558

The distribution of light and shade.

OF THE WAY TO MAKE THE SHADOW ON FIGURES CORRESPOND TO THE LIGHT AND TO [THE COLOUR] OF THE BODY.

When you draw a figure and you wish to see whether the shadow is the proper complement to the light, and neither redder nor yellower than is the nature of the colour you wish to represent in shade, proceed thus. Cast a shadow with your finger on the illuminated portion, and if the accidental shadow that you have made is like the natural shadow cast by your finger on your work, well and good; and by putting your finger nearer or farther off, you can make darker or lighter shadows, which you must compare with your own.

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.
. . .
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,
568,
569,
570
Of sketching figures and portraits.
571,
572
The position of the head.
573
Of the light on the face.
574,
575,
576
General suggestions for historical pictures.
577,
578
. . .