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

images in the eye and the distance from them of the crystalline lens.

 

23.

 

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.

 

24.

 

ON PAINTING.

Variability of the eye.

1st. The pupil of the eye contracts, in proportion to the increase of light which is reflected in it. 2nd. The pupil of the eye expands in proportion to the diminution in the day light, or any other light, that is reflected in it. 3rd. [Footnote: 8. The subject of this third proposition we find fully discussed in MS. G. 44a.]. The eye perceives and recognises the objects of its vision with greater intensity in proportion as the pupil is more widely dilated; and this can be proved by the case of nocturnal animals, such as cats, and certain birds—as the owl and others—in which the pupil varies in a high degree from large to small, &c., when in the dark or in the light. 4th. The eye [out of doors] in an illuminated atmosphere sees darkness behind the windows of houses which [nevertheless] are light. 5th. All colours when placed in the shade appear of an equal degree of darkness, among themselves. 6th. But all colours when placed in a full light, never vary from their true and essential hue.

 

25.

 

OF THE EYE.

Focus of sight.

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 object can never be seen perfectly unless the space between it and the eye is equal, at least, to the length of the face.

Differences of perception by one eye and by both eyes (26-29).

 

26.

 

OF THE EYE.

When both eyes direct the pyramid of sight to an object, that object becomes clearly seen and comprehended by the eyes.

 

27.

 

Objects seen by one and the same eye appear sometimes large, and sometimes small.

 

28.

 

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.

 

29.

 

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 b, 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?

[Footnote: 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.]

 

30.

 

The comparative size of the image depends on the amount of light

(30-39).

 

The eye will hold and retain in itself the image of a luminous body better than that of a shaded object. The reason is that the eye is in itself perfectly dark and since two things that are alike cannot be distinguished, 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.

 

31.

 

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.

 

32.

 

The pupil which is largest will see objects 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.

[Footnote: 9. buso in the Lomb. dialect is the same as buco.]

 

33.

 

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 luminous 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.

 

34.

 

Why when the eye has just seen the light, does the half light look dark to it, and in the same way if it turns from the darkness the half light look very bright?

 

35.

 

ON PAINTING.

If the eye, when [out of doors] in the luminous atmosphere, sees a place in shadow, this will look very much darker than it really is. This happens only because the eye when out in the air contracts the pupil in proportion 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 because the greater the darkness into which the pupil goes the more its size increases, and this increase makes the darkness seem less.

[Footnote 14: La luce entrer�. Luce occurs here in the sense of pupil of the eye as in no 51: C. A. 84b; 245a; I—5; and in many other places.]

 

36.

 

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.

 

37.

 

Experiment [showing] the dilatation and contraction of the pupil, from the motion of the sun and other luminaries. In proportion as the sky is darker the stars appear of larger size, and if you were to light up the medium these stars would look smaller; and this difference arises solely from the pupil which dilates and contracts with the amount of light in the medium which is interposed between the eye 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.

[Footnote: No reference is made in the text to the letters on the accompanying diagram.]

 

38.

 

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 variations in any single object we may look at.

 

39.

 

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.

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 Painting; 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 explanations 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 much as this, at any rate, seems certain: that from