by Leonardo da Vinci
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To increase relief of a picture you may place, between your figure and the solid object on which its shadow falls, a line of bright light, dividing the figure from the object in shadow. And on the same object you shall represent two light parts which will surround the shadow cast upon the wall by the figure placed opposite [6]; and do this frequently with the limbs which you wish should stand out somewhat from the body they belong to; particularly when the arms cross the front of the breast show, between the shadow cast by the arms on the breast and the shadow on the arms themselves, a little light seeming to fall through a space between the breast and the arms; and the more you wish the arm to look detached from the breast the broader you must make the light; always contrive also to arrange the figures against the background in such a way as that the parts in shadow are against a light background and the illuminated portions against a dark background.
[Footnote 6: Compare the two diagrams under No. 565.]
553.
Remember [to note] the situation of your figures; for the light and shade will be one thing if the object is in a dark place with a particular light, and another thing if it is in a light place with direct sunlight; one thing in a dark place with a diffused evening light or a cloudy sky, and another in the diffused light of the atmosphere lighted by the sun.
554.
First you must consider whether the figures have the relief required by their situation and the light which illuminates them; for the shadows should not be the same at the extreme ends of the composition as in the middle, because it is one thing when figures are surrounded by shadows and another when they have shadows only on one side. Those which are in the middle of the picture are surrounded by shadows, because they are shaded by the figures which stand between them and the light. And those are lighted on one side only which stand between the principal group and the light, because where they do not look towards the light they face the group and the darkness of the group is thrown on them: and where they do not face the group they face the brilliant light and it is their own darkness shadowing them, which appears there.
In the second place observe the distribution or arrangement of figures, and whether they are distributed appropriately to the circumstances of the story. Thirdly, whether the figures are actively intent on their particular business.
555.
First give a general shadow to the whole of that extended part which is away from the light. Then put in the half shadows and the strong shadows, comparing them with each other and, in the same way give the extended light in half tint, afterwards adding the half lights and the high lights, likewise comparing them together.
The distribution of light and shade (556-559)
556.
When you represent the dark shadows in bodies in light and shade, always show the cause of the shadow, and the same with reflections; because the dark shadows are produced by dark objects and the reflections by objects only moderately lighted, that is with diminished light. And there is the same proportion between the highly lighted part of a body and the part lighted by a reflection as between the origin of the lights on the body and the origin of the reflections.
557.
I must remind you to take care that every portion of a body, and every smallest detail which is ever so little in relief, must be given its proper importance as to light and shade.
558.
When you draw a figure and you wish to see whether the shadow is the proper complement to the light, and neither redder nor yellower than is the nature of the colour you wish to represent in shade, proceed thus. Cast a shadow with your finger on the illuminated portion, and if the accidental shadow that you have made is like the natural shadow cast by your finger on your work, well and good; and by putting your finger nearer or farther off, you can make darker or lighter shadows, which you must compare with your own.
559.
