A Treatise on Painting by da Vinci Leonardo, is part of the HackerNoon Books Series. You can jump to any chapter in this book here. COLOURS IN REGARD TO LIGHT AND SHADOW.
COLOURS IN REGARD TO LIGHT AND SHADOW.
Chap. CCXLIX.—Of the Light proper for painting Flesh Colour from Nature.
Your window must be open to the sky, and the walls painted of a reddish colour. The summertime is the best, when the clouds conceal the sun, or else your walls on the south side of the room must be so high, as that the sun-beams cannot strike on the opposite side, in order that the reflexion of those beams may not destroy the shadows.
Chap. CCL.—Of the Painter’s Window.
The window which gives light to a painting-room, ought to be made of oiled paper, without any cross bar, or projecting edge at the opening, or any sharp angle in the inside of the wall, but should be slanting by degrees the whole thickness of it; and the sides be painted black.
Chap. CCLI.—The Shadows of Colours.
The shadows of any colour whatever must participate of that colour more or less, as it is nearer to, or more remote from the mass of shadows; and also in proportion to its distance from, or proximity to the mass of light.
Chap. CCLII.—Of the Shadows of White.
To any white body receiving the light from the sun, or the air, the shadows should be of a blueish cast; because white is no colour, but a receiver of all colours; and as by the fourth proposition we learn, that the surface of any object participates of the colours of other objects near it, it is evident that a white surface will participate of the colour of the air by which it is surrounded.
Chap. CCLIII.—Which of the Colours will produce the darkest Shade.
That shade will be the darkest which is produced by the whitest surface; this also will have a greater propensity to variety than any other surface; because white is not properly a colour, but a receiver of colours, and its surface will participate strongly of the colour of surrounding objects, but principally of black or any other dark colour, which being the most opposite to its nature, produces the most sensible difference between the shadows and the lights.
Chap. CCLIV.—How to manage, when a White terminates upon another White.
When one white body terminates on another of the same colour, the white of these two bodies will be either alike or not. If they be alike, that object which of the two is nearest to the eye, should be made a little darker than the other, upon the rounding of the outline; but if the object which serves as a ground to the other be not quite so white, the latter will detach of itself, without the help of any darker termination.
Chap. CCLV.—On the Back-grounds of Figures.
Of two objects equally light, one will appear less so if seen upon a whiter ground; and, on the contrary, it will appear a great deal lighter if upon a space of a darker shade. So flesh colour will appear pale upon a red ground, and a pale colour will appear redder upon a yellow ground. In short, colours will appear what they are not, according to the ground which surrounds them.
Chap. CCLVI.—The Mode of composing History.
Amongst the figures which compose an historical picture, those which are meant to appear the nearest to the eye, must have the greatest force; according to the second proposition of the third book, which says, that colour will be seen in the greatest perfection which has less air interposed between it and the eye of the beholder; and for that reason the shadows (by which we express the relievo of bodies) appear darker when near than when at a distance, being then deadened by the air which interposes. This does not happen to those shadows which are near the eye, where they will produce the greatest relievo when they are darkest.
Chap. CCLVII.—Remarks concerning Lights and Shadows.
Observe, that where the shadows end, there be always a kind of half-shadow to blend them with the lights. The shadow derived from any object will mix more with the light at its termination, in proportion as it is more distant from that object. But the colour of the shadow will never be simple: this is proved by the ninth proposition, which says, that the superficies of any object participates of the colours of other bodies, by which it is surrounded, although it were transparent, such as water, air, and the like: because the air receives its light from the sun, and darkness is produced by the privation of it. But as the air has no colour in itself any more than water, it receives all the colours that are between the object and the eye. The vapours mixing with the air in the lower regions near the earth, render it thick, and apt to reflect the sun’s rays on all sides, while the air above remains dark; and because light (that is, white) and darkness (that is, black), mixed together, compose the azure that becomes the colour of the sky, which is lighter or darker in proportion as the air is more or less mixed with damp vapours.
Chap. CCLVIII.—Why the Shadows of Bodies upon a white Wall are blueish towards Evening.
The shadows of bodies produced by the redness of the setting sun, will always be blueish. This is accounted for by the eleventh proposition, which says, that the superficies of any opake body participates of the colour of the object from which it receives the light; therefore the white wall being deprived entirely of colour, is tinged by the colour of those bodies from which it receives the light, which in this case are the sun and the sky. But because the sun is red towards the evening, and the sky is blue, the shadow on the wall not being enlightened by the sun, receives only the reflexion of the sky, and therefore will appear blue; and the rest of the wall, receiving light immediately from the sun, will participate of its red colour.
Chap. CCLIX.—Of the Colour of Faces.
The colour of any object will appear more or less distinct in proportion to the extent of its surface. This proportion is proved, by observing that a face appears dark at a small distance, because, being composed of many small parts, it produces a great number of shadows; and the lights being the smallest part of it, are soonest lost to the sight, leaving only the shadows, which being in a greater quantity, the whole of the face appears dark, and the more so if that face has on the head, or at the back, something whiter.
Chap. CCLX.—A Precept relating to Painting.
Where the shadows terminate upon the lights, observe well what parts of them are lighter than the others, and where they are more or less softened and blended; but above all remember, that young people have no sharp shadings: their flesh is transparent, something like what we observe when we put our hand between the sun and eyes; it appears reddish, and of a transparent brightness. If you wish to know what kind of shadow will suit the flesh colour you are painting, place one of your fingers close to your picture, so as to cast a shadow upon it, and according as you wish it either lighter or darker, put it nearer or farther from it, and imitate it.
Chap. CCLXI.—Of Colours in Shadow.
It happens very often that the shadows of an opake body do not retain the same colour as the lights. Sometimes they will be greenish, while the lights are reddish, although this opake body be all over of one uniform colour. This happens when the light falls upon the object (we will suppose from the East), and tinges that side with its own colour. In the West we will suppose another opake body of a colour different from the first, but receiving the same light. This last will reflect its colour towards the East, and strike the first with its rays on the opposite side, where they will be stopped, and remain with their full colour and brightness. We often see a white object with red lights, and the shades of a blueish cast; this we observe particularly in mountains covered with snow, at sun-set, when the effulgence of its rays makes the horizon appear all on fire.
Chap. CCLXII.—Of the Choice of Lights.
Whatever object you intend to represent is to be supposed situated in a particular light, and that entirely of your own choosing. If you imagine such objects to be in the country, and the sun be overcast, they will be surrounded by a great quantity of general light. If the sun strikes upon those objects, then the shadows will be very dark, in proportion to the lights, and will be determined and sharp; the primitive as well as the secondary ones. These shadows will vary from the lights in colour, because on that side the object receives a reflected light hue from the azure of the air, which tinges that part; and this is particularly observable in white objects. That side which receives the light from the sun, participates also of the colour of that. This may be particularly observed in the evening, when the sun is setting between the clouds, which it reddens; those clouds being tinged with the colour of the body illuminating them, the red colour of the clouds, with that of the sun, casts a hue on those parts which receive the light from them. On the contrary, those parts which are not turned towards that side of the sky, remain of the colour of the air, so that the former and the latter are of two different colours. This we must not lose sight of, that, knowing the cause of those lights and shades, it be made apparent in the effect, or else the work will be false and absurd. But if a figure be situated within a house, and seen from without, such figure will have its shadows very soft; and if the beholder stands in the line of the light, it will acquire grace, and do credit to the painter, as it will have great relief in the lights, and soft and well-blended shadows, particularly in those parts where the inside of the room appears less obscure, because there the shadows are almost imperceptible: the cause of which we shall explain in its proper place.
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