The Notebooks of Leonardo Da Vinci by Leonardo Da Vinci (moboreader txt) 📕

colours of the luminous and of the non-luminous objects near it.

The methods of aerial (567—570).

 

567.

 

WHY FACES [SEEN] AT A DISTANCE LOOK DARK.

We see quite plainly that all the images of visible objects that lie before us, whether large or small, reach our sense by the minute 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 distance which diminishes it,—fills up so little of the eye that it is indistinguishable. Having, also, to be transmitted from the surface 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 appears 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 objects 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 distance 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 recognise the man, since these features, which he does not show, are what give men different aspects.

 

568.

 

THE REASON WHY SMALL FIGURES SHOULD NOT BE MADE FINISHED.

I say that the reason that objects appear diminished in size is because they are remote from the eye; this being the case it is evident that there must be a great extent of atmosphere between the eye and the objects, and this air interferes with the distinctness of the forms of the object. Hence the minute details of these objects will be indistinguishable and unrecognisable. Therefore, O Painter, make your smaller figures merely indicated and not highly finished, otherwise you will produce effects the opposite to nature, your supreme guide. The object is small by reason of the great distance between it and the eye, this great distance is filled with air, that mass of air forms a dense body which intervenes and prevents the eye seeing the minute details of objects.

 

569.

 

Whenever a figure is placed at a considerable distance you lose first the distinctness of the smallest parts; while the larger parts are left to the last, losing all distinctness of detail and outline; and what remains is an oval or spherical figure with confused edges.

 

570.

 

OF PAINTING.

The density of a body of smoke looks white below the horizon while above the horizon it is dark, even if the smoke is in itself of a uniform colour, this uniformity will vary according to the variety in the ground on which it is seen.

IV.

OF PORTRAIT AND FIGURE PAINTING.

Of sketching figures and portraits (571-572).

 

571.

 

OF THE WAY TO LEARN TO COMPOSE FIGURES [IN GROUPS] IN HISTORICAL PICTURES.

When you have well learnt perspective and have by heart the parts and forms of objects, you must go about, and constantly, as you go, observe, note and consider the circumstances and behaviour of men in talking, quarrelling or laughing or fighting together: the action of the men themselves and the actions of the bystanders, who separate them or who look on. And take a note of them with slight strokes thus, in a little book which you should always carry with you. And it should be of tinted paper, that it may not be rubbed out, but change the old [when full] for a new one; since these things should not be rubbed out but preserved with great care; for the forms, and positions of objects are so infinite that the memory is incapable of retaining them, wherefore keep these [sketches] as your guides and masters.

[Footnote: Among Leonardo’s numerous note books of pocket size not one has coloured paper, so no sketches answering to this description can be pointed out. The fact that most of the notes are written in ink, militates against the supposition that they were made in the open air.]

 

572.

 

OF A METHOD OF KEEPING IN MIND THE FORM OF A FACE.

If you want to acquire facility for bearing in mind the expression of a face, first make yourself familiar with a variety of [forms of] several heads, eyes, noses, mouths, chins and cheeks and necks and shoulders: And to put a case: Noses are of 10 types: straight, bulbous, hollow, prominent above or below the middle, aquiline, regular, flat, round or pointed. These hold good as to profile. In full face they are of 11 types; these are equal thick in the middle, thin in the middle, with the tip thick and the root narrow, or narrow at the tip and wide at the root; with the nostrils wide or narrow, high or low, and the openings wide or hidden by the point; and you will find an equal variety in the other details; which things you must draw from nature and fix them in your mind. Or else, when you have to draw a face by heart, carry with you a little book in which you have noted such features; and when you have cast a glance at the face of the person you wish to draw, you can look, in private, which nose or mouth is most like, or there make a little mark to recognise it again at home. Of grotesque faces I need say nothing, because they are kept in mind without difficulty.

The position of the head.

 

573.

 

HOW YOU SHOULD SET TO WORK TO DRAW A HEAD OF WHICH ALL THE PARTS SHALL AGREE WITH THE POSITION GIVEN TO IT.

To draw a head in which the features shall agree with the turn and bend of the head, pursue this method. You know that the eyes, eyebrows, nostrils, corners of the mouth, and sides of the chin, the jaws, cheeks, ears and all the parts of a face are squarely and straightly set upon the face.

[Footnote: Compare the drawings and the text belonging to them on Pl. IX. (No. 315), Pl. X (No. 316), Pl. XL (No. 318) and Pl. XII. (No. 319).]

Therefore when you have sketched the face draw lines passing from one corner of the eye to the other; and so for the placing of each feature; and after having drawn the ends of the lines beyond the two sides of the face, look if the spaces inside the same parallel lines on the right and on the left are equal [12]. But be sure to remember to make these lines tend to the point of sight.

[Footnote: See Pl. XXXI, No. 4, the slight sketch on the left hand side. The text of this passage is written by the side of it. In this sketch the lines seem intentionally incorrect and converging to the right (compare I. 12) instead of parallel. Compare too with this text the drawing in red chalk from Windsor Castle which is reproduced on Pl. XL, No. 2.]

Of the light on the face (574-576).

 

574.

 

HOW TO KNOW WHICH SIDE OF AN OBJECT IS TO BE MORE OR LESS LUMINOUS THAN THE OTHER.

Let f be the light, the head will be the object illuminated by it and that side of the head on which the rays fall most directly will be the most highly lighted, and those parts on which the rays fall most aslant will be less lighted. The light falls as a blow might, since a blow which falls perpendicularly falls with the greatest force, and when it falls obliquely it is less forcible than the former in proportion to the width of the angle. Exempli gratia if you throw a ball at a wall of which the extremities are equally far from you the blow will fall straight, and if you throw the ball at the wall when standing at one end of it the ball will hit it obliquely and the blow will not tell.

[Footnote: See Pl. XXXI. No. 4; the sketch on the right hand side.]

 

575.

 

THE PROOF AND REASON WHY AMONG THE ILLUMINATED PARTS CERTAIN PORTIONS ARE IN HIGHER LIGHT THAN OTHERS.

Since it is proved that every definite light is, or seems to be, derived from one single point the side illuminated by it will have its highest light on the portion where the line of radiance falls perpendicularly; as is shown above in the lines a g, and also in a h and in l a; and that portion of the illuminated side will be least luminous, where the line of incidence strikes it between two more dissimilar angles, as is seen at b c d. And by this means you may also know which parts are deprived of light as is seen at m k.

Where the angles made by the lines of incidence are most equal there will be the highest light, and where they are most unequal it will be darkest.

I will make further mention of the reason of reflections.

[Footnote: See Pl. XXXII. The text, here given complete, is on the right hand side. The small circles above the beginning of lines 5 and 11 as well as the circle above the text on Pl. XXXI, are in a paler ink and evidently added by a later hand in order to distinguish the text as belonging to the Libro di Pittura (see Prolegomena. No. 12, p. 3). The text on the left hand side of this page is given as Nos. 577 and 137.]

 

576.

 

Where the shadow should be on the face.

General suggestions for historical pictures (577-581).

 

577.

 

When you compose a historical picture take two points, one the point of sight, and the other the source of light; and make this as distant as possible.

 

578.

 

Historical pictures ought not to be crowded and confused with too many figures.

 

579.

 

PRECEPTS IN PAINTING.

Let you sketches of historical pictures be swift and the working out of the limbs not be carried too far, but limited to the position of the limbs, which you can afterwards finish as you please and at your leisure.

[Footnote: See Pl. XXXVIII, No. 2. The pen and ink drawing given there as No. 3 may also be compared with this passage. It is in the Windsor collection where it is numbered 101.]

 

580.

 

The sorest misfortune is when your views are in advance of your work.

 

581.

 

Of composing historical pictures. Of not considering the limbs in the figures in historical pictures; as many do who, in the wish to represent the whole of a figure, spoil their compositions. And when you place one figure behind another take care to draw the whole of it so that the limbs which come in front of the