The Notebooks of Leonardo Da Vinci. Complete. Leonardo da Vinci

No 275.]

      149

      The light which falls on a shaded body at the acutest angle receives the highest light, and the darkest portion is that which receives it at an obtuse angle and both the light and the shadow form pyramids. The angle c receives the highest grade of light because it is directly in front of the window a b and the whole horizon of the sky m x. The angle a differs but little from c because the angles which divide it are not so unequal as those below, and only that portion of the horizon is intercepted which lies between y and x. Although it gains as much on the other side its line is nevertheless not very strong because one angle is smaller than its fellow. The angles e i will have less light because they do not see much of the light m s and the light v x and their angles are very unequal. Yhe angle k and the angle f are each placed between very unequal angles and therefore have but little light, because at k it has only the light p t, and at f only t q; o g is the lowest grade of light because this part has no light at all from the sky; and thence come the lines which will reconstruct a pyramid that is the counterpart of the pyramid c; and this pyramid l is in the first grade of shadow; for this too is placed between equal angles directly opposite to each other on either side of a straight line which passes through the centre of the body and goes to the centre of the light. The several luminous images cast within the frame of the window at the points a and b make a light which surrounds the derived shadow cast by the solid body at the points 4 and 6. The shaded images increase from o g and end at 7 and 8.

      [Footnote: The diagram belonging to this chapter is No. 2 on Plate III. In the original it is placed between lines 3 and 4, and in the reproduction these are shown in part. The semi circle above is marked orizonte (horizon). The number 6 at the left hand side, outside the facsimile, is in the place of a figure which has become indistinct in the original.]

      On the intensity of shadows as dependent on the distance from the light (150-152).

      150

      The smaller the light that falls upon an object the more shadow it will display. And the light will illuminate a smaller portion of the object in proportion as it is nearer to it; and conversely, a larger extent of it in proportion as it is farther off.

      A light which is smaller than the object on which it falls will light up a smaller extent of it in proportion as it is nearer to it, and the converse, as it is farther from it. But when the light is larger than the object illuminated it will light a larger extent of the object in proportion as it is nearer and the converse when they are farther apart.

      151

      That portion of an illuminated object which is nearest to the source of light will be the most strongly illuminated.

      152

      That portion of the primary shadow will be least dark which is farthest from the edges.

      The derived shadow will be darker than the primary shadow where it is contiguous with it.

      On the proportion of light and shade (153-157).

      153

      That portion of an opaque body will be more in shade or more in light, which is nearer to the dark body, by which it is shaded, or to the light that illuminates it.

      Objects seen in light and shade show in greater relief than those which are wholly in light or in shadow.

      154

      OF PERSPECTIVE.

      The shaded and illuminated sides of opaque objects will display the same proportion of light and darkness as their objects [Footnote 6: The meaning of obbietti (objects) is explained in no 153, lines 1-4.—Between the title-line and the next there is, in the original, a small diagram representing a circle described round a square.].

      155

      OF PAINTING.

      The outlines and form of any part of a body in light and shade are indistinct in the shadows and in the high lights; but in the portions between the light and the shadows they are highly conspicuous.

      156

      OF PAINTING.

      Among objects in various degrees of shade, when the light proceeds from a single source, there will be the same proportion in their shadows as in the natural diminution of the light and the same must be understood of the degrees of light.

      157

      A single and distinct luminous body causes stronger relief in the object than a diffused light; as may be seen by comparing one side of a landscape illuminated by the sun, and one overshadowed by clouds, and so illuminated only by the diffused light of the atmosphere.

      THIRD BOOK ON LIGHT AND SHADE

      Definition of derived shadow (158. 159).

      158

      Derived shadow cannot exist without primary shadow. This is proved by the first of this which says: Darkness is the total absence of light, and shadow is an alleviation of darkness and of light, and it is more or less dark or light in proportion as the darkness is modified by the light.

      159

      Shadow is diminution of light.

      Darkness is absence of light.

      Shadow is divided into two kinds, of which the first is called primary shadow, the second is derived shadow. The primary shadow is always the basis of the derived shadow.

      The edges of the derived shadow are straight lines.

      [Footnote: The theory of the ombra dirivativa_—a technical expression for which there is no precise English equivalent is elaborately treated by Leonardo. But both text and diagrams (as Pl. IV, 1-3 and Pl. V) must at once convince the student that the distinction he makes between ombra primitiva and ombra dirivativa is not merely justifiable but scientific. Ombra dirivativa is by no means a mere abstract idea. This is easily proved by repeating the experiment made by Leonardo, and by filling with smoke the room in which the existence of the ombra dirivativa is investigated, when the shadow becomes visible. Nor is it difficult to perceive how much of Leonardo's teaching depended on this theory. The recognised, but extremely complicated science of cast shadows—percussione dell' ombre dirivative as Leonardo calls them—is thus rendered more intelligible if not actually simpler, and we must assume this theory as our chief guide through the investigations which follow.]

      The darkness of the derived shadow diminishes in proportion as it is remote from the primary shadow.

      Different sorts of derived shadows (160-162).

      160

      SHADOW AND LIGHT.

      The forms of shadows are three: inasmuch as if the solid body which casts the shadow is equal (in size) to the light, the shadow resembles a column without any termination (in length). If the body is larger than the light the shadow resembles a truncated and inverted pyramid, and its length has also no defined termination. But if the body is smaller than the light, the shadow will resemble a pyramid and come to an end, as is seen in eclipses of the moon.

      161

      OF SIMPLE DERIVED SHADOWS.

      The simple derived shadow is of two kinds: one kind which has its length defined, and two kinds which are undefined; and the defined shadow is pyramidal. Of the two undefined, one is a column and the other spreads out; and all three have rectilinear outlines. But the converging, that is the pyramidal, shadow proceeds from a body that is smaller than the light, and the columnar from a body equal in size to the light, and the spreading shadow from a body larger than the light; &c.

      OF COMPOUND DERIVED SHADOWS.

      Compound derived shadows are of two kinds;