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

other a wall illuminated by the sun, which wall may be green or of any other colour, while the surface 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 illuminated wall, the third by the shadows. There will still be a portion which will take a tint from the colour of the edges.

 

268.

 

The surface of every opaque body is affected 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].

 

269.

 

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.

 

270.

 

OF THE RAYS WHICH CONVEY THROUGH THE AIR THE IMAGES OF OBJECTS.

All the minutest parts of the image intersect each other without interfering with 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 holes 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.

[Footnote: 13. This probably refers to the diagram given under No. 66.]

 

271.

 

OF PAINTING.

The surface of a body assumes in some degree the hue of those around it. The colours of illuminated objects are reflected from the surfaces of one to the other in various 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 e d e f, and it will give it a blue tinge, m is a yellow 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 transmitting 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.

Combination of different colours in cast shadows.

 

272.

 

That which casts the shadow does not face it, because the shadows are produced by the light which causes and surrounds the shadows. The shadow caused by the light e, 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 produced by the light d, which is blue, will be yellow at c, because the yellow light falls there and the surrounding background to these 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.

[Footnote: In the original diagram we find in the circle e “giallo” (yellow) and the cirle d “azurro” (blue) and also under the circle of shadow to the left “giallo” is written and under that to the right “azurro“.

In the second diagram where four circles are placed in a row we find written, beginning at the left hand, “giallo” (yellow), “azurro” (blue), “verde” (green), “rosso” (red).]

The effect of colours in the camera obscura (273-274).

 

273.

 

The edges of a colour(ed object) transmitted through a small hole are more conspicuous than the central portions.

The edges of the images, of whatever colour, which are transmitted through a small aperture into a dark chamber will always be stronger than the middle portions.

 

274.

 

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] intersect as they enter the pupil. As this does not happen such a mingling does not exist.

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 [proposition], 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.

On the colours of derived shadows (275. 276).

 

275.

 

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 e f; it will assume its hue. Let o be the source of h e which will in the same way be tinged by its hue and so also the colour of v h will be affected by p 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 shadowless [11]. 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 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 1/3 of the light from the window, that is c d. The third grade of shadow is h e, where two thirds of the light from the window is visible. The last grade of shadow is b d e f, because the highest grade of light from the window falls at f.

[Footnote: The diagram Pl. III, No. 1 belongs to this chapter as well as the text given in No. 148. Lines 7-11 (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.]

 

276.

 

OF THE COLOURS OF SIMPLE DERIVED SHADOWS.

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 s c t d 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 s c t d excepting at o p which is covered 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 s c t d excepting at the spot obscured 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 appear as a blue shadow on a red background tinted with blue, because on the surface s c t d 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 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 o’ p’ is blue being caused by the red light a b. Hence we say that the blue light in this instance causes a red derived shadow from the opaque body q’ r’, while the red light causes the same body to cast a blue derived shadow; but the primary shadow [on the dark side of the body itself] is not of either of those hues, but a mixture of red and blue.

The derived shadows will be equal in depth if they are produced by lights of equal strength and at an equal distance; this is proved. [Footnote 53: The text is unfinished in the original.]

[Footnote: In the original diagram Leonardo has written within the circle q r corpo 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