ILLUSTRATION CREDITS

Here: Leonardo da Vinci, Studies of shadows created by candlelight, ca. 1490–1491, Manuscript C, fol. 22r. Paris, Bibliothèque de l’Institut de France (2174). © RMN–Grand Palais / Art Resource, NY.

Here: Leonardo da Vinci, Studies of light and shadows on a spherical object, ca. 1490–1491, Manuscript C, fol. 4v. Paris, Bibliothèque de l’Institut de France (2174). © RMN–Grand Palais / Art Resource, NY.

Here: Francesco Melzi, Portrait of Leonardo da Vinci, ca. 1515–1518, red chalk on paper, 27.5 × 19 cm. Royal Collection Trust, Windsor Castle (RCIN 912726). Courtesy of Royal Collection Trust / © Her Majesty Queen Elizabeth II 2020.

Here: Andrea del Verrocchio and his workshop, Saint Jerome, ca. 1460, mixed materials on paper attached to wood, 40.5 × 27 cm. Florence, Galleria Palatina, Palazzo Pitti (inv. 1912 no. 370). © Scala / Art Resource, NY.

Here: Andrea del Verrocchio, Christ and Saint Thomas, ca. 1467–1483, bronze, 230 cm. (91 in.). Florence, Orsanmichele. © Scala / Art Resource, NY.

Here: Leonardo da Vinci, Drapery Study for Kneeling Figure, early 1470s, gray and white tempera, and white wash on gray prepared linen, 16.4 × 16.8 cm. Florence, Gallerie degli Uffizi (Gabinetto Disegni e Stampe, 420E). © Scala / Art Resource, NY.

Here: Florence, Santa Maria del Fiore, Golden Ball, ca. 1468–1471, designed by Andrea del Verrocchio atop the dome and lantern designed by Filippo Brunelleschi. © Scala / Art Resource, NY.

Here: Unknown author, Codex Riccardianus 2110, late fifteenth century, fol. 18v. Florence, Biblioteca Riccardiana. © Biblioteca Riccardiana, Florence.

Here: Leonardo da Vinci, Codex Atlanticus, ca. 1478–1480, fol. 87r. Notes and sketches on burning mirrors, showing (from top to bottom): two polishing machines to smooth glazed surfaces, views of a furnace to melt glass and bake clay cores, and a geometrical diagram. Milan, Veneranda Biblioteca Ambrosiana. © Veneranda Biblioteca Ambrosiana / Metis e Mida Informatica / Mondadori Portfolio / Bridgeman Images.

Here: Leonardo da Vinci, Codex Atlanticus, ca. 1478–1480, fol. 847r. View of Brunelleschi’s castello, showing the screw (viticcio di lanterna) that made it possible to lift the hoist as the lantern went up. Milan, Veneranda Biblioteca Ambrosiana. © Veneranda Biblioteca Ambrosiana / Metis e Mida Informatica / Mondadori Portfolio / Bridgeman Images.

Here: Leonardo da Vinci, Shadow Drawing, ca. 1478–1480. Back of a study for the figure of Saint Sebastian, pen and brown ink, 17.4 × 6.3 cm. Hamburg, Germany. © Hamburger Kunsthalle / Art Resource, NY.

Here: Leonardo da Vinci, Studies of light and shadows, ca. 1490–1491, Manuscript C, fol. 12r. Paris, Bibliothèque de l’Institut de France (2174). © RMN–Grand Palais / Art Resource, NY.

Here: Ibn al-Haytham, De li aspetti, fourteenth century, Codex Vaticanus Latinus 4595, fol. 30v. Light rays entering room through a pinhole. Vatican City, Biblioteca Apostolica Vaticana. © Biblioteca Apostolica Vaticana.

Here: Leonardo da Vinci, The Annunciation, ca. 1472, oil on wood, 90 × 122 cm. Florence, Gallerie degli Uffizi (1890, no. 1618). © Scala / Ministero per i Beni e le Attività Culturali / Art Resource, NY.

Here: Francesco Melzi, Libro di Pittura, ca. 1540, Codex Urbinas Latinus 1270, fol. 148v. Illustration for Leonardo da Vinci’s note “Why in twilight shadows on white objects are blue.” Vatican City, Biblioteca Apostolica Vaticana. © Biblioteca Apostolica Vaticana.

Here: Andrea del Verrocchio and Leonardo da Vinci, The Baptism of Christ, ca. 1470–1478, tempera and oil on wood, 177 × 151 cm. Florence, Gallerie degli Uffizi (1890, no. 8358). © Scala / Ministero per i Beni e le Attività Culturali / Art Resource, NY.

Here: Infrared photography of Leonardo da Vinci, Ginevra de’ Benci. Washington, D.C., National Gallery of Art.

Here: Leonardo da Vinci, reverse of Ginevra de’ Benci, ca. 1475, oil on wood, 42.7 × 37 cm. Washington, D.C., National Gallery of Art (1967.6.1.b).

Here: Infrared photography of Leonardo da Vinci, Adoration of the Magi. Florence, Opificio delle Pietre Dure.

Here: Leonardo da Vinci, Figure Studies for the Adoration of the Magi and Hydrograph, ca. 1481–1482, metal point, pen and ink, 27.8 × 20.8 cm. Paris, Musée du Louvre, Département des Arts Graphiques (2258r). © RMN–Grand Palais / Art Resource, NY.

Here: Francesco Melzi, Libro di Pittura, ca. 1540, Codex Urbinas Latinus 1270, fol. 202r. Illustration for Leonardo da Vinci’s note “What part of a body will be most illuminated by a light of even quality.” Vatican City, Biblioteca Apostolica Vaticana. © Biblioteca Apostolica Vaticana.

Here: Leonardo da Vinci, Saint Jerome, ca. 1482, oil on wood (walnut), 103 × 74 cm. Vatican City, Musei, Monumenti e Gallerie Pontificie, Pinacoteca (40337). © Scala / Art Resource, NY.

Here: Leonardo da Vinci, Madonna and Child (The Benois Madonna), ca. 1480–1482, oil on wood (later transferred to canvas), 49.5 × 33 cm. © Saint Petersburg, the State Hermitage Museum (GE 2773). © Scala / Art Resource, NY.

Here: Leonardo da Vinci, detail from Virgin of the Rocks, ca. 1483–1485, oil on wood (later transferred to canvas), 199 × 122 cm. Paris, Musée du Louvre, Département des Peintures (777, 1599). © RMN–Grand Palais / Art Resource, NY.

Here: Leonardo da Vinci (and others), Virgin of the Rocks, ca. 1506–1508, oil on wood, 189.5 × 120 cm. London, National Gallery (1093). © RMN–Grand Palais / Art Resource, NY.

Here: Leonardo da Vinci, The Lady with an Ermine (Cecilia Gallerani), ca. 1486–88, oil on wood, 54 × 39 cm. Krakow, National Museum / Princes Czartoryski Museum (MNK-MKCz XII-209). © Laboratory Stock / National Museum, Krakow.

Here: Leonardo da Vinci, La Belle Ferronière (Lucrezia Crivelli?), ca. 1495, oil on wood, 63 × 45 cm. Paris, Musée du Louvre, Département des Peintures (778). © RMN–Grand Palais / Art Resource, NY.

Here: Leonardo da Vinci, The Skull Sectioned, ca. 1489, traces of black chalk, pen and ink, 18.8 × 13.4 cm. Royal Collection Trust, Windsor Castle (RCIN 919057r). Courtesy of Royal Collection Trust / © Her Majesty Queen Elizabeth II 2020.

Here: Leonardo da Vinci, Vitruvian Man, ca. 1490, pen and ink, and some wash over metalpoint, 34.3 × 24.5 cm. Venice, Gallerie dell’Accademia (Gabinetto Disegni e Stampe, 228). © Cameraphoto Arte, Venice / Art Resource, NY.

Here: Leonardo da Vinci, Study of the neck muscles with skin peeled off, ca. 1489–1490, metalpoint (faded), pen and ink, leadpoint, some discolored white heightening, on pale blue-gray prepared paper, 20.2 × 28.7 cm. Royal Collection Trust, Windsor Castle (RCIN 912609r). Courtesy of Royal Collection Trust / © Her Majesty Queen Elizabeth II 2020.

Here: Leonardo da Vinci, Diagrams of spheres illuminated by the sky, ca. 1490–1492, Manuscript A, fols. 93v–94r. Paris, Bibliothèque de l’Institut de France (2185). © RMN–Grand Palais / Art Resource, NY.

Here: Leonardo da Vinci, Diagrams of spheres illuminated by round light sources, ca. 1490, Manuscript C, fols. 18v–19r. Paris, Bibliothèque de l’Institut de France (2174). © RMN–Grand Palais / Art Resource, NY.

Here: Unknown artist, Academia Leonardi Vinci, ca. 1490, engraving, 29 × 21 cm. London, British Museum (1877, 0113.364). © Trustees of the British Museum.

Here: Leonardo da Vinci, The Last Supper, ca. 1495–1498, mural painting, 460 × 880 cm. Milan, Refectory of Santa Maria delle Grazie. © Alinari / Art Resource, NY.

Here: Leonardo da Vinci, Mona Lisa (Lisa Gherardini wife of Francesco del Giocondo), ca. 1503–1517, oil on wood, 77 × 53 cm. Paris, Musée du Louvre, Département des Peintures (779). © RMN–Grand Palais / Art Resource, NY.

Here: Leonardo da Vinci, The Muscles of the Shoulder, Arm and Neck, ca. 1510–1511, black chalk, pen and ink, wash, 28.2 × 20.2 cm. Royal Collection Trust, Windsor Castle (RCIN 919005v and 919008v). Courtesy of Royal Collection Trust / © Her Majesty Queen Elizabeth II 2020.

Here: Francesco Melzi, Libro di pittura, ca. 1540, Codex Urbinas Latinus 1270, fol. 1. Vatican City, Biblioteca Apostolica Vaticana. © Biblioteca Apostolica Vaticana.

Here: Francesco Melzi, Libro di pittura, c. 1540, Codex Urbinas Latinus 1270, 218v–219r. Vatican City, Biblioteca Apostolica Vaticana. © Biblioteca Apostolica Vaticana.

Here: Portrait of Leonardo da Vinci, from Giorgio Vasari, Le vite de’ più eccellenti pittori scultori e architettori (Florence: Giunti, 1568). Based on Francesco Melzi’s Portrait of Leonardo, ca. 1513–1518.

Here: Disccorso sopra il disegno di Lionardo Vinci. Parte seconda, after 1568, Codex Riccardianus 3208, frontispiece. Florence Biblioteca Riccardiana. © Biblioteca Riccardiana, Florence.

Here: Unknown artist, Codex H227 inf., fol. 61r: shadow drawings copied from Leonardo’s Manuscript C. Milan, Veneranda Biblioteca Ambrosiana. © Veneranda Biblioteca Ambrosiana / Metis e Mida Informatica / Mondadori Portfolio / Bridgeman Images.

Here: Nicolas Poussin (after), drawing for Leonardo da Vinci’s chapter “On the Mighty Motions of a Man’s Limbs,” before 1640, pen and ink, and wash, Codex OR-11706, leaf insert between fol. 43v and fol. 44r. Saint-Petersburg, the Hermitage State Museum, Prints and Drawings Collection. © The Hermitage State Museum, Saint Petersburg.

Here: Nicolas Poussin, Self-Portrait, 1650, oil on canvas, 98 × 74 cm. Paris, Musée du Louvre, Département des Peintures (7302). © RMN–Grand Palais / Art Resource, NY.

Here: Leonardo da Vinci, Trattato della Pittura (Paris, Langlois, 1651), frontispiece.