The Notebooks of Leonardo Da Vinci, Leonardo Da Vinci [interesting novels to read TXT] 📗

d’equal grandeza quella si dimostra di minor figura che sara pi� distante dall’ ochio.—]

 

96.

 

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].

 

97.

 

PERSPECTIVE.

Among objects of equal size, that which is most remote from the eye will look the smallest.

 

98.

 

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.

DEFINITION.

This proposition can be proved by experiment. 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.

The apparent size of objects defined by calculation (99-105)

 

99.

 

OF LINEAR PERSPECTIVE.

Linear Perspective deals with the action of the lines of sight, in proving by measurement how much smaller is a second object than the first, and how much the 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 braccia figures of equal size will lose 2/4 and at 40 braccia they will lose 9/10, and 19/20 at 60 braccia, 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 difference between the first braccia and the second.

[Footnote: This chapter is included in DUFRESNE’S and MANZI’S editions of the Treatise on Painting. H. LUDWIG, in his commentary, calls this chapter “eines der wichtigsten im ganzen Tractat“, but at the same time he asserts that its substance has been so completely disfigured in the best MS. 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 appear that Leonardo corrected himself on these points.]

 

100.

 

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 3/4 of its height at that plane; and if it is 8 braccia from the eye, to 7/8; and if it is 16 braccia off, it will diminish to 15/16 of its height and so on by degrees, as the space doubles the diminution will double.

 

101.

 

Begin from the line m f with the eye below; then go up and do the same with the line n f, then with the eye above and close to the 2 gauges on the ground look at m n; then as c m is to m n so will n m be to n s.

If a n goes 3 times into f b, m p will do the same into p g. Then go backwards so far as that c d goes twice into a n and p g will be equal to g h. And m p will go into h p as often as d c into o p.

[Footnote: The first three lines are unfortunately very obscure.]

 

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 found my rule on spaces of 20 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 1st, 2nd, 3rd, 4th, 5th; and has affixed a name to each degree in raising or lowering the voice.

 

103.

 

PERSPECTIVE.

Let f be the level and distance of the eye; and a the vertical plane, as high as a man; let e be a man, then I say that on the plane this will be the distance from the plane to the 2nd man.

 

104.

 

The differences in the diminution of objects of equal size in consequence of their various remoteness from the eye will bear among themselves the same proportions as those of the spaces between the eye and the different objects.

Find out how much a man diminishes at a certain distance and what its length is; and then at twice that distance and at 3 times, and so make your general rule.

 

105.

 

The eye cannot judge where an object high up ought to descend.

 

106.

 

PERSPECTIVE.

If two similar and equal objects are placed one beyond the other at a given distance the difference in their size will appear greater in proportion as they are nearer to the eye that sees them. And conversely there will seem to be less difference in their size in proportion as they are remote from the eve.

This is proved by the proportions of their distances among themselves; 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 proportion: since, if the first is at 1 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 101; and the converse is equally true. And again, the same thing is proved by the 4th of this book which shows that among objects that are equal, there is the same proportion in the diminution of the size as in the increase in the distance from the eye of the spectator.

On natural perspective (107—109).

 

107.

 

OF EQUAL OBJECTS THE MOST REMOTE LOOK THE SMALLEST.

The practice of perspective may be divided into … parts [Footnote 4: in … parte. The space for the number is left blank in the original.], 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 every portion of it, influenced by natural perspective 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 figured 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 e, that is the circles a b c. Now you see that the eye h sees on the vertical plane the sections of the images, largest of those that are farthest and smallest of the nearest.

 

108.

 

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

Natural perspective acts in a contrary way; for, at greater distances the object seen appears smaller, and at a smaller distance the object appears larger. But this said invention requires the spectator to stand with his eye at a small hole and then, at that small hole, it will be very plain. But since many (men’s) eyes endeavour at the same time to see one and the same picture produced by this artifice only one can see clearly the effect of this perspective and all the others will see confusion. It is well therefore to avoid such complex perspective and hold to simple perspective which does not regard planes as foreshortened, but as much as possible in their proper form. This simple perspective, in which the plane intersects the pyramids by which the images are conveyed to the eye at an equal distance from the eye is our constant experience, from the curved form of the pupil of the eye on which the pyramids are intersected at an equal distance from the visual virtue.

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

 

109.

 

OF A MIXTURE OF NATURAL AND ARTIFICIAL PERSPECTIVE.

This diagram distinguishes natural from artificial perspective. But before proceeding any farther I will define what is natural and what is artificial perspective. Natural perspective says that the more remote of a series of objects of equal size will look the smaller, and conversely, the nearer will look the larger and the apparent size will diminish in proportion to the distance. But in artificial perspective when objects of unequal size are placed at various distances, the smallest is nearer to the eye than the largest and the greatest distance looks as though it were the least of all; and the cause of this is the plane on which the objects are represented; and which is at unequal distances from the eye throughout its length. And this diminution of