by Leonardo da Vinci
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And red will look most vivid against the yellowest background; and the same is the case with all colours when surrounded by their strongest contrasts.
On the reflection of colours (281-283).
281.
Every object devoid of colour in itself is more or less tinged by the colour [of the object] placed opposite. This may be seen by experience, inasmuch as any object which mirrors another assumes the colour of the object mirrored in it. And if the surface thus partially coloured is white the portion which has a red reflection will appear red, or any other colour, whether bright or dark.
Every opaque and colourless body assumes the hue of the colour reflected on it; as happens with a white wall.
282.
That side of an object in light and shade which is towards the light transmits the images of its details more distinctly and immediately to the eye than the side which is in shadow.
The solar rays reflected on a square mirror will be thrown back to distant objects in a circular form.
Any white and opaque surface will be partially coloured by reflections from surrounding objects.
[Footnote 281. 282: The title line of these chapters is in the original simply "pro", which may be an abbreviation for either Propositione or Prospettiva?taking Prospettiva of course in its widest sense, as we often find it used in Leonardo's writings. The title "pro" has here been understood to mean Prospettiva, in accordance with the suggestion afforded by page 10b of this same MS., where the first section is headed Prospettiva in full (see No. 94), while the four following sections are headed merely "pro" (see No. 85).]
283.
If a is the light, and b illuminated by it in a direct line, c, on which the light cannot fall, is lighted only by reflection from b which, let us say, is red. Hence the light reflected from it, will be affected by the hue of the surface causing it and will tinge the surface c with red. And if c is also red you will see it much more intense than b; and if it were yellow you would see there a colour between yellow and red.
On the use of dark and light colours in painting (284?286).
284.
Since we see that the quality of colour is known [only] by means of light, it is to be supposed that where there is 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 true quality of colours in bright lights.
285.
An object represented in white and black will display stronger relief than in any other way; hence I would remind you O Painter! to dress your figures in the lightest colours you can, since, if you put them in dark colours, they will be in too slight relief and inconspicuous from a distance. And the reason is that the shadows of all objects are dark. And if you make a dress dark there is little variety in the lights and shadows, while in light colours there are many grades.
286.
Colours seen in shadow will display more or less of their natural brilliancy in proportion as they are in fainter or deeper shadow.
But if these same colours are situated in a well-lighted place, they will appear brighter in proportion as the light is more brilliant.
The variety of colours in shadow must be as great as that of the colours in the objects in that shadow.
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 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.
Hence at a considerable distance all the shadows of different colours will appear of the same darkness.
It is the light side of an object in light and shade which shows the true colour.
On the colours of the rainbow (287. 288).
287.
