attention.  From babies in the womb to seashells on the beach, nothing escaped his relentless intellect.  The mind of Leonardo transcends the period of the Renaissance and every epoch thereafter.  It is universally acknowledged that his imagination, his powers of reason, and his sheer energy surpass that of any person in history.  The study of Leonardo is limited only by the inadequacy of the student.

http://www.cyberessays.com/Arts/10.htm

Michelangelo Buonarroti, one of the greatest artists of all time, was   not exactly a noble and humble man. Irritable, arrogant, and impatient, his perfectionism and expectations drove away many potential friends, and even   provoked one would-be friend to hit him in the nose, crushing it like a   biscuit. However, whats truly important for us today is that this man ultimately became an artistic genius, mastering the three arts of the Renaissance: sculpture, painting, and architecture. From his early years, when   he created the Pieta (at age 25), to his 40 years of tormented work on a   monumental tomb for Pope Julius II, to his greatest masterpiece, the paintings   in the Sistine Chapel, Michelangelo astounded people with his almost   otherworldly talent.    Diane Stanleys well-researched, vivid narrative captures the life of the   creator of some of the worlds most beautiful, heart-wrenching works of art. Her   illustrations are fantastically elaborate and include details of many of   Michelangelos sculptures and paintings. Michelangelo is a perfect   introduction to art and art history, with plenty of compelling background   information about the Renaissance and life in 15th and 16th century Italy.   Stanley has written many other award

winning picture-book biographies, including   Leonardo da Vinci and Cleopatra. (Ages 9 to 12)   –Emilie CoulterPersonal Review:  Michelangelo by Diane StanleyAward-winning author Stanley presents a stunning picture book biography of true Renaissance man Michelangelo Buonarroti, who came to master the arts of sculpting, painting and architecture in fifteenth and sixteenth century Italy.  Stanley blends information about Michelangelo and his life as an artist with historical detail to set the scene, and then introduces a fascinating cast of personalities that include his first master Domenico Ghirlandodaio, the Warrior Pope he offended, and his contemporary Leonardo Da Vinci, who was Michelangelo’s envy and rival.   Stanley reproduces and discusses Michelangelo’s greatest works (David, the Sistine Chapel, the Pieta) then adds details such as fresco painting techniques and the gruesome necessity of dissecting cadavers to study anatomy.  Quotes from Michelangelo’s own letters enrich the text; it is a tragedy that he destroyed many of his personal papers before his death.    A full-page illustration to exemplify the narrative compliments each page of text; the text pages are decorated with period coins, coats of arms, stonecutting tools, portraits, sketches and reproductions.  The illustrations are an unusual mix of paintings which feature scanned images of Michelangelo’s works of art, including drawings and sketches, sculpture and paintings. Stanley’s paintings (which show the housing, dress and goods of the poverty stricken as well as the palace-dwellers) seem flat when paired with Michelangelo’s dimensional artwork, and the contrast is a bit awkward. Her paintings imitate the style of the times in color, layout and subject, while still following the narrative.  A richly-hued historical map of Italy explains the government of the time as well as the layout of the country, while the author’s note opposite gives a defines the Renaissance. Bibliography & permissions are provided; the absence of a timeline and glossary may disappoint teachers.

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