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- Academia Leonardi Vinci (unknown)
- Accademia del Disegno
- Adoration of the Magi (Leonardo); Battle of Anghiari horses from; challenges and lessons in; character and emotions captured in; commission and location for; devotion depiction in; drawing methods behind; Last Supper relation to; light and shadow work in; optics in; panel size and preparation for; perspective and architectural drawings for; preparatory sketches and studies for; restorations, revelations in; Saint Jerome relation to; story of and storytelling in; time treatment in; as unfinished
- air/atmosphere: aerial perspective relation to; Alhacen on depicting; Aristotelian philosophy on; Brunelleschi approach to; folio notes on; in landscapes; Leonardo’s devotion and talent in depicting; in Madonna of the Carnation; pressure, instrument for measuring; Verrocchio depictions of; in Virgin and Child with Saint Anne
- Alberti, Leon Battista
- Alberti, Pierfrancesco degli
- Alexander VI (pope)
- Alexander VII (pope)
- Alhacen, see Ibn al-Haytham, Abu Ali al-Hasan
- Ambrogio de’ Predis, Giovanni
- anatomy: Alberti, L., on sketching; Book on Painting omission of; church and studies of; common sense and; dissections informing studies of; eye; folio drawings and writings on; Melzi studies of; nature compared with; shoulder and arm; skull drawings and notes on; Vesalius book on; Vitruvian Man and
- Annunciation (Leonardo); adjustments and layers in; color use in; commission for conventions employed in; golden ratio in; landscape techniques in; materials and techniques for; optics role in; preparatory studies for; shadows approach in; story behind
- apprenticeships, see Leonardo’s workshop; Verrocchio’s workshop
- Archimedes
- architecture/building techniques: Adoration of the Magi drawings on; Brunelleschi’s; influences for interest in; library of San Marco; Louvre; optics used in; Renaissance revival of; Saint Peter’s Church; Vitruvius on
- Arconati, Galeazzo
- Argyropoulos, John
- Aristotelian philosophy
- astronomy
- Bacon, Roger
- Bambach, Carmen
- Bandello, Matteo
- Bandello, Vincenzo
- Baptism of Christ (Verrocchio and Leonardo)
- Barberini, Francesco (cardinal)
- Barberini, Maffeo
- Barolsky, Paul
- Baroncelli, Bernardo
- Battle of Anghiari (Leonardo); Adoration of the Magi horses in; fresco technique for; Michelangelo painting beside; optics and science behind; as unfinished, reasons behind; Vespucci, A., role in
- Belcari, Feo
- Belle Ferronnière, La (Leonardo)
- Bembo, Bernardo
- Benci, Amerigo de’
- Benci, Ginevra de’; see also Ginevra de’ Benci
- Benci, Giovanni d’Amerigo
- Benci, Giovanni de’
- Benci, Tommaso
- Benci family
- Benois Madonna (Madonna and Child) (Leonardo)
- Bernardinus de’ Bustis
- Bernini, Gian Lorenzo
- Billi, Antonio
- birth (of Leonardo)
- Book of Optics (De li aspetti) (Alhacen): books modeled on; on burning mirrors; on color and light perception; Ghiberti, L., influenced by; on human vision mechanics; Leonardo influenced by; scholarship synthesized in; on sensory experiences relation to knowledge; soul philosophies in; tedium of; time spent writing; translations of; on visual illusions
- book on painting (Leonardo’s unpublished): abandonment of; anatomy and nature compared in; art academy vision based on; Cassiano editorial talent with; Cassiano role in disseminating; on continuous learning of material and technique; folios relation to; intentions/plan for; introduction written for; on light and optics science; lost writings from; Melzi work on; organization of; practical advice in; science and philosophy focus in; on shadow; on sight, reliability of; on soul expression; on superiority of painting over poetry; table of contents for; tampering with, public ignorance of; time spent on; see also Book on Painting; Treatise on Painting
- Book on Painting (Melzi); on aerial perspective; anatomy omission in; authorship and legacy of, division/sections of; doctored versions of; on drapery studies and techniques; libraries with and scholarship on; mental discourse importance emphasized in; optics/light and shadow sections of; paragone inclusion in; preparation of folios for; printing in 1817; on proportions; publishing of; shadow drawings covered in; size calculations and factors; studio practice section in; table of contents; time spent on; Treatise on Painting authority compared with; typesetting for; Vasari exposure to
- Borghini, Raffaello
- Borghini, Vincenzo
- Borromini, Francesco
- Botticelli, Sandro
- Bramante, Donato
- Brunelleschi, Filippo: air/atmosphere depictions and effects of; castello/lifting machine invention of; death mask for; education for; folios on inventions of; Ghiberti, L., as rival to; linear perspective invention and demonstration; Manetti and; Santa Maria del Fiore Cathedral design of
- Brunelleschi’s dome palla (Verrocchio); burning mirrors used in creation of; commission; complexity behind; experiments in designing; failure of other craftsmen prior to; gilding process; Leonardo’s lessons from; materials and tool selection for; metallurgy and; placement and celebration of; spherical geometry and; time spent creating
- building techniques, see architecture/building techniques
- burning mirrors: Alhacen on; Archimedes use of; Brunelleschi’s dome palla use of; folios on and work with; function of; geometry behind; manufacturers, risks for; optics and; Toscanelli notes on; Verrocchio use of
- Caprotti, Gian Giacomo (“Salai”)
- Caravaggio
- career/works (of Leonardo): artist and scientist separation myth about; completion challenges and factors in; curiosity role in; early fame in; independent artistic, beginning of; later life; in Milan, beginning of; motivations for; obsessive and contemplative style in; renown over money focus in; set design in; volume of paintings contrasted to writings throughout; see also specific topics and works
- Cassiano dal Pozzo; Arconati aid to; background; Barberini, F., ties with; book on painting dissemination role of; editorial talent of; folios/notebooks editing and compiling process for; illustrators for redrawing Leonardo’s sketches selected by; intellectual circle of; library of; light and shadow notes and sketches inclusion by; on Mona Lisa; Poussin relationship with; “real” Leonardo excluded in book by; shadow drawings exclusion by; Treatise on Painting role of
- Castiglione, Baldassare
- Cellini, Benvenuto
- Cennini, Cennino
- childhood/adolescence (of Leonardo)
- Christ and Saint Thomas (Verrocchio)
- church; anatomy studies and; Marian symbology and theology; optics science and; Renaissance impacted by; Roman and Orthodox, schism between; on storytelling through painting; will inclusion of
- Cicero
- clocks
- color: Alberti, L., on mechanics of; Alhacen on perception of light and; Annunciation use of; Benois Madonna approach to; folio illustration of radiations of; folios on light perception relation to; Last Supper use of; light and shadow perceptions relation to; perspective of; Poussin treatment of; study of science of
- Comedy (Dante)
- Commentaries (Ghiberti, L.)
- common sense
- Concini, Carlo
- confraternities: Immaculate Conception; Leonardo membership in; of Magi; Santa Maria della Neve; Verrocchio
- Craftsman’s Handbook, The (Cennini)
- Crivelli, Lucrezia
- Dante
- David (Donatello)
- David (Verrocchio)
- De anima (On the Soul) (Aristotle)
- death (of Leonardo); see also will and estate
- death masks
- De divina proportione (On Divine Proportions) (Pacioli)
- De li aspetti (Alhacen), see Book of Optics
- De Ludo Geometrico (Leonardo)
- Desargues, Girard
- Descartes, René
- devotion
- Dialogues (Plato)
- Discourse on Drawing (unknown); content disorganization and truncation in; copies and ownership history; legacy; Leonardo misrepresented in; origins and authorship mystery; paragone views cut from; shadow and light discourse absence in
- Donatello
- drapery studies and techniques
- Drapery Study for Kneeling Figure (Leonardo)
- drawings: for Adoration of the Magi; compulsive approach to; early demonstration of talent for; folios on geometry use for; for Ginevra de’ Benci; group, for drapery studies; Head of Judas; Leonardo’s workshop focus on, before painting; materials used for; Melzi job of retracing; metal point used for; on panel, freehand; Poussin exposure to and recreation of; sfumato technique in; skull; spolvero technique for transferring; see also folios/notebooks
- emotional response and connection: Adoration of the Magi approach in capturing; Botticelli style lack of; Last Supper creation of; Leonardo focus on and talent for; in Madonna of the Carnation; in Mona Lisa; storytelling balanced with; Vasari on Leonardo talent for; Verrocchio focus on and approach to; Virgin and Child with Saint Anne and; in Virgin of the Rocks; wrinkles impact for
- Errard, Charles
- Euclid
- eye anatomy
- family background (of Leonardo)
- father, see Ser Piero
- Félibien, André
- Ficino, Marsilio
- Florentine Baptistery
- Florentine politics
- folios/notebooks (Leonardo): on air/atmosphere; on anatomy; Arconati ownership of; Aristotelian philosophy reflected in; Baroncelli corpse detailed in; book on painting relation to; Brunelleschi inventions in; burning mirrors noted in; Cassiano exposure to and compilation of; Codex Atlanticus; Codex Leicester; on color radiations; on color relation to light perception; conclusions based on; constant work on; dating of; Discourse on Drawing misrepresentation of; on eye anatomy and functions; on geometry; on Last Supper apostles; Libro W.; on light; lost; Manuscript A; Manuscript C; Manuscript G; Melzi organization of and editorial work on; on natural world and phenomena; online sources for; on optics; organization of; owners of; paragone/arts comparison in; on penumbras, science behind; on perspective; Poussin recreation of drawings from; research sources for, overview of; scattering of; scholars investigation of; science and philosophy focus in; science to daily life comparisons in; on shadow, shadow drawings in; size calculations for; Toscanelli in; volume of work in; writing in reverse in; see also book on painting
- Four Crowned Martyrs (Nanni di Banco)
- France: death while in; inheritance law in; Milan invasion/occupation by; move to; Poussin as royal artist in; reputation in; seventeenth-century growth and environment in; shadow drawings in; Treatise on Painting role in art education in; writings while in; see also Louvre
- François I (king)
- Fréart de Chambray, Roland
- Fréart de Chantelou, Paul
- fresco technique: for Battle of Anghiari; in Last Supper, process of; Last Supper durability impacted by; Michelangelo use of; of Raphael; speed required for; at Verrocchio’s workshop
- Gaddi, Niccolò
- Gaddiano, Anonimo
- Galen of Pergamum
- Gallerani, Cecilia
- Gates of Paradise (Ghiberti, L.)
- geometry: Alhacen use of, in optics; Brunelleschi’s dome palla use of; burning mirrors; De Ludo Geometrico book on; Desargues pioneer in; Euclidian; folios on; of Ptolemy; spherical; Toscanelli expertise in; Verrocchio knowledge of
- Gherardini, Lisa; see also Mona Lisa
- Gherardo di Giovanni di Miniato
- Ghiberti, Bonaccorso
- Ghiberti, Lorenzo
- Ghiberti, Lorenzo (works): Commentaries; Gates of Paradise; Saint John the Evangelist
- Ghiberti, Vittorio
- Ghirlandaio, Domenico
- Giacomini, Lorenzo
- Ginevra de’ Benci (Leonardo); clothing and scarf in; commission and patronage debates for; gaze and eyes in; landscape in; personal character representation in; preparatory drawings and alterations for; response to; reverse of
- Giocondo, Francesco del
- Giovio, Paolo
- Golden Legend, The
- golden ratio
- hands
- Head of Judas drawing (Leonardo)
- human anatomy, see anatomy; eye anatomy
- hydraulics
- Ibn al-Haytham, Abu Ali al-Hasan (Alhacen): on air/atmosphere depictions; on air relation to aerial perspective; background of; on beauty relation to proportions; on burning mirrors; on color and light perception; on drapery optics; geometry used in optics; Ghiberti, L., optics commentary influenced by; Leonardo influenced by; on light perception; optics and literature of; on penumbras; sensory perception relation to knowledge; on sight, reliability of; soul philosophies of; on vision mechanics; on visual illusions; see also Book of Optics
- Immaculate Conception theology
- Israelites Gathering Manna in the Desert, The (Poussin)
- Lady with an Ermine, The (Leonardo)
- Landino, Cristoforo
- Landriani, Angela
- landscapes: air/atmosphere in; in Annunciation; in Baptism of Christ; Botticelli indifference to; in Ginevra de’ Benci; human microcosmos in; Leonardo’s first; in Madonna of the Carnation; modern devotion and; Mona Lisa; nonreligious; of Van Eyck; of Verrocchio; in Virgin of the Rocks
- Last Supper (Leonardo); Adoration of the Magi relation to; apostles in, approach to; commission for; deliberation and pace in creating; deterioration of, factors behind; emotion captured in; fresco experimentation impacts on; fresco technique process in; golden ratio in; materials used in; optical effects in; preparatory sketches and studies for; public response to; restorations; science approach to; size factors; story reinterpretation in; Vasari fabrications about process of
- Leda (Leonardo)
- Lemaire, Jean
- Leonardo da Vinci, see specific works and topics
- Leonardo’s workshop: apprentices at; drawings focus at; Melzi apprenticeship at; Mona Lisa copy by apprentices at; Salai arrival and thievery at; success and environment of
- Leo X (pope)
- libraries: Benci family; Book on Painting history in; of Cassiano; chained books in; of Gaddi; of San Marco, Medici family; Vatican
- Libro di Pittura (Melzi), see Book on Painting
- Life of Leonardo da Vinci (Vasari)
- light: Adoration of the Magi depictions of; Alhacen on perception of; Benois Madonna approach to; book on painting on optics and; Book on Painting sections on; Cassiano inclusion of folios on; color relation to perception of; depth illusion created by; Discourse on Drawing excluding discourse on; folio studies and notes on; penumbra definition relation to shadow and; Poussin treatment of; rays, depiction of discrete; shadow drawings role in understanding; Treatise on Painting omission of section on; Verrocchio studies of; see also optics, science of
- Lippi, Filippino
- Lippi, Filippo
- Lives of the Most Excellent Italian Architects, Painters, and Sculptors from Cimabue to Our Times (Lives) (Vasari); court artist ambitions influencing; Giovio influence in; Leonardo reputation impact from; Leonardo science and philosophy ignored in; Leonardo story fabrications in; Melzi influence on revisions to; revised edition updates and success of; Verrocchio art documented in
- Lomazzo, Gian Paolo
- Louis XII (king)
- Louvre
- love, platonic
- Ludovico il Moro; flight of, during French invasion; Last Supper commission under; portraits of mistresses of; tomb of; work for
- Machiavelli
- Madonna and Child (Benois Madonna) (Leonardo)
- Madonna of the Carnation (Leonardo)
- Maltese, Corrado
- Manetti, Antonio
- Manzi, Guglielmo
- map making
- marble, porphyry
- Marcantonio della Torre
- Marian symbology and theology
- Marino, Giovambattista
- Marmocchi, Carlo
- mathematics; see also geometry; golden ratio
- Mazenta, Giovanni Ambrogio
- Medici, Cosimo I de’: Accademia del Disegno founded under; Borghini, V., role under; character of; Vasari as court artist under
- Medici, Cosimo the Elder de’
- Medici, Ferdinando de’
- Medici, Francesco de’
- Medici, Giuliano de’
- Medici, Lorenzo de’; death of; relationship and travel with; sculpture garden; sonnet for Benci, Ginevra, by; wounding in Medici conspiracy violence
- Medici family: art patronage significance of; Book on Painting doctored version and; confraternity of the Magi membership of; conspiracy and plots against; death masks by Verrocchio for; Donatello art commissions; expulsion from Florence; Florence of 1550s ruled by; Gaddi ties to; library of San Marco; Milan move sponsored by; power and character of; relationship with; tombs, porphyry marble for; Verrocchio patronage from
- Medici palace
- Melzi, Giovanni Francesco: apprenticeship at Leonardo’s workshop; background and education of; drawings retraced by; first independent painting of; folios organization and editorial work by; as heir of Leonardo’s estate; at Leonardo’s death; Leonardo funeral arranged by; Leonardo portrait by; Leonardo visit to family home of; Leonardo work imitated and studied by; life after Leonardo; mental discourse importance emphasized by; villa of; reputation as painter; romantic relationship with; shadow drawings studied by; travel with; Vasari meeting with; Vasari’s Lives revisions influenced by; Virgin and Child with Saint Anne duplicated in work of
- Melzi, Giovanni Francesco (works): Portrait of Leonardo da Vinci; Vertumnus and Pomona; see also Book on Painting
- metallurgy: behind Brunelleschi’s dome palla; of Ghiberti, L.; Verrocchio background and talent in
- Michelangelo; fresco technique used by; funeral ceremony controversy; painting next to Battle of Anghiari; relationship with; Vasari on superiority of
- Milan: French invasion/occupation of; Leonardo’s career beginnings in; Leonardo’s move to; Melzi villa in
- military engineering
- mirrors, see burning mirrors
- modern devotion
- Mona Lisa (Leonardo); adjustments and retouches to; Cassiano on seeing; commission for; copy of, apprentices role in; drapery techniques for; emotional connection approach in; experimental approach to; flesh tones approach in; landscape in; layers in; middle ground unfinished in; optical effects in; portraiture conventions and experimentation in; preparatory drawings for; prestige and influence of; scholarship on; smile; traveling with unfinished; as unfinished, factors behind; Vasari on; Virgin and Child with Saint Anne relation to
- mother (of Leonardo)
- Murate, Le
- Nanni di Banco
- Natural History (Pliny)
- natural philosophy, see science and philosophy
- natural world and phenomena
- Neri di Bicci
- Niccolini, Luigi di Bernardo di Lapo
- Nicolas of Cusa
- oil paints
- On Architecture (Vitruvius)
- On Divine Proportions (De divina proportione) (Pacioli)
- “On Painting” (Alberti, L.)
- On the Soul (De anima) (Aristotle)
- optics, science of: in Adoration of the Magi; Alberti, L., on; Alhacen study and literature on; ancients on; in Annunciation; anonymous text describing; in architecture/building techniques; Aristotelian philosophy on; artists understanding of, historically; astronomers learning; backdrops and; Battle of Anghiari use of; biographers omission of; in book on painting; Book on Painting section on, burning mirrors and; church and; color and; Dante’s Comedy and; Descartes approach to; divine relation to; exposure to and education on; eye anatomy and; Ficino studies of; folio notes and studies on; Ghiberti, L., on; Giovio on Leonardo focus on; invisible becoming visible with; in Last Supper; Manetti mastery of; in Mona Lisa; in painting, Leonardo on role of; painting role in understanding; Pelacani da Parma book on; philosophy of soul relation to; popular objects of Renaissance based on; in Poussin Self-Portrait; priest authoring books on; Renaissance teachings on; shadow drawings role in understanding; solar eclipse experience and; Toscanelli studies of; unfinished paintings and; Vasari ignoring Leonardo use of; in Virgin of the Rocks; visual illusions and
- Pacioli, Luca
- Pagani, Gregorio
- painting: adjustments and layering approach to; contemporary reception of; emotional connection focus in; fingerprints in; function of, Leonardo on; oils in, Leonardo learning to use; optics role in, Leonardo on; optics understood through; paragone debates and; political importance of; in private collections; purchase of, contemporary; 303–309; science and philosophy role in; science and philosophy understood through; science separation from, myth about; slowness in creation of; soul philosophies and, Leonardo on; spolvero technique in drawing transfer to; storytelling through; superiority as art form, Leonardo on; unfinished, factors behind; unfinished, traveling with; volume of writing compared with; see also specific works
- paragone: Book on Painting inclusion of; debates
- Paris, See France; Louvre
- Pecham, John
- Pelacani da Parma, Biagio
- penumbras
- Perspectiva (Bacon)
- Perspectiva (Witelo)
- Perspectiva communis (Pecham)
- perspective: Adoration of the Magi drawings on; aerial; Book on Painting on; color; of disappearance; folios/notebooks on; kinds of; linear; mastering, Leonardo on; painting superiority and, Leonardo on; Vignola manual on
- Perugino, Pietro
- philosophy, see science and philosophy
- physical appearance (of Leonardo)
- Pinelli, Gian Vincenzo
- Pitti, Luca
- Plato: exposure to; Ficino studies and lectures on
- Platonic Academy
- Platonic Theology (Ficino)
- plays, see set design
- Pliny
- poetry: of Benci, Ginevra; painting superior to, Leonardo on; symbolism of
- Pollaiuolo brothers
- porphyry marble
- Portrait of Leonardo da Vinci (Melzi)
- portraits: La Belle Ferronnière; “eye-to-eye”; of Leonardo by Melzi; of Ludovico’s mistresses; Mona Lisa place in conventional; Poussin self, Leonardo influence on; reverse of, significance; of women, conventions and commissions for; see also Ginevra de’ Benci; Mona Lisa
- pouncing technique
- Poussin, Nicolas: artistic reputation of; artist network and friends in Rome; background; Caravaggio criticism from; Cassiano relationship with; color, light, and shadow treatment by; Fréart brothers relations and travels with; Louvre lodgings of; move to Rome; painting style and philosophy of; as royal artist in France; self-portrait, shadow drawings influence on; shadow drawings exposure and understanding of; Treatise on Painting criticism from; Treatise on Painting dedicated to; Treatise on Painting drawings recreated by
- Poussin, Nicolas (works): The Israelites Gathering Manna in the Desert; Self-Portrait
- proportions; beauty relation to; Book on Painting on; education and books on; golden ratio; skull drawings; Vitruvius on
- Ptolemy
- Questions on Perspective (Pelacani da Parma)
- Raphael
- Regiomontanus, Johannes
- Renaissance: architecture revival in; book publishing in; church and elite families impact on art of; debates staged in; landscapes approach in; love declarations in; marriage and family ties in; optics science used in popular objects of; optics teachings in; patronage compared with self-interest art in; portraits selective use in; religious practices in, resources on; science role for artists in; sculpture notable in; storytelling with paintings in; technical fascination and revival in; wills handled in
- reputation (of Leonardo): on completion of works; depth of; early fame and; in France; for humor and wit; legal troubles and; military engineering and; for obsessive and contemplative working style; physical appearance and; for scattered and unfocused work; shadow drawings at Louvre impact on; for slowness in painting; Vasari impact on; Vasari interviewees on
- Rome: Leonardo’s move to and from; Poussin in
- Saint George (Donatello)
- Saint Jerome (Leonardo)
- Saint Jerome (Verrocchio)
- Saint John the Baptist (Leonardo)
- Saint John the Evangelist (Ghiberti, L.)
- Saint Sebastian, study for (Leonardo)
- Salai, see Caprotti, Gian Giacomo
- Salvator Mundi (Leonardo)
- San Donato a Scopeto
- Santa Maria del Fiore Cathedral; Brunelleschi design and dome for; Brunelleschi’s castello/lifting machine for; conflict behind building of; history; official completion and celebration of; see also Brunelleschi’s dome palla
- Santissima Annunziata
- Savonarola, Girolamo
- science and philosophy: Accademia del Disegno disregard for; Alhacen as father of experimental; apprenticeship exposure to; art education role of; artist separation from, myth about; astronomy and; behind Battle of Anghiari; book on painting focus on; books and influences for study of; botany studies and; early life role of and interest in; folios focus on; fossils interest and; hydraulics interest in; imagination and mental experiments with; Last Supper approached with; later life shift towards; natural phenomena investigation in; in painting process; paintings used as investigation of; Renaissance artists influenced by; Vasari’s Lives ignoring role of, for Leonardo; see also geometry; optics, science of
- sculpture; aerial perspective absence in; of Donatello; paragone debates and; of Verrocchio; at Verrocchio’s workshop
- Self-Portrait (Poussin)
- Ser Piero (Leonardo’s father)
- set design
- sfumato technique
- shadow: Adoration of the Magi depictions of; in Annunciation, approach to; book on painting on; Book on Painting sections on; Cassiano inclusion of folios on; color relation to perception of; depth illusion created by; Discourse on Drawing on; folios/notebooks on; library research on; penumbra definition relation to light and; Poussin treatment of; Saint Jerome and universal; Treatise on Painting omission of section on; universal; Vasari on Leonardo’s approach to; see also optics, science of
- shadow drawings: Arconati on significance of; Book on Painting on; Cassiano exclusion of; dates of, inferences about; Desargues on complexity of; discoveries, modern-day; Félibien exposure to; in folios/notebooks; geometrical demonstrations in; influence of; Melzi study of; motivations behind; natural world investigation understanding through; oldest surviving; optics/light understanding and role of; in Paris; penumbras in; Poussin exposure to and understanding of; process logistics; scholarship significance from; sfumato technique and; Vasari understanding of
- sight/vision; see also eye anatomy
- Sistine Chapel ceiling (Michelangelo)
- Sixtus IV (pope)
- skull drawings
- Skull Sectioned, The (Leonardo)
- Soderini, Piero
- soul philosophies
- spolvero technique
- Study of the Madonna and Child with a Cat (Leonardo)
- technology; clock; military engineering and; motivations and impacts of; Renaissance revival of; Verrocchio affinity for
- Tenebrists
- Toscanelli, Paolo dal Pozzo
- Treatise on Painting (Leonardo): Arconati role behind; Cassiano role in; dedications in different translations; dual genius myth perpetuated by; Errard role in; first publishing of; Fréart de Chambray role in editing and publishing of; French art education role of; frontispiece; optics significance obscured in; Poussin criticism of; Poussin recreation of drawings for; reception of and authority ascribed to; shadow and light section missing from; Trichet du Fresne role behind
- Trichet du Fresne, Raphael
- Van Eyck, Jan
- Vasari, Giorgio; Accademia del Disegno founding and leadership of; on anatomy studies of Leonardo; art works/career of; Book on Painting exposure of; Borghini, V., co-creation of works with; court artist ambitions influencing writings of; court artist position and works of; criticisms of Leonardo from; death of Leonardo and; Discourse on Drawing authorship and; on emotional elicitation talent of Leonardo; fabrications about Leonardo; fame and notoriety of; Giovio relationship with; interviews with Leonardo friends/acquaintances; Last Supper approach fabrications by; on Leonardo imitating Verrocchio; Leonardo slow pace criticized by; Leonardo’s reputation impacted by; Melzi meeting with; Michelangelo’s funeral design controversy and; on Michelangelo superiority; on Mona Lisa; on natural world imitation of Leonardo; science and philosophy approach of Leonardo ignored by; set and event design role of; on shadow drawings; on Verrocchio death masks; on Verrocchio innovation; on Virgin and Child with Saint Anne emotion; see also Lives of the Most Excellent Italian Architects, Painters, and Sculptors from Cimabue to Our Times
- Verrocchio, Andrea del: apprenticeship and training background of; apprenticeship beginnings with; atmosphere on faces depicted by; Baptism of Christ commission shared with Leonardo; bronze technique and talent of; burning mirrors used by; career; character and reputation; commissions given to Leonardo under; confraternities membership of; death masks of; Donatello possible training of; Donatello’s David compared with; draftsmanship of; drapery studies and techniques of; emotional response elicitation approach of; Ghiberti, V., work with; hands studies of; innovation of; landscapes of; Leonardo imitating; light studies of; Medici, G., platonic love joust banner designed by; Medici family patronage of; Medici family tombs by, porphyry marble for; metallurgy background and talent for; as multimedia artist; penumbras use; physiognomic investigations of; resources and studies on; sculptural talent and works of; Ser Piero working relationship with; technical curiosity and talent of; tempera used by; Vasari’s Lives inclusion of; Virgin and Child depictions approach of
- Verrocchio, Andrea del (works): Baptism of Christ; Christ and Saint Thomas; David; Saint Jerome; see also Brunelleschi’s dome palla
- Verrocchio’s workshop: apprentices treatment at; artistic exchanges/learning with other workshops; collaborative nature of; connections/relationships made at; drapery studies at; established artists at; fresco painters at; group drawing practice at; hands studies at; as independent artist at; Leonardo’s apprenticeship beginnings at; Leonardo’s first landscape while in; Leonardo’s notable lessons at; location and environment; opening of; sculpture at
- Vesalius, Andreas
- Vespucci, Agostino
- Vespucci, Giorgio Antonio
- Vespucci, Marco
- Vespucci family
- Vignola, Giacomo
- Virgin and Child with Saint Anne (Leonardo): abandonment of; air/atmosphere depictions in; commission for; drapery studies and techniques for; emotion captured in; experimentation with; fingerprints in; Florentine politics and; Melzi work based on; middle ground unfinished in; Mona Lisa relation to; preparatory drawings for; story of; traveling with unfinished; versions; Vespucci, A., on
- Virgin of the Rocks (Leonardo); Ambrogio de’ Predis work on; commission for; contemporary discoveries about; documentary records on; emotional response and connection intention with; hands in; landscape treatment and techniques in; Marian symbology and Immaculate Conception relation to; optics in; original contrasted with reworked/finished; patron instructions disregarded in; payment for; psychological narrative in; rocks influence and treatment in; Saint John inclusion in; second version of; time representation in; trajectory for completed
- vision, see eye anatomy; sight/vision
- visual illusions
- Vitruvian Man (Leonardo)
- Vitruvius
- weapons, see military engineering
- will and estate
- Witelo
- workshops, see Leonardo’s workshop; Verrocchio’s workshop
- writings: artists, outside of patronage; De Ludo Geometrico; from Leonardo’s adolescence; Leonardo’s incessant approach to, in later life; Leonardo’s left-handed style of; in reverse, mirror needed to read; Vasari response to; volume of paintings contrasted with; while in France; see also book on painting; folios/notebooks