[Footnote: In the original MS., at the spot marked a of the first diagram Leonardo wrote primitiuo, and at the spot marked c—primitiva (primary); at the spot marked b he wrote dirivatiuo and at d deriuatiua (derived).]
Experiments on the relation of light and shadow within a room (137—140).
137
SHOWS HOW LIGHT FROM ANY SIDE CONVERGES TO ONE POINT.
Although the balls a b c are lighted from one window, nevertheless, if you follow the lines of their shadows you will see they intersect at a point forming the angle n.
[Footnote: The diagram belonging to this passage is slightly sketched on Pl. XXXII; a square with three balls below it. The first three lines of the text belonging to it are written above the sketch and the six others below it.]
138
Every shadow cast by a body has a central line directed to a single point produced by the intersection of luminous lines in the middle of the opening and thickness of the window. The proposition stated above, is plainly seen by experiment. Thus if you draw a place with a window looking northwards, and let this be s f, you will see a line starting from the horizon to the east, which, touching the 2 angles of the window o f, reaches d; and from the horizon on the west another line, touching the other 2 angles r s, and ending at c; and their intersection falls exactly in the middle of the opening and thickness of the window. Again, you can still better confirm this proof by placing two sticks, as shown at g h; and you will see the line drawn from the centre of the shadow directed to the centre m and prolonged to the horizon n f.
[Footnote: B here stands for cerchio del' orizonte tramontano on the original diagram (the circle of the horizon towards the North); A for levante (East) and C for ponete (West).]
139
Every shadow with all its variations, which becomes larger as its distance from 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 interposed, the luminous atmosphere to the right hand at a is seen to the left at d. And the atmosphere at the left illuminates on the right at c, and the lines intersect at the point m.
[Footnote: A here stands for levante (East), B for ponente (West).]
140
Every body in light and shade is situated between 2 pyramids one dark and the other luminous, one is visible the other is not. 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 p; the light to the left at k will pass to the right of the object at i and go on to m and the two lines will intersect at c and form a pyramid. Then again a b falls on the shaded body at i g and forms a pyramid f i g. 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.
Light and shadow with regard to the position of the eye (141—145).
141
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 luminous body and the objects illuminated by it, these objects will be seen without any shadow.
[Footnote: The diagram which in the original stands above line 1 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
Why the 2 lights one on each side of a body having two pyramidal sides of an obtuse apex leave it devoid of shadow.
[Footnote: The sketch illustrating this is on Plate XLI No 1.]
143
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.
[Footnote: A stands for corpo (body), B for lume (light).]
144
The eye which looks (at a spot) half way between the shadow and the light which surrounds the body in shadow will see that the deepest shadows on that body will meet the eye at equal angles, that is at the same angle as that of sight.
[Footnote: In both these diagrams A stands for lume (light) B for ombra (shadow).]
145
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.
The law of the incidence of light.
146
The edges of a window which are illuminated by 2 lights of equal degrees of brightness will not reflect light of equal brightness into the chamber 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.
147
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.
SECOND BOOK ON LIGHT AND SHADE
Gradations of strength in the shadows (148. 149).
148
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 m is in the highest light because it faces the window a d by the line a f; 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.
[Footnote: The diagram belonging to this chapter is No. 1 on Plate III. The letters a b e d 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 reproduced within the diagram.—Compare No 275.]
149
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 front of the window a b and the whole horizon of the sky m x. The angle a 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 because 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 unequal. Yhe angle k and the angle f are each placed between very unequal angles and therefore have but little light, because at k it has only the light p t, and at f 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 pyramid that is the counterpart of the pyramid c; and this pyramid l 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 luminous 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.
[Footnote: 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.]
On the intensity of shadows as dependent on the distance from the light (150-152).
150
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.
151
That portion of an illuminated object which is nearest to the source of light will be the most strongly illuminated.
152
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.
On the proportion of light and shade (153-157).
153
That portion of an opaque body will be more in shade or more in light, which is nearer to the dark body, by which it is shaded, 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.
154
OF PERSPECTIVE.
The shaded and illuminated sides of opaque objects will display the same proportion of light and darkness as their objects [Footnote 6: The meaning of obbietti (objects) is explained in no 153, lines 1-4.—Between the title-line and the next there is, in the original, a small diagram representing a circle described round a square.].
155
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.
156
OF PAINTING.
Among objects in various degrees of shade, when the light proceeds from a single source, 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.
157
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.
THIRD BOOK ON LIGHT AND SHADE
Definition of derived shadow (158. 159).
158
Derived shadow cannot exist without primary shadow. This is proved by the first of this which says: Darkness is the total absence of light, and shadow is an alleviation of darkness and of light, and it is more or less dark or light in proportion as the darkness is modified by the light.
159
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.
[Footnote: The theory of the ombra dirivativa_—a technical expression for which there is no precise English equivalent is elaborately treated by Leonardo. But both text and diagrams (as Pl. IV, 1-3 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 scientific. Ombra dirivativa is by no means a mere abstract idea. This is easily proved by repeating the experiment 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 dell' 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 darkness of the derived shadow diminishes in proportion as it is remote from the primary shadow.
Different sorts of derived shadows (160-162).
160
SHADOW AND LIGHT.
The forms of shadows are three: inasmuch 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.
161
OF SIMPLE DERIVED SHADOWS.
The simple derived shadow is of two kinds: one kind which has its length defined, 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 columnar from a body equal in size to the light, and the spreading shadow from a body larger than the light; &c.
OF COMPOUND DERIVED SHADOWS.
Compound derived shadows are of two kinds; that is columnar and spreading.
162
OF SHADOW.
Derived shadows are of three kinds of which one is spreading, the second columnar, the third converging to the point where the two sides meet and intersect, and beyond this intersection the sides are infinitely 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 completely 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 originates 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 luminous 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.
[Footnote: The two diagrams to this chapter are on Plate IV, No. 1.]
On the relation of derived and primary shadow (163-165).
163
The derived shadow can never resemble the body from which it proceeds unless the light is of the same form and size as the body causing the shadow.