A Treatise on Painting by da Vinci Leonardo, is part of the HackerNoon Books Series. You can jump to any chapter in this book . AERIAL PERSPECTIVE. here AERIAL PERSPECTIVE. Chap. CCCIV.— Aerial Perspective. There is another kind of perspective called aerial, because by the difference of the air it is easy to determine the distance of different objects, though seen on the same line; such, for instance, as buildings behind a wall, and appearing all of the same height above it. If in your picture you want to have one appear more distant than another, you must first suppose the air somewhat thick, because, as we have said before, in such a kind of air the objects seen at a great distance, as mountains are, appear blueish like the air, by means of the great quantity of air that interposes between the eye and such mountains. You will then paint the first building behind that wall of its proper colour; the next in point of distance, less distinct in the outline, and participating, in a greater degree, of the blueish colour of the air; another which you wish to send off as much farther, should be painted as much bluer; and if you wish one of them to appear five times farther removed beyond the wall, it must have five times more of the azure. By this rule these buildings which appeared all of the same size, and upon the same line, will be distinctly perceived to be of different dimensions, and at different distances. Chap. CCCV.— The Parts of the Smallest Objects will first disappear in Painting. Of objects receding from the eye the smallest will be the first lost to the sight; from which it follows, that the largest will be the last to disappear. The painter, therefore, ought not to finish the parts of those objects which are very far off, but follow the rule given in the sixth book. How many, in the representation of towns, and other objects remote from the eye, express every part of the buildings in the same manner as if they were very near. It is not so in nature, because there is no sight so powerful as to perceive distinctly at any great distance the precise form of parts or extremities of objects. The painter therefore who pronounces the outlines, and the minute distinction of parts, as several have done, will not give the representation of distant objects, but by this error will make them appear exceedingly near. Again, the angles of buildings in distant towns are not to be expressed (for they cannot be seen), considering that angles are formed by the concurrence of two lines into one point, and that a point has no parts; it is therefore invisible. Chap. CCCVI.— Small Figures ought not to be too much finished. Objects appear smaller than they really are when they are distant from the eye, and because there is a great deal of air interposed, which weakens the appearance of forms, and, by a natural consequence, prevents our seeing distinctly the minute parts of such objects. It behoves the painter therefore to touch those parts slightly, in an unfinished manner; otherwise it would be against the effect of Nature, whom he has chosen for his guide. For, as we said before, objects appear small on account of their great distance from the eye; that distance includes a great quantity of air, which, forming a dense body, obstructs the light, and prevents our seeing the minute parts of the objects. Chap. CCCVII.— Why the Air is to appear whiter as it approaches nearer to the Earth. As the air is thicker nearer the earth, and becomes thinner as it rises, look, when the sun is in the east, towards the west, between the north and south, and you will perceive that the thickest and lowest air will receive more light from the sun than the thinner air, because its beams meet with more resistance. If the sky terminate low, at the end of a plain, that part of it nearest to the horizon, being seen only through the thick air, will alter and break its natural colour, and will appear whiter than over your head, where the visual ray does not pass through so much of that gross air, corrupted by earthy vapours. But if you turn towards the east, the air will be darker the nearer it approaches the earth; for the air being thicker, does not admit the light of the sun to pass so freely. Chap. CCCVIII.— How to paint the distant Part of a Landscape. It is evident that the air is in some parts thicker and grosser than in others, particularly that nearest to the earth; and as it rises higher, it becomes thinner and more transparent. The objects which are high and large, from which you are at some distance, will be less apparent in the lower parts; because the visual ray which perceives them, passes through a long space of dense air; and it is easy to prove that the upper parts are seen by a line, which, though on the side of the eye it originates in a thick air, nevertheless, as it ascends to the highest summit of its object, terminates in an air much thinner than that of the lower parts; and for that reason the more that line or visual ray advances from the eye, it becomes, in its progress from one point to another, thinner and thinner, passing from a pure air into another which is purer; so that a painter who has mountains to represent in a landscape, ought to observe, that from one hill to another, the tops will appear always clearer than the bases. In proportion as the distance from one to another is greater, the top will be clearer; and the higher they are, the more they will shew their variety of form and colour. Chap. CCCIX.— Of precise and confused Objects. The parts that are near in the fore-ground should be finished in a bold determined manner; but those in the distance must be unfinished, and confused in their outlines. Chap. CCCX.— Of distant Objects. That part of any object which is nearest to the luminary from which it receives the light, will be the lightest. The representation of an object in every degree of distance, loses degrees of its strength; that is, in proportion as the object is more remote from the eye it will be less perceivable through the air in its representation. Chap. CCCXI.— Of Buildings seen in a thick Air. That part of a building seen through a thick air, will appear less distinct than another part seen through a thinner air. Therefore the eye, N, looking at the tower A D, will see it more confusedly in the lower degrees, but at the same time lighter; and as it ascends to the other degrees it will appear more distinct, but somewhat darker. Chap. CCCXII.— Of Towns and other Objects seen through a thick Air. Buildings or towns seen through a fog, or the air made thick by smoke or other vapours, will appear less distinct the lower they are; and, , they will be sharper and more visible in proportion as they are higher. We have said, in Chapter cccxxi. that the air is thicker the lower it is, and thinner as it is higher. It is demonstrated also by the cut, where the tower, A F, is seen by the eye N, in a thick air, from B to F, which is divided into four degrees, growing thicker as they are nearer the bottom. The less the quantity of air interposed between the eye and its object is, the less also will the colour of the object participate of the colour of that air. It follows, that the greater the quantity of the air interposed between the eye and the object seen, is, the more this object will participate of the colour of the air. It is demonstrated thus: N being the eye looking at the five parts of the tower A F, viz. A B C D E, I say, that if the air were of the same thickness, there would be the same proportion between the colour of the air at the bottom of the tower and the colour of the air that the same tower has at the place B, as there is in length between the line M and F. As, however, we have supposed that the air is not of equal thickness, but, on the contrary, thicker as it is lower, it follows, that the proportion by which the air tinges the different elevations of the tower B C F, exceeds the proportion of the lines; because the line M F, besides its being longer than the line S B, passes by unequal degrees through a quality of air which is unequal in thickness. vice versâ Chap. CCCXIII.— Of the inferior Extremities of distant Objects. The inferior or lower extremities of distant objects are not so apparent as the upper extremities. This is observable in mountains and hills, the tops of which detach from the sides of other mountains behind. We see the tops of these more determined and distinctly than their bases; because the upper extremities are darker, being less encompassed by thick air, which always remains in the lower regions, and makes them appear dim and confused. It is the same with trees, buildings, and other objects high up. From this effect it often happens that a high tower, seen at a great distance, will appear broad at top, and narrow at bottom; because the thin air towards the top does not prevent the angles on the sides and other different parts of the tower from being seen, as the thick air does at bottom. This is demonstrated by the seventh proposition, which says, that the thick air interposed between the eye and the sun, is lighter below than above, and where the air is whiteish, it confuses the dark objects more than if such air were blueish or thinner, as it is higher up. The battlements of a fortress have the spaces between equal to the breadth of the battlement, and yet the space will appear wider; at a great distance the battlements will appear very much diminished, and being removed still farther, will disappear entirely, and the fort shew only the straight wall, as if there were no battlements. Chap. CCCXIV.— Which Parts of Objects disappear first by being removed farther from the Eye, and which preserve their Appearance. The smallest parts are those which, by being removed, lose their appearance first; this may be observed in the gloss upon spherical bodies, or columns, and the slender parts of animals; as in a stag, the first sight of which does not discover its legs and horns so soon as its body, which, being broader, will be perceived from a greater distance. But the parts which disappear the very first, are the lines which describe the members, and terminate the surface and shape of bodies. Chap. CCCXV.— Why Objects are less distinguished in proportion as they are farther removed from the Eye. This happens because the smallest parts are lost first; the second, in point of size, are also lost at a somewhat greater distance, and so on successively; the parts by degrees melting away, the perception of the object is diminished; and at last all the parts, and the whole, are entirely lost to the sight. Colours also disappear on account of the density of the air interposed between the eye and the object. Chap. CCCXVI.— Why Faces appear dark at a Distance. It is evident that the similitude of all objects placed before us, large as well as small, is perceptible to our senses through the iris of the eye. If through so small an entrance the immensity of the sky and of the earth is admitted, the faces of men (which are scarcely any thing in comparison of such large objects), being still diminished by the distance, will occupy so little of the eye, that they become almost imperceptible. Besides, having to pass through a dark medium from the surface to the in the inside, where the impression is made, the colour of faces (not being very strong, and rendered still more obscure by the darkness of the tube) when arrived at the focus appears dark. No other reason can be given on that point, except that the speck in the middle of the apple of the eye is black, and, being full of a transparent fluid like air, performs the same office as a hole in a board, which on looking into it appears black; and that those things which are seen through both a light and dark air, become confused and obscure. Retina Chap. CCCXVII.— Of Towns and other Buildings seen through a Fog in the Morning or Evening. Buildings seen afar off in the morning or in the evening, when there is a fog, or thick air, shew only those parts distinctly which are enlightened by the sun towards the horizon; and the parts of those buildings which are not turned towards the sun remain confused and almost of the colour of the fog. Chap. CCCXVIII.— Of the Height of Buildings seen in a Fog. Of a building near the eye the top parts will appear more confused than the bottom, because there is more fog between the eye and the top than at the base. And a square tower, seen at a great distance through a fog, will appear narrower at the base than at the summit. This is accounted for in Chapter cccxiii. which says, that the fog will appear whiter and thicker as it approaches the ground; and as it is said before, that a dark object will appear smaller in proportion as it is placed on a whiter ground. Therefore the fog being whiter at bottom than at top, it follows that the tower (being darkish) will appear narrower at the base than at the summit. Chap. CCCXIX.— Why Objects which are high, appear darker at a Distance than those which are low, though the Fog be uniform, and of equal Thickness. Amongst objects situated in a fog, thick air, vapour, smoke, or at a distance, the highest will be the most distinctly seen: and amongst objects equal in height, that placed in the darkest fog, will be most confused and dark. As it happens to the eye H, looking at A B C, three towers of equal height; it sees the top C as low as R, in two degrees of thickness; and the top B, in one degree only; therefore the top C will appear darker than the top of the tower B. Chap. CCCXX.— Of Objects seen in a Fog. Objects seen through a fog will appear larger than they are in reality, because the aerial perspective does not agree with the linear, viz. the colour does not agree with the magnitude of the object; such a fog being similar to the thickness of air interposed between the eye and the horizon in fine weather. But in this case the fog is near the eye, and though the object be also near, it makes it appear as if it were as far off as the horizon; where a great tower would appear no bigger than a man placed near the eye. Chap. CCCXXI.— Of those Objects which the Eyes perceive through a Mist or thick Air. The nearer the air is to water, or to the ground, the thicker it becomes. It is proved by the nineteenth proposition of the second book, that bodies rise in proportion to their weight; and it follows, that a light body will rise higher than another which is heavy. Chap. CCCXXII.— Miscellaneous Observations. Of different objects equal in magnitude, form, shade, and distance from the eye, those will appear the smaller that are placed on the lighter ground. This is exemplified by observing the sun when seen behind a tree without leaves; all the ramifications seen against that great light are so diminished that they remain almost invisible. The same may be observed of a pole placed between the sun and the eye. Parallel bodies placed upright, and seen through a fog, will appear larger at top than at bottom. This is proved by the ninth proposition, which says, that a fog, or thick air, penetrated by the rays of the sun, will appear whiter the lower they are. Things seen afar off will appear out of proportion, because the parts which are the lightest will send their image with stronger rays than the parts which are darkest. I have seen a woman dressed in black, with a white veil over her head, which appeared twice as large as her shoulders covered with black. About HackerNoon Book Series: We bring you the most important technical, scientific, and insightful public domain books. This book is part of the public domain. da Vinci Leonardo (2014). A Treatise on Painting. Urbana, Illinois: Project Gutenberg. Retrieved https://www.gutenberg.org/cache/epub/46915/pg46915-images.html This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at , located at . www.gutenberg.org https://www.gutenberg.org/policy/license.html

Augmentastic || Augmented Reality

Of Objects seen at a Distance

PERSPECTIVE OF COLOURS

Did you enjoy this story? Share your thoughts about this book or others like it here.

Too Long; Didn't Read

Make resilience your competitive advantage

AERIAL PERSPECTIVE

About Author

Comments

TOPICS

THIS ARTICLE WAS FEATURED IN

Related Stories

Untitled Story

Anatomy, Zoology and Physiology

A Treatise on Painting by da Vinci Leonardo - Table of Links

CATALOGUE OF THE WORKS OF LEONARDO DA VINCI.

COLOURS and COLOURING

COLOURS IN REGARD TO BACK-GROUNDS

Anatomy, Zoology and Physiology

A Treatise on Painting by da Vinci Leonardo - Table of Links

CATALOGUE OF THE WORKS OF LEONARDO DA VINCI.

COLOURS and COLOURING

COLOURS IN REGARD TO BACK-GROUNDS

Light-Mode

Classic

Newspaper

Dark-Mode

Neon Noir

Minty

HN StartUps