Leonardo's written words by Stephen Holmes

SCRITTI LETTERARI DI

LEONARDO DA VINCI eaooh Mgfi DA

RICHTER

DUE

PARTI.

- PARTE

LONDRA: SAMPSON LOW, MARSTON, SEARLE & RIVINGTON 1

88,

FLEET STREET

1883

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THE LITERARY WORKS OF

LEONARDO DA VINCI contpifeb anb ebifcb front

Originaf

JEAN PAUL RICHTER, KNIGHT OF THE BAVARIAN ORDER OF

PH. DR.,

ST.

MICHAEL,

&C.

TWO VOLUMES.

VOL.

LONDON: SAMPSON LOW, MARSTON, SEARLE & RIVINGTON .

88,

FLEET STREET

1883

OF SUBSCRIBERS.

LIST

THE PRINCE OF WALES. H. I. H. THE CROWN PRINCE OF GERMANY. H. R. H. THE DUKE OF ALBANY. H. R. H. THE LANDGRAFIN ANNA OF HESSE, PRINCESS OF H. R. H.

BERLIN, INDUSTRIAL MUSEUM

copy).

MINISTRY OF PUBLIC INSTRUCTION

ROYAL MUSEUM

PRUSSIA.

copies).

copy).

BONN, ROYAL UNIVERSITY (i copy). BOSTON, U. S., BOSTON ATHENAEUM (i copy). BRESLAU, PROVINCIAL MUSEUM (i copy). ROYAL UNIVERSITY (i copy). BUDAPEST, HUNGARIAN NATIONAL GALLERY (i CAMBRIDGE, FITZWILLIAM MUSEUM (i copy).

CASSEL, ROYAL PICTURE GALLERY (i copy). COPENHAGEN, ROYAL LIBRARY (i copy). ROYAL PICTURE GALLERY (i

copy).

DELFT, POLYTECHNIC (i copy). DRESDEN, GENERAL DIRECTION DER KOENIGL. SAMMLUNGEN DUBLIN, KING'S INN LIBRARY (i copy). NATIONAL LIBRARY OF IRELAND

HAGUE,

THE,

ROYAL LIBRARY

copy).

&c.

copy).

OF SUBSCRIBERS.

LIST

IIAI.I.K.

ROYAL UNIVERSITY

HARROW, VAUGHAN

LIBRARY

copy). copy).

>ON, ATHENAEUM CLUB (i copy). BURLINGTON FINE ARTS CLUB FINE

ART

GUILDHALL LIBRARY NATIONAL GALLERY

NEW

copy).

SOCIETY (2 copies.) (i

copy).

(i -copy).

UNIVERSITY CLUB

copy).

REFORM CLUB (i copy). ROYAL ACADEMY OF ARTS (SUBSCRIPTION OF ONE HUNDRED POUNDS). SOUTH KENSINGTON MUSEUM

MUNICH, ROYAL PISACOTECA (i NEW YORK, BROOKLYN LIBRARY CHRIST CHURCH

OXFORD,

copy).

PARIS, BIBLIOTHEQUE NATIONALS DES BEAUX- ARTS MI-SEE DU LOUVRE (i copy).

PRAGUE, IMPERIAL AND ROYAL UNIVERSITY TURIN, ROYAL LIBRARY (i copy). VIENNA, THE ALBERTINA

copy).

IMPKRIAL AND ROYAL UNIVERSITY

MUSEUM OF ART AND INDUSTRY (i WEIMAR, GRAND DUCAL MUSEUM (i copy). WINDSOR, ROYAL LIBRARY (i copy).

copy).

ALMA-TADEMA, L. ESQ., R. A., LONDON (i copy). AMSLKR & RCTHARDT, BERLIN (2 copies).

REG so, FLORENCE

ANTINORI, THF. MARQUESE, SENATORE DEL

ARTOM, SENATORE DEL REGNO, ASTI ASHER & Co., LONDON (4 copies). AZEGLIO, THE

MARCHESE

BAIN, JAMES,

LONDON

D*,

SENATORS DEL REGNO, TURIN

copy).

COpy).

(4 copies).

BARING, EDW. CHAS. ESQ., M.

P.,

LONDON

BARTLETT, W. H. AND Co., LONDON BELL,

copy).

HUGH

Blt'KERS

BIKKKII.

ESQ., LONDON (i copy). AND SONS, LONDON (2 COpies). I

REV.

A. H.,

BROMHAM

copy).

BLACKER, Louis, ESQ. (i copy). BODE, DR. W. DIRECTOR OF THE ROYAL MUSEUM, BERLIN

copy).

BOWER, R. M. ESQ., I...M...N (i copy). BRAMBILLA, SIGNOR P., MILAN (i copy). BREDINS,

HERR

A.,

THE HAGUE

copy).

BRIOSCHI, PROF. FRANC., DIRECTOR OF THE POLYTECHNIC, MILAN

copy).

LIST OF SUBSCRIBERS.

HERR CARL, ZURICH (i copy). BUMPUS, JOHN, LONDON (6 copies). BUMPUS, EDW., LONDON (2 copies). BUMPUS, T. B., LONDON (i copy). BURNS AND GATES, LONDON (2 copies). BRUN,

BUTE, THE MARQUIS OF

copy).

CAGNOLA, SENATORS DEL REGNO, MILAN (i copy). CAMPORI, THE MARCHESE G., MODENA (i copy). CARTER, DR. F.

A.,

LEAMINGTON

copy).

CLEMENT, C. G. ESQ., LONDON

copy).

LONDON

copy).

CHRISTIE, A.

ESQ.,

LONDON

CIVIL SERVICE SUPPLY ASSOCIATION,

COLVIN, PROF. SIDNEY, CAMBRIDGE

COOMES'S REGENT LIBRARY, LONDON COOTE, WALTER, ESQ., LONDON

CORNISH/ Jos. AND SONS, LONDON CORNISH,

E.,

MANCHESTER

copies).

copy). (i

copy).

copies).

CORNISH, BROS., BIRMINGHAM (i copy). CORSINI, H. H. PRINCE TOMMASO, FLORENCE

DENNY,

A.,

LONDON

ESQ.,

copy).

DAWSON, BROS., MONTREAL, CANADA (2 DEVONSHIRE, THE DUKE OF (i copy). DOETSCH, HENRY

copies).

copy).

LONDON

copies).

copy).

DOUGLAS AND FOULIS, EDINBURGH (5 copies). DOWNING AND Co., BIRMINGHAM (i copy). DUGUID, JOHN ESQ., DOVER

copy).

DUMOLARD, FRATELLI, MILAN

copies).

DUNN, JOHN, LONDON (i copy). ELLIS AND WHITE, LONDON (i copy). EASTLAKE, LADY, LONDON (i copy). FRIZZONI, DR. GUSTAVO, MILAN (i copy). FtJRSTENBERG, H.

KARL ECON

H., PRINCE

GEROLD, L. C., VIENNA (i copy). GILBERT AND FIELD, LONDON (i copy).

M. H. AND SON, DUBLIN (i copy). GlOVANNELLI, H. H. PRINCE, VENICE (i COpy). GILL,

GOODE, MRS., BADEN

GRAHAM, W.

ESQ.,

copy).

LONDON

copy),

GRIMM, PROF. HERMAN, BERLIN

GOWER, LORD RONALD

copy).

HERR EDW., CASSEL (i copy). HAAR AND STEINERT, PARIS (i copy). HABICH,

HAMILTON, ADAMS AND Co., LONDON

HATCHARD, MESSRS., LONDON HARRISON AND SONS, LONDON

(2 (i

(6 copies).

copies).

copy).

COpy).

LIST OF SUBSCRIBERS.

FRL. N.,

HENDERSON AMD

Co.,

ACHERN (i copy). LEGHORN (i J. T.,

HERTZ, FRL. H., NORTHWICH HESELTINE,

LONDON LONDON

P. ESQ.,

J-

HMU.NN AM.REW

K.,

copy).

LONDON (i copy). HODJM^ FIGGIS, AND Co., DUBLIN (i copy). HODSON, J. STEWART, ESQ., HASLEMERE (i copy). HICHEMS,

K.,

HOEPU, ULRICO, MILAN

(8 copies).

HOLLOND, MRS. ROBT., LONDON (i copy). U. JAMES, F. H. ESQ. M. D., LANCASTER,

copy).

JARROLD AND SONS, NORWICH (i copy). JERSEY, THE EARL OF (i copy). JOEL, H. F. ESQ.,

D ALSTON

copy).

JORDAN, GEH. RATH, DR. M., BERLIN

copy).

KLINCK.SICK, C., PARLS (2 copies).

LANDRIANI, SIGNOR C., MILAN

LAYARD, SIR

HENRY

LEHMANN, RUDOLPH LEIGHTON, SIR

F.,

copy).

A..(i copy). ESQ.,

LONDON

copy).

R. A., LONDON

copy).

LEUCHNEK AND LUBENSKY, GKAZ (i copy). LEWS, DR. GIUSEPPE, MILAN (i copy). LIPPMANN, DR., DIRECTOR OF THE ROYAL MUSEUM, BERLIN

copy).

BROWN AND Co., BOSTON, U. S. (3 copies). LOCK WOOD (CROSBY) AND Co., LONDON (2 copies). LdsCHER AND Co., ROME (i copy).

LITTLE,

KELVIE AND SONS, GREENOCK

MACLEHOSE AND SONS, GLASGOW MARKS, A. ESQ., LONG DITTON

MARTIN, SIR THEODORE, K. C. B.

MAXWELL, ANDREW, MENETEE, R.

J.,

ESQ.,

copy).

GLASGOW

ESQ., LOUISVILLE,

copy).

MEYER, DR., DIRECTOR OF THE ROYAL MUSEUM, BERLIN MILDMAY, H. B. ESQ., LONDON (i copy). MiNGHETTi, H. E. CAV. MARCO, BOLOGNA

MOLINEUX, R.

J.,

ESQ.

GUILDFORD

copy).

Gius., MILAN (i copy). COMM. GlOV. SENATORS DEL REGNO, MlLAN MORELLI, MORJSON, TH. ESQ., LONDON (i copy). MORRISON, ALFRED ESQ., LONDON (i copy).

MONGERI, PROF.

NAST-KOLB, A. VON, GERMAN CONSUL, ROME NORTHBROOK, THE EARL OF (i COpy).

COpy).

copy).

NUNN, H. AND Co., LONDON (i copy). PAPADOPOL, THE CONTE, SENATORS DEL REGNO, VENICE PARSON, EDW. ESQ., LONDON (i copy).

copy).

LIST OF SUBSCRIBERS.

PETRIE, GEO.,

DUNDEE

copies).

PHILIP, SON AND NEPHEW, LIVERPOOL (i copy). PONTI, SIGNOR ANDREA, MILAN (i COPY),

POYNTER, EDW.

LONDON

ESQ., R. A.,

POWELL, FRANCIS ESQ., DUNOON

POWERSCOURT, THE VlSCOUNT PRENDERGAST,

ESQ.,

copy).

(l COpy).

SAN FRANCISCO

copy).

PRINETTI, C., SENATORS DEL REGNO,

MILAN

QUARITCH, BERNARD, LONDON (8 RADFORD, W. T. ESQ., SIDMOUTH

copy).

copies). (i

RAMSDEN, MRS. JOHN, GODALMING

copy).

LONDON (i copy). C. LONDON ROBINSON, J. ESQ., (i copy). ROSE, J. ANDERSON ESQ., LONDON (i copy). ROTH, MATTHIAS, ESQ. M. D., LONDON (i copy). ROTHERHAM, L. AND S. SOCIETY (i COpy). SARTORIS, E. J. ESQ., LONDON (i copy). SAUNDERS, W., LONDON (i copy). SCHRODER, BARON H., LONDON (i copy). SCRIBNER AND WELFORD, NEW YORK (6 copies). SERENA, ARTHUR, ESQ., LONDON (i copy). RICHMOND, W.

B. ESQ.,

SLOPHER, TH. ESQ., WINCHESTER

copy).

W. ESQ., LONDON (i copy). SMITH, A. WATSON ESQ., STOUBRIDGE (i copy). SMITH, W. H. AND SONS, LONDON (2 copies). SPALETTI, THE CONTE V., REGGIO (i copy). SOTHERAN, H. AND Co., LONDON (ll copies). SOUTHAMPTON BOOK SOCIETY (i copy). SPENCER, THE EARL OF (i copy). SPITHOEVER AND Co., ROME (i copy). STANFORD, E., LONDON (i copy). STEVENS, B. F., LONDON (2 copies).

SIEMENS, C.

STUBLEY, R., BOSTON (i copy). STUTFIELD, MARION, BRIGHTON (i copy).

TEANO, H. H. THE PRINCE, ROME

copy).

THIBAUDEAU, A. W. ESQ., LONDON (i copy). THOMSON, J. A. ESQ., LIVERPOOL (i copy). TRIVULZIO, THE

MARCHESE G.

MILAN

G.,

TRUBNER AND Co., LONDON (4 copies). TUBES, BROOKS AND CHRYSTAL, MANCHESTER UZIELLI, PROF. GUSTAVO,

TURIN

copy).

(2 copies).

copy).

VENOSTA, H. E. THE MARCHESE VISCONTI, MILAN

WALLACE, SIR RICHARD, BART., LONDON WALLIS,

HENRY

ESQ.,

LONDON

WALMSLEY, G. G., LIVERPOOL

copy). copy).

copy).

LIST

XII

OF SUBSCRIBERS.

LONDON (i copy). ERS, G. W., LONDON (i copy). WtURNCUJTE, THE EARL OF (i copy). WARDLE, GEORGE

ESQ.,

WESTHORP, STERLING \x,

ESQ., IPSWICH (i

FRED. ESQ., LONDON

HENRY

copy).

BRIGHTON

copy).

WiLUAJIS AND NORGATE, LONDON

COpy).

WILLETT,

ESQ.,

WOODGATE, JOHN, ESQ., COLCHESTER (i copy). WYLUE AND SON, ABERDEEN (i copy).

WYNDHAM, HON. PERCY, LONDON

copy).

P RE FA

CE.

Si singular fatality has ruled the destiny of nearly all the most famous of -^~Jt Leonardo da Vinci s works.

Two of the

completed, obstacles having arisen

during

three most important were never

his life-time,

which obliged him

namely the Sforza Monument and the Wall-painting of the Battle of Anghiari, while the third the picture of the Last Supper leave them unfinished;

Milan

has suffered irremediable injury from decay and the repeated restorations to which it was recklessly subjected during the XVIIth and

XVIII

centuries.

Nevertheless,

become so wellknown

Vasari says

no other picture of the Renaissance has

and popular through

and

rightly

copies

of every

description.

in his Life of Leonardo, "that he laboured

much more by his word than in fact or by deed" and the biographer evidently had in his mind the numerous works in Manuscript which have been preserved ,

to this day.

us,

now,

interesting original texts

indeed forgotten.

seems almost inexplicable that these valuable

and

should have remained so long unpublished, and

It is certain that

was highly

during the

XVI

and

XVII

centuries

proved not merely by the prices which they commanded, but also by the exceptional interest which has been attached to the change of ownership of merely a few pages of Manuscript. their exceptional value

That

appreciated.

This

notwithstanding this eagerness to possess the Manuscripts, their contents remained a mystery can only be accounted for by the many and ,

great

difficulties

attending the task of deciphering them.

The handwriting is

PREFACE.

N|V

r that

phrases,

much more

Vasari observes with in rude characters,

with any certainty the numerous difficulties and to master the sense as a connected whole. to Leonardos writing: "he wrote backwards,

to solve

alternative readings,

practised

detached a considerable practice to read even few

requires

referefice

and with

so that

the left hand,

them\

in reading them, cannot understand

to in reading reversed handwriting appears ex, Jcrimcntal

f it

is too

reading.

Speaking

from my own

fatiguing and inconvenient

any one who is not The aid of a mirror

available only

experience,

for a

first

the persistent use

to be practically advisable,

considering

mass of Manuscripts to be deciphered. And as, after all,^ character runs Utnardos handwriting runs backwards just as all Oriental the difficulty of reading backwards -that is to say from right to left the enormous

direct

from

the

writing

This obvious peculiarity in

not insuperable.

any means the only obstacle in the way of Leonardo made use of an orthography peculiar to himone long of amalgamating several short words into

the writing is not, however, by

mastering the self;

one,

or,

text.

had a fashion again, he would

a long quite arbitrarily divide

word

into tvo

added to this there is no punctuation whatever to regulate separate halves; the division and construction of the sentences, nor are there any accents

and

that such difficulties were almost sufficient to It is therefore not surthe task seem a desperate one to a beginner.

the reader

make

may imagine

Leonardos most reverent admiprising that the good intentions of some of rers should have failed. Leonardos literary labours in various departments both of Art and of Science were those essentially of an enquirer, hence the analytical method is that which he employs in arguing out his investigations

The vast structure of his scientific merous separate researches, and it

and arranged was the reason

never have collated it

seems to

theories is

and

dissertations.

consequently built

up of nu-

'much to be lamented that he should

His

detailed research

that in almost all the Manuscripts,

the

them.

love

for

appear to us to be in utter confusion; on one and the same Pagf, observations on the most dissimilar subjects follow each other without different paragraphs

any

connection.

page, for instance, will begin with some principles of

astronomy, or the motion of the earth; then come the laws of sound, finally some precepts as to colour.

and

Another page will begin with his investiintestines, and end with philosophical remarks

gations on the structure of the as to Ike relations of poetry to painting;

and

so forth.

PREFACE.

Leonardo himself lamented

this confusion

and for

that reason

not think that the publication of the texts in the order in which they occur in

the

find done

would at

originals

his

all fulfil

way through such a

his

intentions.

reader could

labyrinth; Leonardo himself could not have

it.

Added to this, more than half of the five thousand manuscript pages which now remain to us, are written on loose leaves, and at present arranged in a manner which has no justification beyond the fancy of the collector who make volumes of more or less extent. Nay, volumes the pages of which were numbered by Leonardo himself, so far as the connection of the texts was concerned, was obviously

first brought them together to

even in the

their order,

a matter of indifference in view,

when

him.

first writing

down

be complete to the .

to this rule

The only point he seems

have kept was that each observation should

his notes,

end on the page on which

are extremely few,

and

it is

was

begun.

to.

The

certainly noteworthy that

exceptions

we find

such cases, in bound volumes with his numbered pages, the ivritten observa-

"turn over", "This

tions:

is the

continuation of the previous page"

like.

Is not this sufficient to prove that

cases

that

the

was only

writer intended the consecutive pages

when he should, at

last,

and the

in quite exceptional to

remain connected,

carry out the often planned arrangement of his

writings?

What

this final

arrangement was

indicated with considerable completeness. clue is wanting,

be,

In other

but the difficulties arising

from

itself,

it is

quite possible to

cases

this authoritative

this are not insuperable;

always distinct and well construct a well-planned whole, out

for, as the subject of the separate paragraphs defined in

Leonardo has in most

of the scattered materials of his scientific system, and I may venture to state that I have devoted especial care and thought to the due execution of this responsible task.

The beginning of Leonardo s literary labours dates from about his thirty-seventh year, and he seems to have carried them on without any serious Thus the Manuscripts that remain represent a interruption till his death. Within

period of about thirty years. altered so

little

particular

text.

that

The exact

this

space

impossible to judge

from

of the date of any

can only be assigned to certain incidentally indicated, and in which the order

dates,

note-books in which the year is

of time his handwriting

indeed,

PREFACE.

The assistance used them. has no! /urn altered since Leonardo the Manuscripts is generally afford for a chronological arrangement of to the original Manuscripts this clue I have assigned /<.-

of the

aMt. By

and France, the order of their proEngland, Italy be able to it is highly important to Action, as in many matters of detail made and at which certain observations were scattered through

the tinte

verify

For

registered.

end of

all

(from their

and

Vol. II,

and

this

1566;

logical

the Manuscripts given at the purpose the Bibliography of

an Index, not far short of complete, The consecutive numbers works now extant.

be regarded as

may

Leonardos i

place

literary

sequence

head of each passage in

the

with

reference

the

this

subjects;

indicate

work,

while

letters

the

each paragraph refer to the original Manuscript figures to the left of to be found. the page, on which that particular passage is number

of Manuscripts at the beginning of Volume 7, and to the Bibliography at the end of Volume II, can, in every which the passage belongs, instance, cosily ascertain, not merely the period to

Thus the

reader, by referring to the List

but also exactly where

Thus,

stood in the original document.

too,

the reader following the sequence of the numbers in the Bibliographical index,

may

reconstruct the original order

various texts to be say, as by

however,

found on

the of the Manuscripts and recompose

much of

it,

that

came within the scope of this work. It may, here observed that Leonardos Manuscripts contain, besides the

its

subject-matter

passages here printed, a great number of notes Physics,

the original sheets

and some

other subjects,

dealt with by specialists.

and

dissertations on Mechanics,

many of which could

I have given as

only be satisfactorily

complete a review of these writings

as seemed necessary in the Bibliographical notes.

In 1651, Raphael Trichet Dujresne, of Paris, published a selection from Leottardos writings on painting, and this treatise became so popular that it has since been reprinted about two -and-twenty times, and in six different languages. But none of these editions were derived from the original texts,

from early copies, in which Leonardos text had been more or less mutilated, and which were all fragmenThe oldest and on the whole the best copy of Leonardos essays and tary.

which were supposed

have been

lost,

precepts on Painting is in the Vatican first by copy,

but

Library ;

this

has been twice printed,

Manzi, in 1817, and secondly by Ludwig, in 1882.

and

the published editions

it,

rash to hold Leonardo responsible,

contain

Still, this

much for which

and some portions

ancient

would

such as the very

PREFACE.

XVII

important rules for the proportions of the human figure are wholly wanting; on the other hand they contain passages which, if they are genuine, cannot

now

be verified

from any

rate neither give us the original order

nor do they afford any

These

original Manuscript extant.

copies,

at any

the texts, as written by Leonardo,

substitute, by connecting

them on a rational scheme;

indeed, in their chaotic confusion they are

anything rather than satisfactory with the compiler of the Vatican copy,

The fault, no doubt, rests which would seem to be the source whence reading.

known

all the published

and

extensively

were derived; for, instead of arranging the passages himself, he tvas satisfied with recording a suggestion for a final arrangement of them into eight distinct parts, without attempting to carry out his scheme. Under texts

the mistaken idea that this

plan of distribution might be

down

compiler, but of Leonardo himself, the various editors, .

day,

have

very

continued

injudiciously

adopt

that,

to the

present

rather

order

this

not of the

disorder.

like other

had given up

enquirers ,

Trattato della Pittura

for

lost,

till,

the original

in the beginning

Manuscript of the

of 1880, I was

by the liberality of Lord Ashburnham, to inspect his Manuscripts, so

happy as

tion

to discover

Trattato

of the

Though

this discovery

inciting

among them in

his

the original text

magnificent

was of a fragment

further search

library

enabled,,

and was

of the best-known por-

Ashburnham

Place.

but a considerable fragment-

only

gave the key

to the

mystery which had so

long enveloped the first origin of all the known copies of the Trattato. extensive researches

I was

of which are combined in

subsequently enabled to prosecute, this

unrestricted permission granted

work,

and

The

the results

were only rendered possible by the investigate all the

Leonardo dispersed throughout Europe, and

Manuscripts by

reproduce the highly important

original sketches they contain, by the process of "-photogravure".

Her

Majesty

Queen graciously accorded me special permission to copy for publication the Manuscripts at the Royal Library at Windsor. The Commission Centrale

the

Administrative de V Institut de France, Paris, gave me, in the most liberal manner, in answer to an application from Sir Frederic Leighton, P. R. A., Corresponding member of the Institut, free permission

work for

several

months in their private collection at deciphering the Manuscripts preserved there. The same favour which Lord Ashburnham had already granted me was extended to

by the

Earl of Leicester,

the

Marchese Trivulzi, and the Curators

of the Ambrosian Library at Milan, by the Conte Manzoni at

Rome and

PREFACE. XV1U

**"****

l^SL. **7.Mr.Mr. M,

British

Mantle Thompson, Keeper at Windsor, th Holme*, the Queens Librarian

Museum,

Ckrist Church College at Oxford, Vcre Bayne, Librarian of

A. Napier, Librarian

to the

Leicester at

Earl of

Holkham

and

the

Hall.

the press, I have had the advantage In correcting the Italian text for Giov. Morelli, Senatore del Regno, valuable adiice from the Commendatore

and from Signor Gustavo Frizzoni, of Milan. difficulties,

of the Italian

text into English, is

The

translation,

mainly due

under many

Mrs. R.

and important

while the rendering of several of the most puzzling

C. Bell;

passages,

to the indefatigable interest half of Vol. I, I owe R. A. Finally I must express taken in this work by Mr. E. J. Poynter Ditton, who has most kindly my thanks to Mr. Alfred Marks, of Long

in the second

particularly

assisted

in the revision of the

me throughmit

The notes and dissertations on the

I owe

my friend Baron Henri

for

texts

sheets.

on Architecture in Vol. II

de Gcymuller, of Paris.

I may further mention with regard tives

proof

to the illustrations, that the

nega-

of the "photo-gravures" by Monsieur Dujardin of

the production

Paris were all taken direct

from

It is scarcely necessary to

add

the originals.

that most of the drawings here reproduced As I am now, on the termi-

in facsimile have never been published before.

nation of a

work of

several years

duration,

a position

review

the

I may perhaps be permitted to add a general tenour of Leonardos writings, word as to my own estimate of the value of their contents. I have already shmcn that

due

circumstances, that

nothing but a fortuitous succession of unfortunate should not, long since, have known Leonardo, not

merely as a Painter, but as an Author, a Philosopher,

There can discoveries

and a

Naturalist.

no doubt that in more than one department his principles

were

infinitely

more in accord with the teachings of modern

and

science,

than with the views of his contemporaries. For this reason his extraordinary gifts and merits are far more likely to be appreciated in our own time

PREFACE.

XIX

could have been during the preceding centuries. He has been unjustly accused of having squandered his powers, by beginning a variety

than they

of studies and

The truth having hardly begun, throwing them aside. is that the labours of three centuries have hardly sufficed for the elucidation of some of the problems which occupied his mighty mind. then,

Alexander von Humboldt has borne witness that "he was the first to start on the road towards the point where all the impressions of our senses converge in the idea of the Unity of

The very words which are inscribed on

Nature? the

Nay, yet more may be said. monument of Alexander von Hum-

boldt himself, at Berlin, are perhaps the most appropriate in which

sum

^lp

we can

our estimate of Leonardo's genius: "Majestati naturae par ingenium."

LONDON, April

1883.

y. p. R.

CONTENTS OF VOLUME

Pages

PROLEGOMENA AND GENERAL INTRODUCTION TO THE BOOK ON PAINTING The author's intention to Clavis Sigillorum and Index of Manuscripts. The preparation of the MSS. for publication (2). publish his MSS. (i). Admonition to readers (3). The disorder in the MSS. (4). Suggestions for the General introduc8). arrangement of MSS. treating of particular subjects (5 tions to the book on painting (9 13). The plan of the book on painting The use of the book on painting (18). Necessity of theoretical 17). (14 23). Variability of the knowledge (19, 20). The function of the eye (21 Focus of sight (25). Differences of perception by one eye and by eye (24). The comparative size of the image depends on the amount both eyes (26 29). of light

(3039). II.

LINEAR PERSPECTIVE General remarks on perspective (40 41). The elements of perspective: Of the line (47 48). The nature of the outline of the point (42 46). The perception of the object depends Definition of perspective (50). (49). on the direction of the eye (51). Experimental proof of the existence of the The relations of the distance point to the van55). pyramid of sight (52 The to measure the pyramid of vision (57). How ishing point (55 56).

Proof by experiment (65 66). 64). production of the pyramid of vision (58 General conclusions (67). That the contrary is impossible (68). A parallel The function of the eye, as explained by the camera obscura case (69). Refraction of the rays falThe 73). practice of perspective (72 71). (70 The inversion of the images (76). The inter75). ling upon the eye (74 Demonstration of perspective by means of a section of the rays (77 82). The angle of sight varies with the distance vertical glass plane (83 85.)

On simple and complex Opposite pyramids in juxtaposition (89). (86 88). from the eye (91 of distance The 92). objects proper perspective (90). The relative size of objects with regard to their distance from the eye (93 The apparent size of objects denned by calculation (99 106). On 9 g). natural perspective (107 109).

CONTENTS OF VOLUME

XXII

HI.

Pages

BOOKS ON LIGHT AND SHADE

SIX

GENERAL INTRODUCTION.

Prolegomena (no).

67123

Scheme of

the

books on

Different principles and plans of treatment (112 116). Definition of the nature of shadows Different sorts of light (117 118). Of the various kinds of shadows (123 125). Of the various 122). (119 FIRST BOOK ON LIGHT General remarks (128129). kinds of light (126 127). AND SHADE. On the nature of light (130 131). The difference between light light

and shade (in).

The relations of luminous to illuminated bodies (136). lustre (132 135). 140). Experiments on the relation of light and shadow within a room (137 145)Light and shadow with regard to the position of the eye (141 The law of the incidence of light (146 147). SECOND BOOK ON LIGHT AND On the intenSHADE. Gradations of strength in the shadows (148 149). 152). sity of shadows as dependent on the distance from the .light (150 On the proportion of light and shadow (153 157). THIRD BOOK ON LIGHT Different sorts of AND SHADE. Definition of derived shadow (158 159). derived shadows (160 On the relation of derived and primary sha162). dow (163 165). On the shape of derived shadows (166 174). On the Shadow as produced by relative intensity of derived shadows (175 179). two lights of different size (180 The effect of light at different distances 181). FOURTH Further complications in the derived shadows (183 (182). 187). BOOK ON LIGHT AND SHADE. On the shape of cast shadows (188 191). On the outlines of cast shadows* (19 2 On the relative size of cast shadows 195). Effects on cast shadows by the tone of the' back ground (198). (196. 197). A disputed proposition (199). On the relative depth of cast shadows (200 FIFTH BOOK ON LIGHT AND SHADE. Principles of reflection (203. 204). 202). On reverberation (205). Reflection on water (206. 207). Experiments with the mirror (208 On shadows in movement (211 212). SIXTH 210). Appendix: BOOK ON LIGHT AND SHADE. The effect of rays passing through holes (213. On gradation of shadows (215. 216). On relative proportion of light 214). and

and shadows (216

221). IV.

PERSPECTIVE OF DISAPPEARANCE Definition

(222.

223).

illustration

123139

experiment (224).

guiding An experiment (226). On indistinctness at short distances (227 rule (225). On indistinctness at great distances (232 234). The importance of 231). The effect of light and shade in the Prospettiva de' perdimenti (235 239). Prolight or dark backgrounds on the apparent size of objects (240 250). positions

on Prospettiva

de' perdimenti

from MS. C. (250

262).

THEORY OF COLOURS

141

154

The

reciprocal effects of colours on objects placed opposite each other Combination of different colours in cast shadows (272). The 271). (263 effect of colours in the camera obscura (273. 274). On the colours of derived shadows (275. 276). On the nature of colours (277. 278). On gradations in the depth of colours (279. 280). On the reflection of colours (281 283).

On the use of dark and light colours in painting (284 of the rainbow (287 288).

286).

the colours

VI.

PERSPECTIVE OF COLOUR AND AERIAL PERSPECTIVE General rules (289 An exceptional case (292). An experiment 291). The practice of the Prospettiva de' colori (294). The rules of aerial On the relative density of the atmosphere (298299). perspective (295297). On the colour of the atmosphere (300 307). (293).

155166

CONTENTS OF VOLUME

XXIII

I..

VII.

Pages

ON THE PROPORTIONS AND ON THE MOVEMENTS OF THE HUMAN FIGURE

167201

Proportions of the head and face Preliminary observations (308. 309). of the head seen in front (319 Proportions 321). (310 318). Proportions Relative proportions of the hand and foot (324). of the foot (322 323). Relative proportions of the foot and of the face (325 327). Proportions of the leg (328 On the central point of the whole body (332). The 331). The relative relative proportions of the torso and of the whole figure (333). The relative proportions of proportions of the head -and of the torso (334). The relative proportions of the torso and the torso and of the leg (335. 336). of the foot (337). The proportions of the whole figure (338 341). The torso

from the front and back (342). Vitruvius' scheme of proportions (343). The arm and head (344). Proportions of the arm (345 349). The movement of The movement of the torso (355 361). The proporthe arm (350 354). The movement of the human figure tions vary at different ages (362 367). Of walking up and down (375 379^ On the human body in (368 375). action

(39

(380

388).

hair

falling

down

curls

(389).

draperies

39 2 )VIII.

BOTANY FOR PAINTERS, AND ELEMENTS OF LANDSCAPE PAINTING 203240 The relative thickness of the branches to (394396). The law of proportion in the growth of the branches The direction of growth (403 407). The forms of trees (408 402). (397 The insertion of the leaves (412 419). Light on branches and leaves 411). The proportions of light and shade in a leaf (423 426). Of 422). (420 The gradations of shade and colour the transparency of leaves (427 429). Classification of trees (393).

the trunk

classification of trees according to their colours (435). 434). of light and shade in trees (436 The distribution 440). shade with reference to the position of the spectator (441^-443).

in leaves (430

The proportions of light and

The effects of morning light (444 448). The The appearance of trees in the distance (450 Light and shade on 453). treatment of light for landscapes (458 The effect views of towns (465 469). and shade on clouds (474 477). On trees (452.

rainbows and rain (479. 480).

effects

451).

of midday light (449). The cast shadow of

groups of trees (454

457).

the

of light for of wind on trees (470 473). Light Of images reflected in water (478). flower seeds (481). 464).

the

treatment

IX.

THE PRACTICE OF PAINTING I.

MORAL PRECEPTS FOR THE STUDENT OF

dispositions artist

(483 anatomical

PAINTING.

241332 How

to ascertain the

The course of instruction for an (482). of the The necessity of The study antique (486. 487). 485). to acquire practice (490). Industry knowledge (488. 489). for

artistic

career

How

conditions (491 The artist's private life and 493.) The distribution of time for studying (495 choice of company (493. 494)On the productive power of minor artists (498 501). A caution against 497). How to acquire universality (503 506). Useful games one-sided study (502). and exercises (507. 508). II. THE ARTIST'S STUDIO. INSTRUMENTS AND HELPS FOR THE APPLICATION OF PERSPECTIVE. ON JUDGING OF A PICTURE. On the size of the studio (509). On the construction of windows (510 512). On the best light

and thoroughness the

first

various helps in preparing a picture (521 530). On the limitations of painting (531. 532). O n tne choice of a position (536. 537). The apparent size of (533 535)The right position of the artist, when painting figures in a picture (538. 539). for painting (513 520). On the management of

works

CONTENTS OF VOLUME

XXIV

Pages

and of the spectator (540547). III. THE PRACTICAL METHODS OF LIGHT AND SHADE AND AERIAL PERSPECTIVE. Gradations of light and shade (548). On the The distribution of light and shade choice of light for a picture (549 554). and shade (560. 561). of On the lighting The light juxtaposition (555559).

On the lighting of white objects (566). The of the background (562 565). IV. OF PORTRAIT AND FIGURE PAINTING. methods of aerial perspective (567 570). Of sketching figures and portraits (571. 572). The position of the head Of the light on the face (574 576). General suggestions for historical (573). How to represent the differences of age and sex (582. pictures (577 581). Of representing imaginary animals Of representing the emotions (584). 583). The selection of forms (586 591). How to pose figures (592). Of (585). V. SUGGESTIONS FOR COMPOSITIONS. Of painting 600). appropriate gestures (593 Of depicting night -scenes (604). Of depicting a 603). battle-pieces (60 1 Of representing the deluge (607 609). Of depicting tempest (605. 606). natural phenomena (610. 611). VI. THE ARTIST'S MATERIAL. Of chalk and paper On the preparation and use of colours (618 627). Of preparing 617). (612 the panel (628). The preparation of oils (629 634). On varnishes (635 VII. PHILOSOPHY AND HISTORY OF THE 637)- -On chemical materials (638 650). ART OF PAINTING. The relation of art and nature (651. 652). Painting is superior to poetry (653. 654).

(657

659).

Painting is superior to sculpture (655. 656). Aphorisms The painter's scope (662). the history of painting (660. 66 1). X.

STUDIES AND SKETCHES FOR PICTURES AND DECORATIONS

pictures of the Madonna (663). on the Last Supper (665 668).

Bernardo

333361

Bandino's portrait (664). Notes On the battle of Anghiari (669). 673). Allegorical representations referring to the duke of Milan (670 Allegorical representations (674 678). Arrangement of a picture (679). List of drawMottoes and Emblems (681 702). ings (680). di

REFERENCE TABLE TO THE NUMERICAL ORDER OF THE CHAPTERS

363367

OF ILLUSTRATIONS

LIST PI.

PI. II.

PI.

III.

VOLUME

Page

Portrait of

Leonardo, by himself, reproduced from the original drawing in red chalk in the Royal Library, Turin see No. 1368, Note Frontispiece

Three Diagramms, illustrating the theories of Linear Perspective and of see text No. 61. Light and Shade: No. i from the Ashburnham MS. I No. i Nos. 2 and 3 from MS. C., Institut de France, Paris see text No. 141

face

illustrating the theory of Light and Shade; from the No. i see text Nos. 148 and 275 No. 2 see ;

Ash-

face

Five Diagrams No. i illustrating the theory of Light and Shade MS. E, Institut de France, Paris see text No. 162 Nos. 2 and 3 the Ashburnham MS. I see text Nos. 169 and 173 Nos. 4 and 5 the Codex Atlanticus, Ambrosian Library, Milan see text Nos. and 187 To

from from from

Two

Diagrams,

burnham MS.

No. 149 PI.

IV.

;

PI.

VI.

text

179 face

Diagram, illustrating the theory of Light and Shade and Sketches of Figures illustrating the Movements of the Human Figure; from the Royal Library, Windsor Castle see text Nos. 183 and 597 To face

102

Four Diagrams, illustrating the theory of Light and Shade: No. i from the Codex Atlanticus, Milan see text No. 191 Nos. 2 and 3 from MS. C, ;

Institut

de France, Paris

Ashburnham MS. PI.

VII.

see text Nos. 215 and 216

;

No. 4 from the

No. 224

face

108

Five Drawings, illustrating the theory of the Proportions of the Human see text No. 310 ; Figure, from the Royal Library, Windsor Castle; No. i No. 4 No. 2 see text Nos. 310 and 327 No. 3 see text No. 313 ; ; see text Nos. 321 and 327 To face No. 5 see Nos. 337 and 595 . ;

170

Drawings, illustrating the theory of the Proportions of the Human i from MS. A, Institut de France, Paris see text No. 312 ; from the Royal Library, Windsor Castle see text No. 332 .To face

171

^see text

PI. VIII.

Two

Figure; No.

No. PI.

IX.

Drawing,

from

the

illustrating the theory Accademia at Venice

of the Proportions of the see text

^0.315

Human

Figure;

To d

face

172

LIST OF ILLUSTRATIONS IN

XXVI

VOLUME

Page PI.

silverpoint on bluish-toned paper, of the Human Figure; from the

Drawing

Proportions see text No. 3 1 6 Castle PI. XI.

PI. XII.

Windsor

Royal Library,

face

176

Drawing, illustrating the theory of Proportions of the Human Figure; from To face see text No. 318 the Royal Library, Windsor Castle

176

...

illustrating the theory of Proportions in the see text No. 319

Drawing, the

PI. XIII.

illustrating the theory

Human

Figure; from

Royal Library, Turin

Two Drawings illustrating the theory of the Proportions of the see text No. 328 Figure; from the Royal Library Windsor Castle

face

176

Human To face

PI.

XIV.

Two

drawings, illustrating the theory of Proportions of the Human Figure, see text Nos. 326, from the Royal Library, Windsor Castle; No. i To face 330 ; No 2. see text No. 334

178

PI.

XV.

Sketches, illustrating the theory of the Proportions of the Human Figure; from the Royal Library, Windsor Castle see text Nos. 331 and 345 To face

178

Drawings, illustrating the theory of the Proportions of the Human Figure; from the Royal Library, Windsor Castle: No. i, see text No. 335; No. 2, see text Nos. 339 and 342 To face

180

PI.

XVI.

PL XVII.

Two

Two No. No.

drawings, illustrating the theory of Proportions in the Human Figure; from MS. A, Institut de France, Paris see text No. 313 note ; 2 from the Royal Library, Windsor Castle, see text Nos. 348

and 336 PI.

XVIII.

Drawing, illustrating the Proportions of Accademia, Venice

-the

Human

Figure,

from the

181

face .

face

182

PI.

XIX.

Two Drawings, illustrating the theory of the Proportions of the Human see text No. 347 Figure from the Royal Library, Windsor Castle; No. i ; No. 2 see text No. 351 To face

184

PI.

XX.

Drawing, illustrating the theory of the Proportions of the Human Figure; from the Royal Library, Windsor Castle see text No. 349 . . To face

186

PI.

XXI.

Drawing

Human

red chalk, illustrating the theory of the Movements of the see text No. 356 and sketch in pen and ink of ,

Figure

warriors fighting

from the Royal Library, Windsor Castle

see p. 340;

To PI.

XXII.

Nos. 357 and Paris

PL XXIII.

188

Human

Four Drawings, Figure: Nos.

face

illustrating the theory of the Movements of the 2 from the Royal Library, Windsor Castle see text 358 ; Nos. 3 and 4 from Manuscript A, Institut de France, i

and

see text Nos. 359 and 369

face

194

Four Drawings, illustrating the theory of the Movements of the Human see text No. 375 Figure: No. i from the Royal Library, Windsor Castle No. 2, in red chalk, from MS. II. 2 , South Kensington Museum, London see text Nos. 376 and 1395 No. 3, in red chalk, from Manuscript H 2 Institut de France, Paris see text No. 377 No. 4 from the Royal Library, ; Windsor Castle see text No. 379 To face

196

Three Drawings, illustrating the theory of the Movements of the Human see text No. 387 Figure: No. i from the Royal Library, Windsor Castle ; No. 2 from the Codex Atlanticus, Milan see text No. 388 ; No. 3 from the Leicester Manuscript, Holkham Hall see text No. 386 To face

199

Drawing, illustrating the representation of the hair falling down in curls; from the Royal Library, Windsor Castle see text No. 389 To face

200

;

PL XXIV.

PL XXV.

LIST OF ILLUSTRATIONS IN

PL XXVI.

PI.

XXVII.

VOLUME

XXVII

Page

Charcoal Drawing of a Female Figure, from the Royal Library, Windsor Castle see text No. 391 and p. 341 To face

202

Five Drawings, illustrating the Botany for Painters; from the Manuscripts see text Nos. 395 (i) and G (2 to 5), Institut de France, Paris: No. i and 396 2 see text Nos. 402 and 412 No. 3 see text ; .No. ; No. 413 see text No. 414 No. 5 see text No. 417 To face ; No. 4 ;

214

Five Drawings illustrating the Elements of Landscape Painting; from the 1 Manuscripts M, G, E and I in the Institut de France, ParisNo, i see text No. No. 2 (MS. G) see text Nos. 424 and (MS. M) No. 3 (MS. E) see text Nos. 440 and 441 No. 4 (MS. G) 433 ; see text No. 451 No. 5 (MS. I ) see text Nos. 188 and 452 and ; ; two drawings illustrating the theory of the Arrangement of Folds in see text No. 390 Draperies: No. 6 from the Ashburnham Manuscript I ; No. 7 from the Royal Library, Windsor Castle see text No. To face

224

Drawing, in red chalk, Windsor Castle

238

PI.

XX VIII.

420;

;

391

PI.

XXIX.

PI.

XXX. XXXI.

from the Royal

representing a Landscape; see text No. 476

Library,

Drawing of a Bust and minor Sketches; from Castle see text Nos. 486 and 487

the

face

Royal Library, Windsor

face

244

Four Drawings illustrating the Practice of Painting: No. i from the Codex Atlanticus Milan see text Nos. 490 and 548 No. 2 from the Ashburnham Manuscript I see text No. 512; No. 3 from Manu;

de France, Paris

see text No. 526; No. 4 from the see text Nos. 573 and 574 .To face

263

Drawing of a male Head, illustrating the Practice of Painting; from the Royal Library, Windsor Castle see text Nos. 137, 575, 577 To face

290

Study of Female Hands, drawn with the silverpoint on yellowish tinted heightened with white; from the Royal Library, Windsor Castle see text No. 593 To face

292

Men on horseback fighting a Dragon; from Edmond de Rothschild, Paris; woodcut

page

293

from the Louvre Collections (reduced page

297

script A, Institut

Ashburnham Manuscript

PL XXXII.

PL XXXIII.

paper,

Drawing of two

Drawing of Male Figures in various groups, in size);

PL XXXIV.

woodcut

the Collection of Baron

Representation of a Tempest, drawn with the pen and partly washed with Indian ink, from the Royal library, Windsor Castle see text

Nos. 606 and 608

XXXV.

Three Drawings, Sketches

PL XXXVI.

Royal Library, Windsor Castle: No. i theory of the Proportions of the Human Nos. 2 and 3 referring to the representation ;

see text Nos.^ 608

Representation

Natural

see text p.

Three Drawings: No.

and 609

Phenomena; from the and No. 477

see text p. 307, note,

305

the

Figure of the Deluge

Windsor Castle

PL XXXVIII.

from

referring to the see text No. 348

Windsor Castle

PL XXXVII.

between pp. 304

Phenomena; from the 307, note, and No. 477

Royal .

face

306

Library, face

308

Library, face

310

.To

Representation of Natural Phenomena,

from

No. 2 Sketch of a see text No 610 ; Atlanticus, Milan Male Figure from the Ashburnham MS. I see text No. 579 ; No. 3 Sketch of Male Figures, from the Royal Library, Windsor Castle the

Codex

see p.

340

face

312

OF ILLUSTRATIONS IN VOLU.MK

LIST

XXVIII

Page PI.

XXXIX.

Charcoal

Windsor PI.

from the Royal Library,

Drawing, representing a Deluge,

see p. 309, note

Castle,

face

Three Drawings from the Royal Library, Windsor Castle No. i Representations of Natural Phenomena, drawn with the pen and washed 610 ; No. 2 Sketches of Male see text Nos. 473, 608 with Indian ink

XL.

see illustrating the practice of Figure Painting ;No. 3 Sketch for a Madonna picture, drawn with the To face see text page 343, note silverpoint on bluish-tinted paper

Heads

text

PI.

in red chalk,

No. 573

Five Drawings illustrating the theory of Painting: No. i from the AshNo. 2 from the see text Nos. 142 and 344 ; Nos. 3 and 4 from MS. F, see text No. 200 ; see text No. 244; No. 5 from MS. E, Institut de France, Paris To face see text Nos. 197 and 1190 Institut de France, Paris

XLI.

burnham Manuscript I Codex Atlanticus, Milan

XLII.

Female Head, preparatory Drawing in silverpoint, on brown-toned paper for the Angel in the picture "La Vierge aux Rochers"; from the To face Royal Library, Turin see p. 344

PI.

XLIII.

same figure, done with the brush Preparatory Study of Drapery and Indian ink on greenish paper, the lights heightened with white; from the Royal Library, Windsor Castle see pp. 344, 345 note To face

PI.

XLIV.

PI.

3 24

329

for the

Bust of a Boy, Study, in red chalk, for the figure of the Infant Christ see the same picture; from the Royal Library, Windsor Castle

in p.

The Wall- Painting of PI.

XLV.

345 note

woodcut

the Last Supper, at Milan,

face

333

page

334

Preparatory Sketch for the painting of the Last Supper; from the Royal Library,

Windsor Castle

see p. 335

face

PI.

XLVI.

Preparatory Sketch for the painting of the Last Supper drawn in red see text No. 668 between pp. 336 chalk; from the Accademia, Venice

PI.

XLVII.

Study for the

drawn

XL VIII.

Head

St. Matthew in the painting of the Last Supper, from the Royal Library, Windsor Castle see

red chalk;

333

p. PI.

Study, in

black chalk, for the

Head of

St.

from the Royal Library, Windsor Castle PI.

XLIX.

Study, in charcoal, for St. Peter's right the Royal Library,

PI.

Windsor Castle

Study, in red chalk, for the

the Royal Library,

Raphael's

Sketch

after

Study

two

Heads

Leonardo's

Cartoon

336

picture; face

336

same picture; from

....

of the

Battle

336

foil.

..."

Anghiari ..'..

face

336

face

33 6

from the on page

337

the

340

Drawing of the

Head of

St.

same painting, drawn see p. 340

Head of a

John

Louvre, Paris

The

see p. 333

for

the Royal Library,

Study of the

in the

see p. 333

see p.

for a fighting Warrior, for the Museum at Buda-Pesth,

PI. LI.

Arm

face

fighting Warriors, painting of the Battle of see Anghiari, drawn in black chalk; from the Museum at Buda-Pesth p.

Study

Head

same

Philip in the

see p. 333

of Judas in the same picture; from

Windsor Castle

University Galleries, Oxford

334

the painting of

see p. 344, 345, note

picture of "La Vierge aux Rochers"

338

from the on page

339

Criminal (the original in red chalk);

Windsor Castle in

in red chalk;

on page

in the

see p. 333

....

"La Vierge aux Rochers" .

Louvre, Paris,

woodcut

from face

in the

on page

342

on page

344

LIST OF ILLUSTRATIONS IN

VOLUME

XXIX

Page

LIT.

Two

Drawings: No. i Group of Figures, in silverpoint on reddish-toned see Nos. 665, 666 note paper, from the Royal Library, Windsor Castle and 594 note; No. 2, Sketch of Horsemen fighting, Study for the cartoon of the Battle of Anghiari; from the British Museum, London see p. 336

To P. LIII.

PL LIV.

face

344

Study for the Cartoon of the Battle of Anghiari; drawing from the AccaTo face demia, Venice see p. 336

346

for the cartoon of the Battle of Anghiari;

Study

demia, Venice

PL LV. PL LVI.

PL LVII.

face

348

Study for the Cartoon of the Battle of Anghiari, drawing from the Accasee p. 337 To face demia, Venice

350

see p.

drawing from the Acca-

336

black chalk for the Cartoon of the battle of Anghiari, in the

Study Royal Library, Windsor Castle

see p.

338

....

between pp. 352 ;

To PL LVIII.

Studies Castle

PL LIX. PL LX.

35^

Cesare da Sesto's Copy of part of the Cartoon of the Battle of Anghiari charcoal Drawing from the Royal Library, Windsor Castle see p. 337

for Allegorical Compositions; see text No. 672, note

face

352

from the Royal Library, Windsor

Drawing of an Allegorical Composition; from see text No. 676 College, Oxford

the Library of Christ

face

352

Church

face

352

Four Drawings of Allegorical Representations No. i from the Library of Christ Church College, Oxford see text No. 676 No. 2 4 from Manuscript M, Institut de France, Paris see text Nos. 699 701 To face

353

Allegorical Composition, from Oxford see text No. 677

353

;

PL LXI. PL LXII.

Two in

Drawings: No.

the

No. 2:

PL LXIII. PL LXIV.

Library

Church College,

of Christ

face

di Bandino, when hanged; Thibaudeau, London see text No. 664 ; Emblems, from the Royal Library, Windsor Castle see text No. 681

Studies text

the

Portrait

of Bernardo

possession of Mons.

of Emblems;

from

the

Royal

Library,

Windsor

face

Castle

see

face

No. 684

354 356

Emblematic Representation; from the Royal Library, Windsor Castlesee text No. 688

The reproductions of drawings The slightly reduced.

face

358

are of the exact size of the originals; except that Plates I, XVIII colour and tone of the paper have in every case been faithfully in to order imitated, give to the facsimiles a perfect and complete resemblance to the originals, whether drawn in charcoal, red chalk or pen and ink. It is to be understood that all Drawings here reproduced are in pen-and-ink, unless otherwise stated.

and XLVI are

ERRATA. Italian

for c

/. 228

text:

read C

for

page 44 .;

for luminosi se read luminosi;

.p.

.146

parte razrf parte.

/. 272

for /.

razrf

I./.

167

se.

p. 79

g^or

20 for baso raza? buso.

recto

/. 291

23 for esse read e se.

read /.

resto.

for

p. 196

n'a<f

from

in the

from

endfor

the

end

rtadll.

WHICH English text: page 48 /. 2 from the end for ever mzrf over./. 65 /. 1$ for tretragon read tetragon./. 81 /. 6y>AWILL read WILL./. 109 /. T-$for on opposite r^^rf on the opposite./. 114 //. 26, 27 for avelets walways read wavelets always./. 115 /. 7 from the end for as read at./. 145 /. IT. for holer read holes./. 163 I. 8 from ffie endfor [on] read [20]. /. 164 /. 12 for each read at each./. 174 /. g./frr then-ose read tke nose./. 182 /. 26 for length read tenth./. 188 /. 6 for .

And do; /. 10 for 2 read and./. 200 /. 18 for it to out read it out./. 207 /. $ for to with the rarrf to the. whirling read whirling./. 321 /. 4 front the end for as raid? as to./. 266 /. i6/^ fla read flat./. 306 /. for thicker read thicken./. 329 /. ifor farther read further.

And

/. 238

read

30^

Notes: page 291, No. 583

$for

left

read right./. 349

for

of the

beginning read the beginning

of.

Prolegomena and General Introduction

to the

Book on

Painting.

Clams In the

ordinary

way

few

instances in

this is stated in

which Leonardo has written from

the heads of

in the original

MS.

text,

right in the

backwards. 4

&c. indicate

instances the breaking off of the lines

to the

footnotes

and

they have been introduced

and

obvious mistakes in spelling have been corrected in the so that all the peculiarities of the original text which

but are given in the notes,

are omitted in the revised text

for per or pr

ft for

for

be seen at

a glance.

for

br;

ser;

for uno.

for una.

These occur so constantly point them out.

;

che

eve

perche

;

QTa

has not been thought necessary

sopra.

di.

for ver;

VOL.

may

Leonardo frequently employs the following abbreviations

many

which require an explanation.

Clerical errors

the revised text:

accounts for peculiarities in the construction of Leonardo's sentences.

In the translation the numbers refer only in such passages,

line in

the

MS.

the lines in the original

left

In all other cases the writing

note.

The numbers printed above

sigillorum.

g. in<J\so

and are

also uses:

breve.

inverse.

servo.

so unimporfant that

PROLEGOMENA. Such abbreviations as are common

5. e.

familiar speech are retained in the text;

g. un sol punto.

Leonardo's usual

been

way of

spelling, ochio spechio

for occhio specchio, has also

left unaltered.

The combinations of two or three words' into one, which Leonardo so frequently used, and which are so puzzling to the eye as to render reading difficult, though in the revised text; e. g. leforme ditutti=le plain to the ear, have been separated 7.

forme

These combinations were, however, intentional no doubt;

tutti.

almost

every case they indicate the author's desire of substituting a sort of phonetic writing for the rules in general use. This doubling of the letters as, for instance in chessia

for e se la is, I believe, clear evidence of what may be called Leonardo da Vinci. The separation of the words has involved the in' doubled but these the letters, original spelling has been given, for reference of

for che

and

sia

essella

the orthography of loss

the foot notes.

Leonardo commonly wrote a e

occasionally,

but not often,

printed type in the

and

XVI

Leonardo sometimes writes

g. linje,

tienj,

mjnor.

when he writes from right

represents m.

As he to left),

6 u or v for an, en, in, on, un. This sign // has been retained, as it was usual in

centuries.

for i, particularly where it is joined to m, n or never sets a dot over the ordinary i (at any rate it is plain that he uses j for i (he does not dot the j

simply to avoid confounding ni or ui with m, or mi with nu. As this difficulty cannot occur in print I have restored the usual spelling i for j without referring to it

in the notes.

Accents

10.

and

apostrophes are entirely lacking in the original manuscript,

but

seemed necessary to introduce them into the printed text. The accent has also been added in those parts of the verb avere in which Leonardo had dropped the h: as 6,

ai,

anno.

IH tne MSS. there are no marks of punctuation but these, II III C ) have been retained wherever they occur. is ahvays placed by Leonardo just they above the line of writing and is never used as a full stop, but only to divide the words I]L

and

according to the sense-, it very often occurs between every word, particularly in MSS. of about 1490. When a letter or number is placed between two points, as a ., or 3 ., .

a corresponding sign on a diagram or sketch. serve to separate sentences which are entirely distinct. II III commonly This mark commonly indicates that words written above or below the be inserted. In the reinsed text they have been simply inserted.

usually refers to I

are

line

In the notes these passages are distinguished by the following signs: indicates that the words were written above the line. " (

)

that the words were written below the

This

mark

used by Leonardo

line.

mark

a quotation from some other work of his own; but (

off it

a digression

or parenthesis

often takes the place

of the colon:

simple bracket placed at the beginning of one or more lines serves to lay stress

on particular sentences;

it is

also used to

mark

with the rest of the text on the same page. been denoted by the mark If.

distinct sentences

which have no connection

In the printed text such sentences have

PROLEGOMENA. The

making

length,

of a

last line it

commonly ends with a horizontal

section

of equal length with the preceding

lines

of variable

line

of writing.

J, 4i 5' These figures, if written large, or some similar mark, are occasionally at the end of a page or at the beginning of a passage that has been crossed placed 12.

and

this indicates

13.

,.:;!? These

that the continuation is to be sought for elsewhere,

where the same sign is repeated. The sings & o, which occur in the passages on painting^ have been added by some early copyist and have therefore not been reproduced in the notes.

out;

sary however

to insert

stops are never

used

such marks in order

MSS.

in the original

render the text

seemed

neces-

A full

intelligible.

stop

used at the end of a section to avoid confusion with Leonardo's own use of points (see No. \\) for he never places one at the end of a section or paragraph. Wherever a full stop seemed wanting in .the course of the text I have put a semi colon (;). is

only

The

colon

(:)

used instead of a full stop where, in the

[ ]

15.

When a word or passage of

the

revised text

indicates that the reading is doubtful in consequence 1 6.

\l\\\\

17.

a point

(.)

occurs.

Passages between brackets are crossed out in the original.

14.

pen and

original,

printed in small type

which the original writing

indicates passages in

of partial obliteration. is entirely

destroyed.

indicates that the passage is written in red chalk.

(R) indicates that the original writing in red chalk has been written over in ink.

19.

20.

P i

indicates

the original writing is in silverpoint.

Jhat

2 $ &c. the front page 2 6 3* &c. the back page

j<5

The MSS. Tr. and In all other

MSS.

K. M.

recto

of sheet

&c.

verso

of sheet

&c.

are the only ones in which the pages are numbered. In referring to the Codex Atlanticus a

the leaf only is numbered.

double series of numbers has been used.

The

first apply only to the larger leaves

Codex, on which two or more of the original leaves of the the second series does not exist in the

Codex

itself; it

MS. have

of the

been mounted;

refers to the original pages in the

order in which they have been placed in it. By this second series of numbers the correWherever, in addition to the spondence of the front and back pages has been verified.

number occurs in- Leonardo 's writing it is quoted in a and this indicates that the back page of leaf 27 in the

consecutive numbering, a different

parenthesis, thus:

MS. C was 21.

originally

A Roman

(3"),

numbered

II,

as 26

In the Codex Atlanticus

twice.

II*

26 IP, indicates that the same number is used for II.

(26) occurs

that the passages so marked are originally notes written on the inside of the cover of the MS.; O' within the front or upper cover, O" within 22.

O',

indicates

the under cover. 23.

nardo's

The wood -cuts introduced

own

sketches

numbers affixed

into

the

text are facsimile -reproductions

and drawings which accompany

them have

the

MSS.

been inserted in ordinary writing.

But

of Leo-

the letters

and

PROLEGOMENA.

The folloiving is a list of Leonardo's letters and numbers, as they are found 24The on those original drawings which are here reproduced by facsimile engravings. reader will have to refer to this list, by which he will be enabled to identify the letters and numbers on the originals with the corresponding figures in the printed text.

A A d o

o ==

*-'..y' T '

1''

= :>

:':

^~/

''.''

'\1-'

\\ = y i

^2.

= =

^4=4 ^ t)

/ =

<>=7 --,

8 9

PROLEGOMENA.

INDEX OF MANUSCRIPTS.

PROLEGOMENA.

GENERAL INTRODUCTION TO THE BOOK ON PAINTING.

the universal custom of western nations,

Leonardo committed almost that a This singular handwriting goes from paper right to left. sometimes been accounted for by supposing that Leonardo felt it necessary

Contrary

all his notes to

habit lias to

put every

the publication of his works.

difficulty

the

rest on no solid grounds,

however, seems

way of

and

This assumption,

but an hypothesis at best.

Perfectly explicit statements prove, on the contrary, that Leonardo

wished

publish his

writings, and that he cared greatly that they should be known and read; and any one who has taken the trouble to make himself familiar with the Master's writing will, I think, hardly resist the conviction that even the character of the writing was expressly adapted to

that view.

We know from his left hand,

authentically

the evidence of his friend

and used it with perfect known to be genuine as

wherever shading

would be drawn with The question as probably a vain

In point of fact, in almost every drawing those included in the texts of MSS. must be

introduced the strokes

one.

the left hand. to

Luca Paciolo that Leonardo drew with

ease. 1

lie

from

why Leonardo drew and

There

left to

right (downwards) as they

to justify

wrote with his

nothing circumstance or mere caprice was the cause. It is notes, written in his twenty-first year, when he could hardly have caution as are attributed to him*, are written backwards.

The

left

hand

now

us in deciding whether accidental worthy of remark, that the earliest

had such

reasons for

of Leonardo's MSS.

sufficiently prove that he certainly intended them for publication, though the form is probably not always what he finally meant it to be. The appeal or address 'til', which frequently occurs and more particularly in theore-

contents

passages , is often no doubt meant for the reader; but in other cases it indicates rather the specially meditative character of the passage. Abstract speculations acquire a particular charm from this soliloquizing form it is as if we overheard the mental tical

process of the author.

In the passages indicated below Leonardo expresses himself clearly as

and purpose of

to the

end

his literary labours.

In one passage in the invention to himself,

MS.

at HolkJiam (No. \) he speaks of keeping a certain it public. As he uses this reserve in no other instance,

and not making

this exception sufficiently

proves the

rule.

"Scrivesi ancora alia rovescia e mancina che non si posson legere se non con lo specchio, ovvero guardando la carta dal suo rovescio contro alia luce, come so m'intendi senz' altro dica, e come fa il nostro Leonardo da Vinci, lume della pittura, quale e mancino, come piu volte e detto." (L. PACIOLO,

Divina Proportione, Venaua, 1509.) 2 This was first pointed out in the 1 Gallery by Senatore Giov. MORELLI.

'Critical

review of the drawings by the old Masters in the Dresden

3 "Pour s'exprimer a peu pres comme lui, des esprits dtroits et routiniers d'une part, et de 1'autre des aventuriers partant a cheval centre tout ce qui avail permis jusque-li d'e'tablir ces regies qui, determinant la limit e du possible et de 1'impossible, empechent le chercheur de tomber dans le de"sespoir et la

mclancolic,

exageraient a plaisir ce

se servaient de ses propres expressions parlait

qu'il avait dit (?) (?)

pour

pour ragir contre les abus et les paradoxes, et cpmme un charlatan ou un fou. Lorsqu'il

le repre'senter

du moins, son Eloquence persuasive donnait &

ses ide'es toute leur valeur;

mais

laisser voir

dans

ses papiers des pensees incompletement exprime'es, des redactions inacheve'es, des projets d'inventions de toutes sortes, c'eut ite iexposer a la calomnie et au vol." (CH. RAVAISSON MOLLIEN , Les Manuscrits de L. de Vinci, Paris 1 88 1, /. 2). But we might suppose that Leonardo would have considered his papers and his

instruments quite

safe,

by keeping them locked away in his

own room.

GENERAL INTRODUCTION TO THE BOOK ON PAINTING. In the passage characteristic

means

MS.

the

from

F (No.

2) tJic expression "mettere insieme" is equally

of his method of working and of

the classification

separate details

tJie

of which could be done the more

nected whole,

tJie

condition

of the MSS.

his researches so as

easily since it

was

make a

his practice

con-

write

separate chapters on separate sheets.

The MS. interesting, to

for

Museum

the British

begins with an apology (No.

the self- evident disorder of the

where

the notes on mathematics

it is

which is very 4.) This apology applies equally ^vell and to all the branches of science on

MS.

placed

which Leonardo wrote.

The passages (Nos.

MSS.

as preparatory

all this it

was

and

j) are soliloquies,

publication in

the

refer to the arrangement of different

form intended

by Leonardo himself.

From

clearly not his intention that the notes should be printed as they lay

confusion, under his hand. The schemes, which Leonardo himself proposed for the arrangement of the Book on Painting as well as of his other writings, give us a clue as we shall presently

see

which enables us perfectly

to construct the

and with some

pretention to logical sequence.

We may

conclude that the sections 9,

Book on Painting, and more 21

with

56 1

its

special

title

written on the

and

particularly to the lessons

"Proemio

same

whole work on the basis of his own rules

prospettiva"

is,

headed 'Proemio' -refer

the original (Cod. At.

HJ 6 ;

sheet.

Sections 12 to 20 give us the guiding idea of the general plan

and purpose of

to the

on Perspective , because section

and of

the object

the Libro di Pittura.

No. 21 'Proemio

di prospettiva, cioe dell' ufitio dell' ochio' folloivs naturally after

the other general introductions.

Our

acceptance of this introduction,

it is

true, wholly

invalidates the arrangement of the materials which has been adopted by every editor of the old copies of the Trattato since DUFRESNE but those, it must be remembered, contain ;

only disconnected fragments of Leonardos treatise on Perspective. the branches of optics do not,

course,

His

come under consideration

to the physiology of the eye the reader will find, in Nos. 24, 28

investigations in all

With regard 39, passages which here.

show that Leonardo understood the effect of the variation in the size of the pupil on The insertion of these passages seemed indispensable because the perception of objects. the certain basis of general principles of Perspective. The same may be said they form about his explanation of the difference between seeing with one eye and seeing with two (No. 25 29) as well as of his acute remarks as to the apparent variation in the size of objects according to the amount of light in which they are seen (No. 30 39^.

VOL.

Leic. 226}

Come

molti stie 2 no con istrumeto alsotto Pacque; Come e perche io non quato scrivo il mio modo di 3star sotto 1'acqua; quato io posso star sanza magiare, e questo

no publico o diuolgo per le ma 4 le nature delli omini, li quali vserebono li assasinameti ne' fondi de' mari col rompere s i navili in fondo e sommergierli insieme colli omini che ui son dentro, e benche io insegni 6 delli altri, quelli no son di pericolo, perche di sopra all'acqua apparisce la bocca della canria, ?onde alitano, posta sopra otri o

sughero.

How

by a certain machine many may The author's some time under water. And how and p^bTish'his MSS wherefore I do not describe my method of stay

remaining under water and how long I can remain without eating. And I do not publish nor divulge these, by reason of the evil nature of men, who would use them for assassinations at the bottom of the sea by destroying ships, and sinking them, together

men in them. Nevertheless I will impart others, which are not dangerous because the mouth of the tube through which you breathe is above the water, supported on air sacks or cork.

with the

F. 2b\

tu metti insieme la scien 2 za de

Quado

acqua, ricordati di metHere di sotto a ciascuna propositione ^li sua gioua-

moti

dell'

non

meti, acrcioche tale scienstia

W. An.

IV. 163 <5]

No mi mia 1. 2.

legga, chi

non

e matematico,

nelli

pricipi.

isscrivo.

2. i. sscien.

sia inutile,

When you put together the science of the The P re pa motions of water, remember to include under MsTfor P ueach proposition its application and use, in biication. order that this science may not be useless.

leggha

quato iposso

3. 3. .

acciasscuna. .

magare ecquesto.

Let no man who read the elements of

sonmergierli

chi

bece.

not a Mathematician work.

apariscie la bocha.

otri

ossugero.

written,

gouameti acco chettale.

matematicho.

is i. The leaf on which this passage is written, headed with the words Cast 39, and most of these cases begin with the word 'Come like the two here h and 27 th 7. Sughero. given, which are the 26* In the Codex Antlanticus 377 a ; H7o a there is a sketch, drawn with the pen, representing a man with a tube in his mouth, and at the farther end of the tube a

disk. By the tube the word 'CAanna' and by the disk the word sughero\ l

notes in

comparatively small portion of Leonardo's

water-power was published at Bologna under the title: "Del moto e misura del-

1828,

/''Acqua,

di L.

da Vinci".

Admonition

GENERAL INTRODUCTION TO THE BOOK ON PAINTING.

Br.

Firenze in casa Piero di addi T2 di 2 marzo 1508: e q uesto fi a vn racolto sanza ordine, tratto di mol'te carte le quali io ho qui copiate sperando poi metterle per ordine alii lo*chi loro, secondo le materie di che esse tratteranno, e credo che auanti ch'io Ssia al fine di questo, io ci avro a riplicare vna

Comiciato

The di,order Braccio in the MSS.

on the 22 nd day of March 1508. And this is to be a collection without order, taken from many papers

which

have copied here, hoping to arrange each in its place, according to the subjects of which they may treat. But I believe that before I am at the end of this [task] I shall have to repeat the same

;

reader!

not write

this because I wrote it bewished to avoid falling into this fault, it would be necessary in every case when I wanted to copy [a passage] that, not to repeat myself, I should read over all 'I

will

And

fore.'

if I

had gone before; and all the more since intervals are long between one time of writing and the next. that

co^si

cofonderesti 1'ordine de' I2 quarata libri e cosi I'ordi'-Jne delle figurationi, cioe ^avresti a mischiare pratica ^con teorica, che sarebbe 16 cosa cofusa e interrotta. tale

per prouar

utilita,

Of digging a canal. Put this in the Book of useful inventions and in proving them bring forward the propositions already proved.

And

this

the proper order; since if you the usefulness of any plan

1)-

wished to

show

you would be obliged again

to devise

new

machines to prove its utility and thus would confuse the order of the forty Books and also the order of the diagrams; that is to say you would have to mix up practice with theory, which would produce a confused and incoherent work.

32/5]

Non

da biasimare

mostrare infra

del processo della scientia 2 alcuna regola generate nata dalP antidetta conclusione. 1'ordine

Chomlciato

sscrissi. 5. 2.

for which,

fa questo nel profondare vn canale de giovame^ti, e nel provarli allega 4 propositioni prouate; e que s sto e il raagauntofte 6 MSS treat- uero ordine, perche se tu volessi mostrare of ing par- ... 8 7 meto ticuiar sub- il ti a giova ogni propositione, bisognerebbe anco^ra fare novi strumeti

times;

the

several

do not blame me, for the subjects are many and memory cannot retain them [all] and say:

altra.

Suggestions libro

later

things

F. aja]

Br.

Martelli,

them

passato, e massime stante co' lunghi interIJ da una volta ualli di tenpo allo scriuere

Braccio

errore, sarebbe necessario che per ogni caso ''ch'io uolessi copiare, sicche per no repli-

carlo, io auessi senpre a rilegere tutto

house of Piero

at Florence, in the

Begun

Martelli

medesima cosa piu volte, si che 6 lettore no mi biasimare, perche le cose son molte e la memoria no le 7 puo riseruare e dire, questa non voglio scriuere perche dinanzi 8 e se io no uolessi cadere in tale la scrissi;

a un

[4-6.

cquesto

firenze

cssio no.

8. .

piero di bracco martelli.

9. repricarlo.

govame.

allegha.

io.

not to blame for putting forward, course of my work on science, any general rule derived from a previous conI

the

clusion.

ecquessto.

3. cqui.

5. ciaro.

6. ella.

scriuere [al]

collunghi.

13. coe.

14. aresti

a misciare.

15.

teoricha.

6. i. llordine.

In the history

of the

He was famous left

learning and at his death four books on Mathematics ready for the press ; for

di Firense.

In the

the Brit. Mus.,

New

his

Famiglia Martelli Official Catalogue of MSS. in

comp. LlTTA, Famiglie

of Florence in the early

XVI th

century Piero di Braccio Martelli frequently mentioned as Commissario della Signoria.

part

addi 22 di marzo 1508. in

Florence

racolto

tratto

The

at that

nation (Lady day, March 25 be 1509 by our reckoning.

th).

Christian era

was

time from the Incar-

Hence

this

should

di molte carte le quali io ho qui

must suppose that Leonardo means that he has copied out his own MSS. and not those of

celebri Italiane,

copiate.

I., where this passage been wrongly given for Braccio.

others.

Series Vol.

printed, Barto has

computed

Brit.

The

first

Mus. are a

thirteen leaves of the

fair

MS.

the

copy of some notes on physics.

GENERAL INTRODUCTION TO THE BOOK ON PAINTING.

7io.J W. An. II

IV. 167 a]

ina^zi

tua C.

The Book of the science of Mechanics must precede the Book of useful inventions, Have your books on anatomy bound! [4]

machine va

delle

de giovameti; notomia!

scietia

libro

libri

A. 146

della

libro

legare

a; 436^]

The order of your book must proceed

regola del tuo libro prociedera in * forma prima Paste senplice poi quest'a di sotto poi le sospese in le sosten^ute

this plan: first simple beams, then (those) supported from below, then suspended in part, Then beams as then wholly [suspended]. supporting other weights [4].

parte, poi tutte, nitori d'altri pesi. C. A. 117

poi esse aste fieno soste-

361^]

;

PROEMIO.

Vedendo

grade

inati 1'utili

non potere o

diletto,

3perche

per

fiera;

poverta

Sgivgnie

come

useful

omini

anno preso per loro

nati

Seeing that I can find no subject specially or pleasing since the men who have come before me have taken for their own every useful or necessary theme

pigliare materia

e ne 4 ciessari temi, faro

quale 6

vtilita

INTRODUCTION.

tutte

colui

1'ultimo

no potedo d' altro fornirsi piglia da altri viste e non accettate

rifiutate

per

loro

of providing himself than by taking all the already seen by other buyers , and not taken but refused by reason of their lesser value. I, then, will load my humble pack with this despised and rejected merchandise, the refuse of so many buyers; and will go about to distribute it, not indeed in great cities, but in the poorer towns, taking such a price as the wares I offer may be worth.

poca valitudine;

8 mercatia questa disprezata e rifiutata molti rimanete de' copratori mettero sopra 9 la mia debole soma, e con quella no per

I0 ville andro grosse citta, ma pouere tal distribuendo pigliado premio qual merita iz la cosa da me data.

io.

361

;

PROEMIO. molti diranno questa essere 4 e invtile questi fieno quelli de

opera quali

Demetrio

govameti.

quessta.

ano

pratori. io. 2.

disse,

poi lessen.

tutte luti [ebe] ene. 9.

chon quela.

naturalmente

facieSva conto

poi

4. sciessari

sosspese.

temi

io. disstribuendo.

asste

chome

omini boni disiderano sapere.

speaks of 'li tua he probably means the MSS. which

exist; if this hypothesis is correct the present condition of these leaves might seem to prove that

he only carried out his purpose with one of the Books on anatomy. A borrowed book on Anatomy 8.

[4]

sosstenitori.

cholui.

dirano.

still

mentioned

be those of whom declared that he took no more will

chose

aciettate.

pocha.

merchatia

cho-

u. chosa.

When Leonardo

of the paper. libri di notomia',

call this useless

will

many

and they

[3];

Demetrius

The numerous notes on anatomy written 7. 4. on loose leaves and now in the Royal collection at Windsor can best be classified in four Books, corresponding to the different character and size

work

that

no "a".

4. libri di 2. laste

know

;

9. 3.

INTRODUCTION.

So che

one who, being poor, comes and can find no other way

things

C. A. 117

last to the fair,

tutte cose gia

must do

alia

in F,O'.

Leonardo's notes on Mechanics are extra-

ordinarily numerous; but, for the reasons assigned in my introduction, they have not been included in the present work.

ecquesti

deometr

\\\\\\

disse.

chonto

bocha.

need hardly be pointed out that there In the second and third prefaces, Leonardo characterises his rivals and opponents more closely. His protest is directed against Neo-latinism as professed by most of the humanists of his time; its futility is now no longe'r questioned. It

in this 'Proemio' a covert irony.

io. In

the

original ,

deir uffitio dell' occhio (see

the Proemio di prospettiva doe No. 2l) stands between this

and the preceding one, No. 3.

questa essere opera inutile.

here understand

libro di pittura

opera

we must

and particularly the

on Perspective. Demetrio. "With regard to the passage attributed to Demetrius", Dr. H. MULLER STRUBING writes, "I know treatise 4.

General tcTthe 011

in-

book

GENERAL INTRODUCTION TO THE BOOK ON PAINTING. nclla lor bocca che del ueto ch' usciua delle parti ?di sotto vomini quali anno solamete desiderio di 8 corporal richezze, e

uento

del

piv

causaua

quale

le parole,

Iteramete priui di quello della 9 SapietiaI0 cibo e veramete sicura richezza del' anima che '1 1'anima e piv degnia pcrche quat' ;

"tanto piv degni fie le richezze anima che del "corpo e spesso dell' l* essa quado vedo alcu di questi pigliare no fa la I mano dubito sia come opera scimi' 4 a, se '1 mettino al naso, o che mi domadino, se e cosa 'Smagiatiua. corpo,

[10.

account of the wind that came out their mouth in words, than of that they expelled from their lower parts: men who desire nothing but material riches and are absolutely devoid of that of wisdom, which is the food and the only true riches of the mind. For so much

more worthy as the soul so much more noble are

is than the body, the possessions of of the body. And

than those I see one of these

soul

the

often,

when

work

his

not put

ask

wonder

hand, his

nose,

men

he does a monkey, or

something good to

if it is

take this

that

eat.

PROEM 10.

INTRODUCTION.

?So bene che per non essere io literate, che alcuno l8 prosuntuoso gli para ragionevolmente potermi ^biasimare coll' allegare 20 jo- essere homo sanza lettere; giete stolta! no sano questi tali ch' io potrei si 2 'come Mario- rispose contro a' patriti romani, io diciendo quelli che delsi "rispondere, 2 1'altrui fatiche ^se medesimi fanno ornati le mie a me mede^simo no uogliono cociedere: diranno che per non a 2 5vere io lettere non potere ben dire quello di che 26 voglio trattare or no sano questi che le mie chose 2 ?son piv da esser tratte dalla 28 sperietia, che d'altra pa rola, la quale fu maestra di chi bene scrisse 2 ^e cosi per maestra la 3 in tutti casi alleghero.

not being a presumptuous persons literary man, will think that they may reasonably blame me; alleging that I am not a man of letters. Foolish folks! do they not know that I might retort as Marius did to the Roman Patricians [21] by saying: That they, who deck themselves out in the labours of others will not allow me my own. They will say that I, having no literary skill, cannot properly express that which I desire to treat of [26]; but they do not know that my subjects are to be dealt with by experience rather than by words [2 8]; and [experience] has been the mistress of those who wrote well. And so, as mistress, I will cite her in all cases.

chausaua.

richeze.

12.

vomini equali.

chorpo

mare choll alegare 26. chelle.

not what to

alchu.

28. scrise.

make

Phalereus that

trius Poliorcetes.

esere. 29.

it.

21.

It is

sichomellassimi.

chome mario

Demetrius

can hardly be Demethen can it be for the name a clerical error for in the spirit of his

have not however been able

to find

any

corresponding passage either in the 'Fragments' (C. MUI.LER, Orat. Att., II. 441) nor in the Supplements collected

by DIETZ

(RJtein.

Mas., vol. 29, p. 108)."

as a simple Memorandum apparently as a note for this

The same passage occurs in

the

MS. Tr.

57,

'Proemid thus affording some data as to the time where these introductions were written.

Come Mario disse ai patriti Romani. " I am unable find the words here attributed by Leonardo to

21. to

Marius, either in Plutarch's Life of Marius or in the

Apophthegmata in the writings

14.

chontro.

a very common one? It may be Demades and the maxim is quite I

certainly not

writings;

Nor do they occur Maximus (who frequently

(Aforalia, p. 202).

of Valerius

mentions Marius) nor in Velleius Paterculus

(II,

1 1

sichura richeza de.

domadi 22.

[mia equel] e chosi per maestra la peris

meant and

Who

imano

concious that,

fully

certain

corporal "richeze" diletta e priua.

13.

chosa.

quello.

\\\\\\\\

to 43),

23.

wwlla.

17.

io.

lanima chelchorpo.

alchuno.

amememede. 30. cbasi

18.

24.

prosuntooso.

chociedere.

fie

19. siasi-

25.

lettero.

allegero.^

Dio Cassius, Aulus Gellius, or Macrobius.

MENDELSON of Dorpat, the editor of Herodian, assures me that no such passage is the found in that author" (communication from Dr.

Professor E.

MULLER STRUBING). Leonardo evidently meant to some well known incident in Roman history

allude to

and the mention of Marius is the result probably of some confusion. We may perhaps read, for Marius, Menenius Agrippa, though in that case it is true we must alter Patriti to Plebei. The change is a serious one, but it would render the passage perfectly clear.

2628. le mie cose ... che cfaltra parola. This can hardly be reconciled with Mons. RAVAISSON'S estimate of L. da Vinci's learning. "Leonard de Vinci .

etait

un admiraieur

disciple des andetis, aussi bien

dans Part que dans la science et il tenait a passer pour tel 'meme aux yeiix de la posteritf" Gaz. des Beaux arts. Oct. 1877.

GENERAL INTRODUCTION TO THE BOOK ON PAINTING.

13-]

C. A. ns<i;

II.

3571

Se bene come

no sapessi allegare

loro

Though I may not, like them, be able quote other authors, I shall rely on that which is much greater and more worthy: on experience, the mistress of their Masters. They go about puffed up and pompous, dressed and decorated with [the fruits], not of their own labours, but of those of others. And they will not allow me my own. They will scorn me as an inventor; but how much more might they who are not inventors but vaunters and declaimers of the works of others be blamed. to

molto magiore e piv degnia-cosa2 alleghero allegando la sperietia. maestra ai loro maestri Costoro vanno sgonfiati gli autori

;

e poposi, ma delle

^no delle loro

e ornati

vestiti altrui

fatiche,

medesimo no conciedono tore

inventor!,

inven-

magiormente

quato

disprezzeranno

non

loro

mie

e se

trobetti e recita s tori

opere potranno essere biasimati.

dell' altrui

PROEMIO.

INTRODUCTION.

And

E' anno da essere givdicati e non altrementi stimati.- li omini 8 inventori interpetri tralla natura e gli omini a comparatione

men who are inventors and between Nature and Man, as compared with boasters and declaimers of the works of others, must be regarded and not otherwise esteemed than as the object in front of a mirror, when compared with its image seen in the mirror. For the first is something in itself, and the other nothingness. Folks little indebted to Nature, since it is only by chance that they wear the human form and without it I might class them with the herds of beasts.

recitatori

9quat'e

trobetti- dell'

dall' obietto

similitudine d'esso obietto

interpreters

altrui

fori dello

opere; spechio alia

apparente nello

I0 spechio che Pu no per se e qualche cosa, e 1'altro e niete giente poco obbligate alia

natura, perche sono sol' d'acidetal "vestiti-

sanza il quale potrei armeti delle bestie.

infra

aconpagnarli

those

12.

C. A. 117^; 3 6i/5]

Molti mi crederanno ragionevolmete 2 potere ripredere, allegando le mie prove esser cotro all' autorita ^d'alquanti omini di gra reuereza apresso de loro inesperti 4 no cosiderado le mie cose essere ivditi, nate sotto la senplice e mera 5 sperientia-

may

they

reasonably proofs are opposed to the authority of certain men held in the highest reverence by their inexperienced judgments; not considering that my works are the issue of pure and simple experience,

who

quale e maestra vera. Queste regole son cagione di farti conosciere-jl uero dal falso la 7 qual cosa fa che li omini si promettano le cose possibili e con piv mode8 e che tu non ti veli di ignoranzaranza, cosa tale che non avendo efTetto, tu abbi 9 con disperatione a darti malinconia. la

think

Many will me by

blame

the one true

and

These rules

mistress.

are sufficient to enable

from the

that

alleging

know aids men to

you

the true

to look only for things that are possible and with due moderation and not to wrap yourself in ignorance, a thing which can have no good result, so that in despair you would give false

this

yourself up to melancholy.

C. A. 2oort; 594 a]

Intra

studi delle naturali cause e ra-

gioni la luce

A. sebene chome

toro] esse. 8.

12.

i. .

conteplanti

matematiche

delle

piu

sapesi

disprezerano

chonperatione.

obrigate.

13.

cose grandi

11.

diletta

altori

;

la cer-

chosa allegere.

[da me] loro non inventore.

quate dall obietto

fori

Among

de dello

....

the studies of natural causes

all

and reasons Light chiefly delights the beholder; and among the great features of Mathematics

J tra

tori

schonfiati e

popo

[potrano] delli

dessobietto

aparente

si.

mie

elle

conciedano

opere otrano esere.

chellu.

10.

chosa

ellaltro

[chos-

da ... givhe ... pocho

n. achonpgnarli.

poter "e".

chotro

alturita

chose "possibili e" chon. chause ration! lisstudi .

8. .

[di

qualche loro].

chosiderado

chettu nonti [per] "veli di" ignoranza

chonteplanti

...

lie

chose.

chosa

matematice

6. .

certeza

cagione

abi.

chon

chonossciere. .

plecharamente

chelli

malinchonia.

....

invesstighati.

GENERAL INTRODUCTION TO THE BOOK ON PAINTING. tezza

lalza

dimostratione

della

claramente

dell'

1'ingiegni

the

pre-

piv

investigati;

modi

complicata nella quale

delle

truova

be preferred of

ristrigniero

axioms being laid down at great length, them to a conclusive brevity, arranging them on the method both of their natural order and of mathematical demonstration; sometimes by deduction of the from the causes, and sometimes effects arguing the causes from the effects; adding

;

meno

degniera

di quelle

luce

signiore

come

tragano

my own conclusions some which, though not included in them, may nevertheless be inwho is ferred from them. Thus, if the Lord the light of all things vouchsafe to enlighten me, I will treat of Light; wherefore I will dialso to

cosa,

d'ogni

per trattare della luce per cui partiro la presente opera J 3 parti. illustrare

its

shall abridge

jntessendo secondo jl modo della materia naturale e matematiche dimostrationi alcuna volta conchiudendo gli effetti 8 per le cagioni e alcuna volta le cagioni per li effetti agivgniedo ancora alle mie coclusioni alcuna 9che no sono J quelle breuita

Perspective, therefore, must to all the discourses and systems

human learning. In this branch [of science] beam of light is explained on those

But

conclusiua

work

vide the present Ash.

The 1

plan of "

Painting

17)-

Come

ON THE

di 3. nature prospectiue: s'astede J torno alia 3 ragione del

prima

first deals with the reasons of the (apparent) diminution of objects as they recede from the eye, and is known as Diminishing PerspecThe second contains the way in which tive. colours vary as they recede from the eye. The third and last is concerned with the explanation of how the objects [in a picture]

the

ought to be

proportion as they (and the names are as follows): Linear Perspective. The Perspective of Colour. The Perspective of Disappearance.

?prospetiva liniale prospetiva di colore 9prospetiva di speditione 8

"e" da ... prepossta

hsicha

cho

malice

alchuna

traghano chome.

prosspettire.

13.

finite

From

quto

io. alle. .

attutte

eddell.

le traduzioni

chom

chonchiudendo.

chagioni

chosa [illuminare] ilustrare 3.

champo.

circhuitioni

Such

alchuna .

chagioni el

quale

chose chessi.

"(e diciesi prospettiva diminuetiva)"

luce

ancora

groria.

sechondo. .

matematicha 7.

dela

mate-

choclusi"o"ni alchuna.

partiro.

cholori chessi.

diciaratione

chome.

feno.

the character of the handwriting I infer was written before the year 1490. of Leonardo's notes on Optics or on

They

inella chomplichata . chonclusiua

risstrigniero

trattare

Perspective as bear exclusively on Mathematics or Physics could not be included in the arrangement of the libra di pittura which is here presented to the reader.

that this passage 5.

less finished in

are remote

questi.

14.

THREE BRANCHES OF PERSPECTIVE.

There are three branches of perspective;

sono-

diminvire (e diciesi prospettiva diminvitiva) le cose che si allotanano dall'ochio; la secoda * cotiene I se il modo del uariare i coloriche si allotanano dall'ochio; 5 la terza e vltima s'astede alia dichiaratione come le cose deuono 6 essere meno finite e nomi fieno quanto piv s' alontanano

into 3 Parts [io].

14.

Di TRE NATURE PROSPETT1VE. 2

what

mind of

methods of demonstration which form the glory not so much of Mathematics as of Physics and are graced with the flowers of both [5].

cuitioni

the

dimostrationi, gloria no tato

della

elevate

to)

the investigator.

matematica quanto della fisica ornata co fiori dell' una e dell' altra le 6 distese con gran cirsentetie della quale s

demonstrations

its

preeminently (tends

prospectiva adunque a da essere preposta a tutte le trattazioni e discipline vmane, nel campo della quale 4 la linia radiosa e dai

certainty

are

however but few.

its

widest application the science of seeing. Leonardo the two sciences were clearly

Although

separate,

find

axioms

According

not

so as

their

names; thus we

under the heading Perspective. arrangement of the materials for the

in Optics

to this

theoretical portion of the libra di pittura propositions in Perspective and in Optics stand side by side or

In the middle ages for instance, by ROGER BACON, by VITELI.ONE, with whose works Leonardo

occur alternately. Although this particular chapter deals only with Optics, it is not improbable that

was certainly familiar, and the Renaissance Perspective

the

io.

by all the writers of and Optics were not

regarded as distinct sciences.

Perspective,

indeed,

words partird la presente opera in 3 parti may same division into three sections which

refer to the is

spoken of

chapters 14 to

17.

GENERAL INTRODUCTION TO THE BOOK ON PAINTING.

D 2

PICTURA E PROSPETTIVA.

sono

della

The

parti prospettiua serue la pictura, delle quali la prima alia diminutione delle quantita s'aste-tde de' corpi oppachi; la s s ecoda e delle .diminuitioni e perdimeti delli ter 6 mini d'essi corpi oppachi; La terza e della ^diminuitione e perdimeti de' colori in luga Mistatia. 3.

che

divisions

distances.

l6 '

G. 53*]

THE DISCOURSE ON

DlSCORSO DE PICTURA. 2

corpi in diverse distantie; parte e quella che tratta 7 della diminuitio de colori di tali 8 Terza e quella che diminuisce la corpi, 9 che anno delle figure e termini notitia I0 essi corpi in varie dista tie. 5

de'

quatita 6

La seconda

79,5]

ON THE

DELLE PARTI DELLA PICTURA. 2

La prima

parte della pittura e che

corpi co quella figurati si dimostrino vati, e che li capi d'esse circudatori, 3

doue

pariete,

mediante delle

colori: e di queste 3 d'all'

prospective le altre due

ochio,

the vertical

loro

prima anno

16.

17.

presspectiva.

"he"

delle.

sasstende.

cholori

parte.

dimosstrino.

15.

The

parte.

3. .

parte

Chorpi.

he 6.

chelli.

alia

division

p"a"he

chorpi 8.

cheffan.

chorpi.

fighurati

9. delle

the

scheme, which

carry out in arranging his

VOL.

sasste.

chapters must

They undoubtedly

Leonardo wished to researches on Perspective

chelli

magnitudine.

here the same as in the pre-

writing of the two passages. 17. This and the two foregoing indicate

"ettermini"

dimosstrino.

[quatita]

chapter No. 14, and this is worthy of note when we connect it with the fact that a space of about 20 years must have intervened between the

in 1513 to 1516.

quale

"delle quantita" de chorpi.

10.

as applied

sechonda

hecquellachettracta.

chorpi.

chapi

cholori

sechonda

chorpi in diuersi disstantie.

vious

have been written

distances

plane

disstatia.

Terza ecquella cheddiminuisscie. he.

the

caused by the atmosphere which intervenes between the eye and the objects seen

prespectiua [che] di chessi.

decholori in lugha.

that

are

deriuatione dall' aria interposta infra 1'occhio

15.

painting

shall appear within of the foreground of the picture by means of the 3 branches of Perspective, which are: the diminution in the distinctness of the forms of the objects, the diminution in their magnitude; and the And of these diminution in their colour. 3 classes of Perspective the first results from [the structure of] the eye, while the other two

different

diminuistion delle

thing

represents should appear in reand that the grounds surrounding them

lief,

col-

dentro

de'

first it

objects

dimi I0 nuitio

loro

SECTIONS OF [THE BOOK ON] PAINTING.

The

rile-

pittura e giene?rata

tal

figure de' corpi

a origine

8 prospective, cioe dimi nuition

le 3

magnitudini

dimostrino etrare

le lor distantie, si

alia

PAINTING.

Perspective, as bearing on drawing, is divided into three principal sections; of which the first treats of the diminution in the size of bodies at different distances. The second part is that which treats of the diminution in colour in these objects. The third [deals with] the diminished distinctness of the forms and outlines displayed by the objects at various distances.

perspectiva, la qual s'astende nella

pictura, si diuide in tre parti pricipali, del*le quali la prima e della diminuitione che 3

fan

PAINTING AND PERSPECTIVE.

of Perspective are 3 , as used in drawing; of these, the first includes the diminution in size of opaque objects; the second treats of the diminution and loss of outline in such opaque objects; the third, of the diminution and loss of colour at long

circhudatori 12.

prasspec.

Painting.

This

chol.

disstantie

interpossta infralloc-

important because

supposition of H. LUDWIG and others, that Leonardo had collected his in one book so early as before principles of Perspective 1500; a Book which, according to the hypothesis, must have been lost at a very early period, or it

evidence

against

the

destroyed possibly, by the French (!) in 1500 LUDWIG. L. da Vina: Das Buck von der Vienna 1882 III, 7 and 8).

(see

Malerei.

GENERAL INTRODUCTION TO THE BOOK ON PAINTING.

La 2* appropriati e

by it. The second essential in painting is appropriate action and a due variety in the figures, so that the men may not all look like brothers, &c.

Je H obbietti da esso ochio veduti, pictura e

4 parte del' la variati nelle

statute,

che

omini no

18.

C. A. ai84; &|8<|

Queste regole The ihe

use of

book on

Palming,

delle

per ripruova r

omo

sono da vsare solamete figure jnperoche ogni r 11 copositione fa qualche

errore 2 e chi no li conoscie no li onde tu per conosciere li errori ;

knows them not, cannot amend them. But you, knowing your errors, will correct your works and where you find mistakes amend them, and remember never to fall into them again. But if you try to apply these rules in composition you will never make an end, and will

raconcia

e tieni a mete di mai piv ricaderci; Ma se tu volessi adoperare le regole nel coporre non verresti mai acapo e fare^sti confusione nelle tue opere. 3

ciali;

produce confusion in your works. These rules will enable you to have a free and sound judgment; since good judgment is born of clear understanding, and a clear understanding comes of reasons derived from sound rules, and sound rules are the issue of sound experience the common mother of all the sciences and arts. Hence, bearing in mind the precepts of my rules, you will be

che tu possiedi uno libero e bono giuditio jnperoche '1 bono givditio nascie dal bene intedere e 6 '1 bene intedere diriua da ragione tratta da bone regole e le bone regole sono figliole

Queste regole fanno

bona

della

comvne

sperietia:

madre

^lescietie-e arti; Onde avedo tu bene a mete i precietti delle mie regole8 potrai solamete col racocio givditio giv dicare e conosciere ogni sproportionata opera cosi in prospettiua come in figure o

able,

altre cose.

spective or in the figures or any thing else.

tutte

merely by your amended judgment, to and recognise every thing that is out of proportion in a work, wjiether in the percriticise

G. 8a\

19.

OF THE MISTAKES MADE BY THOSE WHO

DELL' ERRORE DI QUELLI CHE VSANO LA PRATICA SANZA SCIETIA. 3

che s'inamora

Quelli

come

Necessity ofscietia,

PRACTISE WITHOUT KNOWLEDGE.

Those who are in love with practice knowledge are like the sailor who gets into a ship without rudder or compass and who never can be certain whether he is going. Practice must always be founded on sound theory, and to this Perspective is the guide and the gateway; and without this nothing can be done well in the matter of

pratica *saza

without

nochiere che e s tra navilio

theoretical

knowledge

rules are of use only in correcting

figures; since every man makes some mistakes in his first compositions and he who

riprouerai trovi detti errori raco-

dove

1'opera tua, e

These the

...

pnma

nella

ecc.

fratelli

pajano

atti

20.

sanza timone o bussola

che mai a certezza

(IQ. 20).

dove

uada; ^sepre ^ a pratica debbe esser

edi 8 ficata sopra la la

prospettiva

questa nulla C. A.

75;

bona teorica

e guida JI

della 9quale

porta, e sanza

bene ne'

casi di pittura.

drawing.

20.

2190]

pittore che ritrae per pratica e giv2 d'ochio, sanza ragione e come lo spechio, che in se imita tutte ^le a se co-

The

ditio

traposte cose sanza cognitione d'esse.

who draws merely by

painter

and by

practice

without any reason, is like a mirror which copies every thing placed in front of it without being conscious of their eye,

existence. chio. 18.

Massettu 6. elle

19.

14. elli

13. elli.

"solamete"

bone

praticha.

apropiati

chopositione.

nelli.

eror.

10.

praticha.

... no

15. recelli

chonosscie

chopore none veresti achapo chomvne. 7. chol rachocio.

la presspettiva.

3O.

nolli

effare. 8.

chonfusione.

dichare

chessinamora

paj.

rachoncia

chonossciere 5.

echonossciere

di praticha.

chome.

assechotra poste chose

nochieri.

essanza.

chognitione dese.

erori

rego fanno .

chosi 5.

erori

chettu possiedi in prosspettiua

obbussola.

rachociali. .

chome

6. cierteza.

richaderci.

Ibero

nasscie.

chose.

teoricha.

qua

23-]

GENERAL INTRODUCTION TO THE BOOK ON PAINTING.

C. A. 117 b; 361 b\

21.

PROEMIO

INTRODUCTION TO PERSPECTIVE: THAT THE FUNCTION OF THE EYE.

DI PROSPETTIVA, DEL'UFITIO DELL'OCHIO.

ciojfe

3 lettore quello che non Or', guarda potremo credere ai nostri antichi, i quali s anno voluto difinire che cosa sia a 6 nima e uita: cose inprovabili; quando ? queue (cose) che con isperietia ogni ora si possono 8 chiaramete conosciere e provare, sono 9 per

the

Soul and Life are which are beyond proof, whereas those things, which can at any time

be clearly known and proved by experience, remained for many ages unknown or falsely understood. The eye, whose function we

o falsamete cre I0 dute che cosi chiaramete fa sperie"tia

1'ochio,

e insino ai mia te I2 pi per infmiti autori stato difinito in v mo I3 do: trovo per isperietia essere vn altro.

suo

del

so certainly

ofitio,

my own

know by time,

Here [in the eye] forms, here colours, here the character of every part of the universe are concentrated to a point; and that point is so marvellous a thing Oh! marvellous, O stupendous Necessity by thy laws thou dost compel every effect to be the direct result of its cause, by the

tutte

colori, qui u3niverso so ridotte 4e quel punto e di tata mara-

qui

figure,

le spetie delle parti dell'

v punto

in 5

tu 8

;

mirabile, o stupeda neciessita costri?gni colla tua leggie tutti li effet9 per breuissima via a participare delle

viglia! ti

cau I0se! questi sono

lor

miracoli.

tanto minimo spatio pos l8 sa rinasciere e ricopor^si nella sua dilatatione; 20 scriui 2I anno nella tua notomia che proportione 22 le spetie infra loro li diamitri di tutte 2 ^a da loro la dell' ochio e che distantia 1

shortest path. These [indeed] are miracles; In so small a space it can be reproduced

and rearranged in its whole expanse. Describe your anatomy what proportion there is between the diameters of all the images in the eye and the distance from them of the in

cristallina.

spera

I find,

quite another [13].

infinite

22.

C. A. 337 b; 1026/5]

that

down

experience, has,

been defined by an number of authors as one thing; but to

by experience,

Qui

a thing concer- The function

reader!

we cannot trust our forefathers, ancients, who tried to define what the

ning which

tati seculi igniorate

Behold here

crystalline lens. Ash.

23.

13 a]

OF THE

DE' 10 OFITI DELL'OCHIO TUTTI APARTENENTI ALLA PICTURA. 3

pictura s'astede in tutti cioe tenebre luce

moto e

quiete

de quali

s ;

concerned with all the is Painting 10 attributes of sight; which are: Darkness, and Colour, Form and Light, Solidity Position, Distance and Propinquity, Motion and Rest. This little work of mine will be a tissue [of the studies] of these attributes, reminding the painter of the rules and methods by which he should use his art to imitate all the works of Nature which adorn the world.

ofiti

^corpo e

remotione propiquita

figura e sito

colore

ochio

dell'

sara intessuta-

ofiti

6 al picquesta mia piccola opera tore con che regola e modo debe imitare

ricordado

colla sua arte tutte ?queste cose, opera di natura e ornameto del modo.

31.

32.

no.

chosi.

parte.

chosa

chose inprovabili q

\\\\\\\.

12. altori

\\\\\\.

quelle che chon

10 ATTRIBUTES OF THE EYE, ALL CONCERNED IN PAINTING.

agiiiora sipossano.

"o stupeda"

chosstri.

[a participare] per [v].

della lor chau.

here injured i only the following words at the beginning of the lines are preserved: 13.

quasi

\\\\.

22. lesspetie.

33. i. hofiti.

21.

14. re

15. finita

\\\\.

23. dalloro.

apartenti.

In section

sechuli.

10.

locio

16.

7%<?

chosi

13. nvnaltra.

\\\\.

gia per tute

16.

\\\\\.

17.

po.

18.

rinassciere.

10. miracholi.

n. que stupedo 20.

\\\\.

che ;'pro"ne".

12. col

21.

&/"

quale

\\\\\.

infralloroli.

crisstallina.

ofiti.

cholore

already find

indicated

that the study of Perspective and of Optics is to be based on that of the functions of the eye. Leonardo also refers to the science of the eye, in his astrono-

mical researches, for instance in MS.

25^ 'Online

essito.

pichola

richordado.

del provare la terra roccJiid,

The 13.

&c.

essere

Compare

chon

cholla.

una Stella: Imprima difinisce MS. E 15 b and F 60 b.

also

principles of astronomical perspective.

Compare the note

chose.

No.

70.

(

2 ^2j).

GENERAL INTRODUCTION TO THE BOOK ON PAINTING.

24 .

PlCTURA.

Variability r the eye.

diminuiscic ia popilla tanto la ^ sua quatita quato crescie il lumis 2a Tanio cre4 in j e j s 'j n r me nogo p 6 scie la popilla dell' ochio quato di minuiscie j

lui

s'inprime.

"come

nocturni,

come

nelle gatte

th in the dark or in the light. The 4 eye [out of doors] in an illuminated atmosphere sees darkness behind the windows of houses which [nevertheless] are light. th All colours when placed in the shade 5 appear of an equal degree of darkness, th But all colours when among themselves. 6 in a full placed light, never vary from their

9$* tutti li co20 essere paiao 2I 6* Ma tutti d'equale oscurita infra loro. 22 li colori posti in lochi luminosi no si uaria

essentia.

and

true

essential hue.

25-

C. A. 136*;

OF THE

DELL' OCHIO. 2

FOCUS of Slght>

Se 1'ochio a a vedere cosa che sia tropo presso no la puo be giudicare, come che si vol vedere la Iteruiene 3 a quello puta del naso; Onde per regola gienerale natura ^isegnia che la cosa no si vedra mai perfettamete se lo Itervallo che si trova tra 1'ochio s e la cosa vista no sara almeno

can never be seen perfectly unless the space between it and the eye is equal, at least, to the length of the face.

ject

simile alia gradezza del uiso.

26.

C. A. 339 a; 1033 a]

OF THE

DELL' OCHIO.

Differences of perception

Quado

e bene

EYE.

When

la pira-

obietto

1'obietto, ^esso

veduto

ochi

conduranno

2 ochi

mide visuale sopra

fia dalli by one eye and by both eyes(26

EYE.

If the eye is required to look at an object placed too near to it, it cannot judge of it well as happens to a man who tries to see the tip of his nose. Hence, as a general rule, Nature teaches us that an ob-

when

lori

mai dclla loro

3 the

such as cats, and certain birds as the owl and others in which the pupil varies in a high degree from large to small, &c.,

delle abi' 8 tationi alluminate; posti in lochi onbrosi

it.

and

Jgufo e simili, nei quali la popilla fa gra^dissima variatione da grade a piccola ecc. *s nelle tenebre o nell' I6 alluminato. L'ochio posto nell' aria 4 alluminata ve^de tenebre detro alle finestre volatili,

reflected in

1'ochio le cose che mete vede e cono I0 li stanno per obbietto, quato la sua popilla M piu si dilata, e que sto proviamo mediante

animali

[8] The eye perceives recognises objects of its vision with greater intensity in proportion as the pupil is more widely dilated; and this can be proved by the case of nocturnal animals,

intensiua-

9 scie

altri

PAINTING.

The

che

lu?cie,

Tanto piu

giorno o d'altra

la chiarezza del

pupil of the eye contracts, proportion to the increase of light which nd is reflected in it. 2 The pupil of the eye expands in proportion to the diminution in the day light, or any other light, that

ochio

dell'

[2427.

both eyes direct the pyramid of an object, that object becomes clearly

sight to

seen and comprehended by the eyes.

conpreso.

29).

85*]

cose vedute da uno medesimo ochio 3 paranno alcuna volta- grade alcuna V olta-

Objects seen by one and the same eye

appear sometimes large, and sometimes small.

picole. 34. 2.

p La ... diminuiscic.

chelli.

10.

chola.

15.

ecques.

35. 2. sellochioavedere

36.

37. i

24.

chososa 5.

ella

chondurano.

chose ... da

The

16.

sinpreme.

12.

chome

possto

5. cresscic. .

ghatte

alluminato.

17.

6. .

minuisscie. chiareza.

chome.

nnesstre.

13.

19.

ghufo cholori

sinprema.

essimili .

quali.

inllochi.

chonos.

14.

20.

disima

[simi]

9. .

chose

appi-

essere

sello

21. ttutti licholori possti.

trallochio.

de ochio. 3 R.

proviano.

onellaluminato.

osschurita infralloro.

chessi

3. cresscie.

sto

preso nolla po

sara

meno

chonpreso.

pichole.

giudichare chome.

acquello

chessi.

chella chosa

gradeza.

subject of this third proposition

find fully discussed in

MS. G. 443.

GENERAL INTRODUCTION TO THE BOOK ON PAINTING.

2830.]

28.

Tr. 74]

movimeto

cosa stabile

The motion of a spectator who sees an object at rest often makes it seem as though the object at rest had acquired the motion

della cosa visiua alia 2 volte essa cosa spesse trasmvtarsi in nel moto della e la cosa movete parere

stabile

parere

cosa

movete

of the moving body, while the moving person appears to be at rest.

stabile e ferma.

PITTURA.

cose di rilievo da presso viste con u sol' ochio para simili 6 a vna perfetta pittura; Se vederai coll' ochio a b il s

esso

puto<;, ?parratti 8 in -f e se

you look with

the eye a,

at the spot c, this point c will appear to be at d, f, and if you

lo guardi col ochio g parra ti 9 k in e l a pittura non avra mai 10 in se queste 2 varieta.

when seen

from a short distance with one eye, look like a perfect picture.

puto

PAINTING.

Objects in relief,

solo

it with the eye g, h will appear to be at m. A picture can never contain in itself both

look at

aspects.

w. An.

iv. 153*1

Sia

29. 2

rilieuo /

veduto da due

Let the object seen by both eyes;

voledo He cosiderare 1'obbie6 stto coll' ochio tenedo destro, chiuso il sinistro n 7pobbietto parra overo occupera lo spatio a e se 3

ochi;

erf;

and open the left, the object occupy the) space b; and if you open both eyes, the object will eye

(will

no longer appear

la pittura veduta dimostratrice di tal

at a or If, but at e, r, f. not a picture seen by both eyes produce the effect of relief, as [real] relief does when seen by both eyes; and why should a picture seen with one eye give the same effect of relief as real relief would under the same conditions of light and shade?

perche 10

fia

Why

come

il rilieuo "veduto co due I2 perche la pittu ra veduta con u ochio parra di rilievo, I3 come il propio rilievo, auete le medesime I4 qualita di lumi e

relievo,

ochi,

d'obre? C. 7*

look

the object with the right eye m, the left eye n shut, the object will appear, or fill up the space, at a; and if you shut the right

destro e aprirai il sinistro, 1'obietto occupera 8 lo spatio b\ e se aprirai tutti e due li ochi esso obietto no occupera piu a b, ma

co due ochi no

be.

will

lo spatio

relief

you

keeping

;

chiuderai

in if

will

(9)]

The eye

e che Pochio 2 in se e e perche il simile infra '1 simile no diuide, aduque la notte o altre cose oscure non possono essere riser 3 uate o conosciute dall' ochio il lume e interamete contrario e piv divide ed e piu detrimeto e varieta alia cosueta scurita 4 dell' ochioonde di se lascia inpressa la sua simili-

will hold and retain in itself The C om P af image of a luminous body better than ^hTimage that of a shaded object. The reason is that depends on tne amount r r the eye is in itself perfectly dark and since of light ~~ two things that are alike cannot be distin- 3 39 guished, therefore the night, and other dark objects cannot be seen or recognised by the eye. Light is totally contrary and gives more distinctness, and counteracts and differs from the usual darkness of the eye, hence

tudine.

L'ochio

piv terra e piu riserbera in sele similitudini delle cose luminose che 1'on-

brose

;

la ragio

somma

the

chosa

chosa.

29. 3. alii quali ochi vole. 8.

30.

\\\\

29.

spatio besse apirai

temera

sere" riser.

right,

inel.

similitudine 3.

ella

te cosiderare. .

due ochi .

efferma. 5.

chose

"m"desstro.

essonTa

ochonosciuti "dallochio" ilume e intera

leaves the impression of

chonusolocio.

ochupera

osschurita .

mete chontrario

In the sketch, m is the left eye and n the while the text reverses this lettering.

essella

ochupera losspatio a esse

lobietto esso obietto no

chellochio.

(

28. i.

oscurita

paratti.

n. .

chol

image.

desstro

malo.

"aduque"

its

divide epi detrimeto

osschure .

ara.

\\\\\\\\\\.

12. porra.

pittu[ra].

chose

9. ella

sinisstro 1'obietto

allala.

po[ste]sono "es4. lasscia.

must therefore suppose that the face in which the eyes and n are placed is opposite to the spectator.

GENERAL INTRODUCTION TO THE BOOK ON PAINTING.

22 H.

38*)

Tutte

2 mamezzo

cose vedute parrano

mezza

giori d) e

notte, che

che

mattina

maggiori

Every

*di

40,1]

massime

de'

appear

largest will see ob-

evident when we look at luminous bodies, and particularly at When the eye comes those in the sky. out of darkness and suddenly looks up at

quado

celesti;

pupil which

This

jects the largest.

escie delle tenebre e subito risgu-

1'ochio

will

The

IQuella popilla che sara maggiore, vedera 2 le cose di maggiore figura.U 3 questo si dimostra nel uedere de' corpi lu*minosi

see

This happens because the pupil of the eye is much smaller at midday than at any other time.

nessuno altro tenpo. H.

object

larger at midnight than at midday, and larger in the morning than at midday.

mezzo di. 6 s Questo accade perche la pupilla dell' ochio e minore assai di mezzo 7 dl che di

[3135-

arda-essi corpi li parirrano 1 maggiori e e se 8 riguarderai essi poi diminuiscono un corpi per picciolo ^buso, li uederai minori perche mi I0 nore parte d'essa (pupilla)

these bodies, they at first appear larger and then diminish; and if you were to look at those bodies through a small opening, you

s'adopera a tale

part of the pupil

;

would see them smaller still, because a smaller would exercise its function.

ofitio.

33-

43*]

When the eye, coming out of darkness suddenly sees a luminous body, it will appear much larger at first sight than after long

Quell' ochio che uscendo dalle tenebre 2 vedera subito vn corpo luminoso, 3 li parra nel primo is 4 guardo che nel uederlo. sll luminoso corpo perseuerare 6 parra maggiore e piv luminoso -con dueocchi che 7 con u solo. 8 Quel luminoso si assai

maggiore

The illuminated object will looking at it. look larger and more brilliant, when seen with two eyes than with only one. A luminous object will appear smaller in size, when the eye sees it through a smaller opening. A luminous body of an oval form will

dimostrera di minor 9 corpo che per minore I0 daU' ochio fia veduto. spiraculo "Quel I2 si dimocorpo luminoso di lunga figura strera di piv rotodo corpo ^ che piv distante- dall' ochio- situate Ash.

12 a]

appear rounder in proportion as from the eye.

I4 fia.

34-

Why when

Perche 1'ochio visto la luce il loco di mezzano 2 lume li pare tenebroso, e similmete ^vscito dalle tenebre, il loco di mezzana luce, -gli pare chiarissimo? ,

L. 41 6\

all'

L'ochio che

sta

31.

tucte

10 R.

quado

lo.

sadopera

34.

turns from the darkness

if it

meza.

mezo

chose.

"popilla" [chio] chessara magiore.

escie

essubitorissgu.

magiori.

chorpi

ilocho

[out of doors] in the lu-

minous atmosphere, sees a place

in shadow, look very much darker than it really is. This happens only because the eye when out in the air contracts the pupil in proporthis will

mezo.

acchade

chose "di" magiore. parirano [mino].

mezo. 3.

quessto

magiori

dimosstra.

ditninuisschano esse.

emassime 8.

chorpi.

cellessti to.

dessa

attale. 2. chorpo magiore. 5. chorpog. para n. chorpo. 12. dimossterra retodo chorpo. mezano. 3. ilocho mezana. .

"luminosa"

32. 9. buso in the 14.

PAINTING.

when

If the eye,

aria

spirachulo.

35. 2. chcssta

35.

same way

the

the half light look very bright?

luminosa e esso sito si dimostrera oscurita che non e. perche 1'ochio che sta tanto piv la sua puall'

vsscicdo delle tenebr.

i. .

diminuisce

aria,

33.

light

PICTURA.

vede il loco 6bro>so, di molta ma^ggiore 5 Questo accade sol 6

the eye has just seen the light, look dark to it, and in

does the half

35-

DE 2

farther

it is

Lomb.

luce entrerh.

locho.

dialect

the

dimossterra.

same

chon.

dimosstcrra.

"corpo" [forma]

as buco.

Luce occurs here in the

gore osscurita.

Quessto achade

chessta.

diminuisscie.

sense of pupil of the eye as in no 51: C. A. 84 b; 245 a ; l 5; and in many other places.

GENERAL INTRODUCTION TO THE BOOK ON PAINTING.

370

36.

che in se si spechia, e quanto essa popilla pi 9 u I0 diminuisce, manco la cosa da lei ve duta

quanto luminosa

1'aria,

7pilla, 8 pi u

che

the

the pupil contracts, the objects appear that

do But as soon as the eye enters into a shady place the darkness of the shadow suddenly seems to diminish. This occurs because the greater the darkness into which the

la luce entrera piu cresce suafigura,

accrescime l6 to

quale

And

sees.

Questo accade, perche quarto 15

atmosphere reflected

luminous.

the less luminous

dimostra luminosa. UMa quando "I'ochio entrera in alcuno loco onbroso, I2 subito la oscurita di tale onbroso parra ^diminuire.H si

in aria piu tenebrosa,

tion as the

pupil goes the more its size increases, and this increase makes the darkness seem less.

grande

oscurita pare dimi^nuirsi.

K. M.

II.i

36.

ia]

DE 2

che

L'ochio,

minato dal ogni cosa

PROSPETTIVA. si

parte

minor

sole e va in loco di

pa4 rra tenebrosa;

modo

questo ac-

che se erano prima 7 vna macano piv che '1 3/4 8 di

quatita visiua esse

sua quatita e macado

di 9 quatita esse

cano

benche

di poteiia,

ma-

are also deficient in [seeing] power. Though little bird (then) you might say to me: coming down would see comparatively little, and from the smallness of his pupils the

potresti dire

uno piccolo vccello vederebbe alPa"venate molto poco e per le piccole sue popille I2 il biaco

white might seem black! To reply that here we must have proportion of the mass of that brain which is given up to the

parebbe nero; a questa parte ti risp6 3derei, che qui s'attende alia proporli

so^ma di quella parte del ciervello, dedicata alia vir'stu visiua, e no ad tione della

cosa;

9no vede cosi presto vsciedo lume e andado all' oscu 20 ro, e similmete

sciere

dal

esso

scuro

dallo

luminoso e questa

vn ochio e

gia m'iganno nel dipigniere

deceived

cosa

that I learnt

should

this I

regard to the portion of the sense of sight

and to nothing else. Or to return this pupil in Man dilates and contracts according to the brightness or darkness of (surrounding) objects; and since it takes some time to dilate and contract, it cannot see immediately on going out of the light and into the shade, nor, in the same way, out of the shade into the light, and this very thing has already

o per tornare questa l6 nostra cresce e diminvisce secodo la popilla I7 chiarita o scurita del suo obietto- e perche co qual l8 che tepo fa esso cresciere e discrealtra

turns from a white object

of the sun and goes into a less fully lighted place will see everything as dark. And this happens either because the pupils of the eyes which have rested on this brilliantly lighted white object have contracted so much that, given at first a certain extent of surface, they will have lost more than 3 /4 of their size; and, lacking in size, they in the light

luce,

cade, perche 1'ochio s che sta a esso biaco alluminato o si viene a ristri 6 gniere le sue popille

PERSPECTIVE.

The eye which

dal bianco allu-

painting an

eye,

and from

it.

1'imparai. 1 1.

37.

19*]

a 2 crescimeto

dell'

Sperieza nvitione della

moto 7Quato il

Experiment [showing] the dilatation and contraction of the pupil, from the motion of the sun and other luminaries. In proportion as the sky is darker the stars appear of larger size, and if you were to light up

e di^midel sole o

popilla pel

d'altro 6 luminoso. cielo sara 8 piu oscuro, tanto le stelle si dimostrera di maggiore figura, e se tu 9allumini il mezzo,

in sisspechia

locho.

36. 2. chessi 8.

16.

cresscie e 20.

Ecquanto.

diminvisscie.

diminuisscie

mancho

Quessto acade. 14. enterra. 15. cressce iloco. 4. re tenebroso Ecquesto acade.

dallei.

13. 2.

sua

ecquesta.

37. 2. cresscimeto.

pi.

biano.

[tava parte]

elloscu.

12. osscurita.

21.

popila.

machado. 17.

osscurita

mlgano 7.

Qua

beche. .

10.

dire

coquel.

18.

10.

dimosstra

accresscime.

allumina o

si.

picholo vciello vederebe.

chettepo

16.

poille

n. enterra

cquando.

chella

imodo

pichole.

cressciere e discressciere.

19.

alchuno

osscurita.

lelerano.

12.

parebe

7. .

machano. acquesta.

vsciedo alume

andado

dililaparai. .

...

ossuro.

dimostera

magiore

essettu.

mezo dimostera.

10.

ecquesta.

GENERAL INTRODUCTION TO THE BOOK ON PAINTING. dimostrera I0 minori, e questa tale mutatione sol' "nascic dalla popilla, la quale crescie e dis- o esse stelle

cre I-i scie mediante la chiarezza del mezzo che

mount of light in the medium which is inter-

at the same time that you look at a star; then gradually lower the candle till it is on a level with the ray that comes from the star to the eye, and then you will see the star diminish so much that you will almost lose sight of it.

abbassando

'7detta cadela a poco a poco, insino che ella l8 sia uicina alia linia che uiene dalla

I.I

ochio, e allora uederai diminuire

19 all'

stella

la stella

che quasi

la perderai di uista.

20 a] 2 popilla del 1'ochio

ULa

stante

all'

The pupil of the eye, in the open air, changes in size with every degree of motion from the sun; and at every degree of its changes one and the same object seen by it will appear of a different size; although most frequently the relative scale of surrounding objects does not allow us to detect these variations in any single object we may look at.

aria

3g rado di moto fatto dal sole muta 4gradi-di magnitudine.H 5e in ogni grado- di magnitudine 6 una medesima cosa veduta si dimostre 7 ra di diuerse grandezze, benche spesse vo! 8 te il paragone delle cose circunstanti 9 no lascino disciernere tali mvtationi d'u I0 na sola cosa che si risguarda. in ogni

39'

C. A. 2Ooa; 594 a]

luce

couerse

vedere

nel

operado

le spetie di quelle

alquato

Questa conclusio

The eye

cose

retains

ritiene.

uestigio della ipresio della nasscie

ii. .

chella.

38. 3. fatta. i.

cresscie.

enogni

insinode

37.

ciareza

12.

mezo

13.

objects reversed This time.

some

images proved by the results; because, the eye having gazed at light retains some is

impression of it. After looking (at it) there remain in the eye images of intense brightness, that make any less brilliant spot seem dark until the eye has lost the last trace of the impression of the stronger light.

luce.

chessi.

all

for

infrallochio

fatto.

15.

sta

inel

chettu.

17.

apocho apoco

20. uissta.

chose chouerse

ilogo.

maggior

which sees

the

conclusion

pruova per li effetti, perche la vista jn vedere luce alquato (ne) tiene. Ancora dopo lo sguardo ^rimagono nel' ochio similitudini della cosa intesa e fanno parere tenebroso il logo di minor 4 luceper insino che dalP ochio sia sparito il

39.

posed between the eye and the luminous body. Let the experiment be made, by placing a candle above your head

risguardi tale stella, di poi vieni

tato

solely from the pupil which dilates and contracts with the a-

arises

nel

testa

medesimo tenpo che

39-

would look smaller;

these stars

difference

this

j *"'

sopra

and _

truova infra 1'ochio e'l luminoso; corpo ^sia fatta la sperienza con vna cadela po'Ssta si

medium

the

[38.

reference

magnitudine [laco].

quele

spartito

made

chunclusio. .

dela

dimoster.

Anchora

8. .

circhunstanti.

lossguardo.

lasscino

rimagano

mvtationi.

similitudine

dela magior.

the text to the letters on the accompanying diagram.

10. .

chessirissguarda.

chosa

effano

Linear Perspective. We

see clearly

mathematics

Book on

his

at the beginning.

the concluding sentence of'section 49, where the author directly that he must certainly have intended to include the elements of

from

addresses the painter,

art

the

They are therefore here placed

of Painting.

In section 50 the theory of the

put forward as

expressly

the

"Pyramid of Sight"

is distinctly

fundamental principle of linear perspective

and

sections

This theory of sight can scarcely be traced to any author of antiquity. Such passages as occur in Euclid* for instance, may, it is true, have proved suggestive to the painters of the Renaissance, but it would be rash to say any thing decisive on this point. 52

57 treat of

fully.

Leon Battista Alberti

Book of Painting

2 ;

of the "Pyramid of Sight" at some length

treats

but his explanation differs widely

Leonardo, like Alberti,

may have borrowed the broad

The axioms as of

its origin,

to the

perception of the

and proofs of

its

from Leonardo's in the details. of his theory from some views

lines

commonly accepted among painters at the time; but he in a perfectly original manner. tions

in his first

certainly

worked out

its

application

pyramid of rays are followed by explanaThe author recurs 69).

universal application (58

the subject with endless variations;

it is evidently of fundamental importance in his to discuss how far this theory has any unnecessary practice. so muck as at the value this, at any rate, seems certain: that present day; scientific it still claim to be of immense practical utility. may from the artisfs point of view According to Leonardo , on one hand, the laws of perspective are an inalienable

artistic theory

and

It is

condition of the existence of objects in space; on the other hand, by

imaginibus

procedentibus

profluunt quae nostros sensus

legens omnes literas non perspicit. 2

Questi

superficie quasi

razzi

come

extrinsici,

vetrici

JANITSCHEK, Vienna 1877, VOL. I.

passio visiva

gignitur

commovent, qua de causa

si ab omni corpora continuae imagines quaerens acum, itidemque librum accurate

Ed. L. PACIOLI, Venetiis, 1509. circuendo la superfitie che 1'uno tocchi

cosi

ad una gabbia,

p. 61

fit'ut

seq.

fanno, quanto

a natural law, the

dice,

1'altro,

chiudono

tutta

quella piramide visiva, &c.

Ed.

THE THEORY OF THE ART OF PAINTING.

eye,

whatever

rays in the

and wherever

sees

turns, is subjected to the perception

Thus

fonn of a minute

of the pyramid

sees objects in perspective independently

target. of of the will of the spectator, since the eye receives the images by means of the pyramid of rays "just as a magnet attracts iron".

In connection with this obscura, to

and

this is all the

Leonardo had treated of

special interest, betray his

the

camera and

From

we have more

interesting

this subject

(70

and important because no 73).

knowledge of refraction

in the eye (74

Camera

the function of the eye explained by the

writer previous

of no

Subsequent passages,

and of

the inversion of the

less

image

82).

the principle of the transmission of the

image

to the

eye

and

to the

camera

obscura he deduces the means of producing an artificial construction of the pyramid of The fundamental axioms as to the rays or which is the same thing of the image. the vanishing point are thus presented in a manner which is as comangle of sight and plete as it is simple

and

intelligible (86

89).

Leonardo distinguishes between simple and complex perspective sections

treat

estimate

(92

the apparent size 109).

of objects at various distances

(90, 91).

and of

the

The

last

way

Ash.

40.

22 6}

PICTURA. 2

prospettiva

ottima della

e briglia

Perspective P T. Of Painting. ~-

3plttura.

PAINTING. the best guide to the art General remarks on perspective

(4041).

A. 38 6}

41.

1 La

The art of perspective is of such a nature make what is flat appear in relief and

prospettiva e di tale natura parere il piano rilievo e '1 rilievo

ch'ella fa

as to

what

piano.

C. A.

in relief

casi della prospectiua

sono

All the problems of perspective are made The eiei f c 1.1. imentsofperby the five terms of mathematicians, sp ective:which are: the point, the line, the angle,

intesi

mediante

cioe punto

cinque termini de' matematici linia

the

e di 3 nature,

si 6

whence

conclude

cioe retta curva e flessuosa

solid.

And

it is

The point

point has length, nor depth, the

be regarded as indivisible and

and its ends are two points. The angle the junction of two lines in a point.

sua lughezza i sua termi 8 ni so 2 puti; Angolo e il termine di 2 linie nel puto.

Tr. 68]

its

as having no dimensions in space. The line is of three kinds, straight, curved and sinuous and it has neither breadth, height, nor depth. Hence it is indivisible, excepting in its length,

loco: linia-

43-

Puto non e parte ottimo [ne]della.

41.

di linia.

prosspettiva

tucti.

40.

ancolo

Compare

53, 2.

point

not part of a

line.

chela.

essolo. he chorpo gurva e flessuosa" e quella che nona largeza ne i.

kind.

unique

quella non a larghezza ne altezza, o 7 profodi ta, onde e indiuisibile, saluo che per

and the

neither height, breadth,

42.

superficies

luSghezza o profondita, onde essere indiuisibile e non auere

40.

..i

clear

angolo superfitie e corpo, e punto solo 4 in sua gieneratione e questo puto non a altezza ne larghezza o

de quali

flat.

42.

oa; 398 a]

Tutti

4. altezza

alteza.

nellargeza ollu.

onde hessi

geza.

indiuisibile

locho lugeza.

"edi 3 nature cioe retta

THE THEORY OF THE ART OF PAINTING.

28 Ash.

III.

27*)

44.

OF THE NATURAL

DEL PUTO NATURALE. 2

The

perche il

punto matematico e

non e M.

Br.

perche

quatita.

45-

131 1\

indivisibile,

e termine del corpo. d'un corpo non e parte e '1 termine d'un corpoaltro 4 3- quello e nietes d'alcuna cosa. Quello e

superfi tie

e '1 termine d'esso corpo, ^4. e principio d'un che non e parte 2.

Se un solo

puo mine

d'infinite

sono

infiniti

ritornano

linie 8

punti,

tal

quali

linie,

If one single point placed in a circle may be the starting point of an infinite number of lines, and the termination of an infinite number of lines, there must be an infinite number of points separable from this point, and these when reunited become one again; whence it follows that the part may be equal to the whole.

?e'l ter-

punto separate ridotti

uno qui seguita che

insieme la

parte

9equale-al tutto.

sia

Br.

132 a]

The

E'l punto per essere indiuisibile niente 2 occupa. Tutte le cose che niete occupano niente sono. 'E '1 termine d'una cosa e 4 2. e Quel si dice principio d'un altra. esser niente che non e parte d'alcuna cosa s i quel che non a termine non a figura6 i termini di 2 corpi insieme conalcuna; sono scanbie ? volmente superfitie giunti 8 Tutti i termini delle dell' altro. cose no sono parte alcuna d'esse cose.

that body.

47.

DEFINITION OF THE NATURE OF THE LINE.

DIFINITIO DELL' ESSER DELLA LINIA.

*La or

the

jine

alcuna

linia

(4748).

44. 2. 45.

46.

magiore.

he termine.

puncto

collaria". 47. 2.

nana

8. .

sustatia,

coditionata,

The

non a in se materia o sustatia puo nomi^nare piu presto cosa

che cosi

i. That which has no limitations, has no form. The limitations of two conterminous bodies are interchangeably the surface of each. All the surfaces of a body are not parts of

1'uno

L. 145. Ct\

point, being indivisible, occupies

That which occupies no space is space. The limiting surface of one thing nothing. 2. That which is the beginning of another. is no part of any body is called nothing.

superficies is a limitation of the limitation of a body is

and the

no part of that body. 4, and the limitation of one body is that which begins another. 3, that which is not part of any body is nothing. Nothing is that which fills no space.

punto posto nel circulo

essere principio d'infinite

The

body.

niete che niete occupa.

smallest natural point

all

in 6 finito, tinua, e ogni cotinuo e diuisibile in

POINT.

is larger than mathematical points, and this is proved because the natural point has continuity, and any thing that is continuous is infinitely divisible; but the mathematical point is indivisible because it has no size.

minore puto naturale e maggiore di si pruova punti matematici, e que^sto 5 il punto naturale e quan tita con-

tutti ^i

14447-

essa

essere

per

non occupa

ochupa.

6. se

solo. po.

tucte le chose

chontinua

equali

ochupano.

and

rather

may

called

nor an

imaginary idea than a real object; and this being its nature it occupies no space. There-

lei

loco,

punti natural! matematematici ecques.

line has in itself neither matter

substance

innuno

chosa.

divisibile ini.

matematicho he.

chclla.

cquel

alchuna.

[il]i

ter.

7. altro

"come lacqua

tutti e.

ossustatia alchuun

44. This definition

massi.

chosa

susstatia.

was inserted by Leonardo on a

MS. copy on parchment of the well-known " Traltato d* Architettura civile e militare" &c. by FRANCESCO DI

chosi choditionata

GIORGIO; says

ochupa locho

where

passage opposite prima he da sapere che pvnto

delta quale he nulla

interseghationi.

the

author

e quella parte

Linia he luncheza senzaapeza; &c.

LINEAR PERSPECTIVE.

48 -so.]

aduque le intersegationi sd'infinite linie si puo immaginare esser fatte in puto, il quale *e sanza mezzo e per grossezza (se grossezza si puo nominare) equate alia grossezza d'una sola

fore an infinite number of lines may be conceived of as intersecting each other at a point, which has no dimensions and is only of the thickness (if thickness it may be called) of one single line.

linia.

COME COCLUDIAMO

HOW WE MAY

NOI LA SU 2 PERFITIE

RIDURSI IN PUNTO? 10

termina saranno I2

angular surface is reduced where it terminates in an Or, if the sides of that angle. angle are produced in a straight line, then beyond that angle an other surface is generated, smaller, or equal to, or larger than the

si punto quando ella nel suo angolo, o se

lati

tale

continue

prodotti

to a point

angolo diretto, J3

allora

dopo tale angolo si gienerera vn' altra superfitie minore o I4 della equale o maggiore prima. Ash.

48.

D 2

PICTURA

OF DRAWING

LINIALE.

somma

Siano con

termini

first.

21 a]

diligieza

qualunque corpo

modo

givdicate 4

cipano di

del

separate, se le sue volte particurvita arculare o di cocavita

49-

]

Li termini delli corpi sono la minima 2 cosa di tutte le cose provasi essere 3vero quel che si propone, perche il termi^ne della chosa e vna superfitie, la qual non Se parte del corpo uestito di tal superfitie, 6

delFaria

parte

cor7po

infra

all

a 8 ria e

termini laterali d'essi cor I0 pi e la linia termine della superfitie, "la qual linia e di

grossezza

aduque

invisibile;

no circudare

pittore

tua corpi di I3 linie, e massime nelle cose minori I4 che '1 naturale, le I5 quali no che possino mo strare li termini li

laterali,

menbri

lor

per distantia

visible

sulla

[Drawing is based upon perspective, which is nothing else than a thorough knowledge of the function of the eye. And this function simply

prospettiva non e altro che 2 sapere bene figurare lo vfitio dell' ochio, 4 il quale ofitio s'estede fatta.

48. 2. sia i.

mezo

chontinuo

12.

43.

chon

13. chose. i.

grosseza angholo.

cosiderato

chorpi so la minimraa.

infralla.

50.

from distance.

Soe fondata

fia pittura

all when representing objects smaller than nature; for not only will their external outlines become indistinct, but their parts will be in-

invisibili.

A. 3*1

The

because the boundary of a thing is a surface, which is not part of the body contained within that surface; nor is it part of the air surrounding that body, but is the medium interposted between the air and the body, as is proved in its place. But the lateral boundaries of these bodies is the line forming the boundary of the surface, which line is of invisible thickness. Wherefore O painter! do not surround your bodies with lines, and above

The boundaries of bodies are the least of things. The proposition is proved to be

true,

d'esso

circudatricie

mezzo interposto

corpo come a suo loco e pro g vato;

sono

or angular concavities.

ties

angulare.

OUTLINE.

Consider with the greatest care the form of the outlines of every object, and the character of their undulations. And these undulations must be separately studied, as to whether the curves are composed of arched convexi-

cosiderati-

lor serpeg^giare, le quali serpeggiature siano

G. 37

CONCLUDE THAT A SUPERTERMINATES IN A POINT?

angulare

superfitie

riducie in

FICIES

grosseza.

13.

iminore

7. .

grosseza

cocludiano.

10.

n. angholo osse sara

anghulare.

angholo.

magiore.

chorpo serpe. 3. serpegiature sia givdichato [seperati] selle. 4. churvita archulareodi chochavita' 2. chosa chose. 4. chosa 6. circhudatricie chor. 7. mezo interpossto no. 5. ne parte. .

chorpo chome assuo locho. possi mos. 15. "laterali"

14.

effondata sula che[lle].

50.

Compare with

ochio

9. Malli.

lelor.

cioe [jn che

this the

10.

piella.

n. "di grossezza"

adduque.

12.

circhudare

sono "invisibili" [inchognito]. similitudine]. 3. [delle chose vengano a esso ochio].

chorpi.

16. disstantia

modo

Proem. No.

21.

The paragraphs placed

in brackets: lines

quale

19, 1014,

Definition of

Perspective '

THE THEORY OF THE ART OF PAINTING. solo

forme e

pigliare per piramide le sdi tutti li obietti contra se

colori

posti

consists in receiving in a pyramid the forms all the objects placed before

and colours of

e cosa 6 si per piramide dico, perch non '1 che no sia loco, che minima maggiore

I say in a pyramid, because there is no object so small that it will not be larger than the spot where these pyramids are received into the eye. Therefore, if you extend the lines from the edges of each it.

dove si coducono nell'ochio esse 7 piramidi di le linie ali stremi adunque se torrai 8 :

ciascuno corpo e il loro concorso coducierai a vn solo- puto, 6 necie'ssario che dette

to a single point,

must form a pyramid.]

e altro che ragione [prospettiva non dimostrativa la quale s' estede "a considerare come li obietti contraposti al'ochio madano di loro a "quello per linie piramidali la loro propria similitudine; Piramide '-Jsono dette quelle linie che si partono da superfitiali stremi di ciascuno ^ corpo 10

e per distante cocorso

[Perspective is nothing more than a rational demonstration applied to the consideration of how objects in front of the eye transmit their image to it, by means of a pyramid of lines. The Pyramid is the name I apply to the lines which, starting from the surface and edges of each object, converge from a distance and meet in a single point.] [Perspective is a rational demonstration,

coducono a un

solo puto.]

by which we may

^[prospettiva- e ragio dimostrativa per laI8 si coprende come li quale effettualmete '^di madano loro la propia similiobiettitudine 20 per linie piramidali all'occhio.]

image, by lines forming a Pyramid (centred) in the eye.]

prospettiva ragione dimostratiua per 2 tutte le cose quale la sperentia coferma madare all'ochio per linie piramidali la lor similitudine 24 e quelli corpi d'equale gradezza farano maggiore o minore agolo a la lor 2S varieta della distatia piramide secodo la che fia da Tuna a 1'altra; 26 linie piramidali intedo essere quelle le quali si partono da 27 stremi de corpi e per distate superfitiali concorso si coducono a un solo puto;TI 28 puto dicono essere quello il quale in nessuna parte si puo diuidere 2 ?e questo puto e quello il quale stado nell'ochio ricieue I

Perspective is a rational demonstration which experience confirms that every object sends its image to the eye by a pyramid of lines; and bodies of equal size will result in a pyramid of larger or smaller the difference in their size, according to distance, one from the other. By a pyramid of lines I mean those which start from the surface and edges of bodies, and, converging from a distance meet in a single point.

-5

said to be that

which [having no dimensions] cannot be divided, and this point placed in the eye receives all the points of the cone.

se tutte le pute delle piramidi.

C. A. 84 6; 2450]

CHE MODO L'OCCHIO VEDE LE COSE POSTELI

point

WHAT WAY THE EYE

percep-

e iject de-

della

of the ball which

ch'e diuisa dalla linia

palla

IT.

Supposing that the ball figured above is the ball of the eye and let the small portion

Pogniamo che quella palla figurata di sopra sia la palla dell'occhio, e quella parte rninore

SEES OBJECTS PLACED

FRONT OF

DINAZI.

The

practically and clearly objects transmit their own

how

understand

you will bring them and necessarily the said lines

as they converge

body

sieno piramidali.]

linie

[SI-

cut off by the line s t

pends on the direction of the eye.

sastede

chorpo[e 12.

pigliare periramide 8.

tire].

quelo per "linie"

chorsosi coduchano

acuuelle" acquello 4 tualmete 25. dela 28.

114

cheffia. .

Piramide

solo.

18.

from

cholori.

lor

esere

iy 26

and

left to right.

to.

chonduchano.

piramide

n. chonsiderare chome

quasastede.

partano

27 as i

;

obietti [chotra posti allochio].

29.

and

21.

ciaschuno.

superfitiali stre.

ecquesto 29 of

quelo

di loro

19.

[prospettiva e ragione dimostrativa

ecqueli chorpi dequali gradeza

24.

po.

27. .

chorpi

nelochio

magiore chonchorso .

piramide.

16.

pe].

and

cho[rien-

linie piramidali

effet-

piramida.

choduchano a

Lines 24

tora

per la quale

ominore

chontraposti.

chorpo

14.

"per

solo.

25 are in the

The diagram stands above

and 17 20, evidently mere sketches and, as such, were cancelled by the writer; but they serve as a commentary on the final paragraph, lines 2229. are

sario.

20. similitudine per.

[propia]. .

magiore chelocho

[pi],

13. [da 2 linie] sonoquelinie

choplende chome

propia similitudine.

26.

[prospettiva evna ragione dimostrativa per la quale [chon isperi] con uera si

[chiaro]

cosa

chonchorso choducierai [e della].

15.

inessuna parte parte

numbered as

written

chose

23.

c|. .

dichano

original 51.

..at

17. e[vna] ragio.

tia).

[ralealcho] e iloro

the text.

51.

fixed

chose possteli.

In this

fighurato

problem the eye

and immovable;

occhi equelle.

this is plain

3. sie

conceived of as

from

line

LINEAR PERSPECTIVE.

Si-]

s t sia la luce, e tutte le cose specchiate sul \

mezzo

della

discorrono

per vn

superficie di detta luce subito

vanno

nelle popille,

umore

cierto

crystalline

occupa nella popilla cosa che alia luce

;

rice 6 vute le ce,

lu-

immediatamente

le ri-

e porge allo

itelet-

feriscie

per

essa popilla,

cose dalla

linia

porgie nessuna cosa perallo

intelletto

over seso comune 8

qua do

cose a

dalla luce la linia

che

beche

lei

date

sicome vedi

\\n\a' c- a;

non

dirizzano per

si -

linie

sieno vedute dalla po-

no sono cosiderate

pilla,

perche no si dirizzano

col-

E la pruova

a b

la linia,

e questa, se questo oc-

chio

qui

nvmerare

sopra vorra

le let"tere

poste

dinazi coverra che 1'oc-

enter the pupil, passing through the crystalline

humour, si

dimostri

which

does

not

interfere

pupil with the things seen by

chio giri da lettera a lette-

the

means of the

ing

And the pupil hav^ received the objects,

means

light.

of the

light,

refers

them

and transmits them

to the

immediately

sappi che la popilla no

fettamete

passando che non

be the pupil and all the objects mirrored on the centre of the face of the eye, by means of the pupil, pass on at once and

by the

intellect

line

And you must know

that

the pupil transmits nothing perfectly to the intellect

common

when

ting

sented to

by means of

reach

light,

sense excep-

the objects pre-

by the

line

a b; as, for instance, by the

line

For

al-

n though be seen and f g may by the

lines

pupil they are not perfectly taken in, because the

they do not coincide with the

line

proof

shown count

And

this:

wants

above, the

the

If the eye,

letters

placed in front, the eye will be obliged to turn from letbecause letter , to

ter

ra I2

perche no

rebbe, se

la discierneit

le dirizasse

per la

linia

a b siccome

linia

cose vedute

all'

occhio per

e tutte

3uegono

linie pira-

midate, e la puta di detta

piramide fine pilla,

nel

termine

mezzo

come

della po-

sopra e

discern

cannot

unless they

lie

a b; as, for instance, in All visible the line a c. objects reach the eye the lines of a pyramid, the point of the is

by and

pyramid

the apex and centre of it, in the centre

pil,

of the puas figured

above. figurato.

them

in the line

THE THEORY OF THE ART OF PAINTING. if / A. to*]

[52.

Prospettiva e ragione dimostratiua per 2 tutte le Experimen. la quale la sperientia conferma f p thee ris7e ncefcose>m adare alFocchio per linie piramidali f the similitudine pyra-i a j oro

demonstration,

that

all objects transmit their image to the eye by a pyramid

;

ud of sight sight

a rational

Perspective

confirmed by

experience,

lines.

(52-55)^ linie piramidali intedo esser quelle stremi quali si partono dai superfitiali *de' corpi e per distante cocorso si conducono a vno solo puto, il quale

of lines I which start from of the surface of bodies, and from a distance, meet in a single

By a pyramid

those

puto

collocate di tutti il

nell'

quale non

vniversale givdice dico esser quello diuidere in alcuna parte;

puo

this

punto

corpi;

piramidate,

This being the case

e se alcuno volesse provareno cosistere in esso punto

"anzi essere quello puto nero che si uede mezzo alia popilla, I2 a questo si potrebbe rispodere che vna piccola cosa mai potrebbe diminvire per alcuna ^distantia- come sarebbe un grano di miglio o di panico o altra simile cosa e quel^la cosa che fusse maggiore che detto punto, mai potrebbe essere veduta interamete ls come appare nella prova di sotto; 16 sia a la uirtu visiua, b e sia il concorso in

che uegono al'occhio I7 e. d. siano grani del miglio dentro a detto concorso vedi per ragione questi I8 mai per distatia diminvire e il corpo n non potersi

be the seat of sight, b e the lines which reach the eye. Let e d be the grains of

delle linie i

that

these

within

millet

these

cofessare

and

self

corpi, come qui di sotto

which

tega

punto

Prosspectiva lassperientia chonferma. mostero cholochato. 6. dicho quelo

(bisogn) e

anzizi

nicho

chorso.

chelle

imezo.

chosa ecque. 18.

quelo

chorpo

all

ramid of lines sia

53. i.

india,

vegano 12.

dacquelle.

chose.

partano.

alchuna.

chos

magiore 19.

copledere

potrebe

potrebe .

chorpi

10. esse

potrebe

cholochato

sieno [mag] piramidate.

acquesti

14. cheffussi .

start-

ing from an object, as is shown below. Let a. b. be the eye; in the centre of it is the point

1'occhio; il cietro suo prenominato se la linia e -f- a -

point

the points converge of the py-

appare

"a b

one single

visible

dai

partite

body

confess that the eye contains within it-

punte della pira-

mide

that the

tirely covered by it Therefore you must

chio avere I un solo puto 20 indiuisibile, a il quale conferiscono tutte le

see

plainly

mn could not be en-

ocse

You

lines.

never diminish by distance,

will

da quelle interamete '^copredere: aduque e neciessario

that the

inevitable

which come from the object to the And if any point must form a pyramid. man seeks to prove that the sense of sight does not reside in this point, but rather in the black spot which is visible in the middle of the pupil, I might reply to him that a small object could never diminish at any distance, as it might be a grain of millet or of oats or of some similar thing, and that object, if it were larger than the said [black] spot would never be seen as a whole; as may be seen in the diagram below. Let a. lines

visiua

uirtu

which cannot be divided into

that

parts; therefore this point, which is situated in the eye, being indivisible, no body is seen by the eye, that is not larger than this point.

mean

sendo questo punto indiuisibile che collocato nella uista nessuno 8 corpo fia veduto dal' ochio che no sia maggiore d' esso puto: essedo cosi 9 e neciessario che le linie che vengono dal corpo al puto sieno 1

aduque

the edges converging

point; and point, in the present instance, I will show to be situated in the eye which is the universal judge of all objects. By a point

essere

ochio, 6

mostrerd

caso

questo

understand

lines

chonchorso

ncla

volessi

alchuna.

13.

essere deduto apare nela.

chofessare

solo.

20.

chonduchano.

nessuna [chosa].

esso

puno [a questi]. come sare i grano 16.

chomferiscano

conchorso .

chaso

[eviden] corpo magiore.

delle.

(si

vegano. 21.

potrebbe]

miglo o

apare

17. .

pa-

chonsocto

53-

LINEAR PERSPECTIVE.

54-]

a etrare

23 per similitudine per si piccolo foro occhio bisogna cofessare che la cosa

dell'

above mentioned. If the line ef is to enter as an image into so small an opening in the eye, you must confess that the smaller object cannot enter into what is smaller than itself unless it is diminished, and by diminishing it must take the form of a pyramid.

mi^nore no puo entrare nella minore se 2 quella no diminviscie e diminvendosi 5couiene' che cangi

C. 27 1

la piramide.

53-

PROSPETTIVA.

PERSPECTIVE.

H 2 prospettiva agivgnie doue maca il nelle cose che diminviscono Tf3l'ochio no potra mai essere vero judice a determinare co verita quanto vna quatita 4 la quale altra (sia) vicina a vn altra simile, sia colla sua sommita al pari dell' ochio givditio

d'esse

riguardatore

prospettiva.H 6

sia

detta pariete

sieno

1'altra

per

sotto e c

1'una

parti

della

a n

n sono lughe a vno modo e 1'ochio n si troua in mezzo, b tato para 8 a b quanto d e piv bassa e piv c c lontana da n aduque para -

53. i.

macha

vegano.

VOL.

in the three

appear

when

eye of the on a level with

the

is is

painting.

sella.

picholo

23.

OBJECTS REACH THE EYE.

into the eye.

delochio biso[che]gia chofessare chella chosa.

24.

nopo

nella

mino

no.

25.

cho-

achagiala. .

chose che diminviscano.

"a terminare co

mezo

chola. rigiardatore 54. i.

face

If you look at the sun or some other luminous body and then shut your eyes you will see it again inside your eye for a long time. This is evidence that images enter

lochia

effect will

of a

To PROVE HOW

ALL' OCHIO.

Guardado

viene

same

54'

il sole o altra cosa lumiserrado poi 1'ochio la rivedrai similemete detro all'ochio 3 per lugo spatio e segnio che le spetie di tepo; questo etrano detro.

22.

the

divisions

painter who is drawing it the eye of the person he

PRUOVA COME LE COSE VEGONO 2

And

quado

e di pari altezza-

C. A. 201 a; 597 a]

nosa

then a b will

in the centre,

look as large as b c. c d is lower and farther off from n, therefore it will look smaller.

minore, 9 e questo medesimo appare nelle 3 partitioni del uolto 1'ochio del ritraete pittore all'ochio del ritratto.

fails

which diminish.

judge for determining with exactitude how near one object is to another which is equal to it [in size], if the top of that other is on the level of the eye which sees them on that side, excepting by means of the vertical plane which the standard and guide of perspective. is Let n be the eye, e the vertical plane above mentioned. Let a b c d be the three divisions, one below the other; if the lines a n and c n are of a given length and the eye

sia

a b

se la linia

1'ochio, e

sopra ^

parti,

della pariete maestra e guida

mezzo

Perspective comes in where judgment [as to the distance] in objects The eye can never be a true

;

esserado

lochi.

dela. 3.

essegnio.

luge

verita .

[a chonossciere]

iraezo.

apare

quanto.

partitione.

sotto vicina

10. alteza.

"simile"

THE THEORY OF THE ART OF PAINTING.

55-

A. 36*]

DELLA 2

[55-

Tutte

sarano

madano

cose

similitudine

per

ELEMENTS OF PERSPECTIVE.

PROSPETTIVA. all'ochio

quali quato vicine all'ochio tato

piramidi

ta 3 gliate piu

All

la lor

eye

these

transmit their image to the pyramids, and the nearer to the eye pyramids are intersected the smaller objects

a minore

image appear of the objects which Therefore, you may intersect the pyramid with a vertical plane [4] which reaches the base of the pyramid as is shown in the plane a n.

della si dimostrera la similitudine sua cagione 4 aduque taglierai la piramide colla pariete che tochi la base d'essa piramide come s si dimostra nella pariete a n.

will

6 L'ochio-/- e 1'ochio /sono-vna-mededenota la distatia, sima- cosa: ma 1'ochio 7 cioe a vedere lontano tu stai quanto la cosa e 1'ochio / ti dimostra la dirittura cioe 8 se tu sei nel mezzo o da lato: o da cato della cosa che tu riguardi e ricordoti e 1' ochio / sieno che se9pre 1'ochio situati a vna medesima altezza 1' uno che 10 verbi gratia se abasserai o alzerai Paltro, che tu facci quel 1'ochio della distatia medesimo "dell' ochio della dirittura / e mostra quato 1'ochio e disse il puto costo al qua I2 dro e no mostra a qual parte

the eye t are one and the thing; but the eye /marks the distance, that is to say how far you are standing from

;

5. nela.

55.

ellochio

9. ellochio

piramide.

chosa

10.

dela

more Pariete.

first

letters

gliate visine all

lochio

chettuffacci.

The two diagrams above

a circumstance 4.

Iteza.

explained by the ever,

chose

55. i. prosspettiva.

five lines.

the

chos

chapter

27.

the object; and the eye / shows you the direction of it; that is whether you are opposite, or on one side, or at an angle to the object you are look-

And remember that the eye / and the must always be kept on the same level. For example if you raise or lower the eye from the distance point/you must do the same ing

at.

eye

with the direction point /. And if the point shows how far the eye is distant from the square plane but does not show on which

... dimoste

[Eflassi] esse

are

text,

frequently find occasion to remark. the definitions in 85, 2 5,

Compare

These lines refer exclusively to the third diagram. For the better understanding of this it should be observed that c s must be regarded as 6

The eye f and

same

8. settu senel

They have, how-

than are referred to in the

the

cause them.

dela

mezo

dischosto.

chagione.

od.ilalato

12. eli

chola

chato

.-.

labassa

chosa chettu

chosi.

13. chol.

chome.

richordoti. *

14.

quadro

representing the section or profile of a square plane, horizontally

placed

(comp.

which the word pianura Lines

(20, 22).

observations to the

diagram;

added

writing

guide

the

last

lines

14,

II,

17)

for

subsequently employed contain certain preliminary

the reader in understanding three seem to have been

supplement.

denota (line 6) for

Leonardo's

f denota has

mistake

been

rectified.

LINEAR PERSPECTIVE.

56.]

per riscotro

egli

mostra

cosi

no mostra

same way, and not the distance, in order to ascertain both you must use both points and they will be one and Thereiations the same thing. If the eye f could see a standpoints to the v n ? ; ,. perfect square of which all the sides were.ishing r point equal to the distance between s and c, (5556). and if at the nearest end of the side towards the eye a pole were placed, or some other side

puto

1'ochio

vedera ciascuna

quale

quadro

perfetto

sue faccie

delle

sia

show

the

if in

and,

placed

the direction

spatio che e tra s c, e al pricipio di quella faccia ch'e diuerso esso l6 ochio, si sta bilisca una aste o altra cosa diritta come appare in r s la quale sia simile

ferma se

the point

3la distatia; aduque per sapere 1'uno e 1'altro farai 1'uno I4 se coll'altro e .fieno vna medesima cosa riscotro,

allo

li^nia

per

del quadro ch'e facia batte l8 ra al nascimeto s : e se riguarderai la se-

riguarderai

uerso

up by a perpendicular r s then, I say, that if you were to look at the side of the square that is nearest to you it will appear at the bottom of the vertical plane r s, and then look at the farther side and it would appear to you at the height of the point n on the

ella

della pariete r conda faccia opposita ^paratti che s'alzi in nel puto n della pariete all' altezza -

dimostratio 20 ne

tu puoi che se 1'ochio fia alto che piv copredere 2I l'unainfinite cose poste sopra- una pianvra

aduque per questa

shown

vertical plane.

Thus, by this example, you can understand that if the eye is above a number of objects all placed on the same level, one beyond another, the more remote

Paltra quato piv s'alontana piv s'alzano insino a riscontro dell' altezza 22 dell' ochio e no piv inperoche le cose poste sopra

dopo

they are the higher they will seem, up to the level of the eye, but no higher; because objects placed upon the level on which your even if it feet stand, so long as it is flat be extended into infinity would never be seen above the eye; since the eye has in itself the point towards which all the cones tend and converge which convey the images of

23 se sara piana, pianvra dove posi i piedi, mai pasdetta pianvra fusse infinita sano piv su, che 1'ochio perche Po 2 4chio a in se quello puto al quale si dirizano e cogivngono tutte le piramidi che por2 stano le spetie deli obietti all' ochio; E

set

object,

straight line as

che

dico

perpediculare

And this point althe objects to the eye. ways coincides with the point of diminution which is the extreme of all we can see. And from the base line of the first pyramid as

questo puto senpre si diriza col puto della dimi 26 nvtione il quale appare nel fine delle cose vedute e dalla basa della prima 27 insino al puto della diminvtione. piramide :

far as the diminishing point

A- 37"!

bases without pyramids are only which constantly diminish up to this point. And from the first base where the vertical plane is placed towards the point in the eye there will be only pyramids without bases;

no base sanza piramidi insino a esso diminviscono quali sepre puto E dalla prima basa dou'e situata la 2 inverso il puto deH' ochio no pariete sara- se no piramide sanza base come appare no

trova

there

;

del

chessellochio 23. sessara

apare 56.

15. alo

quale ciascuna. qroche diuerso

chose

sopra

detta

piana[su]

dele chose

che

tra

nasscimeto

18.

te ella.

chellochio.

base [dele]"sanza" piramide

esse

quelo

24. .

asste

chosa

chessalzi

19.

arisschStro delalteza.

chogivngano

pirami"de". j

sechonda.

21. laltra[se]

pianvra.

e dala basa dela

16. bilischa

quela.

dirita apare.

alalalteza

perpedichulare dicho

17.

inel.

20.

poi ch5predere

22. dellochio [e lechose] e

piramide.

25.

Ecquesto

no piv

26. nvitione

chol.

chose. .

diminvitione

q. "le quali sepre diminvischano insino a eso p5to"

56. For the easier understanding of the diagram and of its connection with the preceding I may here remark that the square plane shown above in

profile

by the

According

dalla.

delochio [no

line c s is here indicated

lines

3 a b

si]

o p.

must be imagined as a

at o p. plane of glass placed perpendicularly

THE THEORY OF THE ART OF TAINTING.

eye, is

and always moves as the eye moves just as when a rod is moved its shadow moves, and moves with it, precisely as the shadow

And each point is the apex of a pyramid, all having a common base with the intervening vertical plane. But although their bases are equal their angles are not equal, because the diminishing point is the termination of a smaller angle than that of the eye. If you ask me: "By what practical experience can you show me these points?" I reply so far as concerns the diminishing point which moves with you when you walk by a ploughed field look at the straight furrows which come down with their ends to the path where you are walking, and you will see that each pair of furrows will look as though they tried to get nearer and meet at the [farther] end. moves with a body.

57-

37-5]

Inquato al puto che viene all' ochio HOW to mea- si con^prende con piv facilita inpero 2 che se U th P r a mid of vi riguarderai nell' ochio a uno, vi vederai sion. t ua similitudine onde se imaginerai ja 32 linie partirsi dai tua orechi concorrere alii orechi della similitudine che vedi di te nell' altrui ochio chiaro conoscerai quelle -~

linie

sdopo

ristrignersi in modo tale che la tua imagine spechiata in

poco detto

ochio seguitando si tocherebono in v puto. E se volessi misurare il diminuire della piramide per 1'aria che si truova infra la cosa veduta e 1'ochio 7 farai in questa forma di sotto figurata diciamo che m-nsia una torre, E che 8 ^-_/"-sia una uerga, la quale tu tiri tanto innazi e indirieto che i sua stremi 9 S J scontrino colli stremi della torre di poi 1'appressa all' ochio in 6

5. retta

[ba] piramide

essenpre

chome

10.

checquello

possessione i.

cho

Inquato

risstrigniersi

Tmodo

apare.

cho quelo chome.

chiasscuno puto(e ma] e chapo

chapo.

57.

point of the pyramid terminating in the and n the point of diminution which always in a straight line opposite the eye

the

senpre 6 senpre si mvta co quello come mv tando obra camina e la sua la uerga si mvta non altremeti con seco che camina ? 1'onbra col corpo e ciascuno puto e capo di pira8 midi le quali si fanno comvne basa della inframessa pariete e bech' essi sieno equali di basa ^sono difformi d'angolo inperoche'l punto della diminvtione e capo di minore angolo I0 che quello dell' ochio Se tu mi dicessi co che sperieza mi dimostrerai tu questi puti, "io ti diro che in quato al puto della diminvtione che camina co teco che riguardi qua I2 do camini lugo le possessioni arate co diritti solchi i quali capitino ^coi loro stremi alia strada dode camini vederai che sepre ciascuno paro di solchi I4 ti parra che si voglino a appressare e cogivgnere ai lor fini.

in the example given above. Now, a b be the said vertical plane and r

let

shown

figura di sopra cioe prenominata pariete r sia il n puto *delle piramidi terminati nell'ochio: sia il pQto della diminvtione il quale sriguaril da punto visiuo per linia retta e della

nello 3esenplo sia

[57-

[el]

chamina

choplende chon. 5.

cho

13. ala

imagine from your ears and going to the ears of image which you see in the other man's eye; you will understand that these lines converge in such a way that they would meet in a point a little way beyond your own image mirrored in the eye. And if you want to measure the diminution of the pyramid in the air which occupies the space between the object seen and the eye, you must do it according to the diagram figured below. Let m n be a tower, and ef a rod, which you must move backwards and forwards till its ends correspond with those of the tower [9]; then bring it nearer to the eye, at c d and you

seguitato.

chesse 6.

Esse

terminate nelochio

chomvne

bechele.

n. dela diminvitione .

nelochio.

[cho]

chamini

2 lines star-

ting that

dimosterai.

will see

you

Now

your own image.

you look

this:

della diminvitione

chonsecho che chamina chonsecho che chamina.

lequali [ano].

Settumi diciesi

pocho.

the eye;

into the eye of another person

dela. 4. dele piramide

quali [sieno diritta]

As regards the point made more intelligible by

para apressare chochorere ali

14. 3.

misurare

"il |

difforme

9. .

chogivgniere 4.

quale(sia).

chol chorpo e

dela diminvitione

chamina chotecho.

dela.

nelaltrui

fini .

diminuire dela piramide" per laria

12. |

chamini

chonosscierai chessi

chosa.

In the original Manuscript the words above the line are clearly marked as forming part of the text. In Mont. Ravaisson's sia i torre Ecche. 8. sia ! verga . . Trantcript however they are mistaken for a heading of the paragraph. 7. imquesta .

57.

sua stremi

della torre (its

ends ... of the tower)

this is the case at e f.

LINEAR PERSPECTIVE.

58-6o.]

c-d-Q vede

rai

la similitudine della torre

image of the tower seems Then [again] bring it smaller, as at r o. closer to the eye and you will see the rod will see that the

apparire minore come vedi in r o poi 1'appressa "all' ochio, e vederai la uerga -

avazare

della similitudine

fori

da-#--et

oltre

poco piv

della

torre

project far

da t-b-e poi conoscerai che ^le linie cocorrono al puto.

A. 27 a]

from

a to b and from / to b, and so you will discern that, a little farther within, the lines must converge in a point.

58.

PROSPETTIVA. 2

Subito

che

PERSPECTIVE.

The

alluminata- s'empiera d'infinite spetie, le qua^li son cavsate da vari corpi e- colori, che* infra essa sono collocati, Idelle quali spetie 1'ochio si fa bersaglio e calamita. 1'aria

fia

instant the atmosphere is illuminated xheProducbe filled with an infinite number of ? nof P.y.ra 011 images which are produced by the various "'(ts^fc) bodies and colours assembled in it. And the

232 d\

1 tutta la superfitie de' corpi oppachi tutto il simvlacro in tutta 1'aria 2 allu-

che

circunda

surface of opaque bodies diswhole image in all the illuminated atmosphere which surrounds them on all

Che

60. Paria

a se

attragga

come

That the atmosphere attracts to itself, all the images of the objects and not their forms merely but their nature may be clearly seen by the sun, which is a hot and luminous body. All the atmosphere, which is the all-pervading matter, absorbs light and heat, and reflects

cala-

like a loadstone, that exist in it,

;

s'incorpora di lume e di calore e tutta 4 ricieve I se la forma della cagione del calore e spledore e in ogni minima parte

per tutto

simile;

tramotana dimostra per

image of the source of that heat and splendour and, in each minutest portion, does the same. The Northpole does the same as the loadstone shows; and the moon and the in itself the

calamita fare questo medesimo e la luna e altri pianeti 6 saza diminvtione di se fa il simile; ifra le cose terrestri e fatto il simile dal moscato ?e altri odori. :

schontrino cholli

58. 2. chellaria

59. i. chorpi .

senpiera.

lapressa alochio.

forme de corpi

chagione

chavsati

oppachi "actutto

Che [ciasschuno chorpo

che 4.

10.

other planets, without suffering any diminudo the same. Among terrestrial things musk does the same and other perfumes. tion,

dela tore aparire [piv]

pola.

n. alochio

deln.

12.

chonlossciere poche.

chocorano.

13.

its

sides.

mita tutte le similitudini 2 delle cose che la circudano no che le forme de' corpi, ma ancora le nature chiaramete si vede nel sole il quale e corpo caldo e luminoso - tutta 1'aria che li e per obietto tutta

the target, a loadstone, of these images.

The whole

plays

qualunche

per

C. A. 136,?;

60.

eye

aspetto. t

tuttiri

59-

minata

will

the image of the tower

beyond

chorpi e chonori

simvlacro" in tucta.

laria

ancora

chalore einoni.

siatraga

asse

nature" chiaramete

chalamita

esa

chollocati.

chello circhunda

elluna.

chome chalamita .

chorp

berzaglio e chalamita.

similitudine.

chose chella

circhudano ,

caldo.

diminvitione

asspecto.

tuttutta

tereste effatto

sinchorpora moscado.

chalore

"ne

ettutta.

THE THEORY OF THE ART OF PAINTING.

Ash.

61.

22fi\

Tutti se

similitudini

tutte

nella

per tutta

aria

d' Ifinite

give

number of images which

colore

della

figura

tutti nella

tutti

parte

doue con Itersegate

per piramidi cotrarie

linie portano cose sotto sopra 8

prima oscura pariete;

alia

ragione di

questo

d'Ifinite linie le quali,

Every point

per colore come per fazione.

per

1'aria,

siti

1'uno

imme-

ispargiedosi con Itersegazione ne resultano Ifiniti 7 agoli, oppo-

e portera

and

ciascuno

ciaschuno

62.

chapo

afiare

imediate

schuno

enpie

Between

circhustate.

lines 3

and

represent

and proportion equal to the larger angle; and if the base goes twice into each of the 2 lines of the pyramid the smaller triangle will do the same.

piramida.

chopossto. oposti angli.

similitudine

pertutta ettutte nela

diagram given on Plate solo con piramide.

cholore chome.

agholi ellinie

rinara triagholo.

Here follow,

quallinie. 9.

II,

No.

alangholo

three luminous bodies which, transmit

in the original

basetra

colo.

3. la

("essentia"] qualita

"per similitudine"

etfigura

ettutti nela.

ciara-

prime oscure pariete.

isspargiedosi

images through perforations in a wall into a dark chamber, according to a law which is more fully explained in 7581. So far as concerns the present

their

Given a base, each opposite form a triangle having a form

will

angle,

6z. The diagram intended to illustrate the statement (PL II No. i) occurs in the original between lines 3 and 4. The three circles must be understood

give

number of angles opposite

to each other.

4 stands the

chorpi chessi producano.

infinite

fara piccolo triagolo.

chagione.

mete

angolo magiore, e se la basa etra 2 volte ciascheduna I0 delle 2 linie piramidali, quel

intersecting each other in the air,

rise to

all'

medesimo

and angles are produced from and these lines, distributing themselves

it;

akro, degli dato li basa, ritrara triagolo, se forma e proporzione 9 simile

all'

the termination of an in-

lines,

infinite lines

opposti angoli,

61.

this is

which diverge to form a base, and immediately, from the base the same lines converge to a pyramid [imaging] both the colour and form. No sooner is a form created or compounded than suddenly

diate che la forma e creata o coposta, subito sdi se gienera Ifiniti agoli e linie, le linie

number of

finite

2 givgniedo a fare basa subito detta basa per le medesime linie tornano alia piramide

bodies

all

62.

Ogni puto e capo

quali

The reason of

reflected.

L. 146*]

3 si

that

by their images, all-pervading in the surrounding atmosphere, and each complete in itself as to substance form and colour; this is seen by the images of the various bodies which are reproduced in one single perforation through which they transmit the objects by lines which intersect and cause reversed pyramids, from the objects, so that they are upside down on the dark plane where they are first

si per corpo figura dimostra per le spetie di molti vari corpi, che si producono 6 a un solo puto per-

forate,

can clearly be shown

are,

chiaramete

e colore

all -pervading

it.

produces

la circustate aria

are

and each complete, each conveying the nature, colour and form of the body which

portado

siano per similitudine

corpi

All bodies together, and each by itself, off to the surrounding air an infinite

per sua

son tutte per tutto e co Io3ro la

quali

parte

qualita del corpo loro cagione.

Che

e ciascuno

insieme

corpi

la circustate

empie

62.

MS.,

ten lines bearing on geometry.

chon Iterseghazione .

ciasscheduna.

10. lini

risulta. .

agholi

("subito") .

cocias-

piccholo triagholo.

passage the diagram is only intended to explain that the images of the three bodies may be made to coalesce at

written: giallo

The

any given

text breaks

No. 40 follows here

In the

spot.

yellow, biacho off at

circles

white, rosso

line

in the original

are

red.

The paragraph MS.

^ Heliog-. Dujardin.

LINEAR PERSPECTIVE.

64.]

Ash.

27 II a]

Ogni corpo obroso empie 2

Every body in* light and shade fills the surrounding air with infinite images of itself;' and these, by infinite pyramids diffused in the air, represent this body throughout space and on every side. Each pyramid that is composed of a long assemblage of rays includes within itself an infinite number of pyramids and each has the same power

la circustate

sue similitudini le quali da infinite pira 3 midi infuse per essa rappresentano esso corpo 4 tutto per tutto e tutto aria

d'infinite

in ogni parte. Ogni piramide coposta da lu?go concorso di razzi cotiene 8 detro a se infinite piramidi 9e ciascuna a poteI0 tia per tutte e tutte per

ciascuna;

"I'equidistate

I2 circuito di pirami dal co-

corso dark

suo obietto ;

ricievuto la cosa dall'obIS I1

dell'

corpo

e pieno d'infinite piramidi conposte da radiose e rette linie le quali 16 si cavsano dai superfitiali

aria

straight lines,

posti corpi e quato piv s'alota7nano dalla loro cagione piv si fano acute: e benche il loro co-

essa

(aria)

corso sia intersegato e in l8 tessuto,

no dimeno no si cofondono 1'una con 1'altra e co disgregate concorso si vano aplifi^cado e infondedo per tutta la circustante aria e sono infra loro d'equale potetia

but pass throug'h all the surair, independently converging, spreading, and diffused. And they are all of equal power [and value]; all equal to each, and each equal to all. By these the images of objects are transmitted through ther,

all space and in every direction, and each pyramid, in itself, includes, in each minutest

part, the

circhustate.

piramide di lugo]. 12.

chochorso.

the text: 15. .

chorpo

chochorsia.

piramide.

atmosphere is full of radiating pyramids produced by the These intersect and objects existing in it. cross each other with independent convergence without interfering with each other and pass and through all the surrounding atmosphere;

The body of

18.

dinfine

choposta.

similitudine.

chonchorso

are written on the

midi

chontiene.

and

essa [aria] rapretano 8.

asse

614

chorpo.

9. ettutte.

pyramide.

ettutto.

[Ogni radiosa

lecquidistate

left side

lines

on the right side of the diagram.

Below

it is

circhuito.

the rest .

ochupatione

the

of achute 17. chagione [aria], ecquato. -chorpi onbrosi poste piramide chonposte. 16. chavsano 20. ecciascuna. ettutte. essono chonchorso. 19. circhustante . luna per laltra e cho tesuto

Lines

21. e portata tutto

64.

it.

infinite

e sono d'equale potetia e tutte pos-

chorpo

whole form of the body causing

64.

II corpo dell'aria e pieno d'ifinite piramidi radiose 2 cavsate dalla cosa posta in essa, le quali intersegate 3 e intessute sanza 4 occupatione 1'una dell' altra co disgre gante concorso s'infondono per tutta la circQSstate

63. i.

they intersect

rounding

C. A. 100^;

aria,

distribution

their

and cross they never mingle toge-

quato ciascuna e ciascuna quato tutte e per esse la similitudine del corpo e portata 21 tutta -per tutto e tutta nella parte e ciascuna piramide per se ricieve in ogni 22 minima sua parte tutta la forma della sua cagione. e tutte

which are produced from the surface of the bodies in light and shade, existing in the air; and the farther they are from the object which produces them the more acute they become and although

stre-

ombrosi

de'

as each.

all

of equidistant pyramids of vision will give to their object angles of equal size; and an eye at each point will see the object of the same size. The body of the atmosphere is full of infinite pyramids composed of radiating

equable qualita d' agoli e d'equale gradeza I4 fia bietto.

and

all,

circle

22.

ettutta.

chavsate dala

chagione. esa.

cho.

chonchorso sinfondano [portado] pertutta

[lari].

ettutte

THE THEORY OF THE ART OF PAINTING.

sono quato ciascuna, 6 e ciascuna quato tutte e per esse la similitudine del corpo e porta'ta tutta per tutto e tutta I nella parte,

of equal force and value all being And by means equal to each, each to all. of thes images of the body are transmitted everywhere and on all sides, and each receiyes in itsdf eyery minutest portion of the

are

a 8

e ciascuna per se ricieve

m ogm .

minima

parte tutta la sua cagione.

object that produces

PROSPETTIVA.

Proof by ex-

L'aria

PERSPECTIVE.

The

similitudini

d' Ifinite

with endless images of the objects distributed in it; and all are re-

piena cose le quali Ifra quella sono distrib u ' te 3 e tutte s * rapresetano in tutte e e tutte jn ciascuna ode tutte in vna accade che se sarano * 2 spechi volti I delle

linia-retta-si

guardino 1'uno

5 primo si spechiera nel secondo e '1 secondo nel primo il primo che si spechia nel secondo porta co seco la 6 similitudini similitudine di se co tutte le

1'altro-jl

mirror,

madare

cosa

la similitudine

That the same object may receive all the images of the objects that are of

di pigliare in se tutte le similitudelle cose che dinanzi se le rappresen12

mada

1'ochio

Aduque

Ifra 1'aria

piglia

ciono

e le cosidera e quelli

^che

mada

'sQnde

memoria.

alia

they

piaio

givdico che la virtu spirituale delle spetie delli ochi si faccino icotro all' obietto come 16 '7 Che le spetie dell' obietto all' ochio. le spetie di tutte le cose sieno seminate Ifra 1' aria lo esemplo si veda I molti specchi 18 In circolo e Ifinite volte spechierano 1'uno Paltro e givto 1'uno nell'altro risalta dirieto '9 alia sua cagione e indi diminvedorisalta vn'altra volta all'obietto e poi ritorna 2I e cosi fa Ifinite 20 volte. Se metti un lume di notte Ifra 2 specchi piani i quali abbino d'intervallo un braccio vedrai I cias-

possano quite. 65.

similitudine

recta

chio

7. .

sisghuardino

cho

si \\\.

vano

sono strebuite.

spechier .

\\\.

19.

all

obietto ch\\\.

chagione e

dili

17.

diminvedo

Chelle .

sili. .

ettutte

nel.

ciaschuno

chapa\\\\. it. similitudine .. chose ..

Ichotro

seen in several mirrors placed in a circle, which will reflect each other endlessly. When one has reached the other it is returned to the object that produced it, and thence being diminished it is returned again to the object and then comes back once more, and this happens endlessly. If you put a light between two flat mirrors with a distance of i braccio between them you will see in each

tutto per tutta ettutti inella.

to.

chose

in front

Hence

it.

are taken in by the common sense, which considers them and if they are pleasing commits them to the memory. Whence I am of opinion: That the invisible images in the eyes are produced towards the object, as the image of the object to the eye. That the images of the objects must be disseminated through the air. An instance may be

sua similitudine a tutti li obietti che li sono opposti e I se 13 li ricieve cioe I sulla sua superfVie dode il seso comvne la

in itself

the eye transmits through the atmosphere its own image to all the objects that are in front of it and receives them into itself, that is to say on its surface, whence

tano.

so,

and one inside the other. Thus, by this example, it is clearly proved that every object sends its image to every spot whence the object itself can be seen; and the converse:

quali possono vedere detta cosa e cosi de couerso detta cosa essere cadini

and

last

pace

all

to infinity in

tutti quelli

one, and

all

image within image, they go on such a manner as that each mirror has within it a mirror, each smaller than the

vi si rapresetano Ifra le quali e la spetie del secondo spechio e da simii litudine T similitudine se ne vanno in ifinito I modo che ciascuno spechio a detro in se li 8 spechi 1'uno minore che 1'altro-e dentro 1'uno all'altro. ^Onde per questo esemplo chiaramete si pruova ciascuna

lochi

and

all,

being reflected in the second takes to it the image of itself with all the images represented in it, among which is the image of the second

che dentro

filled

each, whence it happens that if two mirrors are placed in such a manner as to face each other exactly, the first will be reflected in the second and the second in the first. The first

modo-che per

air

presented in

(65^56)'

it.

65-

C. A. 1360; 4120]

[65-

detro Is

12. attutti

chose

alobietto

\\\\. .

ne pr.

el 2

opositi e T .

porta

io.

esenplo.

llaria

nel 2

\\\.

13.

ettutte jn

chosecho cho

possano

18.

|||||||1||.

tutte

\\\.

ciasschuna 6.

quale

acchade

del 2

spe-

chosa e chosi de chouerso. detta chosa

chomvne

molti spe\\\\\.

po ritorna e chosi

vna"

"ettutte in

in tutte .

chosidera e c

circholo 21.

metti

piachno.

\\\\\\

givta lunel !

lume

15.

chella...

risalta e dirieto.

dintervallo

br.

LINEAR PERSPECTIVE.

66. 6;.]

cuno di quelli spec 22 chi ifiniti lumi-1'unominore che 1'altro; 2 3se di notte metterai vn lume jfra le parieti d' una camera tutte le parti d'essa pariete rimarano tite di ^similitudini d' esso lume e tutte quelle che sarario viste dal lume, e '1 lume vedera si2 milemete, 5cioe quando ifra loro no fiaalcuna oppositione che ropa il cocorso

of them an infinite number of lights, one smaller than another, to the last. If at night you .put a light between the walls of a room, all the parts of that wall will be tinted with the image of that light. And they will receive the light and the light will fall on them, stacle

Questo medesimo eseplo magiormete appare in nel cocorso de razzi delle

spetie.

2 ?i quali tutti per tutti, e ciascuno se porta al suo obietto la similitudine per 29 28 Che ciascu corpo per della cagione tutta la cotraposta aria se solo empie delle sue similitudini e che questa mede-

its

tepo

di ricievere -I

altri

corpi

same air is able, at the same time, to receive the images of the endless other objects which are in it, this is clearly proved

le spetie d'lnfiniti quella fussino, chiaramente $ l si dimostra-per questi- esepli; ciascuno corpo appare tutto per tutta la detta aria e tutto in ogni minima 32 parte di quella tutti per tutta e tutti in onj minima 33 ciascuno per tutta e tutti nella parte. parte,

che

by these examples. And every object is everywhere visible in the whole of the atmosphere, and the whole in every smallest part of it; and all the objects in the whole, and all in each smallest part; each in all and all in

ifra

;

L. 145

le spetie

infuse per 1'aria in

loco oscuro

per

which

a es s si spiracoli;

plane

quali inpressioni sara fatte in tati lochi d'essa parie 6 te quato sara il

numero

C. A.

delli predetti spiracoli.

di\\\\\\\\\.

24. ettucte

sole].

chiar

chorpi

VOL.

[ettu]

31. esepli

\\\\\\\\\\\.

lesspetie

spetie

tutti

da lume.

o ciasciuno

To prove

it.

objects

opposite to these holes.

All objects project their whole image and General conlikeness, diffused and mingled in the whole of the atmosphere, opposite to themselves. The image of every point of the bodily atsurface, exists in every part of the of the objects are All the

chorpi [infuse per

illocho osscuro. .

ciascuno

infuso Smisto

spirachuli .

apare

[spetie] .

"di notte"

opositione

caione in

fia

aria ettutto Ionlm\\\\\\\\\\.

essinprememano

essimilitudine.

Ifralle

chochorso.

oni minima parte

"similitudine"

tutte [infus] fure per laria.

laria]

"tutte".

images

mosphere.

23.

infralloro

"li obietti ettala

chellaltro.

qua

25.

5pia "tutta" la ch5traposta

minore

22. chelaltro elluno

chessarano

per

27.

chorpo

67. i.

in e

i 7 6,5; 53i<5]

ciaschuno

side

As many images will be produced in the chamber on the plane as the number of the said holes.

Tutti j corpi anno infuse e miste 2 in tutta tutte loro spetie e similitudini a se contraposta; deli' aria la quantita 3 La punto delle corspetie di ciascun 4 e in ciascu punto dell'aria; poree superfitie s Tutte le spetie de' corpi sono in ciascu

66.

atmosphere and all

them;

all

which the images are admitted to a dark chamber by the small holes n p and thrown upon the

e s'inpremono nella pariete

cotraposta

let

this,

spiraculi

receives

on every

objects are

through the

diffused

quella;

obbietti,

penetrano

quali

The images of

de corpi tutte che le vede e

ace

sie

spetie

ogni parte 3

provasi

every part.

B.a]

Sono tutte

the

3j quel medesimo

capace.

to say,

That each body by itself alone fills with images the atmosphere around it, and that

it.

fia

interrupt

all together, and each by itself, convey to the object the image of the body which causes

;

aria

which

solari,

sima

when

there is no obtransmission of the images. This same example is seen in a greater degree in the distribution of the solar rays

mutually, that

duna

pariete 26. inel

dellobietto". 30-

c\\\\\\\\\\\\.

tepo

tutte

chochorso 28. [di]

parti d'^esse.

"solari" [del 29. ciassu.

chagione. .

chorpi

fussino

33. ettutti.

chelle vede ettutte.

spiracholi.

contrapossta.

asse chontrapossta.

spetie di

siej

quato saranno is

c e obbietti il

spiracholi.

written onttie margin.

THE THEORY OF THE ART OF PAINTING. 6 Tutta e la parte della aria; dell'aria e in ciascuno puto delle

puto d'essa similitudine

the atmosphere is [reflected] in each point of the surface of the bodies presented to it. Therefore both the part and the whole of the images of the objects exist, both in the whole and in the parts of the surface of these visible bodies.

delli

superfitie

Onde corpi. la similitudine

d'essi

perfitie

chiaramente

di ciascu possiamo corpo essere "tutto e in parte in ciascuna IZ delli parte e nel tutto scanbievolmete Come si uede nelli spechi oppositi corpi

dire

Whence we may evidently say that the image of each object exists, as a whole and in every part, in each part and in the whole interchangeably in every existing body. As is seen in two mirrors placed opposite to each other.

;

1'uno

Ash.

altro opposti.

all

68.

32*]

madi

Ipossibile e che 1'ochio That the contrary is impossible,

p er r

razz j visuali

fori di se 2

la uirtu

perche

visiua,

1'obietto

essedo cosi no

vedere

e se la

ciessario

ch'ella

uia ch'e

dall'

sarebbe ne-

per tutta e ch'ella

ochio al sole,

modo

che tra

sole e

1'ochio coponessino la basa

e la puta d'una piramide: essedo questo e'no basterebbe se 1'ochio fusse 9 per un milione di modi che

tutto

pure que

come

1'aria

Ciasc

cosumasse

fa 1'odore,

in.

venti

chellochio

razi.

Ifra

ella

ciasscuna.

it.

... he 12.

dessi prlcipo all usita.

chome

68.

ivento

(?).

n. porterebbero no

The view here

refuted

cho.

in.

chorpi apare.

12.

[sepre

per

by Leonardo was

fa]

fussi

milione

presteza

."hollo potrebe.

chettutto

vederemo

scritti

XXI): Sowiemmi

di aver gia

letto

in certi

alcune cose di Bramantino milanese, celtbratissimo

pittore, attenente alia prospettiva, le quali

e quasi intesseie in questo luogo,

ho valuta

riferire,

ajfinche sappiamo qual

fosse Vopinione di cost chiaro e famoso pitlore intorno alia Strive Bramantino che la prospeltiva e una prospett'rva .

fosa che contrafa

Circa la

cosa

mturale, e che do

primo modo che

in poche parole

fa con

conclusa

in tre

modi

ragione, per essere

Bramantino

maniera che giudico non potersi dir meglio, contenendovi tutta le

Farte del principio al fine,

proprie parole sue

(cp.

XXII,

io riferirb

Prima

in si

per appunto

prospettiva

e Valtra

effetti

non mat, dimanda

degli

dunobr.

13.

''la |

alteza

lo alargassi

consumassi

La prima

Bramantino).

Peffetto deir occhio,

among

cp.

dire

10.

chorpi appare.

tuta.

distantia.

prima

potrebe chaminare

chotinuata

in his Traltato delF Arte della pittura &c. (Milano 1584.

Libr.

would have to travel perfumes do, the winds

air as

others by Bramantino, Leonardo's Milanese contemporary. LOMAZZO writes as follows

maintained

this

virtue

if this

chorpi.

And

time.

through the

auessiandare

visual

opositi chorpi oppossto.

. chela. chaminasse] viagivgniessi sarebe basterebe sellochio fussi, chio choponessino. 8. ella .

5. essella [vi

object and

the

and

tue;

no "la torciereb-

lesspetie dechorpi.

similitudine di" ciaschu chorpo. 68.

e se

detta virtu

avesse a caminare

sta virtu

the

it could not being so, it could not travel so high as the sun in a month's time when the eye wanted to see it. And if it could reach the sun it would necessarily follow that it should perpetually remain in a continuous line from the eye to the sun and should always diverge in such a way as to form between the sun and the eye the base and the apex of a pyramid. This being the case, if the eye consisted of a million worlds, it would not prevent its being consumed in the projection of its vir-

forth

do without

ochio lo uolesse

fusse cotinuata

sepre alargasse

quado

vi agivgniesse

visual rays,

itself,

virtue, since, as soon as it opens, that front portion [of the eye] which would give rise to this emanation would have to go

potrebbe fare saza tepo, potrebbe caminare in v mese

all'altezza del sole,

impossible that the eye should pro-

from

ject

nello suo aprire quella prima parte che desse prmcipio all'uscita, ^e auessi d'andare al-

The whole,

every part of the atmosphere.

and each part of the image of

antiposti corpi; Adunque 1 tutto delle spetie de' corpi la parte e 9 appare in tutta e nella parte della su?

[68.

esse pure.

prospetliva

alchuno

dagli

effetti

accidente.

di punto,

Questo crescere e calare non procede

occhi,

volendo vedere tanto

gran

owero vidnat

crescere e sminuire, i

quali sono picdoli, cosa,

fuora la virtu visiva, la quale

si dilata in

cosa la vede dove e:

procede e

perdb bisogna che mandino

che piglia tutto quello che vuol vedere,

quella

ello-

facendo crescere e calare secondo gli

non pub

degli

10. avessi

piu appresso. Adunque la prospettiva, doe ragione, la quale fa

occhi.

effetto

e la terza

della cosa propria, che in se per esser lontana,

per quello

le cose

uolessi.

imodo

tanta larghezza,

ed arrivando lei

agli occhi per

quello circuito fino all' occhio, e tutto quello (ermine e pieno

di quella cosa. It

worthy of note that Leonardo had made his refuting this view, at Milan in 1492

memorandum

LINEAR PERSPECTIVE.

69.

bono e porterebbero in altro loco; e noi vediamo co quel I2 la medesima prestezza il corpo del sole che noi vediamo una distantia I3 d'uno braccio e no si mvta per sone per alcuno

fiare de'ueti,

69.

Si si

it and carry it into another But we do [in fact] see the mass sun with the same rapidity as [an object] at the distance of a braccio, and the power of sight is not disturbed by the blowing of the winds nor by any other accident.

would bent

place. of the

altro accidete.

A. 9 <5]

come

pietra

e cavsa

cietro

gittata nell' acqua di uari circuli, 2 e '1

suono fatto in nell' aria circularmente si spargie, ^cosi ogni corpo posto infra 1'aria luminosa circularmete * spargie e epie le circustanti

parti

d'infinite

e appare tutto Sper tutto 6 [minima] parte; Questo

sue similitudini e tutto in ogni

And

is repeated, the whole every-where, and the whole in every smallest part. This can be proved by experiment, since if you shut a

is-

mada

cosa cotra

ochio mada acora 1'ochio

all'

posta

sua similitudine

cosa.

alla

cosa per partite similitudini no si strema parte alcuna d'alcuna ragione ne all'occhio ne alia cosa. ^Aduque possiamo piv tosto credere essere natura e potetia di questa aria luminosa * che attrae e piglia I se le spetie delle cose che detro vi sono che natura delle cose in madare le 5 Se la cosa cotra spetie ifra essa aria; posta all' ochio madasse a quello di se la similitudine: quel medesimo avrebbe a fare 6 1'ochio alia cosa, onde couerebbe che della

queste

fussino

spetie

virtu

we may

rather believe

send their images through the

If the

air.

object opposite to the eye were to send its image to the eye, the eye would have to do the same to the object, whence it might

images were an emanation.

that these

dalli

which part; speaking of that atmosphere

quel-

eye or the object. Therefore it to be the nature and potency of our luminous atmosphere which absorbs the images of the objects existing in it, than the nature of the objects, the

either

rette

tutta

1'aria,

no portion whatever of the object is lost in the images it throws off, for any reason

would be necessary [to admit] But, that every object became rapidly smaller; because each object appears by its images That is: in the surrounding atmosphere. the whole object in the whole atmosphere, and in each part; and all the objects in the whole atmosphere and all of them in each

1'aria;

chavsa circhuli. 2. chome nellacqua similitudine spargano] ogni ... 4. circhustanti * finestra effarai i buso. chesse sererai

if so,

e tutto nella parte, tutti i corpi I 9 e tutti nella parte, parlado di 1'aria ch'e capace di ricieuere I se le e radiose linie I0 delle spetie madate

If the object in front of the eye sends * , image to the eye, the eye, on the other hand, sends its image to the object, and its

seem

spirituali: -es-

sedo cosi sarebbe ? neciessario che ciascuna cosa presto venisse meno Jperoche ciascuno corpo appare per similitudine 8 nella cotraposta aria; cioe tutto il corpo I tutta

69. i. Si

and make a hole [6]

that faces west

di se la similitudine

window

C. A. 133 b ; 404 6]

water A

the

into

flung

so any object, placed in the luminous atmosphere, diffuses itself in circles, and fills the surrounding air with infinite images of itself.

prova per imperoche se serrerai una finestra volta a ponete e farai uno buso

stone

air:

perietia

a quello

Just

becomes the centre and cause of many circles, and as sound diffuses itself in circles in the

el .

sono.

eapare

fatto inellaria 5.

spargie

[la

sua voce Cosi].

ettutto in ogni [minima] parte.

per

Cosi

able

[chorpi

risperietia in pero-

70.

cossa "e" per mada "aquello" di. 2. se natura "e potetia" di. 4. che Aduque posiamo i.

alchuna dalchuna rasione nea locho ne.

imadere

Ifra

chosi sarebe.

69. 6.

[1]

Compare Here the

"essa"

aria.

"altraee" piglia

Sella chosa chotra

ciasschuna chosa

venisi

chorpo,

breaks

off.

dele cose

madassi acquello 8.

[inoni

LIBRI, Histoire des sciences mathimatiquts en text

parte

Italie.

"che detro

arebe

della]

Tome

affare.

"nella"

[quel

choso

chotraposta

III, p. 43.

medesimo

fa locchio]

sono" che natura

chose

onde chonuerebe

tutto

"il

corpo"

function of the eye as explained

^Vobs^a" (7- ?0-

THE THEORY OF THE ART OF PAINTING.

Onde per

obietti ;

to contain in itself the straight and radiating lines of the images projected by the objects.

neciessario

questo pare

aria cofessare essere natura di questa che si trova infra li obbietti la qualc tiri come calamita in se le similitudini delle

cose

'Ifra

From

seems necessary

to admit that of the atmosphere, which

between

the objects, and which images of things to itself like a loadstone, being placed between them. subsists

poste.

quella

this

in the nature

attracts the

PROVE HOW ALL OBJECTS, PLACED IN ONE POSITION, ARE ALL EVERYWHERE AND ALL IN EACH PART.

se vna faccia d'uno edifitio o o capagnia che sia illuminata dal sole l6 avra al suo opposito vn' abitatione, e I quella faccja che no uede il sole sia fatto un piccolo spiracolo ^rotodo: che tutte le alluminate cose maderano la loro similitudine

I say that if the front of a or any building open piazza or field which is illuminated by the sun has a dwelling opposite to it, and if, in the front which does not face the sun, you make a small round hole, all the

COME TUTTE LE COSE POSTE SONO TUTTE PER TUTTO ME TUTTE NELLA PARTE.1

1 PRUOVA

SITO

altra piazza

per detto spiraculo e apparirano

objects will project their images through that hole and be visible inside the dwelling on the opposite wall which may be made white; and there, in fact, they will be

nella cotraria faccia, la quale

abitatione

all'

illuminated

dentro

e saranno li appunto e sotto sopra; '^e se per molti lochi di detta faccia faciessi simili buchi, simile effetto sarebbe 1 ciascuno; Aduque le spetie 20 delle alluminate-cose-sono tutte per tutta dettafaccia e tutte in ogni minima parte di quella 21 la ragio si e: noi sappiamo chiaro che

vuol essere biaca

upside down, and if you make similar openings in several places in the same wall

have the same result from each. the images of the illuminated objects all everywhere on this wall and all will

you

Hence are

each minutest part of

quello buco debe redere alquato di lume 22 lui mezzano I detta abitatione, e lume che rede e cavsato da vno o da molti corpi

we clearly know, is some light to the

luminosi se detti corpi fieno di vari colori e varie stape di uari 23 colori e stape saranno i razzi delle spetie e di uari colori e stape fieno le rappresetationi in nel

many luminous

light

COME S'INTERSEGANO 2

tutta .

nvn

sarebe

aria [la qualej 15.

ciaschuno. .

"che".

dicho cbesse

chose

da [molti] corpi

fieno

9. ettutti nella

tuttutti.

retodo

17.

simile

chorpi

20. .

chose cholori

18. .

chapace

chome chalamita

facia

siraculo.

pare

the

23.

This section has already been published Milan

pp. 13, 14. is

Camera

explain of the

G. Govi observes upon

it,

that

not to be regarded as the inventor of obscura, but that he was the first to

by it the structure of the eye. An account Camera obscura first occurs in CESARE CE-

SARINI'S Italian version of Vitruvius, pub.

years

"I se"

similitudine.

le rette [linie

viol

de radira] e radiose.

12. I fracquella.

16. ara al

13.

suo oposito

esere biacha e sarano lapunto essotto.

di uari.

21.

sapiano

23. cholori

;

quello buso.

"e stape" sarano

10.

chome

irazi

fatto 19.

22. .

pare [essere] chose poste

tutti le I

picholo spira-

esse per

mezano .

cholori

]

bus!

chavsata

"e stipe"

rapresentatione inel mvro [osscuroj.

70. 15

1872,

facia ettutte inoniniminima.

"e varie stape"

If these bodies are

and

experiment, showing how objects their images or pictures, inter-

piazao chapagnia chessia.

chotraria

in the "Saggio dtlle Opere di Leonardo da Vinci"

Leonardo

An transmit

-le

14. ettutte.

sito.

cholo.

ettutto

chofessare.

colours

HOW THE IMAGES OF OBJECTS RECEIVED BY THS EYE INTERSECT WITHIN THE CRYSTALLINE HUMOUR OF THE EYE.

OMORE

che mostra come li obloro spetie over si-

sperietia

mandino

bietti

bodies.

LE SPETIE BELLI OBBIETTI

RICEVUTI DALL OCHIO DENTRO AL ALBUGINO.

various

reason, as

must admit said dwelling, and the is derived from one or

shapes the rays forming the images are of various colours and shapes, and so will the representations be on the wall.

mvro. D. 8 a]

admitted by

The

it.

that this hole

after

Leonardo's

death.

Cesarini

1523, four

expressly

names Benedettino Don Papnutio as the inventor of the Camera obscura. In his explanation of the function of the eye by a comparison with the Camera obscura Leonardo was the precursor of G.

CARDANO, Professor of Medicine

'at Bologna (died 1576) and it appears highly probable that this is, in fact, the very discovery which Leonardo ascribes to

himself in details.

section

21 without

giving

any further

LINEAR PERSPECTIVE.

7274-]

militudini intersegate dentro all'o 5 chio nello

umore albugino

dimostra quando alcuno piccolo spiraculo rotodo 7 penetrano le spetie delli obsi

seating

humour,

per *

within the eye in the crystalline is seen when by some small round hole penetrate the images of illu-

bietti alluminati in abitatione for8

temente oscura; allora tu riceverai tale spetie in v?na carta bianca posta dentro a tale aI0 bitatione alquato vicina a esso ix spiraculo e ve drai tutti li predetti obbietti in essa carta colle

yo.u will see all the objects on the paper in their proper forms

and colours, but much smaller; and they will be upside down

propie figure e colori, ma sara minori e fieno sot^to sopra per causa della detta interseI4 gatione li qua li simulacri se nascierano dal I5 sole para propio alluminato loco di I6 la qual" uole essere in essa carta, dipiti da e veduta e lo sottilissima riverscio, I7 colo detto sia fatto in sottipiastra spira l8 a b c d e sieno li detti lissima di ferro; J obietti alluminati dal sole, o r 9sia la facI2

lor

of that very interimages being transmitted from a place illuminated by the sun will seem actually painted on this paper which must be extremely thin and looked at from behind. And let the be little made, in a very thin perforation Let a b c d e be the obplate of iron. and o r the ject illuminated by the sun front of the dark chamber in which is the Let s t be the sheet of said hole at n m. paper intercepting the rays of the images of these objects upside down, because the rays being straight, a on the right hand becomes

ta 2I gliano

razzi delle spetie

22 sopra perche esse do

d'essi obietti sotto

a destro

lor razzi diritti , e lo e si 23 nistro

fa sinistro in

destro in

k on the left, and e on the left becomes on the right; and the same takes place in-

e cosi fa

/"-,

These

section.

cia della abitatione oscura, nella quale e lo 20 racolo detto in n m, s t sia la detta

dove

reason

spi

carta

minated objects into a very dark chamber. Then, receive these images on a white paper placed within this dark room and rather near to the hole and

dentro alia popilla.

side the pupil.

C. A. 201 b; 598,}] II

lume nel

ufitio della

prospettiva

non

74of The lines sent forth by the image of an Refraction S r object to the eye do not reach the point famng up on within the eye in straight lines.

delle linie create dalle spetie

concorso

ochio no conantiposti corro 2 no in punte dentro a esso ochio per obbietti

all'

linie rette.

Lassperientia

71. 3.

pola] posta

73.

sinisstro

ufio della.

73. 3. eccio

74. linie crete

71.

This

translation 'Essai sur

mosstra.

17. ,

cholo

hello

10. .

omore.

spirachulo.

12.

inpiasstra.

19.

picholo .

fachia

retodo peneterano.

so.

effieno .

13.

osscura

chausa .

nei

osscura alora

interseghatione ello spi.

20.

q"a".

racol.

21.

spetie nv. 14.

razi.

biancha [de-

nasscierano dillocho. 22.

razi

desstro

23. desstro.

differeza chol.

lucie he.

attale.

16. ello spira. .

practice

jff%.

The object which is opposite to the pupil of the eye is seen by that pupil and that which is opposite to the eye is seen by the pupil.

e ve-

la lucie

221(5]

delli

The

73-

L. 145; D.<J]

Cio che vede la lucie dell' ochio duto da essa lucie, 3 e cio che vede e ^veduto dalla sua popilla.

Br.

same

In the practice of perspective the rules apply to light and to the eye.

a alcuna differeza coll'ochio.

antipossti

chapter into

les

concorra.

already

known through a Compare his

French by VENTURI.

ouvrages physico-mathematiques de L. da

Vinci avee des fragments tires de ses Manuscnts, apportes classe de Vlnstitut national Lu a la

de ritalie.

des Sciences et Arts:

premiere Paris,

V (1797).

THE THEORY OF THE ART OF PAINTING.

46 Br.

75-

M. 22o]

giuditio dell'ochio e dentro di 2 si rompono le linie rette delle spetie sulla superfitie sua perche uanno dal raro al denso; 3 se tu sia sotto

judgment of the eye

If the

lui,

within

in-

the

it,

e cosi fa

The

inver-

denser medium.

of objects which pass [glass pane] from the free air to the air confined within walls, are seen on the opposite side; and an All

Che

east to west will

labri dello spiracolo, donde tali spetie peI4 netrano in loco oscuro, esso lascia li razzi

spetie che li era'Sno in cotatto e si congiugono con altri razzi d'esse spetie che delle

remoti ecc.

ronpano.

76. i. similirudine.

chorpi.

tucte

lesspetie

ettutte in

lac q.

chososa

seghano

chorpi.

settu

2. dalaria.

movenli

esa cosa.

allor circusstate.

10.

13.

spircholo

spiracholo donte.

number

serves

indicate

marginal

dellaria.

aparira

dalla.

donte

77. 2. In the first of the three diagrams Leonardo had drawn only one of the two margins, at m. When Leonardo refers II. per la 9* che dicie.

thus to a

of immovable objects are made this happens, as is shown in the 9 th which demonstrates [n]: the images of any object are all everywhere, and all in each part of the surrounding air. It follows that if one of the edges of the hole by which the images are admitted to a dark chamber is moved it cuts off those rays of the image that were in contact with it and gets nearer to other rays which previously were remote from it &c.

And

move.

4. ocidete

spirachuli dallor. labri.

ges are admitted, the images

4. infrallacq

nellalbra.

What difference is there in way in which images pass

through narrow openings and or through large openings, in those which pass by the sides of shaded bodies? By moving the edges of the opening through which the ima-

~^~

a questo accade per la 9 che penetrano I2 cor di dicie lie spetie po son qualunche tutte per tutto e tutte in ogni parte del sito a lor circustateTJ '3 seguita che movedo vn delli

air,

PRINCIPLE ON WHICH THE IMAGES OF BODIES PASS IN BETWEEN THE MARGINS OF THE OPENINGS BY WHICH THEY ENTER.

chome

outer air from shadow, on the

THE

moven-

I0 labri di quello spiradonde li razzi delle spetie

the

in its

which is lighted by this confined have an opposite motion.

the

spetie che spiraculi stretti a

75. i. adi.

seem

wall

delle

delli obbietti inmobili,

which moves

object

diferetia e dalla pe5

era

images

window

a outer

77-

in 'drays' passano 6 (76-82). che passa per larghi quelle 7o da quelle che spiracoli 8 ti de corpi onne'la passan' sMovansi le spetie brosi?

dosi colo

the

through

L. 145; B.3J

77. i.

with

171*1

netraHionc

when

of their true place; and the same objects under water seen from the air.

PRINCIPIO COME LE SPETIE DE' CORPI S'INTER2 SEGANO NELLI LABRI DELLI SPIRACULI DA LOR PENETRATI.

inter-

If,

are under water, you look at objects in the air you will see them out

you

The

sur-

its

they pass through the rarer to the

Tutte le sirnilitudini delle cose che passano per finestra 2 dalP aria libera all' aria costretta da pariete, sono viste -H cotrario 4 si sito, e quella cosa che nella libera aria movera da oriete a occidete apparira, per obra nelle parie s te alluminate dalla costretta aria di cotrario movimeto.

because

face

infrall'acqua veduta dall'aria.

Br.

situated

of the images

are refracted

cosa

lines

straight

1'aqua e riguardi la cosa vedrai tu infrall'aria essa cosa 4 fori del suo sito,

[7577-

razi.

14.

"per obra"

isspirachuli

nelle. .

acquelle.

n. ecquesto achade

locho ossechuro e lasscia

diagrams; proved.

this

The

corresponds reproduced.

cheppassa

cheddicie

razi

chelli.

spriracholi. 12.

Icsspetie. 15.

son

chotacto essi

can in some instances be distinctly

ninth sketch on the page to the middle sketch of

L. 145 b

the

three

LINEAR PERSPECTIVE.

7 8.]

DEL MOTO DEL LABRO DESTRO O SUPERIORE, '9

allora

Se moverai il si movera

SINISTRO,

OF THE MOVEMENT OF THE EDGE AT THE RIGHT OR LEFT, OR THE UPPER, OR LOWER EDGE.

O INFERIORE.

lato destro dello spiracolo, la inpres 20 sione sinistra

move

you

the

obbietto destro, che penetrava per esso 2I e '1 simile fara tutti li altri lati 22 di tale spiracolo e questo si pro va coll'aiuto dell'

side

right

opening the image on the [being that] of the object

left

which

the

move

will

entered

spiracolo,

on the right side of the opening; and the same result will happen with all the other

seconda di questo che dicie 1 tutti li che porta le spe^tie de corpi per 1'aria son retti lini U adunque, avendo a passare le spe^tie delli corpi massimi per li minimi

sides of the opening. This can be proved nd of this which shows: all the by the 2 rays which convey the images of objects through the air are straight lines. Hence,

della

razzi

;

2 spiraculi e dopo tale spiraco 5lo ricoporsi alia massima dilatatione, egli e neciessario

gienerar

the images of very large bodies have to pass through very small holes, and beyond these holes recover their large size, the lines

la intersegatione.

must necessarily

L. 145; B. a]

intersect.

78.

Neciessita a proveduto che tutte le spede corpi antiposti all'och'io s'interseghino in due lochi, delle quali I'una inter-

Necessity has provided that all the images of objects in front of the eye shall intersect in two places. One of these intersections

gienera dentro alia popilla 1'altra spera cris 4 tallina, il che se cosl no si faciesse, 1'ochio no potrebbe vedere 5 si gra numero di cose quato esso vede; 6 pruovasi perche tutte le linie che s'intersegano gienera tale intersegatione in punto, cociosiache de corpi no ci si dimostra se 8 no le loro superfitie, li termini delle quali so linie per la co^versa della difmitio delle

tie

segatio^ne

dentro

and

lens;

surface; and their edges are lines, in of a to the definition contradistinction And each minute part of a line is surface.

e ogni minima parte della linia e equale al puto, perche minima e detta ir quella cosa della quale nessu na altra puo essere minore, e questa tal difinitione e simile al I2 la difinitione del puto; adunque e

that than

d'un

sua similitu I4 dine la

chongiugnie chon ecquesto ;8.

chettutte

che]

qua

si li

17.

2di.

10.

tutte [le ch] le

chosa

nesu.

definition

definition is

equivalent to of the point.

for

possible

transmit

its

image

the

circle

the

as is of intersection, shown in the 4 th of this which shows: all the smallest parts of the images cross each

recti

19. desstro .

20. sinisstra

siracholo. .

this

appassare. 24. chorpi chosi interseghatio. 4. stallina .

said

whole circumference of a

sua intersegatione di que is sto che

chorpi

point

desstro ossini o.

23.

chorpi antipossti.

chose.

termini.

alia

smallest

for

the

Hence

mandi

quarta

chelli.

22, choll

point;

which nothing can be smaller, and

circu-

cierchio

come mostra

equal

ferentia

in the crystalline

if this

their

superfitie,

pos^sibile che tutta

other

the

in the pupil,

were not the case the eye could not see so great a number of objects This can be proved, since all as it does. the lines which intersect do so in a point. Because nothing is seen of objects excepting

alia

chessinterseghano.

n. ecquesta

faciessi

terseghatione

essimile al.

12.

difini5

desstro

eddopo

spirachuli .

vedere

26. interseghatione.

se.

nvmero

[il

ciossiache dimosstrase.

21. spiracholo

spiracholo.

spiracho.

adunque eppos.

13.

delle

chose

termini delUs

chettutta la circhu-

THE THEORY OF THE ART OF PAINTING.

48 dicie

Htutte

minime

parti

delle

other

spetie

l6 penetra una 1'altra sanza occupatione 1'una I8 son dell'altra.H '^Queste dimostrationi ^nessuna spetie di per eseplo dell'ochio;

These eye. ject,

minimo 20 corpo penetra nell'ochio 2I che non si volti sotto sopra, 22 e nel penetrare

penetrates into the more reversed and thus the image is restored to the same position within the eye as that of the object outside the eye.

24 si rivolta sotto 23 spe ra cristallina ancora 26 2 sopra, e co *si ritorna diritta la spe tie dentro all'ochio co^me era 1'obbietto di

79-

OF THE CENTRAL

LINIA CIETRALE DELL'OCHIO.

Solametevna

linia e

all

dimensions because a mathematical line which originates from a mathematical point, which has no dimensions.

perche e linia matematica Squale a origine dal puto

matematico 6

quale non a mezzo.

Neciessita vole secodo Pav-

According to my adversary, necessity requires that the central line of every image that enters

versa?rio che la linia cietrale di 8

tut te

spetie che

sottili

stretti

oscu I0 ro

sia

insieme

"co

corpi che la

etra per

volta

sotto

tutte le I2

by small and narrow openings into a dark chamber shall be turned upside down, together

loco

spiraculi in

sopra

spetie

with

SE LA IN SE

vestano.

79. 2. 6.

14.

interseghatione [perche]

80.

23. crisstallina

penetrare [piu]. ecquella infralle.

sechodo laversa.

chorpi chella. sella

po.

of the bodies

it.

AS TO WHETHER THE CENTRAL LINE OF THE IMAGE CAN BE INTERSECTED, OR NOT, WITHIN THE OPENING.

LINIA CIETRALE DELLE SPETIE SI INTERSEGARE DETRO ALLO SPIRACOLO O NO?

sdella frote opposita, e cosi

22.

images

8O.

3lnposibile e che la linia in se si possa 4 lato destro d'una intersegare cioe che '1 delle sua fronti passi al lato sinistro del lato

ferentla.

the

that surround

Wind. L. 145; C.J]

PUO

sensible

sibile

LINE OF THE EYE.

Only one line of the image, of those that reach the visual virtue, has no intersection; and this has

quella

che penetrano spetie alia virtu visiva che no si.inter4 sega, e questa non a virtu seninfra

once

dell'ochio.

L. 145; D.6]

DELLA

but as

lens

crystalline

without interfering with each other. demonstrations are to illustrate the No image, even of the smallest obenters the eye without being turned

upside down;

fori

[79. 80.

12. 2.

3. 7.

visiva

chella

suo lato

la 4* di

anchora. si

side

si-

16.

parte.

24. socto

lesspetie.

26.

17.

that its

its

is,

left

right

the

that side, side.

Quesste dimosstrationi.

its

should

line

right should

and so, its left Because such

20. chorpo.

21. socto.

cho.

perche

that

impossible

become

ochupatione.

cho.

intersegha ecquesta.

di tuc.

intersect itself; cross ever to

[nasscie

dal]

matematicha.

ellinia

esstretti spirachuli illocho osscu.

10.

voliti.

raatematicho.

lesspetie

ve stano. interseghare

spiracholo ono.

he chella

interseghare.

desstro

sinisstro.

chosi

sinisstro.

LINEAR PERSPECTIVE.

81.]

nistro passi al lato de 6 stro, perche tale intersegatione richiede due linie per li due det?ti

no si puo dar moto da deda sini 8 stra a destra in se medesimo, se no v' e spadelli quali

lati,

stra e sinistra e

tio di grossezza, il sia ca^pacie di tal

an intersection demands two lines, one from each side; for there can be no motion from right to left or from left to right in itself without such extension and thickness as admit of such motion.

And

quale

moto: essa non

e se v'e spatio, e linia, azi e superfitie, I0 e noi cierchiamo la natura della linia e no d'essa superfitie, e perche la "linia non avendo mezzo nella sua grossezza essa no si I2

pvo diuidere; adunque cocludiamo la linia no potere aver lati inter^segabili infra loro; I4 in a b, e pruovasi nel moto della linia af della linia e b in e f, le quali so lati della 1 e b\ se tu moverai la linia super 5 fitie la linia l6 ef colle fronti a e al sito c, tu avrai mosso li oppositi ^stremi b 1'uno

ab&

inverso 1'altro al punto d, e avrai di due lil8 nie fatto la linia retta c d, la quale risiede in mezzo al^la intersegatione d'esse due linie nel puto n, sanza alcuna 20 intersegatione, perche se tu immaginerai tali due 2I linie essere corporee, egli e necessario

mediate

mo 22 to

che 1'una copra integralmete 1'altra, essendo equali sanza 23 alcuna intersegatione nel sito c d, e questo basta a pro 2 3vare il nostro proposito.

detto

.il

L. 145;

RAZZI DELLE INNVME RABILI UN SOL PUTO.

3 Siccome un punto passa tutte le linie sanza occupatione ^Puna dell'altra per essere

from the two straight

the

19. lla

transire

interseghatione

mezo

81.

Chome

81.

diminviti

copra. .

invme.

grosseza.

interseghatione

22. chellala

will

you

d which

intersection

cuts

For, you point n without any intersection. imagine these two lines as having breadth, it is evident that by this motion the first will entirely without cover the other being equal with it

any intersection, in the position c d. And sufficient to prove our proposition.

this

HOW

THE INNUMERABLE RAYS FROM INNUMERABLE IMAGES CAN CONVERGE TO A POINT. Just as

23. 2.

due

12.

alchuna.

razzi

dec.

tali

desstro

cocludiano. 20.

can meet

at a point without other being without in the or thickness same way all the images of surfaces can meet there; and as each given point faces the object op-

all lines

with each breadth

interfering

it and each object faces an opposite point, the converging rays of the image can pass

dopo il transito deMe quali si riformeranno, e ricrescerano le quatita di tali

esse cie

have drawn the the middle of of these two lines at the

lines c

line

posite to

spetie,

des.

as the line,

punto vede ogni antiposto obbietto, e ogni obiet?to vede 1'antiposto punto naturale, ancora per esso punto

And

properties

dato

and not of a

line,

centre

incorporee, cosi possono passarvi s tutte le spetie delle e siccome o 6 gni superfitie,

the

of a

of thickness cannot be divided, we must conclude that the line can have no sides to intersect each other. This is proved by the movement of the line a to a b and of the line e b to e f, which are the sides of the surface afeb. But if you move the line a b and the line e f, with the frontends a e, to the spot, c, b you will have moved the opposite ends And towards each other at the point d.

possono

extension

vestigating surface.

having

POSSA RIDURRE IN

8l.

D.]

COME INNVMERABILI SPETIE

there

no longer a line but a surface, and we are inis

13.

through the point and diverge again beyond it to reproduce and re-magnify the real size But their impressions will of that image.

essinistro

ssinis.

seghabili infralloro

interseghatione

li.

stro

15.

a desstro

Massettu 21.

settu inmaginerai tale.

the original

diagram

grosseza

ella lini.

chorporee

alchuna interseghatione ecquesto bassta. 24. nosstro. nu sol. 3. sichome ochupatione. 4. chosi possa. 5. essichome .

qual

arai.

16.

17.

cha. arai.

neciessario che mediate.

the beginning

of this chapter Leonardo has written "azurro" (blue) VOL. I.

where

in the facsimile I

(yellow)

where

[in ogni]

ho.

obiec.

have marked A, and

stands.

'j.

an-

"giall<f

THE THEORY OF THE ART OF PAINTING.

Fig. III.

LINEAR PERSPECTIVE.

le loro inpressioni sara rivere provato "nella pritna di sopra, dove dicie che ogni spetie s'intersega I2 nello introito delli stretti spiraculi fatti

spe

tie;

Read

L. 145; D.a]

'SQuanto

meno

tie

penetrate

le spe-

1'una nelP altra.

each other. sides of images which pass through openings into a dark room intersect at a point which is

The

quale,

nearer to the opening in proportion is narrower.

as the opening

To prove

1'onbra,

this let a b be an object in light and shade which sends not its shadow but the image of its darkened form through the opening d e which is as wide as this shaded body; and its sides a b, being straight lines (as has been proved) must intersect between the shaded object and the opening; but nearer to the

manda per

lo spiraco-

quale e della larghezza d'esso corpo obroso, e li sua la35 ti a b essendo rettilini (com' e provato) e neciessario che s'interseghino infra '1 corpo obroso e lo spilo

racolo,

tato piv vicino allo

spiracolo, qvanto esso spiraco-lo e di minor larghezza che il cor-

po obroso, come

opening

dimostra dal

proportion as

smaller than the As object in shade.

shown,

lato tuo destro e dal lato sinistro nelle due figure a b c

right hand and your left hand, in the two diagrams

destro

shaded object a b, the intersection of the sides of the said shaded object occurs half way between the opening and the shaded object at the point c, But this cannot happen in the

dove essendo

on your

lo spiracolo

d e eguale in larghezza corpo obroso a b, la intersegatione de lati di tale obroso si fer-

Jpossibile e

It is

che

that the images

le spetie si

chora

corpi e

cholo.

8. le

puo.

16. piracholo.

29. larghe

45. desstro

1523. These and

III.

tale.

19. lesspe.

ricresscierano.

21. spiracho.

essia.

racholo mattanto

cholo.

impossible

of objects should be seen between the objects and the

pos-

sino vedere infra

left hand figure, the opening o being much smaller than the shaded object

minore del corpo obroso n m.

de'corpi

a b

o where, the right opening being equal in width

to the

sai.

38.

ma in mezzo infra lo spiracolo e '1 corpo onbroso nel punto c, sil che far no puo la figura sinistra per essere lo spiracolo o as-

opening

intersect

simulacro della sua oscurita e

side.

this

figura

first,

on the other

in esso spiracolo penetrano

corpo obroso

the

smaller than the shaded body, so much less will the images transmitted through

intersegano li lor lati tanto piu vicino allo spiraculo quato esso spiracolo fia di minore larghezza; pruovasi, e sia a b il

that

the marginal text

opening

Li simulacri che passano 2 Sper spiracoli in loco oscuro

shown

said

In proportion as the

spiracolo e minore del corpo obroso, tan20

as is

every image intersects as it enters the narrow openings made in a very thin substance.

mini^ma grossezza. ^Leggi a riscotro in margine

in materia di

appear reversed above; where it

come

scie,

30.

allos.

chorpo.

10.

Malle

chome.

sintersegha.

per isspiracholi illocho osschuro.

31. osscurita.

39. spiracholo

equale illarghezza.

lines stand

25.

fighura

32.

spiracho.

46. intersegha.

41. 48.

mezo

between the diagrams I

spiracho.

chome

26.

da.

34.

42. tuo

infrallo spiracholo.

53.

and

II.

These

12. spirachuli.

chorpo

elli.

[sin] desstro.

49.

chorpo.

lines stand

Legge.

14.

27. spirachulo.

interseghano.

35.

pr"o".

43. fighure. 51. stra

15. los.

28. spira-

37. ello. 44. spira-

losspiracholo.

between the diagrams

THE THEORY OF THE ART OF PAINTING. li

openings through which the images of these bodies are admitted; and this is plain, because where the atmo-

spiracoli,

quali penetrano li simulacri d'essi corpi;

per

e questo si manifesta perche 6 sdoue 1'aria e alluminata, tali simulacri no si gie-

sphere is illuminated these images are not

nerano evideti.

formed

When

Li simulacri rapene7doppiati per tratio che scanbievolmete e fatta dall'uno nelsenpre rad-

are invariably doubly as dark in tone.

la loro

oscurita; provasi e sia tal

quale ancora che es-

this will

e dal

/ m;

being composed of the

delli si-

and

from

images

a b i k which run to-

quali in 95

not

hinder its being seen from

m, il quale e conpo-

mulacri a b i k,

only,

the space between

veduto da

9sto

the bodies in

spatio de' corpi in b i, e no re8 5sta che esso no

although it seen within

so no ueda se no dentro allo

sia

be such a doubling which

/i,

this

prove

let

radoppiameto e

the images

mutually crossing each other they

1'altro,

visibly.

made double by

are

?5doppia

[82.

s'in-

fondano Tun nel-

gether in

e h.

1'altro.

82.

C. A. 123 I; 380*]

Speriezia come no movedo la pupilla del suo sito le cose 3 viste da quella paiono moversi 4 fori del suo loco.

Se riguarderai vna cosa alquato

da te

che

quale sia piv bassa

distate

52.

chorpo.

72. cffac. 89. t.

chome.

54. he.

55. chelle.

poilla

56. chorpi.

77. essia. .

chose.

97 are written along the

So. 3.

left

81. sen.

dacquella pare.

side of diagram

move

you look at an object at some disfrom you and which is below the eye, and fix both your eyes upon it and with one hand firmly hold the upper lid open while

58. fralli corpi el.

anchora.

position to

tance

76. osschurita.

moved from its it may appear

1'ochio,

quella ?le tue due popille, e 8 fermo il coll' una delle mani apri e tieni e di coll'altra alzerai 9 in sopra coperchio

e fermerai

experiment showing that though the

pupil may not be the objects seen by from their places.

62. ere

59. spiracholi.

82. o dentro allos.

locho.

chosa

chorpi.

87. eddal. .

datte.

94. si.

63. ecquesto.

95.

effermerai.

66. laria al.

fondan"o". 7.

cholluna

tini.

LINEAR PERSPECTIVE.

83- 84-]

alto

still with the other you push up the under lid keeping your eyes fixed on the object gazed at you will see that ob-

coperchio di sotto, senpre tenedo cosa riguardata, vederai essa cosa "diuidersi in il

ferme

le luci I0 nella

due e 1'una sta ferma, Paltra si mo I2 ve in cotrario fai

remaining steady, and the other moving in a con-

moto, a quello che ^al coper-

fare col dito

chio di sotto

;

trary direction to the pressure of your finger on the

Com'e

che dicono questo accadere perche l6 la lucie escie fori di suo '5

Come per pra dette cose

say that this happens because the pupil of the eye is displaced from its

mostra

so-

le l8

position.

How

di-

popilla

men-

in seeing.

83-

OF THE PLANE OF

PARIETE DI VETRO. 2

sito dirieto

transparete, sulla superfitie del s quale siano segniate tutte le cose che 6 sono da esso vetro le

idirieto:

qua?li si possono codurre per piramidi 8 al puto dell'ochio e esse piramidi si

else

means of a quite transparent, on the surface.vertical i i .1 L i j j.iglass of which the objects behind that plan| 8 8 s)( 3These drawn. be to are glass can be traced in pyramids to the i

"^S^

point in the eye, and these pyra-

mids are intersected on the glass

^tagliano su detto vetro.

plane.

M. 2200]

Mai

GLASS.

than seeing nothing Perspective pemonstraa place [or objects] behind a plane of glass, JjrtS^f

non e altro che vedere uno vetro piano * e ben'

Prospettiva

uno

Br.

the above

tioned facts prove that the pupil acts upside down

operare '9 sotto, sopra il suo vedere.

false

of those

who

sito. 7

How

lower eyelid. the opinion

falsa 1'openione di quegli

one [image]

ject double;

Pictorial perspective can never make an the same object at the same distance, look of

prospettiva de'pittori in pa ri 3 la cosa di quella gran-

distantia mostrera

dezza ^che

mide 8.

fed

choperchio

perchio. 83. 3.

14. .

headings

choll.

chome

17.

falso.

!no vetro.

84. i. prosspettiva.

82.

size as

mostra all'ochio Svedi la pira6 sua punta tanto essere colla

choperchio dichano

15.

luce.

pen transspame

sula.

disstantia mosterra [in

The

subject indicated

10.

chosa

achadere.

pan

5. sia

dista].

chosa.

16. esscie. .

segnato 3.

by these two

that fully discussed in the two chapters

17.

u. elluna. 12. chotrario chose. 18. popila. chome .

chose.

la [tia la cos]

You see d is as

appears to the eye. c of the pyramid

the apex

cheffai

chol.

far

13. co-

posano chondure

grandeza.

them

that

piramide.

chessi mosstra alochio.

in the original

;

but

piramide. 6.

disstante

did not seem to

here. appropriate to include them

THE THEORY OF THE ART OF PAINTING.

fatta

medenon dal punto de'

che a b pictori e minore linie delle spetie concorreti

basa fatta dalle all' occhio e ron-

distante aU'obbietto

simo

punto

dimeno

all'

c d,

quanto

obbi 8 etto '

basa I0

colle

questo fara esperienza linie del

e poi colle iando esse

from the object c d as the same from the object a b', and yet c

s /-superfitie dell'ochio;

pendo"si

linie

the base made by the smaller than a b which

uisuali

A. 10 1]

real lines

of vision on one and the same plane and measuring on it one and the same object. 85.

PROSPETTIVA. 2

base of the

the

by cutting the

painter's plumbline

vn medesimo obbietto.

misuri

which

point,

painter's is

lines from the objects converging in the eye and refracted at s t, the surface of the eye. This may be proved by experiment, by the lines of vision and then by the lines of the

pictori 'Uagllinie visuali e essentiali so'Spra medesima pariete, sopra la quale l6 si

una

point

filo

[85. 86.

quale

doue

vna

Pariete

dinazi

figura

PERSPECTIVE.

linia

The

vertical plane is a perpendicular line, imagined as in front of the central point

perpediculare al

puto comvne,

where the apex of the pyramids converge.

cogivgnie il concorso delle piramidi E fa questa pariete col detto puto, 4quello medesimo ofitio, che farebbe un vetro piano per si

And

ri-

plane bears the same relation to point as a plane of glass would, through which you might see the various

guardado s varie cose su ve le di-

objects and draw them on it. And

;

quale

segniasse;

the

sa-

cose disegniate tanto mi 6 nori che 1' engine: quato lo spatio che sta tra '1 uetro e 1'ochio fusse minore ? che quelloche dal vetro alia cosa.

rebbero

this

sate

delle piramidi

cav-

mostreranno

sulla

corpi

la uarieta delle

pariete

distazie della loro

The

different converging pyramids produced by the objects, will show, on the plane, the various sizes and remoteness of the objects causing

gradezze

cagione.

them.

PROSPETTIVA. 'JTutti

PERSPECTIVE.

piani che

quelli

All those horizontal planes of which the extremes are met by perpendicular lines form-

loro stremi

cogivgneranno con linie perpediculari ^cavsando angoli retti, E neciessario che, essendo di pan larghezza, che quato piv 'Ss'alzano all'ochio meno si uegga e quato piv lo passa piv si vegga la uera gradezza.

ing right angles, if they are of equal width the more they rise to the level of eye the less this is seen, and the more the eye is above them the more will their real width

be seen.

PROSPETTIVA.

PERSPECTIVE.

^ Quato

piv s'allontana dall'ochio sperico piv ne vedi.

come

cioe

e naturale

senplice

sanza altro

cose

all'

farther a spherical body the more eye you will see of it.

from the

86.

Modd '.

The

corpo

A. 38 a]

The angle o f le

thus

PERSPECTIVE.

PROSPETTIVA.

cocorso

9 II

objects

drawn would be smaller than the originals, in proportion as the distance between the glass and the eye was smaller than that between the glass and the objects.

how

mezzo appariscono

simple and natural method; showing without any

objects appear to the eye

other medium.

ochio.

tance obbiecto.

(8688) 85.

pro

basa Jemi]. used here as in 8.

9. fatto

cheffarebbe

chorso

vetro

per

piramide chavsate

alteze e di par.]

vega

gradeza.

13. 16.

eminore.

lines 8, it, id as

at the head of the first chapter on 4.

this

page

"lo" quale. .

chorpi

title,

mosterano

chSgivgneranno chollinie salontana dalochio

and

is ait

(see no. 94).

chose

5. .

10. concoreti.

12.

quessto

abbreviation

essperienza.

for Prospemva.

perpedichulare.

chogivgnie

disegniassi Essarebouo le chose.

sula.

10.

gradeze

perpendichulare.

chorpo spericho.

14.

6. fussi.

12.

chagione.

chavsando

15. pr"

medesima.

The word

[tutti

largeza.

written at full length

conchorso 7.

quelo

quelli

15. salza

piramideEffa.

chosa.

cho-

piani situati in varie

alochio mesi uega

LINEAR PERSPECTIVE.

8;. 88.]

3Quella cosa ch'e piv presso senpre appariscie maggiore che vn altra di pari qualita che sia

The

all'ochio

ochio conoscie

che vede

spati

but

the great difference in the

spaces o r and r q. And this proceeds from the eye being so much below [near] the plane that the plane is foreshortened. Hence, if to carry it out, you would have arrange] to see the perspective through a single hole which must be at the point m, or else you must go to a distance of at least 3 times the height of the object you see. The

you wanted [to

plane o p being always equally remote from the eye will reproduce the objects in a satisfactory way, so that they may be seen from place to place.

<?-/-per 1'essere sempre equidistante all'ochio a vno modo rendera J 5le cose bene-e atte a essere vedute da loco a loco. W.

la pariete:

87.

L. 145. C./5]

Come

manda

ogni gra quatita

se le sua spetie, le quali sono di diminuire in infinito. 4

in potentia

son

ifinito

large

may be

tely divisible

Objects of equal

situati I uarj

lochi fieno veduti

per

be seen by different pyramids which will each

will

be smaller

chome

chose.

quassi

2. .

mezo apparischano. diferentia.

chosa

ecquesto

apparisscie magiore.

nascie

aparira

alochio.

essettu

locho.

essa [dipintura

chose

15.

87.

Lesspetie

88.

chorpi

fia

gradeza

M. RAVAISSON,

prosspettiva

assere

diuisibile.

si]

9. potessi

proportion is

farther

uarie.

parebbe

chosa

vedessi da

alloro esseli leuera

solo

dischordante. .

13.

chessia.

idetti.

10. losspatio

nelocho

[sienota] sarano

lochio

losspatio

"m"

ecquesto gradeza dela. .

che

aparira nela

ettanto. 14.

lisspati .

chosi.

schorta.

equi"di"stante

dallocho allocho.

ifinite.

[distantie]

piv lontano luno chorpo che laltro].

86.

object

off.

chonosscie

12.

the

gione.

size,

situated in various places,

le piramidi qua'li saranno tanto piv. strette Squato piv Iontana fia la sua ca-

its

infinitely diminished.

corpi d'equa-

gradezza

diuerse

86.

mass sends forth

88.

quelli 2

every

images, which may diminish through infinity. The images of any large mass being infini-

di s minuitive in ifinito.

A. 9 *j

How

fuor di

spetie d' ogni gra quatita essendo di-

uisibili in

these spaces are mar-

vertical plane n o the space o v will be seen at o r, and in the same way the space v x will appear at r q. And if you carry this out in any place where you can walk round, it will look out of proportion by reason of

ked on the

vedi;

the

detects the difference between them, and the this is that it is close to them [6];

parte della pariete o r e cosi lo spatio 8 v x apparira in r q e se tu'mettessi questo in opera in qualche loco che vi si 9potesse andare attorno ti parebbe una cosa discordante per la I0 lo spatio o r e da gra varieta ch'e da r- q\ e questo diriva che 1' ochio e tanto sotto alia pariete "che la pariete li scorta Onde se pure volessi metterlo in opera, I2 ti bisogniere bbe che essa prospettiva si uedesse da uno solo buso il quale fusse J o veramete stessi lontano3nel loco al meno 3 volte la gradezza della cosa che .

nearest to

reason of

dall'uno

differentia quasi 6 all' altro e questo nascie per esser visino a loro, e se li leverai detti spati sulla pariete in o: lo spatio o v apparira nella

that

object

eye always seems larger than another of the same size at greater distance. The eye m, seeing the spaces o v x, hardly

distante.

piv 5 1'

"lochi"

piramide.

strette luna [chellal.

4. tra

quanto

chagione.

me why quite inconceivable to in a note to his French translation

of this simple passage should have remarked: //

esl

clair

que

visino

c'est

par erreur que Leonard a tcrit per esser de per non esser visino. (See his

lieu

printed ed. of

MS.

A. p. 38.)

THE THEORY OF THE ART OF PAINTING. 8 9-

G. 53*1 Opposite pyramids in

juxtaposition

La nrospectiva adopera nelle distatie r iit r tPna due contrane piramidi, delle quah .

delli

tita

corpi

the horizon. Now, the first includes the [visible] universe, embracing all the mass of the objects that lie in front of the eye;

co 9 me sarebbe vn gra paese veduto per JI 10 nuistretto spiracolo, che tato maggiore mero di cose per tale spiracolo si uede, I2 quato esse cose so piu remote da tal' '3 ochio, e cosi si gienera la basa all'orizzo-

M te

l6 J

it might be a vast landscape seen through a very small opening; for the more remote

the

e 1'agolo nell'ochio, come disopra dissi; 2 a piramide s'astende in un particu-

lare,

dimostra

qual

minore

tanto

remove

first.

gO-

PERSPECTIVA SENPLICE. 2

simple X

p"rspea?ve

the greater

eye,

from the

the

extended to a spot which is smaller in proportion as it is farther from the eye; and this second perspective [= pyramid] results

dall'ochio, e questa prospectiva nascie dalla prima. si

are from

objects

number can be seen through the opening, and thus the pyramid is constructed with the base on the horizon and the apex in the eye, as has been said. The second pyramid

7quato piu

distances,

base as distant as the horizon. The other has the base towards the eye and the apex

all'ochio,

antiposti

with

dealing

makes use of two opposite pyramids, one of which has its apex in the eye and the

a 1'angolo nell'ochio e la basa re 4 mota insino all" orizzote, La secoda s a la basa diuerso 6 1'ochio e 1'angolo all' orizzote; Ma la prima attcde allo ?vniversale, abracciadosi tutte

qua

Perspective,

[8992.

SIMPLE PERSPECTIVE. Simple perspective is that which is constructed by art on a vertical plane which is equally distant from the eye in every part.

seplicie prospettiua e quella che e

dall' arte

sopra sito equalmente dis stante 4 dall' ochio con ogni sua parte, pro6 spettiua conposta e quella che e fatta sopra sito il quale co nessuna sua parte e equal-

structed

7mente distante

of the parts are equally distant from the eye.

fat^ta

Complex perspective is that which is conon a ground-plan in which none

dall'ochio.

91.

PERSPECTIVE.

PROSPETTIVA. The proper

Nessuna

distance ofobjects from fetta,

superfitie

dimostrera

per-

n ochio nsguardator di quella no 4 sara equalmete distate ai sua stre^mi.

Ash.

^se

from

SUA TERMINI

casi di prospettiva liniale

presspectiva

antiposste

chome.

quale cho

disstantie.

cho.

15.

edges.

THE EYE

sa^stende nuparticbu.

ecqual.

allangholo

spirachole chettato.

effac.

16.

ITS

OBJECT IS PLACED CLOSE TO EDGES ARE INDISTINCT.

When an object opposite the eye is brought too close to it, its edges must become too confused to be distinguished; as happens with objects close to a light, which cast a large and indistinct shadow, so is it with an eye- which estimates objects opposite to it; in all cases of linear perit

1'ochio e simile

piramide.

10. isstretto

ecquello

presspectiua

91. 2. perfecta.

93. t.

its

WHY WHEN AN

ALL' OCHIO

IDISCERNIBILI.

3 Tutte quelle cose opposte all' ochio che fieno troppo a quello uicine *c6uerra che sua termini sieno cofusi a disciernere, come aca s de delle cose uicine a lume, che fanno obra grade cofusa, e cosi 6 fa quest' ochio col givdicare le cose I fori; I tutti i

gholo

all

Q2.

120]

LASCIA

90.

PERCH& LA COSA POSTA VICINA

89.

surface can be seen exactly as it is. ,, the eye that sees it is not equally remote

ella.

n. chose

dimosstra.

orizote

sechota.

17. dellochio ecquesta.

ecqualmente disstante.

chon.

chose

12.

spirachol.

18.

5. alia .

ellangholo.

dattalo.

13.

chosi.

Malla.

14. ella-

presspectiva nasscie.

presspectiua chonpossta

ecquella chefiacta.

disstante dell.

scllochio.

visina al ochio.

chose oposte

tropo

acquello.

chouera

acha.

cheffano

chosi.

q estoch

dal

LINEAR PERSPECTIVE.

9395-]

lume, e la ragio si e che 1' ochio fala qua 8 le per distatia linia maestra, igrossa e abbraccia co uera cognitione le cose 9 gradi da lontano come le piccole da presso: ma perche 1' ochio mada moltitudi I0 ne di linie che circudano questa pricipale di mezzo, le quali quando le cose si JI trovano piv lontane dal cietro in essa circulatione sono meno poteti 12 a conosciere il uero: accade che la cosa posta presso all' ochio, no J 3sendo in quella distatia, si uicina alia linia maestra capace di copredere i ter I4 mini d' essa cosa; onde couiene a essi termini capitare in nelle linie di debole I5 co presione, le quali sono al' ufitio dell' ochio come i brachi l6 che leua la preda e no la alle caccie, al

spective, the eye acts in the And the reason is the light.

una

same way

that the eye has one leading line (of vision) which dilates with distance and embraces with true discern-

ment

objects at a distance as well as small ones that are close. But since the eye sends out a multi-

large

tude of lines which surround

one and since these which are farthest from the centre in this cone of lines this chief central

are

less able to discern with accuracy, follows that an object brought close to the eye is not at a due distance, but is too near for the central line to be able to discern the outlines of the object. So the edges fall within the lines of weaker discerning power, and these are to the function of the eye like dogs in the chase which can put up the game but cannot take it. Thus these cannot take in the objects, but induce the central line of sight to turn upon them when Hence the objects they have put them up. which are seen with these lines of sight have it

posso pigliare: cosi queste no possono pigliare ma sono ^cagione che la linia maestra l8 bnde si uolta alle cose leuate da esse linie, le cose, delle quali i termini sono 9givdicati da esse linie, so cofuse. T

confused outlines.

93-

PERSPECTIVE.

PROSPETTIVA.

Small objects close at hand and large The relative of ones at a distance, being seen within equal ^ec ts w? regard to size. of the same will angles, appear

cosa piccola da presso e la grade da lontano, essendo viste dentro a equali !

angoli

grandezza.

d'equale

apparirano

their distance

from the eye (93-98)-

A. lot]

94.

PERSPECTIVE.

PROSPETTIVA. 2

Nessuno corpo fia di tata magnitudine che per lunga distantia al-

There

no object so large but that at a great distance from the

eye it does not appear smaller than a smaller ob-

ochio non apparisca 3 minore che '1 minore obietto

C. A. la,

95-

i 6]

Infra

che

fia

le cose d'equal grandezza quella piu distante dalP ochio si dimostrera

minor

ject near.

vicino.

piv

Among smallest.

3figura. *

givdicare

dano

chasi.

meza

cosa couiene

14.

qua

ochio essimile

chessi

inele.

chosa pichola

94.

prosspettiva.

95.

Infralle

chose

ella

' |

grandeza

ella .

18. delle.

dallontano

distantia

dietro

coplesione

15.

written lengthways on the margin. 93.

linia.

circhulatione.

chome

16.

chose.

chome

onde achade chella chosa.

posono pigliare

maso.

18. 19.

circhu-

copledere.

These two lines are

aeqali.

angholi aparirano

grandeza.

alochio" n5n aparisca. .

chef.

disstante

dimossterra.

The same idea as

follows:

Infra

i a, stated I repeated in C. A. a; cose d'equal grandeza quella si

dimostra di minor figura che sara piu dislante dall' ochio. II

10.

le pichole.

13. uisina la

19. cofusi.

This axiom, sufficiently clear in itself, is in original illustrated by a very large diagram, constructed like that here reproduced under No. 108. VOL.

abracia cho

vero

ale chaccie.

12.

95.

the

of equal size that which the eye will look the

objects

most remote from

THE THEORY OF THE ART OF PAINTING.

[96-98.

C. A. 143*; 425*]

Perche ochiali 2

presso

K. M.

quanto piv s' auisina conosce-, e perche gli

cosa

meno

all'ochio

object

cose

Among

equal

size,

mote from the eye

si di-

minore sfigura.

most

will

re-

look

9 8.

PROSPETTIVA.

Nessuna

bassa

which

the smallest.

ii a]

that

of equal

objects

piv distante dall'o^chio di

be].

PERSPECTIVE.

grandezza 3q U ella che sara

mostrera

may

97-

633)

Infra

when

distinct

either close or far off [as the case

PROSPETTIVA. 2

less

near to the eye, and why with spectacles, or without the naked eye sees badly

no ben vede da

e perche 1'ochio o da lontano.

II.

Why brought

che

cosa

fia

tanto

prima che, stado secoda no li paia piv

piv

sopra

secoda

PERSPECTIVE.

alta.

No second object can be so much lower than the first as that the eye will not see it higher than the first, if the eye is above the second. PERSPECTIVE.

PROSPETTIVA.

sE quella cosa secoda no fia mai tato piv alta che la prima che, stado 6 1'ochio di sotto, no paia la secoda sotto |

la prima.

And this second object much higher than the first

never be so as that the eye, being below them, will not see the second as lower than the first. will

PROSPETTIVA.

PERSPECTIVE.

1'ochio riguardera il secodo quaper lo cietro del minore piv uisino ^apparira li il secodo maggiore esser circudato dal minore

the centre of a smaller one, that is nearer, the second, larger square will appear to be

drato

PROSPECTIVA 11

cose seconde- no fieno gradezza che le prime minori occupino o circudino.

96.

chosa

98. i. 6.

pro.

sechoda.

PERSPECTIVE

mai di no le

second square through

surrounded by the smaller one.

PROPOSITIONS.

tata

97. 2. Infralle

If the eye sees a

PROPOSITION.

Objects that are farther off can never be large but that those in front, though smaller, will conceal or surround them.

mesi chonosscie. .

grandeza.

sechoda chosa 7.

pro.

chessara.

chella.

sechodo

dimossterra.

sechoda

paia "di"

[mezo] "cietro".

"piv alta". 4. pro. sechodo magiore circhudato.

[sopra la prima]

9. aparira

10.

cqella

pro.

it.

chella.

chose

LINEAR PERSPECTIVE.

99-J

DEFINITIONE.

DEFINITION.

Questa propositione si proua per isperiese riguarderai 'Sper uno tia inperoche, l6 che piccolo spiraculo non sara si gra cosa *? no si la cosa veduta vegga per quello

This proposition can be proved by exFor if you look through a small periment. hole there is nothing so large that it cannot be seen through it and the object so seen appears surrounded and enclosed by the outline of the sides of the hole. And if

l8 dalli stremi lati parra circudata e terminata e se tu lo stopperai, quello d' esso spiraculo piccolo ^stoppameto fia quello che occupera la ueduta delta cosa grade. ,

Ash.

DELLA PROSPETTIVA 2

prospectiva

OF LINEAR

LINIALE.

s'astede

liniale

a provare 3 per misura quanto la cosa secoda e minore che la prima; e quato la terza 4 e minore che la seconda, e cosi di grado I grado insino delle cose Syedute: truovo per al fine isperieza che la cosa seconda se sara tato 6 distate dalla prima quato la prima e distate da-1'ochio tuo, che

beche

as far beyond the first as the first is from the eye, although they are of the same size, the second will seem half the size of the is

Tfra loro

che la 2 a fia altret7sieno di pari gradezza tato minore che la prima, e se 8 la terza cosa di pari gradezza alia 2 a e 3 a inanzi a essa fia lontana dalla 2 a 9 quato la 2 a dalla a terza fia di meta gradezza della 2 e cosi ,

third object is of the same and the 3 rd is as far beyond the second as the 2 nd from the first, it will appear of half the size of the second; and so on by degrees, at equal distances, the next farthest will be half the size of the former object. So long as the space does not exceed

the length of 20 braccia. But, beyond 20 braccia figures of equal size will lose 2/4 and at 40

figvra simile a te perdera i di sua gradezza e ifra 40 perdera i 9/ 10 I3 e

braccia they will lose 9/10, and T 9/20 at 60 bracThis cia, and so on diminishing by degrees.

60 braccia, e cosi di mano I / 20 I fara sua diminutione, facendo J 4la pa2 volte tua gradezza; riete lotana da te poi

mano

che'l fare una sola fa gra e prime braccia alle 2

if the picture plane is distant from you twice your own height. If it is only as far off as your own height, there will be a great difference between the first braccia and the second. is

diffe I5 rezia dalle

sechode 16. si

essettu

ala.

dala

13.

qua .

ochupino

o circhudino.

[possa vedere esse stoperai

stoperai

gg. 2. nelo. 9.

12.

gradeza.

"vegha"

60 br ecossi

ochupera [tutte] la. ecquato. 4. sechoda ecchosi.

picholo.

cosa

gradeza

13. difinitione.

detto spircolo

in his

10. diminvitione

ecossi.

diminvitione.

commentary,

14. parieta

datte

asserts

that

its

pichojo spirachulo

17.

[stopameto

[chosa di la da esso].

chosa

ochu] ella

gradeza

chapter "fines but at the same

substance

completely disfigured in the best

M S.

been

copies that

has

chosa sechonda sessara.

n. 20 br

sechoda.

calls this

der wichtigsten im ganzen Tractat",

time he

15.

quello].

18.

para.

spirachulo

19.

gg. This chapter is included in DUFRESNE'S and H. MANZI'S editions of the Treatise on Painting.

LUDWIG,

the

size as the 2 nd ,

I0 grado in gra do per pari distazia farano sempre diminutione per meta la secoda dalla prima "pure che lo itervallo no passi dentro al numero di 20 braccia e ifra 20

and

first

dette braccia la

PERSPECTIVE.

Linear Perspective deals with the action Th appa of the lines of sight, in proving by mea- djctt*< a surement how much smaller is a second fin e o^ c than the and how much the (99106). object first, third is smaller than the second; and so on by degrees to the end of things visible. I find by experience that if a second object

nello

ofitio delle linie visuali

will

gg.

12 6\

it up, this small stopping conceal the view of the largest object.

you stop

fare

ought not

dette br

sola

dife

7. .

gradeza chella la.

12.

atte

esse.

8. .

gradeza gradeza.

15. 2.

regard Leonardo as responsible for

it.

in the case of this chapter, the old MS. is reproduced copies agree with the original as it above. From the chapters given later in this edition,

However,

which were written at a subsequent date, it would apon these points. pear that Leonardo corrected himself

THE THEORY OF THE ART OF PAINTING.

[100102.

100.

A. 84]

DELLA DIMINUTIONS DELLE PER VARIE DISTATIE.

cosa

che

OF THE DIMINUTION OF

OBJECTS AT VARIOUS DISTANCES.

COSE

A second object as far distant from the first as the first is from

lontana

sia

prima dal1'ochio apparira la me 3 ta minore che la prima benche infra loro

the

sieno di pari grandezza.

same

clalla

prima quato

eye will appear half the size of the first, though they be of the

OF THE DEGREES OF

DE' GRADI DEL DIMINVIRE.

porrai la pariete uno braccio la

mano raddoppiado

raddoppiera

spatio,

9 la

vicina

first

ochio di sotto

from your eye of

n -f-

double.

will

rifa

linia

Begin from the

medesimo

quato

en-

tra

?-W'tanto-

n \

di poi c d-

che 5 a n

c entra 6 j

will

THE DEGREES OF THE OBJECTS SEEN BY THE EYE AS THE MUSICIAN DOES THE NOTES HEARD BY THE EAR. I GIVE

le cose opposte altocchino Puna 1'altra di mano I mano, no *di nieno far6 la mia regola di 20 in 20 braccia

chosa

piado

chomTcia

102.

dala.

ioi.

chose. 6.

chosa

4-hr

Although the objects seen by the touch each other

eye do, in fact, as they recede,

chessia

alteza

aparira.

Ksseffia.

chella

found

[che] infralloro

esseffia.

br.

will nevertheless

on spaces of 20

rule

grandeza. 8. alteza

Setti porai

e chosi

imano

i .

br la rado-_

radopiera.

101. t. t.

cheffia.

102.

Benche

diminvitione

go backwards so far as twice into a n and / g

will

Pochio

goes

be equal to g h. And m p into h p as often as d c into o p.

2 volte jn sara da p g da g h e quato d o p tanto p en-

GRADI DELLE COSE OPPOSTE ALL' OCHIO Z COME IL MVSICO QUELLI DELLE UOCI OPPOSTE ALL'ORECHIO.

d goes

that c

entri

12 b\

lO DO

be to n If a n

h- p-

Ash.

p g. Then

e tato

quanto tra

into/, m p will do the same into

medesimo J tira tato J dirieto

n; then as cm n so will

3 times

with

close to the 2 gauges on the ground look

cicc ]

line

the eye below; then go up and do the same with the line nf, then with the eye above and

poi alza e colla

-/#-etra J --jn-s. 4 se a n entra 3 volte J fb p fara quel

100.

its

as the space doubles the diminution

passato

ochio di po'fa sopra e riscotra le 3 2 mire atte attera

/ g

will

height at that plane; and if it is 8 braccia from the eye, to ?/8 ; and if it is 1 6 braccia off, it will diminish to I5/i6 of its height and so on by degrees,

diminish to

coll'

a distance

being

object,

of 4 braccia

IOI.

Comlcia prima dalla linia

diminvitione.

C. A. 4iai 132*]

coll'

DIMINUTION.

you place the vertical plane one braccio from the eye, the If

ochio prima cosa che fia lontana dal tuo 6 ochio 4 braccia diminvira- j V 4 della sua altezza in detta pariete; E se fia lotana Mall' ochio 8 braccia, diminvira j ?/8 e se fia lontona 1 6 braccia diminvira j 'S/,6 8 di sua altezza-, e cosi fara-di ma-

all'

size really.

The

oposte al

chome

first

chol.

mvsicho

chola

delle.

fa chol

oposte

tocino.

risschotra. 4.

20 br

affatto

three lines are unfortunately very obscure.

mvsicho.

apichata.

quele

echosi.

ale.

LINEAR PERSPECTIVE.

103106]. come

a fatto

benche

mvsico

$\G voci che,

ifra

la sia vnita e

appiccata Tsieme, nodimeno a posti gra 6 di di uocie in uocie domadado quello prima e 2 a 3 a 4 a e 5 a e cosi di grado ?! grado a posto nomi alle varieta d'alzare e bassare la voce. K. M. IP. 166]

braccia each; as a musician does with notes, though they can be carried on one into the next, he divides into degrees from note to note calling them i st , 2 nd, 3 rd, 4 th, th 5 ; and has affixed a name to each degree in raising or lowering the voice.

which

103.

PROSPETTIVA. P altezza e distantia la

dell'

pariete

omo

d'un

sulla

ochio,

a sia

Let

be the level and distance of the eye; and a the vertical

altezza sia

cotale

fia

*<e

dico

omo;

PERSPECTIVE. dell'

plane, as high as a man ; let e be a man, then I say

pariete la dista-

that

che dalla parie 6 te

tia

C. A. 130,5; 398(5]

IO4.

The

Li ecciessi della diminutione che fanno

differences in the diminution of obof jects equal size in consequence of their various remoteness from the eye will bear among themselves the same proportions as those of the spaces between the eye and the

cose equali per essere co uarie distatie dallo occhio remote; ano infra loro le mede-

sime proportion!

che

quali son quelle delli spazi

infra P ochio e le cose

s'Pterpongono.

omo

diminviscie in

Cierca quado vn

the plane this will distance from

the plane to the 2 nd man.

homo.

al 2

be the

different objects.

Find out

how much

man

diminishes at a

tata distatia quato 6 e la sua lughezza, e poi in 2 lughezze e poi in 3, e cosl fa ?tua

certain distance and what its length is; then at twice that distance and at 3 times,

regola gienerale.

H. 2

general rule.

28 6}

make your

L' ochio no

doue

The eye cannot judge where

puo giudicare an

cosa alta debe 3di-

Infra le

Puna dopo

due cose

simili e equali

Paltra con

una data

placed

dimostrera maggiore sdifferetia in nelle 6 quado esse sara piu vicine

appear

alteza.

105.

106.

sua lugeza i. po. 3 R.

presspecctiva.

difference

greater

their

proportion

size

will

they

are

chotale.

104. i. delle diminuitioni cheffanno. la

the

distance

loro gradezze, lalteza he.

two similar and equal objects are one beyond the other at a given

3poste

distantia

ought

PERSPECTIVE.

PROSPETTIVA.

103.

high

106.

G. 296]

object

descend.

sciedere.1

and and

infralloro.

spati

che infrallochio

elle.

terpongano.

ciercha

diminviscie.

lugeze. 3. 2.

dissciedere. Infralle

due chose.

posste

chon.

disstantia

dimossterra magiore.

diferetia inelle lor

Qu5.

THE THEORY OF THE ART OF PAINTING.

alPochio che le ?vede E cosi de coverso 8 si dimostrerk infra loro meno 9 varieta di I0 gradezza quato esse so piu remote dal

[ID/.

versely there will in their size in

seem

This is proved by the proportions of their distances

anno

che

infra loro le lor

distantie,

se fra

ves;

due

first

essi

themselif the of these two

among

perche

for,

objects were as far from the eye, as the 2 nd from the

tanta

corpi sara distantia F ochio alia quato dalla

con-

difference

less

proportion as they are remote

1 '

from the eye.

predetto ochio. Prouasi mediante le proportioni

And

nearer to the eye that sees them.

'*dal-

prima

pri'Sma alia 2 a, questa si dimada 2 a iSproportione, perche se la prima e discoa sta vn braccio dall'oc^chio e la 2 e discosta 2 braccia, il 2 e do l8 pio all'uno e per questo I9 il primo corpo si di mostrera doppio al se tu 2<> rimoverai da te cento braccia la prima e cento uno braccio 2I la secoda, tu trover-

first this

would be called the second propor-

tion: since, if the first is at i braccia from the nd at two braccia, two being eye and the 2

twice as

much

the

one,

first

object will

look twice as large as the second. But if 'you place the first at a hundred braccia from you and the second at a hundred and one,

22 rai la prima essere maggiore della secoda 2 quato cen 3to e minore di ceto uno e questa 2 per co versa; *E acora il medesimo si proua a 25 che dicie delle cose di la 4 questo per 26 a tal proportione e da gradezza equali 2 28 distandistatia a ?le e da grandezza qua tia 29 delF ochio che le 3 V ede.

larger

10 1

;

again,

only so much than the second as 100 is less than and the converse is equally true. And

will find that the first is

you

same thing is proved by the 4 th book which shows that among obthat are equal, there is the same prothe

this

jects

portion in the diminution of the size as in the increase in the distance from the eye of the spectator.

107.

OF EQUAL

1 DELLE COSE EQUALI LA PIU REMOTA

PAR MINORE.1I 3

natural 4

\ilj- iog)!

The

practice of perspective may be divided parts [4], of which the first treats of objects seen by the eye at any distance; and it shows all these objects just as the eye sees them diminished, without obliging a man

pratica della prospettiva si diuide parti, delle quali la prima figura tut-

te le cose

distantia e questa in se

vedute

into

ochio in qualunche mostra tutte esse uede diminuite, e non

dall'

cose come F ochio le e obbligato Fomo a stare piu in un sito I0 9 che in la un'altro, pure che il muro non 7

riscorti la

secoda volta. pratica e vna mistione

Ma la 2 a

chelle.

19.

mossterra

107.

chose.

chome cha

107.

23. ceto

giore.

coverso 15.

dimo).

one place rather than another long as the plane does not produce a

second foreshortening. But the second practice

is a combination of perspective derived partly from art and partly from nature and the work done by its rules is in

pro-

8. [stera]

12.

16.

misstione.

[si

quessta.

3. praticha diminute e ne.

4. in

si dimosstera infrallorome. n. le pro "ne" che. 12. infralloro . disstantie disscossta 2 br. do. 18. il ppro "ne" perche sella p e disscossta vnbr. 17. ella 21 . troverrai [lultima] "la prima" essere [mij. cento i br Esse 20. "datte" certo br 22. [norej mae cquessta p "no" coversa 24. 4 di quessto. 25. tal pro "ne". 27. disstatia. 28. addisstantia. 29. chelle.

chosi

13. disstantia.

seffra.

stand in

spettiva fattainparte dall' arteein par^te dalla natura, e F opera fatta ^colle sua regole non a

OBJECTS THE MOST REMOTE LOOK THE SMALLEST.

presspectiva.

4. in

ne obbrighato

...

parte

asstare

presspetdva facta dall

... parte.

The space

for the

p fighura

piu nun

As a marginal

number

sito.

tuc.

9. nol.

dele chose. 10.

note "in parte".

left

blank

risscorti 13.

natura

6. .

ecquesta .

in the original.

sechoda.

nonam]

mosstra.

n. Malta

ellopera.

chose

2* prati-

14. reghole.

LINEAR PERSPECTIVE.

io8.]

JS parte al cuna che no sia mista colla prospetl6 naturale e colla prospettiva ^accidentiva l8 colla prospettiva na turale intendo tale I9 na dove tale prospetessere la pariete pia 20 tiva e figura ta, la qual pariete ancora ch'e 2I lla sia di lunghezza e altezza paralella, 22 ella e costretta a diminuire le parti ^remote piu che le sua parti prime, e que 2 ^sto di sopra e la sua si prova per la prima diminu 2 5tione e naturale; e la prospettiva accide 26 tale cioe quella ch'e fatta dall'arte

it, influenced by natural perspective and artificial perspective. By natural perspective I mean that the plane on which

every portion of

this perspective is represented is a flat surface, and this plane, although it is parallel both in

length and height,

forced to diminish in its its nearer ones. And this is proved by the first of what has been said above, and its diminution is natural.

But

3 equal

3 8 li

circoli

a b

4o h vede 41

pariete retti linia

43 le

that the eye sees on the vertical plane

the sections of the images, largest of those that are

spetie maggionelle maggiori

44 ri

smallest of the

nori nelle vicine.

nearest.

I08

manca

che

seguita quel 2 da piedi dirieto margine,

Qui

Here follows what is wanting in the margin at the foot on the other side

questa

faccia.

che natura nella sua procon spectiva 4adopera in contrario ciosiache nelle Smaggiori distan6 si dimo stra tie la cosa veduta 3 II

this

ta 8 le 15

chuna.

[in se]

inuencione .

anchora.

21.

equa.

108

24.

36.

dimos.

27. cresscie.

chesson sop.

mancha.

prima

[dir]

22.

alteza.

26. cheffatta dallaltre.

38.

dappiedi

Macquesta. di sopra

li .

cl a. .

for, greater way; contrary distances the object seen appears smaller, and at a smaller distance

object appears larger. said invention requires the his eye at a spectator to stand with

the margin at the beginning

the

parterte.

28. illorsono.

39. chellochi. 3'.

first

of this

But

the

16. cholle presspettiva.

chosstrignie

this

chostretta

acquesta.

acts

perspective

costrignie

missta cholla prespec.

page. Natural

minore e nella distantia minore 7 la cosa par maggiore; Ma questa

and

farthest

45distantie o mi46

tagli del-

plane

a b you see

Now

sulla

that

<?,

the circles

ora

vedi che Pochi-

39 tu

this

beyond

cioe

which are

circles

che son dopo

37esso

plane

figv-

ra 3 circoli equa-

3 6 li

which are seen

qual

which

that

And let this be d e on

e questa tal parietc sia d e nel-

34 la 35

perspective, that

artificial

devised by art, does the contrary; for objects equal in size increase on the plane where it is foreshortened in proportion as the eye is more natural and nearer to the plane, and as the part of the plane on which it is figured is farther from the eye.

cotra 2 7rio in se, perche crescie nella 28 li corpi che I pariete scorta ta tanto piu 2 lor sono equali, 9quato 1'ochio e piu naturale e piu vicino al3la pariete e quanto la 3 ' dove si figura e piu parte d'essa pariete, remota dall'ochio;

remoter parts more than in

30. 43.

23.

chelle

ecquanto.

magio.

31. 44.

magior.

ecq.

32.

24.

lap'di

ecquesta.

34.

ella

sua

35. ro 3 cl

fighv.

46. nor.

chon

chSnel.

piracholo.

of the three diagrams which,

chapter.

fighura eppiu.

inchontrario

prosspectiva. ueditore as. 9. chollochio 4.

parte

20. pariete

19. presspettiva effighura.

cholla presspettiva.

17.

magior distant*

10. dattale

the

vedita,

spiracholo

original

MS., are placed

THE THEORY OF THE ART OF PAINTING.

a vno ueditore a 9 stare coll'ochio e 10 allora da tale spiracolo si dimostrera "bene; Ma perche molti occhi s'ab I2 battono a vedere a un medesimo tenpo vna '^medesima opera fatta con tale arte e so 14 lo vn di quelli vede bene 1'ufitio di tal l6 pro'Sspectiua e li altri tutti resta confu si; Egli e dunque da fuggire tal pro'^spettiva l8 conposta e a tenersi alia se plicie, la qual no uol uedere pariete in i^scorto, ma piu

small hole and then, at that small hole, it will be very plain. But since many (men's) eyes endeavour at the same rime to see one and

spiracolo

same picture produced by this artifice only one can see clearly the effect of this perspective and all the others will see confusion. the

It is

are conveyed to the eye at an equal distance from the eye is our constant experience,

from the curved form of the pupil of the on which the pyramids are intersected at an equal distance from the visual

curva lucie del 25 l'ochio sopra la quale tali z6 piramidi si ta gliano equalmete distanti

eye

visiua ecc.

virtue.

109.

62 a]

OF A MIXTURE OF NATURAL AND

DELLA PROSPETTIVA NATURALE MISTA COLL A PROSPETTIVA ACCIDETALE.

This diagram distinguishes natural from perspective. But before proceeding

Questa dimostratione divide la pronaturale dalla accidetale, ^ma spettiva auanti che piu oltre proceda difmirai quale e naturale e quale ac^cidetale; prospettiva naturale dicie cosl If delle cose d' equal

artificial

any farther I will define what is natural and what is artificial perspective. Natural perspective says that the more remote of a series of

5 la piu remota si dimostra magnitudine minore E de converse la piu propinqua si dimostra maggiore, e tal proportione e da diminutione a diminutione qua?le e da di-

objects of equal size will look the smaller, and conversely, the nearer will look the larger and

;

the apparent size will diminish in proportion to the distance. But in artificial perspective

a distantia Ma la prospettiua acci8 le co se inequali in varie distantie, riservado la minore piu vicina al1'ochio che 9 la maggiore, co tal distantia che essa maggiore si dimostra essere minore di tutte I0 l'altre, e di questo e causa il mvro doue tal dimostratione e figurata, il quale

when objects of unequal size are placed at various distances the smallest is nearer to the eye than the largest and the greatest distance looks as though it were the least of all; and the cause of this is the plane on which the objects are represented; and which is at unequal distances from the eye throughout its length. And this diminution

stantia

pone

distantia

II. molti [omi] ochi [p]sa.

ressta. 24.

109.

16.

daffuggire

cieneda sperietia.

presspectiua

dimosstra

cho.

dall'ochio

inequale

innequali

piramide.

cholla presspectiva.

chonverso .

dimos.

disstantie

ogni

arte esso.

19. chessia.

14.

vn diuuegli vede

22.

20. presspectiva.

pres.

piramide portatricie.

15. elli

23. distante.

26. distante.

presspectiva.

6. ettal

chel.

chon.

13.

chonposta e attenersi.

17.

25. tale

battano aumedesimo.

12.

pre.

ARTIFICIAL

PERSPECTIVE.

detale

complex

pyramids by which the images

intersects the

delle spetie all'ochio ^equalmente distanti dalla virtu visiua 24 ci ne da sperietia la

Br.

and hold

simple perspective which does not regard planes as foreshortened, but as much as possible in their proper form. This simple perspective, in which the plane

20 propia forma che sia possibile; E di 2I questa prospettiua senplicie, della quale la pariete taglia le "piramidi portatricie

2 7

well therefore to avoid such

perspective

dalla virtu

[109.

cho

proccieda difinira

diminuitione addiminuitione. disstantia

magiore

ennaturale ecquale. 7.

dimosstra

di tuc.

10.

prespectiua.

chosi.

Malla presspectiua eddi quessto ecchausa

disstantia addistantia

LINEAR PERSPECTIVE. parte della sua'lughezza e questa tal esso

spettiua

di-

e naturale, ma la profigurata e accide^tale,

muro

minutione del

in nessuna parte non si accorda vera diminutione del det^to muro; onde ne resulta che, removendosi alquato 1'ochio d'essa prospetti I5 va risguardatore, ogni cosa figurata apparisce mostruosa, il che no l6 interviene nella prospettiua natuJ rale, la quale e difinita di sopra ecc. ?ad-

perche colla

unque diremo

abed

ngurato in iscor l8 to, veduto

quadrate

di sopra essere un dall'ochio situate in mezzo della larghezza J che a la sua fronte; Ma 9la prospettiva accidetale mista colla naturale fia trovata 20 nel quadra to detto el main, cioe e h,

of the plane

shown upon

agrees plane.

a b

Whence

called

tretragon

since

nowhere

true diminution of the said it

when

that

follows,

the

that

main,

say

h which must appear to the eye of the spectator to be equal to a b c d so

fermo nel

state 1'ochio

with the

but the perspective

artificial

abed

quale a a parere all'ochio che lo vede

simile

eye is somewhat removed from the .[station point of the] perspective that it has been gazing at, all the objects represented look monstrous, and this does not occur in natural perspective, which has been defined above. Let us say then, that the square figured above is foreshortened being seen by the eye situated in the centre of the side which is in front. But a mixture of artificial and natural perspective will be seen in this

natural,

long as the eye remains in

its

first

position

22 primo sito infra c d, e questo si dimostrera fare buono effetto: perche la prospettiua

between c and d. And this will be seen to have a good effect, because the natural

2 naturale del muro fa 3 che tal muro occuldi tal mostruosita. tera il mancameto

perspective of the plane will conceal the defects which would [otherwise] seem monstrous.

dimosstratione e fighurata. nuitione del dec. interviene .

presspectiva .

ochulture

109.

20. el

14.

presspectiua .

main

eddifinita.

quite

diminuitione

apparere

rissghuardatore

15.

addunque direno

17. .

12.

ecquesta.

presspecti.

20. decto

missta cholla.

manchameto

are equally doubtful.

VOL.

disstantia

cherremovendosi

chello.

malla presspectiua.

fighurato

13.

acchorda cholla

chosa fighurata apparisscie mosstruoso.

innissco "r".

21. ecquesto.

22.

18.

dimossterra

largheza .

froncte.

presspectiua.

dimi16.

19. lla

23. chettal

musstrvosita.

legibly written

the original;

the

meaning and derivation of the word

Six books on Light and Shade. Linear Perspective cannot be immediately followed by either the "prospettiva de' perdimenti" or the "prospettiva de' color!" or the aerial perspective ; since these branches of the subject presuppose a knowledge of the principles of Light and Shade. No apology, therefore, is here needed for placing these immediately after Linear Perspective.

We have

various plans suggested by Leonardo for the arrangement of the mass of

materials treating of this subject.

Among

these

I have given

the preference to a scheme

No. ill, because, in all probability we have here a final and definite propounded purpose expressed. Several authors have expressed it as their opinion that the Paris Manuscript C is a complete and finished treatise on Light and Shade. Certainly, the in

and Shade form by far the larger portion of this MS. which consists two separate parts; still, the materials are far from being finally arranged. It is of also evident that he here investigates the subject from the point of view of the Physicist rather than from that of the Painter. Principles of Light

The plan of a scheme of arrangement suggested in No. 1 1 1 and adopted by me has been strictly adhered to for the first four Books. For the three last, however, few materials have come down to us ; and it must be admitted that these three Books would find a far more appropriate place in a work on Physics than in a treatise on Painting. For this reason I have collected in Book V all the chapters on Refiections, and in Book VI I have put together and arranged all the sections of MS. C that belong to the book on Painting, so far as they relate to Light and Shade, while the sections of the same

MS. which the series

of the "Prospettiva on Light and Shade. treat

de' perdimenti" have,

of course, been excluded from

GENERAL INTRODUCTION.

Br.

110.

171 a]

descrivere la teorica e poi

Bisognia 2

pratica;

lumi de'corpi

discriuerai

You must

primo de obra e

first

the

III.

C. A. 246 a; 733 a]

PROEMIA.

de' obre _ e loro

de 3

INTRODUCTION.

trattato

[Auedo

[Having already treated of the nature of shadows and the way in which they are cast, I will now consider the places on which they fall; and their curvature, obliquity,

natura

della

percussione, Ora

trattero

i quali da esse obre tochi fieno, loro di curuita, obbliquita o dirittura o di

lochi,

qualunque qualita trovare per me si potra.] iQbra e privatione di luce; spa rendo a me le obre essere di somma neciessita in nella prospettiva, peroche sanza quelle 6 opachi e cubi male sieno intesi

che detro

sua termini collocato

corpi

teoricha.

tractate delle nature

praticha.

"oppachi e" chubi.

in.

3. .

ellume.

elloro

therefore in

shadow

chapo.

slight

scritti

Dozio did not transcribe it from the original MS. which seems to have remained unknown 31.

may

Shadows

shown

diritti.

dacquello

first

against a background And themselves.

proposition concerning every opaque body

that

state

whole surface enAnd on and light.

and shadow

surrounded

veloped

This text has already been published with variations in Dozio's pamphlet Degli disegni di Leonardo da Vinci, Milan 1871,

some pp. 30

chorpi trapareti. 2. choruita .

the obstruction of light.

of a different tone from

perchussione.

malle esua chofini

short,

unless they are

prima propositione dell' obre, dico I questa forma come ogni corpo 8 opaco fia circu-

in.

to detect in them.]

be of supreme importance in perspective, because, without them opaque and solid bodies will be ill denned; that which is contained within their outlines and their boundaries themselves will be ill-understood

per questo jo propogo nella

no.

any character

or,

be able

appear to

quello fia, e

;

flatness

Shadow is

male i sua cofini itesi fieno se essi no terminano I capo di uario 7 colore da quello del corpo;

First

shadows and lights and then on transparent bodies.

^densi e poi de'corpi tras-

parenti.

the theory and you must describe on opaque objects,

explain

then the practice.

3. .

Obra

chorpo

he. .

its

ame

allobre [

inella prosspettiva .. chorpi

"dicho Iquesta forma" chome

him, but from an old copy (MS. .H. 227 in the

Ambrosian 2.

here

Library).

Avendo refers

Paris C.

io Jractato.

some

may suppose

particular

MS.,

that

possibly

Scheme

Light a^d" ^hade.

THE THEORY OF THE ART OF PAINTING.

proposition I build up the first Book. Besides this, shadows have in themselves various degrees of darkness, because they are caused by the absence of a variable amount

dato e superfitialmete vestito d'obre e di il primp libro; lumi, e sopra questo edifice sono in se di obre 'esse di a Oltre questo uarie qualita d'oscurita perche da varie

this

of the luminous rays; and these I call Primary shadows because they are the first, and inseparable from the object to which they belong. And on this I will found my second From these primary shadows there Book.

abbadonate spno, e quatita di razzi luminosi I0

domado obre

queste

perche sono

originali,

i corpi dpue prime obre, che uestono edifichero il e sono, questo sopra appiccate 2 libro; "da queste obre originali ne re-

razzi obrosi

sultano

uano

quali

shaded rays which are diffused atmosphere and these vary in through character according to that of the primary shadows whence they are derived. I shall therefore call these shadows Derived shadows because they are produced by other shadows; and the third Book will treat of these. Again these derived shadows, where they are result certain

dila-

the

tando per 1'aria, e sono di tante qualita, quate "sono le uarieta dell'onbre originali, donde essi derivano e per questo io chiesse obre obre diriuatiue, perche da obre ^nascono, e sopra di questo

amo altre

onbre

il libro; Ancora queste 3 T tanti diriuative nelle loro percussioni fanno vari effetti quato son van i lochi dove

jo faro

intercepted by various objects, produce effects as various as the places where they are cast and of this I will treat in the fourth Book. And since all round the derived shadows, where the derived shadows are intercepted, there is always a space where the light falls and by

esse percuotono, e qui fard il quarto libro *s percussione della diriuativa perche la obra e senpre circudata da percussione di .

;

luminosi razzi 16

quale per reflesso cocorso

risaltando indirieto uerso la sua cagione trova

e si mischia e si couerte J variadola di sua ?natura alquato e sopra questo edifichero il quito libro Oltr'a di questo faro il sesto libro, nel quale l8 e molte diuersificationi si coterra le uarie delli risultanti razzi reflessi, i quali uarierano

Ton bra

reflected dispersion

originate

;

vari

ode

lochi

I9 qua to

tanti vari colori

exist

che esso nella percussione

between the spot where the reflected rays fall and that where they originate, and the various shades of colour which they will acquire in falling on opaque bodies.

corpo

opaco appicca.

Ash.

112.

6b]

ITratterai ' P CS PCS and' p?a ns en t

16)

lumi

de'

prima

nome

finestre ai quali porrai

Different

various diversities

different objects whence these reflected Again, the seventh Book rays are derived. will treat of the various distances that may

the

lori

its

of reflections resulting from these rays which will modify the original [shadow] by [imparting] some of the various colours from

distantie, che fia infra la percussione del razo reflesso al loco dode nasce; quato fie uarie le similitudini de co-

delle uarie

many and

the

investigate

fie

luminosi settima diuisione

thrown back towards

nature; and on this I will compose my fifth Book. Besides this, in the sixth Book I will

essi reflessi razzi

deriuano .lancora faro

cause, it meets the original shadow and mingles with it and modifies it somewhat in its

in quella

la originale

[112.

fatti dalle

,..,,..

First I will treat of light falling

aria costretta

poi tratterai de lumi della capagnia, ai quali .

porai nome lume sUbttO-di poi del lume de corpi luminosi.1I

through

windows which I will call Restricted [Light] and then I will treat of light in the open coun"Ill give MIX, name L<J which "IV11 I will JilVV, the UO.IUV, \J1 of UlllU' diffu"J to try, of & e Hght of sed Light Then : win

;

tratterai

luminous bodies.

vari [razi] "quatita dirazzi" luminosi [sono] abbacirchudato vesstito edificho. 9. dosschurita chorpo oppacho resulta razi e quali ix. dacqueste libro [dopo questo]. donate "sono" ecqueste. io. vestano i chorpi apichate Ibro Anchora laria [i quali] e. siuano 12. originale essi obre "5bre" diriuatiue. perchussioni. 14. effe 13. naschano .

effetti

dove

"esse" perchotano

16. essimista essi chouerte.

1X3.

17.

anchora.

20. cheffia infralla

porai.

aia costretta

perche [dintorno

essopra

perchussione tratta.

j. libro

allocho

alia].

perchussione

15.

18. diuersifichationi

cholera. .

nasscie

dipo trara.

similitudine.

circhudata

perchussione

risaltand razi refressi 21.

perchussione

cholori.

chochorso.

19. refressi

chorpo oppacho appicha.

K.3,

ON LIGHT AND SHADE

16].

"3-

25,5]

PITTURA.

The

Li aspetti dell'onbre e lumi 3coll'ochio sono 3, de quali ^I'uno e quado 1'ochio e 6 '1 lu^me son da un medesimo lato del corpo

s'aste^de dall' obbietto all'ochio, e da es^so obbietto al lume, giugne^dosi la cogiutio sara rettagulare.

per diuersi aspetti.

aspects.

"5-

DE Di

PICTURA.

vedute

tutte le cose

a a cosiderare

lume che allumina

Tb. e

tal

corpo

;

ochio

a e

cosa veduta c e

sition

# e 1'ochio b e

la cosa che allumina, corpo ch'e alluminato.

light,

things

the eye, b the illuminating body,

c is the illuminated object.

sia

lume b

Let a be the

1'ochio

115

12. chella

114.

6 R.

115.

chose

6. ella

asspetti .

partione. .

chessaste. 3.

ellumi. 13. e

coe.

siaha chosiderare.

da 4.

show,

equ"a"do

14.

cosa [veduta] che alluma.

[la].

gugne.

refresso posto. 3.

light,

ellu.

15. 6.

veduto.

ecqu"a"ndo locho.

first,

10.

b the '

by the These the eye between

eye, c the object seen eye and in the light.

e la cosa 2 veduta dal1'ochio e dal lume; 3Q U este dan vna volta 1'ochio fra '1

objects

of the light which illuminates the obis the eye, a the object seen, c the

113.

visible

116.

79*1

all

regards

ject,

PAINTING.

(JL

lume; e

must be considered. These are the position of the eye which sees: that of the object seen [with regard] to the light, and the po-

4 3 cose cioe il sito dell'ochio che vede, e '1 sito della cosa veduta e '1 lume, 5 el sito del -

PAINTING.

This is another section: that is, of the nature of a reflection (from) an object placed between the eye and the light under various

cioe della na-

M. So a]

front

PITTURA.

Ecci vn altra partitione,

The 3 it. is when the eye is of the object and the light is on side, in such a way as that a line

behind

one drawn from the object to the eye and one from the object to the light should form a right angle where they meet.

tura dell'ob^bietto riflesso posto isfra 1'ochio

of shadow and light [as

114.

K.3, 26 a]

e'l Iu 6

conditions

PAINTING.

seen] by the eye are 3. Of these the first is when the eye and the light are on the same side of the object seen; the 2 nd is when the eye is in front of the object and the light

8 veduti; 72 e quando 1'ochio e dina ti al1'obietto e '1 lume e do9po esso obbietto; 11 I0 3 e quel che 1'ochio dinati al !' obbietto e '1 lume e da lato I2 i modo che la linia che

IN GENERAL.

chellochio.

dallato.

ellochio

cogutio sare rettagule.

asspetti.

cose coe [lochio]

il.

[che a]

el.

hellochio a ella

c ellume.

THE THEORY OF THE ART OF PAINTIM;. lume

e'l

corpo a

lume

fra

nd the light light and the body; the 2 , between the eye and the body; the 3 rd the body between the eye and the light, a is the eye, b the

the

1'ochio

fra

1'ochio e'l

corpo corpo, 3 e 1'ochio b la cosa alluminata c e il lume.

e'l 6a

[II7-II9.

lume

illuminated object, c the light.

E. 3*1

OF PAINTING. OF THE THREE KINDS OF LIGHT THAT

PlCTURA. DELLE 3 SORTE DE' LUMI CHE ALLUMINANO 3 LI CORPI OPACHI.

primo de lumi

+ 11

Different *(ii7. us),

The

s'alluminano

colli quali

inate

cor s pi opachi e detto particulare- e questo e 6 il sole o altro lume di finestra o fuoco: \\

that

kind of Light which

118.

DE' LUMI. 2

The

lumi che alluminano li corpi opachi 4 sorti, cioe vniversale come quello e del' aria ch' e * dentro al nostro orizzonte s quello del sole o d'una particolare com'e finestra o porta o altro spa 6 tio; e'l terzo e il lume riflesso ed ecce ne vn 14, il quale 8 o passa per cose traspareti, come tela 1

sono

ma no

carta o simili,

come

that which passes through [semi] transparent bodies, as linen or paper or the like, but not transparent like glass, or crystal, or .other diaphanous bodies, which produce

effetto

same effect as though nothing intervened between the shaded object and the light that falls upon it; and this we will discuss fully in our discourse.

interposto i^fra'l corpo obroso e'l lume che

the

I2 1'allumina, e di que sti parleremo distintamete nel nostro discorso.

Ash.

119.

CHE COSA E OBRA E 2

Obra e

WHAT

LUME.

Shadow

natura del i a

mostra

uce

p una 4c j e i a e

sono sepre

i. 2.

c ella.

118.

di [3]

119.

eltume. ellaltro

achade.

cholli

3" he chopo.

quel.

fussi.

12. parlere

Obra "e 5.

the other reveals.

They are always associated and inseparable from all objects. But shadow

chor.

nosstro orizonte. .

offuocho.

7. sc-

quel.

refresso.

trasspareti.

charta

ossitnili

trasspareti.

nosstrodisscorso.

priuatio di luce" e sola opositione proibissce.

oppachi he detto partichulare ecquesto he.

9. dassera.

chome

magiore.

the

7. ellochio.

sorte coe 10.

2. .

chorpi oppachi.

"4"

9. crisstali.

copagnia cogivti

ilumc frallochio.

oppachi.

chondo he

di-

the obstruction

maggiore potetia che

corpi, e 1'onbra e di

117.

a it ro

LIGHT AND SHADOW ARE.

absence of light, merely of the luminous rays by an opaque body. Shadow is of the nature of darkness. Light [on an object] is of the nature of a luminous body; one conceals and

priuatio di luce e sola opposi-

Definition of tione de' corpi desi opposti a razzi luminosi : of shadow" obra e di natu^ra delle tenebre: lume e di

116.

which may illuminate opaque

vetri,

corpi diafani, li quali fan come se nulla fusse

cristali o' altri

mede I0 simo

traspareti

lights

LIGHT.

bodies are of 4 kinds. These are: diffused light as that of the atmosphere, within our horizon. And Direct, as that of the sun, or of a window or door or other opening. The third th is Reflected which light; and there is a 4

(119-122).

illum-

the horizon, either in the evening or morning.

e integralmete sotto 1'orizonte.

may

or flame. The second is Diffused [universal] light, such as we see in cloudy weather or in mist and the like. The 3 rd is Subdued light, that is when the sun is entirely below

?secondo e vniversale come accade ne'tepi nu 8 bolosi o di nebbia e simili; II 3 e copo'sto, cioe quando il sole da sera o da matI0

first

opaque bodies is called Direct light as of the sun or any other light from a win-

dow

tina

ILLUM-

INATE OPAQUE BODIES.

luce ella luchc

opostia razi.

chaciare.

luna

[e privatione e laltro].

[di

mo]

ciela

I2O

ON LIGHT AND SHADE

122. j

lume Ipero-che quella proibisce e priva iteramete i corpi della luce, e la luce no puo mai cacciare I tutto 7l'6bra de' corpi

dow from a body,

that

lume diminuito

mediante Pop-

Shadow is the diminution of light by the intervention of an opaque body. Shadow is the counterpart of the luminous rays which are cut off by an opaque body.

positio dell'opacoll. ^Obra e '1 suppliomeHo del razzo luminoso taSgliato dallo opacol. 6 Pruovasi, perche il razzo ^obroso e della medesima 8 figura e qua-

This is proved because

che era 9 il razzo luminoso nel quale 'essa obra si trasmuta.

tita

shadow cast is the same in shape and size

the

as the luminous rays were which are transformed into a shadow. 121.

232,*]

Shadow is the diminution alike of light and of darkness, and stands between darkness and light.

L' obra e diminutione di lucie e di tenebre ed e interposta infra esse tenebre e lucie; 3 L' onbra e d' infinita oscurita e d' infinita diminutione d'essa oscurita; s Li principi e fini dell' onbra s'astedono infra 6 la lucie e le tenebre ed e d' infinita 2

Ash.

no dara

notitia

onbra.

DEL'ESSERE DEL' OBRA PER

e luerso

poteti

fine ideboliscono

OF THE NATURE OF SHADOW.

SE.

delle cose

e della natura che tutte sono piv

L' obra

versali

cipio

;

Shadow partakes of

vni-

nel prldico nel

versal

come sarebbe una gran

quercia che a debole

una piccola ghiada;

pricipio per

essere

grosseza,

adunque

tenebre sono

oppacho.

nuitione.

122. 2. dela

pichola.

chagione

VOL.

chorpi.

chose

Obra

ellucie.

10.

chorpi

chettutte.

cie essere

7. .

eddi.

[ellume].

te del.

3. osschurita. .

is most powerful at its beginwhere it springs from the earth, which is where it is largest (To return:) Darkness, then, is the strongest degree of shadow and light is its least. Therefore, O Painter, is

make your shadow ject that casts it, ding into light,

diminuitione

of uni-

are

say that the oak

ning, that

primo

fine.

matters

;

9grado del' onbra e la luce e 1' ultimo: I0 aduque tu pittore farai Po bra piv scura il fine fa che e alia sua cagione appresso si coverta in luce, cioe che paia saza

iao. i. ellume.

the nature

such

All

small beginnings that they grow to a great size in time as it might be a great oak which has a feeble beginning from a small acorn. Yet I may

azi diro la

piv potete al nascimeto 8 ch' ella fa della terra, cioe nella maggiore sua quer?cia

matter.

powerful in their beginning and grow weaker towards the end, I say at the beginning, whatever their form or condition may be and whether visible or invisible. And it is not from

4 d' principio ogni forma e qualita evidete ed inevidete e no delle cose codotte s di piccol pricipio I molto accrescimeto dal tepo,

lai.

and also

122.

infinitely dark,

infinite

Shadow is the means by which bodies display their form. The forms of bodies could not be understood in detail but for shadow.

figure.

Le figure de corpi delle lo TI ro qualita sanza

shadow may be

degrees of absence of darkness. The beginnings and ends of shadow lie between the light and darkness and may be infinitely diminished and infinitely increased.

dimi?nuitione e d'ifmita aumetatione. L' onbra e pronutiatione de' corpi delle lor

from an opaque body.

120.

Da]

Obra

while light can never entirely expel sha-

light,

cioe corpi desi.

L. 145;

a more powerful agent than light, for it can impede and entirely deprive bodies of their

IN GENERAL.

oppacho.

minuitione

8. .

darkest close to the ob-

and make the end of it seeming to have no end.

fa-

ecquatita.

osscurita.

effini

sasstedano

infral.

6. el'le

tenebr.

no dara.

Ideboliscano.

chela fa dela tera.

4. 8.

ecqualita.

magiore

5. .

pichol

Imolt

grosseza adunq

sarebe

tenebre

gra. 9.

che he debole

ella luce.

coverti.

10.

per

apresso

THE THEORY OF THE ART OF PAINTING.

C. .4']

.he various kin.U

of shadows

(123-125).

^ Tenebre e pri vatio di luce;

...

Darkness

obra e dimi-

.--.

the

per 1* aria 5 obra ripercossa e quella che e cir6 cudata da luminata pariete; l'6bra senplice e quella che no uede alcuna parte ;

causa H 7 l'6bra senplice comlcia in nella linia che la

parte da' termini de' corpi minosi a b.

Br.

248

quella che

no vede alcu

simple shadow

at all interferes with

onbra composta e quella che da vno o

begins within the

edge

one where no

light

it.

A compound shadow is one which is somewhat illuminated by one or more lights.

125.

CHE

DIFFERETIA

COI CORPI A'

WHAT

E DA OBRA COGIUTA OBRA SEPARATA?

Obra cogivnta e

THE DIFFERENCE BETWEEN A SHADOW INSEPARABLE FROM A BODY AND A CAST SHADOW?

sarebbe sepre a la quale

fatto

essa 6 palla; Ombra separata puo essere e non essere creata dal corpo; 7poniamo che essa palla sia distate a uno muro uno braccio e dal'opposita parte sia 8 il lume; il detto lume madera I detto mvro apputo tanta dilatazione di 69bra quat' e quella che si troua sulla parte della palla ch' e volta a detto lp muro Quella parte dell' obra separata che non appare fia quado il lume "fia di sotto alia palla che la sua obra ne va luerso il cielo e no trovado resi I2 stetia pel camisi

THAT

mai

quella che parte dai corpi alluminati, *come una palla la quale state al lume una parte di se 5 occupata dall' obra, mai si diuide per mvtatio di sito

shadow

124.

that

inseparable

which starts from the of the luminous body a b.

4 piu Iu minosi e alluminata.

Ash.

line

Iumi 2 noso1f 3

simple

<5|

Onbra senplice e

Shadow

shadow

light.

lu-

light.

Primitive

light.

from a body not in Derived shadow is that which is disengaged from a body in shadow and pervades the air. A cast transparent shadow is that which is surrounded by an illuminated A simple shadow is one surface. which receives no light from the luminous body which causes it. A which

;

lume che

absence of

diminution of

nu tio di luce: obra primitiva e quella che je appiccata a corpi obrosi 4 obra dinvativa e quella che si spicca da corpi obrosi e scorre 3

del

123-125.

inseparable shadow is that which is never absent from the illuminated body. As, for instance a ball, which so long as it is in the light always has one side in shadow which never leaves it for any movement or change of position in the ball. A separate shadow may be and may not be produced by the body itself. Suppose the ball to be one braccia distant from a wall with a light on the opposite side of it; this light will throw upon the wall exactly as broad a shadow as is to be' seen on the side of the ball that That portion of is turned towards the wall. the cast shadow will not be visible when the is below the ball and the shadow is thrown up towards the sky and finding no

light

perde.

obstruction on

way

its

lost.

II obra separata e cogiuta (separate

123.

che he 124.

obra he diminuitio.

2. .

ecquela

dalluminata. -

alchu.

obra separata inevidete

and inseparable shadow).

6. lo 3.

he quella

senplice he

chonposta ecquella

125. 3. ecquella.

chome sarebe

aputo data.

chessi troua.

ro.

parte.

Quela

(separate invisible shadow).

che he appichata achorpi.

chella.

inella

he quella

spicha

escore.

ecquella

chessiparte.

oppiu. 5.

ochopata.

seperata

apare

6. .

ilume.

corp"o".

ala pala.

muro

12.

br e

chamino.

oposita.

detta

ON LIGHT AND SHADE

126128.]

Br.

HOW THERE ARE 2 KINDS OF LIGHT, ONE SEPARABLE FROM, AND THE OTHER INSEPARABLE

RAGIONI LUMI 2 L'UNO SEPARATO E L'ALTRO COGIVTO 3Ai CORPI. DI

Separate e quello che illumina

s il

FROM corpo

that which falls upon the or th Separate light io " s body. Inseparable light is the side of the body f

cogivnto e quella par te del corpo alluminato da esso Iu7me; 1'uno lume si dimada

is illuminated by that light. One is called primary, the other derived. And, in the same way there are two kinds of shadow: One primary and the other derived. The primary

that

8 primi tiuo e Paltro dirivatiuo; 9 e cosi sono di 2 nature obre, I0 l'una primitiva e obra

"primitiva e quella -ch'e appic-

dirivatiua; I2

^i se

separa dai corpi, portado

de'mvri

Br.

^che

corpi, dirivatiua e quella

the derived

alle parieti

How

corpi,

costretto e quello

che per qualche Sspiracolo o finestra

medesimamete

i/ I}

allu-

The

objects.

admitted

corpi.

I2 7).

that

di tenebre,

onbra

priuatione di luce, flume primitiuo e 4 il quale e cagione d' alluminaSre i quello 6 e li diriuatiui lumi so quelle corpi obrosi; 8 7 de' dal primo lume allumicorpi parti I0 nate; sQnbra primitiva e quella parte de' no puo; esser "veduta dal lume corpi che e

elalto.

126. 2. seperato

[seperato

13. chessi sepera.

12. ecquella.

ciama

128. i. discaciatore.

different kinds of light;

restricted

through

that

opening

which being or

window

them on

that side only.

the chaser

away of darkness. Shade

128.

355 a]

Lucie e discacciatore

127. i. difenti.

there are 2

illuminates

C. A. 114

one being called diffused, the other restricted. The diffused is that which freely illuminates

che libero allumina

I26

127.

170-5]

Come sono 2 different! lumi uno si chianm libero e altro costretto, 3 libero e quello

mina

which

that

(

inseparable from the body, which proceeds from the body conveying to the surface of the wall the form of the body causing it. is

forma 'Sdella sua cagione.

BODIES.

cata ai

126.

171 a]

COME SON i

IN GENERAL.

libro.

ecquello.

ecquello]

libre ecquello 6.

15. .

the obstruction of light. Primary light

that

falls on objects and causes light and shade. And derived lights are those portions of a body which are illuminated by the pri-

which

A primary shadow is that side light. of a body on which the light cannot fall.

mary

seperato ecquello chellumina.

14. ale pariete.

chagione.

Light is

ecquella.

ellaltro.

que che apicata.

chagione.

alumina.

el diriuatiui.

127. At the spot marked A in the first diagram Leonardo wrote lume costretto (restricted light). At

4. 7.

costeto ecquelo.

parte

the spot

alumina.

corpi [alluminate].

chorpi.

hecquella.

10.

chorpi

da-

on the second diagram he wrote lume

libero (diffused

light).

General

THE THEORY OF THE ART OF PAINTING. The

si parto'Sno scorrendo per 1'arie sanza J percussione obrosa o luminosa ?e quel l8 il loco che inpediscie e sopra se taglia I9 nosi. e lumi obrosi concorso de'razzi 2l le quell' ochio meglio conosciera

onbrose

distribution

general

light is that

noso

of shadow and of the rays thrown off by a shaded or illuminated body passing through the air without any interference and the spot which intercepts and cuts off the distribution of the dark and light rays. And the eye can best distinguish the forms of objects when it is placed between the shaded and the illuminated parts.

"Cocorso obroso e luminoso I5 e quella soma de'razzi che da M corpo obroso o lumi-

figure de' corpi che infra le parti e luminose situato fia.

[12 9

sum

total

129.

MEMORANDUM OF

METIONE DELLE CHOSE LE QUALI 10 DIMANDO CHE MI SIANO COCIEDUTE 2 IN NELLE PROVE DI MIA

QUESTA

GRANTED

PROSPECTIUA.

ii.

po.

perchussione.

12.

elluminoso.

17.

13.

ecquellocho

much granted me every ray passing through air of equal density throughout, travels in a straight line from its cause to the object or place it falls upon. I

o percussione.

16.

REQUIRE TO HAVE MY EXPLANATION OF

PERSPECTIVE.

^Io dimado che mi sia coceduto lo aflfermareche ciascuno razzo 'passando per aria che sia d' equale sottilita scorrino per retta linia dalla s loro cagione all' obbiecto

lume.

THINGS

[AS AXIOMS] IN

ecquella

soma

razi.

inpedisscie essopra.

14.

18.

ask to have this

assert

that

olluminoso

chonchorso

parta.

razi.

20.

15.

scornendo

ecquellochio

sanza percussione.

chonossciera.

21.

de-

corpi infralle. 139.

chose

razo".

sia

chociedute.

aria [duna] chessia

inellc.

2. .

chocieduto lo

soctilita scorino

data.

aflfermarc |che 5.

chagione.

razi

visuali

e razi

luminosi]

che ciasscuno

AND SHADE.

FIRST BOOK ON LIGHT W.

130.

I 4 6a]

The reason by which we know

ragione perche il lume a I se vn 2 noi conosciamo si e questa; chiaramente vn lume grade avaza 3 re molte volte vna cosa piccola, il quale niete di meno, 4 benche lui co sua razzi la circudi molto piu che mezza, 5 senpre 1'onbra apparisce nella prima pariete e senpre si solo

cietro

Let

perche rimetado, 1'onbra

come

lo figura \

^Perche 14

t \

dua

i. 7.

12.

ilume. e

noi choi chogniossiamo.

che

sia

chomel fighura.

130.

13.

and the

chosa 13.

beginning

gienerare.

dueo odinaza

In the original

text

chosa 9.

dua.

mene. il

the plane, but that a centre is shown by shadow falls on the t r.

beneche

4. .

lui

cho

chonducerebe.

14. rapresentatovi

MS. no explanatory text 15 comes next.

at line

the

to two [eyes] or in front of [13] Why two eyes do 3 objects appear as two? Why, when you estimate the direction of an object with two sights the nearer

occhi,

aparirebe

and n be

it,

this experiment. The plane as is shown at m o

pariete,

light

casting a shadow on It is let a b be the plane. not the broad light that will

the light has within

due o dinazi

be a broad

shadow n on

cast the

provo spe-

alia

clear that

rappresentatovi 3 cose si fario 2. J5 co Perche liuellado vna dirittura mire la prima apparisce l6 falsa: dico

130.

coduce

object in front the plane , and

se "cietro,

see that a large light is often than some small object which

plainly

chose.

razi

n. 15.

cietro

cho

placed after this

circhudi

m[eza].

apparissce.

pro sperimetado lonbra schoduce. apparisscie. 16. dicho chellochio

title-line;

but a space

the na

'^^i

and although the rays [of the large light] are much more than twice the extent [of the small body] always has its shadow cast on the nearest surface very visibly.

this:

nevertheless

6 Poniamo che c \f sia il lume grade ?e che n sia la cosa opposta gli che genera 8 1' obra nella pariete, e che a b sia la pariete; 9chiaro apparisce che il gra lume no coducerebbe I0 1'onbra n alia pariete; ma

lume a

a On

that is

much broader

vede;

from a single centre

radiates

light

left for

UK IHKoKN

Hi:

che 1'ochio portado con seco jfinite linie '^sono appiccate overo vnite co le sopravenienti che si partono dalle cose I8 vedute e solo la linia di mezzo d'essa sesuale e quella che conosce I9 e givdica e colori, tutte 1'altre sono false e j corpi 20 e quado tu porrai 2 cose distant! bugiarde; vno gomito 1'una dall'altra 2I e che la prima

And if you are false and illusory. place 2 objects at half an arm's length apart if the nearer of the two is close to the eye its form will remain far more confused than that of the second; the reason is that the first is overcome by a greater number of false lines than the second and so is rendered vague.

appresso alPochio, la superfizie della prima "rimarra in alto piv cofusa che la 2 secoda, la ragio si e ^che la prima e vinta da maggior nvmero di linie. false che 2 *la secoda, pero e piv dubbiosa.

negli

lume

Light acts in the same manner, for in its lines (=rays), and particularly in perspective, it much resembles the eye;

questo medesimo, perche 2<3 sue linie e massime

the effects of

delle

effetti

2 nell'opere di prospettiva e molto simi ?le e '1 suo cietro il uero nella alPocchio; porta 28 dell'onbre e quado la cosa posta ripruova 29 gli dinazi sara troppo presta vita da' razzi tristi mostrera obra grade e spropor^zionata e mai terminata; ma quado la cosa che a a giene 3 'rare 1' obra tagliera i razzi del lume e sara apresso alia 3 2 percussione allora 1'ombra s'aviene buona e massime 33 quado il lume sara discosto, perche il razzo del cetro 34 nella lunga distazia a meno co-

pagnia de razzi

falsi

rays are what cast the true the object in front of it is too quickly overcome with dim rays it will cast a broad and disproportionate shadow,

and

di grossezze

defined; but when the object which is to cast the shadow and cuts off the rays near

where the shadow

the place

shadow

the

distinct;

falls,

then

and the more so

proportion as the light is far off, because at a long distance the central ray is less overcome by false rays; because the lines from the eye and the solar and other luminous passing through the atmosphere are Unless obliged to travel in straight lines. rarer or are deflected a denser air, they by when they will be bent at some point, but so long as the air is free from grossness or moisture they will preserve their direct course, always carrying the image of the object that intercepts them back to their point of origin. rays

osserueranno

di umidita quelle

loro retta

When

ill

6 1'ochio, e solari e altre linie luminose, ^ scorredo per 1'aria couiene a loro osservare retta dirit^tura; se gia no fussino ipedite per 1'aria piv spessa o piv rara ^rimarebbero in alcuna parte torte; ma se 1'aria e net 39 ta

central

its

shadow.

le linie del-

perche

3 o.

others

sia

sll

appears confused. I say that the eye projects an infinite number of lines which mingle or join those reaching it which come to it from And it is only the the object looked at. central and sensible line that can discern and discriminate colours and objects; all the

le quali

ART OF PAINTING.

natura,

senpre portando I dirieto alia lor derivazio^ne la cagione del lor ropimento, e se sara 1'occhio li sa 42 ra givdicato '1 ronpimeto per colore come per fazione o gradezza; Ma se la pariete di detto ropimeto avra I se alcuno piccolo foro 4l il quale etri in abitazione oscura no per titura ma per priva 4 5zio di lume: vedrai le linie entrare per detto forame li )6 portano nella secoda pariete tutta la forma del lor nascimeto, ^s\ per colore come per fazione;

And

the eye, the intercepting object

if this is

be seen by its colour, as well as by form and size. But if the intercepting plane

will

some small perforation opening chamber not darker in colour, but by absence of light you will see the rays enter through this hole and transmitting to the plane beyond all the details of the has

into a darker

18. apicchate cho [quelle] "le sopravenienti" chessi partano chose. 18. mezo chogniosscie. 19. givchose disstan vnoghomito. 21. chella chofusa chella sechoda. dichaj chorpc cholori. 20. porai apresso. 22. rmara . razi trissti magior. 24. sechoda. 25. quessto. 26. prosspettiva emolto. 28. chosa posstali. 29. pressa vita 23. chella mostera chosa. 31. razi delume sara. 32. perchussione alora lombra savemebuona. esspropor. 30. ziona e ma terminata

chonsecho.

33. disschossto 38. ara

razo

zietro.

rimarebono in alchuna

cholore chome

gradeza.

43.

34. .

lugha disstazia

sellaria cne.

Massella

ara

39. .

chopagnia

grosseze

alchuno

razi.

36.

schoredo

oseruerranno loro

"picciolo" foro.

retta.

44. osschura.

chouiene alloro

41. 45.

chagione forame "-f.

esse. li

diri.

37. Ipedita.

42. givdichato

-\-" porta.

46. donella

BOOK ON LIGHT AND SHADE.

FIRST

* & Ma ogni cosa sara sotto sopra; quado sara tato dal forame al' ultima percussione delle 49 linie, quato e da lor nascimeto, sara la percussione per grandezza a sri-

object they proceed from both as to colour and

form; only every thing will be upside down. But the size [of the image] where the lines are reconstructed will be in proportion

nascimeto delle

to the relative distance of the aperture from the plane on which the

linie, Itersegarsi 2 piramidi 54colle gie 55 e le basi opposite; pute Isieme s 6 sia b il nascimento delle linie, s 7 sia d e la prima pariete sia c 53 nerare

lines

;

s 8 il

forame dov'e

delle linie; sia 6o troverai riete :

with their point meeting [a common apex] and their bases opposite. Let a b be the point of origin of the lines, d e the first plane, and c the aperture with the intersection of the lines \fg is the inner plane.

la intersegazione

-f-g- 1' ultima pa'1 a nelP ultima pa-

a percussione 6l rimanere di sotto nel 2 risalire di sopra luogo del g e '1 b di sotto

riete

nel luogo del/";

You

chiaro appa-

sperimetatori che ogni 64 corpo luminoso a per se una virtu recodita che e tie65 tro, dal quale e al quale 66

1'aria.

spargeranno per

131.

THE RAYS WHETHER SHADED OR LUMINOUS HAVE GREATER STRENGTH AND EFFECT AT THEIR POINTS THAN AT THEIR SIDES.

CHE NE'LATI. 2

Benche le punte delle luminose piramidi s'astedino in obro sisiti e quelle delle 3 pira-

Although the points of luminous pyramids may extend into shaded places and those of pyramids of shadow into illuminated places, and though among the luminous pyramids one may start from a broader base than

midi obrose discorrino I luminosi lochi, e che infra le luminose 4 egli nasca da maggiore basa 1'una che 1'altra, no di di uarie esse luminose pislunghezze ramidi pervengono a equale 6 grossezze d'agoli saran no di pari lume infra loro e il simile farano le piramidi obrose, come

another; nevertheless, if by reason of their various length these luminous pyramids acquire an-

meno, se per cagio

be equal; and the case will be the same with the pyramids of shadow; as may be will

benche

gradezze di mili di gradezza e sechoda deza.

razi

55.

60.

elluminosi

chome

cholore li

-J-

61.

chosa.

62.

luogho.

68.

Ipe.

benchelle

48.

Mquada

52. Itersegharsi.

-{-.

nonano

67. esse

magiore.

and d

their bases

e /,

which though in

differ

perchussione.

53. piramida.

luogho.

63.

sesspargha per piramide

nasscimeto

49.

64.

This supplementary paragraph

are

light.

perchusione per ghan-

56. nassimeto.

55. elle base.

chole.

aparira alissperimetatori.

chorpo

58.

dove

ape serecodita

laria.

ecquelle.

54.

piramide

dischorrino

infral[loro]eluminose.

6. infralloro chellaltra piramide peruegino grosseze. chagio. magiore 5. lungeze simile benchelle nasscino. 9. di uarie chome. 7. piramide echosi gradeza. .

size

equal as to breadth and

perchussione.

a b

lume.

51.

65. chapitano. .

enascha

piramide

47.

a rianassimeto.

laterseghazione. eccietro.

nasscimeto.

50.

seen in the intersected pyramids

nascano 8 da uarie base pur son si-

elle

of equal size their light

gles

^ si dimostra nelle tagliate pirache midi a- b- c e cosi d e

upon

which all the lines radiate which are sent forth by the surface of the luminous body and reflected back to it; or which, having been thrown out and not intercepted, are dispersed in the air.

C. 8 a]

falls

IRAZZI ONBROSI ELUMINOSI-SONO-DI MAGGIOREPOTENTIA E VALITUDINE NELLE PUNTE LORO

the spot/; it will be quite evident to experimenters that every luminous body has in itself a core or centre, from which and

capitano tutte le linie gienerate dalla luminosa super6 ficie e di li 7ritornano o risaltano J fuori, esse non ano 68

will find that

the inner plane below at g, and b which is below will go up to

rira ali

ipedimento

[on one hand] and from

fall

their origin [on the other]. There they intersect and form 2 pyramids

ellsimile

indicated as being a continuation of line 45, by two small crosses.

THE THEORY OF THE ART OF PAINTING.

Ash.

*i"1- r5)

J 32-

]

e nce b e-~ tween light U

come

e da lumi

differetia lustri

^no sono

lustri

nvmero de

in nel

and

Poniamo che

as gold or silver or the like.

OBJECT.

Suppose the body to be the round object figured here and let the light be at the point a, and let the illuminated side of the object be b c and the eye at

perche

I say that, as lustre is every where and complete in each part, if you stand at the point d the lustre will appear at c, and in proportion d as the eye moves from d to a, the lustre

per tutto e che stado nel puto

a tanto

all'

c a

the point d\

e tutto

tutto nella parte d, che il lustro parra nel puto c tato quato 1'ochio si tras?mvtera

lustre;

OF THE HIGHEST LIGHTS WHICH TURN AND MOVE AS THE EYE MOVES WHICH SEES THE

corpo detto sia questo todo qui d'acato figurato, e che il lume sia il puto a e che la parte del corpo alluminata sia b c, e che 1'ochio 5 sia nel puto d\ dico che '1

and

133-

3*1

lustro

that lustre

(to the eye)

DE'COLMI DE LUMI CHE si VOLTANO E TRASMUTANO 2 SECONDO CHE SI TRASMUTA L' OCHIO VEDITORE D'ESSO CORPO. 3

the difference between light

not included among colours, but is saturation of whiteness, and derived from the surface of wet bodies; light partakes of the colour of the object which reflects it

coMori ed e saziare di bianco s e nascie ne'stremi de 6 bagniati corpi; II lume e 7 del colore della cosa doue 8 nascie come oro o arieto o 9 simile cosa.

Ash.

[132-135.

lustro

trasmutera

move from

will

c to n.

;/.

134-

DE 2

mezzo fara

Heigh

lustre

any

moves as and moves in looking at

where

the

eye

it.

135-

DEL LUME 2

Che

OF LIGHT AND

E LUSTRO.

e dal lume al lustro

differetia

dimostra nella superfitie Uersa

opachi? s Li lumi che 6

but

di quello.

light

parte alluminata azi mutazioni quate fara

guardatore

PAINTING.

not situated [necessarily] in object the middle of an illuminated object,

nel

della

taste

ochio

lustro di

cosa non sara situate

qualuque

PICTURA.

lumi de' lumi cioe

delli

What

che the

corpi

terse delli corpi opachi sa?ranno inmobili ne' corpi inmo 8 bili, acora che 1'ochio fitie

d'essi vedito^re si

mvova;

eye on which they strike moves. But reflected on those same objects, appear in

lustri sa-

ran sopra li medesimi corpi in tati JI lochi della sua superfitie quati sono I2 li siti dove 1'ochio

133. 2.

lusstri

chosa.

chessi

133.

echorae

lusstro.

,35. i. ellustro. 5. chessi.

many

places on the surface as by the eye.

different

different positions are taken

ilusstri.

trassmutano.

lustro para 134.

lights will,

move.

lustre

LUSTRE.

the difference between light and which is seen on the polished

surface of opaque bodies? The lights which are produced from the polished surface of opaque bodies will be stationary on stationary objects even if the

gienerano nelle super-

ettato

chosa

differetia

mczo. .

chorpi oppachi.

decho.

saziaredi doubtful.

sechondo chessi trassmuta.

sistra.

inel

dachato.

chorpi Elume.

chella

cholore dela chosa.

chorpo

chellochio.

dicho.

chome.

che-

trassmutera.

quato.

Ittstro so. 7.

chorpi.

|p]

che

dimosstra nella superfitie

achora chellochio.

9. Mallilusstri.

(del).

[li \\\\

10. chorpi.

12.

cho] terse

dove Ihio

chorppi oppachi.

move.

13. chorpi.

136.

BOOK ON LIGHT AND SHADE.

FIRST

37-]

WHAT

QUALI CORPI SON QUEL^LI CHE HANNO LUME

HAVE LIGHT UPON THEM WITHOUT LUSTRE?

BODIES

SAZA LUSTRO? 15 Li corpi opachi che avra superfitie densa l6 e aspra no gienerano mai lustro J 7in alcuno loco della sua parte al l8 luminata.

Opaque bodies which have a hard and rough surface never display any lustre in any portion of the side on which the light falls.

WHAT

20 CHE AVRA LUSTRO QUALI CORPI so QUELGLI E NO PAR 2I TE LUMINOSA? 22

Li corpi opachi densi con desa 2 3 superfitie son quelgli che anno tutto il lustro in 24 tanti lochi della 25

sono

che possino ricievere I'ango

siti

lume e

della incidentia del 2 7

perche tale superfitie spechia tutte

cir

custati

alluminata no

in tal parte del

Br.

every spot on the illuminated side which is a position to receive light at the same angle of incidence as they occupy with regard to the eye; but, as the surface mirrors all the surrounding objects, the illuminated [body] is not recognisable in these portions of the illuminated body.

dell'ochio;

cose

cono 2 9scie

WHICH WILL DISPLAY LUSTRE BUT NOT LOOK ILLUMINATED? BODIES

Those bodies which are opaque and hard with a hard surface reflect light [lustre] from

parte alluminata quati 26

corpo alluminato.

136-

1710:]

2 Ogni /2 d'obra e lume cogiu to a' 3 corpi obrosi si dirizza al mezzo del suo lume primitiuo. 4 Ogni lume e obre si ritrae 5 a linie pirimidali; 6 e neciessario che il mezzo 7di ciascuna obra ris8 guardi il mezzo del suo lume per linia retta che passi il cietro I0 d'esso corpo; IJ il mezo del lume sara a, I2 dell' obra

The middle of

fia

[ancora

cuno

7do

the

primary

[

J""

illuminated bodies.

expresses

middle of

body, and a straight line will pass through both and through that centre.]

cietro].

137-

Benche

SHOWS HOW LIGHT FROM ANY SIDE CONVERGES TO ONE POINT.

PARTE DI LUME FA UNO

PUTO.

le palle niete di

abi lume

Although the balls a b c are lighted Experiments from one window, nevertheless, if you follow ion of light and shado<w the lines of their shadows you will see they within a room intersect at a point forming the angle n. (137140).

meno

se seguiterai ?le 8 a quelle fare iterlinie delle sue obre vedrai 9 segatione e puto nel angolo n finestra

14.

chea lume saza

21.

luminoso.

28.

chusstate

136. i. ellume.

lusstro.

15.

chome.

136.

of the

[la

accorpi

16.

easspra no

cheantutto.

23.

24.

diriza.

mezo.

benchelle balle.

lumeme.

16. essia

15. dirizi. 6.

seghuiterai.

obr"e".

137.

marked

he wrote

(derived). I.

quato.

allinie piramidale.

slightly

marked

lusstro.

17. 25.

alchuna [po] locho. cheppossino

20. ara lusstro.

langho.

27.

chose.

primitiuo,

-primiliva (primary); at the spot dirivatiuo

and

mezo.

13. circhuscritti.

14. obrel-

dalluno alaltro mezo.

and

diagram Leonardo wrote

at the spot

In the original MS., at the spot marked a first

VOL.

chorpi "oppachi" che ara.

chorpi oppachi [chonass] chon. no si chon. allume] lo

22.

lume convie chouie chel me. 137.

middle

be opposite the middle of its light, with a direct line passing through the centre of the body. The middle of the light will be at a, that of the shadow at b. [Again, in bodies shown in light and shade the middle of each must coincide with the centre of the

corpi obrosi

PRUOVA COME OGNI

vna

reia-

sarily

mezzo passa-

all'altro

1[/

shadow on any object must neces-

the

al cietro d'esso e sia linia retta dal-

light and shade The and shade is op-

All light and shadow light. itself in pyramidal lines. The

4da obre e lume che '1 mez'Szo di cias-

1'uno

the

in light

the

posite

si dirizzi l6

corpo J

on an object

circuscritti

convie

deriuatiua

balls

acquele

Iterseghatione.

The diagram belonging to this passage is sketched on PL XXXII a square with three

below

belonging to

;

it.

The are

the six others below

first

three

written it.

lines

of the text

above the sketch and

THE THEORY OF THE ART OF PAINTING.

Ash.

138.

io6\

Every

central

dello spatio e grossezza della finestra s la ragione promessa di sopra chiaramete appare 6 per isperieza, Iperoche se figurerai vno sito colla finestra a tramotana la quale sia s

from the horizon

acora ti cofermerai meglio questa ragione a porre due basto I2 ni come nel loco di g h Xvi vederai la linia fatta dal mezzo del' obra 3 reale dirizzarsi al cietro e col-

138.

i..

diriza i.

apore.

138.

tane

12.

-f.

mezo.

ellorizote

locho

inel

mezo

produra. linia [del

grosseza.

tochando

me]

fatta

apare.

atri 2

mezo.

diagram

(the

circle

figurerai

effinira

13. dirizarsi

here stands for cerchio derorizonte tramon-

on the original

of the

to the east, which, touching

window of, reaches d; on the west another line, touching the other 2 angles r s, and ending at c; and their intersection falls exactly in the middle of the opening and thickness of the window. Again, you can still better confirm this proof by placing two sticks, as shown at g h\ and you will see the line drawn from the centre of the shadow directed to the centre m and prolonged to the horizon n f.

intersegatione viene apputo nel mezzo dello spatio e della grossezza della "finestra;

stated above,

the 2 angles of the and from the horizon

The proposition

by experiment. Thus

you draw a place with a window looking northwards, and let this be s f, you will see a line starting

middle of the opening and thickness of

plainly seen

all'

orizzote

cast

directed to

the window.

orizzote di levate produrre vna 8 linia che toccado li 2 agoli de! la finestra o in 1' d- e orizzote di ponete capitera produrra la sua 9 linia toccando li altri 2 agoli della finestra r s e finira in c e questa

line

in the

;

vederai

shadow

a body has a a single point produced by the intersection of luminous lines

Ogni obra fatta da'corpi si dirizza colla mezzo 2 a vn solo 3punto fatto per itersegatione di linie luminose in nel mezzo

linia del

[138.

cola.

ecquesta.

10.

alorizote

mezo

produre it.

tochado

achora

meglo

de. .

lorizote.

horizon towards the North);

grosseza.

for ponete (West).

for levante (East)

and

139-

I40-J

Ash.

20 a]

FIRST

BOOK ON LIGHT AND SHADE.

139-

Ogni obra co tutte sue varieta che per distatia cresce 2 per larghezza piv che la sua-cagione, le sue linee esteriori 3 si cogivngono insieme ifra

Every shadow with which becomes larger as the

object

greater,

object.

a>b-

una finestra saza alcuna tramezzatura, 6 l'aria luminosa che sta da destra in a e vista, da \n-d-. e

che sta da

posed, the luminous

left

I'a^ria

this only happens when the light enters a by window. Supposing a b to be the window and r the body in light and shade, the light to the right hand z will pass the object to the left and go on to /; the light to the left at k will pass to the right of the object at / and

cho

140.

essi.

chresscie. 5.

piramide.

139.

at-

But

the

Every body in light and shade is situated between 2 pyramids one dark and the other luminous, one is visible the other is not.

quado il lume etra per una finestra; fa coto che a b sia la finestra e che r sia il s corpo obroso il lume destro z passa il corpo obroso in corpo da lato sinistro del 6 k passa a sinistro il lume in va e p g detto corpo nel lato destro in i e va

And

I4O.

Ogni corpo obroso si truova ifra 2 pi2 vna scura e Paltra luminosa, I'una uede e 1' altra no, 3 e questo solo accade

139. i.

right seen to the

the point m.

ramidi si

at-

the

mosphere at the left illuminates on the right at c, and the lines intersect at

sinistra allu-

20 a]

mosphere hand at a

mina da destra nel punto c e dette linie s' inter8 secano nel puto m.

Ash.

from

external lines

its

fia

sinistra

has

variations,

distance

This proposition very evident and is confirmed by experience. For, if a b is a window without any object inter-

Jperoche

its

intersecting in the middle, between -the light and the

lume e '1 corpo obroso. Questa propositione chiaramete appare e si coferma s dalla esperie-

za,

all

dala 2.

fia

largeza i

uno scuro e

finestra

laltro

here stands for leuante

chella. .

cogivngano

tramezatura.

luminoso luno

(East),

6. .

ellaltro.

B for ponente

chorpo.

Questa [cosa chiaramente] propositione

apare

ella. 3.

ecquesto

(West).

achade

Hume

per

finestra.

chorpo

THE THEORY OF THE ART OF PAINTING.

go on to m and the two lines will intersect at c and form a pyramid. Then again a b falls on the shaded body at i g and forms a

e queste 2 linie s' Iter^segano i-cfano piramide dipoi a b tocca il corpo 8 fa sua obroso in * piramide in /; mai egli puo vei-g-f fia oscuro perche dere il lume a b\ v-i-g-c- sepre fia luminoso perche egli uede il lume. in

dimo'stre-

Every shaded body that is larger than pupil and that interposes between the luminous body and the eye will be seen dark.

L' ochio posto infra 1 corpo luminoso corpi da esso lume alluminati vedra detti corpi saza alcun obra.

When the eye is placed between the luminous body and the objects illuminated by it, these objects will be seen without any shadow.

Tutti w

thc posiiion of the eye

rcgar7o

pyramid fig, f will be dark because the light a b can never fall there; i g c will be illuminated because the light falls upon it.

141.

C. 10

Light and

[I4II44.

che

corpi obrosi di maggior gradezza i quali s' interporranno infra

the

popilla

l'occhio

ran no

luminoso

corpo

oscura

qualita.

(141145)'

E i

Ash.

142.

I2a]

Come 2

mezzo

2 lumi che mettino in

vno corpo da 2

Br.

H fra

mai

lume

shadow light and

body

between the

can never display

-n

situated

the

eye

illuminated

its

portion unless the eye can see the whole of the primary light.

originate.

144.

Tr. 20]

onbra e

The eye which looks (at a way between the shadow and the

che si trovera in mezzo fra lumi circuda 2 tori delli obrosi

L' ochio 1'

devoid of shadow.

2 corpo obroso situate inlume e 1' ochio no mo-

se parte lumi1' ochio no uede tutto no*sa se s

apex leave

side of a

sides of an obtuse

143-

171 a]

3strera

on each

the 2 lights one

Why

body having two pyramidal

piramidato di basse 3piramidi lo lasciano saza obra. lati

obroso ilume.

[luminoso]

pasa

ecque

piramida

effa.

piramida

oschuro

mailipo

half

spot) light

which

ilume.

per-

cheli uede. 141.

Tucti

steranno dosschura.

142. i.

chorpi "5brosi" di magior gradeza chella

comeme

143. 2. infralume.

144. i. chessi

imezo.

stera.

mezo

chorpo 2.

line

Plate II

explanation of

ellumi circhuda.

[saranno situati]

quali

vedera

chorpi

"sTnterporanno" infrallocchio

chorpo.

sanzalchun.

piramide.

chorpi

vedera

chorpi

in the original stands

chorpi

[primiti] originate.

given on Plate after a blank space of about eight

above

chorpo.

lume

The diagram which

141.

II,

lines,

142.

magiore.

The sketch

sieno

rischotarsi

illustrating this is

143.

144.

In both these diagrams

line written

under

it.

chosecho.

on Plate XLI

the diagram

placed in the original. There

beyond the one

Then,

(light)

stands for corpo (body),

for

ombra (shadow).

B for lume (light). A

stands for lume

FIRST BOOK

145-

vedra

corpi 3

che

esse

ON LIGHT AND SHADE.

in essi corpi le maggiori obre sieno a riscotrarsi co seco

surrounds the body in shadow will see that the deepest shadows on that body will meet

equali agoli ^cioe della incidetia vi-

infra

suale.

Ash.

DELLE COSE POSTE

sole

DE'

SITI

parte avbrata, perche quella parte essere veduta dal sole.

no puo

If the sun is in the East- and you look towards the West you will see every thing in full light and totally without shadow because you see them from the same side and if you look towards the as the sun: South or North you will see all objects in light and shade> because you see both the side towards the sun and the side away from it; and if you look towards the coming of the sun all objects will show you their shaded side, because on that side the sun cannot fall upon them.

146.

Tr. 29]

1 J labri della finestra che sieno allumida 2 vari lumi 2 d' equale chiarezza no metteranno lume nati

all'

abitatione

of a window which are illu- The law of 6" lights of equal degrees of^tf^ brightness will not reof flect light equal

The minated

brightness into the cham-

equale qualita. 1 4 Se b fia vna cadela e a c sia il nostro 5 l'uno e emisperio 1' altro allumina i labri

ber within.

finestra Iu 6

mina se no '/ emisperio a nera 7insino in

145. 3. vederai.

chudati. 146.

hemisphere a all of d e.

and the will light

chorpi dobra "perce vedi co ce vedel sole" esse. 5. mezodi ettramotana vederai 4. tute lecosse chamino. 7. chorpi .. mostrerano .. quela. lume "perce vedi quelo ce no vede 'e vede il sole" esse ello emissperio. 6. aluma finesstra. lumi [che]. 2. chiareza. 4. chadela et. 5. alumina .

hemisphere

will illuminate the

illuminate

e lo

-allumi-

a candle and

edges of the window m n, but light b will only

n allu-

finesstra

b non

our

If b

a c both

;

same

ASPECTS AND OF OBJECTS PLACED IN THEM.

neP oriete e guarderai

fia

occidete vedrai 4 tutte le cose luminate essere iteramete private d'obra perche vedi cio che vede 1 sole, e se riguarsdi a mezzodl e tramotana vedrai tutt'i corpi essere circudati da 6 6bra-e lume perche vedi quello che no vede e vede il sole e se riguarderai Tverso il camino del sole, tutti i\ corpi ti mostreranno la loro

della

at the

OF THE DIFFERENT LIGHT AND SHADE IN VARIOUS

QUELLI.

luerso

detro

170]

DELLA DISCRETIONS DEL'ONBRE 3

the eye at equal angles, that angle as that of sight.

cir-

po.

THE THEORY OF THE ART OF PAINTING.

Ash.

147-

28*]

PlTTURA. dell'obietto

razzo

qua apparira

147. 2. [Illume

che

infra

angoli piv lumi 8 nosa.K

it.

And will

soprse

the

rays strike

disequali

ferisscie lobietto infra cqueliangoli].

PAINTING.

That part of a body which receives the luminous rays at equal angles will be in a higher light than any other part

che ricieve

1 Quella parte sopra se il razzo lu^minoso infra equali an5 goli Quella fia piu ch'altra parte d'esso obbietto luminosa.H 6 1 E quella parte che fia ferita da lumijioso

[147-

razo.

part which the luminous between less equal angles

less strongly illuminated.

Ecquella

cheffia

razo

aparira.

?L. HI

A** ^:

SECOND BOOK ON LIGHT AND SHADE. Ash.

148.

22 a]

THAT PORTION OF A BODY IN LIGHT AND SHADE WILL BE LEAST LUMINOUS WHICH IS SEEN UNDER THE LEAST AMOUNT OF LIGHT.

QUELL A PARTE DEL CORPO OBROSO FIA MENO LUMINOSA 2 CHE FIA VEDUTA DA MINORE QUATITA DI LUME. 3

lume

That part of the object which

e primo grado parte del corpo perche 11 vede tutta la finestra a

4 per la linia -a- f-, n e'l secodo grado perche 11 uede il lume b d per la linia b e o e '1 terSzo grado perche 11 vede il lume c d per la linia c h p e '1 penoltimo perche 11 ue 6 de c d per la linea d v Q e 1' ultimo grado perche 11 non uede nessuna parte 7della finestra8 Tanto quato c d 9 entra in a d tanto I0 e piv scuro n r s "che e tutto Paltro I2 canpo sanza 6 bra.

Ogni lume

agoli tiene

Ifra equali

149.

Quela chade

148.

chorpo

chorpi.

luminoso.

cheffia.

chiareza ecquelo.

The diagram belonging to on Plate III. The letters

12.

and the darkest portion is that which receives at an obtuse angle and both the light and the shadow form pyramids. The angle c receives the

ollonbre.

highest grade of light because

this chapter is

abed

and

The

original text of these lines

repro-

duced within the diagram. Compare No 275149. The diagram belonging to this chapter

secodo.

chiareza.

are not reproduced in facsimile of the original, but have been replaced by ordinary type in the margin. 5

line b e; o is in the third grade, as the on it from c d by the line c h ; is the

1'onbre fario loro-ofitio per piramide; 4 l'angolo c tiene jl primo grado di chiarezza

novede.

5. ettutto

lorizote

it is

directly in

ettutto. .

pocha

diferetia mettano.

socto

In the original it is placed 2 on Plate III. between lines 3 and 4, and in the reproduction The semi circle above these are shown in part. The number 6 at the is marked orizonte (horizon). left hand side, outside the facsimile, is in the place of a figure which has become indistinct in the original.

Gradations f

dows 148. 149).

The light which falls on a shaded body at the acutest angle receives the highest light,

che cade

sopra ai corpi * il primo grado di chiarezza e quello fia piv scuro che ricieve 1' agoli meno equali ^e il lume o

143. i.

in the strikes

149.

21 b\

obrosi

lowest light but one as c d falls on it by the line d v; q is the deepest shadow for no light falls on it from any part of the window. In proportion as c d. goes into a d so will n r s be darker than m, and all the rest is space without shadow.

faces

light falls

Ash.

by the

marked

the highest light because the window a d by the line af; n second grade because the light b in

THE THEORY OF THE ART OF PAINTING.

front of the window a b and the whole horizon of the sky m x. The angle d 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

perch6 gli uede tutta la finestra a b 5e tutto 1'orizzote del cielo 1'angolo d fa poca differetia da c perche li agoli

>*,

che

mettono

mezzo no sono

formi di proportione

quato

tato difdi sotto

altri

solamete quella parte delch'e tra -y x bench' eli acquisti altrettat;o dall' opposite lato- nodimeno la sua 8 linia e di po ca poteza perch il suo angolo 1 minore che' suo copagno, rangoli-^' e e

macagli

The

/ si trovera I4 nel d'obra, primo grado perch acora lei cade ifra equali agoli e essi agoli si dirizzano

piramide

quale

which surrounds the derived shadow cast by The the solid body at the points 4 and 6. shaded images increase from o g and end at 7 and 8.

e finiscono

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

extent of

150.

delume chapia

7. .

mezo.

dimosstra.

thellobroso

orizote

2. .

18.

ecquel.

tanta.

daloposito.

quele.

13. volto

cha poteza

will

falls

will light a larger extent of it object in proportion as it is nearer and the converse when they are farther apart.

the

remoto.

12.

smaller than the object light up a smaller in proportion as it is nearer to it, is

illuminated

fara essedo pi 9 v

contrario

farther off.

and the converse, as it is farther from it. But when the light is larger than the object

;

per

which

light

on which

remote Ma ?quando il lume sara maggiore che 1' obroso allor tanto piu ne vedra 8 dell'6mbroso quato esso fia piu

e e machali.

at the points

several lumi-

frame

of the a and b make a light the

within

ISO-

obroso il quale ^li fia piu vicino; per la ,,," couersa tanto maggior quatita n allu 4 mmera S n fi a pi" lontano. Quel lume che sia minore dell' obroso 6 n' alluminera tanto minor quatita quan to li fia piu vicino e per la couersa fara essendo

vicino e

light.

cast

images

si dimostra piu obroso che alluminato da minor luminoso 2 e quel S dowsL de-l ummoso alluminera minor parte del corpo

piu

centre of the

window

Quel corpo

(150-152)-

The

mvltiplicate ne' termini della finestra ne' b fano '^chiarore che circuda puti a 1'obra diriuativa creata dal corpo obroso ne' lochi 4-6 6- I8 le spetie oscure si mvl-

the

Ontheinten-sia on

angles e

nous

C. A. 46(5; 1440]

the distance from the

'Se si sguardano per una linia retta che passa dal cientro del corpo obroso e capita l6 al mezzo del lume; le spetie luminose

tiplicano

pendent

y and

i will have less light because do not much of the light m s and see they the light v x and their angles are very unequal. The 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 / /, and at /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 / 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

non minore lume 9perch egli vede manco il lume m s e 1 lume v x ei loro agoli sono assai disformi: 1'angolo 10 k e 1'angolo sono messi in mezzo ciascu per se da agoli molto diformi 1'uno dal'altro e pero fieno "di poco lume perche in k vede solamete il lume / / e in /; no uede se no / q o g f\a 12 1' ultimo grado di lume perche 11 no uede nessuna parte del lume del' orizzote e sono quelle le linie che vn altra ^volta ricopogono una piramide- simile alia piramide'

between

lies

gains as much on the other side its line is nevertheless not very strong because one angle is smaller than its fellow. it

Although

fia

which

intercepted

1'orizzote

[150.

piramide

piu

magior.

chopagnio langolo. 9. mancha ilume. dirizano. ala. ecquali 14. chade .

10.

ellangolo

imezo.

15. essi

per

linia

effiniscano. 3.

[fia]

lifia

quato

eli fia.

Quelume chessia

quatita q.

cquando

SECOND BOOK ON LIGHT AND SHADE. C. A. 130,$; 398 6}

151. 2

HQuella partedella cosa la

piv lumi^nosa,

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

alluminata sara

4 piv vici na alia

fia

qual cavsa del suo lume.t

H. 1 i8a]

152. 2 sara primitiva 3 lotana dai sua

Quella parte dell'obra meno oscura che fia piv

That portion of the primary shadow will dark which is farthest from the edges. The derived shadow will be darker than the primary shadow where it is contiguous

stremi. 4 L' obra dirivativa che cofisna colla primitiua fia piv 6 oscura d'essa primitiva.

it.

153-

]

2 opaco sa ra piu 3 aobrato o alluminata che fia piu vicina all' obroso che la oscura 1 o luminoso che P alumina. sLe cose vedute infra lume e 1'obre si

di 6 mostrera di

That portion of an opaque body will be On the pro in shade or more in light, which is ^"'"anc^ she 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.

che quelle

rilievo

maggiore

che so nel lume o nell'obre.

least

with

Quella parte del corpo

K. M.

II.

r 54-

PROSPETTIVA.

The

3Le

parti aobrate e alluminate de'corpi ^opachi sarano nella medesima Sproportione 6 di chiarezza e oscurita qual fie quelle de'

portion

loro obbietti.

jects[6].

shaded

PERSPECTIVE.

and

illuminated sides of display the same proof light and darkness as their ob-

opaque objects

will

r 55-

G. 320]

PICTURA.

PAINTING.

de' corpi obrosi male si conos 4 cono nelle 5 nelle obre e ne' lumi loro, parti inter6 poste infra li lumi e 1'onbre le parti d'essi

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

corpi sono

they are highly conspicuous.

Li termini e figura di qualunche

parte

di notitia.

Fprimo grado

E. 150]

PICTURA. 2

jfra

corpi

di uarie

d'un medesimo lume, 151.

152. 2. osschura. 153. i. 7.

when

4 fia

proportione

objects in various degrees of shade, the light proceeds from a single source,

Among

oscurita, pri3vati

tal

PAINTING.

dasua.

chofi.

cholla.

oschura.

cheffia.

chella osscura.

obrose elluminose].

parte.

chorpo oppacho.

olluminoso chellalumina.

chose

infrallume ellobre.

mossterra.

chesso.

154. 2. [le parte 155. 2. effigura.

156. 2. Jfralli chorpi

154.

chorpi. .

chanelle.

osschurita.

The meaning of

plained in no 153, lines VOL. i.

14.

proportio.

obbietti

ciareza e osscurita. 6.

interposste infralli. 4. iafralle.

(objects)

Between the

ex-

title-line

ellonbre le parte

chorpi.

osscurita.

and the next there is, in the original, a small diagram representing a circle described round a square.

THE THEORY OF THE ART OF PAINTING. infra le loro

obre qual

fia

delle loro natural! oscurita ai

ad intendere

la proSportione 6

medesimo

delli lor lumi.

157-

II lume particulare e causa di dare migliore rilievo alii corpi onbrosi che ^lo vniversale come si mostra il para^gone 2

d'una parte di campagnia alluminata sdal vna aobrata dal nuvolo che sol si

sole e

allumina del lume vniversale

157. i.

will be the same proportion in their shadows as in the natural diminution of the light and the same must be understood of

there

the degrees of light.

[157-

Hume

partichulare e chausa.

dell' aria.

chorpi

chel.

single

and

distinct

luminous

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.

chome

body

causes

mosstra.

ghone

chanpagnia.

delume.

THIRD BOOK ON LIGHT AND SHADE. W.

2323]

Onbra diriuativa non. e in essere sanza lume primitive; pruovasi per la prima

3di questo che

dicieTI

tenebre essere inte-

grale pri^vatio di lucie, e obra e alleuiation di te s nebre e di lucie, e tanto parti6 o me delle tenebre che della cipa piu lucie, quato la ?tenebra e in se corrotta da essa lucie.

shadow

Derived

cannot

without

exist

primary shadow. This is proved by the first of this which says: Darkness is the total absence of

light,

and shadow and of

of darkness

tion

more or

allevia-

and

light,

dark or light in proportion as the darkness is modified by the light. less

159-

Shadow

Onbra e diminuitio di lume. 2 Tenebre e privatione di lucie.

Darkness

Shadow

3 L' onbra si diuide in due parti delle *quali la prima e detta onbra priSmitiva, la secoda e 1' onbra diriuativa; 6 senpre 1' onbra

the

first is

diminution of light. absence of light. divided into two kinds, of which

called primary shadow, the second

7 primitiva si fa basa dell' onbra diriuativa. 8 Li termini dell'onbre dirivative 9 son

The primary shadow is derived shadow. always the basis of the derived shadow. The edges of the derived shadow are

retti

linii.

straight

158. i.

non

159. i.

honbra.

[po]

"e in" 3.

essere.

parte.

per la

he decta.

p*.

essere ingral pri.

ellonbra.

The theory of

nical expression for

ombra tific.

dirivativa

Ombra This

not

dirivativa is

merely justifiable but scienby no means a mere abstract

easily proved by repeating the experiment made by Leonardo, and by filling with smoke the

idea.

eddi

lines.

ettanto.

ome

10. diminuisscie la osscu.

dirivativi.

the ombra dirivativa a techwhich there is no precise English equivalent is elaborately treated by Leonardo. But both text and diagrams (as PL IV, I 3 and PL V) must at once convince the student that the distinction he makes between ombra primitiva and 158.

room is

delle.

tenebre

conrocta.

12. eppiu.

which the existence of the ombra dirivativa when the shadow becomes visible.

investigated,

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

deW ombre

dirivative as Leonardo calls them more intelligible if not actually simpler, and we must assume this theory as our the investigations which chief through guide

percussione is

thus rendered

follow.

Definition

shadow

THE THEORY OF THE ART OF PAINTING. IO

the primary shadow.

160.

C. 76]

ONBRA 2

161.

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

oscu"rita essa I2 e piu

Tanto piu diminuisce dell'onbra diriuativa, quato remota dall'obra primitiva.

[160.

Tre

ochc

sono

lume

pari

dell'pbre inperfa 1'onbra e e simile a vna co-

che

ombra

LIGHT.

The forms of shadows are three: inasmuch as if the solid body which casts the

le figure

materia

SHADOW AND

E LUME.

shadow

equal

(in

to the light, the

size)

(160162).

ne a termine alcuno. Se la mamaggiore che "1 lume 1'onbra sua e simile a vna retrosa e contraria piramide e la sua longitudine 5& sanza teria e

shadow

alcuno

termine;

se la materia- e

minore-che la lucie 1'ombra fia simile a vna piramide ed e finita come s dimostra ^nelle

the

come

eclissi della luna.

DELLE OBRE DERIVATIVE

finite 6

senplicie obra dirivativa e vna finita in Munghezza e

lati

rettilini;

da on I4 broso equale da obroso luminoso, l6 del Iu minoso ecc. maggiore e

obr

chontraria 3.

any

resemble a pyramid and seen in eclipses of the moon.

he.

rete

sella .

chefla

ella.

4. sorte ciee.

nassci.

dila 1 stabile

13. ella

lume [lonbra] 1'ombra

alchuno.

Massella

lungheza eddue.

cholunale nasscie.

ella .. he.

14. ella.

17.

cho.

its

of two

length denned,

larger than the light; &c.

essimile

chella

SIMPLE DERIVED SHADOWS.

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 bo:!y

infi-

^I'altra dila-

colonale nasce

161.

without

will

kinds: one kind which has

in-

1'onbra co 11 correte cioe piramidale naI2 sci e dall'onbroso minore del lumino^so,

column

The simple derived shadow

due

160.

shadow

an end, as

due

e la finita e piramidale ?e delle

vna ve n'e colonnale e I0 di tabile, e tutte tre son nite

SENPLici.

sorti cioe

161.

E. 31 a]

resembles

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,

cho.

chome.

cholunnalee 18. posste.

alchuna.

Sella materia

magiore

essimile

nello.

el.

19.

9. ettutte.

onbra

10. rectilini

[Mallonbra] co.

conposste. 20. sortti

n. chor-

cho/unali. 21. labile.

PL. IV

r**> "j

. (

Tf^n #*/

Heliog- Dujardin

\ \

:u*

* 1 1

Imp.

Eudes

THIRD BOOK ON LIGHT AND SHADE.

162.]

DELLE OBRE DIRIUATIVE co l8 POSTE.

OF COMPOUND DERIVED SHADOWS.

deriuative conposte sono 2I 20 di due sorti cioe colonali e dila tabili.

onbre

derived shadows are of two columnar and spreading.

Compound kinds; that

162.

E. 32 a]

OF SHADOW.

ONBRA.

L' onbre dirivative sono di tre nature, quali 1'una e dilatabile, 1'altra co^lunnale, la terza concorrete al sito della 2

Derived shadows are of three kinds of which one is spreading, the second co-

delle

the third converging where the two sides meet and

tely

questo si ni ega perche nella prima ir dell' onbre sopra 6 pro vato Hquella cosa esI2 sere interamente termi nata della qual parte alcuna non eccede 3li sua terminal il che I4 qui in tale onbra si ve de il contrario conT ciosiache mediante che 5 nascie tale onbra l6 stamete la figura manife nascie dirivativa di due piramidi obrose, le quali nel I7 li sua l8 se per angoli son congiute; addunque 1'aversario la prima piramide obrosa e ter^minatricie dell' onbra dirivativa col suo

deny shadow

ginates

angles. the first

^ dicie

the

margin

eciede. 17.

22.

angholo.

chessi.

162.

13.

33.

choncorrete.

angholo.

no passare piv

angholo

[ella].

quessto.

29. Sello spericho.

Ecquesto.

18. 23.

30.

34. cheddisse.

The two diagrams

egha

sivi.

etter.

14. 19.

the

this

proportion as

chol suo angho.

magiore.

to this chapter are

36.

light

interseghatione

de sua

smaller.

dlfinita

ati.

"righor" lunghe.

ch'ed.

chessi.

31.

15.

20. nasscie 24. chor.

26.

nasscie .

sechonda.

21.

32.

16.

piramide "obrose".

obrosa [perche]

[chen]

termini menoti chessalumina daminor.

on Plate IV, No.

Essettu

nasscie.

chorpo luminoso) [addunque] e

[parte piu] lungha.

The following occurs in n. chosa. 12. alchuna

Questo.

perche [terminata] nella p" dellonbre so pro.

lugha fighura

angle whence

chontrario chonciossiache.

niegha [medi] choll

35.

shadow

outlines than that

interscghatione.

their

della [interseghatione] "congiutione"

10.

oltre.

qui [no] in "t" ale onbra

angholi son chongitite

chavsa. 27.

Hence, if, as [my] opponent says, pyramid of shadow terminates the

will have less defined which is produced by the breadth of the same light. And this is proved by what was said before, which is That a shadow will have less defined outlines in proportion as the light which causes it is larger, and conversely, the outlines are clearer

portion

oso e de coverso, que! 36 la essere di termini piu noti che s'allumina da minor luminoso.

cho.

the figures of two

not produced by the angle of the shadow but only by the body casting the shadow; &c. If a spherical solid body is illuminated by a light of elongated form the shadow produced by the longest

gienera dalla Iarghez3-za del medesimo lume; E questo si prova per la pas34sata che disse quell' obra essere di termini me noti 35 C h'e creata da maggiore lumin-

on com-

first is

then the

shadow

dirivativ.

you

derived

ciessi [chella] ta.

second pyramid of shadow so says the adversary must be caused by the angle and not from the body in shadow; and this is disproved with the help of the nd 2 of this which says: Shadow is a condition produced by a body casting a shadow, and interposed between this shadow and the luminous body. By this it is made clear that the starts,

[si]

the

shadow which meet

derivative

luga figura, 1'onbra che si gienera parte piu lunga d'esso luminoso fia termini 32 men noti che e quella che

"di"

that a thing

we obviously have

pyramids

28 esser giedal angolo dell' onbra dirivativa obroso ecc. 29 Se sol dal ma nerata, corpo lo sperico obroso fia alluminato dal lumi-

162. 2.

And

when no portion of it goes Now here, in terminating lines. this shadow, we see the converse of this, in as much as where this derived shadow ori-

a 3niega coll'aiuto della 2 di essere vn'acciobra HI' 2 dalli cor Spi obrosi interposti 26 e '1 corpo lumiobra d'essa '1 sito infra 2 nosoH, e per questo e chia 7rito 1'onbra no

lines.

its

beyond

donde nascie, addunque la seconda ango 2I dicie 1'aversario esser pira mide obrosa cavsa 22 ta dall'angolo e no dal corpo obroso;

dalla

and

infini-

pletely terminated

3noso

sides are

above

this, because I have proved:

e questo si questo che dete create

prolonged or straight

point

intersect,

say, this shadow must terminate at the angle where the sides meet and extend no farther,

oltre,

this intersection the

beyond

the

lumnar,

intersegatione delli sua lati, li quali dopo ta6 le intersegatione sono d'lfinita lunghez?za se tu diciessi ta 8 le overo rettitudine; onbra essere terminata nell'angolo 9 della congiutione de sua lati e no passare piv s

"men"

noti

dicie

quessto.

che ecquella

THE THEORY OF THE ART OF PAINTING.

corpo dove nascie se

ved and""3figura _ _ primary sha-

do*

The derived shadow can never resemble

mai simile 2 al lume no sara della

onbra diriuatiua no

TIL' the reia-

fia

the 16 body D d y from which t}

e gradezza del corpo obroso 1 .. -. _ _, obra dinvativa no puo essere simile .

164.

6a]

HOW

A CAST SHADOW CAN NEVER BE OF THE SAME SIZE AS THE BODY THAT CASTS IT.

FIA

3Se li razzi luminosi sono, come sperieza coferma, cavsati da uno solo puto e I corso circulate al suo puto si vanno

If the rays of light proceed, as experience

from a single point and are diffused in a sphere round this point, radiating and dispersed through

shows,

disgregado e sparg edo per 1'aria, quato piv s'alontanano piv s'a6 largano e sepre la cosa posta fra lume e la pariete e portata per obra maggiore perche ?i razzi che la toccano 8 givnto lor cos

the

air,

the

farther

they

spread

must spread; and an object placed between the light and a wall is always imaged larger in its shadow, because the rays that strike it [7] would, by the time they have reached the wall, have become larger. the wider they

cor^so alia pariete e fat I0 to piv largo.

size as the

the shadow.

The derived shadow cannot be of the same form as the primary shadow unless it is intercepted by a plane parallel to it.

MAI SIMftE PER GRADEZZA ALLA SUA CAGIONE.

Br.

proceeds unless the

body causing

COME L'OBRA SEPARATA NO 2

R same form and

5 per figura alia primitiva, se essa no percuote fra equal! 6 angoli.U

Ash.

166.

163.

H.* 28*]

[163

170/5]

Ogni obra separata dal corpo obroso e tutta della natura e qualita di quella 3 ch' e 4 il mezzo cogivnta a esso corpo

Any shadow cast by a body in light and shade is of the same nature and character as that which is inseparable from

obra s sepre si dirizza al mezzo del corpo luminoso 6 neciessario e che o 7 gni obra 8 risguardi col suo mezzo 9il mezzo del suo lume.

the body.

;

della

lughezza

di ciascuna

The

centre of the length of a

shadow always corresponds to that of the luminous body [6], It is inevitable that every shadow must have its centre in a

;

line with the centre

OF THE PYRAMIDAL SHADOW.

DEL' OBRA PIRAMIDALE. 2

The pyramidal shadow produced by a columnar body will be narrower than the body itself in proportion as the simple derived shadow is intersected farther from the body which casts it.

L' onbra piramidale gienerata dal 3 corpo On the shape parallelo sara tanto piu stretHa che '1 corpo "shadow! obroso, quato la seplisce onbra deriuativa 6 (166-174). fi a taglia ta piu distante al suo corpo obroso. i

6 R.

165. i. obr. [si dirizi

164.

3. razi

2. ettulta

chorpo

3. figure e

nasscie selume.

164. 2. gradeza.

166. 3.

mezo .

quela.

del suo].

strec.

solo. 3.

chorpo.

lines are

4. .

mezo

[lume] risguardi

chel chorpo.

The following

gradeza.

circhulare

disstante

dirivativ

van. .

mezo.

wanting to com-

. tocano. magiore perche d_. 7. A.' i razi mezo. 6. [Egli e] neciessario e cheo. 7. gni obra

diriza

166. Compare we here conceive

of its

percote.

5. 6.

mezo.

former sentence, but in different words, does not, in the original, come next to the foregoing sections 172 and 127 are placed between them. in

po.

chorpo.

This second statement of the same idea

165.

essepre.

lugeza.

plete the logical connection.

light.

166.

E. 31 a]

163.

of the

the

;

this

shadow apex is

No. 166.

what

first

diagram

No. 161.

of the outlines of the pyramid the ground as prolonged beyond

on this

the

gives is

rise

spoken

of at

second the

pyramid; beginning of

167

THIRD BOOK ON LIGHT AND SHADE.

169.]

167.

170,5]

QueP onbra separata avra

lume

fia

piv luga

piv basso.

the light

sfia piv brieve,

^QuelPobra separata 6 quale avra il lume piv

The

che

The

alto.

the light

cast is

shadow

will

be longest when

will

be shortest when

lowest.

shadow

highest.

Tr. 28] 2

L' onbra primitiva e dirivativa fia mag3 giore a essere cavsata da lume di cadela aria ^tato dell' che quello 11 quato spobra diIf

minor riva 6tiva entra 7 la maggiore nella I0 tato la 9cavsa della mi nore e piv "luminosa che

Both the primary and derived shadow be larger when caused by the light of

a candle than by diffused

light.

The

differ-

ence between the larger and smaller shadows be in inverse proportion to the larger

will

and smaller

maggiore.

lights causing them.

Ash.

will

25 a]

QUELLI CORPI CHE FIENO PIV PROPINQUI O REMOTI DAL LORO LUME ORIGINALE FARANO PIV 2 O MENO BRIEVE LA LORO OBRA DERI-

ALL BODIES, IN PROPORTION AS THEY ARE NEARER TO, OR FARTHER FROM THE SOURCE OF LIGHT, WILL PRODUCE LONGER OR SHORTER

VATIVA.

DERIVED SHADOWS.

4 3jfra i corpi d' equal gra dezza quello che da maggior slume alluminato fia avra 6 la sua obra di minore lughezza; 7 Nello sperimetare s' afferma la sopra detta propos m-n-e sitione per cagione che '1 corpo

167. i.

ombra

168. 2.

magiore

169.

separata.

chausata.

chorpi cheffiano.

168.

[sia]

In the

diagrams

ara ilume.

chadela.

chorpi.

Quello obra [fia piv] separata. 5. ara. magiore nela. n. chella. 12. magiore. magior. 5. ara. 6. lungeza. 4. deza

4. 7.

stands

for

celo

(sky),

for cadela (candle). 169.

The diagram, given on

in the original

between

lines 2

PI.

IV, No. 2, stands 7, while the text

and

Among bodies of equal size, that one which is illuminated by the largest light will have the shortest shadow. Experiment confirms this proposition. /Thus the body m n is surrounded by a larger amount of light 6.

ilume.

chagione.

abraciato.

chefFa

of lines 3 to 6 is written on its left side. In the reproduction of this diagram the letter v at the outer right-hand end has been omitted.

THE THEORY OF THE ART OF PAINTING. abbracciato da piv parte di lume che '1 corpo q come di sopra si dimostra; 'Diciamo che v c a b d x sia il cielo che fa il lume originate e che s t sia una 10 finestra / dode etri le spetie luminose e cosi " cotraposti a \p q sieno i corpi obrosi n sara di minore obra dedetto lume; riuativa perche la sua obra ori I2 ginale fia poca e il lume diriuatiuo fia grade perche

ancora

fia

grande

originale c-dobra diriuativa perche la

lume

'^il

\p q- avra piv sua obra '* originale fia maggiore; il lume suo derivative fia minore che quello del corpo '5; perche quella parte dell' emis1<5 che perio a b che 1'allumina e minore 1' n. emisperio c d alluminatore del corpo '

than the body / q, as is shown above. Let us say that v c a b d x is the sky, the source of light, and that s t is a window

by which the luminous rays enter, and so m n and / q are bodies in light and shade as exposed to this light; m n will have a small derived shadow, because its original shadow will be small; and the derivative be large, again, because the origid will be large and p q will have more derived shadow because its original shadow will be larger, and its derived light will be smaller than that of the body m n because that portion of the hemisphere a b which illuminates it is smaller than the hemisphere c d which illuminates the body /// n. light will

nal light c

170.

H.J

Quella proportione

la linia

tale

b c

avra

colla

The shadow

same proportion

scurita

dow n

ochio

primo 5

scurita

appari-

a b

grado

ragione b non vede

dodetri

echosi.

perche [lemisper] quella

the

that as is

gets

grade of

a b the sky

visible,

shadow

se-

third?

from nowhere no light

whatever from the sky, and so has no direct [pri-

mary]

light.

pocha ellume

chellalumina.

16.

anchora.

13. c

. ||

[AJ p

ara.

14.

faces

of the sky

the portion

12. .

shadows of

first

b c

The reason

cuna parte aduque ? nessuna del cielo parte uede lui e per questo e 8 priva to del lume origib c vede la parte nale

15.

the

cond;

sia

different

strength,

cielo in al-

PAINTING.

the least strong. Why is the

b c e in secoe in terzo ? La si e che 6 c a

10.

line

equal strength that which is nearest the eye will seem

b e

di pari 1' onbre quella che sia piv all'

the sha-

minore oscurita. 4 Perch e a 1' onbra

bears the

171.

PlTTURA. Infra

the

the line

25 IrtJ

qualita visina

che

linia

colla oscurita n.

Ash.

[170.

magiore ilume.

chorpo.

3. osscurita.

170.

ara.

171.

Infrallonbre

chessia.

aparira

osscurita.

schurita.

sechodo.

cieno in alchuna.

dacquela.

10.

ma-

THIRD BOOK ON LIGHT AND SHADE.

I73-J

da quella e alluminata: c k essendo visto c d da maggiore soiiia di cielo "che non e b c e ragiohe vole che sia piv luminoso, I2 e cosi insino a cierta distantia il muro a

del cielo

vede

f-g-zI0 cielo

g and

senpre

rischiarera per le dette ragioni I4 scurita del' abitatione

insino a tato che la viciera

Br.

lume

illuminated by

it.

the

faces

sky at h k. c d, being exposed to a larger extent of sky than b c, it is reasonable that it should be more lighted. And thus, up to a certain distance, the wall a d will grow lighter for the reasons here given, until the darkness of the room overpowers the light

from the window.

della finestra.

172-

I70<5]

lume dell' aria 3 sara costretto 4 corpi 6brosi, essedo essi corpi sdal cietro d'essa equidistati 6 finestra, quello che si trovera piv traverse fara maggiore

Quado

a luminare

When

the

restricted

[by

76bra dopo

se.

light of the atmosphere is an opening] and illuminates bodies which cast shadows, these bodies being equally distant from the centre of the window, that which is most

obliquely placed will cast the

shadow beyond

largest

Ash.

*73-

24^]

These bodies

Quelli corpi sparsi situati in abitatione alluminata 2 da una sola finestra faranno

queMa fia piv luga che suo corpo meno "luminoso: e tato alluminatore

Fu Fombra sua quarto I2

luminoso

piu

F al 1 6 tra.1

avra onbra 2

Q uella co

situati 2

finestra,

piv

a quello

2fS

ai traversi

mezzo

173.

the

VOL.

this

is:

window

the

and

the

pare grade,

mezzo vede

have only a

13. risciarera

drawing

14- surita

attato.

[si

trova] 2.

sie.

[questa]

PI.

iscorto;

alumatore que. 9. m oo "e" 18. n

Compare the diagram on

original

its

la finestra

spirachulo.

appears

That proper form

situated

obliquely

che

propia forma, e

chorpo qu*'a". 15. chorta. mezo. queli 24. lobra .

obliquely placed ones it appears foreshortened; to those in the middle, the window shows its full size, to the oblique 'ones it appears smaller; the one in the middle faces the whole and those on the side hemisphere that is e

uederanno

12. chosi.

e Idisegli.

4 and y. those bodies which are placed most in front of the middle of the window throw shorter shadows than those to

The reason why

che vedono

chorpi [separati chessi troueranno] sparsi.

piv

[lobra reale sia piv luga quato piv].

173. i.

shadow x

della

brievi

sito si e,

pare piccola, quel

giore soma. 172. i.

mezzo

Fobre

mag'Sgiore la finestra corpi

corpi obrosi, che

dritti

trauerso

traversi

And in prois least in the light. portion as one body is better illuminated than another its shadow will be shorter than another. The proportion n m and e v k bear to r t and v x corresponds with that of the

which

4- y

*fanno

quelli situati I

fia

corpo, corta che

5piv

have

Among the shadows cast by bodies of equal mass but at unequal distances from the opening by which they are illuminated, that shadow will be the longest of the body

1'altro

will

window.

J8 proportione che a in se co r t et v x, 20 tale

3La ragione che

trovano

che

fia

window

derilighted by single vative shadows more or less short according as they are more or less opposite to the

8 disequali distatie ?dallo spiraculo Io ro

room

standing apart in a

Fobra diriuativa piv o meno brieue secodo 3 che fia piv o meno a riscotro d'essa finestra. 4 \ Jfra 1' onbre fatte s da equali corpi 6

it.

Quado

IV, No.

3. cosstreto.

omeno

la effia piv luga. .

19.

k cho

che vede ma.

placed between lines

q r faces a b;

ilume.

sola

that

strip;

25.

chessi

cheffia.

magiore. Ifrallonbre.

ecquali.

suo chorpo m. n. ettato fi"a". 13. chellaltro 22. [situati]. c"o". 20. ara onbra 23. chessi

10. fia .

sechodo.

propia

uechano

acquelo.

26.

mezo

3 and 22; the rest, from line 4 to line 21, on the left hand margin.

picola

written

THE THEORY OF THE ART OF PAINTING.

and m n faces c d\ the body in the middle having a larger quantity of light than those at the sides is lighted from a point much

quelli da lato lo uedono q r vede a b a8 d\ il corpo di mezzo e cosi m n vede quatita di lume che quelli perche a maggiore 2 da cato, e allumi 9nato assai piv basso che'l a

Pemisperio

<?/

?grade cioe

piccolo cioe

below

col mezzo dell'obra 3* originate e col cietro del corpo obroso e del lumederiuatiuo 3e col mezzo della finestra e in vltimo col mezzo di quella 34parte del lume originale fatto 6 dal' emispe^srio cieleste; 3 -y h e il mezzo -

dell'obra diriuatiua / h del'obra originale / sia il mezzo del corpo obroso 37 / k del lume deriuativo v sia il mezzo della e sia 1' ultimo mezzo del lume finestra 37

da quella parte dell'emispe-

originale fatto

che lumina

rio del cielo

its

centre, the

and thus the shadow

pyramid g 4 goes into / y exactly as often as a b goes into e /. The axis of every derivative shadow passes through 6'/2 [31] and is in a straight line with the centre of the primary shadow, with the centre of the body casting it and of the derivative light and with the centre of the that finally, with the centre of the portion of the source of light which is celestial hemisphere, y h is the centre of the derived shade, / h of the primary shadow, / of the body throwing it, / k of the derived light, v is the centre of the window, e is the final centre of the original light afforded by that portion of the hemisphere

window and,

of the sky which illuminates the solid body.

corpo obroso.

174-

C. 21 a]

L'ONBRA

PIU

QUANTO TANA

DELLA PRIMITIUA CIPA

S'ALLON2 PIU PARTI-

DIRIVATIUA

TANTO

THE FARTHER THE DERIVED SHADOW PROLONGED THE LIGHTER

DI CHIAREZZA.

You

3Tal proportione quale a il diamitro dell' onbra- diriuatiua

con quel-

primitiua, tale trouerai nella oscurita

sia

dia-

volte

piv

fia

that

the

derived

shadow, I a b going, that say as you see, three ti-

chiara

mes into d shadow d c

the

will

three times as light as the shadow a b. [8] If the size of the

body

than

that

piramida.

31.

illuminating larger

per 6'/2 (passes through 6'/2). The mean the ing of these words is probably this: Each of three axes of the derived shadow intersects the 31. passa

of the primary shadow (ombra oriby prolongation upwards crosses six lines.

(mazo)

and

shadow

mary

giore

centre

that

derived sha-

of the

che quella di a b. 9se la grandezza del corpo alluminate supera quella del corpo I0 alluminato accadera onbrosa intersegatione dopo la quale

ginale) and,

prima-

[6] Let a b be the diameter of the pri-

dico che etrando come vedi a b 3 volte in d- c 8 che

the

shadow and

dow.

lo della -di 7 riuatiua-,

onbra

between the

that

darkness of

mitro dell' onbra primitiua c d- sia-quel-

will find that the

same as

dell'obra s primitiua -con quello della diriuatiua.

a b

BECOMES.

proportion of the diameter of the derived shadow to that of the primary shadow will be the

lo della

And

shorter.

suo cientro, e per6-P6bra e piv breve, e tato 3 in tanto la piramide e quato a b entra g 4 entra in l-y appunto. 3 Ogni mezzo d'obra dirivativa passa per 6 /a e si dirizza -

[174-

queli

This

chato e alumi.

self evident

29. asai.

30.

mez

only in the middle diagram

;

equally true of the side figures if we conceive of the lines 4 /, x n v m, y I k v, and 4 e, as

but

prolonged beyond the semicircle of the horizon. 8. 174. 6 Compare No. 177.

175

THIRD BOOK ON LIGHT AND SHADE.

I78-J

"I'onbre correranno corsi

due

da due

body an intersection of shaoccur y beyond which the shadows will run off in two opposite directions as if they were caused by two separate lights.

con-

diuersi

lumi

the illuminated

dow

di-

nuassmo.

will

175-

PlTTURA. 2

L'onbra diriuatiua 3e tato piu potete piv vicina

ell'e

quango

sua principi.

Salli

PAINTING.

The derived shadow portion as

the stronger in pro- On ti e

nearer to

its

place of origin.

reia-

o f derived

shadows (175-179)-

Ash.

is]

176.

COME L'OBRE PER LUGA

DISTATIA

HOW

SHADOWS FADE AWAY AT LONG

PERDONO.

DISTANCES.

L'onbre-si perdono I lunga distatia perche la gra quatita dell' aria luminosa, 3 che si truova Ifra 1' ochio e la cosa veduta tigne le sue obre d'essa cosa nel suo

fade and are lost at long because the larger quantity of illuminated air which lies between the eye

colore.

its

Shadows

distances

and the object seen

Tr. 22]

own

the

tints

shadow with

colour.

177.

LUME

Quate volte a b tato fia piv scuro

C. A. 3 6a;

etra in

a b

c b

a b che c

proportion as

quanto

onbra o p

ella

h e tanto

piu s'avicina alia chiara

b s cioe vn de

dove sia

collocata, lati

d'essa pa-

6 Addunque diremo la h essere piu oscura che

tra parte dello

spatio

176. i.

come

3. ettato

which

?al-

line

potete q"a".

distatia si perdono.

window is, be b one of the sides of

this

say that the darker than any

other part of the space o p c h, the because this line faces whole surface in shadow of

p c h,

nearer

Then we may

linia

[son] lobre

line

s, that is, the wall.

8 perche essa linia ve de ed e lo da tutto veduta spatio obroso

175.

h and is lighter in it is nearer to the as proportion Let the light a b, be line o c. a window, and let the dark wall the

riete.

than a

can be proved why the shadow o p

stra, e la pariete oscura,

finestra

d is broader

darker in proportion as

lima / k, ed e tanto piu 3 quato essa piu s'avicina alia linia o c e sia il Mume # b finetale

178.

II5]

Pruovasi perche piv oscura,

be darker than

will

illunga

dellaire luminoso.

chessi

ella

sue obre d'essa cosa.

177. 2. suro. 178. i.

op c h e ettanto

osscura

tanto pi.

essia.

177. In the original MS. the word lume (light) written at the apex of the pyramid.

ella

osschura

178.

tween

tal finesstra.

e cholochata.

In the original the diagram

lines

27 and 28.

direno

placed be-

THE THEORY OF THE ART OF PAINTING.

100

della pariete b s , ma 'la linia o c & piv I0 chiara che altra' parte d'esso spa tio o p lo vede linia c h perche essa spatio lu-

"minoso a

the wall b

Where

1 Doue 1'obra e maggiore o minore o equale '^al corpo obroso sua origine.1 ['*Di prima della qualita de lumi divisi.

The

tal

4yeduto dalla oscurita a

dalli stremi]

onbre

lume dopo

THE ACTION

quello che facci

chonposste.

22.

Dicho

179. i.

lume

that

tale ofitio.

dactutto losspatio.

15.

9. [losspatio] la linia.

16. partichulare.

17.

chonposta.

24.

lumi

179.

[pro-

compound shadow

OF THE LIGHT AS FROM

ITS

o p c h

osschurita.

vedvuta

this

CENTRE.

20.

vede

12.

\\\\\

ellobroso

osschurita

effect.

magiore ominoe.

essia.

osschuri.

25.

21.

pariete

esstrinsicho

"a" De Dellonbra chonposita. acquello

divisi. The text here breaks off abruptly. The diagram belonging to this passage is between lines 4 and 5 in the original. Comp. the reproduction PI. IV, No. 4, The text and drawing of

14.

divided into four parts. The first which include the compound

produces

10. tio [perche]

cho

19.

. ilato. dongni chorpo. 23. cholor stre'"me". 29. 4 p"a" p"a" delli. 31. chosuo. 2. scttutto fussi chavsassi .

If it were the whole of the light that caused the shadows beyond the bodies placed in front of it, it would follow that any body much smaller than the light would cast a pyramidal shadow; but experience not showing this, it must be the centre of the light

fusse

26. chosi

shadow, secondly the between these extremes.

CIETRO.

according to the

say

the extremes,

quello che cavcorpi a quello cotraposti converebbe, 3che quello corpo ch'e molto minore che' 1 lume facesse dopo se vn obra piramidale -, e la spe^rieza non lo mostrado couiene che'l cietro d'esso lume tutto

osschura.

179'

L'OPERATIONE DEL LUME COL SUO

sia

such

ded between them.]

This

den-

C. A. 201 a; 597 a]

under

that the outer surface which faces the light d a participates of the light ; thus we get the outlines of the extremes on each side of the centre inclu-

Questa si diuide in 4 parti 29 prima delli stremi c6tene"3ti 1'onbra con-

way

sasse

surrounding it, that the side r c, which faces the dark wall a e must participate of its darkness and, in the same

participa

posita, 3'seconda, Dell'onbra coposita tro alii sua stremi.

F. R, C.

position]: that the surface of any body is affected by the tone of the objects

d'essa oscuri 2 sta e similmete il lato estrinsico ch'e veduto dal lume 2(> da participa d'esso lume e cosi abia de2 finite tale stremo ?del niezzo cote-

nuto

shadow

Then

2 d'ogni corpo par 3ticipa del color del suo obbietto, adunque il lato r c, ch' e 2

larger,

la superfitie

or smaller,

Let d a, be the light and n the solid body, and let a e be one of the side walls of the window that is d a.

conditions as that where it is farthest from its inner side it loses depth in proTo prove this: portion.

la 2

because

CAUSED BY A SINGLE LIGHT.

'^L'onbra composta r c h & in conditionata l8 che quanto ella piu remota dal suo lato intrinsi-

a; Dico per

than

lighter c h,

OF THE COMPOUND SHADOW

modo

shadow

the

or equal the body which casts it. [First of the character of divided lights [14].

DELL'ONBRA COMPOSTA p. R, c, 11 l6 NATA DAL LUME PARTICULARE.

luminous space a

line faces the

this

'9co, tanto perde della suaoscurita; pruovasi 20 Sia adunque il luminoso da e 2I 1' obroso a e vna delle n, e sia laterali della finestra cioe parieti

line

the other part of this space o

The

[179-

chonverebe.

chorpo

13. .

chorpo.

finesstra.

che vcduta. .

faciessi

ella.

4. rieza

nol

chapter have already been published with toleSee M. JORDAN: "Das Main-buck accuracy. des Leonardo da Vina". Leipzig 1873, p. 90. this

rable

i8o.

THIRD BOOK ON LIGHT AND SHADE.

181.]

IOI

PRUOVA.

PROOF.

gradezza del lume d' una quale dia il lume a vno bastone ritto i pie 7 da a c e da a d sia dove la finestra. tutta iteramete da il suo lume Jn c e no puo vedere quella parte 8 ch' e ifra / b della finestra E simil

Let a b be the width of the light from a window, which falls on a stick set up at one foot from a c [6]. And let a d be the space where all the light from the window is visible. At c e that part of the window In which is between / b cannot be seen.

finestra

sia la

mete -d-f- no uede a cagione

mare

lume.

questi

e per questa co9micia a stre-

lochi

the light begins to

fail.

180.

c. 84]

Quel corpo obroso che

collocate

infra equali

fara tate obre

fia,

qua

A body in light and shade placed between Shadow two equal lights side by side will shadows in proportion to the [amount of] And the shadows will be one darker light.

lumi

fieno

ti;

lumi, le quali obre fieno tato piv scure 1'una

che

1'altra,

sita

parte

quato

lume

che

piv visino a

fia

dall'oppo-

esso corpo

than the other in proportion as one light is nearer to the said body than the other on

che

altri.

same way a m cannot be seen from and therefore in these two portions

the

the opposite side. 5

Quel corpo onbroso

che

tween two

quato i lumi d'esso ^ 1' una che 1' altra.

light other.

Br.

sie

cagio

lume minore che corpo obroso T ombre terminare in esso corpo e fa poca obra

giore

deeper which causes

than

brighter

the

l8l.

170^]

*meno

lights will cast two shadows, one than the other in proportion, as the

maggiori

an equal distance be-

body placed

equalmete distate infra 2 lumi situate sia, fara 6 due obre tanto piv oscure 1' una- che 1'altra

5 il

corpo

vede piv di mezzo e obra mista.

produces shadows

of which the outlines end within surface

[the

the

of]

body,

and

much compound shadow; and

not

on less than half of it. A which is larger than the

falls

molta

smaller than the body

illuminates

lume magobroso

which

light

mista, e lo vede

mezzo;

che'l

light

body

on more

illuminates, falls

it, and produces much shadow. compound

than half of

mostrado chouiene iochl cho.

180.

Infrae.

lumi [ch] situato. 181. i. ilume . . obrso.

cheffacci.

gradeza

pie [c d].

sie

Itera raeta

po.

Essimil

mete

chagione

9. ilu ne.

bastone (stick).

place of a stick.

Quel chorpo

osschure 3.

effa

pocha

chollochato

chellaltra .

mezo.

quato 5.

chellaltra.

elumi

cheffia

chagio

magiore chel chorpo.

The diagram has a sphere

180.

oposita

magiori

mezo

above the

the

first

chorpo piv

chelli.

chorpo

chellaltra.

effa.

MS. the

diagram is placed one between 1. 4 & 5.

larger

line; the smaller

THE THEORY OF THE ART OF PAINTING.

IO2

Ash.

OF THE SHADOW CAST BY A BODY PLACED BETWEEN

IFRA 2 EQUALI LUMI.

Quello corpo che ifra 2 equali

lumi

body placed between 2 equal lights will shadows of itself in the direction of the lines of the 2 lights; and if you move this body placing it nearer to one of the lights the shadow cast towards the nearer light cast 2

^ proplquo lume, fia di minore oscuche quella che si dirizzera al piu lotano

al piu rita, 8

L. 145.

The

plice

derived

lighted

of shadow is shadow because it

E questa e d'uniforme oscurita natu^rale,

terza oscurita e 1' onbra ^ media, ma questa non e di vniforme l6 oscurita natural e, perche quato piu 17 s'avicina alia senl8 plice obra diriva tiva, tanto si fa piu oscura, e la uni IQ formita vniformemete difforme acciden 20 tale e quella che la corronpe cio che 2I qua to piu si discosta dalli due luminosi si 22 fa piu oscura.

due

lumi.

182. i.

corpo.

lumi [che

183. i. osschurita 9.

22.

183. PI.

osschurita.

cquessta e

quelo chorpo chessi

allaltro]

di.

osschura.

lombra

ella.

10. 16.

osschurita

The diagram to To the left is the

of the text belonging to

chollochato.

quato

pi.

ecquessta.

this

section

n. 18.

the darker in natural tone in proportion

all it

quali.

20.

26. acidentale

given on

5. esse

detto

\\\

corpo effara.

chessi dirizera.

osscura ella unifor.

facsimile of the beginning it.

it [13]. third degree of depth

sisschossta.

24. osschura.

c d.

illuminated by

he efn ecquessta ella. 12. dattale lume

that

muvera obre che

oschurita

osschurita ello.

cholla osscurita.

23. hellonbra

chessi dirizera.

sechoda

Massi

nearer to k s, because it gets less of the light a b, but by the accident [of distance] it is rendered less deep, because it is nearer to the light c d, and thus is always exposed to both lights. as

s'avicina al

perche piu

28 que sta sepre vede

is the middle But this is not uniform in natural tone; because the nearer it gets to the simple derived shadow the deeper it is[i8], and it is the uniformly gradual diminution by increase of distance which is what modifies it[2o]: that is to say the depth of a shadow increases in proportion to the distance from the two lights. The fourth is the shadow k r s and this

La quarta e 1' onbra k r s, e questa si tanto piu oscura di scurita naturale, 2 quanto Sessa s'avicina al k s, perch me vede del lu-' 6 me a b, ma per accidentale piu d' oscu-rita,

not c d.

shadow [15].

c d,

less

light,

The

lume

lights

in the is

uniform in natural tone because it is lighted throughout by one only of the two luminous bodies [10]. But it varies with the conditions of shadow, inasmuch as the farther it is away from the light the less it

perde

less

a single This

I0 la perche per tutto vn sol de'due luminosi vede; Ma si varia colla oscurita "accidentale, I2 da tale lume, perche quato piu si scosta '3 me participa della sua chiarezza.

falls

deep shadow is the deriand in this the shadow by half, because it is illuminated by

ved shadow is

of the two

either

The next

rischiarata cioe c d.

which

that

greatest depth

simple

than

deep

183-

Ao]

oscurita delle obre e la seonbra dirivatiua, perch essa no ve^de lions in "h e nessun de'due lumi a I, c d. derived La secoda di minore oscurita e shadows .... oscurita (183187). dmvativa e j n, e questa e la minore la meta perch6 da vn sol lu^me '

less

.towards the more distant one.

La massima

Further

will

lume.

EQUAL LIGHTS.

trovera collocato

movera da

se 2 obre le diffc'rfnt' dlquali si dirizzerano per linia a 2 Mumi e se stances, nrnoverai detto corpo e farai lo piu presso 6 all'uno-de'lumi, 1'ombra sua, che si dirizzera effect

183.

182.

5*1

DEL'OBRA FATTA DA UNO CORPO SITUATO

The

[l82.

15.

6. (pi]

quela chella

dosscu.

27.

20.

14. .

7. rissciarata.

osschurita

cioe cheq"ua".

cd ecq.

cllonbra.

Compare

(the

29. osschurita.

middle shadow).

lines

1013.

ecquesta. 15.

ma-

21. disschosta.

30. ciasscuna.

gather from what follows that

means pmbra media 18

osscurita.

me.

JHf

Heliog-.

Dujardin.

'.,

Imp, Kudes.

THIRD BOOK ON LIGHT AND SHADE.

84.]

9La quita e di jninore oscurita 3 c he ciascuna delle altre perche sen3 I pre vede u de due lumi interi e tutto 3 2 o parte dell'altro, e questa tanto 33 pi u perde d' oscurita quanto 34 ella piu s'avicina alii due Iu35mi, e tanto 36 s a vicina al lato esteriore piu quanto piu 2

The

deep in shadow than because it is always entirely exposed to one of the lights and to the whole or part of the other; and it is

184.

DELL'ONBRA

OF SIMPLE SHADOWS.

SENPLICIE.

Perche nelle intersegationi a-b delle due obre coposte 3 e f, c, si gienera 1'onbra 4 e senplicie e cosi in e h e ing, no si gienera tale obra senplicie

Why, at the intersections a, b of the two compound shadows e f and m c, is a simple

due

fatte

dalle

others

deep in proportion as it is nearer to the two lights, and in proportion as it is turned towards the outer side x /; because it is more exposed to the second light a b.

perche piu vede del secodo lume

nelle

less

C. A. 174^; S 2 3 a l

fifth

of the

either

103

shadow produced as at e h and while no such simple shadow is produced at the other two intersections c d made by the very same compound shadows?

m g,

altre intersegastioni c d,

medesime obre com-

poste dette di sopra?

ANSWER.

RISPOSTA. 7

Le obre conposte son

Compound shadow

miste

di chiaro e di scuro, e 8 le senplici so di senplicie oscurita; aduque 9 due lumi n o 1'uno vede obre coposte da vn lato e 1' altro 10 vede 1'onbre conposte dall' altro, ma nessu lume vede le inter 1 'segationi a b e per6 e senplicie obra, ma nell'obra I2 vede 1'uno o 1' altro lume; e coposta dubbio T 3per 1'aversario, qui nasce vn dicie nelle perche intersegatio dell'onbre c6po I4 ste per neciessita vedi li due lumi causa d'esse obre, e per J 5questo tali onbre si debbono annullare; concio l6 siache dove no vede li due lumi, noi diciamo 1' obra essere ^senplicie, e dove vede v solo de' due lumi diremo tal'onbra l8 esser coposta, e dove vede li due lumi, essere obra ^annullata, perche dove vede li due lumi, no 20 si 6bra di nessuna sorte, ma solo gienera

delli

on the compound shadow from one and the other on the compound

side,

la chiarezza del

delle obre;

31. 184. 2.

ettutto. 32. dellaltro

misste

and

edidisscuro.

ecqua tanto. 3.

33. dosschurita.

chosi in a h he

osscurita adduque.

Where

simple shadow.

there

light or the other falls; here a difficulty arises for adversary

since he says that, where the compound shadows intersect, both the lights which produce

the shadows must of necessity fall and therefore these shadows ought to be neutralised;

inasmuch as the two lights do not fall there, say that the shadow is a simple one and where only one of the two lights falls, we say the shadow is compound, and where both the lights fall the shadow is neutralised; for where both lights fall, no shadow of any

capo

coposste.

compound shadow one

kind

interseghatione

side, but where they as at a b; therefore

shadow from the other no light falls,

intersect

2I circudatore esser vero 22 il Qui rispode detto d' esso aversario, il quale sol fa mentione di quella veri 2 3ta ch'e I suo fauore, ma se vi agivgnie il rimanete, egli cocludera 24 esser vera la mia proposta, e questo e 25 che, se vedendo li due lumi in tale interse 26 gatione, tali obre sarebbono annullate';

copone

are a mix-

ture of light and shade and simple shadows are simply darkness. Hence, of the two lights n and o, one falls

limiting

what

produced, but only a light background Here I shall say that the shadow. said was true: but he adversary

only mentions favour; and if conclude that that

35. ettanto.

my if

36. allato seriore.

intersegha.

10.

ellaltro.

That

is:

such

conposste.

37.

n. seghationi

are

to the rest he

proposition

both

composste.

truths

we go on

lights

true.

fell

his

must

And the

sechodo. 6. .

risspossta. .

essenphcie.

conposste son 1.2.

ollaltro

noi dicia. 17. senplicie chausa. 15. annulare [sima] concio. 16. novede chopo. 14. sta 21. circhudatore. 23. se ciarezza del chSpo. 20. soli eduve vedi vsol de due lumi diriStal. 18. chSpossta 28. vedessino. 29. vede. tale. 27. Quando. uagivgnie il rimanete e chScludera. 24. ecquesto. 25. chesse. 26. ghatione nasscie.

13. interseghatio

THE THEORY OF THE ART OF PAINTING.

104 2?

questo cofesso esser vero, quando obre no vedessimo nel medesimo

point of intersection, the shadows neutralised. This I confess to be true

due

le 2

9sito,

parte alcuna essa obra, 33essendo le obre 54 equali e equali li Iu mi, e questo si prova

And

de ^sproportione dove dicie, tal proportio3 ne a senplicie potetia co senplicie nell'ottava

is proved in the eighth [propoon proportion where it is said that if

and resistance, a "double quantity will have double force and double resistance.

185-

DEFINITIONS.

La intersegatione n e create dal lume *b, perche nera 1'onbra x b e 1'obra * la e fatta intersegatione 2

DEFINITION.

a che gienera M'obra

The intersection n is produced by the shadows caused by the light b, because this b, light b produces the shadow x a and the shadow s b, but the intersection m is produced by the light a which causes the shadow s a, and the shadow x a. But if you uncover both the lights a b) then you get the two shadows n m both at once, and besides these, two other, simple shadows are produced at r o where neither of the two

dall'onbre

fatta tale

lume b

s b, ma dal lume

gie-

a e Pobra

a. 6

due lumi a due obre n 7 in u medesimo tepo, e oltre a di questo se ne gienera due altre di 8 senplicie onbre cioe r o, nelle quali no uede nes^su de due luminosi. 1 I0 tanto sono li gradi della oscurita che acquista 1' onbre c6po jl ste, quanto saran minori li numeri de' luminosi che la vedono.H b,

se tu scopri

allora

Br.

gienera

lights falls at all. The grades of depth in compound shadows are fewer in

proportion

30. coposita.

31.

vede n

addi

"simili".

cflfatte.

gienera.

32.

ellobra.

alchuna. 4.

10. osscurita.

Why

the

intersections

posed of two

34. ecquesto.

interseghatione it. site

the

lights falling on, less numerous.

86.

Perche la intersegatione n essendo co2 posta di due c6 poste obre diriuatiue gie-

185. 2. interseghatione

and crossing them are

248^]

desimo

has a single unit of force

a given quantity

quale a duplicata potetia co du-

plicata resistetia.

[neither

this

sition]

M. 2430)

would be if

shadows fell in the same spot; because, where a shadow and a light fall, a compound shadow is produced, and wherever two shadows or two equal lights fall, the shadow cannot vary in any part of it, the shadows and the lights both being equal.

Br.

186.

the two

of]

3 lume, perche se dove vedi vn'obra e vn e dove 3'vedi due obra si gienera coposta, 2 lumi no si 6 variare obre e due simili, pu^

resisted 7tia

[185.

numere

37.

effatta. .

n being com-

compound derived shadows,

co dup "ta". 5.

sa he lobra. .6.

chella \\\\dano.

Massettu

gienera.

nu me-

THIRD BOOK ON LIGHT AND SHADE.

I8/.J

nera onbra coposta

^ e no senplicie come fan 1'altre intersegationi dell obre copos^te.

forms a compound shadow and not a simple as happens with other intersections of compound shadows. This occurs, according nd to the 2 [diagram] of this [prop.] which The intersection of derived shadows says: when produced by the intersection of columnar shadows caused by a single light And does not produce a simple shadow. st this is the corollary of the i [prop.] which The intersection of simple derived says: shadows never results in a deeper shadow, because the deepest shadows all added together cannot be darker than one by itself.

la 2 a di

Questo accade per

questo che

one,

di-

intersegatione dell' obre dirivativenata dalla ^ intersegatione delli obrosi collunali alluminati da u sol Iu 8 minoso non gienera onbra sepliciell; e questo nascie 9 per

cie U

prima che dicie la intersegatione delle senI0 onbre diriuatiue mai acquista oscu:

plici rita

perche

sieme

somme

tutte le

oscurita in-

ac I2 quistano

non

giunte

maggiore

oscurita che vna sola, perche se le mol^te somme oscurita crescessino oscurita nelle lor dup^plicationi, esse non si potrebbino no-

if many deepest shadows increased in depth by their duplication, they could not be called the deepest shadows, but only part-shadows. But if such intersections are illuminated by a second light placed between the eye and

Since,

minare oscurita so'Sme

parte di oscurita; interse l6 gationi sara alluminate

tali

da un secondo lume po I7 sto

infra 1'ochio l8 6bre sara corpi intersegati, allora tali obre conposte e avra vniforme oscurita

the

9cosi nella intersegatione come nel rima20 nete; per la prima e seconda di sopra T

come

questa 3

le intersegationi

rad-

di oscurita e di quantita.

^doppia

C. A. 187 lla; 562 a]

COME 3

187. 2

DOVE L'OBIETTO OSCURO

HOW AND WHEN THE SURROUNDINGS IN SHADOW MINGLE THEIR DERIVED SHADOW WITH

MISCHIA

COL LUME DIRIUATIVO DEL CORPO LUMINOSO.

^L'onbre

diriuative delle

parieti

THE LIGHT DERIVED FROM THE LUMINOUS BODY.

The derived shadow of

oscure

scolaterali dello splendore della finestra son

co uarie oscu 8 rita tutto :

oscuro colla sua obra "diriuatiua

dimostra per

puto

# e d del quale basa ^oscura d a c, I2

a e d, in which the angle e faces triangle the darkened base d a e; the point v faces

Tangolo e vede tutta la il puto v e veduto dalla oscur^ita a s, parte del ado. per esser piu il tutto che 186.

interseghatione

seghation. osschurita 16.

20.

seghationi

come

[1]

[cheso

187.

choposta

13.

ra.

disopra

posste

9. la

p'che

elli

5. finesstra.

The diagram on r.

21.

interseghatio

10.

interseghatione. 14. .

plichationi

tale.

chopo.

osschurita. .

ara

18.

osscurita.

site.

u. some

osscurita.

achade.

15.

disschurita

19.

chosi

radoppiano disscurita chomelle se radoppia.

22.

12.

osschurita.

d, e

inter-

magiore

Massettale.

interseghation

quessta

inter -

24. disschurita eddi.

cholle

PI.

2. .

si .

missta colla suobra diriuatiua.

misstaro.

IV, No.

tinghano.

belongs to

side. explains only the figure on""the right-hand

VOL.

choposta.

chorpi interseghati

interseghatio.

dark shadow a s which is part of a and as the whole is greater than a part,

the

cressciessino osschurita.

17. infrallochio

e dove lobbietto osscuro.

la].

cho.

some osschurita

sechondo.

per la p* e .

interseghation chollunali. selle.

ghatione

chome.

187.

dark walls light of the

the

bright are what mingle their various degrees shade with the light derived from the

tingono eccietto

side

window; and these various depths of shade modify every portion of the light, except where it is strongest, at c. To prove this let d a be the primary shadow which is turned towards the point e, and darkens it by its derived shadow; as may be seen by the

lume massi 9 mo c provasi e sia d a I0 1' onbra primiti va la quale tutta vede e fa nel

each

window

6 que! le che colle lor varie oscurita si mischiano col 7 lume diriuativo d'essa finestra e

come

become compound shadows and be

uniformly dark just as much at the interIn the i st section as throughout the rest. and 2 nd above, the intersections i k will not be doubled in depth as it is doubled in quanBut in this 3 rd at the intersections g n tity. they will be double in depth and in quantity.

then those shadows

bodies,

intersecting

would

le intersegationi i k no si raddoppiano di 22 oscurita elle si raddoppiano di qua tita,

105

9. essia.

this

chol

10. effa.

passage;

lumi "noso". 12.

but

langholo.

lonbra dmuativa

14. eser

chella.

osscure

15. osscu.

must be noted that the text

THE THEORY OF THE ART OF PAINTING.

io6

sara parte e, che vede il tutto della basa, l6 mevede v che ne ro che oscu parte; piu 5

diate la coclusio'^ne t

sark

sopra

os l8 curo che

meno

alia

v perche ^ basa del

figura, la

basa

v e e parte della similmete succede / meno o 20 scuro del /, del /

perche del

e parte della ba 2I sa /-e'l c e termine del'obra dirivatiua la

basa del

massimo

e pri"cipio

della

massima parte

alluminata.

17.

fighura

[c piu] sara.

18.

churo.

19.

which faces the whole base [of the triangle], be in deeper shadow than v which only faces part of it. In consequence of the conclusion [shown] in the above diagram, / will be less darkened than z/, because the base of the / is part of the base of the will

v; and in the same way it follows that-/ is less in shadow than /, because the base of the /. / is part of the base of the And c is the terminal point of the derived shadow and the chief beginning of the

highest

[l8 7

essimilmete suciede

meno

light.

os.

FOURTH BOOK ON LIGHT AND SHADE. I.i

188.

37 e\

La stanpa dell' onbra di qualuque cor po uniforme grossezza mai sara simile ^al corpo donde ella nasce. 2

The form of the shadow cast by any On the shape body of uniform density can never be the of cast sha same as that of the body producing it. (188-191).

c. A. 184

189.

5553]

6-,

sulla pariete la

No cast shadow can produce the true image of the body which casts it on a vertical

stremi d'esso corpo.

plane unless the centre of the light is equally distant from all the edges of that body.

Nessuna obra separata potra stampare uera forma del corpo obroso, se il cietro del lume no fia equidistate dalli

190.

Se la fmestra a b mada per se in casa cresciera codesto sole la gra 2 dezza sole della finestra e diminvira 1' onbra

omo

If a a room,

cotatto 6 lo effetto e sopra figurato apputo.

188. 2. grosseza.

189.

stapire suli.

190.

sella

188.

2. sel

chasa

Comp. is

qui

which defines the real size of the window, he will see the shadows where they come into contact, dim and confused from the strength of the light, shutting off and not allow-

ing the solar rays to pass; the effect of the shadow of the man cast by this contact will be exactly that figured above.

nassciesi.

civdere e no [po]

190. It

che

the sunlight into sunlight will magnify the size the window and diminish the

shadow of a man in such a way as that when the man makes that dim shadow of himself, approach to that

fuse dalla potetia della luce chiudere e no laSsciare passare i razzi solari, e fara 1' onbra fatta dall' omo sul detto

the

modo

che quado detto omo acco^stera quella obra di se persa a quella che porta la uera gradezza della finestra, vedra 4 in sul contatto dell' onbre perse e codell'

window a b admits

la.

alii.

desto sole. 5.

razi solari

the drawing on

PI.

deza

[chome

imodo checquado

acjeffara.

XXVIII, No.

render the meaning accuracy; mainly because

scarcely possible to

of this sentence with strict

the grammatical construction

defective in the most

acho.

acquella

gradeza

vedera.

chontatto

effigurato aputo.

In the very slight original important part line 4. sketch the shadow touches, the upper arch of the window and the correction, here given is perhaps not justified.

THE THEORY OF THE ART OF PAINTING.

108

C. A. 237 II;

I91

75*1

L'onbra no

A shadow is never seen as of uniform depth on the surface which intercepts it unless every portion of that surface is equidistant from the luminous body. This is th which says: The shadow proved by the ;

dimostrera mai d'uniforme

2 loco dove essa si taglia se tale oscurita nel 3 loco non e equidistante dal corpo luminoso;

che diceTI quell' obra provasi per la ; * dimostrera o piu oscura che fia chiara piu circunda s ta da capo piu oscuro o piu chiaro, 6 avra per la ottava di questol quel campo le sua parti tanto piu ?scure o piu chiare 8 sara piv remoto o piu vicino al a

appear lighter or stronger as it is surrounded by a darker or a lighter background. And by the 8 th of this: The background will be in parts darker or lighter, in proportion as it is farther from or nearer to Of various spots the luminous body. And equally distant from the luminous body those will always be in the highest light on which the

will

quato egli distancorpo luminoso- ell infra li siti d' equal <>tia dal luminoso quel si dimostrera piu alluminato I0 che ricieve li razzi luminosi infra angoli piu equali, "senprel 1'onbra segnata I2 si dimoin qualunche inequalita di sito trera colli sua vari termini equali al corpo

^onbroso, se 1'ochiosi pone dove

rays fall at the smallest angles: The outline of the shadow as it falls on inequalities in the surface will be seen with all the contours simi-

cietro

of the body that casts it, if the eye is placed just where the centre of the light was. The shadow will look darkest where it is

del luminoso.

lar to those

che QuelF onbra si dimostra piu oscura I6 l'6bra e piu remota 'sdal suo corpo obroso; c d, nata dallo '?a se equidistate corpo 6 l8 broso a b, no si dimostra ^equale in 20 oscurita per esse re in capo di uarie chia-

farthest

dow

is equally distant in all parts, is not of equal depth because it is seen on a back ground of varying brightness.

192.

C. A. I24<i; 3830)

termini

''""adow? (192-195)-

distinti

piu cussione

The edges of

quella obra diriuativa sadella quale la sua per-

most

fia

from the body that casts it. The shacast by the body in shadow a b, ,

which

re 2 ^ze.

194.

piv propiqua

all'

ombra

a derived shadow will be

where

distinct

cast nearest to the

ori-

primary shadow.

ginale. 193-

C. A. 3630;

piu 1'onbra diriuativa si primitiva, piu si uaria 3 primitiva co! li sua termini.

Quato

dall'obra

remove da essa

191.

lume sara maggiore

tanto

obroso,

corpo

ara

parte.

greater the difference between a and the body lighted by it, the light being the larger, the more vague will be the outlines of the shadow of that object.

oppiu

locho

settale

locho

al.

chorpo.

osschuro oppiu chiaro [ecqua] per la chapo infralli esara "piv remoto o" piu vicino [orremoj. 8. to al

10. angholi.

12.

dimossterra cholli.

20.

chapo.

13. sellochio si po.

14.

dimosstra

osscura.

15.

8*. .

dimosstera

4. 6.

quessto

disstan.

chorpo.

tia al

191.

Compare

cofusil termini

the three diagrams

17. asse equidisstate

percu.

on PL VI, no

dimossterra.

chol.

6. ara.

chiarara

chanpo[sia]

193. i. disstinti.

193. i. dellobra.

END.

light

di tal

duniforme osscurita.

[de]

19. iscurita.

194. 2. magore.

dis-

The

del corpo

sara piu confusi.

dimossterra mai

termini dell'onbre

oppiu osschura cheffia circhunda. .

mqre

gets

OF SHADOWS WHICH NEVER COME TO AN

OBRE CHE MAI SO TERMINATE.

Quato

shadow

derived

the

from the primary shadow, the more the cast shadow differs from the primary shadow.

194.

C. A. 146^; 4340]

As tant

which, in the original accompany this section.

chorpo.

PL, VI

Eude

FOURTH BOOK ON LIGHT AND SHADE.

1956

Quell'obra dirivatiua avra piu ^cofusi termini della sua percus 8 sione nella pa9 e riete, la quale piu remota dal suo corpo obroso.

The derived shadow will be most confused towards the edges of its interception by a plane, where it is remotest from the body

195-

232^]

Che causa e

2 termini quella che fa li obra cofusi e in^gnoti? 4 Se'l'e possibile di dare termisni spediti

dell'

e noti

Ash.

cofini

alii

delle obre.

E PIV PROPIQUO 2 AL LUME FA MAGGIORE OBRA, E PERCHE?

antiposto a uno partipropiqua vHcinita vedrai a quello fare obra gradissima nella cotra5 posta pariete e quato piv allotanerai detto obbietto dal Iu 6 me, tato si diminvira la forma

Se uno lume

fia di

discordantia della proportione delI0

l'obra grade piv che la sua

cagione nascie,

il lume sendo minore che no puo esse^re di equale distatia

perche

obietto,

alle stre-

mita

d' esso obbietto, e quella parte ch' e piv distate piv cresce che le propique, e pero .

CAGIONE

chausa ecquella cheffa. che piv. 2. alume .

chagione

196.

il.

alters

this

object placed in front of a single it you will see that it

casts a very large shadow on opposite wall, and the farther you remove the object from

smaller will the image of the

the light the

A SHADOW LARGER THAN THE BODY THAT PRODUCES IT BECOMES OUT OF PROPORTION.

12.

The

disproportion of a shadow which is than the body producing it, results from the light being smaller than the body, so that it cannot be at an equal distance from the edges of the body[n]; and the larger

portions which are most remote are made this larger than the nearer portions for

WHY

A SHADOW WHICH IS LARGER THAN THE BODY CAUSING IT HAS ILL-DEFINED OUTLINES.

2. .

chofusi.

magiore.

dischordate.

selle. i

dischordantia.

H. LUDWIG

4. 3.

his

10.

edition

passage as follows cresce che le distanti,

partichulare.

chagione

of the

quella parte ctfe piu although the Vatican

copy agrees with the original MS. in having dutante in the former and propinque in the latter place. This

supposed amendment seems

The atmosphere which surrounds a light almost like light itself for brightness and

ennoti.

5. .

old copies, in the Vatican library in which this chapter is included under Nos. 612, 613 and 614

propinqua piu

If an

WHY?

light is very close to

TERMINI COFUSI.

15 Quell' aria che circuscrive il lume e l6 quasi di natura d'esso lume per chia rezza

NEAREST TO THE LIGHT

reason [12].

PERCHE L'ONBRA MAGGIORE CHE LA SUA

196. i.

CASTS THE LARGEST SHADOW, AND

FA DI DISCORDATE PROPORTIONE.

piv cresce

THE BODY WHICH

WHY

PERCHE L'ONBRA MAGGIORE CHE LA SUA CAGIONE

195. i.

outlines to the edges of shadows.

shadow become.

d'essa obra.

Whether

obietto

culare

cause which makes the shadow vague and confused? is possible to give clear and

the

196.

QUEL CORPO CHE

What

outlines of the definite

it.

casting

to invert the facts.

ilume

acquelo .

po.

chotra. ecquella.

ecquato. 13.

magiore.

magiore 15.

chella.

circhuscriue

for instance, that on PI. XXXI No. 3. the spot where the light is that illuminates the and that the line behind figure there represented, the figure represents a wall on which the shadow of

Supposing

the figure is thrown. It is evident, that in that case the nearest portion, in this case the under part of the and the rethigh, is very little magnified in the shadow,

moter

are parts, for instance the head,

more magnified.

<?n the reucast

shadows

( I9<5 -

I97)-

THE THEORY OF THE ART

quest' aria lascia

e dal'aria luminosa, ode confusi del' obra.

che

lume sperico, e

che c67tradicie

alia

QueM'obra avra

propo

'-Jcorpo obroso,

figura luga del

ma l6

piu noti che

mitiva,

fia

o voi dire

back ground.

luminoso a c ecc.

OF MODIFIED SHADOWS.

OBRE CORRO1TE.

Modified shadows are those which are cast

corrotte so dette ^qiielle che so da parieti chiare o alstro luminoso.

The

outlines

shadow

derived they are nearer derived shadow

e quello obietto

na medesima obra

dimostrera piv 2 'oscura che avra co-

oscuro 37 che fia

will

darker objects opposite to them. And they will appear less dark when they face

of the dark

tra se piu oscuri 2 si dimosobietti; 26 strera me-

no oscura che fia 28 veduta da obbiet-

^to piu chiaro; 3quello obietto chia3 1 ro che fia maggiore, pi32

v rischiarera;

ilume ecquasi 197.

lungha.

chorrocte.

uatiua" sara. osscuri.

25.

35. osschuro.

197.

16.

percia.

esstretta

quessto echavsa.

14.

198.

reza

fighura.

Essi.

26.

37. cheffia.

1416. The

mag-

surface

object the more

darken

will

lighter objects.

diriuati-

And

the derived

va nel

^sito della

the light object opposite, the more

suapercus-

the

sione.

be lightened.

chalore ecquato chonfusi.

chesso.

inpresione.

sterra

larger the

appear darkest which have

ella.

17. 6.

spericho.

the larger

shadow

alume

shadow where cepted.

aluminata da.

quessto ecquel

inter-

will

cho.

18. 7.

chonfusi.

traddicie.

ara.

ij.

chorpo.

lugha.

obra chorrotte. 15.

15. fighura

14. ara.

shadow

39giore qu-tatita, piu 4I oscure42 ra 1'obra

light

will be clearer as primary shadow. A will be most defined in shape where it is intercepted, where the plane intercepts it at the most equal angle. And the Those parts of a

to the

all'

'Quella parte d'u-

shadow looks darkest against a

background.

obra primitiva.il ^L'obra dirivativa I4 avra li termini del is la sua impressione pi l6 v noti, li quali si ta'^gliano infra l8 ango li piu equali nella '9 sua pariete. ni

light walls or other illuminated objects.

6 l Quell'obra si dimostra 7 piu oscura che e in 8 canpo piu biaco. U 9 Li termini di quell' 610 bra diriuatiua sara piu noti IJ che fien piu

outlines

Obre

vedute

vici

more clearly defined in proportion nearer to the primary shadow or, I

its

should say, the body casting the shadow; [14] the cause of this is the elongated form of the luminous body a c, &c. [16].

questo e cavsa la

198.

tone

diffused

this

ill-defined edges.

body which is long and shape gives more confused outlines to the derived shadow than a spherical light , and this contradicts the proposition next following: A shadow will have

questo e quel

E. 32*1

h ad

shadow

luminous

narrow

sitione sequete:

termini

piu "vicina all'onbra pri il

lunga e stretta figura termini dell' obra diri 4 vativa piv con-

^li

fusi

Effects on

hence

atmosphere;

light gives the

197.

Quel luminoso

b\h e

minous

termini

198.

'197.

colour; but the farther off it is the more it An object which loses this resemblance. casts a large shadow and is near to the light, is illuminated both by that light by the lu-

e quato piv si allotana, piv 17 cosa che fa perde sua similitudine, e la grande obra e vicina al lume e truovasi allue per colore,

minata dal lume

PAINTING.

<>1

|piu]

38 ma.

17.

me.

pariete.

angho. 27.

39. givre q.

lettering refers to the

19.

osschura.

dimosstra.

par"i"ete. 30.

41. osscure.

22.

cquello. 45.

osscura.

dimossterra. 31.

PI.

XLI, No.

biancho.

osschura che ara.

cheffia magiore.

perchu.

lower diagram,

chanpo 23.

32.

10. 24.

rissciarera.

bra "diritrasse 33.

[ech].

FOURTH BOOK ON LIGHT AND SHADE.

199-

Ash.

199.

13 6}

OPENIONE D'ALCUNI CHE UN TRIAGOLO NO FACCI IN VNA PARIETE ALCUN OBRA.

OF THE OPINION OF SOME THAT A TRIANGLE CASTS NO SHADOW ON A PLANE SURFACE.

^ Sono stati alcuni matematici che anno tenvto per fermo che uno triagolo, che abbia ^la basa volta verso el lume, no facci in vna pariete alcuna obra-, la qual s C osa prouano diciedo: cosi, nessuno corpo spe6 che lume puo givgnere alia rico minore

meta col' obra le linie radiose sono 7aduque poniamo il lume sia g h e '1 triagolo sia / m8 n e _ dica no il la pariete sia i k lume g vedere la faccia del triagolo / n e la parte della ^e cosi Ji vede pariete i q :

Certain mathematicians that a triangle, of to the light, casts

and

this

;

prove by saying [5] that no the light can middle with the shadow. The

body smaller than

say the light

vede -m-n-e

faccia

e poi

caso credibile se'l triagolo

questo

ri-p-g-nd fusse visto da 2 lumi -g- h ma-z'-/-e cosi g-k-n.6n e ciasuno per se 3 visto se no da uno sololume-, cioe i-pno puo esser visto da h g\ k no sara mai *4 visto da g aduque / q fia piv chiaro il doppio che dua visiui spati che tega *

But if the triangle n p g were not illuminated by the two lights g and h, but by / / and g and k neither side is lighted by more than one single light; that is / p dible.

g; hence

obra.

1 3 Quel loco e piv obroso che da mag^gior di razzi obrosi veduto fia Ifsquel loco che sara 6 percosso da piv g?rosso angolo I0 a fia fat 8 to da razzi obrosi, 9 fia piv scuro; di doppia osc^urita che b perch I2 e da I5 14 doppia base ^nascie in pari dist atia 1 quel l6 loco sara piv luminoso che da mag gior somma di razzi luminosi ripercosso fiat I7 de il principio dell' onbra d /-, e tignie poco l8 d /; e piv 1' onbra in- c- d-e- e mezza tignie ^nella percussione b di -f e tutto lo intervallo 20 obroso e interamete tignie di se il loco a.

soma

dalchuni cun

120

ettinta

4. razi.

15.

locho

199'

3. Estati

faci.

givgnere.

[avere] 12. fussi.

po.

g and

will

most

2OO.

C. A. 30,?;

199.

k will never be lighted be twice as light as the by q two visible portions that are in shadow. invisible to

on the side

/ m, and then on m n and the plane / k', and if the whole plane thus faces the lights g it is evident that the triangle has no //, shadow; and that which has no shadow can cast none. This, in this case appears cre-

r e se I0 essa 5 e vista dal lume g h couiene essere il triagolo saza obra, e che "non a obra -no la puo dare: la qual cosa

pare

falls

and the' , triangle / portion of the plane / q. Thus again h like g falls on the side

k la pariete tutta la pariete

of the

disputed P sition -

of radiant light are straight lines [6]; therefore, suppose the light to " - be g h and the triangle I m n, and let the plane be i k; they

lines

rette,

have maintained A which the base is turned P r no shadow on a plane;

they

spherical reach the

come

Ill

13.

solo

5. .

qel locho .

56.

ma.

po.

passage

che

facia

14. vsto

The

rays fall upon it. d is the beginning of the shadow df, and tinges c but a little; d e is half of the shadow <// and gives a deeper tone where cast

perchosso.

charo

riperchosso.

would be rash to offer an explanation. seem to have been omitted.

17.

fa.

pocho.

obscure that

18.

Several words

at b than at f. And the whole e gives its tone to the spot a.

shaded space

facia

shade when a On

spot which widest angle and by darkened rays will be most in the dark; a will be twice as dark as b, because it originates from twice as large a base at an equal distance. A spot is most illuminated when a large number of luminous

triagolo cheabi.

dela.

the

facinvna.

esse.

dopio

razi. .

10.

esse

cosa [riprouo I questa forma] prouano. dalume obreche. n. nona obr .

spatio.

9. .

the reia-

rays fall upon it. ca^tfhadowl 2 2 )receives the rays at the (2

chontra se posti chorpi obrosi e luminosi.

chessara.

16. razi

This

delli

[del cholore]

alchuni

ilume.

spot

number of darkened

large

della

chiareza osscurita.

schuro.

10.

dopia ossc.

meza.

19.

perchussione

200.

XLI, No.

The diagram here 2.

Quelocho

dopia ossc.

12. .

ettutto.

ma.

13. nasscie.

20. illocho.

referred to

PI.

THE THEORY OK THE ART OF PAINTING.

112

Tr.

201.

1 in

201. 202.

Tato quato a b d 2 tanto a n

piv scuro che

etra c

fia

will

be darker than

proportion

number of times

r.J

the

that a b

goes into c d.

Ash.

202.

28/.]

TIQuanto 1'onbra

fatta dall'obbietto sosara minore che la sua ca3 gione, tanto esso obbietto fia alluminato da piv deboli razzi luminosil *d e & la pariete

pra

The shadow cast by an object on a plane will be smaller in proportion as that object is lighted by feebler rays. Let d e be the object and d c the plane surface; the

g si e la pariete tanto- quato obietto </ ^<?-entra s'm-f-g- tante volte- fia- piv lume in /"// che in d-c-\ 6 Quanto il razzo1'

number of times

that

e will

luminoso fia piv debole, tato tano dal suo spiracolo.

202.

[tanto]

Quanto.

fia

chella sua chagione.

piv Ion-

the proportion of light at

gives

The

razi.

into to

/g d

ray of light will be weaker in proportion to its distance from the hole through

which

qua

falls.

pivllume.

razo.

spiracholo.

FIFTH BOOK ON LIGHT AND SHADE. Ash.

203.

MODO DOVE DEBBONO

TERMI 2 NARE FATTE DALI OBBIETTI.

OF THE WAY

ONBRE

obietto fia questa motagna qui 1 lume fusse il e puto figurata d-e sia ^dico che da- b no fia lume se milmete da c no per ra s zzi reflessi e questo nasce che i razzi luminosi no 6 s'adoprano se non per liniasecond! e quel medesimo fanno recta 3

If the object

results

this

OF REVERBERATION.

qualita

piana

da corpi semidesa .

3quali, percosse dal lume a similitudine del balzo della palla, lo ripercuotono nel primo obbietto.

203. 3. fussi.

essimilmete.

304.

circhundati de.

205.

chavsate I.

produces the shadow.

RIVERBERATIONE.

riverberationi sono cavsate

chiara

The edges of the derived shadow are defined by the hues of the illuminated objects surrounding the luminous body which

205.

superfitie,

VOL.

2 j,"

204.

DE Le

or reflected rays.

Li termini dell' onbra dirivativa son 2 circundati dai colori delli obbietti allumi3nati circustati 4 al corpo luminoso, causatore di essa S 6bra.

(

reflessi.

232-}]

I. .21

And

rays.

principles of

from the fact that rays of light can only act in straight lines ; and the same is the case with the secondary

Ash.

from b d and also from there will be no light but from

reflected

the mountain here figured, light is at the point a,

I say that

che sono

and the

razzi

WHICH THE SHADOWS CAST

BY OBJECTS OUGHT TO BE DEFINED.

chorpi.

nati 3.

nasscie.

fano

is caused by bodies of a On a flat and semi opaque with nature bright surface which, when the light strikes upon

Reverberation

them, throw it back again, like the rebound of a ball, to the former object.

razi chessono.

[quali circudano] circhusstati.

chausatore dessa.

perchosse dal lume quelo assimilitudine del bazo

riperchuotano.

chorpi desi

vestano

rever

THE THEORY OF THE ART OF PAINTING.

Tutti

clesi

corpi

WHERE THERE CAN

ESSERE RINVERBERATIONE LUMINOSA.

DOVE NO PUO

le loro su-

rivestono

i di lume-eobre; perfitie di uarie qualita lumi-sono di due nature , 1'uno si domada

^ originale dico originale 1* altro derivatiuo essere quello che diriva da vapa di foco o dal lume del sole 8 o d'aria lume dirivatiuo fia il lume reflesso ; ma per tornare alia 9 difinizione dico che riverbera;

promessa

che

corpo

lochi scuri

I()

da quella

parte del volta a corpi obrosi, come prati "di varie altezze d'erbe

tione luminosa

fia

benche la verdi o secchi i quali I2 parte di ciascu no ramo volta al lume originale si veste della qualita d'esso lume , niete I3 di meno e' sono tate 1'onbre fatte da ciascuno ramo per se e tate 1' onbre fatte dal^Funo ramo sulP altro che in soma ne risulta tale oscurita che il lume boschi

per niete-, onde no possono simili alcuno dare a corpi oppositi obbietti '5

v'e

lume

but to return to the promised definition: say that this luminous reverberation is not produced by those portions of a body which are turned towards darkened objects, such as shaded spots, fields with grass of various height, woods whether green or bare ; in which, though that side of each branch which is turned towards the original light has a

light; I

share of that

others, that finally so much shadow the result that the light counts for nothing.

on the is

Hence

objects

(rf.

r >* ).

object mirrored in water in small avelets, will walways be larger than the external obin

donde nasce.

ject

dell'ochio le loro.

simili 2.

chose.

207.

dicho

7. .

chorpi 3.

bossci .

achu.

stands

for acqua [water],

cosa

spechiata

al-

figura

spechia, essendo

3 si

sopra

alteze

simile

sia

dell'acqua

1'obbietto che

306.

che

Inpossibile

ii.

motion,

that

producing

to say

it.

93/5] 93 ]

sopra

objects.

The shadow or

L'onbre over le cose ^spechiate nell'acqu*a movete, cioe co5m' onde piccole, se8 6 ? che la cosa di fo ri, pre sara maggiori

M. It

throw

cannot

kind

PERSPECTIVE.

Br.

this

on opposite

light

PROSPECTIVA.

nevertheless the shadows

light,

each branch separately are so numerous, as well as those cast by one branch cast by

206.

28-5]

Reflection

BE NO REFLECTED LIGHTS.

All dense bodies have their surfaces occupied by various degrees of light and shade. The lights are of two kinds, one called original, the other borrowed. Original light is that which is inherent in the flame of fire or the light of the sun or of the atmosphere. Borrowed light will be reflected

any reflected

riflesso.

[206. 207.

superfitie

focho o dalume. .

verdi

alchuno. 5.

for

ossechi

8. .

centre

Hume

ciasscu.

refresso. 12.

object mirrored, since the centre of the eye above the surface of the water.

vessta.

dicho. ij.

dacquella.

ciasscuno

10.

chorpo cheffia

ettante.

14.

isscurita

achorpi

che lume.

chome. 15.

16. refresso.

pichole.

ockio

dell'acqua.

It is impossible that ah object mirrored on water should correspond in form to the

magiorc.

[eye],

chella chosa.

for aria [air],

for cattto [cathetus].

In the

nassce.

original line

13.

MS. the second diagram

placed below

2O8

FIFTH BOOK

2IO."

sQuel che 6

This is made plain in the figure here given, which demonstrates that the eye sees the surface a b, and cannot see it at //, and at r t;

manifesta nella

sopra

ON LIGHT AND SHADE.

da parte, nella quale si uede F oc^chio uedere la superfitie a d, e non la puo 8 poi vedere in-//-e in r t, vede 9 la superfitie. del simulacro in r t e non la 10 vede nella cosa reale c d: adunque "e inpossibile vedere quel ch'e detto di sopra, 12 se Fochio non e situato nella superfitie dell'a^cqua, come si mostra qui di sotto. figura

K. M.

fatta qui

III.

sees the surface of the

does

not

Hence

see

THE

lume

If the

209.

Nessuno omo vedra dove

sopra

la similitudine

ciascuno

perche

No man

del-

man

loco

lo spechio nel propio

riferiscie,

mette-se medesimo

similitudine:

i. al

210.

chella chosa.

vedera.

2. infigra.

gradeza.

desscriui fuch.5.

o sia

sopra lo spechio

sisspechia.

of another

proper place with regard to the objects; because every object falls on [the surface of] the And if the mirror as equal angles.

and if he it really falls; covers the other the he into line, gets and puts himself in the place occupied place where

sua

the image its

man

sia

dellacq "a".

manifessta.

dapparte.

po.

9- nolla.

12.

sellochio.

mossstra.

sella.

its

one man, who sees the other in the mirror, is not in a direct line with the image he will not see it in the

colla linia delle spetie, no lo vedra 8 nel loco dove cade, e s'egli entra nelle linie, 9egli occupa Faltr'omo e I0

can see a mirror in

obietto cade sopra s lo spechio ifra 6 angoli, e se F omo, che vede equali Faltro nello spechio, 7 non e posto

no object has

ject placed opposite to this mirror, &c.

qua

that

210.

C. A. 139^; 419-5]

omo

your face in the mirror, the part resembles the whole in as much as the part is everywhere in the mirror, and the whole is in every part of the same mirror; and the same is true of the whole image of any ob-

e tutta per tutto lo spechio, ed e s tutta in ogni parte del medesimo spechio, e il simile ac 7 cade di tutto il simulacro di tutto F obietto cotra po 8 sto a quello spechio ecc.

Faltr'

how

Describe

limitation in the mirror but in the eye which For if you look at sees it. in the mirror.

se tu rappresenti il tuo viso neMo spechio, la 5 parte e simile al tutto, conciossiache la parte

of the same

proportion to the intermediate light as this second light will bear to the first, if both bodies are smooth and white.

Descrivi come nessu corpo in se e terminate nello 2 spechio ma lo termina F ochio, che detro a tale spechio 3 lo vede, inperoche,

209.

edidi quella douessolu.

etterminato.

chonciossia chella locho.

mallo

chade.

ettutta

nelo.

attale. .

rifretta.

losspechio.

cola

ara.

refresso

inperochessettu rapresenti.

vedera.

chade 8.

di tutto

nelocho

Experiments

luminous body and as that in

light is reflected, the amount the reflected light will bear the same

col

7reflesso

232*]

308.

which the

piani e biachi.

and

MIRROR.

illuminated object

the

size

lume 8 mezzano, quale avra esso lume secodo 9 col primo, essedo essi corpi

13.

shown below [13].

Se la alluminata fia della 3 gradezza della cosa allumi^nate e di quella dou' esso si reflette tal propor 6 tione avra la

207.

object c

SPECHIO.

real

impossible to see it, as has been said above unless the eye itself is situated on the surface of the water as is

image

the

208.

37 6]

qualita del

mezano. spechio

simulacro

esseli.

elli

8. [il

ara.

10. ebbianchi.

tutto ettutta] la

cStrappos.

ochupa.

8. sta

16. tocha.

essimile

acquale. 17.

tochera

nbn (2

-210

THE THEORY OF THE ART OF PAINTING.

1'ochio dell'amico tuo

tuo amico

del

'31'ochio

dti

o be the mirror b and d your own eye. Your friend's eye will appear to you at a, and to him it will seem that yours is at c, and

tuo ochio; pare in -a: e

sia

fia

aperto;

'sdell'altr'omo

1'ochio

al'

parrk

che

sopra

che tocchi

altro

spechio

tuo.

OF THE SHADOW AND

DELL'ONBRA o suo MOTO.

p m fra

(211.

212).

When two

2 obrosi che Pu dopo Paltro son . e la panete con alqua^to S p ati o s' interponghino, sponbra dell'onbroso, che sara vicina alia 6 pariete del muro, sara mobile, se P o^broso propinquo alia 8 finestra fia in moto traversale a 2

will

211.

E. 2t\

Appendix:On shadows. in movement

occur

touch the eye of the other man which shall be open. And if you touch the eye of the other man in the mirror it will seem to him that you are touching your own.

Se toccherai 20

the intersection of the visual rays will at m, so that either of you touching

omo

Let

image.

the eye of your friend

1'altro

his

all'amico par ^che'l tuo sia in c '5e la IterI6 si fa in e segatione delle linee visuali tocchera 1'ochio deltocca 17 in

qualuque

[211. 212.

one

front

window and

move

will

the

body nearest

put in transverse moTo prove tion across the window. this let a and b be two bodies plam and the ced between the window the

window

plane surface o p with sufficient space between them as shown by the space a b. I say that if the body a is moved towards s the shadow of the body b which is at c will move towards d.

212.

E. 30/5]

DEL MOTO DELLA

OF THE MOTION OF SHADOWS.

OBRA.

Senpre il moto della obra e piu 3 veloche il moto del corpo, che 4 la genera, essedo il luminoso imobile; provasi e sia il lumi s noso a e Pobroso b e Pobra d\ 6 Dico che in pari tepo si moue Ponbro7so b in c, che il d onbra si move I % e, e 9 quella proportione e da ve Iocita a velocita fatta in medesi I0 mo tepo, zl di moto a quale e da lunghezza I2 di a moto; lunghezza duque pella e proportione che a la ^lughezza del moto fatto dall'6bro I4 so b insino in c colla 2

The motion of a shadow is always more rapid than that of the body which produces

cie

lughezza

del

moto

Lines 18

cheftia.

311. i. ossuo.

2. delli.

10. infralla fmcsstra

312. 2. eppiu. 8.

shadow

nearest

some space between of the body which is the plane of the wall

the wall with

the

them,

essa finestra; prova^si e sia li due obrosi a b interpo I0 sti infra la finee la pari i: ete o /, con stra n I2 alquanto spatio interpo sto infra loro il quale e lo spatio a b; X 3dico che se Pobroso a si movera in'^verso s che Pobra dello obroso b, la qua'Sle e c, si movera in d.

bodies casting shadows, and of the other, are between a

la finestra

MOTION.

ITS

ccquella

3. .

fatto dall'obra

let

the light is stationary. To prove this a be the luminous body, and b the body casting the shadow, and d the shadow.

m ella.

interpos.

I say

solid

body moves from

dow d ments

move

will

made

b to

the sha-

and

<?;

this

pro-

rapidity of the movein the same space of

time, is equal to that in the length of the space moved over. Thus, given the

proportion of the space

in e,

20. spechi.

sinterponghino (disellonbraj. 12. infralloro

that in the time while the

portion in the

are placed in the margin opposite lines 3

fralla finesstra ella.

Then

quale he.

13.

mobile

dicho chessellobroso. essia. 16.

the

21. tochi.

chessara.

chorpo chel. 4. gieuera "essedo il luminoso i mobile" provasi he da. 10. dallungheza. n. allunghezza. 14. cholla lugheza.

moved over by

scllo.

ellobroso

predecte.

fmcsstra.

14. chellobra.

18.

ellobra.

Masse.

19.

9. essia.

15. le he<r. 6. all

Dicho.

moto.

FIFTH BOOK ON LIGHT AND SHADE.

212.] 16

tale

anno

infra loro le predette

ve I7 locita

de' moti. 18

ve I9 locita 1'onbra

luminoso

moto

dello

1'onbroso

2I se equali; 22 velocie dello 6 broso

moti

1'obra sara piu

sara

equale in obroso, allora

fieno il

tar 2 3 do

loro

body b to c, to that moved over by the shadow d to e, the proportion in the rapidity of their movements will be the same. But if the luminous body is also in movement with a velocity equal to that of the solid body, then the shadow and the body

luminoso sara piu

that

moto delmoto dello

And

allora

infra

che'l

obroso.

casts if

But

F obroso.

20. ellonbroso fie infralloro

ecquali.

21. Essellluminoso.

will

move

the luminous

with

equal

speed.

body moves more

ra-

pidly than the solid body, the motion of the shadow will be slower than that of the body casting

luminoso fia piu tardo che 2s allora 1' obra sara piu velocie che 1' onbroso, se

117

it.

the luminous

body moves more

slowly than the solid body, then the shadow will move more rapidly than that body.

23.

da chel.

24.

Masse

chellonbroso.

25. alora

chellobroso.

SIXTH BOOK ON LIGHT AND SHADE. C.

a (9*)]

213-

PROSPETTIVA. 2

farai

The effect of spiracolo 6

"ihro^T holes

razzi del sole per lo

vedrai

Stella

belli

prospettiua *'m nella percussione passato sole.

effetti

passare

forma

PERSPECTIVE.

fa tta dal

(213. 214).

A. 64*] 2

Nessuno

concorso

;

maggiori

die

misura

sulla

pa-

riete?

313. 2. seffarai 314.

razi

spiracholo

vederai

[ogni spirachulo per lunga disstantia

disstantia

chorpi

213.

the spot where the sun's rays

fall.

214.

spiraculo puo trasmutare razzi luminosi I modo che per lunga -Mistantia-non porgino all'obietto la similitudine della lor cagione ^jnpossibile e che i razzi luminosi passati per paralello non dimostrino nelP obbietto la forma s della loro cagione; 6 perche tutti li effetti de' corpi luminosi son dimostratori delle loro cagioni la luna di forma ? naviculare passata dallo spiracolo figurera nell' obietto uno corpo naviculare. 8 Perche 1'ochio vede le cose distati il

If you transmit the rays of the sun through a hole in the shape of a star you will see a beautiful effect of perspective in

porghino

chagioni.

allobiecto

forma] la .

and

shown

in parenthesis.

Leonardo

has occasionally been

made

use of for quite different

Even the numerous diagrams, most of them very delicately sketched, lettered and numbered, matter.

inella perchussione.

spirachulo potrassmutare

razi.

spiracholo [alo] figurera

himself has but rarely worked out the subject of these propositions. The space left for the purpose

they measure on

a distance, larger than the vertical plane? at

chagione.

In this and the following chapters of MS. original paging has been ad-

to,

like a boat, if transmitted through a hole is figured in the surface [it falls on] as a boatshaped object. [8] Why the eye sees bodies

prosspettiua [in esso sole].

the order of the

hered

body causing them, since all the effects produced by a luminous body are [in fact] the reflection of that body: The moon, shaped the

porgie allobiecto la forma].

[la

navichulare

No small hole can so modify the convergence of rays of light as to prevent, at a long distance, the transmission, of the true form of the luminous body causing them. It is impossible that rays of light passing through a parallel [slit], should not display the form of

corpo.

non 8.

chonchorso

wanting in the original

imodo.

chagione.

chose.

which occur on these pages, plained, with the exception are here given.

are hardly ever exof those few which

214. This chapter, taken from another MS. may, as an exception, be placed here, as it refers to the same subject as the preceding section. 8.

In the MS.

question.

a blank space

left

after

this

AND SHADE.

SIXTH BOOK ON LIGHT

215. 2i6.1

119

215.

larghezza e lunghezza dell' onbra e benche per li scorti si facci piv 2 e piu non diminuira ne stretta corta, cresciera la qualita e quantita di sua chiarezza o scurita.

lume

del

Although the breadth and length of lights p n and shadow will be narrower and shorter in tlon d 2i sforeshortening, the quality and quantity of the light and shade is not increased nor dimi-

3L'ofitio

(

nished.

onbra

[3] The

e del lume-dimisara da onbrare e 1' altro

dell'

nvito

function of shade and light when by foreshortening , will be to give shadow and to illuminate an object opposite, according to the quality and quan-

per li scorti da luminare *jl contraposto corpo secondo la qualita e quatita che a esso corpo

diminished

appare.

tity

sQuanto- piv cinera

onbra diriuatiua

sua penvltimi

stremi

fall on the body. proportion as a derived shadow is nearer to its penultimate extremities the deeper it will appear, g z beyond the intersection faces only the part of the shadow [marked] y z;

tanta

6 maggiore scurezza apparira g-z-e dopo la ueduto dalla sol parte delintersegatione :

by intersection takes the shadow from n but by direct line it takes the shadow a m hence it is twice as deep as g z. Y x, by intersection takes the shadow n o, but by direct line the shadow n m a, therefore x y is three times as dark as z g; x f, by intersection faces o b and by direct line o n m a,

z- che piglia per itersegatione n ? e per dirittura 1' onbra a z onde ha -due tanti piu obra che 8 y x uede per intersegatione -n-o-e per diretto -n-m- a onde x-y si dimostra auere1'onbra 1' on-bra

this

piu obra che z -g\ x-f- vede per 9 o b e per diretto vede o itersegatione n-m a; onde diremo adunque che 1' onbra x sara 4 tanti piv I0 scura che ch'e tra 1' onbra z perch e vista da 4 tanti piv 3

tanti

we must

therefore

say that the shadow be-

be four times as dark as the shadow z g, because it faces four times as much shadow. Let a b be the side where the primary shadow is, and b c the primary light, d will be the spot where it is intercepted, f g the

tween

obra 11

a b- sia la parte del' onbra primitiua/ b c fia il lume primitiuo,- d sia il loco della intersegatione, I2/~-^-sia 1' onbra diriuatiua < il lume diriuatiuo. J3 questo uole essere nel principio

will

derived shadow and_/<? the derived light. And this must be at the beginning of

the explanation.

della dimostratione.

216.

That part of the surface of a body on which the images [reflection] from other

Quella parte della superfitie de' corpi fia percossa da maggiore angolo delle spetie de' contra se posti corpi piv si tig-

che

niera

in nel color di quelle

maggiore agolo che 4, perche a-n-e maggiore che * n basa figura di

8. 4

215. i. largeza

sua basa

schorti

perchossa da magiore circhunda la perchussione

cheffia 8.

n. lume .

The diagram given on

PI.

VI,

placed between lines 4 and 5. Between lines 5 and 6 there is another space of about three lines and one line left blank between lines 8 and 9. is

The reader

will find the

cressciera

"pen"

vltimi

[diriuatiuo] "primitiuo".

chorpi.

osschurita.

lisschorti 6.

dellonbra

e[llaltroj

[z]

ecquesto.

13.

cholor diquele

2. inel

magiore scureza.

magiore

magiore.

percusio.

In the original MS. the text of No. 252 precedes the one given here. In the text of No. 215 there is a blank space of about four lines between the lines 2 and

chorta.

chorpo.

chontra

eppiu

pivsstrecta

215.

No. 2

alluminato

chontrapossto chorpo sechondo che. 10. schura sara. adumque

chorpi .

dell'

Quella parte

ellungeza

dalluminare. piglia.

placed opposite fall at the largest angle will assume their hue most strongly. In the diagram below, 8 is a larger angle than 4, since its base a n is larger than n This diagram below should the base of 4. end at a n 4 8. [4] That portion of the bodies

8 di sotto

Questa sotto vol' essere terminata da a

n e 4 e

316.

which they

[5] In

s'aui-

meaning of the whole passage

much

clearer if he

also line

first

reads the final lines II

13.

4 of No. 270.

Compare 216. The diagram

originally placed

between

lines

In the diagram given 3. 3 and 4 is above line 14 of the original, and here printed in the text, the words corpo luminoso [luminous body]

on PL VI, No.

are b

written

the

and ombroso [body

circle

m, luminoso

shadow]

the circle

in the circle

THE THEORY OF THE ART OF PAINTING.

120

illuminated surface on

la percussione dell' onbra fia la quale sara piu a essa perluminosa, piv cussione uicina. 5 Siccome vna cosa toccata da maggior soma-di razzi luminosi si fa piv chiara, cosi quella si fara piv scura che da 6 maggior soma di razzi obrosi sia percossa. 74 Sia la parte delFalluminato-4 8 che circuda la percussione dell' onbra- g c 4, e 8 fia esso loco 4- piv luminoso-perche 11 uede minor soma d' onbra che no fa nel loco e 8 -, perche 4 9 vede solamete 1' obra 8 vede ed e percosso dall' onbra a c e daP obra I0 / n ch' e 2 tati piv scura, e questo medesimo accade quado "1'aria col sole metterai in loco dell' obra e del lume. 1 2 II concorso dell'onbra, nata e terminata

che circunda

face 4 8, surrounding the cast shadow g e 4. this spot 4 will be lighter than 8, because

And

relative

makes

The

in,

quale della

which be determined by the incidence of the luminous rays. beginning, will

You

will find the

same proportion

quella de'

depth of the derived shadows a n as in the nearness of the luminous bodies m b, which cause them; and if the luminous bodies

the

vicinita

corpi luminosi

same thing

distribution

^Quella propor-

the

and limited by,

tione troverai di oscurita infra 1'obre

And

twice as dark.

razzi.

fia

Since 4

of shadow, origiplane surfaces placed near to each other, equal in tone and directly opposite, will be darker at the ends than at the [12]

nating

percussione

diriuatiue

than on

happens when you put the atmosphere and the sun in the place of shade and light.

propinque et piane superfitie di pari qualita- e retta oppositione, "^avra piuscuro fine che principio jl quale terminera inde' luminosi

falls

faces only the shadow / ; and 8 faces and receives the shadow a e as well as / n which

infra

fra la

shadow

less

nous rays becomes brighter, so one on which a greater quantity of shadow falls, will be darker. Let 4 be the side of an illuminated sur-

o? ught and S Sh a i a -2*i )

which a shadow

cast will be brightest which lies contiguous to the cast shadow. Just as an object which is lighted up by a greater quantity of lumi-

[217.

che le cavsano, e seessi corpi luminosi fieno di pari grandezza ancora b, 15

troverai

tal proportione delle percussioni de' cierchi luminosi e 1'obre qual'e quella della distantia

were of equal

size you would still farther same proportion in the light cast by luminous circles and their shadows as in

find the

the

d'essi corpi luminosi.

the distance of the said luminous bodies.

217.

C. 4

THAT PART OF THE REFLECTION WILL BE BRIGHTEST WHERE THE REFLECTED RAYS ARE

QUELLA PARTE DEL REFLESSO FIA PIV CHIARA BELLA QUALE I RAZZI DELLA REFLESSIONE FIEN PIU CORTI. 2

dell'

oscurita

onbroso

col suo

di pari

nella

concorso

avra

Sichome .

12.

locho

locho.

chonchorso

luminosi "m. b." chelle chavsano.

217.

percussione conformita

oppositione.

chosa tocha da magior

effia.

meterai ilocho.

317. i. refresso

darkness occasioned by the casting of combined shadows will.be in conformity with its cause, which will originate and terminate between two plane surfaces near together, alike in tone and directly opposite each other.

qualita e retta

chussione

SHORTEST. [2] The

3 fia nata e quale e piane superfitie propinque

principio,

infra

finita

fatta

razi

chorti.

razi

Chosi

etterminata. 15. essehessi

pivsschura

perchoso

ara

13. .

infralla

Diagrams are inserted before

lines 2

and

6. razi

he dallobra.

perchussione.

grandeza anchora

osscurita facta per"ne"la perchussione

magior. .

10.

perchossa.

schuro

14. troverrai di

ara

la per-

n. chol

sole

osschurita infrallobre

perchussioni luminosi dello.

comchorsso

circhuda

achade.

chonformita

16.' .

bri

chol.

quale quella. 3. effinita

2i8. 219.]

SIXTH BOOK ON LIGHT AND SHADE.

Quanto maggiore noso tanto piu 1 corso

fia

corpo lumionbrosi e lumi-

delli

fia insieme misto; speffetto della sopra detta propositione accade perche doue si truoua essere maggiore somma di razzi luminosi 6 ll si e maggior lume e doue n'e meno minor lume ne resulta onde i razzi obrosi si uegono a mischiarsi

nosi razzi

121

[4] In proportion as the source of light larger, the luminous and shadow rays will more mixed together. This result is pro-

duced because wherever there of luminous rays, but where there are

larger

most

quantity

there

light, least light, consequently come in and mingle with

fewer

there

shadow rays

the

them.

Isieme. 218.

Di tutte-le proportion! ch'io faro s'intende che '1 mezzo che si trova infra corpi 2 sia per se equale Quanto minore fia il

I lay down it medium between the bodies is always the same. [2] The smaller the luminous body the more distinct

;

corpo luminoso tanto piu distinto fia il concorso dell' onbroso. 3 Quando due obre opposte, nascienti da u medesimo corpo fieno 1'una all'altra4 per oscurita duplicate e per figura simili due lumi causa di quelle-, fieno infra loro di dupplicato diametro e distantia da esso corpo 5 onbroso 1'uno alPaltro duplice; 6 Se 1' obietto fia mosso co tardita dinazi al corpo luminoso e la percussione dell'onbra d'esso obbietto sia lontana da esso obbi 7 etto tal proportione avra il moto dell' obra diriuativa

moto

ced by the same body, one is twice as dark as the other though similar in form, one of the

two

quaobbietto 8 e lume con quello che tra F obbietto e la percussione modo che movedosi F obietto

from the opaque body.

Fobra

fia

onbra

is intercepted at some distance from the object, there

be the same relative proportion between the motion of the derived shadow and the motion of the primary shadow, as between the distance from the object to the light, and that from the object to the spot where the shadow is intercepted; so that though the object is will

tardita,

veloce.

moved

Quel corpo luminoso parra di minore splendore jl quale da piv luminoso campocircundato fia. 2 Ho trovato che quelle stelle che so piv

errecta.

chorpo [onbroso] chussione 219.

chorpo

218.

fia

There

iscurita

eto

chanpo circhundato.

are

2 and 3 but they

chorso

del chessi.

obbiecto.

chorpo

mezo

missto.

chorpo

duplicata.

ara 2.

chesso

chol .

decta

VOL.

ara

diagrams- inserted before lines not reproduced here. The

are

(shadow of the I.

object).

achade

fiel

razi.

chonchorso

trallobietto.

aparissca di magiore

diagram above line 6 is written upon as follows: at A lume (light), at B obbietto (body), at C ombra <f obbietto

infralloro di dupplichoto

disstinto

luminous body will appear less brilsurrounded by a bright back-

they are above us ; and having more light from the sun they give more light, and the bodies

fast.

[2]! have found that the stars which are nearest to the horizon look larger than the others because light falls upon them from a larger proportion of the solar body than when

ecpiane

moves

ground.

maggiore apparisca presso figura che Faltre perche esse vedono e so vedute 3 da maggior soma del corpo solare che quado esse so sopra di noi e per ueder piv sole esse ano maggior lume e 1 corpo che

318. i. proportione

slowly the shadow

when

liant

all'orizote

If the

shadow

dell'

causing them must have twice the diameter that the other has and be at twice the distance

lights

object is lowly moved across the luminous body, and the

della primitiva

avra lo spatio che tra

that the

When

[3]

col

proportions

transmission of the shadows be. of two opposite shadows, produ-

the

will

the

all

must be understood

219.

diamitro 8.

this text.

chorpo.

obiecto cho

trallobbiecto ella perchussione

chellaltre hesse

Between

original a

razi siuegano a misticharsi. magior nasscienti 3. due "obre" oposite

dall.

lines

vegano

esso.

and

large diagram which

hesse

there

ella

per-

cho. .

hesse ano

the

does not refer to

THE THEORY OF THE ART OF PAINTING.

122

sara piv luminoso

which are most luminous appear the largest. As may be seen by the sun through a mist, and overhead; it appears larger where there is no mist and diminished through mist. No portion of the luminous body is ever visible from any spot within the pyramid of pure derived shadow.

dimostra

maggiore figura, come si mostra il sole nella nebbia sopra di noi che par maggiore, di

Sessedo sanza nebbia, e colla nebbia diminvisce; 6 Nessuna luminoso parte del corpo mai fia veduta dalla pirami-

ombra

dal pura

diriuativa.

220.

C. 26 (14*)]

corpo che riceve

A body on which the solar rays fall between the thin branches of trees far apart will cast

razzi so-

piante, a lungo fara piv d' un' obra.

delle

andare 2

infra le sottili rami-

lan passati ficationi

corpo onbroso -e

Se'l

but a single shadow. [2] If an opaque body and a luminous one are (both) spherical the base of the pyramid of rays will bear the same proportion to the luminous body as the base of the pyramid of shade to the opaque body.

lu-

minoso fieno

di sperica retonproportione avra la

dita-, tal

basa

della

mide

col suo

basa

luminosa dell'

3pira-

corpo-, quale

onbrosa

pira-

mide col suo corpo onbroso. 4 la percussione Quanto

[4]

fatta

dall'

dow

concorso

onbroso

di termini

distinti

piu

appari-

alluminato

corpo

delli

percussione

razzi

and

391.

itself.

the shadow-rays from an opaque pyramidal body are

intercepted they will cast a shabifurcate outline and various depth at the points.

dow of

which is broader than the apex but narrower than the base light

come diminvisscie. 6. chorpo. el [ume] chorpo. magiore. 5. cholla 4. magiore figura [Macq] ramifichatione infralle ara. allungo. 2. elluminoso spericha chorpo che ricievfono] "e"" J razi chonchorso disstante alchorpo chol chontrassepossta chorpo. 4. perchussione facta chorpo assua schure term! piu disstinti.

magior

"il

body illuminated by the rays

Where

on-

sara di biforcata figura e uaria oscurita nelle sue puteTl 4 jl lume che sara maggior della puta e minor della basa del contra se posto

distinct.

passing between the thick branches of trees will produce as many shadows as there are branches between the sun

da piramidal

nati

corpo obroso

aao.

it]

solar

passati per le delle ramification! piate grosse fara tate obre quat' e il nvmero de' rami che infra 1 sole 2 e esse interposti sono. brosi

casts

dai

razzi

H 3 La

by a plane

221.

(14/5)]

the transmitted sha-

intercepted

will appear propordarker and the edges tionately

ranno.

solari

When

surface placed opposite to it and farther away from the luminous body than from the object [which

contra se posta pariete, fia piu distante al corpo luminoso e piv s propinqua a sua diriuatione, tanto piu scure e nella

C. 2 a

[220. 221.

razi chorpo biforchuta chorpo i.

3. .

chol

eppiv.

paate fara per'Me" grosse ramificadone osscurita propo. 4. chessara magior .

in fral sole

eminor

esse interpossti.

chontrasse

possto

3. .

perchussione . . razi . . chellonbroso .

chorpo

The diagram which, in the original, is placed above line 2, is similar to the one, here given on The diagram here given in the margin stands, in the original, between lines 3 and 4. pa'ge 73 (section 120). 221. Between lines 2 and 3 there are in the original two large diagrams. 220.

SIXTH BOOK ON LIGHT AND SHADE.

221.]

piramidal corpo onbroso fara che 1' onbroso cavsera sin sua percussione 6bra-di biforcata figura e uaria qualita di scu-

of an opaque pyramidal body placed in front of it, will cause that pyramid to cast a shadow of bifurcate form and various degrees of depth. If an opaque body, smaller than the light, casts two shadows and if it is the same size or larger, casts but one, it follows that a pyramidal body, of which part is smaller,

rezza. 6

corpo onbroso minor del lumidue onbre e il corpo obroso simile al luminoso, e il maggiore ne fa vna, e coue^niete cosa che '1 corpo piramidale che a parte di se minore parte pari e parte maggiore dal luminoso, faccia obra

noso

123

part equal to,

nous body,

and part larger than, the lumi-

will cast

a bifurcate shadow.

biforcata.

Here in

chausera. hel chorpo

the

margin: propo (proposition). vna echoue.

luminoso e hel magiore

faccobra biforchata.

perchussione

Here

in th:

biforchuta

mirgin: come.

disscureza.

chosa chelchorpo

chorpo .

onbre e

magiore dal

IV.

Perspective of Disappearance. The theory of the "Prospettiva de' perdimenti" would, in many important details, be quite unintelligible if it had not been led up by the principles of light and shade on which it is based. The word "Prospettiva" in the language of the time included the principles of optics;

what Leonardo understood by "Perdimenti"

the early chapters, Nos. 222

224.

// is in the very nature

will be clearly seen in

of the case that the farther

explanations given in the subsequent chapters must be limited to general rules. sections

given as 227

231

"On

indistinctness at short distances" have,

it is

true,

indirect bearing on the subject] but on the other hand, the following chapters, 232

"On

indistinctness at great distances,"

go fully

into the matter,

which treat "Of the importance of light and shade

and in

the apparent size of bodies" (Nos. 240

of the original, those sections appearance" and

from

the

250).

only

234, 239,

in the Perspective

the practical issues are distinctly insisted on in their relation to

naturally followed by the statements as to

chapters 235

The

of Disappearance", This is the theory.

of light or dark backgrounds on At the end I have placed, in the order

tJie effect

MS. C which

treat

of the "Perspective of Dis-

serve to some extent to complete the treatment of the subject (251

262).

222.

Sort] 2

PERSPECTIVA DE'PERDIMETI DE'CORPI

son

CHE FA

OF THE

STREMI

LINES OF OPAQUE BODIES.

veri stremi de' corpi opachi sin qualunche minima distantia, 6 maggiormente sara invisibili nelle lughe inuisibili

distatie; Ife se la uera figura

macado per tutto,

If the real outlines of

per

indistinguishable at even they will be more so at

termini

since

si cognosce corpo opaco e

cias 8 cu

DIMINISHED DISTINCTNESS OF THE OUT-

know

9cognitio d'esso I0 la cognitione

distantia la

maggiormete manchera

its

E. 80 6]

it is by its outlines that we are able to the real form of any opaque body, when

remoteness we

its

parts

and

Infra

tudine *tal

OF THE DIMINUTION

DELLI CORPI

size will be in proportion to their distance from the eye of the spectator; but it is an inverse proportion, since, where the distance is greater, the opaque body will appear smaller, and the less the distance

apparent diminution of

tione e ?c6uersaT[ perche dove la distantia e mag 8 giore, il corpo opaco si dimostra minore 9 e dove la distantia e minore, esso I0 dimostrera maggiore, e di qui corpo si nasce la pro^spectiva liniale e in seguito

the larger will the object appear. And this is the fundamental principle of linear perspec-

and it follows: [n] every object as it becomes more remote loses first those parts which are smallest. Thus of a horse, we tive

converra

corpo per lunga distaUogni quel^la perde prima parte di quel corpo,

quale

in se

e piu

come

sottile

should lose the legs before the head, because legs are thinner than the head; and the neck before the body for the same reason. Hence it follows that the last part of the horse which would be discernible by the eye would be the mass of the body in an oval

dire:

d'un cavallo si perdera pri'Sma le ganbe che la testa, perche le ga l6 be son piu sottili d'essa testa, e prima si per^dera il collo che il busto, per la medesima ragio l8 ne detta; aduque seguita che 1' ultima parte 222. 2. cheffalisstremi

oppacho 223.

12.

de chorpi op.

machado.

chorpo

8. .

14.

10.

3. Infralli

chorpo oppacho

lungha.

chorpi oppachi.

magiormete.

prosspectiva diminuitrice.

chonversa.

OPAQUE

chome

chorpi oppachi

dimosstra.

chavallo.

15.

the

disstantia.

chognitione

parte

objects of equal size the

Among opaque

opachi d' equal magnidiminutione delle lor figure

orpi

fia la

IN PERSPECTIVE OF

OBJECTS.

in apSparetia qual' e quella delle lor distantie da! 6 Pochio che le vede, tale propor-

tia

to discern

outlines.

OPACHI.

fail

223.

DELLA PROSPETTIVA DIMINUTRICE 3

to discern

fail

much more must we

whole,

delle sue parti e termini.

opaque bodies are a very short distance/ long distances; and,

magrritudi.

chorpo.

10.

ghanbe [che

disstatie esse.

diminuitione.

dimossterra il

chogniosscie

fighura.

delle.

chu

"ettermini" adunque.

nasscie.

cho] chella tessta.

Quale "qu"lla

n. seguita chonve "ra"

16. soctile

dessa tessta.

17.

chelle.

(?)

ogni.

chollo

Definition

THE THEORY OF THE ART OF PAINTING.

128

form, or rather

1'ochio riser

this

che della cognitione del cavallo fia al20 vata sara il busto restate in forma ovale, 2I ma piu tosto traente al colonnale e perderas"si prima la grossezza che la 23 2 a conclusione ecc. lunghezza per la anti detta 2 2

length above, &c.

34 perche pro 32 spettiva ter33mina in linia, e prova^sto la linia es 3<3 sere gienera 3 ?ta dal moto del 38 puto e il no& stro vedere 4'e per 4 2 questo seguita ^che chi move il 6 ve^'dere, move il pu^sto e chi mo' ve il puto,

[eye],

the point moves, and as we the line is generated, &c.

allo ofi -

quato

questa regola no

point,

far as

affects

that

mass, form and colour; and the mass is recognisable at a greater distance from the place of its actual existence than either colour or form. Again, colour is discernible at a greater distance than form, but this law does not apply to luminous bodies. say:

osserua da corpi

body, in so

visible

Every

the eye, includes three attributes;

luminosi. '

we move our sight move the

follows that as

divide in 3 parti- cioe dell'ochio-, 3 corpo figura e colore: la similitudine corporea s' astede piv lontana dalla sua origine che no fa il colore o la figura -, di poi il colore s' astede piv che la figura,

ilust

[23].

eye

224.

Ogni forma corporea

and

la linia ecc.

tio

a cylindrical form

its

remains stationary the perspective terminates in the distance in a point. But if the eye moves in a straight [horizontal] line the perspective terminates in a line and the reason is that this line is generated by the motion of the point and our sight; therefore the

1'ochio e in 5mobile, la prospet2 28 26 tiva termina ?la sua distanti a in punto; 2 9ma se 1'ochio ^si move per ret^ta linia

Ash.

apparent thickness before nd rule given according to the 2

its

*Se

giene^ra

would lose

[22 4

La propositione di sopra e molto bene dimostrata e cofermata dalla sperieza, inpero?che, se tu vedrai uno uomo da presso -, tu conoscerai la qualita del corpo -, la qua8 lita della figura, e similmete del colore-, se e, quello s' allontana da te alquato spatio,

The above proposition is plainly shown and proved by experiment; because: if you see a man close to you, you discern the exact appearance of the mass and of the form and also of the colouring; if he goes to some distance you will not recognise who

tu no conoscierai 9 c hi quello si sia perche maca-la qualita della figura :se s'astedera I0 no potrai disciernereacora-piv lotano il colore suo anzi ti parra uno corpo oscuro di piv lontano ti para IJ un minimo corpo

mebra

will appear as a dark object, and still farther he will appear as a very small dark

rounded

bussto.

18.

27. disstanti

chelluhima. .

puncto.

934. i. |lc similitudine .

chonoscierai.

minimo chorpo

essimilmete

escuro

che parte avra

cholonale e perdera.

Massellochio

delle chorpi

8. .

21. tossto 29.

[di

f). .

rcc.

chorporea.

esse quelo

cholore.

datte.

forma quasi] retodo para.

Compare line 1 1. The diagram belonging

40. 5.

this

[ecc].

passage

41.

perle ami.

elnputo e per. 6.

macquesta.

12. isscie

greatly

grosseza chella

chicquello

223. 23.

224.

22.

39. sstro. 3.

appears rounded because

diminishes the various remains visible but the And the reason is this: We larger mass. know very well that all the images of objects reach the senses by a small aperture in the eye; hence, if the whole horizon a d the is admitted through such an aperture, object b c being but a very small fraction of this horizon what space can it fill in that so

details that nothing

d' esso orizzote, l6

object.

distance

maggiore massa; '3 la ragione e questa Noi sappiamo chiaro che tutte - le similitudini delle cose etrano nella inpressiua per uno dell' ochio piccolo spiracolo aduque se tutto 1'orizzote a d 5 etra per simile spiracolo sendo il corpo b c una minimissima parte

details

but he

e scuro retodo parra perche la diminv I2 isce tanto le particulari che non ne apparisce se non la

retodo

of the

disappear, if he goes still farther you will not be able to distinguish his colouring,

distatia

because the character

is,

will

macha.

chofermata.

10.

cholore

none apariscie

placed

on PL VI.

24. sellochio he.

42. quessto.

between

7. .

lines

chessettu

para

magiore.

45.

13.

25. la perspc. [li

chorpo

para.

ecquesta

and

qualj e chi.

vederai

homo n.

sapiamo

in .

No. 4

22 7-l

225

PERSPECTIVE OF DISAPPEARANCE.

minute image of so vast a hemisphere? And because luminous bodies have more power in darkness than any others, it is evident that, as the chamber of the eye is very dark, as is the nature of all colored cavities, the images of distant objects are confused and lost in the great light of the sky; and if they are visible at all, appear dark and black,

a occupare della minima rappresetaJ si grade emisperio; ?e perche i corpi luminosi soho piv poteti ifra le tenebre che nessun altro corpo, l8 e neciessario che-, essendo lo spiracolo della vista assai tenebroso, com'e la natura ^di tutti i busi-, che le spetie de' corpi lotani si cofondino ifra tata luce del 20 cielo, e se pure appariscano, che paiano oscure e nere come fa ogni

egli

tione di

corpo piccolo

129

as every small body must when seen in the diffused light of the atmosphere.

visto nel chiarore dell' aria.

225.

79-5]

OF THE ATMOSPHERE THAT INTERPOSES BETWEEN THE EVE AND VISIBLE OBJECTS.

DELL' ARIA ITERPOSTA !FRA L'OCHIO E L'OBIETTO VISIBILE.

sL'pbbietto si dimostrera tanto piu o meno ^noto i" u na medesima distatia, 5 quato P ari a, interposta infra 1' ochio e esso 6 sara piu o me rara; Adunque obbietto, conosce?do io che la maggiore o minore 3 quantita del !' aria interposta infra 1' ochio e P obietto re9de all' ochio piu o me confusi I0 li termi ni d' essi corpi, tu farai li perdimeti "delle notitie d'essi corpi tanto nella

A object will appear more or less distinct at the same distance, in proportion as the atmosphere existing between the eye and that object is more or less clear. Hence, as I know that the greater or less

me I2 desima

objects in proportion to their increasing distance from the eye of the spectator.

quantity of the air that lies between the eye and the object makes the outlines of that object more or less indistinct, you must diminish the definiteness of outline of those

proportione infra loro quale e quella delle loro distatie dall' ochio d' esso r* risguardatore.

226.

L. 77*1

Quando 2

fussi

sito

When

mare

mote, molto piv lugo mostra essere 4 quello che della spiaggia quello del mote. M.

227.

lisa] 2

alii

vou place an opaque object i

fere with

825.

ler

infra le luci.

le similitudine

rapresetatione.

infrallochio.

7. chella.

ellobietto.

ispatio.

VOL.

diraossterra

interpossta .. ellobietto.

chorpo.

inpresiua

18. spiracho.

chorpo.

326. 2. disstante infralla spiagga. 227. i. settiporai

14. ala

delle chose.

17.

object

picholo

19. chelle

6meno.

chonfusi.

noto nuna

chorpi.

than the space from eye to eye.

settutto lorizote. 15. b

chofondino .

infrattSta.

disstStia.

12. infralloro

beyond

20. esse

interpossta

quale he.

orizote.

16.

apariseano. .

echella

sia

alia.

ochupera.

chosa chessia.

chosa.

ara .

obbiecto.

13. disstltie.

14.

mosstra.

ispatio.

it.

another object seen by the eye can be concealed by this [nearer] object if it is smalsituated

of On

jii

it.

your seeing any thing

may be beyond

that

8 occupa ta da esso obbietto se sara mino^re che lo spatio che

chettutte

in front

/?<-

indistinctness at distan-

of four fingers breadth, S h if it is smaller than the space be(22 tween the two eyes it will not inter-

at a distance

your eye

non occupera il uedere d' alcuna 6 scosa che sia dopo quella; nesuisiuo il situata suna cosa dopo 7 obietto dell' ochio no puo essere

dela

mountains, the distance from the shore looked much greater than that from the mountains.

Se ti porrai uno corpo obroso dinati ochi per spatio di 4dita, 3 e ch' egli sia minore che non e dall' una all' aHtra luce,

sta

an equal distance from the shore and the

infra la spiaggia 3e'l

Br.

expei place on the sea, Anment.

in a

was once

distante

equalmete

ochupare

paino enere. 6. chonossiS

rissghuardatore.

^ ^, 2

THE THEORY OF THE ART OF PAINTING.

130

[228231.

228.

L'ochio no conprende

The eye cannot

propl-

ous angle which

'quo-angolo luminoso.

take in a lumin-

too close to

it.

229.

C. 120]

That part of a surface

Quella parte della pariete alluminata 2 che da piv grosso anpiv luminosa alluminata luminoso fia; E quel loco golo da detti razzi osseruera meno ^la conveniete qualita del lume che da piv grosso angolo obroso adombrata fia. fia

on which the

And

that part,

will

be better lighted

light falls at the greater angle.

on which the shadow

falls

the greatest angle, will receive from those rays least

of the benefit of the

light.

230.

E. 150)

DELL'OCHIO. 2

The edges of an object placed in front of the pupil of the eye will be less distinct in proportion as they are closer to the This is shown by the edge of eye. the object n placed in front of the pupil

Li termini di quel corpo antiposto alia pu'pilla dell'ochio si dimostrera tanto meno noti * quanto e' sarano piu vicini a essa 5 provasi per lo stremo del 6 antiposto alla popilla d, la uedere es?so termine et nel quale popilla vede ancora tutto lo spatio a c, 8 che j e di la da esso termine, e le spetie C che vengono 9 d a esso spatio si mischiano colle spetie di tal ter I0 mine e cosl 1'una spetie cofonde Taltra^e tale cofusione priva la popilla della notitia di tal termine.

popilla;

corpo

Br.

M. i88al

d; in looking at this edge the pupil also sees all the space a c which is beyond the edge; and the images the eye receives from that space are

mingled with the images of the edge, so that one image confuses the other, and this confusion hinders the pupil from distinguishing the edge.

231.

termini di quella cosa saranno manco 2 sequali sara piu vicini agli ochi, guita che gli termini piu remoti saran piu 3 infra li noti; corpi minori della popilla delli ochi 4quelli sara maco noti, che sara piu vicini 5 a essa lucie.

The outlines of objects will be least clear when they are nearest to the eye, and there-

noti

999.

piv

230.

chorpo

15.

luminosa [che da magiore soma). 2. Ecquel locho. razi 3. chonveniete. 3. dimossterra. 5. chorpo n antipossto. losspatio. 8. lesspetie che vengh"a". 7. anchora chosi chofonde. u. attal chofusione termi"ne".

[luminosa)

antipossti.

stano cholle.

Among

objects which are smaller than the pupil of the eye those will be less distinct which are nearer to the eye.

998.

231.

fore remoter outlines will be clearer.

10.

The writing runs from

sara

macho

nota chessara

left to right, .

vicin.i.

qlla cosa seran

mi-

mancho

note a qual sera piu vicina.

scran.

infralli

chorpi.

PERSPECTIVE OF DISAPPEARANCE.

232235.] i

232.

cose vicine

all'

ochio

maggiore obbietto che

Le cose vedute co

pare rano

Objects near to the eye will appear larger than those at a distance.

le di3stati.

du' ochi parirano

rotonde, che quelle che co uno

piv ochio vedute

Objects seen with two eyes will appear if they are seen with only one.

?Le cose vedute ifra il lume parirano di maggior relie 9vo.

e 1'obra

show

the

between

most

and shadow

light

relief.

233-

DE si

seen,

Objects will

C. A. 173 6; 520(5]

Tanto

PICTURA.

3dimi-

figura, quanto per distantia nvisce della sua grandezza.

PAINTING.

Our true perception of an object diminishes in proportion as its size is diminished

perde della uera cognitione

della

by distance.

A. 86]

234-

PROSPETTIVA.

PERSPECTIVE.

2 Perche le cose da lontano paiono ochio grandi e la ripruova fatta nella ^pariete le dimostra piccole.

objects seen at a distance the eye and in the image

Why

al'

large

vertical plane they

appear

on the

appear small.

PROSPETTIVA.

PERSPECTIVE.

sDomado quato 1' ochio puo vedere lontano un corpo che no sia luminoso 6 come

I ask how far away the eye can discern a non-luminous body, as, for instance, a mountain. It will be very plainly visible if the sun is behind it; and could be seen at a greater

una motagnia; vedrassi assai, se '1 sole la -da lei e vedrassi 7piu-o menolontana secodo dove fia il sole nel cielo. dire

fia-di

corpo obroso

che

veduto per

fia

cuna eminete parte il

corpo obroso a

m no

lume e cosi c n

4 le

light; will

6 R.

333.

magiore

ellobra

light,

chelle dis.

935. i.

che trasferi1' ochio sia in la

chosa veduta

cognitione "dela figura" della cosa Quanto.

chorpo

234.

The

grande.

pichole.

the

lines

object a. cho.

diminvisscie 5.

and the

lines

which transmit the

The eye being

retonde checquelle checho.

that

to say

light

the

at the point b, I say

ochi.

chose

infral-

sua [propia] grandeza.

chorpo.

chome

dire

montagnia vederassi

dallei evede-

sechodo. .

cheffia

dimostera.

alchuna.

chorpo

clue to the solution of this problem (lines

46,

Objects seen with both eyes appear solid since they are seen from !

magior.

334. 2. chose dallontano paiano rassi.

of incidence of the

sia-

linie jncideti

lume.

given in lines

J^'J^

no prominences to and shade in For JB-'SUSTC' the eye. stance, let a be the appearance (235-239)1-J I J solid body and c the

;

luminose, cioe quelle- linie scono-il lume al corpo *a\ 233.

seen in a line in which

the light falls will reveal

sia

esenpli gratia sia

An opaque body

no dimostrera

della incidetia del lume, 2 di se all' ochio al-

linia

or less distance according to the sun's place in the sky.

235-

2 a]

(232-234).

rounder than

fieno.

on indistinctness at great

No. 232.

echosi.

Incidete luminosa

trasferisschano

chorpo.

two distinct points of sight separated by the distance between the eyes, but this solidity cannot be represented in a flat drawing. Compare No. 535.

THE THEORY OF THE ART OF PAINTING.

132 puto b

nel

dico che vededo

tutta la parte

m-n

che

lume

that

che

part

quelli rilieui

sono sarano tutti alluminati: aduque 1'ochio 7 posto j c no ui potra vedere obra- e lume-, no la 8 vededo ogni parte li para d'uno colore 9 6de le differetie delle parti emineti 10 e globose non aparirano.

Ash.

DE 2

will

at c

portion will appear of the therefore the relief in the promitone, nent or rounded parts will not be visible. seeing

every

it,

same

PITTURA.

con

co >fuso givditio lo tua opera, no

overo terminate,

che

pigli

scrivi in nella

tra-

le farai finite

tua opera

fia di

resultatione.

legniosa

effect.

237-

E. 17 a]

PITTURA. 2

PAINTING.

When you represent in your work shadows which you can only discern with difficulty, and of which you cannot distinguish the edges so that you apprehend them confusedly, you must not make them sharp or definite lest your work should have a wooden

L' onbre le quali tu discernerai con dii loro termini no puoi conosciere

ficulta e

anzi

the light c falls on the whole n the portions in relief on that side all be illuminated. Hence the eye placed cannot see any light and shade and, not since

///

236.

si a]

Noterai nel tuo ritrarre

obre sono obre

come

You

infra 3le

will

PAINTING.

observe in drawing that

the

obbietto.

238.

DE 2

Vedi

OF LIGHT AND SHADE.

OBRE E LUME.

You who draw from

tu che ritrai dell' opere di na3tura, e le * figure de' lumi e

fully) at the extent,

muscolo e nota nelle lulor a qual muscolo si della figura ghezze dirizzano colla rettitudine de 8 lle lor linie cie-

trali.

directed.

onbre

di cias s scun

of the lights

their position lengthwise observe towards which muscle the axis of the central line is

An object which is [so brilliantly illuminated as to be] almost as bright as light will be visible at a greater distance, and of larger apparent size than is natural to objects so remote.

Quella cosa-, che per chiarezza fia piv 2 fia veduta- piv-dalontano luce e di maggiore forma che non si 3 richiede simile alia

alla qualita del

look (care-

239-

256]

5. inel

nature, the degree,

and the form and shadows on each muscle; and

le quatita le qualita

336.

among

shadows some are of undistinguishable rd gradation and form, as is shown in the 3 which Rounded surfaces says: [proposition] display as many degrees of light and shade as there are varieties of brightness and darkness reflected from the surrounding objects.

e di

d' oscurita

insesibili

a 5 che diciel figura e questo si prova per la 3 6 di tante varie le superfitie globulenti so oscurita e chiarezza, qua?te so le uarieta delle oscurita e chia 8 rezze che le stan per

Ash.

[236-239.

dicho.

dissciernerai

corpo

checquelli

chon

detta distatia.

difichulta

.illuminate

J|e]c.

ellume nolla.

poi [dissciernere] "chonossciere"

anzi

cholore.

chon cho.

diferetie. 2.

10.

globbose.

ettrasscrisse

inclla

nolle.

3. chclla.

337. 2.

chome

chelle.

338.

ellume.

239.

chosa

infral.

3. elle. .

dosscurita.

chiareza.

fighure. 2.

fighura ecquesto.

scun musscholo.

dallontano

magiore.

cheddicie

gheze.

chorpo.

globbulenii.

dirizano cholle.

osschurita.

toso

osschurita.

PERSPECTIVE OF DISAPPEARANCE.

240-243.]

E. 32

133

24O.

2 Quell'onbra si dimostrera piu oscu ra che fia circundata da piu 3 S plendida biachezza e de conveHso sara meno evidete dov'ella e giene^rata in piu oscuro canpo.

effect appear dark in proportion The of light or surrounding it and dark backconspicuous where ^apparent size of ob seen against a darker background.

shadow

will

to the brilliancy of the light conversely it will be less

(240250).

241.

176]

PROSPETTIVA COMUNE.

OF ORDINARY

grossezza 1 6

una cosa d'uniforme grossezza ?e veduta in ca 8 po d' uniforme

di uarii colori sara

colore, essa cosa 9 si dimostrera di uaria grosI0 e quanto i colori del canpo o della sezza, IJ

canpo veduta sara di colori ch'abmaggiore varieta, allora le grossezze par^rano piv varie, ancora che le cose ^nel canpo vedute sieno di pari grossezza. cosa bino

PERSPECTIVE.

An object of equal breadth and colour throughout, seen against a background of various colours will appear unequal in breadth. And if an object of equal breadth throughout, but of various colours, is seen against a background of uniform colour, that object will appear of various breadth. And the more the colours of the background or of the object

li Quella cosa d'uniforme grossezza e colore che sara veduta in ca^po di disuniforme colore si dimosstrera di disuniforme

nel

seen against the ground vary, the greater will the apparent variations in the breadth be though the objects seen against the ground be of equal breadth [throughout].

242.

dark object seen against a bright background will appear smaller than it is.

Quella cosa oscura che fia veduta in capo essa si dimostrera minore ch' essa

chiaro

3non

ell

Quella cosa chiara s s dimostrera di 6 maggiore figura che sara veduta in canpo di piv oscuro 7 colore. 4

DEL

OF che

trouera

be seen by the

the darkest background.

LUME.

241.

dimosstera piu osicu. prosspectiva.

mosterra 242.

Quala

giore. 243. 2.

oscura

chessara

chorpo

esspredore.

2. cheffia

fia .

n. .

colori cabino.

chapo.

chanpo

chessi troverra 8.

12.

tera

ochupato. .

magiore

dimossterra.

osscuro.

dimossterra di magiore

biachezza

grosseza. .

LIGHT.

any luminous body when seen and thick mist diminishes dense a through I

circhundata dappiu.

3. chessara.

grosseza.

LIGHT.

several luminous bodies of equal size and brilliancy and at an equal distance, that will look the largest which is surrounded by

lumi-

;

"Jo trouo che ciascuno corpo I2 nebbia noso, veduto nella folta e spessa

appear smaller as may or sun veiled by mists.

will

moon

LUME.

DEL

LIGHT.

luminous body when obscured by a

dense atmosphere

corpi luminosi d' equal grandezza 8 si dimostrera distantia e spledore quello da il forma di maggiore quale piu oscuro fia. circhQ9dato canpo

240.

LUME.

Quel corpo luminoso,

Infra

look larger when it background darker than

will

object

itself.

essere occupato 3 da piv grossa aria, apparira di minore gradezza, 4 come si dimostra nella luna o sole occupati dalla snebbia.

light

seen against

243-

C. A. 124 6; 383-5]

find that

grosseze pa.

Quala

de chon ver],

esse

13. chelle.

chiara [sara veduta.

dovella giene.

grosseza. 14. in].

vari[a] colore.

osschuro chanpo. 8.

9. di-

cholore.

grosseza.

[canpo

di] si

dimosterra

ma-

cholore.

35 R.

arie aparira.

ossole ochupati. 7. chorpi cheme si dimosstra 12. dimiesspessa. n. checciasscuno chorpo .

dappiu osschuro chanpo circhu.

THE THEORY OF THE ART OF PAINTING.

134

245.

proportion to its distance from the eye. it is with the sun by day, as well as the moon and the other eternal lights by night. And when the air is clear, these luminaries appear

s' allontana dall' occhio piu dila dl come di sole '^fa-il cosi e minuisce, luna-e li altri immortali lumi di notte. E 4 essi lumiqua' do 1'aria-e pura quanto _:.\. ~ .1l^.<4-irin/-i /-Inll' r\f*r-h'\r\ Sr\'iii rar* si ci '5 dall'occhio, s* allontanano piu pare piu faccino di maggiore forma.

quanto piu

Thus

lnrnr^r in r>rrrrrl-ir>n ac f-h^i/ nr* AirfVit- fmm larger in proportion as they are farther from the eye.

[244.

244.

F. 12 a\

That portion o/ a body of uniform breadth which is against a lighter background will look narrower [than the rest]. [4] e is a given object, itself dark and of uniform breadth a b and <r^are two backgrounds one darker than the other; b c is a bright background, as it might be a spot lighted by the sun through an aperture in a dark room.

Quella parte dello obbietto oscuro d' uniforme grosse'zza si dimostrera piu sottile che fia veduta in capo 3pj u luminoso. *e e il corpo dato oscuro in se e d'uniforme gross sezza, abzcd son capi oscuri piu 6 1'uno che 1'altro, b c e canpo luminoso come se fusse vn loco percosso ^ da vno spiracolo 8 che di sole in una camera oscura; dico, 1'obietto e g parra piu grosso in -V/" che in g h perche ef a 1 canpo piu oscuro che esso log h ancora la parte / g parra sotjl tile per esse re veduta dall' ochio o in campo b c che e chiaro. I2 La parte del corpo lu-

;

Then

I4 in parra esser piu grossa che fia veduta luminoso essere oscuro e questo canpo piu

say that the object eg will appear larger than at g h ; because ef has a darker background than g h; and again s&fg it will look narrower from being seen by the eye o, on the light background be. [12] That part of a luminous body, of equal breadth and brilliancy throughout, will look largest which is seen against the darkest background; and

ifocato.

the luminous

at e

;

minoso d'uniforme grossezza ^e splendore

Ash.

will

body

seem on

fire.

245-

ACCOMPAGNATI DA ONBRA E VARIANO I LOR TERMINI DAL COLORE E LUME ^DI QUELLA COSA CHE COFINA COLLA SUA SUPERFITIE.

WHY BODIES IN LIGHT AND SHADE HAVE THEIR OUTLINES ALTERED BY THE COLOUR AND BRIGHTNESS OF THE OBJECTS SERVING AS A BACKGROUND TO THEM.

4 Se vedrai uno corpo che la parte alluminata campeggi e termini I campo oscuro 5 la parte d' esso lume che parra di 6 che maggiore chiarezza fia quella E se terminera coll' oscuro in d. detta parte alluminata cofina col 7 il termine d'esso corcanpo chiaro po alluminato parra men chiaro che 8 prima e la-sua-soma chiarezza apparira al ifra termine del campo m-f-e. 1'onbra; 9 medesimo accade all'obra, imquesto peroche '1 termine di quella parte del corpo

If you look minated portion

COME

CORPI

LUME

SEMPRE

barte

piu lucellaltro.

splendore 345.

achompagniati

parira

244.

fussi

eser.

refers, is

chome

ij.

14. .

ellume. 6.

The diagram

placed

altrimortali

seza

percoso.

osscuro ecquesto

chiareza.

obbiecto osscuro.

Ecqua.

dimosterra

that part of the light which look brightest will be that which lies against the dark [background] at d. But if this brighter part lies against a of the oblight background, the edge ject, which is itself light, wil) be less

distinct than before, and the highest light will to be between the limit of the back-

appear

esere

cholore ellume.

chosa

and

lines 3

Esse

which the text, between

II,

and is given on PL XLI, No. 3. Lines 12 to 14 are explained by the lower of the two diagrams on

shadow.

The same

osscura.

duniforma.

seza ab he

n. veduto

8. chellobietto.

chia"ro".

osscuri 13. es-

"focato".

lines

the

eppura.

nuna

chetterminera cholloschuro

in the original

and

seen with regard to the dark [side],

cheffia veduto.

spiracol di sole .

thing

ground

14.

body of which the illuand ends against a dark

will

nuisscie e chosi.

lies

background,

244.

at a

cholle. .

col.

chorpo

chanpo

PL XLI, No. after line

chella .

para.

the

champegi ettermini chiareza

original

champo.

these are

oschuro.

achade.

placed

14.

245. In the original diagram o at the level of d.

ded surface

inside the sha-

PERSPECTIVE OF DISAPPEARANCE.

246248.] I0

aonbrato che

capeggia in loco chiaro in /, molta parra maggiore oscurita che '1 resto " E se detta obra termina in campo oscuro,

inasmuch as that edge of the shaded portion of the object which lies against a light

;

background, as at /, looks much darker than the rest. But if this shadow lies against a dark background the edge of the shaded part

termine dell'onbra parra I2 piv- chiaro che prima e la sorha sua scurezza fia infra detto il

termine

lume ^nel punto

e'l

appear lighter than before, and the deepest shade will appear between the edge and the light at the point o. will

C. A. 124*1; 383^]

246.

An opaque body

Quel corpo obroso si dimostrera di miil quale da piu luminoso capo

will appear smaller when surrounded by a highly luminous background, and a light body will appear larger when it is seen against a darker background. This may be seen in the height of buildings at night, when lightning flashes behind them

nore gradezza, circudato,

;

suddenly seems, when

larger in a mist, or atmosphere is clear

DE'LUMI INFRA L'OBRE.

Quando

quando

fai

though

by night than when the and light.

della

potetia de' lumi

5 parti alluminate che spesso I'ochio s'inganna, paredogli piu chi7aro quello ch'e me chiaro, e la 8 cavsa nascie mediante I0 li con pa9ragoni delle parti che cofinano se avra due loro, perche par"ti di chiarezza ine I2 guali e che la me chiara confirm con parti oscure e la pi^v chiara cofini co parti chia'Sre chom'e il celo o simili chiarez l6 ze allora quella ch'e me chi^ara o vo dire l8 lucida, para pi v lucida e la piu lucida parra ^piu oscura.

C. A. I24<*; 383*]

the illuminated portions, that the eye is often deceived by seeing things lighter than they are. And the reason lies in our cpmparing those parts with the contiguous parts. Since if two [separate] parts are in different grades of light and if the less bright is conterminous with a dark portion and the brighter is conterminous with a light background as the sky or something equally bright , then that which is less light, or I should say less radiant, will look

the brighter and the brighter will seem the darker.

248.

Of objects equally dark in themselves and situated at a considerable and equal distance,

Infra le cose di pari oscurita che dopo lunga e pari distantia situate sieno, quella

che piv alta da terra

apparira piu oscura, 2 collocata fia.

to.

chapegia illocho

nasscie. 5.

13. i.

parte.

look the darkest which

that will

above the

para

gradeza.

magiore

ischurita Esse.

dimosterra magiore

n. jn champo oschuro

osscuro.

alteze

farthest

earth.

vapegia.

parira. 4.

12. ella

scureza.

che vapegiado dimivisca

alteza

paiano magiori. parendoli.

parte osscure ella Infralle

are drawing any object, recomparing the grades of light in

member,

delle sua

246. i. dimosterra

LIGHT BETWEEN SHADOWS.

When you

alcuno corpo,

ritrai

parago

248.

lightens, as

247.

the height of the building were diminished. For the same reason such buildings look

nata.

2 e quel luminoso si dimostrera che cofinera co piv oscuro capo maggiore 3 come si dimostra nelPaltezze degli edifiti la notte, quado dirieto a quelli vapeggia che subito par 4 che '1 vapeggiado diminvisca 1' edifitio di sua altezza: e di qui nasce che essi 5 edifizi paiono maggiori quado e nebbia o notte che quado 1'aria e purificata e allumi-

fia

135

chose

ara quelle

14. parte.

osschurita

ella.

15. ossimili

9. .

eppari disstantia

parte.

chiare.

10.

colloro

18. ella

hoschura

ara.

piu lucia. datterra..

it.

d[equale] di chiareza inne.

19. osscura. 2.

chollochata.

12. chella.

[249251,

OF PAINTING. THE THEORY OF THE ART

136

249. A.

64-51

PRUOVA-COME

IT IS THAT LUMINOUS BODIES A DISTANCE, THAN THEY ARE. AT APPEAR LARGER,

TO PROVE HOW

DI CORP. LUMINOSI_ 'PA.ONO NO SONO.

LONTANO-MAGGIORI-CHE

candles side by you place two lighted from them to and go braccio a half apart, side see that by will a distance 200 braccia you will appear each of size they increased the with the light as a single luminous body wide. the two flames, one braccio If

acciese appresso da braccio e a lontanerati all'altra '/, I'una4 accrescimeto P vedrai per esse 200 braccia uno -solo corpo lummoso di ciascuno farsi uno solo -de' due lumi-e parra braccio.

3Se porrai-2-candele

grande-uno

A VEDERE-LA UERA GRADEZZA

TO PROVE HOW YOU MAY

CORPI LUMINOSI. la

Se vuoi vedere uno buso quato

una assetta sottile sareb^be uno piccolo pu-

;

al-

ponitela tato

the real size of these

you wish to see thin board and luminous bodies take a very the tag o make in it a hole no bigger than to your eye close as it a 4ace and place this that when you look through possible, so 1 a see can hole, at the said light, you Then by rapidly movit. space of air round and forwards being this board backwards If

vera gradezza d'essi

corpi luminosi-abbi faui

SEE THE REAL SIZE

OF LUMINOUS BODIES.

pressotale-di striga-e I modo che nguardado 1'ochio quato puoi lume tu gh 'per esso buso il sopra detto d' aria dintorno e cosi assai spatio vegga co prestezza essa asse leuado e ponedo cho prestezza vedrai tuo-ochio-cosi dal cresciere esso lume.

see the light increase fore your eye you will [and diminish].

250. C. 24 a (6*)]

Infra

corpi di

pan

che

qualita

and equally several bodies of equal size will look the smalthose the from distant eye, the lightest background. lest which are against

sien

Propositions dall' c : tive of d!s

appearance

S C ,To-262)

occhio equalmete distanti, que^ap2 da piv Immo di minor figura che

be surrounded by Every visible object must A spherical body shade. and perfectly light to will shade and appear surrounded by light in other the have one side larger than j than one is more highly lighted portion as

parira

campo circundato fia. -hOgni corpo evidete

da lume e obra

fia

rotodita, circQdato.il I^Quel corpo d'equale avere s e obra circudato fia, parra che da lume

tanto piv

quato

fia

grande 1'una parte

chelakra

1'una che piv 7alluminata

the other.

altra.1

251. C. 23 a '

PERSPECTIVE.

PROSPETTIVA.

umani Nessuno evidete corpo puo dagli ben giudicato ochi-essere ben conpreso-e 3 Se no per la uarieta del canpo-doue2

e cofinano, stremi- d'essi- corpi terminano 4

de' nessuna cosa inquato a liniameti

di-

da capi sua stremi apparira essere distante s la luna benche-sia molto uisa; essi

'.,

chomc

chorpi.

paiano

magiori.

can be well understood

visible object

its

borders are concerned.

human eye and comprehended by the the background of difference the cepting from termithe edges of the object which against and no are bounded, which they nate and by stand out] separate object will appear [to as the outlines from that background so far

aoresso

1/2 '

br. vederai. br, e alontanerati 200

cho rpi.

la "

8. sc volli

252

PERSPECTIVE OF DISAPPEARANCE.

257-]

dal corpo del sole qua 6 do per le eclissi-si truoui- infra li ochi nostri e' 1 sole, perche essa lu?na Canpeggia sopra il sole appare ali

at a great distance from the sun/ an eclipse, it comes between our eyes and the sun, appears to the eyes of men to be close to the sun and affixed to it, because the sun is then the background to the moon.

sole.

c. s

(*)]

MIS *))

appear more brilsurrounded by

253.

The straight edges of a body will appear broken when they are conterminous with a

termini de' corpi parrano rotti che in loco tenebroso rigato da percussione di luminosi razzi.

will

proportion as

deeper shadow.

I retti

luminous body in

liant

termineranno

252.

Quel corpo luminoso parra piv splendido il quale da piu oscure tenebre circundato fia.

though when,

vmani congivnta e appiccata con esso

ochi

137

dark space streaked with rays of

light.

254.

(15-5)]

Infra

corpi

quelloche fia-

equal gradezza e distatia

piv

alluminato parra

all'

ochio

piv propiquo e maggiore.

Of several bodies, all equally large and equally distant, that which is most brightly illuminated will appear to the eye nearest and

largest

C. 14* (i6a)]

255.

Se mold corpi luminosi fieno veduti di lontan paese, benche infra loro sien diuisi parranno insieme vniti e cogivnti.

256.

C. 14 <* (166)]

Se mold

corpi obrosi di quasi congiunta

capo luminoso in parrano separati da grade

vicinita fieno veduti

lunga distatia

If several objects in shadow, standing very close together, are seen against a bright back-

ground they

257.

(i 7 a)]

several bodies of equal size and tone, is farthest will appear the lightest

Jnfra le cose d' equal gradezza e colore quella che fia piv lontana parra piv chiara

that

which

e di minore figura.

and

smallest.

meti

aparira.

perche.

[II

chapegia

sole

lume

ealtre ste] la luna

apare chongivnta

chorpo

chorpi

354.

chorpi

gradeza

955-

chorpi

paesse

356.

chapo chongiunta illunga. cheffia. cholore Jfralle chose gradeza

357.

Quello

cheffia

infralloro .

parano

para .

pe"r"

le clissi.

6. nosstri

sole [e che essa luna chape]

razi.

vnite e chogivnte.

magiore.

The diagram which in the original no connection with it.

placed after this text, has VOL.

chorpo b chon esso.

252.

osschure circhundato. parra [di magiore] piv splendido [che] jl tenebroso [limato] "rigato" da perchussione Chettermineranno illocho

352.

e appichata

253-

chorpi

appear separated by wide

will

intervals.

intervallo.

c. 21 6

If several luminous bodies are seen from a great distance although they are really separate they will appear united as one body.

Here again the diagrams no connection with the text. S

253. 254.

nal have

in the origi-

THK THEORY OF THE ART OF PAINTING.

138

258.

C. 120)

bianle cose d' equal grandezza capo e longitudine quella- che fia di piu chiara superfitie apparira di maggior 2 I1 ferro d' equal grossezza mezzo figura; Ifocato ne fa proua, *peroch& essa parte Ifocata pare piu grossa che '1 resto. Infra

chezza

QUELLA PARTE DELLA PARIETE O LUMINOSA CHE DA PIV

FIA

OSCURA

ANGOLO OSCURO 2

LUMINOSO FIA PERCOSSO.

sopra detta propositione chiaraquesta forma si pruova diciamo q essere il corpo luminoso e cosi *f-gin

il corpo obroso e a e sia la nominata pariete, doue sopra detti agoli percuotono, li rappresentado la natura e qualita di loro base ora 1 a fia piv luminoso che b la basa dell' angolo a e piv grossa che 5 di b e pero fa piv grosso agolo, quella il q e la piramide b p quale fia a

sara

alike

;

-m

6 piv stretta, e piu sottille sia quella in mano , quato piv o c e cosl di s'appressa a e fieno le piramidi piv strette

fia

mano

Infralle

chose

fero

'grosseza

grandeza biancheza .

mezo Ifochato

259. i. chorpi

. . grandeza ellongitudine osschura olluminosa . dappiu

perchuotano.

ecqualita

hora.

"capo" ellongitudine.

the

Quella cheffia

di piu

piana superfitie aparira

magior.

Ifochata. osschurita.

Quella [cheffia] apparira.

osscuro olluminoso 5.

in proportion as they are

pyramids will become narrower and darker. That portion of the wall will be the darkest where the breadth of the

;

on by degrees,

nearer to

e piu oscure 7 Quel puto della pariete fia di minore chiarezza nel quale la grossezza

The foregoing proposition can be clearly proved in this way. Let us say that m q is the luminous body, then_/- will be the opaque

body; andletd^be the above-mentioned plane on which the said angles fall, showing [plainly] the nature and character of their bases. Then a will be more luminous than b; the base of the angle a is larger than that of b and it therefore makes a greater angle which will be a m q; and the pyramid b p m will be narrower and m o c will be still finer, *"and

of equal size and form and in depth of shade, that will appear smallest which is surrounded by the most luminous background. bodies

several

and

DIFFERENT PORTIONS OF A WALL SURFACE WILL BE DARKER OR BRIGHTER IN PROPORTION AS THE LIGHT OR SHADOW FALLS ON THEM AT A LARGER ANGLE.

PIV

GROSSO

mete

260.

length,

260.

c. 8*]

358.

Of several objects equal in size, brightness of background and length that which has the flattest surface will look the largest. A bar of iron equally thick throughout and of which half is red hot, affords an example, for the red hot part looks thicker than the rest.

259-

Infra i corpi d'equale grandezza e longitudine e d' equale figura e oscurita quella 2 di minor grandeza che da piu apparira luminoso canpo circundata fia.

^258260.

agolo [ode]

[fia .

perchosso].

ella piramide.

grandeza

chorpo

chosi.

dappiu 3.

chanpo circhundata.

chorpo

echosi dimnnonoimano

douessopra

sapressa

piramide

26 1. 262.]

PERSPECTIVE OF DISAPPEARANCE.

della piramide obrosa supera la grossez 8 za della luminosa.

pyramid of shadow is greater than the breadth of the pyramid of light. At the point a the is pyramid of

a fia di tata potetia la piraJ>Nel puto mide luminosa quato la obrosa, perche la basa e simile alia basa -

/ I0

puto

-r-f-

aMa

piramide luminosa che la obrosa piv quato s-f-e minore che la basa /-. ,

''Diuidi

due

obrose e

figure

sopra

detta

una

cioe

luminose e

light

equal in strength to the pyramid of shadow because the base is equal to the base rf. At the point d the pyramid of light is narrower than the pyramid of shadow so much as the base s/is less than the by base/,?-. Divide the foregoing proposition into two diagrams, one with the pyramids of light and shadow, the other with the pyramids of light

nel

tanto

fia

sottile

basa

proposition

colle

1'altra

colle

139

piramidi I2 lumi-

nose.

[only].

C. 13 1]

261.

Infra 1'onbre fia

di pari qualita

piv propinqua nore oscurita.

Quella che ochio apparira di mi-

all'

Among shadows of equal depth those which are nearest to the eye will look least deep.

C. 100]

262.

Quanto-di maggiore splendore fia-il cordi tanta maggiore oscurita fieno 1'onbre-fatte da'corpi da esso alluminati.

The

more brilliant the light given by a luminous body, the deeper will the shadows be cast by the it illuminates.

po luminoso

261. i. Infrallonbre 36*.

cheffia

magiorel-splendore"

*""""' u

quale '"

p^rr J,,,m:

Apparira

chorpo

objects

hosscurita.

magiore osschurita

lonbr

chorpi.

- -

oho,.

Theory of colours. Leonardo 's theory of colours of light

and shade than

or supplement

his Perspective

those principles, as

even more intimately connected with his principles

of Disappearance and

we gather from

276, while others again (Nos. 281, 282) are

very

few of

these chapters are to be

the

is in fact

titles

merely an appendix

to sections

264, 267,

and

headed Prospettiva.

found

in the oldest copies

and

editions

and although the material they afford is but meager and the between them but slight, we must still attribute to them a special theoretical

the Treatise on Painting,

connection

value as well as practical

and

utility

all the

so because our knowledge of the theory

use of colours at the time of the Renaissance

is still

extremely limited.

263.

PICTURA.

II colore dello alluminato participa colore dello alluminante.

PAINTING.

The hue of an illuminated object ted by that of the luminous bodv. J J

del

affec- The reciprocai effects of

colours on objects pla-

ced opposite each other

DE 2 If

OF SHADOW.

ONBRA.

The surface of any opaque body is affected by the colour of surrounding objects.

d'ogni opaco participa

superfitie

del colore del suo obbiettot.

265.

232,5]

L'onbra participa sepre suo obbietto.

Br.

color

del

shadow is always affected by the colour of the surface on which it is cast.

del

266.

An image produced

simvlacro inpresso nello spechio par2 ticipa del co lore del predetto specchio. II

Ash.

Ogni parte

364. 2.

affected

Every portion of the surface of a body is varied [in hue] by the [reflected] colour of the object that may be opposite to it.

3 si

363. 2. cholore

mirror

OF LIGHT AND SHADE.

OBRA E LUME.

che cirdella superfitie I del colore trasmuta corpi, parte quella cosa che gl'e posta per obietto.

cuda

in a

the colour of the mirror.

267.

2 a]

(263

264.

oppacho.

3. 3.

cholore

alluminancte.

obbieto.

265. obbiecto.

266.

delcho.

267. i. ellume.

circhuda

chorpi.

trassmuta

cholore

chelle posta.

settu porai unofpalla da]

uno chorpo

sperL-

272).

THE THEORY OF THE ART OF PAINTING.

144

ESEPLO.

EXAMPLE.

tu porrai-uno corpo-sperico-I mezzo a van obietti, 6 cioe che da una parte sia lume del sol* e dall' opposita parte sia uno muro 7 alluminato dal sole il quale sia verde o d'altro colore, il piano dove si posa 8 sia,

rosso il

dai 2

lati

fia

potete

corpo participare

dell'

obra

Rimane poi una

ll pariete allumina ta-,

della

vedrai

sia

di detto

sono per obietto; IO I1 piu luminoso; II secondo fia quello

che

de' colori

scuro

traversi

natura^le colore

I2 ticipa del colo re delli

[268270.

terzo quello-

quatita,

che par-

stremi.

you place a spherical body

various

between

say with [direct] sunlight on one side of it, and on the other a wall illuminated by the sun, which wall may be green or of any other colour, while the surface on which it is placed may be red, and objects

that is

the two lateral sides are in shadow, you will see that the natural colour of that body will

assume something of the hue reflected from those objects; The strongest will be [given by] the luminous body; the second by the illuminated wall, the third by the shadows. There will still be a portion which will take a tint from the colour of the edges.

268.

E. 17

]

The

surface of every opaque

affec-

parsuperfitie d'ogni corpo opaco Ma co ticipa del colore del suo obbietto tanta maggiore o minore < inpressione quato esso obietto s fia piu vicino o remote o di

ted by the colour of the objects surrounding it. But this effect will be strong or weak in

remote and more or

-3

maggiore o minore potetia.

proportion as those objects are more or less

PlTTURA.

La superfitie d'ogni corpo opaco 3 colore del suo obbietto. ticipa del

The

par-

tanta maggiore potetia si tignie la del corpo s opaco del color del suo obbietto quato li razzi 6 delle spetie di superfitie

obbietti feriscono essi corpi infra angoli piu equali. 8 tanto piu si tigne la superfitie de' 9 del suo obietto corpi opachi del colore e tal superfitie quato piu biaca e'l colore dello I0 obietto piu luminoso o allu?

tali

minato.

L. 145;

Ba]

H Tutte le parti minime delle spetie penetra 3]' una 1'altra sanza occupatione 1'una cho Imezo

sia

iluminoso

chorpooppacho. orremoto.

369.

oppacho.

370.

razi

270.

13.

surface of every opaque

body assumes

the hues of surrounding objects more strongly proportion as the rays that form the images of those objects strike the surface at in

more equal

And

angles. surface

of an opaque body assumes a stronger hue from the surrounding the

objects in proportion as that surface is whiter and the colour of the object brighter or more highly illuminated.

OF THE RAYS WHICH CONVEY THROUGH THE

muro.

cholore.

schuro

AIR THE IMAGES OF OBJECTS. the minutest parts of the image All intersect each other without interfering with

vederai

[detto chorpo) al

natura.

cholore

chorpo

cholori.

sechondo.

PAINTING.

the hues reflected from surrounding objects. The surface of an opaque body assumes

268.

less strongly [coloured].

270.

DELLI RAZZI CHE PORTA PER L'ARIA LE SPETIE DE CORPI.

to.

269.

240 i\

body

del cholore del cholore del suo

obbiecto.

Ma[cqua] tanta

ominore.

In the margin: 4. cho.

ominore. 8. Ettanto. 10. aluminato. razi. 6. feriscano. 9. biacha. magiore. 5. oppacho de chorpi. 3. ochupatione. 4. essia spiracholo. 5. ris.-cotro. 6. losstrcmo. 7. le(spemo no po

lesspetie

attale.

This probably refers to the diagram given under No. 66.

THEORY OF COLOURS.

271. 272.]

dell'altrajU 4 pruovasi e sia r 1'un de'lati dello spiracolo s a riscotro del quale sia s 6

il quale ve de lo stremo inferiore o della linia n o, il qua 7 le stremo no puo madare la similitudine di se a tale 8 ochio s ch'ello no tocchi esso

ochio,

stremo

r, e' linia

d'essa

si g mile

mada

allo

sue per

linia

bre I5 vissima

fori di Tfla

eye u. And if the end n is red the eye u on that side of the holer will not see the green colour of o, but th of only the red of n according to the 7

dove

se spetie

quale

per

where it is said: Every form projects images from itself by the shortest line, which this

neciessita e retta ecc.

necessarily

C. A. 178 a; 536^]

r be one of

let

its image to the eye s as it has to strike the end r and it is the same with regard to m at the middle of the line. The case is the same with the upper extremity n and the

dicie ogni simula I4 cro

this

transmit

stremo superiore n all' ochio u e se lo stremo n "e rosso u ochio no vedra in tal labro di spira I2 colo r il colore verde di o, ma solo il rosso J 3di n per la 7 a di questo,

To prove

each other.

the sides of the hole, opposite to which let s be the eye which sees the lower end o of the line n o. The other extremity cannot

mezzo

accade

cosi

'45

a straight

line,

&c.

271.

PlCTURA.

PAINTING.

La superfitie d'ogni corpo participa del 3 Li colori delli colore del suo obbietto. obbietti alluminati s'imprimono nelle superfitie 1' u del' altro 4 in tati vari siti quate son

The surface of a body assumes in some degree the hue of those around it. The colours of illuminated objects are reflected from the surfaces of one to the other in va-

le uarieta delle situationi

rious spots, according to the various positions of those objects. Let o be a blue object

di tali obbietti; azzurro alluminato e vede

obbietto

solo sanza altra ^conpagnia 1 8 spatio b c della spera bia ca a b c d e f, e la tignie di colore azzurro; ^m el obbietto giallo il I0

quale allumina

lo spatio dello o azzur lj ro

b in

body, and they give

questo che prova lo azzurro e giallo fa T 3re verde bellissimo eccll-e'l in

colour (by the

manete

dira

questo libro

ri-

nel libro della pictura;

pro'Svera facciedo pene-

trare la spetie de' corpi e co l6 lori delle cose alluminate dal sole per piccolo ^spiracolo

rotondo in loco oscuro I pa l8 riete piana in se bianca ecc. 19 Ma ogni cosa fia sotto sopra.

C. A. 44 (5; 137 J]

2 fa 1'obra 3 no la ue 4 de. 1'obre 6 son fatte 7 da lumino 8 so gignitor'e 9circudato I0 re del'obre. "L'onbra fatta dal luminoso e che e I2 giallo,

Perche

8. chella

271. 2.

g no tochi

obbiecto.

be dulla. piecho.

VOL.

16.

itself

2 nd

a green

[proposition]

of this which shows that blue and yellow And the rest a beautiful green &c.)

make will

Book on

forth in the

set

Book

Painting.

be shown, that, by transmitting the images of objects and the colours of bodies illuminated by sunlight through a small round perforation and into a dark chamber onto a plane surface, which itself is quite white, &c. But every thing will be upside down.

In that

will

272.

Quel che

all

facing

light,

space b c on the white sphere a b c d e f, and it will give it a blue tinge. ;;/ is a yellow body reflected onto the space a b at the same time as o the blue

e lo copagnia a tigne in colore verde Tfper la 2 12

full

the

cha

stremo

obbiecti .

picholo.

ella.

17.

[o]r.

chosi achade.

"alluminati" sinpremano. 9.

ellobbietto gialloiquale.

10. essello.

quato.

u. errosso

5. bietta.

10. losspatio.

spiracholo retondo ilocho osschuro.

111

That which casts the shadow does not because the shadows are produced it, by the light which causes and surrounds the shadows. The shadow caused by the light e, face

18.

la [pr]bro.

ellobbietto azurro

ello tugnie in cholore.

biancha.

19.

12.

cholo

ongni.

"alluminato". 12.

azurro -egualle.

onchosa.

Losspatio 15.

chor-

Combination of different colours in c

^^f"

THE THEORY OF THE ART OF PAINTING.

146

which

viene a essere '^azzurra perche e 1'onbra corpo **a fatta sopra il pauimcto in b, nel'Ma quale 6 veduta dal luminoso azzur l6 ro, e cosl 1' onbra fatta dal lumi' 7 noso d che e azzurro fia gialla nel l8 sito c per lumi^noso dal essere veduta '1 circudatore e canpo giallo, 20 d'esse onbre b c sara (oltre al suo 2I natural colore) tinto d'un colore mi 22 sto di giallo e d' azzurro perche e vedu 2 3to e alluminato

da luminoso giallo

yellow, has a blue tinge, because

shadow of the body a is cast upon the pavement at b, where the blue light falls; and the shadow produced by the light d, which is

the

del

blue, will be yellow at c, because the yellow light falls there and the

surrounding background to the'se shadows b c will, besides its natural colour, assume a hue compounded of yellow and blue, because it is lighted by the yellow light and by

da luminoso

azzurro in u medesimo 25 tenpo 26 Onbre di uari co 2 ?lori se-

the blue light both at once. Shadows of various colours, as affected by the lights falling

28 condo Iu mi da loro veduti. 2 9Quel lume che fa 1'obra no 3<>la

the

on them.

;

273

s6a]

The edges of a colour(ed object) transmitted through a small hole are more conspicuous than the central portions. The A nc of the me images, 01 of whatever wnaiever euges edges 01 colour^ which are transmitted through a small

effect of

Li termini d'ogni color che passa per so piu ^evideti che i loro mezzi.

spiracoli

Li termini delle spetie ,

the'ckmera scura .

274).

That light which causes shadow does not face it.

uede.

c. A. 187

The

[273. 274.

che per stretto

lore

L. 145;

qualuche co-

spiraculo penetrano i 8 sepre di piu pote te co-

loco o?scuro fien lore che

274.

D*] 2

DELLA INTERSEGATIONE DELLE SPETIE POPILLA DELL'OCHIO. 3

aperture into a dark chamber will always be stronger than the middle portions.

suo mezzo.

delle

intersegatione

NELLA

OF THE

nello

The

spetie

of the images as they enter the pupil do not mingle in confusion

introito della popilla *no s'infondono 1'una nell'altra in quello spatio dove tale intersegastione le vniscie, e questo si manifesta 6 perche se li razzi del sole passa per li dua

them; as is evident, since, if the rays of the sun pass through two panes of glass in close contact, of which one is blue and the other

che sieno infra loro in cotatto, de quali uetri 1' un sia azzurro e 1' altro giallo, allora il razzo 8 in esso penetrate non si 7

yellow, the rays, in penetrating them, do not become blue or yellow but a beautiful green. And the same thing would happen in the

tigniera d' azzurro ne di giallo, ma simo verde, e il medesimo accaderebbe alI0 1'ochio se le spe tie de' colon giallo e verde di 9 bellis-

if the images which were yellow or green should mingle where they [meet and] interAs this does sect as they enter the pupil.

intersegatio da lor fatta in"fra se nello introito della popilla s'avessino a in-

eye,

nella

I2 fondere 1'una ne l'altra, la qual cosa non accadendo tal mistione non e in essere.

ii. del.

22.

colore. 2.

isspiracoli.

474.

interseghatione.

tacto.

272. In the original

cholore

27. .

raz.

diagram we

(yellow) and the also under the circle

"giallo" is written

cho.

interseghatione.

azurro ellaltro

e "giallo"

and

26.

3. illoro.

273.

vede lonbre viene a essere.

12. giallo

eddazzuro.

cirle

sechondo. istretto. 4.

azurro.

(blue) left

to the right "azurro".

29. .

15.

del

Quellume

azur.

16.

chosi.

17. azurro.

exist. natura

21.

chefla.

illocho os.

intersegha.

achaderebbe'

of shadow to the

and under that

13. azurra.

spirachulo

find in the circle

"azurro"

not happen such a mingling does not

28. dalloro.

sinfondano

intersections

space where that intersection unites

the

vetri

273. 6. facte.

INTERSECTIONS OF THE IMAGES IN THE PUPIL OF THE EYE.

selle.

ecquessto

selli razi

10. cholori gialli

[solarij.

passa

interseghatio dallor.

inchofrasse

In the second diagram where four circles are placed row we find written, beginning at the left hand,

in a

"giallo"

(yellow),

"rosso" (red).

"azurro"

(blue),

"z/mfc"

(green),

THEORY OF COLOURS.

2/5-]

NATURA "4

DELLI RAZZI CHE si COPOGONO DE CORPI E LORO ITERSEGATIONE.

OF THE NATURE OF THE RAYS COMPOSED OF

DELLfi SPETIE

THE IMAGES OF OBJECTS, AND OF THEIR INTERSECTIONS.

sLa

rettitudine delli razzi che porta per 1'aria la figura l6 e color de' corpi donde

The directness of the rays which transmit the forms and colours of the bodies whence

partono no tingono di se 1'aria, cora possono tignie I7 re 1'uno

they proceed does not tinge the air nor can they affect each other by contact where they intersect. They affect only the spot where they vanish and cease to exist, because that

ne an-

cotatto

nel

1'altro

intersecatione,

della

loro

sol tin l8 gono

il loco dove eglino perdono il loro essere perche tale loco ve'9de ed e veduto dal'origine

spot faces and is faced by the original source of these rays, and no other object, which surrounds that original source can be seen by the eye where these rays are cut

d'essi razzi, e nessuna altra cosa che circuisca 20 essa origine puo

essere veduta da loco dove tale 2I razzotaglian dosi resta destrutto, lasciado la preda da lui quivi

off

And

portata.

questo

de'

corpi

lori

a prova per la 4 de codove dicie la su 2 3perfitie

d'ogni corpo opaco participa del colore del suo obbi 2 4etto; aduque e concluso che 2 il loco che mediate il razzo 5che porta le e vede ed veduto dall' spetie origine di tale 26 spetie si tinga del colore d'esso obbietto.

Ash.

and destroyed, leaving there the have conveyed to it.

spoil they

22 a]

sition],

this is proved by the 4 [propoon the colour of bodies, which says :

The

surface of every opaque body is affected by the colour of surrounding objects; hence we may conclude that the spot which, by means of the rays which convey the image, faces and is faced by the cause of the

image, assumes the colour of that object.

275-

OGNI OBRA FATTA DAL CORPO OBROSO MINORE DEL LUME ORIGINALE 2 MADERA LE OBRE DIRIVATIVE TITE DEL COLORE DELLA LORO ORIGINE.

L' origine dell' obra e sia n, e fia suo colore 1' origine di h e sia *e fia similmete tita T suo colore, e cosl il colore di-z>->$-fia tito nel- colore di-/s e 1'obra del triaperche nascie da lui golo z k y fia tita nel colore di Q perche 6 8 7 Tanto diriva da lui quato c d entra in I0 9 a d tanto e piv scuro n r s che e 3

tita in

[

;

"canpo sanza 6bra;-/-^-e

tutto 1'altro

lume perche quivi allumina tutta la finestra a d I2 e cosi nel corpo obroso -m- e e di simil chiarezza z k y e vno triagolo ^ che cotiene in se il primo primo grado

;

ANY SHADOW CAST BY AN OPAQUE BODY SMALLER THAN THE LIGHT CAUSING THE SHADOW WILL THROW A DERIVED SHADOW WHICH IS TINGED BY THE COLOUR OF THE LIGHT. Let n be the source of the shadow ef; it On the assume its hue. Let o be the source of h e deriveTsha do * s which will in the same way be tinged by its hue 6) and so also the colour of v h will be affected by/ which causes it; and the shadow of the triangle z k y will be affected by the colour of q, because it is produced by it. [7] In proportion as c d goes into a d, will n r s be darker than m; and the rest of the space will be shadowless [i i]. f g is the highest light, because here the whole light of the window a d falls; and thus will

on the opaque body m e is in equally high k y is a triangle which includes the

light; z

"mistione". 13. razi chessi copoghano. 14. chorpi elloro interseghatione. anchora possa. 17. intersechatione Massol. partano" no si tinghano chosa che cirrazi e nessussuna locho. 19. de "ede veduto da" lorigine 18. ghano il locho dove e perdano illoro cholori de chorpi. 22. ecquesto dallui. chuissca. 20. dallocho do tale razo. 21. ressta desstrutto "quivi" lassciado

popila.

fighura.

15.

12.

chosa non achadendo

16. e

tal [fusione]

cholor de chorpi "donde .

23.

875.

chorpo oppacho delume.

275.

sie

The diagram

cholore. effia

PI. Ill,

24. ecto .

sie.

No.

choncluso.

effia

nel

ilocho.

cholore.

belongs to this

chapter as well as the text given in No. 148. Lines 12 of No. 148) which are il (compare lines 8 7

25. 10.

veduta. ettutto.

26. tingha.

n. alumina

tucta.

12.

chiareza

written within the diagram, evidently apply to both been inserted in sections and have therefore both.

THK THEORY OF THE ART OF PAINTING.

148

deepest shadow, because the light a d cannot reach any part of it. x h is the 2 nd grade of shadow, because it receives only '/3 of the

grado d'onbra, perche in esso triagolo no & '1 2 grado '*il lume a d\ x h d'obra perch egli non allumina se non */3

capita

c- d>\li- c fia

sdella- finestra cioe

tcrzo

C] 2

OF THE COLOURS OF

The colour of derived shadows

Li colori dell'obre diriuative fie ^senpre participant delli colori de corSpi che le rischiarano: pruovasi 9e sia il corpo onbroso I0

interposto

sctd e e azzurro e

infra

affected

are cast.

placed between the plane 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

pa-

sctd

whole surface sctd excepp which is coveshadow of the

ting at o red by the

body q r,

may conclude

la pariete sc.]

que .

ilumc

dobra percheli

4. cho'lori.

alumina.

d cholla dilatatione a b c d d e c

15. 6.

d].

fussi.

dela

30.

sarabe.

32.

iluminoso.

276. In the original diagram

33.

lielo.

35.

Leonardo has written

within the circle q r forfo obroso (body "in shadow); at the spot marked A, luminoso azzurro (blue luminous

chorpo

19.

light fall

17. dela

(L la.

tal.

body);

36.

interpossto.

locho ochupato

25. missto

luminoso azzurro de

9. essia

tigngnie

percheli

[essia

that

but,

there,

the

will ap-

pear as a blue shadow on a red background tinted with blue, because on the surface sctd 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

chome mosstra. 12. dicbo. 14. ochupa. 15. chorpo choclude chellonbra. 22. iluminoso. 24. ressta chapo.

ab. si

chelle risciarano.

is o,

exposed to the blue red light a b cannot

;

14.

shown by the lines d and e r p. Hence we the shadow n m is

3. cholori.

the

excepting at the spot obscured by the shadow q r;

s c td perche in campo vede 1'uno e Paltro luminoso, 2 7ma nell'obre no vede se no vn sol Iu 28 minoso e per questo 2 tale obra e obra me 9zzana, perche se tale obra no fusse veduta 3 da nessun luminoso 1 essa sarebbe obra J massima ecc. Ma nel1'onbra o p no ve3 2 de il luminoso azzurro, 33 colla sua interpositione perche il corpo q r

chotiene.

shown by

sctd

d' azzurro,

cholori.

the light a b which falls the whole surface

obroso q r co 20 me mostra le linie d q o e e r p; 2I aduque si coclude che 22 vede il luminoso azzurro d e e 1' onbra n m no 2 3 potendo vedere il luminoso a b rosso 2 n m resta vn' obra azzurra in capo 2S rosso

straight lines d q o e r p, And the same occurs with

sctd

13.

always

that of the

eccietpariete J 9to il loco occupato dalP

276.

body towards which they To prove this let an opaque body be

lu^minosi a b rosso; I2 dico d e luminoso azzurro ve I3 de tutta la pariete sctd ecciet^to op, il quale occupa 1' onbra del 15 corpo obroso q r, come mostra l6 le linie rette d q o, e r p\ E il simple accade del luminoso a b, l8 vede tutta la il quale riete

SIMPLE DERIVED

SHADOWS.

SENPLICI.

-J

misto

third

276.

DELLI COLORI DELL'OBRE DIRIVATIVE

The

is c d.

grade of shadow is // e, where two thirds of the The last light from the window is visible. grade of shadow \sbdef, because the highest grade of light from the window falls at /.

L. 145;

from the window, that

light

I6 dua terzi grado d'obra perche egli uede della finestra b d- c -f fia 1' ultimo grado d'obra perche I7 1' ultimo grado di lume della finestra allumina nel loco di /.

[2 7 6.

da dazurro

cho.

qua).

alumina 7.

10. infralla

20.

mosstra

locbo.

allvmina

[le .

elli.

chanp

n. azzurro

ahcf.

21.

addu-

chanpo. 26. ellaltro. 29. settale ressta inchapo. 38. del 37. dazurro errosso. .

B, luminoso rosso (red luminous body). At azzurra (blue tinted shadow) and

we read ombra

ombra

rossa (red tinted shadow).

THEORY OF COLOURS.

277. 278.]

glielo proibi-^sc-ie;

sol ui

vede

lume

does not

because the body q r interposes 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 <?' /' 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 <?'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

rosso a b il jSquale lo tignie di color rosso e cosi ta3 6 le obra rosseggiate resta incapo mi 37 sta d'azzurro e rosso.

;

primitiva

d'esso colore

fia

49fia mista di rosso e azzurro.

sLe se

rita

obre dirivative sara d' equal 5I oscunascono da 52 lumi d'equale po-

e distas^tia; pruova

.tetia

they are produced by lights of equal strength at an equal distance; this is proved [53].

and

fall,

and intercepts

38 L'onbra del q r in o p 39 mediante il luminoso azzurro d e 4e rossa e 1'obra d'esso q r mediate il rosso luminoso a b e azzurra 4 * in 5 p adunque diremo che 43 il lume azzurro fa in questo caso 44 fare 1'onbra dirivativa rossa al cor^Spo onbroso 46 fa fare al medeq r Q che'l lume rosso simo obroso 1'obra 4 1 dirivativa azzurra, ma

1'onbra

149

277.

F. 23 a] 2

Nessu bianco o nero

e trasparete.

white or black

the nature of colours

transparent.

(277. 278).

278.

75 a]

PlCTURA. 2

Perche

bianco non e colore,

e in-

[2]

white

Since

PAINTING.

not a colour but the

potentia ricettiva 3d'ogni colore, quando esso e in capagna alta tutte le su 4 e obre sono azzurre; e questo nasce per la 4 a che

neutral recipient of every colour [3], when it is seen in the open air and high up, all its

th cording to the 4 [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 ifself, 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 atmoAnd if this white object did not sphere. 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.

shadows are bluish; and

dice: la superfitie d'ogni opaco participa del colo 6 re del suo obbietto; Aduque tal

bianco essendo pri7vato del lume del sole 8 infra per interpositio di qualche obbietto

messo

'1 sole e esso biaco, resta adunque biaco che vede il sole e 1' aria parI0 del colore del sole e dell' aria, e ticipante jl quella parte che non ue de il sole, resta onbrosa participante del colore dell' aria, e se I2 tal biaco non vedesse la verdura della capagnia l^sino all' orizzonte, rie ancora vedesse la biachezza di tale I4 orizzote, sanza dubbio esso biaco parrebbe essere j sdel senplice colore del quale si mostra essere

tutto

aria.

infra il

[dea]qr[m]in. 48. cholore.

errosso ellobra.

40.

42. direno.

43.

Hume

nasschano.

51. osschurita selle

49. missta.

inquessto chaso.

44.

this is

caused,

ac-

lonbra [azzu] "dirivativa" rossa al chor.

52. eddissta.

277. 2. he. 378. 4.

azzurro

ue.

ii.

ecquessto nassce.

resta

"onbrosa"

oppaco.

dellaria esse.

biancho.

12.

biacho

7. .

interpositiode.

vedessi.

biacho.

10.

ellaria.

orizonte neacora vedesse

13.

ecquella parte che

biacheza.

14.

orizote

biacho parebbe.

53.

278.

The 2.

text /'/

non e

colore

d'ogni colore (white is not a the neutral recipient of every colour).

ricettiva

e inpotentia

colour,

pittura" libro I, asserts on the con"II bianco e 7 nero non sono veri colori, ma sono

ALBERT! "Delia

unfinished in the original.

bianco

biit

LEON BATT.

trary

alteratione

Vienna

delli

1877).

altri

colori"

(ed.

JANITSCHEK,

67;

THE THEORY OF THE ART OF PAINTING.

279.

C. A. 192 6; 571 6\

il nero dipinto in cofine del Perch 2 no mostra piv nero che dove confina e depth of co- col nero, n il biacho no mostra piu bianco U in cofine del nero che del biaco, co s me fan (279? 28o). 6 le spetie passate per ispiraculo o per termine d'alcuno ostaculo opaco ...

biaco -5

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.

COLORI.

De colori d'equal bianchezza quel si mostrera 3 piu candido che sara in campo nero si mostrera piu tenepiu oscuro broso che fia in caSpo di maggior bianchezza. 6 E'l rosso si dimostrera piu focoso che 2

;'!

capo piu

e cosi fara

giallo,

colori cir 8 cundati

da loro

tutti

contrari co-

retti

several colours, all equally white, that

look whitest which is against the darkest background. And black will look intensest will

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

281.

PROSPETTIVA. 2

the reflection of

colours

(281283).

COLOURS.

strongest contrasts.

lori.

280.

C. A. l8l<5; 546^)

sara

[279281.

PERSPECTIVE.

Ogni corpo sanza colore o

tutto

parte

nel

colorisce

colore

cotra se

4 posto; questo si uede per isperieza inpero che ogni corpo che spechia si tignie nel co s lore che gli per obbietto; E quel corpo che si tignie in parte -si e il bianco, e quella 6 parte che fia luminata da rosso parra rossa ed ogni altro colore luminoso o obroso. 3

Every object devoid of colour in itself less tinged by the colour [of the This may be seen object] placed opposite. by experience, inasmuch as any object which mirrors another assumes the colour of the is

more or

object mirrored in it. thus partially coloured

which has a red

And

if the surface white the portion

will

reflection

appear red,

or any other colour, whether bright or dark.

PERSPECTIVE.

PROSPETTIVA. 8

sanza colore para per obietto

opaco

Ogni corpo

di quel colore ch' egli

ticipa

;

questo -accade a uno mvro biaco.

cho

379.

biacho.

380.

biancheza cholori

281.

fochoso. 2.

pro.

chessi

chosi

cholore

biacho. .

pasate.

mosstera. .

cholori.

colorisscie

biancho checquela.

Every opaque and colourless body assumes hue of the colour reflected on it; as

happens with a white

chanpopiu osschuro.

chundati

cholori.

inel cholore chotra.

para.

wall.

ostachulo oppacho.

chandido

8' .

the

pro.

[ognij questo

chorpo oppacho

mosstera

cholore

cheffia.

chorpo chesspechia

cholore chellia.

magior.

nel cho.

dimosstera

chorpo

quessto achade a

muro biacho.

281. 282. The title line of these chapters is in the original simply "fro", which may be an abbreviation for either Propositione or Prospettiva taking Prospettiva of course in its widest sense, as we often

find

used

Leonardo's writings.

The

title

"fro

has here been understood to

mean

Prospettiva,

accordance with the suggestion afforded by page io b of

where the first section is headed No. 94), while the four followsections are headed merely "/ro" (see No. 85). ing this

same

M.S.,

Prospettiva in full (see

THEORY OF COLOURS.

282284.]

282.

A. 2Oa]

PROSPETTIVA. 2

PERSPECTIVE.

corpo obroso che

del

That side of an object

Quella parte alluminata madera all' ochio la similitudine delle 3 sue particule piv disciernibili e spedite che quella che si trovera nel1' onbra. fia

which of

its

details

solari ripercossi

sopra

The

solar

PROSPETTIVA.

PERSPECTIVE.

7 Ogni corpo biaco e opaco si tignie in parte della similitudine de colori che li sono

partially

per obbietto.

rounding objects.

white and opaque

Any

coloured by

WHAT

RAGIONEVOLMETE DEVE ESSERE 3piu BELLA.

OUGHT

4 Se a fia il lume b fia alluminato per linia-da esso lume, 5 c che no puo vedere esso lume vede solo la parte alluminata 6 la quale parte di-

ciamo che sia rossa-; Essendo cosl il lume ch' ella ? gittera alia

If a

lighted only by reflection let us say, is red.

Hence

it,

light reflected from be affected by the hue

the

will

of the

surface

causing

and

will tinge the surface c with red. if c is also red you will see

And

much

more intense than were yellow you would see between yellow and red. it

and

there a colour

284.

26}

BELLO DEL COLORE JN SU LUMI.

noi

vediamo

WHY

DEVE ESSERE

la qualita

de' colori

chorpo

pro. .

retoda.

cholore.

vederai.

284. 2. deessere.

cheffia.

pro.

deessere.

esse 4.

belle.

fussi gialo

giudichare

partichule

piv

[spe]

chorpo biacho e opacho

vedra

vega.

ilume. .

6. richordati.

chessia.

crearsi

Since we see that the riii known L on lyj. by means ,

On the use quality of colour of dark and * T i i 'i i ot light, it -is to light colours

be supposed that where there

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

spechio

BEAUTIFUL COLOURS MUST BE IN THE [HIGHEST] LIGHT.

283. i.

fall,

conoscivta mediate 3 il lume e da giudicare che dov' e piv lume quivi si vegga 4 piv la vera qualita del colore alluminato e dov' e piu tenebre il colore tignersi s nel colore d' esse tenebre, aduque tu pittore ricordati dimostrare 5 la verita de' colori I su le . parti alluminate.

and b illuminated by it on which the light cannot

the light,

from b which,

essere

282.

sur-

PORTION OF A COLOURED SURFACE REASON TO BE THE MOST INTENSE.

in a direct line,

parte somigliera alia sua ca8 gione e tigniera I rosso la faccia c e se c fia ancora lui rosso vedrai essere molto 9piv bello che b e se c fusse giallo vedrai 11 crearsi uno colo I0 re cagiate Jfra giallo e rosso.

COME

from

surface will

reflections

283.

3 a]

QUAL PARTE DEL COLORE

Ash.

shadow.

rays reflected on a square mirror will be thrown back to distant objects in a circular form.

spe-

quadro risalterano nel distate obbietto rotoda forma.

Ash.

PERSPECTIVE. lo

chio di

and shade

and immediately

distinctly

to the eye than the side which

PROSPETTIVA. si razzi

in light

towards the light transmits the images

true quality of colours in bright lights.

esspedite

chessi.

sumigliera

pro.

razi

riperchossi

los-

cholori.

gitera

cholori

10. re chagiate.

cholo. .

parte.

ettigniera.

8. esse

c fianchora

p 8

^g }

THE THEORY OF THE ART OF PAINTING.

152

Ash.

285

9*]

cosa che

object represented in white and black than in any other Painter! way; hence I would remind you to dress your figures in the lightest colours

dipinta di biaco di migliore rilievo 3 che

Quell a 2

fia

co nero apparira alcun' altra e pero ricordo a te pictore che vesti le tue figure di colori pi*v chiari che puoi che se le farai di colore oscuro sieno

will display stronger relief

poco

rilievo e

poca evidetia da

you

reason

grade vario.

dark

And

is little

variety

shadows of all objects are you make a dress dark there in the lights and shadows, while

many

grades.

286.

PlCTURA. 2

But

luminoso, allora essi

maggiore bellezza quanto maggiore spledore.

luminoso

fia

these

same colours are

situated in

a well-lighted place, they will appear brighter

9di

proportion as the light

brilliant.

THE ADVERSARY.

AVERSARIO.

"Xante sono

tion as they are in fainter or deeper shadow.

colori sara situati in i?spatio 8 si mostrera di tanto

will display

or less of their natural brilliancy in propor-

oscurita. 6

PAINTING.

Colours seen in shadow

Li colori posti nelle onbre, partecipera'no tanto piu o meno della lor natural * bellezza quanto essi sarano in minore o in maggio s re

The

obre quato sono I2 le uarieta de' colori che anno le cose aobrate.

variety of colours in shadow must be as great as that of the colours in the objects in that shadow.

RlSPOSTA.

THE ANSWER.

le varieta de' colori delle

Colours seen in shadow will display less variety in proportion as the shadows in which they lie are deeper. And evidence of this is to

Li colori posti nell' onbre mostrerano infra loro tanta minor varieta, quato 1' 6 l6 bre '4

che

son situate fieno piu oscure, I7 e di e testimonio quelli che dalle pi l8 azze questo riguardano dentro alle porte delli te^pi vi

le pitture vestite di 20 vari co-

doue

onbrosi,

be had by looking from an open space into the doorways of dark and shadowy churches, where the pictures which are painted in various colours all look of uniform darkness.

21 appariscono tutte uesti te di tenebre. Adunque in lunga distantia tutte 1'62 3bre delli vari colori appariscono d'una

lori

*medesima 25

Hence

obra e lume la parte suo vero colore.

Delli corpi vestiti d' il

An. IV. 232

lib 1

quela chossa cheffia

386.

pocha

cholori possti.

magiore

287.

fallarcho

16.

biacho.

belleza

eve son

23. cholori .

ecqueste

iluminoso.

15. infralloro.

disstautta.

the

appear of

the light side of an object in light

Treat of the rainbow in the

mafia.

alchunaltra

scure.

be able to prove by those painters' colours how the colours of the rainbow are produced.

osschure.

cholori nati della

vesta

5. osschurita.

25. chorpi

cholori.

12.

Queli che delle.

ettestimonio.

17.

24. osschurita.

richordo atte

esse fara

"iminore" o in maggi "o".

aparisschano. 2.

aparira.

chose sono

maggiore [chiarezza] spledore.

9. .

book on

last

Painting, but first write the book on colours produced by the mixture of other colours, so as to

delli colori

3 acci6 che U p OSsa provare mediante essi colori de' 4 la pictori gieneratio de' colori del' arco.

pocho.

all

287.

nati dalla mistio nelli altri colori,

385.

will

and shade which shows the true colour.

1'arco cieleste nell' ultimo libro della

th C ctura of theP' i?u"rs OU e

a considerable distance

shadows of different colours the same darkness.

oscurita.

luminata mostra

ranbow

that the

dark.

in light colours there are

(287. 288).

them

put

colours, they will be in too slight relief and And the inconspicuous from a distance.

;

chiari vi fia

you can, since,

16-

tano e quest' e per 1'onbre di tutte le cose che sono scure 6 e se farai una vesta scura poco di vario fia da lumi al'obre e ne colori

[285-287.

ellume.

acio chettu.

cholori.

pocho 6.

chesse

cholore osschuro

gradi.

Masselli

[medesimi] cholori.

cholori che a lechose. 18. dellite.

20.

26. cholore.

cholori delarcho.

14.

cholori

7. .

cholori aparisscha.

mosstrera.

nossterrano. 22.

lungha

THEORY OF COLOURS.

288.]

A 6.}

L. 145;

288.

WHETHER THE COLOURS OF THE RAINBOW ARE

COLOR: DELL'ARCO NASCONO DAL

153

SOLE.

PRODUCED BY THE SUN.

Li colon dell'arco no nasco

The colours of the rainbow are not produced by the sun, for they occur in many ways without the sunshine; as may be seen by holding a glass of water up to the eye when, in the glass where there

[dal sole,

3 perche I molti modi si gienera tali colori sanza sole come accade nell'accostare al-

1'ochio il bicchiere dell'acqua, *ne[ uetro del quale sia le minute vesciche che esser sogliono nelli vetri mal :

;

are

those minute bubbles always seen in coarse glass each bubble, even though the sun does not fall

purSgati; le quali vesciche, ancora-

che no

vno

veda

dell'arco,

sole, gienera da tutti li colori

sua

de'

on one side it, will produce the colours of the rainbow; as you may see by placing the glass

lati

nel

vedrai

questo

all

metter tale bicchiere in?fra 1'aria 1'ochio tuo in modo che sia in cotatto con esso ochio e che tale bi8 cchiere abbia vna parte per la qual penetri

between the day light and your such a way as that it is close to the eye, while on one side the glass admits the [diffused] light of the atmosphere, and

lume

e dall'altra l'69bra della

dell' aria

on the other side the shadow of the wall on one side of the window; either left or

pariete laterale di tal finestra destra o siI0 nistra, che no fa ca so qual lato si sia, e cosl voltando tal bicchiere intorno vedrai

not which. Then, by turning the glass round you will see these colours all round the bubbles in the glass &c. And right, it matters

"colori intorno a esse vesciche del uetro ecc., e li altri modi diremo a suo

detti

the rest shall be said in

loco.

COME

eye

IN PRODUCING THE COLOURS OF THE RAINBOW.

In the experiment just described, the eye

sL' ochio nella sopra detta esperietia l6 pare auer participatione al li colori dell'arco uetro no mostra del esse vesciche perche da se tali ^colori se non me-

would seem

to have some share in the colours of the rainbow, since these bubbles in the glass do not display the colours except through the

diante 1'aspetto dell' ochio se tu poni tal bicchi l8 ere ;

della dall'

finestra

vedrai 20

piano in modo che

par^te

opposita

rischino

medium of

produced in the spot of light thrown through the glass and

dalli razzi solari

penetrati per esso bi 2I cchiere e terminati sopra il pavimeto in loco oscuro a piedi d' essa finestra, e per-

below the window; and as the eye is not here concerned in with it, we may evidently, and

selli

bichieri

archo nasscha.'

acqu"a".

ecquesto vedera

desstra ossinistre 13. .

chome. lasspecto

bichieri.

Massettu

21. chieri etterminata ..

archo. .

nonasscha.

esser. sole

frallaria ellochio

bichi.

the

that

pronounce

eye has no share in producing them.

vesscicha

10. chosi

cha.

14. cholori

certainty

cholori dellarcho

sia

the floor, in a dark place,

upon

qui no s'adopera 1'ochio, ciertezza manipossia co festamete dire tali co^lori non avere parte alcuna dall' ochio.

288.

But,

eye.

position as that the outer side exposed to the sun's rays, you will see the same colours

fe-

razzi solari, allora tu predetti colori gie-

nerarsi nella inpressio fatta

che

the

you place the glass full of water on the window sill, in such a

sul

d'acqua

place.

THAT THE EYE HAS NO PART

I4 ALLA L' OCHIO NON A PARTICIPATIONS GIENERATIO DE' COLORI DELL'ARCO.

pieno

its

bichieri

18.

eri

n. cholori cholori

16.

dacq"a"

.. finesstra.

chome achade

cholori san"za sole"

ghati

vesciche anchora

chessia in chotatto a esso.

vederai.

15. essperietia.

"in locho osscuro"

nelli.

vessciche

archo

finesstra.

22. cierteza

19.

cho.

8. chieri .

ferisschino

23.

[elli altri

vessciche

alchuna.

24.

vndesua.

penitri.

6. 9.

nell'

achostare

lateral

modi direno assue].

mosstra dasse. cholorigi.

dalchuno.

20.

cholori dell' archo finesstra

12.

locho^.

cholori senno

17.

facta

26. quali

si.

penetrata. 27. cholori.

THE THEORY OF THE ART OF PAINTING.

154

PENE D'ALCUNO

DELLI COLORI POSTI NELLE 2

Molti sono

bellissimi

movimeti,

BIRDS.

vccielli nelle varie regio 2 penne de' quali ?si vede

colon gienerarsi nelli lor diuersi 28 come far si vede infra noi alle !'

ne^le

trovati sotto terra e in

radici de' rava-

tepo ne' fondi delle fonti o altre ac^que inmobili, che ciascuna di tal nelli stati liigo

e circudata da

cieleste;

vedesi

nell'

tali

archi si'^mili al

utuosita sparsa sopra

34 nelli razzi solari reflessi 1'acqua, ancora dalla superfitie del diamate o berillo a^scora ;

nell'

angolo fatto dal

qual termini e circhudata da

Paria e altri

bastati a

28.

berillo ogni

coll' aria 37

cosa oscura

o altra cosa chiara

arco interposto infra e cosl mol3 8 ti

tale

detta cosa oscura,

modi

There are many birds

29 anitre penne delli pagoni o nelli colli del o delle colonbe ecc. 3 Ancora nelle superfitie delli antichi vetri

radici

THE FEATHERS OF CERTAIN

5VCCIELLO.

nelle

del rnodo,

OF THE COLOURS

quali lascio perche questi so

uduosita

termini chollaria disscorso.

cholonbe.

29. oddelle

paghoni.

chosa

anchora. .

31.

lugho

34. refressi

diamond or beryl

again, through the angular of a beryl every dark object against a background of the atmosphere or any thing else equally pale-coloured is surrounded by these rainbow colours between the atmosphere and the dark body; and in many other circumstances which I will not mention, ;

facet

as these suffice for

ecirchudata.

37.

fondi delle fonto .

archo

obberillo. .

in various regions

of the world on whose feathers we see the most splendid colours produced as they move, as we see in our own country in the feathers of peacocks or on the necks of ducks or pigeons, &c. Again, on the surface of antique glass found underground and on the roots of turnips kept for some time at the bottom of wells or other stagnant waters [we see] that each root displays colours similar to those of the real rainbow. They may also be seen when oil has been placed on the top of water and in the solar rays reflected from the surface of a

tal discorso.

33. cielesste

[288.

35.

altra.

chora

infrallaria eddetta

32.

cque

angholo .

purpose.

ciasscuna

chosa osscura.

osschura echosi.

eccirchudata dattali. 36. qual [chaupcg]

38. lasscio

basstati attal

VI.

'Prospettiva de* colon

(Perspective

of Colour)

and

'Prospettiva aerea' (Aerial Perspective). Leonardo

distinctly separates these

beginning of No. 295.

branches of his subject, as

Attempts have been made

to cast

Leonardo arrived at by experiment on the perspective of

may

be seen

from

be seen in the

doubts on the results which

colour, but not

with justice, as

the original text of section 294.

The question as

the composition of the atmosphere, which is inseparable

a discussion on Aerial Perspective forms a separate theory ivhich ,

siderable length.

may

Indeed the author enters into

so fully that

treated at con-

we^cannot

escape the

conviction that he must have dwelt with particular pleasure on this part of his

and

that he attached great importance

giving

from

a character of general

subject,

applicability.

C. 12 6}

28g.

La in

uarieta de' colon de' corpi no fia distantia conosciuta se no in parti che dai soli razzi percosse

lunga

quelle fieno.

colori

de' corpi

fia

General rules

(289-291)

solar rays.

differen-

of objects: at long perceptible in the

colours

the

distances no difference

lunga distantia nelle loro parti on-

brose.

parts in shadow.

291.

BELLA EVIDETIA

OF THE

DE' COLORI.

Quale colore e piv evidete? quella cosa ch'e piv chiara piv appariscie 3di lontano; e la piv scura fa il cotrario.

290.

Infra

Ash.

of colour in objects cannot a great distance, excepting

variety

those parts which are directly lighted up

by the

C. 13*]

tia

The

be discerned

VISIBILITY

at a distance is lightest,

OF COLOURS.

most? An object most conspicuous, when it is

Which colour

strikes

and the darkest

least visible.

292.

232 6}

Delli termini dell'obre; alcu 2 ni so fumosi d'insesibile termine, altri 3di termini noti.

Of the edges

[outlines] of shadows.

have misty and

defined

ill

edges,

Some others

distinct ones.

Nessu corpo opaco e sanza obra o lumi Snon e nella nebbia, sopra terra coperta 4

di neve, e el 6 simile fa

pagnia essa

fia

quado

fiocca in can-

sanza lume e sara circudata

dalle tenebre.

289.

cholori de chorpi

290.

cholori de chorpi

diferentia

291.

della

292.

obre 7.

cholori.

[in

illunga

cholore

che alchu].

circhudata.

[lor] parti

che

[ffieno] dai sola razi perchosse.

llunga.

no "in" quele

No opaque body can be devoid of light A " and shade, except it is in a mist, on ground covered with snow, or when snow is falling on the open country which has no light on it and is surrounded with darkness.

chosa

niso.

ecquesto achade

apariscie.

nesu

neli.

lontano

chorpo oppacho

[allo] ella .

ollumi.

pivschura 5.

chotrario.

nelanebia.

fiocha in

chanpagniaesa.

THE ART

TI1K TIIKOUV <>F

158

And

questo accade nc' corpi sperici, perche che anno mebrificatione, le delle mebra riguardatrici 1'unadelparti 1'altra tingo M no 1'una 1'altra dePaccidete della sua superfitie.

n experieut>

Tutti

lontano

colori

obre igniorati

fieno

All colours at a distance are undistinguish-

nel-

because an object which the highest light is incapable of transmitting its image to the eye through an atmosphere more luminous than itself; since

able in

perche

;

tutti

colori

mvra quado le

delle

vna casa che quali sono nelle parieti

essendo i

all the colours on the surface of the are clearly and instantly visible when the windows of the house are open; but if

see that

ueggorio chiaro e speditamete, finestre 6 di detta abitatione-' fieno aperte e se noi usciremo fori d' essa casa e riguardaremo vn poco di 7 lontano

walls

we were

to go out of the house and look in windows from a little distance to see the paintings on those walls, instead of the paintings we should see an uniform deep and colourless shadow.

;

per dette finestre di

rivedere le

ture

Ash.

at the

pitture

mura in iscambio d' esse 8 vedremo- vna cotinvata oscurita.

fatte su dette

pic-

294.

13*]

HOW

COME

2 IN PRAIL PITTORE DEBE METTERE TICA LA PROSPETTIVA DE* COLORI.

practice del of the prospettiva de' 4

The

A PAINTER SHOULD CARRY OUT THE PERSPECTIVE OF COLOUR IN PRACTICE.

mettere questa- prospettiva uariarc e perdere over diminvire la

In order to put into practice this perspective of the variation and loss or diminution of the essential character of colours, observe at every hundred braccia some objects stand-

volere

propia essetia de colon piglerai di cieto ciento braccia cose poste Ifra Ma capag-

come sono

nia

albori case, omini e

men and

detto 7yetro disegnerai uno albero sopra

chorpi. i.

nvna di.

294.

mebrifichatione

cholori

chasa

chettutti.

ischanbio.

praticha.

indissciernibili.

parte. 2.

10.

riguardatricie

choloriillontano

icholori

uegono

thus

particular places.

tree

first

n. nolluna. chosa

tocha.

esseno

esspeditamete.

sua [forma] similitudine. 4. essendo chasa e riguardareno 'vn poche

ussciremo

vederemo chotinvata oschurita.

cholori

ciento br

alterations, but in the orthography.

edition

tingha.

null >bre

chose.

omini

294. This chapter is one of those copied in the Manuscript of the Vatican library Urbinas 1270, and the original text is rendered here with no other

his

trees, houses,

Then

in front of have a very steady plate of glass and keep your eye very steady, and then, on this plate of glass, draw a tree, tracing it over the form of that tree. Then move it on one

the

quato al primo albore avrai uno uetro fermo bene e cosl sia fermo 1' ochio tuo, e

293.

such as

ing in the landscape,

siti,

shadow,

the lesser brightness must be absorbed by the greater. For instance: We, in a house, can

;

vediamo

not

;

Noi

in other bodies

ALL COLOURS ARE AT A DISTANCE UNDISTINGUISHABLE AND UNDISCERNIBLE.

cosa; che non e tocca dal principale 3 lume non e potete a mandare di se all' occhio per 1' aria piv luminosa la sua similitudine, perche il mtnore 4 lume e vinto dal maggiore Esenplo 1'

[293. 294.

occurs [only] in spherical bodies, which have limbs and parts, those sides of limbs which face each other reflect on each other the accidental [hue and tone] of their surface.

COLORI NELLE LONTANE OBRE SONO IGNIORATI E IND1SCERNIB1LI.

INC.

293-

as 6}

Turn

this

because

nelli al'tri corpi, I0

Ash.

I'AIN

H. LUDWIG,

of this copy translates lines 14 and 15

"IcA finJe ober als Regel, dass der zweite

vier

pianvj

6. arai

essili.

Filnftel

Ellen

von

erslen

trsten

commentary: jedenfalls

given

uetro.

veiro

albero

p] di-

abnimmt, wenn er namlich zwaitzig entfernt

verstummelt"

ist (?)".

Endt

"Das ,

above shows that

rendering.

[colorissi

der

He adds in his Nummer ist wohl

However it

admits

the

translation

of a

different

PERSPECTIVE OF COLOUR AND AERIAL PERSPECTIVE.

295-]

8 scosta tato per albero naturale cofini quasi traverse che col tuo disegnia^to poi colorisci il tuo disegnio in modo che per colore e forma I0 l'uno dell'altro e che tutti stia a paragone e 2, chivdedo uno ochio, paino dipTti sul detto vetro d'una "medesima distatia; e questa regola medesima fa degli alberi secoI2 e de' terzi di cieto I cieto braccia di di mano I mano e questi ti serva come tua auto^ri e maestri, sepre operado nelle tua I4 bene opere doue s' appartegono, e faranno ma io trovo 1' per regolaopera; fuggir che'l secodo diminviscie 4 /s del primo 'Squado fusse lotano 20 braccia dal primo.

forma

di quello, di poi

side so far as that the real tree

colour your drawing in such a way as that in colour and form the two may be alike, and

;

that both,

tance in those works. [14] But I have found that as a rule the second is 4 /5 of the first when it is 20 braccia beyond it.

OF AERIAL There

una altra prospectiva quale chiamo aerea, per la uarieta iperoche 3 dell' aria si puo conosciere le diverse distala

tie 4 di uari edifiti,

to distinguish the varia- (295297)tions in distance of different buildings, which appear placed on a single line; as,

for instance, when we see several buildings beyond a wall, all of which, as they appear above the top of the wall, look of the same size, while wish to represent them in a picture

alla stremita di detto mvro pra d'una medesima gradezza, e tu vo?lessi in pittura fare parere piv lontano 1' uno che 1' altro e da figura 8 re una aria vn poco grossa; Tu sai che I simili arie 1'ultime cose viste 91 quella, come sono le |

you

per la gra quatita dell' aria che truova infra 1' ochio I0 tuo e la motagnia quella pare azzurra quasi del colore del-

quado

sole

primo

edificio del

I2 ilpiv lotano fa lo meno proe piv azzurro quello che tu vuo che sia piv J 3in la- altrettato -, fa lo altrettato voi che sia cique che piv azzuro quello volte I4 piv lotano fallo 5 volte piu azzuro; e questa regola fara che li edifiti J Sche ;

as distant, make it five times bluer. And by this rule the buildings which above a [given]

linia paiono d'una medesima l6 gradezza, -chiaramete si conosciera qual e piv distate e quale e maggiore che li

una

sopra

appear of the same size, will plainly be distinguished as to which are the more remote and which larger than the others. line

altri.

segnia

albero.

chol.

Colorisci tuo

imoclo

cholore efforma.

and them same hue

suo colore,

filato

atmosphere between your eye appear blue and almost of the as the atmosphere itself [io] when the sun is in the East[n]. Hence you must make the nearest building above the wall of its real colour, but the more distant ones make less defined and bluer. Those you wish should look farthest away you must make proportionately bluer; thus, if one is to be five times

quantity

Aduque

per leuate;

sopra detto mvro

farai

more remote one than another and

give the effect of a somewhat dense atmosphere. You know that in an atmosphere of equal density the remotest objects seen through in consequence of the great it, as mountains,

motagnie

atmosphere we are able

lor nasci-

terminati ne'

PERSPECTIVE.

another kind of perspective which The rules of Aerial Perspective, because by the ^/pectFvT

call

meti da una sola linia, come sasrebbe il uedere molti edifiti di la da uno muro, che tutti apparischino so-

1'aria

295-

io<zj

on your own pictures, wherever they may apply, and will enable you to give due dis-

DELLA PROSPETTIVA AEREA. 2

you close one eye, seem

painted on the glass and at the same distance. Then, by the same method, represent a second tree, and a third, with a distance of a hundred braccia between each. And these will serve as a standard and guide whenever you work

;

is close by you have drawn; then

the side of the tree

Ash.

159

chivdedo

io.

ochio

plti

detto vetro

sapartegano effarano. da i muro chettutti apariscino. 6. alia 295. 2. Ecci I altra. 5. rebe 3. conosciere [la distatia di] le diuersa. 4. da i sola. chose. Tussai che Isimile 9. I quella these two words [distati] stremita gradeza echettu. 8. re i aria vn pocho cholore. 12. priffilato azurra io. ella chessi. written beyond the margin have apparently later been added by Leonardo luna.

ii.

ecquesta

12. ciento br

dela

ecquesti

serba

tua alto.

13.

azurro

gradeza

295.

the sun refers

io. is

here

chettu voi chessia.

chonosciera.

il.

in to

16.

13. fallo

azzuro

voi chessia.

East).

14.

azuro

ecquesta.

15.

sopra

linia

paiano

ecquale.

e per leuante (when Apparently the author morning light in general. H. LUD-

quado

the

sole

WIG however tican

translates

this

copy "wenn namlich

Osten stehf".

passage from the VaSvnne (dahinter) ii

die

THE THEORY OF THE ART OF PAINTING.

i6o

mezzo ch'e

The medium

1'ochio e la cosa in nel suo colore,

infra

lying between the eye and object seen, tinges that object with its colour, as the blueness of the atmosphere makes the distant mountains appear blue and

trasmuta essa 2 cosa come 1'aria azzura fa che vista

the

le lotane ^motaguetro rosso fa che cio dopo lui pare rosso che fanno le stelle sd'intorno ase jl lume e occupato per la tenebrosita della notte che si 6 truova infra 1'ochio e la luminatione d'essa stella.

nie paiono azzure; che 1'ochio 4 vede

discordi

red glass makes objects seen beyond it, look The light shed round them by the stars red. is obscured by the darkness of the night which lies between the eye and the radiant light of

the stars.

297.

Fa che

la 3

de'

prospettiua

dalle

non

colori

Take care does

grandezze

qualu^che cosa doe che li scolori diminuischino 6 tanto della lor natu?ra quato diminuisco 8 no li I0

corpi in diuerse ^distantie della loro rale quatita. Ash.

as the objects at various distances diminish from their natural size.

L'ARIA

"PIV

WHY

DEBE PIV FARE 'CHIARA LA FAI FINIRE BASS A.

sphere

Perche quest' aria e grossa presso alia e quato piv si leua piv 's'assottiglia; e per leuate, e tu riguarderai quado _,il sole c ,. .. , ,. s il ponete participate di mezzodl e tramo-

Because the atmosphere is dense near the and the higher it is the rarer it becomes. When the sun is in the East if you look towards the West and a little way to the South and North, you will see that this dense atmosphere receives more light from the sun than the rarer; because the rays meet with

(298290).

terra

earth,

vedrai quel'aria grossa 6 ricievere piv lume dal sole che la sottile, perche i razzi trovano piu resistetia; 7 e se il cielo a la vista tua terminera colla bassa pianvra, 8 quella parte vltima del cielo fia veduta per quella aria- piv grossa e piv sbianca, la quale corrompera la verita del colore che 10 si vedra pel suo mezzo, e parra 11 il cielo biaco che sopra te, che la linia visuale piv "passa per meno quatita d'aria corrotta da I2 grossi umori; e se riguarde rai inverse t ana>

And if the sky, as you greater resistance. see it, ends on a low plain, that lowest portion of the sky will be seen through a denser and whiter atmosphere, which will weaken its true colour as seen through that medium, and there will look' whiter than it is above where the line of sight travels through you, a smaller space of air charged with heavy the sky

leuate-, 1'aria

ti parra piv scura, quato piv T s'abbassa, perche 3in detta aria bassa i razzi luminosi meno passano.

Ash.

THE ATMOSPHERE MUST BE REPRESENTED TOWARDS THE LOWER PORTION.

AS PALER

tive density of the atmo-

that the perspective of colour with the size of your

disagree

298.

QUATO the rela .

not

objects, hat is to say: that the colours diminish from their natural [vividness] in proportion

natu-

COME

And

vapour.

297.

infrallochio

asse

chella

chorpi

12. 3.

esserere

pocho.

[il

chomellaria azura

chessi.

cholori

quale] la

aria

OBJECTS

which .

chelle.

easy to perceive that the atmosphere the level ground is denser

lies closest to

parano azure

chellochio.

Hume

chefiano.

ella.

disscordi grandeze.

chosa

chelli.

cholori diminuisschino.

diminuisca.

9. disstantie. 4. ettu.

sassotiglia.

schura

inel

dela

diversi.

biancha para

chosa.

persspectiua. .

998. 3. ecquato

399.

echo chupato

the

IN PAINTING.

3Chiaro si uede-essere una aria grossa 4 piv che 1' altre, la quale cofina colla terra i.

to the East,

OF THE MODE OF TREATING REMOTE

PITTURA LE

COSE LOTANE.

you turn

atmosphere will appear darker as you look lower down because the luminous rays pass less freely through the lower atmosphere.

299.

]

DEL MODO DEL CODUCIERE

296.

299.

296.

Tr. 75] II

[296

coronpera

sabassa.

chellaltre

mazodi .

ettramotana

chessi.

10.

mezo

vederaia.

parali

6. .

"dal sole" chella

chella.

n. corutta

razi.

esse

cholla.

oniori esse risghuarde.

13. razi. .

chofina.

tera

ecquato

essotule.

chose [che

flicuo] eleuate

datte.

basseza

AERIAL PERSPECTIVE.

300.]

e e

piana,

leua

quato piv

piv-e

alto,

trasparete; Me cose eleuate e che fieno da te lontane -, la lor-

sottile

gradi, 6

bassezza poco fia veduta perche lauedi per una- linia che passa infra ^I'aria piv grossa e cotinvata la somita di dette altezze si trova 8 essere veduta per una linia, la quale benche dal cato dell'ochio tuo 9 si cavsi in nel' aria grossa nodimeno terminado nella soma altezza I0 della cosa vista, viene a terminare in aria molto piv sottile che "no fia la sua bassezza; e per questa ragi:

one questa te, di puto sottile

I2 da quato piv s'allotana punto sepre mvta qualita di

linia I

sottile

tu pittore,

adu^que

aria;

motagnie, fa che di colle I colle bassezze sie I4 no piv chiare che 1' altezze e quato vi farai piv lontana 1' una da l6 e quato 1'altrafa le basse'Szze piv chiare,

quado

fai le

sepre

levera

piv

alto,

most^rera

piv

forma e colore.

verita della

rarer

tions

a distance are not much seen, because you see them along a line which passes through a denser and thicker section of the atmosphere. The summits of such heights are seen along a line which, though it starts from your eye a dense atmosphere, still, as it ends the top of those lofty objects, ceases in a much rarer atmosphere than exists at their

base; for this reason the farther this line extends from your eye, from point to point the atmosphere becomes more and more rare. Hence, O Painter! when you represent mountains, see that from hill to hill the bases are paler than the summits, and in proportion

beyond each other make the bases paler than the summits ; while, the higher they are the more you must show of their as they recede

DEL COLORE

OF THE COLOUR OF THE ATMOSPHERE.

DELL' ARIA.

Dico 1'azzuro in che si mostra Parja non essere suo propio colore, ma e cavsato da vmidita caPda vaporata in minvtissimi e insensibili attomi, la quale piglia dopo se la percussio de' razzi solari e fassi luminosa 4 sotto la oscurita delle immese tenebre della

regione del fuoco che di sopra le fa copere questo vedra, come vid' io, chi adra soSpra Moboso, giogo dell' alpi che diuidono la Francia dalla Italia, la qual montagnia a la sua basa che parturisce 6 li 4 fiumi che chio

;

riga per 4 aspetti contrari tutta 1'Europa, e nessuna montagnia a le sue base in simile a! 7 tezza, questa si leua in tantaaltura che quasi passa tutti li nuvoli e rare volte

ma sol gradi ne d' istate nvvoli sono nella maggiore altezza, 8

cade neve,

quando

coserua

vi si

modo

questa grandine che se no 9 fosse la reta del caderui e del montarui nvuoli, che non accade 2 volte in vna eta, egli ui sarebbe altissima quatita di

chotinvata

rita .

dicho .

lassomita

alteze.

lazuro inchessi

fuocho "che

alle.

teza

14. lalteze

17. stera

cholore

ecquato.

clouds

the

.when

reta

are

And

highest.

this

falling in an age,

some

an enormous mass of

alteza.

atterminare.

io.

ze piv. chiare -f

15.

16.

The two

basseza.

last lines,

ice

12.

would

datte

which are headed

dela.

chavsato

[del s] 2 volte

here has the sense of malanno.

the o n

lies

chal.

attimi

vna

pigla

perchussio franca

imodo chesse.

eui sarebbe

diuitano

9- fussi

diacco inalzato

"la

"da

effassi.

osscu-

patrurissce.

aspeti

caderui

e del

razi

alia

line 20) 300, 5. With regard to the place spoken of as M'oboso (compare No. 301 discussed under Leonardo's Topographical notes in Vol. II. 7.

see

that if it there, so [unmelted] were not for the absorption of the rising and clouds, which does not happen twice hail

facoperchio" ecquesto. 5. gogo chade. 8. magore alteza ecquesta

montarui nvuoli" che non achade

say that the blueness

the co

atmosphere is not intrinsic colour, but is ^mospWe 37)caused by warm vapour evaporated in mi- (3 nute and insensible atoms on which the solar rays fall, rendering them luminous against the infinite darkness of the fiery sphere which lies beyond and includes it. And this may be seen, as I saw it by any one going up [5] Monboso, a peak of the Alps which divide France from Italy. The base of this mountain gives birth to the four rivers which flow in four different directions through the whole of Europe. And no mountain has its base at so great a height as this, which lifts itself almost above the clouds; and snow seldom falls there, but only hail in the summer,

chavsi inel.

sopra

nvuoli

chato.

13. basseze.

are written on the margin.

-)-,

[daria] di sottile.

qualita

form and colour.

300.

rest, and that where it is higher up, it and more transparent. The lower porof large and lofty objects which are at

than the

true

Leic.

161.

reta

del

gradi della grandine

its

identity will

X.~

il.

THE THEORY OF THE ART OF PAINTING.

qua

be piled up there by the hail, and in the middle of July I found it very considerable. There I saw above me the dark sky, and the sun as it fell on the mountain was

da li gradi della gradine mezzo luglio vi trovai grossissimo

inalzato

diaccio il

le di

1' aria sopra di me tenebrosa e' 1 che percotea la m6ta"gnia essere piv luminoso quiui assai che nelle basse pianure, perche minor grossezza d' aria s' interl2 ponea in fra la cima d'esso mote e '1 sole;

e vidi

sole

infra forte azzureggiare quado si trova 1'ochio e '1 loco ^oscuro, ma quado monta in alto e s'interpone infra 1'ochio e 1'aria

alluminata, inmediate si dimostra 'sdi colore cenerognolo, e questo accade perche non a piv oscurita dopo se, ma in loco di quella aria Iu l6 minosa; e se tal fumo sara di legne verdi e giovani allora non pendera in azzurro,

perche no ^sendo trasparente e pie di superchia vmidita, esso fa vfitio di condensata nvuo lache piglia in se lumi e obre terI8 minate, come se solido corpo fusse; El simile fa 1' aria che la troppa vmidita rende biaca e la '9poca infusa col caldo la rede oscura, di color di scuro azzurro, e questo ci

which, when overcharged with moisture appears white, and the small amount of heated moisture makes it dark, of a dark blue colour; and this will suffice us so far as concerns the colour of the atmosphere;

Benche

potrebbe ancora dire suo naturale coloesso azzurro transparente, seguirebbe che

're

doue

aria avesse per

vede 2 ^ nelli vetri mostra tanto piv

infra

ochio

spera del

foco,

mostra piu biancheggiante; e 26 inverse 1' orizzonte; equate questo accade minor sorha d' aria s'interpone infra 1'ochio quiui

e la

spera

azzurro,

foco

basse pianvre; 28 quel che io di co che nelle

mediante

Adunque segue pur aria piglia

azzurro

dell' umidita che corpuscoli razzi luminosi del sole; 2 9vedesi

li li

pigliano

tanto

?oscuro piv mostra, ancorache noi stiamo

del

ancora la differetia nelli attomi o nelli attomi del fumo ne' razzi

poluere

solari, che ^"spiraculi delle parieti in lochi

passa per li oscuri, che 1' un razzo pare essere cenerino io. .

mezo

grossimo

azuregare

16. essettal

locho.

tenenebrosa

govane alora

laria avessi.

21.

concosia.

soraa

ella

azurro

25. .

nterpone

focho.

27.

azzuro.

tropa vmidita la rende biacha

24.

n. luminosi

ellsole.

osscuro macquado

14.

ella.

19.

ella

focho

osscuro azzuro

12. allegereno.

grosseza.

essinterpone

chaldo 22.

sinterponessi magor. .

trassparente

17.

pocha

ellaria.

contensata

osscura

ellemeto del focho

mosstra stiano.

trans-

if this

that,

parent blue were the natural colour of the atmosphere, it would follow that wherever a larger mass air intervened between the eye and the element of fire, the azure colour would be more intense; as we see in blue glass and in sapphires, which are darker in proportion as they are larger. But the atmosphere in such circumstances behaves in an opposite manner, inasmuch as where a greater quantity of it lies between the eye and the sphere of fire, it is seen much whiter. This occurs towards the horizon. And the less the extent of atmosphere between the eye and the sphere of fire, the deeper is the blue colour, as may be seen even on low plains. Hence itfol lows, as I say, that the atmosphere assumes this azure hue by reason of the particles of moisture which catch the rays of the sun. Again, we may note the difference in particles of dust, or particles of smoke, in the sun beams admitted through holes into a dark chamber, when the former will look ash grey

I'a 24 ria oscuri, quato essi son piv grossi; in questo caso adopera in retto contrario, conciosiache dove piv in quatita s'in 2 ster-

pone

might be added

though

interponesse maggior quantita d' aria infra 22 1'ochio e 1'elemeto del foco, che quiui si comporrebbe il suo azzurro con s'

maggiore oscurita, come azzurri e ne zaffiri li quali

than in the plains below,

mosphere,

basta in quato alia di 20 finitione del colore

che se

here

far brighter

because a smaller extent of atmosphere lay between the summit of the mountain and the sun. Again as an illustration of the colour of the atmosphere I will mention the smoke of old and dry wood, which, as it comes out of a chimney, appears to turn very blue, when seen between the eye and the dark distance. But as it rises, and comes between the eye and the bright atmosphere, it at once shows of an ashy grey colour; and this happens because it no longer has darkness beyond it, but this bright and luminous space. If the smoke is from young, green wood, it will not because , not appear blue , being transparent and being full of superabundant moisture, it has the effect of condensed clouds which take distinct lights and shadows like a solid body. The same occurs with the at-

Ancora per esenplo del colore dell' aria allegheremo il fumo nato di legne ''secche e vecchie il quale vscendo de'camini pare

dell'aria;

[300.

28.

15. .

cho chellaria

magore

18.

biglia.

ecquesto

bianchegiante

13.

ecquesto

seche e vcchie

achade

chome

bassta inquido.

osscurita.

laztirro

quale vsscendo

finition .

razi.

locho.

chella

osscuri

26. lorizonte

corpusscoil..

fussi

chorpo 20.

23. azurri

ecquesto achade.

osscurita

chessel.

Ella.

ecqulto 29.

anchora

AERIAL PERSPECTIVE.

30i. 302.]

fumo 3i so ttile pare essere azzurro; Vedesi ancora nel1'obre oscure delle motagne remote 3 2 dal1'ochio, 1'aria che si trova infra 1' ochio, e tale obra parere molto azzurra e nella parte e

del

1'altro

and the

di bellissimo

luminosa

33tal

motagnie

shadows

uariarsi

come

sperienza che mostra,

fumo

fatto

then see that this transparent white will nowhere show a more beautiful blue than over the black but it must be very thin and finely ground.

1'aria

di legnie

secche

2 ;

Experience shows us that the air must have darkness beyond it and yet it appears

sia

blue.

If you produce a small quantity of smoke from dry wood and the rays of the sun fall on this smoke, and if you then place behind the smoke a piece of black velvet on which the sun does not shine, you will see that all the smoke which is between the eye and the black stuff will appear of a beau-

poca quantita

il quale fumo 3percota li razzi solari, dopo questo fumo poni vna pezza di uelluno nero che no sia visto dal sole, e uedrai tutto quel fumo s che s' oppone infra

ochio e la oscurita mostrarsi in co 6 lor di

metti

panno biaco, mo, inpedi^sce e'

in loco del ?

fumo, cioe

ueluto

el tropofu-

come 1'acqua soffiata a uso d'atazzurro; tomi in loco scuro doue passi la spera del * 7

razzo

fa esso

fa azzurro; quest' e detto

M' azzurro e sopra di

dell' aria

e'l

e massime fumo sottile

per mostrare che

predetti esempli a

la sperietiadi

Moboso.

F. i8a]

infra

loco oscuro 1'

aria si

;

E se tu

mostra.

essellocho .

biacha. 2.

6 guardi inver so

nellobre osscure.

chiareza 301.

When the smoke from dry wood is seen between the eye of the spectator and some dark space [or object], it will look blue. Thus the sky looks blue by reason of the darkness beyond it. And if you look towards the horizon of the sky, you will see the atmo-

fumo di legne secche si ochio di chi lo vede e altro

la diueretia attimi .

the

Monboso.

esso pare azzurro; 4 adunque fa azzurra per le tenesbre che essa

a dopo se

This

blue.

that

302.

Quando troua

I mention in order to blueness of the atmosphere is caused by the darkness beyond it, and these instances are given for those who cannot confirm [on] my experience on

looks

show

e causato di oscurita che

e dannosi

lei,

no confermasse

chi

azzurro

essendo tale acqva destillata

of the

instead

you place a white cloth smoke, that is too thick smoke, hinders, and too thin smoke does not produce, the perfection of this blue colour. Hence a moderate amount of smoke produces the finest blue. Water violently ejected in a fine spray and in a dark chamber where the sun beams are admitted produces these blue rays and the more vividly if it is distilled water, and thin smoke

poco no forma la perfezione d'e I0 sso azzurro- Ix onde la me I2 diocre 3dispo 14 sitione sdi fu l6 mo forma bello

sole

And

colour.

velvet

blue

tiful

bellissimo azzurro, e se 8

much

differ

any one wishes for a final proof let him paint a board witli various colours, among them an intense black; and over all let him lay a very thin and transparent [coating of] white. He will

sopra

look very blue, though the of those mountains will not from their true colour. But if

will

301.

se tenebre e pero pare azzurra

dopo

appear of a most

will

brightest parts

ben macinata.

Leic. 36 a]

smoke

thin

beautiful blue; and it may be seen again in in the dark shadows of distant mountains when the air between the eye and those

troppo dal primo colore; ma chi ne vol uedere le vltime prove tin^ga vna asse di diuersi colori fra li quali sia messo bellissimo nero e sopra tutti sia data sottile 35 e transpare"te biacca, allora si uedra la chiarezza di tal biacca non si mostrare sopra nessun ^ colore di piv bello azzurro che sopra il nero, ma diasi sottile e

163

attimi

32. chessi 36.

chessopra

seche pocha.

obr

tale .

perchota

desstillata

che lun "razo" pare essere cenenereo

molta azzurro.

33. del.

34. fralli

essopra.

35.

ellaltro.

31.

accurro

ettransparete biacha

ebben. .

meti pano biacho effumo coe.

accurro. 18. masime

orizzonte

30. pariete illochi osscuri

razi. .

razi 9.

accurro.

peza.

pocho 19.

vissto.

4. .

lazurro

de. .

10.

ella

chessoppone infrallochio

so azurro.

e chaussato

da osscurita

dassi

osscurita.

azurro.

16.

13. disspo.

17.

essenpli

azuro

dattimi ilocho .

confermassi.

20. essperietia.

302.

di cillo

vede

locho.

azzurro (ettato piu quate piu scuro].

Essettu.

lorizonte

non

es.

ecquesto nasscie.

THE THEORY OF THE ART OF PAINTING.

is not blue, and this is caused by its And thus at each degree, as you density. raise your eyes above the horizon up to the

del celo, tu vedrai 1* aria non esse 7 re azzurra, e questo nascie per la sua gros 8 sezza; e cosl in ogni grado che tu 9 alzi 1'ochio sopra esso orizzonte insino al I0 celo chc ti sta di sopra, tu troverai 1'aria "farsi piu oscura,

me soma

e questo e che

d'aria

sphere

sky over your head, you will see the atmosphere look darker [blue] and this is because a smaller density of air lies between your eye

inter-

^tenebre; E se tu ti troverai sopra vn al' 4 to mote, 1'aria si fara tanto piu oscura "s sopra di te, l6 infra te e quanto essa e fatta piu sottile dette tenebre, e cosl seguitera in '7ogni l8 grado d'altezza tanto che al fine re stera

and the [outer] darkness. And if you go to the top of a high mountain the sky will look proportionately darker above you as the atmosphere becomes rarer between you and the

infra 1'ochio tuo e esse

pone

[outer] darkness; andthis will be

'9Quel fumo parrapiu azzurro chenasceda piu secche legne e che sara piu 2I presso a! la sua cagione, e che & veduto in piu oscu 22 ro canpo, dandovi su il lume ra.

upon

dark object will appear bluest in proit has a greater mass of luminous atmosphere between it and the eye. As may be seen in the colour of the sky.

304-

1>\

The atmosphere

L'aria e azzurra per le tenebre che a sopra, perche nero e biaco fa azzurro.

mit invisible. Therefore, also, the sky looks darkest [in colour] overhead, and towards the horizon it is not blue but rather between smoke and dust colour.

The atmosphere, when

chosa

303.

304.

12.

305.

i. .

eflfatta.

chettu. 9.

alzi orizonte.

[te]

16. infratte.

nogni*.

17.

10. chetti

dalteza.

the weather is fine. And the more you turn to the west the darker it will be, and And the brighter as you look to the east. the verdure of the fields is bluish in a thin mist, but grows grey in a dense one.

15.

of mist,

when

de 'lie capagnie in mezzana nebbia azzurreggiano alquato, ma ne 2 greggiano nella piv grossa. sezza [Esse] e cosi

full

quite devoid of bluehess, and only appears of the colour of clouds, which shine white

14. osscura.

buildings, even if the summit is at as the base have the sum-

tall

same distance

the

8 pare di quel privata d' azzurro, ma solo colore de' nvgoli che biacheggiano quado 1 tepo e sereno; e quarto piv rigvardi verso 1'occidete tu la troverai I0 piv oscura e piv le verdure lucida e chiara verso 1'oriete;

blue.

hence

;

is blue by reason of the because black and white

In the morning the mist is denser above than below, because the sun draws it upwards;

mattina la nebbia e piv folta inverse" che nella 2 sua bassezza, perche il sole Pattrae in alto, onde li edifiti gra3di, ancora che ti sia lontana la cima quato il fondameto, essa * cima ti fia ignota E per s questo il celo si dimostra piu oscu ro inverse!' altezza e inverP orizzonte e nonazzur6 fumo e poluere. reggia, anzi e tra 7 L'aria infusa colle nebbie e interamete

1'altezza

gone

305

M. 1690]

above

darkness

make Br.

sunlight

color

the

it.

portion as

luminosa interposta fia, 2 come per del cielo dimostrar si puo.

d' aria

visible

3<>3-

Quella- cosa tenebrosa parra piu azzurche infra se e 1' ochio maggior soma el

and with

darkest background,

del sole.

C. i8a]

each degree of increasing height till at last we should find darkness. That smoke will look bluest which rises from [the driest wood and which is nearest to the fire and is seen against the

tenebrosa. 20

[303-305.

19.

troverai.

para

n. osscuro escquesto.

azurro

nassce.

13.

20. ra di

Essetu

troverrai.

piu seche.

21. ca-

osscu. .

lalteza.

azuira sapra 2.

in frasse

biacho

basseza.

sereno ecqua.

ellochio

ingnota

rissrgvndi

magior

interpossta.

chome

cholor

dimosstrar.

azurro.

osscu.

troverai.

10.

lalteza

osscura

lorizonte .

ciara

azuregia

Elle.

ettra.

n. mezana

7. .

dazurro.

accuregiano.

biachegano

12.

gregiano.

AERIAL PERSPECTIVE.

3 o6.]

The

inver ponete sol ci dimostra lumino I4 sa, poiche'l sole si scojs pre, e'l resto le nebbi lo occultano; Quado il sol s'inalza e caccia le nebbie e si col6 mlcia a rischiarare i colli da quel la parte '3

buildings in the west will only show where the sun shines, and the mist hides the rest. When the sun rises and chases away the haze, the hills on the side where it lifts begin to grow clearer,

edifizi

la lor parte

donde esse

their illuminated side,

partono, e' fansi azzurri e fule nebbi fuggieti e li edifiti mostrano lumi e obre,- e nelle nebbie I8 me folte mostra solo i lumi e nelle piv folte J niete; e questo e 9quado il moto della nebbia si parte traversalmete, e allora i si

mano inver^so

ter

d'essa nebbia saranno poco evi2I e in verso la dell' aria

mini

coll'azzurro

denti terra

quasi poluere che sara piv grossa,

parra e

delle citta

rano piv

s'inalzi;

1'aria

Quanto

alberi

delle

perche sol

rari,

edifiti

capagnie par-

4streranno

piv emineti e grossi. 2 5Le tenebre 26 tingono o 27 gni cosa 28 del lor colore, 29 e quato piv 3 la cosa si par^te da esse tene3 2 bre piv si uede 33 del suo 35 1 moti fieno vero e natural co^lore. i

dimostra quelli che anno 6 magJ giore intervalli, perche in tal ispatio la 37 mo do che fa chiagrossezza mvltiplica in rezza tale che la oscurita de' collisi diuide e 8 si 3 spedisce bene inverso la sua altezza: ne' colli piccoli e vicini non 39 se ne interpone tata e pero maco si discernono e

perche sol

rari,

nelle lor bassezze.

d'ogni

superfitie

corpo

^che Pallumina,

color

participa del color

6 dell'a ria

che infra I'oc 7 chio e esso corpo 8 9 del color del mez I0 zo s'interpone, cioe

lj transpa rete

Pocchio,

ifra interposto ^Ifra li colori di

cosa e

me I4 desima l6

secondo sara del

is il

qualita

medesimo

del primo, e ques to nascie per la 20 del mezzo intermul^tiplicatione del color 17

colore

blue, and seem to smoke with the vanishing mists; and the buildings reveal their lights and shadows; through the thinner va-

pour they show only

their lights

and through

the thicker air nothing at all. This is when the movement of the mist makes it part horizontally, and then the edges of the mist will be indistinct against the blue of the sky, and towards the earth it will look almost like dust blown up. In proportion as the atmo-

sphere is dense the buildings of a city and the trees in a landscape will look fewer, because only the tallest and largest will be seen.

Darkness

every thing with

affects

its

hue,

and the more an object differs from darkness, the more we see its real and natural colour.

The mountains

will look few, because only those will be seen which are farthest apart; since, at such a distance, the density increases to such a degree that it causes a brightness by which the darkness of the hills becomes divided and vanishes indeed towards the top. There is less [mist] between lower and nearer

and yet

little is to be distinguished, and towards the bottom.

hills

306.

La del

and look

least

G. 53*1

I6 S

surface of an object partakes of colour of the light which illuminates it; and of the colour of the atmosphere which

The

the

between the eye and that object, that of the colour of the transparent medium and the eye; and lying between the object among colours of a similar character the second will be of the same tone as the first, and this is caused by the increased thickness

lies is

medium

of the colour of the

and the

the object

lying between

eye.

sto infra la cosa e "Pochio.

13.

sol

dacq.

dimosstra.

20.

saranopochi co. 35. E m5ti diuide

essi.

azzuri effumano.

chol azurro. 21. para

ressto

sisscopre,

14.

partano effarsi

16.

sol

38. spedissce

dimostra quelgli

s .

alteza

17.

nebie

chessinalzi.

picholi

ma. .

ochultano. elli

nebiefugieti

36.

no.

22. elli.

ispati

23. .

parano.

grosseza.

39. discernano.

18.

24.

solo

lumi

rissciarare

ecquesto.

19.

colli

ter.

sterrannoe. 26. tingano. 33. vero "e natural"

37.

the

caccia

"sinalza"

sol

15.

nebie.

cheffa ciareza

margin between

chella osscurita

lines 35

and 36:

mera purifi

catione.

306.

chorpo.

12. Ifralla

3. .

del

color del

, ellocchio.

21. ssto infralla.

color.

chellalumina.

13. infrallj color,

14. qualita

ma.

infralloc. 15.

chorpo.

sechondo.

16.

10.

cholore.

[chessi]

transpa.

17. ecques.

18. nasscie.

interpossto. 20. mezo.

THE THEORY OF THE ART OF PAINTING.

166

DE 2

in il

Infra

PICTURA.

converse si mostrera per luga distantia nel suo propio colore, il quale sara piv. dis i simile a detto nero. 8 Adunque il uerde delle campagnie si trans^mvtera piv in azzurro che no fa il :o giallo o bia co e cosl de couerso il giallo e '1 biaco maco M si transmuta che lo verde, e '1 rosso maco. s

307.

azurri

ii. chello

colon che no sono azzurri quello-

liPga distantia participera piu d' azzurro 4 quale sara piv vicino al nero e cosl de

illu.

macho.

dazurro.

raontera

disstantia.

[SO?-

PAINTING.

which are

various colours

them blue

none

which

at a great distance will look bluest is the nearest to black; and so, conversely, the colour which is least like black will at

that

a great distance best preserve

its

own

colour.

Hence

the green of fields will

bluer hue than yellow or white

will,

assume a

and con-

versely yellow or white will change less than

green, and red

cholore

di.

still

less.

dicto.

azuro.

10.

biacho

mac