I gathered my notes on anatomy, light and landscape as material for a series of treatises, so that painting could be taught as a science built on the study of nature.
My science works by observation: I try to understand a phenomenon by describing and depicting it in the utmost detail, rather than leading with experiments or theory.
Studying perpetual motion, I concluded it was impossible and in 1493 wrote down laws of sliding friction in my notebooks, two centuries before Guillaume Amontons rediscovered them in 1699.
I work as a painter, draughtsman, engineer, scientist, theorist, sculptor and architect, and I keep notebooks that join art and science across anatomy, astronomy, botany, cartography and painting.