The Notebooks of Leonardo Da Vinci. Complete. Leonardo da Vinci

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СКАЧАТЬ for m n.] The smallest thickness of the arm in profile z c goes 6 times between the knuckles of the hand and the dimple of the elbow when extended and 14 times in the whole arm and 42 in the whole man [64]. The greatest thickness of the arm in profile is equal to the greatest thickness of the arm in front; but the first is placed at a third of the arm from the shoulder joint to the elbow and the other at a third from the elbow towards the hand.

      [Footnote: Compare Pl. XVII. Lines 1-10 and 11-15 are written in two columns below the extended arm, and at the tips of the fingers we find the words: fine d'unghie (ends of the nails). Part of the text—lines 22 to 25—is visible by the side of the sketches on Pl. XXXV, No. 1.]

      349

      From the top of the shoulder to the point of the elbow is as far as from that point to the joints of the four fingers with the palm of the hand, and each is 2 faces.

      [5]a e is equal to the palm of the hand, r f and o g are equal to half a head and each goes 4 times into a b and b c. From c to m is 1/2 a head; m n is 1/3 of a head and goes 6 times into c b and into b a; a b loses 1/7 of its length when the arm is extended; c b never alters; o will always be the middle point between a and s.

      y l is the fleshy part of the arm and measures one head; and when the arm is bent this shrinks 2/5 of its length; o a in bending loses 1/6 and so does o r.

      a b is 1/7 of r c. f s will be 1/8 of r c, and each of those 2 measurements is the largest of the arm; k h is the thinnest part between the shoulder and the elbow and it is 1/8 of the whole arm r c; o p is 1/5 of r l; c z goes 13 times into r c.

      [Footnote: See Pl. XX where the text is also seen from lines 5-23.]

      The movement of the arm (350-354).

      350

      In the innermost bend of the joints of every limb the reliefs are converted into a hollow, and likewise every hollow of the innermost bends becomes a convexity when the limb is straightened to the utmost. And in this very great mistakes are often made by those who have insufficient knowledge and trust to their own invention and do not have recourse to the imitation of nature; and these variations occur more in the middle of the sides than in front, and more at the back than at the sides.

      351

      When the arm is bent at an angle at the elbow, it will produce some angle; the more acute the angle is, the more will the muscles within the bend be shortened; while the muscles outside will become of greater length than before. As is shown in the example; d c e will shrink considerably; and b n will be much extended.

      [Footnote: See Pl. XIX, No. 2.]

      352

      OF PAINTING.

      The arm, as it turns, thrusts back its shoulder towards the middle of the back.

      353

      The principal movements of the hand are 10; that is forwards, backwards, to right and to left, in a circular motion, up or down, to close and to open, and to spread the fingers or to press them together.

      354

      OF THE MOTIONS OF THE FINGERS.

      The movements of the fingers principally consist in extending and bending them. This extension and bending vary in manner; that is, sometimes they bend altogether at the first joint; sometimes they bend, or extend, half way, at the 2nd joint; and sometimes they bend in their whole length and in all the three joints at once. If the 2 first joints are hindered from bending, then the 3rd joint can be bent with greater ease than before; it can never bend of itself, if the other joints are free, unless all three joints are bent. Besides all these movements there are 4 other principal motions of which 2 are up and down, the two others from side to side; and each of these is effected by a single tendon. From these there follow an infinite number of other movements always effected by two tendons; one tendon ceasing to act, the other takes up the movement. The tendons are made thick inside the fingers and thin outside; and the tendons inside are attached to every joint but outside they are not.

      [Footnote 26: This head line has, in the original, no text to follow.] Of the strength [and effect] of the 3 tendons inside the fingers at the 3 joints.

      The movement of the torso (355-361).

      355

      Observe the altered position of the shoulder in all the movements of the arm, going up and down, inwards and outwards, to the back and to the front, and also in circular movements and any others.

      And do the same with reference to the neck, hands and feet and the breast above the lips &c.

      356

      Three are the principal muscles of the shoulder, that is b c d, and two are the lateral muscles which move it forward and backward, that is a o; a moves it forward, and o pulls it back; and bed raises it; a b c moves it upwards and forwards, and c d o upwards and backwards. Its own weight almost suffices to move it downwards.

      The muscle d acts with the muscle c when the arm moves forward; and in moving backward the muscle b acts with the muscle c.

      [Footnote: See Pl. XXI. In the original the lettering has been written in ink upon the red chalk drawing and the outlines of the figures have in most places been inked over.]

      357

      OF THE LOINS, WHEN BENT.

      The loins or backbone being bent. The breasts are are always lower than the shoulderblades of the back.

      If the breast bone is arched the breasts are higher than the shoulderblades.

      If the loins are upright the breast will always be found at the same level as the shoulderblades.

      [Footnote: See Pl. XXII, No. 1.]

      358

      a b the tendon and ankle in raising the heel approach each other by a finger's breadth; in lowering it they separate by a finger's breadth.

      [Footnote: See Pl. XXII, No. 2. Compare this facsimile and text with Pl. III, No. 2, and p. 152 of MANZI'S edition. Also with No. 274 of LUDWIG'S edition of the Vatican Copy.]

      359

      Just so much as the part d a of the nude figure decreases in this position so much does the opposite part increase; that is: in proportion as the length of the part d a diminishes the normal size so does the opposite upper part increase beyond its [normal] size. The navel does not change its position to the male organ; and this shrinking arises because when a figure stands on one foot, that foot becomes the centre [of gravity] of the superimposed weight. This being so, the middle between the shoulders is thrust above it out of it perpendicular line, and this line, which forms the central line of the external parts of the body, becomes bent at its upper extremity [so as to be] above the foot which supports the body; and the transverse lines are forced into such angles that their ends are lower on the СКАЧАТЬ