by Leonardo da Vinci
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[Footnote: See Pl. XXXI. No. 4; the sketch on the right hand side.]
575.
Since it is proved that every definite light is, or seems to be, derived from one single point the side illuminated by it will have its highest light on the portion where the line of radiance falls perpendicularly; as is shown above in the lines a g, and also in a h and in l a; and that portion of the illuminated side will be least luminous, where the line of incidence strikes it between two more dissimilar angles, as is seen at b c d. And by this means you may also know which parts are deprived of light as is seen at m k.
Where the angles made by the lines of incidence are most equal there will be the highest light, and where they are most unequal it will be darkest.
I will make further mention of the reason of reflections.
[Footnote: See Pl. XXXII. The text, here given complete, is on the right hand side. The small circles above the beginning of lines 5 and 11 as well as the circle above the text on Pl. XXXI, are in a paler ink and evidently added by a later hand in order to distinguish the text as belonging to the Libro di Pittura (see Prolegomena. No. 12, p. 3). The text on the left hand side of this page is given as Nos. 577 and 137.]
576.
Where the shadow should be on the face.
General suggestions for historical pictures (577-581).
577.
When you compose a historical picture take two points, one the point of sight, and the other the source of light; and make this as distant as possible.
578.
Historical pictures ought not to be crowded and confused with too many figures.
579.
Let you sketches of historical pictures be swift and the working out of the limbs not be carried too far, but limited to the position of the limbs, which you can afterwards finish as you please and at your leisure.
[Footnote: See Pl. XXXVIII, No. 2. The pen and ink drawing given there as No. 3 may also be compared with this passage. It is in the Windsor collection where it is numbered 101.]
580.
The sorest misfortune is when your views are in advance of your work.
581.
Of composing historical pictures. Of not considering the limbs in the figures in historical pictures; as many do who, in the wish to represent the whole of a figure, spoil their compositions. And when you place one figure behind another take care to draw the whole of it so that the limbs which come in front of the nearer figures may stand out in their natural size and place.
How to represent the differences of age and sex (582-583).
582.
How the ages of man should be depicted: that is, Infancy, Childhood,
Youth, Manhood, Old age, Decrepitude.
[Footnote: No answer is here given to this question, in the original
MS.]
583.
Old men ought to be represented with slow and heavy movements, their legs bent at the knees, when they stand still, and their feet placed parallel and apart; bending low with the head leaning forward, and their arms but little extended.
Women must be represented in modest attitudes, their legs close together, their arms closely folded, their heads inclined and somewhat on one side.
Old women should be represented with eager, swift and furious gestures, like infernal furies; but the action should be more violent in their arms and head than in their legs.
Little children, with lively and contorted movements when sitting, and, when standing still, in shy and timid attitudes.
[Footnote: bracci raccolte. Compare Pl. XXXIII. This drawing, in silver point on yellowish tinted paper, the lights heightened with white, represents two female hands laid together in a lap. Above is a third finished study of a right hand, apparently holding a veil from the head across the bosom. This drawing evidently dates from before 1500 and was very probably done at Florence, perhaps as a preparatory study for some picture. The type of hand with its slender thin forms is more like the style of the Vierge aux Rochers in the Louvre than any later works?as the Mona Lisa for instance.]
Of representing the emotions.
584.
