467

On the treatment of light for views of towns.

OF TOWNS OR OTHER BUILDINGS SEEN IN THE EVENING OR THE MORNING THROUGH THE MIST.

Of buildings seen at a great distance in the evening or the morning, as in mist or dense atmosphere, only those portions are seen in brightness which are lighted up by the sun which is near the horizon; and those portions which are not lighted up by the sun remain almost of the same colour and medium tone as the mist.

WHY OBJECTS WHICH ARE HIGH UP AND AT A DISTANCE ARE DARKER THAN THE LOWER ONES, EVEN IF THE MIST IS UNIFORMLY DENSE.

Of objects standing in a mist or other dense atmosphere, whether from vapour or smoke or distance, those will be most visible which are the highest. And among objects of equal height that will be the darkest [strongest] which has for background the deepest mist. Thus the eye h looking at a b c, towers of equal height, one with another, sees c the top of the first tower at r, at two degrees of depth in the mist; and sees the height of the middle tower b through one single degree of mist. Therefore the top of the tower c appears stronger than the top of the tower b, &c.

Taken from The Notebooks of Leonardo da Vinci edited by Jean Paul Richter, 1880.

VII * X
Notebooks of Leonoardo da Vinci
VIII: Botany for Painters and Elements of Landscape Painting.
. . .
447,
448
The effects of midday light.
449
The appearance of trees in the distance.
450,
451
The cast shadow of trees.
452
Light and shade on groups of trees.
453,
454,
455,
456,
457
On the treatment of light for landscapes.
458,
459,
460,
461,
462,
463,
464
On the treatment of light for views of towns.
465,
466,
467,
468,
469
The effect of wind on trees.
470,
471,
472,
473
Light and shade on clouds.
474,
475,
476,
477
On images reflected in water.
478
Of rainbows and rain.
479,
480
Of flower seeds.
481
How to ascertain the dispositions for an artistic career.
482
The course of instruction for an artist.
483,
484,
485
The study of the antique.
486,
487
. . .