[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.