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

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      297

      Take care that the perspective of colour does not disagree with the size of your objects, hat is to say: that the colours diminish from their natural [vividness] in proportion as the objects at various distances dimmish from their natural size.

      On the relative density of the atmosphere (298—290).

      298

      WHY THE ATMOSPHERE MUST BE REPRESENTED AS PALER TOWARDS THE LOWER PORTION.

      Because the atmosphere is dense near the earth, and the higher it is the rarer it becomes. When the sun is in the East if you look towards the West and a little way to the South and North, you will see that this dense atmosphere receives more light from the sun than the rarer; because the rays meet with greater resistance. And if the sky, as you see it, ends on a low plain, that lowest portion of the sky will be seen through a denser and whiter atmosphere, which will weaken its true colour as seen through that medium, and there the sky will look whiter than it is above you, where the line of sight travels through a smaller space of air charged with heavy vapour. And if you turn to the East, the atmosphere will appear darker as you look lower down because the luminous rays pass less freely through the lower atmosphere.

      299

      OF THE MODE OF TREATING REMOTE OBJECTS IN PAINTING.

      It is easy to perceive that the atmosphere which lies closest to the level ground is denser than the rest, and that where it is higher up, it is rarer and more transparent. The lower portions of large and lofty objects which are at a distance are not much seen, because you see them along a line which passes through a denser and thicker section of the atmosphere. The summits of such heights are seen along a line which, though it starts from your eye in a dense atmosphere, still, as it ends at the top of those lofty objects, ceases in a much rarer atmosphere than exists at their base; for this reason the farther this line extends from your eye, from point to point the atmosphere becomes more and more rare. Hence, O Painter! when you represent mountains, see that from hill to hill the bases are paler than the summits, and in proportion as they recede beyond each other make the bases paler than the summits; while, the higher they are the more you must show of their true form and colour.

      On the colour of the atmosphere (300-307).

      300

      OF THE COLOUR OF THE ATMOSPHERE.

      I say that the blueness we see in the atmosphere is not intrinsic colour, but is caused by warm vapour evaporated in minute and insensible atoms on which the solar rays fall, rendering them luminous against the infinite darkness of the fiery sphere which lies beyond and includes it. And this may be seen, as I saw it by any one going up [Footnote 5: With regard to the place spoken of as M'oboso (compare No. 301 line 20) its identity will be discussed under Leonardo's Topographical notes in Vol. II.] Monboso, a peak of the Alps which divide France from Italy. The base of this mountain gives birth to the four rivers which flow in four different directions through the whole of Europe. And no mountain has its base at so great a height as this, which lifts itself almost above the clouds; and snow seldom falls there, but only hail in the summer, when the clouds are highest. And this hail lies [unmelted] there, so that if it were not for the absorption of the rising and falling clouds, which does not happen twice in an age, an enormous mass of ice would be piled up there by the hail, and in the middle of July I found it very considerable. There I saw above me the dark sky, and the sun as it fell on the mountain was far brighter here than in the plains below, because a smaller extent of atmosphere lay between the summit of the mountain and the sun. Again as an illustration of the colour of the atmosphere I will mention the smoke of old and dry wood, which, as it comes out of a chimney, appears to turn very blue, when seen between the eye and the dark distance. But as it rises, and comes between the eye and the bright atmosphere, it at once shows of an ashy grey colour; and this happens because it no longer has darkness beyond it, but this bright and luminous space. If the smoke is from young, green wood, it will not appear blue, because, not being transparent and being full of superabundant moisture, it has the effect of condensed clouds which take distinct lights and shadows like a solid body. The same occurs with the atmosphere, which, when overcharged with moisture appears white, and the small amount of heated moisture makes it dark, of a dark blue colour; and this will suffice us so far as concerns the colour of the atmosphere; though it might be added that, if this transparent blue were the natural colour of the atmosphere, it would follow that wherever a larger mass air intervened between the eye and the element of fire, the azure colour would be more intense; as we see in blue glass and in sapphires, which are darker in proportion as they are larger. But the atmosphere in such circumstances behaves in an opposite manner, inasmuch as where a greater quantity of it lies between the eye and the sphere of fire, it is seen much whiter. This occurs towards the horizon. And the less the extent of atmosphere between the eye and the sphere of fire, the deeper is the blue colour, as may be seen even on low plains. Hence it follows, as I say, that the atmosphere assumes this azure hue by reason of the particles of moisture which catch the rays of the sun. Again, we may note the difference in particles of dust, or particles of smoke, in the sun beams admitted through holes into a dark chamber, when the former will look ash grey and the thin smoke will appear of a most beautiful blue; and it may be seen again in in the dark shadows of distant mountains when the air between the eye and those shadows will look very blue, though the brightest parts of those mountains will not differ much from their true colour. But if any one wishes for a final proof let him paint a board with various colours, among them an intense black; and over all let him lay a very thin and transparent [coating of] white. He will then see that this transparent white will nowhere show a more beautiful blue than over the black—but it must be very thin and finely ground.

      [Footnote 7: reta here has the sense of malanno.]

      301

      Experience shows us that the air must have darkness beyond it and yet it appears blue. If you produce a small quantity of smoke from dry wood and the rays of the sun fall on this smoke, and if you then place behind the smoke a piece of black velvet on which the sun does not shine, you will see that all the smoke which is between the eye and the black stuff will appear of a beautiful blue colour. And if instead of the velvet you place a white cloth smoke, that is too thick smoke, hinders, and too thin smoke does not produce, the perfection of this blue colour. Hence a moderate amount of smoke produces the finest blue. Water violently ejected in a fine spray and in a dark chamber where the sun beams are admitted produces these blue rays and the more vividly if it is distilled water, and thin smoke looks blue. This I mention in order to show that the blueness of the atmosphere is caused by the darkness beyond it, and these instances are given for those who cannot confirm my experience on Monboso.

      302

      When the smoke from dry wood is seen between the eye of the spectator and some dark space [or object], it will look blue. Thus the sky looks blue by reason of the darkness beyond it. And if you look towards the horizon of the sky, you will see the atmosphere is not blue, and this is caused by its density. And thus at each degree, as you raise your eyes above the horizon up to the sky over your head, you will see the atmosphere look darker [blue] and this is because a smaller density of air lies between your eye and the [outer] darkness. And if you go to the top of a high mountain the sky will look proportionately darker above you as the atmosphere becomes rarer between you and the [outer] darkness; and this will be more visible at each degree of increasing height till at last we should find darkness.

      That smoke will look bluest which rises from the driest wood and which is nearest to the fire and is seen against the darkest background, and with the sunlight upon it.

      303

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