The Notebooks of Leonardo Da Vinci - Complete

OF SURROUNDING BODIES BY VARIOUS FORMS OF SHADOW.

Take care that the shadows cast upon the surface of the bodies by different objects must undulate according to the various curves of the limbs which cast the shadows, and of the objects on which they are cast.

The juxtaposition of light and shade (560, 561).

560.

ON PAINTING.

The comparison of the various qualities of shadows and lights not infrequently seems ambiguous and confused to the painter who desires to imitate and copy the objects he sees. The reason is this: If you see a white drapery side by side with a black one, that part of the white drapery which lies against the black one will certainly look much whiter than the part which lies against something whiter than itself. [Footnote: It is evident from this that so early as in 1492 Leonardo's writing in perspective was so far advanced that he could quote his own statements.?As bearing on this subject compare what is said in No. 280.] And the reason of this is shown in my [book on] perspective.

561.

OF SHADOWS.

Where a shadow ends in the light, note carefully where it is paler or deeper and where it is more or less indistinct towards the light; and, above all, in [painting] youthful figures I remind you not to make the shadow end like a stone, because flesh has a certain transparency, as may be seen by looking at a hand held between the eye and the sun, which shines through it ruddy and bright. Place the most highly coloured part between the light and shadow. And to see what shadow tint is needed on the flesh, cast a shadow on it with your finger, and according as you wish to see it lighter or darker hold your finger nearer to or farther from your picture, and copy that [shadow].

On the lighting of the background (562-565).

562.

OF THE BACKGROUNDS FOR PAINTED FIGURES.

The ground which surrounds the forms of any object you paint should be darker than the high lights of those figures, and lighter than their shadowed part: &c.

563.

OF THE BACKGROUND THAT THE PAINTER SHOULD ADOPT IN HIS WORKS.

Since experience shows us that all bodies are surrounded by light and shade it is necessary that you, O Painter, should so arrange that the side which is in light shall terminate against a dark body and likewise that the shadow side shall terminate against a light body. And by [following] this rule you will add greatly to the relief of your figures.

564.

A most important part of painting consists in the backgrounds of the objects represented; against these backgrounds the outlines of those natural objects which are convex are always visible, and also the forms of these bodies against the background, even though the colours of the bodies should be the same as that of the background. This is caused by the convex edges of the objects not being illuminated in the same way as, by the same light, the background is illuminated, since these edges will often be lighter or darker than the background. But if the edge is of the same colour as the background, beyond a doubt it will in that part of the picture interfere with your perception of the outline, and such a choice in a picture ought to be rejected by the judgment of good painters, inasmuch as the purpose of the painter is to make his figures appear detached from the background; while in the case here described the contrary occurs, not only in the picture, but in the objects themselves.

565.

That you ought, when representing objects above the eye and on one side?if you wish them to look detached from the wall?to show, between the shadow on the object and the shadow it casts a middle light, so that the body will appear to stand away from the wall.

On the lighting of white objects.

566.