The Notebooks of Leonardo Da Vinci. Complete. Leonardo da Vinci

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      And let this plane be d e on which are seen 3 equal circles which are beyond this plane d e, that is the circles a b c. Now you see that the eye h sees on the vertical plane the sections of the images, largest of those that are farthest and smallest of the nearest.

      108

      Here follows what is wanting in the margin at the foot on the other side of this page.

      Natural perspective acts in a contrary way; for, at greater distances the object seen appears smaller, and at a smaller distance the object appears larger. But this said invention requires the spectator to stand with his eye at a small hole and then, at that small hole, it will be very plain. But since many (men's) eyes endeavour at the same time to see one and the same picture produced by this artifice only one can see clearly the effect of this perspective and all the others will see confusion. It is well therefore to avoid such complex perspective and hold to 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 intersects the pyramids by which the images 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 eye on which the pyramids are intersected at an equal distance from the visual virtue.

      [Footnote 24: la prima di sopra i. e. the first of the three diagrams which, in the original MS., are placed in the margin at the beginning of this chapter.]

      109

      OF A MIXTURE OF NATURAL AND ARTIFICIAL PERSPECTIVE.

      This diagram distinguishes natural from artificial perspective. But before proceeding any farther I will define what is natural and what is artificial perspective. Natural perspective says that the more remote of a series of 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 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 of the plane is natural, but the perspective shown upon it is artificial since it nowhere agrees with the true diminution of the said plane. Whence it follows, that when the 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 a b c d 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 tetragon called el main [Footnote 20: el main is quite legibly written in the original; the meaning and derivation of the word are equally doubtful.], that is to say e f g h which must appear to the eye of the spectator to be equal to a b c d so long as the eye remains in its first position between c and d. And this will be seen to have a good effect, because the natural perspective of the plane will conceal the defects which would [otherwise] seem monstrous.

      III.

      Six books on Light and Shade

      Linear Perspective cannot be immediately followed by either the "prospettiva de' perdimenti" or the "prospettiva de' colori" 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 propounded in No. III, because, in all probability, we have here a final and definite 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 Principles of Light and Shade form by far the larger portion of this MS. which consists of two separate parts; still, the materials are far from being finally arranged. It is also evident that he here investigates the subject from the point of view of the Physicist rather than from that of the Painter.

      The plan of a scheme of arrangement suggested in No. III 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 Reflections, 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 treat of the "Prospettiva de' perdimenti" have, of course, been excluded from the series on Light and Shade.

      [Footnote III: This text has already been published with some slight variations in Dozio's pamphlet Degli scritti e disegni di Leonardo da Vinci, Milan 1871, pp. 30—31. Dozio did not transcribe it from the original MS. which seems to have remained unknown to him, but from an old copy (MS. H. 227 in the Ambrosian Library).]

      GENERAL INTRODUCTION.

      Prolegomena.

      110

      You must first explain the theory and then the practice. First you must describe the shadows and lights on opaque objects, and then on transparent bodies.

      Scheme of the books on Light and shade.

      111

      INTRODUCTION.

      [Having already treated of the nature of shadows and the way in which they are cast [Footnote 2: Avendo io tractato.—We may suppose that he here refers to some particular MS., possibly Paris C.], I will now consider the places on which they fall; and their curvature, obliquity, flatness or, in short, any character I may be able to detect in them.]

      Shadow is the obstruction of light. Shadows appear to me to be of supreme importance in perspective, because, without them opaque and solid bodies will be ill defined; that which is contained within their outlines and their boundaries themselves will be ill-understood unless they are shown against a background of a different tone from themselves. And therefore in my first proposition concerning shadow I state that every opaque body is surrounded and its whole surface enveloped in shadow and light. And on this 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 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 Book. From these primary shadows there result certain shaded rays which are diffused through the atmosphere and these vary in 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 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 reflected dispersion is thrown back towards its cause, it meets the original shadow and mingles with it and modifies it somewhat in its nature; and on this I will compose my fifth Book. Besides this, in the sixth Book I will investigate the many and various diversities of reflections resulting from these rays which will modify the original [shadow] by [imparting] some of the various colours from the different СКАЧАТЬ