The Notebooks of Leonardo Da Vinci. Complete. Leonardo da Vinci
the diagram, evidently apply to both sections and have therefore been inserted in both.]
276
OF THE COLOURS OF SIMPLE DERIVED SHADOWS.
The colour of derived shadows is always affected by that of the body towards which they are cast. To prove this: let an opaque body be placed between the plane s c t d and the blue light d e and the red light a b, then I say that d e, the blue light, will fall on the whole surface s c t d excepting at o p which is covered by the shadow of the body q r, as is shown by the straight lines d q o e r p. And the same occurs with the light a b which falls on the whole surface s c t d excepting at the spot obscured by the shadow q r; as is shown by the lines d q o, and e r p. Hence we may conclude that the shadow n m is exposed to the blue light d e; but, as the red light a b cannot fall there, n m will appear as a blue shadow on a red background tinted with blue, because on the surface s c t d both lights can fall. But in the shadows only one single light falls; for this reason these shadows are of medium depth, since, if no light whatever mingled with the shadow, it would be of the first degree of darkness &c. But in the shadow at o p the blue light does not fall, because the body q r interposes and intercepts it there. Only the red light a b falls there and tinges the shadow of a red hue and so a ruddy shadow appears on the background of mingled red and blue.
The shadow of q r at o p is red, being caused by the blue light d e; and the shadow of q r at o' p' is blue being caused by the red light a b. Hence we say that the blue light in this instance causes a red derived shadow from the opaque body q' r', while the red light causes the same body to cast a blue derived shadow; but the primary shadow [on the dark side of the body itself] is not of either of those hues, but a mixture of red and blue.
The derived shadows will be equal in depth if they are produced by lights of equal strength and at an equal distance; this is proved. [Footnote 53: The text is unfinished in the original.]
[Footnote: In the original diagram Leonardo has written within the circle q r corpo obroso (body in shadow); at the spot marked A, luminoso azzurro (blue luminous body); at B, luminoso rosso (red luminous body). At E we read ombra azzurra (blue tinted shadow) and at D ombra rossa (red tinted shadow).]
On the nature of colours (277. 278).
277
No white or black is transparent.
278
OF PAINTING.
[Footnote 2: See Footnote 3] Since white is not a colour but the neutral recipient of every colour [Footnote 3: il bianco non e colore ma e inpotentia ricettiva d'ogni colore (white is not a colour, but the neutral recipient of every colour). LEON BATT. ALBERTI "Della pittura" libro I, asserts on the contrary: "Il bianco e'l nero non sono veri colori, ma sono alteratione delli altri colori" (ed. JANITSCHEK, p. 67; Vienna 1877).], when it is seen in the open air and high up, all its shadows are bluish; and this is caused, according to the 4th [prop.], which says: the surface of every opaque body assumes the hue of the surrounding objects. Now this white [body] being deprived of the light of the sun by the interposition of some body between the sun and itself, all that portion of it which is exposed to the sun and atmosphere assumes the colour of the sun and atmosphere; the side on which the sun does not fall remains in shadow and assumes the hue of the atmosphere. And if this white object did not reflect the green of the fields all the way to the horizon nor get the brightness of the horizon itself, it would certainly appear simply of the same hue as the atmosphere.
On gradations in the depth of colours (279. 280).
279
Since black, when painted next to white, looks no blacker than when next to black; and white when next to black looks no whiter than white, as is seen by the images transmitted through a small hole or by the edges of any opaque screen …
280
OF COLOURS.
Of several colours, all equally white, that will look whitest which is against the darkest background. And black will look intensest against the whitest background.
And red will look most vivid against the yellowest background; and the same is the case with all colours when surrounded by their strongest contrasts.
On the reflection of colours (281-283).
281
PERSPECTIVE.
Every object devoid of colour in itself is more or less tinged by the colour [of the object] placed opposite. This may be seen by experience, inasmuch as any object which mirrors another assumes the colour of the object mirrored in it. And if the surface thus partially coloured is white the portion which has a red reflection will appear red, or any other colour, whether bright or dark.
PERSPECTIVE.
Every opaque and colourless body assumes the hue of the colour reflected on it; as happens with a white wall.
282
PERSPECTIVE.
That side of an object in light and shade which is towards the light transmits the images of its details more distinctly and immediately to the eye than the side which is in shadow.
PERSPECTIVE.
The solar rays reflected on a square mirror will be thrown back to distant objects in a circular form.
PERSPECTIVE.
Any white and opaque surface will be partially coloured by reflections from surrounding objects.
[Footnote 281. 282: The title line of these chapters is in the original simply "pro", which may be an abbreviation for either Propositione or Prospettiva—taking Prospettiva of course in its widest sense, as we often find it used in Leonardo's writings. The title "pro" has here been understood to mean Prospettiva, in accordance with the suggestion afforded by page 10b of this same MS., where the first section is headed Prospettiva in full (see No. 94), while the four following sections are headed merely "pro" (see No. 85).]
283
WHAT PORTION OF A COLOURED SURFACE OUGHT IN REASON TO BE THE MOST INTENSE.
If a is the light, and b illuminated by it in a direct line, c, on which the light cannot fall, is lighted only by reflection from b which, let us say, is red. Hence the light reflected from it, will be affected by the hue of the surface causing it and will tinge the surface c with red. And if c is also red you will see it much more intense than b; and if it were yellow you would see there a colour between yellow and red.
On the use of dark and light colours in painting (284—286).
284
WHY BEAUTIFUL COLOURS MUST BE IN THE [HIGHEST] LIGHT.
Since we see that the quality of colour is known [only] by means of light, it is to be supposed that where there is most light the true character of a colour in light will be best seen; and where there is most shadow the colour will be affected by the tone of that. Hence, O Painter! remember to show the true quality of colours in bright lights.
285
An object represented in white and black will display stronger relief than in any other way; hence I would remind you O Painter! to dress your figures in the lightest colours you can, since, if you put them in dark colours, they will be in too slight relief and inconspicuous from a distance. And the reason is that the shadows of all objects are dark. And if you make a dress dark there is little variety in the lights and shadows, while in light colours there are many grades.
286
OF PAINTING.
Colours