574

Of the light on the face.

HOW TO KNOW WHICH SIDE OF AN OBJECT IS TO BE MORE OR LESS LUMINOUS THAN THE OTHER.

Let f be the light, the head will be the object illuminated by it and that side of the head on which the rays fall most directly will be the most highly lighted, and those parts on which the rays fall most aslant will be less lighted. The light falls as a blow might, since a blow which falls perpendicularly falls with the greatest force, and when it falls obliquely it is less forcible than the former in proportion to the width of the angle. Exempli gratia if you throw a ball at a wall of which the extremities are equally far from you the blow will fall straight, and if you throw the ball at the wall when standing at one end of it the ball will hit it obliquely and the blow will not tell.

[Footnote: See Pl. XXXI. No. 4; the sketch on the right hand side.]

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.
. . .
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,
581
How to represent the differences of age and sex.
582,
583
Of representing the emotions.
584
Of representing imaginary animals.
585
The selection of forms.
586,
587,
588,
589,
590,
591
How to pose figures.
592
Of appropriate gestures.
593,
594
. . .