Italian Polymath Leonardo da Vinci’s Contributions, Inventions, and Discoveries Within Art, Science, and Mathematics: The Largest Collection of da Vinci Artwork World Wide, Artists Leveraging a Variety of Techniques to Produce Pigmented Paints During the Renaissance (1490 A.D. – 1527), the Reason Many Artists Used White as a Base Layer Between the 14th Century A.D. and 17th Century, the Reason Modern Day Artists Do Not Utilize This Technique, the Reason da Vinci Was Able to Produce Photorealistic Artwork During the 15th Century and 16th Century, the Reason Oil Paintings Are Capable of Being Photorealistic, the Length of Time da Vinci Worked Upon the La Gioconda (the Joyful Woman) (Mona Lisa) Work, the Physical Characteristics of Italian Homemaker Lisa del Giocondo (La Gioconda Work Portrait Model), the Reason the La Gioconda Work’s Varnish Has Become Discolored and Has Yellowed Over Time, the Person da Vinci Apprenticed as an Artist With, the European View of Artists During the 15th Century A.D. and 16th Century, the Reason Italian Sculptor Andrea del Verrocchio Agreed to Apprentice da Vinci, Verrocchio and da Vinci’s View of Technique and Artistic Vision, the Character Traits of da Vinci, the Reason da Vinci Acquired the Opportunity to Design the Copper Gilded Lantern Ball for the Cattedrale di Santa Maria del Fiore (Cathedral of Saint Mary of the Flower) Cathedral, the Reason da Vinci Was Viewed as the Best Candidate for This Commission, the Material Within da Vinci’s Journals, the Number of Surviving Documents From da Vinci and the Hypothesized Number of Missing Documents Lost Post the Renaissance, the Person Who Designed a Bridge Capable of Withstanding Earthquake Tremors During the 1502, How the Progetto del Ponte d’Oro (Golden Horn Bridge) Bridge Design Works, the Reason da Vinci Created the Progetto del Ponte d’Oro Design, the Possibility of da Vinci’s Progetto del Ponte d’Oro Bridge Design Being Too Advanced to Construct During the 16th Century, the Reason da Vinci Was Able to Economically Support His Artistic Ambitions, the Common Feature Within All of da Vinci’s Artistic Works, the Concept of “Egg Tempera” Within Art, the Oils Used by da Vinci to Create Oil Paints, da Vinci’s Artistic Techniques Taught During the Modern Day Within Florence, Italy, the Outlining Technique of Artists During the Late 15th Century and Early 16th Century vs the Layering Technique of da Vinci During the Late 15th Century and Early 16th Century, the Reason da Vinci Created the Sfumato (Softened/Shaded/Faded/Smoke) Technique, the Reason da Vinci’s Artwork Can Be Both Photorealistic and Fantastical, da Vinci’s Fantastical Anatomy of the Composite Study of the Respiratory, Circulatory, and Urinogenital Systems in a Female Body (Great Lady) Work, the Reason This Inaccuracy Exists Within da Vinci’s Work, da Vinci Leveraging Knowledge of Anatomical Dissection to Create Artistic Works, the Peculiarity of da Vinci’s Ginevra de’ Benci (Ginevra of the Benci Family) Work, da Vinci’s Term to Describe the Study of Optics, da Vinci’s Fascination With Perception and Observation, the Subject da Vinci Studied to Understand How Light Scatters Within the Atmosphere, da Vinci Striving for Both Mathematical and Aesthetic Artistic Works, da Vinci’s View of Great Artwork and the Human Brain, the Possibility of da Vinci Understanding Peripheral Vision, the Reason Human Beings Do Not Realize Peripheral Vision is Poor, the Possibility of da Vinci Understanding Peripheral Vision Better Than Modern Day Scientists, the Shifting Facial Expressions of the La Gioconda Work, and the Goal of da Vinci When Producing Artistic Works