560

The juxtaposition of light and shade.

ON PAINTING.

The comparison of the various qualities of shadows and lights not infrequently seems ambiguous and confused to the painter who desires to imitate and copy the objects he sees. The reason is this: If you see a white drapery side by side with a black one, that part of the white drapery which lies against the black one will certainly look much whiter than the part which lies against something whiter than itself. [Footnote: It is evident from this that so early as in 1492 Leonardo’s writing in perspective was so far advanced that he could quote his own statements.—As bearing on this subject compare what is said in No. 280.] And the reason of this is shown in my [book on] 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.
. . .
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,
579,
580
. . .