547

spectator.

WHERE A SPECTATOR SHOULD STAND TO LOOK AT A PICTURE.

Supposing a b to be the picture and d to be the light, I say that if you place yourself between c and e you will not understand the picture well and particularly if it is done in oils, or still more if it is varnished, because it will be lustrous and somewhat of the nature of a mirror. And for this reason the nearer you go towards the point c, the less you will see, because the rays of light falling from the window on the picture are reflected to that point. But if you place yourself between e and d you will get a good view of it, and the more so as you approach the point d, because that spot is least exposed to these reflected rays of light.

III.

THE PRACTICAL METHODS OF LIGHT AND SHADE AND AERIAL PERSPECTIVE.

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.
. . .
527,
528,
529,
530
On the management of works.
531,
532
On the limitations of painting.
533,
534,
535
On the choice of a position.
536,
537
The apparent size of figures in a picture.
538,
539
spectator.
540,
541,
542,
543,
544,
545,
546,
547
Gradations of light and shade.
548
On the choice of light for a picture.
549,
550,
551,
552,
553,
554,
555
The distribution of light and shade.
556,
557,
558,
559
The juxtaposition of light and shade.
560,
561
On the lighting of the background.
562,
563,
564,
565
On the lighting of white objects.
566
The methods of aerial.
567
. . .