SCRITTI LETTERARI DI LEONARDO DA VINCI eaooh Mgfi DA J. P. RICHTER IN DUE PARTI. - PARTE I. LONDRA: SAMPSON LOW, MARSTON, SEARLE & RIVINGTON 1 88, FLEET STREET 1883 77-' J Sj ni ; •' •'•.' ; " . ->.f: |.ia • • -"'Si>*«-' : •'£.'&* ' "• \ A; :-' . '--.- >V * "' •• -fV^'J r;-K &- i*4llhfcr££_ . . THE LITERARY WORKS OF LEONARDO DA VINCI contpifeb anb ebifcb front $e Originaf BY JEAN PAUL RICHTER, PH. DR., KNIGHT OF THE BAVARIAN ORDER OF ST. MICHAEL, &C. IN TWO VOLUMES.— VOL. I. LONDON: SAMPSON LOW, MARSTON, SEARLE & RIVINGTON . 1 88, FLEET STREET 1883 ALL RIGHTS RESERVED. DEDICATED BY PERMISSION HER MOST GRACIOUS MAJESTY THE OUEEN LIST OF SUBSCRIBERS. H. R. H. THE PRINCE OF WALES. H. I. H. THE CROWN PRINCE OF GERMANY. H. R. H. THE DUKE OF ALBANY. H. R. H. THE LANDGRAFIN ANNA OF HESSE, PRINCESS OF PRUSSIA. BERLIN, INDUSTRIAL MUSEUM (i copy). • „ MINISTRY OF PUBLIC INSTRUCTION (2 copies). „ ROYAL MUSEUM (i copy). BONN, ROYAL UNIVERSITY (i copy). BOSTON, U. S., BOSTON ATHENAEUM (i copy). 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WYLUE AND SON, ABERDEEN (i copy). WYNDHAM, HON. PERCY, LONDON (i copy). P RE FA CE. Si singular fatality has ruled the destiny of nearly all the most famous of -^~Jt Leonardo da Vinci s works. Two of the three most important were never completed, obstacles having arisen during his life-time, which obliged him to leave them unfinished; namely the Sforza Monument and the Wall-painting of the Battle of Anghiari, while the third — the picture of the Last Supper at Milan — has suffered irremediable injury from decay and the repeated restorations to which it was recklessly subjected during the XVIIth and XVIIIth centuries. Nevertheless, no other picture of the Renaissance has become so wellknown and popular through copies of every description. Vasari says , and rightly , in his Life of Leonardo, "that he laboured much more by his word than in fact or by deed" , and the biographer evidently had in his mind the numerous works in Manuscript which have been preserved to this day. To us, now, it seems almost inexplicable that these valuable and interesting original texts should have remained so long unpublished, and indeed forgotten. It is certain that during the XVIth and XVIIth centuries their exceptional value was highly appreciated. This is proved not merely by the prices which they commanded, but also by the exceptional interest which has been attached to the change of ownership of merely a few pages of Manuscript. That , notwithstanding this eagerness to possess the Manuscripts, their contents remained a mystery , can only be accounted for by the many and great difficulties attending the task of deciphering them. The handwriting is N|V PREFACE. SO in ex, r that it requires considerable practice to read even a few detached phrases, much more to solve with any certainty the numerous difficulties of alternative readings, and to master the sense as a connected whole. Vasari observes with referefice to Leonardos writing: "he wrote backwards, in rude characters, and with the left hand, so that any one who is not practised in reading them, cannot understand them\ The aid of a mirror reading reversed handwriting appears to me available only for a first Jcrimcntal reading. Speaking from my own experience, the persistent use 9f it is too fatiguing and inconvenient to be practically advisable, considering the enormous mass of Manuscripts to be deciphered. And as, after all,^ Utnardos handwriting runs backwards just as all Oriental character runs backwards -that is to say from right to left— the difficulty of reading direct from the writing is not insuperable. This obvious peculiarity in the writing is not, however, by any means the only obstacle in the way of mastering the text. Leonardo made use of an orthography peculiar to him- self; he had a fashion of amalgamating several short words into one long one, or, again, he would quite arbitrarily divide a long word into tvo separate halves; added to this there is no punctuation whatever to regulate the division and construction of the sentences, nor are there any accents — and the reader may imagine that such difficulties were almost sufficient to make the task seem a desperate one to a beginner. It is therefore not sur- prising that the good intentions of some of Leonardos most reverent admi- rers should have failed. Leonardos literary labours in various departments both of Art and of Science were those essentially of an enquirer, hence the analytical method is that which he employs in arguing out his investigations and dissertations. The vast structure of his scientific theories is consequently built up of nu- merous separate researches, and it is 'much to be lamented that he should never have collated and arranged them. His love for detailed research — as it seems to me — was the reason that in almost all the Manuscripts, the different paragraphs appear to us to be in utter confusion; on one and the same Pagf, observations on the most dissimilar subjects follow each other without any connection. A page, for instance, will begin with some principles of astronomy, or the motion of the earth; then come the laws of sound, and finally some precepts as to colour. Another page will begin with his investi- gations on the structure of the intestines, and end with philosophical remarks as to Ike relations of poetry to painting; and so forth. PREFACE. XV Leonardo himself lamented this confusion , and for that reason I do not think that the publication of the texts in the order in which they occur in the originals would at all fulfil his intentions. No reader could find his way through such a labyrinth; Leonardo himself could not have done it. Added to this, more than half of the five thousand manuscript pages which now remain to us, are written on loose leaves, and at present arranged in a manner which has no justification beyond the fancy of the collector who first brought them together to make volumes of more or less extent. Nay, even in the volumes > the pages of which were numbered by Leonardo himself, their order, so far as the connection of the texts was concerned, was obviously a matter of indifference to him. The only point he seems to. have kept in view, when first writing down his notes, was that each observation should be complete to the end on the page on which it was begun. The exceptions . to this rule are extremely few, and it is certainly noteworthy that we find in such cases, in bound volumes with his numbered pages, the ivritten observa- tions: "turn over", "This is the continuation of the previous page" , and the like. Is not this sufficient to prove that it was only in quite exceptional cases that the writer intended the consecutive pages to remain connected, when he should, at last, carry out the often planned arrangement of his writings? What this final arrangement was to be, Leonardo has in most cases indicated with considerable completeness. In other cases this authoritative clue is wanting, but the difficulties arising from this are not insuperable; for, as the subject of the separate paragraphs is always distinct and well defined in itself, it is quite possible to construct a well-planned whole, out of the scattered materials of his scientific system, and I may venture to state that I have devoted especial care and thought to the due execution of this responsible task. The beginning of Leonardo s literary labours dates from about his thirty-seventh year, and he seems to have carried them on without any serious interruption till his death. Thus the Manuscripts that remain represent a period of about thirty years. Within this space of time his handwriting altered so little that it is impossible to judge from it of the date of any particular text. The exact dates, indeed, can only be assigned to certain note-books in which the year is incidentally indicated, and in which the order PREFACE. of the /<».-« has no! /urn altered since Leonardo used them. The assistance afford for a chronological arrangement of the Manuscripts is generally «// aM»t. By this clue I have assigned to the original Manuscripts scattered through England, Italy and France, the order of their pro- Action, as in many matters of detail it is highly important to be able to verify the tinte and place at which certain observations were made and registered. For this purpose the Bibliography of the Manuscripts given at the end of Vol. II, may be regarded as an Index, not far short of complete, of all Leonardos literary works now extant. The consecutive numbers (from i to 1566; at the head of each passage in this work, indicate their logical sequence with reference to the subjects; while the letters and figures to the left of each paragraph refer to the original Manuscript and number of the page, on which that particular passage is to be found. Thus the reader, by referring to the List of Manuscripts at the beginning of Volume 7, and to the Bibliography at the end of Volume II, can, in every instance, cosily ascertain, not merely the period to which the passage belongs, but also exactly where it stood in the original document. Thus, too, by following the sequence of the numbers in the Bibliographical index, the reader may reconstruct the original order of the Manuscripts and recompose the various texts to be found on the original sheets — so much of it, that is to say, as by its subject-matter came within the scope of this work. It may, however, be here observed that Leonardos Manuscripts contain, besides the passages here printed, a great number of notes and dissertations on Mechanics, Physics, and some other subjects, many of which could only be satisfactorily dealt with by specialists. I have given as complete a review of these writings as seemed necessary in the Bibliographical notes. In 1651, Raphael Trichet Dujresne, of Paris, published a selection from Leottardos writings on painting, and this treatise became so popular that it has since been reprinted about two -and -twenty times, and in six different languages. But none of these editions were derived from the original texts, which were supposed to have been lost, but from early copies, in which Leo- nardos text had been more or less mutilated, and which were all fragmen- tary. The oldest and on the whole the best copy of Leonardos essays and precepts on Painting is in the Vatican Library ; this has been twice printed, first by Manzi, in 1817, and secondly by Ludwig, in 1882. Still, this ancient copy, and the published editions of it, contain much for which it would be rash to hold Leonardo responsible, and some portions — such as the very PREFACE. XVII important rules for the proportions of the human figure — are wholly wanting; on the other hand they contain passages which, if they are genuine, cannot now be verified from any original Manuscript extant. These copies, at any rate neither give us the original order of the texts, as written by Leonardo, nor do they afford any substitute, by connecting them on a rational scheme; indeed, in their chaotic confusion they are anything rather than satisfactory reading. The fault, no doubt, rests with the compiler of the Vatican copy, which would seem to be the source whence all the published and extensively known texts were derived; for, instead of arranging the passages himself, he tvas satisfied with recording a suggestion for a final arrangement of them into eight distinct parts, without attempting to carry out his scheme. Under the mistaken idea that this plan of distribution might be that, not of the compiler, but . of Leonardo himself, the various editors, down to the present day, have very injudiciously continued to adopt this order — or rather disorder. I , like other enquirers , had given up the original Manuscript of the Trattato della Pittura for lost, till, in the beginning of 1880, I was enabled,, by the liberality of Lord Ashburnham, to inspect his Manuscripts, and was so happy as to discover among them the original text of the best-known por- tion of the Trattato in his magnificent library at Ashburnham Place. Though this discovery was of a fragment only — but a considerable fragment- inciting me to further search , it gave the key to the mystery which had so long enveloped the first origin of all the known copies of the Trattato. The extensive researches I was subsequently enabled to prosecute, and the results of which are combined in this work, were only rendered possible by the unrestricted permission granted me to investigate all the Manuscripts by Leonardo dispersed throughout Europe, and to reproduce the highly important original sketches they contain, by the process of "-photogravure". Her Majesty the Queen graciously accorded me special permission to copy for publication the Manuscripts at the Royal Library at Windsor. The Commission Centrale Administrative de V Institut de France, Paris, gave me, in the most liberal manner, in answer to an application from Sir Frederic Leighton, P. R. A., Corresponding member of the Institut, free permission to work for several months in their private collection at deciphering the Manuscripts preserved there. The same favour which Lord Ashburnham had already granted me was extended to me by the Earl of Leicester, the Marchese Trivulzi, and the Curators of the Ambrosian Library at Milan, by the Conte Manzoni at Rome and by PREFACE. XV1U l^SL. **«7. Mr. Mantle Thompson, Keeper **"**** M, British Museum, Mr. Holme*, the Queens Librarian at Windsor, th Vcre Bayne, Librarian of Ckrist Church College at Oxford, and the A. Napier, Librarian to the Earl of Leicester at Holkham Hall. In correcting the Italian text for the press, I have had the advantage of valuable adiice from the Commendatore Giov. Morelli, Senatore del Regno, and from Signor Gustavo Frizzoni, of Milan. The translation, under many difficulties, of the Italian text into English, is mainly due to Mrs. R. C. Bell; while the rendering of several of the most puzzling and important passages, particularly in the second half of Vol. I, I owe to the indefatigable interest taken in this work by Mr. E. J. Poynter R. A. Finally I must express my thanks to Mr. Alfred Marks, of Long Ditton, who has most kindly assisted me throughmit in the revision of the proof sheets. The notes and dissertations on the texts on Architecture in Vol. II I owe to my friend Baron Henri de Gcymuller, of Paris. I may further mention with regard to the illustrations, that the nega- tives for the production of the "photo-gravures" by Monsieur Dujardin of Paris were all taken direct from the originals. It is scarcely necessary to add that most of the drawings here reproduced in facsimile have never been published before. As I am now, on the termi- nation of a work of several years duration, in a position to review the general tenour of Leonardos writings, I may perhaps be permitted to add a word as to my own estimate of the value of their contents. I have already shmcn that it is due to nothing but a fortuitous succession of unfortunate circumstances, that we should not, long since, have known Leonardo, not merely as a Painter, but as an Author, a Philosopher, and a Naturalist. There can 6t no doubt that in more than one department his principles and discoveries were infinitely more in accord with the teachings of modern science, than with the views of his contemporaries. For this reason his extraordi- nary gifts and merits are far more likely to be appreciated in our own time PREFACE. XIX than they could have been during the preceding centuries. He has been unjustly accused of having squandered his powers, by beginning a variety of studies and then, having hardly begun, throwing them aside. The truth is that the labours of three centuries have hardly sufficed for the elucidation of some of the problems which occupied his mighty mind. Alexander von Humboldt has borne witness that "he was the first to start on the road towards the point where all the impressions of our senses converge in the idea of the Unity of Nature? Nay, yet more may be said. The very words which are inscribed on the monument of Alexander von Hum- boldt himself, at Berlin, are perhaps the most appropriate in which we can sum ^lp our estimate of Leonardo's genius: "Majestati naturae par ingenium." LONDON, April 1883. y. p. R. CONTENTS OF VOLUME I. PROLEGOMENA AND GENERAL INTRODUCTION TO THE BOOK ON PAINTING Clavis Sigillorum and Index of Manuscripts. — The author's intention to publish his MSS. (i). — The preparation of the MSS. for publication (2). — Admonition to readers (3). — The disorder in the MSS. (4). — Suggestions for the arrangement of MSS. treating of particular subjects (5 — 8). — General introduc- tions to the book on painting (9 — 13).— The plan of the book on painting (14 — 17). — The use of the book on painting (18). — Necessity of theoretical knowledge (19, 20). — The function of the eye (21 — 23). — Variability of the eye (24). — Focus of sight (25). — Differences of perception by one eye and by both eyes (26 — 29). — The comparative size of the image depends on the amount of light (30—39). II. LINEAR PERSPECTIVE General remarks on perspective (40 — 41). — The elements of perspective: — of the point (42 — 46). — Of the line (47 — 48). — The nature of the outline (49). — Definition of perspective (50). — The perception of the object depends on the direction of the eye (51). — Experimental proof of the existence of the pyramid of sight (52 — 55). — The relations of the distance point to the van- ishing point (55 — 56). — How to measure the pyramid of vision (57). — The production of the pyramid of vision (58 — 64). — Proof by experiment (65 — 66).— General conclusions (67). — That the contrary is impossible (68). — A parallel case (69). — The function of the eye, as explained by the camera obscura (70 — 71). — The practice of perspective (72 — 73). — Refraction of the rays fal- ling upon the eye (74 — 75). — The inversion of the images (76). — The inter- section of the rays (77 — 82). — Demonstration of perspective by means of a vertical glass plane (83 — 85.) — The angle of sight varies with the distance (86 — 88). — Opposite pyramids in juxtaposition (89).— On simple and complex perspective (90). — The proper distance of objects from the eye (91 — 92). — The relative size of objects with regard to their distance from the eye (93 — 9g). — The apparent size of objects denned by calculation (99 — 106). — On natural perspective (107 — 109). Pages I — 24 XXII CONTENTS OF VOLUME I. HI. Pages SIX BOOKS ON LIGHT AND SHADE 67—123 GENERAL INTRODUCTION. — Prolegomena (no). — Scheme of the books on light and shade (in). — Different principles and plans of treatment (112 — 116). —Different sorts of light (117 — 118). — Definition of the nature of shadows (119 — 122). — Of the various kinds of shadows (123 — 125). — Of the various kinds of light (126 — 127).— General remarks (128—129). — FIRST BOOK ON LIGHT AND SHADE. — On the nature of light (130 — 131). — The difference between light and lustre (132 — 135). — The relations of luminous to illuminated bodies (136). — Experiments on the relation of light and shadow within a room (137 — 140). — Light and shadow with regard to the position of the eye (141 — 145)- — The law of the incidence of light (146 — 147). — SECOND BOOK ON LIGHT AND SHADE. — Gradations of strength in the shadows (148 — 149). — On the inten- sity of shadows as dependent on the distance from the .light (150 — 152). — On the proportion of light and shadow (153 — 157). — THIRD BOOK ON LIGHT AND SHADE. — Definition of derived shadow (158 — 159). — Different sorts of derived shadows (160 — 162). — On the relation of derived and primary sha- dow (163 — 165). — On the shape of derived shadows (166 — 174). — On the relative intensity of derived shadows (175 — 179). — Shadow as produced by two lights of different size (180 — 181). — The effect of light at different distances (182). — Further complications in the derived shadows (183 — 187). — FOURTH BOOK ON LIGHT AND SHADE. — On the shape of cast shadows (188 — 191). — On the outlines of cast shadows* (19 2 — 195). — On the relative size of cast shadows (196. 197). — Effects on cast shadows by the tone of the' back ground (198). — A disputed proposition (199). — On the relative depth of cast shadows (200 — 202). — FIFTH BOOK ON LIGHT AND SHADE. — Principles of reflection (203. 204). — On reverberation (205). — Reflection on water (206. 207).— Experiments with the mirror (208 — 210). — Appendix: — On shadows in movement (211 — 212). — SIXTH BOOK ON LIGHT AND SHADE. — The effect of rays passing through holes (213. 214). — On gradation of shadows (215. 216). — On relative proportion of light and shadows (216 — 221). IV. PERSPECTIVE OF DISAPPEARANCE 123—139 Definition (222. 223). — An illustration by experiment (224). — A guiding rule (225). — An experiment (226). — On indistinctness at short distances (227 — 231). — On indistinctness at great distances (232 — 234). — The importance of light and shade in the Prospettiva de' perdimenti (235 — 239). — The effect of light or dark backgrounds on the apparent size of objects (240 — 250). — Pro- positions on Prospettiva de' perdimenti from MS. C. (250 — 262). V. THEORY OF COLOURS 141 — 154 The reciprocal effects of colours on objects placed opposite each other (263 — 271).— Combination of different colours in cast shadows (272). — The effect of colours in the camera obscura (273. 274). — On the colours of derived shadows (275. 276). — On the nature of colours (277. 278). — On gradations in the depth of colours (279. 280). — On the reflection of colours (281 — 283).— On the use of dark and light colours in painting (284 — 286). — On the colours of the rainbow (287 — 288). VI. PERSPECTIVE OF COLOUR AND AERIAL PERSPECTIVE 155—166 General rules (289 — 291). — An exceptional case (292). — An experiment (293). — The practice of the Prospettiva de' colori (294). — The rules of aerial perspective (295—297). — On the relative density of the atmosphere (298—299). — On the colour of the atmosphere (300 — 307). CONTENTS OF VOLUME I.. XXIII VII. t> Pages ON THE PROPORTIONS AND ON THE MOVEMENTS OF THE HUMAN FIGURE 167—201 i Preliminary observations (308. 309). — Proportions of the head and face (310 — 318). — Proportions of the head seen in front (319 — 321). — Proportions of the foot (322 — 323). — Relative proportions of the hand and foot (324). — Relative proportions of the foot and of the face (325 — 327). — Proportions of the leg (328 — 331). — On the central point of the whole body (332). — The relative proportions of the torso and of the whole figure (333). — The relative proportions of the head -and of the torso (334). — The relative proportions of the torso and of the leg (335. 336). — The relative proportions of the torso and of the foot (337). — The proportions of the whole figure (338 — 341). — The torso from the front and back (342). — Vitruvius' scheme of proportions (343). — The arm and head (344). — Proportions of the arm (345 — 349). — The movement of the arm (350 — 354). — The movement of the torso (355 — 361). — The propor- tions vary at different ages (362 — 367). — The movement of the human figure (368 — 375). — Of walking up and down (375 — 379^ — On the human body in action (380 — 388). — On hair falling down in curls (389). — On draperies (39°— 392)- VIII. BOTANY FOR PAINTERS, AND ELEMENTS OF LANDSCAPE PAINTING 203—240 Classification of trees (393). — The relative thickness of the branches to the trunk (394—396). — The law of proportion in the growth of the branches (397 — 402). — The direction of growth (403 — 407). — The forms of trees (408— 411). — The insertion of the leaves (412 — 419). — Light on branches and leaves (420 — 422). — The proportions of light and shade in a leaf (423 — 426). — Of the transparency of leaves (427 — 429). — The gradations of shade and colour in leaves (430 — 434). — A classification of trees according to their colours (435). — The proportions of light and shade in trees (436 — 440). — The distribution of light and shade with reference to the position of the spectator (441^-443). — The effects of morning light (444 — 448). — The effects of midday light (449). — The appearance of trees in the distance (450 — 451). — The cast shadow of trees (452. 453). — Light and shade on groups of trees (454 — 457). — On the treatment of light for landscapes (458 — 464). — On the treatment of light for views of towns (465 — 469). — The effect of wind on trees (470 — 473). — Light and shade on clouds (474 — 477). — On images reflected in water (478). — Of rainbows and rain (479. 480). — Of flower seeds (481). IX. THE PRACTICE OF PAINTING 241—332 I. MORAL PRECEPTS FOR THE STUDENT OF PAINTING. — How to ascertain the dispositions for an artistic career (482). — The course of instruction for an artist (483 — 485).— The study of the antique (486. 487). — The necessity of anatomical knowledge (488. 489). — How to acquire practice (490). — Industry and thoroughness the first conditions (491 — 493.) — The artist's private life and choice of company (493. 494)- — The distribution of time for studying (495 — 497). — On the productive power of minor artists (498 — 501). — A caution against one-sided study (502). — How to acquire universality (503 — 506). — Useful games and exercises (507. 508). — II. THE ARTIST'S STUDIO. — INSTRUMENTS AND HELPS FOR THE APPLICATION OF PERSPECTIVE. ON JUDGING OF A PICTURE. — On the size of the studio (509). — On the construction of windows (510 — 512). — On the best light for painting (513 — 520). — On various helps in preparing a picture (521 — 530). — On the management of works (531. 532). — On the limitations of painting (533 — 535)- — On tne choice of a position (536. 537). — The apparent size of figures in a picture (538. 539). — The right position of the artist, when painting XXIV CONTENTS OF VOLUME I. Pages and of the spectator (540—547). — III. THE PRACTICAL METHODS OF LIGHT AND SHADE AND AERIAL PERSPECTIVE. — Gradations of light and shade (548). — On the choice of light for a picture (549 — 554). — The distribution of light and shade (555—559). — The juxtaposition of light and shade (560. 561). — On the lighting of the background (562 — 565). — On the lighting of white objects (566). — The methods of aerial perspective (567 — 570). — IV. OF PORTRAIT AND FIGURE PAINTING. — Of sketching figures and portraits (571. 572). — The position of the head (573). — Of the light on the face (574 — 576). — General suggestions for historical pictures (577 — 581). — How to represent the differences of age and sex (582. 583). — Of representing the emotions (584). — Of representing imaginary animals (585). — The selection of forms (586 — 591). — How to pose figures (592). — Of appropriate gestures (593 — 600). — V. SUGGESTIONS FOR COMPOSITIONS. — Of painting battle-pieces (60 1 — 603). — Of depicting night -scenes (604). — Of depicting a tempest (605. 606). — Of representing the deluge (607 — 609). — Of depicting natural phenomena (610. 611). — VI. THE ARTIST'S MATERIAL. — Of chalk and paper (612 — 617). — On the preparation and use of colours (618 — 627). — Of preparing the panel (628). — The preparation of oils (629 — 634). — On varnishes (635 — 637)- -On chemical materials (638 — 650). — VII. PHILOSOPHY AND HISTORY OF THE ART OF PAINTING. — The relation of art and nature (651. 652). — Painting is superior to poetry (653. 654). — Painting is superior to sculpture (655. 656). — Aphorisms (657 — 659). — On the history of painting (660. 66 1). — The painter's scope (662). X. STUDIES AND SKETCHES FOR PICTURES AND DECORATIONS 333—361 On pictures of the Madonna (663). — Bernardo di Bandino's portrait (664). — Notes on the Last Supper (665 — 668). — On the battle of Anghiari (669). — Allegorical representations referring to the duke of Milan (670 — 673). — Allego- rical representations (674 — 678). — Arrangement of a picture (679). — List of draw- ings (680). — Mottoes and Emblems (681 — 702). REFERENCE TABLE TO THE NUMERICAL ORDER OF THE CHAPTERS 363—367 LIST OF ILLUSTRATIONS IN VOLUME I. Page PI. I. Portrait of Leonardo, by himself, reproduced from the original drawing in red chalk in the Royal Library, Turin — see No. 1368, Note Frontispiece PI. II. Three Diagramms, illustrating the theories of Linear Perspective and of Light and Shade: No. i from the Ashburnham MS. I No. i — see text No. 61. Nos. 2 and 3 from MS. C., Institut de France, Paris — see text No. 141 To face 38 PI. III. Two Diagrams, illustrating the theory of Light and Shade; from the Ash- burnham MS. I: No. i— see text Nos. 148 and 275 — ; No. 2 — see text No. 149 To face 87 PI. IV. Five Diagrams , illustrating the theory of Light and Shade : No. i from MS. E, Institut de France, Paris— see text No. 162 — ; Nos. 2 and 3 from the Ashburnham MS. I — see text Nos. 169 and 173 — ; Nos. 4 and 5 from the Codex Atlanticus, Ambrosian Library, Milan — see text Nos. 179 and 187 To face 93 PI. V. Diagram, illustrating the theory of Light and Shade and Sketches of Figures illustrating the Movements of the Human Figure; from the Royal Library, Windsor Castle — see text Nos. 183 and 597 To face 102 PI. VI. Four Diagrams, illustrating the theory of Light and Shade: No. i from the Codex Atlanticus, Milan — see text No. 191 — ; Nos. 2 and 3 from MS. C, Institut de France, Paris — see text Nos. 215 and 216 — ; No. 4 from the Ashburnham MS. I — ^see text No. 224 To face 108 PI. VII. Five Drawings, illustrating the theory of the Proportions of the Human Figure, from the Royal Library, Windsor Castle; No. i — see text No. 310 — ; No. 2 — see text Nos. 310 and 327 — ; No. 3 — see text No. 313 — ; No. 4 — see text Nos. 321 and 327 — ; No. 5 — see Nos. 337 and 595 . . To face 170 PI. VIII. Two Drawings, illustrating the theory of the Proportions of the Human Figure; No. i from MS. A, Institut de France, Paris — see text No. 312 — ; No. 2 from the Royal Library, Windsor Castle — see text No. 332 .To face 171 PI. IX. Drawing, illustrating the theory of the Proportions of the Human Figure; from the Accademia at Venice — see text ^0.315 To face 172 d XXVI LIST OF ILLUSTRATIONS IN VOLUME I. PI. X. . PI. XI. PI. XII. PI. XIII. PI. XIV. PI. XV. PI. XVI. PL XVII. PI. XVIII. PI. XIX. PI. XX. PI. XXI. PI. XXII. PL XXIII. PL XXIV. PL XXV. Drawing in silverpoint on bluish-toned paper, illustrating the theory of Proportions of the Human Figure; from the Royal Library, Windsor Castle— see text No. 3 1 6 To face Drawing, illustrating the theory of Proportions of the Human Figure; from the Royal Library, Windsor Castle — see text No. 318 ... To face Drawing, illustrating the theory of Proportions in the Human Figure; from the Royal Library, Turin — see text No. 319 To face Two Drawings illustrating the theory of the Proportions of the Human Figure; from the Royal Library Windsor Castle — see text No. 328 To face Two drawings, illustrating the theory of Proportions of the Human Figure, from the Royal Library, Windsor Castle; No. i — see text Nos. 326, 330 — ; No 2. — see text No. 334 To face Sketches, illustrating the theory of the Proportions of the Human Figure; from the Royal Library, Windsor Castle — see text Nos. 331 and 345 To face Page 176 176 176 178 178 Two Drawings, illustrating the theory of the Proportions of the Human Figure; from the Royal Library, Windsor Castle: No. i, see text No. 335; No. 2, see text Nos. 339 and 342 To face 180 Two drawings, illustrating the theory of Proportions in the Human Figure; No. i from MS. A, Institut de France, Paris — see text No. 313 note — ; No. 2 from the Royal Library, Windsor Castle, — see text Nos. 348 and 336 . . .- To face 181 Drawing, illustrating the Proportions of -the Human Figure, from the . Accademia, Venice To face 182 Two Drawings, illustrating the theory of the Proportions of the Human Figure from the Royal Library, Windsor Castle; No. i — see text No. 347 — ; No. 2 — see text No. 351 To face 184 Drawing, illustrating the theory of the Proportions of the Human Figure; from the Royal Library, Windsor Castle — see text No. 349 . . To face 186 Drawing in red chalk, illustrating the theory of the Movements of the Human Figure — see text No. 356 — , and sketch in pen and ink of warriors fighting — see p. 340; — from the Royal Library, Windsor Castle To face 188 Four Drawings, illustrating the theory of the Movements of the Human Figure: Nos. i and 2 from the Royal Library, Windsor Castle — see text Nos. 357 and 358 — ; Nos. 3 and 4 from Manuscript A, Institut de France, Paris — see text Nos. 359 and 369 To face 194 Four Drawings, illustrating the theory of the Movements of the Human Figure: No. i from the Royal Library, Windsor Castle — see text No. 375 — ; No. 2, in red chalk, from MS. II.2, South Kensington Museum, London — see text Nos. 376 and 1395 — ; No. 3, in red chalk, from Manuscript H2, Institut de France, Paris — see text No. 377 — ; No. 4 from the Royal Library, Windsor Castle — see text No. 379 To face 196 Three Drawings, illustrating the theory of the Movements of the Human Figure: No. i from the Royal Library, Windsor Castle — see text No. 387 — ; No. 2 from the Codex Atlanticus, Milan — see text No. 388 — ; No. 3 from the Leicester Manuscript, Holkham Hall — see text No. 386 . . To face 199 Drawing, illustrating the representation of the hair falling down in curls; from the Royal Library, Windsor Castle — see text No. 389 . . To face 200 LIST OF ILLUSTRATIONS IN VOLUME I. XXVII PL XXVI. PI. XXVII. PI. XX VIII. Page PI. XXIX. PI. XXX. PI. XXXI. Drawing of a Bust and minor Sketches; from the Royal Library, Windsor Castle— see text Nos. 486 and 487 To face PL XXXII. PL XXXIII. Study of Female Hands, drawn with the silverpoint on yellowish tinted paper, heightened with white; from the Royal Library, Windsor Castle — see text No. 593 To face 202 Charcoal Drawing of a Female Figure, from the Royal Library, Windsor Castle— see text No. 391 and p. 341 To face Five Drawings, illustrating the Botany for Painters; from the Manuscripts M (i) and G (2 to 5), Institut de France, Paris: No. i — see text Nos. 395 and 396 — ; .No. 2 — see text Nos. 402 and 412 — ; No. 3 — see text No. 413 — ; No. 4— see text No. 414 — ; No. 5 — see text No. 417 To face 214 Five Drawings illustrating the Elements of Landscape Painting; from the Manuscripts M, G, E and I1 in the Institut de France, Paris—No, i (MS. M)— see text No. 420—; No. 2 (MS. G)— see text Nos. 424 and 433 — ; No. 3 (MS. E) see text Nos. 440 and 441 — ; No. 4 (MS. G)— see text No. 451 — ; No. 5 (MS. I1)— see text Nos. 188 and 452 — ; — and two drawings illustrating the theory of the Arrangement of Folds in Draperies: No. 6 from the Ashburnham Manuscript I — see text No. 390 — ; No. 7 from the Royal Library, Windsor Castle — see text No. 391 To face 224 Drawing, in red chalk, representing a Landscape; from the Royal Library, Windsor Castle — see text No. 476 To face 238 244 Four Drawings illustrating the Practice of Painting: No. i from the Codex Atlanticus Milan — see text Nos. 490 and 548 — ; No. 2 from the Ashburnham Manuscript I — see text No. 512; — No. 3 from Manu- script A, Institut de France, Paris — see text No. 526; — No. 4 from the Ashburnham Manuscript I — see text Nos. 573 and 574 . . .To face 263 Drawing of a male Head, illustrating the Practice of Painting; from the Royal Library, Windsor Castle — see text Nos. 137, 575, 577 . To face 290 292 Drawing of two Men on horseback fighting a Dragon; from the Collection of Baron Edmond de Rothschild, Paris; woodcut page 293 Drawing of Male Figures in various groups, from the Louvre Collections (reduced in size); woodcut page 297 PL XXXIV. Representation of a Tempest, drawn with the pen and partly washed with Indian ink, from the Royal library, Windsor Castle — see text Nos. 606 and 608 between pp. 304 305 PL XXXV. Three Drawings, from the Royal Library, Windsor Castle: No. i Sketches referring to the theory of the Proportions of the Human Figure — see text No. 348 — ; Nos. 2 and 3 referring to the representation of the Deluge — see text Nos.^ 608 and 609 To face 306 PL XXXVI. Representation of Natural Phenomena; from the Royal Library, Windsor Castle — see text p. 307, note, and No. 477 . . . To face 308 PL XXXVII. Representation of Natural Phenomena; from the Royal Library, Windsor Castle — see text p. 307, note, and No. 477 . . .To face 310 PL XXXVIII. Three Drawings: No. i Representation of Natural Phenomena, from the Codex Atlanticus, Milan — see text No 610 — ; No. 2 Sketch of a Male Figure from the Ashburnham MS. I — see text No. 579 — ; No. 3 Sketch of Male Figures, from the Royal Library, Windsor Castle — see p. 340 To face 312 XXVIII LIST OF ILLUSTRATIONS IN VOLU.MK I. PI. XXXIX. PI. XL. PI. XLI. PI. XLII. PI. XLIII. PI. XLIV. Charcoal Drawing, representing a Deluge, from the Royal Library, Windsor Castle,— see p. 309, note To face Three Drawings from the Royal Library, Windsor Castle : No. i Repre- sentations of Natural Phenomena, drawn with the pen and washed with Indian ink — see text Nos. 473, 608 — 610 — ; No. 2 Sketches of Male Heads in red chalk, illustrating the practice of Figure Painting — see text No. 573 — ;No. 3 Sketch for a Madonna picture, drawn with the silverpoint on bluish-tinted paper — see text page 343, note To face Five Drawings illustrating the theory of Painting: No. i from the Ash- burnham Manuscript I — see text Nos. 142 and 344 — ; No. 2 from the Codex Atlanticus, Milan — see text No. 200 — ; Nos. 3 and 4 from MS. F, Institut de France, Paris — see text No. 244; — No. 5 from MS. E, Institut de France, Paris — see text Nos. 197 and 1190 . . To face A Female Head, preparatory Drawing in silverpoint, on brown-toned paper for the Angel in the picture "La Vierge aux Rochers"; from the Royal Library, Turin — see p. 344 To face Preparatory Study of Drapery for the same figure, done with the brush and Indian ink on greenish paper, the lights heightened with white; from the Royal Library, Windsor Castle — see pp. 344, 345 note To face Page Bust of a Boy, Study, in red chalk, for the figure of the Infant Christ in the same picture; from the Royal Library, Windsor Castle — see p. 345 note To face The Wall- Painting of the Last Supper, at Milan, woodcut page PI. XLV. Preparatory Sketch for the painting of the Last Supper; from the Royal Library, Windsor Castle — see p. 335 To face PI. XLVI. Preparatory Sketch for the painting of the Last Supper drawn in red chalk; from the Accademia, Venice — see text No. 668 between pp. 336 PI. XLVII. Study for the Head of St. Matthew in the painting of the Last Supper, drawn in red chalk; from the Royal Library, Windsor Castle — see p. 333 • • . . To face PI. XL VIII. Study, in black chalk, for the Head of St. Philip in the same picture; from the Royal Library, Windsor Castle — see p. 333 . . To face PI. XLIX. Study, in charcoal, for St. Peter's right Arm in the same picture; from the Royal Library, Windsor Castle — see p. 333 .... To face PI. L. Study, in red chalk, for the Head of Judas in the same picture; from the Royal Library, Windsor Castle — see p. 333 ..." . . To face Raphael's Sketch after Leonardo's Cartoon of the Battle of Anghiari from the University Galleries, Oxford — see p. 336 foil. .„.'.. on page Study of two Heads of fighting Warriors, for the painting of the Battle of Anghiari, drawn in black chalk; from the Museum at Buda-Pesth — see p. 340 on page Study for a fighting Warrior, for the same painting, drawn in red chalk; from the Museum at Buda-Pesth, — see p. 340 on page PI. LI. Drawing of the Head of a Criminal (the original in red chalk); from the Royal Library, Windsor Castle — see p. 333 .... To face Study of the Head of St. John in the painting of "La Vierge aux Rochers" in the Louvre, Paris — see p. 344, 345, note . on page The picture of "La Vierge aux Rochers" in the Louvre, Paris, woodcut . on page 324 329 333 334 334 336 336 336 336 337 338 339 34° 342 344 LIST OF ILLUSTRATIONS IN VOLUME I. XXIX Page PL LIT. Two Drawings: No. i Group of Figures, in silverpoint on reddish-toned paper, from the Royal Library, Windsor Castle — see Nos. 665, 666 note and 594 note; No. 2, Sketch of Horsemen fighting, Study for the cartoon of the Battle of Anghiari; from the British Museum, London — see p. 336 To face 344 P. LIII. Study for the Cartoon of the Battle of Anghiari; drawing from the Acca- demia, Venice — see p. 336 To face 346 PL LIV. Study for the cartoon of the Battle of Anghiari; drawing from the Acca- demia, Venice — see p. 336 To face 348 PL LV. Study for the Cartoon of the Battle of Anghiari, drawing from the Acca- demia, Venice — see p. 337 To face 350 PL LVI. Study in black chalk for the Cartoon of the battle of Anghiari, in the Royal Library, Windsor Castle — see p. 338 .... between pp. 352 35^ PL LVII. Cesare da Sesto's Copy of part of the Cartoon of the Battle of Anghiari ; charcoal Drawing from the Royal Library, Windsor Castle — see p. 337 To face 352 PL LVIII. Studies for Allegorical Compositions; from the Royal Library, Windsor Castle — see text No. 672, note To face 352 PL LIX. Drawing of an Allegorical Composition; from the Library of Christ Church College, Oxford — see text No. 676 To face 352 PL LX. Four Drawings of Allegorical Representations : No. i from the Library of Christ Church College, Oxford — see text No. 676 — ; No. 2 — 4 from Manuscript M, Institut de France, Paris — see text Nos. 699 — 701 To face 353 PL LXI. Allegorical Composition, from the Library of Christ Church College, Oxford — see text No. 677 . To face 353 PL LXII. Two Drawings: No. i Portrait of Bernardo di Bandino, when hanged; in the possession of Mons. Thibaudeau, London — see text No. 664 — ; No. 2: Emblems, from the Royal Library, Windsor Castle — see text No. 681 To face 354 PL LXIII. Studies of Emblems; from the Royal Library, Windsor Castle — see text No. 684 To face 356 PL LXIV. Emblematic Representation; from the Royal Library, Windsor Castle- see text No. 688 -. . . . To face 358 The reproductions of drawings are of the exact size of the originals; except that Plates I, XVIII and XLVI are slightly reduced. The colour and tone of the paper have in every case been faithfully imitated, in order to give to the facsimiles a perfect and complete resemblance to the originals, whether drawn in charcoal, red chalk or pen and ink. It is to be understood that all Drawings here reproduced are in pen-and-ink, unless otherwise stated. - ERRATA. Italian text: page 44 /. 27 for luminosi se read luminosi; se.— p. 79 /. 23 for esse read e se.— /. in /. 4 from the end for c . d . e . read C .; d . e .—p. .146 /. 22 for i razrf I.—/. 167 /. g^or recto read resto.— p. 196 /. 4 from the end for li rtadll.— /. 228 /. 10 for il parte razrf parte. — /. 272 /. 20 for baso raza? buso.— /. 291 /. f> for I n'aA- WHICH WILL read WILL.—/. 109 /. T-$for on opposite r^^rf on the opposite.—/. 114 //. 26, 27 for avelets . . . walways read wavelets . . . always.—/. 115 /. 7 from the end for as read at.—/. 145 /. IT. for holer read holes.—/. 163 I. 8 from ffie end for [on] read [20].— /. 164 /. 12 for each read at each.—/. 174 /. g./frr then-ose read tke nose.—/. 182 /. 26 for length read tenth.—/. 188 /. 6 for And to read And do; /. 10 for 2 read and.—/. 200 /. 18 for it to out read it out.—/. 207 /. $ for to with the rarrf to the.— /. 238 /. 23 for as raid? as to.—/. 266 /. i6/^ fla read flat.—/. 306 /. 30^ whirling read whirling.—/. 321 /. 4 front the end for thicker read thicken.—/. 329 /. ifor farther read further. Notes: page 291, No. 583 /. $for left read right.—/. 349 I. i for of the beginning read the beginning of. Prolegomena and General Introduction to the Book on Painting. Clams sigillorum. 1. In the few instances in which Leonardo has written from left to right in the ordinary way this is stated in a note. In all other cases the writing is backwards. 2. The numbers printed above the line in the revised text: 2, 3, 4 &c. indicate the heads of the lines in the original MS. In many instances the breaking off of the lines in the original MS. accounts for peculiarities in the construction of Leonardo's sentences. In the translation the numbers refer only to the footnotes and they have been introduced in such passages, which require an explanation. 3. Clerical errors and obvious mistakes in spelling have been corrected in the text, but are given in the notes, so that all the peculiarities of the original text which are omitted in the revised text may be seen at a glance. 4. Leonardo frequently employs the following abbreviations : — Cf for per or pr ; e. g. CT che = perche ; so QTa = sopra. ft for di. for br; e. g. & eve = breve. for ver; e. g. in ." T T I 'J^~/ '••'.'•' '\1-' . =7 --, 8 - s £9 = 9 PROLEGOMENA. INDEX OF MANUSCRIPTS. MARK OF MA- NUSCRIPT DESCRIPTION OF MANUSCRIPT PLACE TOTAL NUM- BER OF PAGES 1 SIZE IN CENTIME- TRES DATE I. W. An. I. Fragment of first treatise on Ana- Royal Library, tomy. Windsor. IO 18,7X13,2 1489 2. c. Treatise on Light and Shade, bound, Institut de France, marked C. Paris. 56 31X22 1490, 1491 3- B. Bound Volume, marked B. Institut de France, Paris. 1 68 23,5X17 about 1490 4. Ash. II. Volume stitched in wrapper, mar- ked — — , in the Library of Lord Ashburnham Place, Ashburnham. Sussex. 26 24X17 about 1490 5- Ash. I. Fragment of the Libra di Pittura, marked ^-^, in the Library of Ashburnham Place, Lord Ashburnham. Sussex. 68 21X11,5 1492 6. A. Fragment of MS. , treating on va- Institut de France, 7 S. K. M. III. rious matters. Notebook, marked III. Paris. ForsterLibrary,South 126 2IXH 1492 Kensington Museum, London. 176 9X6,7 H93 8. H.3 Notebook, forming the third portion Institut de France, of the bound Volume, marked H. Paris. 94 10,3X7,2 H93, H94 9- H.2 Notebook, forming the second por- Institut de France, tion of the bound Volume, mar- Paris. 92 10,3x7,2 1494 January ked H. 10. H.I Notebook, forming the first portion Institut de France, of the bound Volume, marked H. Paris. 96 10,3x7,2 1494, March 11. S. K. M. II.2 Notebook, forming the second part ForsterLibrary,South of the bound Volume, marked II. Kensington Museum, London. 126 9,9X7,2 1493—1495 12. S. K. M. II. i Notebook, forming the first part of ForsterLibrary,South the bound Volume, marked II. Kensington Museum, London. 190 9,9X7,2 1495 I* 1.2 Notebook, forming the second part Institut de France, '* of the bound Volume, marked I. Paris. 182 10X7,2 1497 14- I.i Notebook, forming the first portion Institut de France, of the bound Volume, marked I. Paris. 96 ioX7,2 1497 ? 15- W. P. Studies on the Proportions of the Royal Library, various Human Figure, loose sheets. Windsor. 19 large sizes 1490—1495 1 6. W. H. Treatise on the Anatomy of the Royal Library, various Horse, loose sheets. Windsor. 80 sizes 1490—1495 17- W. An. II. Second treatise on Anatomy, loose Royal Library, sheets. Windsor. 72 19X13,5 1490 — 1500 PROLEGOMENA. MARK OF MA- NUSCRIPT DESCRIPTION OF MANUSCRIPT PLACE |s £ n SIZE IN CENTIME- TRES. DATE 18. L. Notebook, in original binding, mar- ked L. Institut de France, Paris. 188 10X7 1502 19- W. M. Collection of Maps. Royal Library, Windsor. 12 various large sizes about 1502 2 credere ai nostri antichi, i quali s anno voluto difinire che cosa sia a6nima e uita: cose inprovabili; quando ? queue (cose) che con isperietia • ogni ora si possono 8chi- aramete conosciere e provare, sono 9per tati seculi igniorate • o falsamete creI0dute •! 1'ochio, che cosi chiaramete fa sperie"tia del suo • ofitio, e insino ai mia teI2pi per infmiti autori stato difinito in v moI3do: trovo per isperietia essere vn altro. INTRODUCTION TO PERSPECTIVE: — THAT is OF THE FUNCTION OF THE EYE. Behold here O reader! a thing concer- The function ning which we cannot trust our forefathers, °(2^2j).e the ancients, who tried to define what the Soul and Life are — which are beyond proof, whereas those things, which can at any time be clearly known and proved by experience, remained for many ages unknown or falsely understood. The eye, whose function we so certainly know by experience, has, down to my own time, been defined by an infinite number of authors as one thing; but I find, by experience, that it is quite another [13]. C. A. 337 b; 1026/5] 22. Qui le figure, qui li colori, qui 2tutte le spetie delle parti dell' u3niverso so ridotte in v punto ; 4 e quel punto e di tata mara- 5viglia! 6O mirabile, o stupeda neciessita tu costri?gni colla tua leggie tutti li effet- 8ti per breuissima 9 via a participare delle lor cauI0se! questi sono li miracoli. . . 1 7 in tanto minimo spatio posl8sa rinasciere e ricopor^si nella sua dilatatione; 20scriui nella tua notomia che proportione 2Ianno infra loro li diamitri di tutte 22le spetie dell' ochio e che distantia 2^a da loro la spera cristallina. Here [in the eye] forms, here colours, here the character of every part of the universe are concentrated to a point; and that point is so marvellous a thing . . . Oh! marvellous, O stupendous Necessity — by thy laws thou dost compel every effect to be the direct result of its cause, by the shortest path. These [indeed] are miracles; . . . In so small a space it can be reproduced and rearranged in its whole expanse. Describe in your anatomy what proportion there is between the diameters of all the images in the eye and the distance from them of the crystalline lens. Ash. I. 13 a] 23. DE' • 10 • OFITI DELL'OCHIO TUTTI APARTENENTI • ALLA • PICTURA. 3 La pictura s'astede • in tutti i • 10 • ofiti dell' ochio • cioe • tenebre • luce ^corpo e colore • figura e sito • remotione • propiquita • moto • e quiete ; s de quali ofiti • sara intessuta- questa mia piccola opera • ricordado 6al pic- tore con che regola e modo debe imitare colla • sua arte tutte ?queste • cose, opera di natura e ornameto del modo. OF THE 10 ATTRIBUTES OF THE EYE, ALL CONCERNED IN PAINTING. Painting is concerned with all the 10 attributes of sight; which are: — Darkness, Light, Solidity and Colour, Form and Position, Distance and Propinquity, Motion and Rest. This little work of mine will be a tissue [of the studies] of these attributes, reminding the painter of the rules and methods by which he should use his art to imitate all the works of Nature which adorn the world. 31. 3. no. 5. chosa s \\\\\\\. 6. chose inprovabili q \\\\\\. 7. quelle che chon . . . agiiiora sipossano. 9. sechuli. 10. locio . chosi . . chosi. 12. altori . . 13. nvnaltra. 32. 2. parte. 6. "o stupeda" . . . chosstri. 8. ti [a participare] per [v]. 9. della lor chau. 10. miracholi. n — 16. 7% Iteruiene 3 a quello • che si vol • vedere la puta del naso; Onde per regola gienerale la natura ^isegnia che la cosa no si vedra mai perfettamete se lo Itervallo che si trova tra 1'ochio s e la cosa vista no sara almeno simile alia gradezza del uiso. OF THE EYE. If the eye is required to look at an object placed too near to it, it cannot judge of it well — as happens to a man who tries to see the tip of his nose. Hence, as a general rule, Nature teaches us that an ob- ject can never be seen perfectly unless the space between it and the eye is equal, at least, to the length of the face. C. A. 339 a; 1033 a] 26. DELL' OCHIO. OF THE EYE. Differences of perception by one eye and by both eyes(26— 29). 2 Quado • i • 2 ochi • conduranno • la pira- mide • visuale • sopra 1'obietto, ^esso • obietto • fia dalli ochi • veduto • e bene • conpreso. H. 3. 85*] ' Le cose vedute da uno medesimo ochio 2 paranno alcuna volta- grade alcuna 3Volta- picole. When both eyes direct the pyramid of sight to an object, that object becomes clearly seen and comprehended by the eyes. Objects seen by one and the same eye appear sometimes large, and sometimes small. 34. 2. p La ... diminuiscic. 3. cresscie. 4. sinpreme. 5. cresscic. 6. minuisscie. chiareza. 7. sinprema. 8. chonos. 9. chose chelli. 10. ecques. n. sto proviano. 12. chome . . . ghatte . . . chome. 13. ghufo essimili li quali. 14. disima . . appi- chola. 15. onellaluminato. 16. possto . . . alluminato. 17. nnesstre. 19. cholori . . . inllochi. 20. [simi] essere . . . osschurita infralloro. 21. ttutti licholori possti. 35. 2. sellochioavedere . chososa . . . preso nolla po . . giudichare chome. 3. acquello . chessi. 4. chella chosa . . . sello . . . chessi . . . trallochio. 5. ella . . . sara il meno . . gradeza. 36. i. de ochio. 2. chondurano. 3. chonpreso. 37. i — 3 R. i. chose ... da i. 3. pichole. 24. 8. The subject of this third proposition we find fully discussed in MS. G. 443. 28—30.] GENERAL INTRODUCTION TO THE BOOK ON PAINTING. 21 Tr. 74] 28. II movimeto • della • cosa • visiua • alia cosa stabile • fa spesse 2 volte • essa • cosa • stabile • parere • trasmvtarsi in nel moto della 3 cosa • movete • e la cosa movete , parere • stabile e ferma. PITTURA. s Le cose di rilievo da presso • viste con u sol' ochio para si- mili 6a vna • perfetta pittura; Se ^ vederai • coll' ochio • • a • b • il puto<;, ?parratti • esso • puto • c • in • d -f 8 e se lo guardi col solo • ochio • g • parra ti 9 k • in • m O ' e la pittura non avra mai 10 in se queste • 2 • varieta. The motion of a spectator who sees an object at rest often makes it seem as though the object at rest had acquired the motion of the moving body, while the moving person appears to be at rest. ON PAINTING. Objects in relief, when seen from a short distance with one eye, look like a perfect picture. If you look with the eye a, b at the spot c, this point c will ' appear to be at d, f, and if you look at it with the eye g, h will appear to be at m. A picture can never contain in itself both aspects. w. An. iv. 153*1 29. Sia il rilieuo / 2veduto da due ochi; 3voledo He cosiderare 1'obbie- stto coll' ochio m destro, 6tenedo chiuso il sinistro • n • 7pobbietto par- ra overo occupera lo spatio a ; e se chiuderai il destro e aprirai il sinistro, 1'obietto occupera 8lo spatio b\ e se aprirai tutti e due li ochi esso obietto no occupera piu a b, ma lo spatio erf; 9 perche la pittura veduta co due ochi no fia 10 dimostratrice di tal relievo, come il rilieuo "veduto co due ochi, e perche la pittuI2ra veduta con u ochio parra di rilievo, I3 come il propio rili- evo, auete le medesime I4qualita di lumi e d'obre? C. 7* (9)] 3 L'ochio • piv terra • e piu riserbera • in se- le similitudini delle cose luminose • che 1'on- brose ; la ragio si e .- che Pochio 2 in se . e somma oscurita • e perche il simile infra '1 simile no diuide, aduque la notte o altre cose oscure non possono essere riser3uate • o conosciute dall' ochio : il lume e interamete contrario • e piv divide ed e piu detrimeto e varieta alia cosueta scurita 4dell' ochio- onde di tudine. se lascia inpressa la sua simili- Let the object in relief t be. seen by both eyes; if you will look at the object with the right eye m, keeping the left eye n shut, the object will appear, or fill up the space, at a; and if you shut the right eye and open the left, the object (will occupy the) space b; and if you open both eyes, the object will no longer appear at a or If, but at e, r, f. Why will not a picture seen by both eyes produce the effect of relief, as [real] relief does when seen by both eyes; and why should a picture seen with one eye give the same effect of relief as real relief would under the same conditions of light and shade? The eye will hold and retain in itself The ComPa- the image of a luminous body better than ^hTimage f that of a shaded object. The reason is that depends on • • • i r r t 1 1 1 • tne amount the eye is in itself perfectly dark and since of light two things that are alike cannot be distin- (3°~~39'- guished, therefore the night, and other dark objects cannot be seen or recognised by the eye. Light is totally contrary and gives more distinctness, and counteracts and differs from the usual darkness of the eye, hence it leaves the impression of its image. 28. i. chosa . . chosa. 2. inel. 3. ella . . . efferma. 5. chose . . chonusolocio. 8. essella . . chol . . . paratti. 9. ella . . . ara. 29. 3. alii quali ochi vole. 4. te cosiderare. 5. "m"desstro. 7. ochupera losspatio a esse . . . desstro . . . sinisstro 1'obietto \\\\\\\\\\. 8. \\\\ spatio besse apirai . . . due ochi lobietto esso obietto no ochupera . . . ma malo. n. pittu[ra]. 12. porra. 30. i. temera . . similitudine . . . chellochio. 2. essonTa osschurita . . . "aduque" . . . chose osschure po[ste]sono "es- sere" riser. 3. ochonosciuti "dallochio" ilume e intera . mete chontrario . . . divide epi detrimeto . . allala. 4. lasscia. 29. In the sketch, m is the left eye and n the right, while the text reverses this lettering. We must therefore suppose that the face in which the eyes m and n are placed is opposite to the spectator. 22 GENERAL INTRODUCTION TO THE BOOK ON PAINTING. [31—35- H». 38*) Tutte • le cose vedute parrano 2 ma- giori • di mezza notte, che • di 3 mezzo • d) • e maggiori di mattina che *di mezzo di. s Questo • accade • perche • la pupilla 6dell' ochio • e minore • assai di mezzo 7 dl • che di nessuno • altro tenpo. H.« 40,1] 32- IQuella popilla che sara maggiore, ve- dera 2 le cose di maggiore • figura.U 3questo si dimostra nel uedere de' corpi lu*minosi e massime • de' celesti; quado 5 1'ochio escie delle tenebre e subito risgu- 6arda-essi corpi • li parirrano 1 maggiori e poi diminuiscono ; e se 8riguarderai essi corpi per un picciolo ^buso, li uederai mi- nori • perche miI0nore • parte d'essa (pupilla) s'adopera a tale ofitio. H.» 43*] 33- Quell' ochio che uscendo dalle tenebre 2vedera subito vn corpo luminoso, 3 li parra assai maggiore nel primo is4guardo • che nel perseuerare il uederlo. sll luminoso • corpo parra • maggiore 6e piv • luminoso -con due- occhi • che 7con u solo. 8Quel luminoso • si dimostrera • di minor 9 corpo • che per minore spiraculo I0daU' ochio fia veduto. "Quel corpo • luminoso • di lunga figura I2si dimo- strera • di piv • rotodo • corpo ^ che piv • di- stante- dall' ochio- situate I4fia. Every object we see will appear larger at midnight than at midday, and larger in the morning than at midday. This happens because the pupil of the eye is much smaller at midday than at any other time. The pupil which is largest will see ob- jects the largest. This is evident when we look at luminous bodies, and particularly at those in the sky. When the eye comes out of darkness and suddenly looks up at these bodies, they at first appear larger and then diminish; and if you were to look at those bodies through a small opening, you would see them smaller still, because a smaller part of the pupil would exercise its function. When the eye, coming out of darkness suddenly sees a luminous body, it will appear much larger at first sight than after long looking at it. The illuminated object will look larger and more brilliant, when seen with two eyes than with only one. A lumi- nous object will appear smaller in size, when the eye sees it through a smaller opening. A luminous body of an oval form will appear rounder in proportion as it is farther from the eye. Ash. I. 12 a] 34- Perche 1'ochio , visto la luce , il loco di Why when the eye has just seen the light, mezzano 2lume li pare tenebroso, e simil- does the half light look dark to it, and in mete ^vscito dalle tenebre, il loco di mez- the same way if it turns from the darkness zana luce, -»gli pare chiarissimo? the half light look very bright? L. 41 6\ 35- DE PICTURA. 2 L'ochio che sta • all' aria luminosa e vede il loco 6bro>so, esso sito si dimostrera di molta ma^ggiore oscurita che non e. ON PAINTING. If the eye, when [out of doors] in the lu- minous atmosphere, sees a place in shadow, this will look very much darker than it really 5 Questo • accade sol perche 1'ochio che sta is. This happens only because the eye when 6all' aria, diminuisce tanto piv la sua pu- out in the air contracts the pupil in propor- 31. i. tucte . le chose. 2. meza. 3. mezo . . magiori. 4. mezo. 5. acchade . mezo. 33. i — 10 R. i. "popilla" [chio] chessara magiore. 2. chose "di" magiore. 3. quessto . . dimosstra. 4. emassime . cellessti quado lo. 5. escie . . . essubitorissgu. 6. chorpi . li parirano [mino]. 7. magiori . ditninuisschano esse. 8. chorpi. to. dessa sadopera attale. 33. i. vsscicdo delle tenebr. 2. chorpo . para . . magiore. 5. chorpog. 6. chon. 7. chon. 8. dimosstcrra. 9. "corpo" [forma] . . . spirachulo. n. chorpo. 12. dimossterra . . . retodo chorpo. 34. i. ilocho . mezano. 3. ilocho . . mezana. 35. 2. chcssta . . . "luminosa" . . . locho. 3. dimossterra. 4. gore osscurita. 5. Quessto achade . . . chessta. 6. diminuisscie. 32. 9. buso in the Lomb. dialect is the same as buco. 35. 14. La luce entrerh. Luce occurs here in the sense of pupil of the eye as in no 51: C. A. 84 b; 245 a; l — 5; and in many other places. 36. 370 GENERAL INTRODUCTION TO THE BOOK ON PAINTING. 7pilla, quanto 1'aria, che in se si spechia, e pi8u luminosa • E quanto essa popilla pi9u diminuisce, manco la cosa da lei veI0duta si dimostra luminosa. UMa quando "I'ochio entrera in alcuno loco onbroso, I2subito la oscurita di tale onbroso parra ^diminuire.H Questo accade, perche quarto la luce entrera in aria piu tenebrosa, 15piu cresce suafigura, il quale accrescimel6to fa . che la grande oscurita pare dimi^nuirsi. S. K. M. II.i ia] 36. DE PROSPETTIVA. 2L'ochio, che si parte dal bianco allu- minato dal 3 sole e va in loco di minor luce, ogni cosa li pa4rra tenebrosa; E questo ac- cade, perche 1'ochio sche sta a esso biaco alluminato o si viene a ristri6gniere le sue popille I modo che se erano prima 7vna quatita visiua esse macano piv che '1 3/4 8di sua quatita e macado di 9 quatita esse ma- cano di poteiia, benche tu mi 10potresti dire • uno piccolo vccello vederebbe alPa"venate molto poco e per le piccole sue popille I2il biaco li parebbe nero; a questa parte ti risp6T3derei, che qui s'attende alia propor- tione della so^ma di quella parte del cier- vello, dedicata alia vir'stu visiua, e no ad altra cosa; o per tornare • questa l6nostra popilla cresce e diminvisce secodo la I7chiarita o scurita del suo obietto- e perche co quall8che tepo fa esso cresciere e discre- sciere esso J9no vede cosi presto vsciedo dal lume e andado all' oscu20ro, e similmete dallo scuro al luminoso e questa 2Icosa gia m'iganno nel dipigniere vn ochio e di li 1'imparai. tion as the atmosphere reflected in it is more luminous. And the more the pupil contracts, the less luminous do the objects appear that it sees. But as soon as the eye enters into a shady place the darkness of the shadow suddenly seems to diminish. This occurs be- cause the greater the darkness into which the pupil goes the more its size increases, and this increase makes the darkness seem less. ON PERSPECTIVE. The eye which turns from a white object in the light of the sun and goes into a less fully lighted place will see everything as dark. And this happens either because the pupils of the eyes which have rested on this brilliantly lighted white object have contracted so much that, given at first a certain extent of surface, they will have lost more than 3/4 of their size; and, lacking in size, they are also deficient in [seeing] power. Though you might say to me: A little bird (then) coming down would see comparatively little, and from the smallness of his pupils the white might seem black! To this I should reply that here we must have regard to the proportion of the mass of that portion of the brain which is given up to the sense of sight and to nothing else. Or — to return — this pupil in Man dilates and contracts according to the brightness or darkness of (surrounding) objects; and since it takes some time to dilate and contract, it cannot see immediately on going out of the light and into the shade, nor, in the same way, out of the shade into the light, and this very thing has already deceived me in painting an eye, and from that I learnt it. 1 1. 19*] 37. Sperieza dell' a2crescimeto e di^mi- nvitione della * popilla pel moto s del sole o d'altro 6 luminoso. 7Quato il cielo sara piu oscuro, tanto le stelle 8si dimostrera di maggiore figura, e se tu 9allumini il mezzo, . Experiment [showing] the dilatation and contraction of the pupil, from the motion of the sun and other luminaries. In pro- portion as the sky is darker the stars appear of larger size, and if you were to light up 7. in sisspechia he pi. 8. Ecquanto. 9. diminuisscie mancho . . . dallei. 10. dimosstra . . . cquando. n. enterra in alchuno locho. 12. osscurita. 13. Quessto acade. 14. enterra. 15. cressce . . . accresscime. 16. chella . . . osscurita. 36. 2. chessi . . biano. 2. iloco. 4. re tenebroso Ecquesto acade. 5. allumina o si. 6. poille imodo lelerano. 7. machano. 8. [tava parte] di sua . . . machado. 9. beche. 10. dire . i picholo vciello vederebe. n. pichole. 12. parebe . . acquesta. 16. cresscie e diminvisscie. 17. osscurita . . coquel. 18. chettepo . . cressciere e discressciere. 19. vsciedo alume andado elloscu. 20. ecquesta. 21. mlgano . . dililaparai. 37. 2. cresscimeto. 4. popila. 7. Qua il . ... ossuro. 8. dimostera . magiore . . essettu. 9, mezo dimostera. 10. ecquesta. GENERAL INTRODUCTION TO THE BOOK ON PAINTING. [38. 39- esse stelle si dimostrera I0minori, e questa tale mutatione sol' "nascic dalla popilla, la quale crescie e dis- o -» creI-iscie mediante la chiarezza del mezzo che /" j si ' J truova infra 1'ochio • *"' e'l corpo luminoso; ^sia fatta la sperienza con vna cadela po'Ssta sopra la testa in nel medesimo tenpo che tu l6risguardi tale stella, di poi vieni abbassando '7detta cadela a poco a poco, insino che ella l8sia uicina alia linia che uiene dalla stella 19all' ochio, e allora uederai diminuire tato 20la stella che quasi la perderai di uista. the medium these stars would look smaller; and this difference arises solely from the pupil which dilates and _ contracts with the a- mount of light in the medium which is inter- posed between the eye N and the luminous body. Let the experiment be made, by placing a candle above your head at the same time that you look at a star; then gradually lower the candle till it is on a level with the ray that comes from the star to the eye, and then you will see the star diminish so much that you will almost lose sight of it. I.I 20 a] ULa popilla del2 1'ochio • stante all' aria in ogni 3grado di moto fatto dal sole muta 4gradi-di magnitudine.H 5e in ogni grado- di magnitudine 6una medesima cosa veduta si dimostre7ra di diuerse grandezze, benche spesse vo!8te il paragone delle cose circunstanti 9 no lascino disciernere tali mvtationi d'uI0na sola cosa che si risguarda. The pupil of the eye, in the open air, changes in size with every degree of motion from the sun; and at every degree of its changes one and the same object seen by it will appear of a different size; although most frequently the relative scale of surrounding objects does not allow us to detect these vari- ations in any single object we may look at. C. A. 2Ooa; 594 a] 39' La luce operado nel vedere le cose couerse • alquato le spetie di quelle ritiene. Questa • conclusio 2si pruova per li effetti, perche la vista jn vedere luce • alquato (ne) tiene. Ancora dopo lo sguardo ^rimagono nel' ochio • similitudini della cosa intesa • e fanno parere tenebroso il logo di minor 4 luce- per insino che dalP ochio sia sparito il uestigio della ipresio della maggior luce. The eye — which sees all objects reversed — retains the images for some time. This conclusion is proved by the results; because, the eye having gazed at light retains some impression of it. After looking (at it) there remain in the eye images of intense brightness, that make any less brilliant spot seem dark until the eye has lost the last trace of the impression of the stronger light. ii. nasscie . . . cresscie. 12. ciareza mezo chessi. 13. infrallochio . fatto. 15. sta . . . inel . . chettu. 17. apocho apoco . . . chella. 20. uissta. 38. 3. fatta. 5. enogni . . . magnitudine [laco]. 6. dimoster. 8. circhunstanti. 9. lasscino . . . mvtationi. 10. chessirissguarda. 39. i. chose chouerse . . quele . . . chunclusio. 2. Anchora . lossguardo. 3. rimagano . . similitudine . . chosa . . effano . . ilogo. 4. insinode . . . spartito . . dela . . . dela magior. 37. No reference is made in the text to the letters on the accompanying diagram. Linear Perspective. We see clearly from the concluding sentence of 'section 49, where the author directly addresses the painter, that he must certainly have intended to include the elements of mathematics in his Book on the art of Painting. They are therefore here placed at the beginning. In section 50 the theory of the "Pyramid of Sight" is distinctly and expressly put forward as the fundamental principle of linear perspective , and sections 52 to 57 treat of it fully. This theory of sight can scarcely be traced to any author of antiquity. Such passages as occur in Euclid* for instance, may, it is true, have proved suggestive to the painters of the Renaissance, but it would be rash to say any thing decisive on this point. Leon Battista Alberti treats of the "Pyramid of Sight" at some length in his first Book of Painting2; but his explanation differs widely from Leonardo's in the details. Leonardo, like Alberti, may have borrowed the broad lines of his theory from some views commonly accepted among painters at the time; but he certainly worked out its application in a perfectly original manner. The axioms as to the perception of the pyramid of rays are followed by explana- tions of its origin, and proofs of its universal application (58 — 69). The author recurs to the subject with endless variations; it is evidently of fundamental importance in his artistic theory and practice. It is unnecessary to discuss how far this theory has any scientific value at the present day; so muck as this, at any rate, seems certain: that from the artisfs point of view it may still claim to be of immense practical utility. According to Leonardo , on one hand, the laws of perspective are an inalienable condition of the existence of objects in space; on the other hand, by a natural law, the * Si imaginibus procedentibus passio visiva gignitur et si ab omni corpora continuae imagines profluunt quae nostros sensus commovent, qua de causa fit'ut quaerens acum, itidemque librum accurate legens omnes literas non perspicit. Ed. L. PACIOLI, Venetiis, 1509. 2 Questi razzi extrinsici, cosi circuendo la superfitie che 1'uno tocchi 1'altro, chiudono tutta la superficie quasi come vetrici ad una gabbia, e fanno, quanto si dice, quella piramide visiva, &c. Ed. JANITSCHEK, Vienna 1877, p. 61 seq. VOL. I. D 26 THE THEORY OF THE ART OF PAINTING. eye, whatever it sees and wherever it turns, is subjected to the perception of the pyramid of rays in the fonn of a minute target. Thus it sees objects in perspective independently of the will of the spectator, since the eye receives the images by means of the pyramid of rays "just as a magnet attracts iron". In connection with this we have the function of the eye explained by the Camera obscura, and this is all the more interesting and important because no writer previous to Leonardo had treated of this subject (70 — 73). Subsequent passages, of no less special interest, betray his knowledge of refraction and of the inversion of the image in the camera and in the eye (74 — 82). From the principle of the transmission of the image to the eye and to the camera obscura he deduces the means of producing an artificial construction of the pyramid of rays or — which is the same thing — of the image. The fundamental axioms as to the angle of sight and the vanishing point are thus presented in a manner which is as com- plete as it is simple and intelligible (86 — 89). Leonardo distinguishes between simple and complex perspective (90, 91). The last sections treat of the apparent size of objects at various distances and of the way to estimate it (92 — 109). Ash. I. 22 6} 40. PICTURA. ON PAINTING. 2 La prospettiva • e briglia • ottima della Perspective is the best guide to the art General , •., P T. • ~- remarks on 3plttura. Of Painting. perspective (40—41). A. 38 6} 41. 1 La prospettiva • e di tale • natura • ch'ella fa • parere • il piano • rilievo e '1 rilievo piano. The art of perspective is of such a nature as to make what is flat appear in relief and what is in relief flat. C. A. I3oa; 398 a] 42. Tutti i casi della prospectiua sono intesi 2mediante i cinque termini de' matematici cioe • punto 3 linia • angolo • superfitie e corpo, de quali il punto e solo 4 in sua gieneratione • e questo puto non a altezza ne larghezza o luSghezza o profondita, onde si conclude essere indiuisibile e non auere 6loco: linia- e di 3 nature, cioe retta curva e flessuosa e quella • non a larghezza ne altezza, o profodi7ta, onde e indiuisibile, saluo che per la sua lughezza i sua termi8ni so 2 puti; Angolo e il termine di 2 linie nel puto. All the problems of perspective are made The eie- i i ..i f c 1.1. i- • mentsofper- clear by the five terms of mathematicians, spective:- which are:— the point, the line, the angle, the superficies and the solid. The point is unique of its kind. And the point has neither height, breadth, length, nor depth, whence it is to be regarded as indivisible and as having no dimensions in space. The line is of three kinds, straight, curved and sinuous and it has neither breadth, height, nor depth. Hence it is indivisible, excepting in its length, and its ends are two points. The angle is the junction of two lines in a point. Tr. 68] Puto non e parte di linia. 43- A point is not part of a line. 40. 2. ottimo [ne]della. — 41. i. prosspettiva . . chela. 42. i. tucti. 3. ancolo . . he chorpo . . . essolo. 4. altezza nellargeza ollu. 5. geza. 6. locho . . i "edi 3 nature cioe retta gurva e flessuosa" e quella che nona largeza ne alteza. 7. onde hessi indiuisibile . . . lugeza. 40. Compare 53, 2. 28 THE THEORY OF THE ART OF PAINTING. 144—47- Ash. III. 27*) 44. DEL PUTO NATURALE. 2I1 minore puto naturale e maggiore di OF THE NATURAL POINT. The smallest natural point is larger than tutti ^i punti matematici, e que^sto si pruova all mathematical points, and this is proved perche il punto naturale e quan5tita con- because the natural point has continuity, and tinua, e ogni cotinuo e diuisibile in in6finito, any thing that is continuous is infinitely di- e il punto matematico e indivisibile, 7 perche visible; but the mathematical point is indi- non e quatita. visible because it has no size. Br. M. 131 1\ 45- 1 1 . La superfi tie e termine del corpo. 2 2. e '1 termine d'un corpo • non e • parte d'esso corpo, ^4. e '1 termine • d'un corpo- e principio d'un altro 43- quello e niete- che non e parte d'alcuna cosa. s Quello e niete che niete occupa. i, The superficies is a limitation of the body. 2, and the limitation of a body is no part of that body. 4, and the limitation of one body is that which begins another. 3, that which is not part of any body is nothing. Nothing is that which fills no space. 6Se un solo • punto posto nel circulo puo essere principio d'infinite linie, ?e'l ter- mine d'infinite linie • da tal punto separate sono • infiniti punti, 8i quali • ridotti insieme ritornano • in uno • qui seguita che la parte sia 9equale-al tutto. Br. M. 132 a] 4 E'l punto • per essere • indiuisibile • niente occupa. 2Tutte le cose che niete • occupano • niente • sono. 'E '1 termine d'una • cosa • e principio d'un altra. 4 2. e Quel si dice • esser niente • che non e parte d'alcuna cosa s i . quel che non a termine non a figura- alcuna; 6i termini di 2 corpi insieme con- giunti sono scanbie ? volmente • superfitie • 1'uno • dell' altro. 8 Tutti i termini delle cose no sono parte alcuna d'esse • cose. W. L. 145. Ct\ DIFINITIO DELL' ESSER DELLA LINIA. *La linia non a in se materia o sustatia or the jine alcuna ma si puo nomi^nare piu presto cosa che sustatia, e per essere lei If one single point placed in a circle may be the starting point of an infinite number of lines, and the termination of an infinite number of lines, there must be an infinite number of points separable from this point, and these when reunited become one again; whence it follows that the part may be equal to the whole. The point, being indivisible, occupies no space. That which occupies no space is nothing. The limiting surface of one thing is the beginning of another. 2. That which is no part of any body is called nothing. i. That which has no limitations, has no form. The limitations of two conterminous bodies are interchangeably the surface of each. All the surfaces of a body are not parts of that body. 47. (47—48). «cosi coditionata, essa non occupa loco, DEFINITION OF THE NATURE OF THE LINE. The line has in itself neither matter nor substance and may rather be called an imaginary idea than a real object; and this being its nature it occupies no space. There- 44. 2. magiore. 3. punti natural! matematematici ecques. 5. chontinua . . divisibile ini. 6. matematicho he. 45. i. he termine. 5. ochupa. 6. se i solo. po. 8. equali . . . innuno . . . chclla. 46. i. puncto . . ochupa. 2. tucte le chose . . ochupano. 3. chosa. 5. cquel . . . alchuna. 6. [il]i ter. 7. altro "come lacqua collaria". 8. tutti e. 47. 2. nana . . . ossustatia alchuun massi. 3. chosa . . . susstatia. 4. chosi choditionata . . ochupa locho . . interseghationi. 44. This definition was inserted by Leonardo on a GIORGIO; opposite a passage where the author MS. copy on parchment of the well-known " Traltato says : '/« prima he da sapere che pvnto e quella parte d* Architettura civile e militare" &c. by FRANCESCO DI delta quale he nulla— Linia he luncheza senzaapeza; &c. 48 -so.] LINEAR PERSPECTIVE. aduque le intersegationi sd'infinite linie si fore an infinite number of lines may be puo immaginare esser fatte in puto, il quale conceived of as intersecting each other at *e sanza mezzo e per grossezza (se grossezza a point, which has no dimensions and is si puo nominare) equate alia grossezza d'una sola linia. COME COCLUDIAMO NOI LA SU2PERFITIE RIDURSI IN PUNTO? 10 La superfitie angulare si riducie in punto quando ella TIsi termina nel suo angolo, o se saranno i lati di tale angolo I2prodotti in continue diretto, allora dopo tale angolo si J3 giene- rera vn' altra superfitie minore o equale o maggiore I4 della prima. only of the thickness (if thickness it may be called) of one single line. HOW WE MAY CONCLUDE THAT A SUPER- FICIES TERMINATES IN A POINT? An angular surface is reduced to a point where it terminates in an angle. Or, if the sides of that angle are produced in a straight line, then — beyond that angle — an other surface is generated, smaller, or equal to, or larger than the first. Ash. I. 21 a] 48. D£ PICTURA • LINIALE. OF DRAWING OUTLINE. 2Siano con somma • diligieza • cosiderati- i termini > di qualunque • corpo : il modo • del lor serpeg^giare, le quali • serpeggiature • siano • givdicate • separate, se le sue volte • parti- cipano di 4 curvita • arculare o di cocavita • angulare. Consider with the greatest care the form of the outlines of every object, and the character of their undulations. And these undulations must be separately studied, as to whether the curves are composed of arched convexi- ties or angular concavities. G. 37 «] 49- Li termini delli corpi sono la minima 2cosa di tutte le cose provasi essere 3vero quel che si propone, perche il termi^ne della chosa e vna superfitie, la qual non Se parte del corpo uestito di tal superfitie, ne e 6 parte delFaria circudatricie d'esso cor7po ma '1 mezzo interposto infra 1' a8ria e '1 corpo come a suo loco e progvato; Ma li termini laterali d'essi corI0pi e la linia ter- mine della superfitie, "la qual linia e di grossezza invisibile; aduque tu I2pittore no circudare li tua corpi di I3 linie, e mas- sime nelle cose minori I4che '1 naturale, le quali no che possino moI5strare li termini laterali, ma li lor menbri l6per distantia sono invisibili. The boundaries of bodies are the least of The all things. The proposition is proved to be ° 'u true, because the boundary of a thing is a surface, which is not part of the body con- tained within that surface; nor is it part of the air surrounding that body, but is the me- dium interposted between the air and the body, as is proved in its place. But the lateral boundaries of these bodies is the line forming the boundary of the surface, which line is of invisible thickness. Wherefore O painter! do not surround your bodies with lines, and above all when representing objects smaller than na- ture; for not only will their external outlines become indistinct, but their parts will be in- visible from distance. A. 3*1 So- fia pittura • e fondata • sulla • prospettiva : [Drawing is based upon perspective, which is Definition of non e • altro che 2sapere bene figurare • lo nothing else than a thorough knowledge of the Perspective' vfitio • dell' ochio, 4il quale • ofitio • s'estede • function of the eye. And this function simply 5. fatta. mezo . . grosseza . . grosseza. 7. grosseza 9. cocludiano. 10. anghulare. n. angholo osse sara . . . angholo. 12. chontinuo . . angholo. 13. iminore . . magiore. 48. 2. sia chon . . cosiderato . . chorpo . . serpe. 3. serpegiature sia givdichato [seperati] selle. 4. churvita . archulareodi chochavita' 43. i. chorpi so la minimraa. 2. chosa . . chose. 4. chosa . . no. 5. ne parte. 6. circhudatricie . . chor. 7. mezo interpossto infralla. 8. chorpo chome assuo locho. 9. Malli. 10. piella. n. "di grossezza" . . adduque. 12. circhudare . . chorpi. 13. chose. 14. possi mos. 15. "laterali" ma lelor. 16. disstantia sono "invisibili" [inchognito]. 50. i. effondata sula che[lle]. 2. ochio <^ cioe [jn che modo le similitudine]. 3. [delle chose vengano a esso ochio]. 4. 4 il quale 50. I — 5. Compare with this the Proem. No. 21. The paragraphs placed in brackets: lines 1—9, 10—14, THE THEORY OF THE ART OF PAINTING. [SI- solo in pigliare per piramide • le forme e colori sdi tutti li obietti • contra • se • posti : consists in receiving in a pyramid the forms and colours of all the objects placed before per piramide dico, perch£ non e cosa 6si it. I say in a pyramid, because there is no minima • che • no sia • maggiore • che '1 loco, dove si coducono • nell'ochio • esse 7 piramidi : adunque se torrai le linie ali stremi di ciascuno corpo 8e il loro concorso coducierai a vn solo- puto, 6 necie'ssario che dette linie • sieno piramidali.] 10 [prospettiva • non e altro che ragione dimostrativa • la quale s' estede "a conside- rare come • li obietti contraposti • al'ochio madano di loro a "quello per linie pira- midali la loro propria • similitudine; Pira- mide '-Jsono dette quelle linie che si partono da superfitiali • stremi di ciascuno ^ corpo e per distante cocorso si coducono • a un solo puto.] ^[prospettiva- e ragio dimostrativa per la- quale effettualmete I8si coprende come li obietti- madano '^di loro la propia simili- tudine 20per linie piramidali all'occhio.] If 22 prospettiva £ ragione dimostratiua • per la quale • la sperentia coferma 2-5 tutte • le cose madare • all'ochio • per linie piramidali la lor similitudine 24 e quelli corpi d'equale gradezza farano maggiore o minore agolo a la lor piramide secodo la 2Svarieta della distatia che fia da Tuna a 1'altra; 26 linie • piramidali • intedo essere quelle • le quali • si partono da superfitiali 2 7 stremi de corpi • e per distate • concorso • si coducono a un solo puto;TI 28 puto dicono • essere • quello • il quale in nessuna parte si puo diuidere 2?e questo puto e quello il quale stado nell'ochio ricieue I se tutte le pute delle piramidi. C. A. 84 6; 2450] 51- I CHE MODO L'OCCHIO VEDE LE COSE POSTELI DINAZI. 2Pogniamo che quella palla figurata di The percep- sopra sia la palla dell'occhio, e quella parte object so small that it will not be larger than the spot where these pyramids are received into the eye. Therefore, if you extend the lines from the edges of each body as they converge you will bring them to a single point, and necessarily the said lines must form a pyramid.] [Perspective is nothing more than a rational demonstration applied to the consideration of how objects in front of the eye transmit their image to it, by means of a pyramid of lines. The Pyramid is the name I apply to the lines which, starting from the surface and edges of each object, converge from a distance and meet in a single point.] [Perspective is a rational demonstration, by which we may practically and clearly understand how objects transmit their own image, by lines forming a Pyramid (centred) in the eye.] Perspective is a rational demonstration by which experience confirms that every object sends its image to the eye by a pyramid of lines; and bodies of equal size will result in a pyramid of larger or smaller size, according to the difference in their distance, one from the other. By a pyramid of lines I mean those which start from the surface and edges of bodies, and, converging from a distance meet in a single point. A point is said to be that which [having no dimensions] cannot be divided, and this point placed in the eye receives all the points of the cone. IN WHAT WAY THE EYE SEES OBJECTS PLACED IN FRONT OF IT. Supposing that the ball figured above is the ball of the eye and let the small portion iject de-e rninore ^ della palla ch'e diuisa dalla linia of the ball which is cut off by the line s t pends on the direction of the eye. sastede . . . pigliare periramide . . cholori. 5. cosa si [pi], 6. magiore chelocho . . chonduchano. 7. piramide . . tora . . chorpo[e tire]. 8. [ralealcho] e iloro chonchorso choducierai sario. to. quasastede. n. chonsiderare chome . . chontraposti. 12. quelo per "linie" . . . Piramide [e della]. 13. [da 2 linie] sonoquelinie . . . partano . . . ciaschuno. 14. chorpo . . cho- chorsosi coduchano ..at solo. 15. [prospettiva evna ragione dimostrativa per la quale [chon isperi] con uera is pe]. 16. [rien- tia). 17. e[vna] ragio. 18. [chiaro] si choplende chome . . . obietti [chotra posti allochio]. 19. di loro "per linie piramidali . acuuelle" acquello 4 la propia similitudine. 20. similitudine per. 21. [prospettiva e ragione dimostrativa . per la quale . effet- tualmete . c|. 23. chose . . lor [propia]. 24. ecqueli chorpi dequali gradeza . . magiore . . . ominore . . . piramida. 25. dela . . . cheffia. 26. esere . . . partano . . . superfitiali stre. 27. chorpi . . . chonchorso . si choduchano a t solo. 28. dichano . . inessuna parte parte . . po. 29. ecquesto . . . quelo . . . nelochio . . . piramide. Lines 24 and 25 are in the original numbered as iy 26 and 27 as i ; 28 and 29 of 3. 51. 1—14 written from left to right. The diagram stands above the text. i. chose possteli. 2. fighurato . . occhi equelle. 3. sie and 17 — 20, are evidently mere sketches and, as such, were cancelled by the writer; but they serve as a commentary on the final paragraph, lines 22—29. 51. In this problem the eye is conceived of as fixed and immovable; this is plain from line u. Si-] LINEAR PERSPECTIVE. s \ t \ sia la luce, e tutte le cose specchiate sul mezzo della 4superficie di detta luce subito discorrono e. vanno nelle popille, passando per vn cierto umore crystalline che non occupa nella popilla cosa che si dimostri alia luce ; E essa popilla, rice6vute le cose dalla lu- ce, immediatamente • le ri- feriscie e porge allo itelet- to • per la linia T a • b\ E sappi che la popilla no porgie nessuna cosa per- fettamete allo intelletto over seso comune • se non qua8do • le cose a lei date • dalla luce si dirizzano per la linia • a - b - sicome vedi che fa la \\n\a' c- a; 9e beche le linie m • n • f • g • sieno vedute dalla po- pilla, no sono cosiderate • perche no si dirizzano 10col- la linia, a • b • E la pruova si e questa, se questo oc- chio qui di sopra vorra nvmerare le let"tere poste li dinazi coverra che 1'oc- chio giri da lettera a lette- ra : perche no la discierne- I2rebbe, se no le dirizasse per la linia • a • b • siccome fa la linia • c • a : e tutte le cose vedute T3uegono all' occhio per linie pira- midate, e la puta di detta piramide • fa termine J* e fine nel mezzo della po- pilla, come di sopra e figurato. be the pupil and all the objects mirrored on the centre of the face of the eye, by means of the pupil, pass on at once and enter the pupil, passing through the crystalline humour, which does not interfere in the pupil with the things seen by means of the light. And the pupil hav^ ing received the objects, by means of the light, immediately refers them and transmits them to the intellect by the line a b. And you must know that the pupil transmits nothing perfectly to the intellect or common sense excep- ting when the objects pre- sented to it by means of light, reach it by the line a b; as, for instance, by the line b c. For al- though the lines m n and f g may be seen by the pupil they are not perfectly taken in, because they do not coincide with the line a b. And the proof is this: If the eye, shown above, wants to count the letters placed in front, the eye will be obliged to turn from let- ter to letter , because it cannot discern them unless they lie in the line a b; as, for instance, in the line a c. All visible objects reach the eye by the lines of a pyramid, and the point of the pyramid is the apex and centre of it, in the cen- tre of the pu- pil, as figured above. THE THEORY OF THE ART OF PAINTING. [52. A. to*] /» . if ^ Prospettiva • e ragione • dimostratiua • per Experimen. la quale • la sperientia conferma 2 tutte • le theepris7efncefcose>madare * alFocchio • per linie piramidali • f the pyra-ia joro . similitudine ; ud of sight sight (52-55)- ^ linie • piramidali • intedo • esser quelle • le quali • si partono dai superfitiali • stremi *de' corpi • e per distante • cocorso • si conducono • a vno • solo • puto, il quale puto 5in questo caso • mostrerd essere collocate • nell' ochio, vniversale givdice di tutti i corpi; 6punto • dico • esser • quello • il quale non si puo diuidere - in alcuna parte; aduque 1 sendo • questo punto indiuisibile • che collocato nella uista • nessuno 8 corpo • fia veduto • dal' ochio : che no sia maggiore d' esso puto: essedo cosi 9e neciessario • che le linie • che vengono • dal corpo al puto • sieno piramidate, 10e se alcuno volesse provare- la uirtu visiua • no cosistere in esso punto "anzi essere quello puto nero che si uede in mezzo alia popilla, I2a questo si potrebbe rispodere • che vna piccola cosa mai potrebbe diminvire per alcuna ^distantia- come sarebbe un grano di miglio o di panico o altra simile cosa e quel^la cosa • • che fusse maggiore che detto punto, mai potrebbe essere veduta in- teramete lscome appare nella prova di sotto; 16 sia • a • la uirtu - visiua, b • e sia il concorso Perspective is a rational demonstration, confirmed by experience, that all objects transmit their image to the eye by a pyramid of lines. By a pyramid of lines I understand those lines which start from the edges of the surface of bodies, and converging from a distance, meet in a single point; and this point, in the present instance, I will show to be situated in the eye which is the universal judge of all objects. By a point I mean that which cannot be divided into parts; therefore this point, which is situated in the eye, being indivisible, no body is seen by the eye, that is not larger than this point. This being the case it is inevitable that the lines which come from the object to the point must form a pyramid. And if any man seeks to prove that the sense of sight does not reside in this point, but rather in the black spot which is visible in the middle of the pupil, I might reply to him that a small object could never diminish at any distance, as it might be a grain of millet or of oats or of some similar thing, and that object, if it were larger than the said [black] spot would never be seen as a whole; as may be seen in the diagram below. Let a. delle linie che uegono al'occhio I7e. d. siano i grani del miglio dentro a detto • concorso : vedi per ragione questi I8mai per distatia diminvire • e il corpo • m • n • non potersi da quelle intera- mete '^copredere: aduque e neciessa- rio • cofessare 1' oc- chio • avere I se un solo puto 20in- diuisibile, a il quale conferiscono tutte le punte della pira- mide partite 2Idai corpi, come appare qui di sotto "a b - sia - 1'occhio; il cietro suo tega il punto prenominato : se la linia • e -f- a be the seat of sight, b e the lines which reach the eye. Let e d be the grains of millet within these lines. You plainly see that these will never diminish by distance, and that the body mn could not be en- tirely covered by it Therefore you must confess that the eye contains within it- self one single indi- visible point a, to which all the points converge of the py- ramid of lines start- ing from an object, as is shown below. Let a. b. be the eye; in the centre of it is the point 53. i. Prosspectiva . . lassperientia chonferma. 2. chose. 3. partano. 4. chorpi . . chonchorso . si chonduchano. 5. chaso . . mostero . . cholochato. 6. dicho . . quelo . po . alchuna. 7. cholochato . ncla . nessuna [chosa]. 8. [eviden] corpo magiore. 9. (bisogn) e . . chelle . . vegano . . . sieno [mag] piramidate. 10. esse . . volessi . . . esso puno [a questi]. n. (si potrebbe] anzizi . . quelo . . imezo. 12. acquesti . . chos i . . potrebe . . potrebe . alchuna. 13. come sare i grano di miglo o di pa- nicho . . chosa ecque. 14. cheffussi magiore . . . potrebe . . essere deduto apare nela. 16. conchorso . . vegano. 17. chon- chorso. 18. chorpo . . dacquelle. 19. copledere . chofessare . i solo. 20. chomferiscano . . . delle. 21. apare . . socto 53- 54-] LINEAR PERSPECTIVE. 33 a etrare 23 per similitudine per si piccolo • foro dell' occhio • bisogna • cofessare che la cosa mi^nore no puo entrare nella minore se quella no diminviscie e diminvendosi 25couiene' che cangi la piramide. above mentioned. If the line ef is to enter as an image into so small an opening in the eye, you must confess that the smaller object cannot enter into what is smaller than itself unless it is diminished, and by diminishing it must take the form of a pyramid. C. 27 1 (3«)1 53- PROSPETTIVA. H 2 prospettiva • agivgnie doue • maca il givditio . nelle cose che diminviscono ; Tf3l'o- chio • no potra • mai essere • vero judice a determinare co verita quanto • vna quatita 4 (sia) vicina • a vn altra simile, la quale altra sia • colla • sua • sommita • al pari dell' ochio s riguardatore • d'esse parti, se no per mezzo • della pariete maestra e guida • della prospettiva.H 6 sia n • 1'ochio, e •/• sia • la sopra • detta pariete • a • b • c • d • sieno le 3 parti 1'una sotto ^ 1'altra : se la linia • a • n • e c • n • sono lughe a vno modo • e 1'ochio • n • si troua in mezzo, tato para 8 a • b • quanto • b - c • c • d e piv bassa e piv lontana da • n : aduque para • minore, 9e questo medesimo appare nelle • 3 • partitioni del uolto • quado 1'ochio del ritraete pittore I0e di pari • altezza- all'ochio • del ritratto. PERSPECTIVE. Perspective comes in where judgment fails [as to the distance] in objects which diminish. The eye can never be a true judge for deter- mining with exactitude how near one object is to another which is equal to it [in size], if the top of that other is on the level of the eye which sees them on that side, ex- cepting by means of the vertical plane which is the standard and guide of perspective. Let n be the eye, e f the vertical plane above mentioned. Let a b c d be the three divi- sions, one below the other; if the lines a n and c n are of a given length and the eye « is in the centre, then a b will look as large as b c. c d is lower and farther off from n, therefore it will look smaller. And the same effect will appear in the three divisions of a face when the eye of the painter who is drawing it is on a level with the eye of the person he is painting. C. A. 201 a; 597 a] 54' PRUOVA • COME LE COSE VEGONO ALL' OCHIO. To PROVE HOW OBJECTS REACH THE EYE. 2 Guardado • il sole o altra • cosa lumi- If you look at the sun or some other nosa • e serrado poi 1'ochio • la rivedrai luminous body and then shut your eyes you similemete detro all'ochio 3 per lugo spatio will see it again inside your eye for a long di tepo; questo • e segnio • che le spetie time. This is evidence that images enter etrano detro. into the eye. 22. lochia . . sella. 23. picholo . . delochio biso[che]gia chofessare chella chosa. 24. nopo . . nella mino . . no. 25. cho- viene . . achagiala. 53. i. macha . . chose che diminviscano. 2. "a terminare co verita [a chonossciere] quanto. 3. sotto vicina . . . "simile" . . chola. rigiardatore . . mezo . . dela. 7. he c . n . luge . . iraezo. 9. apare . . partitione. 10. alteza. 54. i. vegano. 2. esserado . . lochi. 3. essegnio. VOL. I. E 34 THE THEORY OF THE ART OF PAINTING. [55- A. 36*] 55- DELLA • PROSPETTIVA. 2 Tutte • le cose • madano • all'ochio • la lor similitudine • per piramidi • le quali • quato • sarano • ta3gliate piu vicine all'ochio • tato • ELEMENTS OF PERSPECTIVE. All objects transmit their image to the eye in pyramids, and the nearer to the eye these pyramids are intersected the smaller a minore • si dimostrera • la similitudine • della • sua cagione ; 4 aduque taglierai • la piramide colla pariete che tochi la base • d'essa pira- mide come s si dimostra nella pariete a • n. will the image appear of the objects which cause them. Therefore, you may intersect the pyramid with a vertical plane [4] which reaches the base of the pyramid as is shown in the plane a n. 6L'ochio-/- e 1'ochio •/•sono-vna-mede- sima- cosa: ma 1'ochio •/• denota • la distatia, 7 cioe • quanto • tu stai • lontano • a vedere • la cosa • e 1'ochio • /• ti dimostra • la dirittura • cioe 8se tu sei nel mezzo o da lato: o da cato • della • cosa che tu • riguardi ; e ricordoti che se9pre 1'ochio •/• e 1' ochio • / • sieno • situati • a vna • medesima • altezza • 1' uno che Paltro, 10verbi gratia • se abasserai • o alzerai • 1'ochio • della distatia •/ • che tu facci quel medesimo "dell' ochio • della • dirittura • /• e se il puto f • mostra quato • 1'ochio e dis- costo al quaI2dro e no mostra a qual parte • The eye f and the eye t are one and the same thing; but the eye /marks the distance, that is to say how far you are standing from the object; and the eye / shows you the direction of it; that is whether you are opposite, or on one side, or at an angle to the object you are look- ing at. And remember that the eye / and the eye / must always be kept on the same level. For example if you raise or lower the eye from the distance point/you must do the same with the direction point /. And if the point / shows how far the eye is distant from the square plane but does not show on which 55. i. prosspettiva. 2. chose . . piramide. 3. gliate visine all ... dimoste . . dela 1 . . chagione. 4. chola .-. labassa . . chome. 5. nela. 6. ellochio . . chosa . . lochio . t. 7. chos •. 8. settu senel mezo od.ilalato . . chato . . chosa chettu . . richordoti. 9. ellochio . . : Iteza. 10. dela . . chettuffacci. n. t . [Eflassi] esse . . dischosto. 12. eli . . chosi. 13. chol. 14. * . quadro 55. The two diagrams above the chapter are explained by the first five lines. They have, how- ever, more letters than are referred to in the text, a circumstance we frequently find occasion to remark. 4. Pariete. Compare the definitions in 85, 2 — 5, 6 — 27. These lines refer exclusively to the third diagram. For the better understanding of this it should be observed that c s must be regarded as representing the section or profile of a square plane, placed horizontally (comp. lines II, 14, 17) for which the word pianura is subsequently employed (20, 22). Lines 6 — 13 contain certain preliminary observations to guide the reader in understanding the diagram; the last three seem to have been added as a supplement. Leonardo's mistake in writing / denota (line 6) for f denota has been rectified. 56.] LINEAR PERSPECTIVE. 35 egli e per riscotro : E cosi se '1 puto • / • mostra il riscotro, e no mostra J3la distatia; aduque per sapere 1'uno e 1'altro farai • 1'uno • coll'altro e .fieno vna medesima cosa • I4se 1'ochio • f • vedera un quadro • perfetto • il quale • in ciascuna • delle • sue faccie • sia • simile xs allo spatio • che e • tra • s • c, e al pricipio • di quella • faccia • ch'e diuerso • esso • ochio, si stal6bilisca • una aste • o altra cosa • diritta come appare in • r • s • la quale • sia • ferma • per li^nia • perpediculare • dico • che se riguarderai • la facia • del quadro ch'e uerso • di te ella battel8ra • al nascimeto • della pariete • r • s : e se riguarderai la se- conda faccia opposita ^paratti • che s'alzi • all' altezza • della pariete - • in nel puto • n : aduque per questa • dimostratio20ne - tu puoi copredere • che se 1'ochio • fia piv alto • che infinite cose poste sopra- una pianvra 2Il'una- dopo • Paltra • quato • piv • s'alontana • piv • s'al- zano • insino a riscontro • dell' altezza 22 dell' ochio • e no piv : inperoche le cose • poste sopra • la pianvra dove • posi i piedi, 23 se sara piana, se detta • pianvra • fusse • infinita : mai • pas- sano • piv su, che 1'ochio • perche Po24chio a • in se • quello • puto • al quale • si dirizano e cogivngono • tutte • le piramidi che por- 2stano le spetie deli obietti all' ochio; E questo • puto • senpre • si diriza • col puto • della dimi26nvtione • il quale • appare nel fine delle • cose vedute : e dalla basa della prima piramide 2 7 insino al puto della • diminvtione. A- 37"! side it is placed — and, if in the same way, the point t show s the direction and not the distance, in order to ascertain both you must use both points and they will be one and Thereiations the same thing. If the eye f could see a standpoints perfect square of which all the sides were.to,.the v?n; r . ishing point equal to the distance between s and c, (55—56). and if at the nearest end of the side towards the eye a pole were placed, or some other straight object, set up by a perpendicular line as shown at r s — then, I say, that if you were to look at the side of the square that is nearest to you it will appear at the bottom of the vertical plane r s, and then look at the farther side and it would appear to you at the height of the point n on the vertical plane. Thus, by this example, you can understand that if the eye is above a number of objects all placed on the same level, one beyond another, the more remote they are the higher they will seem, up to the level of the eye, but no higher; because objects placed upon the level on which your feet stand, so long as it is flat — even if it be extended into infinity — would never be seen above the eye; since the eye has in itself the point towards which all the cones tend and converge which convey the images of the objects to the eye. And this point al- ways coincides with the point of diminution which is the extreme of all we can see. And from the base line of the first pyramid as far as the diminishing point no • si • trova • se no base sanza piramidi le quali sepre diminviscono insino a esso puto ; E dalla prima • basa • dou'e situata • la pariete 2 inverso il puto • deH' ochio • no sara- se no piramide sanza base • come appare • there are only bases without pyramids which constantly diminish up to this point. And from the first base where the vertical plane is placed towards the point in the eye there will be only pyramids without bases; . . . il quale ciascuna. 15. alo . . che . tra . . quela. 16. bilischa . 5 . asste . . chosa dirita apare. 17. perpedichulare dicho . . del qroche diuerso te ella. 18. nasscimeto . . esse . . sechonda. 19. chessalzi . alalalteza . inel. 20. poi ch5predere . chessellochio . . chose . . sopra . I . pianvra. 21. laltra[se] . arisschStro delalteza. 22. dellochio [e lechose] e no piv . . chose. 23. sessara piana[su] detta . . chellochio. 24. quelo . . chogivngano . . . piramide. 25. Ecquesto . chol. 26. nvitione . . . apare . . dele chose . . e dala basa dela . . pirami"de". 7 diminvitione q. 56. i. A n5 si . . . base [dele]"sanza" piramide j "le quali sepre diminvischano insino a eso p5to" E dalla. 2. delochio [no si] 56. For the easier understanding of the diagram and of its connection with the preceding I may here remark that the square plane shown above in profile by the line c s is here indicated by c d o p. According to lines I, 3 a b must be imagined as a plane of glass placed perpendicularly at o p. THE THEORY OF THE ART OF TAINTING. [57- nello 3esenplo • della • figura • di sopra cioe • sia • a - b • la prenominata • pariete • r • sia il puto *delle piramidi terminati nell'ochio: n - sia il pQto della • diminvtione • il quale sriguar- da • senpre • il punto visiuo per linia retta • e senpre • si mvta • co quello come mv6tando la uerga • si mvta la sua obra e camina • non altremeti con seco che camina ? 1'onbra • col corpo • e ciascuno puto e capo di pira- midi le quali 8si fanno • comvne basa della inframessa • pariete • e bech' essi sieno • equali di basa ^sono difformi d'angolo inperoche'l punto • della • diminvtione • e capo di mi- nore angolo I0che quello • dell' ochio • Se tu mi dicessi • co che sperieza • mi dimostrerai • tu questi puti, "io ti diro che in quato • al puto della diminvtione che camina • co teco • che riguardi quaI2do camini lugo le possessioni • arate • co diritti solchi i quali capitino ^coi loro stremi alia strada dode camini • vederai che sepre ciascuno paro di solchi I4ti parra che si voglino a appressare e cogivgnere ai lor fini. as shown in the example given above. Now, let a b be the said vertical plane and r the point of the pyramid terminating in the eye, and n the point of diminution which is always in a straight line opposite the eye and always moves as the eye moves — just as when a rod is moved its shadow moves, and moves with it, precisely as the shadow moves with a body. And each point is the apex of a pyramid, all having a common base with the intervening vertical plane. But although their bases are equal their angles are not equal, because the diminishing point is the termination of a smaller angle than that of the eye. If you ask me: "By what practical experience can you show me these points?" I reply — so far as concerns the diminishing point which moves with you — when you walk by a ploughed field look at the straight furrows which come down with their ends to the path where you are walking, and you will see that each pair of furrows will look as though they tried to get nearer and meet at the [farther] end. A. 37-5] 57- Inquato al puto • che viene all' ochio • HOW to mea- si con^prende con piv • facilita inpero2che se aUmidthofPvir-~ riguarderai nell' ochio • a uno, vi vederai • sion. ja tua similitudine • onde se imaginerai 32 linie partirsi dai tua orechi • concorrere • alii orechi della similitudine che vedi di te •» nell' altrui ochio • chiaro • conoscerai quelle linie ristrignersi in modo tale che poco sdopo la tua imagine spechiata in detto ochio seguitando si tocherebono in v puto. 6E se volessi misurare il diminuire della piramide per 1'aria • che si truova • infra la • cosa veduta • e 1'ochio 7 farai • in questa • forma • di sotto figurata • diciamo • che m-n- sia una torre, E che 8^-_/"-sia una uerga, la quale tu tiri tanto innazi • e indirieto che i sua • stremi 9 SJ scontrino • colli • stremi • della torre • di poi 1'appressa • all' ochio • in As regards the point in the eye; it is made more intelligible by this: If you look into the eye of another person you will see your own image. Now imagine 2 lines star- ting from your ears and going to the ears of that image which you see in the other man's eye; you will understand that these lines con- verge in such a way that they would meet in a point a little way beyond your own image mirrored in the eye. And if you want to measure the diminution of the pyramid in the air which occupies the space between the object seen and the eye, you must do it according to the diagram figured below. Let m n be a tower, and ef a rod, which you must move backwards and forwards till its ends correspond with those of the tower [9]; then bring it nearer to the eye, at c d and you no . . no [ba] piramide . . chome apare. 3. dela. 4. dele piramide . . . terminate nelochio . . della diminvitione . . quale(sia). 5. retta essenpre . . cho quelo chome. 6. chamina . . chonsecho che chamina chonsecho che chamina. 7. chol chorpo e chiasscuno puto(e ma] e chapo . . [el] lequali [ano]. 8. [cho] si . . chomvne bechele. 9. difforme . . dela diminvitione . e chapo. 10. checquello . . Settumi diciesi . cho . . dimosterai. n. dela diminvitione . . chamina chotecho. 12. chamini . possessione . cho . . quali [sieno diritta] 13. ala . . chamini . . 14. para apressare . chogivgniere . . fini | j. 57. i. C Inquato . . al . . choplende chon. 2. chesse . . nelochio. 3. chochorere . ali . dela. 4. nelaltrui . . chonosscierai . . risstrigniersi Tmodo . . pocho. 5. seguitato. 6. Esse . . misurare | "il diminuire dela piramide" per laria . chessi . . chosa. In the original Manuscript the words above the line are clearly marked as forming part of the text. In Mont. Ravaisson's Trantcript however they are mistaken for a heading of the paragraph. 7. imquesta . . sia i torre Ecche. 8. sia ! verga . . 57. 9. / sua stremi . . della torre (its ends ... of the tower) this is the case at e f. 58-6o.] LINEAR PERSPECTIVE. 37 c-d-Q vedeI0rai la similitudine della torre apparire minore come vedi in • r - o • poi 1'appressa "all' ochio, e vederai la uerga avazare fori della similitudine • della torre will see that the image of the tower seems smaller, as at r o. Then [again] bring it closer to the eye and you will see the rod project far beyond the image of the tower I2da-#-£-et da t-b-e poi conoscerai che poco piv oltre ^le linie cocorrono al puto. from a to b and from / to b, and so you will discern that, a little farther within, the lines must converge in a point. A. 27 a] 58. PROSPETTIVA. PERSPECTIVE. 2Subito • che 1'aria • fia • alluminata- s'em- The instant the atmosphere is illuminated xheProduc- piera • d'infinite spetie, le qua^li son cav- it will be filled with an infinite number ofti?nof P.y.ra- sate da vari • corpi e colori, che infra essa images which are produced by the various "'(ts^fc)1.011 - - . . * -. sono collocati, Idelle • quali • spetie • 1'ochio si fa • bersaglio • e calamita. bodies and colours assembled in it. And the eye is the target, a loadstone, of these images. W. 232 d\ 59- 1 tutta la superfitie de' corpi oppachi a tutto il simvlacro in tutta 1'aria 2 allu- minata che lo circunda per qualunche aspetto. t The whole surface of opaque bodies dis- plays its whole image in all the illuminated atmosphere which surrounds them on all sides. C. A. 136,?; 60. Che Paria • attragga • a se • come cala- mita tutte • le similitudini 2delle • cose • che la • circudano no che le forme de' corpi, ma ancora le nature chiaramete • si vede • nel sole • il quale • e corpo • caldo e luminoso ; - tutta • 1'aria • che li e per obietto • tutta • per tutto • s'incorpora • di lume • e di calore e tutta 4 ricieve I se la forma • della cagione del calore e spledore e in ogni minima parte • fa il simile; 5la tramotana dimostra per la calamita • fare • questo • medesimo : e la luna • e altri pianeti 6saza diminvtione di se fa il simile; ifra le cose terrestri e fatto il si- mile dal moscato ?e altri odori. That the atmosphere attracts to itself, like a loadstone, all the images of the objects that exist in it, and not their forms merely but their nature may be clearly seen by the sun, which is a hot and luminous body. All the atmosphere, which is the all-pervading matter, absorbs light and heat, and reflects in itself the image of the source of that heat and splendour and, in each minutest portion, does the same. The Northpole does the same as the loadstone shows; and the moon and the other planets, without suffering any diminu- tion, do the same. Among terrestrial things musk does the same and other perfumes. tuttiri . schontrino cholli . . lapressa alochio. 10. dela tore aparire [piv] . . pola. n. alochio . . deln. 12. chon 13. chocorano. 58. 2. chellaria . . senpiera. 3. chavsati . . chorpi e chonori . . esa . . chollocati. 4. berzaglio e chalamita. 59. i. chorpi oppachi "actutto il simvlacro" in tucta. 2. chello circhunda . . asspecto. 60. lossciere poche. . i. chorpi oppachi "actutto il simvlacro" in tucta. 2. chello circhunda . . asspecto. . i. Che [ciasschuno chorpo . m] laria . siatraga . asse . chome chalamita . . similitudine. 2. chose chella . circhudano , "ne che le forme de corpi ma ancora le nature" chiaramete . . . chorp . caldo. 3. tuttutta . . sinchorpora . . chalore . . ettutta. 4. chagione . . chalore einoni. 5. chalamita . . elluna. 6. diminvitione . . tereste effatto . . moscado. THE THEORY OF THE ART OF PAINTING. . 62. Ash. I. 22fi\ Tutti • i corpi • insieme • e ciascuno • per se empie la circustate • aria • d' Ifinite 2 sua • similitudini • le quali son tutte per tutto e tutte nella parte • portado co Io3ro la qualita • del corpo • colore • e figura • della • loro • cagione. 61. All bodies together, and each by itself, give off to the surrounding air an infinite number of images which are all -pervading and each complete, each conveying the na- ture, colour and form of the body which produces it. 4 Che i corpi • siano per similitudine • tutti per tutta la circustate aria • e tutti nella parte per corpo figura 5e colore chiaramete si dimostra per le spetie di molti vari corpi, che si producono 6a un solo • puto per- forate, doue con Itersegate linie portano per piramidi cotrarie 7le cose sotto sopra alia prima oscura pariete; 8la ragione di questo si e — It can clearly be shown that all bodies are, by their images, all-pervading in the sur- rounding atmosphere, and each complete in it- self as to substance form and colour; this is seen by the images of the various bodies which are reproduced in one single perforation through which they transmit the objects by lines which intersect and cause reversed pyramids, from the objects, so that they are upside down on the dark plane where they are first reflected. The reason of this is — W. L. 146*] 62. Ogni puto e capo d'Ifinite linie le quali, givgniedo a fare basa 2subito detta basa per le medesime linie tornano alia piramide 3 si per colore come per fazione. 4 imme- diate che la forma e creata o coposta, su- bito sdi se gienera Ifiniti agoli e linie, le quali linie 6 ispargiedosi con Itersegazione per 1'aria, ne resultano Ifiniti 7 agoli, oppo- siti 1'uno all' akro, co ciascuno degli opposti angoli, 8dato li basa, ritrara triagolo, e portera I se forma e proporzione 9 simile all' angolo magiore, e se la basa etra 2 volte I ciascheduna I0delle 2 linie piramidali, quel medesimo fara piccolo triagolo. Every point is the termination of an in- finite number of lines, which diverge to form a base, and immediately, from the base the same lines converge to a pyramid [imaging] both the colour and form. No sooner is a form created or compounded than suddenly infinite lines and angles are produced from it; and these lines, distributing themselves and intersecting each other in the air, give rise to an infinite number of angles opposite to each other. Given a base, each opposite angle, will form a triangle having a form and proportion equal to the larger angle; and if the base goes twice into each of the 2 lines of the pyramid the smaller triangle will do the same. 61. i. ciaschuno . . . enpie . . circhustate. 2. similitudine . . pertutta ettutte nela . . colo. 3. la ("essentia"] qualita . . etfigura chagione. Between lines 3 and 4 stands the diagram given on Plate II, No. i. 4. "per similitudine" . . ettutti nela. 5. ciara- mete . . chorpi chessi producano. 6. a I solo . . con . . piramide. 7. prime oscure pariete. 62. chapo . . afiare . piramida. 3. cholore chome. Here follow, in the original MS., ten lines bearing on geometry. 4. ("subito") imediate . . chopossto. 5. agholi ellinie . . quallinie. 6. isspargiedosi chon Iterseghazione . . risulta. 7. agholi . . cocias- schuno . . oposti angli. 8. rinara triagholo. 9. alangholo . . basetra . . ciasscheduna. 10. lini . . piccholo triagholo. 6z. The diagram intended to illustrate the state- ment (PL II No. i) occurs in the original between lines 3 and 4. The three circles must be understood to represent three luminous bodies which, transmit their images through perforations in a wall into a dark chamber, according to a law which is more fully explained in 75—81. So far as concerns the present passage the diagram is only intended to explain that the images of the three bodies may be made to coalesce at any given spot. In the circles are written: giallo— yellow, biacho — white, rosso — red. The text breaks off at line 8. The paragraph No. 40 follows here in the original MS. ^ ,r Heliog-. Dujardin. 63. 64.] LINEAR PERSPECTIVE. 39 Ash. I. 27 II a] Ogni corpo • obroso • empie • la circustate • aria 2 d'infinite sue • similitudini • le quali da infinite pira3midi infuse per essa rappresen- tano esso corpo 4 tutto per tutto • e tutto • in ogni parte. 6 Ogni pi- ramide coposta da lu?go concorso • di razzi cotiene 8 detro a se • infinite • pira- midi 9e ciascuna • a pote- tia per tutte e tutte I0per ciascuna; "I'equidistate • circuito di piramiI2dal co- corso dark al suo obietto equable qualita • d' agoli ; e d'equale gradeza I4fia ricievuto la cosa dall'ob- bietto. ISI1 corpo • dell' aria • e pieno • d'infinite • piramidi • conposte da ra- diose e rette linie • le quali 16 si cavsano dai superfitiali • stre- mi • de' corpi • ombrosi • posti • in essa (aria) • e quato piv s'alota- J7nano dalla • loro • cagione • piv si fano acute: e benche il loro co- corso sia intersegato e inl8tessuto, no dimeno no si cofondono 1'una con 1'altra e co disgregate con- corso si vano aplifi^cado e infon- dedo per tutta la circustante aria • e sono infra loro • d'equale potetia e tutte I0 quato ciascuna • e cia- scuna • quato tutte • e per esse • la similitudine del corpo e portata 21 tutta -per tutto • e tutta nella • parte e ciascuna piramide • per se ricieve in ogni 22 minima • sua parte tutta • la forma della sua cagione. Every body in* light and shade fills the sur- rounding air with infinite images of itself;' and these, by infinite pyramids diffused in the air, represent this body throughout space and on every side. Each pyramid that is composed of a long assemblage of rays includes within itself an infinite number of pyramids and each has the same power as all, and all as each. A circle of equidistant py- ramids of vision will give to their object angles of equal size; and an eye at each point will see the ob- ject of the same size. The body of the atmosphere is full of infinite pyramids composed of radiating straight lines, which are produced from the surface of the bodies in light and shade, existing in the air; and the farther they are from the ob- ject which produces them the more acute they become and although in their distribution they intersect and cross they never mingle toge- ther, but pass throug'h all the sur- rounding air, independently con- verging, spreading, and diffused. And they are all of equal power [and value]; all equal to each, and each equal to all. By these the images of objects are transmitted through all space and in every direction, and each pyramid, in itself, includes, in each minutest part, the whole form of the body causing it. C. A. 100^; 64. II corpo dell'aria e pieno d'ifinite pira- midi radiose 2 cavsate dalla cosa posta • in essa, le quali intersegate 3 e intessute sanza occupatione • 1'una dell' altra co disgre4gante concorso s'infondono per tutta la circQSstate aria, e sono d'equale potetia e tutte pos- The body of the atmosphere is full of infinite radiating pyramids produced by the objects existing in it. These intersect and cross each other with independent convergence without interfering with each other and pass through all the surrounding atmosphere; and 63. i. chorpo . . circhustate. 2. dinfine . . similitudine. 3. midi . . essa [aria] rapretano . . chorpo. 4. ettutto. 5. [Ogni radiosa piramide di lugo]. 6. choposta. 7. chonchorso . . chontiene. 8. asse . . pyramide. 9. ettutte. n. lecquidistate . circhuito. 12. chochorso. Lines 1—5 are written on the left side and lines 6—14 on the right side of the diagram. Below it is the rest of the text: 15. chorpo . . piramide chonposte. 16. chavsano . . -chorpi onbrosi poste . . [aria], ecquato. 17. chagione . . achute . . chochorsia. 18. tesuto . . luna per laltra e cho . . chonchorso. 19. circhustante . . essono . . ettutte. 20. ecciascuna. 21. e portata tutto . . ettutta. 22. chagione. 64. I. piramide. 2. chavsate dala . . esa. 3. ochupatione . . cho. 4. chonchorso sinfondano [portado] pertutta [lari]. 5. ettutte 4o THE THEORY OF THE ART OF PAINTING. [65- are of equal force and value — all being equal to each, each to all. And by means sono quato ciascuna, 6e ciascuna • quato tutte : e per esse la similitudine del corpo e porta'ta • tutta . per tutto e tutta I nella parte, of thes^ images of the body are transmitted a. . . . everywhere and on all sides, and each re- e ciascuna per se ricieve 8m ogm minima ceiyes in itsdf eyery minutest portion of the parte tutta la sua cagione. object that produces it. C. A. 1360; 4120] 65- PROSPETTIVA. (65^56)' 2 L'aria • e piena d' Ifinite • similitudini • Proof by ex- delle • cose • le quali Ifra • quella • sono distri- bu'te 3 e tutte ' s* rapresetano • in tutte e tutte in vna • e tutte • jn ciascuna ode accade • che se sarano * 2 - spechi • volti • I modo-che per linia-retta-si guardino • 1'uno • 1'altro-jl primo si spechiera 5nel secondo e '1 secondo nel primo : il primo • che si spechia nel secondo • porta co seco • la similitudine di se co tutte le 6 similitudini • che dentro • vi si rapresetano : Ifra le quali • e la spetie del secondo spechio • e da simi- i litudine • T similitudine se ne vanno • in ifinito • I modo • che ciascuno • spechio a detro in se li 8 spechi • 1'uno • minore • che 1'altro-e dentro • 1'uno all'altro. ^Onde • per questo • esemplo • chiaramete • si pruova • ciascuna • cosa • madare • la similitudine 10 1 tutti quelli • lochi • li quali • possono • vedere • detta • cosa • e cosi de couerso • detta • cosa • essere ca- pace 1Jdi pigliare • in se • tutte • le similitu- dini • delle cose che dinanzi se le rappresen- tano. 12 Aduque • 1'ochio • mada • Ifra 1'aria • la sua • similitudine • a tutti • li obietti che li • sono • opposti e I se 13li ricieve • cioe I sulla • sua • superfVie • dode il seso • comvne • le piglia e le cosidera e quelli ^che pia- ciono le mada • alia memoria. 'sQnde io givdico • che la • virtu • spirituale delle • spetie • delli ochi • si faccino • icotro • all' obietto come 16 le spetie dell' obietto • all' ochio. '7 Che le spetie di tutte • le cose • sieno • seminate • Ifra 1' aria • lo esemplo si veda I molti specchi 18 In circolo e Ifinite volte spechierano 1'uno Paltro • e givto 1'uno nell'altro • risalta di- rieto '9 alia sua cagione e indi diminvedo- risalta vn'altra volta all'obietto e poi ritorna e cosi fa Ifinite 20 volte. 2ISe metti un lume di notte Ifra 2 specchi • piani i quali • abbino • d'intervallo un braccio vedrai I cias- PERSPECTIVE. The air is filled with endless images of the objects distributed in it; and all are re- presented in all, and all in one, and all in each, whence it happens that if two mirrors are placed in such a manner as to face each other exactly, the first will be reflected in the second and the second in the first. The first being reflected in the second takes to it the image of itself with all the images represented in it, among which is the image of the second mirror, and so, image within image, they go on to infinity in such a manner as that each mirror has within it a mirror, each smaller than the last and one inside the other. Thus, by this example, it is clearly proved that every object sends its image to every spot whence the object itself can be seen; and the converse: That the same object may receive in itself all the images of the objects that are in front of it. Hence the eye transmits through the atmosphere its own image to all the objects that are in front of it and receives them into itself, that is to say on its surface, whence they are taken in by the common sense, which considers them and if they are pleasing commits them to the memory. Whence I am of opinion: That the invisible images in the eyes are produced towards the object, as the image of the object to the eye. That the images of the objects must be dissemi- nated through the air. An instance may be seen in several mirrors placed in a circle, which will reflect each other endlessly. When one has reached the other it is returned to the object that produced it, and thence — being diminished — it is returned again to the object and then comes back once more, and this happens endlessly. If you put a light between two flat mirrors with a distance of i braccio between them you will see in each possano quite. 7. to. tutto per tutta ettutti inella. 65. 2. similitudine . . chose . . sono strebuite. 3. ettutte si . . in tutte "ettutte in vna" ettutte jn ciasschuna . . acchade 4. recta . sisghuardino . . spechier \\\. 5. nel. 2° el 2° ne pr. . . nel 2° porta . chosecho cho tutte \\\. 6. quale . . del 2° spe- chio . e cho si \\\. 7. vano . . ciaschuno . . detro Is \\\\. 9. esenplo. io. possano . . chosa e chosi de chouerso. detta chosa . . chapa\\\\. it. similitudine .. chose .. sili. 12. attutti . . : opositi e T s \\\. 13. chomvne . . . chosidera e c \\\\\\ piachno. 15. chella... Ichotro all obietto ch\\\. 17. Chelle . . chose . . . llaria . . . molti spe\\\\\. 18. circholo . . . givta lunel . . . risalta e dirieto. 19. chagione e dili diminvedo . . . alobietto e po ritorna e chosi fa If |||||||1||. 21. Si metti ! lume . . dintervallo i br. . . 66. 6;.] LINEAR PERSPECTIVE. cuno di quelli spec22chi ifiniti lumi-1'uno- minore che 1'altro; 23se di notte metterai vn lume • jfra le parieti d' una camera • tutte le parti d'essa • pariete rimarano tite di ^simi- litudini • d' esso lume • e tutte • quelle che sa- rario viste • dal lume, e '1 lume vedera si- milemete, 25cioe quando ifra loro no fia- alcuna oppositione • che • ropa • il cocorso • delle spetie. z6 Questo medesimo • eseplo • magiormete • appare in nel cocorso de razzi solari, 2?i quali tutti per tutti, e ciascuno per se porta al suo obietto • la similitudine 28 della • cagione ; 29 Che ciascu • corpo • per se • solo empie tutta la cotraposta • aria • delle • sue similitudini : e che • questa • mede- sima • aria fia capace. 3°j quel medesimo • tepo di ricievere -I se • le spetie d'lnfiniti • altri • corpi • che ifra quella fussino, chiara- mente $lsi dimostra-per questi- esepli; E ciascuno • corpo • appare • tutto • per tutta la detta aria • e tutto in ogni minima 32parte di quella ; tutti • per tutta • e tutti in onj minima parte, 33 ciascuno per tutta • e tutti nella parte. of them an infinite number of lights, one smaller than another, to the last. If at night you .put a light between the walls of a room, all the parts of that wall will be tinted with the image of that light. And they will receive the light and the light will fall on them, mutually, that is to say, when there is no ob- stacle to interrupt the transmission of the images. This same example is seen in a greater degree in the distribution of the solar rays which all together, and each by itself, convey to the object the image of the body which causes it. That each body by itself alone fills with its images the atmosphere around it, and that the same air is able, at the same time, to receive the images of the endless other ob- jects which are in it, this is clearly proved by these examples. And every object is every- where visible in the whole of the atmosphere, and the whole in every smallest part of it; and all the objects in the whole, and all in each smallest part; each in all and all in every part. W. L. 145 B.a] Sono le spetie de corpi tutte infuse per 1'aria 2che le vede e tutte in ogni parte di quella; provasi 3sie ace obbietti, le spetie de quali penetrano in loco oscuro 4per li spiraculi n p e s'inpremono nella pariete fi cotraposta a esssi spiracoli; le quali inpressioni sara fatte in tati lochi d'essa parie6te quato sara il numero delli predetti spiracoli. The images of objects are all diffused through the atmosphere which receives them; and all on every side in it. To prove this, let a c e be objects of which the images are admitted to a dark chamber by the small holes n p and thrown upon the plane fi opposite to these holes. As many images will be produced in the chamber on the plane as the number of the said holes. C. A. i76,5; 53i<5] Tutti j corpi • anno • infuse e miste tutte • loro • spetie • e similitudini 2 in tutta la quantita • deli' aria • a • se • contraposta; 3 La spetie di ciascun • punto • delle • cor- poree • superfitie • e in ciascu punto 4dell'aria; s Tutte • le spetie de' corpi • sono • in ciascu All objects project their whole image and General con- likeness, diffused and mingled in the whole of the atmosphere, opposite to themselves. The image of every point of the bodily surface, exists in every part of the at- mosphere. All the images of the objects are ciaschuno di\\\\\\\\\. 22. chelaltro elluno minore chellaltro. 23. se "di notte" . . Ifralle pariete duna tutte le parti d'^esse. 24. ettucte . . . chessarano . . da lume. 25. qua infralloro . . opositione . . chochorso. 26. inel chochorso . . "solari" [del sole]. 27. per tutti [ettu] o ciasciuno . . "li obietti ettala caione in oni minima parte dellobietto". 28. chagione. 29. ciassu. chorpo . . 5pia "tutta" la ch5traposta . . . [spetie] "similitudine" . . fia c\\\\\\\\\\\\. 30- tepo [di] . . chorpi . . . fussino chiar \\\\\\\\\\\. 31. esepli E ciascuno . . apare . . aria ettutto Ionlm\\\\\\\\\\. 33. ettutti. 66. i. lesspetie . . . chorpi [infuse per laria] tutte [infus] fure per laria. 2. chelle vede ettutte. 3. siej« b c] a c e obbietti 1< spetie . . illocho osscuro. 4. spirachuli . . essinprememano . . contrapossta. 5. spiracholi. 6. quato saranno il . . spiracholi. 67. i. chorpi . . infuso Smisto "tutte". . essimilitudine. 2. asse chontrapossta. 3. la spetie di is written onttie margin. La VOL. I. THE THEORY OF THE ART OF PAINTING. [68. puto d'essa aria; 6Tutta e la parte della similitudine • dell'aria • e in ciascuno puto delle ? superfitie • delli • antiposti • corpi; 8 Adunque la parte • e ' 1 tutto delle • spetie • de' corpi • appare • in tutta 9e nella parte • della • su- perfitie • d'essi corpi. IOOnde chiaramente possiamo • dire la similitudine di ciascu • corpo • essere "tutto e in parte in ciascuna • parte • e nel tutto • scanbievolmete IZ delli oppositi • corpi ; Come si uede nelli spechi 1'uno all altro opposti. in every part of the atmosphere. The whole, and each part of the image of the atmo- sphere is [reflected] in each point of the sur- face of the bodies presented to it. Therefore both the part and the whole of the images of the objects exist, both in the whole and in the parts of the surface of these visible bodies. Whence we may evidently say that the image of each object exists, as a whole and in every part, in each part and in the whole inter- changeably in every existing body. As is seen in two mirrors placed opposite to each other. Ash. I. 32*] 68. Ipossibile e che 1'ochio madi fori di se That the per ij razzj visuali • la uirtu • visiua, 2 perche contrary is r impossible, nello suo aprire quella prima parte che desse prmcipio all'uscita, ^e auessi d'andare al- 1'obietto • no lo potrebbe fare saza tepo, essedo cosi no 4 potrebbe caminare in v mese all'altezza del sole, quado 1' ochio lo uolesse 5 vedere • e se la • vi agivgniesse sarebbe ne- ciessario ch'ella 6fusse cotinuata per tutta la uia ch'e dall' ochio al sole, e ch'ella sepre alargasse • in modo che tra '1 sole e 1'ochio coponessino la basa 8e la puta d'una piramide: essedo questo e'no basterebbe se 1'ochio fusse 9 per un milione di modi che tutto no si cosumasse I detta virtu • e se pure queI0sta virtu • avesse a caminare Ifra 1'aria come fa 1'odore, i venti no "la torciereb- It is impossible that the eye should pro- ject from itself, by visual rays, the visual virtue, since, as soon as it opens, that front portion [of the eye] which would give rise to this emanation would have to go forth to the object and this it could not do without time. And this being so, it could not travel so high as the sun in a month's time when the eye wanted to see it. And if it could reach the sun it would necessarily follow that it should perpetually remain in a continuous line from the eye to the sun and should always diverge in such a way as to form between the sun and the eye the base and the apex of a pyramid. This being the case, if the eye consisted of a million worlds, it would not prevent its being consumed in the projection of its vir- tue; and if this virtue would have to travel through the air as perfumes do, the winds Ciasc in . . he in. 5. lesspetie dechorpi. 6. ella ... he in. 7. chorpi. 8. chorpi apare. 9. chorpi appare. 10. dire | ''la similitudine di" ciaschu chorpo. it. ciasscuna. 12. opositi chorpi oppossto. 68. i. chellochio . . razi. 2. dessi prlcipo all usita. 3. auessiandare . ."hollo potrebe. 4. potrebe chaminare . . alteza . . uolessi. 5. essella [vi chaminasse] viagivgniessi sarebe . . chela. 6. [sepre fa] fussi chotinuata . . tuta. 7. lo alargassi imodo . . ello- chio choponessino. 8. ella . . basterebe sellochio fussi, 9. per i milione . . chettutto . . consumassi . . esse pure. 10. avessi . . chome ivento (?). n. porterebbero no . . cho. 12. presteza . . vederemo i distantia. 13. dunobr. . . alchuno . . accidente. 68. The view here refuted by Leonardo was maintained among others by Bramantino, Leonardo's Milanese contemporary. LOMAZZO writes as follows in his Traltato delF Arte della pittura &c. (Milano 1584. Libr. V cp. XXI): Sowiemmi di aver gia let to in certi scritti alcune cose di Bramantino milanese, celtbratissimo pittore, attenente alia prospettiva, le quali ho valuta riferire, e quasi intesseie in questo luogo, ajfinche sappiamo qual fosse Vopinione di cost chiaro e famoso pitlore intorno alia prospett'rva . . Strive Bramantino che la prospeltiva e una fosa che contrafa il mturale, e che do si fa in tre modi Circa il primo modo che si fa con ragione, per essere la cosa in poche parole conclusa da Bramantino in maniera che giudico non potersi dir meglio, contenendovi si tutta Farte del principio al fine, io riferirb per appunto le proprie parole sue (cp. XXII, Prima prospettiva di Bramantino). La prima prospetliva fa le cose di punto, e Valtra non mat, e la terza piu appresso. Adunque la prima si dimanda prospettiva, doe ragione, la quale fa Peffetto deir occhio, facendo crescere e calare secondo gli effetti degli occhi. Questo crescere e calare non procede della cosa propria, che in se per esser lontana, owero vidnat per quello effetto non pub crescere e sminuire, ma procede dagli effetti degli occhi, i quali sono picdoli, e perdb volendo vedere tanto gran cosa, bisogna che mandino fuora la virtu visiva, la quale si dilata in tanta larghezza, che piglia tutto quello che vuol vedere, ed arrivando a quella cosa la vede dove e: e da lei agli occhi per quello circuito fino all'1 occhio, e tutto quello (ermine e pieno di quella cosa. It is worthy of note that Leonardo had made his memorandum refuting this view, at Milan in 1492 69. LINEAR PERSPECTIVE. 43 bono e porterebbero in altro loco; e noi vediamo co quelI2la medesima prestezza il corpo del sole • che noi vediamo una dis- tantia I3 d'uno braccio e no si mvta per so- fiare de'ueti, ne per alcuno altro accidete. would bent it and carry it into another place. But we do [in fact] see the mass of the sun with the same rapidity as [an object] at the distance of a braccio, and the power of sight is not disturbed by the blowing of the winds nor by any other accident. A. 9<5] 69. Si come • la pietra • gittata • nell' acqua • si fa • cietro • e cavsa • di uari circuli, 2 e '1 suono • fatto in nell' aria circularmente si spargie, ^cosi ogni corpo posto • infra 1'aria • luminosa circularmete * spargie • e epie le circustanti • parti • d'infinite sue similitudini • e appare tutto Sper tutto • e tutto in ogni [minima] parte; 6Questo si prova • per • is- perietia imperoche se serrerai una finestra volta a ponete e farai uno buso . . Just as a stone flung into the water A becomes the centre and cause of many circles, and as sound diffuses itself in circles in the air: so any object, placed in the luminous atmosphere, diffuses itself in circles, and fills the surrounding air with infinite images of itself. And is repeated, the whole every-where, and the whole in every smallest part. This can be proved by experiment, since if you shut a window that faces west and make a hole [6] • • C. A. 133 b ; 404 6] 7°' Se la cosa cotra • posta all' ochio • mada a quello di se la similitudine : acora • 1'ochio • mada la sua similitudine 2alla cosa. E della cosa • per le partite • similitudini • no si strema • parte alcuna d'alcuna ragione ne all'occhio ne alia cosa. ^Aduque • possiamo • piv tosto credere • essere • natura e potetia di questa • aria • luminosa * che attrae e piglia • I se • le spetie delle • cose che detro vi sono che natura delle cose • in madare • le spetie • ifra essa aria; 5Se la cosa • cotra • posta • all' ochio madasse a quello di se • la similitudine: quel medesimo • avrebbe • a fare 6 1'ochio • alia cosa, onde • couerebbe che queste • spetie • fussino • virtu • spirituali: -es- sedo • cosi • sarebbe ? neciessario • che cias- cuna cosa • presto • venisse meno , Jperoche ciascuno • corpo • appare per similitudine 8nella cotraposta • aria; cioe tutto il corpo I tutta • 1'aria; e tutto nella parte, tutti i corpi I tutta 1'aria, 9e tutti nella parte, parlado di quel- 1'aria ch'e capace • di ricieuere I se le rette e radiose linie I0 delle spetie • madate dalli If the object in front of the eye sends T^ function * , , of the eye its image to the eye, the eye, on the other as explained hand, sends its image to the object, and ^Vobs^a" no portion whatever of the object is lost (7°- ?0- in the images it throws off, for any reason either in the eye or the object. Therefore we may rather believe it to be the nature and potency of our luminous atmosphere which absorbs the images of the objects existing in it, than the nature of the objects, to send their images through the air. If the object opposite to the eye were to send its image to the eye, the eye would have to do the same to the object, whence it might seem that these images were an emanation. But, if so, it would be necessary [to admit] that every object became rapidly smaller; because each object appears by its images in the surrounding atmosphere. That is: the whole object in the whole atmosphere, and in each part; and all the objects in the whole atmosphere and all of them in each part; speaking of that atmosphere which is able 69. i. Si chome . . nellacqua . . chavsa . . circhuli. 2. el sono. fatto inellaria . . spargie [la sua voce Cosi]. 3. Cosi i [chorpi spargano] ogni ... 4. circhustanti . . similitudine . eapare 5. ettutto in ogni [minima] parte. 6. per . risperietia in pero- chesse sererai * finestra . effarai i buso. 70. i. mada | "aquello" di. 2. se . . cossa "e" per . . alchuna dalchuna rasione nea locho ne. 3. [quel medesimo fa locchio] Aduque posiamo . . natura "e potetia" di. 4. che | "altraee" piglia . . dele cose | "che detro vi sono" che natura . . chose imadere . . Ifra [1] "essa" aria. 5. Sella chosa chotra . . . madassi acquello . . . arebe . affare. 6. choso | onde chonuerebe . . chosi sarebe. 7. ciasschuna chosa . . venisi . . chorpo, 8. [inoni . parte della] "nella" chotraposta . . tutto "il corpo" I 69. Compare LIBRI, Histoire des sciences mathimatiquts en Italie. Tome III, p. 43. 6. Here the text breaks off. 44 THE THEORY OF THE ART OF PAINTING. obietti ; Onde • per questo pare • neciessario • cofessare • essere • natura di questa llaria che • si trova • infra • li obbietti • la qualc • tiri come • calamita in se le similitudini delle 'Ifra quella • poste. cose 1 PRUOVA • COME TUTTE LE COSE POSTE IN UN SITO • SONO TUTTE PER TUTTO ME TUTTE NELLA PARTE.1 , se vna faccia d'uno edifitio • o altra piazza • o capagnia che sia • illuminata dal sole l6avra al suo opposito vn' abitatione, e I quella faccja che no uede il sole sia fatto un piccolo spiracolo ^rotodo: che tutte le allu- minate cose maderano la loro • similitudine • per detto spiraculo e apparirano l8dentro all' abitatione • nella cotraria faccia, la quale vuol essere biaca • e saranno li appunto e sotto sopra; '^e se per molti lochi di detta • faccia faciessi • simili • buchi, simile effetto sa- rebbe • 1 ciascuno; Aduque le spetie 20 delle alluminate-cose-sono • tutte per tutta detta- faccia • e tutte in ogni minima parte di quella 21 la ragio si e: noi sappiamo • chiaro • che quello buco debe redere alquato di lume I detta abitatione, e lume che 22 lui mezzano • rede • e cavsato da vno • o da molti corpi luminosi se detti corpi fieno di vari colori e varie stape • di uari 23 colori e stape sa- ranno i razzi delle spetie e di uari colori e stape fieno • le rappresetationi in nel mvro. to contain in itself the straight and radiating lines of the images projected by the objects. From this it seems necessary to admit that it is in the nature of the atmosphere, which subsists between the objects, and which attracts the images of things to itself like a loadstone, being placed between them. PROVE HOW ALL OBJECTS, PLACED IN ONE POSITION, ARE ALL EVERYWHERE AND ALL IN EACH PART. I say that if the front of a building — or any open piazza or field — which is illuminated by the sun has a dwelling opposite to it, and if, in the front which does not face the sun, you make a small round hole, all the illuminated objects will project their images through that hole and be visible inside the dwelling on the opposite wall which may be made white; and there, in fact, they will be upside down, and if you make similar openings in several places in the same wall you will have the same result from each. Hence the images of the illuminated objects are all everywhere on this wall and all in each minutest part of it. The reason, as we clearly know, is that this hole must admit some light to the said dwelling, and the light admitted by it is derived from one or many luminous bodies. If these bodies are of various colours and shapes the rays forming the images are of various colours and shapes, and so will the representations be on the wall. D. 8 a] 71- COME S'INTERSEGANO LE SPETIE BELLI OBBIETTI 2RICEVUTI DALL OCHIO DENTRO AL OMORE ALBUGINO. HOW THE IMAGES OF OBJECTS RECEIVED BY THS EYE INTERSECT WITHIN THE CRYSTALLINE HUMOUR OF THE EYE. 3 La sperietia che mostra come li ob- An experiment, showing how objects bietti mandino -»le loro spetie over si- transmit their images or pictures, inter- tutta . . ettutto . . tuttutti. 9. ettutti nella pare . . chapace . . "I se" le rette [linie de radira] e radiose. 10. pare [essere] . . . chofessare. n. aria [la qualej "che". si chome chalamita . . similitudine. 12. I fracquella. 13. chome tutti le chose poste nvn sito. 14. ettutte. 15. dicho cbesse . . facia . . piazao chapagnia chessia. 16. ara al suo oposito . . fatto I picholo spira- cholo. 17. retodo . . chose . . siraculo. 18. chotraria . . viol esere biacha e sarano lapunto essotto. 19. esse per . . bus! simile . . sarebe T ciaschuno. 20. chose . . facia ettutte inoniniminima. 21. sapiano . . quello buso. 22. mezano . . chavsata . . da [molti] corpi . . chorpi . . cholori "e varie stape" di uari. 23. cholori ; "e stape" sarano irazi . . cholori ] "e stipe" fieno . le rapresentatione inel mvro [osscuroj. 70. 15 — 23. This section has already been published in the "Saggio dtlle Opere di Leonardo da Vinci" Milan 1872, pp. 13, 14. G. Govi observes upon it, that Leonardo is not to be regarded as the inventor of the Camera obscura, but that he was the first to explain by it the structure of the eye. An account of the Camera obscura first occurs in CESARE CE- SARINI'S Italian version of Vitruvius, pub. 1523, four years after Leonardo's death. Cesarini expressly names Benedettino Don Papnutio as the inventor of the Camera obscura. In his explanation of the function of the eye by a comparison with the Ca- mera obscura Leonardo was the precursor of G. CARDANO, Professor of Medicine 'at Bologna (died 1576) and it appears highly probable that this is, in fact, the very discovery which Leonardo ascribes to himself in section 21 without giving any further details. 72—74-] LINEAR PERSPECTIVE. 45 militudini intersegate dentro all'o5chio nello umore albugino si dimostra quando 6per alcuno piccolo spiraculo rotodo penetrano le 7spetie delli ob- bietti alluminati in abitatione for- 8temente oscura; allora tu rice- verai tale spetie in v?na carta bianca posta dentro a tale a- I0bitatione alquato vicina a esso spiraculo e veixdrai tutti li pre- detti obbietti in essa carta colle lor I2propie figure e colori, ma sara minori e fieno sot^to sopra per causa della detta interse- gatione li quaI4li simulacri se nascierano di loco alluminato dal I5sole para propio dipiti in essa carta, la qual" uole I6essere sottilissima e veduta da riverscio, e lo spiraI7colo detto sia fatto in piastra sotti- lissima di ferro; l8a b c d e sieno li detti obietti alluminati dal sole, o r J9sia la fac- cia della abitatione oscura, nella quale e lo spi20racolo detto in n m, s t sia la detta carta dove si ta2Igliano li razzi delle spetie d'essi obietti sotto sopra perche esse22do li lor razzi diritti , a destro si fa sinistro in k e lo e si23nistro si fa destro in •/"-, e cosi fa dentro alia popilla. seating within the eye in the crystalline humour, is seen when by some small round hole penetrate the images of illu- c* ^ PL minated objects into a very dark chamber. Then, receive these images on a white paper pla- ced within this dark room and 0 rather near to the hole and yo.u will see all the objects on the paper in their proper forms and colours, but much smaller; and they will be upside down by reason of that very inter- section. These images being transmitted from a place illuminated by the sun will seem actually painted on this paper which must be extremely thin and looked at from behind. And let the little perforation be made, in a very thin plate of iron. Let a b c d e be the ob- ject illuminated by the sun and o r the front of the dark chamber in which is the said hole at n m. Let s t be the sheet of paper intercepting the rays of the images of these objects upside down, because the rays being straight, a on the right hand becomes k on the left, and e on the left becomes / on the right; and the same takes place in- side the pupil. C. A. 201 b; 598,}] 72' II lume nel ufitio della prospettiva 2non a alcuna differeza coll'ochio. In the practice of perspective the same The practice rules apply to light and to the eye. £jff%. W. L. 145; D.• n - •/- i •• ,, objects from fetta, ^se 1 ochio nsguardator di quella no _ if the eye that sees it is not equally remote 4sara equalmete distate ai sua stre^mi. from all its edges. Ash. I. 120] Q2. PERCH& • LA COSA • POSTA VICINA • ALL' OCHIO LASCIA I SUA TERMINI IDISCERNIBILI. 3 Tutte quelle • cose opposte all' ochio • che fieno troppo a quello uicine *c6uerra che • sua termini • sieno cofusi a disciernere, come acasde delle cose uicine a lume, che fanno obra grade cofusa, e cosi 6fa quest' ochio col givdicare le cose I fori; I tutti i casi di prospettiva liniale 7 1'ochio e simile WHY WHEN AN OBJECT IS PLACED CLOSE TO THE EYE ITS EDGES ARE INDISTINCT. When an object opposite the eye is brought too close to it, its edges must be- come too confused to be distinguished; as it happens with objects close to a light, which cast a large and indistinct shadow, so is it with an eye- which estimates objects opposite to it; in all cases of linear per- 89. i. presspectiva . . disstantie. 2. piramide. 3. allangholo . . ella. 4. orizote . . sechota. 5. alia . . ellangholo. 6. Malla. 8. antiposste . . cho. 10. isstretto spirachole chettato. n. chose . . spirachol. 12. chose . . dattalo. 13. chosi. 14. ella- gholo . . chome. 15. sa^stende nuparticbu. 16. dimosstra. 17. dellochio ecquesta. 18. presspectiva nasscie. 90. 2. presspectiua ecquello . . effac. 3. ecqualmente disstante. 4. chon. 5. presspectiua chonpossta ecquella chefiacta. 6. quale cho . . ecqual. 7. disstante dell. 91. 2. perfecta. 3. scllochio. 93. t. visina al ochio. 3. chose oposte . . tropo . . . acquello. 4. chouera . . acha. 5. cheffano . . chosi. 6. q estoch dal 93—95-] LINEAR PERSPECTIVE. 57 al lume, e la ragio si e che 1' ochio • fa- una • linia maestra, la qua8le per distatia igrossa e abbraccia co uera cognitione le cose gradi 9da lontano come le piccole da presso: ma perche 1' ochio mada moltitudiI0ne di linie che circudano questa pri- cipale di mezzo, le quali quan- do le cose si JItrovano piv lontane dal cietro in essa cir- culatione sono meno poteti 12 a conosciere • il uero: ac- cade che la cosa posta presso all' ochio, no J3sendo in quella distatia, si uicina alia linia maestra capace di copredere i terI4mini d' essa cosa; onde couiene a essi termini capitare in nelle linie di debole I5co • presione, le quali sono al' ufitio dell' ochio come i brachi alle caccie, l6che leua la preda e no la • posso pigliare: cosi queste no possono pi- gliare • ma sono ^cagione che la linia maestra si uolta alle cose leuate da esse linie, l8bnde le cose, delle quali i termini sono T9givdi- cati da esse linie, so cofuse. spective, the eye acts in the same way as the light. And the reason is that the eye has one leading line (of vision) which dilates with distance and embraces with true discern- ment large objects at a distance as well as small ones that are close. But since the eye sends out a multi- tude of lines which surround this chief central one and since these which are farthest from the centre in this cone of lines are less able to discern with accuracy, it follows that an object brought close to the eye is not at a due distance, but is too near for the central line to be able to dis- cern the outlines of the object. So the edges fall within the lines of weaker discerning power, and these are to the function of the eye like dogs in the chase which can put up the game but cannot take it. Thus these cannot take in the objects, but induce the central line of sight to turn upon them when they have put them up. Hence the objects which are seen with these lines of sight have confused outlines. A. 93- PROSPETTIVA. !La cosa • piccola • da presso • e la grade PERSPECTIVE. Small objects close at hand and large The relative da lontano, essendo • viste dentro • a equali ones at a distance, being seen within equal ^ectsofw? 3 angoli •, apparirano • d'equale • grandezza. angles, will appear of the same size. A. lot] 94. regard to their distance from the eye (93-98)- PROSPETTIVA. 2Nessuno • corpo • fia di tata • magnitudine che per lunga distantia al- 1' ochio non apparisca 3 mi- nore • che '1 minore • obietto piv • vicino. PERSPECTIVE. There is no object so large but that at a great distance from the eye it does not appear smaller than a smaller ob- ject near. C. A. la, i 6] 95- Infra le cose d'equal grandezza quella che 2fia piu distante dalP ochio si dimostrera di minor 3figura. Among objects of equal size that which is most remote from the eye will look the smallest. givdicare . . chasi. 7. 1' ochio essimile . . ella . . fa . * . linia. 8. abracia cho . . chose. 9. chome le pichole. 10. circhu- dano . . meza . . qua le chessi n. dietro . . circhulatione. 12. vero . onde achade chella chosa. 13. uisina la . . copledere. 14. cosa couiene . . inele. 15. coplesione . . chome . . ale chaccie. 16. posono pigliare . . maso. 18. 19. These two lines are written lengthways on the margin. 18. delle. 19. cofusi. 93. 2. chosa pichola . . ella . . dallontano . . aeqali. 3. angholi aparirano . . grandeza. 94. i. prosspettiva. 2. distantia | ' alochio" n5n aparisca. 95. i. Infralle chose . . grandeza . . chef. 2. disstante . . dimossterra. 95. This axiom, sufficiently clear in itself, is in the original illustrated by a very large diagram, constructed like that here reproduced under No. 108. VOL. I. The same idea is repeated in C. A. I a; i a, stated as follows: Infra le cose d'equal grandeza quella si dimostra di minor figura che sara piu dislante dall' ochio. — II THE THEORY OF THE ART OF PAINTING. [96-98. C. A. 143*; 425*] Perche la cosa quanto • piv s' auisina • all'ochio • meno si conosce-, e perche gli ochiali e perche 1'ochio no ben vede da presso 2o da lontano. Why an object is less distinct when brought near to the eye, and why with spectacles, or without the naked eye sees badly either close or far off [as the case may be]. S. K. M. II.1 633) 97- PROSPETTIVA. 2 Infra le cose d' equal grandezza 3qUella che sara piv distante dall'o^chio si di- mostrera di minore sfigura. PERSPECTIVE. Among objects of equal size, that which is most re- mote from the eye will look the smallest. A. ii a] 98. PROSPETTIVA. 2Nessuna • secoda • cosa fia tanto • piv bassa • che la • prima che, stado di sopra • la secoda no li paia piv alta. PROSPETTIVA. sE • quella • cosa • secoda tato • piv • alta • che la prima no fia mai • | che, stado 6 1'ochio • di sotto, no paia • la secoda sotto • la prima. PROSPETTIVA. 8Se 1'ochio riguardera il secodo qua- drato • per lo cietro del minore piv uisino ^apparira li il secodo • maggiore esser circu- dato • dal minore • PROSPECTIVA — PROPOSITIONS. 11 Le cose • seconde- no fieno • mai di tata • gradezza che le prime minori I2no le • occupino • o circudino. PERSPECTIVE. No second object can be so much lower than the first as that the eye will not see it higher than the first, if the eye is above the second. PERSPECTIVE. And this second object will never be so much higher than the first as that the eye, being below them, will not see the second as lower than the first. PERSPECTIVE. If the eye sees a second square through the centre of a smaller one, that is nearer, the second, larger square will appear to be surrounded by the smaller one. PERSPECTIVE — PROPOSITION. Objects that are farther off can never be so large but that those in front, though smaller, will conceal or surround them. 96. i. chosa . . mesi chonosscie. 97. 2. Infralle . . grandeza. 3. chessara. 4. dimossterra. 98. i. pro. 2. sechoda chosa . . chella. 3. sechoda . . paia "di" [sopra la prima] "piv alta". 4. pro. 5. cqella . . chella. 6. sechoda. 7. pro. 8. sechodo . . lo [mezo] "cietro". 9. aparira . . sechodo magiore . . circhudato. 10. pro. it. chose 99-J LINEAR PERSPECTIVE. 59 DEFINITIONE. T4 Questa • propositione si proua • per isperie- tia • inperoche, se riguarderai 'Sper uno • piccolo • spiraculo non sara • si gra cosa l6 che per quello no si vegga *?€ la cosa veduta parra circudata e terminata l8dalli stremi lati • d' esso spiraculo • , e se tu lo stopperai, quello piccolo ^stoppameto fia quello che occupera la ueduta delta cosa grade. DEFINITION. This proposition can be proved by ex- periment. For if you look through a small hole there is nothing so large that it cannot be seen through it and the object so seen appears surrounded and enclosed by the outline of the sides of the hole. And if you stop it up, this small stopping will conceal the view of the largest object. Ash. I. 12 6\ gg. DELLA PROSPETTIVA LINIALE. 2 La prospectiva liniale s'astede • nello ofitio delle linie visuali a provare 3 per mi- sura quanto la cosa secoda e minore che la prima; e quato la terza 4e minore che la seconda, e cosi di grado I grado insino al fine delle cose Syedute: truovo per isperieza che la cosa seconda se sara tato distate dalla • 6 prima • quato la prima • e distate da-1'ochio tuo, che beche Tfra loro 7sieno di pari gradezza •, che la 2a fia altret- tato minore che la prima, e se 8la terza cosa di pari gradezza alia • 2 a e 3 a inanzi a essa fia lontana dalla 2 a 9 quato la 2 a dalla terza •, fia di meta gradezza della 2 a e cosi di grado in graI0do per pari distazia farano sempre diminutione per meta la secoda dalla prima "pure che lo itervallo no passi dentro al numero di 20 braccia e ifra 20 dette braccia la I2figvra simile a te perdera i 2/4 di sua gradezza e ifra 40 • perdera i 9/10 I3e poi i 19/20 I • 60 braccia, e cosi di mano I mano fara sua diminutione, facendo J4la pa- riete lotana da te • 2 • volte • tua gradezza; che'l fare una sola fa gra diffeI5rezia dalle prime braccia alle 2e. OF LINEAR PERSPECTIVE. Linear Perspective deals with the action Th« appa of the lines of sight, in proving by mea- djctt*< surement how much smaller is a second fince^o^a object than the first, and how much the (99—106). third is smaller than the second; and so on by degrees to the end of things visible. I find by experience that if a second object is as far beyond the first as the first is from the eye, although they are of the same size, the second will seem half the size of the first and if the third object is of the same size as the 2nd, and the 3rd is as far beyond the second as the 2nd from the first, it will appear of half the size of the second; and so on by degrees, at equal distances, the next farthest will be half the size of the former object. So long as the space does not exceed the length of 20 braccia. But, beyond 20 brac- cia figures of equal size will lose 2/4 and at 40 braccia they will lose 9/10, and T9/20 at 60 brac- cia, and so on diminishing by degrees. This is if the picture plane is distant from you twice your own height. If it is only as far off as your own height, there will be a great differ- ence between the first braccia and the second. sechode . . gradeza. 12. ochupino . o circhudino. 13. difinitione. 15. pichojo spirachulo . . chosa [chosa di la da esso]. 16. si "vegha" [possa vedere esse stoperai detto spircolo quello]. 17. [stopameto ti ochu] ella . . para. 18. spirachulo . essettu . . stoperai . . picholo. 19. ochupera [tutte] la. gg. 2. nelo. 3. qua la cosa . . ecquato. 4. sechoda ecchosi. 5. chosa sechonda sessara. 7. gradeza chella . esse. 8. gradeza ala. 9. dala . . gradeza . . ecossi. 10. diminvitione . . sechoda. n. 20 br . . dette br . la. 12. atte . i 4^ di . . gradeza. 13. 60 br ecossi . . diminvitione. 14. parieta . . datte . . gradeza . . fare i sola . . dife . 15. 2. gg. This chapter is included in DUFRESNE'S and MANZI'S editions of the Treatise on Painting. H. LUDWIG, in his commentary, calls this chapter "fines der wichtigsten im ganzen Tractat", but at the same time he asserts that its substance has been so completely disfigured in the best M S. copies that we ought not to regard Leonardo as responsible for it. However, in the case of this chapter, the old MS. copies agree with the original as it is reproduced above. From the chapters given later in this edition, which were written at a subsequent date, it would ap- pear that Leonardo corrected himself on these points. 6b THE THEORY OF THE ART OF PAINTING. [100—102. A. 84] 100. DELLA DIMINUTIONS DELLE • COSE PER VARIE DISTATIE. 2 La cosa • 2 a che sia • lontana • clalla prima • quato • la prima • dal- 1'ochio • apparira la me3ta minore che la • prima • benche infra loro • sieno di pari grandezza. DE' GRADI DEL DIMINVIRE. 5 Se ti • porrai • la pariete • vicina • all' ochio • uno braccio la prima • cosa • che fia • lontana dal tuo 6 ochio • 4 • braccia diminvira- j • V4 della sua • altezza in detta • pariete; E se fia lotana Mall' ochio • 8 • braccia, diminvira • j ?/8 • e se fia lon- tona • 1 6 • braccia diminvira • j 'S/,6 di sua 8 altezza-, e cosi • fara-di ma- no • in mano • raddoppiado il passato spatio, raddoppiera 9la diminvitione. OF THE DIMINUTION OF OBJECTS AT VARIOUS DISTANCES. A second object as far distant from the first as the first is from the eye will appear half the size of the first, though they be of the same size really. OF THE DEGREES OF DIMINUTION. If you place the vertical plane at one braccio from the eye, the first object, being at a distance of 4 braccia from your eye will diminish to V4 of its height at that plane; and if it is 8 braccia from the eye, to ?/8 ; and if it is 1 6 brac- cia off, it will diminish to I5/i6 of its height and so on by degrees, as the space doubles the diminution will double. C. A. 4iai 132*] IOI. Comlcia prima dalla linia mf coll' ochio di sotto 2poi alza e colla linia n -f- \ rifa il medesimo | po'fa coll' ochio di sopra e riscotra le 3 2 mire atte attera cicc ] • m • n • \ \ e quato • c • m • ! en- tra • J • ?«-W'tanto- «-/#-etra J --jn-s. 4se | a • n • I en- tra • 3 • volte J f- b • m ' p • \ fara quel medesimo J / • g •, di poi ti tira tato J dirieto che 5 a • n • quanto c - d- entri • 2 • volte jn e tato sara da • p • g da • g • h • e quato d • c entra 6j • o • p •, tanto • m • p • en- Begin from the line m f with the eye below; then go up and do the same with the line nf, then with the eye above and close to the 2 gauges on the ground look at m n; then as cm is to m n so will n m be to n s. If a n goes 3 times into/£, m p will do the same into p g. Then go backwards so far as that c d goes twice into a n and / g will be equal to g h. And m p will go into h p as often as d c into o p. tra j • h- p- Ash. I. 12 b\ lO DO I GRADI DELLE COSE OPPOSTE ALL' OCHIO ZCOME IL MVSICO QUELLI DELLE UOCI OPPOSTE ALL'ORECHIO. 3 Benche • le cose opposte al- Pochio • si tocchino Puna 1'altra di mano I mano, no *di nieno far6 102. I GIVE THE DEGREES OF THE OBJECTS SEEN BY THE EYE AS THE MUSICIAN DOES THE NOTES HEARD BY THE EAR. Although the objects seen by the eye do, in fact, touch each other as they recede, I will nevertheless la mia regola di 20 in 20 braccia found my rule on spaces of 20 100. x. diminvitione . . chose. 2. chosa 2« chessia . aparira. 3. chella . . [che] infralloro . grandeza. 5. Setti porai . . i br la . . chosa cheffia. 6. . 4-hr . . alteza . . Ksseffia. 7. . 8 . br . . esseffia. . . 16 . br. 8. alteza . e chosi . . imano . rado-_ piado . . radopiera. 101. t. chomTcia . oposte al . chol. 2. chola . . fa chol . . risschotra. 102. t. dala. 2. chome il mvsicho delle. 3. oposte . tocino. 4. 20 br . affatto il mvsicho. 5. apichata. 6. quele . . echosi. 7. ale. ioi. The first three lines are unfortunately very obscure. 103—106]. LINEAR PERSPECTIVE. 6l come a fatto il mvsico ifra $\G voci che, benche la sia vnita e appiccata Tsieme, nodi- meno a posti gra6di di uocie in uocie • do- madado quello prima e 2a 3a 4a e 5a e cosi di grado ?! grado a posto nomi alle varieta d'alzare e bassare la voce. braccia each; as a musician does with notes, which , though they can be carried on one into the next, he divides into degrees from note to note calling them ist, 2nd, 3rd, 4th, 5th; and has affixed a name to each degree in raising or lowering the voice. S. K. M. IP. 166] PROSPETTIVA. 103. PERSPECTIVE. P altezza e distantia dell' ochio, 3 a sia la pariete dell' altezza d'un omo *rimoverai da te cento braccia la prima e cento uno braccio 2Ila secoda, tu trover- rai la prima essere 22 maggiore della secoda quato cen23to e minore di ceto uno e questa per co versa; 2*E acora il medesimo si proua per la 4a di questo 25che dicie delle cose equali tal proportione e da gradezza 26a grandezza qua2?le e da distatia 28a distan- tia 29delF ochio che le 3°Vede. nearer to the eye that sees them. And con- versely there will seem to be less difference in their size in proportion as they are remote from the eye. This is proved by the proportions of their distances among themsel- ves; for, if the first of these two objects were as far from the eye, as the 2nd from the first this would be called the second propor- tion: since, if the first is at i braccia from the eye and the 2nd at two braccia, two being twice as much as one, the first object will look twice as large as the second. But if 'you place the first at a hundred braccia from you and the second at a hundred and one, you will find that the first is only so much larger than the second as 100 is less than 10 1 ; and the converse is equally true. And again, the same thing is proved by the 4th of this book which shows that among ob- jects that are equal, there is the same pro- portion in the diminution of the size as in the increase in the distance from the eye of the spectator. E. 107. Pa 1 DELLE COSE EQUALI LA PIU REMOTA PAR MINORE.1I 3 La pratica della prospettiva si diuide OB natural 4 in • • • parti, delle quali la prima figura tut- \ilj- iog)! 5te le cose vedute dall' ochio in qualunche 6 distantia e questa in se mostra tutte esse 7 cose come F ochio le uede diminuite, e non 8e obbligato Fomo a stare piu in un sito 9 che in un'altro, pure che il muro non I0la riscorti la secoda volta. 11 Ma la 2a pratica e vna mistione I2 di pro- spettiva fattainparte dall' arteein par^te dalla natura, e F opera fatta ^colle sua regole non a OF EQUAL OBJECTS THE MOST REMOTE LOOK THE SMALLEST. The practice of perspective may be divided into . . . parts [4], of which the first treats of objects seen by the eye at any distance; and it shows all these objects just as the eye sees them diminished, without obliging a man to stand in one place rather than another so long as the plane does not produce a second foreshortening. But the second practice is a combination of perspective derived partly from art and partly from nature and the work done by its rules is in 6. chelle. 7. chosi .. coverso [si dimo). 8. [stera] si dimosstera infrallorome. n. le pro "ne" che. 12. infralloro . . disstantie . . seffra. 13. disstantia. 15. quessta. 16. pro "ne" perche sella p e disscossta vnbr. 17. ella . . disscossta 2 br. do. 18. il p- 19. mossterra . . Esse . 20. "datte" certo br . . cento i br . 21 . troverrai [lultima] "la prima" essere [mij. 22. [norej ma- giore. 23. ceto i e cquessta p "no" coversa . . 24. 4 di quessto. 25. tal pro "ne". 27. disstatia. 28. addisstantia. 29. chelle. 107. i. chose. 3. praticha . . presspectiva. 4. in ... parte . . p fighura tuc. 5. dele chose. 6. ecquesta . . mosstra. 7. chose chome . diminute e ne. 8. ne obbrighato . . asstare piu nun sito. 9. nol. 10. risscorti . . sechoda. n. Malta 2* prati- cha . . misstione. 12. presspetdva facta dall . . As a marginal note "in parte". 13. natura [e nonam] ellopera. 14. reghole. 107. 4. in ... parte. The space for the number is left blank in the original. io8.] LINEAR PERSPECTIVE. parte alJScuna che no sia mista colla prospet- l6tiva naturale e colla prospettiva ^acciden- tale || colla prospettiva nal8turale intendo essere la pariete piaI9na dove tale prospet- tiva e figura20ta, la qual pariete ancora ch'e2Illa sia di lunghezza e altezza paralella, 22ella e costretta a diminuire le parti ^re- mote piu che le sua parti prime, e que2^sto si prova per la prima di sopra e la sua diminu25tione e naturale; e la prospettiva accide26tale cioe quella ch'e fatta dall'arte fa il cotra27rio in se, perche crescie nella pariete scorta28ta tanto piu li corpi che I lor sono equali, 29quato 1'ochio e piu natu- rale e piu vicino al3°la pariete e quanto la parte d'essa pariete, 3 ' dove si figura e piu remota dall'ochio; 32e questa tal pari- 33 etc sia d e nel- 34 la qual si figv- 35 ra 3 circoli equa- 36li che son dopo 37esso d e, cioe 38li circoli a b c; ora 39 tu vedi che Pochi- 4°o • h • vede sulla 41 pariete retti 42linia li tagli del- 43 le spetie maggio- 44 ri nelle maggiori 45distantie o mi- 46nori nelle vicine. E. I08' Qui seguita quel che manca in margine, 2da piedi dirieto a questa faccia. 3 II che natura nella sua pro- e spectiva 4adopera in contrario con r\ ciosiache nelle Smaggiori distan- tie la cosa veduta • si dimo6stra minore e nella distantia minore 7 la cosa par maggiore; Ma que- sta ta8le inuencione costrignie every portion of it, influenced by natural per- spective and artificial perspective. By natural perspective I mean that the plane on which this perspective is represented is a flat surface, and this plane, although it is parallel both in length and height, is forced to diminish in its remoter parts more than in its nearer ones. And this is proved by the first of what has been said above, and its diminution is natural. But artificial perspective, that is that which is devised by art, does the contrary; for objects equal in size increase on the plane where it is foreshortened in proportion as the eye is more natural and nearer to the plane, and as the part of the plane on which it is figu- red is farther from the eye. And let this plane be d e on which are seen 3 equal circles which are beyond this plane d 5 perche le linie del- 1'ochio, e solari e altre linie luminose, ^6scor- redo per 1'aria couiene a loro osservare retta dirit^tura; se gia no fussino ipedite per 1'aria piv spessa o piv rara ^rimarebbero in alcuna parte torte; ma se 1'aria e net39ta di grossezze o di umidita quelle osserueranno la loro retta 4°natura, senpre portando I dirieto alia lor derivazio^ne la cagione del lor ropimento, e se sara 1'occhio li sa42ra givdicato '1 ronpimeto per colore come per fazione o gradezza; «Ma se la pariete di detto ropimeto avra I se alcuno piccolo foro 4lil quale etri in abitazione oscura no per titura ma per priva45zio di lume: vedrai le linie entrare per detto forame li )6portano nella secoda pariete tutta la forma del lor nascimeto, ^s\ per colore come per fazione; Light acts in the same manner, for in the effects of its lines (=rays), and particularly in perspective, it much resembles the eye; and its central rays are what cast the true shadow. When the object in front of it is too quickly overcome with dim rays it will cast a broad and disproportionate shadow, ill defined; but when the object which is to cast the shadow and cuts off the rays near to the place where the shadow falls, then the shadow is distinct; and the more so in proportion as the light is far off, because at a long distance the central ray is less over- come by false rays; because the lines from the eye and the solar and other luminous rays passing through the atmosphere are obliged to travel in straight lines. Unless they are deflected by a denser or rarer air, when they will be bent at some point, but so long as the air is free from grossness or moisture they will preserve their direct course, always carrying the image of the object that intercepts them back to their point of origin. And if this is the eye, the intercepting object will be seen by its colour, as well as by form and size. But if the intercepting plane has in it some small perforation opening into a darker chamber — not darker in colour, but by absence of light — you will see the rays enter through this hole and transmitting to the plane beyond all the details of the chonsecho. 18. apicchate . . cho [quelle] "le sopravenienti" chessi partano . . chose. 18. mezo . . chogniosscie. 19. giv- dichaj chorpc cholori. 20. porai . . chose disstan vnoghomito. 21. chella . . apresso. 22. rmara . . chofusa chella sechoda. 23. chella . . magior. 24. sechoda. 25. quessto. 26. prosspettiva emolto. 28. chosa posstali. 29. pressa vita . . razi trissti mostera . . esspropor. 30. ziona e ma terminata . . chosa. 31. razi delume sara. 32. perchussione alora lombra savemebuona. 33. disschossto . . razo . . zietro. 34. lugha disstazia . . chopagnia . . razi. 36. schoredo . . chouiene alloro . . diri. 37. Ipedita. 38. ara rimarebono in alchuna . . sellaria cne. 39. grosseze . . oseruerranno loro retta. 41. chagione . . esse. 42. givdichato . . cholore chome . . gradeza. 43. Massella . . ara . . alchuno | "picciolo" foro. 44. osschura. 45. forame "-f- li -\-" porta. 46. donella FIRST BOOK ON LIGHT AND SHADE. 79 Ma ogni cosa sara sotto sopra; *&Ma quado e' sara tato dal forame al' ultima percussione delle 49 linie, quato e da lor nascimeto, sara la percussione per grandezza a s°ri- nascimeto delle linie, 52Itersegarsi e gie53nerare 2 piramidi 54colle pute Isieme 55e le basi opposite; b il nascimento delle linie, d e la prima pariete ; sia c s6sia s 7 sia s8il forame dov'e la intersegazione 59 delle linie; sia -f-g- 1' ultima pa- riete : 6o troverai '1 a nelP ultima pa- riete a percussione 6lrimanere di sotto nel luogo del g e '1 • b • di sotto °2 risalire di sopra nel luogo del/"; 63 chiaro appa- rira ali sperimetatori che ogni 64corpo luminoso a per se una virtu recodita che e tie- tro, dal 65quale e al quale capitano tutte le linie 66gie- nerate dalla luminosa super- ficie e di li 67ritornano o ri- saltano J fuori, esse non ano ipedimento 68si spargeranno per 1'aria. object they proceed from both as to colour and form; only every thing will be upside down. But the size [of the image] where the lines are reconstructed will be in proportion to the relative distance of the aper- ture from the plane on which the lines fall [on one hand] and from their origin [on the other]. There they intersect and form 2 pyramids with their point meeting [a common apex] and their bases opposite. Let a b be the point of origin of the lines, d e the first plane, and c the aperture with the intersection of the lines \fg is the inner plane. You will find that a falls upon the inner plane below at g, and b which is below will go up to the spot/; it will be quite evi- dent to experimenters that every luminous body has in itself a core or centre, from which and to which all the lines radiate which are sent forth by the surface of the luminous body and reflected back to it; or which, having been thrown out and not intercepted, are dispersed in the air. C. 8 a] 131. IRAZZI ONBROSI ELUMINOSI-SONO-DI MAGGIORE- THE RAYS WHETHER SHADED OR LUMINOUS POTENTIA • E VALITUDINE • NELLE • PUNTE LORO HAVE GREATER STRENGTH AND EFFECT AT THEIR CHE NE'LATI. POINTS THAN AT THEIR SIDES. Although the points of lumi- nous pyramids may extend into shaded places and those of pyra- mids of shadow into illuminated places, and though among the luminous pyramids one may start from a broader base than another; nevertheless, if by rea- son of their various length these luminous pyramids acquire an- gles of equal size their light will be equal; and the case will be the same with the pyra- mids of shadow; as may be seen in the intersected pyramids a b c and d e /, which though their bases differ in size are equal as to breadth and light. 2Benche le punte delle lu- minose piramidi s'astedino in obro sisiti e quelle delle 3 pira- midi obrose discorrino I lumi- nosi lochi, e che infra le lumi- nose 4 egli nasca da maggiore basa 1'una che 1'altra, no di meno, se per cagio di uarie slunghezze esse luminose pi- ramidi pervengono a equale grossezze d'agoli saran6no di pari lume infra loro e il simile farano le piramidi obrose, come ^ si dimostra nelle tagliate pira- midi a- b- c e cosi d e f che benche elle nascano 8da uarie gradezze di base • pur son si- mili di gradezza e di lume. sechoda . . nasscimeto. 47. cholore chome . . chosa. 48. Mquada . . perchussione. 49. nasscimeto . . perchusione per ghan- deza. 50. a rianassimeto. 51. -J- li -{-. 52. Itersegharsi. 53. piramida. 54. chole. 55. elle base. 56. nassimeto. 58. dove laterseghazione. 60. perchussione. 61. luogho. 62. luogho. 63. aparira alissperimetatori. 64. chorpo . . ape serecodita eccietro. 65. chapitano. 67. esse nonano Ipe. 68. sesspargha per laria. I. i. razi . . elluminosi . . magiore. 2. benchelle . . piramide . . ecquelle. 3. piramide . . dischorrino . . infral[loro]eluminose. 4. enascha . . magiore . . chellaltra . . chagio. 5. lungeze . . piramide peruegino . . grosseze. 6. infralloro ellsimile . . piramide . . chome. 7. piramide . . echosi . . benchelle nasscino. 9. di uarie . . simile . . gradeza. 51 — 55. This supplementary paragraph is indicated as being a continuation of line 45, by two small crosses. 8o THE THEORY OF THE ART OF PAINTING. [132-135. Ash. I. 3«] J32- Tehncedbre-~ ^e differetia • e da lumi 2a lustri e tween light come i lustri ^no sono in nel nvmero de *i"1-Ur»5)e. coMori ed e saziare di bianco se nascie ne'stremi de 6bagniati corpi; II lume e 7 del colore della cosa doue 8 nascie come oro o arieto o 9 simile cosa. Of the difference between light and lustre; and that lustre is not included among colours, but is saturation of whiteness, and derived from the surface of wet bodies; light partakes of the colour of the object which reflects it (to the eye) as gold or silver or the like. Ash. I. 3*1 133- DE'COLMI • DE LUMI CHE si VOLTANO E TRAS- MUTANO 2SECONDO • CHE SI TRASMUTA • L' OCHIO VEDITORE D'ESSO CORPO. 3 Poniamo • che '1 corpo detto sia questo todo qui d'acato • figurato, e che il lume •» sia • il puto a • e che la parte del corpo • alluminata sia • b • c, e che 1'ochio 5 sia nel puto d\ dico che '1 lustro perche e tutto • per tutto e tutto nella parte °che stado nel puto d, che il lustro • parra nel puto • c • e tato quato 1'ochio si tras?mvtera da • d - all' • a tanto il lustro si trasmutera da c • a • ;/. OF THE HIGHEST LIGHTS WHICH TURN AND MOVE AS THE EYE MOVES WHICH SEES THE OBJECT. Suppose the body to be the round ob- ject figured here and let the light be at the point a, and let the illuminated side of the object be b c and the eye at the point d\ I say that, as lustre is every where and complete in each part, if you stand at the point d the lustre will appear at c, and in proportion d as the eye moves from d to a, the lustre will move from c to n. 134- DE PICTURA. 2 1 lumi de' lumi cioe il lustro di qualuque 3 cosa non sara situate • nel mezzo 4 della • parte • alluminata •, azi fara taste • mutazioni • quate • fara • 1' ochio ri6guardatore • di quello. OF PAINTING. Heigh light or lustre on any object is not situated [necessarily] in the middle of an illuminated object, but moves as and where the eye moves in looking at it. E. 135- DEL LUME E LUSTRO. 2 Che differetia e dal lume al lustro 3 che si dimostra nella superfitie Uersa delli corpi opachi? s Li lumi che si gienerano nelle super- 6fitie terse delli corpi opachi sa?ranno in- mobili ne' corpi inmo8bili, acora che 1'ochio d'essi vedito^re si • mvova; Ma li lustri sa- I0ran sopra li medesimi corpi in tati JIlochi della sua superfitie quati sono I2li siti dove 1'ochio si move. OF LIGHT AND LUSTRE. What is the difference between light and the lustre which is seen on the polished surface of opaque bodies? The lights which are produced from the polished surface of opaque bodies will be stationary on stationary objects even if the eye on which they strike moves. But reflected lights will, on those same objects, appear in as many different places on the surface as different positions are taken by the eye. 133. 2. lusstri echorae ilusstri. 3. inel . . decho. 4. saziaredi doubtful. 6. chorpi Elume. 7. cholore dela chosa. 8. chome. 9. chosa. 133. i. chessi . . trassmutano. 2. sechondo chessi trassmuta. 3. dachato. 4. chella . . chorpo . . chellochio. 5. dicho. 6. che- lustro para . . ettato . . sistra. 7. trassmutera. 134. 2. lusstro. 3. chosa . . mczo. 5. quato. ,35. i. ellustro. 2. differetia . . Ittstro so. 3. |p] che si dimosstra nella superfitie (del). 4. [li \\\\ cho] terse . . chorppi oppachi. 5. chessi. 6. chorpi oppachi. 7. chorpi. 8. achora chellochio. 9. Mallilusstri. 10. chorpi. 12. dove Ihio si move. 13. chorpi. 136. 1 37-] FIRST BOOK ON LIGHT AND SHADE. 8l QUALI CORPI SON QUEL^LI CHE HANNO LUME SAZA LUSTRO? 15 Li corpi opachi che avra superfitie densa l6e aspra no gienerano mai lustro J7in alcuno loco della sua parte all8luminata. QUALI CORPI so QUELGLI 20CHE AVRA LUSTRO E NO PAR2ITE LUMINOSA? 22 Li corpi opachi densi con desa 23 su- perfitie son quelgli che anno tutto il lustro in 24 tanti lochi della • parte alluminata quati 25sono li siti che possino ricievere I'ango26lo della incidentia del lume e dell'ochio; ma 2 7 perche tale superfitie spechia tutte le cose cir28custati , la alluminata no si cono29scie in tal parte del corpo alluminato. WHAT BODIES HAVE LIGHT UPON THEM WITHOUT LUSTRE? Opaque bodies which have a hard and rough surface never display any lustre in any portion of the side on which the light falls. WHAT BODIES WHICH WILL DISPLAY LUSTRE BUT NOT LOOK ILLUMINATED? Those bodies which are opaque and hard with a hard surface reflect light [lustre] from every spot on the illuminated side which is in a position to receive light at the same angle of incidence as they occupy with regard to the eye; but, as the surface mirrors all the surrounding objects, the illuminated [body] is not recognisable in these portions of the illuminated body. Br. M. 1710:] Ogni J/2 d'obra e lume cogiu2to a' corpi obrosi si dirizza al 3 mezzo del suo lume primitiuo. 4 Ogni lume e obre si ritrae 5a linie pirimidali; 6e neciessario che il mezzo 7di ciascuna • obra ris- guardi il mezzo 8del suo lume per linia retta che passi il cietro I0d'esso corpo; IJil mezo del lume sara a, I2 dell' obra fia • d, J3 [ancora i corpi obrosi circuscritti J4da obre e lume convie • che '1 mez'Szo di cias- cuno si dirizzi al cietro d'esso corpo l6e sia linia retta dal- 1'uno all'altro mezzo passa- J7do al cietro]. 136- bodies. The middle of the light and shade The reia- on an object in light and shade is op- 1[/^0°[ J"" posite to the middle of the primary illuminated light. All light and shadow expresses itself in pyramidal lines. The middle of the shadow on any object must neces- sarily be opposite the middle of its light, with a direct line passing through the centre of the body. The middle of the light will be at a, that of the shadow at b. [Again, in bodies shown in light and shade the middle of each must coin- cide with the centre of the body, and a straight line will pass through both and through that centre.] w. i. 137- PRUOVA COME OGNI 2PARTE DI LUME FA UNO 3PUTO. 4 Benche le palle • a • b • c s abi lume da vna finestra 6niete di meno se seguiterai ?le linie delle sue obre vedrai 8 a quelle fare iter- segatione 9e puto • nel angolo • n • SHOWS HOW LIGHT FROM ANY SIDE CONVERGES TO ONE POINT. Although the balls a b c are lighted Experiments from one window, nevertheless, if you follow °ion of light the lines of their shadows you will see theyand shadob- fia una finestra saza al- cuna tramezzatura, 6l'a- ria • luminosa • che sta da destra • in • a • e vista, da sinistra \n-d-. e I'a^ria che sta • da • sinistra allu- mina da destra nel pun- to • c e dette linie s' inter- 8secano • nel puto m. 139- per Every shadow with all its variations, la • which becomes larger as its distance from co- the object is greater, has its external lines intersecting in the middle, between -the light and the object. This proposition is very evident and is confirmed by experience. For, if a b is a window without any object inter- posed, the luminous at- mosphere to the right hand at a is seen to the left at d. And the at- mosphere at the left illu- minates on the right at c, and the lines intersect at the point m. Ash. I. 20 a] I4O. Ogni corpo obroso si truova ifra • 2 • pi- ramidi 2vna scura e Paltra luminosa, I'una si uede e 1' altra no, 3 e questo solo accade • Every body in light and shade is situated between 2 pyramids one dark and the other luminous, one is visible the other is not. quado il lume etra per una finestra; «fa coto • che • a • b • sia la finestra e che • r • sia il corpo obroso il lume s destro z • passa il corpo da lato sinistro del corpo obroso • in • g • e va in • p -, il lume 6 sinistro • k passa a detto corpo nel lato • destro • in • i - e va • But this only happens when the light enters by a window. Supposing a b to be the window and r the body in light and shade, the light to the right hand z will pass the object to the left and go on to /; the light to the left at k will pass to the right of the object at / and 139. i. cho . . chresscie. 2. largeza . . chella. 3. cogivngano . . chorpo. 4. Questa [cosa chiaramente] propositione . . apare . . essi. 5. dala . . fia i finestra . . tramezatura. 6. in . d . ella. 140. i. piramide. 2. uno scuro e laltro luminoso luno . . ellaltro. 3. ecquesto . . achade . . Hume . . per i finestra. 4. chorpo 139. A here stands for leuante (East), B for ponente (West). 84 THE THEORY OF THE ART OF PAINTING. [I4I—I44. in • m • e queste 2 linie s' Iter^segano i-c- go on to m and the two lines will intersect e li fano piramide • dipoi a • b • tocca il corpo at c and form a pyramid. Then again a b obroso in •*•£••€ fa sua 8 piramide • in •/; i-g-f fia oscuro • perche mai egli puo ve- dere il lume • a • b\ v-i-g-c- sepre fia lu- minoso perche egli uede • il lume. falls on the shaded body at i g and forms a pyramid fig, f will be dark because the light a b can never fall there; i g c will be illuminated because the light falls upon it. C. 10 141. Light and rcgar7«owthc posiiion of the eye (141—145)- Tutti • i corpi obrosi di maggior gradezza che la • popilla • i quali s' interporranno • infra l'occhio • e' 1 corpo • luminoso • si dimo'stre- ranno d' oscura • qualita. 3 L' ochio • posto • infra ' 1 • corpo • luminoso • E i corpi • da esso • lume • alluminati • vedra i detti corpi • saza alcun obra. Every shaded body that is larger than the pupil and that interposes between the luminous body and the eye will be seen dark. When the eye is placed between the lumi- nous body and the objects illuminated by it, these objects will be seen without any shadow. Ash. I. I2a] 142. Come i 2 lumi che mettino in mezzo 2vno corpo da 2 lati piramidato di basse 3piramidi lo lasciano saza obra. Why the 2 lights one on each side of a body having two pyramidal sides of an obtuse apex leave it devoid of shadow. Br. M. 171 a] H corpo obroso situate 2 in- fra il lume e 1' ochio no mo- 3strera mai di se parte lumi- -n no*sa se 1' ochio no uede tutto il s lume originate. Tr. 20] 143- 144. A body in shadow situated between the light and the eye can never display its illuminated portion unless the eye can see the whole of the primary light. L' ochio • che si trovera • in mezzo fra 1' onbra e i lumi circuda2tori • delli • obrosi • The eye which looks (at a spot) half way between the shadow and the light which [luminoso] obroso ilume. 5; pasa . . ecque 2. 7. piramida . . effa. 8. piramida . . oschuro . . mailipo . . ilume. 9. per- cheli uede. quali [saranno situati] "sTnterporanno" infrallocchio el chorpo. chorpi . . sanzalchun. 141. i. Tucti i chorpi "5brosi" di magior gradeza chella 2. steranno dosschura. 3. chorpo . . chorpi . . vedera 142. i. comeme i 2 . . imezo. 2. chorpo. 3. piramide. 143. 2. infralume. 3. stera. 5. lume [primiti] originate. 144. i. chessi . . mezo . . ellumi circhuda. 2. chorpi . . vedera . . chorpi . . magiore. 3. sieno . rischotarsi . chosecho. 141. The diagram which in the original stands above line I is given on Plate II, No 2. Then, after a blank space of about eight lines, the diagram Plate II No 3 is placed in the original. There is no explanation of it beyond the one line written under it. 142. The sketch illustrating this is on Plate XLI No i. 143. A stands for corpo (body), B for lume (light). 144. In both these diagrams A stands for lume (light) B for ombra (shadow). 145- FIRST BOOK ON LIGHT AND SHADE. corpi • vedra • in essi corpi le maggiori obre surrounds the body in shadow will see that 3 che in esse • sieno • a riscotrarsi • co seco • the deepest shadows on that body will meet infra equali agoli ^cioe della incidetia vi- suale. B the eye at equal angles, that is at the same angle as that of sight. Ash. I. 170] I DELLA DISCRETIONS DEL'ONBRE DE' SITI 2E DELLE COSE POSTE I QUELLI. 3 Se il sole fia • neP oriete e guarderai luerso • occidete • vedrai 4 tutte le cose lu- minate essere iteramete private d'obra perche vedi cio che vede 1 sole, e se ri- guarsdi a mezzodl e tramotana • vedrai tutt'i corpi essere circudati da 66bra-e lume perche vedi quello che no vede • e vede il sole e se riguarderai Tverso il camino del sole, tutti i\ corpi ti mostreranno la loro parte avbrata, perche quella parte 8no puo essere veduta dal sole. OF THE DIFFERENT LIGHT AND SHADE IN VARIOUS ASPECTS AND OF OBJECTS PLACED IN THEM. If the sun is in the East- and you look towards the West you will see every thing in full light and totally without shadow because you see them from the same side as the sun: and if you look towards the South or North you will see all objects in light and shade> because you see both the side towards the sun and the side away from it; and if you look towards the coming of the sun all objects will show you their shaded side, because on that side the sun cannot fall upon them. Tr. 29] 146. 1 J labri della finestra • che sieno • allumi- nati • da 2 • vari • lumi 2 d' equale • chiarezza • no metteranno • lume detro • all' abitatione 3 d' equale qualita. 1 4 Se • b • fia • vna • ca- dela • e a • c sia • il nostro • emisperio ; 5l'uno • e 1' altro allumina i labri • della • finestra • m • n • ma il Iu6me • b • non allu- mina • se no '/• g • e lo emisperio • a • £-allumi- nera 7insino in • d- e. The minated of a window which are illu- The law of lights of equal degrees of^tf^6" brightness will not re- flect light of equal brightness into the cham- ber within. If b is a candle and a c our hemisphere both will illuminate the edges of the window m n, but light b will only illuminate f g and the hemisphere a will light all of d e. 145. 3. vederai. 4. tute lecosse . . dobra "perce vedi co ce vedel sole" esse. 5. mezodi ettramotana vederai . . chorpi . . cir- chudati. 6. lume "perce vedi quelo ce no vede . 'e vede il sole" esse . . chamino. 7. chorpi .. mostrerano .. quela. 8. po. 146. i. finesstra . . lumi [che]. 2. chiareza. 4. chadela et. 5. alumina . . finesstra. 6. aluma . . ello emissperio. 86 THE THEORY OF THE ART OF PAINTING. [147- Ash. I. 28*] 147- PlTTURA. 1 3 Quella • parte • dell'obietto • che ricieve sopra se il razzo lu^minoso • infra equali • an- goli • Quella • fia • piu ch'altra 5 parte d'esso obbietto • luminosa.H 1 6E quella parte che fia ferita da lumi- jioso • razzo 7 infra angoli • piv • disequali • qua apparira me lumi8nosa.K OF PAINTING. That part of a body which receives the luminous rays at equal angles will be in a higher light than any other part of it. And the part which the luminous rays strike between less equal angles will be less strongly illuminated. 147. 2. [Illume che ferisscie lobietto infra cqueliangoli]. 3. soprse . . razo. 6. Ecquella . . cheffia . . razo . . aparira. ?L. HI e •> • A** ^: - - SECOND BOOK ON LIGHT AND SHADE. Ash. I. 22 a] 148. QUELL A PARTE DEL CORPO OBROSO FIA • MENO LUMINOSA 2CHE FIA VEDUTA DA MINORE QUA- TITA DI LUME. 3 La parte del corpo • m e primo grado di lume perche 11 vede tutta la finestra • a • d- 4 per la linia -a- f-, n e'l secodo grado perche 11 uede il lume • b • d • per la • linia • b • e •, o e '1 terSzo grado perche 11 vede il lume • c - d • per la linia • c • h • \ p e '1 pe- noltimo perche 11 ue 6de • c • d per la linea • d • v • | Q e 1' ultimo grado perche 11 non uede nessuna parte 7della finestra- 8 Tanto quato • c • d • 9 entra in • a • d • tanto I0e piv scuro • n • r • s "che • m • e tutto Paltro I2canpo sanza 6 bra. dows 148. 149). THAT PORTION OF A BODY IN LIGHT AND SHADE WILL BE LEAST LUMINOUS WHICH IS SEEN UNDER THE LEAST AMOUNT OF LIGHT. That part of the object which is marked Gradations m is in the highest light because it faces °nf the window a d by the line af; n is in the second grade because the light b d strikes it by the line b e; o is in the third grade, as the light falls on it from c d by the line c h ; p is the lowest light but one as c d falls on it by the line d v; q is the deepest shadow for no light falls on it from any part of the window. In proportion as c d. goes into a d so will n r s be darker than m, and all the rest is space without shadow. Ash. I. 21 b\ 149. Ogni • lume • che cade • sopra • ai corpi obrosi • Ifra equali • agoli tiene il primo * gra- do • di chiarezza • e quello fia piv scuro che ricieve 1' agoli meno • equali ^e il lume • o 1'onbre fario loro-ofitio per piramide; 4l'an- golo • c • tiene • jl primo • grado • di chiarezza • The light which falls on a shaded body at the acutest angle receives the highest light, and the darkest portion is that which receives it at an obtuse angle and both the light and the shadow form pyramids. The angle c receives the highest grade of light because it is directly in 143. i. Quela . . chorpo . . luminoso. 2. cheffia. 4. . a . f . el secodo. 6. novede. n. ettutto. 149. i. chade . . chorpi. 2. chiareza ecquelo. 3. ollonbre. 4. chiareza. 5. ettutto lorizote . . pocha diferetia mettano. 6. socto . 148. The diagram belonging to this chapter is No I on Plate III. The letters abed and r are not reproduced in facsimile of the original, but have been replaced by ordinary type in the margin. 5 — 12. The original text of these lines is repro- duced within the diagram. — Compare No 275- 149. The diagram belonging to this chapter is No 2 on Plate III. In the original it is placed between lines 3 and 4, and in the reproduction these are shown in part. The semi circle above is marked orizonte (horizon). The number 6 at the left hand side, outside the facsimile, is in the place of a figure which has become indistinct in the original. 88 THE THEORY OF THE ART OF PAINTING. [150. perch6 gli uede • tutta • la finestra • a • b • 5e tutto 1'orizzote del cielo •>«•*•, 1'angolo • d - fa poca • differetia da • c • perche li agoli che lo mettono 6 1 mezzo • no sono tato dif- formi di proportione • quato li altri • di sotto • e macagli solamete quella ? parte del- 1'orizzote • ch'e tra -y • x • bench' eli acquisti altrettat;o dall' opposite lato- nodimeno la sua linia e di po8ca poteza perch£ il suo angolo • e minore • che' 1 suo copagno, rangoli-^' / • fia di minore lume 9perch£ • egli • non vede manco • il lume • m • s • e ' 1 lume v • x - ei loro agoli sono assai disformi: 1'angolo 10 • k ' e 1'angolo •/• sono messi in mezzo ciascu • per se • da agoli • molto diformi 1'uno dal'altro e pero fieno "di poco lume • perche in • k • vede solamete il lume • / • / • e in •/; no uede se no / • q • \ o • g - f\a 1' ultimo 12grado di lume perche 11 no uede nessuna parte del lume del' orizzote • e sono quelle le linie che vn altra ^volta rico- pogono una • piramide- simile • alia piramide- c • la quale piramide • / si trovera I4nel primo grado • d'obra, perch£ acora lei cade ifra • equali agoli e essi agoli • si dirizzano 'Se si sguardano per una • linia retta che passa dal cientro del corpo obroso e capita al mezzo del lume; l6le spetie luminose mvltiplicate • ne' termini della • finestra ne' puti • a • b • fano '^chiarore • che circuda 1'obra diriuativa creata dal corpo obroso ne' lochi 4-6 6- I8le spetie oscure si mvl- tiplicano • jn • o - g e finiscono • in • 7 • e 8. front of the window a b and the whole horizon of the sky m x. The angle d differs but little from c because the angles which divide it are not so unequal as those below, and only that portion of the horizon is intercepted which lies between y and x. Although it gains as much on the other side its line is nevertheless not very strong be- cause one angle is smaller than its fellow. The angles e i will have less light because they do not see much of the light m s and the light v x and their angles are very un- equal. The angle k and the angle f are each placed between very unequal angles and there- fore have but little light, because at k it has only the light / /, and at /only t q; o g is the lowest grade of light because this part has no light at all from the sky; and thence come the lines which will reconstruct a py- ramid that is the counterpart of the pyramid c; and this pyramid / is in the first grade of shadow; for this too is placed between equal angles directly opposite to each other on either side of a straight line which passes through the centre of the body and goes to the centre of the light. The several lumi- nous images cast within the frame of the window at the points a and b make a light which surrounds the derived shadow cast by the solid body at the points 4 and 6. The shaded images increase from o g and end at 7 and 8. C. A. 46(5; 1440] ISO- (150-152)- Quel corpo si dimostra piu obroso che Ontheinten-sia alluminato da minor luminoso 2e quel dows°LSde-lummoso alluminera minor parte del corpo pendent on obroso il quale ^li fia piu vicino; per la the distance . . • \ ,•,,"• \ from the couersa tanto maggior quatita n allu4mmera Sn fia pi" lontano. Quel lume che sia minore dell' obroso n' alluminera tanto minor quatita quan6to li fia piu vicino e per la couersa fara essendo piu remote ; Ma ?quando il lume sara maggiore che 1' obroso allor tanto piu ne vedra 8dell'6mbroso quato esso fia piu vicino e per il contrario fara essedo pi9v remoto. The smaller the light that falls upon an object the more shadow it will display. And the light will illuminate a smaller portion of the object in proportion as it is nearer to it; and conversely, a larger extent of it in proportion as it is farther off. A light which is smaller than the object on which it falls will light up a smaller extent of it in proportion as it is nearer to it, and the converse, as it is farther from it. But when the light is larger than the object illuminated it will light a larger extent of the object in proportion as it is nearer and the converse when they are farther apart. e e machali. 7. orizote . . daloposito. 8. cha poteza . . chopagnio langolo. 9. mancha ilume. 10. ellangolo . . imezo. 12. delume . . orizote . . quele. 13. volto . . I piramide . . ala. 14. chade . . ecquali . . dirizano. 15. essi . . per * . linia . . chapia . . mezo. 18. effiniscano. 150. i. dimosstra. 2. ecquel. 3. [fia] lifia piu . . magior. 4. quato eli fia. 5. Quelume chessia . . quatita q. 7. cquando . . thellobroso . . tanta. SECOND BOOK ON LIGHT AND SHADE. 89 C. A. 130,$; 398 6} 151. HQuella partedella cosa 2 alluminata sara That portion of an illuminated object piv lumi^nosa, la qual fia piv vici4na alia which is nearest to the source of light will cavsa del suo lume.t be the most strongly illuminated. H.1 i8a] 152. Quella parte dell'obra primitiva 2sara meno oscura che fia piv 3 lotana dai sua stremi. 4 L' obra dirivativa che cofisna colla pri- mitiua fia piv 6 oscura d'essa primitiva. That portion of the primary shadow will be least dark which is farthest from the edges. The derived shadow will be darker than the primary shadow where it is contiguous with it. E. i7«] 153- Quella parte del corpo opaco sa2ra piu aobrato o alluminata che fia 3 piu vicina all' obroso che la oscura 1 o luminoso che P alumina. sLe cose vedute infra lume e 1'obre si di6mostrera di maggiore rilievo che quelle 7 che so nel lume o nell'obre. That portion of an opaque body will be On the pro- more in shade or more in light, which is ^"'"anc^ nearer to the dark body, by which it is shaded, she or to the light that illuminates it. Objects seen in light and shade show in greater relief than those which are wholly in light or in shadow. S. K. M. II.1 r54- DE PROSPETTIVA. 3Le parti aobrate e alluminate de'corpi ^opachi sarano nella medesima Sproportione di chiarezza e oscurita 6qual fie quelle de' loro obbietti. OF PERSPECTIVE. The shaded and illuminated sides of opaque objects will display the same pro- portion of light and darkness as their ob- jects[6]. G. 320] DE PICTURA. r55- 2 Li termini e figura di qualunche 3 parte de' corpi obrosi male si conos4cono nelle obre e ne' lumi loro, ma 5 nelle parti inter- poste infra li lumi 6e 1'onbre le parti d'essi corpi sono Fprimo grado di notitia. OF PAINTING. The outlines and form of any part of a body in light and shade are indistinct in the shadows and in the high lights; but in the portions between the light and the shadows they are highly conspicuous. E. 150] PICTURA. OF PAINTING. 2jfra li corpi di uarie oscurita, pri3vati Among objects in various degrees of shade, d'un medesimo lume, tal proportione 4 fia when the light proceeds from a single source, 151. 1—4 R. 152. 2. osschura. 3. dasua. 4. chofi. 5. cholla. 6. oschura. 153. i. chorpo oppacho. 2. cheffia. 3. chella osscura. 4. olluminoso chellalumina. 5. chose . . infrallume ellobre. 6. mossterra. 7. chesso. 154. 2. [le parte obrose elluminose]. 3. parte. 5. ciareza e osscurita. 155. 2. effigura. 3. chorpi. 4. chanelle. 5. interposste infralli. 6. ellonbre le parte . . chorpi. 156. 2. Jfralli chorpi . . osschurita. 3. proportio. 4. iafralle. 5. osscurita. 154. 6. The meaning of obbietti (objects) is ex- and the next there is, in the original, a small diagram plained in no 153, lines 1—4. — Between the title-line representing a circle described round a square. VOL. i. M THE THEORY OF THE ART OF PAINTING. [157- infra le loro obre qual fia la proSportione delle loro natural! oscurita 6e il medesimo ai ad intendere delli lor lumi. there will be the same proportion in their shadows as in the natural diminution of the light and the same must be understood of the degrees of light. E. 157- II lume particulare e causa di dare 2migliore rilievo alii corpi onbrosi che ^lo vniversale come si mostra il para^gone d'una parte di campagnia alluminata sdal sole e vna aobrata dal nuvolo che sol si 6allumina del lume vniversale dell' aria. A single and distinct luminous body causes stronger relief in the object than a diffused light; as may be seen by comparing one side of a landscape illuminated by the sun, and one overshadowed by clouds, and so illuminated only by the diffused light of the atmosphere. 157. i. Hume partichulare e chausa. 2. chorpi . . chel. 3. chome si mosstra. 4. ghone . . chanpagnia. 6. delume. THIRD BOOK ON LIGHT AND SHADE. W. 2323] I Onbra diriuativa non. e in essere sanza 2lume primitive; pruovasi per la prima 3di questo che dicieTI tenebre essere inte- grale pri^vatio di lucie, e obra e alle- uiation di tesnebre e di lucie, e tanto parti- cipa piu 6o me delle tenebre che della lucie, quato la ?tenebra e in se corrotta da essa lucie. Derived shadow cannot exist without Definition primary shadow. This is proved by the first shadow of this which says: Darkness is the total absence of light, and shadow is an allevia- tion of darkness and of light, and it is more or less dark or light in proportion as the darkness is modified by the light. E. 159- Onbra e diminuitio di lume. 2 Tenebre e privatione di lucie. 3 L' onbra si diuide in due parti delle *quali la prima e detta onbra priSmitiva, la secoda e 1' onbra diriuativa; 6senpre 1' onbra primitiva si fa basa 7 dell' onbra diriuativa. 8 Li termini dell'onbre dirivative 9son retti linii. Shadow is diminution of light. Darkness is absence of light. Shadow is divided into two kinds, of which the first is called primary shadow, the second is derived shadow. The primary shadow is always the basis of the derived shadow. The edges of the derived shadow are straight lines. 158. i. non [po] "e in" essere. 2. per la p*. 3. essere ingral pri. 5. eddi . . ettanto. 6. ome delle. 7. tenebre . . conrocta. 159. i. honbra. 3. parte. 4. he decta. 5. ellonbra. 8. dirivativi. 10. diminuisscie la osscu. 12. eppiu. 158. The theory of the ombra dirivativa — a tech- nical expression for which there is no precise Eng- lish equivalent is elaborately treated by Leonardo. But both text and diagrams (as PL IV, I — 3 and PL V) must at once convince the student that the distinction he makes between ombra primitiva and ombra dirivativa is not merely justifiable but scien- tific. Ombra dirivativa is by no means a mere abstract idea. This is easily proved by repeating the experi- ment made by Leonardo, and by filling with smoke the room in which the existence of the ombra dirivativa is investigated, when the shadow becomes visible. Nor is it difficult to perceive how much of Leonardo's teaching depended on this theory. The recognised, but extremely complicated science of cast shadows — percussione deW ombre dirivative as Leonardo calls them — is thus rendered more intelligible if not actually simpler, and we must assume this theory as our chief guide through the investigations which follow. THE THEORY OF THE ART OF PAINTING. [160. 161. IOTanto piu diminuisce la oscu"rita dell'onbra diriuativa, quato essa I2e piu remota dall'obra primitiva. The darkness of the derived shadow di- minishes in proportion as it is remote from the primary shadow. C. 76] 160. ONBRA E LUME. (160—162). 2Tre • sono • le figure • dell'pbre • inper- ochc • sc la • materia che fa • 1'onbra • e pari • al lume •, 1' ombra e simile a vna co- ne a • termine alcuno. «Se la • ma- teria e maggiore • che "1 lume : 1'onbra • sua • e simile • a vna • retrosa e contraria pira- mide e la sua longitudine 5& sanza alcuno • termine; 6Ma se la materia- e minore-che la • lucie • 1'ombra fia simile a vna • piramide • ed e finita come dimostra ^nelle • eclissi della luna. s SHADOW AND LIGHT. The forms of shadows are three: inas- much as if the solid body which casts the shadow is equal (in size) to the light, the shadow resembles a column without any termination (in length). If the body is larger than the light the shadow resembles a truncated and inverted pyramid, and its length has also no defined termination. But if the body is smaller than the light, the shadow will resemble a pyramid and come to an end, as is seen in eclipses of the moon. E. 31 a] 161. DELLE OBRE DERIVATIVE 2SENPLici. ^ La senplicie obra dirivativa e «di due sorti cioe vna finita in Munghezza e due in- finite 6e la finita e piramidale ?e delle infi- 8nite vna ve n'e colonnale e ^I'altra dila- tabile, e tutte tre son I0di lati rettilini; Ma 1'onbra co11 correte cioe piramidale na- sciI2e dall'onbroso minore del lumino^so, e la colonale nasce da onI4broso equale al luminoso, e la dila1 stabile da obroso maggiore del Iul6minoso ecc. OF SIMPLE DERIVED SHADOWS. The simple derived shadow is of two kinds: one kind which has its length denned, and two kinds which are undefined; and the defined shadow is pyramidal. Of the two undefined, one is a column and the other spreads out; and all three have rectilinear outlines. But the converging, that is the pyramidal, shadow proceeds from a body that is smaller than the light, and the co- lumnar from a body equal in size to the light, and the spreading shadow from a bo:!y larger than the light; &c. 160. 2. obr . . sella . . chefla . . lume [lonbra] 1'ombra essimile . . cho. 3. alchuna. 4. Sella materia . . magiore . . essimile . . chontraria . . ella. 5. alchuno. 6. Massella . . chella . . chome. 7. nello. 161. 3. he. 4. sorte ciee. 5. lungheza eddue. 6. ella .. he. 8. cholunnalee el. 9. ettutte. 10. rectilini [Mallonbra] co. n. chor- rete . . nassci. 13. ella cholunale nasscie. 14. ella. 17. cho. 18. posste. 19. onbra . . conposste. 20. sortti . . cho/unali. 21. labile. PL. IV v r»**> "j „ * . ( Tf^n #*/ \ \ :u* •* 1 1 • v Heliog- Dujardin Imp. Eudes 162.] THIRD BOOK ON LIGHT AND SHADE. 93 DELLE OBRE DIRIUATIVE col8POSTE. onbre deriuative conposte sono 20di due sorti cioe colonali e dila2Itabili. OF COMPOUND DERIVED SHADOWS. Compound derived shadows are of two kinds; that is columnar and spreading. E. 32 a] 162. DE ONBRA. OF SHADOW. 2 L' onbre dirivative sono di tre nature, delle quali 1'una e dilatabile, 1'altra co- ^lunnale, la terza concorrete al sito della s intersegatione delli sua lati, li quali dopo ta6le intersegatione sono d'lfinita lunghez?za overo rettitudine; E se tu diciessi ta8le onbra essere terminata nell'angolo 9 della congiutione de sua lati e no passare piv oltre, questo si niI0ega • perche nella prima dell' onbre sopra 6 proirvato Hquella cosa es- sere interamente termiI2nata della qual parte alcuna non eccede J3li sua terminal il che qui in tale onbra si veI4de il contrario con- ciosiache mediante che T 5 nascie tale onbra dirivativa nascie manifel6stamete la figura di due piramidi obrose, le quali nelI7li sua angoli son congiute; addunque l8se per 1'aversario la prima piramide obrosa e ter- ^minatricie dell' onbra dirivativa col suo ango20lo donde nascie, addunque la seconda pira2Imide obrosa • dicie 1'aversario esser cavsa22ta dall'angolo e no dal corpo obroso; e questo si 23niega coll'aiuto della 2a di questo che ^ dicie HI' obra essere vn'acci- dete create dalli cor2Spi obrosi interposti infra '1 sito d'essa obra 26e '1 corpo lumi- nosoH, e per questo e chia27rito 1'onbra no dal angolo dell' onbra dirivativa 28 esser gie- nerata, ma sol dal corpo obroso ecc. 29Se lo sperico obroso fia alluminato dal lumi- 3°noso di luga figura, 1'onbra che si gienera dalla 31 parte piu lunga d'esso luminoso fia di termini 32 men noti che e quella che si gienera dalla Iarghez3-za del medesimo lume; E questo si prova per la pas34sata che disse quell' obra essere di termini me noti 35Ch'e creata da maggiore lumin- oso e de coverso, que!36la essere di ter- mini piu noti che s'allumina da minor luminoso. Derived shadows are of three kinds of which one is spreading, the second co- lumnar, the third converging to the point where the two sides meet and intersect, and beyond this intersection the sides are infini- tely prolonged or straight lines. And if you say, this shadow must terminate at the angle where the sides meet and extend no farther, I deny this, because above in the first on shadow I have proved: that a thing is com- pletely terminated when no portion of it goes beyond its terminating lines. Now here, in this shadow, we see the converse of this, in as much as where this derived shadow ori- ginates we obviously have the figures of two pyramids of shadow which meet at their angles. Hence, if, as [my] opponent says, the first pyramid of shadow terminates the derivative shadow at the angle whence it starts, then the second pyramid of shadow — so says the adversary — must be caused by the angle and not from the body in shadow; and this is disproved with the help of the 2nd of this which says: Shadow is a condition produced by a body casting a shadow, and interposed between this shadow and the lumi- nous body. By this it is made clear that the shadow is not produced by the angle of the derived shadow but only by the body casting the shadow; &c. If a spherical solid body is illuminated by a light of elongated form the shadow produced by the longest portion of this light will have less defined outlines than that which is produced by the breadth of the same light. And this is proved by what was said before, which is : That a shadow will have less defined outlines in proportion as the light which causes it is larger, and conversely, the outlines are clearer in proportion as it is smaller. 162. 2. [si] dirivativ. 3. cho. 4. choncorrete. 5. interscghatione. 6. interseghatione . . dlfinita "righor" lunghe. 7. Essettu "di" ciessi [chella] ta. 8. angholo. 9. della [interseghatione] "congiutione" de sua ati. Questo. The following occurs in the margin e no passare piv oltre. 10. egha . perche [terminata] nella p" dellonbre so pro. n. chosa. 12. alchuna . . eciede. 13. qui [no] in "t" ale onbra sivi. 14. chontrario chonciossiache. 15. nasscie . . nasscie. 16. piramide "obrose". 17. angholi son chongitite [ella]. 18. etter. 19. chol suo angho. 20. nasscie . . sechonda. 21. obrosa [perche] . dicie . . chavsa. 22. angholo . . quessto. 23. niegha [medi] choll . . ch'ed. 24. chor. 26. chorpo luminoso) [addunque] e . . quessto. 27. angholo. 29. Sello spericho. 30. lugha fighura . . chessi. 31. [parte piu] lungha. 32. [chen] "men" noti che ecquella chessi. 33. Ecquesto. 34. cheddisse. 35. magiore. 36. termini menoti chessalumina daminor. 162. The two diagrams to this chapter are on Plate IV, No. I. 94 THE THEORY OF THE ART OF PAINTING. [163 — 166. H.* 28*] 163. TIL' onbra diriuatiua no fia mai simile 2al on the reia- corpo dove nascie • se il lume no sara della t}16 D°dy from u°ved and""3figura e gradezza • del corpo obroso 1 *& * R, _ _ _, -. . . _ . .. 1«L obra dinvativa no puo essere simile per figura 5 alia primitiva, se essa no per- cuote fra equal! 6angoli.U primary sha- do* The derived shadow can never resemble the body from which it proceeds unless the same form and size as the body causing the shadow. The derived shadow cannot be of the same form as the primary shadow unless it is intercepted by a plane parallel to it. Ash. I. 6a] 164. COME L'OBRA SEPARATA NO FIA 2MAI SIMftE PER GRADEZZA ALLA SUA CAGIONE. 3Se li razzi luminosi sono, come sperieza coferma, cavsati da uno solo « puto e I corso circulate al suo puto si vanno disgregado e spargsedo per 1'aria, quato piv s'alontanano piv s'a- largano e sepre la cosa 6posta fra lume e la pariete e portata per obra maggiore perche ?i razzi che la toccano 8givnto lor co- cor^so alia pariete e fatI0to piv largo. HOW A CAST SHADOW CAN NEVER BE OF THE SAME SIZE AS THE BODY THAT CASTS IT. If the rays of light proceed, as experience shows, from a single point and are diffused in a sphere round this point, radiating and dispersed through the air, the farther they spread the wider they must spread; and an object placed between the light and a wall is always imaged lar- ger in its shadow, because the rays that strike it [7] would, by the time they have reached the wall, have become larger. Br. M. 170/5] Ogni obra • separata dal corpo obroso 2e tutta della natura e qualita di quella 3 ch' e cogivnta • a esso corpo ; 4 il mezzo della . lughezza • di ciascuna obra s sepre si dirizza • al mezzo del corpo luminoso ; 6neciessario e che o7gni obra 8risguardi col • suo mezzo 9il mezzo del suo lume. Any shadow cast by a body in light and shade is of the same nature and cha- racter as that which is inseparable from the body. The centre of the length of a shadow always corresponds to that of the luminous body [6], It is inevitable that every shadow must have its centre in a line with the centre of the light. E. 31 a] DEL' OBRA PIRAMIDALE. 166. OF THE PYRAMIDAL SHADOW. 2 L' onbra piramidale gienerata dal 3 corpo The pyramidal shadow produced by a On the shape parallelo sara tanto piu stretHa che '1 corpo columnar body will be narrower than the "shadow! obroso, quato la seplisce onbra deriuativa body itself in proportion as the simple de- (166-174). fia taglia6ta piu distante al suo corpo rived shadow is intersected farther from the obroso. body which casts it. 163. i — 6 R. 2. nasscie selume. 3. figure e gradeza. 4. dirivativ . . po. 5. percote. 164. 2. gradeza. 3. razi . . da i solo. 4. circhulare . . van. 5. essepre. 6. magiore perche d_. 7. A.' i razi . . tocano. 165. i. obr. 2. ettulta . . quela. 3. chorpo. 4. mezo . . lugeza. 5. diriza . . mezo. 6. [Egli e] neciessario e cheo. 7. gni obra [si dirizi al mezo del suo]. 8. [lume] risguardi . . mezo. 9. mezo. 166. 3. chorpo . . strec. 4. chel chorpo. 6. disstante . . chorpo. 164. 7- The following lines are wanting to com- plete the logical connection. 166. Compare the first diagram to No. 161. If we here conceive of the outlines of the pyramid 165. 6. This second statement of the same idea of shadow on the ground as prolonged beyond as in the former sentence, but in different words, does not, in the original, come next to the foregoing ; sections 172 and 127 are placed between them. its apex this gives rise to a second pyramid; this is what is spoken of at the beginning of No. 166. 167 — 169.] THIRD BOOK ON LIGHT AND SHADE. 95 B. M. 170,5] 167. QueP onbra separata 2 fia piv luga • che The cast shadow will be longest when avra il lume 3 piv basso. the light is lowest. ^QuelPobra separata sfia piv brieve, la The cast shadow will be shortest when quale avra 6il lume piv alto. the light is highest. Tr. 28] If L' onbra primitiva • e dirivativa fia 2 mag- Both the primary and derived shadow giore a essere • cavsata da lume 3 di cadela • will be larger when caused by the light of che quello dell' aria 11 ^tato quato spobra di- a candle than by diffused light. The differ- riva6tiva • entra 7la maggiore nella 8 minor ence between the larger and smaller shadows tato la 9cavsa della miI0nore e piv "lumi- will be in inverse proportion to the larger nosa che la I2 maggiore. and smaller lights causing them. Ash. I. 25 a] ' * QUELLI CORPI • CHE FIENO PIV PROPINQUI O REMOTI DAL LORO LUME ORIGINALE • FARANO PIV 2O MENO BRIEVE LA LORO • OBRA DERI- VATIVA. 3jfra i corpi d' equal gra4dezza quello che da maggior slume alluminato fia avra 6 la sua obra di minore lughezza; 7Nello spe- rimetare • s' afferma • la sopra detta • propo- sitione • per cagione • che '1 corpo sm-n-e ALL BODIES, IN PROPORTION AS THEY ARE NEARER TO, OR FARTHER FROM THE SOURCE OF LIGHT, WILL PRODUCE LONGER OR SHORTER DERIVED SHADOWS. Among bodies of equal size, that one which is illuminated by the largest light will have the shortest shadow. Experiment con- firms this proposition. /Thus the body m n is surrounded by a larger amount of light 167. i. ombra [sia] separata. 2. ara ilume. 4. Quello obra [fia piv] separata. 5. ara. 6. ilume. 168. 2. magiore . . chausata. 3. chadela. 7. magiore nela. n. chella. 12. magiore. 169. i. chorpi cheffiano. 3—6 R. 3. chorpi. 4. deza . . magior. 5. ara. 6. lungeza. 7. chagione. 8. abraciato. 9. chefFa . . 168. In the diagrams A stands for celo (sky), of lines 3 to 6 is written on its left side. In the B for cadela (candle). reproduction of this diagram the letter v at the outer 169. The diagram, given on PI. IV, No. 2, stands right-hand end has been omitted. in the original between lines 2 and 7, while the text THE THEORY OF THE ART OF PAINTING. [170. abbracciato da piv • parte di lume • che '1 corpo • P • q • come di sopra si dimostra; 'Diciamo • che v • c - a • b • d • x • sia il cielo che fa il lume originate • e che • s • t • sia una 10finestra dode etri le spetie luminose • e cosi •»/•»• | \p • q • sieno i corpi obrosi " cotraposti • a detto • lume; m • n sara di minore obra de- riuativa perche la sua obra oriI2ginale fia • poca e il lume diriuatiuo fia • grade perche ancora fia grande '^il lume originale c-d- | \p ' q- avra piv obra diriuativa perche la sua • obra '* originale • fia maggiore; il lume suo derivative • fia minore • che quello del corpo '5;« • « • perche quella • parte dell' emis- perio a • b • che 1'allumina e minore 1<5che 1' emisperio c • d alluminatore del corpo • m • n. than the body / q, as is shown above. Let us say that v c a b d x is the sky, the source of light, and that s t is a window by which the luminous rays enter, and so m n and / q are bodies in light and shade as exposed to this light; m n will have a small derived shadow, because its original shadow will be small; and the derivative light will be large, again, because the origi- nal light c d will be large and p q will have more derived shadow because its original shadow will be larger, and its derived light will be smaller than that of the body m n because that portion of the hemisphere a b which illuminates it is smaller than the hemi- sphere c d which illuminates the body /// n. w. H.J 170. Quella proportione che a la linia b c 2colla linia / c tale avra la scurita *m colla oscurita n. The shadow m bears the same proportion to the sha- dow n as the line b c to the line / c. Ash. I. 25 IrtJ PlTTURA. Infra 1' onbre • di pari • qualita • quella che sia • piv • visina • all' ochio 3 appari- ra • di minore oscurita. 4 Perch£ 1' onbra • e • a • b e in primo • grado di scurita 5 b • c • e in seco- do , c - d e in terzo ? La ragione • si e che 6 c - a • b • non vede il cielo in al- cuna parte • aduque ? nes- suna • parte • del cielo • uede • lui • e per questo e priva8to del lume origi- nale • • b • c • vede la parte 171. OF PAINTING. Of different shadows of equal strength that which is nearest the eye will seem the least strong. Why is the shadow e a b in the first grade of strength, b c in the se- cond; c d in the third? The reason is that as from e a b the sky is nowhere visible, it gets no light whatever from the sky, and so has no direct [pri- mary] light. b c faces the portion of the sky f sia J. 10. dodetri . . echosi. 12. pocha ellume . . anchora. 13. c . d . || [AJ p . q . ara. 14. magiore ilume. . . chorpo. 15. perche [lemisper] quella . . chellalumina. 16. chorpo. 170. 2. ara. 3. osscurita. 171. 2. Infrallonbre . . chessia. 3. aparira . . osscurita. 4. schurita. 5. sechodo. 6. il cieno in alchuna. 9. dacquela. 10. ma- I73-J THIRD BOOK ON LIGHT AND SHADE. 97 del cielo 9f-g-z da quella e alluminata: c • d. vede il cielo I0/z • k •, essendo • visto c - d • da maggiore • soiiia di cielo • "che non e • b • c •, e ragiohe vole che sia • piv luminoso, I2e cosi insino • a cierta • distantia il muro • a • d • senpre I3 rischiarera per le dette ragioni • insino a tato che la I4scurita • del' abitatione viciera • il lume della finestra. g and is illuminated by it. c d faces the sky at h k. c d, being exposed to a larger extent of sky than b c, it is reasonable that it should be more lighted. And thus, up to a certain distance, the wall a d will grow lighter for the reasons here given, until the darkness of the room overpowers the light from the window. Br. M. I70<5] 172- 2 Quado il lume dell' aria 3 sara costretto a luminare i corpi 46brosi, essedo essi corpi equidistati sdal cietro d'essa finestra, quello che si 6trovera piv traverse fara maggiore 76bra dopo se. When the light of the atmosphere is restricted [by an opening] and illuminates bodies which cast shadows, these bodies being equally di- stant from the centre of the window, that which is most obliquely placed will cast the largest shadow beyond it. Ash. i. 24^] *73- Quelli • corpi sparsi situati in abitatione alluminata 2 da una • sola • finestra faranno • Fobra • diriuativa • piv • o meno • brieue se- codo 3 che fia piv o meno a riscotro • d'essa finestra. 4 \ Jfra 1' onbre fatte s da equali corpi 6e I disequali distatie ?dallo spiraculo Io8ro alluminatore queMa fia piv luga che I0a il suo corpo meno "luminoso: e tato fia I2piu • luminoso • Fu "3 che 1'altro corpo, quarto Fombra sua fia T5piv • corta • che F al1 6tra.1 1 7 Q uella • proportione J 8 che a in se • n • m • e • v • ^k co • r • t • et • v • x, 20tale avra onbra x co21 4- y • 23La ragione che i corpi obrosi, che si trovano situati piv dritti • al mezzo della finestra, 2*fanno Fobre piv brievi che quelli situati I trauerso • sito si e, che vedono mag'Sgiore la finestra I propia forma, e i corpi traversi la uederanno in iscorto; a quello 2fSdi mezzo la finestra pare grade, ai traversi pare piccola, quel di mezzo vede These bodies standing apart in a room lighted by a single window will have deri- vative shadows more or less short according as they are more or less opposite to the window. Among the shadows cast by bodies of equal mass but at unequal distances from the opening by which they are illuminated, that shadow will be the longest of the body which is least in the light. And in pro- portion as one body is better illuminated than another its shadow will be shorter than another. The proportion n m and e v k bear to r t and v x corresponds with that of the shadow x to 4 and y. The reason why those bodies which are placed most in front of the middle of the window throw shorter shadows than those obliquely situated is: — That the window appears in its proper form and to the obliquely placed ones it appears foreshortened; to those in the middle, the window shows its full size, to the oblique 'ones it appears smaller; the one in the middle faces the whole hemisphere that is e f and those on the side have only a strip; that is q r faces a b; giore soma. 12. chosi. 13. risciarera . . attato. 14- surita . . ilume. 172. i. [lobra reale sia piv luga quato piv]. 2. [si trova] Quado ilume. 3. cosstreto. 5. al . . chessi . . magiore. 173. i. chorpi [separati chessi troueranno] sparsi. 2. da i sola . . omeno . . sechodo. 3. cheffia. 4. Ifrallonbre. 5. ecquali. 6. e Idisegli. 7. spirachulo. 8. alumatore que. 9. la effia piv luga. 10. fia il suo chorpo m. n. ettato fi"a". 13. chellaltro chorpo qu*'a". 15. chorta. 18. n . m . oo "e" . v . 19. k cho . r. 20. ara onbra + c"o". 22. [situati]. 23. chessi . . mezo. 24. lobra . . queli . . sie. [questa] che vede ma. 25. propia . . uechano . . acquelo. 26. mezo . . picola . . 173. Compare the diagram on PI. IV, No. 3. In the original this drawing is placed between lines VOL. I. 3 and 22; the rest, from line 4 to line 21, is written on the left hand margin. N THE THEORY OF THE ART OF PAINTING. [174- Pemisperio a?grade cioe •da participa d'esso lume e cosi abia de- finite tale stremo 2?del niezzo cote- nuto dalli stremi] 28Questa si diuide in 4 parti 29 prima delli stremi c6tene"3°ti 1'onbra con- posita, 3'seconda, Dell'onbra coposita 32den- tro alii sua stremi. the wall b s. The line o c is lighter than the other part of this space o p c h, because this line faces the luminous space a b. Where the shadow is larger, or smaller, or equal the body which casts it. [First of the character of divided lights [14]. OF THE COMPOUND SHADOW F. R, C. H CAUSED BY A SINGLE LIGHT. The shadow f r c h is under such conditions as that where it is farthest from its inner side it loses depth in pro- portion. To prove this: Let d a, be the light and / n the solid body, and let a e be one of the side walls of the window that is d a. Then I say — according to the 2nd [pro- position]: that the surface of any body is affected by the tone of the objects surrounding it, — that the side r c, which faces the dark wall a e must partici- pate of its darkness and, in the same way that the outer surface which faces the light d a participates of the light ; thus we get the outlines of the extre- mes on each side of the centre inclu- '«• ded between them.] This is divided into four parts. The first the extremes, which include the compound shadow, secondly the compound shadow between these extremes. C. A. 201 a; 597 a] 179' L'OPERATIONE • DEL LUME • COL SUO • CIETRO. THE ACTION OF THE LIGHT AS FROM ITS CENTRE. Se tutto • il lume • fusse • quello che cav- sasse • 1' onbre • dopo i corpi a quello • co- traposti •, converebbe, 3che quello • corpo •, ch'e molto • minore che' 1 lume •, facesse • dopo se vn obra • piramidale -, e la spe^rieza non lo mostrado • couiene • che'l cietro d'esso lume sia • quello che facci • tale ofitio. If it were the whole of the light that caused the shadows beyond the bodies placed in front of it, it would follow that any body much smaller than the light would cast a pyramidal shadow; but experience not show- ing this, it must be the centre of the light that produces this effect. osschura. 8. dactutto losspatio. 9. [losspatio] la linia. 10. tio [perche] o p c h . vede \\\\\ 12. magiore ominoe. 13. chorpo. 15. chonposste. 16. partichulare. 17. chonposta. 19. cho . . osschurita. 20. ellobroso . . essia. 21. pariete . . finesstra. 22. Dicho . . dongni chorpo. 23. cholor . . ilato. 24. vedvuta . . osschurita . . osschuri. 25. esstrinsicho che vcduta. 26. chosi . . stre'"me". 29. 4 p"a" p"a" delli. 31. a "a" De Dellonbra chonposita. . 179. i. lume . chosuo. 2. scttutto . . fussi . . chavsassi . . acquello . . chonverebe. 3. chorpo . . faciessi . . ella. 4. rieza nol 14. lumi divisi. The text here breaks off abruptly. 179. The diagram belonging to this passage is between lines 4 and 5 in the original. Comp. the reproduction PI. IV, No. 4, The text and drawing of this chapter have already been published with tole- rable accuracy. See M. JORDAN: "Das Main-buck des Leonardo da Vina". Leipzig 1873, p. 90. i8o. 181.] THIRD BOOK ON LIGHT AND SHADE. IOI PRUOVA. 6 a ' b • sia la gradezza • del lume • d' una • finestra •, la quale dia • il lume • a vno • ba- stone ritto • i pie 7 da • a • c • e da • a • d • sia dove la finestra. tutta • iteramete da il suo • lume • • Jn • c • e • no puo vedere • quella • parte 8 della • finestra •, ch' e ifra • / • b • • E simil • mete -d-f- no uede • a • m • e per questa • cagione I questi • 2 • lochi co9micia • a stre- mare • il lume. PROOF. Let a b be the width of the light from a window, which falls on a stick set up at one foot from a c [6]. And let a d be the space where all the light from the window is visible. At c e that part of the window which is between / b cannot be seen. In the same way a m cannot be seen from d f and therefore in these two portions the light begins to fail. c. 84] 180. 1 Quel corpo • obroso • che infra equali lumi A body in light and shade placed between Shadow as collocate fia, fara tate obre qua ti; fieno i two equal lights side by side will lumi, le quali obre fieno tato piv scure 1'una shadows in proportion to the [amount of] che 1'altra, quato il lume 4che fia dall'oppo- light. And the shadows will be one darker sita parte fia piv visino a esso corpo • che than the other in proportion as one light is li altri. 5 Quel corpo onbroso che equalmete nearer to the said body than the other on the opposite side. A body placed at an equal distance be- distate infra 2 lumi situate sia, fara 6due tween two lights will cast two shadows, one obre tanto piv oscure 1' una- che 1'altra • deeper than the other in proportion, as the quato • i lumi d'esso cagio sie maggiori light which causes it is brighter than the ^ 1' una • che 1' altra. other. Br. M. 170^] l8l. II lume minore che corpo obroso 2fa T ombre terminare in esso corpo 3 e fa poca obra • mista, e lo vede *meno di mezzo; 5il lume mag- giore • che'l corpo obroso 6lo vede piv di mezzo e fa molta obra mista. A light which is smaller than the body it illuminates produces shadows of which the outlines end within [the surface of] the body, and not much compound shadow; and falls on less than half of it. A light which is larger than the body it illuminates, falls on more than half of it, and produces much compound shadow. mostrado chouiene . . cheffacci. 6. gradeza . . pie [c d]. 7. sie . . Itera raeta . . po. 8. Essimil . mete . . chagione . . iochl cho. 9. ilu ne. 180. 1—7 R. i. Infrae. 2. Quel chorpo . . chollochato . chellaltra. 4. cheffia . . oposita . . chorpo piv chelli. 5. chorpo . . lumi [ch] situato. 6. osschure . . chellaltra . quato . elumi . . chagio . magiori 7. chellaltra. 181. i. ilume . . obrso. 3. effa pocha . . mezo. 5. magiore chel chorpo. 6. mezo effa. 6. bastone (stick). The diagram has a sphere in 180. In the MS. the larger diagram is placed place of a stick. above the first line; the smaller one between 1. 4 & 5. IO2 THE THEORY OF THE ART OF PAINTING. [l82. 183. Ash. I. 5*1 DEL'OBRA FATTA DA UNO CORPO SITUATO IFRA 2 EQUALI LUMI. Quello corpo che si trovera collocato • The effect ifra 2 equali lumi 4 movera da se 2 obre le diffc'rfnt' dlquali si dirizzerano per linia a 2 Mumi e se stances, nrnoverai detto corpo e farai lo piu presso 6all'uno-de'lumi, 1'ombra sua, che si dirizzera al piu proplquo lume, ^ fia di minore oscu- rita, che quella che si dirizzera al piu lotano 8 lume. 182. OF THE SHADOW CAST BY A BODY PLACED BETWEEN 2 EQUAL LIGHTS. A body placed between 2 equal lights will cast 2 shadows of itself in the direction of the lines of the 2 lights; and if you move this body placing it nearer to one of the lights the shadow cast towards the nearer light will be less deep than that which falls .towards the more distant one. W. L. 145. Ao] 183- La massima oscurita delle obre e la se- Further 2 plice onbra dirivatiua, perch£ essa no ve^de 'll"he nessun de'due lumi a I, c d. La secoda di minore oscurita e lions in derived shadows .... .. , , . . (183—187). dmvativa e j n, e questa e la ° oscurita minore la meta perch6 da vn sol lu^me £ rischiarata cioe c d. 8 E questa e d'uniforme oscurita natu^rale, perche per tutto vn sol de'due luminosi I0la vede; Ma si varia colla oscurita "accidentale, perche quato piu si scosta I2da tale lume, me participa della '3 sua chiarezza. 14 La terza oscurita e 1' onbra ^ media, ma questa non e di vniforme l6 oscurita na- tural e, perche quato piu 17 s'avicina alia sen- plice obra dirival8tiva, tanto si fa piu oscura, e la uniIQformita vniformemete difforme ac- ciden20tale e quella che la corronpe cio£ che qua2Ito piu si discosta dalli due luminosi si 22 fa piu oscura. 23 La quarta e 1' onbra k r s, e questa si fa 2* tanto piu oscura di scurita naturale, quanto 2Sessa s'avicina al k s, perch£ me vede del lu-'6me a b, ma per accidentale piu perde d' oscu-rita, perche piu s'avicina al lume c d, & que28sta sepre vede li due lumi. The greatest depth of shadow is in the simple derived shadow because it is not lighted by either of the two lights a b, c d. The next less deep shadow is the deri- ved shadow e f n; and in this the shadow is less by half, because it is illuminated by a single light, that is c d. This is uniform in natural tone because it is lighted throughout by one only of the two luminous bodies [10]. But it varies with the conditions of shadow, inasmuch as the farther it is away from the light the less it is illuminated by it [13]. The third degree of depth is the middle shadow [15]. But this is not uniform in na- tural tone; because the nearer it gets to the simple derived shadow the deeper it is[i8], and it is the uniformly gradual diminution by increase of distance which is what modifies it[2o]: that is to say the depth of a shadow increases in proportion to the distance from the two lights. The fourth is the shadow k r s and this is all the darker in natural tone in proportion as it is nearer to k s, because it gets less of the light a b, but by the accident [of distance] it is rendered less deep, because it is nearer to the light c d, and thus is always exposed to both lights. 182. i. da i corpo. 3. quelo chorpo chessi . . chollochato. 4. muvera obre che quali. 5. esse . . detto \\\ corpo effara. 6. de lumi [che allaltro] lombra . . chessi dirizera. 7. oschurita . . chessi dirizera. 183. i. osschurita . . ella. 4. sechoda . . osschurita ello. 5. he efn ecquessta ella. 6. osscurita. 7. rissciarata. 8. ecquesta. 9. osschurita. 10. Massi . . cholla osscurita. n. sisschossta. 12. dattale lume (pi] me. 14. osschurita cllonbra. 15. ma- cquessta e di. 16. osschurita . . quato pi. 18. osscura ella unifor. 20. quela chella . . cioe cheq"ua". 21. disschosta. 22. osschura. 23. hellonbra . . ecquessta. 24. osschura. 26. acidentale . . dosscu. 27. cd ecq. 29. osschurita. 30. ciasscuna. 183. The diagram to this section is given on PI. V. To the left is the facsimile of the beginning of the text belonging to it. 15. We gather from what follows that means pmbra media (the middle shadow). 18 — 20. Compare lines 10—13. JHf '., /] Heliog-. Dujardin. Imp, Kudes. 1 84.] THIRD BOOK ON LIGHT AND SHADE. 103 29La quita e di jninore oscurita 3«che ciascuna delle altre perche sen3Ipre vede u de due lumi interi e tutto 32o parte dell'altro, e questa tanto 33 piu perde d' oscurita quanto 34ella piu s'avicina alii due Iu35mi, e tanto piu quanto piu 36s'avicina al lato esteriore x t, 3 7 perche piu vede del secodo lume &a b. The fifth is less deep in shadow than either of the others because it is always entirely exposed to one of the lights and to the whole or part of the other; and it is less deep in proportion as it is nearer to the two lights, and in proportion as it is turned towards the outer side x /; because it is more exposed to the second light a b. C. A. 174^; S23al 184. DELL'ONBRA SENPLICIE. OF SIMPLE SHADOWS. Perche nelle intersegationi a-b delle due obre coposte 3 e f, m c, si gienera 1'onbra senplicie e cosi in e h e ing, 4e no si gienera tale obra senplicie nelle due altre intersegastioni c d, fatte dalle medesime obre com- poste dette di sopra? RISPOSTA. 7Le obre conposte son miste di chiaro e di scuro, e 8le senplici so di senplicie oscurita; aduque delli 9due lumi n o 1'uno vede 1' obre coposte da vn lato e 1' altro 10 vede 1'onbre conposte dall' altro, ma nessu lume vede le inter1 'segationi a b e per6 e senplicie obra, ma nell'obra coposta I2vede 1'uno o 1' altro lume; e qui nasce vn dubbio T3per 1'aversario, perche dicie nelle intersegatio dell'onbre c6poI4ste per neciessita vedi li due lumi causa d'esse obre, e per J5questo tali onbre si debbono annullare; conciol6siache dove no vede li due lumi, noi diciamo 1' obra essere ^senplicie, e dove vede v solo de' due lumi diremo tal'onbra l8esser coposta, e dove vede li due lumi, essere obra ^an- nullata, perche dove vede li due lumi, no si gienera 206bra di nessuna sorte, ma solo copone la chiarezza del capo 2Icircudatore delle obre; Qui si rispode esser vero 22il detto d' esso aversario, il quale sol fa men- tione di quella veri23ta ch'e I suo fauore, ma se vi agivgnie il rimanete, egli cocludera 24 esser vera la mia proposta, e questo e 25che, se vedendo li due lumi in tale inter- se26gatione, tali obre sarebbono annullate'; Why, at the intersections a, b of the two compound shadows e f and m c, is a simple shadow produced as at e h and m g, while no such simple shadow is produced at the other two inter- sections c d made by the very same compound shadows? ANSWER. Compound shadow are a mix- ture of light and shade and simple shadows are simply darkness. Hence, of the two lights n and o, one falls on the compound shadow from one side, and the other on the compound shadow from the other side, but where they intersect no light falls, as at a b; therefore it is a simple shadow. Where there is a compound shadow one light or the other falls; and here a difficulty arises for my adversary since he says that, where the compound sha- dows intersect, both the lights which produce the shadows must of necessity fall and there- fore these shadows ought to be neutralised; inasmuch as the two lights do not fall there, we say that the shadow is a simple one and where only one of the two lights falls, we say the shadow is compound, and where both the lights fall the shadow is neutralised; for where both lights fall, no shadow of any kind is produced, but only a light background limiting the shadow. Here I shall say that what my adversary said was true: but he only mentions such truths as are in his favour; and if we go on to the rest he must conclude that my proposition is true. And that is: That if both lights fell on the 31. ettutto. 32. dellaltro ecqua tanto. 33. dosschurita. 35. ettanto. 36. allato seriore. 37. sechodo. 184. 2. interseghatione . . coposste. 3. chosi in a h he m g. 4. intersegha. 5. composste. 6. risspossta. 7. conposste son misste . . edidisscuro. 8. osscurita adduque. 9. ellaltro. 10. conposste. n. seghationi . . essenphcie. 1.2. ollaltro . . nasscie. 13. interseghatio . . chopo. 14. sta . . chausa. 15. annulare [sima] concio. 16. novede . . noi dicia. 17. senplicie eduve vedi vsol de due lumi diriStal. 18. chSpossta . . 20. soli . . ciarezza del chSpo. 21. circhudatore. 23. se uagivgnie il rimanete e chScludera. 24. ecquesto. 25. chesse. 26. ghatione . . tale. 27. Quando. 28. vedessino. 29. vede. 104 THE THEORY OF THE ART OF PAINTING. [185. 186. 2? questo cofesso esser vero, quando 28le due obre no vedessimo nel medesimo 29sito, perche se dove vedi vn'obra e vn 3° lume, si gienera obra coposta, e dove 3'vedi due obre e due lumi simili, no si pu^26 variare in parte alcuna essa obra, 33essendo le obre equali e equali li Iu54mi, e questo si prova nell'ottava de ^sproportione dove dicie, tal proportio36ne a senplicie potetia co senplicie resisted 7tia quale a duplicata potetia co du- plicata resistetia. point of intersection, the shadows would be neutralised. This I confess to be true if [neither of] the two shadows fell in the same spot; because, where a shadow and a light fall, a compound shadow is produced, and wher- ever two shadows or two equal lights fall, the shadow cannot vary in any part of it, the shadows and the lights both being equal. And this is proved in the eighth [propo- sition] on proportion where it is said that if a given quantity has a single unit of force and resistance, a "double quantity will have double force and double resistance. Br. M. 2430) 185- DEFINITIONS. I 0 2 La intersegatione n e fatta dall'onbre create dal lume *b, perche tale lume b gie- nera 1'onbra x b e 1'obra s b, ma * la intersegatione m e fatta dal lume a che gienera M'obra s a e Pobra x a. 6 Ma se tu scopri li due lumi a b, allora si gienera le due obre n m 7 in u medesimo tepo, e oltre a di questo se ne gienera due altre di 8 senplicie onbre cioe r o, nelle quali no uede nes^su de due luminosi. 1I0tanto sono li gradi della oscurita che acquista 1' onbre c6pojlste, quan- to saran minori li numeri de' luminosi che la vedono.H a O DEFINITION. The intersection n is produced by the shadows caused by the light b, because this light b produces the shadow x b, and the shadow s b, but the intersec- tion m is produced by the light a which causes the shadow s a, and the shadow x a. But if you uncover both the lights a b) then you get the two shadows n m both at once, and besides these, two other, simple shadows are produ- ced at r o where neither of the two lights falls at all. The grades of depth in compound shadows are fewer in proportion as the lights falling on, and crossing them are less numerous. Br. M. 248^] 1 86. Perche la intersegatione n essendo co- posta di due c62poste obre diriuatiue gie- Why the intersections at n being com- posed of two compound derived shadows, 30. coposita. 31. vede . . "simili". 32. alchuna. 34. ecquesto. 37. co dup "ta". 185. 2. interseghatione n cflfatte. 3. ellobra. 4. interseghatione m effatta. 5. sa he lobra. .6. Massettu desimo . . addi • . gienera. 10. osscurita. it. site . . numere . . chella \\\\dano. gienera. 7. nu me- I8/.J THIRD BOOK ON LIGHT AND SHADE. 105 nera onbra coposta . ^ e no senplicie come fan 1'altre intersegationi dell obre copos^te. s Questo accade per la 2a di questo che di- cie U6La intersegatione dell' obre dirivative- nata • dalla ^ intersegatione delli obrosi collu- nali alluminati da u sol Iu8minoso non gie- nera onbra sepliciell; e questo nascie 9 per la prima che dicie : la intersegatione delle sen- plici I0onbre diriuatiue mai acquista oscu- rita perche I:tutte le somme oscurita in- sieme giunte non acI2quistano maggiore oscurita che vna sola, perche se le mol^te somme oscurita crescessino oscurita nelle lor dup^plicationi, esse non si potrebbino no- minare oscurita so'Sme ma parte di oscurita; Ma se tali intersel6gationi sara alluminate da un secondo lume poI7sto infra 1'ochio e li corpi intersegati, allora tali l86bre sara obre conposte e avra vniforme oscurita T9cosi nella intersegatione come nel rima- nete; 20per la prima e seconda di sopra le intersegationi i k no 2Isi raddoppiano • di oscurita come elle si raddoppiano di qua22tita, ma in questa 3a le intersegationi g n si rad- 2^doppia di oscurita e di quantita. forms a compound shadow and not a simple one, as happens with other intersections of compound shadows. This occurs, according to the 2nd [diagram] of this [prop.] which says: — The intersection of derived shadows when produced by the intersection of co- lumnar shadows caused by a single light does not produce a simple shadow. And this is the corollary of the ist [prop.] which says: — The intersection of simple derived shadows never results in a deeper shadow, because the deepest shadows all added to- gether cannot be darker than one by itself. Since, if many deepest shadows increased in depth by their duplication, they could not be called the deepest shadows, but only part-sha- dows. But if such intersections are illuminated by a second light placed between the eye and the intersecting bodies, then those shadows would become compound shadows and be uniformly dark just as much at the inter- section as throughout the rest. In the ist and 2nd above, the intersections i k will not be doubled in depth as it is doubled in quan- tity. But in this 3rd, at the intersections g n they will be double in depth and in quantity. C. A. 187 lla; 562 a] 187. COME .E DOVE L'OBIETTO OSCURO 2si MISCHIA 3 COL LUME DIRIUATIVO DEL CORPO LUMINOSO. ^L'onbre diriuative delle parieti oscure scolaterali dello splendore della finestra son que!6le che colle lor varie oscurita si mischi- ano col 7 lume diriuativo d'essa finestra • e co uarie oscu8rita tutto lo tingono eccietto nel lume massi9mo • c : provasi e sia d • a 1' onbra primitiI0va la quale tutta vede e fa oscuro colla sua obra "diriuatiua il puto e, come si dimostra per il A I2# e d del quale Tangolo e vede tutta la basa ^oscura d a c, il puto v e veduto dalla oscur^ita a s, parte del ado. per esser piu il tutto che HOW AND WHEN THE SURROUNDINGS IN SHA- DOW MINGLE THEIR DERIVED SHADOW WITH THE LIGHT DERIVED FROM THE LUMINOUS BODY. The derived shadow of the dark walls on each side of the bright light of the window are what mingle their various degrees of shade with the light derived from the window; and these various depths of shade modify every portion of the light, except where it is strongest, at c. To prove this let d a be the primary shadow which is turned towards the point e, and darkens it by its derived shadow; as may be seen by the triangle A a e d, in which the angle e faces the darkened base d a e; the point v faces the dark shadow a s which is part of a d, and as the whole is greater than a part, e 186. i. interseghatione . . choposta . . cho. 2. posste . . choposta. 3. interseghatio . . chopo. 4. site. 5. achade. 6. inter- seghation. 7. interseghation chollunali. 9. la p'che . . interseghatione. 10. osschurita. u. some osschurita. 12. magiore osschurita . . selle. 13. some osschurita cressciessino osschurita. 14. plichationi . . osscurita. 15. disschurita Massettale. 16. ghatione . . sechondo. 17. infrallochio elli chorpi interseghati . . tale. 18. ara . . osscurita. 19. chosi . . interseghation chome. 20. per la p* e 2* disopra . . interseghatio. 21. radoppiano disscurita chomelle se radoppia. 22. quessta . . inter - seghationi . . ra. 24. disschurita eddi. 187. come [1] e dove lobbietto osscuro. 2. si missta colla suobra diriuatiua. 3. chol . . lumi "noso". 4. lonbra dmuativa . . osscure [cheso la]. 5. finesstra. 6. cholle . . misstaro. 8. tinghano. 9. essia. 10. effa. 12. langholo. 14. eser . . chella. 15. osscu. 187. The diagram on PI. IV, No. 5 belongs to this passage; but it must be noted that the text explains only the figure on""the right-hand side. VOL. r. O io6 THE THEORY OF THE ART OF PAINTING. [l87. •5 parte e, che vede il tutto della basa, sara piu oscul6ro che v che ne vede parte; me- diate la coclusio'^ne di sopra alia figura, t sark meno osl8curo che '1 vt perche la basa del / A e parte della ' ^ basa del A vy e similmete succede / meno o20scuro del /, perche la basa del A/ e parte della ba2Isa del A /-e'l c e termine del'obra dirivatiua e pri"cipio massimo della massima parte alluminata. which faces the whole base [of the triangle], will be in deeper shadow than v which only faces part of it. In consequence of the conclusion [shown] in the above diagram, / will be less darkened than z/, because the base of the A / is part of the base of the A v; and in the same way it follows that-/ is less in shadow than /, because the base of the A / is part of the base of the A /. And c is the terminal point of the derived shadow and the chief beginning of the highest light. 17. fighura . t [c piu] sara. 18. churo. 19. essimilmete suciede meno os. FOURTH BOOK ON LIGHT AND SHADE. I.i 37 e\ 188. La stanpa dell' onbra di qualuque cor2po di uniforme grossezza mai sara simile ^al corpo donde ella nasce. The form of the shadow cast by any On the shape body of uniform density can never be the of cast sha~ same as that of the body producing it. (188-191). c. A. 184 6-, 5553] 189. Nessuna obra separata potra stampare sulla pariete la uera forma del corpo obroso, No cast shadow can produce the true image of the body which casts it on a vertical se il cietro del lume no fia equidistate dalli plane unless the centre of the light is equally stremi d'esso corpo. distant from all the edges of that body. A. i a] 190. Se la fmestra • a • b • mada • per se • in casa il sole •, cresciera codesto sole la gra2dezza della • finestra • e diminvira 1' onbra dell' omo • in modo • che quado detto omo acco^stera quella obra • di se persa • a quella che porta la uera gradezza della finestra, vedra 4 in sul contatto dell' onbre • perse e co- fuse dalla potetia della luce chiu- dere e no laSsciare passare i razzi solari, e fara 1' onbra fatta dall' omo sul detto cotatto 6lo effetto che sopra • e figurato apputo. qui di If a window a b admits the sunlight into a room, the sunlight will magnify the size of the window and diminish the shadow of a man in such a way as that when the man makes that dim shadow of himself, approach to that which defines the real size of the window, he will see the shadows where they come into contact, dim ** and confused from the strength of the light, shutting off and not allow- ing the solar rays to pass; the effect of the shadow of the man cast by this contact will be exactly that figured above. 188. 2. grosseza. 3. nassciesi. 189. i stapire suli. 2. sel . alii. 190. i. sella . . chasa . . desto sole. 2. deza . . imodo checquado . . acho. 3. acquella . gradeza . . vedera. 4. chontatto . . civdere e no [po] la. 5. razi solari [chome acjeffara. 6. effigurato aputo. 188. Comp. the drawing on PI. XXVIII, No. 5. 190. It is scarcely possible to render the meaning of this sentence with strict accuracy; mainly because the grammatical construction is defective in the most important part — line 4. In the very slight original sketch the shadow touches, the upper arch of the window and the correction, here given is perhaps not justified. 108 THE THEORY OF THE ART OF PAINTING. — 194. C. A. 237 II; 7«5*1 I91 L'onbra no si dimostrera mai d'uniforme oscurita nel 2 loco dove essa si taglia se tale loco non e equidistante dal 3 corpo luminoso; provasi per la ;a che diceTI quell' obra si * dimostrera piu chiara o piu oscura che fia circundasta da capo piu oscuro o piu chiaro, per la ottava di 6questol quel campo avra le sua parti tanto piu ?scure o piu chiare quato egli sara piv remoto o piu vicino 8al corpo luminoso- ell infra li siti d' equal distan- <>tia dal luminoso quel si dimostrera piu allu- minato I0che ricieve li razzi luminosi infra angoli piu equali, "senprel 1'onbra segnata in qualunche inequalita di sito I2si dimo- trera colli sua vari termini equali al corpo ^onbroso, se 1'ochiosi pone dove fu il cietro del luminoso. T* QuelF onbra si dimostra piu oscura che e piu remota 'sdal suo corpo obroso; I6l'6bra c d, nata dallo '?a se equidistate corpo 6l8broso a b, no si dimostra ^equale in oscurita per esse20re in capo di uarie chia- re2 ^ze. A shadow is never seen as of uniform depth on the surface which intercepts it un- less every portion of that surface is equi- distant from the luminous body. This is proved by the ;th which says: — The shadow will appear lighter or stronger as it is sur- rounded by a darker or a lighter background. And by the 8th of this: — The background will be in parts darker or lighter, in pro- portion as it is farther from or nearer to the luminous body. And : — Of various spots equally distant from the luminous body those will always be in the highest light on which the rays fall at the smallest angles: The outline of the shadow as it falls on inequalities in the surface will be seen with all the contours simi- lar to those of the body that casts it, if the eye is placed just where the centre of the light was. The shadow will look darkest where it is farthest from the body that casts it. The sha- dow c d , cast by the body in shadow a b, which is equally distant in all parts, is not of equal depth because it is seen on a back ground of varying brightness. C. A. I241 PAINTING. '197. 198. e per colore, e quato piv si allotana, piv perde sua similitudine, e la 17cosa che fa grande obra e vicina al lume e truovasi allu- minata • dal lume l8e dal'aria luminosa, ode quest' aria lascia i termini • confusi del' obra. colour; but the farther off it is the more it loses this resemblance. An object which casts a large shadow and is near to the light, is illuminated both by that light by the lu- minous atmosphere; hence this diffused light gives the shadow ill-defined edges. E. 197. Quel luminoso di lunga 2e stretta figura fa ^li termini dell' obra diri4vativa piv con- fusi 5 che il lume sperico, e 6questo e quel che c67tradicie alia propo8sitione sequete: QueM'obra avra li termini I0piu noti che fia piu "vicina all'onbra priI2mitiva, o voi dire il '-Jcorpo obroso, ma J»di questo e cavsa la '5 figura luga del l6luminoso a c ecc. A luminous body which is long and narrow in shape gives more confused out- lines to the derived shadow than a sphe- rical light , and this contradicts the propo- sition next following: A shadow will have its outlines more clearly defined in proportion as it is nearer to the primary shadow or, I should say, the body casting the shadow; [14] the cause of this is the elongated form of the luminous body a c, &c. [16]. E. 32*1 198. DE OBRE CORRO1TE. ground. 2Obre corrotte so dette ^qiielle che so Effects on vedute 4 da parieti chiare o alstro luminoso. b\hheadtone l6Quell'obra si dimostra 7 piu oscura che back e in 8canpo piu biaco. U9Li termini di quell' 6- 10 bra diriuatiua sara piu noti IJche fien piu viciI2ni all' obra primitiva.il ^L'obra diri- vativa I4avra li termini delisla sua impres- sione pil6v noti, li quali si ta'^gliano infra angol8li piu equali nella '9 sua pariete. 'Quella parte d'u- 2Ina medesima obra 22 si dimostrera piv 2 'oscura che avra co- 24tra se piu oscuri 2sobietti; E si dimo- 26strera me- 2 7 no oscura che fia 28veduta da obbiet- 2^to piu chiaro; E 3°quello obietto chia- 31 ro che fia maggiore, 32v rischiarera; pi- 34 e quello 3 5 obietto 36 oscuro 37 che fia 38di mag- 39giore qu- -t°atita, piu 4Ioscure- 42ra 1'obra 43 diriuati- 44 va nel ^sito della 46suapercus- 47sione. OF MODIFIED SHADOWS. Modified shadows are those which are cast on light walls or other illuminated objects. A shadow looks darkest against a light background. The outlines of a derived shadow will be clearer as they are nearer to the primary shadow. A derived shadow will be most defined in shape where it is inter- cepted, where the plane intercepts it at the most equal angle. Those parts of a shadow will appear darkest which have darker objects opposite to them. And they will appear less dark when they face lighter objects. And the larger the light object opposite, the more the shadow will be lightened. And the larger the surface of the dark object the more it will darken the derived shadow where it is inter- cepted. ilume ecquasi . . percia. 16. reza . . chalore ecquato . ella. 17. alume . . aluminata da. 18. chonfusi. 197. i. lungha. 2. esstretta fighura. 4. chonfusi. 5. spericho. 6. quessto ecquel . . cho. 7. traddicie. 9. ara. ij. chorpo. 14. quessto echavsa. 15. fighura lugha. 198. i. chorrocte. 2. obra chorrotte. 3. chesso. 4. pariete. 0. dimosstra. 7. osscura. 8. chanpo . . biancho. 10. bra "diri- uatiua" sara. 14. ara. 15. inpresione. 17. angho. 19. par"i"ete. 22. dimossterra. 23. osschura che ara. 24. trasse . . osscuri. 25. Essi. 26. sterra |piu] me. 27. osschura. 30. cquello. 31. cheffia magiore. 32. rissciarera. 33. [ech]. 35. osschuro. 37. cheffia. 38 ma. 39. givre q. 41. osscure. 45. perchu. 197. 14—16. The lettering refers to the lower diagram, PI. XLI, No. 5. 199- FOURTH BOOK ON LIGHT AND SHADE. Ill Ash. I. 13 6} 199. OPENIONE D'ALCUNI CHE UN TRIAGOLO NO FACCI IN VNA PARIETE ALCUN1 OBRA. ^ Sono stati alcuni • matematici • che anno •tenvto per fermo che uno triagolo, che abbia ^la basa volta • verso el lume, no facci in vna pariete • alcuna obra-, la qual sCosa prouano diciedo: cosi, nessuno corpo spe- rico minore 6che lume puo givgnere alia meta • col' obra : le linie • radiose sono rette, 7aduque poniamo • il lume sia g - h • e '1 triagolo sia / • m n ; e _ la pariete sia • i • k : dica8 no il lume • g • vedere • la faccia del triagolo • / • n • e la parte della pariete • i • q •, ^e cosi • Ji • vede • come • g - la faccia • /• m • e poi vede -m-n-e la pariete •/ • k •, e se I0essa tutta la pariete r — 5 — e vista dal lume • g • h • co- uiene essere il triagolo saza obra, e che "non a obra -no la puo dare: la qual cosa pare I questo caso credibile se'l triagolo *2ri-p-g-nd fusse visto da 2 lumi -g- h •, ma-z'-/-e cosi g-k-n.6n e ciasuno per se J3 visto se no da uno solo- lume-, cioe i-p- no puo esser visto da • h • g\ k • no sara mai *4 visto da • g - aduque •/ • q • fia piv chiaro il doppio che dua visiui spati che tega d' obra. OF THE OPINION OF SOME THAT A TRIANGLE CASTS NO SHADOW ON A PLANE SURFACE. Certain mathematicians have maintained A disputed that a triangle, of which the base is turned Pr°P°sition- to the light, casts no shadow on a plane; and this they prove by saying [5] that no spherical body smaller than the light can reach the middle with the shadow. The lines of radiant light are straight lines [6]; therefore, suppose the light to " - be g h and the triangle I m n, and let the plane be i k; they say the light g falls on the side of the triangle / «, and the' portion of the plane / q. Thus again h like g falls on the side / m, and then on m n and the plane / k', and if the whole plane thus faces the lights g //, it is evident that the triangle has no shadow; and that which has no shadow can cast none. This, in this case appears cre- dible. But if the triangle n p g were not illuminated by the two lights g and h, but by / / and g and k neither side is lighted by more than one single light; that is / p is invisible to h g and k will never be lighted by g; hence p q will be twice as light as the two visible portions that are in shadow. C. A. 30,?; 2OO. 1 3 Quel loco e piv obroso che da mag^gior soma di razzi obrosi veduto fia Ifsquel loco • che sara 6percosso da piv g?rosso angolo fat8to da razzi obrosi, 9 fia piv scuro; I0a • fia di doppia osc^urita • che • b • perchI2e da doppia base ^nascie in pari dist14atia 1I5quel . loco sara piv luminoso • che da magl6gior somma di razzi luminosi ripercosso fiat I7 d- e il principio dell' onbra • d •/-, e tignie poco l8in- c- d-e- e mezza • 1' onbra • d •/; e piv tignie ^nella percussione • b • di -f e tutto lo intervallo 20 obroso e interamete tignie di se il loco a. A spot is most in the shade when a On the reia- large number of darkened rays fall upon it. ca^tfhadowl The spot which receives the rays at the (2°°— 2°2)- widest angle and by darkened rays will be most in the dark; a will be twice as dark as b, because it originates from twice as large a base at an equal distance. A spot is most illuminated when a large number of luminous rays fall upon it. d is the beginning of the shadow df, and tinges c but a little; d e is half of the shadow *r). l'acqu*a movete, cioe co5m' onde piccole, se- 6pre sara • maggiori ? che la cosa di fo8ri, donde nasce. Br. M. 93 £] The shadow or object mirrored in water in motion, that is to say in small avelets, will walways be larger than the external ob- ject producing it. It 93/5] *W Inpossibile e • che la cosa • spechiata It is impossible that ah object mirrored sopra 2dell'acqua • sia simile in figura al- on water should correspond in form to the 1'obbietto che 3 si spechia, essendo il centre object mirrored, since the centre of the eye dell'ochio sopra 4la superfitie dell'acqua. is above the surface of the water. le loro. 7. dicho . . focho o dalume. 8. Hume . refresso. 9. dicho. . dacquella. 10. chorpo cheffia . . achorpi . . chome. ii. alteze . . bossci . verdi ossechi . . ciasscu. 12. vessta. ij. ciasscuno . . ettante. 14. isscurita che lume. 15. po simili . . chorpi . . alchuno. 16. refresso. 306. 2. chose. 3. achu. 5. pichole. 6. magiorc. 7. chella chosa. 8. nassce. 207. A stands for ockio [eye], B for aria [air], original MS. the second diagram is placed below C for acqua [water], D for cattto [cathetus]. — In the line 13. 2O8 — 2IO." FIFTH BOOK ON LIGHT AND SHADE. sQuel che di sopra si manifesta nella figura 6fatta qui da parte, nella quale si uede F oc^chio uedere la superfitie • a • d, e non la puo 8poi vedere in-//-e in r t, vede 9 la superfitie. del simulacro in r t e non la 10 vede nella cosa • reale c d: adunque "e inpossibile vedere quel ch'e detto di sopra, 12 se Fochio non e situato nella superfitie dell'a^cqua, come si mostra qui di sotto. This is made plain in the figure here given, which demonstrates that the eye sees the sur- face a b, and cannot see it at //, and at r t; it sees the surface of the image at r t, and does not see it in the real object c d. Hence it is impossible to see it, as has been said above unless the eye itself is situated on the surface of the water as is shown below [13]. S. K. M. III. 37 6] 208. SPECHIO. 2 Se la alluminata fia della 3 gradezza della cosa allumi^nate e di quella dou' esso si reflette • tal propor6tione avra la qualita del lume 7reflesso • col lume mezzano, 8 quale • avra esso • lume se- codo 9 col primo, essedo essi corpi I0piani e biachi. size THE MIRROR. If the illuminated object is of the same Experiments as the luminous body and as that in nbn» which the light is reflected, the amount (2°8-210)- of the reflected light will bear the same proportion to the intermediate light as this second light will bear to the first, if both bodies are smooth and white. W. 232*] 209. Descrivi come nessu corpo in se e ter- minate nello 2 spechio ma lo termina F ochio, che detro a tale spechio 3 lo vede, inperoche, se tu rappresenti il tuo viso neMo spechio, la parte e simile al tutto, 5 conciossiache la parte e tutta per tutto lo spechio, ed e s tutta in ogni parte del medesimo spechio, e il simile ac7cade di tutto il simulacro di tutto F obietto cotra po8sto a quello spechio ecc. Describe how it is that no object has its limitation in the mirror but in the eye which sees it. in the mirror. For if you look at your face in the mirror, the part resembles the whole in as much as the part is every- where in the mirror, and the whole is in every part of the same mirror; and the same is true of the whole image of any ob- ject placed opposite to this mirror, &c. C. A. 139^; 419-5] 210. Nessuno omo vedra la similitudine 2 del- Faltr' omo sopra lo spechio nel propio 3 loco • dove si riferiscie, perche ciascuno , 4 obietto cade sopra s lo spechio ifra equali 6 angoli, e se F omo, che vede Faltro nello spechio, 7 non e posto colla linia delle spetie, no lo vedra 8 nel loco dove cade, e s'egli entra nelle linie, 9egli occupa Faltr'omo e la sua CL No man can see the image of another man in a mirror in its proper place with regard to the objects; because every object falls on [the surface of] the mirror as equal angles. And if the one man, who sees the other in the mirror, is not in a direct line with the image he will not see it in the place where it really falls; and if he gets into the line, he covers the other mette-se medesimo I0 sopra similitudine: "« o sia lo spechio • b • sia man and puts himself in the place occupied 207. i. chella chosa. 2. infigra. 3. sisspechia. 4. dellacq "a". 5. manifessta. 6. dapparte. 7. po. 9- nolla. 12. sellochio. 13. qua . . mossstra. 308. 2. sella. 3. gradeza. 4. edidi quella douessolu. 5. rifretta. 6. ara. 7. refresso . . mezano. 8. ara. 10. ebbianchi. 209. i. desscriui . . etterminato. 2. mallo . . attale. 3. inperochessettu rapresenti. 4- spechio [il tutto ettutta] la . . essimile al fuch.5. 5. chonciossia chella . . ettutta . . losspechio. 7. chade di tutto il il simulacro . . cStrappos. 8. sta acquale. 210. i. vedera. 3. locho. 4. chade. 6. nelo. 7. cola . . vedera. 8. nelocho . . esseli. 9. elli ochupa. 16. tocha. 17. tochera u6 THE THEORY OF THE ART OF PAINTING. [211. 212. 1'ochio dell'amico tuo • I3d- sia il tuo ochio; '31'ochio del tuo amico ti pare in -a: e all'amico par ^che'l tuo sia in c '5e la Iter- I6segatione delle linee visuali • si fa in • m • e qualuque tocca 17in m • tocchera 1'ochio del- 1'altro omo che fia aperto; l8Se toccherai 1'ochio 'sdell'altr'omo sopra 20lo spechio parrk al' 2Ialtro che tocchi il tuo. by his image. Let « o be the mirror , b the eye of your friend and d your own eye. Your friend's eye will appear to you at a, and to him it will seem that yours is at c, and the intersection of the visual rays will occur at m, so that either of you touching m will touch the eye of the other man which shall be open. And if you touch the eye of the other man in the mirror it will seem to him that you are touching your own. E. 2t\ 211. DELL'ONBRA o suo MOTO. Appendix:- 2Se li 2 obrosi che Pu dopo Paltro son On shadows. p . - . . . in movement m3fra la finestra e la panete con alqua^to (211. 212). Spatio s' interponghino, sponbra dell'onbroso, che sara vicina alia 6pariete del muro, sara mobile, se P o^broso propinquo alia finestra fia in 8moto traversale a essa finestra; prova^si e sia li due obrosi a b interpoI0sti infra la fine- stra n m e la parii:ete o /, con alquanto spatio interpoI2sto infra loro il quale e lo spatio a b; X3dico che se Pobroso a si mo- vera in'^verso s che Pobra dello obroso b, la qua'Sle e c, si mo- vera in • d. ad 1 \ - 1; ^ OF THE SHADOW AND ITS MOTION. When two bodies casting shadows, and one in front of the other, are between a window and the wall with some space between them, the shadow of the body which is nearest to the plane of the wall will move if the body nearest to the window is put in transverse mo- tion across the window. To prove this let a and b be two bodies pla- ced between the window « m and the plane surface o p with sufficient space between them as shown by the space a b. I say that if the body a is moved towards s the shadow of the body b which is at c will move towards d. E. 30/5] 212. DEL MOTO DELLA OBRA. 2 Senpre il moto della obra e piu 3 velo- cie che il moto del corpo, che 4la genera, essedo il luminoso imobile; provasi e sia il lumisnoso a e Pobroso b e Pobra d\ 6Dico che in pari tepo si moue Ponbro7so b in c, che il d onbra si move I %e, e quella proportione e da ve9Iocita a velocita fatta in medesiI0mo tepo, quale e da lunghezza zldi moto a lunghezza di moto; aI2duque pella proportione che a la ^lughezza del e moto fatto dall'6broI4so b insino in c colla lughezza I4del moto fatto dall'obra d in e, OF THE MOTION OF SHADOWS. The motion of a shadow is always more rapid than that of the body which produces it if the light is stationary. To prove this let a be the luminous body, and b the body casting the shadow, and d the shadow. Then I say that in the time while the solid body moves from b to c, the sha- dow d will move to ellobra. 6. Dicho. 8. ccquella . . he da. 10. dallungheza. n. allunghezza. 14. cholla lugheza. 16. predecte. 18. Masse. 19. all moto. 212.] FIFTH BOOK ON LIGHT AND SHADE. 117 16 tale anno infra loro le predette veI7locita de' moti. 18 Ma se il luminoso sara equale in veI9locita al moto dello obroso, allora 1'onbra 20e 1'onbroso fieno infra loro di moti • equali; 2IE se il luminoso sara piu velocie dello 622broso •, allora il moto del- 1'obra sara piu tar2 3 do che'l moto dello obroso. se il luminoso fia piu tardo che 1' onbroso, 2s allora 1' obra sara piu velocie che F obroso. body b to c, to that moved over by the shadow d to e, the proportion in the rapidity of their movements will be the same. But if the luminous body is also in move- ment with a velocity equal to that of the solid body, then the shadow and the body that casts it will move with equal speed. And if the luminous body moves more ra- pidly than the solid body, the motion of the shadow will be slower than that of the body casting it. But if the luminous body moves more slowly than the solid body, then the shadow will move more rapidly than that body. 20. ellonbroso fie infralloro . . ecquali. 21. Essellluminoso. 23. da chel. 24. Masse . . chellonbroso. 25. alora . . chellobroso. SIXTH BOOK ON LIGHT AND SHADE. C. 7 a (9*)] 213- PROSPETTIVA. 2 Se farai passare i razzi del sole per lo The effect of spiracolo in forma di Stella • vedrai belli "ihro^T6 effetti di prospettiua *'m nella percussione holes fatta dal passato sole. (213. 214). PERSPECTIVE. If you transmit the rays of the sun through a hole in the shape of a star you will see a beautiful effect of perspective in the spot where the sun's rays fall. A. 64*] 214. 2Nessuno • spiraculo • puo trasmutare • il concorso • de razzi • luminosi I modo che per lunga -Mistantia-non porgino • all'obietto la similitudine della • lor cagione j ^jnpossi- bile • e • che i razzi • luminosi • passati • per pa- ralello • non dimostrino nelP obbietto • la forma s della • loro • cagione; 6perche tutti li effetti • de' corpi • luminosi • son dimostratori • delle • loro • cagioni ; la luna di forma ? naviculare • passata dallo spiracolo figurera nell' obietto uno corpo naviculare. 8Perche 1'ochio vede le cose distati maggiori 9 die no le misura • sulla • pa- riete? No small hole can so modify the con- vergence of rays of light as to prevent, at a long distance, the transmission, of the true form of the luminous body causing them. It is impossible that rays of light passing through a parallel [slit], should not display the form of the body causing them, since all the effects produced by a luminous body are [in fact] the reflection of that body: The moon, shaped like a boat, if transmitted through a hole is figured in the surface [it falls on] as a boat- shaped object. [8] Why the eye sees bodies at a distance, larger than they measure on the vertical plane? 313. 2. seffarai . . razi . . spiracholo . . vederai . . prosspettiua [in esso sole]. 2. inella perchussione. 314. i. [ogni spirachulo per lunga disstantia . porgie allobiecto la forma]. 2. spirachulo potrassmutare . il chonchorso . . imodo. 3. disstantia . . porghino allobiecto [la forma] la . . chagione. 4. razi. 5. non if wanting in the original . chagione. 6. chorpi • • chagioni. 7. navichulare . . spiracholo [alo] figurera . . i corpo. 8. chose. 213. In this and the following chapters of MS. C the order of the original paging has been ad- hered to, and is shown in parenthesis. Leonardo himself has but rarely worked out the subject of these propositions. The space left for the purpose has occasionally been made use of for quite different matter. Even the numerous diagrams, most of them very delicately sketched, lettered and numbered, which occur on these pages, are hardly ever ex- plained, with the exception of those few which are here given. 214. This chapter, taken from another MS. may, as an exception, be placed here, as it refers to the same subject as the preceding section. 8. In the MS. a blank space is left after this question. 215. 2i6.1 SIXTH BOOK ON LIGHT AND SHADE. 119 215. La larghezza • e lunghezza • dell' onbra • e del lume •, benche per li scorti • si facci • piv stretta • e piu • corta, 2non diminuira • ne cresciera • la qualita • e quantita • di sua chia- rezza o scurita. 3L'ofitio • dell' onbra • e del lume-dimi- nvito • per li scorti • sara • da onbrare e 1' altro • da luminare *jl contraposto • corpo secondo • la qualita • e quatita che a esso • corpo • appare. sQuanto- piv • 1' onbra • diriuatiua s'aui- cinera • ai sua penvltimi • stremi •, di tanta maggiore • scurezza • apparira : 6g-z-e dopo la intersegatione • sol ueduto • dalla parte del- 1'onbra • y • z- che piglia • per itersegatione 1' on-bra • m • n • ? e per dirittura • 1' onbra • a • m : onde ha -due tanti piu • obra • che g • z • : y • x uede • per intersegatione -n-o-e per 8 di- retto -n-m- a •, onde x-y si dimostra • auere- 3 • tanti • piu • obra • che z -g\ x-f- vede per itersegatione 9 . o • b • e per diretto • vede o • n-m • a; onde • diremo adunque • che 1' onbra ch'e tra •/• x sara 4 tanti piv I0scura • che • 1' onbra • z • g • perch e vista da 4 tanti piv obra 11 a • b- sia la parte del' onbra primi- tiua/ b • c fia il lume primitiuo,- d sia • il loco della intersegatione, I2/~-^-sia 1' onbra diri- uatiua •/• < • il lume diriuatiuo. J3 E questo • uole essere nel principio • della dimostratione. Although the breadth and length of lights pn and shadow will be narrower and shorter in tlond foreshortening, the quality and quantity of the (2is- light and shade is not increased nor dimi- nished. [3] The function of shade and light when diminished by foreshortening , will be to give shadow and to illuminate an object opposite, according to the quality and quan- tity in which they fall on the body. [5] In proportion as a derived shadow is nearer to its penultimate extremities the deeper it will appear, g z beyond the intersection fa- ces only the part of the shadow [marked] y z; this by intersection takes the shadow from m n but by direct line it takes the shadow a m hence it is twice as deep as g z. Y x, by intersection takes the shadow n o, but by direct line the shadow n m a, therefore x y is three times as dark as z g; x f, by inter- section faces o b and by direct line o n m a, therefore we must say that the shadow be- tween f x will be four times as dark as the shadow z g, because it faces four times as much shadow. Let a b be the side where the primary shadow is, and b c the primary light, d will be the spot where it is intercepted, f g the derived shadow and_/fuso • givditio • lo pigli • e tra- scrivi in nella • tua • opera, no le farai finite overo terminate, •» che la • tua • opera • fia di legniosa • resultatione. OF PAINTING. When you represent in your work sha- dows which you can only discern with diffi- culty, and of which you cannot distinguish the edges so that you apprehend them con- fusedly, you must not make them sharp or definite lest your work should have a wooden effect. E. 17 a] 237- PITTURA. 2Noterai nel tuo ritrarre come infra 3le obre sono obre insesibili d' oscurita «e di figura e questo si prova per la 3a 5 che diciel le superfitie globulenti so 6di tante varie oscurita e chiarezza, qua?te so le uarieta delle oscurita e chia8rezze che le stan per obbietto. OF PAINTING. You will observe in drawing that among the shadows some are of undistinguishable gradation and form, as is shown in the 3rd [proposition] which says: Rounded surfaces display as many degrees of light and shade as there are varieties of brightness and dark- ness reflected from the surrounding objects. E. 238. DE OBRE E LUME. 2 Vedi tu che ritrai dell' opere di na3tura, le quatita le qualita e le * figure de' lumi e onbre di ciassscun muscolo e nota nelle lu- 6ghezze della lor figura a qual muscolo si dirizzano colla rettitudine de8lle lor linie cie- trali. OF LIGHT AND SHADE. You who draw from nature, look (care- fully) at the extent, the degree, and the form of the lights and shadows on each muscle; and in their position lengthwise observe towards which muscle the axis of the central line is directed. Ash. I. 256] 239- Quella • cosa-, che per chiarezza fia • piv • An object which is [so brilliantly illuminated simile alia • luce •, 2fia veduta- piv-dalontano as to be] almost as bright as light will be vi- e di maggiore • forma che non si 3 richiede sible at a greater distance, and of larger appa- alla qualita del corpo • in detta • distatia. rent size than is natural to objects so remote. 5. inel . . dicho. 6. checquelli . . .illuminate . . J|e]c. 7. ellume nolla. 8. cholore. 9. diferetie. 10. globbose. 336. 2. dissciernerai chon difichulta . . poi [dissciernere] "chonossciere" anzi chon cho. 2. ettrasscrisse inclla . . nolle. 3. chclla. 337. 2. chome infral. 3. dosscurita. 4. fighura ecquesto. 5. cheddicie . . globbulenii. 6. osschurita. 7. toso . . osschurita. 8. chelle. 338. i. ellume. 3. elle. 4. fighure. 5. scun musscholo. 6. gheze. 7. dirizano cholle. 239. i. chosa . . chiareza. 2. dallontano . . magiore. 3. chorpo. 240-243.] PERSPECTIVE OF DISAPPEARANCE. 133 E. 32 6] 24O. Quell'onbra si dimostrera piu oscu2ra che fia circundata da piu 3Splendida bia- chezza e de conveHso sara meno evidete dov'ella e giene^rata in piu oscuro canpo. A shadow will appear dark in proportion The effect , . . , of light or to the brilliancy of the light surrounding it and dark back- conversely it will be less conspicuous where ^apparent it is seen against a darker background. size. of ob- (240—250). 176] 241. DE PROSPETTIVA COMUNE. li2Quella cosa d'uniforme grossezza 3e colore che sara veduta in ca^po di dis- uniforme colore si dimosstrera di disuniforme grossezza 1 6E se una cosa d'uniforme grossezza ?e di uarii colori sara veduta in ca8po d' uniforme colore, essa cosa 9 si dimostrera di uaria gros- sezza, I0 e quanto i colori del canpo o della cosa IJnel canpo veduta sara di colori ch'ab- bino J 2 maggiore varieta, allora le grossezze par^rano • piv varie, ancora che le cose ^nel canpo vedute sieno di pari grossezza. OF ORDINARY PERSPECTIVE. An object of equal breadth and colour throughout, seen against a background of various colours will appear unequal in breadth. And if an object of equal breadth through- out, but of various colours, is seen against a background of uniform colour, that object will appear of various breadth. And the more the colours of the background or of the object seen against the ground vary, the greater will the apparent variations in the breadth be though the objects seen against the ground be of equal breadth [throughout]. 242. If Quella cosa oscura che fia veduta in capo 2 chiaro • essa si dimostrera minore ch' essa 3non ell 4 Quella cosa chiara ssi dimostrera di maggiore figura 6che sara veduta in canpo di piv oscuro 7 colore. A dark object seen against a bright back- ground will appear smaller than it is. • A light object will look larger when it is seen against a background darker than itself. C. A. 124 6; 383-5] 243- DEL LUME. 2Quel corpo luminoso, che si trouera essere occupato 3 da piv grossa aria, appa- rira di minore gradezza, 4 come si dimostra nella luna o sole occupati dalla snebbia. DEL LUME. 7 Infra i corpi luminosi d' equal grandezza distantia e spledore quello 8si dimostrera di maggiore • forma •, il quale da piu oscuro • canpo circhQ9dato • fia. DEL LUME. "Jo trouo • che ciascuno • corpo lumi- noso, veduto • nella folta • e spessa I2nebbia •, OF LIGHT. A luminous body when obscured by a dense atmosphere will appear smaller ; as may be seen by the moon or sun veiled by mists. OF LIGHT. Of several luminous bodies of equal size and brilliancy and at an equal distance, that will look the largest which is surrounded by the darkest background. OF LIGHT. I find that any luminous body when seen through a dense and thick mist diminishes 240. i. dimosstera piu osicu. 2. cheffia circhundata dappiu. 3. biachezza [e de chon ver], 4. dovella giene. 3. osschuro chanpo. 241. i. prosspectiva. 2. grosseza. 3. chessara. 5. tera . . grosseza. 6. esse . . grosseza. 7. vari[a] colore. 8. cholore. 9. di- mosterra . . grosseza. n. colori cabino. 12. magiore . . grosseze pa. 13. chelle. 14. grosseza. 242. i. Quala . . oscura fia . . chapo. 2. dimossterra. 4. Quala . . chiara [sara veduta. in]. 5. [canpo di] si dimosterra . . ma- giore. 6. chessara . . chanpo . . osscuro. 7. cholore. 243. 2. chorpo . . chessi troverra . . ochupato. 3—5 R. 3. arie aparira. 5. cheme si dimosstra . . ossole ochupati. 7. chorpi . . esspredore. 8. dimossterra di magiore . . dappiu osschuro chanpo circhu. n. checciasscuno chorpo . . esspessa. 12. dimi- 134 THE THEORY OF THE ART OF PAINTING. [244. 245. from the eye. as well as the quanto piu • s' allontana dall' occhio • piu • di- in proportion to its distance minuisce, e cosi '^fa-il sole di dl come la Thus it is with the sun by day, luna-e li altri immortali lumi di notte. E moon and the other eternal lights by night. And qua'4do 1'aria-e pura quanto • essi lumi- when the air is clear, these luminaries appear _:.\. ~» «.1l^.<4-ir»in/-i . /-Inll' r\f*r-h'\r\ ISr\'iii r»ar*» ci lnrnr^»r in r>rr»r»r»rl-ir>n ac f-h^i/ nr*» AirfVit»»- fmm piu • s* allontanano • dall'occhio, '5 piu pare si faccino • di maggiore • forma. larger in proportion as they are farther from the eye. F. 12 a\ 244. Quella parte dello obbietto oscuro d' uni- forme grosse'zza si dimostrera piu sottile che fia veduta in capo 3pju luminoso. *e e il corpo dato oscuro in se e d'uni- forme gross sezza, abzcd son capi oscuri piu 1'uno che 1'altro, 6b c e canpo luminoso come se fusse vn loco percosso ^ da vno spiracolo di sole in una camera oscura; dico, 8che 1'obietto e g parra piu grosso in -V/" che in g h perche ef a ' 1 canpo piu oscuro che esso log h ; ancora la parte / g parra sot- tile per essejlre veduta dall' ochio o in campo b c che e chiaro. I2La parte del corpo lu- minoso d'uniforme grossezza ^e splendore parra esser piu grossa che fia veduta I4in canpo piu oscuro e questo luminoso essere ifocato. That portion o/ a body of uniform breadth which is against a lighter background will look narrower [than the rest]. [4] e is a given object, itself dark and of uni- form breadth ; a b and Nel puto - a • fia di tata • potetia la pira- mide luminosa quato la obrosa, perche la basa •/•£•• e simile alia basa -r-f- E nel puto I0aMa piramide luminosa fia tanto piv • sottile che la obrosa •, quato la basa • s-f-e minore che la basa •/•£-. ''Diuidi la sopra detta proposition in due figure cioe una colle piramidi obrose e luminose e 1'altra colle I2lumi- nose. pyramid of shadow is greater than the breadth of the pyramid of light. At the point a the pyramid of light is equal in strength to the pyramid of shadow because the base fg is equal to the base rf. At the point d the pyramid of light is nar- rower than the pyramid of shadow by so much as the base s/is less than the base/,?-. Divide the foregoing proposition into two diagrams, one with the pyramids of light and shadow, the other with the pyramids of light [only]. C. 13 1] 261. Infra 1'onbre • di pari qualita • Quella che fia • piv • propinqua • all' ochio apparira • di mi- nore • oscurita. Among shadows of equal depth those which are nearest to the eye will look least deep. C. 100] 262. Quanto-di maggiore splendore fia-il cor- po • luminoso • di tanta maggiore oscurita • fieno •1'onbre-fatte da'corpi da esso alluminati. The more brilliant the light given by a luminous body, the deeper will the shadows be cast by the objects it illuminates. p^rr J,,,m: • quale '" *""""' u s— • • ~- - — * »• •*- «»- - * • oho,. 261. i. Infrallonbre . . cheffia . . Apparira . . hosscurita. 36*. z. magiorel-splendore" . chorpo . . magiore osschurita . . lonbr . . chorpi. Theory of colours. Leonardo 's theory of colours is even more intimately connected with his principles of light and shade than his Perspective of Disappearance and is in fact merely an appendix or supplement to those principles, as we gather from the titles to sections 264, 267, and 276, while others again (Nos. 281, 282) are headed Prospettiva. A very few of these chapters are to be found in the oldest copies and editions of the Treatise on Painting, and although the material they afford is but meager and the connection between them but slight, we must still attribute to them a special theoretical value as well as practical utility — all the more so because our knowledge of the theory and use of colours at the time of the Renaissance is still extremely limited. 37 «1 263. DE PICTURA. OF PAINTING. 2 II colore dello alluminato participa 3 del The hue of an illuminated object is affec- The recipro- colore dello alluminante. ted by that of the luminous bodv. cai effects of J J colours on objects pla- ced opposite each other (263 — 272). E. 264. DE ONBRA. OF SHADOW. If2 La superfitie d'ogni opaco participa The surface of any opaque body is affec- 3 del colore del suo obbiettot. ted by the colour of surrounding objects. W. 232,5] 265. L'onbra participa sepre del color del A shadow is always affected by the co- suo obbietto. lour of the surface on which it is cast. Br. M. 266. II simvlacro inpresso nello spechio par- An image produced in a mirror is affected ticipa del co2lore del predetto specchio. by the colour of the mirror. Ash. I. 2 a] 267. DE OBRA E LUME. OF LIGHT AND SHADE. 2Ogni • parte • della • superfitie •, che • cir- Every portion of the surface of a body is cuda • i corpi, 3 si trasmuta I parte del colore • varied [in hue] by the [reflected] colour of di quella • cosa • che gl'e posta per obietto. the object that may be opposite to it. 363. 2. cholore . . 3. cholore . . alluminancte. 364. 2. oppacho. 3. cholore . . obbieto. 265. obbiecto. 266. i. delcho. 267. i. ellume. 2. circhuda . i chorpi. 3. trassmuta . . cholore . . chelle posta. 5. settu porai unofpalla da] uno chorpo . sperL- 144 THE THEORY OF THE ART OF PAINTING. [268—270. ESEPLO. tu porrai-uno corpo-sperico-I mezzo a van obietti, 6cioe che da una • parte • sia • lume • del • sol* e • dall' opposita parte sia • uno • muro 7alluminato dal sole •, il quale • sia verde o d'altro colore, il piano dove si posa 8sia- rosso •, dai 2 • lati • traversi • sia scuro : vedrai il natura^le colore • di detto corpo participare de' colori • che li sono per obietto; IOI1 piu potete fia il luminoso; II secondo fia quello • della pariete alluminallta-, II terzo quello- dell' obra •, Rimane poi una quatita, che par- ticipa del coloI2re delli • stremi. EXAMPLE. If you place a spherical body between various objects that is to say with [direct] sunlight on one side of it, and on the other a wall illuminated by the sun, which wall may be green or of any other colour, while the sur- face on which it is placed may be red, and the two lateral sides are in shadow, you will see that the natural colour of that body will assume something of the hue reflected from those objects; The strongest will be [given by] the luminous body; the second by the illu- minated wall, the third by the shadows. There will still be a portion which will take a tint from the colour of the edges. E. 17 «] 268. La superfitie d'ogni corpo opaco 2par- ticipa del colore del suo obbietto -3 Ma co tanta maggiore o minore < inpressione quato esso obietto • s fia piu vicino o remote o di 6 maggiore o minore potetia. The surface of every opaque body is affec- ted by the colour of the objects surrounding it. But this effect will be strong or weak in proportion as those objects are more or less remote and more or less strongly [coloured]. W. 240 i\ 269. PlTTURA. 2 La superfitie d'ogni corpo opaco par- ticipa del 3 colore del suo obbietto. •* Co tanta maggiore potetia si tignie la superfitie del corpo s opaco • del color del suo obbietto quato li razzi 6delle spetie di tali obbietti feriscono essi corpi ? infra angoli piu equali. 8E tanto piu si tigne la superfitie de' corpi opachi del colore 9 del suo obietto quato tal superfitie e piu biaca e'l co- lore dello I0 obietto piu luminoso o allu- minato. OF PAINTING. The surface of every opaque body assumes the hues reflected from surrounding objects. The surface of an opaque body assumes the hues of surrounding objects more strongly in proportion as the rays that form the images of those objects strike the surface at more equal angles. And the surface of an opaque body assumes a stronger hue from the surrounding objects in proportion as that surface is whiter and the colour of the object brighter or more highly illuminated. W. L. 145; Ba] 270. DELLI RAZZI CHE PORTA PER L'ARIA LE SPETIE OF THE RAYS WHICH CONVEY THROUGH THE DE1 CORPI. AIR THE IMAGES OF OBJECTS. H2Tutte le parti minime delle spetie pe- All the minutest parts of the image netra 3]' una 1'altra sanza occupatione 1'una intersect each other without interfering with cho Imezo . . sia i muro. 7. cholore. 8. schuro . vederai [detto chorpo) al natura. 9. cholore . . chorpo . . cholori. to. iluminoso . . sechondo. 268. i. chorpooppacho. 2. del cholore del cholore del suo obbiecto. 3. Ma[cqua] tanta . . ominore. In the margin: 4. cho. 5. orremoto. 6. ominore. 369. 2. oppacho. 4. magiore. 5. oppacho . . razi. 6. feriscano. 8. Ettanto. 9. biacha. 10. aluminato. 370. i. razi . . lesspetie de chorpi. 3. ochupatione. 4. essia . . spiracholo. 5. ris.-cotro. 6. losstrcmo. 7. le(spemo no po . . attale. 270. 13. This probably refers to the diagram given under No. 66. li 271. 272.] THEORY OF COLOURS. '45 dell'altrajU 4pruovasi e sia r 1'un de'lati dello spiracolo sa riscotro del quale sia s ochio, il quale ve6de lo stremo inferiore o della linia n o, il qua7le stremo no puo ma- dare la similitudine di se a tale 8 ochio • s • ch'ello no tocchi esso stremo r, e' 1 sigmile fa m mezzo d'essa linia e cosi accade allo 10 stremo superiore n all' ochio • u •, e se lo stremo n "e rosso u ochio no vedra in tal labro di spiraI2colo r il colore verde di o, ma solo il rosso J3di n per la 7a di questo, dove dicie ogni simulaI4cro mada fori di se spetie sue per linia breI5vissima Tfla quale per neciessita e retta ecc. each other. To prove this let r be one of the sides of the hole, opposite to which let s be the eye which sees the lower end o of the line n o. The other extremity cannot transmit its image to the eye s as it has to strike the end r and it is the same with regard to m at the middle of the line. The case is the same with the upper extremity n and the eye u. And if the end n is red the eye u on that side of the holer will not see the green colour of o, but only the red of n according to the 7th of this where it is said: Every form projects images from itself by the shortest line, which necessarily is a straight line, &c. C. A. 178 a; 536^] 271. PlCTURA. 2 La superfitie d'ogni corpo participa del colore del suo obbietto. 3 Li colori delli obbietti alluminati s'imprimono nelle super- fitie 1' u del' altro 4 in tati vari siti quate son le uarieta delle situationi di tali ob«bietti; 60 e 1' obbietto azzurro alluminato e vede solo sanza altra ^conpagnia 1° spatio b c della spera bia8ca a b c d e f, e la tignie di colore azzurro; ^m el obbietto giallo il quale allumina I0lo spatio a b in copagnia dello o azzurljro e lo tigne in colore verde Tfper la 2a 123i questo che prova lo azzurro e giallo faT3re verde bellissimo eccll-e'l ri- manete si dira I4nel libro della pictura; E in questo libro si pro'Svera facciedo pene- trare la spetie de' corpi e col6lori delle cose alluminate dal sole per piccolo ^spiracolo rotondo in loco oscuro I pal8riete piana in se bianca ecc. 19 Ma ogni cosa fia sotto sopra. OF PAINTING. The surface of a body assumes in some degree the hue of those around it. The co- lours of illuminated objects are reflected from the surfaces of one to the other in va- rious spots, according to the various positions of those objects. Let o be a blue object in full light, facing all by itself the space b c on the white sphere a b c d e f, and it will give it a blue tinge. ;;/ is a yel- low body reflected onto the space a b at the same time as o the blue body, and they give it a green colour (by the 2nd [proposition] of this which shows that blue and yellow make a beautiful green &c.) And the rest will be set forth in the Book on Painting. In that Book it will be shown, that, by trans- mitting the images of objects and the colours of bodies illuminated by sunlight through a small round perforation and into a dark chamber onto a plane surface, which itself is quite white, &c. But every thing will be upside down. C. A. 44(5; 137 J] 272. Quel che 2fa 1'obra 3no la ue4de. 5Perche 1'obre 6son fatte 7da lumi- no8so gignitor'e 9circudatoI0re del'obre. "L'onbra fatta dal luminoso e che e I2 giallo, That which casts the shadow does not Combination , 111 i i of different face it, because the shadows are produced colours in by the light which causes and surrounds the c^^f" shadows. The shadow caused by the light e, 8. chella g no tochi . . stremo [o]r. 9. chosi achade. 10. essello. u. errosso . . la [pr]bro. 12. cholo . . ongni. 271. 2. obbiecto. 3. obbiecti "alluminati" sinpremano. 4. quato. 5. bietta. 6. ellobbietto azurro "alluminato". 7. Losspatio be dulla. 8. cha . . ella. 9. ellobbietto gialloiquale. 10. losspatio. n. ello tugnie in cholore. 12. azurro -egualle. 15. chor- piecho. 16. picholo. 17. spiracholo retondo ilocho osschuro. 18. biancha. 19. onchosa. VOL. I. T 146 THE THEORY OF THE ART OF PAINTING. [273. 274. viene a essere '^azzurra perche e 1'onbra del corpo **a fatta sopra il pauimcto in b, nel'Ma quale 6 veduta dal luminoso azzurl6ro, e cosl 1' onbra fatta dal lumi'7noso d che e azzurro fia gialla nel l8sito c per essere veduta dal lumi^noso giallo, e '1 canpo circudatore 20d'esse onbre b c sara (oltre al suo 2I natural colore) tinto d'un colore mi22sto di giallo e d' azzur- ro perche e vedu23to e alluminato da luminoso giallo 2la 3Iuede. which is yellow, has a blue tinge, because the shadow of the body a is cast upon the pavement at b, where the blue light falls; and the shadow pro- duced by the light d, which is blue, will be yellow at c, because the yellow light falls there and the surrounding background to the'se shadows b c will, besides its natural colour, assume a hue compounded of yellow and blue, because it is lighted by the yellow light and by the blue light both at once. Shadows of various colours, as affected by the lights falling on them. That light which causes the shadow does not face it. c. A. 187 n«; s6a«] 273 Li termini d'ogni color che 2 passa per The effect of spiracoli so piu ^evideti che i loro mezzi. the'ckmera •» Li termini delle spetie 5di qualuche co- The edges of a colour(ed object) trans- mitted through a small hole are more con- spicuous than the central portions. The edges of the images, of whatever scura , , . , A nc euges 01 me images, 01 wnaiever . 274). lore che per stretto 6spiraculo penetrano i colour^ which are transmitted through a small loco o?scuro fien sepre di piu pote8te co- lore che il suo mezzo. aperture into a dark chamber will always be stronger than the middle portions. w. L. 145; D*] 274. DELLA INTERSEGATIONE DELLE SPETIE 2NELLA POPILLA DELL'OCHIO. 3 La intersegatione delle spetie nello introito della popilla *no s'infondono 1'una nell'altra in quello spatio dove tale inter- segastione le vniscie, e questo si manifesta perche se li razzi 6del sole passa per li dua vetri che sieno infra loro in cotatto, de 7 quali uetri 1' un sia azzurro e 1' altro giallo, allora il razzo 8in esso penetrate non si tigniera d' azzurro ne di giallo, ma di 9bellis- simo verde, e il medesimo accaderebbe al- 1'ochio se le speI0tie de' colon giallo e verde nella intersegatio da lor fatta in"fra se nello introito della popilla s'avessino a in- fondere 1'una neI2l'altra, la qual cosa non accadendo tal mistione non e in essere. OF THE INTERSECTIONS OF THE IMAGES IN THE PUPIL OF THE EYE. The intersections of the images as they enter the pupil do not mingle in confusion in the space where that intersection unites them; as is evident, since, if the rays of the sun pass through two panes of glass in close contact, of which one is blue and the other yellow, the rays, in penetrating them, do not become blue or yellow but a beautiful green. And the same thing would happen in the eye, if the images which were yellow or green should mingle where they [meet and] inter- sect as they enter the pupil. As this does not happen such a mingling does not exist. 273. 6. facte. ii. del. 12. giallo vede lonbre viene a essere. 13. azurra. 15. del . . azur. 16. chosi. 17. azurro. 21. natura colore. 22. eddazzuro. 26. cho. 27. sechondo. 28. dalloro. 29. Quellume chefla. 273. 2. isspiracoli. 3. illoro. 5. cholore . . istretto. 6. spirachulo . . illocho os. 474. i. interseghatione. 3. interseghatione. 4. sinfondano . . intersegha. 5. ecquessto . . selli razi [solarij. 6. passa . . incho- tacto. 7. azurro ellaltro . . il raz. 8. azurro. 9. achaderebbe' . . selle. 10. cholori gialli . . interseghatio dallor. n. frasse 272. In the original diagram we find in the circle In the second diagram where four circles are placed e "giallo" (yellow) and the cirle d "azurro" (blue) in a row we find written, beginning at the left hand, and also under the circle of shadow to the left "giallo" (yellow), "azurro" (blue), "z/mfc" (green), "giallo" is written and under that to the right "azurro". "rosso" (red). 2/5-] THEORY OF COLOURS. NATURA DELLI RAZZI CHE si COPOGONO "4DELLfi SPETIE DE1 CORPI E LORO ITER- SEGATIONE. zsLa rettitudine delli razzi che porta per 1'aria la figura l6e color de' corpi donde si partono no tingono di se 1'aria, ne an- cora possono tignieI7re 1'uno 1'altro nel cotatto della loro intersecatione, ma sol tinl8gono il loco dove eglino perdono il loro essere perche tale loco ve- '9de ed e veduto dal'origine d'essi razzi, e nessuna altra cosa che circuisca 20essa origine puo essere veduta da loco dove tale razzotaglian2Idosi resta destrutto, quivi lasciado la preda da lui portata. 22 E questo si prova per la 4a de co- lori de' corpi dove dicie la su23perfitie d'ogni corpo opaco participa del colore del suo obbi24etto; aduque e concluso che il loco che mediate il razzo 25che porta le spetie vede ed e veduto dall' origine di tale 26spetie si tinga del colore d'esso obbietto. OF THE NATURE OF THE RAYS COMPOSED OF THE IMAGES OF OBJECTS, AND OF THEIR INTERSECTIONS. The directness of the rays which transmit the forms and colours of the bodies whence they proceed does not tinge the air nor can they affect each other by contact where they intersect. They affect only the spot where they vanish and cease to exist, because that spot faces and is faced by the original source of these rays, and no other object, which surrounds that original source can be seen by the eye where these rays are cut off and destroyed, leaving there the spoil they have conveyed to it. And this is proved by the 4th [propo- sition], on the colour of bodies, which says : The surface of every opaque body is affected by the colour of surrounding objects; hence we may conclude that the spot which, by means of the rays which convey the image, faces — and is faced by the cause of the image, assumes the colour of that object. Ash. I, 22 a] 275- OGNI OBRA FATTA DAL CORPO OBROSO MINORE DEL LUME ORIGINALE 2 MADERA • LE OBRE DIRI- VATIVE TITE DEL COLORE DELLA LORO • ORIGINE. 3 L' origine • dell' obra • e •/• sia • n, e • fia tita in suo colore 1' origine • di • h • e sia [ 0 •*e fia similmete tita T suo colore, e cosl il colore di-z>->$-fia tito nel- colore di-/- s perche nascie da lui • |j e 1'obra del tria- golo • z • k • y fia tita nel colore di Q perche 6 diriva da lui • ; 7 Tanto quato • c • d • 8 entra in • a • d • tanto 9 e piv scuro • n • r • s I0 che • m • e tutto 1'altro "canpo sanza 6bra;-/-^-e '1 primo grado di lume perche quivi allumina • tutta • la finestra • a • d • I2 e cosi nel corpo obroso -m- e e di simil chiarezza ; z • k • y • e vno triagolo ^ che cotiene • in se il primo ANY SHADOW CAST BY AN OPAQUE BODY SMALLER THAN THE LIGHT CAUSING THE SHADOW WILL THROW A DERIVED SHADOW WHICH IS TINGED BY THE COLOUR OF THE LIGHT. Let n be the source of the shadow ef; it On the will assume its hue. Let o be the source of h e deriveTsha which will in the same way be tinged by its hue , do*s6) and so also the colour of v h will be affected by/ which causes it; and the shadow of the triangle z k y will be affected by the colour of q, because it is produced by it. [7] In proportion as c d goes into a d, will n r s be darker than m; and the rest of the space will be shadow- less [i i]. f g is the highest light, because here the whole light of the window a d falls; and thus on the opaque body m e is in equally high light; z k y is a triangle which includes the . . popila. 12. chosa non achadendo tal [fusione] "mistione". 13. razi chessi copoghano. 14. chorpi elloro interseghatione. 15. fighura. 16. e cholor de chorpi "donde si partano" no si tinghano . . anchora possa. 17. intersechatione Massol. 18. ghano il locho dove e perdano illoro . . locho. 19. de "ede veduto da" lorigine . . razi e nessussuna . . chosa che cir- chuissca. 20. dallocho do tale razo. 21. ressta desstrutto "quivi" lassciado . . dallui. 22. ecquesto . . cholori de chorpi. 23. chorpo oppacho . . cholore. 24. ecto . . choncluso. ilocho. 25. veduta. 26. tingha. 875. i. delume. 3. sie . n effia . . sie. 4. effia . . nel cholore. 10. ettutto. n. alumina . tucta. 12. chiareza f . z . k. 275. The diagram PI. Ill, No. I belongs to this chapter as well as the text given in No. 148. Lines 7 — il (compare lines 8 — 12 of No. 148) which are written within the diagram, evidently apply to both sections and have therefore been inserted in both. 148 THK THEORY OF THE ART OF PAINTING. [276. grado d'onbra, perche in esso triagolo no capita '*il lume • a • d\ x • h • & '1 2° grado d'obra perch£ egli non allumina se non */3 •sdella- finestra • cioe • c- d>\li- c fia il tcrzo grado d'obra perche • egli uede I6i dua terzi della finestra • b • d- • c -f fia 1' ultimo grado d'obra perche I71' ultimo grado di lume della finestra allumina nel loco di •/. deepest shadow, because the light a d cannot reach any part of it. x h is the 2nd grade of shadow, because it receives only '/3 of the light from the window, that is c d. The third grade of shadow is // e, where two thirds of the light from the window is visible. The last grade of shadow \sbdef, because the highest grade of light from the window falls at /. W. L. 145; C«] 276. DELLI COLORI DELL'OBRE DIRIVATIVE 2 SENPLICI. OF THE COLOURS OF SIMPLE DERIVED SHADOWS. -J Li colori dell'obre diriuative fie ^senpre participant delli colori de corSpi che le ri- schiarano: pruovasi 9e sia il corpo onbroso interposto I0 infra la pa- riete sctd e li lu^minosi d e azzurro e • a b rosso; I2dico d e luminoso az- zurro veI3de tutta la pa- riete sctd ecciet^to op, il quale occupa 1' onbra del 15 corpo obroso q r, come mostra l6le linie rette d q o, e r p\ E il simple accade del luminoso a b, il quale l8vede tutta la pariete sctd ecciet- J9to il loco occupato dalP obroso q r co20me mostra le linie d q o e e r p; 2Iaduque si coclude che 1' onbra n m 22vede il luminoso azzurro d e e no 23 potendo vedere il luminoso a b rosso 2 » n m • resta vn' obra azzurra in capo 2S rosso misto d' azzurro, perche in campo 26s c td vede 1'uno e Paltro luminoso, 27ma nell'obre no vede se no vn sol Iu28minoso e per questo tale obra e obra me29zzana, perche se tale obra no fusse veduta 3° da nessun luminoso essa sarebbe obra J1 massima ecc. ; Ma nel- 1'onbra o p no ve32de il luminoso azzurro, perche il corpo q r 33 colla sua interpositione The colour of derived shadows is always affected by that of the body towards which they are cast. To prove this : let an opaque body be placed between the plane sctd and the blue light d e and the red light a b, then I say that d e, the blue light, will fall on the whole surface sctd excep- ting at o p which is cove- red by the shadow of the body q r, as is shown by the straight lines d q o e r p, And the same occurs with the light a b which falls on the whole surface sctd excepting at the spot ob- scured by the shadow q r; as is shown by the lines d q o, and e r p. Hence we may conclude that the shadow n m is exposed to the blue light d e; but, as the red light a b cannot fall there, n m will ap- pear as a blue shadow on a red background tinted with blue, because on the surface sctd both lights can fall. But in the shadows only one single light falls; for this reason these shadows are of medium depth, since, if no light whatever mingled with the shadow, it would be of the first degree of darkness &c.' But in the shadow at o p the blue light 13. chotiene. 14. ilumc . . dobra percheli . . alumina. 15. dela . . percheli . . (L la. 17. dela . . alumina . . locbo. 276. i. cholori. 3. cholori. 4. cho'lori. 5. chelle risciarano. 6. [essia il luminoso azzurro de il qua). 7. [le allvmina il chanp • la pariete sc.] 8. [t d cholla dilatatione a b c d d e c d]. 9. essia il chorpo . . interpossto. 10. infralla . . elli. n. azzurro he . ab. 12. dicbo. 14. ochupa. 15. chorpo . . chome mosstra. 19. locho ochupato . . cho. 20. mosstra . . ahcf. 21. addu- que si choclude chellonbra. 22. iluminoso. 24. ressta . . chapo. 25. missto da dazurro . . chanpo. 26. ellaltro. 29. settale . . fussi. 30. sarabe. 32. iluminoso. 33. lielo. 35. tigngnie . .- tal. 36. ressta inchapo. 37. dazurro errosso. 38. del 276. In the original diagram Leonardo has written within the circle q r forfo obroso (body "in shadow); at the spot marked A, luminoso azzurro (blue luminous body); at B, luminoso rosso (red luminous body). At E we read ombra azzurra (blue tinted shadow) and at D ombra rossa (red tinted shadow). 277. 278.] THEORY OF COLOURS. 149 glielo proibi-^sc-ie; Ma sol ui vede il lume rosso a b il jSquale lo tignie di color rosso e cosi ta36le obra rosseggiate resta incapo mi37sta d'azzurro e rosso. 38L'onbra del q r in o p 39mediante il luminoso azzurro d e 4°e rossa e 1'obra d'esso q r mediate il rosso luminoso a b e azzurra 4* in 5 p ; adunque diremo che 43 il lume azzurro fa in questo caso 44fare 1'onbra dirivativa rossa al cor^Spo onbroso q r Q che'l lume rosso 46fa fare al mede- simo obroso 1'obra 4 1 dirivativa azzurra, ma 1'onbra 48primitiva no fia d'esso colore ma 49fia mista di rosso e azzurro. s°Le obre dirivative sara d' equal 5Ioscu- rita se le nascono da 52lumi d'equale po- .tetia e distas^tia; pruova . . does not fall, because the body q r interposes and intercepts it there. Only the red light a b falls there and tinges the shadow of a red hue and so a ruddy shadow appears on the background of mingled red and blue. The shadow of q r at o p is red, being caused by the blue light d e ; and the shadow of q r at F THE ART « >K I'AIN i INC. [293. 294. E questo accade nc' corpi sperici, perche nelli al'tri corpi, che anno mebrificatione, le parti I0delle mebra riguardatrici 1'unadel- 1'altra tingoMno 1'una 1'altra dePaccidete della sua superfitie. And this occurs [only] in spherical bodies, because in other bodies which have limbs and parts, those sides of limbs which face each other reflect on each other the accidental [hue and tone] of their surface. Ash. I. as 6} 293- n experi- eut> Turn i • COLORI NELLE LONTANE • OBRE SONO IGNIORATI E IND1SCERNIB1LI. 2 Tutti • i colori • in lontano • fieno • nel- 1' obre • igniorati ; perche la cosa; che non e tocca dal principale 3 lume ; non e potete • a mandare • di se • all' occhio per 1' aria piv • luminosa • la sua similitudine, perche il mt- nore 4 lume • e vinto • dal maggiore ; Esenplo : • Noi • vediamo • essendo in vna • casa • che tutti s i colori • i quali sono nelle • parieti delle • mvra • si ueggorio • chiaro e speditamete, • quado le finestre 6di detta abitatione-' fieno • aperte ; e se noi • usciremo • fori • d' essa casa • e riguardaremo vn poco di 7 lontano • per dette • finestre • di rivedere • le pitture • fatte su dette mura • in iscambio d' esse pic- ture 8vedremo- vna cotinvata • oscurita. ALL COLOURS ARE AT A DISTANCE UNDISTIN- GUISHABLE AND UNDISCERNIBLE. All colours at a distance are undistinguish- able in shadow, because an object which is not in the highest light is incapable of transmitting its image to the eye through an atmosphere more luminous than itself; since the lesser brightness must be absorbed by the greater. For instance: We, in a house, can see that all the colours on the surface of the walls are clearly and instantly visible when the windows of the house are open; but if we were to go out of the house and look in at the windows from a little distance to see the paintings on those walls, instead of the paintings we should see an uniform deep and colourless shadow. Ash. i. 13*] 294. COME IL PITTORE DEBE METTERE 2 IN PRA- TICA LA PROSPETTIVA DE* COLORI. j A volere • mettere questa- prospettiva The practice del uariarc e perdere over diminvire la of the pro- spettiva de' 4 propia • essetia de colon • piglerai di cieto I ciento braccia cose poste Ifra Ma capag- nia come sono • albori case, omini e siti, e I quato al 6primo albore avrai uno uetro fermo bene e cosl sia fermo 1' ochio tuo, e I detto 7yetro disegnerai uno albero sopra HOW A PAINTER SHOULD CARRY OUT THE PERSPECTIVE OF COLOUR IN PRACTICE. In order to put into practice this per- spective of the variation and loss or diminution of the essential character of colours, observe at every hundred braccia some objects stand- ing in the landscape, such as trees, houses, men and particular places. Then in front of the first tree have a very steady plate of glass and keep your eye very steady, and then, on this plate of glass, draw a tree, tracing it over the form of that tree. Then move it on one chorpi. 9. mebrifichatione . parte. 10. riguardatricie . . tingha. n. nolluna. 293. i. cholori . . indissciernibili. 2. choloriillontano . . null >bre . . chosa . . tocha. 3. sua [forma] similitudine. 4. essendo nvna . chasa . chettutti. 5. icholori . . uegono . . esspeditamete. 6. esseno . ussciremo . . chasa e riguardareno 'vn poche di. 7. ischanbio. 8. vederemo chotinvata oschurita. 294. 2. praticha. 4. cholori . . ciento br . chose. 5. omini [e pianvj essili. 6. arai i uetro. 7. veiro [colorissi i albero p] di- 294. This chapter is one of those copied in the Manuscript of the Vatican library Urbinas 1270, and the original text is rendered here with no other alterations, but in the orthography. H. LUDWIG, in his edition of this copy translates lines 14 and 15 thus : "IcA finJe ober als Regel, dass der zweite nm vier Filnftel da erslen abnimmt, wenn er namlich zwaitzig Ellen von trsten entfernt ist (?)". He adds in his commentary: "Das Endt der Nummer ist wohl jedenfalls verstummelt" , However the translation given above shows that it admits of a different rendering. 295-] PERSPECTIVE OF COLOUR AND AERIAL PERSPECTIVE. 159 la forma di quello, di poi 8scosta tato per traverse che 1' albero naturale • cofini quasi col tuo disegnia^to ; poi colorisci il tuo • disegnio in modo che per colore e forma stia a paragone I0l'uno dell'altro e che tutti e 2, chivdedo uno ochio, paino dipTti sul detto vetro d'una "medesima distatia; e questa regola medesima fa degli alberi seco- di I2e de' terzi di cieto I cieto braccia di mano I mano ; e questi ti serva • come tua auto^ri e maestri, sepre operado nelle tua opere doue s' appartegono, e faranno I4 bene fuggir 1' opera; ma io trovo per regola- che'l secodo diminviscie 4/s del primo 'Squado fusse lotano 20 • braccia dal primo. side so far as that the real tree is close by the side of the tree you have drawn; then colour your drawing in such a way as that in colour and form the two may be alike, and that both, if you close one eye, seem to be painted on the glass and at the same distance. Then, by the same method, represent a second tree, and a third, with a distance of a hundred braccia between each. And these will serve as a standard and guide whenever you work on your own pictures, wherever they may apply, and will enable you to give due dis- tance in those works. [14] But I have found that as a rule the second is 4/5 of the first when it is 20 braccia beyond it. Ash. I. io vedrai quel'aria grossa 6ricievere piv lume dal sole che la sottile, perche i razzi trovano piu resistetia; 7e se il cielo a la vista tua terminera colla bassa pianvra, quella 8parte vltima del cielo • fia veduta per quella aria- piv grossa e piv sbianca, la quale • corrompera la verita del colore che si vedra 10pel suo • mezzo, e parra 11 • il cielo piv biaco che sopra te, che la linia visuale "passa • per meno quatita d'aria corrotta da grossi umori; e se riguardeI2rai inverse • leuate-, 1'aria ti parra piv scura, quato piv s'abbassa, perche T3in detta aria bassa i razzi luminosi meno passano. 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 at- mosphere 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. Ash. i. 17 £] 299. DEL MODO DEL CODUCIERE 2IN PITTURA LE COSE LOTANE. OF THE MODE OF TREATING REMOTE OBJECTS IN PAINTING. 3Chiaro si uede-essere una aria grossa It is easy to perceive that the atmosphere piv che 1' altre, la quale cofina 4 colla • terra • which lies closest to the level ground is denser 296. i. infrallochio . . chosa. 2. inel . . chomellaria azura . . chelle. 3. parano azure . . chellochio. 4. Hume chefiano. 5. asse echo chupato . . dela . . chessi. 6. ella. 297. i. chella persspectiua. 2. cholori . . disscordi grandeze. 4. chosa . . chelli. 5. cholori diminuisschino. 7. diminuisca. 8. chorpi . . diversi. 9. disstantie. 998. 3. ecquato . . sassotiglia. 4. ettu. 5. mazodi . . ettramotana . . vederaia. 6. "dal sole" chella . . razi. 7. esse . . cholla. 9. biancha [il quale] la . . coronpera . . chessi. 10. mezo . parali il . . chella. n. corutta . . oniori esse risghuarde. 12. para . . schura . . sabassa. 13. razi. 399. 3. esserere i aria . . chellaltre . . chofina. }. tera . . ecquato . . essotule. 5. chose [che flicuo] eleuate . . datte. 6. basseza pocho. 300.] AERIAL PERSPECTIVE. 161. piana, e quato piv si leua i alto, piv-e sottile e trasparete; Me cose eleuate e gradi, che fieno • da te lontane -, la lor- 6 bassezza • poco • fia • veduta : perche • lauedi • per una- linia che passa infra ^I'aria piv • grossa •, e cotinvata •, la somita di dette al- tezze • si trova 8 essere veduta per una linia, la quale benche dal cato dell'ochio tuo 9 si cavsi in nel' aria grossa • nodimeno terminado • nella soma altezza I0 della • cosa • vista, viene a terminare in aria molto • piv sottile che "no fia la sua bassezza; e per questa ragi- one questa linia quato piv s'allotana I2da te, di puto I punto sepre mvta qualita di sottile I sottile aria; adu^que tu pittore, quado fai le motagnie, fa che di colle I colle sepre le bassezze sieI4no piv chiare che 1' altezze e quato vi farai piv lontana 1' una da 1'altrafa le basse'Szze piv chiare, l6e quato piv se levera in alto, piv most^rera la verita della forma e colore. than the rest, and that where it is higher up, it is rarer and more transparent. The lower por- tions 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. Leic. 300. DEL COLORE DELL' ARIA. 2Dico 1'azzuro in che si mostra Parja non essere suo propio colore, ma e cavsato da vmidita caPda vaporata in minvtissimi e insensibili attomi, la quale piglia dopo se la percussio de' razzi solari e fassi luminosa 4sotto la oscurita delle immese tenebre della regione del fuoco che di sopra le fa coper- chio ; e questo vedra, come vid' io, chi adra soSpra Moboso, giogo dell' alpi che diuidono la Francia dalla Italia, la qual montagnia a la sua basa che parturisce 6li 4 fiumi che riga per 4 aspetti contrari tutta 1'Europa, e nessuna montagnia a le sue base in si- mile a!7tezza, questa si leua in tantaaltura che quasi passa tutti li nuvoli e rare volte vi cade neve, ma sol gradi8ne d' istate quando li nvvoli sono nella maggiore altezza, e questa grandine vi si coserua in modo che se no 9 fosse la reta del caderui e del montarui nvuoli, che non accade 2 volte in vna eta, egli ui sarebbe altissima quatita di OF THE COLOUR OF THE ATMOSPHERE. I say that the blueness we see in the on the co atmosphere is not intrinsic colour, but is ^mospWe caused by warm vapour evaporated in mi- (3°°— 3°7)- nute 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 [5] Monboso, a peak of the Alps which divide France from Italy. The base of this moun- tain 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 7. chotinvata . lassomita . . alteze. 8. chato. 9. chavsi inel. . some alteza. io. atterminare. n. basseza. 12. datte . ,. qualita [daria] di sottile. 13. basseze. 14. lalteze ecquato. 15. ze piv. chiare -f 16. The two last lines, which are headed by -)-, are written on the margin. 17. stera . . dela. 300. 2. dicho lazuro inchessi . . cholore . . chavsato . . chal. 3. attimi . . pigla . . perchussio . . razi . . effassi. 4. osscu- rita . . fuocho "che di sopra le facoperchio" ecquesto. 5. gogo . . diuitano la franca . . alia . . patrurissce. 6. aspeti . . alle. 7. teza . . nvuoli . . chade. 8. magore alteza ecquesta . . imodo chesse. 9- fussi "la reta del caderui e del montarui nvuoli" che non achade [del s] 2 volte vna . . eui sarebbe . . di diacco inalzato "da li gradi della grandine il. 300, 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. 7. reta here has the sense of malanno. X.~ 1 62 THE THEORY OF THE ART OF PAINTING. [300. diaccio inalzato da li gradi della gradine il quaI0le di mezzo luglio vi trovai grossissimo • e vidi 1' aria sopra di me tenebrosa e' 1 sole che percotea la m6ta"gnia essere piv luminoso quiui assai che nelle basse pianure, perche minor grossezza d' aria s' inter- ponea inl2fra la cima d'esso mote e '1 sole; Ancora per esenplo del colore dell' aria allegheremo il fumo nato di legne ''secche e vecchie il quale vscendo de'camini pare forte azzureggiare quado si trova infra 1'ochio e '1 loco ^oscuro, ma quado monta in alto e s'interpone infra 1'ochio e 1'aria alluminata, inmediate si dimostra 'sdi colore cenerognolo, e questo accade perche non a piv oscurita dopo se, ma in loco di quella aria Iul6minosa; e se tal fumo sara di legne verdi e giovani allora non pendera in azzurro, perche no ^sendo trasparente e pie di superchia vmidita, esso fa vfitio di conden- sata nvuo lache piglia in se lumi e obre ter- I8minate, come se solido corpo fusse; El simile fa 1' aria che la troppa vmidita rende biaca e la '9poca infusa col caldo la rede oscura, di color di scuro azzurro, e questo ci basta in quato alia di20finitione del colore dell'aria; Benche si potrebbe ancora dire che se 1' aria avesse per suo naturale colo- 2 're esso azzurro transparente, seguirebbe che doue s' interponesse maggior quantita d' aria infra 22 1'ochio e 1'elemeto del foco, che quiui si comporrebbe il suo azzurro con maggiore oscurita, come si vede 2^ nelli vetri azzurri e ne ' zaffiri li quali si mostra tanto piv oscuri, quato essi son piv grossi; E I'a24ria in questo caso adopera in retto contrario, conciosiache dove piv in quatita s'in2ster- pone infra 1' ochio e la spera del foco, quiui ci si mostra piu biancheggiante; e questo accade 26 inverse 1' orizzonte; equate minor sorha d' aria s'interpone infra 1'ochio e la spera del foco tanto piv 2?oscuro azzurro, ci si mostra, ancorache noi stiamo nelle basse pianvre; Adunque segue pur quel che io di28co che 1' aria piglia 1' azzurro mediante li corpuscoli dell' umidita che pigliano li razzi luminosi del sole; 29vedesi ancora la differetia nelli attomi di poluere o nelli attomi del fumo ne' razzi solari, che passa per li ^"spiraculi delle parieti in lochi oscuri, che 1' un razzo pare essere cenerino 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 at- mosphere, 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 trans- parent 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 quan- tity 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 itfol lows, 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 io. mezo . . grossimo . . tenenebrosa ellsole. n. luminosi . . grosseza. 12. allegereno. 13. seche e vcchie le quale vsscendo . . azuregare . . locho. 14. osscuro macquado . . essinterpone . . ellaria. 15. ecquesto achade . . osscurita . . il locho. 16. essettal . . govane alora . • azzuro. 17. trassparente . . contensata . . biglia. 18. chome . . chorpo fussi . . chella tropa vmidita la rende biacha ella. 19. pocha . . chaldo . . osscura . . ecquesto . . bassta inquido. 20. finition . . chessel- laria avessi. 21. azurro . . sinterponessi magor. 22. ellemeto del focho . . magore osscurita. 23. azurri . . osscuri . . Ella. 24. concosia. 25. nterpone . . ella . . focho . . mosstra . . bianchegiante . . ecquesto achade. 26. lorizonte ecqulto . . soraa . . ella . . focho. 27. osscuro azzuro . . stiano. 28. cho chellaria . . laztirro . . corpusscoil.. . razi. 29. anchora I 30i. 302.] AERIAL PERSPECTIVE. 163 e 1'altro del fumo 3isottile pare essere di bellissimo azzurro; Vedesi ancora nel- 1'obre oscure delle motagne remote 32dal- 1'ochio, 1'aria che si trova infra 1' ochio, e tale obra parere molto azzurra e nella parte luminosa di 33tal motagnie no uariarsi troppo dal primo colore; ma chi ne vol uedere le vltime prove tin^ga vna asse di diuersi colori fra li quali sia messo bellissimo nero e sopra tutti sia data sottile 35 e transpare"te biacca, allora si uedra la chiarezza di tal biacca non si mostrare sopra nessun ^ colore di piv bello azzurro che sopra il nero, ma diasi sottile e ben macinata. 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 witli 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. Leic. 36 a] 301. E sperienza che mostra, come 1'aria a dopo se tenebre e pero pare azzurra ; 2 sia fatto fumo di legnie secche in poca quantita sopra il quale fumo 3percota li razzi solari, e dopo questo fumo poni vna pezza di uellu- no nero che no sia visto dal sole, e uedrai tutto quel fumo s che s' oppone infra 1' ochio e la oscurita mostrarsi in co6lor di bellissimo azzurro, e se in loco del ueluto metti panno biaco, el fumo, cioe ? el tropofu- 8mo, inpedi^sce e' 1 poco no forma la per- fezione d'eI0sso azzurro- Ixonde la meI2dio- cre T3dispo14sitione jsdi ful6mo forma bello azzurro; * 7 come 1'acqua soffiata a uso d'at- tomi in loco scuro doue passi la spera del sole fa esso razzo azzurro l8e massime essendo tale acqva destillata e'l fumo sottile fa azzurro; quest' e detto per mostrare che M' azzurro • dell' aria e causato di oscurita che e sopra di lei, e dannosi li predetti esempli a chi no confermasse 20la sperietiadi Moboso. 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 beau- tiful 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 vi- vidly 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 [on] my experience on Monboso. F. i8a] 302. Quando il fumo di legne secche si troua 2 infra 1' ochio di chi lo vede e altro loco oscuro 3 esso pare azzurro; 4adunque 1' aria si fa azzurra per le tenesbre che essa a dopo se ; E se tu guardi inver6so 1' orizzonte 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 atmo- la diueretia attimi . . attimi . . razi. 30. pariete illochi osscuri che lun "razo" pare essere cenenereo ellaltro. 31. accurro . . nellobre osscure. 32. chessi . . tale obr . . molta azzurro. 33. del. 34. fralli . . essopra. 35. ettransparete biacha . . chiareza . . biacha. 36. chessopra . . ebben. 301. i. mostra. 2. seche pocha. 3. perchota . . razi . . peza. 4. vissto. 5. chessoppone infrallochio ella osscurita. 6. azuro essellocho . . meti pano biacho effumo coe. 9. el pocho . . de. 10. so azurro. 13. disspo. 16. azurro. 17. dattimi ilocho . . accurro. 18. masime . . desstillata . . accurro. 19. lazurro . . e chaussato da osscurita . . dassi . . essenpli . . confermassi. 20. essperietia. 302. 2. di cillo vede . . locho. 3. azzurro (ettato piu quate piu scuro]. 5. Essettu. 6. lorizonte . . non es. 7. ecquesto nasscie. 1 64 THE THEORY OF THE ART OF PAINTING. [303-305. del celo, tu vedrai 1* aria non esse7re azzurra, e questo nascie per la sua gros8sezza; e cosl in ogni grado che tu 9alzi 1'ochio sopra esso orizzonte insino al I0celo chc ti sta di sopra, tu troverai 1'aria "farsi piu oscura, e questo e che me soma I2d'aria s' inter- pone infra 1'ochio tuo e esse ^tenebre; E se tu ti troverai sopra vn al'4to mote, 1'aria si fara tanto piu oscura "s sopra di te, quanto essa e fatta piu sottile l6 infra te e dette tenebre, e cosl seguitera in '7ogni grado d'altezza tanto che al fine rel8stera tenebrosa. '9Quel fumo parrapiu azzurro chenasce- 20 ra. da piu secche legne e che sara piu presso a!2Ila sua cagione, e che & veduto in piu oscu22ro canpo, dandovi su il lume del sole. sphere 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 atmo- sphere 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 at- mosphere becomes rarer between you and the [outer] darkness; andthis will be more visible 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 nea- rest to the fire and is seen against the darkest background, and with the sunlight upon it. C. i8a] 3<>3- Quella- cosa • tenebrosa • parra • piu azzur- che infra se • e 1' ochio • maggior soma A dark object will appear bluest in pro- portion as it has a greater mass of luminous d' aria luminosa interposta • fia, 2 come • per atmosphere between it and the eye. As may el color • del cielo dimostrar si puo. be seen in the colour of the sky. .» 29 1>\ 304- L'aria e azzurra per le tenebre che a di 2 sopra, perche nero e biaco fa azzurro. The atmosphere is blue by reason of the darkness above it because black and white make blue. Br. M. 1690] 305 La mattina la nebbia e piv folta inverse" 1'altezza che nella 2sua bassezza, perche il sole Pattrae in alto, onde li edifiti gra3di, ancora che ti sia lontana la cima quato il fondameto, essa * cima ti fia ignota ; E per questo il celo si dimostra piu oscusro in- verse!'altezza e inverP orizzonte e nonazzur- reggia, anzi e tra 6fumo e poluere. 7 L'aria infusa colle nebbie e interamete privata d' azzurro, ma solo 8pare di quel colore de' nvgoli che biacheggiano quado ' 1 tepo e sereno; e quarto piv rigvardi verso 1'occidete tu la troverai I0piv oscura e piv lucida e chiara verso 1'oriete; E le verdure de1 'lie capagnie in mezzana nebbia azzurreggi- ano alquato, ma ne1 2 greggiano nella piv grossa. In the morning the mist is denser above than below, because the sun draws it upwards; hence tall buildings, even if the summit is at the same distance as the base have the sum- mit invisible. Therefore, also, the sky looks darkest [in colour] overhead, and towards the horizon it is not blue but rather between smoke and dust colour. The atmosphere, when full of mist, is quite devoid of bluehess, and only appears of the colour of clouds, which shine white when the weather is fine. And the more you turn to the west the darker it will be, and the brighter as you look to the east. And the verdure of the fields is bluish in a thin mist, but grows grey in a dense one. 8. sezza [Esse] e cosi . . chettu. 9. [te] alzi orizonte. 10. chetti . . troverai. n. osscuro escquesto. 13. Essetu . . troverrai. 14. osscura. 15. eflfatta. 16. infratte. 17. nogni*. . dalteza. 19. para . . azurro . . nassce. 20. ra di piu seche. 21. ca- gone . . osscu. 303. i. chosa . . azuira . . in frasse . ellochio . . magior . . interpossta. 2. chome . . cholor . . dimosstrar. 304. 1—2. R. 2. sapra . . biacho . . azurro. 305. i. lalteza. 2. basseza. 4. ingnota . . osscu. 5. lalteza . . lorizonte . . azuregia . . ettra. 7. dazurro. 8. biachegano . t sereno ecqua. 9. rissrgvndi . . troverai. 10. osscura . . ciara . Elle. n. mezana . . accuregiano. 12. gregiano. 3o6.] AERIAL PERSPECTIVE. I6S '3 Li edifizi inver ponete sol ci dimostra la lor parte luminoI4sa, poiche'l sole si sco- pre, e'l resto le nebbi lo occultano; js Quado il sol s'inalza e caccia le nebbie e si co- mlcia a rischiarare i colli da quell6la parte donde esse si partono, e' fansi azzurri e fu- mano inver^so le nebbi fuggieti e li edifiti mostrano lumi e obre,- e nelle nebbie I8me folte mostra solo i lumi e nelle piv folte niete; e questo e J9quado il moto della nebbia si parte traversalmete, e allora i ter20mini d'essa nebbia saranno poco evi- denti coll'azzurro dell' aria 2Ie in verso la terra parra quasi poluere che s'inalzi; 22Quanto 1'aria sara piv grossa, li edifiti delle citta • e li alberi 23 delle capagnie par- rano piv rari, perche sol si mo24streranno i piv emineti e grossi. 25Le tenebre 26tingono o27gni cosa 28del lor colore, 29e quato piv 3° la cosa si par^te da esse tene32bre piv si uede 33 del suo vero e natural co^lore. 35 1 moti fieno rari, perche sol si dimostra quelli che anno magJ6giore intervalli, perche in tal ispatio la grossezza mvltiplica in 37modo che fa chia- rezza tale che la oscurita de' collisi diuide e si 38spedisce bene inverso la sua altezza: ne' colli piccoli e vicini non 39 se ne inter- pone tata e pero maco si discernono e me nelle lor bassezze. The buildings in the west will only show their illuminated side, where the sun shines, and the mist hides the rest. When the sun rises and chases away the haze, the hills on the side where it lifts begin to grow clearer, and look blue, and seem to smoke with the vanishing mists; and the buildings reveal their lights and shadows; through the thinner va- pour they show only their lights and through the thicker air nothing at all. This is when the movement of the mist makes it part horizontally, and then the edges of the mist will be indistinct against the blue of the sky, and towards the earth it will look almost like dust blown up. In proportion as the atmo- sphere is dense the buildings of a city and the trees in a landscape will look fewer, be- cause only the tallest and largest will be seen. Darkness affects every thing with its hue, and the more an object differs from darkness, the more we see its real and natural colour. The mountains will look few, because only those will be seen which are farthest apart; since, at such a distance, the density increases to such a degree that it causes a brightness by which the darkness of the hills becomes divided and vanishes indeed towards the top. There is less [mist] between lower and nearer hills and yet little is to be distinguished, and least towards the bottom. G. 53*1 306. La superfitie d'ogni 2corpo participa 3 del color ^che Pallumina, — 5e del color dell'a6ria che infra I'oc7chio e esso corpo 8s'interpone, cioe 9 del color del mezI0zo transpaljrete interposto I2ifra la cosa e Pocchio, e ^Ifra li colori di meI4desima qualita isil secondo sara del l6medesimo colore 17del primo, e quesl8to nascie per la mul^tiplicatione del color 20del mezzo inter- po2Isto infra la cosa e "Pochio. The surface of an object partakes of the colour of the light which illuminates it; and of the colour of the atmosphere which lies between the eye and that object, that is of the colour of the transparent medium lying between the object and the eye; and among colours of a similar character the second will be of the same tone as the first, and this is caused by the increased thickness of the colour of the medium lying between the object and the eye. 13. sol si dimosstra. 14. sisscopre, el ressto . . nebie ochultano. 15. sol "sinalza" caccia . . rissciarare e colli dacq. 16. partano effarsi azzuri effumano. 17. nebiefugieti elli . . nebie. 18. solo e lumi . . ecquesto. 19. e ter. 20. saranopochi . . chol azurro. 21. para . . chessinalzi. 22. elli. 23. parano. 24. sterrannoe. 26. tingano. 33. vero "e natural" co. 35. E m5ti . . sol s dimostra quelgli . . ma. 36. ispati . . grosseza. 37. cheffa ciareza . . chella osscurita . . vi diuide essi. 38. spedissce . . alteza . . picholi . . no. 39. discernano. On the margin between lines 35 and 36: mera purifi catione. 306. 2. chorpo. 3. del color del color. 4. chellalumina. 6. infralloc. 7. chorpo. 10. zo [chessi] transpa. n. interpossto. 12. Ifralla . , ellocchio. 13. infrallj color, 14. qualita ma. 15. sechondo. 16. cholore. 17. ecques. 18. nasscie. 20. mezo. 21. ssto infralla. 166 THE THEORY OF THE ART OF PAINTING. [SO?- DE PICTURA. 2 Infra i colon che no sono azzurri quello- in liPga distantia participera • piu d' azzurro il 4quale sara piv vicino al nero e cosl de s converse si mostrera per luga distantia nel 6suo propio colore, il quale sara piv. dis i simile a detto nero. 8Adunque il uerde delle campagnie si trans^mvtera piv in azzurro che no fa il giallo o bia:oco e cosl de couerso il giallo e '1 biaco maco Msi transmuta che lo verde, e '1 rosso maco. OF PAINTING. Of various colours which are none of them blue that which at a great distance will look bluest is the nearest to black; and so, conversely, the colour which is least like black will at a great distance best preserve its own colour. Hence the green of fields will assume a bluer hue than yellow or white will, and con- versely yellow or white will change less than green, and red still less. 307. 2. azurri . . illu. 3. dazurro. ii. chello . . macho. 5. raontera . . disstantia. 6. cholore . . di. 7. dicto. 9. azuro. 10. biacho mac VII. On the Proportions and on the Movements of the Human Figure. Leonardo's researches on the proportions and movements of the human figure must have been for the most part completed and written before the year 1498; for LUCA PACIOLO writes, in the dedication to Ludovico il Moro, of his book Divina Proportione, which was published in that year: "Leonardo da venci . . . hauedo gia co tutta dili- getia al degno libro de pictura e movimenti humani posto fine". The selection of Leonardo's axioms contained in the Vatican copy attributes these words to the author: "e il recto si dira nella universale misura del huomo". (MANZI, p. 147; LUDWIG, No. 264). LOMAZZO, again, in his Idea del Tempio della Pittura Milano 1590, cap. IV), says: "Lionardo Vinci . . . dimostro anco in figura tutte le proporzioni dei membri del corpo umano". The Vatican copy includes but very few sections of the "Universale misura del huomo" and until now nothing has been made known of the original MSS. on the subject which have supplied the very extensive materials for this portion of the work. The collection at Windsor, belonging to her Majesty the Queen, includes by far the most important part of Leonardo's investigations on this subject, constituting about half of the whole of the materials here published; and the large number of original drawings adds greatly to the interest which the subject itself must command. Luca Paciolo ivould seem to have had these MSS. (which I have distinguished by the initials W. P.) in his mind when he wrote the passage quoted above. Still, certain notes of a later date— sue Ji as Nos. 360, 1 68 THE THEORY OF THE ART OF PAINTING. 362 and 363, from MS. E, written in 1513 — 14, sufficiently prove that Leonardo did not consider his earlier studies on the Proportions and Movements of the Human Figure final and complete, as we might suppose from Luca, Paciotts statement. Or else he took the subject up again at a subsequent period, since his former researches had been carried on at Milan between 1490 and 1500. Indeed it is highly probable that the anatomical studies which lie was pursuing with so much zeal between 1510 — 16 should have led him to reconsider the subject of Proportion. • H.I 316] 308. Ciascuno homo nel terzo ano meta della sua altezza ultima. la Every man, at three years old is half the Preliminary full height he will grow to at last. IT C. A. 1570; 4630:] 309. Se 1' omo • di • 2 braccia e piccolo • quello di quattro e troppo grade • essendo la uia 2 di mezzo laudabile • ; il mezzo Jfra • 2 • e 4 • si e • 3 : aduque • piglia • un omo 3 di 3 • brac- cia • e quello • misura • colla regola ch' io ti daro; se tu mi diciessi, io mi potrei 4Iga- nare, givdicado • vno bene proportionate- che sarebbe-il cotrario, a questa sparte io rispodo • che tu debi vedere • molti omini di 3 • braccia e quella maggiore qua6tita • che sono • coformi di mebra : sopra uno di quelli di migliore gratia • piglia tue misure; ? la lu- ghezza- della mano e J/3 di braccio e etra 9 volte nell' omo • e cosl la testa • e dalla fo- tanella 8 della gola alia spalla • e dalla spalla • alia tetta-e dal'una all'altra tetta-e da ciascuna Hetta-alla fontanella. If a man 2 braccia high is too small, one of four is too tall, the medium being what is admirable. Between 2 and 4 comes 3; therefore take a man of 3 braccia in height and measure him by the rule I will give you. If you tell me that I may be mistaken, and judge a man to be well proportioned who does not conform to this division, I answer that you must look at many men of 3 brac- cia, and out of the larger number who are alike in their limbs choose one of those who are most graceful and take your measurements. The length of the hand is r/3 of a braccio [8 inches] and this is found 9 times in man. And the face [7] is the same, and from the pit of the throat to the shoulder, and from the shoulder to the nipple, and from one nipple to the other, and from each nipple to the pit of the throat. 308. i. homo he nel. 2. ella meta . . alteza "ultima." 309. i. 2 br e picholo . . ettropo. 2. mezo laldabile il mezo . . piglia 1 omo. 3. di 3 br . ecquello . . cioti . . settu. 4. giudi- chado . . sarebe . . acquesta. 5. irispodo chettu . . di 3. br . ecquella . . settu. 6. chessono choformi di mebrisopra i di. 7. lugeza . . */» di br e . . dala. 8. ala . . dala spala . . ala. 9. teza alia. 309. 7. The account here given of the braccio is of importance in understanding some of the succeeding chapters. VOL. i. Testa must here be understood to mean the face. The statements in this section are illustrated in part on PL XI. Y I/O THE THEORY OF THE ART OF PAINTING. W. P. aa] 310. and face (310-318). Lo spatio ch' e infra '1 taglio della bocca Proportions e '1 pricipio • del naso e la settima • parte ld del uolto; 2 lo spatio • ch' e dalla bocca al di sotto • del meto • c d, fia • laquarta • parte • del uolto ; e simile alia larghezza della bocca; 3 lo spatio ch' e dal meto • al principio di sotto del naso e f, fia la terza • parte del uolto ; e simile al naso • e alia fronte ; 4lo spatio- ch'e dal mezzo -del naso al di sotto -del meto g h, fia -la meta-del volto; slo spatio ch'e dal principio di sopra del naso, dove pricipiano le ciglia, i k, al di sotto del mento, fia i due terzi del uolto; 6lo spatio • ch'e • infra '1 taglio della bocca e '1 pricipio del mento di sopra / m, cioe dou'esso meto finiscie terminado col labro di sotto 7 della bocca, fia la terza parte dello spatio ch' e dal taglio d' essa bocca • al di sotto del meto e la dodecima parte del uolto ; 8 dal di sopra • al di sotto • del meto m n fia la • sesta • parte del uolto, e fia la cinquata quatroesima parte delFomo; sdallo ultimo sporto del meto alia gola o p fia simile allo spatio, ch'e dalla bocca al di sotto del meto e la quarta parte del uolto ; 10 lo spatio • ch'e dal di sopra della gola al pricipio di sotto q r, fia la meta • del uolto • e la diciottesima parte del- P omo ; "dal mento • al dirieto del collo s t e quel medesimo • spatio • ch' e infra la bocca • e '1 nascimeto • de'capegli cioe 12i tre quarti • della • testa ; J3dal meto alia ganascia v x e mezza testa ed e simile alia grossezza del collo • in proffilo; 14 la grossezza del collo entra vna volta- e V4 dal ciglio • alia nuca. The space between the parting of the lips [the mouth] and the base of the nose is one-seventh of the face. The space from the mouth to the bottom of the chin c d is the fourth part of the face and equal to the width of the mouth. The space from the chin to the base of the nose ef is the third part of the face and equal to the length of the nose and to the forehead. The distance from the middle of the nose to the bottom of the chin g h, is half the length of the face. The distance from the top of the nose, where the eyebrows begin, to the bottom of the chin, i k, is two thirds of the face. The space from the parting of the lips to the top of the chin / m, that is where the chin ends and passes into the lower lip of the mouth, is the third of the distance from the parting of the lips to the bottom of the chin and is the twelfth part of the face. From the top to the bottom of the chin m n is the sixth part of the face and is the fifty fourth part of a man's height. From the farthest projection of the chin to the throat o p is equal to the space be- tween the mouth and the bottom of the chin, and a fourth of the face. The distance from the top of the throat to the pit of the throat below q r is half the length of the face and the eighteenth part of a man's height. From the chin to the back of the neck s /, is the same distance as between the mouth and the roots of the hair, that is three quar- ters of the head. From the chin to the jaw bone v x is half the head and equal to the thickness of the neck in profile. The thickness of the head from the brow to the nape is once and 3/4 that of the neck. 310. i. in fral [la bocha] taglio . . bocha. 2. bocha . . meto "cd" fia . . uolto" e simile alia largeza della bocha". 3. naso "e f* fia . . uolto "essimile al naso ella [testa] fronte". 4. mezo . . meto "g h" . fia. 5. ciglia "i k" al. 6. bocha . . d sopra **•! m" cioe . . cholabro. 7. bocha . . bocha . . meto "ella [vetunesima] dodecima parte del uolto". 8. meto "m n" fia . . uolto "effia la cinquata, quatroesima parte, dellomo". 9. dalo . . gola "o p" fia . . alo . . bocca . . ella. 10. sotto "q r" fia . . ella di sollcsima. n. diriecto del chollo "s t" e quel . . infralla bocha il nassimeto del chapegli. 13. alia ganasscia "v x" . e meza testa eddissimile . . chollo. 14. chollo . . nucha. 310. The drawings to this text, lines I — IO are on PI. VII, No. i. The two upper sketches of heads, PI. VII, No. 2, belong to lines 11 — 14, and in the original are placed immediately below the sketches reproduced on PL VII, No. I. FL.vn 1 '•' - i'f f '4 . UTO*J oW^vf *^;]«Y^ I ,"•' : '• x - ••'»-- ' • " ' V^.v- ,». :-<0«^" ''"-' I ' ' ^ I Hcliog-. Dujardin. Imp.Eudes v- ' / - • • i ^ :. ( ^ '* /«. ~-' * -, • / v . - J> ' . - J ^ ^ . y,.^ / TO^^^ f* I . J •' M £&&. it-^1 Dujardin ^^^ T » */ [' li/4 f A v* . / V v J . rwM*^ ^J (y »* ' • ' . ,-^ Sfe^ \ '-' 1 J ^ '"I^*' a 313.] THE PROPORTIONS OF THE HUMAN FIGURE. I/I A. 626} 3"- The distance from the attachment of one ear to the other is equal to that from the Tanto e dall' una • appiccatura • dell' ore- chio • all' altra -, quato e dalle givnture delle ciglia al meto; 'tanto -e grade la bocca meeting of the eyebrows to the chin, and in ,, _ , , ,, _, v , n ,. . ._ , ,, , . a fine face the width of the mouth is equal d u bel uolto, quato e dalla diuisio de labn al di sotto del meto. to the length from the parting of the lips to the bottom of the chin. A. 63 a] 312- II taglio overo spigolo del labro 2di sotto • della • bocca • e il mezzo Jfra 3 il di sotto del naso • e '1 di sotto del meto. 5 II uiso fa I se uno quadro, cioe 6la sua larghezza e da 1'uno al'altro ^stremo del ochio, e la sua altezza 8e da il fine di sopra del naso ?al di sotto del labro di sotto I0 della bocca, poi cio che resta ITdi sopra e di sotto a esso quadro I2fa 1' altezza d'u simile quadro ^\a • b e simile allo spa- tio • ch' e • infra • c • d- I^d-n-G cosi n • c • \ e similmete • s • r q-p'[ IS h> k • sono • infra loro simili.H 16 Tato e da m-s- quato e dal di sotto del naso • al meto; * 7 1'orechio • e apputo tato lugo, quato il naso; l8tato e da x-s quato dal naso al meto; I9il taglio della bocca I proffilo si dirizza all'agolo della mascella; 20 tato deb'essere alto 1'orechio, quat'e dal di sotto del naso 2Ial di sopra del coper- chio-delF ochio; 22 tanto e lo spatio-ch'e infra li ochi, quato la gradezza d'un ochio; 23 1'orechio cade nel mezzo -del collo-in proffilo ; 2i tanto • e • da 4 • a 5 • quato • e da • s • a • r. The cut or depression below the lower lip of the mouth is half way between the. bottom of the nose and the bottom of the chin. The face forms a square in itself; that is its width is from the outer corner of one eye to the other, and its height is from the very top of the nose to the bottom of the lower lip of the mouth; then what remains above and below this square amounts to the height of such another square, a b is equal to the space between c d; d n in the same way to n c, and likewise s r, q p, h k are equal to each other. It is as far between m and s as from the bottom of the nose to the chin. The ear is exactly as long as the nose. It is as far from x to s as from the nose to the chin. The parting of the mouth seen in profile slopes to the angle of the jaw. The ear should be as high as from the bottom of the nose to the top of the eye-lid. The space between the eyes is equal to the width of an eye. The ear is over the middle of the neck, when seen in profile. The distance from 4 to 5 is equal to that from s to r. W. P. uga] (a-b) e simile a (c-d). (a b) is equal to (c d). 311. i. apichatura . . da [pi] le . . dele. 2. bocha . . dala. 313. i. delabro. 2. bocha . . mezo. 4. [la large]. 5. se ! quadro. 6. largeza. 7. alteza. 9. delabro. 10. dela bocha. 13. essi- mile alo. 14. essimilmehte. 16. tato [te] e. 17. aputo . . lugo quato. 19. bocha . . diriza al . . raasscella. 20. esere. 21. choperchio. 22. ellosspatio . . quada la gradelza. 23. chade . . mezo . . chollo. 313. essimile. 312. See PL VIII, No. I, where the text of lines 3 — 13 is also given in facsimile. 313. See PL VII, No. 3. Reference may also be made here to two pen and ink drawings of heads in profile with figured measurements , of which there is no description in the MS. These are given on PI. XVII, No. 2.— A head, to the left, with part of the torso [W. P. 5 a], No. i on the same plate is from MS. A 2b and in the original occurs on a page with wholly irrelevant text on matters of natural history. M. RAVAISSON in his edition of the Paris MS. A has reproduced this head and discussed it fully [note on page 12]; he has how- ever somewhat altered the original measurements. The complicated calculations which M. RAVAISSON has given appear to me in no way justified. The sketch, as we see it, can hardly have been intended for any thing more than an experimental attempt to ascertain relative proportions . We do not find that Leonardo made use of circular lines in any other study of the proportions of the human head. At the same time we see that the proportions of this sketch are not in accordance with the rules which he usually observed (see for instance No. 310). 1/2 THE THEORY OF THE ART OF PAINTING. W. P. 7a] 314- Dcapo a/- & '/6 • maggiore • che The head a f '/6 larger than V. IV. 16] 3I5- Dal ciglio alia cogiuntione 2del labro col meto • e la punta 3 della • masciella • e '1 fine di sopra dello 4 orecchio • colla • tenpia • fia uno quasdrato-perfetto; E ciascuna fac- cia 6 per se • e mezza • testa. 7 E' 1 cauo • dell' osso • della • guancia 8 si truova • I mezzo • fralla punta del ^naso • e '1 confine • della • masciella •, ch'e I0la • punta • di sotto • dello • orecchio JI in nella • figurata • stella; "dal cantone dell' osso- dell' ochio allo' ^orecchio • e tanto • spatio quanto e la ^lun- ghezza • dello • orecchio •, o vuoi-il xsterzo- della testa. From the eyebrow to the junction of the lip with the chin, and the angle of the jaw and the upper angle where the ear joins the temple will be a perfect square. And each side by itself is half the head. The hollow of the cheek bone occurs half way between the tip of the nose and the top of the jaw bone, which is the lower angle of the setting on of the ear, in the frame here represented. From the angle of the eye-socket to the ear is as far as the length of the ear, or the third of the face. W. Pr. 12] 3l6- Tanto • dev' essere • da • a b cioe dal 2 na- scimeto dinazi • de' capelli alia 3 linia • della • somita • del capo, quarto e da • c • d • cioe dal • fine di sotsto • del naso • alia • cogiutio de' Iab6bri dinazi della bocca; 7 tanto e dal lagrimatoio dell' occhio 8 • m • alia somita • del capo • a • quarto e da | m \ al di sotto del meto • s • 10 s • c •/• b • sono • simili per spatio IX 1' uno • all'altro. From a to b — that is to say from the roots of the hair in front to the top of the head — ought to be equal to c d; — that is from the bottom of the nose to the meeting of the lips in the middle of the mouth. From the inner corner of the eye m to the top of the head a is as far as from m down to the chin s. s cf b are all at equal distances from each other. W. P. 5a] 3 Dalla sommita del capo al di sotto del meto J/8, 2 dal nascimeto de' capelli al mento 3e J/9 dello spatio ch'e da esso nascimeto a terra. 4La maggior larghezza del uolto From the top of the head to the bottom of the chin is l/s, and from the roots of the hair to the chin is */9 of the distance from the roots of the hair to the ground. The greatest width of the face is equal to the 314. II capo [v •• ,-, -»;-^, ,- . ' m Hclioo-. Duja-rdin 3i8—320.] THE PROPORTIONS OF THE HUMAN FIGURE. . del capo fia -simile a lo spate eh e dal d sotto del mento al .lagrirnanojo delli ^ ST. lachrymatory duct of the , spatio ch'e dal meto alh to the space be- i - « is ?& ° ^./•ch'elibero. 318. Tur. 7] are della grossezza 9de labn dell ochio, ;arr~a Valtro; e quel8sti tali spati ciascu per se eyes . > eye , the moutn. or of the space Proportions Of the head o ch'einfra li ochi; «« <: * V, *•»,«, *e eyes m from the Mmisurado dal taglio «di fon del labro « ^/3of the eyelids to the letter ,. dell'ochio -d Sfg,m0nfri'd7et'/,±o T will be equal to th'e width of ti>e nosml. alia 28larghezza delle nan del T"" 320. infraiciatridellepopme The th ' ,L outer ^ers of the eye, 318. See PI. XL 319. See PI. XII. '• 19. la n° forte. This singular notation seems to ma M•.' '**". . •• . i *f< ••?&*• . --• -'.. . ' J'" 8 :;": "''"'''• ^ii^M ' - E| •-,:.-:-•: ':>;r. *••;• ~^ mt--JW&$$ ' -^ ^^O^r- ••'"•• %- -v W. . ' '.W p^^jC^-'- v\ -:v". . v^u-1 . " • 5? J^^P^S:;^!^^ ••^.•5J*J'>.' ''" BK^TO^^^*1!*^ • % < r . J . 7 . .$-;• ^ ,> .~\m BjpH^^af^M - - <\iv ^- ^;<1 C ^'''^ -"•>J'-i'- ••-" .i^-^-i. '.- -.s. •«-•- •,'.'/ .- . • ' .M *.*••. iv.'v*^' .: • ? .- ! -*•'.'>•."••.' ^f % '/"'"? >.-••-'• '• i •''• ' '• ' rv^^/'^i^A/^-' .'.--''%' V;\TV;.::' " •'•?"• y:''^ v^/:'"''« -' V:.; -" ;" . '' •• * V; "r^Vf^i. ; .... '••••';''"J^^KSJ Heliog^ Dujardin 'iS' v#.v - ! g. e •$r& --•*& '- Heliogp Uujardin. Imp. Ku.de 1"1' < ? ^ y^..: / y^..: fi , I 1 / / • : ' i*i •*»•<• ( Heliog- Dujardu 328.] THE PROPORTIONS OF THE HUMAN FIGURE. 177 quado • il braccio sta piegato ; 2 II pie e tanto grade quato tutto • il capo • dell' omo, cioe dal di sotto del meto alia maggiore altezza del capo nel modo che qui e figurato. towards the breast when the arm is folded. The foot is as long as the whole head of a man, that is from under the chin to the topmost part of the head [2] in the way here figured. W. P. ya] 328. La maggior grossezza della polpa della gaba e nel terzo della sua altezza a b 2ed e piv larga la uetesima parte che la maggiore larghezza del pie. $a c e mezza testa, ed e simile a d b e all' appiccatura de' 4 cinque diti-ef, 6d k diminviscie il sesto • in nella gaba g • h - Tg li e x/3 della testa; 8m n crescie il sesto di a • e ed e ?/I2 della testa; ^o -p e minore YIO di d- k ed e 6/I7 della testa, 10a si e il mezzo infra b q ed e x/4 dell' omo, ™r si e mezzo infra s-b; I2il cauo del ginochio di fori r e piv • alto che '1 cavo di detro • a, J3la meta della grossezza della gaba da pie, 14 ^ si trova in mezzo infra il gobbo s • e il piano b; **v e in mezzo infra ^-^-l6la grossezza della coscia I faccia e simile alia maggiore ^larghezza della faccia del uiso cioe 2/3 dello spatio ch'e I8dal meto alia somita del capo; *?z • r e s/6 di 7 • v. 20m n e simile a • 7 • v ed e r/4 di r b, 2I x y entra • 3 • in r-b-Q in r- s; 22 a- b entra in c -f6, e 6 in c • n ed e simile a g - h • z k, 23 / m entra 4 in d -f, e 4 in • d • n, ed e 3/7 del pie, 24/ q • r • s - entra 3 in d'f e 3 in b n, 2$x y e T/s di x f ed e simile a | n • q, 2(53 7 si e T/9 di nf, 274 5 si e IO di n ] The greatest thickness of the calf of the Proportions leg is at a third of its height a b, and (338— jjif is a twentieth part thicker than the greatest thickness of the foot. a c is half of the head, and equal to d b and to the insertion of the five toes e f. d k diminishes one sixth in the leg g h, g h is Ya of the head; m n increases one sixth from a e and is ?/I2 of the head, o.p is Yio less than d k and is 6/I? of the head. a is at half the distance between b q, and is x/4 °f the man. r is half way between s and £[n]. The concavity of the knee out- side r is higher than that inside a. The half of the whole height of the leg from the foot r, is half way between the prominence s and the ground b. v is half way between / and b, The thickness of the thigh seen in front is equal to the greatest width of the face, that is % of the length from the chin to the top of the head; z r is 5/s of 7 to v; m n is equal to 7 v and is J/4 ^ r b, x y goes 3 times into r b, and into r s. \22~\a b goes six times into c/a.nd six times into c n and is equal to g h; i k I m goes 4 times into d f, and 4 times into d n and is 3/7 of the foot; p q r s goes 3 times into d f, and 3 times into b n; [25].* y is x/s of x f and is equal to n q. 3 7 is x/9 of n f; 4 5 is YIO of «/[2;]. 328. i. magior grosseza . . alteza. 2. parte [del] chella magiore largeza. 3. meza T ed esimile ha . . apichatura. 5. ghi. 8. cresscie. 9. della T. 10. infra b ede 1/4. 10. mezo. n. mezo. 12. difori "r" e . . chelchavo. 13. grosseza. 14. mezo . . gobo. 15. imezo. 16. grosseza cosscia . . facia essimile magiore. 17. largezza . . facia. 18. somita del chapo. 20. essimile ha. 22. entra [6]. 3 . in. c . f . "6 e 6 in c . n" ed e simile ha g. 25. h . ha. 28. [II]. 31. cinarsi. 33. chosi. 34. cazo. 327. 2. nel modo che qui e figurato. See PI. VII, No. 4, the upper figure. The text breaks off at the end of line 2 and the text given under No. 321 follows below. It may be here remarked that the second sketch on W. P. 3 II has in the original no explanatory text. 328. The drawing of a leg seen in front PL XIII, No. i belongs to the text from lines 3 — 21. The measurements in this section should be compared with the text No. 331, lines i — 13, and the sketch of a leg seen in front on PL XV. VOL. i. il. b is here and later on measured on the right side of the foot as seen by the spectator. 22 — 35. The sketch illustrating these lines is on PL XIII, No. 2. 22. a b entra in c f 6 e 6 in c n. Accurate mea- surement however obliges us to read 7 for 6. 25. y is not to be found on the diagram and x occurs twice; this makes the passage very obscure. 22 — 27. Compare with this lines 18 — 24 of No. 331, and the sketch of a leg in profile PL XV. Z THE THEORY OF THE ART OF PAINTING. [329—33I. 29Vo sapere quato vno 3°crescie leuadosi in puta 3'di pie, e ncl chinarsi quato ~*p-g diminviscie e quato n q 33cresca e cosl la piega del pie; 3*^/4 dal cazzo al di sotto del pie 35 3 7 e 6 da 3 a 2 ed e simile a g- h- et i-k. I want to know how much a man increases in . height by standing on tip-toe and how much / g diminishes by stooping; and how much it increases at n q likewise in bending the foot. [3 tfe /is four times in the distance be- tween the genitals and the sole of the foot; [35J3 7 ig si* times from 3 to 2 and is equal to g h and * k. B. 3) n pi& dalla • punta al calcagnio etra 2 volte 2dal calcagnio al gi- nochio, cioe dove 1' osso della ^ganba si cogivgnie con quello della co- scia. 329- The length of the foot from the end of the toes to the heel goes twice into that from the heel to the knee, that is where the leg bone [fibula] joins the thigh bone [femur]. w. P. 7,5] 33° • a 11 b son simili, 2c n d son simili • n • c fia 2 pie; *n d fia 2 pie. a n b are equal; end are equal; n c makes two feet; n d makes 2 feet. w. p. s 331- m ' n • o sono simili ; 2 la minore grossezza 3 della gaba I faccia etra *8 volte dal di sotto del pie salla givntura del ginochio, 6e a similitudine col braccio 7I faccia sul' appiccatura della 8 mano • e colla maggiore lughezza sdell'orechio e-coi-3 spati, IOI che e diuiso il uolto, e que"sta grossezza etra • 4 volte daI2la giutara della mano al fine del go^mito; ^tato e largo il pie, quato e xslo spatio del ginochio ifra-a-^; l6tato e la padella del ginochio, ' 7 quato e la gaba Ifra r-s. 18 La minore grossezza della gaba I9I proffilo etra 6 volte dal di sotto 20del pie m n o are equal. The narrowest width of the leg seen in front goes 8 times from the s-ole of the foot to the joint of the knee, and is the same width as the arm, seen in front at the wrist, and as the longest measure of the ear, and as the three chief divisions into which we divide the face; and this measurement goes 4 times from the wrist joint of the hand to the point of the elbow. [14] The foot is as long as the space from the knee between a and b; and the patella of the knee is as long as the leg between r and s. [ 1 8] The least thickness of the leg in profile goes 6 times from the sole of the foot 35. simile he g. 3»g. i. dala chalcagnio. 3. chogivgnie chon. 330. 2. som simili. 331. 2. grosseza. 5. ala. 6. chol br. 7. apichatura. 8. chola . . rragiore lugeza. 9. e co . 3. 10. Iche diuiso. n. grosseza. 14. largho. 16. padela. 18. grosseza. 19. socto. 21. chollo . . infralla. 22. choda. 23. cholla magiore grosseza del br I. 34. t f 4 dal cazo. By reading i for e the sense of this passage is made clear. 35. 2 is not to be found in the sketch which renders the passage obscure. The two last lines are plainly legible in the facsimile. * 330. See the lower sketch, PI. XIV, No. I. 331. See PI. XV. The text of lines 2 — 17 is to the left of the front view of the leg, to which it refers. Lines 18 — 27 are in the middle column and refer to the leg seen in profile and turned to the left, on the right hand side of the writing. Lines 20 — 30 are above, to the left and apply to the sketch below them. Some farther remarks on the proportion of the leg will be found in No. 336, lines 6, 7. Im Eu.de s : -V7PS3F-- ' ^^K^'i?"*,. IZ*^^^-^**-?*.^ "^TT^"^ 7' ' "v -•"•;: _ • ? •••* a f^7 ^ ^ ^ : _-_.^_. V2^^-:'^": •Utf^-^e: C>>; «.v ^-^.•i T^s 1-5 J L (l^< "*Z~=t~ *i A ^< i ~& <^-> I i4| fe; ^ ••*^!T*'L V \ ~^^— ~"^--^.,-' ^ -^ M. C~~~~ *•" ;X \»x^<^\\ W . 5^ «^' v. < ^ /^ P * ± ."' eoL&z *'<**',•• llrhcg- Duja.rdin. Imp . Eude : 332—334-] THE PROPORTIONS OF THE HUMAN FIGURE. 179 alia givntura del ginochio, 2Ie a similitudine collo spatio, ch'e ifra la 22coda del'ochio al buso dell' orechio, 23 e colla maggior gros- sezza del braccio I profile, 2^e col lagri- matojo del'ochio al' appiccatura de' ca- pelli. 2s a • b • c • sono ifra loro equali per lu- ghezza : c • d • z6 etra 2 volte dal di sotto del pie al */2 del ginochio e quel 27medesimo dal ginochio al fiaco. 28a- 6-C'Sono equali, a-b \ e 2 piedi, 29cioe dal calcagnio alia puta del dito 3°grosso. to the knee joint and is the same width as the space between the outer corner of the eye and the opening of the ear, and as the thickest part of the arm seen in profile and between the inner corner of the eye and the insertion of the hair. a b c \d\ are all relatively of equal length, c d goes twice from the sole of the foot to the centre of the knee and the same from the knee to the hip. [28] a b c are equal; a to b is 2 feet — that is to say measuring from the heel to the tip of the great toe. W. P. 6; la] 332. Se vno s' inginochia, quello stremera la quarta 2parte di sua altezza; 3 Stando 1' omo ginochioni colle mani al petto 4 il bellico fia • il mezzo di sua • altezza e simil5mente le punte de' gomiti; 6 II mezzo dell'omo che sede, cioe dal sedere alia 7 sommita • del capo, fia il braccio di sotto della poppa 8e '1 di sotto della spalla; essa parte sedete, 9 cioe dal sedere al di sopra del capo, fia I0tanto piv che mezzo 1'omo, quanto e la IJgrossezza e lunghezza de testiculi. In kneeling down a man will lose the On the cen- r ., c , • i • i . » tral point of fourth part of his height. the whole When a man kneels down with his hands body' folded on his breast the navel will mark half his height and likewise the points of the elbows. Half the height of a man who sits — that is from the seat to the top of the head — • will be where the arms fold below the breast, and below the shoulders. The seated portion — that is from the seat to the top of the head — will be more than half the man's [whole height] by the length of the scrotum. W. P. 6; 16} 333- Ilcubito-e la quarta • parte dell' altezza • The cubit is one fourth of the height of ^pl^ons dell'omo ed e simile -alia maggior larghezza a man and is equal to the greatest width of of the torso J«11_ __11~. •> J_l> _: j_ii_ ii_ _ _i i j . TT> . j.i- _ •_•.!- _^-__ . _t ij_- and of the delle spalle; 2 dal' una givntura delle • spalle • all' alt ra • fia • due • teste 3 e '1 simile • fia dalla somita del petto • all' ombelico ; 4 dalla detta- somita • al nascimeto del mebro • e vna testa. the shoulders. From the joint of one shoulder to the other is two faces and is equal to the distance from the top of the breast to the navel. [9] From this point to the genitals is a face's length. whole figure. W. P. 6; lla] 334- Dalle • radici de' capegli-alla somita del From the roots of the hair to the top petto- a b fia la sesta- parte dell' altezza- the breast a b is the sixth part of the height of the head dell'omo 2e questa • misura • fia simile. of a man and this measure is equal. antoreo! e 24. colagrimator . . apichatura de "ca pelli". 25. a . b . c [d] . . lugeza. 26. disocto . . equl. 27. fiacho. 29. puda. 30. grossoe chosi. 332. 2. alteza. 3. cholle. 4. belicho . . mezo . . alteza . . essimil. 6. mezo . . chessede. 7. chapo fia il br di . . popa. 9. chapo. 10. mezo . . ella. n. ellungeza de testichuli. 333. i. chupido . ella . . alteza . . magior largeza. 2. dalluna . . spalli. 3. pecto . . onbellicho. 4. nasscimeto . . e vna T. 334. i. chapegli . . petto "a b" fia. 3. [e] tanto . e .. . spalli. 4. bellicho . ecquesta . . nasscimeto. 6. II br dove sispicha . . 332. See PI. VIII, No. 2. 4. dalla detta somitct. It would seem more accurate 333. Compare with this the sketches on the other to read here dal detto ombilico. page of the same leaf. PL VIII, No. 2. 334. The three sketches PL XIV, No 2 belong to this text. i8o THE THEORY OF THE ART OF PAINTING. [335—338- 3 Tanto • e • daP ultima • parte • delle • spalle • all'altra, quanto e dalla somita dell petto 4 al bellico • e questa • parte • entra • quattro volte -dal di sotto del pie al nascimeto sdi sotto del naso. 6 II braccio, dove si spicca dalla spalla dinazi, entra -6 uolte-in nello spatio ch'e infra 1'uno e 1'altro ?stremo delle spalle -e 3 volte nella testa dell'omo, e quattro nella lunghezza del pie, 8e tre nella mano dentro e fori. From the outside part of one shoulder to the other is the same distance as from the top of the breast to the navel and this measure goes four times from the sole of the foot to the lower end of the nose. The [thickness of] the arm where it springs from the shoulder in front goes 6 times into the space between the two outside edges of the shoulders and 3 times into the face, and four times into the length of the foot and three into the hand, inside or outside. W. P. 6; 335- a b c sono equali e son simili allo spa- The relative tio • ch' e dall' appiccatura del braccio col proportions .. . ,11-1 i . • of the torso petto e 1 appiccatura 2del mebro •, e lo.spatio and,°Jthe ch'e dalla puta de' diti della mano al fopello (335- 336)- del braccio, e al mezzo del petto, e sappi ^ che • c - b • e la terza parte che a la lun- ghezza dell'omo dalla spalla a terra; *d- e •/- son simili infra loro • e son simili alia maggior larghezza • delle spalle. a b c are equal to each other and to the space from the armpit of the shoulder to the genitals and to the distance from the tip of the fingers of the hand to the joint of the arm, and to the half of the breast; and you must know that cb is the third part of the height of a man from the shoulders to the ground; d e f are equal to each other and equal to the greatest width of the shoulders. W. P. 5«] 336. — Foppel del meto — 2 fianco — 3 al nasci- meto del grosso dito — 4fin del pescie di detro della coscia — sfin del rilevo del fuso della gaba; 6la minore grossezza della gaba entra 73 nella sua coscia • stando in faccia. — Top of the chin — hip — the insertion of the middle finger. The end of the calf of the leg on the inside of the thigh. — The end of the swelling of the shin bone of the leg. [6] The smallest thickness of the leg goes 3 times into the thigh seen in front. w. P. 2 a] 337- D busto • a • b • fia • nella piu sottile parte ^hoe "^-uno-pie: e da- a- b- fia- 2 pie, che fia- 2- of the torso quadrati , 2 al cavallo ; la piv sottile sua foot. the The torso a b in its thinnest part mea- sures a foot; and from a to b is 2 feet, which makes two squares to the seat — its parte entra • 3 • volte nella lughezza • che fa thinnest part goes 3 times into the length, 3 • quadrati. thus making 3 squares. The propor- tions of the whole figure (3J8-340- W. P. 7a] 338. L'omo a giaciere 2arriva a l/9 di sua ^altezza. A man when he lies down is reduced to '/9 of his height. 335- 336 337. 33«. nello . . ellaltro. 7. spalli . . lungeza. . dalla . pichatura . . chol . . e lla |b] pichatura. a. ello . . a fobello . mezo . essapi. 3. clla . . alia largcza dcllomo . atterra. 4. infralloro . . largeza . . spali. . fopel. 2. fiancho. 3. nasimeto. 5. fin de. 6. grosscza . . entrc. . fi "a" nel pi . . 1 . che fia. 2. chavallo . . lugeza. . diacere. 2. ariva. 3. alteza. 335. See PI. XVI, No. i. 3. lunghezza, in MS. larghezza. 336. See PI. XVII, No. 2, middle sketch. 337. See PI, VII, No. 2, the lower sketch. I. // biuto . . uno p&. This is less plainly shown in the sketch which accompanies the text than in No. 5. (W. 104). da a b fia 2 pit. For 2 read perhaps 2J/2; but the whole passage is obscure. PL. XVI. : J'»' 'V •; - * — r- ;;*.v ''«-~vt; = - . '•' ~"~ ^- "*'' «* ' V^*?'^1'*-''' - 7. -'.v-.* -,rr^rv: •-<-•, ^HS^^«S£'w'-^P >'.'- '. 'i'" i1'^" i \_ • > .V'^'^^V •' -**•! * Y~ :-'vT-'-:, If^' ' — •-• — :-•; •'-. . •- T -, :r'<_ •-.. - , . L > •;. i ' '. . ,.-^^^^^Z^: ;' • ' ''* ^^:;;;?^: |i v^ M '• L^J;<.. IS (• - 'L-- 1 1 •-^-•' ^tv^™--i»/>t 5i__^'Mt>- --F > - , - - fi!^?S:'^f r \^f-/J S^^fe t, W' v^lll ^•'f U1 x-'WI f--;*-" '• V > < ' • ' •-*..-••..• • >..,»• -^-^ • • 7.- . - - • ^- • -s » • • • ' Mii^-^Pi - ^ "i- 7v "',-•? * ^ >•• • Stri-u • "' ' •- - r •' • ' ' '^» ; -'•' '•" v^S -L'-'-<». '?< V Iinp. Eudes. ileliog-.Bujard PL. XVII. ••^. r ,:£ ^ £*$&£ "f I t**?» *., -'.*-. :.f~ >viT ' •• ' T-L: • • ,-. ^ ^:..v-l^:^;23 ... - ;ii6u-i.. - Imp Eudes 339-342.] THE PROPORTIONS OF THE HUMAN FIGURE. 181 W. P. 7 6] 339- Ilbucodell' orechio, lanascitadellaspalla, 2 quella del fiaco e del pie son perpediculare linia ; 3 a n • e simile a-m- o. The opening of the ear, the joint of the shoulder, that of the hip and the ancle are in perpendicular lines; a n is equal to m o. C. A. 35011; 1089 a] 340- Dal mento insino al nascimeto de' ca- pelli si e VIO parte dalla figura; 2della givn- tura della palma della mano Jsino alia som- mita del dito lungo I/lo parte, 3 dal meto alia sommita del capo • Vs parte, 4 e dalla for- ciella alia sofhita del petto si e x/e parte, s e dalla forciella del petto • jnsino alia sommita del capo J/4 parte, 6e dal meto alle nari del naso J/3 parte del uolto, ?e quel mede- simo dalle nari al ciglio e dal ciglio al nasci- meto de' capegli, 8e '1 pie e J/6 parte, 9e'l gomito V4 parte, 10larghezza di spalle z/4 parte. From the chin to the roots of the hair is */io of the whole figure. From the joint of the palm of the hand to the tip of the longest finger is Vio- From the chin to the top of the head I/s; and from the pit of the stomach to the top of the breast is J/6> and from the pit below the breast bone to the top of the head J/4. From the chin to the nostrils J/3 part of the face, the same from the nostrils to the brow and from the brow to the roots of the hair, and the foot is I/6, the elbow J/4J the width of the shoul- ders T/4- W. P. 5 a] 341- Larghezza di spalle */4 del tutto, 2 dalla snodatura della spalla alia mano x/3, 3 dal taglio del labro di sotto alPomero 4 della spalla • uno pie. s La maggiore grossezza • delPomo dal petto alia schiena 6entra 8 volte nell'omo ed e simile allo ?spatio ch'e dal meto alia sofhita del capo. 8 La maggior larghezza e nelle spalle, e entra 4. The width of the shoulders is J/4 °f the whole. From the joint of the shoulder to the hand is */3> from the parting of the lips to below the shoulder-blade is one foot. The greatest thickness of a man from the breast to the spine is one 8th of his height and is equal to the space between the bottom of the chin and the top of the head. The greatest width is at the shoulders and goes 4. w. P. -jb\ 342. Tanto e I'omo sotto i bracci quato lo spatio de' fiachi. 2 Tanto • e 1' omo largo ne' fiachi quat' e dal somo d'essi fiachi 3al di sotto delle natiche, stado I'omo di pari peso sopra i The width of a man under the arms is The torso ,1 ^1 i • from the the same as at the hips. front and back. A man's width across the hips is equal to the distance from the top of the hip to the bottom of the buttock, when a man stands 339. i. [lane] il puso . . la nasc . . spala. 2. hacho . . . perpedichulare. 3. ha . m. 340. i. nassimeto de chapelli . dela. 2. dala . . dela . . lungho. 4. dala forciella dellalla. 6. allianari. 7. dalanari . . nasimeto. 9. egomito. 10. largeza dispale. 341. i. il trezo: written, on the margin . largeza. 4. spalla . ! . pie. 5. magiore grosseza . . sciena. 6. [essimile]. 7. somita del chapo. 8. largeza [delle] e . . spalli. 342. i. i br quato. 2. sumo. 4. somita di. 5. spalli. 6. mezo infralla. 339. See PI. XVI, No. 2, the upper sketch. 342. The lower sketch PI. XVI, No. 2, is drawn by the side of line I. 182 THE THEORY OF THE ART OF PAINTING. L343- 2 sua 'pie, *e '1 medesimo spatio- fia da essa somitk de' fiachi alia givntura s delle spalle; 6la cintura overo il di sopra dc fiachi fia • in mezzo infra la 7 givntura delle spalle e '1 di sotto delle natiche. equally balanced on both feet; and there is the same distance from the top of the hip to the armpit. The waist, or narrower part above the hips will be half way between the arm pits and the bottom of the buttock. Yen. (121) * 343- Vetruuio • architecto mette nella sua- sche^Tof opera -d' architecture •, che le misure dell'omo proportions, sono • dalla • natura 2 distribute • in questo • modo • cio£ • che • 4 diti fa • uno palmo • e 4 palmi • fa • uno pie •, 6 palmi fa un cubito • 4 -Jcubiti • fa • uno uomo -64- cubiti fa uno • passo • e 24 palmi • fa uno uomo • e queste misure son ne' sua edifiti; *Se tu aPri t^to le gabe • che tu cali da capo '/,4 di tua al- tezza e apri e alzi tanto le braccia che colle lunghe dita tu tochi la linia della ssomita del capo, sappi che '1 cietro delle stremita delle aperte mebra fia il bellico 6e lo spatio che si truova infra le gabe, fia triagolo equilatero. 7 Tanto apre 1' omo nelle braccia • quato • e la • sua • altezza. 8 Dal nascimento • de' capegli • al fine di sotto del mento • e • il decimo dell' al- tezza-del uomo; dal di sotto -del mento • . alia • somi9ta • del capo • e • 1'octauo • del- 1' altezza • dell' omo : dal di sopra • del petto • alia • sorhita • del capo • fia il • sexto del- 1'omo; dal di soI0pra • del petto al nasci- meto de' capegli • fia • la settima • parte • di tutto • 1' omo ; dalle • tette al di sopra • del capo fia "la • quarta • parte • dell'omo: la maggiore • larghezza • delle • spalle • contiene • in se la quarta parte dell'omo •, dal goI2mito • alia punta • della • mano • fia la • quinta • parte • dell' omo : da esso • gomito • al ter- mine della • spalla • fia la octaua '•* parte • d'esso omo: tutta • la mano • fia la decima • Vitruvius, the architect, says in his work on architecture that the measurements of the human body are distributed by Nature as follows: that is that 4 fingers make i palm, and 4 palms make i foot, 6 palms make i cubit; 4 cubits make a man's height. And 4 cubits make one pace and 24 palms make a man; and these measures he used in his buildings. If you open your legs so much as to decrease your height J/,4 and spread and raise your arms till your -middle fingers touch the level of the top of your head you must know that the centre of the outspread limbs will be in the navel and the space be- tween the legs will be an equilateral triangle. The length of a man's outspread arms is equal to his height. From the roots of the hair to the bottom of the chin is the length of a man's height; from the bottom of the chin to the top of his head is one eighth of his height; from the top of the breast to the top of his head will be one sixth of a man. From the top of the breast to the roots of the hair will be the seventh part of the whole man. From the nipples to the top of the head will be the fourth part of a man. The greatest width of the shoulders contains in itself the fourth part of the man. From the elbow to the tip of the hand will be the fifth part of a man; and from the elbow to the angle of the armpit will be the eighth part of the man. The whole hand will be the tenth part of 343. i. mecte . . chelle. 2. disstribuite . inquessto . . fa . ! . palmo . . fa i pie . . fa un chubito. 3. fa ! homo . he. 4. chubidi fa ! passo he . . fa i homo . ecqueste. 4. Settu . . chettti chali da chapo . . alza . . cholle lunge. 5. chapo . . bcllicho. 6. ello . . chcssi . . infralle alteza . . disocto. 7. nele . . ella. 8. nasscimento de chapegli . . somi. 9. chapo . he . . pccto . . somita del chapo. 10. sectima . . tucto pecto . . nasscimeto de chapegli . . sectima . . chapo. n. largcza . . spalli chonticno . . se [la oct] la quarta. 12. isspalla. ij. tucta . . nasscie . . mezo. 14. sectima . . socto . . socto. 343. See PI. XVIII. The original leaf is 21 centi- from Vitruvius is Book III, Cap. I, and Leonardo's metres wide and 33'/2 Jong. At the ends of the drawing is given in the editions of Vitruvius by scale below the figure arc written the words diti FRA GIOCONDO (Venezia 1511, fol., Firenze 1513, 8vo.) (fingers) and palmi (palms). The passage quoted and by CESARIANO (Como 1521). PL. XVIII. •V* rf'T jrjf^ft *• tut • " * • «fT^ffi» * mwv-4>r*«r vww "«. "• ,w.iJr ib$i4fe«^i^^ ^ Sfe^fe^4T^-^^ >'» rH -f • ^^XF?- e^fi/f^Jf""*?" ^ *\ I ~~\~ n'j/VI/»^-'. on^«Jli-»--/'J'-*'""v»' »«wrN«' • '•c' *^*!^ "Z :^^a^RC^^t^| f3^SS3KftfeJS> =3P£# is, #i-^-Wirj'>j'rJrfrt , J,-^,^. j^*^-*r«-V*^ i : i-Air.ftJtit JiiTk •• v •rfm »"*7l2S. .fir rr n M^rr- - RB .. , ,;j^*. i Jtfc. Heliog'. Dujardin. Imp. Eudes. 344—347-] THE PROPORTIONS OF THE HUMAN FIGURE. 183 parte • dell' omo : il menbro • virile • nascie • nel mezzo dell' omo; il '4 pie • fia la settima • parte • dell' omo; dal di sotto • del pie • al di sotto del ginochio • fia • la quarta • parte • del? omo; "sdal di sotto • del ginochio • al nascimeto del membro • fia • la quarta parte • dell' omo : le parti che si truovano • infra 16 il meto • e '1 naso e '1 nascimeto de' ca- pegli e quel de' cigli • ciascuno spatio • per se e simile all'orechio ed e '1 terzo del uolto. the man; the beginning of the genitals marks the middle of the man. The foot is the seventh part of the man. From the sole of the foot to below the knee will be the fourth part of the man. From below the knee to the beginning of the genitals will be the fourth part of the man. The dis- tance from the bottom of the chin to the nose and from the roots of the hair to the eyebrows is, in each case the same, and like the ear, a third of the face. Ash. I; 12 a] 344- Da b • a • e una testa e cosl da • c • a, 2 e questo • accade quado jl gomito 3 fa • angulo • recto. From b to a is one head, as well as from The arm and c to a and this happens when the elbow forms a right angle. W. P. 8rt] 345- Dalla puta • del piv • lugo dito della mano From the tip of the longest finger of the Proportions !alla givtura della spalla e 4 mani 3O vuoi hand to the shoulder joint is four hands or, °[^—ll$. 4 teste. * a • b • c sono equali e ciascuno 5 inter- vallo -62- teste. if you will, four faces. a b c are equal and each interval is 2 heads. B. La mano Tsino doue osso 2del braccio etra 4 volte dalla puta del piv 3lungo dito isino alia giv- tura della spalla. 346. si cogivgnie col The hand from the longest finger to the wrist joint goes 4 times from the tip of the lon- gest finger to the shoulder joint. w. P. 4 a] 347- a • b • c • sono equali • e son simili al a b c are equal to each other and to the pie e lo spatio ch'e dalla tetta • al foot and to the space between the nipple and mamolino, 2d-e fia -la terza parte di tutto the navel de will be the third part of the • P omo • whole man. f-g e la quarta- parte dell' omo ed e si- f g is the fourth part of a man and is mile a g • h • e simile al cubito. equal to g h and measures a cubit. 15. socto . . chessi. 16. nasscimeto de chapegli ciasscuno 345. i. dala . dela. 2. dela spala. 4. ciaschuno. 5. intervalo. . . essimile allorecheel. 346- *• chol< 344. i. e i T cio. 2. ecquesto achade. 347- i. esson. 3. ella essimile ha . . essimile al chupido. 344. See PL XLI, No. I. 345. Lines 1—3 are given on PI. XV below the front view of the leg; lines 4 and 5 are below again, on the left side. The lettering refers to the bent arm near the text. 347. See PI. XIX, No. I. i. mamolino (= bambino, little child) may mean here the navel. 1 84 THE THEORY OF THE ART OF PAINTING. [348. W. P. 5*) 348. a b • entra 4 volte in a • c • e 9 in a-m; 1 la maggiore grossezza del braccio intfra '1 gomito • e la mano entra 6 in a • m H * ed e simile a-r-/-; Ma maggiore grossezza del braccio • infra la spalla e '1 go6mito entra 4 dac-M-ed e simile -h-n-g; ?la minore grossezza del braccio sopra '1 gomito x-y- non e ra8dice quadrata, ma e simile al mezzo dello spatio // • 3 9che si trova infra la givn- tura del braccio detro I0e la givntura della mano; 11 La grossezza del braccio sulla mano "entra • 12 volte in tutto il braccio, "3 cioe dalla punta de' diti insino I4alla givntura della spalla, cioe ^3 nella mano e 9 nel braccio; l6H braccio piegato e 4 teste; '711 braccio dalla spalla al gomito l8 nel pie- garsi crescie I9di sua lunghezza • cioe la lun- ghezza 20 dalla spalla -al gomito, eesso ac2Icre- scimeto e simile alia gro22ssezza del braccio sulla giuntura della ma, 23quado sta in proffilo, e simile 24 allo spatio ch'e dal di sotto del meto al ta2Sglio della bocca, e la grossezza delle 2 *6dita della ma di mezzo, e la gradezza 27 della bocca, e lo spatio ch'e dalla appic- ca28tura de' capelli alia fronte, e la sofhita del 29capo; Queste cose nominate so 3°si- mili infra loro ma no simili al 31 sopra detto accrescimeto del braccio. 32I1 braccio dal gomito alia mano mai 33 crescie per piegare o dirizarsi; 34 II braccio dalla spalla alia givntura 35 di detro quad'e disteso; 36 Quando il braccio e disteso p • n • e simi37le a • n • a; E quando si piega 38« • a • sciema J/6 di sua lughezza e '1 39Simile fa • /•«; E '1 gomito di 4°fori nel piegarsi crescie J/7> e questo nel 4'suo piegarsi cre- scie e ariva alia lughezza di 2 *2 teste, E '1 a b goes 4 times into a c and 9 into a m. The greatest thickness of the arm between the elbow and the hand goes 6 times into a m and is equal to r f. The greatest thick- ness of the arm between the shoulder and the elbow goes 4 times into c m, and is equal to h n g. The smallest thickness of the arm above the elbow x y is not the base of a square, but is equal to half the space // 3 which is found between the inner joint of the arm and the wrist joint. [n]The width of the wrist goes 12 times into the whole arm; that is from .the tip of the fingers to the shoulder joint; that is 3 times into the hand and 9 into the arm. The arm when bent is 4 heads. The arm from the shoulder to the elbow in bending increases in length, that is in the length from the shoulder to the elbow, and this increase is equal to the thickness of the arm at the wrist when seen in profile. And the space between the bottom of the chin and the parting of the lips, is equal to the thickness .of the 2 middle fingers, and to the width of the mouth and to the space between the roots of the hair on the forehead and the top of the head [29]. All these distances are equal to each other, but they are not equal to the above-mentioned increase in the arm. The arm between the elbow and wrist never increases by being bent or extended. The arm, from the shoulder to the inner joint when extended. When the arm is extended, / n is equal to n a. And when it is bent n a diminishes x/e of its length and p n does the same. The outer elbow joint increases 1/7 when bent; and thus by being bent it increases to the length of 2 heads. And on the inner 349. 2. magiore grore grosseza . . in I. 3. ella. 4. essimile ha r. 5. magore . grosseza del br infralla . ego. 7. grosseza . . br sopral gomito "x . y" . non. 8. mezo . . "h . 3". 9. chessi . . infral [br di dentro] la . . del br. 10. ella. n. grosseza . . br . 12 . il br. 14. ala . . coe. 15. nel br. 16. 4 T. 17. brcio. 18. il nel . . cresscie. 19. lungeza . . lungheza. 20. de dalla . essoa. 21. cresscimeto essimile. 22. seza del br sula. 23. essimile. 25. bocha ella grosseza. 26. mezo ella gran- deza. 27. bocha ello . . apicha. 28. chapelli . . ella somita. 29. nominate. 31. acresimedo del br. 32. il br. 33. cresscie. 34. II br. 36. il bre . . essimi. 37. le ha . n . a Ecquondo. 38. lugeza. 39. Ell e | "questo". 40. cresscie. 41. piegarsi | "cres- scie" e . . lugeza. 42. dentro ne nel. 43. esso br era dal na. 44. chollater.i al. 45. tesste e mezo. 46. */i T e. 47. col- 348. Compare PI. XVII. Lines I — IO and II — 15 are written in two columns below the Extended arm, and at the tips of the fingers we find the words: fine (TunghU (ends of the nails). Part of the text — lines 221025 — *s visible by the side of the sketches on PI. XXXV, No. I. 29. Queste cose. This passage seems to have been written on purpose to rectify the foregoing lines. The error is explained by the accompanying sketch of the bones of the arm. PL. XIX. ^M fV ^ ££g& • ?:*••* M Heliog.. Dujardin 3480 THE PROPORTIONS OF THE HUMAN FIGURE. I85 dentro nel suo pie^garsi fa che dove esso braccio era dal nas44cimento suo collaterale al suo fine4 s colla mano, 2 teste e mezzo, piega- 46 to sciema quella x/a Testa e torna due, 47vna dalla givtura al suo fi colla- terale, -»8l'altra infmo alia ma. 49 II braccio piegato avra 2 teste dal di sopra s° della spalla al gomito e 2 da esso gos^ito al nascimeto L de' quatro diti S2sulla palma della mano; lo spatio, 53ch'e da esso nasci- meto de' 4 diti al gomito, 54mai si muta per alcuna mutatione 55del braccio! 56 Se questo braccio si dirizzera, elli ca- lera il 3° dello 57Spatio ch'e infra b-n, e se sia diritto e pies8gherassi, cresciera la meta side, by bending, it is found that whereas the arm from where it joins the side to the wrist, was 2 heads and a half, in bending it loses the half head and measures only two: one from the [shoulder] joint to the a end [by the elbow], and the other to the hand. The arm when folded will measure 2 faces up to the shoulder from the el- bow and 2 from the elbow to the inser- tion of the four fingers on the palm of the hand. The length from the base of the fingers to the elbow never alters in any position of the arm. If the arm is extended it decreases by V3 of the length between b and n; and if — being extended — it is bent, it will increase di o c; S9tanto e dalla spalla al gomito, quanto 6oe dal pricipio dentro del grosso dito a esso gomito 6la b c. 62 La minore grossezza del braccio in proffilo z • c entra 6 6^ dal nodello della mano al foppello del gomito disteso 64e 14 in tutto il braccio e e 42 in tutto 1' omo suo ; 6sla maggiore grossezza del braccio in prof- filo e simile 66alla maggiore grossezza del braccio in facia; ma 1'una 6?e posta nel terzo del braccio dalla givntura alia meta, P altro 68 nel terzo della givntura alia mano. the half of o c. [5 9] The length from the shoulder to the elbow is the same as from -the base of the thumb, inside, to the elbow a b c. [62] The smallest thickness of the arm in profile z c goes 6 times between the knuckles of the hand and the dimple of the elbow when extended and 14 times in the whole arm and 42 in the whole man [64], The greatest thickness of the arm in profile is equal to the greatest thickness of the arm in front; but the first is placed at a third of the arm from the shoulder joint to the elbow and the other at a third from the elbow towards the hand. lare. 49. br . . ara 2 T dal. 50. eso. 52. sula. 53. nassimeto. 54. alchuna. 56. dirizera e chalera. 58. gerassi cressciera. 60. dento . . dito neso. 62. grosseza del br (in proffil m . n . entra 6). 63. nodel . . fopilo. 64. bree. 65. magiore grosseza in . . essimile. 66. magiore grosseza del br in. 67. de br dala. 69. la minore grosseza del br \\\\\\\ 70. 2 nella magiore del br grosse \\\\\\ 59—61. The figure sketched in the margin is however drawn to different proportions. 62 — 64. The arm sketch on the margin of the VOL. I. MS. is identically the same as that given below on PI. XX which may therefore be referred to in this place. In line 62 we read therefore z c for m n. AA THE THEORY OF THE ART OF PAINT1M-. [349-351- 349 W. P. 7*1 . Tanto e dalla somita della spalla ^ f f „.?. son simili a una mezza testa ?e entia4da-«-*-f 3> asso * musscoli aposlU. 349. See PI. XX where the text is also seen from lines 5-23- 351. See PI. XIX, No. 2. PL. XX ? p •- •• . * - . f t / - • . C -{- 1 '•'.', • -»'' - % i\ . ' • ' -. AA ' jp ^ • • .-•* ^, - "t7? .' • / "v^f \ 1 1 V * -T" * I ".'•' / r fc#/ f'j* ''; H V u«r »'[ '•yft/\li^ '"-* "• / I ivrtl*r\'^ "^" . H-~? u • / X 4 4 . - Imp. K tides. 352—354-] THE PROPORTIONS OF THE HUMAN FIGURE. I87 fanno piv brieui, e li muscoli oppositi si far- anno di ma^ggior lunghezza che in ordinario • come dire nello esenplo ; d c e s forte diminviranno : b n forte s' allarghera. the muscles outside will become of greater length than before. As is shown in the example ; d c e will shrink considerably; and b n will be much extended. Ash. I; 25 II a] PlTTURA. 352- OF PAINTING. 2 II braccio • dove • si uolta • tira dirieto • la sua • spalla a mezzo la schiena. The arm, as it turns, thrusts back its shoulder towards the middle of the back. C. A. 44^5; 137 6] 353- 10 sono li moti principal • della mano, cioe in 3 dentro, in fori, destro e ^sinistro, The principal movements of the hand are 10; that is forwards, backwards, to right circuvolvbile, sin su e in giu, chiudere 6e and to left, in a circular motion, up or down, aprire, dilatatione e 7 restrinsione delle sua dita. to close and to open, and to spread the fingers or to press them together. C. A. 98 6; 308^1 DEL MOTO DELLE DITA DELLE MANI. 354- OF THE MOTIONS OF THE FINGERS. 2 Li moti delli diti sono • principali cioe •Sastendere e piegare: 1'astendere e pie- 4gare si uaria in modi, cioe alcuna s volta si piega tutto d'un pezzo sopra la 6prima giuntura, alcuna volta si piega ?o dirizza mezzo sopra la 2a giu8tura, e alcuna volta si piega tutto 9 in se e nel medesimo tempo si piega in tutI0te le sue 3 giunture, e se alle 2 prime "giunture sara proibito il pie- gamento, I2allora la 3a giutura sara piegata con mag^giore facilita, che ne mai si potra piegaI4re per se sola, essendo libere 1'altre giunture, T5e essa no si pieghino tutte le 3 giul6ture; Oltre alii- predetti moti ce ne a r?4 altri principali, de' quali 2 sono fra su l8e giu, e 2 altri tra qua e la, e ciascu di que^sti e fatto colla sua senplice corda; Di 20questi ne seguita infiniti altri moti fatti se2Ipre co 2 corde; e lasciata vna d'esse corde 22va ripigliando Paltra; fu fatto le corde 23grosse di dentro al dito e le sottili di fori; fu 24 fatto le corde di dentro a ogni giutu25ra e di fori no. 26 Delia potetia che fa le 3 2 7 corde den- tro alii diti nelle 283 giuture. The movements of the fingers principally consist in extending and bending them. This extension and bending vary in manner; that is, sometimes they bend altogether at the first joint; sometimes they bend, or extend, half way, at the 2nd joint; and sometimes they bend in their whole length and in all the three joints at once. If the 2 first joints are hindered from bending, then the 3rd joint can be bent with greater ease than before; it can never bend of itself, if the other joints are free, unless all three joints are bent. Besides all these movements there are 4 other principal motions of which 2 are up and down, the two others from side to side ; and each of these is effected by a single tendon. From these there follow an infi- nite number of other movements always effected by two tendons; one tendon ceasing to act, the other takes up the movement. The tendons are made thick inside the fingers and thin outsidej and the tendons inside are atta- ched to every joint but outside they are not. [2 6] Of the strength [and effect] of the 3 tendons inside the fingers at the 3 joints. 4. gor lungeza chellin. 5. he 6 n . . sallargera. 35». mezo . . sciena. 353' 3- desstro. 4. sinisstro. 5. ciudere. 7. resstrinsione. 354. i. delli. 2. coe. 3. asstendere e pieghare . . eppie. 4. ghare . . coe. 5. piegha . . pezo. 6. guntura . . piegha. 7. [mezo] o diriza mezo 2* gu. 8. piegha. 9. piegha in tu. 10. gunture esse. n. gunture . . piegamento [il]. 12. alora . . guntura. 13. gore . . che p"a". 14. gunture. 15. 3 gu. 18. e gu e . . qua ella. 19. effatto. 27. ellasciato. 23. elle. 24: chorde . . gutu. 26. cheffa. 28. guture. 354. 26. This head line has, in the original, no text to follow. 1 88 THE THEORY OF THE ART OF PAINTING. [355-358. E. ija] 355- Nota la uariationc della spalla in tutti li The move- mozti del • braccio intra su c giu, in dentro, incut of (he lo«6i infora, ^indirieto, inati, e cosl ne' moti revcr- tigHnosi e qualuche altri moti. s£ '1 simile fa del collo, mani e petto so6pra li fianchi ecc. c piedi Observe the altered position of the shoulder in all the movements of the arm, going up and down, inwards and outwards, to the back and to the front, and also in circular move- ments and any others. And to the same with reference to the neck, hands and feet and the breast above the lips &c. w. 356. 3 sono li muscoli principali 2 della spalla cioe bed, e due ^sono li laterali che la movono 4 inazi e indirieto, cioe a o\ 5a la move inazi e o la tira 6 indirieto; e insu 1'alza bed, 7 insu e inazi a b c, insu e indi- 8rieto c d o; e in giu basta 9 quasi il peso di se medesima; 10 II muscolo d si vnisce col muscolo c, quaMdo il braccio va inanzi, e nel tornare indiI2rieto il muscolo b s'unisce col mus- colo c. Three are the principal muscles of the shoulder, that is b c d, and two are the lateral muscles which move it forward 2 back- ward, that is a o; a moves it forward, and o pulls it back; and bed raises it; a be moves it upwards and forwards, and c d o upwards and backwards. Its own weight al- most suffices to move it downwards. The muscle d acts with the muscle c when the arm moves forward; and in moving backward the muscle b acts with the mu- scle c. W. A. II; 203* (24)] 357- DELLE RENI INARCATE. 2 Le reni inarcate overo schiene — 3 senpre le poppe so piu basse che 4 le scapule d' essa schiena. sNelli petti inarcati senpre 6le pop- pe so piu alte che le 7 scapule della schiena. 7 Dalle reni diritte fie sepre Hrovate le poppe delFaltezza I0d'esse scapule. OF THE LOINS, WHEN BENT. The loins or backbone being bent. The breasts are are always lower than the shoulder- blades of the back. If the breast bone is arched the breasts are higher than the shoulderblades. If the loins are upright the breast will always be found at the same level as the shoulderblades. W. 215) 358- a b nervo e tallone nelP alzare 2 del cal- cagnio s' accostano vn dito 3 1' uno all' altro e nello abbassare 4si separano vn dito. a b the tendon and ankle in raising the heel approach each other by a finger's breadth; in lowering it they separate by a finger's breadth. 355. i. spclla. 2. del . br . . su eggiu. 3. chosi. 5. chollo . . eppiedi e pecto. 356. i. musscoli principoli. 2. d he due. 3. chella movano. 4. innazi . . coe. 8. gu bassta. 10. musscolo . . vnissce . . musscolo. n. il [p] brracco . . innanzi. 12. musscolo b sunissce col musscolo c. 357. i. inmrchate. 2. innarchate . . sciene. 3. chel. 4. spatole . . sciena. 5. elli pectinarchati. 6. chelle. 7. spatolo della sciena. 8. delle rene diricte fie. 9. trovato. 10. desse spatole. 358. i. ettallone. 2. chalchagnio |d . si superano] "sachostano". 356. See PI. XXI. In the original the lettering has btfen written in ink upon the red £halk drawing and the outlines of the figures have in most places been inked over. 357- See PI. XXII, No. I. 358. See PL XXII, No. 2. Compare this facsi- mile and text with PI. Ill, No. 2, and p. 152 of MANZI'S edition. Also with No. 274 of LUDWIG'S edition of the Vatican Copy. . Duiardm 359—361.] THE PROPORTIONS OF THE HUMAN FIGURE. 189 A. 2 a\ 359- Tato • quato • la parte dello nvdo • d • a • diminviscie pel posare •, tato 1' opposita 2 parte crescie: cioe tato quato la parte d • a dimi- nviscie di sua 3 misura • 1' opposita parte sopra • crescie alia sua • misura ; 4 el bellico mai • escie di sua altezza verso il mebro virile; e questo s abassameto • nascie • perche • la figura che posa sopra uno pie • quel pie si fa cietro 6 del sopra • posto peso : essedo • cosl il mezzo delle spalle ui si dirizza di sopra 7Vsciedo fori della sua linia perpe- diculare, la quale linia passa per i mezzi super8fitiali del corpo, e questa • linia • si uiene a torcere nella sua superiore stre9mita • sopra il pie che posa • e i liniameti traversi costretti I0 a equali angoli si fanno coi loro stremi piv bassi I quella parte che posa 11 come appare m- a • b • c. Just so much as the part d a of the nude figure decreases in this position so much does the opposite part increase; that is: in proportion as the length of the part d a diminishes the normal size so does the opposite upper part increase beyond its [nor- mal] size. The navel does not change its position to the male organ; and this shrinking arises because when a figure stands on one foot, that foot becomes the centre [of gra- vity] of the superimposed weight. This being so, the middle between the shoulders is thrust above it out of it perpendicular line, and this line, which forms the central line of the external parts of the body, becomes bent at its upper extremity [so as to be] above the foot which supports the body; . and the transverse lines are forced into such angles that their ends are lower on the side which is supported. As is shown at a b c. E. 3 a] 360. PlCTURA. 2 Nota nelli moti e attitudini delle 3 figure come si variano le me4bra e li lor setimeti, perche le Sscapule nelli moti delle braccia e spalle ua6riano assai la schiena, e di que- i sto troverai tutte le cause nel 8 libro della mia notomia. OF PAINTING. Note in the motions and attitudes of figures how the limbs vary, and their feeling, for 'the shoulderblades in the motions of the and shoulders vary the [line of the] arms back bone very much. And you will find all the causes of this in my book of Anatomy. Ash. I. 15 «] 361. DELL' ATTITUDINE. 2 La fotanella • della • gola • cade sopra • il pie •, e gittado uno • braccio inati la fota- nella escie d' esso • pie, 3 e, se la gaba • gitta • indirieto •, la fontanella • va inati, e cosl si mvta in ogni attitudine. OF [CHANGE OF] ATTITUDE. The pit of the throat is over the feet, and by throwing one arm forward the pit of the throat is thrown off that foot. And if the leg is thrown forward the pit of the throat is thrown forward; and so it varies in every attitude. 359. i. par dello . . loposita. 2. cresscie . cioe [que] tato diminvissie. 3. loposita . . sopra [cresscie a] cresscie. 4. belicho . . essae . . alteza [ag] overo . . ecquesto. 5. nasscie . . sopra i pie. 6. chosi . . spali . . diriza. 7. vssciedo . . perpedichu- lare. 8. chorpo ecquesta . . torciere la. 9. posa . [ele par] ei . . chostretti. 10. angholi . . fano [be] coloro . . quela. n. apare. 360. 2. neli . . attitudine. 3. fighure chome. . varianno. 4. elli . . perche les. 5. spatole nelli . . delle br .\- ua . On the margin: .\' esspalli. 6. lassciena. 7. stro troverai . . chavsene. 361. i. dattitudine. 2. chade . . gittando i . braccio. 3. esse. 359. See PI. XXII, No. 3. 190 THE THEORY OF THE ART OF PAINTING. [362. 363- E. 200] PlCTURA. age (361-367;. 'Descrivi quali sieno li muscoli e quali PIC proper- le Jcorde, che mediante diuersi movimeti di "°differ'erntatcias4cun mebro si scuoprino o si ascon- dono o no sfaccino ne 1'u ne 1'altro, e ricor- dati che que6sta tale actione e inportatis- sima, e necies^sarissima appresso de' pittori e scultori che fa 8professione di maestri ecc. 9 E '1 simile farai d' un fanciullo dalla sua na'°tiuita insino al tenpo della sua de- crepitudi"ne per tutti li gradi della sua eta come infantiI2a, pueritia, adolescientia e giovetu ecc. '^E in tutti discriverai le mutationi delle mebra J*e giunture le quali ingrassano o dimagrano. OF PAINTING. Indicate which are the muscles, and which the tendons, which become prominent or retreat in the different movements of each limb; or which do neither [but are passive]. And remember that these indications of action are of the first importance and necessity in any painter or sculptor who professes to be a master &c. And indicate the same in a child, and from birth to decrepitude at every stage of its life; as infancy, childhood, boyhood, youth &c. And in each express the alterations in the limbs and joints, which swell and which grow thinner. E. 363. O pictore anatomista guarda che la troppa 2 notitia delli ossi, corde e muscoli no si 'a cavsa di farti vn pictore legnioso, col 4vo- lere che li tua ignivdi mostrino tutti li se- timesti loro, aduque, volendo riparare a questo, 6vedi in che modo li muscoli nelli vechi o magri ^coprino over vestino le loro ossa, e oltre 8a questo nota la regola come li medesimi mus9coli rienpino li spati superfitiali che infra loro s'II0terpongono; e quali sono li muscoli Mdi che mai si perde la notitia in alcu grado di grassezI2za, e quali so li muscoli delli quali per ogni mi^nima pinguedine si perde la notitia delli lof c6I4tatti, e molte son le volte che di piu muscoli se I5ne fa vn sol muscolo nello ingrassare, e molte I6so le volte che nel dimagrare o invechiare d'un sol ^muscolo se ne fa piu muscoli, e di questo tal l8dis- corso se ne dimostrera a suo loco tutte le '9 particularita loro, e massime nelli spati 20interposti infra le giuture di ciascu me- bro ecc. O Anatomical Painter! beware lest the too strong indication of the bones, sinews and muscles, be the cause of your becoming wooden in your painting by your wish to make your nude figures display all their feeling. Therefore, in endeavouring to remedy this, look in what manner the muscles clothe or cover their bones in old or lean persons; and besides this, observe the rule as to how these same muscles fill up the spaces of the surface that extend between them, which are the muscles which never lose their prominence in any amount of fatness; and which too are the muscles of which the attachments are lost to sight in the very least plumpness. And in many cases several muscles look like one single muscle in the increase of fat; and in many cases, in growing lean or old, one single muscle di- vides into several muscles. And in this treatise, each in its place, all their peculia- rities will be explained — and particularly as to the spaces between the joints of each limb &c. 369. 2. dcsscrivi . . mtisscholi equali. 3, chorde. 4. schun . . sisscuoprino ossi asschondono. 5. nelluncllaltro e richordati checquesta. 7. di pichtori esschultori cheffa. 9. fanciullo |al] dalla. n. chome. 12. adolesscientia. 13. tucti disscriverrai. 14. e giunture e quale ingrassa oddimagra. 363. i. natomisstn ghuarda chclla. 2. chorde emusscholi. 3. eno chausa . . chol. 4. chelli . . ingnivdi raosstrino. 5. acquessto. 6. musscoli . . magri chu. 7. obprino . . vesstino [le ossej le . . oltri. 8. adi quessto . . reghola. 9. choli . . lisspati . . infrallorossT. 10. terponghono E quali . . musscholi. n. alchu. 12. ecquali. 13. pinghuedine . . cho. 14. tacti . . molte •olle . . muscholi. 15. muscholo. 17. musscholo , . musscholi ed . quessto. 18. disschorso . . dimossterra assuo locho. 19. partichularita. 20. interpossti infralle . . ciassu. 21. Anchora . . mancherai della j — di notare is wattttuf. 22. predecd 363. DE ROSSI remarks on this chapter, in the Roman edition of the Trattato, p. 504: "Non in questo luogo solo, ma in altri ancora osserverh it lettore, che Lionardo va fungendo g nelli che f anno abuso delta loro dottrina anatomica, e sicuramente con cid ha in mira il suo rivale Bonarroti, che di anatomia facea tanta pompa." Note, that Leonardo wrote this passage in Rome, probably under the immediate impression of MICHAEL ANGELO'S paintings in the Sistine Chapel and of RAPHAEL'S Isaiah in Sant' Agostino. 364. 365.] THE PROPORTIONS OF THE HUMAN FIGURE. 2IAncora no mancherai [di notare] della varietachefanno 22lipredetti muscoli intorno alle givture delli me23bri di qualuche ani- male, mediante la diversita de' 24moti di ciascu mebro, perche in alcuno lato d' es25se giuture si perde integralmete la notitia d' essi musco:6li per causa dell' accrescimeto o macameto della car2?ne, 'lella quale tal muscoli son composti ecc. Again, do not fail [to observe] the va- riations in the forms of the above mentioned muscles, round and about the joints of the limbs of any animal, as caused by the di- versity of the motions of each limb; for on some side of those joints the prominence of these muscles is wholly lost in the increase or diminution of the flesh of which these muscles are composed, &c. Ash. I. 7 a] DELLE DIFFERENT! MISURE CH'E DAI PUTTI 2AGLI OMINI. 3 Tra li omini • e i puttinitruovo gra dif- fereza di lughezze da 1'una all'a!4tra giv- tura •, imperoche 1' omo a • dalla giutura della spalla al gomito 5e dal gomito alia puta del dito grosso e da 1'vn omero della spalla 6all'altra due teste per pezzo, e '1 putto n'a una perche la natura ci copone 7prima la gradezza della casa dello itelletto • che quella delli spiriti 8vitali. OF THE DIFFERENT MEASUREMENTS OF BOYS AND MEN. There is a great difference in the length between the joints in men and boys for, in man, from the top of the shoulder [by the neck] to the elbow, and from the elbow to the tip of the thumb and from one shoulder to the other, is in each instance two heads, while in a boy it is but one be- cause Nature constructs in us the mass which is the home of the intellect, before forming that which contains the vital ele- ments. W. 240*5] 365- DE' PICTURA. 2Quali muscoli sono quelli che si diui- dono 3nello inuechiare o ne' giouani che dimagrano ? 4 Quali son li lochi nelle mebra vmane doue 5per nessuna qualita di grassezza mai la carne 6non cresce ne per nessu grado di magrezza 7mai la carne non diminuisce? 8Quel che si ricerca in questa dimanda fia ^trouato in tutte le giunture superfitiali delle I0ossa, come spalla, gomito, giunture delle ma "e delle dita, fianchi, ginochi, ca- uigli e dita de' pie I2e simili cose, le quali si diranno ai lochi loro; I3le maggior gros- sezze, che acquistino le mebra, I4sono in quella parte del muscolo ch'e piu dis^tante ai sua fermameti. 16 La carne non cresce mai in quella parte del^li ossi che son vicini alia superfitie de' mebri. OF PAINTING. Which are the muscles which subdivide in old age or in youth, when becoming lean? Which are the parts of the limbs of the human frame where no amount of fat makes the flesh thicker, nor any degree of . leanness ever diminishes it? The thing sought for in this question will be found in all the external joints of the bones, as the shoulder, elbow, wrists, finger- joints, hips, knees, ancle-bone and toes and the like; all of which shall be told in its place. The greatest thickness acquired by any limb is at the part of the muscles which is farthest from its attachments. Flesh never increases on those portions of the limb where the bones are near to the surface. musscholi. 24. ciasschu . . alchuno. 25. giuchere . . musscho. 26. accresscimeto o machameto. 27. musscholi chonpossti. 364. i. diferenti. 2. elli. 3. difereza . . lugeze. 4. spala. 5. dallun. 6. pezo na f perche. 7. gradeza . . intelleto. 365. 2. musscoli . . chessi diuidano. 3. one gouani. 5. grosseza. 6. cresscie . . magreza. 7. diminuissce. 8. chessi ricercha. 9. gunture. 10. gunture. n. chauichi. 12. essimile. 13. maggor grosseze. 14. e in . . musschulo. 15. al. 16. cressce. I92 THE THEORY OF THE ART OF PAINTING. [366. 367- 18 In b • r d a c e f mai I'accrescimeto o diminutio19ne della carne fa troppa differen- tia; *°La natura a posto nel moto y dell' omo tutte que!2Ile parti dinanti, ( le quali, percotedo l'oir,o,abbiaa "sen- tire doglia , e questo si sente ne' fusi del2'le ganbe e nella fronte e naso, ed e fatto a c62*seruatione dell'omo, inperoche se tale dolore 25no fussi preparato in essi mebri, cierto le mol- te a6 percussion! in tali mebra rice- uute sarebbero causa della 2? lor distrut- tione. 28Descriui perche 1'ossi delle brac- cia ganbe son doppi in^uerso delle mani e de' piedi; 3°Doue la carne cresce o diminuisce nelle piegature *l delle menbra. At b r d a c e f the increase or di- minution of the flesh never makes any con- siderable difference. Nature has placed in front of man all those parts which feel most pain under a blow; and these are the shin of the leg, the forehead, and the nose. And this was done for the preservation of man, since, if such pain were not felt in these parts, the number of blows to which they would be exposed must be the cause of their destruction. Describe why the bones of the arm and leg are double near the hand and foot [respectively]. And where the flesh is thicker or thinner in the bending of the limbs. E. PlCTURA. 366. 2 Ogni parte d' u tutto sia proportionata 3al suo tutto j come se vno homo e di 4 figura grossa e corta che il medesimo 5 sia in se ogni suo mebro, cioe: braccia corte 6e grosse, mani larghe grosse e corte dita co!7le sue giuture nel sopra detto modo, e co*sl il rimanete • ; el medesimo intedo aue^re detto delli vniversi animali e piate I0cosl nel diminuire per le proportionality "delle grossezze come nello ingrossarle. OF PAINTING. Every part of the whole must be in pro- portion to the whole. Thus, if a man is of a stout short figure he will be the same in all his parts : that is with short and thick arms, wide thick hands, with short fingers with their joints of the same character, and so on with the rest. I would have the same thing understood as applying to all animals and plants ; in diminishing, [the various parts] do so in due proportion to the size, as also in enlarging. Ash. I. 7/1] DELLA COUENTIONE DELLE MEBRA. 2 E ancora ti ricordo • che tu abbi grade auerteza • nel dare le mebra 3 alle figure • che paino, dopo 1'essere cocordati alia • gradezza del corpo, *acor similmete all' eta, cioe a giovani mebra co pochi mvscoli e vene se dilicata superfitie- e rotode, di grato colore, Ali omini sieno nerbose 6e piene di mvscoli •, Ai vechi sieno co superficie grlze ruvide e venose ?e nervi molto evideti. OF THE AGREEMENT OF THE PROPORTION OF THE LIMBS. And again, remember to be very careful in giving your figures limbs, that they must appear to agree with the size of the body and likewise to the age. Thus a youth has limbs that are not very muscular not strongly veined, and the surface is delicate and round, and tender in colour. In man the limbs are sinewy and muscular, while in old men the surface is wrinkled, rugged and knotty, and the sinews very prominent. 17. chesson. 18. la cresscimcto. 19. diferentia. 20. possto. 21. parte . . abbia as. 22. ecquesto si [ue] sente. 23. ennaso ed cflatto a cho. 24. inperochessi. 26. sare chausa. 27. desstructione. 28. desscriui . . losse . . br. 30. cresce o diminuissce. 366. 2. tucto. 3. suottutto | chome. 4. fighura . . chorta. 5. br corte. 6. chorte dital chol. 7. le sugiutiire . . e cho. 8. indede. 9. eppiate. 10. chosi. n. grosscze chome delle. 367. i. dela. 2. "(chomcj" e anchora ti richnrdo chettu. 3. ale . . lesere gradeza. 4. acor . . aleta che a. 5. retode . . cholore. 368. 369-] THE PROPORTIONS OF THE HUMAN FIGURE. 193 COME I PUTTINI • ANO LE GIVNTURE COTRARIE ALLI OMINI NELLE LORO GROSSEZZE. 10 1 putti piccoli • ano tutte • le givture • sottili e li spati, posti fra P una e Pal^tra-, sono grossi e questo • accade • perche la pelle sopra le givture e sola saI2z'altra polpa ed e di natura • di neruo • che cignie e lega isieme li ossi J3e la carnosita umerosa si trova fra 1' una • e 1' altra givntura ^ inclusa . fra la pelle e 1' ossa • ma, perche 1' ossa • sono piv grosse nelle givntu'Sre che ifra le giu- ture •, la carne nel crescere dell' omo • viene a Iascial6re • quella superfluita • che staua fra la pelle • e 1'osso: onde la pelle, s'acco^sta piv • all' osso e viene a sottigliare le mebra ; e sopra le giul8ture, perche no u'e se no la cartilaginosa e neruosa pelle, no puo di- sec^care, e no diseccado • no diminuisce •, onde per queste ragioni i puttini so20no sottili nelle giuture • e grossi • infra le giunture come si 2Ivede le giunture de' diti, braccia e spalle sottili e concaui busi, e Porno 22per lo cotrario • essere grosso • I tutte le givture, dita, braccia, gabe e dove 23i puttini anno i fori, loro aver di rilieuo. HOW YOUNG BOYS HAVE THEIR JOINTS JUST THE REVERSE OF THOSE OF MEN, AS TO SIZE. Little children have all the joints slender and the portions between them are thick; and this happens because nothing but the skin covers the joints without any other flesh and has the character of sinew, connecting the bones like a ligature. And the fat fleshiness is laid on between one joint and the next, and between the skin and the bones. But, since the bones are thicker at the joints than between them, as a mass grows up the flesh ceases to have that super- fluity which it had, between the skin and the bones; whence the skin clings more closely to the bone and the limbs grow more slender. But since there is nothing over the joints but the cartilaginous and sinewy skin this cannot dry up, and, not drying up, cannot shrink. Thus, and for this reason, children are slender at the joints and fat between the joints; as may be seen in the joints of the fingers, arms, and shoulders, which are slender and dimpled, while in man on the contrary all the joints of the fingers, arms, and legs are thick; and wherever children have hollows men have prominences. Ash. I. 6t] 368. Modo di figurare le 18 operation! deP- Pomo, 2ferrnezza-mouimeto, corso, 3ritto, appoggiato, * a sedere • chinato • ginochioni • giacete, sospeso, 5 Portare • esser portato, splgiere • tirare • battere, 6 essere battuto • ag- gravare • e levare. 7 [Come debe stare una figura con u peso in mano 8Ricordoti.] Of the manner of representing the 18 The move- actions of man. Repose, movement, running, mehumanthe standing, supported, sitting, leaning, kneeling, fi&ure lying down, suspended. Carrying or being ~~375'' carried, thrusting, pulling, striking, being struck, pressing down and lifting up. [As to how a figure should stand with a weight in its hand [8] Remember]. A. 286] Quello che siede no si puo leuare in pie, se la parte che dal polo 2manzi-no pesa- piv • che quella • che da esso • polo • indirieto, sanza forza di braccia; A sitting man cannot raise himself if that part of his body which is front of his axis [centre of gravity] does not weigh more than that which is behind that axis [or centre] without using his arms. 6. cho. 7. nerbi. 8. chome. 9. grosseze. 10. picholi . . elli . . fralluna ellal. u. ecquesto . achade . . pele essola. 13. ella . . omorosa . . ellaltra. 14. fralla . . ellossa . . nele. 15. cresscere . . lasci. 16. fralla . . ellosso. 17. assottigliare le mebra [e nelle] esopra. 18. no po disc. 20. infralle. 21. esspali sittilli . . eleomo. 22. br gabe. 23. ano. 368. i. operatione. 2. fermeza chorso. 3. Ricto apogiato. 4. assedere . . diaciete. 6. agravare. 7. stare ! figura . . imano. 369. i. quelo chessiede . . leuare [dassede] in. 2. brazo. 3. quela che . . locho chonviene magiore. 4. chioe. 6. alchuno . . 368. 8. The original text ends here. VOL. i. 369. See PI. XXII, No. 4. BB 194 THE THEORY OF THE ART OF PAINTING. [370—372. J Quello die mota I qualunque loco con- viene che dia • di se • maggiore • peso * dinati al pie piv alto • che dirieto, cioe dinati al polo che dirieto a esso • polo, saduque- 1' omo dara di se sepre .• maggiore • peso • inverse • quella • parte dove disidera 6 moversi che in alcuno • altro • loco ; 7 Quello • che piv • corre • piv pende luerso • il loco doue corre e da di se maggiore 8peso dinanzi • al polo suo • che dopo; quello che corre alia china fa ^il suo polo sulle calcagnia, e quello che corre all' erta • lo fa sulle pute I0de' piedi -, e quello che corre alia pianvra lo fa prima ai calcagni e poi "nelle • punte de' piedi; I2Questo no portera il suo peso, se no ristora colla persona tirata Idirieto ^il peso din. i xi : I modo che sepre il pie che posa • si troui in mezzo del peso. A man who is mounting any slope finds that he must involuntarily throw the most weight forward, on the higher foot, rather than behind — that is in front of the axis and not behind it Hence a man will always, involuntarily, throw the greater weight towards the point whither he desires to move than in any other direction. The faster a man runs, the more he leans forward towards the point he runs to and throws more weight in front of his axis than behind. A man who runs down hill throws the axis onto his heels, and one who runs up hill throws it into the points of his feet; and a man running on level ground throws it first on his heels and then on the points of his feet. This man cannot carry his own weight unless, by drawing his body back he balances the weight in front, in such a way as that the foot on which he stands is the centre of gravity. W. An. Ill, 67*5) Come fa 1'omo a levarsi 2in piedi stado a sedere 3in terra piana. 370. How a man proceeds to raise him- ** self to his feet, when he is sitting on level ground. F. 83«] 3 L'omo che camina e piv veloce col ca2po che co' piedi. ^L'uomo che caminado attraveHsa tutto vji sito piano, va s prima alia china e poi altre6tanto all' erta. A man when walking has his head in advance of his feet. A man when walking across a long level plain first leans [rather] backwards and then as much forwards. S. K. M. II.* 14 a] 372. L' omo nel correre da di se mi2nor peso alle gambe che a sta're fermoj E simil- mete *il cavallo che corre sente minor Speso delFomo ch'esso porta, 66de molti si fanno maraviglia ?che nel corso del cavallo esso A man when running throws less weight on his legs than when standing still. And in the same way a horse which is running feels less the weight of the man he carries. Hence many persons think it wonderful that, in running, the horse can rest on one single locho. 7. quelo che . . chore . . locho . . chore magiore. 8. peso [dopo] dinanzi . . quelo che chore. 9. chal chagnia ecquello che chore. 10. ecquello . . chore . . chal chagni. n. nell. 12. chola persono. 13. imodo . . imezo. 370. i. allevarsi. 2. assedere. 371. 4. sa [vn sit] tutto. 5. cina. 373. 2. assta. 4. chorre. 8. regiere. n. piv he veloce. 3?i- 3—6. He strides forward with the air of a man going down hill; when weary, on the contrary he walks like a man going up hill. PI. . xxi; ^ WJ% wr P" *r H ' -f -rr V . .Heiiog-, Dujardi " rl **-• •-* r r* Imp , Eu.de a. 373— 37S-] THE MOVEMENTS OF THE HUMAN FIGURE. 195 8 si possa reggere sopra vn sol 9 piede, ode si dira, che '1 peI0so in moto traversale, quarto piv e veloce, tato me peI2sa per- pendiculare verso il cietro. foot. From this it may be stated that when a weight is in progressive motion the more rapid it is the less is the perpendicular weight towards the centre. M. 373- Se vno omo, nel pigliare il suo salto 2 sopra loco stabile, salta 3 • braccia, qua,3do lui nello spiccare del salto sfu4gisse indi- rieto r/3 di braccio che mancheSrebbe esso poi del primo suo salto, e 6cosl se lui fussi aumetato T/3 di ? braccio quantoaccrescierebbe egli del 8detto salto? If a man, in taking a jump from firm ground, can leap 3 braccia, and when he was taking his leap it were to recede J/3 °f a braccio, that would be taken off his former leap; and so if it were thrust forward x/3 of a braccio, by how much would his leap be increased ? C. A. ijBa; 5360:] 374- PlCTURA. 2Quado 1'omo correte vol consumare 1'inpeto che lo transporta, $si prepara a inpetuosita contraria, la qual si gienera col pedere Pdirieto ; provasi, perche se 1' impeto trasporta il mobile co potentia sdi 4 e '1 mobile vol tornare e cadere indirieto co po- tetia di 4, allo6ra Puna potentia consuma 1'altra a se cotraria e 1'ipeto si cosuma. OF DRAWING. When a man who is running wants to neu- tralise the impetus that carries him on he pre- pares a contrary impetus which is generated by his hanging backwards. This can be proved, since, if the impetus carries a moving body with a momentum equal to 4 and the moving body wants to turn and fall back with a momentum of 4, then one momentum neutralises the other contrary one, and the impetus is neutralised. W. An. II. 203 a] 375- Quando Porno vol fermare il suo 2corso e consumare Pinpeto, nece3ssita lo fa pedere indirieto e fare 4piccoli e presti passi; ssen- pre il centre del peso dell'omo, che leua 6 Pun de' piedi da terra, resta sopra del cen- tro 7della pianta del suo piede. 8 L' uomo che monta sopra le scale 9 da di se tanto peso inanzi e da costa I0al piu alto piede, che da contrapeso "alia ganba piu bassa, onde la faI2tica d'essa ganba bassa sol s' astede ^ in mouere se medesima. 14 La prima cosa che fa Pomo nel suo mo1 stare a gradi, esso scarica la gamba che 16 lui vole alzare della grauita del busto che *? sopra essa ganba si posaua, e oll8tre a When a man wants to stop running and check the impetus he is forced to hang back and take short quick steps. [5] The centre of walking .. i f r, <•!•£•*. up and down of gravity of a man who lifts one of his feet (375-379). from the ground always rests on the centre of the sole of the foot [he stands on]. A man, in going up stairs involuntarily throws so much weight forward and on the side of the upper foot as to be a counter- poise to the lower leg, so that the labour of this lower leg is limited to moving itself. The first thing a man does in mounting steps is to relieve the leg he is about to lift of the weight of the body which was resting on that leg; and besides this, he gives to 373. 2. locho . . 3 br qua. 3. spichare. 4. gissi . . di br che. 5. del pr suo. 6. chosi sellui. 7. br quanto . . acressciere be. 374. 2. chorrete . . chello. 3. se pr para. 4. sellinpeto. 5. chadere. 6. asse . . ellipeto. 375. 3. effere. 4. pichole. 5. chelleua. 6. piedi ti terra. 7. piedi. 8. lesscale. 10. piedi. 12. ticha . . sasstede. 14. chosa. 15. scharicha. 16. bussto. 17. posaua [onde taiga] . e ol. 18. adiquesto . . charicha. 22. piedi. 23. appogga. 24. cossca 375. See PL XXIII, No. I. The lower sketch to the left belongs to the four first lines. Lines 5 — 31 refer to the two upper figures, and the lower figure to the right is explained by the last part of the chapter. 196 THE THEO Y OF THE ART OF PAINTING. [376-378. questo carica 1' opposite ganba di ''tutto il rcsto della quantitk dell'omo insieme co "I'altra ganba, dipoi alza la gamba e pone il 21pie di sopra di quel grado, ove esso si uole leua"re: fatto questo esso rende al piede alto tutto ^1'altro peso del busto e della ganba, e appoggia 24la mano sopra la coscia e caccia la testa ina25zi e fa il mouimeto inuerso la punta del piede 26su- periore, alzando con prestezza il calcagno del pie27de inferiore, e con quello inpeto si leua in alto e nel 28medesimo tenpo distende ilbraccio, ch'egli appoggiaua sopra 2^il gino- chio, il qual distendimeto di braccio spigne il bus3°to e la testa in alto e cosl dirizza la schiena incur^'uata; 32Quanto il grado, che per 1'omo si 33 sale, sara di maggiore altezza ta3<») 376. 2 Dimado questo 3 peso dell' omo in o4gni grado di moto 5 sopra questa scala, 6che peso esso da 7 a b e a • c. 8Guarda la linia "> perpendiculare I0sotto il cietro "della gravita I2dell'uomo. I ask the weight [pressure] of this man at every degree of motion on these steps, what weight he gives to b and to c. [8] Observe the perpendicular line below the centre of gravity of the man. H.* tja] 377- Quado moti la scala, se poggi le ma 2 sopra le ginochia, tutta la fatica che 3acquis- tano le braccia si toglie ali ner^vi di sotto le ginochia. In going up stairs if you place your hands on your knees all the labour taken by the arms is removed from the sinews at the back of the knees. L. 27 6} 378. li nerbo che dirizza la gamba, il quale e 2 congiunto colla padella del ginochio, se^te tanto piu fatica a leuare 1'omo in alto * quanto essa gamba e piv piegata, e il mus- The sinew which guides the leg, and which is connected with the patella of the knee, feels it a greater labour to carry the man upwards, in proportion as the leg is more bent; and the muscle which acts echacca. 25. effa . . piedi. 26. chon presteza. 27. di. 28. il br chelli apogaua. 29. di br spigne. 30. ella . . diriza lassciena. 32. Ivmosi. 33. salgle . . magore alteza. 35. piedi. 41. sarra. 42. inel. 376. 1—7 R. 7. ha 6 he a c. 8. ghuarda iliuo. 9. perpedichulare. 377. i — 6 R. i. lasschala se pogi. 2. sopra e ginochia . . faticha. 3. aquisstano. 378. i. chi. 2. congunto chol [ginoc] la. 3. faticha allcuare . . altoq. 4. elmuss. 5. diriza . . chefla la cosscia. 6. conguntione 376. See PL XXIII, No. 2. Lines 8—12 are, in the original, written in ink. 377. See PL XXIII, No. 3. 379. See PI. XXIII, No. 4. •.•:•:•-•••:• I 0 I WA L^:,M Hpliog- Diijardin. Imp. 379—38I-] THE MOVEMENTS OF THE HUMAN FIGURE. 197 Scolo il quale dirizza Pangolo che fa la coscia 6nella congiuntione ch'ella fa col busto, e me 7 difficile e a a le- uare maco peso, perche- li ma8ca il peso della coscia e oltre a questo a misglori muscoli perche son quelli che fano le naI0tiche. upon the angle made by the thigh where it joins the body has less dif- ficulty and has a less weight to lift, because it has not the [additional] weight of the thigh itself. And besides this it has stronger muscles, — being those which form the buttock. W. 379- Quel che disciede fa i passi piccoli, perche 2 il peso resta sopra il piede dirie^to ; E quel che sale fa li pas^si gradi, perche il suo peso sta sopra sil pie dinanzi. A man coming down hill takes little steps, because the weight rests upon the hinder foot, while a man mounting takes wide steps, because his weight rests on the foremost foot. E. 15*] 380. DEL MOTO UMANO. 2 Quado tu vuoi fare 1' omo motore d' al- 3 cuno peso, considera che li moti sono 2 da essere fatti per diuerse linie, doe o di s basso in alto con senplice moto, come 6fa quel che chinandosi piglia il peso che ?dirizzan- dosi vole alzare; O quado 8si uole schiac- ciare alcuna cosa diri^eto overo sospigniere inati o voi I0tirare inbasso con corda che passa per car^rucole, Qui si ricorda che '1 peso del12!' omo tira tanto quato il cientro della ^gravita sua e fori del cie- tro del suo soste ^ tacolo le JSa questo s'al6giugne la for^za che l8fa le gan- '9 be e la schie20na piega2Ita nel suo 22dirizzarsi.U OF THE HUMAN BODY IN ACTION. When you want to represent a man asOn the hu- • i, • j -i , ,v man body in moving some weight consider what the move- action ments are thatare to be represented by different (38°— 388). lines; that is to say either from below up- wards, with a simple movement, as a man does who stoops forward to take up a weight which he will lift as he straightens himself. Or as a man does who wants to squash some- thing backwards, or to force it forwards or to pull it downwards with ropes passed through pullies[io]. And here remember that the weight of a man pulls in proportion as his centre of gravity is distant from his fulcrum, and to this is added the force given by his legs and bent back as he raises himself. Mz. I3« (17)] 3 T[L'uomo ancor lui a ma2ggior sorha di forza 3 nelle ganbe che no 4 si richiede al peso suo , e che cio 5 si e vero , posa in piedi I'o6mo sopra la litta e poi metti ?vn altro homo adosso, e ve8drai quanto piu si pro- fonda; 9Di poi li lieua 1'omo da dosso I0e fallo saltare in alto a diritTItura quato esso puo e troueI2rai la stapa del suo pie^de essersi piu profondata nel ^salto che col- 1'omo adosso; adipsque qui per 2 modi e prouato 1'omo l6aver piu forza il doppio che non si richiede a sostenere se mede- simo.lf Again, a man has even a greater store of strength in his legs than he needs for his own weight; and to see if this is true, make a man stand on the shore-sand and then put another man on his back, and you will see how much he will sink in. Then take the man from off his back and make him jump straight up as high as he can, and you will find that the print of his feet will be made deeper by the jump than from having the man on his back. Hence, here, by 2 me- thods it is proved that a man has double the strength he requires to support his own body. . . bussto. 7. dificile. 8. cha . . cosscia . . adiquesto. 9. musscoli . . quelle chefiano. 379. i. chedissciede . . piccoli. 2. ressta . . piedi. 3. Ecquel chessaglie fallipa. 5, dinanza. 380. i. de. 3. alchuno, chonsidera. 5. baso . . senplici. 6. facquel . . ched. 7. Ocquado. 8. isstracinare alchuna chosa. 9. sosspigniere. 10. chorda . . per cha. n. ruchola . . richorda. 14. tacholo. 17. chef. 18. faleghan. 19. be esscie. 20. piegha. 22. dirizarsi. 380. 10. Compare the sketch on page 198 and on 201 (S. K. M. II.1 86<*). 198 THE THEORY OF THE ART OF PAINTING. [382—385. C. A. j|io; io5»H 5 **£ R *^ «. ^ t ^» ^5 4~ • - ^ ?^ t1 4t Ri'-Zl 44*' ll rfei.T* * ^i« ^*tl £ '".? vfv-imv-* -• i.* i^HlU^i T"j st 1 1^4^ I x--~^/ ' • f- v «; H -vjj \.^!L \ ^V'' v>.-- L. ""^.r???' (Jf-iJV^f v-l "TT^tl i *~? S k^- .QC'^y^C^.,' __ _^^^, *-^ItIv %m ^Si^' aJiff ^5^Sl S ^ ^CF^ > -H^i-7 - T«L 386—388.] THE MOVEMENTS OF THE HUMAN FIGURE. 199 vso di tenieri vada dalla mano • alia pop- pa, e quado ?vuol lassare, subito a v tepo salti Inati 8e disteda il braccio del- 9l'arco e lassi la corda, I0e se co destrezza 11 fara ogni cosa I2in un tepo, fara as- T3sai via. strain he must hold a piece of wood which there is in all crossbows, extending from the hand to the breast, and when he wishes to shoot he suddenly leaps forward at the same instant and extends his arm with the bow and releases the string. And if he dexterously does every thing at once it will go a very long way. Leic. 8 a] 386. • • • Quando due oniini 2 sono in nelli stremi oppositi d'vn pancone posto in bilancia in- sieme coll' equal peso delli omini, e che 1'u di lo^ro voglia spiccare vn salto in alto • allora esso salto sara fatto in giu dal suo stremo di pancone 4e I'omo non si leuera mai in alto, ma restera nel suo sito insino che F opposite omo li ribatte il paco ne' When two men are at the opposite ends of a plank that is balanced, and if they are of equal weight, and if one of them wants to make a leap into the air, then his leap will be made down from his end of the plank and the man will never go up again but must remain in his place till the man at the other end dashes up the board. W. Dello scaricare il colpo nistra. 387. !a destra o si- left. Of delivering a blow to the right or C. A. 344 6; io66rt] 388. Perche 1' inpeto no si puo inmediate con- sumare ma si\\\\\\\\\\2endo per qualunche linia; 1' inpeto adunque acquistato per la linia 3# b c d si consuma per la linia d e, ma non e in tato che no ui res4ti parte della sua potetia, alia qual potetia, aggiunto il moto s della linia d e colla forza del suo motore, e necessario, che si 6 moltiplichi 1' inpeto alia percussione e piu che non avrebbe fa?tto il senplice inpeto nato dal moto d e. 8 L' uomo che a • a dare gra percussione colla sua arme 9 si dispone con tutta la sua potentia in contraria parte a quella I0dov'e il loco che da lui debbe essere percosso -, e perche la cosa "che piv si move si fa piu potete sopra della cosa che tal moI2to impedisce. Why an impetus is not spent at once [but diminishes] gradually in some one direction? The impetus acquired in the line a b c d is spent in the line d e but not so completely but that some of its force remains in it and to this force is added the momentum in the line d e with the force of the motive power, and it must follow than the impetus multi- plied by the blow is greater that the simple impetus produced by the momentum d e. [8] A man who has to deal a great blow with his weapon .prepares himself with all his force on the opposite side to that where the spot is which he is to hit; and this is be- cause a body as it gains in velocity gains in force against the object which impedes its motion. 6. pop"a" eghuado. 7. vuo. 8. praccio. 10. esse cho destreza. n. fara oni. 12. nun. 386. 2. inelli . opositi . chellundilor. 3. spichare . . allorara. 4. ellomo . . chello. 387. 2. ossinistra. 388. i. linpeto [no] no sipo. 2. acquisstato. 4. sti parte . . agunto. 6. perchussione . . arebbe. 7. senplice [moto] inpeto. 8. che a . . perchussione cholla. 9. disspone . . acquella. 10. locho che dallui . . perchosso . . perchella. n. chettal. 12. inpedissce. 386. See PI. XXIV, No. 3. 387. Four sketches on PI. XXIV, No. i belong to this passage. The rest of the sketches and notes on that page are of a miscellaneous nature. 388. i. The paper has been damaged at the end of line I. The sketch No. 2 on PI. XXIV stands, in the original, between lines ^ and 8. Compare also the sketches on PL LIV. 200 THE THEORY OF THE ART OF PAINTING. [389. 390. w. IV| 389. Nota il moto del liuello 2dell' acqua, il on h*ir quale fa a vso 3 de' capelli, che anno due f*inncguri°s*n«moti, de' quali 1'uno attede al speso del uello, 1'altro al Iinia6mento delle volte; cosl 1' acqua 7a le sue volte revertigino8se, delle quali vna parte attende 'al inpeto "del corso principale, l'alI0tro attede al moto incidete e reflesso. Observe the motion of the surface of the water which resembles that of hair, and has two motions, of which one goes on with the flow of the surface, the other forms the lines of the eddies; thus the water forms eddying whirlpools one part of which are due to the impetus of the principal current and the other to the incidental motion and return flow. Ash. I. 29*) 39°' DELLE NATURE DELLE • PIEGHE DE' PANNI. OF THE NATURE OF THE FOLDS IN DRAPERY. 1 2 Quella parte • della piega • che si trova ' Piv lontana-dai sua costretti 3Stremi-si riduciera piu in sua • prima • natura;! *Naturalmete ogni • cosa • desidera • ma- tenersi • in suo • essere; SI1 panno • perche e di equale • densita • e spessitudine, s) nel suo 6rouescio • come nel suo • diritto •, disidera • di stare -piano: onde ?quando • lui • e da qualche • piega o falda • costretto • a lasciare 8 essa planitia •, osserua • la natura • della • forza • in quella • parte ?di se dov'elli e • piv • costretto •, e quella • parte ch' e piv • lontana 10 a essi costrignimeti • troverai riducersi • piv alia • prima 1 1 sua • natura • cioe dello • stare disteso • e apio. ESEPLO. '3 Sia • a ' b • c • la piega • del panno • detto di sopra : a • c • sia il lo^co • doue • esso • panno piegato e costretto -io ti pro'Sposi, che Quella • parte • del pano che era piv lon- tana • ai costretti stremi l6 si ridurebbe piv • in nella • sua • prima • natura. x?Adunque • b • trouadosi • piv • lontano • da • a • c • li la piega I7a • b • c • fia piv • larga • che in nessun altro • suo • loco. That part of a fold which is farthest from the ends where it is confined will fall most nearly in its natural form. Every thing by nature tends to remain at rest. Drapery, being of equal density and thickness on its wrong side and on its right, has a tendency to lie flat; therefore when you give it a fold or plait forcing it to out of its flatness note well the result of the constraint in the part where it is most confined ; and the part which is farthest from this con- straint you will see relapses most into the natural state; that is to say lies free and flowing. EXAMPLE. Let a b c be the fold of the drapery spoken of above, a c will be the places where this folded drapery is held fast. I maintain that the part of the drapery which is farthest from the plaited ends will revert most to its natural form. Therefore, b being farthest from a and c in the fold a b c it will be wider there than anywhere else. 389. i. delicllo. 2. acq"a". 3. chapclli. 6. lacq"a". 7. alle . . reveruertigino. io. refresso. 390. i. piege. 2. chessi . . chostretti. 4. chosa . . suo . sessere. 5. esspessitudine. 6. riuerscio chome. 7. offalda . cosstretto allasciare. 9. chostretto . ecquella. io. chosstrignimeti. n. aplio. 13. a b sia. 14. cho chostretto. 15. chostretti. 16. inella. 18. locho. 389. Sec PI. XXV. Where also the text of this passage is given in facsimile. 390. See PL XXVIII, No. 6, and compare the drawing from Windsor PI. XXX for farther illustra- tion of what is here stated. 13. a c sia. In the original text b is written instead of c — an evident slip of the pen. n ^ 9: ?**&• ^ ' I ' i ^ ^Uj : . Imp , Rude s. 391- 392-] ON DRAPERIES. 2OI Ash. I. 17 6] 391. DELLE POCHE PIEGHE NE' PANI. 2 Come le figure, essedo vestite di ma- tello, no debono tato mostrare • lo nvdo 3 che '1 matello paia I sulle • carni, se gia • tu no volessi che '1 * matello • fusse • sulle carni, Iperoche tu debi pensare che tra '1 man- tesllo • e le carni sono altre vesti che Ipe- discono lo scoprire e '1 pare6re la forma delle mebra • sopra il matello; e quelle me- bra che fai ? discoprire - fa - le in modo grosse che li apparisca sotto il matello altre ?vestimeta, ma solo farai scoprire la quasi uera grossezza delle mebra 9auna-nifa o uno agielo, i quali si figurano • vestiti di sot- tili vestimeti I0sospiti e ipressi dal soffiare de' ueti sopra le mebra • di dette figure. OF SMALL FOLDS IN DRAPERIES. How figures dressed in a cloak should not show the shape so much as that the cloak looks as if it were next the flesh; since you surely cannot wish the cloak to be next the flesh, for you must suppose that between the flesh and the cloak there are other garments which prevent the forms of the limbs appearing distinctly through the cloak. And those limbs which you allow to be seen you must make thicker so that the other garments may appear to be under the cloak. But only give something of the true thickness of the limbs to a nymph [9] or an angel, which are represented in thin draperies, pressed and clinging to the limbs of the figures by the action of the wind. Ash. I. i8a] 392. Come a uno pano non si deve dare cofusione di molte pieghe, anzi ne fa so- 2lamete doue colle mani o colle braccia sono rite- nvte, ilresto sia 3lasciato cadere seplicemete doue lo tira sua natura, e no sia Itra4versato lo ignvdo da troppi liniameti o ropi- metifdi pieghe; s Come i pani si debo ritrare di naturale, croe se uorai fare pano lano usa le6 pieghe secodo quello, e se sara seta o pano fino o da vilani o di lino o di ue7lo, va diuersificado - a ciascuno • le sue pieghe, e no fare abito come molti 8fano sopra i mo- « — delli coperti di carte o corami sottili • che t' Iganneresti forte. You ought not to give to drapery a great confusion of many folds, but rather only introduce them where they are held by the hands or the arms ; the rest you may let fall simply where it is its nature to flow; and do not let the nude forms be broken by too many de- tails and interrupted folds. How draperies should be drawn from nature : that is to say if youwant to re- present woollen cloth draw the folds from that; and if it is to be silk, or fine cloth or coarse, or of linen or of crape, vary the folds in each and do not represent - dresses, as many do, from models covered with pa- per or thin leather which will deceive you greatly. 391. 4. fussi sule . . Iperochettu . . chettra. 5. elle charni . Ipedischano lo scorire. 6. cheffai. 7. fa . lie imodo . . chellia- parisca. 8. massolo . . grosseza. 9. o i agielo. 392. i. a i pano non si de dare . . piege. 2. cholle . . o cholle. 3. chadere . . e no sua Itra. 4. lo nvdo . . tropi. 5. coi pani . . pano lano. 6. pege sechodo . . pano fine. 7. diuersifichado a ciaschuno . . piege . . come mol. 8. fano . . modeli . chettlganeresti. 391. The little pen and ink drawing from Windsor (W. 102), given on PI. XXIII, No. 7, clearly illus- trates the statement made at the beginning of this passage; the writing of the cipher 19 on the same page is inLeonardo's hand; the cipher 2 1 is certainly not. 9. Una nlfa. Compare the beautiful drawing of a Nymph, in black chalk from the Windsor col- lection, PI. XXVI. VOL. I. CC PL XXVI • .*,„ W: '•'« £',-". -V . /•''.' v J • • <•* • : iJ • 'Vt; /. ••„?..•»' .' • " . "' •>-, . , t^'r ' ,' f^^;-'V '^''^ £'••> <> •*• • K%1 - ., . J*§^ - ~ • •••*.- . *-r» T •• Y" •>•-:- : . \ ' ' • ,..--.» ' ^ T -:•• S?^ ' r&>?&.4 ^|;vly^ "^•' t ; ,'., :/ " "',./. "• ... ; -- ! * i V^jE^' • "V - ~ "-*v"i!7T~ r*»r • i- - -. *f •*:-. •.:•:•" >.--^ • -•._•" ~-N,.V • .> • . --* ^r -**-^^*-^' "* , ^ ~' v^*"«' ^ ' . ? *»V r*" •' ' -- m •••^•••••i i Heliogp. Dujardin, Imp Eude s VIIL Botany for Painters and 'Elements of Landscape Painting. The chapters composing this portion of the work consist of observations on Form, Light and Shade in Plants, and particularly in Trees summed up in certain general rules by which the author intends to guide the artist in the pictorial representation of landscape. With these the first principles of a Theory of Landscape painting are laid down — a theory as profoundly thought out in its main lines as it is lucidly worked out in its details. In reading these chapters the conviction is irresistible that such a Botany for painters is or ought to be of similar importance in the practice of painting as the prin- ciples of the Proportions and Movements of the human figure i. e. Anatomy for painters. There can be no doubt that Leonardo, in laying down these rules, did not intend to write on Botany in the proper scientific sense — his own researches on that subject have no place here', it need only be observed that they are easily distinguished by their character and contents from those which are here collected and arranged under the title 'Botany for painters'. In some cases where this division might appear doubtful, — as for instance in No. 402 — the Painter is directly addressed and enjoined to take the rule to heart as of special importance in his art. The original materials are principally derived from MS. G, in which we often find this subject treated on several pages in succession without any of that intermixture of other matters, which is so frequent in Leonardo's writings. This MS., too, is one of the latest] when it was written, the great painter was already more than sixty years of age, so we can scarcely doubt that he regarded all he wrote as his final views on the subject. And the same remark applies to the chapters from MSS. E and M which were also written between 1513 — 15. For the sake of clearness, however, it has been desirable to sacrifice— with few exceptions— the original order of the passages as written, though it was with much reluctance and only after long hesitation that I resigned myself to this necessity. Nor do I mean to impugn the logical connection of the author's ideas in his MS.; but it 2O4 THE THEORY OF THE ART OF PAINTING. will be easily understood tliat the sequence of disconnected notes, as they occurred to Leonardo and were written down from time to time , might be hardly satisfactory as a systematic arrangement of his principles. The reader will find in the Appendix an exact account of the order of the chapters in the original MS. and from the data there given can restore them at will. As the materials are here arranged, the structure of tJie tree as regards the growth of the branches comes first (394 — 411) and then the insertion of the leaves on the stems (412 — 419). Then follozv the laws of Liglit and Shade as applied, first, to tiie leaves (420 — 434), and, secondly , to the whole tree and to groups of trees (435 — 457). After the remarks on the Liglit and Shade in landscapes generally (458 — 464), we find special observations on that of vieivs of toiuns and buildings (465 — 469). To the theory of Landscape Painting belong also the passages on the effect of Wind on Trees (470 — 473) and on the Light and Shade of Clouds (474 — 477), since we find in these certain comparisons with the effect of Light and Shade on Trees (e. g. : in No. 476, 4. 5; and No. 477, 9. 12). The chapters given in the Appendix Nos. 478 and 48 1 • have hardly any connection with the subjects previously treated. 87 1\ 393- ALBERT. 2Bassi, 3alti, 4rari, Sspessi cioe di foglie, 6scuri, 7chiari, 8rossi, sramificati insu, I0chi diritti all'ochio, "chi in giu, I2gabi biachi, *3a chi trapare 1'aria J-»a chi no, 'Schi e trito di posta, l6chi e raro. TREES. Small, lofty, straggling, thick, that is as ciassifica- to foliage, dark, light, russet, branched at the tion of trees> top; some directed towards the eye, some downwards; with white stems; this transparent in the air, that not; some standing close to- gether, some scattered. 394- Tutti i rami delli alberi in ogni grado della loro 2altezza givnti insieme sono e- quali alia gro^ssezza del loro pedale. ^Tutte le ramification! • delFacque in ogni s grado di loro lunghezza -, essendo All the branches of a tree at every stage The relative of its height when put together are equal in th^bnmches thickness to the trunk [below them]. to thejrunk All the branches of a water [course] at 3 every stage of its course, if they are of d' equal 6moto, sono equali alia grossezza equal rapidity, are equal to the body of the del loro ^principio. main stream. M. 395- Ogni • ano, che i rami delle 2 piante anno dato fine alia 3 loro maturita, essi anno 4co- posto, givti insieme, saltrettanta grossezza, qua6to e la grossezza del suo pe^dale, e in ogni grado della 8sua ramificatione tu tro- 9verai la grossezza di detto I0 pedale come e • i k: ™g h: e f: c d: a b • I2tutti saranno equali infra X3 loro, non essendo 1' albero stor- I4piato, • altremeti la regola I5falla. 16 Tutti i rami anno le di^ritture che si dirizzano l8al cietro dell' albero m. Every year when the boughs of a plant [or tree] have made an end of maturing their growth, they will have made, when put to- gether, a thickness equal to that of the main stem; and at every stage of its ramification you will find the thickness of the said main stem; as: i k, g h, e f, c d, a b, will always be equal to each other; unless the tree is pollard — if so the rule does not hold good. All the branches have a direction which tends to the centre of the tree m. 393. i — 16 R. 6. chiari. 9. ramifichati. 13. achistrapar laria. 14. achinno. 15. chi ettrito di posta. 394. 2. alteza. 3. sseza. 5. lungeza. 6. mo sono . . grosseza. 395- i. ogniano che rami. 3. maturta. 5. grosseza. 6. grosseza. 7. ella. 8. ramifichatione. 9. grosseza. 10. il pedale come he i k. 13. lloro . . sto "r". 14. piati. 15. nofalla. 17. chessi dirizano. 395. The two sketches of leafless trees one above another on the left hand side of PI. XXVII, No. i, belong to this passage. 2O6 THE THEORY OF THE ART OF PAINTING. 1396-399- M. 396. Se la pianta • n cresciera alia grossezza *di m, i sua rami faranno tutta la cogiu- tione *a • b per lo ingrossare de' rami in- dentro come di 4fuori. s I rami delle piante fanno 6in ogni na- The law ofscimento de' sua ? ramiculi vna tortura la pTn°the°n 8quale, partorendo il ramo, si ^viene a fai- th^ benches *°rcare» e detta biforlocatura si trova in (396-402). mezzo a due "angoli, de' quali quello sara I2piv grosso che sara dal lato del ^ramo piv grosso, proportione^volmete, se no lo guasta 1'accidetale. If the plant n grows to the thickness shown at m, its branches will correspond [in thickness] to the junction a b in consequence of the growth inside as well as outside. The branches of trees or plants have a twist wherever a minor branch is given off; and this giving off the branch forms a fork; this said fork occurs between two angles of which the largest will be that which is on the side of the larger branch, and in pro- portion, unless accident has spoilt it. G. 34/5] 397- Nessu gobbo 2e ne rami, che 3 no ui sia dato a4lcun ramo, il squale e ma- cato; 6Crescono piuli ramiculi ^inferioride'rami de!8le piate, che li superio^ri, e questo sol nasciroe perche 1'umore che li nu^triscie, per aver lui graviI2ta, e piu facilme^te allo ingiu che allo insu, '*e ancora perche quelli che ve'Sgono allo Igiu si discostan l6da 1'obra ch'e inverse il cetro '^della piata; l8quato li rami so '^piu vechi, tanta mag- 20gior diferetia e da 26li sua ramiculi 22di sopra a quelli 2^di sotto e i quali sieno del ^medesimo anno o epoca. There is no boss on branches which has not been produced by some branch which has failed. The lower shoots on the branches of trees grow more than the upper ones and this occurs only because the sap that nourishes them, being heavy, tends downwards more than upwards; and again, because those [branches] which grow downwards turn away from the shade which exists towards the centre of the plant. The older the branches are, the greater is the difference between their upper and their lower shoots and in those dating from the same year or epoch. G. 35"] 398. DELLI MARGINI DELLI 2 ALBERT. OF THE SCARS ON TREES. 3 Li margini delli alberi cresco pi^v in grossezza che no richiede il umosre distri- buito che le nutriscie. The scars on trees grow to a greater thickness than is required by the sap of the limb which nourishes them. G. 13*) 399 Quella pianta osseruera 2il suo accre- scimeto co 3 piu diritta linia, la quale 4 ge- nera piu minuta raSmificatione. The plant which gives out the smallest ramifications will preserve the straightest line in the course of its growth. 396. i. sella . . cressciera . . grosseza [che]. 7. ramichuli. 9. biforchare. 10. chatura . . mezo. 12. chessara. 14. lacidetale. 397. 1—24 R. 6. cresca. 8. chclli. 9. ccquesto sol nassci. 10. lomore chelli. 12. facilmaltimc. 13. ingu, 14. perche que che vc. 15. grno allo. 20. gor. 22. acquelli. 23. e I qua del. 24. annaepoca. 398. 1—5 R. i. delle margini. 3. le . . cresca . . omo. 4. v groseza . . illomo. 5. re distrebito chelle nutrisscie. 399. i — 5 R. 2. accresscimeto. 396. The sketches illustrating this are on the right hand side of PI. XXVII, No. I, and the text is also given there in facsimile. 397. The sketch accompanying this in the MS. is so effaced that an exact reproduction was impossible. 399. This passage is illustrated by two partly effaced sketches. One of these closely resembles the lower one given under No. 408, the other also represents short closely set boughs on an upright trunk. 4OO — 4°2-] BOTANY FOR PAINTERS. 207 G. 14 a] DELLA RAMIFICATIONS. 2 Senpre il principio della ramifi- 3catione a la linia cetrale della sua gro^ssezza, che si dirizza alia linia cetrale s della pianta. 400. OF THE RAMIFICATION. The beginning of the ramifica- tion [the shoot] always has the cen- tral line [axis] of its thickness direct- ed to with the central line [axis] of the plant itself. G. 37 «] 401. Senpre li rami nello sepa2rarsi dal fusto fano vna ^basa con una globosita,4 come si mostra in a b c d. In starting from the main stem the branches always form a base with a prominence as is shown at a b c d. G. 33*] 4O2. PERCHE MOLTE VOLTE LI LEGNAMI NO 2so DIRITTI NELLE LOR UENE. 3 Quado li rami, che succedono il secodo anno so^pra del ramo dell' anno passato, no anno le Sgrossezze simili sopra li rami antecedeti, ma 6sono dal lato, allora il uigore di quel ramo ?di sotto si torce al nutrimeto de quel ch'e piu a!8to, ancora- che esso sia vn poco dal lato; 9 Ma se tali ramificationi avra equalita I0nel loro cresciere, le uene del loro fusto "sara diritte e equidistati in ogni grado d'altezI2za della loro pianta. ^Aduque tu pittore, che non ai tale regole, per 'tfuggire il biasimo delli inte- denti sii vago di ^ritrare ogni tua cosa di naturale e no disprel8zzare lo studio come fanno i guadagnatori. WHY, VERY FREQUENTLY, TIMBER HAS VEINS THAT ARE NOT STRAIGHT. When the branches which grow the se- cond year above the branch of the preceding year, are not of equal thickness above the antecedent branches, but are oh one side, then the vigour of the lower branch is diver- ted to nourish the one above it, although it may be somewhat on one side. But if the ramifications are equal in their growth, the veins of the main stem will be straight [parallel] and equidistant at every degree of the height of the plant. Wherefore, O Painter! you, who do not know these laws ! in order to escape the blame of those who understand them, it will be well that you should represent every thing from nature, and not despise such study as those do who work [only] for money. 400. 1—5 R. 3 chatione a [il centre] "la linia cetrale" della. 4. se chessi diriza. 4°*- i — 4 R- i- sepr. 2. fano. 402. 3. sucedano. 5. grosseze simile. 7. notrimeto. 8. pocho. 9. Massettale ramificatione ara. 10. neiloro cressciere . . fussto. ii. dalte. 14. sia vagho. 18. zare. 208 THE THEORY OF THE ART OF PAINTING. [403. 404. E. 64] 403- DELLA RAMIFICATIONS 2 DELLE PLATE. growth (403—407) piate, che assai si dilatano, anno The direc- li angoli * delle partition! che separano le loro raSmificationi tanto piu ottusi, quato el na6scimento loro e piu basso, cio£ piu vi?cino alia parte piu grossa e piu vecchia del8!' albero : adunqve nella parte piv giova- 9ne dell' albero li agoli delle sua ramificatio- 10ni sono piu acuti. OF THE RAMIFICATIONS OF PLANTS. The plants which spread very much have the angles of the spaces which divide their branches more obtuse in proportion as their point of origin is lower down; that is nearer to the thickest and oldest portion of the tree. Therefore in the youngest portions of the tree the angles of ramification are more acute. G. 32*] 404. Li stremi delle ramificatio delle piate, '•se no so superati dal peso de' frutti, si volta^no Iverso il celo quato e possi- bile; *Le parti diritte delle lor foglie stanno volte sin- verso il celo per ricevere il nutrimeto de6lla rugiada che , cade la notte; i n sole da spirito e vita * , , alle piate 8e la terra col- ^ 1'umido le notrisce; sintorno a questo caso io provai gia a I0lasciare solamete vna mi"nima radice a vna zucca e quella tenevo I2nutrita coll'acqua, e tale zucca co- dusse a per^fezione tutti li frutti ch'ella, pote poi '^gene- rare, li quali furono circa 60 z'Sucche, di quelle lunghe, e posi la mete co dilil6gen- tia a tale vita e cognobbi che la rugiada '^della notte era quella che col suo umido pel8netrava abondantemete per Pappi- I9ccatura delle sua gra foglie al nutrimeto 20 d'essa piata colli sua figliuoli — overo uo- 21 va che anno a producere li sua figliuoli. 22 La regola delle foglie nate nel ramo vltimo 23dell'ano sara nelli 2 rami fra- telli in contra24rio moto, cioe che voltandosi intorno il nascime2sto delle foglie il loro ramo in modo che la 6a foglia 26di sopra The tips of the boughs of plants [and trees], unless they are borne down by the weight of their fruits, turn towards the sky as much as possible. n The upper side of their leaves is turned towards the sky that it may receive the nourishment of the dew which falls at night. The sun gives spirit and life to plants and the earth nourishes them with moisture. [9] With regard to this I made the experiment of leaving only one small root on a gourd and this I kept nourished with water, and the gourd brought to perfection all the fruits it could produce, which were about 60 gourds of the long kind, and I set my mind diligently [to consider] this vitality and perceived that the dews of night were what supplied it abundantly with moisture through the insertion of its large leaves and gave nourishment to the plant and its offspring —or the seeds which its offspring had to produce — [21]. The rule of the leaves produced on the last shoot of the year will be that they will grow in a contrary direction on the twin branches; that is, that the insertion of the leaves turns round each branch in such a 403. i. delle ramifichatione. 3. angholi. 4. partitio chcsscperano. 6. base. 9. agholi . . ramifichatio. io. achuti. 404. 4. parte stao. 6. rugada che chade. 8. ella. 9. acquesto. io. allassciare. n. zucha ecquella. 12. zuzza. 13. fczzione. 14. circha. 15. ucc. 16. attain . . chella rugada. 18. abondamete. 19. chatura. 20. overo ho. 21. va [delli] che . . 403. Compare the sketches on the lower portion of PI. XXVII, No. 2. 404. A French translation of lines 9 — 12 was given by M. RAVAISSON in the Gazette des Beaux Arts, Oct. 1877; his paper also contains some valu- able information as to botanical science in the an- cient classical writers and at the time of the Renaissance. 405—407.] BOTANY FOR PAINTERS. 2O9 nasce sopra la sesta di sotto, e '1 moto way, as that the sixth leaf above is produced 2?del loro voltarsi e, se 1'Q volta inuerso over tne sixth leaf below, and the way they la sua copagna 28a destra, 1'altra li si volta turn is that if one turns towards its com- a sinistra; ^ foglia e tetta over poppa del Kftjt ^ "^ ^ °ther T* 1° *' ' ., left, the leaf serving as the nourishing breast ramo o fru^to che nasce viene. nell'anno che for the shoot or fruit which grows the follow- ing year. G. Sa] Li rami piu bassi delle pia2te che fa gra foglie e frutti 3gravi come noci, fichi e sr*mili sempre si diriz- zano alia s terra. 6Senpre li rami nascono so7pra la foglia. 405- The lowest branches of those trees which have large leaves and heavy fruits, such as nut-trees, fig-trees and the like, always droop towards the ground. The branches always originate above [in the axil of] the leaves. G. I ramiculi superior! delli 2rami laterali delle piate ^costa piu al lor ramo maestro che no fa quelli di sotto. 406. The upper shoots of the lateral branches of plants lie closer to the parent branch than the lower ones. G. 35 *] 407. Senpre li rami piu bassi, 2poich'elli anno generate ^I'angolo della lor sepera- 4tione del suo fusto, si pisegano in basso The lowest branches, after they have formed the angle of their separation from the parent stem, always bend downwards so per no si ser6rare adosso alii altri ra7mi che as not to crowd against the other branches sopra lui s'accodano 8nel medesimo fusto which follow them on the same stem and figloli. 23. dellano . . sarano. 24. coe. 25. folie . . chella. 26. sessta. 27. sellu . . il suo copagno. 28. adesstra . . assini- stra. 29. he. 31. nassce il. 32. lanno. Lines 29 — 32 are written in margin. 05. i — 7 R. 2 poglie. 3. coci. 4. dirizano. 6. nassca. 406. 1—4 R. maes. 4. que di. 407. i — 21 R. 5. si se. 7. sacodano. 8. fussto. 9. podere. 10. chelli nutrissce. ir. mosstra. 13. affatto [lagolo] ilato- VOL. I. ^D 210 THE THEORY OF THE ART OF PAINTING. [408—410. e 9per potere meglio pigliare 10l'aria che 11 nustrisce — "come mostra Pangolo b a c 12 che il ramo a c poich'elli ^a fatto il lato dell'an^golo a c, si piega in ba'Ssso in c d e il ramicul6lo c si secca per 1'essere '7suo di sottile. l8Senpre il ramo maestro va di sotto '9 come mostra il ramo / 20n ;//, che no va per f 2ln o. to be better able to take the air which nourishes them. As is shown by the angle b a c; the branch a c after it has made the corner of the angle a c bends downwards to t d and the lesser shoot c dries up, being too thin. The main branch always goes below, as is shown by the branch / n m, which does not go to / n o. G. 36*] 408. L'olmo senpre mette piu Iun2ghezza neiij vltimi rami del me'desimo anno che (4°o8-4Ti). in quelli che 4so piu bassi, e questo fa la Snatura, perch£ i rami piu a!6ti so quelli che anno a cresce?re la quatita dell'albero e que!8li di sotto anno a seccare, 9 per- che nascono nell'onbra e il 10loro accrescimeto sarebbe "inpedimeto dello introito I2de' razzi solari e dell' aria in- *3fra essa ramificatio mae^stra di tal piata. *5Li rami maestri inferiol6ri si piegano piv che i superio^ri, per essere piu obbliqui che l8essi superiori e ancora perche so ^maggiori e piv vecchi. \ The elm always gives a greater length to the last branches of the year's growth than to the lower ones; and Nature does this because the highest bran- ches are those which have to add to the size of the tree; and those at the bottom must get dry because they grow in the shade and their growth would be an impediment to the entrance of the solar rays and the air among the main branches of the tree. The main branches of the lower part bend down more than those above, so as to be more oblique than those upper ones, and also because they are larger and older. G. 36*] • Vniversalmente 2 quasi tutte le rettitu3dini delle piate sMn^curvano tenedo la Sparte convessa diver6so mezzodl, e le loro 7ramificazioni son 8 piu lunghe e grosse e piv ^spesse a esso mezzodl I0che a tramotana, 11 e questo nascie perche '1 I2sole tira 1'umore in1^ verso quella super- fitie del'^la pianta la quale li e J5piu vicina. 16 E questo s'os^serua se no l8ll e ocupato ^il sole dall'al20tre piate. 409. In general almost all the upright por- tions of trees curve somewhat turning the convexity towards the South; and their branches are longer and thicker and more abundant towards the South than towards the North. And this occurs because the sun draws the sap towards that surface of the tree which is nearest to it. And this may be observed if the sun is not screened off by other plants. G. 51 a] 410. II ciriegio e di natura dell' a2bete nella sua ramifica^tione fatta a gradi intor»no a The cherry-tree is of the character of the fir tree as regards its ramification placed M- piegha. 16. secha per lesere. 17. disutile. 18. Senpre maesstro. 19. ramo f. 408. 2. ggheza neli. 4. ecquesto. 5. perche rami. 6. cressce. 7. eque. 8. anno | assechare. 9. nasscano. 10. acresscimeto. 15. maesstri. 16. chesuperiori. 18. essc. 19. magori . . vechi. 4°9- i— *> (R). 2. tucte. 3. dine. 6. mezodi ella. 7. ramificazione. 10. attramotana. n. ecquesto nasscie. 12. lomore. 16. ecquesto os. 18. ochupato. 19. ecquesto si manifessta. 20. nellc piante chessono. 21. spesse rimode (?) che ro (?). 22. mettano ogni 3 anni. 4\ 411. Per il 3 percosso a perfe6ctione ramo del 2noce che solo e e battu^to quad'elli a sC6dotto The bough of the walnut which is only hit and beaten when it has brought to per- fection . 412. DEL NASCIMETO. DE' RAMI NELLE PLATE. 2 Tale e il nascimeto delle ramificationi delle 3piate sopra i lor rami prlcipali qual'e quella de^l nascimeto delle foglie sopra li ramiculi del mesdesimo ano d'esse foglie, le quali foglie ano 6quattro modi di proce- dere, 1'una piu alta che 1'altra; ?il primo piu vniuersale e, che senpre la sesta di sopra 8nasce sopra la sesta di sotto, e il secondo 9e che le 2 terze di sopra so sopra le due terze di I0 sotto, e '1 terzo modo e che la 3adi JI sopra e sopra Ia3adi sotto. OF THE INSERTION OF THE BRANCHES ON PLANTS. Such as the growth of the ramification J0hne o"stehe of plants is -on their principal branches, so leaves is that of the leaves on the shoots of the (4I2~419 same plant. These leaves have [6] four modes of growing one above another. The first, which is the most general, is that the sixth always originates over the sixth below [8]; the second is that two third ones above are over the two third ones below [10]; and the third way is that the third above is over the third below [n]. ii. ecquerch. 12, mezo. 13. meza. 411. i—6 R. i. della. 2. chessolo he. 412. i. -nascimeto. 2 Tale he il . . ramifichationi. 3. quel e quella. 4. nasscimeto . . ramichuli. 5. dessimo ano desse foglie le. 6. proccedere . . chellaltro. 7. eprimo . . he chessenpre. 8. nassce . . sessta. 9. he che 2. 10. hechella. n. essopra. 411. The end of the text and the sketch in red chalk belonging to it, are entirely effaced. 412. See the four sketches on the upper portion of the page reproduced as fig. 2 on PL XXVII. 6. Quattro modi (four modes). Only three are described in the text, the fourth is only suggested by a sketch. This passage occurs in MANZI'S edition of the Trattato, p. 399, but without the sketches and the text is mutilated in an important part. The whole passage has been commented on, from MANZI'S version, in Part I of the Nuovo Giornale Botanico Italiano, by Prof. G. UZIELLI (Florence 1869, Vol. I). He remarks as to the 'four modes': "Leonardo, come si vede nelle linie seqtienti da solo ire esempli. Questa ed altre inessattezze fanno desiderare, sia esaminato di nuovo il manoscritto Vaticano". This has since been done by D. KNAPP of Tubingen, and his accurate copy has been published by H. LUDWIG, the painter. The passage in question occurs in his edition as No. 833; and there also the drawings are wanting. The space for them has been left vacant, but in the Vatican copy 'niente1 has been written on the margin; and in it, as well as in LuDWIG's and MANZI'S edition, the text is mutilated. 8. la sesta di sotto. "Disposizione 2/5 o 1/5. Leonardo osservd probabilmentc soltanto la prima" (UziELLl). 9 — 10. terze di sotto: "Intende qui senza dubbio par- lare di foglie decussate, in cui il terzo verticello e nel piano del primo" (UziELLl). li. 3a di sotto: "Disposizione I/2" (UziELLl). 212 THE THEORY OF THE ART OF PAINTING. [413- 414- G. 413. DESCRITIO DELL'OLMO. 2Questa ramificatione dell'olmo ^a il maggiore ramo nella sua frote, 4 e ' 1 minore e il primo ed il penvltimo 5qUado la mae- stra e diritta; 6 II nascimeto da Tuna foglia all'al7tra e la meta della maggior Iughez8za della foglia alquato maco, 9 perche le foglie fano interualI0lo ch'e circa al 3° della larghez- "za di tal foglia. "L'olmo a le ^sue foglie '^piu presso I5alla I6cima del suo "7 ramo, che al l8nasci- metoe le '^lorlarghezze 20pocovaria2Ino, eso- norisguar"dandole di vn me^desimo aspetto. A DESCRIPTION OF THE ELM. The ramification of the elm has the largest branch at the top. The first and the last but one are smaller, when the main trunk is straight. The space between the insertion of one leaf to the rest is half the extreme length of the leaf or somewhat less, for the leaves are at an interval which is about the 3rd of the width of the leaf. The elm has more leaves near the top of the boughs than at the base; and the broad [surface] of the leaves varies little as to [angle and] aspect. G. 280] 414. Le foglie del noce, conpartite per 2tutto il ramiculo di quell' anno, 3so tanto piu distanti 1'una *dallf altrae co maggiore nu- smero, quato il ramo, doue 6tal ramicolo nascie, e piu giova7ne, e son tato piu vicine ne1 8loro nascimeti e di minore nu9mero, quanto il ramiculo doI0ve nascono e nato in ramo pi''v vechio; nascono li sua fruI2tti in istremo del suo ramiculo, ^e li sua rami maggiori son di sotto Mal lor ramo, doue nascono; I5e questo accade perche la grauita del l6suo umore e piu atta a di- scende^re che a motare, e per questo li 18 rami che nasco sopra di loro, ^che vanno in verso il celo, son pi20ccoli e sottili, e quado il ra2Imiculo guarda inuerso il celo, le " foglie sue si dilatano 2^dal suo stre- 24mo con eguale partitio colle lor 2Scime e se '1 ramiculo guarda all' o26rizzonte , le foglie restano ispia2?nate, e questo nasce perche le foglie 28 universalmente tengono il riverscio 29loro volto alia terra. 3° I ramiculi so 3' tanto mino32ri quanto essi na^scono piu vicJ3^ni al nascime^sto del ramo che 36li produce. In the walnut tree the leaves which are distributed on the shoots of this year are further apart from each other and more numerous in proportion as the branch from which this shoot springs is a young one. And they are inserted more closely and less in number when the shoot that bears them springs from an old branch. Its fruits are borne at the ends of the shoots. And its largest boughs are the lowest on the boughs they spring from. And this arises from the weight of its sap which is more apt to des- cend than to rise, and consequently the branches which spring from them and rise towards the sky are small and slender[2o]; and when the shoot turns towards the sky its leaves spread out from it [at an angle] with an equal distribution of their tips; and if the shoot turns to the horizon the leaves lie flat; and this arises from the fact that leaves without exception, turn their under- side to the earth [2 9]. The shoots are smaller in proportion as they spring nearer to the base of the bough they spring from. 413. j. magore. 4. eil p* el il. 5. maestra. 6. nasscimeto dalluna. 7. ella . . magor luge. 8. macho. 9. fano. 10. large. 12—15. Lolmo alle sue foglie piu presso la ciraa alia. 17 — 23. ramo chellnasscimeto el lor largeze pocho variano di risguardare a vn medesimo asspetto. 414. 2. anno e. 3. distance lun. 4. magiore. 6. nasscie . . goua. 8. nasscimeti. 10. nasscano. n. nassono. 13. elli . . ma- gori. 14. nascano. 15. ecquesto acade che. 16. omore . . atto . . disscende. 20. choli essotili ecquado. 22. dilata . . eguali. 26. rizonte. 27. ecquesto nassce chelle. 28. tengano . . iriverscio. 31. tanto [p] mino. 32. ri quanto e na. 33. nasca. 413. See PI. XXVII, No. 3. Above the sketch and close under the number of the page is the word lolm» an n F*T '^5sT »S ^ ^5f^; ^%^_' • J ; '•••: -m^mi • ' - Xm ^ Imp. Eudes 419—423-] ELEMENTS OF LANDSCAPE PAINTING. 215 - 33*1 419. Ogni ramo e ogni frutto nasce sopra il na2scimeto della sua foglia, la quale li scusa ma^dre col porgierli 1'acqua delle piogge e I'umidi4ta della rugiada che li cade la notte di sopra, e smolte volte li toglie li superchi calori delli razzi 6del sole. Every shoot and every fruit is produced above the insertion [in the axil] of its leaf which serves it as a mother, giving it water from the rain and moisture from the dew which faUs at night from above, and often it pro- tects them against the too great heat of the rays of the sun. M. 77 <$] 42O. Quella parte del corpo sara piv 2al- luminata che fia ferita dal ^razzo luminoso 4 infra angoli piv equali. That part of the body will be most ilium- Light.on ....... ,, . branches mated which is hit by the luminous ray com- and leaves ing between right angles. G. 8«] 421. Le piate giovani anno le foglie 2 piu traspareti e piv poli^ta scorza che le vechie, e in i4specie il noce e piu chiaro di s maggio che di settenbre. - Young plants have more transparent leaves and a more lustrous bark than old ones; and particularly the walnut is lighter coloured in May than in September. G. 24 A] 422. DEL COLOR ACIDETALE 2 DELLI ALBERI. OF THE ACCIDENTS OF COLOURING IN TREES. 3 Li colori accidentali delle fr64de delli alberi sono 4, cioe obra, lusme, lustro e transparetia. DELLA DIMOSTRATIO ? DELLI ACCIDENTI. 8 Delle parti accidentali delle 9 foglie delle piate in lunga distaI0tia si fara vn misto il quale pTIartecipera piu di quello ac- I2cidete che sara di maggiore figu^ra. The accidents of colour in the foliage of trees are 4. That is: shadow, light, lustre [reflected light] and transparency. OF THE VISIBILITY OF THESE ACCIDENTS. These accidents of colour in the foliage of trees become confused at a great distance and that which has most breadth [whether light or shade, &c.] will be most conspicuous. G. ioa] DELL' OBRA DELLA FOGLIA. 2Alcuna volta la foglia a 3 accideti 3 cioe onbra, lustro e transparetia, 4 come se' 1 lume ' fussi in n • alia foglia $s, e Pocchio in m che vedra • a • allumi6nato , parente. b aobrato, c trans- OF THE SHADOWS OF A LEAF. Sometimes a leaf has three accidents The propor- r <• .• i i i • t i i r n tions of light [of light] that is: shade, lustre [reflec- and shade in n ted light] and transparency [transmitted ^.l!^. light]. Thus, if the light were at ;/ as regards the leaf s, and the eye at m, it would see a in full light, b in sha- dow and c transparent. 419. . onni . . ongni . . nassce. 2. liscusa. 3. ellumidi. 4. chelli. 5. taglie. 420. . chorpo. 3. razo luminoso da [angoli p.]. 4. razi infra. 421. — 5 R. i. govane an. 2. trasparete. 3. chelle. 5. magio. 422- — 13 R. i. de color. 4. ce. 5. lusstro ettransparetia. 10. il qua p. 12. magore. 423. — 6 R. i. fogla. 2. foglia a. 3. coe. 5. sellocchia . . vedera. 420. See PI. XXVIII, No. i. 216 THE THEORY OF THE ART OF PAINTING. [424 — 426. G. 424. La foglia di superfitie cocava, 2veduta da riverscio di sotto I su, ^alcuna volta si mostrera mez*za obrosa e mezza trasparete, s come 0-/sia la foglia e '1 6lume m e 1' ochio w , il quale ve7dra • o • aobrato pter- ch£ il lume 8no la percote infra angoli cqua9H ne da ritto no da riuerscio; I0e '1 / • fia alluminato da ritto, Jlil quale lume traspare nel suo I2 riverscio. A leaf with a concave surface seen from the under side and up-side-down will some- times show itself as half in shade and half transparent. Thus, if op is the leaf and the light m and the eye //, this will see o in shadow because the light does not fall upon it between equal angles, neither on the upper nor the under side, and / is lighted on the .upper side and the light is transmitted to its under side. o. 425- Ancorache le foglie di pulita 2 superfitie sieno in gra par^te d' u medesimo colore da ritto a 4 loro riverscio, elli accade che $ quella parte ch'e veduta dall'aria 6participa del colore d' essa aria, e ^ tanto piu pare parti- cipar d'esso 8 colore d'aria, quanto 1' ochio 1'e 9piv propiquo e la- vede piu in iI0scor- to|!e vniversalmete le sue "obre si dimo- stra piu oscuI2re nel diritto che nel river- scio, "3 per il parago che 11 £ fatto da lustri '* che con tale obra cofinano. js II riverscio della foglia, al6corache in se il suo colore sia ^il medesimo che del diritto, si I8dimostra di piu bel colore, il qua'9le colore a vn verde participate di giallo, e questo accade qua2Ido tal foglia e interposta infra Although those leaves which have a po- lished surface are to a great extent of the same colour on the right side and on the reverse, it may happen that the side which is turned towards the atmosphere will have something of the colour of the atmosphere; and it will seem to have more of this colour of the atmosphere in proportion as the eye is nearer to it and sees it more foreshortened. And, without exception the shadows show as darker on the upper side than on the lower, from the contrast offered by the high lights which limit the shadows. The under side of the leaf, although its colour may be in itself the same as that of the upper side, shows a still finer colour — a colour that is green verging on yellow — and this happens when the leaf is placed between G. 426. 1' ochio e '1 lume, che 1' alumina 2dalla opposita parte. ^E le sue onbre son *nelli medesimi siti che essse era dalla opposita parte; 6adu- que tu pittore, quando ^failialberi d'apresso, ricordati 8che, sendo coll' ochio alquato 9 sotto 1'albero, che ti accadera veI0dere le sue foglie dal diritto e da"l riuerscio, e le parti diritte I2sara tanto piu azzurre quat' elle ^fie vedute piu in iscorto e una I4medesima foglia alcuna volta 'Smostra vna parte da ritto e l6vna da riverscio e per questo ti ^bisognia farla di due colori. the eye and the light which falls upon it from the opposite side. And its shadows are in the same positions as those were of the opposite side. There- fore, O Painter! when you do trees close at hand, remember that if the eye is almost under the tree you will see its leaves [some] on the upper and [some] on the under side, and the upper side will be bluer in propor- tion as they are seen more foreshortened, and the same leaf sometimes shows part of the right side and part of the under side, whence you must make it of two colours. 4*4- i— 12 R- 3- vota simosstrera. 4. meza trassparete. 6. ellochio. 8. nola. 9. le ne. 10. alluminata. n. il qua lume. 4*5- * — 2I R- '• anchora chelle. 2. gra pa. 4. achade. 9. ella. n. osscu. 12. re dal diritto. 13. chellefatto dallustri. 14. confin.-.. 17. diritto esi. 19. colore \\\\\ vn. 20. gallo ecquesto achade. 21. to tal foglio. 436 1 — 17 R. i. ellume chellalumina. 4. [adun] elle. 9. achadera. n. e he le parte. 12. azure. 13. e vn. 15. mosstra. 424. See PI. XXVIII, No. 2, the upper sketch on the page. In the original they are drawn in red chalk. 427—430.] ELEMENTS OF LANDSCAPE PAINTING. 217 G. 427. L'onbre che so nelle foglie traspa2renti, vedute da riverscio, son quelle 3medesime obre che son dal diritto d'essa •* foglia, la The shadows in transparent leaves seenofthetrans- from the under side are the same shadows pari!"ves°f as there are on the right side of this leaf, (427—429)- quale traspare da riverscio sjnsieme colla they will show through to the underside to- parte luminosa, ma 6il lustro mai puo tra- sparere, gether with lights , but the lustre [reflected light] can never show through. G. 4 a] 428. Quando 1'una verdura e dirieto all'al- 2tra, li lustri delle foglie e le 3 lor traspare- tie si dimostra di maggiore po4tetia che quelle che cofmano colla chiaSrezza del- 1'aria. 6E se '1 sole allumina le foglie sanza 7 che s' inframettono infra lui e 1'ochio e 8 sanza che esso ochio veda il sole, ^allora li lustri delle foglie e lor traspaI0rentie sono eccessive. "Molto e vtile il fare alcune ramiI2fica- tioni basse, le qualisienb scure e ca^peggino in verdure alluminate che sie ^alquanto remote l6 dalle verdure oscure vedute di sotto; ^quella parte e piv oscura ch'e piv vicina l8 all' ochio o ch'e piu distate dal- 1'aria luminosa. When one green has another [green] be- hind it, the lustre on the leaves and their trans- parent [lights] show more strongly than in those which are [seen] against the brightness of the atmosphere. And if the sun illuminates the leaves without their coming between it and the eye and without the eye facing the sun, then the reflected lights and the transparent lights are very strong. It is very effective to show some branches which are low down and dark and so set off the illuminated greens which are at some distance from the dark greens seen below. That part is darkest which is nearest to the eye or which is farthest from the luminous atmosphere. G. 429. No finger mai foglie transpareti 2al sole, perche son confuse e questo ac^cade perche sopra la trasparetia d'una * foglia vi si stanpira 1'onbra d'una alstra foglia che li sta di sopra, la qua6le obra e di termini spediti e di te^rminata oscurita, e alcuna vo!8ta e mezza o terza parte d'essa 9 foglia che a obra, e cosl tale raI0mifica- tione e cofusa ed e da fujlgire la sua imi- tatione. 12Quella foglia e me trasparente J3che piglia il lume infra agoli piu ^disformi. Never paint leaves transparent to the sun> because they are confused; and this is be- cause on the transparency of one leaf will be seen the shadow of another leaf which is above it. This shadow has a distinct outline and a certain depth of shade and sometimes is [as much as] half or a third of the leaf which is shaded; and consequently such an arrangement is very confused and the imita- tion of it should be avoided. The light shines least through a leaf when it falls upon it at an acute angle. 430. Le obre delle piate no son mai 2nere, perche dove 1'aria pene3tra non puo essere tenebre. The shadows of plants are never black, for where the atmosphere penetrates there can never be utter darkness. The grada- tions of shade and colour in leaves (430—434)- 427. i. dellonbre chesso. 4. quale \\\\\ sspa \\\\ da. 438. 3. trassparetie . . magore. 4. cofinanno. 5. reza. 6. essel. 7. chessinframettano . . ellochio. 9. lusstri . . ellor. 10. ecesiue. ii. fare ver alcune. 12. base . . sure. 13. pegino. 14. alquando remote dalle prime. 15. [che si e] delle verdure osscure. 16. delle. 17. osscura. 429. 2. ecquessto. 3. chade . . trassparetia. 5. chelle sta. 12. trassparente. 430. 1—3 R. 3. po. VOL. I. EE 218 THE THEORY OF THE ART OF PAINTING. [431. 432- G. 8-J) 431. Se '1 lume viene da-;« 2e 1'occhio sia in • n - esso ^ochio vedra il coloHe delle foglie a b tutte s participate del colore 6dello m cioe dell' aria, e '1 T*b c sara vedute da 8riverscio traspareti ^co bellis- simo color verI0de partecipate di giallo ; If the light comes from m and the eye is at n the eye will see the colour of the leaves a b all affected by the colour of m — that is of the atmosphere; and b c will be seen from the under side as transparent, with a beautiful green colour verging on yellow. 77Z 11 Se m • sara il luminoso "alluminatore della foglia • s •, ^tutti gli occhi che vedranno il ^riverscio di essa foglia, la ve'Sdra di bellissimo verde chiaro I6per essere tras- parete; '^Molte so le volte che le poste l8 delle foglie sara sanza obre J9e anno il riverscio trasparente 20e il diritto fia lustro. If m is the luminous body lighting up the leaf s all the eyes that see the under side of this leaf will see it of a beautiful light green, being transparent. In very many cases the positions of the leaves will be without shadow [or in full light], and their under side will be transparent and the right side lustrous [reflecting light]. G. 432- II salice e altre simili pia2te che si tag- liano li lor rami 3 ogni 304 anni, mettono rami *assai diritti e la loro obra e inSverso il mezzo doue nascono 6essi rami, e inverse li stremi 7fan poca obra per le lor minu8te foglie e rari e sottili rami, ^adunque li rami che si leuaI0no verso il celo avra poca "obra e poco rilieuo, e quelli "rami, che guardano • dal- 1'orizzote ^in giu nascono nella parte "»oscura dell' obra e vegonsi ris- 'Schiarado appoco insino l6a loro stremi, e questi mostra^no bo rileuo per essere in gral8di di rischiaramento in capo J9 onbroso. capo 20Quella piata fia meno onbra2Ita, che avra piu rara ramificati22one e rare fo- glie. The willow and other similar trees, which have their boughs lopped every 3 or 4 years, put forth very straight branches, and their shadow is about the middle where these boughs spring; and towards the extreme ends they cast but little shade from having small leaves and few and slen- der branches. Hence the boughs which rise towards the sky will have but little shade and little relief; and the bran- ches which are at an angle from the horizon, downwards, spring from the dark part of the shadow and grow thinner by degrees up to their ends, and these will be in strong relief, being in gradations of light against a background of shadow. That tree will have the least shadow which has the fewest branches and few leaves. 431. i— R. 2. ellochio. r. vedera. 6. coc. 8. trassparente. 13. vederanno. 14. foglia. 17. chelle. 19. ano. to. lusstro. 431. x—22 R. 2. a chcssi. 3. mett.i. '4. asai . . ella. 5. mezo . . nasscano. 7. pocha. 8. essottili. 9. chessi. 10. ara. ix. pocho . . ccquclli. 13. ingu n.iscano. 14. osscura . . vegansi. 15. sciarado appocho. 16. alloro . . ecqueste. 18. riss- ciaramento. 21. ara. 433—435-] ELEMENTS OF LANDSCAPE PAINTING. 219 G. 10,5] 433- DELLE FOGLIE OSCURE 2oiNANzi ALLE TRAS- PARETI. 3Quado le foglie saranno interposte ^ infra il lume e 1' occhio, allora la piu vici- Sna all' occhio sara piu scura • e la piu re- 6mota sara piu chiara, no capeggiado ne 7 1' aria; e questo accade nelle fogli8e che so dal centre dell'albero 91 la cioe inverse il lume. OF DARK LEAVES IN FRONT OF TRANSPARENT ONES. When the leaves are interposed between the light and the eye, then that which is nearest to the eye will be the darkest, and the most distant will be the lightest, not being seen against the atmosphere; and this is seen in the leaves which are away from the centre of the tree, that is towards the light. G. 286] 434- E' LUMI DELLE FOGLIE SCURE. 2 1 lumi di quelle foglie sara piu del co- lore del3!' aria che in loro si specchia, le quali sono di co^lore piu oscuro; e questo e causaHo perche il chiaro della parte alluminata coll' oscuro in se conpo6ne colore azzurro, e tal chiaro nascie ?dall' azzurro dell'aria che nella 8superfitie polita di tal foglie si specchia, ed aume"9ta 1' azzurro che la detta chiarezza sol generare I0colle cose oscure. OF THE LIGHTS ON DARK LEAVES. The lights on such leaves which are darkest, will be most near to the colour of the atmo- sphere that is reflected in them. And the cause of this is that the light on the illumin- ated portion mingles with the dark hue to com- pose a blue colour; and this light is produced by the blueness of the atmosphere which is reflected in the smooth surface of these leaves and adds to the blue hue which this light usually produces when it falls on dark objects. DE' LUMI DELLE FOGLIE DI UERDURA TRAENTE AL GIALLO. 13 Ma le foglie di uerdura traete al giallo no T 4 anno nello spechiare dell'aria a fare lustro * s d' azzurro participant e, conciosiache Ifogni cosa che apparil6sce nello specchio parti cipa del colore di tale ^spechioll adun- que 1'azurro dell' aria spechil8ato nel giallo della foglia pare verde, perche azzurro e giaI9llo insieme misti copongono bellisimo color20e verde, adunque verdi gialli sara li lustri de!21le foglie chiare traenti al color giallo. OF THE LIGHTS ON LEAVES OF A YELLOWISH GREEN. But leaves of a green verging on yellow when they reflect the atmosphere do not produce a reflection verging on blue, inas- much as every thing which appears in a mirror takes some colour from that mirror, hence the blue of the atmosphere being reflected in the yellow of the leaf appears green, because blue and yellow mixed together make .a very fine green colour, therefore the lustre of light leaves verging on yellow will be greenish yellow. Br. M. 114 6] 435- Sono li alberi infra loro in nelle capagnie The trees in a landscape are of various A ciassific di varie nature di uerde, in2 peroche alcuni kinds of green, inasmuch as some verge " to their colours. 433- ! — 9 R- 2. trasparente. 3. interposste. 4. infralume ellocchio. 5. ella. 6. capegado. 7. ecquesto achade. 8. chesso. 9. coe. 434. i. fogle. 3. sisspecohia. 4. osscuro ecquesto. 5. chiaro "della parte alluminata" collosscuro. 6. ettal . . nasscie. 7. azurro. 8. sisspecchia. 9. azurro chella . . ciareza. 10. osscure. 14. isspechiare . . affare lusstro. 15. concosiache. 18. gallo "della foglia" pare. 20. verdigalli . . lusstri. 435. i. infralloro inelle. 2. alcuno neggregga . . essimili. 3. giallegia . . e noci . . vite . . verdure \\\\\\\\\\\\\\. 4- giallegiano con 433- See PI. XXVIII, No. 2, the lower sketch. 220 THE THEORY OF THE ART OF PAINTING. [436. 437- negreggia, come abeti, pini, cipressi, lauri, bussi e simili, ^alcuni gialleggia, come sono i noci e peri, viti e verdure muni «alcuni gialleggiano con oscurita come castagni roveri, salcuni rosseggiano inverse 1'autunno come sorbi, melagrani, viti6e ciriegi, alcuni bianchcggiano come salici, oliui, canne e si- i. Sono 1'alberi di uarie figure.. towards blackness, as firs, pines, cypresses, laurels, box and the like. Some tend to yellow such as walnuts, and pears, vines and verdure. Some are both yellowish and dark as chesnuts, holm-oak. Some turn red in autumn as the service-tree, pomegranate, vine, and cherry; and some are whitish as the willow, olive, reeds and the like. Trees are of various forms . . G. 120] 436. trees (436—440) DEL LUME VNIVERSALE ALLU2MINATORE DELLE PIANTE. •» Quella parte della piata 4 si dimostrera The proper- vestita d'on5bre di minore oscurita, 6la quale anTsh.Kfia piu remota dahlia terra. 8 Provasi, a p sia la pfonta, n b c sia IOPemisperio allumi- nato, "la parte di sotto del- 1'albero veI2de la terra / c cioe la parljte o •, e vede vn poco delI4l'emisperio in c d; Ma la '5 parte piu alta nella cocauita 10 • a • e veduta da c maggior soma deI7H'emisperio, cioe • b • c • e per quel8sto (e perche no vede la oscurita '9 della terra) resta piu allumi20nata; Ma se 1'albero, e spesso 2I di foglie, come lauro, albatro, bo- -'-'sso o leccio, allora e variato, 2-3 perche an- cora 24che a no veda la 2s terra e' uede la 26 oscurita delle fo27glie, diuise da mo28lte obre 29la quale osscurita riverbe3rra insu nelli ri32versci delle so33praposte foglie, 34 e questi tali aUsberi anno 1'onbre ta36to piu oscure, 37 quanto esse so 3»piu vicine al 39mezzo dell'albero. OF A GENERALLY DISTRIBUTED LIGHT AS LIGHTING UP TREES. That part of the trees will be seen to lie in the least dark shadow which is farthest from the earth. To prove it let a p be the tree, n b c the illuminated hemi- sphere [the sky], the under por- tion of the tree faces the earth / c, that is on the side o, and it faces a small part of the he- misphere at c d. But the highest part of the convexity a faces the greatest part of the hemi- sphere, that is b c. For this reason — and because it does not face the darkness of the earth — it is in fuller light. But if the tree has dense foliage, as the lau- rel, arbutus, box or holm oak, it will be different; because, although a does not face the earth, it faces the dark [green] of the leaves cut up by many shadows, and this darkness is reflected onto the under sides of the leaves immediately above. Thus these trees have their darkest shadows nearest to the middle of the tree. G. x5«] 437- DELL'ONBRA DELLA VERDURA. 2 Senpre 1' onbre delle verdure partecipa- 3no dello azzurro e cosl ogni onbra d'o4gni altra cosa, e tanto piu ne pisglia quanto ella e piu distante daH'ochio, e meno, quanto ella e piu vi7cina. OF THE SHADOWS OF VERDURE. The shadows of verdure are always some- what blue, and so is every shadow of every object; and they assume this hue more in proportion as they are remote from the eye, and less in proportion as they are nearer. osscurita come asstagni rove \\\\\\\\\\\\. 5. rossegiano inver laltunno. 6. bianchegiano . . salci . . essi. 8. figure de quali la here tiie text breaks off. 436. 1—39 R. 4. dimostcra. 5. osscurita. 6. la qua fia. 8. a i sia. 9. n b c sia [lorizote o]. n. diso dcllalbero. 12. coe. 13. pocho. 14. lemissperio . . Malla. 16. magor soma. 17. llemissperio coe . a c . e pe que. 18. osscurita. 20. Massellal- bero esspesso. 22. ollecco . . variato ^. 23. A. perche. 28. obre (delle vici). 29. [nej la quale. 33. praposste. 34. ec- questi. 35. beri allonbre. 36. osscure. 39. meza. 437- 3- accuro . . ongni. 4. chosa ettanto . . ne pit. 5. ellatre piu distanti. 6. cllahc. to. lazurro. 12. mosstrano. 17. [La cosa 438—440.] ELEMENTS OF LANDSCAPE PAINTING. 221 8Le foglie, che 9spechiano 10l'azzurrodel- The leaves which reflect the blue of the "I'aria, senpre I2si mostrano ^all'ochio per atmosphere always present themselves to the taI4glio. . eye edgewise. BELLA PARTE ALLUMINATA l6DELLE VERDURE OF THE ILLUMINATED PART OF VERDURE AND E MOTI. OF MOUNTAINS. 18 La parte alluminata si dimostrera J9 piv The illuminated portion, at a great in lunga distanza del suo na20turale colore, . distance, will appear most nearly of its na- la quale sara allumi2Inata da piu potente tural colour where the strongest light falls lume. upon it. G. 286] 438. Li ALBERI CHE SONO _ ALLUMINATI 2 DAL SOLE E DALL'ARIA. 3 Li alberi alluminati dal sole e dal- 1'aria, avendo 4le foglie di colore oscuro, sara da vna parte s alluminati daH'aria e per questo tale allu6minatione participa d'azzurro, e dall'altra parte ?saranno allu- minati dall'aria e dal sole, e quella 8 parte che 1'ochio vedra alluminata dal sole fia lustra. OF TREES THAT ARE LIGHTED BY THE SUN AND BY THE ATMOSPHERE. In trees that are illuminated [both] by the sun and the atmosphere and that have leaves of a dark colour, one side will be illuminated by the atmosphere [only] and in consequence of this light will tend to blue- ness, while on the other side they will be illuminated by the atmosphere and the sun; and the side which the eye sees illuminated by the sun will reflect light. Ash. I. 439- DEL FIGURARE UNO SITO SELUAGGIO. OF DEPICTING A FOREST SCENE. 2 Li alberi e 1'erbe, che sono • piv rami- The trees and plants which are most ficati di sottili rami, deono 3 avere minore thickly branched with slender branches ought oscurita • d' obra : quell' albero e quelle erbe, to have less dark shadow than those trees che avrano maggiori * foglie, fieno cagio di and plants which, having broader leaves, will maggiore obra. cast more shadow. E. 440. PlCTURA. ON PAINTING. 2Nella situatione dell'ochio, il qual uede In the position of the eye which sees 3 alluminata quella parte delle piante che that portion of a tree illuminated which turns 4veggono il luminoso, mai fia veduta al- towards the light, one tree will never be 5luminata 1' una pianta come 1' altra • ; 6 pruo- seen to be illuminated equally with the other, vasi e sia 1' ochio c che vede ? le due piante To prove this, let the eye be c which sees alluminata re]. 18. aluminata si dimosstrerra. 19. illungha. 20. cholore. 21. potente [cholore] lume. 438. 3. Deli alberi . . eddallaria. 4. osscuro. 5. alluminate alluminate dallaria . . talle. 6. dazurro. 7. alluminate . . ecquella. 8. chellochio . . lusstra. 439. i. i sito seluagio. 2. li alberi [erbe] ellerbe chessono piv ramifiga[ndi]ti. 3. osscurta . . arano magiore. 4. chagio di magiore. 440. 4. veghano. 5. chome. 6. essia. 8. dicho chettale. 9. vedera. n. chome . . inperochecquell albero. 12. dimossterra. 440. The two lower sketches on the left of sketch has apparently been effaced by Leonardo PI. XXVIII, No. 3, refer to lines 21 — 23. The upper himself. 222 THE THEORY OF THE ART OF PAINTING. [441. 442. b d, le quali sono allu8minate dal sole a; dico che tale occhio c ^non vedra li lumi essere della medesima I0proportione alia sua obra nell'vno albero "come nell'altro-; inperoche quell' albero, ch'e I2piu vicino al sole, si dimo- strera tanto pi'3v obroso che quell che n'e piu remo^to, quato 1'uno albero e piu vicino al co'Scorso de' razzi solari che vegono all' ochio 16 che 1'altro ecc. '^Vedi che dell' albero d no si uede dall' occhio c I8altro che obra, e dal medesimo occhio c si '9 vede 1' albero b mezzo alluminato e mezzo 20aobrato. 2 'L' albero che e veduto sotto: 1' ochio vede 22la cima d'esso albero stare detro alia cir^culatione che fanno li sua rami. 2"»Ricordati, opictore, che tanto sono varie le 25oscurita dell'onbre in una medesima spe2°tie di piante, quante son varie le rarita 27 o densita delle loro ramificationi. the two trees b d which are illuminated by the sun a; I say that this eye c will not see the light in the same proportion to the shade, in one tree as in the other. Be- cause, the tree which is nearest to the sun will display so much the stronger shadow than the more di- stant one, in proportion as one tree is nearer to the rays of the sun that converge to the eye than the other; &c. You see that the eye c sees nothing of the tree d but shadow, while the same eye c sees the tree b half in light and half in shade. When a tree is seen from below, the eye sees the top of it as placed within the circle made by its boughs[23]. Remember, O Painter! that the variety of depth of shade in any one particular species of tree is in proportion to the ra- rity or density of their branches. E. 441. Le obre delle piate, poste ne' paesi, no The disui- 2si dimostrano vestite di se co 3 medesima iight°an°d situatione nelle piante destre co4me nelle rcfere'ncTto sinistre, e massime essendo il sole a sdestra ofeth^°slpe°c" o a sinistra; provasi per la 4 che di6cie (4i»-°43)- UK corpi oppachi, interposti infra '1 lume 7e 1' ochio, si dimostra tutti obrosi, e per la 5 a Hl'o8chio interposto infra '1 corpo opaco e lu'me vede il corpo opaco tutto alluminato, I0e per la 6 a HI' ochio e '1 corpo opaco, interposto infra le "tenebre e'l lume, fia veduto mezzo obroso e mezzo luI2minoso. The shadows of trees placed in a land- scape do not display themselves in the same position in the trees on the right hand and those on the left; still more so if the sun is to the right or left. As is proved by the 4th which says : Opaque bodies placed be- tween the light and the eye display them- selves entirely in shadow; and by the 5th: The eye when placed between the opaque body and the light sees the opaque body entirely illuminated. And by the 6th: When the eye and the opaque body are placed between darkness and light, it will be seen half in shadow and half in light. G. 9 6} 442. DELL'ERBE DE' PRATI. OF THE HERBS OF THE FIELD. 2 Delle erbe che piglia 1'onbre delle Of the plants which take a shadow from 3 piate, che nascono infra esse, quelle « che the plants which spring among them, those 13. checquell. 14. al cho. 15. chorso . . veghano. 16. chellaltro. 18. eddal. 19. emezo. 21. Labro. 23. chulatione chef- fanno. 24. Richordati . . chettanto . . le .(le o]. 25. [bre] osscurita dellonbrc nuna. 27. oddensita . . ramitichationi. 441. i. posste. 2. si [debbo] dimosstrano [circhu] vestite. 3. desstre cho. 4. sinisstre. 5. desstra o assinisstra . . cheddi. 6. chorpi . . interpossti. 7. ellochio si dimosstra tuttc obrose. 8. interpossto . . oppacho ollu. 9. oppacho. 10. chorpo opacho . . infralle. n. cllume . . mezo . . mezo. 442. i— 21 R. i. delie erbe . . piglia . . dellepi 2. 3. nasscano . . esse (quelle is wanting'). 5. minate . . ellerbe. 6. aonbrate. 441. See the figure on the right hand side of PL XXVIII, No. 3. The first five lines of the text are written below the diagram and above it are the last eight lines of the text, given as No. 461. 443- 444-] ELEMENTS OF LANDSCAPE PAINTING. 223 so di qua -dall'obra anno li festuchi allu- Sminati in cSpo obroso, e 1' erbe, che c loro anno onbrate, ?ano li festuchi oscuri I 8capo chiaro, cioe nel capo ch'e di la da 9l'on- bra. DELLE PIATE CHE SONO "INFRA L'OCHIO E 'L LUME. J3 Delle piate •, che sono infra 1' ochio e '1 lume, *4la parte dinati fia chiara, la qual ^chiarezza fia mista di ramificatio di fo- l6glie traspareti (per essere vedute da river- ^scio) co foglie lustre vedute dal dil8ritto, e il loro canpo di sotto e dirieto T9sara di verdura oscura, per essere a620brata dalla parte dinati della detta piata, 2Ie questo accade nelle piate piu alte del- 1' ochio. which are on this side [in front] of the shadow have the stems lighted up on a back- ground of shadow, and the plants on which the shadows [fall have their stems dark on a light background; that is on the back- ground beyond the shadow. OF TREES WHICH ARE BETWEEN THE EYE AND THE LIGHT. Of the trees which are between the eye and the light the part in front will be light; but this light will be broken by the rami- fications of transparent leaves — being seen from the under side — and lustrous leaves — being seen from the upper side; and the background below and behind will be dark green, being in shadow from the front por- tion of the said tree. This occurs in trees placed above the eye. G. 443- DOVE SI DE'. RITRARRE 2LI PAESI. 3 Li paesi si debbono ritrarre in modo, che 4 li alberi sie mezzo alluminati e mezzo asobrati, ma meglio e farli quado il so6le e occupato da nvvoli, che allora li 7 alberi s' aluminano da lume vniversale 8 del celo e da obra vniversale della terra, ?e questi so tato ;piu oscuri nelle I0lor parti, quato esse parti so piu presTIso al mezzo del- Palbero e della terra. FROM WHENCE TO DEPICT A LANDSCAPE. Landscapes should be represented so that the trees may be half in light and half in shadow; but it is better to do them when the sun is covered with clouds, for' then the trees are lighted by the general light of the sky, and the general darkness of the earth. And then they are darkest in certain parts in proportion as those parts are nearest to the middle of the tree and to the earth. G. 20-5] 444. DELLE PIATE MER^DIONALI. 3 Quado il sole e all'oriete, le pi^ante meridionali e settetrionasli anno quasi tanto di lume qua6to d' obra ; Ma tato mag- Op TREES TO THE SOUTH. When the sun is in the east the trees to the South and to the North have almost as much light as shadow. But a greater share gior so7ma di lume quato esse son pi8v of light in proportion as they lie to the occidetali, e tato ma9gior soma d'obra quato esse I0so piu orietali. DELLI PRATI. 12Stado il sole alPoriete, le ver^dure de' prati e altre piccole pia^te so di bellissima verdura per esse^re traspareti al sole, il che non acl6cade ne' prati occidetali, e le erbe 17 meridional! e settetrionali so l8di mediocre bellezza di verdura. West and a greater share of shadow in pro- portion as they lie to the East. OF MEADOWS. If the sun is in the East the verdure of The effects . -of morning the meadows and of other small plants is nght of a most beautiful green from being trans- (444-448). parent to the sun; this does not occur in the meadows to the West, and in those to the South and North the grass is of a mo- derately brilliant green. 8. chSpo . . coe. 10. chessono. 13. chessono. 14. ella qual. 15. chiareza di fol. 16. trassparSti . . vedete. 17. lusstre. 19. osscura. 21. ecquesto achade. 443. i-nR. i. side ritrarre. 3. debo . . chel. 4. mezi . . emezo. 6. ochupato. 9. ecquesti . . osscuri. 10. esse parte .. pre. n 444. 1-18 R. 3. sole he. 5. li anquasi. 6. MattSto magor so. 8. ettanto. 9. gor. 13. pichole. 14. ese. 15. sole il ce none a. 16. chade . . elli. 17. essettetrionali. 224 THE THEORY OF THE ART OF PAINTING. [445—447. G. lia] 445- 4 ASPETTI DE* PAESI. 2Quando il sole 6 all' oriete, tutte 3le parti alluminate delle piate so -«di bellissima verdura, e questo acScade, perche le foglie alluminate dal 6sole detro 1 alia me- ta dell' orizzonte, 8cioe la meta orie- tale, so Hraspareti •, I0e detro al semicircolo occide"tale le verdure anno tristo colore; 12e 1'aria vmida e turba, di color z^di oscura cenere, per non esl4sere trasparete come la orie'stale, la quale e lucida e tal6to piu quato essa e piu vmida. '?Le obre delle piate orietali l8occupano gra parte della pianta I9e sono tanto piu oscure quato 20li alberi so piu spessi di foglie. OF THE 4 POINTS OF THE COMPASS [IN LANDSCAPES]. When the sun is in the East all the portions of plants lighted by it are of a most lively verdure, and this happens because the leaves lighted by the sun within the half of the horizon that is the Eastern half, are transparent; and within the Western semicircle the ver- dure is of a dull hue and the moist air is turbid and of the colour of grey ashes, not being transparent like that in the East, which is quite clear and all the more so in proportion as it is moister. The shadows of the trees to the East cover a large portion of them and are darker in proportion as the foliage of the trees is thicker. G. 446. DEGLI ALBERI ORIETALI. 2 Stado il sole all' oriete, li alberi ve^duti inverse esso oriete avran^no il lume che li circundera, d'intoSrno alle sue obre, eccetto diuer6so la terra, saluo se 1'albero no fus- 7si stato rimodo 1' anno passato ; 8 E gli alberi meridionali e sette^trionali saranno mezzi obrosi e mezIO/i luminosi, e piu e me on- brosi11© luminosi secodo che sara I2piu e meno orietali o occiI3detali. I4L'occhio alto o basso varia 'Sle obre e li lumi nelli alberi, inperol6che 1'ochio alto vede li alberi, co poI7che obre e il basso con assai obre. 18 Tanto so varie le verdure T9 delle piate quato so varie 20le loro spetie. OF TREES IN THE EAST. When the sun is in the East the trees seen towards the East will have the light which surrounds them all round their shadows, excepting on the side towards the earth; unless the tree has been pruned [below] in the past year. And the trees to the South and North will be half in shade and half in light, and more or less in shade or in light in proportion as they are more or less to the East or to the West. The [position of] the eye above or below varies the shadows and lights in trees, inas- much as the eye placed above sees the tree with the little shadow, and the eye placed below with a great deal of shadow. The colour of the green in plants varies as much as their species. G. 220] 447- DEL' OBRE BELLI ALBERI. OF THE SHADOWS IN TREES. 2 Stado il sole all' oriete, li alberi occi- alPochio si dimostrano di po4chis- simo rilievo e quasi d' insesisbile dimostra- The sun being in the East [to the right], the trees to the West [or left] of the eye will show in small relief and almost imper- 445. i 20 R. I. asspetti. 3. parte. 4. ecquesto. 6. sole [in tutto lorizo] detro . . orizonte. 8. coe. 10. gemice ocidc. n. an. T2. alluria . . etturba. 13. osscura cenere [elliari] per non e. 15. he lucida etta. 18. ochupano. 19. essono . . osscure. 446. i — 20 R. i. aberi. 3. aran. 4. chelli. 5. eccepto. 6. aellalbero non fu. 8. essette. 9. sara mez obrosi. 10. i luminos e piu. ii. olluminosi secdche. 12. ho occi. 14. obbasso. 15. elli. 447. i—22 R. 2. oci. 4. ecquasi. 5. per lari.i. 7. he molto. n. chadone . . achade chelie. 12. militudine . . ellume. 13. ve- Heliog; Dxijardin. Imp. Eudea. 448. 449-J ELEMENTS OF LANDSCAPE PAINTING. 225 tione, perche 1'aria, die in6fra 1'occhio e esse piante s* interpone, ?e molto fvsca, per la 7 a di questo; 8e so privati d'obra, e beche 1'obra 9sia in ciascuna diuisio I0di ramifiIIcatione, egli accade che le siI2militu- dini dell'obrae lume, che ^vegono all'ochio, sien cofuse e I4miste insieme e per la loro piccola IS figura no si possano copredere ; l6E li lumi pncipali so nelli ^mezzi delle piate e le obre inverl8so li stremi, e le loro separation! I9so diuise dal'obre delli inter- ualli d'esse 20piate, quado le selue sono spesse 2Id'alberi, e' nelli rari termini po22co si vedono. ceptible gradations, because the atmosphere which lies between the eye and those trees is very dense [7], see the 7th of this — and they have no shade; for though a shadow exists in every detail of the ramification, it results that the images of the shade and light that reach the eye are confused and mingled together and cannot be perceived on account of their minuteness. And the principal lights are in the middle of the trees, and the shadows towards the edges; and their separation is shown by the shadows of the intervals be- tween the trees ; but when the forests are thick with trees the thin edges are but little seen. G. 448. DELLI ALBERI ORIETALI. OF TREES TO THE EAST. 2Stado il sole all'oriete, li sua alberi 3 sono oscuri inverse il mezzo e li loro stremi so luminosi. When the sun is in the East the trees are darker towards the middle while their edges are light. L. 449- LE COSE POSTE NEL LUME MAL SI DISCIER- NONO, 2MA FRA LUME E OBRA SPICHERA BENE. 3 Per ritrare paesi fa che '1 sol sia a mezzodl e volta4ti a ponete o a levate e ritrai, e se ti voltesrai a settetrione, tutte le cose che sara poste 6 per questa linia fie sanz' obre, e massime quelle ^ che sara piv propinque all'obra del tuo capo; 8e se ti volterai a mezzodl, ogni cosa per quella 9 linia fia tutto obrosa; I0tutte le piate, che fie verso il sole, che avranno per suo "canpo 1'aria, fieno oscure, e 1'altre piaI2te, che capeggieranno in tale oscurita, fie nere X3in mezzo e chiare inverso li stremi. OBJECTS IN HIGH LIGHT SHOW BUT LITTLE, BUT BETWEEN LIGHT AND SHADOW THEY STAND OUT WELL. To represent a landscape choose that The effects i 11 i j i i of midday the sun shall be at noon and look to- iight. wards the West or East and then draw. And if you turn towards the North, every object placed on that side will have no shadow, particularly those which are nearest to the [direction of the] shadow of your head. And if you turn towards the South every object on that side will be wholly in shadow. All the trees which are towards the sun and have the atmosphere for their back- ground are dark, and the other trees which lie against that darkness will be black [very dark] in the middle and lighter towards the edges. gano. 14. pichola. 15. poss3 cSpledere. 17. mezi . . elle. 18. elle lor seperationi. 22. vedano. 448. i— T, R. 3. osscuri . . mezo chelli. 449 1-13 R i lecho . . ello nel . . disciernano. 2. frallume. 3- amezo [e volta. 4- alleuate . . esetti. S- asse chessara. 6. masime quele. 8. essetti 10. cheffie . . cheara. n. osscure chelaltre. 12. chapegieranno. 13- «r 447. 7. per la 7« di questo. This possibly referred note book marked G. Unfortunately it has been cut to something written on the seventh page of this out and lost. VOL. i. 226 THE THEORY OF THE ART OF PAINTING. [450. 451. G. ,5*) 450 DELLA TRAFORATIO ZDELLE PLATE IN SE. ^ La traforatione dell' aria nelli cor»pi The appea- delle piante e la traforatione 5delle piate trer™Cien°tfhe infra 1' aria in lunga 6distantia non si dimo- di«ance strano alii occhi, 7perche, doue con fatica si conprede il tutto, 8con difficulta si cono- scono le parti — ma 9fassi vn misto confuso, il qual parti I0ci pa piu di quel ch'e maggior soma; "li traforameti dell'albero sono di parI2ticule d'aria alluminata, le quali so '3assai minori della piata, e pero pri^ma si perdono di notitia che essa pian'Sta, ma no resta per questo che esse no I6vi sieno, onde per neciessita si fa vn miI7sto d'aria e di scuro del' albero onbroso, il l8quale insieme cocorre all'ochio che '1 ueI9de. OF THE SPACES [SHOWING THE SKY] IN TREES THEMSELVES. The spaces between the parts in the mass of trees, and the spaces between the trees in the air, are, at great distances, invisible to the eye; for, where it is an effort [even] to see the whole it is most difficult to discern the parts. — But a confused mixture is the result, partaking chiefly of the [hue] which predominates. The spaces between the leaves consist of particles of illuminated air which are very much smaller than the tree and are lost sight of sooner than the tree ; but it does not therefore follow that they are not there. Hence, necessarily, a compounded [effect] is produced of the sky and of the shadows of the tree in shade, which both together strike the eye which sees them. DELLI ALBERI CHE OCCUPANO LE TRA2IFORA- TIONI L'UN DELL'ALTRO. 22Quella parte dell'albero sara me tra- fora23ta, alia quale s'oppone dirietro infra 2* 1' albero, e 1' aria maggior somma e ^ d' altro a!2sbero, come nel albero a no si occupa tra26foratione, ne in b per no esservi alberi dirieto: 27Ma in c u'e sol la meta traforata cioe c o 28occu- pata dall' albero d, e vna parte del 29 1' al- bero d e occupata dall' albero e, e po3°co piu oltre tutta la traforatione corpo3Irale delli alberi e persa 3* e sol ui re33sta la Ia34terale. OF TREES WHICH CONCEAL THESE SPACES IN ONE ANOTHER. That part of a tree will show the fewest spaces, behind which a large number of trees are standing be- tween the tree and the air [sky]; thus in the tree a the spaces are not concealed nor in l>, as there is no tree behind. But in c only half shows the spaces filled up by the tree d, and part of the tree d is filled up by the tree e and a little farther on all the spaces in the mass of the trees are lost, and only that at^the side remains. G. 266] 451- DE' ALBERI. OF TREES. 2Quali termini dimostrano le piate 3remote dall'aria che si fa lor capo? *Li termini, che anno le ramificatio deli alberi coll' aria alluminata, quanto piu so 6remoti piu si fanno in figura tra7ete allo sperico, e quanto piu son 8vicine piu dimo- strasi remote da 9 tale spericita, come a albero primo, che I0per essere lui vicino What outlines are seen in trees at a distance against the sky which serves as their background? The outlines of the ramification of trees, where they lie against the illuminated sky, display a form which more nearly approaches the spherical on proportion as they are remote, and the nearer they are the less they appear in this spherical form; as in the first tree a which, being near to the eye, 450. 4. ella. 5. lungha. 6. allocchi. 7. faticha si conplede il tuto. 8. conosce. 10. maggor soma co. 14. perdano. 16. mis. 18. cocore. 20. ochupano. 23. sopone. 24. ellaria magor. 25. ocupa. 26. no csser a alberi. 27. trofaroto coe. 28. ocu- pato. 31. deli. 451. 2. dimostrino. 3. remo dall aria chessi. 4. cheale. 5. collarinlluminatn. 7. spericho. 8. dimostia remote. 9. albero P* 45». The sketch No. 4, PI. XXVIII, belongs to this passage. 452. 453-J ELEMENTS OF LANDSCAPE PAINTING. 227 all'ochio, "dimostra la vera figura I2della sua ramificatione, la J3 quale si diminuiscie quasi in b, I4e al tutto si perde in c, doue non che li ra'Smi d'essa pianta si vedono, ma tutl6ta la pianta co gra fatica si cono- sce. J7lIOgm corpo onbroso, il quale sia di qual8lunque figura si voglia, in lunga dista- J9tia pare essere spericojlf E questo 20na- scie perche, s'elli e vn corpo quadra2 'to, in breuissima distatia si perdono li ango22li sua, e poco piv si perde piu di lati mi^nori che restano, e cos! prima che si 2lperda il tutto si perde le parti per esse25re minor del tutto, come 1'uomo, ch'e in ta!26le aspetto, perde prima le ganbe, braccia e tes27ta che '1 busto, di poi perde prima li 28 stremi della lunghezza che della larghezza e 29quado son fatti equali sarebbe Q , se li an30goli vi restassino, ma non ui restando e tondo. displays the true form of its ramification; but this shows- less in b and is altogether lost in f, where not merely the branches of the tree cannot be seen but the whole tree is distinguished with difficulty. Every object in shadow, of whatever form it may be, at a great distance appears to be spherical. And this occurs because, if it is a square body, at a very short distance it loses its angles, and a little farther off it loses still more of its smaller sides which remain. And thus before the whole is lost [to sight] the parts are lost, being smaller than the whole; as a man, who in such a distant position loses his legs, arms and head before [the mass of] his body, then the outlines of length are lost before those of breadth, and where they have become equal it would be a square if the angles remained; but as they are lost it is round. Li 37*1 452. La stanpa dell'onbra di qualuque cor- 2po di uniforme grossezza mai sara simile ^al corpo, donde ella nascie. The image of the shadow of any object The cast r ' r 1 1..1 1- f il H shadow of of uniform breadth can never be [exactly] trees the same as that of the body which casts it. <452- 4S^- Br. M. 453- Tutti li alberi, veduti diuerso il sole, sono oscuri verso il 2 mezzo, la quale oscurita fia della figura del suo albero, quado fia 3 diuiso dalli altri. tLe onbre diriuative delli alberi, veduti dal sole, sono oscure quato quelsla del mezzo delli alberi. 6L'onbra diriuatiua delli alberi, mai fia di minor somma che la somma d'esso al- 7bero, ma fia tanto maggiore quato il sito dove si taglia fia piv obbliquo luerso 8il cetro del modo. sQuella onbra sara piv stretta inverse il mezzo dell' albero, del quale il suo albero fia I0di piu rara ramificatione. All trees seen against the sun are dark towards the middle and this shadow will be of the shape of the tree when apart from others. The shadows cast by trees on which the sun shines are as dark as those of the middle of the tree. The shadow cast by a tree is never less than the mass of the tree but becomes taller in proportion as the spot on which it falls, slopes towards the centre of the world. The shadow will be densest in the middle of the tree when the tree has the fewest branches. che. 12. le. 14. perde c. 15. vedino mattu. 16. faticha. 17. onbro. 18. lungha. 19. spericho Ecquessto. 20. nasscie. 21. innbreuissima . . perdono. -23. nori che resstano. 24. parte. 26. le essetto perde . . brca e tes. 27. bussto. 28. lun- geza . . largeza ec. 29. sarebe O> selli. 452. 2. grosseza Mai. 3. nasscie. 453. i. osscuri. 2. mezo . . osscurita. 4. solessono osscure. 5- mezo dellalberi. 6/ chella. 7. maffia . . magore. 9. mezo. 10. [pi] di piu. ii. ogngni . . mezo . . tutti. 13. obra . . vesstita . . parte. 14. dacquella. 15. ecquesto . . dacquella . . 452. See PI. XXVIII, No. 5. 453. The three diagrams which accompany this text are placed, in the original, before lines ^ — n. At the spots marked B Leonardo wrote Albero (tree). At A is the word Sole (sun), at C Monte (mountain) at D piano (plain) and at E clma (summit). 228 THE THEORY OF THE ART OF PAINTING. [453- "Ogni ramo a M mezzo dell'onbra di qualunche ramo e per cosegueza di tutto 12il suo albore. «3 La figura di qualunche obra di ramo o d'albero fia vestita di parti luminose Mda quella parte, donde viene il lume, la quale alluminatione fia della figura '« dell' onbre, e questo fia per ispati d'u miglio da quella il parte che si trova il l6sole. ^S'elli accade che alcu nvuolo in Light and alcuna parte aonbra qualche parte gsrhoaups°onf de' colli, I8li alberi sua fanno maca trees mvtatione che in loco piano, perche essi alberi su colli ^son piv spessi di rami, perche manco mettono per anno che ne' piani, 20essere oscuri pieni d'onbre, le onbre de possono 2Ipiv oscurare, e i oride essi rami per di natura e per essere nvuoli no li piani che si interpongono infra li alberi, che non anno preso al"cuna onbra, forte si transmutano della lor chiarezza, e massimamente quelli 23che son vari dal verde cioe terreni lauo- rati o ruine di moti o loco di sterilita e sasso; 2 * dove li alberi confinano coll' aria, essi paiono d'u medesimo colore — 25se gia non fussino molto propinqui e di foglie spesse, come il pino e simili alberi; 26quado tu vedrai li alberi per quel uerso che li allumina il sole, tu li vedrai quasi d'una medesima 2 7 chiarezza • e le obre che dentro vi sono fieno occupate dalle foglie alluminate, che infra 1'ochio tuo e 28P onbre s'inter- pogono. ALBERI VICINI. 2'Li alberi, che infra '1 sole e 1'ochio s' interpongono — dopo le onbre, che diuerso il loro cietro si dilatano, 3°si uedra il uerde delle lor foglie trasparete, la qual transpa- retia fia interrotta in molte 3» parti dalle foglie e rami onbrati, che infra te e loro s'interpogono, o nelle lor parti superiori 32da molti lustri di foglie fieno accopag- nate. Every branch participates of the central shadow of every other branch and conse- quently [of that] of the whole tree. The form of any shadow from a branch or tree is circumscribed by the light which falls from the side whence the light comes; and this illumination gives the shape of the shadow, and this may be of the distance of a mile from the side where the sun is. If it happens that a cloud should anywhere overshadow som? part of a hill the [shadow of the] trees there will change less than in the plains; for these trees on the hills have their branches thicker, because they grow less high each year than in the plains. Therefore as these branches are dark by nature and being so full of shade, the shadow of the clouds cannot darken them any more; but the open spaces between the trees, which have no strong shadow change very much in tone and particularly those which vary from green; that is ploughed lands or fallen mountains or barren lands or rocks. Where the trees are against the atmosphere they appear all the same colour — if indeed they are not very close together or very thickly covered with leaves like the fir and similar trees. When you see the trees from the side from which the sun lights them, you will see them almost all of the same tone, and the shadows in them will be hidden by the leaves in the light, which come between your eye and those shadows. TREES AT A SHORT DISTANCE. When the trees are situated between the sun and the eye, beyond the shadow which spreads from their centre, the green of their leaves will be seen transparent; but this transparency will be broken in many places by the leaves and boughs in shadow which will come between you and them, or, in their upper portions, they will be accompanied by many lights reflected from the leaves. chessi. 17. achade. 18. iloco "spatio" piani perche. 19. mettano ' "per anno" che . .* esse ramp. 20. lessere ossuri e pere essere le onbr de . . possano. 21. osscurare . . chessi interpongano infralli. 22. chiareza e massimamenti. 23. coe . . lau- olati or uine "e" . . loco sterilita essasso sia. 24. paiono. 25. molti. 26. essimili. 26. chelli. 27. ciarera . . elle . . ochupate delle . . infrallochio tuo ellonbre. 28. sinterpongano. 29. li abri . . ellochio sinterpongano . . il suo cietro. 30. traasparete. 31. parte . elloro interpogano . . parte. 32. lusstri. 32. acopagnate. 29. The heading alberi vidni (trees at a short distance) is in the original manuscript written in the margin. 454—456.] ELEMENTS OF LANDSCAPE PAINTING. 229 B. M. 172 5} 454- Li alberi delle canpagnie poco spiccano 1' uno dall' altro, perche le lor parti luminate 2confmano sopra le luminate dopo loro, e in questo e poco differetia da' lumi a 1'obre. The trees of the landscape stand out but little from each other; because their illuminated portions come against the illumi- nated portions of those beyond and differ little from them in light and shade. G. 6a\ 455- Belli alberi veduti di sotto 2e cotro al lume 1'un dopo I'al^tro vicinamete: la parte vlti^ma del primo sara transparete se chi- ara in gra parte e can6peggiera nella parte oscura 7dell' albero secondo, e cosl faran tut8ti successiuamete che sara situ9ati colle predette coditioni. I0s sia illume, r sia "I'ochio, c d n sia 1' albero I2 primo, a b c sia il secondo; dico 13 che r occhio vedra la parte ^c f in gra parte trasparete J5e chiara per il lume s, che la vel6de dall' opposita parte, e ve^drala in canpo scuro b c, perche l8tale oscurita e 1'onbra dell' albero ^a b c\ 20Ma se T occhio e situate in t aiesso vedra o p oscuro nel canpo chi22arq, n g. 23 Delle parti 2^6brose traspa2Sreti delli alberi 26la piu vicina 2?a te e piu oscu- 23ra. Of trees seen from below and against the light, one beyond the other and near together. The topmost part of the first will be in great part transparent and light, and will stand out against the dark portion of the second tree. And thus it will be with all in succession that are placed under the same conditions. Let s be the light, and r the eye, c d n the first tree, a b c the second. Then I say that r, the eye, will see the portion cf tl in great part transparent and lighted by the light s which falls upon it from the opposite side, and it will see it, on a dark ground b c because that is the dark part and shadow of the tree a b c. But if the eye is placed at t it will see o p dark on the light background n g. Of the transparent and shadowy parts of trees, that which is nearest to you is the darkest. w. vi.] 456. Quella parte dell' albero, che campeggia 2 diuerso 1' onbra, e tutta d' un colore e do- 3ve li alberi overo rami so piv spes4si ivi e piv scuro, perche 11 maco 5si stapa 1'aria; Ma dove li ra6mi capeggiano sopra altri ra7mi, quivi le parti luminose 8si di- mostra piv chiare e le foglie 9 lustre per lo sole che Pallumina. That part of atreewhichhas shadow for back- ground, is all of one tone, and wherever the trees or branches are thickest they will be darkest, because there are no little intervals of air. But where the boughs lie against a background of other boughs, the brighter parts are seen lightest and the leaves lustrous from the sunlight falling on them. 454. i. pocho spichano . . parte. 2. pocho diferetia. 455. 1—28 R. 4. del p° sara. 6. pegiera . . osscura. 7. albero 2° e . . tu. 8. sucessiuamete. 12. p°, a b c sia il 2° dicho. 13. vedera. 14. gra. 15. i lume chella. 16. oposita. 18. talle osscurita. 20. sellochio. 21. osscuro. 23. parte. 24. trasspa. 25. rete deli. 456. i—9 R. i. chanpegia. 2. ettutta . . cholore. 3. albri[so]overo . . spe. 4. macho. 5. stapissce. 6. cSpegiano. 7. parte. 8. dimostra . . chiari. 9. chellalumina. 230 THE THEORY OF THE ART OF PAINTING. [457- 458. G. 457- Nelle copositioni delli alberi fro'duti sia auertito di no replicare Hroppe volte vn medesimo colore * d' una piata, che canpeggi sopra s il medesimo colore dell' altra pranta, ma varialo co verdura ?piu chiara o piv oscura o piu 8verde. In the composition of leafy trees be careful not to repeat too often the same colour of one tree against the same colour of another [behind it]; but vary it with a lighter, or a darker, or a stronger green. Bi. M. 458. omhc treat- mfor un'cf-ht °iapes (458—464)- Piv bello azzurro anno i paesi, quiido per li tenpi belli el sole e a mezzodl che *n nessuna 2 atra eta del dl, perche 1'aria 6 disgrossata d'umori e risguardando per quell'aspctto tu vedi li al'beri belli in verde nei loro stremi e 1'onbre inverso il mezzo oscure, e nelle lunghe distantie 1'aria che The landscape has a finer azure [tone] when, in fine weather the sun is at noon than at any other time of the day, because the air is purified of moisture; and looking at it under that aspect you will see the trees of a beautiful green at the outside and the shadows dark towards the middle; and in «s'interpone infra te e loro si fa piv bella quado dopo lei e cosa piv oscura, e pero Pazzurro e bellissimo. H SLC cose, vedute per quel uerso che '1 sol' allumina, non ti mostrera le sue onbre j Ma se tu sei 6piv basso d'esso sole, tu uedrai quel che dal sole no fu veduto e cio sara tutto onbroso ; ?le foglie delli alberi, che s' interpogono infra te e ' 1 sole, son di due colori pricipali 8cio£ verde bellissimo, lustro -e specchia- meto dell' aria che allumina che no puo essere 9 veduto dal sole, e le onbrose che sol uedono la terra, e le piv oscure che da altro che I0da oscurita so circudate. "Molto sono piv belli li alberi infra le the remoter distance the atmosphere which comes between you and them looks more beautiful when there is something dark beyond. And still the azure is most beau- tiful. The objects seen from the side on .which the sun shines will not show you their shadows. But, if you are lower than the sun, you can see what is not seen by the sun and that will be all in shade. The leaves of the trees, which come between you and the sun are of two principal colours which are a splendid lustre of green, and the reflection of the atmosphere which lights up the objects which cannot be seen by the sun, and the shaded portions which only face the earth, 457. 2. repricare. 7. osscura. 458. i. accurro . . paessi. 2. dissgrossata doraori . . rissguardando . • asspetto. 3. inverde loro estremi ellonbre . . oscure . . disstantie. 4. infratte elloro . . chosa. 5. chose . . mosstera . . Massetusse. 6. eco sara. 7. chessinterpogano . . ellsole . . di (tre) "a" colori. 8. coe . . lusstro esspecchiamcto . . allumina ch"e" no poteessere. 9. elle onbrose chessol uedano . . elle piv osscure. 10. osscurita. n. infralle . . chessono . . ette. 12. tusse . . elloro ecquesto accade. 13. lisstremi . . trasparete. 458. At S, in the original is the word Sole (sun) and at N parte di nuvolo (the side of the clouds). 459- ELEMENTS OF LANDSCAPE PAINTING. 231 canpagnie, che sono infra '1 sole e te, I2che quelli ai quali tu sei infra '1 sole e loro, e questo accade che quelli, che sono diuer^so il sole, mostrano inverso li stremi le lor foglie traspareti, e chi non e traspare^te, cioe insu li stremi, lustro vero, e che 1' onbre sono oscure perische da niente sono occu- pate. j6Li alberi, ai quali tu ti interponi infra ' 1 sole e loro, non ti si mostreranno se no ^col loro chiaro e naturale colore, il quale per se non e molto eccessiuo e oltre a questo all8cuni lustri, li quali per non essere in capo troppo vario dalla loro chiarezza, fieno di poca evide^tia, e se sei piv basso di loro siti, potranno mostrare ancora con quelle parti, 20le quali il sole no vide, che fieno onbrose. 21 Pel ueto. 22 Ma se sarai da quella parte, d'onde il ueto spira, tu vedrai li alberi di molto mag23giore chiarezza che per altri versi no uedresti, e questo accade perche esso veto di24scopre i roversci delle foglie, le quali in tutte sono molto piv biacheggiati che dal loro 25diritto, e sopra tutto fieno chia- rissime se '1 uento trae da quella regi26one, donde si trova il sol di sopra alia quale tu abbi volte le schiene. and the darkest which are surrounded by something that is not dark. The trees in the landscape which are between you and the sun are far more beautiful than those you see when you are between the sun and them; and this is so because those which face the sun show their leaves as transparent towards the ends of their branches, and those that are not transparent — that is at the ends — reflect the light; and the shadows are dark be- cause they are not concealed by any thing. The trees, when you place yourself be- tween them and the sun, will only display to you their light and natural colour, which, in itself, is not very strong, and besides this some reflected lights which, being against a background which does not differ very much from themselves in tone, are not conspicuous; and if you are lower down than they are situated, they may also show those portions on which the light of the sun does not fall and these will be dark. In the Wind. But, if you are on the side whence the wind blows, you will see the trees look very much lighter than on the other sides, and this happens because the wind turns up the under side of the leaves, which, in all trees, is much whiter than the upper sides; and, more especially, will they be very light in- deed if the wind blows from the quarter where the sun is, and if you have your back turned to it. Br. M. 114,51 459- Quado il sole e occupato da nvgoli, le cose sono di poca evidetia 2 perche e poco differentia infra i lumi e 1' onbre delli alberi e delli edifiti, per 3 essere alluminati dalla chiarezza dell' aria che circuda I modo le cose, ^ che poche sono 1' onbre e quelsle poche si uanno perdedo in modo che i lor termini se ne vanno I fumo. When the sun is covered by clouds, objects are less conspicuous, because there is little difference between the light and shade of the trees and of the buildings being illuminated by the brightness of the atmo- sphere which surrounds the objects in such a way that the shadows are few, and these few fade away so that their outline is lost in haze. G. ii £] 460. ALBERT E LORO LUME. 2Il-uero modo da pratico nel figurare le 3 canpagnie o vo'dire paesi colle sua OF TREES AND LIGHTS ON THEM. The best method of practice in re- presenting country scenes, or I should 14. coe insulli stremi lusstro [e nelle parte] vero e chellonbe . . osscure. 15. ochupate. 16. tutti . . elloro . . mossterranno 17. loro "ciaro e" naturale . . a di quessto. 18. lusstri . . dalloro" ciarezza" fieno di pocha. 19. tia essesse . . mos. strare . . parte. 20. le quale il son novide cheffieno. 21. Massessarai . . ma. 22. gore chiareza . . uedressti ecquesto achade . . veto dis. 23. li quali. 24. biachegiati. 25. essopra . . dacquella. 26. alle . . lessciene. 459. i. ochupato . . pocha. 2. e po diferentia . . ellonbre. 3. dalla gradeza de'llaria che circhilda. 4. [che pocha diferStia da loro lumi chen] che posono . . ecque. 5. che lor . . ifumo. 460. i — 8 R. i. elloro. 2. modi. 5. ochupato . . accoche. 232 THE THEORY OF THE ART OF PAINTING. [461. 462. *piante si e dello elegiere che al cielo Ssia occupato il sole, acciochd esse can6pagnie ricevino lume vniversale e no 7 il particulare del sole, il quale fa 1'onbre 8tagliate e assai differed dalli lumi. say landscapes with their trees, is to choose them so that the sun is covered with clouds; so that the landscape receives an universal light and not the direct light of the sun, which makes the shadows sharp and too strongly different from the lights. E. 19 <»] 461. PlCTURA. OF PAINTING. 2 Li paesi, fatti nella figuratione del uerno, 3 no debbono dimostrare le sue motagnie azzur4re come far si uede alle motagnie dell' esstate, e questo si prova per la 4 a 6 di questo che dicie K Infra le montagnie, vedu- ?te inluga distantia, Quella si dimostrera 8di colore piu azzurro, la qual fia I 9se piu oscura; aduque essendo le piate I0spogliate delle lor foglie si dimostrera "di colore piu azzurro, la qual fia I I2se piu oscura, adu- que, essendo le piate I3spogliate delle lor foglie, si dimostrera di color '* berrettino, essendo che le foglie son di color 'Sverde, e tato quato il uerde & piv oscuro che l6il berrettino, tanto si dimostrera piu azzur^ro il uerde che il berrettino; e per la 2adi quel8sto .K 1'onbre delle piate, uestite di foglie, son '9 tanto piu oscure che 1'obre di quelle piante che 20sono spogliate di foglie, quato le piate, 2Ivestite di foglie, son me rare che quelle che no "anno foglie, e cosl abbia provato il nostro Iteto. 23 La difinitione 24del colore azzur'Sro dell'ariada 26sentetia, perche li 2?paesi so piu az28zurri di state che 29di verno. In landscapes which represent [a scene in] winter. The mountains should not be shown blue, as we see in the mountains in the summer. And this is proved [5] in the 4th of this which says: Among mountains seen from a great distance those will look of the bluest colour which are in themselves the darkest; hence, when the trees are stripped of their leaves, they will show a bluer tinge which will be in itself darker; therefore, when the trees have lost their leaves they will look of a gray colour, while, with their leaves, they are green, and in proportion as the green is darker than the grey hue the green will be of a bluer tinge than the gray. Also by the 2nd of this: The shadows of trees covered with leaves are darker than the shadows of those trees which have lost their leaves in proportion as the trees co- vered with leaves are denser than those without leaves — and thus my meaning is proved. The definition of the blue colour of the atmosphere explains why the landscape is bluer in the summer than in the winter. C. A. i8i<5; 546-}] 462. DE' PICTURA. 2 Se infra 1' ochio e 1'orizzonte s'in^terpone 1'obliquita del colle decli4nante inuerso 1' ochio, il quale ochio $si troui circa il mezzo della altezza d* essa declina6tione, al- OF PAINTING IN A LANDSCAPE. If the slope of a hill comes between the eye and the horizon, sloping towards the eye, while the eye is opposite the middle of the height of this slope, then that hill will 461. 2. fighuratione. 3. dimosstrare. 4. chome [le] far . . delles. 5. ecquesto si prova [perche lialberi] per. 6. quessto ched- dicie [Infralle. 7. inllugha disstantia . . dimossterra. 8. [piu] di cholore piu . . fia [piv] I. 9. osschura adduque. 10. di- mossterra. n. [piu] di cholore . . fia piv I. 12. osschura adduque. 13. dimostera di cholor. 14. berrectino . . cholli . . color. 15. ettato . . eppiu osscuro. 16. berrectino . . dimossterra. 18. son [piu]. 19. osscuro chellobre. 20. piate [prij. 22 nano . . cchosi. 24. cholore. 28. di sstate. 462. 2. ellorizonte. 3. cholle. 5. cecea il mezo "della alteza" dessa. 6. tale [paese] "collo" aquistera. 7. osscurita edequal. 461. 5. 6. Per la 4" di questo. It is impossible to ascertain what this quotation refers to. Questo certainly does not mean the MS. in hand, nor any other now known to us. The same remark applies to the phrase in line 15: per la 2" di questo. 462. The quotation in this passage again cannot be verified. 463—465.] ELEMENTS OF LANDSCAPE PAINTING. 233 lora tale colle acquistera ? oscurita in ogni grado della ,sua Iongitu8dine; Provasi per la 7a di questo che di9cie: quella pianta si dimostrera piu oscuI0ra la quale fia veduta pivdisotto; "la propositione I2e verificata perche tal colle mostrera dal mezzo J3in su tutte le sue piate nelle parti che so ^tanto alluminate dalla chiarezza del cielo quanto la parte che e I5aobrata dalle oscurita della terra, per la qual col6sa e neciessario che tali piante sieno di medi^ocre oscurita; e da quel sito inverse le radil8ci del colle senpre tali piante vano rischiarado T 9 per la coversa della 7a e per essa 7a, e quando tali 20 piate piu s'avicinano alia somita di 21 tal colle, e neciessario a quelle farsi piu os22cure; Ma tale oscurita non e propor- tionata 23alla distantia per la 8a di questo che dicie: 24 quella cosa si dimostrera piu oscura che si tro25va in piu sottile aria, e per la ioa : quella si dimostre26ra piu oscura che confina in capo piu chiaro. increase in darkness throughout its length. This is proved by the ;th of this which says that a tree looks darkest when it is seen from below; the proposition is verified, since this hill will, on its upper half show all its trees as much from the side which is lighted by the light of the sky, as from that which is in shade from the darkness of the earth; whence it must result that these trees are of a medium darkness. And from this [middle] spot towards the base of the hill, these trees will be lighter by degrees by the con- verse of the 7th and by the said 7th: For trees so placed, the nearer they are to the summit of the hill the darker they necessarily become. But this darkness is not in pro- portion to the distance, by the 8th of this which says: That object shows darkest which is [seen] in the clearest atmosphere; and by the ioth: That shows darkest which stands out against a lighter background. 463- DE' PAESI. 2 1 colori oscuri dell'onbre delle motagne 3 nelle lunghe distantie pigliano piv bello ^azzurro e piu senplice, che no fanno le sloro parti luminose, e di qui nasce qua6do il sasso della motagnia rosseggia che le sue 7 parti luminose son di bissa, e quat e piv 8alluminata piv si fara del suo propio co- 9 lore. The colours of the shadows in mountains at a great distance take a most lovely blue, much purer than their illuminated portions. And from this it follows that when the rock of a mountain is reddish the illuminated portions are violet (?) and the more they are lighted the more they dis- play their proper colour. H.2 464. Quel loco sara piv 2 luminoso che dalle mo3tagnie fia piu remoto. A place is most luminous when most remote from mountains. it is G. 465- OBRE E LUME DELLE CITTA. OF LIGHT AND SHADOW IN A TOWN. 2Quado il sole e all'oriete e 1'ochio 3Stia sopra il mezzo di una citta esso o^chio When the sun is in the East and the eye onfc is above the centre of a town, the eye will for of (465—469). 9. dimosstera piu osscu. 10. disocto ad. n. dunque \\\\\\\\\\\\\\\ la proposstione. The word here scratched through and «fe- g&k seems to have been diremo. ,2. mossteral mezzo. ,3. in giututte nelle puedi chesso. 14. alluminate | "dalla a; del . . che. 15. osscurita. 16. chettali. 17. osscurita. 18. cholle . . vano rissiarado. 19. coversa . . 7 «"-*• *>• Pla< quato piu . . somita. 21. cholo enneciessario acquelle. 22. scure Mattale osscurita. 24. dimosstera piu mosste. 26. osscura . . chapo. 463. 2. oscure. 3. lunge. 4. azurro . . fanno lele. 5- Parte. 6. chelle. 7- Parte. 8. propie. &. l-l R! i. ellume. 2. ellochio. 3- mezo. 4. vedera. 5- mezi. 6. mezo. 7- °nale nella. 8. ella. ^ VOL. I. 234 THE THEORY OF THE ART OF PAINTING. [466- vedra la parte meridionale d'es5sa citta aver see the Southern part of the town with its li tetti mezzo obrosi e 6 mez- zo luminosi e cosl la settetri- ?onale, e la orietale fia tut- ta obrosa 8e la occidetale fia tutta luminosa. roofs half m shade and half in light, and the same towards the North; the Eastern side will be all in shadow and the Western will be all in light. C. A. 157 a; 463 «] 466. Delle case d' una citta, di che si cono- scono le diuisioni delle case per il rischia- rare che fa I basso la 2nebbia; se 1'ochio e piv alto che le case, li lumi visuali in nello Iteruallo ch' e tra 3 casa e casa si uano profondado in nebbia piv grossa, e pero sendo me trasparete pare «piv biaca, e se le case sono piv alte 1' una che 1' altra •, sepre si discierne piv il ueSro neH'aria piv sottile, onde le case paiono piv scure quato piv s'alzano; ^n-o-p-q sieno le qualita dell'aria grossa di umori, a sia 1'ochio, la casa b • c para piv chiara 7 in fondo e per- che e in aria piv- grossa, le linie c-d-f Of the houses of a town, in which the divisions between the houses may be disting- uished by the light which fall on the mist at the bottom. If the eye is above the houses the light seen in the space that is between one house and the next sinks by degrees into thicker mist; and yet, being less transparent, it appears whiter; and if the houses are some higher than the others, since the true [colour] is always more discernible through the thinner atmosphere, the houses will look darker in proportion as they are higher up. Let n op q represent the various density of the atmo- sphere thick with moisture, a being the eye, parano chiare a uno modo, e beche / 8sia piv distate che • c, egli e eleuato in aria piv sottile, se le case b-e sono d'una me- Mesima • altezza, perche anno a diuidere per chiarore, variato di nebbia; questo e solo perche la linia I0del ochio, che nascie alta, si ua col suo fine profondado in aria piv bassa e grossa in • d • "che \-b: -e cosl la linia • a •/• si truova piv bassa • I >f • che in • c, e la casa /• in e si truo12va dal- la linia • e • k insino a • m • andare piv scura che la somita degli atiposti edifiti. the house b c will look lightest at the bottom, because it is in a thicker atmosphere; the lines c d f will appear equally light, for although f is more distant than c, it is raised into a thinner atmosphere, if the houses b e are of the same height, because they cross a brightness which is varied by mist, but this is only because the line of the eye which starts from above ends by piercing a lower and denser atmosphere at d than at b. Thus the line a f is lower at f than at c; and the house f will be seen darker at e from the line e k as far as m, than the tops of the houses standing in front of it. 466. i. dele chessi conocie le diuisioni delle case per risciarare cheffa. 2. chelle . . le lume visuale inelo. 3. inebbia. 4. biacha esse. 5. paiano . . nelaria. 6. omori . . ciara. 7. perche en aria . . la linia . . a i modo. 9. ano alteza . . ciarorc ne- bia . . lini. 10. chol. if. chosi. 12. ha m . . somita. 467. 468.] ELEMENTS OF LANDSCAPE PAINTING. 235 E. 467. DELLE CITTA o ALTRI EDIFITI 2VEDUTi DA SERA O MATTINA NELL A 3 NEBBIA. 4 Belli edifizi veduti in lunga distatia s da sera o mattina I nebbia o aria grossa solo si dimo6stra la chiarezza delle lor parti alluminate dal sole 7che si trova inverse 1'orizzonte, e le parti delli 8detti edifizi, che no son vedute dal sole, restano qua- si del 9colore di mediocre oscurita di nebbia. PERCHE LE COSE PIU ALTE IJPOSTE NELLE DISTATIE SON P1UOSCUI2RE CHE LE BASSE ANCORA *3CHE LA NEBBIA SIA VNIFORME I GROSSEZZA. ^ Delle cose, poste nella nebbia o altra aria grossa o per ^vapore o fumo o distan- tia, quella fia tanto piu nota qual6to ella sara piu alta; E delle cose d'equale alI7tezza quella parra piu oscura che can- peggia in l8piu profonda nebbia, come accade al- 1'ochio h ^che vededo a b c, torri d'eguale altezza infra loro, che vede 20c somita della prima torre in r, bassezza di due gradi 2Idi profondita nella nebbia, e vede la somita della torre 22 di mezzo b in vn sol grado di nebbia; aduque c somita si 2^dimostra piu oscura che la somita della torre • b ecc. OF TOWNS OR OTHER BUILDINGS SEEN IN THE EVENING OR THE MORNING THROUGH THE MIST. Of buildings seen at a great distance in the evening or the morning, as in mist or dense atmosphere, only those portions are seen in brightness which are lighted up by the sun which is near the horizon ; and those portions . which are not lighted up by the sun remain almost of the same colour and medium tone as the mist. WHY OBJECTS WHICH ARE HIGH UP AND AT A DISTANCE ARE DARKER THAN THE LOWER ONES, EVEN IF THE MIST IS UNIFORMLY DENSE. Of objects standing in a mist or other dense atmosphere, whether from vapour or smoke or distance, those will be most visible which are the highest. And among objects of equal height that will be the dar- kest [strongest] which has for background the deepest mist. Thus the eye h looking at a b c, towers of equal height, one with another, sees c the top of the first tower at r , at two degrees, of depth in the mist; and sees the height of the middle tower b through one single degree of mist. Therefore the top of the tower c appears stronger than the top of the tower b} &c. G. 22 6] DELLI FUMI DELLE CITTA. 468. 2 Li fumi so ueduti melio e piu nelle parti orieta^li che nelle occidetali, stado sil Sole all'oriete, e questo 6nascie per due cavse, e la prima ?e che il sole traspare colli su8a razzi nelle particule di tal 9 fumo e le rischiara e falle ^evidenti, la secoda e che li ITtetti delle case, veduti all'oI2riete in tal tenpo, sono obro^si per- che la loro obliquita no ^puo essere allu- OF THE SMOKE OF A TOWN. Smoke is seen better and more distinctly on the Eastern side than on the Western when the sun is in the East; and this arises from two causes; the first is that the sun, with its rays, shines through the particles of the smoke and lights them up and makes them visible. The second is that the roofs of the houses seen in the East at this time are in shadow, because their obliquity does not allow of their 467. 2. dassera omattina. 3. nebbia [in lungha disstantia]. 4. [Le chose che] li . . vedutti . . lungha disstatia. 5. dassera . . dimos. 6. parte. 7. chessi . . elle parte. 9. cholore . . osscurita. n. disstantie . . osschu. 12. chelle . . ancho. 13. chella . . grosseza. 14. chose . . nebia. 15. offumo o disstantia. 16. ta ella . . Eddelle chose. 17. osschura e chanpeggia. 18. chome achade hallochio e h. 19. torre . . infralloro che ve. 23. diraosstra . . o-schura chella. 468. i— 18 R. 3. esspediti . parte. 5. ecquesto. 6. ella p". 8. rizi . . partichule. 9. elle risciara effalle. 14. po. 15. achade. 236 THE THEORY OF THE ART OF PAINTING. [469—471. minata dal 'Ssole, e il simile accade nella I6poluere e Tuna e 1'altra e ta'^to piu luminosa quanto ella e piu l8desa, ed e piu densa inverse il mezzo. being illuminated by the sun. And the same thing occurs with dust; and both one and the other look the lighter in proportion as they are denser, and they are densest towards the middle. G. 469. DEL FUMO E POLVERE. 2Stado il sole all'oriete, il fumo 3 delle citta no sara veduto allo * occidente, per- che esso no*n e veduto penetrate dalli 6razzi solari, ne veduto I capo ?scuro, perch£ li tetti de!8le case mostrano all'occhio 9quella medesima parte che I0si mostra al sole, e per queMsto capo chiaro tal fumo poI2co si uede. '3 Ma la poluere in simile ^aspetto si dimostra oscu'Sra piu che '1 fumo per esser lei l6di materia piu densa ^ch'e '1 fumo, ch'e materia vmida. OF SMOKE AND DUST. If the sun is in the East the smoke of cities will not be visible in the West, because on that side it is not seen penetrated by the solar rays, nor on a dark background; since the roofs of the houses turn the same side to the eye as they turn towards the sun, and on this light background the smoke is not very visible. But dust, under the same aspect, will look darker than smoke being of denser material than smoke which is moist. E. 66] 470. DEL UETO DIPITO. OF REPRESENTING WIND. 2 Nella figuratione del ueto, oltre al pie- In representing wind, besides the bending The effect 3 gare de» rami e [\ rouersciare le sue * fo- of the boughs and the reversing of their ' £L °" glie inverso lo auenimeto sdel ueto, si debbe leaves towards ^e 51uarter whence the ™nd (470-473)- ~ , „ comes, you should also represent them figurare h ra'nugolameti della sottil poluere amid ^J^ of fine dust min^led with the mista cho!7la intorbidata aria. troubled air. Br. M. 172*5] 471. Descriui i paesi con veto e con acqua e co tramotare e leuare del sole. VETO. 2Tutte le foglie che pendevano a terra, nel piegare de' lor ramiculi, insieme con esso 3ramo a rovesciate si dirizzano col corso de' veti, e qui la prospettiua loro fa contra- rio offitio, -Unperoche, se 1'albero e tra te e '1 nascimeto del ueto, le parti delle foglie che son diuerso te 5danno la lor naturale dimostratione e le opposite, che avevano a volgere le punte in 6 contraria parte, son per lo loro arrovesciameto volte colle pute in- verso te. Describe landscapes with the wind, and the water, and the setting and rising of the sun. THE WIND. All the leaves which hung towards the earth by the bending of the shoots with their branches, are turned up side down by the gusts of wind, and here their perspective is reversed; for, if the tree is between you and the quarter of the wind, the leaves which are 'towards you remain in their natural aspect, while those on the opposite side which ought to have their points in a con- trary direction have, by being turned over, their points turned towards you. 16. eleuana ele altro etta. 17. tu piu . . elle piu. 18. mezo. 469. i — 17 R. 6. razi. 7. schuro . . de. 10. mosstra. 12. cho. 13. Malla. 14. asspetto si dimosstra ocssu. 470. 2. fighuratione. 3. ghare. 4. auenimeto [delle sue). 5. foglie] del . . fighurare. 6. nugholamcti . . soctil . . chol. 471. i. a cq "a" . . clleuarc. 2. attcrra. 3. dirizano . . ecqui la prosspettiua. 4. inporochcsse . . parte . . chesson. 5. dimos- strationc elle opositc. 6. arovesciameto. 4/2—476.] ELEMENTS OF LANDSCAPE PAINTING. 237 C. A. ;8a; 228^] 472. Lalben percossi dal corso de' veti si Trees struck by the force of the wind bend piegano inverse 2il loco dove tal ueto si to the side towards which the wind is blowing ; move, e passato che e il ueto 3Si piegano and the wind being past they bend in the in contrano moto, cioe nel moto reflesso. contrary direction, that is in reverse motion. B. M. 277 6} 473- li Quella parte dell'albero, ch'e piv 2re- mota dalla potentia che lo percuote, piv e offesa da essa 3 percussione , perche e mag- giore lieua, onde la natura in questo ^caso a proveduto collo ingrossarli in quella parte oue Spiv possono esser offesi, e massime nelli alberi che cresco6no in grade altezza, come abeti e simili. That portion of a tree which is farthest from the force which strikes it is the most injured by the blow because it bears most strain; thus nature has foreseen this case by thickening them in that part where they can be most hurt; and most in such trees as grow to great heights, as pines and the like. 35*] 474- Scriui come li nugoli si copongono e Describe how the clouds are formed and Light and come si riso!2uono, e che causa leua li ua- pori shade on how they dissolve, and what cause raises vapour. (474—477)- W. VI.] 475- Tanto sono le obre de' nuvoli piu chi- The shadows in clouds are lighter in are 2quanto essi son piv vicini all'oriz- proportion as they are nearer to the ho- zote. rizon. B. M. 172,5] 476. Quando i nvuoli s'interpongono infra '1 sole e 1'ochio tutti li stremi delli 2loro globi sono chiari • e inverse il mezzo sono oscuri, When clouds come between the sun and the eye all the upper edges of their round forms are light, and towards the middle they 472. i. perchossi dal chorso . . pieghino. 2. locho . . eppassato. 3. pieghino . . refresso. 473. 2. della . . chello perchote. 3. perchussione magiore. 4. chaso . . chollo.' 5. possano . . cressca. 6. alteza . . essimili. 474. i. copongano. 2. uano. 475. i. chiare. 2. vicine . . orizonte. 476. i. sinterpongano . . solle ellochio . . lisstremi. 2. globbi . . mezo . . osscuri. 3. chade. 4. datte . . ecquesto . . acchade 473. Compare the sketch drawn with a pen and washed with Indian ink on PI. XL, No. 2. In the Vatican copy we find, under a section entitled 'del ftimo\ the following remark : Era sotto di questo capitulo tin rompimento di montagna, per dentro delle quali roture scherzaua fiame di fuoco, disegnate di penna et ombrate s SS, * : ' Imp.Eudes. 478—480.] ELEMENTS OF LANDSCAPE PAINTING. 239 '1 sole .e all'oriete e le nuvole al- 1' occidente, allora 1' ochio, interposto infra '1 sole s e '1 nuvolo, vede li termini delle globo- sita coponitrici d'esso nuvolo essere scuri 6e le parti che son circudate da esse oscu- rita fieno chiare; E questo nascie 7perche li termini delle globosita di tali nuvoli 8ve- dono il cielo superiore e laterale, il quale in quel si spechia. 9E '1 nuvolo e la piata I0a le sue parti onbrose JI sanza dimostrazione I2d'alcuna globuletia. If the sun is in the East and the clouds in the West, the eye placed between the sun and the clouds sees the edges of the rounded forms composing these clouds as dark, and the portions which are surrounded by this dark [edge] are light. And this occurs because the edges of the rounded forms of these clouds are turned towards the upper or lateral sky, which is reflected in them. Both the cloud and the tree dis- play no roundness at all on their shaded side. C. A. 346 a; 1072 a} 478. I pittori s' inganano molte volte 2 faciedo le acque nelle qua^li fanno vedere a loro quel 4che vede 1'omo; Ma 1'acqua svede 1'obietto per uno lato 6e 1'omo lo uede per Paltro, e ?spesse volte accade 8che '1 pittore vedra 9yna cosa di sotto e co- sl vn meI0desimo corpo • veduto dinazi 11 e dirieto, di sopra e di sotto, I2perche 1'acqua gli mostra il simv^lacro dell'obietto in un mo^do, e 1' ochio lo uede in vn altro. Painters often deceive themselves , by On representing water in which they make the Tet! water reflect the objects seen by the man. But the water reflects the object from one side and the man sees it from the other; and it often happens that the painter sees an object from below, and thus one and the same object is seen from hind part before and upside down, because the water shows the image of the object in one way, and the eye sees it in another. E. o'] 479- Li colori di mezzo all'arco si mischiano infra loro. 2L'arco in se no e nella pioggia, ne etia nell' ochio che 3lo vede, benche si gieneri dalla pioggia, dal sole e dall' ochio. ^L'arco cieleste e senpre veduto da quelli ochi, sli quali s'interpogono infra la pioggia e '1 cor- 6po del sole ; adunque stando il sole all' ori- ente e 7la pioggia all' occidete, esso arco si gienera nella piog8gia occidetale. The colours in the middle of the rain- or rainbows bow mingle together. (4a7ngd ™. The bow in itself is not in the rain nor in the eye that sees it; though it is generated by the rain, the sun, and the eye. The rain- bow is always seen by the eye that is be- tween the rain and the body of the sun; hence if the sun is in the East and the rain is in the West it will appear on the rain in the West. E. o"] 480. Quando 1'aria si converte in pioggia, 2essa farebbe vacuo, se 1'altra aria 3 no lo proibisce col suo socorso, la ^quale fa con When the air is condensed into rain it would produce a vacuum if the rest of the air did not prevent this by filling its place, as sole. 5. vedede . . deso. 6. ella parte chesson circhSdata . . osschurita . . Ecquessto. 7. tal. 8. vedano . . ellaterale [cir] il . . sisspechia. 9. ella. 10. alle . . parte. n. dimosstracione. 12. dalchuna globbuletia. 478. i. singannammolte. 2. nelle q"a". 3- allei. 4- M«a" laqua. 6. ellomo . . perllaltro es. 7. spesse . . achade chella. 8. [equa ue] . . chel pitore vedera.' 9. chosa. 10. veduto. 13. lacrofnu] dell'obietto numo. 14. ellochio . . vede nvn. 479. i. cholori di mezo allarcho simistano infrallori. 2. Larcho in se no nella. 3. llo. 4- Larcho cielesste essenpre . . dacquel 5. sinterpoghano infralla. 6. alloriente el. 7. allocidete esso archo. 480. i. chonverte. 2. vachuo sellaltra. 3. nolle broibisse chol suo sochorso. 4. chon . . ecque. 5. sto he quel . . nasscie 240 THE THEORY OF THE ART OF PAINTING. [48l. Ipetuoso moto, e quessto e quel veto che it does with a violent rush; and this is the nascie d'esta6te insieme colle furiose piog- wind which rises in the summer time, accom- gie. panied by heavy rain. . 37*1 481. Tutti li fiori che ueggono il sole, All the flowers which turn towards the or flower 2conducono il lor seme, li altri 3no, cioe sun perfect their seeds; but not the others; eds< quelli che sol uedono la * reflessione del that is to say those which get only the re- sole, flection of the sun. 6. cholle. 481. i. ueghano. a. condiicano . . clli. 3. coecquelli . . uedano. 4. refressione. IX. The Practice of Painting. It is Jiardly necessary to offer any excuses for the division carried out in the arrangement of tJie text into practical suggestions and theoretical enquiries. It was evidently intended by Leonardo Jiimself as we conclude from incidental remarks in the MSS. (for instance No no). The fact that this arrangement zvas never carried out either in tlie old MS. copies or in any edition since, is easily accounted for by the general disorder which residts from the provisional distribution of the various chapters in the old copies. We have every reason to believe that the earliest copyists, in distributing tJic materials collected by them, did not in the least consider the order in which the original MS. lay before them. It is ev'ident that almost all the chapters which refer to the calling and life of the painter — and which are Jiere brought together in the first section (Nos. 482 — 508) — may be referred to two distinct periods in Leonardo's life; most of them can be dated as belonging to the year 1492 or to 1515. At about this later time Leonardo may have formed the project of completing his Libro della Pittura, after an interval of some years, as it would seem, during which his interest in t/ie subject had fallen somewhat into the background. In the second section, which treats first of the artist's studio, the construction of a suitable window forms the object of careful investigations; the special importance attaclied to this by Leonardo is sufficiently obvious. His theory of the incidence of light which was fully discussed in a former part of this work, was to him by no means of mere abstract value, but, being deduced, as he says, from experience (or experiment) was required to prove its utility in practice. Connected with this we find suggestions for the choice of a light with practical hints as to sketching a picture and some other precepts of a practical character which must come under consideration in the course of completing the painting. In all this I have followed the same principle of arrangement in the text as was carried out in the . Theory of Painting, thus the suggestions for the Perspective of a picture, (Nos. 536—569), are followed by the theory of light and shade for the practical method of optics (Nos. 548— 566> and this by the practical precepts or the treatment of aerial perspective ($6j — 242 THE PRACTICE OF PAINTING. In the passage on Portrait and Figure Painting the principles of painting as applied to a bust and head are separated and placed first, since the advice to figure painters must have some connection with the principles of the treatment of composition by which they are followed. But this arrangement of the text made it seem advisable not to pick out the prac- tical precepts as to the representation of trees and landscape from the close connection in which they were originally placed — unlike the rest of the practical precepts — with the theory of this branch of the subject. They must therefore be sought under the section entitled Botany for Painters. As a supplement to the Libro di Pittura / have here added those texts whicli treat of the Painter's materials, — as chalk, drawing paper, colours and their preparation, of the management of oils and varnishes ; in the appendix are some notes on chemical substances. Possibly some of these, if not all, may have stood in connection with the preparation of colours. It is in the very nature of tilings that Leonardo's incidental indications as to colours and the -like should be now-a-days extremely obscure and could only be explained by professional experts — by them even in but few instances. It might therefore have seemed advisable to reproduce exactly the original text without offering any translation. The rendering here given is merely an attempt to suggest what Leonardo's meaning may have been. LOMAZZO tells us in his Trattato dell'arte della Pittura, Scultura ed Architettura (Milano 1584, libro II, Cap. XIV): "Va discorrendo ed argomentando Leonardo Vinci in un suo libro letto da me (?) questi anni passati, ch'egli scrisse di mano stanca ai prieghi di LUDOVICO SFORZA duca di Milano, in determinazione di questa questione, se e piu nobile la pittura o la scultura; dicendo che quanto piu un'arte porta seco fatica di corpo, e sudore, tanto piu e vile, e men pregiata". But the existence of any book specially written for Lodovico il Moro on the superiority of Painting over sculpture is perhaps mythical. The various passages in praise of Painting as compared not merely with Sculpture but with Poetry, are scattered among MSS. of very different dates. Besides, the way, in which the subject is discussed appears not to support the supposition, that these texts were prepared at a special request of the Duke. MORAL PRECEPTS FOR THE STUDENT OF PAINTING. G. 254 482. NOTITIA DEL GIOVANE DI2SPOSTO ALLA PICTURA. 3 Mold sono li omini che an desiderio ed amo^re al disegnio, ma no dispositione, e questo sfia conosciuto nelli putti, li quali sono se6za diligetia e mai finiscono con obre le lor co7se. A WARNING CONCERNING YOUTHS WISHING TO BE PAINTERS. Many are they who have a taste and HOW to love for drawing, but no talent; and this ""p^o'ns6 will be discernible in boys who are not dili- f°T. an arti- gent and never finish their drawings with s shading. Ash. I. i8a] 483. II giovane debe • prima • Iparare prospet- tiua, 2poi lemisure d'ognicosa, ^poi [disegni?] di mano di bo maestro • per suefarsi a bone mebra, 4poi di natura per cofermarsi le ragioni delle cose Iparate, Spoi vedere uno tepo 1'opere di mano di diversi maestri, 6poi • fare • abito • al mettere I pratica e ope- rare 1'arte. 4 The youth should first learn perspective, The course then the proportions of objects. Then he uonTor"^ may copy from some good master, to ac- custom himself to fine forms. Then from nature, to confirm by practice the rules he has learnt. Then see for a time the works of various masters. Then get the habit of putting his art into practice and work. 483. 1—7 R. i. del [pi] govane. 4. ecquesto. 6. ma finiscano. 483. 2. pole . . doni. 3. poi di. 4. chofermarsi . . dele. 5. tepo di mano. 6. all . . praticha. 483. The Vatican copy and numerous abridge- ments all place this chapter at the beginning of the Trattalo, and in consequence DUFRESNE and all subsequent editors have done the same. In the Va- tican copy however all the general considerations on the relation of painting to the other arts are placed first, as introductory. 244 THE PRACTICE OF PAINTING. Ash. I, 2t\ 484. DEL RITRARE. 2 Ritrai pri^ma • disegni • di buono mae- stro fatto sul' 4arte e sul naturale -e no di pratica, poi sdi rilievo in copagnia del di- segnio 6tratto da esso rilievo •, poi di buono ? naturale, il quale debbi mettere I uso. OF THE ORDER OF LEARNING TO DRAW. First draw from drawings by good masters done from works of art and from nature, and not from memory; then from plastic work, with the guidance of the drawing done from it ; and then from good natural models and this you must put into practice. Ash. I. 25-5] 485- PRECETTI DI PICTURA. 2 II pictore debbe prima • suefare • la mano col ritrarre • disegni • di mano di bo mae- stro 3 e fatta detta • suefationi •, col givditio del suo precettore •, debbe di poi suefarsi • col ritrarre * cose di rilievo bone • co quelle regole che di sotto • si dira. PRECEPTS FOR DRAWING. The artist ought first to exercise his hand by copying drawings from the hand of a good master. And having acquired that practice, under the criticism of his master, he should next practise drawing objects in relief of a good style, following the rules which will presently be given. Ash. I. ioa] 486. DEL RITRARE. OF DRAWING. 2Qual e meglio o ritrare di naturale o Thestudyof3d'atico, o qual e piv fatica o i proffili *o ^ lumi? Which is best, to draw from nature or from the antique? and which is more difficult to do outlines or light and shade? C. A. 145*; 4310] L' imitatione • delle cose antiche • e laudabile • che quella delle • moderne. 487. piv It is better to imitate [copy] the antique than modern work. 484. 2. del ritrare "di naturale" ritrai. 4. arte sul . . praticha. 5. chopagnia. 485. 2. chol . . maesstro. 3. e "atta . . chol . . chol. 4. chose. 5. cho. 486. 3. daticho . . faticha. 487. i. chose . . laldabile chelle. 486. 487. These are the only two passages in which Leonardo alludes to the importance of an- tique art in the training of an artist. The question asked in No. 486 remains unanswered by him and it seems to me very doubtful whether the opinion stated in No. 487 is to be regarded as a reply to it. This opinion stands in the MS. in a connection — as will be explained later on — which seems to require us to limit its application to a single special case. At any rate we may suspect that when Leonardo put the question, he felt some hesitation as to the answer. Among his very numerous drawings I have not been able to find a single study from the antique, though a drawing in black chalk, at Wind- sor, of a man on horseback (PL LXXIII) may per- haps be a reminiscence of the statue of Marcus Aurelius at Rome. It seems to me that the dra- pery in a pen and ink drawing of a bust, also at Windsor, has been borrowed from an antique model (PI. XXX). G. G. Rossi has, I believe, correctly interpreted Leonardo's feeling towards the antique in the following note on this passage in MANZI'S edition, p. 501: "Sappiamo dalla storia, che i valorosi artisti Toscani dell 'fta dell'oro ddVartc stui/ia- rono sugli antichi marmi raccolti dal Magnifico LORENZO DE* MEDICI. Pare che il Vinci a tali monumenti non si accostasse. Quest' uomo sempre rifonosce per maestro la natura, e qutsto principle lo stringeva alia sola imitatione di essa." — Compare No. 10, 26 — 28 foot- note. PL. XXX "f 488—490-] MORAL PRECEPTS. 245 L. 79 a] 488. DE PITTURA. 2 Necessaria cosa e al pittore, 3 per essere bon membrificato*re nelP attitudine e gesti s che far si possono per li nudi, 6di sapere la notomia de' ner?ui, ossi, mvscoli e lacerti, 8 per sapere nelli diuersi moui^menti e forze qual neruo I0o muscolo e di tal mouimeto "causa, e solo quelli fare I2 euidenti • e in- grossati, e no J3li altri per tutto, come molI4ti fanno, che per parere gra 'Sdisegnia- tore fanno i loro l6ignvdi legnosi e sanza gra^tia che pare a vederli v l8sacco di noci piv presto che ^superficie vmana o vero 20 vn fascio di rauanelli piu 2I presto che muscolosi nvdi. OF PAINTING. It is indispensable to a Painter who would be thoroughly familiar with the limbs in all the positions and actions of which they are capable, in .the nude, to know. the anatomy of the sinews, bones, muscles and tendons so that, in their various movements and exertions, he may know which nerve or muscle is the cause of each movement and show those only as prominent and thickened, and not the others all over [the limb], as many do who, to seem great draughtsmen, draw their nude figures looking like wood, devoid of grace; so that you would think you were looking at a sack of walnuts rather than the human form, or a bundle of radishes rather than the muscles of figures. The n mic°i know- , ggg > Ash. I. 489. COME AL DIPINTORE • E NECESSARIO SAPERE LA INTRPSICA FORMA DELL* OMO. 3 Quello dipitore •, che • avra • cognitione • della natura de' nervi •, mvscoli e lacierti, 4 sapra • bene • nel movere uno mebro quati • e quali nerui ne son cagioSne •, e quale mv- scolo gofiado e cagione • di raccortare • esso • nervo • e quale corde 6convertite • I soti- lissime cartilagini • circondano e raccogliono • detto mvscolo : e cosl ^ sara • diuerso e vni- versale • dimostratore di uari muscoli me- diate • i vari effetti delle 8 figure • e no fara • come • molti • che I diuersi atti sempre fano quelle medesime 9 cose dimostrare • in brac- cia, schiene, petto, gabe • le quali cose no si debbono mettere ifra i piccioli • errori. HOW IT IS NECESSARY TO A PAINTER THAT HE SHOULD KNOW THE INTRINSIC FORMS [STRUCTURE] OF MAN. The painter who is familiar with the na- ture of the sinews, muscles, and tendons, will know very well, in giving movement to a limb, how many and which sinews cause it; and which muscle, by swelling, causes the contraction of that sinew; and which sinews, expanded into the thinnest cartilage, surround and support the said muscle. Thus he will variously and constantly demonstrate the different muscles by means of the various attitudes of his figures, and will not do, as many who, in a variety of movements, still display the very same things [modelling] in the arms, back, breast and legs. And these things are not to be regarded as minor faults. C. A'. 196 6; 586 6} DELLO STUDIO E suo ORDINE. 490. OF STUDY AND THE ORDER OF STUDY. xDico che prima si debbe imparare le I say that first you ought to learn the HOW to mebra e sua travagliameti, e finita 2tal no- limbs and their mechanism, and having this p^cticl. 488. 4. giessti. 6. di ner. 7. mvsscoli ella certi. 9. efforze. 10. omusscolo he di. n. essolo quelgli. 16. inudi . . essanza. 17. vuederi. 18. sacho. 20. fasscio. 21. musscolosi. 489. 2. sicha. 3. ara . . ellacierti. 4. movere i mebro . . ecquali. 5. ecqualle . . sgofiado e chagione . . racortare . . ecquale. 6. sotilisime cartilagine e racholano . . chosi. 8. chome. 9. sciene. 490. dello studio essuo ordine is -written on the margin, i. essua. 2. seguitale. 3. conpone lesstorie. 4. accaso. 5. coe. 6. facia 490. This passage has been published by Dr. M. JORDAN, Das Malerbuch des L. da Vinci, p. his reading however varies slightly from mine. 246 THE PRACTICE OF PAINTING. .49 ' • titia si debbe seguitare li atti secondo li accidenti che accadano all'omo, 3e 3° con- porre le stone, lo studio delle quali sara fatto dalli atti natural, fatti a caso me- diante li loro accideti, e por 11 mete per le strade piazze 5 e capagnie, e notarli co brieue discritione di liniameti, cioe che per una testa 6si faccia vno o e per uno braccio una linia retta e piegata, e '1 simile si faccia delle ga?be e busto, e poi tornado alia casa fare tali ricordi in perfetta forma ; 8 Dice 1' aver- sario che per farsi pratico e fare opere assai ch'elli e meglio che '1 tepo primo dello •> studio sia messo in ritrarre vari conponi- meti, fatti per carte o muri per diI0uersi maestri, e in quelli si fa pratica veloce e bono abito, al quale si risp6Mde che questo abito sarebbe bono, essendo fatto sopra opere di boni componimeti e di J2studiosi maestri; e perch£ questi tali maestri son si rari che pochi se ne trova, e piv ^sicuro andare alle cose naturali che a quclle d' esso naturale co gra peggio'-'ramcto imitate e fare tristo abito, perche chi puo andare alia fonte no vada J5al uaso. knowledge, their actions should come next, according to the circumstances in which they occur in man. And thirdly to compose sub- jects, the studies for which should be taken from natural actions and made from time to time, as circumstances allow; and pay attention to them in the streets and piazze and fields, and note them down with a brief indication of the forms; [5] thus for a head make an o, and for an arm a straight or a bent line, and the same for the legs and the body, [7] and when you return home work out these notes in a complete form. The Adversary says that to acquire practice and do a great deal of work it is better that the first period of study should be employed in •drawing various compositions done on paper or on walls by divers masters, and that in this way practice is rapidly gained, and good methods; to which I reply that the 'method will be good, if it is based on works of good composition and by skilled masters. But since such masters are so rare that there are but few of them to be found, it is a surer way to go to natural objects, than to those which are imitated from nature with great deterioration, and so form bad methods; for he who can go to the fountain does not go to the water-jar. Ash. I. 7 b\ 491. QUALE REGOLA si DE' DARE A PUTTI PITTORI. 2 Noi conosciamo chiaramete che la vista industry and e delle veloci operationi che sia, 3 ed in vn nes°rthegnrst puto vede ifinite forme: niete di meno no conditions - , ij_ T» (491-493-) coprende se non una cosa ^pervolta; Po- niamo caso tu lettore guarderai in vna oc- chiata tutta questa Scarta scritta, e subito giudicherai quella esser piena di uarie let- tere, 6ma non conoscierai in questo tepo che le lettere sieno, nc che voglino dire, ?6de ti bisogna fare a parola a parola • verso per uerso, a voler avere 8notitia d'esse lettere; Ancora se vorai motare all'altezza d'uno WHAT RULES SHOULD BE GIVEN TO BOYS LEARNING TO PAINT. We know for certain that sight is one of the most rapid actions we can perform. In an instant we see an infinite number of forms, still we only take in thoroughly one object at a time. Supposing that you, Reader, were to glance rapidly at the whole of this written page, you would instantly perceive that it was covered with various letters; but you could not, in the time, recognise what the letters were, nor what they were meant to tell. Hence you would need to see them word by word, line by line to be able to understand the letters. Again, if you wish to go to the top of a building you must go up step by step; otherwise it will be . . per ibr una. . facia. 7. ebbussto. 8. effare . . tepo p° dello. 10. maesstri. n. te che. 12. macsstri. 13. acquelle . . pego. 14. po . . no \\\\\\\\\. 491. i. quella regola. 2. chonosciano . . chella . . operatione chessia. 3. coplende se none 1 cosa. 4. chaso . . innvna. 5. charta . . Cisubito. 6. chonoscierai . . volino. 7. fare apparola . . versso per. 8. Anchora . . alteza. 9. chonuera. 10. chosi dicho Lines 5 — 7 explained by the lower portion of the sketch No. i on PI. XXXI. 492- 493 -J MORAL PRECEPTS. 247 edifitio 9ti conuerra • salire a grado • a grade •, latrimeti fia ipossibile peruenire I0alla sua • altezza; cosl dico a te • il quale la natura • volgie • a questa-arte, "se vuoi aver vera notitia • delle • forme delle cose •, comlciarai alle partiI2cule • di quelle • e non adare • alia seconda •, se prima • non ai bene nella me- moria ^e nella pratica • la prima; E se altro farai, gitterai via il tepo o vera^mete allu- gherai assai lo studio; E ricordoti ch'Ipari prima la deligeza T5che la prestezza. impossible that you should reach the top. Thus I say to you, whom nature prompts to pursue this art, if you wish to have a sound knowledge of the forms of objects begin with the details of them, and do not go on to the second [step] till you have the first well fixed in memory and in practice. And if you do otherwise you will throw away your time, or certainly greatly prolong your studies. And remember to acquire diligence rather than rapidity. Ash. I. 8«] 492. COME SI DEBE PRIMA INPARARE LA DILIGEZA HOW THAT DILIGENCE [ACCURACY] SHOULD FIRST 2 CHE LA PRESTA • PRATICA. BE LEARNT RATHER THAN RAPID EXECUTION. 3 Quando tu disegniatore vorrai fare bono • e vtile studio • vsa nel tuo disegnia^re fare adagio • e givdicare Ifra i lumi quali e quati teghino il primo grasdo di chiarezza, e si- milmete Ifra 1'onbre quali sieno quelle che sono piu schu6re • che 1' altre e in che modo si mischiano isieme • e le quatita, parago- nare ?l'una choll'altra • i liniameti • a che parte si dirizzino, e nelle linie quata parte 8 d' esse torcie per vno o altro verso, e dove piu o meno evideti e se sia larga 9o sottile, ed in ultimo • che le tue obre e lumi sieno uniti saza traI0tti o segni, a uso di fumo: E quado • tu avrai fatto la mano • e '1 giv- ditio a queITsta diligeza • verati fatto piu presto • che tu no te ne avederai. If you, who draw, desire to study well and to good purpose, always go slowly to work in your drawing; and discriminate in the lights, which have the highest degree of brightness, and to what extent and likewise in the shadows, which are those that are darker than the others and in what way they intermingle; then their masses and the relative proportions of one to the other. And note in their outlines, which way they tend ; and which part of the lines is curved to one side or the other, and where they are more or less conspicuous and consequently broad or fine; and finally, that your light and shade blend without strokes and borders [but] looking like smoke. And when you have thus schooled your hand and your judgment by such diligence, you will acquire rapidity before you are aware. C. A. 493- VlTA DEL PICTORE NE PAESI. 2 Al pittore e neciessario la matematica A painter needs such mathematics as be- appartenete a essa 3pictura, e la priuatione long to painting. And the absence of all di copagni che son alieni dalli lo«ro studi, companions who are alienated from his stu- e ciervello mutabile secondo la uariatione dies; his brain must be easily impressed by delli Sobbietti, che dinanti se li oppongono the variety of objects, which successively come atte . . acquesta. n. uolli chose comiciati. 12. sechonda . . nonnai . . memori"a". 13. praticha : . Esse. 14. allugerai . . richordoti. 15. presteza. 492. 2. chella . . praticha. 4. givdichare. 5. chiareza essimilmete . . qul sieno . . chessono. 6. sinmischano . . elle. 7. chol- laltra e . . drizino. 8. dessa . . e cosi larga. 9. ossotile [quando] ed . . ellumi . . saza. 10. ossegni . . arai . . acque. n. fatta presto . . notte. 493- i. pictore [filosafojne. 2. [la] al pitore . . le matematiche apartenete nessa. 3. Ella . . copagnie chesson allieni. 5. op- 493- In the title line Leonardo had originally No. 363 pictora notomista (anatomical painter). The written del piclore filosafo (the philosophical painter), original text is partly reproduced on PI. CI. but he himself struck out filosofo. Compare in 248 THE PRACTICE OF PAINTING. [494 e remote da altre cu6re; E se nella conte- platione e difinitione d'u caso se ne I'Fter- pone vn secondo caso come accade, quado 1'obbietto 8muove il senso, allora di tali casi si debbe giu^dicare quale 6 di piu fati- cosa difinitione, e quello I0seguitare insino alia sua vltima chiarezza, e poi l ' seguitare la difinitione dell'altro; E sopra tutto essere 12di mete equale alia natura che a la super- fitie dello spechio, ^la quale si trasmuta in tanti vari colori, quati sono li ^colori delli sua obbiecti; e le sue copagnie abbino 'Ssimilitudine con lui in tali studi e, no le tro- vando, l6vsi co se medesimo nelle sue co- templationi, che I7in fine no troverra piu vtile conpagnia. before him, and also free from other cares [6]. And if, when considering and defining one subject, a second subject intervenes — as hap- pens when an object occupies the mind, then he must decide which of these cases is the more difficult to work out, and follow that up until it becomes quite clear, and then work out the explanation of the other [n]. And above all he must keep his mind as clear as the surface of a mirror, which as- sumes colours as various as those of the different objects. And his companions should be like him as to their studies, and if such cannot be found he should keep his specu- lations to himself alone, so that at last he will find no more useful company [than his own]. Ash. I. 8a] 494. BELLA • VITA DEL PITTORE NEL suo STUDIO. OF THE LIFE OF THE PAINTER IN HIS STUDIO. 2 Accioche la prosperita • del corpo • no guastiquella • dello ingegno, 3J1 pittore ovvero disegniatore debe essere • solitario -, e mas- sime quado e inteto 4alle speculationi • e considerationi • che continvamente apparedo dinazi Sagli ochi che danno materia alia me- moria d'esser bene riservate; E se tu 6sarai solo tu sarai tutto tuo, e se sarai acom- pagniato da uno solo copagnio 7 sarai mezzo tuo, e tato meno quanto sara maggiore la indiscretione della 8sua pratica; e se sarai con piv • caderai in piu simile incoueniete e se 9tu volessi dire, io faro a mio modo, mi tirer6 I parte per potere meglio specu- 10lare le forme delle cose naturali, dico questo potersi mal fare, perche no poirtresti fare che spesso no prestassi orechi alle lor ciacie, E, non si potendo serviI2re • a 2 si- gnori •, tu faresti male • 1' ufitio J3 della co- pagnia e peggio 1' effetto x* della speculatione del'arte: e se tu Tsdirai io mi tirero tato I parte che le lor l6 parole no peruenirano e no mi darano Tpacio, io I questa parte ti dico che tu 1 7 sarai tenvto matto; ma vedi che cosl faciedo tu saresti pur solo; l8e se To the end that well-being of the body may not injure that of the mind, the painter or draughtsman must remain solitary, and particularly when intent on those studies and reflections which will constantly rise up be- fore his eye, giving materials to be well stored in the memory. While you are alone you are entirely your own [master] and if you have one companion you are but half your own, and the less so in proportion to the indis- cretion of his behaviour. And if you have many companions you will fall deeper into the same trouble. If you should say: "I will go my own way and withdraw apart, the better to study the forms of natural objects", I tell you, you will not be able to help often listening to their chatter. And so, since one cannot serve two masters, you will badly fill the part of a companion, and carry out your studies of art even worse. And if you say: "I will withdraw so far that their words cannot reach me and they cannot disturb me", I can tell you that you will be thought mad. But, you see, you will at any rate be alone. And if you must have companions ponghano erremoti. 6. Esse . . chaso. 7. chaso . . achade. 8. |di talc i] di tali. 9. [e ppiu] e di . . ecqual. io. seghui- tare . . eppoi. n. siguitare . . Essopra. 13. trassmuta. 14. elle. 15. collui . . ennolle. 16. vsi chose . . cotemplatione. 494. 2. Acciochclla . . incicgno. 4. isspechulationc . e chonsiclcratione . che chontinvamene. 5. algli . . Essettu. 6. tussarai . . esse . . achompagniato da i solo. 7. mezo. 8. praticha esse . . chon . . chaderai . . inchoueniete esse. 9. spechu. io. chose naturale. n. chesspesso . . prestasi. 13. chopagnia e pegio. 14. dela . . essettu. 15. dirai imi . . chcllc. 16. queparte . . chcttu. 17. mato . . chosi. 18. esse . . chopagnia. 19. giovare ver chonferiraeto . . achade . . spechula. 20. tione. 6 — II. Leonardo here seems to be speaking of his own method of work as displayed in his MSS. and this passage explains, at least in part, the peculiarities in their arrangement. 495-497-] MORAL PRECEPTS. 249 pure vorai copagnia pigliala del tuo istu- dio: questa I9ti potra giovare • a aver quel conferimeto • che accade • dalle varie spe- cula20 tioni: ogni altra copagnia • ti po- trebbe esser assai danosa. ship find it in your studio. This may assist you to have the advantages which arise from various speculations. All other company may be highly mischievous. Ash. I. ga] S'EGLI E MEGLIO • A DISEGNARE i COPAG- NIA o NO. 495- 2Dico e confermo che '1 disegniare I co- pagnia e molto meglio che solo, per molte ragioni, 3 la prima e che tu ti vergognerai d' essere visto • nel numero de' disegniatori essedo isofficiete, *e questa vergognia • fia cagione di bono studio • ; secodariamete la Tuidia bona ti stimv5lera a essere nel nvmero de' piv laudati di te, che 1' altrui lode ti spro- nerano ; L' altra e che tu piglie6rai de' tratti di chi fa meglio di te, e se sarai meglio degli altri farai profito di schifare i man^camenti, e P altrui laude accrescerano tua virtu. OF WHETHER IT IS BETTER TO DRAW WITH COMPANIONS OR NOT. I say and insist that drawing in company The distri- is much better than alone, for many reasons. timle"for The first is that you would be ashamed to (^tu^'ing) be seen behindhand among the students, and such shame will lead you to careful study. Secondly, a wholesome emulation will stimulate you to be among those who are more praised than yourself, and this praise of others will spur you on. Another is that you can learn from the drawings of others who do better than yourself; and if you are better than they, you can profit by your con- tempt for their defects, while the praise of others will incite you to farther merits. Ash. i. 9t] 496. DELLO STUDIARE INSINO QUADO TI DESTI 2 o OF STUDYING, IN THE DARK, WHEN YOU WAKE, NAZI T'ADORMETI NEL LETTO ALLO SCURO. OR IN BED BEFORE YOU GO TO .SLEEP. 3 6 in me provato essere di no pocca vtilita, quado ti truovi allo scuro nel letto 4 andare colla inmaginativa repetedo • i linia- meti superfitiali delle forme Sper 1'adrieto studiate, o altre cose notabili da sottili spe- culatione coprese, 6ed e questo • propio uno atto laudabile e vtile a confermarsi le cose nella memoria. I myself have proved it to be of no small use, when in bed in the dark, to recall in fancy the external details of forms previously stu- died, or other noteworthy things conceived by subtle speculation; and this is certainly an admirable exercise, and useful for impressing things on the memory. Ash. I. 8,5] 497- Di CHE TEPO-SI DEVE STUDIARE LA ELETIONE OF THE TIME FOR STUDYING SELECTION OE DELLE COSE. 2 Le veglie • della • invernata • devono • es- sere da' giovani • vsate nelli studi delle 3 cose • aparechiate • Testate, cioe • tutti li nvdi che SUBJECTS. Winter evenings ought to be employed by young students in looking over the things prepared during the summer; that is, all the 495. i. chopagnia ono. 2. dicho e confermo . . chopagnia . . chessolo. 3. chettutti insoficiete [secondaria sia]. 4. ecquesta . . bonasti stimv. 5. laldati . . lade . . Laltra chettu. 6. esse . . scifare. ' 7. lalde. 496. 2. schuro. 3. Oirae . . pocha . . alo. 4. chollo. 5. chose. 6. propio ! atto laldabile . . chonfirmarsi le chose. 497. 2. istudi delle. 3. chose . . lastate cioe chettutti . . lastate ; convienti is wanting in the original. 4. effare. 5. praticha. 495. The contradiction by this passage of the foregoing chapter is only apparent. It is quite clear, from the nature of the reasoning which is here used to prove that it is more improving to work VOL. I. with others than to work alone, that the studies of pupils only are under consideration here. 497. An injunction to study in the evening occurs also in No. 524. II 250 THE PRACTICE OF PAINTING. [498—500. ai fatti • Testate, convienti * riducierli • Tsieme • e fare • eletione • delle migliori mebra e corpi sdi quegli • e metterli • in pratica e bene a mete. " DELLE • ATTITUDINI. ? Di poi • alia • seguete • state farai ele- tione • di qualchevno che stia bene 8in su la vita • e che no sia • allevato • I givboni •, a ci6 la persona no sia strana ^dalla sua- natura •, e a quello • farai • fare atti legiadri e galati e se 10questo • no mostrassi bene • i mvscoli detro ai termini delle mebra, no m6T1t'a niente, bastiti auere • sol da questo • le bone»attitudini, e le mebra I2ri- correggi cho quelle • che studiasti • la inver- nata. drawings from the nude done in the summer should be brought together and a choice made of the best [studies of] limbs and bodies among them, to apply in practice and commit to memory. OF POSITIONS. After this in the following summer you should select some one who is well grown and who has not been brought up in doublets, and so may not be of stiff carriage, and make him go through a number of agile and graceful ac- tions; and if his muscles do not show plainly within the outlines of his limbs that does not matter at all. It is enough that you can see good attitudes and you can correct [the draw- ing of] the limbs by those you studied in the winter. S. K. M. III. 246} 498. On the pro- \\ Suo maestro. ducUve pow- er of minor artists (498—501). G. 25*] Tristo e quel discepolo che 2non avaza He is a poor disciple who does not excel his master. 499- Non e laudabile quel pittore che no fa bene 2se non vna cosa sola, come vno nudo, te'^sta, panni o animali, o paesi o simili pa*rticulari, inperoche non e si grosso insgiegnio che, uoltatosi a vna cosa sola e que6lla senpre messa in opera, no la facci bene. Nor is the painter praiseworthy who does but one thing well, as the nude figure, heads, draperies, animals, landscapes or other such details, irrespective of other work; for there can be no mind so inept, that after devoting itself to one single thing and doing it con- stantly, it should fail to do it well. Ash. I. 10 a] COME IL PITTORE NON E LAUDABILE 2SE QUELLO NON E UNIVERSALE. 500. THAT A PAINTER is NOT ADMIRABLE UNLESS HE IS UNIVERSAL. 3D'alcuni • si puo chiaramete dire • che si Some may distinctly' assert thati those inganano •, i quali chiamano bono maestro persons are under a delusion who call that 4 quello pittore, jl quale sol fa bene • una painter a good master who can do nothing testa • o vna • figura : Cierto non £ gra s fatto well but a head or a figure. Certainly this • che studiado una sola cosa • il tepo • della is no great achievement; after studying one 6. attitudine. 8. no sia stra. 9. acquello . . esse. n. dacquesto . . attitudine. 12. richoregi cho . . studiassti. 498. i. trissto . . dissciepolo. 2. maesstro. 499. i. laldabile. 2. none vna. 3. ossimili. 4. rtichularc. 5. ecque. 500. i. laldabile. 2. secquelo. 3. alchuni si po . . chessi. 4-quelo . . bene i testa . . e non. 5. studiado I sola chosa . . vcgi 499. In MANZI'S edition (p. 502) the painter mentions the case of CLAUDE LORRAIN. But he G. G. Bossi indignantly remarks on this passage. overlooks the fact that in Leonardo's time land- "Parla il Vince in questo luogo come se tutti gli artisti scape painting made no pretensions to indepen- avessero quella sublimita d'ittgegno capace di abbracciare dence but was reckoned among the details (particu- tutte le cose, di cut era egli dotato? And he then lari, lines 3, 4). 5oi. 502.] MORAL PRECEPTS. 251 • sua vita • che non veghi a qualche 6 perfec- tione •, ma conosciedo noi • che la • pittura • abraccia e contiene -in se • tutte ?le cose che produce la natura •, e che coduce 1'acci- detale operatione delli omini 8 e in vltimo • cio che si puo coprendere cogli ochi, mi pare uno tristo maestro 9 quello • che solo una figura fa bene: Or no vedi tu quati e quali atti sieno solo facI0ti da li omini • No vedi quati diuersi animali e cosl albori, erbe, fiori, JIvarieta di siti motuosi e piani-, foti, fiumi-, citta, edifiti publici e privati, I2stru- meti opportuni all' vso vmano •, vari abiti e ornameti • e arti; tutte queste ^cose appar- tegono d'essere di pari operazione e bonta vsate da quello l* che tu vogli chiamare bo pittore. single thing for a life-time who would not have attained some perfection in it? But, since we know that painting embraces and includes in itself every object produced by nature or re- sulting from the fortuitous actions of men, in short, all that the eye can see, he seems to me but a poor master who can only do a figure well. For do you not perceive how many and various actions are performed by men only; how many different animals there are, as well as trees, plants, flowers, with many mountainous regions and plains, springs and rivers, cities with public and private buildings, machines, too, fit for the purposes of men, divers costumes, decorations and arts? And all these things ought to be regarded as of equal importance and value, by the man who can be termed a good painter. Ash. I. 501. DELLA TRISTA • SCUSATIONE FATTA DA QUELLI CHE FALSAMENTE 2 E IDEGNIAMETE SI FANO CHIA- MARE PITTORI. 3Ecci vna cierta gieneratione di pittori i quali per loro • poco studio 4Disognia che vivino sotto la bellezza d' oro e d' azzurro, i quali c5 soSma stoltitia • allegano • no met- tere • in opera le bone cose- per tristi 6pa- gameti •, che saprebbono • ancora be loro fare come vn altro, ?quado • fussino bene pagati; Or vedi, giete stolta •, no sano questi 8tali tenere • qualche opera bona, diciedo questa e da bo premio 9e questa e da mezzano, e questa e di sorte, e mostrare d'avere opera I0da ogni premio. OF THE MISERABLE PRETENCES MADE BY THOSE WHO FALSELY AND UNWORTHILY ACQUIRE THE NAME OF PAINTERS. Now there is a certain race of painters who, having studied but little, must need take as their standard of beauty mere gold and azure, and these, with supreme conceit, declare that they will not give good work for miserable payment, and that they could do as well as any other if they were well paid. But, ye foolish folks! cannot such artists keep some good work, and then say: this is a costly work and this more moderate and this is average work and show that they can work at all prices? Ash. I. gi] 502. COME NELLE OPERE D'lPORTATIA L'OMO NO SI DE* FIDARE TA2TO DELLA SUA MEMORIA CHE NO DEGNI RITRARE DI NATURALE. 3 Quello maestro • il quale • si dessi ad intedere di potere riseruare I se tutte le forme * e li • effetti della natura • certo • mi parebbe • questo essereornato • di moltaigno- raza, 5C6ciosia cosa che detti effetti sono ifiniti, e la memoria nostra non e di tata capacita 6che basti: Aduque tu • pittore HOW, IN IMPORTANT WORKS, A MAN SHOULD NOT TRUST ENTIRELY TO HIS MEMORY WITHOUT CONDESCENDING TO DRAW FROM NATURE. Any master who should venture to boast A caution that he could remember all the forms and sidS'study" effects of nature would certainly appear to me to be graced with extreme ignorance, in- asmuch as these effects are infinite and our memory is not extensive enough to retain them. Hence, O! painter, beware lest the acqualche. 6. chonociedo . . chella . . chontiene. 7. chose. 8. choplendere cholgli . . pare 5 tristo. 9. sola i figura . . ecquaatti. 10. fiori [chapagnie]. 12. tutte que. 13. chose apartengano . . dacquello. 14. chettu . . pitore. 501. i. cheffalsa. 4. beleza . . azurro . . coso. 5. chose. 6. chesse perebono anchora . . chome. 7. istolto . no sano. 502. 3. Quelo maesstro. 4. elli . . parebe. 5. chosa . . dette . . ella. 6. chella chupidita. 7. guadagni . . chellonore . . richezze. 252 THE PRACTICE OF PAINTING. [SOS—SOS- guarda • che la cupidita del guadagnio no superi I te Pono7re dell' arte •, che il gua- dagno delPonore e molto maggiore che 1'onore delle richezze, 8sicche per queste ed altre ragioni che si potrebbo dire • at- tenderai • prima col disegnio 9 a dare con dimostratiua forma alPocchio • la intctione, e la Tuentione fatta I prima I0nella tua ima- ginatiua •, di poi va leuado e ponedo tato che tu ti sadisfaccia, "di poi fa acociare omini vestiti o nudi nel modo che isul opera ai ordinato, I2e fa che per misura- e gradezza, sotto posto alia prospettiva, che no passi niete ^ dell' opera che bene no sia cosiliata dalla ragione e dalli effetti naturali, ^e questa fia la uia da farti onore della tua arte. lust of gain should supplant in you the dignity of art; for the acquisition of glory is a much greater thing than the glory of riches. Hence, for these and other reasons which might be given, first strive in drawing to represent your intention to the eye by ex- pressive forms, and the idea originally for- med in your imagination; then go on taking out or putting in, until you have satisfied your- self. Then have living men, draped or nude, as you may have purposed in your work, and take care that in dimensions and size, as de- termined by perspective, nothing is left in the work which is not in harmony with reason and the effects in nature. And this will be the way to win honour in your art. c. 5*1 503- DELL A VARIETA DELLE FIGURE. 2 II pictore debbe cercare d'essere vni- HOW to ^uersale, perche gli manca assai di degnita acquire uni- versaiity 4 a fare vna cosa bene e 1'altra male, cosme molti che solo studiano nello ignu6do misu- rato e proportionate, e no ricer^ca la sua varieta, perche puo vno omo esse8re pro- portionate e essere grosso e cort^o o lungo e sottile o mediocre, e chi I0di questa va- rieta no tiene coto fa senpre i:le figure sue in stapa che pare essere tutI2ti fratelli, la qual cosa merita gra ripresi'^one. OF VARIETY IN THE FIGURES. The painter should aim at universality, because there is a great want of self-respect in doing one thing well and another badly, as many do who study only the [rules of] measure and proportion in the nude figure and do not seek after variety; for a man may be well proportioned, or he may be fat and short, or tall and thin, or medium. And a painter who takes no account of these varieties always makes his figures on one pattern so that they might all be taken for brothers; and this is a defect that demands stern reprehension. Ash. I. 4«] 5°4- U COME PER TUTTE VIE SI PUO IMPARARE.H HOW SOMETHING MAY BE LEARNT EVERYWHERE. 2 Questa • benigna • natura ne provede I Nature has beneficently provided that modo che per tutto 3 il modo tu trovi dove throughout the world you may find something imitare. to imitate. G. 5*] DELL'ORDINE DEL FARSI VNIVERSALE. 505- 2 Facile cosa e a M'omo farsi vniuersale, imperoche tutti 4li animali terrestri anno similitudine di mesbra, cioe muscoli nerui OF THE MEANS OF ACQUIRING UNIVERSALITY. It is an easy matter to men to acquire universality, for all terrestrial animals resemble each other as to their limbs, that is in their e ossa, e 6nulla si uariano se no in lughezza muscles, sinews and bones; and they do not o in ?grossezza come sara dimostrato nella vary excepting in length or in thickness, as 8. ragione chcssi . . chol. 9. chon . . ella. 10. valleuado . . chettutti. 12. effa. 14. ecquesta. 503. 2. cerchare. 3. Mancha. 4. se affare . . ellaltra. 5. chessolo . . iniv. 7. cha la . . perche e po vno. 8. chort. 9. lungho essottile. n. tu. 12. fratelle. 504. i. chome per tutti via si po. 2. benignia. 505. 2. cosa he a chi ssa farsi [vniversale]. 3. farsi poi vniuersale inperochetti. 4. terrestri a similitudine di me. 5. bra [mussco] 5o6. 507.] MORAL PRECEPTS. 253 8 natomia ; ecci poi li animali d' acqua • che will be shown under Anatomy. But then 9son di molte varieta, delli quali no persua- there are aquatic animals which, are of great 10 dero il pittore che ui faccia regola, per- variety ; I will not try to convince the painter "che son quasi d' infinite varieta, e cosl li that there is any rule for them for they are 12 animali insetti. of infinite variety, and so is the insect tribe. Ash. I. 506. PlTTURA. 2Lo ingiegnio del pittore vol essere a similitudine • dello • spechio •, jl quale • senpre 3 si trasmuta nel colore • di quella • cosa ch'eli a per obietto •, e di tate simili4tudini s' enpie • quate sono le cose che li sofio . contraposte ; Aduque coSnosciedo • tu • pit- tore no potere esser • bono • se no sei • vni- versale • maestro di 6cotrafare • colla • tua • arte • tutte le qualita • delle • forme • che pro- duce la natura, ^ le quali no saprai • fare, se no le vedi •, e ritenerle nella mete; Onde andado 8 tu per capagnie • fa che ' 1 tuo givditio si uolti a vari obietti e di mano 1 ma9no riguardare or questa cosa ora quell' altra, faciedo vn fascio di uarie I0cose • elette e scielte infra le me bone; E no facci come alcuni pitto^ri, i quali •, stachi colla lor fantasia, dismettono 1' opera e fano esercitio I2col andare • a sollazzo, riserban- dosi vna stachezza nella mente, la quale, *3n6 cheveghino, non porgono I mente • varie cose, ma spesse volte scontrado ^li amici e pared, essendo • da quelli salutati •, no che li vedino • o sentino, X5e non altrementi sono cognioscivti -, come se vi scontrassino altre tat' aria. PAINTING. The mind of the painter must resemble a mirror, which always takes the colour of the object it reflects and is completely occupied by the images of as many objects as are in front of it. Therefore you must know, Oh Painter! that you cannot be a good one if you are not the universal master of representing by your art every kind of form produced by nature. And this you will not know how to do if you do not see them, and retain them in your mind. Hence as you go through the fields, turn your attention to various objects, and, in turn look now at this thing and now at that, collecting a store of divers facts selected and chosen from those of less value. But do not do like some painters who, when they are wearied with exercising their fancy dismiss their work from their thoughts and take exercise in walking for relaxation, but still keep fatigue in their mind which, though they see various objects [around them], does not apprehend them; but, even when they meet friends or relations and are saluted by them, although they see and hear them, take no more cognisance of them than if they had met so much empty air. Ash. I. 9 a] E' GIOCHI CHE DEBONO FARE I DISEGNIATORI. 2 Quando • vorete • o voi disegniatori • pigliare coi giochi qualche utile • sollazzo 3 e da vsare • senpre cose • al proposito • della- vostra • professione •, cioe del fare bono igiuditio di ochio, del sapere givdicare la uerita delle larghezze e lughezze delle cose s e per suefare lo ingiegnio • a simili • cose OF GAMES TO BE PLAYED BY THOSE WHO DRAW. When, Oh draughtsman, you desire to useful find relaxation in games you should always Se™eersciseSd practise such things as may be of use in (507- 508). your profession, by giving your eye good practice in judging accurately of the breadth and length of objects. Thus, to accu- stom your mind to such things, let one of coe musscoli. 6. seno illugeza. 7. dimostrao. 8. dacq"a". 9. deli. 10. pichttore. 506. 2. assimilitudine. 3. cholore . . chosa. 4. tudine . . quati . . chose . . chontraposte . . cho. 5. se nose. 6. cotraffare cholla. 8. chapagnie. 10. esscielte . . infralle . . faci chome alchu. n. re i quali stachi cholla . . dismettano . . effano. 12. chol . . assollazo . . stacheza. 13. no che vegino o porgn I mente . varie chose . schotrado. 14. ossentino. 15. cho- gnioscivti chome se li schontrasino altre tataria. 507. 2. choi . . nutile sollazo. 3. chose. 4. givdichare . . largeze ellugeze . . chose. 5. assimile chose faccia \ diuoi. 6. chaso 254 THE PRACTICE OF PAINTING. [508. • faccia uno di uoi • una • linia recta 6a caso su vno mvrp • e ciascuno di voi tega una sottile • festuca o paglia in mano ^ e ciascuno • tagli • la sua • alia • lunghezza • che li • pare • la prima linia, stado • lontani 8per ispatio di braccia • IO-, e poi ciascuno vada • allo esenplo a misurare co quella la sua ^givdi- tiale misura: E quello • che piv s'awicina colla sua misura alia lunghezza deI0llo ese- plo fia superiore e uincitore e acquisti da tutti il premio, che inazi da uoi "fu • or- dinato • j Ancora si debbe • pigliare misure scortate, cio6 pigliare uno I2dardo o altra ' caria, e riguardare dinazi a se una cierta distatia •, e ciascuno '^col suo givditio stimi quate volte quella misura • entri I quella distatia, acora a chi 'Hira meglio una linia di uno braccio, e sia riprovata con filo tirato-;E simili giochi sono 'Scagione di fare bono jvditio d'ochio, il quale e '1 prl- cipale atto della pittura. you draw a straight line at random on a wall, and each of you, taking a blade of grass or of straw in his hand, try to cut it to the length that the line drawn appears to him to be, standing at a distance of 10 braccia; then each one may go up to the line to measure the length he has judged it to be. And he who has come nearest with his measure to the length of the pattern is the best man, and the winner, and shall receive the prize you have settled beforehand. Again you should take forshortened measures : that is take a spear, or any other cane or reed, and fix on a point at a certain distance ; and let each one estimate how many times he judges that its length will go into that distance. Again, who will draw best a line one braccio long, which shall be tested by a thread. And such games give occasion to good practice for the eye, which is of the first importance in painting.. Ash. I. 130] 508. Mono D'AUMETARE E DESTARE LO IGIEGNIO 2 A VARIE IUETIONI. 3 No restero pero di mettere lira questi precietti una nova luetione di speculaHione, • la quale • beche paia • piccola • e quasi de- gnia di riso, nodimeno e di s grade vtilita • a destrare lo ingegno a varie invetioni, e questa-e-se tu 6riguarderai in alcuni mvri inbrattati di uarie machie o pietre di uari misti, ?se avrai a luentionare qualche sito • potrai • 11 • uedere similitudine di diuersi paesi, 8ornati di motagnie, fiumi, sassi, albori, pianvre, gradi valli e colli 9 in diuersi modi, • ancora vi potrai vedere diuerse battaglie e atti proti di J ° figure •, strane arie di uolti • e abiti • e infinite cose •, le quali potrai ri- "durre in itegra • e bona • forma •, e iter- viene I simili mvri e misti come del suo- no I2di capane • che ne' loro tochi vi tro- verai ogni nome e vocabolo che tu i^maginerai. A WAY OF DEVELOPING AND AROUSING THE MIND TO VARIOUS INVENTIONS. I cannot forbear to mention among these precepts a new device for study .which, although it may seem but trivial and almost ludicrous, is nevertheless extremely useful in arousing the mind to various inventions. And this is, when you look at a wall spotted with stains, or with a mixture of stones, if you have to devise some scene, you may discover a resemblance to various land- scapes, beautified with mountains, rivers, rocks, trees, plains, wide valleys and hills in varied arrangement; or again you may see battles and figures in action; or strange faces and costumes, and an endless variety of objects, which you could reduce to complete and well drawn forms. And these appear on such walls confusedly, like the sound of bells in whose jangle you may find any name or word you choose to imagine. 6. sunvno . . ciasschuno . . tega i sottile . festucha . . imano. 7. e ciasschuno . talgli . . lungeza . chelli. 8. di br. 10 . . cho. 9. Ecquello . . savisina cholla . . lungeza. 10. premio di che. n. Anchora . . schontate. u. pigliare i. 12. china . . asse i cierta. 14. meglio ilinia di br essia . . chon . . Essimili. 15. chagione. 508. 3. precietti i nova . . spechula. 4. pichola. 5. longiegmo . . ecquesta . . settu. 6. miscti. 7. arai. 8. vale e cholli. n. durc . . del so. 12. viroverai . . vocavlo chettu i. II. THE ARTIST'S STUDIO.— INSTRUMENTS AND HELPS FOR THE APPLICATION OF PERSPECTIVE.— ON JUDGING OF A PICTURE. Ash. I. 19 &] 5<>9- Le staze overo abitationi piccole ravia Small rooms or dwellings discipline theOn the size • . *. i - j' i • • j i i •, ofthestudio. lo mgegno et le gradi lo suiano. mind, large ones weaken it. B. M. 171 b] Quato piv grosso fia il muro 2minore fia il lume. 510. The larger the wall the less On the con- struction of windows (510—512). the light will be. B. 20t] Modi di vari lumi dati per varie forme The different kinds of light afforded in di finestre alle canove: la piv disutile 2e cellars by various forms of windows. The 509. i. nbitatione pichole . . logiegnio . lossuiano. 510. 2. ilume. 511. r. chanove. 2. freda . . pivtile ella . . chalda. 3. ella . . mezana. , 511. From a reference to the notes on the right In the diagram 6 as well as in that under No. 510 light for painting it becomes evident that the ob- the window-opening is reduced to a minimum, but serrations made on cellar-windows have a direct only, it would seem, in order to emphasize the advan- bearing on the construction of the studio -window. tage of walls constructed on the plan there shown. 256 THE PRACTICE OF PAINTING. U ., f lda. ,a pfo vtiie least useful and Ihe coldert !• Ae wmdowat* cPpiv calda e che vede The most useful, the lightest and warmest Joivcielo e la finestra-J: la finestra-o and most open to the sky is the window 6 di mezzana vtilita. at b. The window at c is of medium utility. A»h. I. <9«| 512' FlNESTRA DEL PITTORE E SUA COMODITA. OF THE PAINTER'S WINDOW AND ITS ADVANTAGE. 'II pittore, che vsa imitatione del natu- The painter who works from nature rale, debbe • avere • vlume-il quale lui Jpossa should have a window, which he can raise Vm«f»^» «^»*mw»\« "0« tf<»*3t*£» Hi.* *' ^ '•«••? ' JV "£y* *A " VV (Vff* «> V^ cA (^AV/ - \6 ^ »f»0 •• fojl* ,- tun.- llWm*|Vf l'«Y\ f«'»"»T* —&$& & f»«*-A j\,n ,\^ ^ AJ ^AV***^ Acn» .•rtv» V ^MMk.AwS^A ,y-) -wiAyw.- '[«f»»-^pA-<.|jp».AV^ SyfwiHV n^yri?U^ 511. t. comodiu. 2. imitations il naturals . . vllumc. 3. il possa . . finre. 5. chassa . . abassare . . i lauoro . . chellopera. 6. enone 512. See PL XXXI, No. 2. In this plate the process, in VON LOrzow's Zeitschrift fur bildende lines have unfortunately lost their sharpness, A'unst (Vol. XVII, pg. 13) I have reproduced it here for the accidental loss of the negative has in the text The sharpness of the outline in the <>ri- necessitated a reproduction from a positive. But ginal sketch is here preserved but it gives it from having formerly published this sketch by another the reversed side. 513— 5I5-] THE ARTIST'S STUDIO. 257 • alzare • e abbassare • ; la ragio si e: die qualche volta • tu vorai finire * vna cosa che ritrai • a presso • del lume ; s a • b • c • d • sia la cassa, dove si possa abbassare e • alzare • il lauoro, accioche 1' opera • si mova 6 da alto e basso e non il maestro; e ogni sera puoi madare sotto • 1' opera • e serrarla di sopra, ^ che la sera stia a vso di cassa laqual serrata che le serve a seruitio di paca and lower. The reason is that sometimes you will want to finish a thing you are drawing, close to the light. Let a b c d be the chest on which the work may be raised or lowered, so that the work moves up and down and not the painter. And every evening you can let down the work and shut it up above so that in the evening it may be in the fashion of a chest which, when shut up, may serve the purpose of a bench. Ash. I. 15 HQuale lume e bono per ritra2re di naturale: o alto o basso 3o grade o piccolo o potete gra^de, o potete piccolo o grasde debole o piccolo e debole ?H Which light is best for drawing from On the best nature; whether high or low, or large or pfintin°g small, or strong and broad, or strong and (5*3— 52°)- small, or broad and weak or small and weak? A. 23 a] BELLA QUALITA DEL LUME. 514. 2 II lume grande • e alto e no troppo po- tente • fia • quello • che rendera le particule • de' corpi • molto • grate. OF THE QUALITY OF THE LIGHT. A broad light high up and not too strong will render the details of objects very agreeable. Ash. I. zb\ 515- CoME DEBE ESSERE ALTO IL LUME 2DA RITRARE DI NATURALE. 3 II lume da ritrare di naturale • vole essere a tramotana •, acio no facci ^mutatione, e se lo • fai a mezzodl • tieni finestra ipanata • acio il sole, 5alluminado tutto il giorno, quella no facci mutatione •; L'altezza del lume 6 de' essere I modo • situate • che ogni corpo • facci tato luga per terra la sua 1 obra quato • e la sua • altezza. THAT THE LIGHT FOR DRAWING FROM NATURE SHOULD BE HIGH UP. The light for drawing from nature should come from the North in order that it may not vary. And if you have it from the South, keep the window screened with cloth, so that with the sun shining the whole day the light may not vary. The height of the light should be so arranged as that every object shall cast a 'shadow on the ground of the same length as itself. il maesstro e . . poi . . esserarla. 7. loch chella . . chassa la ualserata chelle . . pacha. 513. 3. picholo. 4. picholo. 5. picolo he debole. 514. 2. lume . . partichule de chorpi. 515. 3. attramotana. 4. essello fai a mezo . di. 5. aluminado . . Lalteza. 6. imodo . . faci . . luga. 7. alteza. 513. The question here put is unanswered in the original MS. VOL. I. KK 258 THE PRACTICE OF PAINTING. [516. 517. DELLA QUAUTA • DELL' ARIA 'AL'OBRE E LUMI. jQucl corpo • far£ maggiore • differeza • daT ombre ai lumi • che si trove«ra • essere • visto • da maggiore • lume •, come lume di sole o la nocte il Mume del foco: e questo • e poco • da usare j pittura, jperoch6 1'opere 6 rimagono • crude e sanza grazia. 7Quel corpo -, che si trovera J mediocre lume, fia in lui poca differeza 8dai • lumi • all* ombre, e questo accade sul fare della sera o quado e nuvolo 9 e queste opere sono dolci • e acci gratia • ogni qualita di volto, sicche I ogni locosa • li stremi sono vitio- si : il troppo lume fa crudo •, il troppo scuro no lalfscia vedere: il mezzano e bono. THE KIND OF LIGHT REQUISITE FOR PAINTING LIGHT AND SHADE. An object will display the greatest differ- ence of light and shade when it is seen in the strongest light, as by sunlight, or, at night, by the light of a fire. But this should not be much used in painting because the works remain crude and ungraceful. An object seen in a moderate light displays little difference in the light and shade; and this is the case towards evening or when the day is cloudy, and works then painted are tender and every kind of face becomes graceful. Thus, in every thing ex- tremes are to be avoided: Too much light gives crudeness; too little prevents our see- ing. The medium is best. DE' LUMI PICCOLI. '•» Ancora • i lumi • fatti da piccole finestre fanno gra differeza da lumi al'obre -, e mas- sime se la '*staza da quelle • alluminata fia grade, e questo non £ bono a usare. OF SMALL LIGHTS. Again, lights cast from a small window give strong differences of light and shade, all the more if the room lighted by it be large, and this is not good for painting. Ash. I. 26 1] PITTURA. T9 Quella • aria passa- per le- per- forate I0 parieti • alle • oscure • abi- tationi • far& il lo- co • tanto "meno che tenebroso •, Quanto • essa f luminosa • che penetra • e __ £ a rn yuanto • essa • [ ^^^=1^^=^ * perforatura-entra j . ^^^-^^^JJ " I nelle- parieti • * ' ° <* v. - j \' 3-e coprono - il lor pavimento.1 and cover in the pavement. PAINTING. The luminous air which enters by pass- ing through ori- fices in walls into dark rooms will render the place less dark in proportion as the opening cuts into the walls which surround " ' aluminau . . ecquesto. . a . „„„„, ,„ 518—520.] THE ARTIST'S STUDIO, 259 A. 2 nela. 17. diminviscano la soma . . obbieto. 536. 2. alteza. 3. ellultimo . . chol. 4. tera chol . . chelle. 5. chessono. 537. 2. chosiderare inella. 3. lalteza . . chollochare . . eccio chellui. 4. istare 5. chosa . . chellochio. 538. i. pore I figura. 2. inella . . quante br, 3. dala . . dique. 4. cola, . chollocchio . . chella chosa . . chellui. 2/0 THE PRACTICE OF PAINTING. [539-542. Tr. 7,. 539 PROSPETTIVA. 2Domadasi • a te pittore • perche • le figure • da te fatte • J in minvta forma • per dimostratione di prospettiva • no paiano in * pan • dimostratione • di distatia • gradi • quato • le naturali leuate di pari s gradezza . alle dipite • sopra • la pariete. 6 E perch£ • le cose appareti in piccola lontanita • in pari distatia ?apparano mag- giori che "1 naturale. PERSPECTIVE. You are asked, O Painter, why the figures you draw on a small scale according to the laws of perspective do not appear — notwith- standing the demonstration of distance — as large as real ones — their height being the same as in those painted on the wall. And why [painted] objects seen at a small distance appear larger than the real ones? Ash. I. | <;) 540. DEL RITRARRE. OF PAINTING. The right 2 Quado ai • a ritrarre di -i naturale • sta • When you draw from nature stand at a the' artist*, lotano 3 4 volte • la gradezza della s cosa che distance of 3 times the height of the object ritrai. you wish to draw. the spectator (540—547). Ash. I. 541. DEL RITRARRE DI RILIEVO. 2 Quello che ritrae • di rilieuo si debbe accociare • in modo - tale • che 1' ochio • della figura 3 ritratta • sia • al pari dell' ochio di quello • che ritrae, e questo-si fara a vna testa, 4la quale • avessi • a ritrarre • di natu- rale •, perche vniversalmete • le figure ovvero s persone • che scotri • per le • strade • tutti • anno i loro occhi all'altezza- de'tua, 6e se li facessi • piv alti o piv • bassi • vedresti a • dissimigliare il tuo ritratto. OF DRAWING FROM RELIEF. In drawing from the round the draughtsman should so place himself that the eye of the figure he is drawing is on a level with his own. This should be done with any head he may have to represent from nature be- cause, without exception, the figures or per- sons you meet in the streets have their eyes on the same level as your own; and if you place them higher or lower you will see that your drawing will not be true. Ash. I. 542- PERCHE i CAPITOLI DELLE FIGURE 2L?UNO SOPRA L'ALTRO E OPERA • DA FUGGIRE. •Questo universale vso, il quale si fa per pittori in nelle faccie delle ^cappelle e molto da essefe ragionevolmete biasimato, Tperocche sfano 1'una storia I v piano col suo paese • e edifiti, poi s' alzano uno altro 6grado e fanno una storia e variano il puto dal primo, e poi la terza ?e la quarta • in modo, ch'una facciata si uede fatta co 4 WHY GROUPS OF FIGURES ONE ABOVE ANOTHER ARE TO BE AVOIDED. The universal practice which painters adopt on the walls of chapels is greatly and rea- sonably to be condemned. Inasmuch as they represent one historical subject on one level with a landscape and buildings, and then go up a step and paint another, varying the point [of sight], and then a third and a fourth, in such a way as that on one wall there are 4 .points of sight, which is supreme folly in such painters. We know that the 539. 2. atte . . datte fatte (no parano in]. 3. [spa] iminvta. 4. pare. 5. gnadeza. 6. chose . . piciola. 7 magiore. 540. i. ritrare. 2. ai . aritrare. 4. gradeza dela. 5. chosa chettu. 541. 2. achociare . imodo . . chellochio. 3. ecquesto. 5. chesschotri . ano . . alteza. 6. esse . . veresti a disimigliare. 5^a. i (come si d] perche i chapitoli. 3. pe . . inele. 4. chappelle. 5. chol . . po salzano i altro. 6. fanno I storia. 7. ella 543-] ON JUDGING OF A PICTURE. 2/1 punti, 8la quale e soma stoltitia di simili maestri; noi sappiamo che '1 spunto e posto • aF ochio del riguardatore della storia, e se tu I0volessi dire in che modo 6 a fare la uita d'uno santo copartita XIin molte storie in vna medesima facia, a questa parte ti rispo- 12 do • che tu debi porre il prime piano • col puto all' altezJ3za dell' ochio de riguar- datori d'essa storia, e isu detto piano I4figura la prima storia • grade JSe poi, di- minvedo di mano I rrial6no le figure e casameti Tsu diuersi colli e pianvre, farai ^tutto il fornimeto d'essa storia, e '1 resto della faccia I nella sua l8altezza farai albori gradi a coparatione delle figure o agie^li, se fossino al proposito della storia, owero vccelli o nvuoli o simi20li cose, altrimeti no te ne ipacciare, ch'ogni tua opera fia falsa. point of sight is opposite the eye of the specta- tor of the scene; and if you would [have me] tell you how to represent the life of a saint divided into several pictures on one and the same wall, I answer that you must set out the foreground with its point of sight on a level with the eye of the spectator of the scene, and upon this plane represent the more important part of the story large and then, diminishing by degrees the figures, and the buildings on various hills and open spaces, you can represent all the events of the history. And on the remainder of the wall up to the top put trees, large as compared with the figures, or angels if they are appropriate to the story, or birds or clouds or similar ob- jects; otherwise do not trouble yourself with it for your whole work will be wrong. 543- QUELLA COSA FATTA IN PROSPETTIVA AVRA 2MIGL1ORE EUIDETIA • LA QUALE FIA VEDUTA 3 DA LOCO DOV'E FATTA -LA SUA VEDUTA. 4 Se vorrai • figurare • una • cosa • da pres- so • che faccia • P effetto • che fanno le cose • naturali, s inpossibile • fia . che la-tua-pro- spettiua • non apparisca • falsa • co tutte 6 le bugiarde dimostrationi e discordati propor- tioni che si puo ima7ginare • in vna trista • opera •, se il riguardatore • d' essa prospet- tiva no 8 si truova • col suo • vedere alia pro- pia • distatia e altezza • e dirittura de^P ochio • over puto che situasti • al fare d' essa • prospet- tiva: Onde bisognieI0rebbe fare una • finestra della gradezza • del tuo • volto o veramete uno "buso, dode tu riguardassi detta opera-; e se cosl farai • sanza dubio nessuI2no P opera tua-, essendo bene accopagniata d'6bra-e di lumi, fara Peffe^tto • che fa il naturale, e no ti potrai fare credere che esse cose sieno '<• dipite -, altremeti • no te ne inpacciare, se gia tu'no facciessi la tua ve^duta-al meno- A PICTURE OF OBJECTS IN PERSPECTIVE WILL LOOK MORE LIFELIKE WHEN SEEN FROM THE POINT FROM WHICH THE OBJECTS WERE DRAWN. If you want to represent an object near to you which is to have the effect of nature, it is impossible that your perspective should not look wrong, with every false relation and disagreement of proportion that can be imagined in a wretched work, unless the spectator, when he looks at it, has his eye at the very distance and height and direction where the eye or the point of sight was placed in doing this perspective. Hence it would be necessary to make a window, or rather a hole, of the size of your face through which you can look at the work; and if you do this, beyond all doubt your work, if it is correct as to light and shade, will have the effect of nature; nay you will hardly persuade yourself that those objects are painted; otherwise do not trouble yourself about it, unless indeed you make your view . . imodo . . fatto. 8. sapiano. 9. essettu. 10. dire che . . affare . . duno sco copartita. u. imolte storie nvna . . ac- questa. 12. chettu . . pore . alte. 16. chasameti. 17. dela facia. 18. alteza. 19. vccello . . ossimi. 20. lie cose . . ipaciare. 543. i. [se] quella chosa . . prosspettiva ara. 3. locho. 4. vorai . . i chpsa. 4. cheffacia . . cheffa le chose. 5. chella . . pros- spettiua . . aparischa . . cho. 6. dimostratione e disschordate proportine chessi po. 7. prosspettiva. 8. chol . . disstatia e alteza. 9. puto situasti . . prosspettiva. 10. rebe fare i finestra . . gradeza . . veramete i. n. esse chosi. 12. achopagniata. 543. In the original there is a wide space be- tween lines 3 and 4 in which we find two sketches not belonging to the text. It is unnecessary to give prominence to the points in which my reading differs from that of M. RAVAISSON or to justify my- self, since they are all of secondary importance and can also be immediately, verified from the photograph facsimile in his edition. 272 THE PRACTICE OF PAINTING. [544 20 volte • lontana, quato • e • la maggiore lar- ghezza o all6tezza • della • cosa • che figuri, e questa • sadisfara a ogni riguardatore '? situate • in ogni • cotraposta • parte • a detta opera. 18 Se voli- vedere- la pruova-con breuita-, abbi • uno • pezzo d'asta a similitudine '9 d'una • colonnetta piccola, che sia • alta • otto • gros- sezze come la colonna 20saza basa o capitello-, dipoi • copartisci I su u mvro piano 40 spa2Iti equali, i quali sieno coformi ali spati, e sarebbero Ifra 40 colonne "simili alia tua piccola colonna, poi fia stabilita 23a riscotro • del mezzo d' essi spati 4 braccia lotana 24 dal mvro una sottile banda di ferro che abbi nel mezzo • uno piccolo buso rotodo, 25 della gradezza d'una grossa • perla, e a questo buso cogivgni uno lume 26che tocchi, poi va ponedo la tua colonna super ciascu segnio del muro e se27gnia 1'obre, poni la obra e riguardala pel detto baso del ferro. at least 20 times as far off as the greatest width or height of the objects represented, and this will satisfy any spectator placed anywhere opposite to the picture. If you want the proof briefly shown, take a piece of wood in the form of a little co- lumn, eight times as high as it is thick, like a column without any plinth or capital; then mark off on a flat wall 40 equal spaces, equal to its width so that between them they make 40 columns resembling your little column; you then must fix, opposite the centre space, and at 4 braccia from the wall, a thin strip of iron with a small round hole in the middle about as large as a big pearl. Close to this hole place a light touching it. Then place your column against each mark on the wall and draw the outline of its shadow; afterwards shade it and look through the hole in the iron plate. A. 410] 544- 2 La cosa • diminvita • debe essere • ri- guardata a quella medesima 3distantia • e altezza e dirittura •, che ponesti • il puto • del tuo ochio, altremeti 4 la scietia • non avra • bono • effetto. s E se no uoi o no puoi vsare • simile • ragione • per la cagione della pariete 6 dove dipigni , ch' e a essere veduta • da diuerse • persone-, bisognierebbe diuersi puti 7 ode sarebbe discordate • e falsa : poti lotano • il meno • IO • volte • la gradezza della cosa. H 8 II minore • errore • che possi • fare • in questo • caso • sie • che tu • poga • tutte ?le prime • cose • in propia • forma •, e in qualuque • parte ti porrai -, le cose I0vedute- diminvi- ranno • per se • medesime, saluo • li spati che si trovano "infra corpi • fieno • sanza • ragione-, imperoche se ti porrai nel mezzo I2 d'una dirittura e riguarderai • molte colonne • col- locate su per • una linia, "3 vedrai • infra pochi intervalli • d' esse colonne le colonne toccarsi, e dopo J*il toccarsi occuparsi 1' una • 1' altra in modo tale, che 1' ultima colonna 'Sappa- rira • poco • fori • della • penvltima : aduque 1' interval! che si trol6vano • infra le colone- A diminished object should be seen from the same distance, height and direction as the point of sight of your eye, or else your knowledge will produce no good effect. And if you will not, or cannot, act on this principle — because as the plane on which you paint is to be seen by several persons you would need several points of sight which would make it look discordant and wrong — place yourself at a distance of at least 10 times the size of the objects. The lesser fault you can fall into then, will be that of representing all the objects in the fore- ground of their proper size, and on whichever side you are standing the objects thus seen will diminish themselves .while the spaces between them will have no definite ratio. For, if you place yourself in the middle of a straight row [of objects], and look at several columns arranged in a line you will see, beyond a few columns separated by intervals, that the columns touch; and beyond where they touch they cover each other, till the last column projects but very little beyond the last but one. Thus the spaces between the 13. cheffa . . chose. 14. faciessi. 15. magiore largeza. 16. teza . della . chossa . cheffigurt ecquesta . sadisfiara. 18. chon . . abi . i . pezo dasste assimilitudine. 19. cholonetta pichola chessia alto . . grossez chome la cholona. 20. chapitelo . . chopartisci Isuuu. 21. choformi . . farebono . . colone*. 22. ala . . pichola cholona . . stabilito | "4 br. lotano" * tola di fero sottile]. 23. [la quale aci ! buso i] arischotro . del mezo . . 4 br. lotano. 2]. mvro i sottile di fero che abi nel mezo . 5 picholo . . retodo. 25. dela gradeza . . acquesto . . cogivgui ! lume. 26. tochi . . colona . . esse. 27. pola . . riguardalo. 544. i. ella. 2. chosa . . acquella. 3. alteza. 4. lasscietia . . ara. 5. Esse . . poi . . chagione dela. 6. diuersi . . bisognierebe. 7. sarebe disscordate efialsa . . gradeza dela. 8. erore . . chaso . . chettu. 9. chose . . porai . . chose. 10. lisspati chessi. xi. chorpi . . inperochessetti porai mezzo. 12. cholone . cholochate. 13. vederai cholone le cholone tocharsi. 14. il to- charsi ochuparsi . . imodo cholona. 15. aparira . pocho . . chessi. 16. cholone . si perdano intera . mete Esse . . dela 545-1 ON JUDGING OF A PICTURE. 2/3 si perdono • interamete ; E se il tuo modo della T 7 prospettiva fia • bono •, fara • il mede- simo • effetto •, il quale effetto accade l8nello • stare • presso alia • linia • dove si posano le colone, e questo modo ^fia sanza gratia, se la cosa figurata . no fia veduta da uno piccolo buco 20nel mezzo del quale • sia collocate • il tuo • puto • del uedere •, e se cosl 2Ifarai •, 1' opera tua sara perfetta e ingan- nera i veditori e ueranno le "colone figurate nella forma qui disotto • figurate. columns are by degrees entirely lost. So, if your method of perspective is good, it will produce the same effect; this effect results from standing near the line in which the columns are placed. This method is not satisfactory unless the objects seen are viewed from a small hole, in the middle of which is your point of sight; but if you proceed thus your work will be perfect and will deceive the beholder, who will see the columns as they are here figured. 23 A queste 1' ochio e nel mezzo nel puto- Here the eye is in the middle, at the a • ed e presso • alle colonne. II point a and near to the columns. A'. 41 6] 545- Se tu no puoi fare che li omini, che riguardano • la tua opera, 2stieno • in vn solo • If you cannot arrange that those who look at your work should stand at one particular puto • tirati indirieto • col ochio, quado figuri point, when constructing your work, stand back 3 la tua opera • al meno . 20 volte la mag- giore altezza • o larghezza • della tua • opera, * e questa • fara nel mutare • 1' ochio del ri- guardatore si poca varieta 5 che apena • si coprendera, e fia • assai laudabile ; 6 Se '1 punto • sara • in • /• farai.- tu le figure poste sul circulo • d- b • e d' una ^.medesima- until your eye is at least 20 times as far off as the greatest height and width of your work. This will make so little difference when the eye of the spectator moves, that it will be hardly appreciable, and it will look very good. If the point of sight is at / you would make the figures on the circle d b e all 17. prosspettiva . . achade. 18. nelo . . cholone ecquesto. 19. chosa . . da 5 picholo ochio. 20. mezo . . cholochato . . esse chosi . . inganera. 22. cholone . . nela. 23. acqueste . . raezo . . cholonne ^. 545- i- d. settu . . poi fare [questo . vedere]. 2. stie'no nvn . . chol. 3. il meno magiore alteza olargeza. 4. ecquesta . . mvn- tare . . pocha. 5. choplendera effia . . laldabile. 6. circhulo. 7. gradeza . . ciasschuna. 8. vederai. 9. choplen de che 544. The diagram which stands above this chapter in the original with the note belonging to it: "a b e la ripruova (a b is the proof) has ob- VOL. i. viously no connection with the text. The second sketch alone is reproduced and stands in the ori- ginal between lines 22 and 23. MM 2/4 PRACTICE OF PAINTING. [546. 547. gradezza •, essendo • ciasscuna • per esso • al puto • / • a vn medesimo modo ; 8 poni mete • alia figura • disotto • e vedrai • di no, e perche la far6 minore in b che J • d • e. 9 Chiaro • si coprende che, collocado • 2 cose infra loro • equali, che I0quella ch'e si- tuata nel terzo • braccio parra minore che quella ch'e posta "nel secondo • braccio ; questa cosa e piv disputativa • che da vsarla •, perche sei presso. "Tutte le prime cose-, gradi o piccole ch' essi sieno, falle in propia forma J3e se le vedrai "di lontano faranno la lor debita di- mpstratione -, e se le ved^rai • dapresso diminvirano • per loro medesime. *s Fa che senpre • la tua pariete •, sulla quale tu diminvisci le cose l6vedute, sia fatta della medesima • forma • che il mvro dov'ai '? a figurare • la medesima • opera. of one size, as each of them bears the same relation to the point /. But consider the diagram given below and you will see that this is wrong, and why I shall make b smaller than d e [8]. It is easy to understand that if 2 objects equal to each other are placed side by side the one at 3 braccia distance looks smaller than that placed at 2 braccia. This however is rather theoretical than for practice, because you stand close by [n]. All the objects in the foreground, whether large or small, are to be drawn of their proper size, and if you see them from a distance they will appear just as they ought, and if you see them close they will diminish of themselves. [15] Take care that the vertical plan on which you work out the perspective of the objects seen is of the same form as the wall on which the work is to be executed. Ash. I. 226 546. PlTTTURA. OF PAINTING. 2 La gradezza • della • figura • dipinta • ti The size of the figures represented ought debbe mostrare • a che distanza-ell'eveduta; to show you the distance they are seen 3 se tu vedi una figura grade • al naturale from. If you see a figure as large as sappi ch'ella si dimostra esser presso 4 al- nature you know it appears to be close to 1' ochio. the eye. Ash. I. 3*1 547- DOVE • DEBE STARE QUELLO 2 CHE RIGUARDA • LA PITUTRA. WHERE A SPECTATOR SHOULD STAND TO LOOK AT A PICTURE. 3Poniamo • che • a • b • sia • la pictura • Supposing a b to be the picture and d vista •, e che • d • sia • il lume, 4Dico, che se ti to be the light, I say that if you place porrai • infra • c - e -, male • coprenderai la pit- yourself between c and e you will not cholochado . 2 chose. io.;che quala . . terzo br. para . . quela. n. sechondo . . chosa . . sepreso. 12. chose grade, pichole chesi. 13. esse vederai farano . . esse . . vede. 15. chessenpre . . sula . . diminvissci le chose. 17. affigurare. 546. 2. gradeza . . ditebbe. 3. settu . . sapi. 547. 4. Dicho chesse . . porai . . coplenderai la pitura. 5. sessia . . vernichata . . ara. 6. effia . . chagione. 7. chosterai . . razi 545. 8. The second diagram of this chapter reads 'sempre sf which gives rise to the unmeaning stands in the original between lines 8 and. 9. rendering: 'farteque toujours . . .' II. Instead of 'se preset1 (= sie presso) M. RAVAISSON 15. Compare No. 526 line 18. 547-1 ON JUDGING OF A PICTURE. 2/5 tura, 5 e massime • se sia • fatta • a olio o veramete verniciata •, perche avra lustro 6 e fia • quasi • di natura • di spechio •, eper questa cagione • quato piv t' a?ccosterai • al puto c •, meno • vedrai •, perche • quivi • risaltano i razzi 8del lume -, ma- dato • dalla • finestra • alia pittura : E se ti porrai infra *>e d 11 fia • bene • • operata la tua • vista •, e massime • quato • piu • t' appresserai 10 al punto-^-, perche quello loco • e meno • participate^di detta percus^sione de' razzi riflessi. understand the picture well and particularly if it is done in oils, or still more if it is varnished, because it will be lustrous and somewhat of the nature of a mirror. And for this reason the nearer you go towards the point c, the less you will see, because the rays of light falling from the window on the picture are reflected to that point. But if you place yourself between e and d you will get a good view of it, and the more so as you approach the point d, because that spot is least exposed to these reflected rays of light. 8. Essetti . porai. 10 locho. n. razi rifressi. III. THE PRACTICAL METHODS OF LIGHT AND SHADE AND AERIAL PERSPECTIVE. C. A. 196^5 586*] DE 548. PICTURA: DELLA OSCURITA DELLE OBRE O UOI DIRE CHIAREZZE DE* LUMI. 2 Beche li pratici mettino in tutte le cose Gradations infuscate, albcri, prati, capelli, barbe 3 e peli °f sifade.!Mld di 4 sorti chiarezze nel contrafare vn mede- simo colore, cioe ^prima vn fondameto oscuro e per 2° vna machia che participa della forma sdelle parti; 3° una parte piu spedita e piu chiara, 4° i lumi piu che altre parti 6 noti di figura • ; Ma a me pare che esse varieta sieno infinite sopra vna 7quatita continua, la quale in se e diuisibile in ifinito, e cosl lo provo: 8a g sia vna quantita cotinua, d sia il lume che P alu- mina; dico per la 4a che dice Iche quella parte del I0corpo alluminato sara piu lumi- nosa che piu s'a"uicina alia causa che 1'allumina; adunque g e I2piu oscuro che c per tato quato la linia d g e piu lunga che la linia ^d c e per la conclusione che tali gradi di chiarezza o vo' dire di oscurita no sol I4so 4, ma infinitamete si possono inmaginare, perche c d e quatita cotinva OF PAINTING: OF THE DARKNESS OF THE SHADOWS, OR I MAY SAY, THE BRIGHTNESS^ OF THE LIGHTS. Although practical painters attribute to all shaded objects — trees, fields, hair, beards and skin — four degrees of darkness in each colour they use: that is to say first a dark foundation, secondly a spot of colour somewhat resembling the form of the details, thirdly a somewhat brighter and more defined portion, fourthly the lights which are more conspicuous than other parts of the figure; still to me it appears that these gradations are infinite upon a continuous surface which is in itself infini- tely divisible, and I prove it thus: — [7] Let a g be a continuous surface and let 'd be the light which illuminates it; I say — by the 4th [proposition] which says that that side of an illuminated body is most highly lighted which is nearest to the source of light — that therefore g must be darker than c in proportion as the line d g is longer than the line d c, and consequently that these gradations of light — or rather of shadow, are not 4 only, but 348. 2. pratichi . . infusscate. 3. eppelli . . sorte chiareze . . coe. 4. osscura. 5. parte 3* una . . alte parte. 6. ame. 7. chon- tinua. 8. q'Vtita . . chella. n. chellalumina . . g he. 12. piu [chia] osscuro . . lungha chella. 13. chettali . . ciarera osscurita. 14. possano. 16. delle "lugeze ce anno le" linie chessasteda . . ettal. 17/ecquella . . lungeze. 18. chessastendano 548. 7. See PI. XXXI. No. I; the two upper sketches. 549- 550] ON LIGHT AND SHADE. 277 J5e ogni quatita continua e diuisibile in ifinito, adunque infinite .son le ual6rieta delle lughezze, che anno le linie che s' asteda dal luminoso allo alluminato He tal fia J7la proportione delli lumi quale e quella delle lunghezze delle linie infra loro, I8che s'asten- dono dal centro del luminoso alle parti d'esso obbietto alluminato. may be conceived of as infinite, because cd is a continuous surface and every contin- uous surface is infinitely divisible; hence the varieties in the length of lines extending between the light and the illuminated object are infinite, and the proportion of the light will be the same as that of the length of the lines between them; extending from the centre of the luminous body to the surface of the illuminated object. A. 23*] 549. COME IL PICTORE SI DEBBE ACCOCIARE AL LUME • COL SUO RILIEUO. 2 a • b • sia la finestra, • m • sia • il punto del lume •, dico che in qualunque • parte il pittore • si stia-, ch'elli stara 3 bene • pure • che HOW THE PAINTER MUST PLACE HIMSELF WITH REFERENCE TO THE LIGHT, TO GIVE THE EFFECT OF RELIEF. Let a b be the window, m the point of light. I say that on whichever side the painter places himself he will be well placed On the choice of light for a P ochio • sia • infra • la parte onbrosa • e la luminosa • del corpo • che si ritrae •, il quale • loco tro^verai •, ponendoti • infra '1 punto • m • e la • diuisione che fa • P onbra • dal lume • sopra il corpo ritratto. •if only his eye is between the shaded and the illuminated portions of the object he is drawing; and this place you will find by putting yourself between the point m and the division between the shadow and the light on the object to be drawn. Ash. I. 14 a] 550. COME • L' OBRE • FATTE DA LUMI PARTICULARI 2 SI DEONO FUGIRE PERCHE SONO I LORO I FINI SIMILI A PRICIPI. sL'onbre, fattedal sole o altri lumi par- ticulari •, sono seza gratia del coHpo • che da quella e accopagniato, Tperocche cofusa- mete lascia le parti s diuise cd euidete ter- mine d'obra da lume, e Pobre sono di pari pote6tia nel' ultimo che nel pricipio. THAT SHADOWS CAST BY A PARTICULAR LIGHT SHOULD BE AVOIDED, BECAUSE THEY ARE EQUALLY STRONG AT THE ENDS AND AT THE BEGINNING. The shadows cast by the sun or any other particular light have not a pleasing effect on the body to which they belong, because the parts remain confuse, being divi- ded by distinct outlines of light and shade. And the shadows are of equal strength at the end and at the beginning. . . parte. At the beginning of the text the following is written on the -margin in five short lines: dello oscurita delle obre ouoi dire ciareze de lumi. 549. i. chome . . achociare .. . chol. 2. finesstra . . dicho . . sisstia. 3. chellochio . ella . chorpo chessi . . locho. 4. ella . . cheffa . . chorpo ritracto. 55°- 3- chor. 4. dacquella eachopagniato . . lasscia le parte 278 THE PRACTICE OF PAINTING. [551- 552- Ash. I. 2t\ 551- COME SI DEBE DARE LUME • ALLE • FIGURE. HOW LIGHT SHOULD HE THROWN UPON FIGURES. 2 II lume • debe • essere usato • secodo che darebbe il natural sito • dove 3 fingi • essere la tua • figura, cioe se la • flgi al sole • fa 1'onbre oscure 4e gra piazze di lumi • e stapi 1'obre e di tutti i circustati corpi le loro obre sin terra; E se la figuri j tri- sto tepo, fa poca differentia da lumi a obra, 6 e sanza fare alcuna altr' obra ai piedi, E se la figuri I casa, fa gra Miffereza ^a ^um* al'obre e obra per terra, e se vi figuri finestra Ipanata 8e abitatione biaca, poca differeza da lumi a obre; E se ell'e alumi- nata 9 da foco, farai i lumi rosseggiati e poteti, e scure 1' obre, e '1 battimeto del' obre 10 per li muri o per terra sia terminate, e quato piu s'alotana dal corpo Ir-piv si fa- ccia, aplo e magno; E se fusse alluminata parte dal foco I2e parte dall'aria • che quello dell'aria sia piu potete e quello del foco '•5 sia quasi rosso, a similitudine di foco •, E sopra tutto fa- che le tue figure 14dipite abbiano il lume grade e da alto •, cioe quel vivo che tu ritrai, 'SJperoche le persone che tu • vedi per le strade tutte anno il lume di sopra e sapl6pi che non e si gran tuo conosciete • che dadoli i lume di sotto che tu no ^durassi fatica a riconoscerlo. The light must be arranged in accor- dance with the natural conditions under which you wish to represent your figures: that is, if you represent them in the sunshine make the shadows dark with large spaces of light, and mark their shadows and those of all the surrounding objects strongly on the ground. And if you represent them as in dull weather give little difference of light and shade, without any shadows at their feet. If you represent them as within doors, make a strong difference between the lights and shadows, with shadows on the ground. If the window is screened and the walls white, there will be little difference of light. If it is lighted by firelight make the high lights ruddy and strong, and the shadows dark, and those cast on the walls and on the floor will be clearly defined and the farther they are from the body the broader and longer will they be. If the light is partly from the fire and partly from the outer day, that of day will be the stronger and that of the fire almost as red as fire itself. Above all see that the figures you paint are broadly lighted and from above r that is to say all living persons that you paint; for you will see that all the people you meet out in the street are lighted from above, and you must know that if you saw your most intimate friend with a light [on his face] from below you would find if difficult to recognise him. Ash. I. i4«] 552. DEL DARE CON ARTIFIZIOSI LUMI E OBRE 2AIVTO AL FINTO RILIEUO DELLA PITTURA. 3 Nell' aumetare • la pittura nel suo • rili- euo vserai fare • infra la finta figura « e quella • cosa • visiua, che ricieve la sua • obra, • vna linea di chiaro lume che diuida sia figura dal oscurato • obietto, e nel medesimo • obietto farai 6 2 parti chiare che mettino OF HELPING THE APPARENT RELIEF OF A PIC- TURE BY GIVING IT ARTIFICIAL LIGHT AND SHADE. To increase relief of a picture you may place, between your figure and the solid object on which its shadow falls, a line of bright light, dividing the figure from the object in shadow. And on the same object you shall represent two light parts which will surround the shadow cast upon the wall 551. i. ilume. 2. jlume . . darebe. 4. piaze . . stapisci lobre di. 5. pocha diferentia. 6. essella. 7. difereza tera esse . . Ipanata. 8. difereza Esse elle. 9. rosegiati. 10. ecquato. n. facia apla e magnia Esse. 12. foco. 13. assimilitudine . . tuto fa chellc. 14. abino . . chettu. 15. chettu . . ano i lume . . essa. 16. chettu. 17. faticha a richonoscerlo. 55». 3. Dellaumetare . . infralla. 4. ciaro. 5. farai [chiaro dopo]. 6. imezo. 7. chettu . . chessi. 8. chorpo e massimo . . lebr 552. 6. Compare the two diagrams under No. 565. 553- 554-] ON LIGHT AND SHADE. 279 in mezzo 1' ombra fatta • nel mvro della cotra- 7posta figura; e vsa spesso fare quelle mebra, che tu voi che si partino 8alquato dal loro corpo e massime quado le braccia intraversano il petto, di 9 fare che Ifra '1 battimeto dell'obra del braccio sul petto e la propria I06bra del braccio • resti • alquato di lume che paia che passi infra lo spatio ch'e "infra '1 petto e '1 braccio, e quado tu voi che '1 braccio paia piv distate dal 12 petto tato piv fa detto • lume maggiore, e senpre fa che tu t'Igiegni ^d'accomodare i corpi • in capi che la parte d' essi corpi ch'e oscura T* termini in capo chiaro •, e la parte del corpo aluminata termini I J5 capo • scuro. by the figure placed opposite [6]; and do this frequently with the limbs which you wish should stand out somewhat from the body they belong to; particularly when the arms cross the front of the breast show, between the shadow cast by the arms on the breast and the shadow on the arms themselves, a little light seeming to fall through a space between the breast and the arms; and the more you wish the arm to look detached from the breast the broader you must make the light; always contrive also to arrange the figures against the background in such a' way as that the parts in shadow are against a light background and the illuminated portions against a dark background. 33*] 553- DE SITUATIONS. 2Ricordati del situare le figure, perche altro e lume e onbra, se 4vna cosa emu loco scuro s co lume particulare, altro 6vna cosa in loco • chiaro co ? lume particular del sole, 8 altro vna cosa in loco scu^ro co lume vniversale della I0sera o di tepo nvoloso, "e altro il lume vniversale I2del- 1'aria alluminata dal sole. OF SITUATION. Remember [to note] the situation of your figures; for the light and shade will be one thing if the object is in a dark place with a particular light, and another thing if it is in a light place with direct sunlight; one thing in a dark place with' a diffused evening light or a cloudy sky, and another in the diffused light of the atmosphere lighted by the sun. G. iga] 554- DEL GIUDITIO CHE AI A FARE SOPRA VN OPERA 2D'J PITTORE. sPrima e che tu cosideri le figure s'el- 1'anno 4il rilievo qual richiede il sito e '1 lume che 5le allumina; che 1'onbre no sie quel medesi6mo nelli stremi della storia che nel mezzo, 7 perche altra cosa e 1'essere circundato dalle 8 ombre, e altro e lo aver le obre da vn sol lato; 9 quelle so circu- date dalFobre che sono inI0verso il mezzo della storia, perche sono ao^brate dalle figure interposte • fra loro 12e '1 lume; E quelle sono aobrate da vn sol ^lato, le quali sono interposte infra lume e I4la storia, perche dove no vedono il lume vedono *sla storia e ui si rappreseta la scurita d' essa stol6ria, e dove no vedono la storia vedono lo sple^dore del lume, e ui si rappresenta la sua chil8arezza. OF THE JUDGMENT TO BE MADE OF A PAIN- TER'S WORK. First you must consider whether the figures have the relief required by their situation and the light which illuminates them; for the shadows should not be the same at the ex- treme ends of the composition as in the middle, because it is one thing when figures are surrounded by shadows and another when they have shadows only on one side. Those which are in the middle of the picture are surrounded by shadows, because they are shaded by the figures which stand between them and the light. And those are lighted on one side only which stand between the principal group and the light, because where they do not look towards the light they face the group and the darkness of the group is thrown on them : and where they do not face the group they face the brilliant light and it is their own darkness shadowing them, which appears there. . . ella. 10. del br . . pai. n. quato . . bracio. 12. magiore essenpre fa chettu. 13. dachomodare . . chapi . . osscura. 14. chapo . . ella. 15. capo chiaro. 553- T — 12 R. 3. altre lume "e onbra" vise. 4; cosa enu loco s[p]curo. 5. particular! altr. 8. illoco dal. 280 THE PRACTICE OF PAINTING. [555—557- '^Secodaria e che '1 seminameto 20over copartitione delle figure sie copar2Itite se- codo il caso nel quale tu vuoi che 22sia essa storia; Terza che le figure sieno 23co protitudine intete al lor particulare. In the second place observe the distri- bution or arrangement of figures, and whether they are distributed appropriately to the cir- cumstances of the story. Thirdly, whether the figures are actively intent on their particular business. Ash. I. 7/i] 555- DEL DARE i LUMI. 2 Da prima una obra vniversale • per tutta la parte cotenete che no uede il lume, 3poi li da obre mezzane e le principali a para- gone • Puna- dell'altra-, «e cosl da il lume cotenete di mezzano • lume, dadoli poi i mezzi e prlcipali Ssimilmete a paragone. OF THE TREATMENT OF THE LIGHTS. First give a general shadow to the whole of that extended part 'which is away from the light. Then put in the half shadows and the strong shadows , comparing them with each other and, in the same way give the extended light in half tint, afterwards adding the half lights and the high lights, likewise comparing them together. G. ii t] 556. DE' OBRA NE'CORPI. Th button o 2 Quando figuri le obre oscure nelli cor- - 3pj obrosi, figura senpre la causa di ta*le f f o ligshade d °scurita, e '1 simile farai de' reflesSsi, perche (556—559)- le obre oscure nascono da 6scuri obbietti e li reflessi da obbi7etti di piceola chiarezza, cioe da lumi di8minuiti; E tal proportione e 9dalla parte alluminata de' corpi alia 10 parte rischiarata dal reflesso qua"le e dalla causa del lume d'essi corI2pi alia causa di tale reflesso. OF SHADOWS ON BODIES. When you represent the dark shadows in bodies in light and shade, always show the cause of the shadow, and the same with reflections; because the dark shadows are produced by dark objects and the reflections by objects only moderately lighted, that is with diminished light. And there is the same proportion between the highly lighted part of a body and the part lighted by a reflection as between the origin of the lights on the body and the origin of the reflec- tions. Ash. I. 190] 557- DE' LUMI E OBRE. 2 Ogni parte del corpo e ogni minima particula • che si truoua • avere alquato di rilievo 3 io ti ricordo • che guardi a darli i prlcipali del' obre e de' lumi. OF LIGHTS AND SHADOWS. I must remind you to take care that every portion of a body, and every -smallest detail which is ever so little in relief, must be given its proper importance as to light and shade. 554. i — 23 R. 3. guditio . . affare. 3. chettu . . sellanno. 7. ellessere. 9. chessono. io. mezo. n. fralloro. 12. Ecquelle. 13. lume el. 15. lostoria . . rapreseta lasscurita. 17. rapresenta. 18. areza. 19. Secodaria he chel. 22. chelle. 555- 2- prima i obra . . chotenete. 3. mezane elle. 4. echesi . . chotenete di mezano . . mezi. 556. i— 12 R. 2. osscure. 4. osscurita . . refres. 5. nassca das. 6. elli refressi. 7. pichola chiareza coe. 8. Ettal . . eda. io. alia parte risciarata dal refresso. 12. refresso. 557. 2. de chorpo . . partichula chessi. 3. richordo. 558-560.] ON LIGHT AND SHADE. 28l Ash. I. 123] V MODO DEL FARE ALLE FIGURE 2 L' OMBRA COPAGNIA DEL LUME E DEL CORPO. 558- 3 Quado fai una figura • e tu vogli vedere se 1' onbra e copagnia del lume, 4 ch' ella no sia o piv • rossa o gialla che si sia la natura dell'essere del coloSre che tu volli aobrar-, farai cosl : fa obra col tuo dito 6 sopra la parte alluminata e se 1' obra accidental e da te fatta fia simple al'obra naturale fatta dal dito sopra la tua opera, stara bene, 8 e puoi col dito piv presso o piv • lotano fare obre piv scure o piv ^chiare-, le quali sepre paragona colla • tua. OF THE WAY TO MAKE THE SHADOW ON FIGURES CORRESPOND TO THE LIGHT AND TO [THE COLOUR] OF THE BODY. When you draw a figure and you wish to see whether the shadow is the pro- per complement to the light, and neither redder nor yellower than is the nature of the colour you wish to represent in shade, proceed thus. Cast a shadow with your finger on the illuminated portion, and if the ac- cidental shadow that you have made is like the natural shadow cast by your finger on your work, well and good; and by putting your finger nearer or farther off, you can make darker or lighter shadows, which you must compare with your own. Ash. I. 559- DEL CIRCUDARE I CORPI 2CO VARI LINIAMETI D'OBRA. 3 Fa • che senpre • 1' ombre •, fatte sopra la superfitie de' corpi da uarii obiecti, 4Vsino • ondeggiare co uari torcimeti mediate la .. , , , _, , r 1,1 vaneta de mebra Scbe fanno 1 onbre -, e della cosa • che ricieve essa obra. OF SURROUNDING BODIES BY VARIOUS FORMS OF SHADOW. Take care that the shadows cast upon the surface of the bodies by different objects must ^^f. *K*J?Wg to the various curves of the limbs which cast the shadows, and of the objects on which they ^ cast. Ash. I. 29 6} 560. DE PICTURA. ON PAINTING. 2 1 vari paragoni delle uarie qualita d'obre e lumi fanno spesse 3 volte [parere] anbiguo e cofuso al pittore, che vole imitare e cotrafare le cose, 4che uede; la ragion si e Questa: se tu vedi vn panno biaco a parte 5vn nero-, cierto • quella • parte • d'esso pano biaco che cofinera • col ne6ro • apparira molto • piv Candida • che quella che cofina- si co maggi7or biachezza •, e la ragio di questo • si prova • nella • mia • prospettiva. The comparison of the various qualities The. Juxta; i ,. • i position of of shadows and lights not infrequently seems light and ambiguous and confused to the painter who (560^561). 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. [7] And the reason of this is shown in my [book on] perspective. cholo. 5. chettu . . chol. 6. esse . . datte. 8. e poi chol. 558. 2. delume. 3. fai i figura . ettu. 4. chela . . chessi 9. laquali. 559- i. circhudare i chorpi. 2. fa chessenpre . . chorpi . . obiecti. 4. ondegiare. 5. cheffano . . chosa. 560. 2. parachoni . . fano. 3. volte [parere] anbiguo e chofuso . . chotrafare. 4. e uede . . settu . . biacho apare. 5. vnero . . biacho che chofinera . chol. 6. chandida . . quela che chofinassi cho. 7. or biacheza . ella. 560. 7. It is evident from this that so early as in H92 Leonardo's writing in perspective was so far ad- VOL. I. vanced that he could quote his own statements. — As bearing on this subject compare what is said in No. 280. NN 282 THE PRACTICE OF PAINTING. [561-563. Ash. I. 561. DEL' OBRA. * Doue • Pobra cofina • co lume abbi ^rispetto dov' e piv chiara o scura e do4v'ella e piv • o me fumosa luerso luSme, e sopra tutto • ti ricordo che ne' 6giovani tu non facci P onbre terminate come • fa la pietra, perche la came 8tiene vn poco del trasparete, come 9 si uede a guardare in una mano che I0sia posta fra Pochio lle '1 sole, che si vede "rosseggiare • e trasparere luminosa; *3et la parte piv colorita • metterai x* infra i lumi e Pobre-, e se tu voli 'Svedere che obra si richiede alia tua l6carne faraivi su un obra • col tuo '7dito •, e secodo che la • vuoi piv chiara I8o scura • tieni il tuo dito piv • presso o lota'^no dalla • tua pittura e quella co- trafa. 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] youth- ful 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]. E. 4*] 562. On the DE' CAPI DELLE FIGURE DE* 2-CORPI DIPINTI. OF THE BACKGROUNDS FOR PAINTED FIGURES. 3 II canpo, che circuda le figure di qua- 4lunque cosa dipinta, debbe essere piv os- Scuro che la parte allumina6ta d'esse figure (562-565). e piu chiaro che la loro 7 parte obrosa ecc. 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. Ash. I. 4 a] 563- CHE CAPO DEBE VSARE IL PITTORE 2ALLE SUA OPERE. sPoiche per isperietia si vede che tutti i corp4i sono • circondati • da obra e lume 5 vuolsi che tu pittore • accomodi •, che quella parte ch'e alluminata 6 termini I cosa oscura, • e cosi la parte del . corpo • aombrata • ter- mini 7 in cosa • chiara- E questa • regola • dark grade avmeto a rilevare 8 le tue figure. 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 ne- cessary that you, O Painter, should so ar- range 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. 561. 2. cho fina cho . . abi. 3. schura. 5. richordo. 7. chome. 8. pocho . . chome. n. chesst. 12. rosscgiarc . ettras- parere. 13. cholorita. 14. ellobre . essettu. 16. charne . . chol. 17. cssechodo . . voi. 18. osschura . . il duo . . presso alota. 19. quela chotrafa. 56a. i. chapi . . fighure. a. chorpi dipincti. 3. circhii le fighure di qual. 4. luche chosa. 5. schuro che [el lume dellej. 6. fighure . . chella. 7. obrosa. 563. i. chapo. 2. ale. 3. perrisperictia . . chettutti i chorp. 4. circhondati . . ellume. 5. chettu pitore . achomodi. 6. osschura e chosi . chorpo. 7. chosa . . Ecquesta. 564—566.] ON LIGHT AND SHADE. 283 G. 23 6} Principalissima parte della pittura son 2li campi deile cose dipinte; nelli qua^li campi li termini delli corpi naturali *che anno in lor curvita convessa senpre 5si conoscono, e le figure di tali corpi in essi 6 campi, ancorache li colori de' corpi sieno 7 del medesimo colore del predetto campo, e 8questo nascie che li termini couessi de' 9 corpi non sono alluminati nel medesimo I0modo, che dal medesimo lume e allumi- nato "il campo, perche tal termine molte volte sara I2 piu chiaro o piu oscuro che esso campo; ^Ma se tal termine e del colore di tal cam^po, sanza dubbio tal parte di pittura proibira I5la notizia della figura di tal termine; I6e questa tale ele- tione di pittura e da esI7sere schivata dalli ingiegni de' buoni pictori, l8concio- siache la intentione del pictore e di 19 fare parere li sua corpi di qua dai cam- pi, 20e in nel sopra detto caso accade il contrario 2Ino che in pictura, ma nelle cose di rilieuo. A most important part of painting con- sists in the backgrounds of the objects re- presented; against these backgrounds the outlines of those natural objects which are convex are always visible, and also the forms of these bodies against the back- ground, even though the colours of the bo- dies 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 back- ground. But if the edge is of the same co- lour as the background, beyond a doubt it will in that part of the picture inter- fere 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 de- tached from the background; while in the case here described the contrary occurs, not only in the picture, but in the objects themselves. Ash. I. I9a] 2 Come si debbe nelle cose •, che sono sopra • 1'ochio 2et daccato -, le quali • tu uoli • che parino • di- scoste 3 dal mvro — fare tra 1'obra originale e 1'onbra di+rivativa uno lume I mezzo, e parra la cosa di- spiccata dal mvro. 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 sha- dow on the object and the shadow it casts a middle light, so thatthe body will appear to stand away from the wall. Ash. I. 15 566. COME I CORPI BIACHI SI DEONO FIGURARE. 2 Se figurerai uno corpo • biaco esso sia circudato • da molt' aria, perche 3il biaco- non a da se • colore • ma si tignie e tras- mvta I parte del colore •, che li e per obi- How WHITE BODIES SHOULD BE REPRESENTED. If you are representing a white body let lig^"^geof it be surrounded by ample space, because %*£* as white has no colour of its own, it is tinged and altered in some degree by the colour of the objects surrounding it. If you see 564- 2- chanpi delle chose dipincte. 3. chanpi . . chorpi. 4. chonvessa. 5. chognosschano le . . chorpi. 6. chanpi anchora chelli cholori de chorpi. 7. cholore del predecto chanpo ec. 8. quessto nasscie chelli. 9. chorpi. n. chanpo. 12. oppiu osschuro . . chanpo. 13. Massettal . . cholore . . chan. 15. fighura. 16. ecquessta . . pictura he. 17. scitata. 18. chon- ciossia chella . - eddi. 19. chorpi . . da canpi. 20. decto chaso achade il chontrario. 21. chose. 565. i. chome . . chose chessono. 2. dachato . . tuuuoli . . di sschasto. 3. almvro . . ellonbra. 4. rivativa 5 lume Imezo e para la chosa dispichata. 566. 2. figurerai 1 corpo biaco circhudato. 3. dasse coloreassi tignie frasmuta. 4. se vederai * dona [avere il f ] vestita. 5. biacho infrana . . quela. 6. imodo . . cornel. 7. cheffia. 8. razi. 9. azura . . dona . . pa. 10. azurro se nela . . tera visina. 284 THE PRACTICE OF PAINTING. etto: se vedrai una donna vestita sdi biaco • Ifra una capagnia -, quella parte di lei che fia veduta 6 dal sole • il suo colore fia chiaro, in modo che dara 1 parte come ?il sole noia • alia vista • e quella • parte che fia veduta dalla 8aria luminosa per li razzi del sole, tessuti e penetrati Ifra essa, sperche 1'aria I se e azzurra •, la parte della dona uista da delta aria parI0ra pedere in azzurro; se nella superfitie della terra uicina • fia "prati, • e che la donna si truovi infra '1 prato alluminato dal sole I2e esso sole, vedrai tutte le parti d'esse pieghe, che posso^no essere uiste dal prato, tingersi per razzi reflessi in nel colore d'esso '4 prato, e cosl si ua trasmvtado in e' colori de' luminosi e no lumino'Ssi obietti vicini. a woman dressed in white in the midst of a landscape, that side which is towards the sun is bright in colour, so much so that in some portions it will dazzle the eyes like the sun itself; and the side which is towards the atmosphere, — luminous through being interwoven with the sun's rays and penetrated by them — since the atmosphere itself is blue, that side of the woman's figure will appear steeped in blue. If the surface of the ground about her be meadows and if she be standing between a field lighted up by the sun and the sun itself, you will see every portion of those folds which are towards the meadow tinged by the reflected rays with the colour of that meadow. Thus the white is transmuted into the colours of the luminous and of the non- luminous objects near it. Ash. I. PERCHE i VOLTI DI LOTANO PAIONO OSCURI. WHY FACES [SEEN] AT A DISTANCE LOOK DARK. (567-57°)- 2Noi- vediamo- chiaro che tutte le simi- litudini delle • cose evideti, 3 che ci sono • per obietto cosl gradi come piccole, entrano al seso per la piccola luce 4 dell' occhio ; se per si piccola etrata passa la similitudinc della gradezz adel cielo s e della terra-, essedo il uolto dell'omo Ifra si gra similitudini di cose • quasi niete per 6la lotanita che lo diminviscie, quasi occupa si poco d'essa luce che rimane Icopresi7bile •, e avedo a passare dalla superfitie alia Ipressiua • per uno mezzo oscuro, cioe il ne8rvo voto che pare oscuro -, quella spetie, no sedo di colore potete, si tignie in quella oscurita della via, e givta alia Ipressiua pare oscura: altra cagione no si I0puo in nessu modo • allegare, se quel puto e nero che sta nella luce • lo e, perch'elli e pieno d'uno "omore traparete a vso d'aria e fa 1'ufitio che farebbe uno buso fatto in vna asse, e a ri- I2guardarlo pare nero, e le cose viste • per 1'aria chiara e scura si cofvdono nella oscurita. PERCHE- L' OMO • VISTO A CIERTA DISTATIA NON E CONOSCIVTO. ^Laprospettiva-diminvitiua ci dimostra- che quato-la cosa- e piv lotana J5piv si fa piccola, e se tu riguarderai uno uomo che We see quite plainly that all the images of visible objects that lie before us, whether large or small, reach our sense by the mi- nute aperture of the eye; and if, through so small a passage the image can pass of the vast extent of sky and earth, the face of a man — being by comparison with such large images almost nothing by reason of the dis- tance which diminishes it, — fills up so little of the eye that it is indistinguishable. Hav- ing, also, to be transmitted from the sur- face to the sense through a dark medium, that is to say the crystalline lens which looks dark, this image, not being strong in colour becomes affected by this darkness on its passage, and on reaching the sense it ap- pears dark; no other reason can in any way be assigned. If the point in the eye is black, it is because it is full of a transparent humour as clear as air and acts like a perforation in a board; on looking into it it appears dark and the ob- jects seen through the bright air and a dark one become confused in this darkness. WHY A MAN SEEN AT A CERTAIN DISTANCE IS NOT RECOGNISABLE. The perspective of diminution shows us that the farther away an object is the smaller it looks. If you look at a man at a dis- ii. chella dona . . aluminato. 12. vcclcrai tutte (e dc sono] le . . pieche che possa. 13. no esse . . tigniera per razi ref- ressi nel ch olore. 14. cholori. 567. i. pajano. 2. chettutte le similitudine. 3. grade . . pichnla . . piciola. 4. picola . . dela. 5. dela tera . . chose. 6. chello . . ocupa . . poca . . ichopresi. 7. per I mezo. 8. quelle . . inque. 10. po inesu . . alcgare . . luce . e percheli. ii. effa . . farelie i buso fatto nonase. 12. elle . . ch\ff\ . • cofode nela. 13. none. 14. chosa. 15. pichola es-e . . 2. elle . . chi^x . . 568. 569.] ON AERIAL PERSPECTIVE. 285 sia distate da te-vna balel6strata, e porraiti la finestra d' una • piccola agucchia apresso • al' ochio -, potrai veI7dere per quella molti omini madare le lor similitudini • all' ochio, e in Q medesimo l8tepo tutte capirano I detta • finestra • ; aduque se 1' omo lotano una balestra^ta mada la sua similitudine all' ochio, che occupa una piccola parte d' una fine20stra d' agucchia, come • potrai tu in si piccola figura scorgere o vedere il naso 21 o bocca o alcuna particula d'esso corpo, e no uededosi no potrai "conosciere 1'omo che no mostra le mebra, le quali fanno li omini di diuerse forme. tance from you of an arrow's flight, and hold the eye of a small needle close to your own eye, you can see through it several men whose images are transmitted to the eye and will all be comprised within the size of the needle's eye; hence, if the man who is at the distance of an arrow's flight can send his whole image to your eye, occupying only a small space in the needle's eye how can you [expect] in so small a figure to distinguish or see the nose or mouth or any detail of his person? and, not seeing these you cannot recog- nise the man, since these features, which he does not show, are what give men different aspects. Ash. I. 4