SCRITTI LETTERARI

DI

LEONARDO DA VINCI
eaooh Mgfi
DA

J.

P.

RICHTER

IN

DUE

PARTI.

- PARTE

I.

LONDRA:
SAMPSON LOW, MARSTON, SEARLE & RIVINGTON
1

88,

FLEET STREET

1883

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THE LITERARY WORKS

OF

LEONARDO DA VINCI
contpifeb anb ebifcb front

$e
BY

Originaf

JEAN PAUL RICHTER,

KNIGHT OF THE BAVARIAN ORDER OF

PH. DR.,
MICHAEL,
&C.

ST.

IN

TWO VOLUMES.

VOL.

I.

LONDON:
SAMPSON LOW, MARSTON, SEARLE & RIVINGTON
.

88,

FLEET STREET

1883

ALL RIGHTS RESERVED.

DEDICATED
BY PERMISSION

HER MOST GRACIOUS MAJESTY

THE OUEEN

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H. R. H.

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LIST OF SUBSCRIBERS.

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J-

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LIST OF SUBSCRIBERS.

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LIST

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\x,

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P RE FA
-^~Jt Leonardo da Vinci s works.
completed, obstacles having arisen
leave them unfinished;

CE.

Si singular fatality has ruled the destiny of nearly all the most famous of

Two of the
during

three most important were never

his life-time,

which obliged him

to

namely the Sforza Monument and the Wall-painting of the Battle of Anghiari, while the third the picture of the Last Supper
at

has suffered irremediable injury from decay and the repeated restorations to which it was recklessly subjected during the XVIIth and

Milan
th

XVIII

centuries.

Nevertheless,

no other picture of the Renaissance has

copies

become so wellknown

and popular through

rightly
,

of every

description.

Vasari says

and

in his Life of Leonardo, "that he laboured

,

much more by his word than in fact or by deed" and the biographer evidently had in his mind the numerous works in Manuscript which have been preserved
to this day.

To

us,

now,

it

seems almost inexplicable that these valuable

and

interesting original texts

should have remained so long unpublished, and

indeed forgotten.

It is certain that

during the

XVI
This

th

and

XVII

th

centuries

proved not merely by the prices which they commanded, but also by the exceptional interest which has been attached to the change of ownership of merely a few pages of Manuscript.
their exceptional value
appreciated.
is

was highly

notwithstanding this eagerness to possess the Manuscripts, their contents remained a mystery can only be accounted for by the many and
,

That

great

difficulties

attending the task of deciphering them.

The handwriting is

N|V

PREFACE.

SO

r that

it

requires

detached a considerable practice to read even few

phrases,

much more

to solve

of

alternative readings,

Vasari observes with

in rude characters,

referefice

with any certainty the numerous difficulties and to master the sense as a connected whole. to Leonardos writing: "he wrote backwards,
the left hand, so that

and with

practised

in reading them, cannot understand

them\

any one who is not The aid of a mirror

to in reading reversed handwriting appears

ex, Jcrimcntal
9

me

available only

for a

first

reading.

Speaking

from my own

experience,

the persistent use

mass of Manuscripts to be deciphered. And as, after all,^ character runs Utnardos handwriting runs backwards just as all Oriental the difficulty of reading backwards -that is to say from right to left
the enormous
direct

f it

is too

fatiguing and inconvenient

to be practically advisable,

considering

from

the

writing

is

not insuperable.

This obvious peculiarity in

the writing is not, however, by

mastering the
self;

text.

he
or,

one,

had a fashion again, he would

any means the only obstacle in the way of Leonardo made use of an orthography peculiar to himone long of amalgamating several short words into
a long quite arbitrarily divide

word

into tvo

added to this there is no punctuation whatever to regulate separate halves; the division and construction of the sentences, nor are there any accents

and

the reader

make

that such difficulties were almost sufficient to It is therefore not surthe task seem a desperate one to a beginner.

may imagine

Leonardos most reverent admiprising that the good intentions of some of rers should have failed.
Leonardos literary labours in various departments both of Art and of Science were those essentially of an enquirer, hence the analytical method is
that which he employs in arguing out his investigations

and

dissertations.

The vast structure of his scientific merous separate researches, and it

never have collated
it

theories
is

is

consequently built

up of nuas
the

'much to be lamented that he should

seems to

me

and arranged was the reason

them.

His

love

for

detailed research

that in almost all the Manuscripts,

appear to us to be in utter confusion; on one and the same Pagf, observations on the most dissimilar subjects follow each other without
different paragraphs

any

connection.

page, for instance, will begin with some principles of

astronomy, or the motion of the earth; then come the laws of sound,
finally some precepts as to colour.

and

gations on the structure of the as to Ike relations of poetry to painting;

Another page will begin with his investiintestines, and end with philosophical remarks

and

so forth.

PREFACE.

XV

Leonardo himself lamented

in
the his
it.

this confusion

and for

that reason

do

not think that the publication of the texts in the order in which they occur
originals

would at

all fulfil

his

intentions.

No

reader could

find
done

way through such a

labyrinth; Leonardo himself could not have

Added to this, more than half of the five thousand manuscript pages which now remain to us, are written on loose leaves, and at present arranged in a manner which has no justification beyond the fancy of the collector who
first brought them together to

even in the
their order,

make volumes of more or less extent. Nay, volumes the pages of which were numbered by Leonardo himself, so far as the connection of the texts was concerned, was obviously
>

a matter of indifference
in view,

to

him.

The only point he seems

his notes,
it

when

first writing

down

have kept was that each observation should

to.

be complete to the
.

end on the page on which

was

begun.

The

exceptions

to this rule

are extremely few,

and

it is

certainly noteworthy that

we find

in

such cases, in bound volumes with his numbered pages, the ivritten observations:
like.

"turn over", "This

is the

continuation of the previous page"

it

and the

Is not this sufficient to prove that

that
the

was only

in quite exceptional
to

cases

writer intended the consecutive pages

last,

remain connected,

when he should, at
writings?

carry out the often planned arrangement of his

What

this final

arrangement was

to

be,

Leonardo has in most

cases

cases

indicated with considerable completeness.

clue is wanting,

In other

this authoritative

but the difficulties arising

from
is

this are not insuperable;

for, as the subject of the separate paragraphs

defined in
itself,
it is

quite possible to

always distinct and well construct a well-planned whole, out

of the scattered materials of his scientific system, and I may venture to state that I have devoted especial care and thought to the due execution of this
responsible task.

The beginning of Leonardo s literary labours dates from about his thirty-seventh year, and he seems to have carried them on without any serious Thus the Manuscripts that remain represent a interruption till his death.
period of about thirty years.
altered so
little

Within

this

space

of time his handwriting

it

that

it

is

impossible to judge
dates,

from

of the date of any

particular

text.

The exact

note-books in which the year is

can only be assigned to certain incidentally indicated, and in which the order
indeed,

PREFACE.

of the

and France, the order of their proEngland, Italy be able to it is highly important to Action, as in many matters of detail made and at which certain observations were
scattered through

//

aMt. By

The assistance used them. has no! /urn altered since Leonardo the Manuscripts is generally afford for a chronological arrangement of to the original Manuscripts this clue I have assigned
/<.-

verify

the tinte

and

place

registered.

For

this

the Manuscripts given at the purpose the Bibliography of

be regarded as

end of

Vol. II,

may
at

of

all

Leonardos
i

literary

an Index, not far short of complete, The consecutive numbers works now extant.
this

(from
their

to

1566;

the

head of each passage in

reference
to

work,
the

indicate
letters

logical

sequence

with

the

subjects;

while

and

and

each paragraph refer to the original Manuscript figures to the left of to be found. the page, on which that particular passage is number

of

of Manuscripts at the beginning of Volume 7, and to the Bibliography at the end of Volume II, can, in every which the passage belongs, instance, cosily ascertain, not merely the period to

Thus the

reader, by referring to the List

but also exactly where

it

stood in the original document.

Thus,

too,

by

the reader following the sequence of the numbers in the Bibliographical index,

may

reconstruct the original order

the of the Manuscripts and recompose

so

various texts to be
say, as by
its

found on

the original sheets

much of

it,

that

is

to

however,

be

came within the scope of this work. It may, here observed that Leonardos Manuscripts contain, besides the
subject-matter

passages here printed, a great number of notes

Physics,

and

dissertations on Mechanics,

and some

other subjects,

many of which could

only be satisfactorily

dealt with by specialists.

I have given as

complete a review of these writings

as seemed necessary in the Bibliographical notes.

In 1651, Raphael Trichet Dujresne, of Paris, published a selection from Leottardos writings on painting, and this treatise became so popular that it
has since been reprinted about two -and-twenty times, and in six different languages. But none of these editions were derived from the original texts,

which were supposed

from early copies, in which Leonardos text had been more or less mutilated, and which were all fragmenThe oldest and on the whole the best copy of Leonardos essays and tary.
to

have been

lost,

but

precepts on Painting is in the Vatican

first by copy,

Library ;
contain

this

has been twice printed,

Still, this
it

Manzi, in 1817, and secondly by Ludwig, in 1882.

the published editions

ancient
be

and

of

it,

much for which

would

rash to hold Leonardo responsible,

and some portions

such as the very

PREFACE.

XVII

important rules for the proportions of the human figure are wholly wanting; on the other hand they contain passages which, if they are genuine, cannot

now

be verified

from any

original Manuscript extant.

These

copies,

at any

rate neither give us the original order

of

the texts, as written by Leonardo,

nor do they afford any

substitute, by connecting

them on a rational scheme;

indeed, in their chaotic confusion they are

The fault, no doubt, rests which would seem to be the source whence
reading.

anything rather than satisfactory with the compiler of the Vatican copy,
all the published

and

extensively

were derived; for, instead of arranging the passages himself, he tvas satisfied with recording a suggestion for a final arrangement of them into eight distinct parts, without attempting to carry out his scheme. Under
texts

known

the mistaken idea that this

.

plan of distribution might be

continued
to

that,

not of the

compiler, but of Leonardo himself, the various editors,

down

to the

present

day,

have

very

injudiciously

adopt

this

order

or

rather

disorder.

like other

enquirers ,

had given up
till,

the original

Manuscript of the
enabled,,

Trattato della Pittura

for

lost,

in the beginning

of 1880, I was

by the liberality of Lord Ashburnham, to inspect his Manuscripts,

so

and was
Place.

happy as
of the

to discover

among them
in
his

the original text

of the best-known por-

tion

Trattato

magnificent

library

at

Ashburnham

Though
inciting

this discovery

was of a fragment
,

only

but a considerable fragmentto the

me

to

further search

it

gave the key

mystery which had so

long enveloped the first origin of all the known copies of the Trattato.
extensive researches

The

I was

subsequently enabled to prosecute,

this

and

the results

of which are combined in

work,

were only rendered possible by the

investigate all the
to

unrestricted permission granted

me

to

Manuscripts by

Leonardo dispersed throughout Europe, and

the

reproduce the highly important

original sketches they contain, by the process of "-photogravure".

Her

Majesty

Queen graciously accorded me special permission to copy for publication the Manuscripts at the Royal Library at Windsor. The Commission Centrale

Administrative de V Institut de France, Paris, gave me, in the most liberal manner, in answer to an application from Sir Frederic Leighton, P. R. A.,
Corresponding member of the Institut, free permission
to

work for

several

months in their private collection at deciphering the Manuscripts preserved there. The same favour which Lord Ashburnham had already granted me was
extended to

me

by the

Earl of Leicester,

the

Marchese Trivulzi, and the Curators

of the Ambrosian Library at Milan, by the Conte Manzoni at

Rome and

by

PREFACE.
XV1U

l^SL. **7. Mr. Mr.

M,
British

Museum,

Mantle Thompson, Keeper at Windsor, th Holme*, the Queens Librarian

**"****
and
Hall.
the

Ckrist Church College at Oxford, Vcre Bayne, Librarian of

A. Napier, Librarian

to the

Earl of

Leicester at

Holkham

of

the press, I have had the advantage In correcting the Italian text for Giov. Morelli, Senatore del Regno, valuable adiice from the Commendatore

and from Signor Gustavo Frizzoni, of Milan.

difficulties,

The

translation,
to

under many

of the Italian

text into English, is

mainly due

Mrs. R.

C. Bell;

while the rendering of several of the most puzzling

particularly
in the second

and important

passages,

to the indefatigable interest half of Vol. I, I owe R. A. Finally I must express taken in this work by Mr. E. J. Poynter Ditton, who has most kindly my thanks to Mr. Alfred Marks, of Long

assisted

me throughmit

in the revision of the

proof

sheets.

The notes and dissertations on the

texts

on Architecture in Vol. II

I owe

to

my friend Baron Henri

the production

de Gcymuller, of Paris.
to the illustrations, that the

I may further mention with regard

tives

nega-

for

of the "photo-gravures" by Monsieur Dujardin of

Paris were all taken direct

from
add

the originals.

It is scarcely necessary to

in facsimile have never been published before.

that most of the drawings here reproduced As I am now, on the termi-

nation of a

work of

several years

duration,

in

a position

to

review

the

I may perhaps be permitted to add a general tenour of Leonardos writings, word as to my own estimate of the value of their contents. I have already
shmcn that
it

is

due

to

circumstances, that

we

nothing but a fortuitous succession of unfortunate should not, long since, have known Leonardo, not

merely as a Painter, but as an Author, a Philosopher,

and a

Naturalist.

There can
discoveries

6t

no doubt that in more than one department his principles

infinitely

and

were

more in accord with the teachings of modern

science,

than with the views of his contemporaries. For this reason his extraordinary gifts and merits are far more likely to be appreciated in our own time

PREFACE.

XIX

could have been during the preceding centuries. He has been unjustly accused of having squandered his powers, by beginning a variety

than they

of studies and

The truth having hardly begun, throwing them aside. is that the labours of three centuries have hardly sufficed for the elucidation of some of the problems which occupied his mighty mind.
then,

Alexander von Humboldt has borne witness that "he was the first to start on the road towards the point where all the impressions of our senses
converge in the idea of the Unity of

Nature?
the

The very words which are inscribed on

Nay, yet more may be said. monument of Alexander von Hum-

boldt himself, at Berlin, are perhaps the most appropriate in which

we can

sum

^lp

our estimate of Leonardo's genius:

"Majestati naturae par ingenium."

LONDON, April

1883.

y. p. R.

CONTENTS OF VOLUME

I.

Pages

PROLEGOMENA AND GENERAL INTRODUCTION TO THE BOOK ON

PAINTING
The author's intention to Clavis Sigillorum and Index of Manuscripts. The preparation of the MSS. for publication (2). publish his MSS. (i). Admonition to readers (3). The disorder in the MSS. (4). Suggestions for the General introduc8). arrangement of MSS. treating of particular subjects (5 tions to the book on painting (9 13). The plan of the book on painting The use of the book on painting (18). Necessity of theoretical 17). (14 23). Variability of the knowledge (19, 20). The function of the eye (21 Focus of sight (25). Differences of perception by one eye and by eye (24). The comparative size of the image depends on the amount both eyes (26 29).
of light
I

24

(3039).
II.

LINEAR PERSPECTIVE
General remarks on perspective (40 41). The elements of perspective: Of the line (47 48). The nature of the outline of the point (42 46). The perception of the object depends Definition of perspective (50). (49). on the direction of the eye (51). Experimental proof of the existence of the The relations of the distance point to the van55). pyramid of sight (52 How to measure the pyramid of vision (57). The ishing point (55 56).

Proof by experiment (65 66). 64). production of the pyramid of vision (58 General conclusions (67). That the contrary is impossible (68). A parallel The function of the eye, as explained by the camera obscura case (69). The practice of perspective (72 73). Refraction of the rays fal71). (70 The inversion of the images (76). The inter75). ling upon the eye (74 Demonstration of perspective by means of a section of the rays (77 82). The angle of sight varies with the distance vertical glass plane (83 85.)

On simple and complex Opposite pyramids in juxtaposition (89). (86 88). The proper distance of objects from the eye (91 92). perspective (90). The relative size of objects with regard to their distance from the eye (93 The apparent size of objects denned by calculation (99 106). On 9 g). natural perspective (107 109).

XXII

CONTENTS OF VOLUME
HI.

I.

Pages

SIX
and shade (in).

BOOKS ON LIGHT AND SHADE

Prolegomena (no).

67123
the

GENERAL INTRODUCTION.
light

Scheme of

books on

Different principles and plans of treatment (112 116). Definition of the nature of shadows Different sorts of light (117 118). Of the various kinds of shadows (123 125). Of the various 122). (119 FIRST BOOK ON LIGHT General remarks (128129). kinds of light (126 127). AND SHADE. On the nature of light (130 131). The difference between light

The relations of luminous to illuminated bodies (136). lustre (132 135). 140). Experiments on the relation of light and shadow within a room (137 145)Light and shadow with regard to the position of the eye (141 The law of the incidence of light (146 147). SECOND BOOK ON LIGHT AND On the intenSHADE. Gradations of strength in the shadows (148 149). 152). sity of shadows as dependent on the distance from the .light (150 On the proportion of light and shadow (153 157). THIRD BOOK ON LIGHT Different sorts of AND SHADE. Definition of derived shadow (158 159). derived shadows (160 On the relation of derived and primary sha162). dow (163 165). On the shape of derived shadows (166 174). On the Shadow as produced by relative intensity of derived shadows (175 179). two lights of different size (180 The effect of light at different distances 181). FOURTH Further complications in the derived shadows (183 (182). 187). BOOK ON LIGHT AND SHADE. On the shape of cast shadows (188 191). On the outlines of cast shadows* (19 2 On the relative size of cast shadows 195). Effects on cast shadows by the tone of the' back ground (198). (196. 197). A disputed proposition (199). On the relative depth of cast shadows (200 FIFTH BOOK ON LIGHT AND SHADE. Principles of reflection (203. 204). 202). On reverberation (205). Reflection on water (206. 207). Experiments with the mirror (208 On shadows in movement (211 212). SIXTH 210). Appendix: BOOK ON LIGHT AND SHADE. The effect of rays passing through holes (213. On gradation of shadows (215. 216). On relative proportion of light 214).
and

and shadows (216

221).
IV.

PERSPECTIVE OF DISAPPEARANCE
guiding An experiment (226). On indistinctness at short distances (227 rule (225). On indistinctness at great distances (232 234). The importance of 231). The effect of light and shade in the Prospettiva de' perdimenti (235 239). Prolight or dark backgrounds on the apparent size of objects (240 250).
positions
Definition
(222.
223).

123139

An

illustration

by

experiment (224).

on Prospettiva

de' perdimenti

from MS. C. (250

V.

262).

THEORY OF COLOURS
reciprocal effects of colours on objects placed opposite each other Combination of different colours in cast shadows (272). The 271). (263 effect of colours in the camera obscura (273. 274). On the colours of derived shadows (275. 276). On the nature of colours (277. 278). On gradations in the depth of colours (279. 280). On the reflection of colours (281 283).

141

154

The

On the use of dark and light colours in painting (284 of the rainbow (287 288).
VI.

286).

On

the colours

PERSPECTIVE OF COLOUR AND AERIAL PERSPECTIVE General rules (289 An exceptional case (292). An experiment 291).
The practice of the Prospettiva de' colori (294). The rules of aerial On the relative density of the atmosphere (298299). perspective (295297). On the colour of the atmosphere (300 307).
(293).

155166

CONTENTS OF VOLUME
VII.

I..

XXIII

t>

Pages

ON THE PROPORTIONS AND ON THE MOVEMENTS OF THE HUMAN

FIGURE
i

167201

Proportions of the head and face Preliminary observations (308. 309). of the head seen in front (319 Proportions 321). (310 318). Proportions Relative proportions of the hand and foot (324). of the foot (322 323). Relative proportions of the foot and of the face (325 327). Proportions of the leg (328 On the central point of the whole body (332). The 331). The relative relative proportions of the torso and of the whole figure (333). The relative proportions of proportions of the head -and of the torso (334). The relative proportions of the torso and the torso and of the leg (335. 336). of the foot (337). The proportions of the whole figure (338 341). The torso

from the front and back (342). Vitruvius' scheme of proportions (343). The arm and head (344). Proportions of the arm (345 349). The movement of The movement of the torso (355 361). The proporthe arm (350 354). The movement of the human figure tions vary at different ages (362 367). Of walking up and down (375 379^ On the human body in (368 375).
action

(380

388).

On

hair

falling

down

in

curls

(389).

On

draperies

(39

39 2 )VIII.

BOTANY FOR PAINTERS, AND ELEMENTS OF LANDSCAPE PAINTING 203240

The relative thickness of the branches to (394396). The law of proportion in the growth of the branches The direction of growth (403 407). The forms of trees (408 402). (397 The insertion of the leaves (412 419). Light on branches and leaves 411). The proportions of light and shade in a leaf (423 426). Of 422). (420 The gradations of shade and colour the transparency of leaves (427 429).
Classification of trees (393).

the trunk

in leaves (430

The proportions
of light and

classification of trees according to their colours (435). 434). of light and shade in trees (436 The distribution 440). shade with reference to the position of the spectator (441^-443).
effects

The effects of morning light (444 448). The The appearance of trees in the distance (450
Light and shade on 453). treatment of light for landscapes (458 The effect views of towns (465 469). and shade on clouds (474 477). On
trees (452.

451).
the

of midday light (449). The cast shadow of

457).

groups of trees (454

464).

On

the

rainbows and rain (479. 480).

Of

of light for of wind on trees (470 473). Light Of images reflected in water (478). flower seeds (481).
treatment
IX.

On

THE PRACTICE OF PAINTING

I.

241332
How
to ascertain the

MORAL PRECEPTS FOR THE STUDENT OF

for

PAINTING.

dispositions
artist

(483 anatomical

The course of instruction for an (482). The study of the antique (486. 487). The necessity of 485). to acquire practice (490). Industry knowledge (488. 489).
an
artistic

career

How

conditions (491 The artist's private life and 493.) The distribution of time for studying (495 choice of company (493. 494)On the productive power of minor artists (498 501). A caution against 497). How to acquire universality (503 506). Useful games one-sided study (502). and exercises (507. 508). II. THE ARTIST'S STUDIO. INSTRUMENTS AND HELPS FOR THE APPLICATION OF PERSPECTIVE. ON JUDGING OF A PICTURE. On the size of the studio (509). On the construction of windows (510 512). On the best light

and thoroughness the

first

various helps in preparing a picture (521 530). On the limitations of painting (531. 532). O n tne choice of a position (536. 537). The apparent size of (533 535)The right position of the artist, when painting figures in a picture (538. 539).
for painting (513 520). On the management of

On

works

XXIV

CONTENTS OF VOLUME

I.

Pages

and of the spectator (540547). III. THE PRACTICAL METHODS OF LIGHT AND SHADE AND AERIAL PERSPECTIVE. Gradations of light and shade (548). On the The distribution of light and shade choice of light for a picture (549 554). The juxtaposition of light and shade (560. 561). On the lighting (555559).

On the lighting of white objects (566). The of the background (562 565). IV. OF PORTRAIT AND FIGURE PAINTING. methods of aerial perspective (567 570). Of sketching figures and portraits (571. 572). The position of the head Of the light on the face (574 576). General suggestions for historical (573). How to represent the differences of age and sex (582. pictures (577 581). Of representing the emotions (584). Of representing imaginary animals 583).
The selection of forms (586 591). How to pose figures (592). Of (585). V. SUGGESTIONS FOR COMPOSITIONS. Of painting 600). appropriate gestures (593 Of depicting night -scenes (604). Of depicting a 603). battle-pieces (60 1 Of representing the deluge (607 609). Of depicting tempest (605. 606). natural phenomena (610. 611). VI. THE ARTIST'S MATERIAL. Of chalk and paper On the preparation and use of colours (618 627). Of preparing 617). (612 the panel (628). The preparation of oils (629 634). On varnishes (635 VII. PHILOSOPHY AND HISTORY OF THE 637)- -On chemical materials (638 650). ART OF PAINTING. The relation of art and nature (651. 652). Painting is superior
to poetry (653. 654).

(657

659).

On

Painting is superior to sculpture (655. 656). Aphorisms The painter's scope (662). the history of painting (660. 66 1).
X.

STUDIES AND SKETCHES FOR PICTURES AND DECORATIONS

Bandino's portrait (664). Notes On the battle of Anghiari (669). 673). Allegorical representations referring to the duke of Milan (670 Allegorical representations (674 678). Arrangement of a picture (679). List of drawMottoes and Emblems (681 702). ings (680).
di

333361

On

pictures of the Madonna (663). on the Last Supper (665 668).

Bernardo

REFERENCE TABLE TO THE NUMERICAL ORDER OF THE CHAPTERS

363367

LIST
PI.
I.

OF ILLUSTRATIONS

IN

VOLUME

I.

Portrait of

Page

Leonardo, by himself, reproduced from the original drawing in red chalk in the Royal Library, Turin see No. 1368, Note Frontispiece

PI. II.

Three Diagramms, illustrating the theories of Linear Perspective and of see text No. 61. Light and Shade: No. i from the Ashburnham MS. I No. i Nos. 2 and 3 from MS. C., Institut de France, Paris see text No. 141

To
PI.
III.

face

38

Two

Diagrams,
I:

burnham MS.
No. 149
PI.

illustrating the theory of Light and Shade; from the No. i see text Nos. 148 and 275 No. 2 see ;

Ashtext

To
,
:

face

87

IV.

Five Diagrams No. i illustrating the theory of Light and Shade MS. E, Institut de France, Paris see text No. 162 Nos. 2 and 3 the Ashburnham MS. I see text Nos. 169 and 173 Nos. 4 and 5 the Codex Atlanticus, Ambrosian Library, Milan see text Nos. and 187 To
; ;

from from from

179
face

93

PI.

V.

Diagram, illustrating the theory of Light and Shade and Sketches of Figures illustrating the Movements of the Human Figure; from the Royal Library, Windsor Castle see text Nos. 183 and 597 To face

102

PI.

VI.

Four Diagrams, illustrating the theory of Light and Shade: No. i from the Codex Atlanticus, Milan see text No. 191 Nos. 2 and 3 from MS. C,
;

Institut

de France, Paris
I

see text Nos. 215 and 216

No. 4 from the

Ashburnham MS.
PI.

^see text

No. 224

To

face

108

VII.

Five Drawings, illustrating the theory of the Proportions of the Human see text No. 310 ; Figure, from the Royal Library, Windsor Castle; No. i No. 4 No. 2 see text Nos. 310 and 327 No. 3 see text No. 313 ; ; see text Nos. 321 and 327 To face No. 5 see Nos. 337 and 595 . ;
.

170

PI. VIII.

Two
No.
2

Figure; No.

Drawings, illustrating the theory of the Proportions of the Human i from MS. A, Institut de France, Paris see text No. 312 ; from the Royal Library, Windsor Castle see text No. 332 .To face
the
illustrating the theory Accademia at Venice

171

PI.

IX.

Drawing,

of the Proportions of the

see text

Human

Figure;

from

^0.315

To
d

face

172

XXVI

LIST OF ILLUSTRATIONS IN

VOLUME

I.

Page
PI.

X.

Drawing

in

Proportions see text No. 3 1 6 Castle

PI. XI.

silverpoint on bluish-toned paper, of the Human Figure; from the

illustrating the theory

of

Royal Library,

Windsor

To

face

176

Drawing, illustrating the theory of Proportions of the Human Figure; from To face see text No. 318 the Royal Library, Windsor Castle

...

176

PI. XII.

Drawing,
the

Royal Library, Turin

illustrating the theory of Proportions in the see text No. 319

Human

Figure; from

To

face

176

PI. XIII.

Two Drawings illustrating the theory of the Proportions of the see text No. 328 Figure; from the Royal Library Windsor Castle

Human To face

PI.

XIV.

Two

drawings, illustrating the theory of Proportions of the Human Figure, see text Nos. 326, from the Royal Library, Windsor Castle; No. i To face 330 ; No 2. see text No. 334
Sketches, illustrating the theory of the Proportions of the Human Figure; from the Royal Library, Windsor Castle see text Nos. 331 and 345 To face

178

PI.

XV.

178

PI.

XVI.

Two

Drawings, illustrating the theory of the Proportions of the Human Figure; from the Royal Library, Windsor Castle: No. i, see text No. 335; No. 2, see text Nos. 339 and 342 To face

180

PL XVII.

Two
No. No.

drawings, illustrating the theory of Proportions in the Human Figure; from MS. A, Institut de France, Paris see text No. 313 note ; 2 from the Royal Library, Windsor Castle, see text Nos. 348
. .

and 336
PI.

.-

To
-the

face
.

181

XVIII.

Drawing, illustrating the Proportions of Accademia, Venice

Human

Figure,

from the

To

face

182

PI.

XIX.

Two Drawings, illustrating the theory of the Proportions of the Human see text No. 347 Figure from the Royal Library, Windsor Castle; No. i ; No. 2 see text No. 351 To face
Drawing, illustrating the theory of the Proportions of the Human Figure; from the Royal Library, Windsor Castle see text No. 349 . . To face

184
186

PI.

XX.
XXI.

PI.

Drawing

in

Human

Figure

red chalk, illustrating the theory of the Movements of the see text No. 356 and sketch in pen and ink of ,
see p. 340;

warriors fighting

from the Royal Library, Windsor Castle

To
PI.

face

188

XXII.

Four Drawings,
Figure: Nos.
i

Nos. 357 and

Paris

illustrating the theory of the Movements of the 2 from the Royal Library, Windsor Castle see text 358 ; Nos. 3 and 4 from Manuscript A, Institut de France,

Human

and

see text Nos. 359 and 369

To

face

194

PL XXIII.

Four Drawings, illustrating the theory of the Movements of the Human see text No. 375 Figure: No. i from the Royal Library, Windsor Castle No. 2, in red chalk, from MS. II. 2 , South Kensington Museum, London see text Nos. 376 and 1395 No. 3, in red chalk, from Manuscript H 2 Institut de France, Paris see text No. 377 No. 4 from the Royal Library, ; Windsor Castle see text No. 379 To face
;
; ,

196

PL XXIV.

Three Drawings, illustrating the theory of the Movements of the Human see text No. 387 Figure: No. i from the Royal Library, Windsor Castle ; No. 2 from the Codex Atlanticus, Milan see text No. 388 ; No. 3 from the Leicester Manuscript, Holkham Hall see text No. 386 To face
. .

199

PL XXV.

Drawing, illustrating the representation of the hair falling down in curls; from the Royal Library, Windsor Castle see text No. 389 To face
. .

200

LIST OF ILLUSTRATIONS IN

VOLUME

I.

XXVII
Page

PL XXVI.

Charcoal Drawing of a Female Figure, from the Royal Library, Windsor Castle see text No. 391 and p. 341 To face
Five Drawings, illustrating the Botany for Painters; from the Manuscripts see text Nos. 395 (i) and G (2 to 5), Institut de France, Paris: No. i and 396 2 see text Nos. 402 and 412 No. 3 see text ; .No. ; No. 413 see text No. 414 No. 5 see text No. 417 To face ; No. 4 ;

202

PI.

XXVII.

214

PI.

XX VIII.

Five Drawings illustrating the Elements of Landscape Painting; from the 1 Manuscripts M, G, E and I in the Institut de France, ParisNo, i see text No. No. 2 (MS. G) see text Nos. 424 and (MS. M) No. 3 (MS. E) see text Nos. 440 and 441 No. 4 (MS. G) 433 ; see text No. 451 No. 5 (MS. I ) see text Nos. 188 and 452 and ; ; two drawings illustrating the theory of the Arrangement of Folds in see text No. 390 Draperies: No. 6 from the Ashburnham Manuscript I ; No. 7 from the Royal Library, Windsor Castle see text No. To face

420;

391

224

PI.

XXIX.

Library,
PI.

Drawing, in red chalk, Windsor Castle

representing a Landscape; see text No. 476

the

from the Royal

To

face

238

XXX.
XXXI.

Drawing of a Bust and minor Sketches; from Castle see text Nos. 486 and 487

Royal Library, Windsor

To

face

244

PI.

Four Drawings illustrating the Practice of Painting: No. i from the Codex Atlanticus Milan see text Nos. 490 and 548 No. 2 from the Ashburnham Manuscript I see text No. 512; No. 3 from Manu;

script A, Institut

de France, Paris
I

Ashburnham Manuscript

see text No. 526; No. 4 from the see text Nos. 573 and 574 .To face
. .

263

PL XXXII.
PL XXXIII.

Drawing of a male Head, illustrating the Practice of Painting; from the Royal Library, Windsor Castle see text Nos. 137, 575, 577 To face
.

290

paper,

Study of Female Hands, drawn with the silverpoint on yellowish tinted heightened with white; from the Royal Library, Windsor Castle see text No. 593 To face
the Collection of Baron

292

Drawing of two

Men on horseback fighting a Dragon; from Edmond de Rothschild, Paris; woodcut

in size);

page

293

Drawing of Male Figures in various groups, woodcut

from the Louvre Collections (reduced page

297

PL XXXIV.

Representation of a Tempest, drawn with the pen and partly washed with Indian ink, from the Royal library, Windsor Castle see text

Nos. 606 and 608

between pp. 304

305

PL

XXXV.

Three Drawings,
Sketches Figure of the Deluge

from

the

referring to the see text No. 348

Royal Library, Windsor Castle: No. i theory of the Proportions of the Human Nos. 2 and 3 referring to the representation ;

see text Nos.^ 608

and 609
Royal
. . .

To
To

face

306
308

PL XXXVI.

Representation

of

Natural

Windsor Castle

see text p. 307, note,

Phenomena; from the and No. 477

Library, face

PL XXXVII. PL XXXVIII.

Representation

of

Natural

Windsor Castle

see text p.
i

Phenomena; from the 307, note, and No. 477

Royal
. .

.To

Library, face

310

Three Drawings: No.

the

Representation of Natural Phenomena,

from

No. 2 Sketch of a see text No 610 ; Atlanticus, Milan Male Figure from the Ashburnham MS. I see text No. 579 ; No. 3 Sketch of Male Figures, from the Royal Library, Windsor Castle

Codex

see p.

340

To

face

312

XXVIII

LIST

OF ILLUSTRATIONS IN VOLU.MK

I.

Page
PI.

XXXIX.
XL.

Charcoal

Drawing, representing a Deluge,

Castle,

from the Royal Library,

Windsor
PI.

see p. 309, note

:

To

face

Three Drawings from the Royal Library, Windsor Castle No. i Representations of Natural Phenomena, drawn with the pen and washed 610 ; No. 2 Sketches of Male see text Nos. 473, 608 with Indian ink
see illustrating the practice of Figure Painting ;No. 3 Sketch for a Madonna picture, drawn with the To face see text page 343, note silverpoint on bluish-tinted paper

Heads

in red chalk,

text

No. 573

PI.

XLI.

Five Drawings illustrating the theory of Painting: No. i from the AshNo. 2 from the see text Nos. 142 and 344 ; Nos. 3 and 4 from MS. F, see text No. 200 ; see text No. 244; No. 5 from MS. E, Institut de France, Paris To face see text Nos. 197 and 1190 Institut de France, Paris

burnham Manuscript I Codex Atlanticus, Milan

3 24

PI.

XLII.

Female Head, preparatory Drawing in silverpoint, on brown-toned paper for the Angel in the picture "La Vierge aux Rochers"; from the To face Royal Library, Turin see p. 344

329

PI.

XLIII.

same figure, done with the brush Preparatory Study of Drapery and Indian ink on greenish paper, the lights heightened with white; from the Royal Library, Windsor Castle see pp. 344, 345 note To face
for the
in
p.

PI.

XLIV.

Bust of a Boy, Study, in red chalk, for the figure of the Infant Christ see the same picture; from the Royal Library, Windsor Castle

345 note
the Last Supper, at Milan,

To
woodcut

face

333

The Wall- Painting of

PI.

page

334
334

XLV.
XLVI.
XLVII.

Preparatory Sketch for the painting of the Last Supper; from the Royal
Library,

Windsor Castle

see p. 335

To

face

PI.

Preparatory Sketch for the painting of the Last Supper drawn in red see text No. 668 between pp. 336 chalk; from the Accademia, Venice

PI.

Study for the

Head

of

drawn
p. PI.

in

red chalk;

St. Matthew in the painting of the Last Supper, from the Royal Library, Windsor Castle see
.

333
black chalk, for the

To
To

face

336
336 336
33 6

XL VIII.
XLIX.
L.

Study, in

Head of

St.

Philip in the

same
.

from the Royal Library, Windsor Castle

PI.

see p. 333
in the

picture; face

Study, in charcoal, for St. Peter's right

the Royal Library,

Arm

Windsor Castle

see p. 333

....
..."
.
.

same picture; from

To To

face

PI.

Study, in red chalk, for the

the Royal Library,

Head

of Judas in the same picture; from

see p. 333
Battle
foil.

Windsor Castle
Cartoon

face

Raphael's

Sketch

after

Leonardo's

of the
see p.
for

of

University Galleries, Oxford

336
the

Anghiari ..'..

from the on page

337

Study

of

two

fighting Warriors, painting of the Battle of see Anghiari, drawn in black chalk; from the Museum at Buda-Pesth
p.

Heads
340

of

on page

338

Study
PI. LI.

for a fighting Warrior, for the Museum at Buda-Pesth,

same painting, drawn see p. 340

see p. 333

in red chalk;

from the on page

from
face

339
34
342

Drawing of the

Head of a
in

Criminal (the original in red chalk);

the Royal Library,

Windsor Castle
the painting of

....
.

To

Study of the

Head of

St.

John

"La Vierge aux Rochers"

.

in the

Louvre, Paris

see p. 344, 345, note

in the

on page

The

picture of "La Vierge aux Rochers"

Louvre, Paris,

woodcut

on page

344

LIST OF ILLUSTRATIONS IN

VOLUME

I.

XXIX
Page

PL

LIT.

Two

Drawings: No. i Group of Figures, in silverpoint on reddish-toned see Nos. 665, 666 note paper, from the Royal Library, Windsor Castle and 594 note; No. 2, Sketch of Horsemen fighting, Study for the cartoon of the Battle of Anghiari; from the British Museum, London see p. 336

To
P. LIII.

face

344

Study for the Cartoon of the Battle of Anghiari; drawing from the AccaTo face demia, Venice see p. 336 Study
for the cartoon of the Battle of Anghiari;

346
348

PL LIV.
PL LV. PL LVI.

drawing from the Acca-

demia, Venice

see p.

336

To

face

Study for the Cartoon of the Battle of Anghiari, drawing from the Accasee p. 337 To face demia, Venice

350

Study Royal Library, Windsor Castle

in

black chalk for the Cartoon of the battle of Anghiari, in the

see p.

338

....

between pp. 352

;

35^

PL LVII.

Cesare da Sesto's Copy of part of the Cartoon of the Battle of Anghiari charcoal Drawing from the Royal Library, Windsor Castle see p. 337

To
PL LVIII.
Studies
Castle
for Allegorical Compositions; see text No. 672, note

face

352

from the Royal Library, Windsor

To
the Library of Christ

face

352

PL LIX. PL LX.

Drawing of an Allegorical Composition; from see text No. 676 College, Oxford

Church
face

To
:

352

Four Drawings of Allegorical Representations No. i from the Library of Christ Church College, Oxford see text No. 676 No. 2 4 from Manuscript M, Institut de France, Paris see text Nos. 699 701 To face
;

353

PL LXI. PL LXII.

Allegorical Composition, from Oxford see text No. 677

the

Library

of Christ

Church College,
.

To

face

353

Two
in

Drawings: No.

the

No. 2:

di Bandino, when hanged; Thibaudeau, London see text No. 664 ; Emblems, from the Royal Library, Windsor Castle see text No. 681
i

Portrait

of Bernardo

possession of Mons.

To
PL LXIII.
PL LXIV.
Studies
text

face

354 356

of Emblems;

from

the

Royal

Library,

Windsor

Castle

see
face

No. 684

To
-.
.

Emblematic Representation; from the Royal Library, Windsor Castlesee text No. 688
.

To

face

358

are of the exact size of the originals; except that Plates I, XVIII colour and tone of the paper have in every case been faithfully in order to give to the facsimiles a imitated, perfect and complete resemblance to the originals, whether drawn in charcoal, red chalk or pen and ink. It is to be understood that all Drawings here reproduced are in pen-and-ink, unless otherwise stated.

and XLVI are

The reproductions of drawings The slightly reduced.

ERRATA.
Italian
text:

page 44
.;

/.

27

for luminosi se read luminosi;

.146
/.

se.

p. 79
recto

/.

23 for esse read e se.

resto.
I

/.

in
the

/.

from
li

the

end

for c
/. 228

d
/.

read C
il

.p.

22

for
/.

razrf

I./.

167

/.

g^or

read
/.
f>

p. 196
i.

/.

from

endfor

rtadll.

10

for

parte razrf parte.

/. 272

20 for baso raza? buso.

/. 291

for

n'a<f

WHICH English text: page 48 /. 2 from the end for ever mzrf over./. 65 /. 1$ for tretragon read tetragon./. 81 /. 6y>AWILL read WILL./. 109 /. T-$for on opposite r^^rf on the opposite./. 114 //. 26, 27 for avelets walways read wavelets always./. 115 /. 7 from the end for as read at./. 145 /. IT. for holer read holes./. 163 I. 8 from ffie endfor [on] read [20]. /. 164 /. 12 for each read at each./. 174 /. g./frr then-ose read tke nose./. 182 /. 26 for length read tenth./. 188 /. 6 for
. . . . . .

And do; /. 10 for 2 read and./. 200 /. 18 for it to out read it out./. 207 /. $ for to with the rarrf to the. whirling read whirling./. 321 /. 4 front the end for as raid? as to./. 266 /. i6/^ fla read flat./. 306 /. for thicker read thicken./. 329 /. ifor farther read further.

And

to

read
23

/. 238

/.

30^

Notes: page 291, No. 583

/.

$for

left

read right./. 349

I.

for

of the

beginning read the beginning

of.

Prolegomena and General Introduction

Painting.

to the

Book on

Clams
In the

sigillorum.

1.

few

instances in

which Leonardo has written from

note.

left
is

to

right in the

ordinary
2.

way

this is stated in

In all other cases the writing

the
line in

backwards.
4

The numbers printed above

the lines in the original

the revised text:

2
,

3,

&c. indicate

the heads of

MS.

In

many

instances the breaking off of the lines

in the original

MS.

accounts for peculiarities in the construction of Leonardo's sentences.

to the

In the translation the numbers refer only

in such passages,
3.

footnotes

and

they have been introduced

which require an explanation.

Clerical errors

and

text,

but are given in the notes,

obvious mistakes in spelling have been corrected in the so that all the peculiarities of the original text which

are omitted in the revised text

4.

may

be seen at

a glance.
:

Leonardo frequently employs the following abbreviations

Cf

for per or pr
di.

e.

g.

CT

che

perche

so

QTa

sopra.

ft for

for

br;

e.

g.

&

eve

= =

breve.
inverse.

for ver;

e.

g. in<J\so

for

ser;

e.

g.

<L

vo

servo.
it

These occur so constantly

to

and are

so unimporfant that

has not been thought necessary

point them out.

\

He

also uses:

for uno. for una.

VOL.

I.

PROLEGOMENA.
Such abbreviations as are common
Leonardo's usual

in

5. e.

familiar speech are retained in the text;

g. un sol punto.
6.

way of

spelling, ochio spechio

for occhio specchio, has also

been

left unaltered.
7.

The combinations of two or three words' into one, which Leonardo so frequently used, and which are so puzzling to the eye as to render reading difficult, though in the revised text; e. g. leforme ditutti=le plain to the ear, have been separated
forme
di
tutti.

These combinations were, however, intentional no doubt;

in

almost

every case they indicate the author's desire of substituting a sort of phonetic writing for the rules in general use. This doubling of the letters as, for instance in chessia

for che
loss

the orthography of

for e se la is, I believe, clear evidence of what may be called Leonardo da Vinci. The separation of the words has involved the in' these doubled letters, but the original spelling has been given, for reference of
sia

and

essella

the foot notes.

8.

Leonardo commonly wrote a e

but not often,

occasionally,

represents m.

6 u or v for an, en, in, on, un. This sign // has been retained, as it was usual in

printed type in the

9.

XV

th

and

XVI

th

centuries.

Leonardo sometimes writes

tienj,

u;

e.

g. linje,

mjnor.

As he
to left),

when he writes from right

j)

for i, particularly where it is joined to m, n or never sets a dot over the ordinary i (at any rate it is plain that he uses j for i (he does not dot the
j

simply to avoid confounding ni or ui with m, or mi with nu. As this difficulty cannot occur in print I have restored the usual spelling i for j without referring to it Accents

in the notes.
10.
it

and

apostrophes are entirely lacking in the original manuscript,

but

seemed necessary to introduce them into the printed text. The accent has also been added in those parts of the verb avere in which Leonardo had dropped the h: as 6,
a,

ai,

anno.
I]L
I

and

IH tne MSS. there are no marks of punctuation but these, II III C ) have been retained wherever they occur. is ahvays placed by Leonardo just they above the line of writing and is never used as a full stop, but only to divide the words
'

according to the sense-, it very often occurs between every word, particularly in MSS. of about 1490. When a letter or number is placed between two points, as a ., or 3 .,
.
.

it

usually refers to
I

to

a corresponding sign on a diagram or sketch. serve to separate sentences which are entirely distinct. II III commonly This mark commonly indicates that words written above or below the be inserted. In the reinsed text they have been simply inserted.
.

line

are

In the notes these passages are distinguished by the following signs: indicates that the words were written above the line.
"
(

that the words were written below the

line.

This

mark

is

used by Leonardo

to

mark

off
it

a digression

or parenthesis

or

a quotation from some other work of his own; but

(

often takes the place

of the colon:

simple bracket placed at the beginning of one or more lines serves to lay stress
it is

on particular sentences;

also used to

mark

distinct sentences

which have no connection

with the rest of the text on the same page. been denoted by the mark If.

In the printed text such sentences have

PROLEGOMENA.
The
length,

last line
it

of a

section

commonly ends with a horizontal

lines

line

of variable

making

of equal length with the preceding

of writing.

J, 4i 5' These figures, if written large, or some similar mark, are occasionally at the end of a page or at the beginning of a passage that has been crossed placed
12.

out;

where the same sign is repeated. The sings & o, which occur in the passages on painting^ have been added by some early copyist and have therefore not been reproduced in the notes.
this indicates
13.

and

that the continuation is to be sought for elsewhere,

,.:;!? These
to insert

stops are never

used
to

in the original

MSS.

It

seemed

neces-

sary however
is

such marks in order

render the text

intelligible.

A full

stop

used at the end of a section to avoid confusion with Leonardo's own use of points (see No. \\) for he never places one at the end of a section or paragraph. Wherever a full stop seemed wanting in .the course of the text I have put a semi colon (;).
only
,

The

colon
14.
15.

(:)

is

used instead of a full stop where, in the

original,

a point

(.)

occurs.

[ ]

Passages between brackets are crossed out in the original.

the

When a word or passage of

indicates passages in

revised text

is

printed in small type

it

indicates that the reading is doubtful in consequence

1 6.
\l\\\\

of partial obliteration.
is entirely

which the original writing

destroyed.

17.
1

R
ink.

indicates that the passage is written in red chalk.

8.

(R) indicates that the original writing in red chalk has been written over in

pen and
19.

P
i

indicates
a

Jhat

the original writing is in silverpoint.

20.

j<5

2 $ &c. the front page 2 6 3* &c. the back page

S.

recto

of sheet
of sheet

I,

2,

3, 3,

&c. &c.

verso

I,

2,

The MSS. Tr. and

In all other

K. M.

MSS.

the leaf only is numbered.

are the only ones in which the pages are numbered. In referring to the Codex Atlanticus a

double series of numbers has been used.

the second series does not exist in the

The

first apply only to the larger leaves

of the

Codex, on which two or more of the original leaves of the

MS. have

been mounted;

Codex

itself; it

refers to the original pages in the

order in which they have been placed in it. By this second series of numbers the correWherever, in addition to the spondence of the front and back pages has been verified.
consecutive numbering, a different

parenthesis, thus:

2j

(3"),

number occurs in- Leonardo 's writing it is quoted in a and this indicates that the back page of leaf 27 in the
3.

MS. C was
21. twice.

originally

numbered
as 26

A Roman
O',

II,

II*

In the Codex Atlanticus

22.

26 IP, indicates that the same number is used for II.

(26) occurs

that the passages so marked are originally notes written on the inside of the cover of the MS.; O' within the front or upper cover, O" within
indicates

O"

the under cover.

23.

The wood -cuts introduced

sketches
to

into

the

text are facsimile -reproductions

of Leo-

nardo's

own

and drawings which accompany

the

MSS.

But

the letters

and

numbers affixed

them have

been inserted in ordinary writing.

PROLEGOMENA.

The folloiving is a list of Leonardo's letters and numbers, as they are found 24The on those original drawings which are here reproduced by facsimile engravings. reader will have to refer to this list, by which he will be enabled to identify the letters and numbers on the originals with the corresponding figures in the printed text.

A A
d o

A
a.

M
'

=
:>

=
/'

o ==

*-'..y'
T
'

1''
I

:':

."

^~/
<l

''.''

'\1-'
u

=
=

^f

i f

\ =y \
i J

^2.

= =

^4=4
^
t)

/ =
C

= =

<>=7
--,

8
9

PROLEGOMENA.

INDEX OF MANUSCRIPTS.

PROLEGOMENA.

PROLEGOMENA.

GENERAL INTRODUCTION TO THE BOOK ON PAINTING.

Leonardo committed almost a handwriting that goes from right to left. This singular paper sometimes been accounted for by supposing that Leonardo felt it necessary
to

Contrary
habit lias
to

the universal custom of western nations,

in

all his notes to

put every

difficulty
to

in
to

the

way of

the publication of his works.

This assumption,

however, seems

me

rest on no solid grounds,

and

is

but an hypothesis at best.

Perfectly explicit statements prove, on the contrary, that Leonardo

wished

to

publish his

writings, and that he cared greatly that they should be known and read; and any one who has taken the trouble to make himself familiar with the Master's writing will, I think, hardly resist the conviction that even the character of the writing was expressly adapted
to

that view.

We know from
his left hand,

the evidence of his friend

ease. 1

Luca Paciolo that Leonardo drew with

authentically

and used it with perfect known to be genuine as

is

In point of fact, in almost every drawing those included in the texts of MSS. must be
lie

wherever shading

introduced the strokes

the left hand.
to
1

from

left to

right (downwards) as they

would be drawn with The question as

probably a vain
one.

why Leonardo drew and

is

wrote with his

left

hand

is

now

nothing circumstance or mere caprice was the cause. It is notes, written in his twenty-first year, when he could hardly have caution as are attributed to him*, are written backwards.

There

to justify

us in deciding whether accidental worthy of remark, that the earliest

had such

reasons for

sufficiently prove that he certainly intended them for publication, though the form is probably not always what he finally meant it to be. The appeal or address 'til', which frequently occurs and more particularly in theore-

The

contents

of Leonardo's MSS.

passages , is often no doubt meant for the reader; but in other cases it indicates rather the specially meditative character of the passage. Abstract speculations acquire a particular charm from this soliloquizing form it is as if we overheard the mental
tical

process of the author.

In the passages indicated below Leonardo expresses himself clearly as

to the

end

and purpose of

his literary labours.

In one passage in the

invention to himself,
this exception sufficiently

MS.

and not making

proves the

at HolkJiam (No. \) he speaks of keeping a certain it public. As he uses this reserve in no other instance,
rule.

"Scrivesi ancora alia rovescia e mancina che non si posson legere se non con lo specchio, ovvero guardando la carta dal suo rovescio contro alia luce, come so m'intendi senz' altro dica, e come fa il nostro Leonardo da Vinci, lume della pittura, quale e mancino, come piu volte e detto." (L. PACIOLO,

Divina Proportione, Venaua, 1509.) 2 This was first pointed out in the 1 Gallery by Senatore Giov. MORELLI.

'Critical

review of the drawings by the old Masters in the Dresden

3 "Pour s'exprimer a peu pres comme lui, des esprits dtroits et routiniers d'une part, et de 1'autre des aventuriers partant a cheval centre tout ce qui avail permis jusque-li d'e'tablir ces regies qui, determinant la limit e du possible et de 1'impossible, empechent le chercheur de tomber dans le de"sespoir et la

mclancolic,

exageraient a plaisir ce

qu'il avait dit (?)

(?)

se servaient de ses propres expressions

parlait

pour

le repre'senter

pour ragir contre les abus et les paradoxes, et cpmme un charlatan ou un fou. Lorsqu'il
mais
laisser voir

du moins, son Eloquence persuasive donnait &

ses ide'es toute leur valeur;

dans

ses papiers des pensees incompletement exprime'es, des redactions inacheve'es, des projets d'inventions de toutes sortes, c'eut ite iexposer a la calomnie et au vol." (CH. RAVAISSON MOLLIEN , Les Manuscrits de L. de Vinci, Paris 1 88 1, /. 2). But we might suppose that Leonardo would have considered his papers and his

instruments quite

safe,

by keeping them locked away in his

own room.

GENERAL INTRODUCTION TO THE BOOK ON PAINTING.

In the passage
characteristic

from

the

MS.

F (No.

2) tJic expression "mettere insieme" is equally

tJie

of his method of working and of

of which could be done the more
tJie

condition

of the MSS.
to

By
to

it

he

means

the classification

separate details

of

his researches so as

make a

con-

nected whole,

easily since it

was

his practice

write

separate chapters on separate sheets.

The MS.
interesting,
to

in

the British

Museum
where

begins with an apology (No.

for

the self- evident disorder of the

it is

MS.

the notes on mathematics

placed

which is very 4.) This apology applies equally ^vell and to all the branches of science on
refer to the arrangement of different

which Leonardo wrote.

The passages (Nos.

j) are soliloquies,
the

and

MSS.

as preparatory

to

publication in

form intended

by Leonardo himself.

From
,

all this it

was

clearly not his intention that the notes should be printed as they lay

in

confusion, under his hand. The schemes, which Leonardo himself proposed for the arrangement of the Book on Painting as well as of his other writings, give us a clue as we shall presently

see

which enables us perfectly

to construct the

whole work on the basis of his own rules

and with some

pretention to logical sequence.

We may
21

conclude that the sections 9,

10

and

II

headed 'Proemio' -refer

the original (Cod. At.

to the

Book on Painting, and more

with
its

particularly to the lessons

di

on Perspective , because section

in

special

title

"Proemio
sheet.

prospettiva"

is,

HJ 6 ;

56 1

written on the

same

Sections 12 to 20 give us the guiding idea of the general plan

and of

the object

and purpose of

the Libro di Pittura.

di prospettiva, cioe dell' ufitio dell' ochio' folloivs naturally after

No. 21 'Proemio

the other general introductions.

Our

acceptance of this introduction,

it is

true, wholly

invalidates the arrangement of the materials which has been adopted by every editor of the old copies of the Trattato since DUFRESNE but those, it must be remembered, contain
;

only disconnected fragments of Leonardos treatise on Perspective.

the branches of optics do not,

His

investigations in all

of

course,

come under consideration

to the physiology of the eye the reader will find, in Nos. 24, 28

With regard 39, passages which

here.

show that Leonardo understood the effect of the variation in the size of the pupil on The insertion of these passages seemed indispensable because the perception of objects. The same may be said the basis of certain general principles of Perspective. they form
about his explanation of the difference between seeing with one eye and seeing with two (No. 25 29) as well as of his acute remarks as to the apparent variation in the size of objects according to the amount of light in which they are seen (No. 30 39^.

VOL.

I.

Leic. 226}

molti stie 2 no con istrumeto alsotto Pacque; Come e perche io non quato scrivo il mio modo di 3star sotto 1'acqua; quato io posso star sanza magiare, e questo

Come

by a certain machine many may The author's some time under water. And how and p^bTish'his MSS wherefore I do not describe my method of
stay
-

How

no publico o diuolgo per le ma 4 le nature delli omini, li quali vserebono li assasinameti ne' fondi de' mari col rompere s i navili in fondo e sommergierli insieme colli omini che ui son dentro, e benche io insegni 6 delli altri, quelli no son di pericolo, perche
di sopra all'acqua apparisce la bocca della canria, ?onde alitano, posta sopra otri o

remaining under water and how long I can remain without eating. And I do not publish nor divulge these, by reason of the evil nature of men, who would use them for assassinations at the bottom of the sea by destroying ships, and sinking them, together
with the

sughero.

men in them. Nevertheless I will impart others, which are not dangerous because the mouth of the tube through which you breathe is above the water, supported on air sacks or cork.

F. 2b\

Quado
moti
dell'

tu metti insieme la scien 2 za de

acqua, ricordati di metHere di sotto a ciascuna propositione ^li sua giouameti, acrcioche tale scienstia

non

sia inutile,

When you put together the science of the The P re pa motions of water, remember to include under MsTfor P ueach proposition its application and use, in biication. order that this science may not be useless.

W. An.

IV. 163 <5]

No mi
mia
1. 2.

legga, chi

non

e matematico,

nelli

pricipi.

Let no man who read the elements of

bece.

is

my

not a Mathematician work.

Admonition

isscrivo.

3. 3.
.
.

quato iposso
matematicho.

magare ecquesto.

5.

sonmergierli

chi

6.

apariscie la bocha.

7.

otri

ossugero.

2. i. sscien.

acciasscuna.
.

4.

gouameti acco chettale.

3.

i.

leggha

is i. The leaf on which this passage is written, headed with the words Cast 39, and most of these cases begin with the word 'Come like the two here h and 27 th 7. Sughero. given, which are the 26* In the Codex Antlanticus 377 a ; H7o a there is a sketch, drawn with the pen, representing a man with a tube in his mouth, and at the farther end of the tube a
1

disk. By the tube the word 'CAanna' and by the disk the word sughero\
l

is

written,

2.

A
on

comparatively small portion of Leonardo's

notes
in

1828,

water-power was published at Bologna under the title: "Del moto e misura deldi L.

/''Acqua,

da Vinci".

12

GENERAL INTRODUCTION TO THE BOOK ON PAINTING.

M.
i

[4-6.

Br.

a]

The di,order Braccio in the MSS.

Firenze in casa Piero di addi T2 di 2 marzo 1508: e q uesto fi a vn racolto sanza ordine, tratto di mol'te carte le quali io ho qui copiate sperando poi metterle per ordine alii lo*chi loro, secondo le materie di che esse tratteranno, e credo che auanti ch'io Ssia al fine di questo, io ci avro a riplicare vna

Comiciato

in

Begun
di

at Florence, in the

house of Piero

Martelli

on the 22 nd day of March 1508. And this is to be a collection without order, taken from many papers
Braccio
Martelli,

medesima cosa piu volte, si che 6 lettore no mi biasimare, perche le cose son molte e la memoria no le 7 puo riseruare e dire, questa non voglio scriuere perche dinanzi 8 e se io no uolessi cadere in tale la scrissi;
errore, sarebbe necessario che per ogni caso ''ch'io uolessi copiare, sicche per no repli-

have copied here, hoping to arrange each in its place, according to the subjects of which they may treat. But I believe that before I am at the end of this [task] I shall have to repeat the same
I

which

them

later

things

several

times;

for which,

reader!

do not blame me, for the subjects are many and memory cannot retain them [all] and say:
this because I wrote it bewished to avoid falling into this fault, it would be necessary in every case when I wanted to copy [a passage] that, not to repeat myself, I should read over all
'I

will

not write
if I

fore.'

And

carlo, io auessi senpre a rilegere tutto

10

il

passato, e massime stante co' lunghi interIJ da una volta ualli di tenpo allo scriuere

a un

altra.

the

had gone before; and all the more since intervals are long between one time of writing and the next.
that

F. aja]

Suggestions libro

fa questo nel profondare vn canale de giovame^ti, e nel provarli allega 4 propositioni prouate; e que s sto e il raagauntofte 6 MSS treat- uero ordine, perche se tu volessi mostrare of par- ... ing 7 meto ticuiar sub- il a ogni propositione, 8 ti giova bisognerebbe anco^ra fare novi strumeti
;

Da

Of digging a canal. Put this in the Book of useful inventions and in proving them bring forward the propositions already proved.

And

this

is

wished to

show

the proper order; since if you the usefulness of any plan

to devise

1)-

you would be obliged again

new

cofonderesti 1'ordine de' I2 quarata libri e cosi I'ordi'-Jne delle figurationi, cioe ^avresti a mischiare pratica ^con teorica, che sarebbe 16 cosa cofusa e interrotta.

10

per prouar

tale

utilita,

co^si

machines to prove its utility and thus would confuse the order of the forty Books and also the order of the diagrams; that is to say you would have to mix up practice with theory, which would produce a confused and incoherent work.

Br.

M.

32/5]

Non
1'ordine

da biasimare

Io

mostrare infra

del processo della scientia 2 alcuna regola generate nata dalP antidetta conclusione.

not to blame for putting forward, course of my work on science, any general rule derived from a previous conI

am

in

the

clusion.

4.

i.

Chomlciato
8.
.

in

firenze

piero di bracco martelli.

io.

2.

ecquessto.

3. cqui.

5. ciaro.

6. ella.

7.

po

scriuere [al]

sscrissi.
5. 2.

cssio no.
. .

9. repricarlo.
3.

collunghi.
14. aresti

cquesto

govame.

allegha.

13. coe.

a misciare.

15.

teoricha.

6. i. llordine.

4.

I.

In the history

of Florence in the early

2.

addi 22 di marzo 1508.

in

The
th).

Christian era

was

part
is

century Piero di Braccio Martelli frequently mentioned as Commissario della Signoria.

learning and at his death four books on Mathematics ready for the press ;
for

of the

XVI th

computed

Florence

at that

time from the Incar-

He was famous
left

his

nation (Lady day, March 25 be 1509 by our reckoning.

2.
3.

Hence

this

should

racolto

tratto

di molte carte le quali io ho qui

comp. LlTTA, Famiglie

di Firense.

In the

Famiglia Martelli Official Catalogue of MSS. in

celebri Italiane,
I., where this passage been wrongly given for Braccio.

copiate.

must suppose that Leonardo means that he has copied out his own MSS. and not those of
others.
Brit.

We

the Brit. Mus.,

is

New

Series Vol.

The

first

thirteen leaves of the

MS.

in

the

printed, Barto has

Mus. are a

fair

copy of some notes on physics.

7io.J
W. An.
II
IV. 167 a]

GENERAL INTRODUCTION TO THE BOOK ON PAINTING.

7'

libro
al

della

scietia

delle
4

machine va
fa

ina^zi

libro
di

tua
C.

libri

de giovameti; notomia!

legare

li

The Book of the science of Mechanics must precede the Book of useful inventions, Have your books on anatomy bound! [4]
8.

A. 146

II

a; 436^]

regola del tuo libro prociedera in * forma prima Paste senplice poi quest'a di sotto poi le sospese in le sosten^ute
:

La

The order of your book must proceed

on
this plan: first simple beams, then (those) supported from below, then suspended in part, Then beams as then wholly [suspended]. supporting other weights [4].

parte, poi tutte, nitori d'altri pesi.

C. A. 117
;

poi esse aste fieno soste-

361^]

PROEMIO.
2

INTRODUCTION.
pigliare materia
li

Vedendo
a

io

non potere
o
diletto,

di

grade

vtilita

3perche

omini
tutte
il

inati
1'utili

me
per
e

nati

anno preso per loro

e ne 4 ciessari temi, faro

come

colui

Seeing that I can find no subject specially or pleasing since the men who have come before me have taken for their own every useful or necessary theme
useful
I

General
tcTthe
011

in-

book

must do

like

quale
fiera;
6

poverta

Sgivgnie

1'ultimo

alia

last to the fair,

one who, being poor, comes and can find no other way

tutte cose gia

rifiutate

no potedo d' altro fornirsi piglia da altri viste e non accettate

per
la
7

ma
io

loro

poca valitudine;

8 mercatia questa disprezata e rifiutata molti copratori mettero sopra rimanete de' 9 la mia debole soma, e con quella no per

le

I0 ville andro grosse citta, ma pouere tal distribuendo pigliado premio qual merita iz la cosa da me data.
,

of providing himself than by taking all the already seen by other buyers , and not taken but refused by reason of their lesser value. I, then, will load my humble pack with this despised and rejected merchandise, the refuse of so many buyers; and will go about to distribute it, not indeed in great cities, but in the poorer towns, taking such a price as the wares I offer may be worth.
things
io.

C. A. 117

361

PROEMIO.
3

INTRODUCTION.
I

So che

opera
quali
78. 3i.

molti diranno questa essere 4 e invtile questi fieno quelli de

;

know
[3];

that

many

will

call this useless

work

and they
[4]

Demetrio

disse,

no

facieSva conto

Demetrius

be those of whom declared that he took no more

will

govameti.
quessta.

4. libri di 2. laste
.
.

no "a".
poi lessen.
3.

poi

sosspese.
. . .

4.

asste

sosstenitori.
6.

9. 3.

ano

tutte luti [ebe] ene.

9.

4. sciessari

temi

chome

cholui.

chose

aciettate.

7.

pocha.

8.

merchatia

cho-

pratori.
io. 2.

chon quela.
li

io. disstribuendo.

u. chosa.
3.

naturalmente

omini boni disiderano sapere.

dirano.

4.

ecquesti

deometr

\\\\\\

disse.

5.

chonto

bocha.

The numerous notes on anatomy written 7. 4. on loose leaves and now in the Royal collection at Windsor can best be classified in four Books, corresponding to the different character and size
of the paper.
libri di notomia',
still

When Leonardo

speaks of 'li tua he probably means the MSS. which

need hardly be pointed out that there In the second and third prefaces, Leonardo characterises his rivals and opponents more closely. His protest is directed against Neo-latinism as professed by most of the humanists of his time; its futility is now no longe'r questioned.
9.

It

is

in this 'Proemio' a covert irony.

exist; if this hypothesis is correct the present condition of these leaves might seem to prove that

io. In

the

original ,

deir uffitio dell' occhio (see

the Proemio di prospettiva doe No. 2l) stands between this

9.

he only carried out his purpose with one of the Books on anatomy. A borrowed book on Anatomy
is

and the preceding one, No.

3.

questa essere opera inutile.

libro di pittura

By

opera

we must

mentioned
8.

in F,O'.

here understand
treatise
4.

and particularly the

4.

Leonardo's notes on Mechanics are extra-

ordinarily numerous; but, for the reasons assigned in my introduction, they have not been included in the present work.

on Perspective. Demetrio. "With regard to the passage attributed to Demetrius", Dr. H. MULLER STRUBING writes, "I know

GENERAL INTRODUCTION TO THE BOOK ON PAINTING.

nclla lor bocca che del ueto ch' usciua delle parti ?di sotto vomini quali anno solamete desiderio di 8 corporal richezze, e

[10.

piv

del

uento

il

quale

causaua

le parole,

Iteramete priui di quello della 9 SapietiaI0 cibo e veramete sicura richezza del' anima e piv degnia 1'anima che '1 pcrche quat'
;

account of the wind that came out their mouth in words, than of that they expelled from their lower parts: men who desire nothing but material riches and are absolutely devoid of that of wisdom, which is the food and the only true riches of the mind. For so much

"tanto piv degni fie le richezze anima che del "corpo e spesso dell' l* essa quado vedo alcu di questi pigliare I mano dubito no sia come fa la opera scimi' 4 a, se '1 mettino al naso, o che mi domadino, se e cosa 'Smagiatiua.
corpo,
,

more worthy as the soul so much more noble are

the

soul
in

often,

when
it

than those I see one of these

is than the body, the possessions of of the body. And

men
that

take this

work
ask

his

hand,
his

wonder
like

not put

to

nose,

he does a monkey, or
eat.

me

if it is

something good to

PROEM 10.
?So bene che per non essere io literate, che alcuno l8 prosuntuoso gli para ragionevolmente potermi ^biasimare coll' allegare 20 jo- essere homo sanza lettere; giete stolta! no sano questi tali ch' io potrei si 2 'come Mario- rispose contro a' patriti romani, io diciendo quelli che delsi "rispondere, 2 1'altrui fatiche ^se medesimi fanno ornati le mie a me mede^simo no uogliono cociedere: diranno che per non a 2 5vere io lettere non potere ben dire quello di che 26 voglio trattare or no sano questi che le mie chose 2 ?son piv da esser tratte dalla 28 sperietia, che d'altra pa rola, la quale fu maestra di chi bene scrisse 2 ^e cosi per maestra la 3 in tutti casi alleghero.
J
,

INTRODUCTION.
not being a presumptuous persons literary man, will think that they may reasonably blame me; alleging that I am not a man of letters. Foolish folks! do they not know that I might retort as Marius did to the Roman Patricians [21] by saying: That they, who deck themselves out in the labours of others will not allow me my own. They will say that I, having no literary skill, cannot properly express that which I desire to treat of [26]; but they do not know that my subjects are to be dealt with by experience rather than by words [2 8]; and [experience] has been the mistress of those who wrote well. And so, as mistress, I will cite her in all cases.
I

am

fully

concious that,

certain

6.

chausaua.
12.

7.

vomini equali.
.

8.

corporal "richeze" diletta e priua.

9.

sichura richeza de.

. .

io.

lanima chelchorpo.
18.

n.

fie

richeze.

chorpo
.

alchu.
.

13.

imano
21.

sichomellassimi.
.
.

14.

domadi
22.

chosa.
23.

17.

alchuno.

prosuntooso.

19. siasi-

mare choll alegare

26. chelle.

esere.
29.

chome mario

chontro.

quello.

amememede.
30. cbasi

24.

chociedere.

25.

lettero.

28. scrise.

[mia equel] e chosi per maestra la peris

\\\\\\\\

wwlla.

allegero.^

not what to

make
is

of

it.

It is

certainly not
it

Demetrius

to 43),

Dio Cassius, Aulus Gellius, or Macrobius.

Phalereus that

meant and

trius Poliorcetes.
is

Who

can hardly be Demethen can it be for the name

a clerical error for
in the spirit of his to find

Professor E.

a very common one? It may be Demades and the maxim is quite

writings;
I

MENDELSON of Dorpat, the editor of Herodian, assures me that no such passage is the found in that author" (communication from Dr.

have not however been able

any

allude to

MULLER STRUBING). Leonardo evidently meant to some well known incident in Roman history
and the mention of Marius is the result probably of some confusion. We may perhaps read, for Marius, Menenius Agrippa, though in that case it is true we must alter Patriti to Plebei. The change is a serious one, but it would render the passage perfectly clear.

corresponding passage either in the 'Fragments' (C. MUI.LER, Orat. Att., II. 441) nor in the Supplements
collected

by DIETZ
57,

(RJtein.

Mas., vol. 29, p. 108)."

The same passage occurs

in

the

MS. Tr.

as a simple Memorandum apparently as a note for this

'Proemid thus affording some data as to the time where these introductions were written.
21.
to

Come Mario disse ai patriti Romani. " I am unable find the words here attributed by Leonardo to
(Aforalia, p. 202).

2628. le mie cose ... che cfaltra parola. This can hardly be reconciled with Mons. RAVAISSON'S estimate of L. da Vinci's learning. "Leonard de Vinci
.

Marius, either in Plutarch's Life of Marius or in the

etait

un admiraieur

et

un

disciple des andetis, aussi bien

Apophthegmata
in the writings

of Valerius

Nor do they occur Maximus (who frequently

(II,
1 1

dans Part que dans la science et il tenait a passer pour tel 'meme aux yeiix de la posteritf" Gaz. des Beaux arts.
Oct. 1877.

mentions Marius) nor in Velleius Paterculus

13-]

GENERAL INTRODUCTION TO THE BOOK ON PAINTING.

3571
II.

C. A. ns<i;

Se bene come
gli autori

loro

no sapessi allegare

molto magiore e piv degnia-cosa2 alleghero allegando la sperietia. maestra ai loro maestri Costoro vanno sgonfiati
;

e poposi, ma delle

vestiti
altrui

e ornati
fatiche,

^no delle loro

e
le
4

mie

me

medesimo no conciedono
tore loro

e se

me

inven-

disprezzeranno

quato

magiormente

non

inventor!,

ma

trobetti e recita s tori

dell' altrui

opere potranno essere biasimati.

PROEMIO.

Though I may not, like them, be able quote other authors, I shall rely on that which is much greater and more worthy: on experience, the mistress of their Masters. They go about puffed up and pompous, dressed and decorated with [the fruits], not of their own labours, but of those of others. And they will not allow me my own. They will scorn me as an inventor; but how much more might they who are not inventors but vaunters and declaimers of the works of others be blamed.
to

INTRODUCTION.

E' anno da essere givdicati e non altrementi stimati.- li omini 8 inventori interpetri tralla natura e gli omini a comparatione
7

de

recitatori

trobetti- dell'
fori dello

altrui

9quat'e

dall' obietto

opere; spechio alia

similitudine d'esso obietto

apparente nello

I0 spechio che Pu no per se e qualche cosa, e 1'altro e niete giente poco obbligate alia

natura, perche sono sol' d'acidetal "vestitili

sanza il quale potrei armeti delle bestie.

aconpagnarli

infra

men who are inventors and between Nature and Man, as compared with boasters and declaimers of the works of others, must be regarded and not otherwise esteemed than as the object in front of a mirror, when compared with its image seen in the mirror. For the first is something in itself, and the other nothingness. Folks little indebted to Nature, since it is only by chance that they wear the human form and without it I might class them with the herds of beasts.
those
interpreters

And

C. A. 117^; 3 6i/5]

12.

Molti mi crederanno ragionevolmete 2 potere ripredere, allegando le mie prove esser cotro all' autorita ^d'alquanti omini di gra reuereza apresso de loro inesperti 4 no cosiderado le mie cose essere ivditi, nate sotto la senplice e mera 5 sperientia-

reasonably proofs are opposed to the authority of certain men held in the highest reverence by their inexperienced judgments; not considering that my works are the issue of pure and simple experience,

blame

Many will me by

think

they

may

alleging

that

my

quale e maestra vera. Queste regole son cagione di farti conosciere-jl uero dal falso la 7 qual cosa fa che li omini si promettano le cose possibili e con piv mode8 e che tu non ti veli di ignoranzaranza, cosa tale che non avendo efTetto, tu abbi 9 con disperatione a darti malinconia.
la

who

is

the one true

false

mistress.

These rules
the true

are sufficient to enable

you

to look only for things that are possible and with due moderation and not to wrap yourself in ignorance, a thing which can have no good result, so that in despair you would give
this

from the

and

know aids men

to

yourself up to melancholy.

C. A. 2oort; 594 a]

Intra
le

li

studi delle naturali cause e radiletta

2

Among

all

the studies of natural causes

gioni la luce

piu

conteplanti

J tra

cose grandi
A. sebene chome
4.

delle

matematiche

la cer-

and reasons Light chiefly delights the beholder; and among the great features of Mathematics
schonfiati e

11.

i.

sapesi
. .

altori

chosa allegere.
5.

2.

popo
. .

si.
.

3.

elle

mie

conciedano
7.

[chos-

toro] esse.
8.

disprezerano
9.

[da me] loro non inventore.

,

tori

[potrano] delli
.

opere otrano esere.

10.

chonperatione.

quate dall obietto

fori

de dello

....
4.

dessobietto

aparente

chellu.

chosa

ellaltro

da ... givhe ... pocho

chelli

obrigate.
12.
.

n. achonpgnarli.
2.

i.
.

poter "e".
.

chotro

alturita
8.
.

[di

qualche loro].

chosiderado

chose.
. . .

6.
t

cagione
abi.
.

chonossciere.
.

7.

13.

i.

chose "possibili e" chon. chause ration! lisstudi

.
. . .

chettu nonti [per] "veli di" ignoranza

chosa
.

9.

chon

malinchonia.

chonteplanti

...

lie

chose.

2.

matematice

certeza

plecharamente

....

invesstighati.

GENERAL INTRODUCTION TO THE BOOK ON PAINTING.

tezza
della

dimostratione
1'ingiegni
dell'

lalza

piv

pre3

the

certainty

of

its

demonstrations
to)

is

what

claramente

investigati;

la

preeminently (tends
the investigator.

elevate

the

mind of

prospectiva adunque a da essere preposta a tutte le trattazioni e discipline vmane, nel campo della quale 4 la linia radiosa e

be preferred
of
the

Perspective, therefore, must to all the discourses and systems

complicata nella quale

s

dai
si

modi
truova

delle
la

dimostrationi, gloria no tato

,
:

human learning. In this branch [of science] beam of light is explained on those

matematica quanto della fisica ornata co fiori dell' una e dell' altra le 6 distese con gran cirsentetie della quale
della
cuitioni
io
le

methods of demonstration which form the glory not so much of Mathematics as of Physics and are graced with the flowers of both [5].
axioms being laid down at great length, them to a conclusive brevity, arranging them on the method both of their natural order and of mathematical demonstration; sometimes by deduction of the from the causes, and sometimes effects arguing the causes from the effects; adding But
I
its

ristrigniero

jn

conclusiua
7

shall abridge

jntessendo secondo jl modo della materia naturale e matematiche dimostrationi alcuna volta conchiudendo gli effetti 8 per le cagioni e alcuna volta le cagioni per li effetti agivgniedo ancora alle mie coclusioni alcuna 9che no sono J quelle
breuita
;
:

no

di

meno
jl

di quelle

si

tragano
d'ogni

come
I0

si

degniera
illustrare

signiore

luce

cosa,

per trattare della luce per cui partiro la presente opera J 3 parti.

me

my own conclusions some which, though not included in them, may nevertheless be inwho is ferred from them. Thus, if the Lord the light of all things vouchsafe to enlighten me, I will treat of Light; wherefore I will dialso to

vide the present

Ash.
I.

work

into 3 Parts [io].

14.

Di TRE NATURE PROSPETT1VE.

2

ON THE
the

THREE BRANCHES OF PERSPECTIVE.

Come

The
1

plan of "
17)-

la

prima

di 3. nature prospectiue: s'astede J torno alia 3 ragione del

sono-

There are three branches of perspective;

first deals with the reasons of the (apparent) diminution of objects as they recede from the eye, and is known as Diminishing PerspecThe second contains the way in which tive. colours vary as they recede from the eye. The third and last is concerned with the explanation of how the objects [in a picture]

Painting

(M

diminvire (e diciesi prospettiva diminvitiva) le cose che si allotanano dall'ochio; la secoda * cotiene I se il modo del uariare i coloriche si allotanano dall'ochio; 5 la terza e vltima s'astede alia dichiaratione come le cose deuono 6 essere meno finite e nomi fieno quanto piv s' alontanano
questi.

ought to be
are remote

?prospetiva liniale prospetiva di colore 9prospetiva di speditione

8

proportion as they (and the names are as follows): Linear Perspective. The Perspective of Colour. The Perspective of Disappearance.

less finished in

3.

"e" da ... prepossta

.

attutte
6.

le traduzioni
.

champo.
. .

4.

hsicha malice
9.
14.
i.

cho

eddell.
.

chom

circhuitioni
8.

risstrigniero

inella chomplichata . chonclusiua

. . . . . . .

groria.

5.

matematicha
7.

sechondo.
.

dela

mate-

alchuna

chonchiudendo.

chagioni

alchuna
. . .

chagioni
.

ancora

choclusi"o"ni alchuna.

traghano chome.
prosspettire.
a.
.

io. alle.
.

chosa [illuminare] ilustrare

3.

me

trattare

luce

el

quale

partiro.

"(e diciesi prospettiva diminuetiva)"

le

chose chessi.

4.

cholori chessi.

5.

diciaratione

chome.

6.

me

finite

quto

feno.

13.

From
Such

that this passage

5.

the character of the handwriting I infer was written before the year 1490. of Leonardo's notes on Optics or on

is

in

its

Although
separate,
find

to
it

widest application the science of seeing. Leonardo the two sciences were clearly
is

not

so as

to

their

names; thus we

Perspective as bear exclusively on Mathematics or Physics could not be included in the arrangement of the libra di pittura which is here presented to
the reader.
io.

axioms

in Optics

According

to this

under the heading Perspective. arrangement of the materials for the

They

are

however but few.

theoretical portion of the libra di pittura propositions in Perspective and in Optics stand side by side or

In the middle ages for instance, by ROGER BACON, by VITELI.ONE, with whose works Leonardo

occur alternately. Although this particular chapter deals only with Optics, it is not improbable that
the
refer to the
is

was certainly familiar, and the Renaissance Perspective

by all the writers of and Optics were not

Perspective,

words partird la presente opera in 3 parti may same division into three sections which
in

regarded as distinct sciences.

indeed,

spoken of

chapters 14 to

17.

15

GENERAL INTRODUCTION TO THE BOOK ON PAINTING.

E.

D
2

PICTURA E PROSPETTIVA.
le

ON
di

PAINTING AND PERSPECTIVE.

parti prospettiua serue la pictura, delle quali la prima alia diminutione delle quantita s'aste-tde de' corpi oppachi; la s s ecoda e delle .diminuitioni e perdimeti delli ter 6 mini d'essi corpi oppachi; La terza e della ^diminuitione e perdimeti de' colori in luga Mistatia.
3.
si

sono

della

che

of Perspective are 3 , as used in drawing; of these, the first includes the diminution in size of opaque objects; the second treats of the diminution and loss of outline in such opaque objects; the third, of the diminution and loss of colour at long
divisions
distances.

The

G. 53*]

l6 '

DlSCORSO DE PICTURA.
2

THE DISCOURSE ON

PAINTING.

La

perspectiva, la qual s'astende nella

pictura, si diuide in tre parti pricipali, del*le quali la prima e della diminuitione che
3

fan

corpi in diverse distantie; parte e quella che tratta 7 della diminuitio de colori di tali 8 Terza e quella che diminuisce la corpi, 9 delle che anno notitia figure e termini I0 essi corpi in varie dista tie.
5

le

quatita
6

de'

La seconda

Perspective, as bearing on drawing, is divided into three principal sections; of which the first treats of the diminution in the size of bodies at different distances. The second part is that which treats of the diminution in colour in these objects. The third [deals with] the diminished distinctness of the forms and outlines displayed by the objects at various distances.

E.

79,5]

DELLE PARTI DELLA PICTURA.

2

ON THE
li

SECTIONS OF [THE BOOK ON] PAINTING.

first
it

La prima

parte della pittura e che

4

The
objects
lief,

thing

in

painting

is

that

the

corpi co quella figurati si dimostrino vati, e che li capi d'esse circudatori,

3 5

rile-

col-

represents should appear in reand that the grounds surrounding them

distances

le lor distantie, si

dimostrino etrare
tal

dentro

alia

pariete,
le 3

doue

pittura e giene?rata

mediante
delle

8 prospective, cioe dimi nuition

figure de' corpi

diminuistion delle
|

magnitudini
a origine

loro

dimi I0 nuitio

de'
la

loro

colori: e di queste 3
d'all'

ochio,

prospective le altre due

I2

prima anno

shall appear within of the foreground of the picture by means of the 3 branches of Perspective, which are: the diminution in the distinctness of the forms of the objects, the diminution in their magnitude; and the And of these diminution in their colour. 3 classes of Perspective the first results from [the structure of] the eye, while the other two
at

different

the vertical

plane

are

deriuatione dall' aria interposta infra 1'occhio

caused by the atmosphere which intervenes between the eye and the objects seen
"delle quantita" de chorpi.

15.

i.

presspectiva.
delle.
7.

2.

parte

prespectiua [che] di chessi.

8.
.

3.

quale

sasste.

4.

5.

sechonda

"he"
16.
2. 7.

decholori in lugha.
parte.
8. 4.

disstatia.
. .

sasstende.

3.
.

la

p"a"he

cheffan.

5.

chorpi in diuersi disstantie.

9.

6.

sechonda

hecquellachettracta.

cholori
parte.

Chorpi.

Terza ecquella cheddiminuisscie.

3.

"ettermini"
4.

chorpi.

17.

i.

2.

he
6.

chelli.
. .

chorpi
8.

fighurati

si

dimosstrino.

chelli
10.

chapi

circhudatori

chol.

5.

disstantie

si

dimosstrino.

alia

he.

chorpi.

9. delle

[quatita]

magnitudine.

cholori

prasspec.

12.

interpossta infralloc-

15.

The

division

is

here the same as in the pre-

as applied
it

to

Painting.

This

is

important because

vious

chapter No. 14, and this is worthy of note when we connect it with the fact that a space of about 20 years must have intervened between the
writing of the two passages. 17. This and the two foregoing

chapters must

supposition of H. LUDWIG and others, that Leonardo had collected his in one book so early as before principles of Perspective 1500; a Book which, according to the hypothesis, must have been lost at a very early period, or
is

an

evidence

against

the

have been written

indicate
the

in 1513 to 1516.

They undoubtedly

scheme, which

carry out in arranging his

Leonardo wished to researches on Perspective

destroyed possibly, by the French (!) in 1500 LUDWIG. L. da Vina: Das Buck von der Vienna 1882 III, 7 and 8).

(see

H.

Malerei.

VOL.

I.

IS

GENERAL INTRODUCTION TO THE BOOK ON PAINTING.

20.

Je H obbietti da esso ochio veduti,

4 parte del' la variati nelle

pictura e

li

atti

La 2* appropriati e
li

statute,
ecc.

si

che

omini no

pajano

fratelli

by it. The second essential in painting is appropriate action and a due variety in the figures, so that the men may not all look like brothers, &c.
.

C. A. ai84; &|8<|

18.

Queste regole
The
ihe

use of

book on

per ripruova r

delle
.

Palming,

omo

nella
;

pnma
dove

sono da vsare solamete figure jnperoche ogni r 11 copositione fa qualche

...

These
the

rules are of use only in correcting

figures; since every man makes some mistakes in his first compositions and he who

errore 2 e chi no li conoscie no li onde tu per conosciere li errori

1'opera tua, e
ciali;
3

raconcia

riprouerai trovi detti errori raco-

e tieni a mete di mai piv ricaderci; Ma se tu volessi adoperare le regole nel coporre non verresti mai acapo e fare^sti confusione nelle tue opere.

knows them not, cannot amend them. But you, knowing your errors, will correct your works and where you find mistakes amend them, and remember never to fall into them again. But if you try to apply these rules in composition you will never make an end, and will
produce confusion in your works. These rules will enable you to have a free and sound judgment; since good judgment is born of clear understanding, and a clear understanding comes of reasons derived from sound rules, and sound rules are the issue of sound experience the common mother of all the sciences and arts. Hence, bearing in mind the precepts of my rules, you will be
merely by your amended judgment, to and recognise every thing that is out of proportion in a work, wjiether in the perable,
criticise

che tu possiedi uno libero e bono giuditio jnperoche '1 bono givditio nascie dal bene intedere e 6 '1 bene intedere diriua da ragione tratta da bone regole e le bone regole sono figliole
5

Queste regole fanno

della
tutte

bona

sperietia:

comvne

madre

di

^lescietie-e arti; Onde avedo tu bene a mete i precietti delle mie regole8 potrai solamete col racocio givditio giv dicare e conosciere ogni sproportionata opera cosi in prospettiua come in figure o
:

altre cose.

spective or in the figures or any thing else.

19.

G. 8a\

DELL' ERRORE DI QUELLI CHE VSANO LA PRATICA SANZA SCIETIA.

3

OF THE MISTAKES MADE BY THOSE WHO

PRACTISE WITHOUT KNOWLEDGE.

Quelli

che s'inamora

di

pratica *saza

Necessity ofscietia,
theoretical

so

come

'1

nochiere che e s tra navilio

6

knowledge
(IQ. 20).

sanza timone o bussola

che mai a certezza

dove

si

uada; ^sepre ^ a pratica debbe esser

edi 8 ficata sopra la

la

bona teorica
e
J0

della 9quale

prospettiva
si

e guida
JI

porta, e sanza
casi di pittura.

Those who are in love with practice knowledge are like the sailor who gets into a ship without rudder or compass and who never can be certain whether he is going. Practice must always be founded on sound theory, and to this Perspective is the guide and the gateway; and without this nothing can be done well in the matter of
without
drawing.

questa nulla
C. A.

fa

bene ne'

75;

2190]

20.

pittore che ritrae per pratica e giv2 d'ochio, sanza ragione e come lo spechio, che in se imita tutte ^le a se coII

The
and by

painter
eye,

who draws merely by

practice

ditio

traposte cose sanza cognitione d'esse.

without any reason, is like a mirror which copies every thing placed in front of it without being conscious of their
existence.

chio.
18.
i.

13. elli.
.

14. elli
.
.

apropiati

nelli.

15. recelli
.

... no

paj.
. .

"solamete"
.

chopositione.

2.

chonosscie

nolli

rachoncia

chonossciere
5.

erori
.

erori

rachociali.
.

3.
.

richaderci.
.
.

Massettu
6. elle

bone
R.
i.

chopore none veresti achapo chomvne. 7. chol rachocio.

2.

effare.
8.

4.

chonfusione.
.

rego fanno
. .

chettu possiedi
in prosspettiua

Ibero
.
.

nasscie.

dichare

echonossciere
4.

chosi
5.

chome
8.

chose.
9.

19.

it

eror.
10.

praticha.

3.

chessinamora

di praticha.

nochieri.

obbussola.

6. cierteza.

teoricha.

qua

la presspettiva.

essanza.
3.

3O.

i.

praticha.

2.

chome.

assechotra poste chose

chognitione dese.

21

23-]

GENERAL INTRODUCTION TO THE BOOK ON PAINTING.

21.

C. A. 117 b; 361 b\

PROEMIO
ciojfe

DI PROSPETTIVA, DEL'UFITIO DELL'OCHIO.

INTRODUCTION TO PERSPECTIVE: THAT THE FUNCTION OF THE EYE.

Behold here
ning which
the

is

OF

3 lettore quello che non Or', guarda potremo credere ai nostri antichi, i quali s anno voluto difinire che cosa sia a 6 nima e uita: cose inprovabili; quando ? queue (cose) che con isperietia ogni ora si possono 8 chiaramete conosciere e provare, sono 9 per
">

reader!

a thing concer- The function

e
(

we cannot trust our forefathers, ancients, who tried to define what the

2 ^2j).

Soul and Life are which are beyond proof, whereas those things, which can at any time

tati seculi igniorate

1'ochio,

o falsamete cre I0 dute che cosi chiaramete fa sperie"tia

!

be clearly known and proved by experience, remained for many ages unknown or falsely understood. The eye, whose function we
so certainly
to

e insino ai mia te I2 pi per infmiti autori stato difinito in v mo I3 do: trovo per isperietia essere vn altro.
del

suo

ofitio,

know by
time,

experience, has,

down
infinite
I find,

been defined by an number of authors as one thing; but

my own

by experience,
C. A. 337 b; 1026/5]

that

it

is

quite another [13].

22.

Qui
in
5

le

figure,

le spetie delle parti dell'

v punto
6

viglia!
ti

tu
8

mirabile, o stupeda neciessita costri?gni colla tua leggie tutti li effet9 per breuissima via a participare delle

colori, qui u3niverso so ridotte 4e quel punto e di tata mara-

qui

li

tutte

lor

cau I0se! questi sono

1

li

miracoli.

Here [in the eye] forms, here colours, here the character of every part of the universe are concentrated to a point; and that point is so marvellous a thing Oh! marvellous, O stupendous Necessity by thy laws thou dost compel every effect to be the direct result of its cause, by the
.
. .

tanto minimo spatio pos l8 sa rinasciere e ricopor^si nella sua dilatatione; 20 scriui 2I anno nella tua notomia che proportione 22 le spetie infra loro li diamitri di tutte 2 ^a da loro la dell' ochio e che distantia
7

in

shortest path. These [indeed] are miracles; In so small a space it can be reproduced
.
.

spera

cristallina.

and rearranged in its whole expanse. Describe your anatomy what proportion there is between the diameters of all the images in the eye and the distance from them of the
in

crystalline lens.
Ash.
I.

13 a]

23.

DE' 10 OFITI DELL'OCHIO TUTTI APARTENENTI ALLA PICTURA.

3

OF THE
ofiti

10 ATTRIBUTES OF THE EYE, ALL CONCERNED IN PAINTING.

La

dell'

ochio

pictura s'astede in tutti cioe tenebre luce

10

^corpo e

colore

figura e sito

remotione propiquita
ofiti

moto e

quiete

s
;

de quali

sara intessuta-

6 al picquesta mia piccola opera tore con che regola e modo debe imitare

ricordado

colla sua arte tutte ?queste cose, opera di natura e ornameto del modo.

concerned with all the is Painting 10 attributes of sight; which are: Darkness, and Colour, Form and Light, Solidity Position, Distance and Propinquity, Motion and Rest. This little work of mine will be a tissue [of the studies] of these attributes, reminding the painter of the rules and methods by which he should use his art to imitate all the works of Nature which adorn the world.
. . .

31.

3.
. .

no.

5.

chosa

\\\\\\\.
.
.

6.

chose inprovabili q
chosstri.

\\\\\\.

7.

quelle che chon

agiiiora sipossano.

9.

sechuli.

10.

locio

chosi

chosi.
parte.

12. altori
6.

13. nvnaltra.
. .
.

32.

2.

"o stupeda"
14. re

8.

ti

[a participare] per [v].

9.

della lor chau.

10. miracholi.
\\\\.

16.

7%<?

&/"

here injured i only the following words at the beginning of the lines are preserved:
13.

n. que stupedo
20.

12. col

quale

\\\\\.

quasi

\\\\.

\\\\.

15. finita

\\\\.

16.

gia per tute

\\\\\.

17.

po.

18.

rinassciere.

che ;'pro"ne".

21.

infralloroli.

22. lesspetie.

23. dalloro.

crisstallina.

33. i. hofiti.

2.

apartenti.

3.

10

li

ofiti.

4.

cholore

essito.

5.

pichola

richordado.

6.

chon

cholla.

7.

chose.

21.

In section

13

we

already find

it

indicated

del provare la terra

roccJiid,

essere

that the study of Perspective and of Optics is to be based on that of the functions of the eye. Leonardo also refers to the science of the eye, in his astrono-

&c.

Compare

also

una Stella: Imprima difinisce MS. E 15 b and F 60 b.

to

The
13.

principles of astronomical perspective.

Compare the note

No.

70.

mical researches, for instance in MS.

25^ 'Online

20

GENERAL INTRODUCTION TO THE BOOK ON PAINTING.

24 .

[2427.

E.

PlCTURA.
diminuiscic ia popilla tanto la ^ sua quatita quato crescie il lumis 2a Tanio cre4 in j e j s 'j n r me nogo p 6 scie la popilla dell' ochio quato di minuiscie
dell'
2

ON
ochio
.

PAINTING.

La

Variability r the eye.

la chiarezza del

giorno o d'altra
8

lu?cie,

che

pupil of the eye contracts, proportion to the increase of light which nd is reflected in it. 2 The pupil of the eye expands in proportion to the diminution in the day light, or any other light, that
i
.

st

The

in

in

lui

s'inprime.

Tanto piu

intensiua-

1'ochio le cose che mete vede e cono I0 li stanno per obbietto, quato la sua popilla M piu si dilata, e que sto proviamo mediante
9 scie
li

animali

nocturni,

"come
J

nelle gatte

[8] The eye perceives recognises objects of its vision with greater intensity in proportion as the pupil is more widely dilated; and this can be proved by the case of nocturnal animals,
is

reflected in

it.

and

3 the

rd

Jgufo e simili, nei quali la popilla fa gra^dissima variatione da grade a piccola ecc. *s nelle tenebre o nell' I6 alluminato. L'ochio posto nell' aria 4 alluminata ve^de tenebre detro alle finestre
altri

volatili,

come

il

such as cats, and certain birds as the owl and others in which the pupil varies in a high degree from large to small, &c.,
th in the dark or in the light. The 4 eye [out of doors] in an illuminated atmosphere sees darkness behind the windows of houses which [nevertheless] are light. th All colours when placed in the shade 5 appear of an equal degree of darkness, th But all colours when among themselves. 6 in a full light, never vary from their placed
. . .

when

9$* tutti li co20 essere paiao 2I 6* Ma tutti d'equale oscurita infra loro. 22 li colori posti in lochi luminosi no si uaria
lori

delle abi' 8 tationi alluminate; posti in lochi onbrosi

mai dclla loro

essentia.

true

and

essential hue.

C. A. 136*;

25-

DELL' OCHIO.

OF THE

EYE.

FOCUS of
Slght>

Se 1'ochio a a vedere cosa che sia tropo presso no la puo be giudicare, come che si vol vedere la Iteruiene 3 a quello
la

puta del naso; Onde per regola gienerale natura ^isegnia che la cosa no si vedra mai perfettamete se lo Itervallo che si trova tra 1'ochio s e la cosa vista no sara almeno
simile alia gradezza del uiso.
C. A. 339 a; 1033 a]

If the eye is required to look at an object placed too near to it, it cannot judge of it well as happens to a man who tries to see the tip of his nose. Hence, as a general rule, Nature teaches us that an object

can never be seen perfectly unless the space between it and the eye is equal, at least, to the length of the face.

26.

DELL' OCHIO.
2

OF THE
la pira-

EYE.

Quado
ochi

2 ochi

conduranno
e bene

When
sight to

Differences of perception

mide visuale sopra

1'obietto, ^esso

obietto

both eyes direct the pyramid of an object, that object becomes clearly

fia dalli by one eye and by both

eyes(26
29).

veduto

conpreso.
'

seen and comprehended by the eyes.

H.

3.

85*]

cose vedute da uno medesimo ochio 3 paranno alcuna volta- grade alcuna V olta-

Le

Objects seen by one and the same eye

appear sometimes large, and sometimes small.

picole.
34. 2.

p La ... diminuiscic.
10.

3. cresscie.

4.

sinpreme.

5. cresscic.
.
.

6.
.

minuisscie. chiareza.
13.

7.

sinprema.
li

8.

chonos.
disima
.

9.
.

chose
appi.
.

chelli.

ecques.

n.

sto

proviano.
16.

12.
.

chome
. .

ghatte

chome.

ghufo
cholori

essimili
.
.

quali.

14.

chola.

15.

onellaluminato.

possto

alluminato.

17.

nnesstre.

19.

inllochi.

20.

[simi]

essere

osschurita infralloro.
35. 2. sellochioavedere
.

21. ttutti licholori possti.

chososa
5.

preso nolla po
.

giudichare chome.
gradeza.

3.

acquello

chessi.

4.

chella chosa

sello

chessi
36.
i.

trallochio.
2.

ella

sara

il

meno

de ochio.
3 R.
i.

chondurano.
i.

3.
3.

chonpreso.
pichole.

37. i

chose ... da

24.

8.

The

subject of this third proposition

we

find fully discussed in

MS. G. 443.

2830.]
Tr. 74]
II

GENERAL INTRODUCTION TO THE BOOK ON PAINTING.

28.

21

movimeto
fa

cosa stabile
stabile
3

parere

cosa

movete

della cosa visiua alia 2 volte essa cosa spesse trasmvtarsi in nel moto della e la cosa movete parere
,

The motion of a spectator who sees an object at rest often makes it seem as though the object at rest had acquired the motion
of the moving body, while the moving person appears to be at rest.

stabile e ferma.

PITTURA.

ON
^

PAINTING.

cose di rilievo da presso viste con u sol' ochio para simili 6 a vna perfetta pittura; Se vederai coll' ochio a b il
s

Le

Objects in relief,

when seen

from a short distance with one eye, look like a perfect picture.
If
'

you look with

the eye a,

puto<;, ?parratti 8 in -f e se

esso

solo

lo guardi col ochio g parra ti 9 k in e l a pittura non avra mai 10 in se queste 2 varieta.

puto

at the spot c, this point c will appear to be at d, f, and if you

it with the eye g, h will appear to be at m. A picture can never contain in itself both

look at

'

aspects.

w. An.

iv. 153*1
il

29.
2

Sia
ochi;
3

rilieuo /

veduto da due

voledo He cosiderare 1'obbie6 stto coll' ochio tenedo destro, chiuso il sinistro n 7pobbietto parra overo occupera lo spatio a e se

Let the object seen by both eyes;

at

in
if

relief

be.

you

will

look

keeping

chiuderai

destro e aprirai il sinistro, 1'obietto occupera 8 lo spatio b\ e se aprirai tutti e due li ochi esso obietto no occupera piu a b, ma
il

the object with the right eye m, the left eye n shut, the object will appear, or fill up the space, at a; and if you shut the right

and open the left, the object occupy the) space b; and if you open both eyes, the object will
eye
(will

lo spatio

erf;
come

perche
10

co due ochi no
relievo,

fia

la pittura veduta dimostratrice di tal

il rilieuo "veduto co due I2 perche la pittu ra veduta con u ochio parra di rilievo, I3 come il propio rilievo, auete le medesime I4 qualita di lumi e

ochi,

d'obre?
C. 7*
(9)]

at a or If, but at e, r, f. not a picture seen by both eyes produce the effect of relief, as [real] relief does when seen by both eyes; and why should a picture seen with one eye give the same effect of relief as real relief would under the same conditions of light and shade?

no longer appear

Why

will

3
will hold and retain in itself The C om P af image of a luminous body better than ^hTimage that of a shaded object. The reason is that depends on tne amount r r the eye is in itself perfectly dark and since of light ~~ two things that are alike cannot be distin- 3 39 guished, therefore the night, and other dark objects cannot be seen or recognised by the eye. Light is totally contrary and gives more distinctness, and counteracts and differs from the usual darkness of the eye, hence

piv terra e piu riserbera in sele similitudini delle cose luminose che 1'on-

L'ochio

The eye

the

brose

somma

e che Pochio 2 in se e e perche il simile infra '1 simile no diuide, aduque la notte o altre cose oscure non possono essere riser 3 uate o conosciute dall' ochio il lume e interamete contrario e piv divide ed e piu detrimeto e varieta alia cosueta scurita 4 dell' ochioonde di se lascia inpressa la sua simili;

la ragio

si

.-

oscurita

'

tudine.
28. i.

it

leaves the impression of

8.

its

image.
9. ella
. .

chosa

chosa.

2.

inel.
4.
.

3.

ella

efferma.
5.

5.

chose
7.

chonusolocio.

essella
. .

chol

paratti.
.

ara.

29. 3. alii quali ochi vole.

8.
\\\\

te cosiderare.
.
.

"m"desstro.

ochupera losspatio a esse ochupera

. . . . . .

desstro

sinisstro 1'obietto
12. porra.

\\\\\\\\\\.

spatio besse apirai

.
.

due ochi
.

lobietto esso obietto no

2.

ma
.

malo.
. .

n.
.

pittu[ra].

30.

i.

temera

similitudine
3.

chellochio.

essonTa
.

osschurita

"aduque"
. .

chose

osschure
.

po[ste]sono "es4. lasscia.

sere" riser.

ochonosciuti "dallochio" ilume e intera

mete chontrario

divide epi detrimeto

allala.

29.
right,

In the sketch, m is the left eye and n the while the text reverses this lettering.

We

must therefore suppose that the face in which the eyes and n are placed is opposite to the spectator.

22 H.

GENERAL INTRODUCTION TO THE BOOK ON PAINTING.

38*)

[3135-

Tutte
giori d) e
di

le

cose vedute parrano

notte, che
di
di
3

mezza

2 mamezzo

Every

object

we

see

will

appear

maggiori

mattina

che

*di

larger at midnight than at midday, and larger in the morning than at midday.

mezzo di. 6 s Questo accade perche la pupilla dell' ochio e minore assai di mezzo 7 dl che di
nessuno altro tenpo.
H.
40,1]

This happens because the pupil of the eye is much smaller at midday than at any other time.

32

IQuella popilla che sara maggiore, vedera 2 le cose di maggiore figura.U 3 questo si dimostra nel uedere de' corpi
lu*minosi
5

The

pupil which

is

largest will see obis

jects the largest.

massime

de'

celesti;

quado

1'ochio

escie delle tenebre e subito risgu-

evident when we look at luminous bodies, and particularly at When the eye comes those in the sky. out of darkness and suddenly looks up at

This

arda-essi corpi li parirrano 1 maggiori e e se 8 riguarderai essi poi diminuiscono un picciolo ^buso, li uederai micorpi per nori perche mi I0 nore parte d'essa (pupilla)
;

these bodies, they at first appear larger and then diminish; and if you were to look at those bodies through a small opening, you

s'adopera a tale
H.
43*]

ofitio.

part of the pupil

33-

would see them smaller still, because a smaller would exercise its function.

Quell' ochio che uscendo dalle tenebre 2 vedera subito vn corpo luminoso, 3 li parra
nel primo is 4 guardo che nel uederlo. sll luminoso corpo perseuerare 6 parra maggiore e piv luminoso -con dueocchi che 7 con u solo. 8 Quel luminoso si
assai

maggiore
il

When the eye, coming out of darkness suddenly sees a luminous body, it will appear much larger at first sight than after long
The illuminated object will looking at it. look larger and more brilliant, when seen with two eyes than with only one. A luminous object will appear smaller in size, when the eye sees it through a smaller opening. A luminous body of an oval form will
appear rounder in proportion as from the eye.
34it is

dimostrera di minor 9 corpo che per minore I0 daU' ochio fia veduto. spiraculo "Quel I2 si dimocorpo luminoso di lunga figura strera di piv rotodo corpo ^ che piv distante- dall' ochio- situate
Ash.
I.

farther

I4 fia.

12 a]
, ,

Perche 1'ochio visto la luce il loco di mezzano 2 lume li pare tenebroso, e similmete ^vscito dalle tenebre, il loco di mezzana luce, -gli pare chiarissimo?
L. 41 6\

Why when
does the half
the

light

the eye has just seen the light, look dark to it, and in
if it

same way

turns from the darkness

the half light look very bright?

35-

DE
2

PICTURA.

ON
If the eye,
this will

PAINTING.
[out of doors] in the lu-

L'ochio che

sta

vede il loco 6bro>so, di molta ma^ggiore 5 Questo accade sol

6
all'

aria,
tucte
10 R.
lo.
.

diminuisce
le
i.

luminosa e esso sito si dimostrera oscurita che non e. perche 1'ochio che sta tanto piv la sua puall'

aria

when

in shadow, look very much darker than it really is. This happens only because the eye when out in the air contracts the pupil in propor5.

minous atmosphere, sees a place

31.

i.
i

chose.

2.

meza.

3.

mezo

magiori.
2.
.

4.

mezo.

acchade

mezo.
3.

33.

"popilla" [chio] chessara magiore.

escie
. . .

chose "di" magiore.

parirano [mino].
7.

quessto
.

dimosstra.

4.

emassime
8.

cellessti
to.

quado
33.
i.
.

5.

essubitorissgu.

6.

chorpi

li

magiori
chon.

ditninuisschano esse.

chorpi.

dessa

sadopera

attale.
2. chorpo magiore. 5. chorpog. para n. chorpo. 12. dimossterra retodo chorpo. mezano. 3. ilocho mezana.
. .

vsscicdo delle tenebr.

.
.

6.

7.

chon.

8.

dimosstcrra.

9.

"corpo" [forma]

spirachulo.
.

34.

i.

ilocho

35. 2. chcssta

"luminosa"

locho.

3.

dimossterra.

4.

gore osscurita.

5.

Quessto achade

chessta.

6.

diminuisscie.

32. 9. buso in the 35.

14.

Lomb.

dialect

is

the

same

as buco.

La

luce entrerh.

Luce occurs here in the

sense of pupil of the eye as in no 51: C. A. 84 b; 245 a ; l 5; and in many other places.

36.

370
quanto luminosa

GENERAL INTRODUCTION TO THE BOOK ON PAINTING.

1'aria,

8 pi u

che in se si spechia, e quanto essa popilla pi 9 u I0 diminuisce, manco la cosa da lei ve duta
7pilla,

tion as the

atmosphere reflected

in

it

is

more

luminous.
it

And

the

more

the less luminous

sees.

dimostra luminosa. UMa quando "I'ochio entrera in alcuno loco onbroso, I2 subito la oscurita di tale onbroso parra ^diminuire.H
si

Questo accade, perche quarto

in aria piu tenebrosa,
il

15

la luce entrera piu cresce suafigura,

do But as soon as the eye enters into a shady place the darkness of the shadow suddenly seems to diminish. This occurs because the greater the darkness into which the
pupil goes the more its size increases, and this increase makes the darkness seem less.

the pupil contracts, the objects appear that

quale

accrescime l6 to

fa

che

la

grande

oscurita pare dimi^nuirsi.

S.

K. M.

II.i

ia]

36.

DE
2

PROSPETTIVA.
si

ON
The eye which
in the light

PERSPECTIVE.
turns from a white object

L'ochio,
3
li

che

parte

dal bianco allu-

minato dal
ogni cosa

sole e va in loco di

minor

luce,

pa4 rra tenebrosa;

questo ac-

cade, perche 1'ochio s che sta a esso biaco alluminato o si viene a ristri 6 gniere le sue
popille
I

modo

quatita visiua esse

che se erano prima 7 vna macano piv che '1 3/4 8 di

di 9 quatita esse

sua quatita e macado

ma-

of the sun and goes into a less fully lighted place will see everything as dark. And this happens either because the pupils of the eyes which have rested on this brilliantly lighted white object have contracted so much that, given at first a certain extent of surface, they will have lost more than 3 /4 of their size; and, lacking in size, they
are also deficient in [seeing] power. Though little bird (then) you might say to me: coming down would see comparatively little, and from the smallness of his pupils the

cano

di poteiia,

benche

tu

mi

10

potresti dire

uno piccolo vccello vederebbe alPa"venate molto poco e per le piccole sue popille I2 il
biaco

parebbe nero; a questa parte ti risp6 3derei, che qui s'attende alia proporli
T

so^ma di quella parte del ciervello, dedicata alia vir'stu visiua, e no ad

tione della

white might seem black! To reply that here we must have proportion of the mass of that brain which is given up to the

this I

should

regard to the portion of the sense of sight

o per tornare questa l6 nostra cresce e diminvisce secodo la popilla I7 chiarita o scurita del suo obietto- e perche co qual l8 che tepo fa esso cresciere e discrealtra

cosa;

sciere

dal

9no vede cosi presto vsciedo lume e andado all' oscu 20 ro, e similmete
esso
J

and to nothing else. Or to return this pupil in Man dilates and contracts according to the brightness or darkness of (surrounding) objects; and since it takes some time to dilate and contract, it cannot see immediately on going out of the light and into the shade, nor, in the same way, out of the shade into the light, and this very thing has already
deceived

dallo

scuro

al

luminoso e questa

2I

cosa
di
li

me

in
it.

painting an

eye,

and from

gia m'iganno nel dipigniere

1'imparai.
1 1.

vn ochio e

that I learnt

19*]

37.
dell'
*

Sperieza
nvitione della

a 2 crescimeto

popilla pel

d'altro 6 luminoso. cielo sara 8 piu oscuro, tanto le stelle si dimostrera di maggiore figura, e se tu 9allumini il mezzo,

moto 7Quato il

e di^midel sole o

Experiment [showing] the dilatation and contraction of the pupil, from the motion of the sun and other luminaries. In proportion as the sky is darker the stars appear of larger size, and if you were to light up
.

7.

in sisspechia

he

pi.

8.

Ecquanto.

9.

diminuisscie

mancho

dallei.
. . .

10.

dimosstra

cquando.
.

n. enterra
osscurita.

in

alchuno

locho.

12. osscurita.
.
.

13.
2.
.
.

36. 2. chessi
8.

biano.
di

Quessto acade. 14. enterra. 15. cressce iloco. 4. re tenebroso Ecquesto acade.
.

accresscime.
si.

16.
6.

chella
poille

5.

allumina o

imodo

lelerano.

7.
. .

machano.
acquesta.

[tava parte]

sua

machado.
17.

9.

beche.
. .

10.

dire
18.

picholo vciello vederebe.

. .

n.

pichole.
19.

12.

parebe

16.

cresscie e
20.

diminvisscie.
21.

osscurita
.
.

coquel.

chettepo

cressciere e discressciere.

vsciedo alume

andado

elloscu.

ecquesta.
4.

mlgano
7.

dililaparai.
.

37. 2. cresscimeto.

popila.

Qua

il

...

ossuro.

8.

dimostera

magiore

essettu.

9,

mezo dimostera.

10.

ecquesta.

GENERAL INTRODUCTION TO THE BOOK ON PAINTING.

dimostrera I0 minori, e questa tale mutatione sol' "nascic dalla popilla, la quale crescie e dis- o
esse stelle
si

[38.

39-

the

medium
this

these stars

would look smaller;

and _

difference

arises

cre I-i scie mediante la chiarezza del mezzo che

solely from the pupil which dilates and contracts with the a-

/"

truova infra 1'ochio e'l luminoso; corpo ^sia fatta la sperienza con vna cadela po'Ssta
si

'J

j *"'
N

mount of light in the medium which is interposed between the eye and the luminous body. Let the experiment be made, by placing a candle above your head

sopra
l6

la

testa

in

nel
tu

medesimo tenpo che

risguardi tale stella, di poi vieni

abbassando

'7detta cadela a poco a poco, insino che ella l8 sia uicina alia linia che uiene dalla
stella
19 all'

ochio, e allora uederai diminuire

tato

20

la stella

che quasi

la perderai di uista.

at the same time that you look at a star; then gradually lower the candle till it is on a level with the ray that comes from the star to the eye, and then you will see the star diminish so much that you will almost lose sight of it.

I.I

20 a]

ULa

2 popilla del 1'ochio

stante

all'

aria

3g rado di moto fatto dal sole muta 4gradi-di magnitudine.H 5e in ogni grado- di magnitudine 6 una medesima cosa veduta si dimostre 7 ra di diuerse grandezze, benche spesse vo! 8 te il paragone delle cose circunstanti 9 no lascino disciernere tali mvtationi d'u I0 na sola cosa che si risguarda.
in ogni
C. A. 2Ooa; 594 a]

The pupil of the eye, in the open air, changes in size with every degree of motion from the sun; and at every degree of its changes one and the same object seen by it will appear of a different size; although most frequently the relative scale of surrounding objects does not allow us to detect these variations in any single object we may look at.

39'

La
couerse

luce

operado
2

nel

vedere

le

cose

The eye
retains

which sees

all

alquato

le spetie di quelle
si

ritiene.

pruova per li effetti, perche la vista jn vedere luce alquato (ne) tiene. Ancora dopo lo sguardo ^rimagono nel' ochio similitudini della cosa intesa e fanno parere tenebroso il logo di minor 4 luceper insino che dalP ochio sia sparito il
uestigio della ipresio della
ii.
. .

Questa conclusio

images proved by the results; because, the eye having gazed at light retains some
conclusion
is

the

for

some

objects reversed This time.

maggior
mezo

luce.

impression of it. After looking (at it) there remain in the eye images of intense brightness, that make any less brilliant spot seem dark until the eye has lost the last trace of the impression of the stronger light.
.

nasscie
.

cresscie.

12.

ciareza

chessi.

13.

infrallochio

fatto.

15.

sta

inel

chettu.

17.

apocho apoco

chella.
5.

20. uissta.

38. 3. fatta. 39.

i.

enogni
.

magnitudine [laco].
.
.

6.
2.

dimoster.

8.
.

circhunstanti.
3.

9.

lasscino
.

mvtationi.
.
.

10.

chessirissguarda.
. .

chose chouerse
4.

quele
.

chunclusio.
.

Anchora

lossguardo.

rimagano

similitudine

chosa

effano

ilogo.

insinode

spartito

dela

dela magior.

37.

No

reference

is

made

in

the text to the letters on the accompanying diagram.

Linear Perspective.
We
see clearly

from

addresses the painter,

the concluding sentence of'section 49, where the author directly that he must certainly have intended to include the elements of the

mathematics

in

his

Book on
the

art

of Painting.

They are therefore here placed

is distinctly
,

at the beginning.
expressly

In section 50 the theory of the

"Pyramid of Sight"

and

put forward as
it

fundamental principle of linear perspective

and

sections

This theory of sight can scarcely be traced to any author of antiquity. Such passages as occur in Euclid* for instance, may, it is true, have proved suggestive to the painters of the Renaissance, but it would be rash to say any thing decisive on this point.
52
to

57 treat of

fully.

Leon Battista Alberti

treats

of the "Pyramid of Sight" at some length

lines

in his first

Book of Painting

2
;

but his explanation differs widely

Leonardo, like Alberti,

may have borrowed the broad

from Leonardo's in the details. of his theory from some views

worked out
its

commonly accepted among painters at the time; but he in a perfectly original manner.
The axioms as
tions
to to the

certainly

application

perception of the
its

of

its origin,

and proofs of

universal application (58

pyramid of rays are followed by explanaThe author recurs 69).

it is evidently of fundamental importance in his unnecessary to discuss how far this theory has any practice. so muck as this, at any rate, seems certain: that scientific value at the present day; it may still claim to be of immense practical utility. from the artisfs point of view According to Leonardo , on one hand, the laws of perspective are an inalienable

the subject with endless variations;

artistic theory

and

It is

condition of the existence of objects in space; on the other hand, by

a natural law, the

Si

imaginibus

procedentibus

passio visiva

gignitur

et

profluunt quae nostros sensus

2

commovent, qua de causa

cosi

fit'ut

si ab omni corpora continuae imagines quaerens acum, itidemque librum accurate

legens omnes literas non perspicit.

Questi

razzi

extrinsici,

Ed. L. PACIOLI, Venetiis, 1509. circuendo la superfitie che 1'uno tocchi

e

1'altro,

chiudono

tutta

la

superficie quasi

come

vetrici

ad una gabbia,
seq.

fanno, quanto

si

dice,

quella piramide visiva, &c.

Ed.

JANITSCHEK, Vienna 1877, VOL. I.

p. 61

26

THE THEORY OF THE ART OF PAINTING.

whatever

eye,

it

sees

and wherever

it

turns, is subjected to the perception

of the pyramid

target. of of the will of the spectator, since the eye receives the images by means of the pyramid of rays "just as a magnet attracts iron".

rays in the

fonn of a minute

Thus

it

sees objects in perspective independently

In connection with this

obscura,
to

we have
more

the function of the eye explained by the

Camera
less

and

this is all the

interesting

and important because no

73).

writer previous

Leonardo had treated of

this subject

(70

Subsequent passages,

of no

special interest, betray his

knowledge of refraction
82).

and of
image

the inversion of the

image

in

the

camera and

in the eye (74

From

the principle of the transmission of the

to the

eye

and

to the

camera

obscura he deduces the means of producing an artificial construction of the pyramid of The fundamental axioms as to the rays or which is the same thing of the image. the vanishing point are thus presented in a manner which is as comangle of sight and
plete as it is simple

and

intelligible (86

89).
(90, 91).

Leonardo distinguishes between simple and complex perspective

sections

The

last
to

treat
it

of

the apparent size

109).

of objects at various distances

and of

the

way

estimate

(92

Ash.

I.

22 6}

40.

PICTURA.
2
,

ON
ottima della
Perspective P T. Of Painting.
~-

PAINTING.
the best guide to the art General remarks on
perspective

La

prospettiva

e briglia

is

.,

3plttura.

(4041).

A. 38 6}

41.

1 La
ch'ella fa

prospettiva e di tale natura parere il piano rilievo e '1 rilievo

as to

The art of perspective is of such a nature make what is flat appear in relief and
is

piano.

what

in relief

flat.

C. A.

I3

oa; 398 a]
i

42.

Tutti
2

casi della prospectiua

i

sono

intesi

mediante

cinque termini de' matematici

linia

angolo superfitie e corpo, e solo 4 in sua gieneratione punto e questo puto non a altezza ne larghezza o

cioe punto
il

All the problems of perspective are made The eiei f c 1.1. imentsofperby the five terms of mathematicians, sp ective:which are: the point, the line, the angle,
clear
i
..i

de quali

the

superficies

and the
kind.

solid.

The point
the

is

unique

of
it is

its

And

neither height, breadth,

point has length, nor depth,

luSghezza o profondita, onde essere indiuisibile e non auere

e di 3 nature,

si
6

conclude

whence

to

be regarded as indivisible and

loco: linia-

cioe retta curva e flessuosa

quella non a larghezza ne altezza, o 7 profodi ta, onde e indiuisibile, saluo che per
la

as having no dimensions in space. The line is of three kinds, straight, curved and sinuous and it has neither breadth, height, nor depth. Hence it is indivisible, excepting in its length,

sua lughezza i sua termi 8 ni so 2 puti; Angolo e il termine di 2 linie nel puto.

and its ends are two points. The angle the junction of two lines in a point.

is

Tr. 68]

43di linia.

Puto non e parte

40.
42.
2.
i.

A
. .

point

is

not part of a

line.

ottimo [ne]della.
tucti.
3.

41.
.

i.

prosspettiva
.
. .

chela.
4. altezza

essolo. he chorpo gurva e flessuosa" e quella che nona largeza ne

ancolo

nellargeza ollu.

5.

geza.
.

6.
.
.

locho
lugeza.

"edi 3 nature cioe retta

alteza.

7.

onde hessi

indiuisibile

40.

Compare

53, 2.

28
Ash.
III.

THE THEORY OF THE ART OF PAINTING.

27*)

14447-

44.

DEL PUTO NATURALE.

2

OF THE NATURAL
The
all

POINT.

I1

tutti ^i

perche
e
il

in 6 finito, tinua, e ogni cotinuo e diuisibile in

minore puto naturale e maggiore di si pruova punti matematici, e que^sto 5 il punto naturale e quan tita conindivisibile,
7

punto matematico e
quatita.

perche

non e
Br.

is larger than mathematical points, and this is proved because the natural point has continuity, and any thing that is continuous is infinitely divisible; but the mathematical point is indivisible because it has no size.

smallest natural point

M.
1

131 1\
1
.

45-

La

superfi tie

e '1 termine d'esso corpo, ^4. e principio d'un che non e parte
2.

e termine del corpo. d'un corpo non e parte e '1 termine d'un corpoaltro 4 3- quello e nietes d'alcuna cosa. Quello e

i,

The
2,

body.

and the

superficies is a limitation of the limitation of a body is

niete che niete occupa.

no part of that body. 4, and the limitation of one body is that which begins another. 3, that which is not part of any body is nothing. Nothing is that which fills no space.

Se un solo
d'infinite
infiniti

punto posto nel circulo

linie,

puo mine
sono
sia

essere principio d'infinite

linie
8
i

?e'l ter-

da

tal

punto separate
ridotti

punti,

quali

insieme
la

ritornano

in

uno qui seguita che

parte

9equale-al tutto.
M.
132 a]

If one single point placed in a circle may be the starting point of an infinite number of lines, and the termination of an infinite number of lines, there must be an infinite number of points separable from this point, and these when reunited become one again; whence it follows that the part may be equal to the whole.
4

Br.

E'l punto per essere indiuisibile niente 2 occupa. Tutte le cose che niete occupano niente sono. 'E '1 termine d'una cosa e 4 2. e Quel si dice principio d'un altra. esser niente che non e parte d'alcuna cosa s i quel che non a termine non a figura6 i termini di 2 corpi insieme conalcuna; sono scanbie ? volmente superfitie giunti
.

The

point, being indivisible, occupies

no

That which occupies no space is space. The limiting surface of one thing nothing. 2. That which is the beginning of another. is no part of any body is called nothing.
i. That which has no limitations, has no form. The limitations of two conterminous bodies are interchangeably the surface of each. All the surfaces of a body are not parts of

1'uno

8 Tutti i termini delle dell' altro. cose no sono parte alcuna d'esse cose.

that body.

W.

L. 145. Ct\

47.

DIFINITIO DELL' ESSER DELLA LINIA.

DEFINITION OF THE NATURE OF THE LINE.

*La
or
the

linia
si

(4748).

jine

alcuna
cosi
44. 2. 45.
i.

ma

non a in se materia o sustatia puo nomi^nare piu presto cosa

sustatia,

The

line has in itself neither matter

substance

and

may

rather

be

called

nor an

che

per

essere

lei

coditionata,
3.

essa

non occupa
i

loco,
5.
. .

imaginary idea than a real object; and this being its nature it occupies no space. Therechontinua
. . .

magiore.

punti natural! matematematici ecques.

5.

divisibile ini.
.

6.

matematicho he.

he termine.
puncto
.

ochupa.
2.

6. se

solo. po.
.
.

8.

equali

innuno
5.

chclla.
.
. .

46.

i.

ochupa.
tutti e.

tucte le chose

ochupano.
chosa

3.

chosa.

cquel

alchuna.

6.

[il]i

ter.

7. altro

"come lacqua

collaria".
47. 2.

8.
. .

nana

ossustatia alchuun

massi.

3.

susstatia.

4.

chosi choditionata

ochupa locho

interseghationi.

44. This definition

was inserted by Leonardo on a

GIORGIO;
says
:

MS. copy on parchment of the well-known " Traltato d* Architettura civile e militare" &c. by FRANCESCO DI

'/

passage opposite prima he da sapere che pvnto

where

the

author

e quella parte

delta quale he nulla

Linia he luncheza senzaapeza; &c.

48 -so.]

LINEAR PERSPECTIVE.
fore an infinite number of lines may be conceived of as intersecting each other at a point, which has no dimensions and is only of the thickness (if thickness it may be called) of one single line.

aduque le intersegationi sd'infinite linie si puo immaginare esser fatte in puto, il quale *e sanza mezzo e per grossezza (se grossezza si puo nominare) equate alia grossezza d'una
sola
linia.

COME COCLUDIAMO
10

NOI LA SU 2 PERFITIE

HOW WE MAY
FICIES

RIDURSI IN PUNTO?

CONCLUDE THAT A SUPERTERMINATES IN A POINT?

La

superfitie

angulare
TI

si

riducie in

termina saranno
I2

si punto quando ella nel suo angolo, o se

i

lati

di

tale

angolo
diretto,
J3

prodotti

in

continue

allora

dopo tale angolo si gienerera vn' altra superfitie minore o I4 della equale o maggiore prima.
Ash.
I.

angular surface is reduced where it terminates in an Or, if the sides of that angle. angle are produced in a straight line, then beyond that angle an other surface is generated, smaller, or equal to, or larger than the
to a point
first.

An

21 a]

48.

D
2

PICTURA

LINIALE.
diligieza
:

OF DRAWING
cosiderati-

OUTLINE.

Siano con
>

somma

termini

di

qualunque corpo

il

modo

del

lor serpeg^giare, le quali serpeggiature siano

givdicate

cipano di
angulare.
G. 37
]

separate, se le sue volte particurvita arculare o di cocavita

Consider with the greatest care the form of the outlines of every object, and the character of their undulations. And these undulations must be separately studied, as to whether the curves are composed of arched convexities

or angular concavities.

49-

Li termini delli corpi sono la minima 2 cosa di tutte le cose provasi essere 3vero quel che si propone, perche il termi^ne della chosa e vna superfitie, la qual non Se parte del corpo uestito di tal superfitie,

all

The boundaries of bodies are the least of things. The proposition is proved to be

The
'u

ne

parte
'1

delFaria

circudatricie
infra
1'

d'esso

cor7po

ma

mezzo interposto

a 8 ria e

'1

corpo come a suo loco e pro g vato;

Ma

li

termini laterali d'essi cor I0 pi e la linia termine della superfitie, "la qual linia e di

grossezza

invisibile;
li

aduque

tu

I2

pittore

tua corpi di I3 linie, e massime nelle cose minori I4 che '1 naturale, le I5 quali no che possino mo strare li termini
laterali,

no circudare

because the boundary of a thing is a surface, which is not part of the body contained within that surface; nor is it part of the air surrounding that body, but is the medium interposted between the air and the body, as is proved in its place. But the lateral boundaries of these bodies is the line forming the boundary of the surface, which line is of invisible thickness. Wherefore O painter! do not surround your bodies with lines, and above
true,
all when representing objects smaller than nature; for not only will their external outlines become indistinct, but their parts will be in-

ma

li

lor

menbri

l6

per distantia

sono
A. 3*1

invisibili.

visible

from distance.

Soe fondata
sulla
:

prospettiva non e altro che 2 sapere bene figurare lo vfitio dell' ochio, 4 il quale ofitio s'estede
fia pittura
5.

[Drawing is based upon perspective, which is nothing else than a thorough knowledge of the function of the eye. And this function simply
cocludiano.
10.

Definition of

Perspective '

fatta.

mezo
.

grosseza angholo.
. .

grosseza.

7.
.

grosseza

9.

anghulare.

n. angholo osse sara

angholo.

12.

chontinuo

13.

iminore
. .

magiore.
.

48. 2. sia

chon

cosiderato

43.

i.

chorpi so la minimraa.
8.

chorpo serpe. 3. serpegiature sia givdichato [seperati] selle. 4. churvita archulareodi chochavita' 2. chosa chose. 4. chosa 6. circhudatricie chor. 7. mezo interpossto no. 5. ne parte.
.

infralla.
13. chose.

14.

chorpo chome assuo locho. possi mos. 15. "laterali"

2.

9. Malli.

10.

piella.

n. "di grossezza"

adduque.

12.

circhudare

chorpi.

ma

lelor.

16. disstantia

50.

i.

effondata sula che[lle].

I

ochio

<^

cioe [jn che

modo

le

sono "invisibili" [inchognito]. similitudine]. 3. [delle chose vengano a esso ochio].

4.

il

quale

50.

5.

Compare with

this the

Proem. No.

21.

The paragraphs placed

in brackets: lines

19, 1014,

THE THEORY OF THE ART OF PAINTING.

solo
colori
in

[SI-

pigliare per piramide le sdi tutti li obietti contra se

forme e
posti
:

and colours of
it.

consists in receiving in a pyramid the forms all the objects placed before
I say in a pyramid, because there is no object so small that it will not be larger than the spot where these pyramids are received into the eye. Therefore, if you extend the lines from the edges of each

e cosa 6 si per piramide dico, perch non che no sia maggiore che '1 loco, minima

dove si coducono nell'ochio esse 7 piramidi adunque se torrai le linie ali stremi di 8
:

ciascuno corpo e il loro concorso coducierai a vn solo- puto, 6 necie'ssario che dette
linie
10

body

as they converge

sieno piramidali.]

to a single point,

you will bring them and necessarily the said lines

e altro che ragione [prospettiva non dimostrativa la quale s' estede "a considerare come li obietti contraposti al'ochio madano di loro a "quello per linie piramidali la loro propria similitudine; Piramide '-Jsono dette quelle linie che si partono da superfitiali stremi di ciascuno ^ corpo

must form a pyramid.]

[Perspective is nothing more than a rational demonstration applied to the consideration of how objects in front of the eye transmit their image to it, by means of a pyramid of lines. The Pyramid is the name I apply to the lines which, starting from the surface and edges of each object, converge from a distance and meet in a single point.] [Perspective is a rational demonstration,

e per distante cocorso

solo puto.]

si

coducono a un

^[prospettiva- e ragio dimostrativa per laI8 si coprende come li quale effettualmete madano '^di loro la propia similiobiettitudine 20 per linie piramidali all'occhio.]
prospettiva ragione dimostratiua per 2 tutte le cose quale la sperentia coferma madare all'ochio per linie piramidali la lor similitudine 24 e quelli corpi d'equale gradezza farano maggiore o minore agolo a la lor 2S varieta della distatia piramide secodo la che fia da Tuna a 1'altra; 26 linie piramidali intedo essere quelle le quali si partono da 27 stremi de corpi e per distate superfitiali concorso si coducono a un solo puto;TI 28 puto dicono essere quello il quale in nessuna parte si puo diuidere 2 ?e questo puto e quello il quale stado nell'ochio ricieue I
If

by which we may
understand
in the eye.]

how

practically and clearly objects transmit their own

image, by lines forming a Pyramid (centred)

22

la

-5

Perspective is a rational demonstration which experience confirms that every object sends its image to the eye by a pyramid of lines; and bodies of equal size will result in a pyramid of larger or smaller the difference in their size, according to distance, one from the other. By a pyramid of lines I mean those which start from the surface and edges of bodies, and, converging from a distance meet in a single point.

by

se tutte le pute delle piramidi.

C. A. 84 6; 2450]

which [having no dimensions] cannot be divided, and this point placed in the eye receives all the points of the cone.
point
is

said to be that

51
DINAZI.

CHE MODO L'OCCHIO VEDE LE COSE POSTELI

2

IN

WHAT WAY THE EYE

IN

SEES OBJECTS PLACED

IT.

FRONT OF

The

percep-

e iject de-

Pogniamo che quella palla figurata di sopra sia la palla dell'occhio, e quella parte
rninore
^

Supposing that the ball figured above is the ball of the eye and let the small portion
of the ball which
[pi],
6.

della
.
.

palla

ch'e diuisa dalla linia

. .

is
.

cut off by the line s t

7.

pends on the
direction of the eye.

sastede

pigliare periramide
8.

cholori.

5.

cosa

si

magiore chelocho
to.

chonduchano.

piramide
. .

tora

chorpo[e
12.

tire].

[ralealcho] e iloro
. . .

chonchorso choducierai
[e della].

sario.

quasastede.
. . .

n. chonsiderare chome
. .

chontraposti.
.
.

quelo per "linie"

Piramide
solo.
15.

13. [da 2 linie] sonoquelinie

partano

ciaschuno.

14.
is

chorpo
pe].

cho[rien.

chorsosi coduchano
tia).

..at
la

[prospettiva evna ragione dimostrativa per la quale [chon isperi] con uera
si

16.

17. e[vna] ragio.

18.

[chiaro]

choplende chome

obietti [chotra posti allochio].

21.

19.

di loro

"per
.

linie piramidali
.

acuuelle" acquello 4
tualmete
25. dela
28.
. .

propia similitudine.
. .

20. similitudine per.

[prospettiva e ragione dimostrativa

.

per la quale
.
. .

effet-

c|.
. .

23.

chose
26.

lor
.

[propia].
.
.

24.
.
.

ecqueli chorpi dequali gradeza

.

cheffia.
.

esere

partano
.

superfitiali stre.
.
. .

27.
.

chorpi

magiore chonchorso
.
.

ominore
si

piramida.
t

choduchano a

solo.

dichano

inessuna parte parte

iy 26

po.
;

29.

ecquesto
29 of
3.

quelo

nelochio

piramide.

Lines 24

and

25 are in the

original
51.

numbered as

and

27 as i

28

and

114

written

from
are

left to right.

The diagram stands above

the text.

i.

chose possteli.

2.

fighurato

occhi equelle.

3. sie

and 17 20, evidently mere sketches and, as such, were cancelled by the writer; but they serve as a commentary on the final paragraph, lines 2229.

51.

In this

problem the eye

is

conceived of as

fixed

and immovable;

this is plain

from

line

u.

Si-]

LINEAR PERSPECTIVE.
be the pupil and all the objects mirrored on the centre of the face of the eye, by means of the pupil, pass on at once and
enter the pupil, passing through the crystalline

s t sia la luce, e tutte le cose specchiate sul

\

mezzo

della
e.

superficie di detta luce subito

nelle popille,

discorrono

vanno

per vn

cierto

umore

crystalline
si

passando che non

dimostri

occupa nella popilla cosa che

alia luce
;

humour,

which

does

not

interfere

in

the

pupil with the things seen by

light.

means of the

essa popilla,

rice 6 vute le
ce,

cose dalla

lu-

ing

And the pupil hav^ received the objects,

of the
refers
light,

immediatamente
e porge allo
la
linia
T

le riitelet-

by

means

feriscie

immediately
intellect

them
to the

to

per

and transmits them

b\

sappi che la popilla no

by the

line

b.

porgie nessuna cosa perfettamete

allo

And you must know

that

intelletto

the pupil transmits nothing perfectly to the intellect

over seso comune

se

non

or
ting

common
when
it

sense excep-

qua do

le

cose a
si

lei

date

the objects pre-

dalla luce
la linia

dirizzano per
-

sented to
light,

by means of
it

reach

a
la
le

sicome vedi
9e

by the
For

line

a b; as, for instance, by

the
line

che

fa

\\n\a' c- a;
linie

b the

c.

al-

beche

sieno vedute dalla po-

n though be seen by and f g may

lines

pilla,

no sono cosiderate
10

perche no si dirizzano
la linia,
si

col-

pupil they are not perfectly taken in, because

the

a b

E la pruova
sopra vorra
poste

they do not coincide with

the
line
is

b.

And
wants

the

e questa, se questo ocqui

di

proof

this:

If the eye,

chio

shown
count

above,
the

to

nvmerare
li

le let"tere

dinazi coverra che 1'oc-

placed in front, the eye will be

ter

letters

chio giri da lettera a lettera

I2
:

obliged to turn from letbecause letter , to

perche no

la discierneit

cannot

discern
lie

them

rebbe, se
linia

no

le dirizasse

unless they

in the line

per la
fa
le
all'

a b siccome
c

la

linia

e tutte

a b; as, for instance, in All visible the line a c.

objects reach the eye the lines of a pyramid,
the point of the
is

cose vedute
occhio per

3uegono

by and

linie pira-

pyramid

midate, e la puta di detta

piramide
fine
pilla,

fa

termine

J*

the apex and centre of it, in the centre

nel

mezzo
di

della po-

of the puas figured

come

sopra e

pil,

above.
figurato.

THE THEORY OF THE ART OF PAINTING.

if / A. to*]
.

[52.

Prospettiva e ragione dimostratiua per 2 tutte le Experimen. la quale la sperientia conferma f p fcose>m adare alFocchio per linie piramidali thee ris7e nce f the similitudine pyra-i a j oro
* .

Perspective

is

a rational

demonstration,

confirmed by

all objects transmit their image to the eye by a pyramid

experience,

that

ud of sight sight
(52-55)-

of

lines.

^ linie piramidali intedo esser quelle stremi quali si partono dai superfitiali *de' corpi e per distante cocorso si conducono a vno solo puto, il quale

le

those

puto
di tutti
il

in

questo
nell'
6

caso

mostrerd

essere

collocate
i

ochio,

corpi;
si
1

punto

quale non

puo

vniversale givdice dico esser quello diuidere in alcuna parte;

-

point; and point, in the present instance, I will show to be situated in the eye which is the universal judge of all objects. By a point
this
I

of lines I which start from of the surface of bodies, and from a distance, meet in a single

By a pyramid
lines

understand
the edges converging

mean

that

which cannot be divided into

sendo questo punto indiuisibile che collocato nella uista nessuno 8 corpo fia veduto dal' ochio che no sia maggiore d' esso puto: essedo cosi 9 e neciessario che le linie che vengono dal corpo al puto sieno

aduque

parts; therefore this point, which is situated in the eye, being indivisible, no body is seen by the eye, that is not larger than this point.

This being the case

lines

it

is

inevitable

that the

10

piramidate,
la
in

uirtu

visiua

e se alcuno volesse provareno cosistere in esso punto

"anzi essere quello puto nero che si uede mezzo alia popilla, I2 a questo si potrebbe rispodere che vna piccola cosa mai potrebbe diminvire per alcuna ^distantia- come sarebbe un grano di miglio o di panico o altra simile cosa e quel^la cosa che fusse maggiore che detto punto, mai potrebbe essere veduta interamete ls come appare nella prova di sotto; 16 sia a la uirtu visiua, b e sia il concorso
-

which come from the object to the And if any point must form a pyramid. man seeks to prove that the sense of sight does not reside in this point, but rather in the black spot which is visible in the middle of the pupil, I might reply to him that a small object could never diminish at any distance, as it might be a grain of millet or of oats or of some similar thing, and that object, if it were larger than the said [black] spot would never be seen as a whole; as may be seen in the diagram below. Let a.

che uegono al'occhio I7 e. d. siano grani del miglio dentro a detto concorso vedi per ragione questi I8 mai per distatia diminvire e il corpo n non potersi
delle linie
i
:

be the seat of sight, b e the lines which reach the eye. Let e d be the grains of
millet

within

these

lines.

You
and

plainly

see

that

these

will

never diminish by distance,

that the

da quelle interamete '^copredere: aduque e neciessario

mn could not be en-

body

cofessare

1'

chio avere I un solo puto 20 indiuisibile, a il quale conferiscono tutte

le

ocse

tirely covered by it Therefore you must

confess that the eye contains within itself

one single
point
all

india,

visible

to

punte della pira2I

which

mide

partite

dai
-

the points converge of the py-

corpi, come qui di sotto

appare

ramid of lines
sia
:

start-

"a b

tega
53. i.

il

punto

1'occhio; il cietro suo prenominato se la linia e -f- a

.

ing from an object, as is shown below. Let a. b. be the eye; in the centre of it is the point
4.

Prosspectiva lassperientia chonferma. mostero cholochato. 6. dicho quelo

.

2.
.

chose.
.

3.

partano.
7.

chorpi
.

chonchorso
.

si

chonduchano.
8.

5.

chaso

po
chos
.

alchuna.

cholochato
10. esse
.

ncla

nessuna [chosa].
. . .

[eviden] corpo magiore.

9.

(bisogn) e
.
.

chelle
.

vegano
12.

sieno [mag] piramidate.

. .
i

volessi

esso

anzizi

quelo

imezo.

acquesti

potrebe
.
.

potrebe

alchuna.

13.

puno [a questi]. come sare i grano

16.

n.
di

(si

potrebbe]
di

miglo o
17.
. .

pa-

nicho

chosa ecque.
18.

14. cheffussi
.

magiore
19.

potrebe
.

essere deduto apare nela.

.

conchorso
.

vegano.
21.

chonsocto

chorso.

chorpo

dacquelle.

copledere

chofessare

solo.

20.

chomferiscano

delle.

apare

53-

54-]

LINEAR PERSPECTIVE.

33

a etrare
dell'

23 per similitudine per si piccolo foro occhio bisogna cofessare che la cosa

mi^nore no puo entrare nella minore se 2 quella no diminviscie e diminvendosi 5couiene'

che cangi
la piramide.

above mentioned. If the line ef is to enter as an image into so small an opening in the eye, you must confess that the smaller object cannot enter into what is smaller than itself unless it is diminished, and by diminishing it must take the form of a pyramid.

C. 27 1

(3

)1

53-

PROSPETTIVA.

PERSPECTIVE.
Perspective comes in where judgment
[as to the distance] in objects The eye can never be a true
fails

H 2 prospettiva agivgnie doue maca il nelle cose che diminviscono Tf3l'ochio no potra mai essere vero judice a determinare co verita quanto vna quatita 4 la quale altra (sia) vicina a vn altra simile, sia colla sua sommita al pari dell' ochio
givditio
.

which diminish.

riguardatore

d'esse

parti,

se

no

per
della

mezzo
6

della pariete maestra e guida

prospettiva.H
sia

n
3

1'ochio, e

/
a b
a n

sia

la

sopra
sieno
^

detta pariete
le
:

parti

1'una

1'altra

se la linia

sotto e c

n sono lughe a vno modo e 1'ochio n si troua in mezzo, b tato para 8 a b quanto d e piv bassa e piv c c lontana da n aduque para
:

judge for determining with exactitude how near one object is to another which is equal to it [in size], if the top of that other is on the level of the eye which sees them on that side, excepting by means of the vertical plane which the standard and guide of perspective. is Let n be the eye, e the vertical plane above mentioned. Let a b c d be the three divisions, one below the other; if the lines a n and c n are of a given length and the eye

is

in the centre,

then a b will

minore, 9 e questo medesimo appare nelle 3 partitioni del uolto

1'ochio del ritraete pittore all'ochio del ritratto.
I0

look as large as b c. c d is lower and farther off from n, therefore it will look smaller.

quado

And

the

same
of a

effect will

appear
the
is is

in the three

e di pari altezza-

divisions

face

when

painter who is drawing it the eye of the person he

eye of the on a level with

painting.

C. A. 201 a; 597 a]

54'
ALL' OCHIO.

PRUOVA COME LE COSE VEGONO

2

To PROVE HOW

OBJECTS REACH THE EYE.

nosa

il sole o altra cosa lumiserrado poi 1'ochio la rivedrai similemete detro all'ochio 3 per lugo spatio e segnio che le spetie di tepo; questo etrano detro.

Guardado
e

If you look at the sun or some other luminous body and then shut your eyes you will see it again inside your eye for a long time. This is evidence that images enter

into the eye.

22.

lochia
.
.

sella.

23.

picholo

delochio biso[che]gia chofessare chella chosa.

24.

nopo

nella

mino

no.

25.

cho-

viene
53. i.

achagiala.
.
.

macha

chose che diminviscano.

. .

2. 7.

"a terminare co
he
c
.

verita
.

[a chonossciere]
9.

quanto.

3.

sotto vicina

"simile"

chola. rigiardatore
54. i.

mezo
.
.

dela.
3.

luge

iraezo.

apare

partitione.

10. alteza.

vegano.
I.

2.

esserado

lochi.

essegnio.

VOL.

34
A. 36*]

THE THEORY OF THE ART OF PAINTING.

55-

[55-

DELLA
2

PROSPETTIVA.
all'ochio
la lor

ELEMENTS OF PERSPECTIVE.
All

Tutte

le

cose

madano
le

similitudine

per

piramidi

sarano

ta 3 gliate piu

quali quato vicine all'ochio tato

eye

in

these

transmit their image to the pyramids, and the nearer to the eye pyramids are intersected the smaller
objects

a
della si dimostrera la similitudine sua cagione 4 aduque taglierai la piramide colla pariete che tochi la base d'essa piramide come s si dimostra nella pariete a n.
;

minore

will

image appear of the objects which Therefore, you may intersect the pyramid with a vertical plane [4] which reaches the base of the pyramid as is shown in the plane a n.
the

cause them.

6 L'ochio-/- e 1'ochio /sono-vna-mededenota la distatia, sima- cosa: ma 1'ochio 7 cioe a vedere tu stai lontano quanto la cosa e 1'ochio / ti dimostra la dirittura cioe 8 se tu sei nel mezzo o da lato: o da cato della cosa che tu riguardi e ricordoti e 1' ochio / sieno che se9pre 1'ochio situati a vna medesima altezza 1' uno che 10 verbi gratia se abasserai o alzerai Paltro, che tu facci quel 1'ochio della distatia medesimo "dell' ochio della dirittura / e mostra quato 1'ochio e disse il puto costo al qua I2 dro e no mostra a qual parte

the eye t are one and the thing; but the eye /marks the distance, that is to say how far you are standing from

The eye f and

same

the object; and the eye / shows you the direction of it; that is whether you are opposite, or on one side, or at an angle to the object you are look-

And remember that the eye / and the must always be kept on the same level. For example if you raise or lower the eye from the distance point/you must do the same
ing
at.

eye

with the direction point /. And if the point shows how far the eye is distant from the square plane but does not show on which
. .

55. i. prosspettiva.
5. nela.
6.
.

2.

chose
.

piramide.
.
.

3.
.

gliate visine all

t.

... dimoste

dela

chagione.
. .

4.
. .

chola

.-.

labassa
. .

chome.

ellochio
. :

chosa
10.

lochio
.

7.

chos

8. settu senel

mezo
.

od.ilalato

chato
. .

chosa chettu
13. chol.

richordoti.
*
.

9. ellochio

Iteza.

dela

chettuffacci.

n.

[Eflassi] esse

dischosto.

12. eli

chosi.

14.

quadro

55.

The two diagrams above

first

the

chapter

are

representing the section or profile of a square plane,

explained by the
ever,

five lines.

They have, howtext,

placed

horizontally

(comp.
is

lines

II,

14,

17)

for

more
Pariete.

letters

than are referred to in the

which the word pianura

(20, 22).

a circumstance
4.

we

Compare

frequently find occasion to remark. the definitions in 85, 2 5,

Lines

13

subsequently employed contain certain preliminary

observations to
the

guide
last

These lines refer exclusively to the third diagram. For the better understanding of this it should be observed that c s must be regarded as
6
27.

diagram;
as
/

the

the reader in understanding three seem to have been

added
writing

supplement.

Leonardo's

mistake

in

denota (line 6) for

f denota has

been

rectified.

56.]

LINEAR PERSPECTIVE.
e

35

egli

per riscotro
il

cosi

se
J

'1

puto

mostra

3la distatia; aduque per sapere 1'uno e 1'altro farai 1'uno I4 se coll'altro e .fieno vna medesima cosa
riscotro,

no mostra

1'ochio

f
in
xs

vedera
ciascuna

un

quadro

perfetto
sia

il

quale
simile

delle

sue faccie

spatio che e tra s c, e al pricipio di quella faccia ch'e diuerso esso l6 ochio, si sta bilisca una aste o altra cosa diritta come appare in r s la quale sia
allo

same way, and not the distance, in order to ascertain both you must use both points and they will be one and Thereiations the same thing. If the eye f could see a standpoints to the v n ? ; ,. perfect square of which all the sides were.ishing point r equal to the distance between s and c, (5556). and if at the nearest end of the side towards the eye a pole were placed, or some other
side
it

is

placed

and,

if in

the

the point

show

the direction

ferma
se

per
di

li^nia
la ella

perpediculare

dico

che

riguarderai
te

uerso

della pariete r conda faccia opposita ^paratti che s'alzi in nel puto n della pariete all' altezza
-

del quadro ch'e facia batte l8 ra al nascimeto s : e se riguarderai la se:

up by a perpendicular r s then, I say, that if you were to look at the side of the square that is nearest to you it will appear at the bottom of the vertical plane r s, and then look at the farther side and it would appear to you at the height of the point n on the
straight line as

object,

set

shown

at

tu puoi che se 1'ochio fia piv alto che copredere 2I l'unainfinite cose poste sopra- una pianvra

aduque per questa

dimostratio 20 ne

Paltra quato piv s'alontana piv s'alzano insino a riscontro dell' altezza 22 dell' ochio e no piv inperoche le cose poste sopra

dopo

Thus, by this example, you can understand that if the eye is above a number of objects all placed on the same level, one beyond another, the more remote
they are the higher they will seem, up to the level of the eye, but no higher; because objects placed upon the level on which your even if it feet stand, so long as it is flat be extended into infinity would never be seen above the eye; since the eye has in itself the point towards which all the cones tend and converge which convey the images of

vertical plane.

se

23 se sara piana, pianvra dove posi i piedi, mai pasdetta pianvra fusse infinita sano piv su, che 1'ochio perche Po 2 4chio a in se quello puto al quale si dirizano e cogivngono tutte le piramidi che por2 stano le spetie deli obietti all' ochio; E

la

questo puto senpre si diriza col puto della dimi 26 nvtione il quale appare nel fine delle cose vedute e dalla basa della prima 27 insino al puto della diminvtione. piramide
:

And this point althe objects to the eye. ways coincides with the point of diminution which is the extreme of all we can see. And from the base line of the first pyramid as
far as the diminishing point

A- 37"!

le

no base sanza piramidi diminviscono insino a esso quali sepre puto E dalla prima basa dou'e situata la 2 inverso il puto deH' ochio no pariete sara- se no piramide sanza base come appare
no
si

trova

se

bases without pyramids are only which constantly diminish up to this point. And from the first base where the vertical plane is placed towards the point in the eye there will be only pyramids without bases;
there
5
.

il

del

quale ciascuna. qroche diuerso

. .

15. alo

che

tra

quela.
. .

16. bilischa
. .

asste
19.

chosa
.

dirita apare.
.

17.

perpedichulare dicho
20.

te ella.
. .

18.
.

nasscimeto
.

esse

sechonda.
.

chessalzi

alalalteza

inel.

poi ch5predere

chessellochio
23. sessara

chose

sopra
. .

pianvra.
24.
.

21. laltra[se]

arisschStro delalteza.
. .

22. dellochio [e lechose] e 25.

no piv

chose.
. . .

piana[su]
.

detta
.

chellochio.

quelo

chogivngano
7

piramide.

Ecquesto

chol.

26. nvitione

apare
56.
i.

dele chose
si
. . .

e dala basa dela

pirami"de".
j

n5

base [dele]"sanza" piramide

q. "le quali sepre diminvischano insino a eso p5to"

diminvitione

dalla.

2.

delochio [no

si]

56. For the easier understanding of the diagram and of its connection with the preceding I may here remark that the square plane shown above in

profile

by the
to

line c s is here indicated

by

o p.

According

lines

I,

3 a b

must be imagined as a

at o p. plane of glass placed perpendicularly

THE THEORY OF THE ART OF TAINTING.

figura di sopra cioe prenominata pariete r sia il n puto *delle piramidi terminati nell'ochio: sia il pQto della diminvtione il quale sriguaril da punto visiuo per linia retta e
nello 3esenplo
sia

[57-

della

as
let

shown

la

in the example given above. Now, a b be the said vertical plane and r

the
is

eye,

senpre 6 senpre si mvta co quello come mv tando la sua obra e camina la uerga si mvta non altremeti con seco che camina ? 1'onbra col corpo e ciascuno puto e capo di pira8 midi le quali si fanno comvne basa della inframessa pariete e bech' essi sieno equali di basa ^sono difformi d'angolo inperoche'l punto della diminvtione e capo di minore angolo I0 che quello dell' ochio Se tu mi dicessi co che sperieza mi dimostrerai tu questi puti, "io ti diro che in quato al puto della diminvtione che camina co teco che riguardi qua I2 do camini lugo le possessioni arate co diritti solchi i quali capitino ^coi loro stremi alia strada dode camini vederai che sepre ciascuno paro di solchi I4 ti parra che si voglino a appressare e cogivgnere ai lor fini.

point of the pyramid terminating in the and n the point of diminution which always in a straight line opposite the eye

and always moves as the eye moves just as when a rod is moved its shadow moves, and moves with it, precisely as the shadow

And each point is the apex of a pyramid, all having a common base with the intervening vertical plane. But although their bases are equal their angles are not equal, because the diminishing point is the termination of a smaller angle than that of the eye. If you ask me: "By what practical experience can you show me these points?" I reply so far as concerns the diminishing point which moves with you when you walk by a ploughed field look at the straight furrows which come down with their ends to the path where you are walking, and you will see that each pair of furrows will look as though they tried to get nearer and meet at the [farther] end.
moves with a body.
57-

A.

37-5]

Inquato al puto che viene all' ochio HOW to mea- si con^prende con piv facilita inpero 2 che se U th P r a mid of vi riguarderai nell' ochio a uno, vi vederai sion. t ua similitudine onde se imaginerai ja 32 linie partirsi dai tua orechi concorrere alii orechi della similitudine che vedi di te nell' altrui ochio chiaro conoscerai quelle
-~

As regards the point made more intelligible by

your own image.
ting that

in

the eye;
If

it

is

this:

you look
will see

into the eye of another person

you

linie

sdopo
6

ristrignersi in modo tale che la tua imagine spechiata in

poco
detto

ochio seguitando si tocherebono in v puto. E se volessi misurare il diminuire della piramide per 1'aria che si truova infra la cosa veduta e 1'ochio 7 farai in questa forma di sotto figurata diciamo che m-nsia una torre, E che 8 ^-_/"-sia una uerga, la quale tu tiri tanto innazi e indirieto che i sua stremi 9 S J scontrino colli stremi della torre di poi 1'appressa all' ochio in

imagine from your ears and going to the ears of image which you see in the other man's eye; you will understand that these lines converge in such a way that they would meet in a point a little way beyond your own image mirrored in the eye. And if you want to measure the diminution of the pyramid in the air which occupies the space between the object seen and the eye, you must do it according to the diagram figured below. Let m n be a tower, and ef a rod, which you must move backwards and forwards till its ends correspond with those of the tower [9]; then bring it nearer to the eye, at c d and you

Now

2 lines star-

no

no

[ba] piramide

chome

apare.

3.

dela. 4. dele piramide

terminate nelochio

della diminvitione
7.

quale(sia).

5. retta

essenpre

cho quelo chome.

.
.

6.

chamina
cho

chonsecho che chamina chonsecho che chamina.

[cho]
si
. .

chol chorpo e
.

chiasscuno puto(e ma] e chapo

[el]

lequali [ano].
. .
.

8.

chomvne

bechele.
.

9.
.

difforme

dela diminvitione
12.
|

e
.

chapo.

10.
.

checquello

Settumi diciesi

dimosterai.
.

n. dela diminvitione
.

chamina chotecho.
. .

chamini

possessione
57.
i.

cho
. .

quali [sieno diritta]

.

13. ala
2.

chamini
.

14.
3.
|

Inquato

al

choplende chon.
pocho.
5.

chesse
6.

nelochio.
. .

para apressare chochorere ali

.

chogivgniere
dela.
4.

fini
.

j.
.

nelaltrui

chonosscierai
chessi
. .

risstrigniersi

Tmodo

seguitato.

Esse

misurare

"il

diminuire dela piramide" per laria

chosa.

In the original Manuscript the words above the line are clearly marked as forming part of the text. In Mont. Ravaisson's sia i torre Ecche. 8. sia ! verga . . Trantcript however they are mistaken for a heading of the paragraph. 7. imquesta
. .

57.

9.

sua stremi

della torre (its

ends ... of the tower)

this is the case at e f.

58-6o.]

LINEAR PERSPECTIVE.
I0

37

c-d-Q vede

rai

la similitudine della torre

-

apparire minore come vedi in r o poi 1'appressa "all' ochio, e vederai la uerga

avazare

image of the tower seems Then [again] bring it smaller, as at r o. closer to the eye and you will see the rod
will see that the

fori

della similitudine

della

torre

project far

beyond

the image of the tower

I2

da-#--et
oltre

poco piv

da t-b-e poi conoscerai che ^le linie cocorrono al puto.

a to b and from / to b, and so you will discern that, a little farther within, the lines must converge in a point.

from

A. 27 a]

58.

PROSPETTIVA.
alluminata- s'empiera d'infinite spetie, le qua^li son cavsate da vari corpi e colori, che infra essa * sono collocati, Idelle quali spetie 1'ochio si fa bersaglio e calamita.
1'aria
fia
.

PERSPECTIVE.
instant the atmosphere is illuminated xheProducbe filled with an infinite number of ? nof P.y.ra 011 images which are produced by the various "'(ts^fc) bodies and colours assembled in it. And the
it

Subito

che

The

will

ti

-.

eye

is

the target, a loadstone, of these images.

W.

232 d\

59-

1 tutta la superfitie de' corpi oppachi tutto il simvlacro in tutta 1'aria 2 allu-

plays

minata

che

lo

circunda

per

qualunche

surface of opaque bodies diswhole image in all the illuminated atmosphere which surrounds them on all
its

The whole

aspetto. t
C. A. 136,?;

sides.

60.
Paria

Che

attragga

a se

come

cala-

mita tutte le similitudini 2 delle cose che la circudano no che le forme de' corpi, ma ancora le nature chiaramete si vede nel sole il quale e corpo caldo e luminoso - tutta 1'aria che li e per obietto tutta
;

per tutto

s'incorpora di lume e di calore e tutta 4 ricieve I se la forma della cagione del calore e spledore e in ogni minima parte
il

That the atmosphere attracts to itself, all the images of the objects and not their forms merely but their nature may be clearly seen by the sun, which is a hot and luminous body. All the atmosphere, which is the all-pervading matter, absorbs light and heat, and reflects
like a loadstone, that exist in it,

fa

simile;

la

tramotana dimostra per

:

la

calamita fare questo medesimo e la luna e altri pianeti 6 saza diminvtione di se fa il simile; ifra le cose terrestri e fatto il simile dal moscato ?e altri odori.

image of the source of that heat and splendour and, in each minutest portion, does the same. The Northpole does the same as the loadstone shows; and the moon and the
in itself the

other planets, without suffering any diminudo the same. Among terrestrial things musk does the same and other perfumes.
tion,

tuttiri

schontrino cholli

lapressa alochio.

10.

dela tore aparire [piv]

pola.

n. alochio

deln.

12.

chonlossciere poche.

13.

chocorano.
.
.

58. 2. chellaria

senpiera.

3.

chavsati
il

chorpi e chonori
2.

esa

chollocati.
. .

4.

berzaglio e chalamita.

59. i. chorpi
.

oppachi "actutto

simvlacro" in tucta.

chello circhunda
.

asspecto.
.
.

60.

i.

Che [ciasschuno chorpo

le

m]

laria
le

siatraga

asse

chome chalamita
. .
.

similitudine.
3.

2.
.

chose chella
. .

circhudano
,

"ne

che
4.

forme de corpi
. .

ma

ancora
5.

nature" chiaramete
. .

chorp

caldo.
.
.

tuttutta

chagione

chalore einoni.

chalamita

elluna.

6.

diminvitione

tereste effatto

sinchorpora moscado.

chalore

ettutta.

THE THEORY OF THE ART OF PAINTING.

61.
22fi\
i

62.

Ash.

I.

Tutti
se

corpi
le

insieme
aria

e ciascuno
d' Ifinite
2

empie

la circustate

per sua

give

All bodies together, and each by itself, off to the surrounding air an infinite
are
all -pervading

similitudini

quali

tutte

nella

parte

portado
colore

son tutte per tutto e co Io3ro la

e
figura
della

number of images which

qualita del corpo loro cagione.

and each complete, each conveying the nature, colour and form of the body which
produces
it.

Che

corpi

siano per similitudine

tutti

It

can clearly be shown

that

all

bodies

per tutta

la circustate aria
5

tutti nella

parte

si per corpo figura dimostra per le spetie di molti vari corpi, che si producono 6 a un solo puto per-

e colore

chiaramete

forate,

doue con Itersegate

7

per piramidi cotrarie

alia

le

linie portano cose sotto sopra

8

prima oscura pariete;

si

la

ragione di

by their images, all-pervading in the surrounding atmosphere, and each complete in itself as to substance form and colour; this is seen by the images of the various bodies which are reproduced in one single perforation through which they transmit the objects by lines which intersect and cause reversed pyramids, from the objects, so that they are upside down on the dark plane where they are first
are,
reflected.

questo

The reason of

this is

W.

L. 146*]

62.
d'Ifinite linie le quali,

Ogni puto e capo

Every point
finite

is

the termination of an in-

2 givgniedo a fare basa subito detta basa per le medesime linie tornano alia piramide

3 si

per colore come per fazione.

imme-

diate che la forma e creata o coposta, subito sdi se gienera Ifiniti agoli e linie, le
quali
linie

which diverge to form a base, and immediately, from the base the same lines converge to a pyramid [imaging] both the colour and form. No sooner is a form created or compounded than suddenly
lines,
infinite lines
it;

number of

per
siti

1'aria,

ispargiedosi con Itersegazione ne resultano Ifiniti 7 agoli, oppoall'

and angles are produced from and these lines, distributing themselves
intersecting each other in the air,

and

give

1'uno

opposti angoli,
e portera
all'
I

akro, degli dato li basa, ritrara triagolo, se forma e proporzione 9 simile

8

co

rise to

an
will

infinite

ciascuno

number of angles opposite

to each other.

angle,

Given a base, each opposite form a triangle having a form

angolo magiore, e se la basa etra 2 volte ciascheduna I0 delle 2 linie piramidali, quel
fara piccolo triagolo.

medesimo

and proportion equal to the larger angle; and if the base goes twice into each of the 2 lines of the pyramid the smaller triangle will do the same.

61.

i.

ciaschuno

enpie

circhustate.

2.

similitudine

pertutta ettutte nela

II,
7.

colo.

3. la

("essentia"] qualita
.
.

etfigura
5.

chagione.

Between

lines 3

and

4 stands the
6.

mete
62.

chorpi chessi producano.

.

diagram given on Plate solo con piramide.

. .
.

No.

i.

4.

"per similitudine"

ettutti nela.

ciara-

prime oscure pariete.

chapo
schuno

afiare
.
.

piramida.
5.

3.

cholore chome.
.
.

Here follow,
6.

in the original

MS.,

ten lines bearing on geometry.

. .

4.

("subito")
.

imediate
.

chopossto.
oposti angli.

agholi ellinie

quallinie.
9.

isspargiedosi
.

chon Iterseghazione
.

risulta.
. .

7.

agholi

cocias-

8.

rinara triagholo.

alangholo

basetra

ciasscheduna.

10. lini

piccholo triagholo.

6z. The diagram intended to illustrate the statement (PL II No. i) occurs in the original between lines 3 and 4. The three circles must be understood

passage the diagram is only intended to explain that the images of the three bodies may be made
to coalesce at

any given

spot.

In the

circles

are

to

represent

three luminous bodies which, transmit

written: giallo

yellow, biacho
off at

white, rosso
8.

red.

their

images through perforations in a wall into a dark chamber, according to a law which is more fully explained in 7581. So far as concerns the present

The

text breaks

line

No. 40 follows here

in the original

The paragraph MS.

^
Heliog-. Dujardin.

,r

63

64.]

LINEAR PERSPECTIVE.

39

Ash.

I.

27 II a]

Ogni corpo obroso empie

aria
2

la circustate

sue similitudini le quali da infinite pira 3 midi infuse per essa rappresentano esso corpo 4 tutto per tutto e tutto
d'infinite

in ogni parte. Ogni piramide coposta da lu?go concorso di razzi cotiene

8 detro a se infinite piramidi 9e ciascuna a poteI0 tia per tutte e tutte per

Every body in* light and shade fills the surrounding air with infinite images of itself;' and these, by infinite pyramids diffused in the air, represent this body throughout space and on every side. Each pyramid that is composed of a long assemblage of rays includes within itself an infinite number of pyramids and each has the same power
as
all,

ciascuna;

"I'equidistate
al

and

all

as each.

I2 circuito di pirami dal co-

corso dark

suo obietto
;

equable qualita d' agoli e d'equale gradeza I4 fia

ricievuto la cosa dall'obbietto.
IS I1

corpo

dell'

aria

e pieno d'infinite piramidi conposte da radiose e rette linie le quali 16 si cavsano dai superfitiali
de'

of equidistant pyramids of vision will give to their object angles of equal size; and an eye at each point will see the object of the same size. The body of the atmosphere is full of infinite pyramids composed of radiating
circle
stre-

mi
J

posti corpi e quato piv s'alota7nano dalla loro cagione piv si fano acute: e benche il loro co-

ombrosi

in

essa

(aria)

corso sia intersegato e in l8 tessuto,

which are produced from the surface of the bodies in light and shade, existing in the air; and the farther they are from the object which produces them the more acute they become and although
straight lines,
in
their

no dimeno no si cofondono 1'una con 1'altra e co disgregate concorso si vano aplifi^cado e infondedo per tutta la circustante aria e sono infra loro d'equale potetia
quato ciascuna e ciascuna quato tutte e per esse la similitudine del corpo e portata 21 tutta -per tutto e tutta nella parte e ciascuna piramide per se ricieve in ogni 22 minima sua parte tutta la forma della sua cagione.
e tutte
I0

distribution

they intersect

and cross they never mingle togebut pass throug'h all the surair, independently converging, spreading, and diffused. And they are all of equal power [and value]; all equal to each, and each equal to all. By these the images of objects are transmitted through
ther,

rounding

all space and in every direction, and each pyramid, in itself, includes, in each minutest

part, the

whole form of the body causing

it.

C. A. 100^;

64.

II corpo dell'aria e pieno d'ifinite piramidi radiose 2 cavsate dalla cosa posta in essa, le quali intersegate 3 e intessute sanza 4 occupatione 1'una dell' altra co disgre gante concorso s'infondono per tutta la circQSstate

aria,

e sono d'equale potetia e tutte pos-

atmosphere is full of radiating pyramids produced by the These intersect and objects existing in it. cross each other with independent convergence without interfering with each other and pass and through all the surrounding atmosphere;

The body of

the

infinite

63. i.

chorpo

circhustate.
6.

2.

dinfine
7.

similitudine.
.
.

3.

midi

essa [aria] rapretano

8.

chorpo.

4.

ettutto.

5.

[Ogni radiosa
.

piramide di lugo].
12.

choposta.

chonchorso

chontiene.

asse

pyramide.

9. ettutte.

n.

lecquidistate

circhuito.

chochorso.

Lines
.

the text: 15.

. .

chorpo
18.
.

chochorsia.

of achute 17. chagione [aria], ecquato. -chorpi onbrosi poste piramide chonposte. 16. chavsano 20. ecciascuna. ettutte. essono chonchorso. 19. circhustante . luna per laltra e cho tesuto
are written on the
left side

15
.

and

lines
.

614

on the right side of the diagram.

. .

Below

it is

the rest
.
.

21. e portata tutto

ettutta.
.

22.
.

chagione.
esa.
3.

64.

I.

piramide.

2.

chavsate dala

ochupatione

cho.

4.

chonchorso sinfondano [portado] pertutta

[lari].

5.

ettutte

4o

THE THEORY OF THE ART OF PAINTING.

are

[65-

sono quato ciascuna, 6 e ciascuna quato tutte e per esse la similitudine del corpo e porta'ta tutta per tutto e tutta I nella parte,
: .

e ciascuna per se ricieve

a 8

m ogm
.
.

minima

of equal force and value all being And by means equal to each, each to all. of thes images of the body are transmitted everywhere and on all sides, and each receiyes in itsdf eyery minutest portion of the

parte tutta la sua cagione.

object that produces

it.

C. A. 1360; 4120]

65-

PROSPETTIVA.

PERSPECTIVE.
similitudini

Proof by ex(65^56)'

piena cose le quali Ifra quella sono distrib u ' te 3 e tutte s * rapresetano in tutte e e tutte jn ciascuna ode tutte in vna accade che se sarano * 2 spechi volti I
delle
' -

L'aria

d' Ifinite

with endless images of the objects distributed in it; and all are reair
is

The

filled

presented in

all,

and

all

in

one, and

all

in

modo-che per
1'altro-jl

linia-retta-si

guardino 1'uno

5 primo si spechiera nel secondo e '1 secondo nel primo il primo che si spechia nel secondo porta co seco la 6 similitudini similitudine di se co tutte le
:

each, whence it happens that if two mirrors are placed in such a manner as to face each other exactly, the first will be reflected in the second and the second in the first. The first

being reflected in the second takes to it the image of itself with all the images represented in it, among which is the image of the second

che dentro

vi si rapresetano Ifra le quali e la spetie del secondo spechio e da simii litudine T similitudine se ne vanno in ifinito I modo che ciascuno spechio a detro in se li 8 spechi 1'uno minore che 1'altro-e dentro 1'uno all'altro. ^Onde per questo esemplo chiaramete si pruova ciascuna
:

image within image, they go on such a manner as that each mirror has within it a mirror, each smaller than the
mirror,
so, to infinity in
last

and

and one inside the other. Thus, by this example, it is clearly proved that every object sends its image to every spot whence the object itself can be seen; and the converse:
That the same object may receive all the images of the objects that are
of
it.

cosa
lochi

madare
li

la similitudine

10

tutti quelli

in itself
in front

quali possono vedere detta cosa e cosi de couerso detta cosa essere ca-

pace
dini

di pigliare in se tutte le similitudelle cose che dinanzi se le rappresen12

1J

tano.
la

Aduque

1'ochio

mada

Ifra 1'aria

the eye transmits through the atmosphere its own image to all the objects that are in front of it and receives them into itself, that is to say on its surface, whence
are taken in by the common sense, which considers them and if they are pleasing commits them to the memory. Whence I am of opinion: That the invisible images in the eyes are produced towards the object, as the image of the object to the eye. That the images of the objects must be disseminated through the air. An instance may be

Hence

sua similitudine a tutti li obietti che li sono opposti e I se 13 li ricieve cioe I sulla sua superfVie dode il seso comvne
le

they

piglia
le

e le cosidera e quelli

^che

ciono

mada

alia

memoria.

'sQnde

piaio

givdico che la virtu spirituale delle spetie delli ochi si faccino icotro all' obietto come 16 '7 Che le spetie dell' obietto all' ochio. le spetie di tutte le cose sieno seminate Ifra 1' aria lo esemplo si veda I molti specchi 18 In circolo e Ifinite volte spechierano 1'uno Paltro e givto 1'uno nell'altro risalta dirieto '9 alia sua cagione e indi diminvedorisalta vn'altra volta all'obietto e poi ritorna 2I e cosi fa Ifinite 20 volte. Se metti un lume di notte Ifra 2 specchi piani i quali abbino d'intervallo un braccio vedrai I cias-

seen in several mirrors placed in a circle, which will reflect each other endlessly. When one has reached the other it is returned to the object that produced it, and thence being diminished it is returned again to the object and then comes back once more, and this happens endlessly. If you put a light between two flat mirrors with a distance of i braccio between them you will see in each

possano quite.
65.
2.

7.
. .

to.

tutto per tutta ettutti inella.

. .

similitudine

chose
. .

sono strebuite.
\\\.

3. 2

ettutte
el 2
\\\\.
. . :

si

in tutte
.

"ettutte in

vna"

ettutte jn
tutte
\\\.

ciasschuna
6.

acchade
spe.
.

4.

recta
.

sisghuardino
si \\\.

spechier
. .

5.
.

nel.
.

ne pr.
9.

nel 2
io.
\\\.

porta

chosecho cho
.
.

quale

del 2

chio

cho

7.

vano

ciaschuno
sili.
. .

detro Is

esenplo.
s

possano

chosa e chosi de chouerso. detta chosa

.

chapa\\\\. it. similitudine .. chose ..

12. attutti

opositi e T
.
. .

13.

chomvne
18.

chosidera e c
.
.

\\\\\\

piachno.
.
.

15.

chella...

Ichotro
19.

all

obietto ch\\\.
dili

17.

Chelle
. .

chose
e

llaria

molti spe\\\\\.
fa
If

circholo
21.

givta lunel
!

risalta e dirieto.
i

chagione e

diminvedo

alobietto

po ritorna e chosi

|||||||1||.

Si

metti

lume

dintervallo

br.

66. 6;.]

LINEAR PERSPECTIVE.
of them an infinite number of lights, one smaller than another, to the last. If at night you .put a light between the walls of a room, all the parts of that wall will be tinted with the image of that light. And they will receive the light and the light will fall on them,
mutually, that
stacle to

cuno di quelli spec 22 chi ifiniti lumi-1'unominore che 1'altro; 2 3se di notte metterai vn lume jfra le parieti d' una camera tutte le parti d'essa pariete rimarano tite di ^similitudini d' esso lume e tutte quelle che sarario viste dal lume, e '1 lume vedera si2 milemete, 5cioe quando ifra loro no fiaalcuna oppositione che ropa il cocorso

Questo medesimo eseplo magiormete appare in nel cocorso de razzi

delle
spetie.
2 ?i quali tutti per tutti, e ciascuno se porta al suo obietto la similitudine per 29 28 Che ciascu corpo per della cagione tutta la cotraposta aria se solo empie delle sue similitudini e che questa mede-

z6

there is no obtransmission of the images. This same example is seen in a greater degree in the distribution of the solar rays
is

to say,

when

interrupt

the

solari,

which
it.

all together, and each by itself, convey to the object the image of the body which causes

its

That each body by itself alone fills with images the atmosphere around it, and that

sima
tepo
altri

aria

fia

capace.
se
ifra

3j quel medesimo

le spetie d'lnfiniti quella fussino, chiaramente $ l si dimostra-per questi- esepli; ciascuno corpo appare tutto per tutta la detta aria e tutto in ogni minima 32 parte di quella tutti per tutta e tutti in onj minima 33 ciascuno per tutta e tutti nella parte. parte,

di ricievere -I

same air is able, at the same time, to receive the images of the endless other objects which are in it, this is clearly proved
the

corpi

che

by these examples. And every object is everywhere visible in the whole of the atmosphere, and the whole in every smallest part of it; and all the objects in the whole, and all in each smallest part; each in all and all in
every part.

W.

L. 145

B.a]

Sono
tutte
in
3

le spetie
2

infuse per 1'aria

de corpi tutte che le vede e

di

The images of
diffused

objects are

all

through the
receives
side
in
e
it.

ogni parte
sie

quella;
le

which

them;

atmosphere and all

provasi
spetie

ace
quali
4

obbietti,

on every
this,
let

To prove
objects

de

penetrano
li

in

be

of

loco oscuro

per

spiraculi

e s'inpremono nella pariete

fi
le

cotraposta

a es s si spiracoli;

which the images are admitted to a dark chamber by the small holes n p and thrown upon the
plane

fi

opposite to these holes.

quali inpressioni sara fatte in tati lochi d'essa parie 6 te quato sara
il

numero

delli predetti spiracoli.

As many images will be produced in the chamber on the plane as the number of the said holes.

C. A.

i 7 6,5; 53i<5]

Tutti j corpi anno infuse e miste 2 in tutta tutte loro spetie e similitudini a se contraposta; deli' aria la quantita 3 La punto delle corspetie di ciascun e in ciascu punto 4 dell'aria; poree superfitie s Tutte le spetie de' corpi sono in ciascu
ciaschuno
24. ettucte 22. chelaltro elluno
. .

All objects project their whole image and General conlikeness, diffused and mingled in the whole of the atmosphere, opposite to themselves. The image of every point of the bodily atsurface, exists in every part of the of the objects are All the

mosphere.
se

images

di\\\\\\\\\.
.
.

minore
25.
.

chellaltro.

23.
. .

"di notte"
.
.

Ifralle

pariete
26. inel

duna
28.
[di]
.

tutte

le
.

parti

chessarano
tutti

da lume.
.

qua

infralloro

opositione

chochorso.

chochorso

"solari" [del
29. ciassu.
. .

d'^esse.

sole].

27.
.

per
.

[ettu]

o ciasciuno

"li obietti ettala

. . .

caione in

oni minima parte

.

dellobietto".
30-

chagione.
.

chorpo
chiar
66.
i.

5pia "tutta" la ch5traposta

31. esepli
. .

[spetie]
.
.

"similitudine"

fia

c\\\\\\\\\\\\.

tepo

chorpi

fussino

\\\\\\\\\\\.
.

ciascuno

apare

aria ettutto Ionlm\\\\\\\\\\.

2.

33. ettutti.
3. 6.

lesspetie
. .

chorpi [infuse per

4.

laria]
.

tutte [infus] fure per laria.

.

chelle vede ettutte.

5.

spetie
67. i.

illocho osscuro.
.

spirachuli
.

essinprememano
2.

contrapossta.

spiracholi.
la

quato saranno
is

siej

c]

c e obbietti
il
.
.

1<

spiracholi.

chorpi
I.

infuso Smisto

"tutte".

essimilitudine.

asse chontrapossta.

3.

spetie di

written onttie margin.

La

VOL.

THE THEORY OF THE ART OF PAINTING.

puto d'essa
similitudine
?

[68.

6 Tutta e la parte della aria; dell'aria e in ciascuno puto delle

8
'

in

every part of the atmosphere.

The whole,

antiposti corpi; Adunque 1 tutto delle spetie de' corpi la parte e 9 appare in tutta e nella parte della susuperfitie
delli

perfitie

d'essi

di ciascu possiamo corpo essere "tutto e in parte in ciascuna IZ delli parte e nel tutto scanbievolmete Come si uede nelli spechi oppositi corpi

dire

Onde corpi. la similitudine

IO

chiaramente

the atmosphere is [reflected] in each point of the surface of the bodies presented to it. Therefore both the part and the whole of the images of the objects exist, both in the whole and in the parts of the surface of these visible bodies.

and each part of the image of

1'uno

all

altro opposti.

Whence we may evidently say that the image of each object exists, as a whole and in every part, in each part and in the whole interchangeably in every existing body. As is seen in two mirrors placed opposite to each other.

Ash.

I.

32*]

68.

Ipossibile e che 1'ochio

That the
contrary is impossible,

madi

fori di se
2

It

is

impossible that the eye should proitself,

p er r

ij

razz j visuali

la uirtu

visiua,

perche

ject

from

by

visual rays,

the

visual

nello suo aprire quella prima parte che desse prmcipio all'uscita, ^e auessi d'andare al1'obietto

no

lo
4

essedo cosi no
5

potrebbe fare saza tepo, potrebbe caminare in v mese

virtue, since, as soon as it opens, that front portion [of the eye] which would give rise to this emanation would have to go
it could not being so, it could not travel so high as the sun in a month's time when the eye wanted to see it. And if it could reach the sun it would necessarily follow that it should perpetually remain in a continuous line from the eye to the sun and should always diverge in such a way as to form between the sun and the eye the base and the apex of a pyramid. This being the case, if the eye consisted of a million worlds, it would not prevent its being consumed in the projection of its vir-

forth

to

the

object and

this

do without

time.

And

this

all'altezza del sole,

quado

1'

ochio lo uolesse

vedere

e se la
ch'ella
dall'
6

vi agivgniesse

sarebbe ne-

ciessario
la

fusse cotinuata

uia ch'e

ochio al sole,
in

per tutta e ch'ella

'1

sepre alargasse

modo

che tra
8

sole e

e la puta d'una piramide: essedo questo e'no basterebbe se 1'ochio fusse 9 per un milione di modi che
tutto

1'ochio coponessino la basa

no

si

cosumasse

detta virtu

e se
Ifra

pure que
1'aria

I0

sta virtu
fa 1'odore,

avesse a caminare
i

tue;

and

if this

virtue

come
in
.

venti

no "la torciereb6.

through the
chorpi.
8.

air as

would have to travel perfumes do, the winds

9.

Ciasc

he

in.

5.

lesspetie dechorpi.
it.

ella

... he
12.
3.

in.

7.

chorpi apare.

chorpi appare.

10.

dire
|

''la

similitudine di" ciaschu chorpo.

68.
i.

ciasscuna.

opositi chorpi oppossto.

chellochio

razi.

2.

dessi prlcipo all usita.

.

auessiandare
6.

."hollo potrebe.
fa]

4.
.

potrebe chaminare
.

alteza

uolessi.
. .

. chela. chaminasse] viagivgniessi sarebe basterebe sellochio fussi, chio choponessino. 8. ella .

5. essella [vi

[sepre

fussi
.

chotinuata
.

tuta.

7.

lo alargassi
.
.

imodo

ello-

9.

per

milione
.
.

chettutto
i

consumassi
13.

esse pure.
.

10. avessi
.

chome

ivento

(?).

n. porterebbero no
refuted

cho.

12.

presteza

vederemo

distantia.

dunobr.

alchuno

accidente.

68.

The view here

by Leonardo was

Bramantino).
e Valtra

La prima

prospetliva

fa

le cose

di punto,

others by Bramantino, Leonardo's Milanese contemporary. LOMAZZO writes as follows

maintained

among

prima
effetti

si

non mat, dimanda

piu appresso. Adunque la prospettiva, doe ragione, la quale fa

facendo crescere e calare secondo gli
Questo crescere e calare non procede

e la terza

in his Traltato delF Arte della pittura &c. (Milano 1584.

Peffetto deir occhio,

Libr.
scritti

cp.

XXI): Sowiemmi

di aver gia

letto

in certi

degli

occhi.

alcune cose di Bramantino milanese, celtbratissimo

della cosa propria, che in se per esser lontana,

owero vidnat

pittore, attenente alia prospettiva, le quali

ho valuta

riferire,

per quello
dagli

effetto

non pub
occhi,

crescere e sminuire,
i

ma

procede
e

e quasi intesseie in questo luogo,

ajfinche sappiamo qual

effetti

degli

quali sono picdoli,

cosa,

fosse Vopinione di cost chiaro e famoso pitlore intorno alia Strive Bramantino che la prospeltiva e una prospett'rva
.
.

volendo vedere tanto

gran

perdb bisogna che mandino

tanta larghezza,

fuora la virtu visiva, la quale

si dilata in

fosa che contrafa

il

mturale, e che do
si

si

fa

in tre

modi
in
si

che piglia tutto quello che vuol vedere,

ed arrivando
lei

Circa
la

il

primo modo che

fa con
da

ragione, per essere

quella

cosa la vede dove e:

1

da

agli occhi per

cosa

in poche parole

conclusa

Bramantino

quello circuito fino all' occhio, e tutto quello (ermine e pieno

maniera che giudico non potersi dir meglio, contenendovi

tutta
le

di quella cosa.
It is

Farte del principio al fine,

(cp.

io riferirb

per appunto
di

proprie parole sue

XXII,

Prima

prospettiva

memorandum

worthy of note that Leonardo had made his refuting this view, at Milan in 1492

69.

LINEAR PERSPECTIVE.
would bent

43

bono e porterebbero in altro loco; e noi vediamo co quel I2 la medesima prestezza il corpo del sole che noi vediamo una distantia I3 d'uno braccio e no si mvta per sofiare de'ueti,

ne per alcuno

altro accidete.

it and carry it into another But we do [in fact] see the mass sun with the same rapidity as [an object] at the distance of a braccio, and the power of sight is not disturbed by the blowing of the winds nor by any other accident.

place. of the

A. 9 <5]

69.

Si
si

come
cietro

la

pietra

fa

e cavsa

gittata nell' acqua di uari circuli, 2 e '1

Just

as

stone

flung

into

the

water A

suono fatto in nell' aria circularmente si spargie, ^cosi ogni corpo posto infra 1'aria luminosa circularmete * spargie e epie le
circustanti
parti
d'infinite

becomes the centre and cause of many circles, and as sound diffuses itself in circles in the
so any object, placed in the luminous atmosphere, diffuses itself in circles, and fills the surrounding air with infinite images of itself.
air:

sue similitudini
e tutto in ogni
si

e appare tutto Sper tutto 6 [minima] parte; Questo

perietia

And

prova per imperoche se serrerai una finestra volta a ponete e farai uno buso
. .

is-

is repeated, the whole every-where, and the whole in every smallest part. This can be proved by experiment, since if you shut a

window

that faces west

and make a hole [6]

C. A. 133 b ; 404 6]

7'
posta
all'
:

Se

la

cosa cotra

a quello

di se la similitudine

ochio mada acora 1'ochio

alla

mada
della

la

sua similitudine
le

cosa.

If the object in front of the eye sends * , image to the eye, the eye, on the other hand, sends its image to the object, and
,

its

function of the eye as explained

T^

^Vobs^a"
(7- ?0-

cosa per partite similitudini no si strema parte alcuna d'alcuna ragione ne all'occhio ne alia cosa. ^Aduque possiamo piv tosto credere essere natura e potetia di questa aria luminosa * che attrae e piglia I se le spetie delle cose che detro vi sono che natura delle cose in madare le 5 Se la cosa cotra spetie ifra essa aria; posta all' ochio madasse a quello di se la similitudine: quel medesimo avrebbe a fare 6 1'ochio alia cosa, onde couerebbe che
queste
spetie

no portion whatever of the object is lost in the images it throws off, for any reason
either

we may

eye or the object. Therefore it to be the nature and potency of our luminous atmosphere which absorbs the images of the objects existing in it, than the nature of the objects,
in

the

rather believe

to

send their images through the

air.

If the

object opposite to the eye were to send its image to the eye, the eye would have to do the same to the object, whence it might

fussino

virtu

spirituali: -es-

seem

that these
if so,
it

images were an emanation.

sedo cosi sarebbe ? neciessario che ciascuna cosa presto venisse meno Jperoche ciascuno corpo appare per similitudine 8 nella cotraposta aria; cioe tutto il corpo I tutta
,

e tutto nella parte, tutti i corpi I 9 e tutti nella parte, parlado di 1'aria ch'e capace di ricieuere I se le e radiose linie I0 delle spetie madate
1'aria;

tutta

1'aria,

quelrette
dalli

would be necessary [to admit] But, that every object became rapidly smaller; because each object appears by its images That is: in the surrounding atmosphere. the whole object in the whole atmosphere, and in each part; and all the objects in the whole atmosphere and all of them in each
which part; speaking of that atmosphere
fatto inellaria
5.

is

able

69. i. Si

chavsa circhuli. 2. chome nellacqua similitudine spargano] ogni ... 4. circhustanti * finestra effarai i buso. chesse sererai
.

el
.

sono.

spargie

[la

sua voce Cosi].

6.

3.

Cosi

[chorpi

eapare

ettutto in ogni [minima] parte.

per

risperietia in pero-

70.

cossa "e" per mada "aquello" di. 2. se natura "e potetia" di. 4. che Aduque posiamo
i.
.
.

alchuna dalchuna rasione nea locho ne.

"altraee" piglia
. . .

3.

[quel

medesimo

fa locchio]
. .

dele cose
.

"che detro
.

vi
6.

sono" che natura

choso
.
|

chose
.

imadere

Ifra

[1]

"essa"

aria.

5.

Sella chosa chotra

. .

madassi acquello
8.

arebe

affare.

onde chonuerebe
.

chosi sarebe.

7.

ciasschuna chosa

venisi

chorpo,

[inoni

parte

della]

"nella"

chotraposta

tutto

"il

corpo"

69.
6.

Compare Here the

LIBRI, Histoire des sciences mathimatiquts en

text

Italie.

Tome

III, p. 43.

breaks

off.

44
obietti ;

THE THEORY OF THE ART OF PAINTING.

Onde per
questo pare
neciessario
ll

aria cofessare essere natura di questa che si trova infra li obbietti la qualc tiri come calamita in se le similitudini delle

to contain in itself the straight and radiating lines of the images projected by the objects.

From
it

this

it

seems necessary

is

in the nature

to admit that of the atmosphere, which

cose

'Ifra

quella

poste.

attracts the

the objects, and which images of things to itself like a loadstone, being placed between them.
subsists

between

1 PRUOVA

SITO

COME TUTTE LE COSE POSTE SONO TUTTE PER TUTTO ME TUTTE NELLA PARTE.1
,

IN

UN

PROVE HOW ALL OBJECTS, PLACED IN ONE POSITION, ARE ALL EVERYWHERE AND ALL IN EACH PART.
I say that if the front of a or any building open piazza or field which is illuminated by the sun has a dwelling opposite to it, and if, in the front which does not face the sun, you make a small round hole, all the

se vna faccia d'uno edifitio o o capagnia che sia illuminata dal sole l6 avra al suo opposito vn' abitatione, e I quella faccja che no uede il sole sia fatto un piccolo spiracolo ^rotodo: che tutte le alluminate cose maderano la loro similitudine
altra piazza

illuminated

per detto spiraculo e apparirano

all'

l8

dentro

abitatione

nella cotraria faccia, la quale

e saranno li appunto e sotto sopra; '^e se per molti lochi di detta faccia faciessi simili buchi, simile effetto sarebbe 1 ciascuno; Aduque le spetie 20 delle alluminate-cose-sono tutte per tutta dettafaccia e tutte in ogni minima parte di quella 21 la ragio si e: noi sappiamo chiaro che

vuol essere biaca

objects will project their images through that hole and be visible inside the dwelling on the opposite wall which may be made white; and there, in fact, they will be

upside down, and if you make similar openings in several places in the same wall

you
are
in

Hence

have the same result from each. the images of the illuminated objects all everywhere on this wall and all
will
it.

each minutest part of

The

reason, as

quello buco debe redere alquato di lume 22 lui mezzano I detta abitatione, e lume che rede e cavsato da vno o da molti corpi

we clearly know, is some light to the

light

that this hole

admitted by

it

must admit said dwelling, and the is derived from one or

If these bodies are

luminosi se detti corpi fieno di vari colori e varie stape di uari 23 colori e stape saranno i razzi delle spetie e di uari colori e stape fieno le rappresetationi in nel

many luminous
of
various

bodies.

mvro.
D. 8 a]

shapes the rays forming the images are of various colours and shapes, and so will the representations be on the wall.
71
-

colours

and

COME S'INTERSEGANO
2

LE SPETIE BELLI OBBIETTI

RICEVUTI DALL OCHIO DENTRO AL ALBUGINO.

3

OMORE

HOW THE IMAGES OF OBJECTS RECEIVED BY THS EYE INTERSECT WITHIN THE CRYSTALLINE HUMOUR OF THE EYE.
An
transmit
.

La

sperietia

bietti
tutta
.
.

mandino
.

-le
.

che mostra come li obloro spetie over si9. ettutti nella

experiment, showing how objects their images or pictures, interde radira] e radiose.
13. 10.

ettutto

tuttutti.

pare

chapace

"I se"

le rette [linie

chofessare.
sito.

n.

aria [la qualej

15.

"che".
. .

si

chome chalamita
.

similitudine.

12. I fracquella.

chome
. .

tutti le
I

pare [essere] chose poste

nvn

14. ettutte.

dicho cbesse
. .

facia
18.

piazao chapagnia chessia.

.
.

16. ara al

suo oposito

fatto
19.

picholo spira. .

cholo.
simile
.
.

17.
.

retodo
T

chose

siraculo.
20.

chotraria

viol

esere biacha e sarano lapunto essotto.

21.

esse per
.
.

bus!

sarebe

ciaschuno.
. .

chose
cholori

facia ettutte inoniniminima.

di uari.

sapiano
;

quello buso.

22.
.

mezano
.

chavsata

da [molti] corpi
.

chorpi

"e varie stape"

23. cholori

"e stape" sarano

irazi

cholori

"e stipe"

fieno

le

rapresentatione inel mvro [osscuroj.

70. 15

23.

in the "Saggio dtlle Opere di Leonardo da Vinci"

This section has already been published Milan

G. Govi observes upon
it,

names Benedettino Don Papnutio as the inventor of the Camera obscura. In his explanation of the
function of the eye by a comparison with the Camera obscura Leonardo was the precursor of G.

1872,

pp. 13, 14.

is

that

Leonardo
the

Camera

not to be regarded as the inventor of obscura, but that he was the first to

CARDANO, Professor of Medicine

explain of the

by it the structure of the eye. An account Camera obscura first occurs in CESARE CE1523, four

'at Bologna (died 1576) and it appears highly probable that this is, in fact, the very discovery which Leonardo ascribes to

SARINI'S Italian version of Vitruvius, pub.

himself in
details.

section

21 without

giving

any further

years

after

Leonardo's

death.

Cesarini

expressly

7274-]

LINEAR PERSPECTIVE.
seating

45

militudini intersegate dentro all'o 5 chio nello

dimostra quando alcuno piccolo spiraculo rotodo 7 penetrano le spetie delli obsi

umore albugino

per
c
*

humour,
^

within the eye in the crystalline is seen when by some small round hole penetrate the images of illuPL

bietti alluminati in abitatione for-

temente oscura; allora tu riceverai tale spetie in v?na carta

bianca posta dentro a tale aI0 bitatione alquato vicina a esso ix spiraculo e ve drai tutti li predetti obbietti in essa carta colle propie figure e colori, ma sara minori e fieno sot^to sopra per causa della detta interseI4 gatione li qua li simulacri se nascierano loco alluminato dal I5 sole para propio di I6 la qual" uole essere dipiti in essa carta, e veduta da riverscio, e lo sottilissima I7 colo detto sia fatto in sottipiastra spira l8 a b c d e sieno li detti lissima di ferro; J obietti alluminati dal sole, o r 9sia la faclor
I2

minated objects into a very dark chamber. Then, receive these images on a white paper placed within this dark room and rather near to the hole and
yo.u will see all the objects on the paper in their proper forms

and colours, but much smaller; and they will be upside down
of that very interimages being transmitted from a place illuminated by the sun will seem actually painted on this paper which must be extremely thin and looked at from behind. And let the be made, in a very thin little perforation Let a b c d e be the obplate of iron. illuminated by the sun and o r the ject front of the dark chamber in which is the Let s t be the sheet of said hole at n m. paper intercepting the rays of the images of these objects upside down, because the rays being straight, a on the right hand becomes

by

reason

section.

These

spi

cia della abitatione oscura, nella quale e lo 20 racolo detto in n m, s t sia la detta

carta

dove

si

ta 2I gliano

li

razzi delle spetie

li

d'essi obietti sotto

22 sopra perche esse do

lor razzi diritti , e lo e si 23 nistro

a destro
si

si

fa sinistro in
/"-,

fa

destro in

e cosi fa

dentro alia popilla.

/
72
'

k on the left, and e on the left becomes on the right; and the same takes place inside the pupil.

C. A. 201 b; 598,}] II

lume nel

ufitio della

prospettiva

non

a alcuna differeza coll'ochio.

In the practice of perspective the rules apply to light and to the eye.

same

The

practice

jff%.

W.

L. 145; D.<J]
2

73-

Cio che vede la lucie dell' ochio duto da essa lucie, 3 e cio che vede e ^veduto dalla sua popilla.
M.
II

e ve-

la lucie

The object which is opposite to the pupil of the eye is seen by that pupil and that which is opposite to the eye is seen by the pupil.
74-

Br.

221(5]

concorso
obbietti

delle linie create dalle spetie

all'

ochio no conantiposti corro 2 no in punte dentro a esso ochio per

delli
linie rette.

The lines sent forth by the image of an Refraction of S r object to the eye do not reach the point famng up on within the eye in straight lines.

71. 3.

Lassperientia
.

mosstra.
10.
. .

5.

omore.

6.

picholo
.

retodo peneterano.
13.

8.

te

osscura alora
li

spetie nv.
14.

9.

biancha [dedesstro

pola] posta

attale.
17.

spirachulo.
inpiasstra.

12.
19.

effieno
. .

so.

chausa
.

interseghatione
ello spi.
20.

q"a".
21.

nasscierano dillocho.
22.

16. ello spira.

. .

cholo
e.

fachia

osscura

nei

racol.

razi.

razi

sinisstro

hello

23. desstro.

73.

i.

ufio della.
.
.

2.

differeza chol.

73. 3. eccio

lucie he.
.
.

74. linie crete

antipossti

concorra.

71.

This

chapter
into

is

already

translation
'Essai sur

French by VENTURI.

known through a Compare his

de ritalie.

Vinci avee des fragments tires de ses Manuscnts, apportes classe de Vlnstitut national Lu a la

premiere
Paris,

les

ouvrages physico-mathematiques de L. da

des Sciences et Arts:

An

V (1797).

46
Br.

THE THEORY OF THE ART OF PAINTING.

M. 22o]

[7577-

75lui,

giuditio dell'ochio e dentro di 2 si rompono le linie rette delle spetie sulla superfitie sua perche uanno dal raro al denso; 3 se tu sia sotto

Se

'1

If the

judgment of the eye

the
straight
lines

is

situated
sur-

in-

within

it,

of the images

are refracted
face

on

its

they pass through the rarer to the

because

1'aqua e riguardi la cosa vedrai tu infrall'aria essa cosa 4 fori del suo
sito,

denser medium.

If,

when

e cosi fa

la

cosa

are under water, you look at objects in the air you will see them out

you

infrall'acqua veduta dall'aria.

of their true place; and the same objects under water seen from the air.

with

Br.

M.

171*1

The

inver-

Tutte le sirnilitudini delle cose che passano per finestra 2 dalP aria libera all' aria costretta da pariete, sono viste -H cotrario 4 si sito, e quella cosa che nella libera aria movera da oriete a occidete apparira, per obra nelle parie s te alluminate dalla costretta aria di cotrario movimeto.

of objects which pass [glass pane] from the free air to the air confined within walls, are seen on the opposite side; and an
All
the

images

through

a outer

window

object
wall
to

which moves

in

the

east to west will

seem

in its

outer air from shadow, on the

air,

which is lighted by this confined have an opposite motion.

W.

L. 145; B.3J

77-

PRINCIPIO COME LE SPETIE DE' CORPI S'INTER2 SEGANO NELLI LABRI DELLI SPIRACULI DA LOR PENETRATI.
3

THE

PRINCIPLE ON WHICH THE IMAGES OF BODIES PASS IN BETWEEN THE MARGINS OF THE OPENINGS BY WHICH THEY ENTER.

Che
5

diferetia e dalla pe-

The

inter-

netraHionc

in 'drays' passano 6 (76-82). che passa per larghi quelle 7o da quelle che spiracoli ne'la 8 ti de corpi onpassan' sMovansi le spetie brosi?
delli obbietti inmobili,

spetie che spiraculi stretti a

delle

the

What difference is there in way in which images pass

moven-

dosi colo

I0 labri di quello spiradonde li razzi delle spetie

li

_
I

through narrow openings and or through large openings, in those which pass by the sides of shaded bodies? By moving the edges of the opening through which the images are admitted, the images

~^~

a questo accade per la 9 che penetrano I2 di qualunche cor po son dicie lie spetie tutte per tutto e tutte in ogni parte del sito a lor circustateTJ '3 seguita che movedo vn delli

"e

labri dello spiracolo, donde tali spetie peI4 netrano in loco oscuro, esso lascia li razzi

spetie che li era'Sno in cotatto e si congiugono con altri razzi d'esse spetie che
delle
li

era

l6

remoti ecc.

of immovable objects are made this happens, as is shown in the 9 th which demonstrates [n]: the images of any object are all everywhere, and all in each part of the surrounding air. It follows that if one of the edges of the hole by which the images are admitted to a dark chamber is moved it cuts off those rays of the image that were in contact with it and gets nearer to other rays which previously were remote from it &c.
to

move.

And

75. i. adi.

2.

ronpano.

3.

settu
3.

lac q.
.

esa cosa.
.

4. infrallacq 4. ocidete
3.

dellaria.
1

76. i. similirudine.
77. i.
8.

2. dalaria. 2.
.

chososa
.
.

nellalbra.

aparira
5.

"per obra"
.

nelle.
.

chome
chorpi.
.

chorpi.

seghano
.

spirachuli dallor.
labri.

he

dalla.
.

isspirachuli

acquelle.
. .

6.

cheppassa
chelli.

spriracholi.
12.

9.

lesspetie
.
.

movenli

10.

spircholo

donte

razi.

n. ecquesto achade

cheddicie
.

Icsspetie.
15.

son

tucte

ettutte in

allor circusstate.

13.

spiracholo donte.

14.

locho ossechuro e lasscia

razi

chotacto essi

77. 2. In the first of the three diagrams Leonardo had drawn only one of the two margins, at m. When Leonardo refers II. per la 9* che dicie.

diagrams;
proved.

this

can in some instances be distinctly

The

corresponds
reproduced.

ninth sketch on the page to the middle sketch of

W.

L. 145 b

the

three

thus to a

number

it

serves

to

indicate

marginal

7 8.]

LINEAR PERSPECTIVE.
SINISTRO,

47

DEL MOTO DEL LABRO DESTRO O

SUPERIORE,
'9
l8

O INFERIORE.

OF THE MOVEMENT OF THE EDGE AT THE RIGHT OR LEFT, OR THE UPPER, OR LOWER EDGE.
If

allora
dell'

Se moverai il si movera

lato destro dello spiracolo, la inpres 20 sione sinistra

you

move

the

right

side
left

of

the

spiracolo,

obbietto destro, che penetrava per esso 2I e '1 simile fara tutti li altri lati 22 di tale spiracolo e questo si pro va coll'aiuto

opening the image on the [being that] of the object

will

move
entered

which

on the right side of the opening; and the same result will happen with all the other

seconda di questo che dicie 1 tutti li che porta le spe^tie de corpi per 1'aria son retti lini U adunque, avendo a passare le spe^tie delli corpi massimi per li minimi
della
razzi
;

sides of the opening. This can be proved nd of this which shows: all the by the 2 rays which convey the images of objects through the air are straight lines. Hence,
if

2 spiraculi e dopo tale spiraco 5lo ricoporsi alia massima dilatatione, egli e neciessario

gienerar

26

si

la intersegatione.

the images of very large bodies have to pass through very small holes, and beyond these holes recover their large size, the lines

must necessarily

intersect.

W.

L. 145; B. a]

78.

tie

Neciessita a proveduto che tutte le spede corpi antiposti all'och'io s'interseghino in due lochi, delle quali I'una intersi

Necessity has provided that all the images of objects in front of the eye shall intersect in two places. One of these intersections
is

gienera dentro alia popilla 1'altra spera cris 4 tallina, il che se cosl no si faciesse, 1'ochio no potrebbe vedere 5 si gra numero di cose quato esso vede; 6 pruovasi perche tutte le linie che s'intersegano gienera tale intersegatione in punto, cociosiache de corpi no ci si dimostra se 8 no le loro superfitie, li termini delle quali so linie per la co^versa della difmitio delle
segatio^ne

in the pupil,

the

other

in the crystalline

dentro

alia

were not the case the eye could not see so great a number of objects This can be proved, since all as it does. the lines which intersect do so in a point. Because nothing is seen of objects excepting
lens;
if this

and

their

surface; and their edges are lines, in of a to the definition contradistinction And each minute part of a line is surface.

e ogni minima parte della linia e equale al puto, perche minima e detta ir quella cosa della quale nessu na altra puo essere minore, e questa tal difinitione e simile al I2 la difinitione del puto; adunque e
superfitie,
I0

equal

to

point;
this

for

smallest

is

said

of

that than

which nothing can be smaller, and

definition
is

the

definition
it

equivalent to of the point.

for
to

Hence
to

is

possible
its

the the

whole circumference of a
transmit

circle

pos^sibile che tutta

ferentia
la

la

circu-

image

d'un

cierchio
alia

mandi
sua intersegatione di que is sto che

sua similitu I4 dine

la

come mostra

quarta

as is of intersection, shown in the 4 th of this which shows: all the smallest parts of the images cross each

point

chongiugnie chon
ecquesto
;8.
i.
.

chelli.
.
.

17.

desstro ossini o.

19. desstro
. .

siracholo.
.

20. sinisstra
.

desstro
.
.

spiracholo.

21. spiracholo

22, choll
.
.

2di.

23.

chorpi
2.

chettutte
si
li
.

chorpi antipossti.
6.

appassare. 24. chorpi chosi interseghatio. 4. stallina

.
.

recti

spirachuli
.

eddopo
.

spiracho.
se.
5.
[il

26. interseghatione.

faciessi
. .

vedere

nvmero
8.
li

delle

chose

che]

chose.

tutte [le ch] le

chessinterseghano.
. .

7.

terseghatione
12.

ciossiache dimosstrase.
. .

termini delUs

qua

termini.

10.

chosa

nesu.

n. ecquesta

essimile al.

Ha

difini5

adunque eppos.

13.

chettutta la circhu-

48
dicie

THE THEORY OF THE ART OF PAINTING.

Htutte
le

[79. 80.

parti

minime

delle

spetie

other

l6 penetra una 1'altra sanza occupatione 1'una I8 son dell'altra.H '^Queste dimostrationi ^nessuna spetie di per eseplo dell'ochio;

These
eye.
ject,

without interfering with each other. demonstrations are to illustrate the No image, even of the smallest obenters the eye without being turned

minimo 20 corpo penetra nell'ochio 2I che non si volti sotto sopra, 22 e nel penetrare
si

upside down;
crystalline

la

24 si rivolta sotto 23 spe ra cristallina ancora 26 2 sopra, e co *si ritorna diritta la spe tie dentro all'ochio co^me era 1'obbietto di

penetrates into the more reversed and thus the image is restored to the same position within the eye as that of the object outside the eye.
it

but as
it

lens

is

once

fori

28

dell'ochio.

W.

L. 145; D.6]

79-

DELLA
2

LINIA CIETRALE DELL'OCHIO.

linia e

OF THE CENTRAL
all

LINE OF THE EYE.

Solametevna
le
3

quella

che penetrano spetie alia virtu visiva che no si.inter4 sega, e questa non a virtu seninfra
sibile

Only one line of the image, of those that reach the visual virtue, has no intersection; and this has

no
it

la

perche e linia matematica Squale a origine dal puto

il

matematico
6

quale non a mezzo.

dimensions because a mathematical line which originates from a mathematical point, which has no dimensions.
sensible
is

Neciessita vole secodo Pav-

versa?rio che la linia cietrale di

tut te
sottili
8

le

spetie che
stretti

etra per

li

According to my adversary, necessity requires that the central line of every image that enters

9e

spiraculi in

loco

oscu I0 ro
insieme

sia

volta
I2

sotto

sopra

by small and narrow openings into a dark chamber shall be turned upside down, together
with
the

"co

tutte le

spetie

de

images
it.

of the bodies

corpi che la

vestano.

that surround

Wind. L. 145; C.J]

8O.

SE LA
PUO
IN SE
2

LINIA CIETRALE DELLE SPETIE SI INTERSEGARE DETRO ALLO SPIRACOLO O NO?

AS TO WHETHER THE CENTRAL LINE OF THE IMAGE CAN BE INTERSECTED, OR NOT, WITHIN THE OPENING.
It
is

3lnposibile e che la linia in se si possa 4 lato destro d'una intersegare cioe che '1 delle sua fronti passi al lato sinistro del lato
sdella frote opposita, e cosi
il

impossible
that
its

that
is,

the
its

line

should

intersect itself; cross ever to

that
side, side.

right should

left

suo lato

si-

side

become

its

right

and so, its left Because such

ferentla.
22.

14.

interseghatione [perche]
23. crisstallina
3.
7.

la 4* di

parte.
.

16.
.

ochupatione.
26.

17.

Quesste dimosstrationi.

20. chorpo.

21. socto.

penetrare [piu].
ecquella infralle.

anchora.
si

24. socto

cho.
4.

cho.
[nasscie
dal]
ellinia

79. 2.
6.

visiva

no
.

intersegha ecquesta.
8.

perche

matematicha.
10.

5.

raatematicho.
lesspetie
. .

sechodo laversa.
12.
2.

chella

di tuc.

lesspetie.

9.

esstretti spirachuli illocho osscu.

so

voliti.

n.
chosi

chorpi chella.
80.
t.

ve stano.
interseghare
.
.

sella

po.

spiracholo ono.

3.

he chella

interseghare.

4.

desstro

sinisstro.

5.

sinisstro.

81.]

LINEAR PERSPECTIVE.

49

nistro passi al lato de 6 stro, perche tale intersegatione richiede due linie per li due det?ti
lati,

stra e sinistra e

no si puo dar moto da deda sini 8 stra a destra in se medesimo, se no v' e spadelli quali

an intersection demands two lines, one from each side; for there can be no motion from right to left or from left to right in itself without such extension and thickness as admit of such motion.

tio di grossezza, il sia ca^pacie di tal

quale

And
it

if

there

is

extension

e se v'e spatio, e linia, azi e superfitie, I0 e noi cierchiamo la natura della linia e no d'essa superfitie, e perche la "linia non avendo mezzo nella sua grossezza essa no si

moto: essa non

no longer a line but a surface, and we are inis

vestigating

the

properties

of a

line,

and not of a
as the line,

surface.

And

pvo diuidere; adunque cocludiamo la linia no potere aver lati inter^segabili infra loro; I4 in a b, e pruovasi nel moto della linia af
della linia e b in e f, le quali so lati della 1 e b\ se tu moverai la linia super 5 fitie la linia l6 ef colle fronti a e al sito c, tu avrai mosso li oppositi ^stremi b 1'uno

I2

ab&

af

Ma

inverso 1'altro al punto d, e avrai di due lil8 nie fatto la linia retta c d, la quale risiede in mezzo al^la intersegatione d'esse due linie nel puto n, sanza alcuna 20 intersegatione, perche se tu immaginerai tali due 2I linie essere corporee, egli e necessario

of thickness cannot be divided, we must conclude that the line can have no sides to intersect each other. This is proved by the movement of the line a to a b and of the line e b to e f, which are the sides of the surface afeb. But if you move the line a b and the line e f, with the frontends a e, to the spot, c, b you will have moved the opposite ends And towards each other at the point d.

having

no

centre

from the two

straight
line

lines c

d which

the

intersection

have drawn the the middle of of these two lines at the

you

will

cuts

mediate

che 1'una copra integralmete 1'altra, essendo equali sanza 23 alcuna intersegatione nel sito c d, e questo basta a pro 2 3vare il nostro proposito.
.il

detto

mo 22 to

For, you point n without any intersection. imagine these two lines as having breadth, it is evident that by this motion the first will entirely without cover the other being equal with it
is

any intersection, in the position c d. And sufficient to prove our proposition.

this

W.

L. 145;

D.]
RAZZI DELLE INNVME RABILI UN SOL PUTO.
2

8l.

COME INNVMERABILI
SPETIE
SI
i

HOW

POSSA RIDURRE IN

THE INNUMERABLE RAYS FROM INNUMERABLE IMAGES CAN CONVERGE TO A POINT.

Just as
all lines

3 Siccome un punto passa tutte le linie sanza occupatione ^Puna dell'altra per essere

interfering

incorporee, cosi possono passarvi s tutte le spetie delle e siccome o 6 gni superfitie,

with each breadth

dato

punto vede ogni antiposto obbietto, e ogni obiet?to vede 1'antiposto punto naturale, ancora per esso punto

at a point without other being without in the or thickness same way all the images of surfaces can meet there; and as each given point faces the object op-

can meet

posite to

it and each object faces an opposite point, the converging rays of the image can pass

possono
spetie,

transire

diminviti

razzi

di

tali

dopo il transito deMe quali si riformeranno, e ricrescerano le quatita di tali

due
12.

through the point and diverge again beyond it to reproduce and re-magnify the real size But their impressions will of that image.

des.

6.

interseghatione

dec.

7.

desstro
13.

essinistro

ssinis.
li.

8.

stro
15.

a desstro
. .

grosseza

qual
arai.

cha.
arai.

9.

esse cie

mezo

grosseza.
.
.

cocludiano.
20.

seghabili infralloro
. .

Massettu
21.

ella lini.
. .

16.

17.

19. lla

interseghatione

alchuna.

interseghatione
. .

settu inmaginerai tale.

chorporee

neciessario che mediate.

22. chellala
81.
i.

copra.
.

23.
2.

Chome

invme.

alchuna interseghatione ecquesto bassta. 24. nosstro. nu sol. 3. sichome ochupatione. 4. chosi possa. 5. essichome
. .

[in ogni]

ho.

6.

obiec.

'j.

an-

81.

On

the original

diagram

at

the beginning

where

in the facsimile I

have marked A, and

"giall<f

of this chapter Leonardo has written "azurro" (blue) VOL. I.

(yellow)

where

stands.

THE THEORY OF THE ART OF PAINTING.

[8

1.

Fig. III.

LINEAR PERSPECTIVE.
le loro inpressioni sara rivere provato "nella pritna di sopra, dove dicie che ogni spetie s'intersega I2 nello introito delli stretti spiraculi fatti

spe

I0

tie;

Ma

scie,

come

in materia di

W.

mini^ma grossezza. ^Leggi a riscotro in margine

every image intersects as it enters the narrow openings made in a very thin substance.

appear reversed above; where it

as
is

is

shown
that

in

the

first,

said

Read

L. 145; D.a]

the marginal text

on the other

side.

'SQuanto

lo

In proportion as the

spiracolo e minore del corpo obroso, tan-

opening

is

to
20

meno

le spe-

tie

penetrate

smaller than the shaded body, so much less will the images transmitted through
this

in esso spiracolo penetrano

opening

intersect

1'una nelP altra.

Li simulacri che passano 2 Sper spiracoli in loco oscuro

intersegano li lor lati tanto piu vicino allo spiraculo quato esso spiracolo fia di minore larghezza; pruovasi, e sia a b il
3

each other. sides of images which pass through openings into a dark room intersect at a point which is

The

as the opening

nearer to the opening in proportion is narrower.

To prove

corpo obroso
il

il

quale,

no

1'onbra,

ma

simulacro della sua oscurita e

figura
lo

manda per
e
il

lo spiraco-

quale e della larghezza d'esso corpo obroso, e li sua la35 ti a b essendo rettilini (com' e provato) e neciessario che s'interseghino infra '1 corpo obroso e lo spiracolo,

ma

tato piv vicino allo

this let a b be an object in light and shade which sends not its shadow but the image of its darkened form through the opening d e which is as wide as this shaded body; and its sides a b, being straight lines (as has been proved) must intersect between the shaded object and the opening; but nearer to the

spiracolo, qvanto esso spiraco-lo e di minor larghezza che il cor-

opening
is

in

proportion as
is

it

po obroso, come

si

dimostra dal

smaller than the As object in shade.

shown,

lato tuo destro e dal lato sinistro nelle due figure a b c

n
is

right hand and your left hand, in the two diagrams

on your

a b

o,

dove essendo

al

d e eguale in larghezza corpo obroso a b, la intersegatione de lati di tale obroso si ferdestro

lo spiracolo

m
e,

o where, the right opening being equal in width

ma in mezzo infra lo spiracolo e '1 corpo onbroso nel punto c, sil che far no puo la figura sinistra per essere lo spiracolo o asminore del corpo obroso n m.
sai.

shaded object a b, the intersection of the sides of the said shaded object occurs half way between the opening and the shaded object at the point c, But this cannot happen in the
to the
left hand figure, the opening o being much smaller than the shaded object

Jpossibile e
55

It is

impossible

che

le spetie
si

that the images

de'corpi
fra
chora
.

pos-

sino vedere inli

corpi e
.

of objects should be seen between the objects and the

tale.
9.

puo.

8. le

ricresscierano.
25.

10.

Malle

chome.

n.

sintersegha.
26.

12. spirachuli.

14.

Legge.
pr"o".

15. los.

16. piracholo.

19. lesspe.
.

21. spiracho.

per isspiracholi illocho osschuro.

32.

interseghano.
34.

27. spirachulo.
.

28. spira-

cholo.
38.

29. larghe

essia.
.

30.

chorpo.

31. osscurita.
.
.

fighura
41.

spiracho.
. .

chorpo

elli.

35.

37. ello. 44. spira-

racholo mattanto
45. desstro
.
.

allos.

39. spiracholo

spiracho.

chome

da.

42. tuo

[sin] desstro.

43. fighure. 51. stra

.
.

cholo.

equale illarghezza.

46. intersegha.

48.

mezo

infrallo spiracholo.

49.

chorpo.

losspiracholo.

1523. These
I

lines stand

between the diagrams

I

24

53.
II.

These

lines stand

between the diagrams

and

III.

and

THE THEORY OF THE ART OF PAINTING.

li

[82.

spiracoli,
li

quali penetrano li simulacri d'essi corpi;

per

e questo si manifesta perche 6 sdoue 1'aria e alluminata, tali simulacri no si gie-

openings through which the images of these bodies are admitted; and this is plain, because where the atmosphere is illuminated these images are not

nerano evideti.
Li simulacri rapene7doppiati per tratio che scanbievolmete e fat1'altro,

formed

visibly.

When
are

the images

la

made double by

mutually crossing each other they

are invariably doubly as dark
in tone.

ta dall'uno nelsenpre radla loro

?5doppia

oscurita; provasi e sia tal

To
let

prove

this

radoppiameto

8o

quale ancora che es/i,

il

be such a doubling which

although it seen within
is

only,

so no ueda se no dentro allo

spatio de' corpi in b i, e no re8 5sta che esso no
sia

the space between the bodies in

this will
"b

and

not

veduto da
e dal

hinder its being seen from

fg
f
9sto

fg
from

m, il quale e conpodelli si-

/ m;

being composed of the

mulacri a b i k,
quali in

images
li

d
95

s'in-

a b i k which run together in

fondano Tun nel1'altro.

e h.

C. A. 123 I; 380*]

82.
2

Speriezia come no movedo la pupilla del suo sito le cose 3 viste da quella paiono moversi 4 fori del suo loco.
5

An

experiment showing that though the

Se riguarderai vna cosa alquato

6

distate
1'ochio,

pupil may not be the objects seen by from their places.

If

moved from its it may appear

position
to

move

da te

la

quale sia piv bassa

I

che

quella ?le tue due popille, e 8 fermo il coll' una delle mani apri e tieni di sopra e coll'altra alzerai 9 in coperchio

e fermerai

you look at an object at some disfrom you and which is below the eye, and fix both your eyes upon it and with one hand firmly hold the upper lid open while
tance

52.

chorpo.

54. he.

55. chelle.

56. chorpi. So.

3.

58. fralli corpi el.

81. sen.
4.

59. spiracholi.

62. ere

chorpi.
94. si.

63. ecquesto.

66. laria al.

72. cffac. 89. t.

76. osschurita.
2.

77. essia.
. .

anchora.

82. o dentro allos.

87. eddal.
.

95.

fondan"o".
7.

chome.

la

poilla

chose.

dacquella pare.

locho.

5.

chosa

datte.

6.

effermerai.

cholluna

tini.

54

97 are written along the

left

side of diagram

I.

83- 84-]

LINEAR PERSPECTIVE.

53

coperchio di sotto, senpre tenedo cosa riguardata, vederai essa cosa "diuidersi in
il

alto

ferme

le luci I0 nella

still with the other you push up the under lid keeping your eyes fixed on the object gazed at you will see that ob-

due e 1'una sta ferma, Paltra si mo I2 ve in cotrario

fai

ject double;

one [image]

fare col dito

;

moto, a quello che ^al coperJ

remaining steady, and the other moving in a contrary direction to the pressure of your finger on the

chio di sotto
'5

Com'e

falsa 1'openione di quegli

che dicono questo accadere perche l6 la lucie escie fori di suo

sito.

lower eyelid. the opinion

How

false

is

of those

who

say that this happens because the pupil of the eye is displaced from its
position.

Come per pra dette cose

1

le
l8 si

sodi-

How
in seeing.

the above

men-

operare '9 sotto, sopra il suo vedere.

popilla
A.

mostra

la

tioned facts prove that the pupil acts upside down

83-

PARIETE DI VETRO.
2

OF THE PLANE OF
is

GLASS.
else

Prospettiva
3

uno

sito dirieto

non e altro che vedere uno vetro piano * e ben'

than seeing nothing Perspective pemonstraa place [or objects] behind a plane of glass, JjrtS^f
quite transparent, on the surface means of a i i .1 L i j j.i- .vertical glass of which the objects behind that plan| These ( 8 3- 8 s)glass are to be drawn. can be traced in pyramids to the
/-

transparete, sulla superfitie del s quale siano segniate tutte le cose che 6 sono da esso vetro
qua?li si possono codurre per piramidi 8 al puto dell'ochio e esse piramidi si
idirieto:
le

"^S^

y^

point in the eye, and these pyra-

mids are intersected on the glass

plane.

^tagliano su detto vetro.

Br.

M. 2200]

84
prospettiva de'pittori in pa ri 3 la cosa di quella gran2

Mai

la

distantia mostrera

Pictorial perspective can never make an the same object at the same distance, look of

dezza ^che

si

mide
8.

fed
14.
. .

mostra all'ochio Svedi la pira6 sua punta tanto essere colla

. .

size as

it

the apex
.

appears to the eye. c of the pyramid

You see d is as
.
.

that
far

choperchio

choll.

9.

perchio.
83. 3.

chome
2.

falso.
4.

15.

choperchio dichano

luce.
.

10.

chosa

chosa.
17.
. .

achadere.
5. sia

16. esscie.
.

u. elluna. 12. chotrario chose. 18. popila. chome

. .

cheffai

chol.

13. co-

mo

!no vetro.

pen transspame

sula.

segnato
3.

chose.

7.

posano chondure
4.

piramide.

8.

piramide.
6.

84. i. prosspettiva.

disstantia mosterra [in

pan

dista].

la [tia la cos]

grandeza.

chessi mosstra alochio.

disstante

82.

14
is

17.

The

subject indicated

by these two

follow

them

in the original

but

it

did not seem to

headings

that fully discussed in the two chapters

me

here. appropriate to include them

54
distante aU'obbietto
7

THE THEORY OF THE ART OF PAINTING.

c d,
fatta

[85. 86.

quanto

simo

punto
c

dimeno

d
in

all'

obbi 8 etto
'

basa
I0

medenon dal punto de'

il

b,

is

from the object c d as the same from the object a b', and yet c
painter's
is

point
d,

f
is

which

is

che a b pictori e minore linie delle spetie concorreti

basa fatta dalle all' occhio e ronI2

the base made by the smaller than a b which

point,

the

base of the

pendo"si

s /-superfitie dell'ochio;
colle
linie
I2

di

questo fara esperienza

e poi colle iando esse
linie del

uisuali

una

pictori 'Uagllinie visuali e essentiali so'Spra medesima pariete, sopra la quale l6 si

filo

de

lines from the objects converging in the eye and refracted at s t, the surface of the eye. This may be proved by experiment, by the lines of vision and then by the lines of the

painter's plumbline

by cutting the

real lines

misuri
A. 10 1]

vn medesimo obbietto.
85.

of vision on one and the same plane and measuring on it one and the same object.

PROSPETTIVA.
2

PERSPECTIVE.

Pariete
si si

vna

linia

perpediculare
al

la

quale
;

figura

dinazi

puto comvne,

vertical plane is a perpendicular line, imagined as in front of the central point

The

doue

cogivgnie il concorso delle piramidi E fa questa pariete col detto puto, 4quello medesimo ofitio, che farebbe un vetro piano per
lo

where the apex of the pyramids converge.

And
this

quale

in

ri-

plane bears the same relation to point as a plane of glass would, through which you might see the various
this

guardado s varie cose su ve le disegniasse;

objects and draw them on it. And

the

sa-

objects

thus

cose disegniate tanto mi 6 nori che 1' engine: quato lo spatio che sta tra '1 uetro e 1'ochio fusse minore ? che quelloche dal vetro alia cosa.

rebbero

le

drawn would be smaller than the originals, in proportion as the distance between the glass and the eye was smaller than that between the glass and the objects.
PERSPECTIVE.

PROSPETTIVA.
9 II

cocorso

delle piramidi

cavsulla

sate

da
I0

corpi

mostreranno

pariete

la uarieta delle

gradezze

distazie della loro

different converging pyramids produced by the objects, will show, on the plane, the various sizes and remoteness of the objects causing

The

cagione.

them.
PERSPECTIVE.
i

PROSPETTIVA.
'JTutti
si

quelli

piani che

loro stremi

cogivgneranno con linie perpediculari ^cavsando angoli retti, E neciessario che, essendo di pan larghezza, che quato piv 'Ss'alzano all'ochio meno si uegga e quato piv lo passa piv si vegga la uera gradezza.
PROSPETTIVA.
piv s'allontana dall'ochio sperico piv ne vedi.
A. 38 a]

All those horizontal planes of which the extremes are met by perpendicular lines forming right angles, if they are of equal width the more they rise to the level of eye the less this is seen, and the more the eye is above them the more will their real width

be seen.
PERSPECTIVE.

^ Quato

il

corpo
86.

farther a spherical body the more you will see of it. eye

The

is

from the

Modd
The angle o f le
'.

senplice

e naturale
2

cioe

come

A
how
12.

cose
ochio.

sanza altro
basa Jemi]. used here as in
8.

mezzo appariscono
.

objects appear to the eye

simple and natural method; showing without any

. .

all'

other medium.
9. fatto
.

tance

(8688)
85.

obbiecto.
i.

eminore.

10. concoreti.

quessto

essperienza.

15. pr"

medesima.
is

pro

is

lines 8, it, id as
this

title,

and

is ait

abbreviation

for Prospemva.
3.

The word
. .

written at full length

. .

at the head of the first chapter on

4.

page
5.
.

(see no. 94).

. .

2.

perpedichulare.

chogivgnie

conchorso
7.

piramideEffa.
9.

cheffarebbe
. .

vetro

per

"lo" quale.
.

chose

disegniassi Essarebouo le chose.

10.

6. fussi.
[tutti
.

quelo
.

chosa.

cho-

chorso

piramide chavsate
13. 16.

chorpi

mosterano
.

sula.

gradeze
14.

chagione.
.

12.
.

quelli

piani situati in varie

alteze e di par.]

chSgivgneranno chollinie
salontana dalochio
. .

perpendichulare.

chavsando

largeza.

15. salza

alochio mesi uega

vega

gradeza.

chorpo spericho.

8;. 88.]

LINEAR PERSPECTIVE.
The
object
that
is

55
nearest to
the

all'ochio

3Quella cosa ch'e piv presso senpre appariscie maggiore che vn altra di pari qualita che sia
distante.

piv
5 1'

differentia quasi 6 all' altro e questo nascie per esser visino a loro, e se li leverai detti spati sulla pariete in o: lo spatio o v apparira nella

no

ochio conoscie

eye always seems larger than another of the same size at greater distance. The eye m, seeing the spaces o v x, hardly

che vede

li

spati

dall'uno

reason of

detects the difference between them, and the this is that it is close to them [6];

but

if

these spaces are mar-

ked on the

parte della pariete o r e cosi lo spatio 8 v x apparira in r q e se tu'mettessi questo in opera in qualche loco che vi si 9potesse andare attorno ti parebbe una cosa discordante per la I0 lo spatio o r e da gra varieta ch'e da r- q\ e questo diriva che 1' ochio e tanto sotto alia pariete "che la pariete li scorta Onde se pure volessi metterlo in opera, I2 ti bisogniere bbe che essa prospettiva si uedesse da uno solo buso il quale fusse J o veramete stessi lontano3nel loco al meno 3 volte la gradezza della cosa che
:

vertical plane n o the space o v will be seen at o r, and in the same way the space v x will appear at r q. And if you carry this out in any place where you can walk round, it will look out of proportion by reason of

the great difference in the

spaces o r and r q. And this proceeds from the eye being so much below [near] the plane that the plane is foreshortened. Hence, if

you wanted
[to

to carry it out, you would have arrange] to see the perspective through a single hole which must be at the point m, or else you must go to a distance of at least 3 times the height of the object you see. The

vedi;

<?-/-per 1'essere sempre equidistante all'ochio a vno modo rendera J 5le cose bene-e atte a essere vedute da loco a loco.
4

la pariete:

plane o p being always equally remote from the eye will reproduce the objects in a satisfactory way, so that they may be seen from place to place.

W.

L. 145. C./5]

87.

Come
4

ogni gra quatita

manda
3

fuor di

How

every

large

mass sends forth

its

se le sua spetie, le quali sono di diminuire in infinito.

in potentia

Le

spetie d' ogni gra quatita essendo diifinito

images, which may diminish through infinity. The images of any large mass being infinitely divisible

uisibili in

son

di s minuitive in ifinito.

may be

infinitely diminished.

A. 9 *j

88.

quelli
le
2

corpi d'equasituati I uarj

Objects of equal
will

size,

gradezza

situated in various places,

lochi fieno veduti

:

per

le piramidi qua'li saranno tanto piv. strette Squato piv Iontana fia la sua ca-

diuerse

be seen by different pyramids which will each

be smaller
as
off.

in

proportion
is

the

object

farther

gione.
86.
i.

chome
aparira

le
.

chose.
quassi
essettu
.

2.
.

mezo apparischano.
diferentia.
6.

3.
.

chosa
*

apparisscie magiore.
.

4.
.

chessia.
7.

5.

lochio
.

"m"
.
.

che

lisspati
.

chonosscie
8.
.

ecquesto
.

nascie
.
.

alloro esseli leuera

.

idetti.

losspatio
. .

aparira nela
.

chosi.

locho.
si]

9. potessi

parebbe

chosa
i

dischordante.
.

10. losspatio
. .

12.

be

essa [dipintura
15.
.

prosspettiva
. .

si

vedessi da

solo

13.

nelocho

il

me

ecquesto gradeza dela.

ettanto.
14.
. .

n.

schorta.

equi"di"stante

alochio.
87.
4.
i.

chose
.

assere
5.

dallocho allocho.
strette luna [chellal.
4. tra

Lesspetie

diuisibile.
.
.

ifinite.

88.

chorpi

gradeza

uarie.

2.

[distantie]
5.

"lochi"
chagione.

piramide.

3.

li

[sienota] sarano

quanto

fia

piv lontano luno chorpo che laltro].

6.

86.

It

is

M. RAVAISSON,

me why quite inconceivable to in a note to his French translation

esl

clair

que

c'est

visino

au

lieu

par erreur que Leonard a tcrit per esser de per non esser visino. (See his

of this simple passage should have remarked: //

printed ed. of

MS.

A. p. 38.)

THE THEORY OF THE ART OF PAINTING.

G. 53*1
Opposite pyramids in
juxtaposition
-

[8992.

8 9Perspective,
in
. .

La nrospectiva adoperait nelle distatie r ir tPna due contrane piramidi, delle quah
,
_i

dealing

with

distances,

i-

a 1'angolo nell'ochio e la basa re 4 mota insino all" orizzote, La secoda s a la basa diuerso 6 1'ochio e 1'angolo all' orizzote; Ma la prima attcde allo ?vniversale, abracciadosi tutte
le

makes use of two opposite pyramids, one of which has its apex in the eye and the
base as distant as the horizon. The other has the base towards the eye and the apex

on

qua

tita

delli

corpi

antiposti

all'ochio,

co 9 me sarebbe vn gra paese veduto per JI 10 nuistretto spiracolo, che tato maggiore mero di cose per tale spiracolo si uede, I2 quato esse cose so piu remote da tal' '3 ochio, e cosi si gienera la basa all'orizzo-

the horizon. Now, the first includes the [visible] universe, embracing all the mass of the objects that lie in front of the eye;
it might be a vast landscape seen through a very small opening; for the more remote

as

the

objects

are from

the

eye,

the greater

M te

'5

La
2a

e 1'agolo nell'ochio, come disopra dissi; 2 a piramide s'astende in un particuil

l6
J

lare,

qual
si

si

dimostra

tanto

minore

number can be seen through the opening, and thus the pyramid is constructed with the base on the horizon and the apex in the eye, as has been said. The second pyramid
extended to a spot which is smaller in proportion as it is farther from the eye; and this second perspective [= pyramid] results
is

7quato piu

18

dall'ochio, e questa prospectiva nascie dalla prima.

remove

from the

first.

G.

gO-

PERSPECTIVA SENPLICE.
On
simple X
2

SIMPLE PERSPECTIVE. Simple perspective is that which is constructed by art on a vertical plane which is equally distant from the eye in every part.
structed

La

seplicie prospettiua e quella che e

p"rspea?ve

sopra sito equalmente dis stante 4 dall' ochio con ogni sua parte, pro6 spettiua conposta e quella che e fatta sopra sito il quale co nessuna sua parte e equalfat^ta

dall' arte

Complex perspective is that which is conon a ground-plan in which none

7mente distante

dall'ochio.

of the parts are equally distant from the eye.

33

91.

PROSPETTIVA.
distance ofobjects from fetta,

PERSPECTIVE.
per>

The proper

n ochio nsguardator di quella no 4 sara equalmete distate ai sua stre^mi.

Nessuna
^se
n
1

superfitie
.

si

dimostrera

/-

if
_

surface can be seen exactly as it is. ,, the eye that sees it is not equally remote
i

No

from

all

its

edges.

Ash.

I.

120]

Q2.

PERCH& LA COSA POSTA VICINA

LASCIA
I

ALL' OCHIO

WHY WHEN AN
THE EYE
ITS

SUA TERMINI

IDISCERNIBILI.

OBJECT IS PLACED CLOSE TO EDGES ARE INDISTINCT.

3 Tutte quelle cose opposte all' ochio che fieno troppo a quello uicine *c6uerra che sua termini sieno cofusi a disciernere, come aca s de delle cose uicine a lume, che fanno obra grade cofusa, e cosi 6 fa quest' ochio col givdicare le cose I fori; I tutti i

When an object opposite the eye is brought too close to it, its edges must become too confused to be distinguished; as
happens with objects close to a light, which cast a large and indistinct shadow, so is it with an eye- which estimates objects opposite to it; in all cases of linear perit
.
.

casi di prospettiva liniale

disstantie.

1'ochio e simile

89.

i.

presspectiva
antiposste
.

2.

piramide.

3.

allangholo

ella.
.

4.
.

orizote

sechota.
12.

5. alia
. .

ellangholo.
13.

6.

Malla.

8.

cho.
15.

10. isstretto

spirachole chettato.
16.

n. chose

spirachol.

chose
18.

dattalo.

chosi.

14. ella-

gholo
90.
2.

chome.

sa^stende nuparticbu.
.

dimosstra.

17. dellochio ecquesta.

4.

presspectiva nasscie.
ecquella chefiacta.

presspectiua

ecquello
ecqual.
scllochio.
3.

effac.

3.

ecqualmente disstante.

chon.

5.

presspectiua chonpossta

6.

quale cho

7.

disstante dell.

91. 2. perfecta.

3.

93. t.

visina al ochio.

chose oposte

tropo

acquello.

4.

chouera

acha.

5.

cheffano

chosi.

6.

q estoch

dal

9395-]
al

LINEAR PERSPECTIVE.
spective, the eye acts in the And the reason is the light.

57

lume, e la ragio si e che 1' ochio fala qua 8 le per distatia linia maestra, igrossa e abbraccia co uera cognitione le cose 9 gradi da lontano come le piccole da presso: ma perche 1' ochio mada moltitudi I0 ne di linie che circudano questa pricipale di mezzo, le quali quando le cose si JI trovano piv lontane dal cietro in essa circulatione sono meno poteti 12 a conosciere il uero: accade che la cosa posta presso all' ochio, no J 3sendo in quella distatia, si uicina alia linia maestra capace di copredere i ter I4 mini d' essa cosa; onde couiene a essi termini capitare in nelle linie di debole I5 co presione, le quali sono al' ufitio dell' ochio come i brachi l6 che leua la preda e no la alle caccie,

same way

as

una

that the eye has one leading line (of vision) which dilates with distance and embraces with true discern-

ment

large

objects at a distance as well as small ones that are close. But since the eye sends out a multi-

tude of lines which surround

one and since these which are farthest from the centre in this cone of lines
this chief central

posso pigliare: cosi queste no possono pigliare ma sono ^cagione che la linia maestra l8 bnde si uolta alle cose leuate da esse linie, le cose, delle quali i termini sono 9givdicati da esse linie, so cofuse.
T

less able to discern with accuracy, follows that an object brought close to the eye is not at a due distance, but is too near for the central line to be able to discern the outlines of the object. So the edges fall within the lines of weaker discerning power, and these are to the function of the eye like dogs in the chase which can put up the game but cannot take it. Thus these cannot take in the objects, but induce the central line of sight to turn upon them when Hence the objects they have put them up. which are seen with these lines of sight have
it

are

confused outlines.

A.

93-

PROSPETTIVA.

PERSPECTIVE.

cosa piccola da presso e la grade da lontano, essendo viste dentro a equali

!

La

angoli

apparirano

d'equale

grandezza.

Small objects close at hand and large The relative of ones at a distance, being seen within equal ^ec ts w? regard to will appear of the same size. angles,
from the eye
(93-98)-

their distance

A. lot]

94.

PROSPETTIVA.

PERSPECTIVE.

Nessuno corpo fia di tata magnitudine che per lunga distantia al1'

There

is

no object so large but that at a great distance from the

eye it does not appear smaller than a smaller object near.

ochio non apparisca 3 minore che '1 minore obietto

piv
vicino.

C. A. la,

i 6]

95-

Infra

che
di

fia

le cose d'equal grandezza quella piu distante dalP ochio si dimostrera

Among
is

objects

most remote from

of equal size that which the eye will look the

minor
givdicare
.

3figura.
*
.

smallest.
abracia cho
.

chasi.
.

7.

1'

ochio essimile
chessi
15.

ella
. .

fa

linia.

8.

chose.

9.

chome

le pichole.
. .

10.

circhu-

dano
14.

meza

qua
.

le

n.

dietro
.

circhulatione.
.

12.

vero
16.

onde achade chella chosa.

13. uisina la

copledere.

cosa couiene

inele.

coplesione

chome

ale chaccie.

posono pigliare
grandeza.

maso.

18. 19.

These two lines are

written lengthways on the margin.

93.
94.
2. i. i.

18. delle.
. .

19. cofusi.
3.

chosa pichola
prosspettiva.
Infralle

ella

dallontano
'
|

aeqali.

angholi aparirano

2.
.
.

distantia

alochio" n5n aparisca.

.

95.

chose

grandeza

chef.

2.

disstante

dimossterra.

the

This axiom, sufficiently clear in itself, is in original illustrated by a very large diagram, constructed like that here reproduced under No. 108.
95.

The same idea

as

is

follows:

Infra

le

i a, stated I repeated in C. A. a; cose d'equal grandeza quella si

dimostra di minor figura che sara piu dislante dall' ochio.

II

VOL.

I.

THE THEORY OF THE ART OF PAINTING.

[96-98.

C. A. 143*; 425*]

Perche
all'ochio
ochiali
2

la

cosa
si

meno

quanto piv s' auisina conosce-, e perche gli

Why
brought

an

object

is

less

distinct

when

presso

e perche 1'ochio o da lontano.

no ben vede da

near to the eye, and why with spectacles, or without the naked eye sees badly
either close or far off [as the case

may

be].

S.

K. M.

II.

633)

97-

PROSPETTIVA.
2

PERSPECTIVE.
d'

Infra

le

cose

equal

Among
size,

objects

of equal

grandezza 3q U ella che sara

piv distante dall'o^chio
si di-

that

which

is

most
will

re-

mote from the eye

the smallest.

look

mostrera

di

minore sfigura.

A.

ii a]

9 8.

PROSPETTIVA.
2

PERSPECTIVE.
fia

Nessuna
che
la

secoda

cosa

tanto
alta.

piv

bassa
di

sopra

la

prima che, stado secoda no li paia piv

No second object can be so much lower than the first as that the eye will not see it higher than the first, if the eye is above the second.
PERSPECTIVE.

PROSPETTIVA.

sE quella cosa secoda no fia mai tato piv alta che la prima che, stado 6 1'ochio di sotto, no paia la secoda sotto
|

And this second object much higher than the first

la prima.

never be so as that the eye, being below them, will not see the second as lower than the first.
will

PROSPETTIVA.
1'ochio riguardera il secodo quaper lo cietro del minore piv uisino ^apparira li il secodo maggiore esser circudato dal minore
8

PERSPECTIVE.
If the eye sees a

Se

second square through

drato

the centre of a smaller one, that is nearer, the second, larger square will appear to be

surrounded by the smaller one.

PERSPECTIVE
PROPOSITION.

PROSPECTIVA
11

PROPOSITIONS.
I2

cose seconde- no fieno gradezza che le prime minori occupino o circudino.

tata

Le

mai di no le

Objects that are farther off can never be

large but that those in front, though smaller, will conceal or surround them.

so

96.

i.

chosa

mesi chonosscie.
.

97. 2. Infralle 98. i.

6.

grandeza.

3.
.

chessara.
.

4.
3.

dimossterra.

pro.

2.

sechoda chosa
7.

chella.
. .

sechoda

paia "di"

[sopra la prima]
.
.

sechoda.

pro.

8.

sechodo

lo

[mezo] "cietro".

9. aparira

"piv alta". 4. pro. sechodo magiore circhudato.

.
.

5.

cqella

chella.

10.

pro.

it.

chose

99-J

LINEAR PERSPECTIVE.

59

DEFINITIONE.

DEFINITION.

Questa propositione si proua per isperiese riguarderai 'Sper uno tia inperoche, l6 che piccolo spiraculo non sara si gra cosa no si vegga *? la cosa veduta per quello
l8 dalli stremi lati parra circudata e terminata e se tu lo stopperai, quello d' esso spiraculo piccolo ^stoppameto fia quello che occupera la ueduta delta cosa grade.
,

This proposition can be proved by exFor if you look through a small periment. hole there is nothing so large that it cannot be seen through it and the object so seen appears surrounded and enclosed by the outline of the sides of the hole. And if

you stop

it up, this small stopping conceal the view of the largest object.

will

Ash.

I.

12 6\

gg.
LINIALE.

DELLA PROSPETTIVA
2

OF LINEAR
nello

PERSPECTIVE.

La

prospectiva

liniale

s'astede

a provare 3 per misura quanto la cosa secoda e minore che la prima; e quato la terza 4 e minore che la seconda, e cosi di grado I grado insino delle cose Syedute: truovo per al fine isperieza che la cosa seconda se sara tato 6 distate dalla prima quato la prima e
ofitio delle linie visuali

Linear Perspective deals with the action Th appa of the lines of sight, in proving by mea- djctt*< a surement how much smaller is a second fin e o^ c than the first, and how much the (99106). object third is smaller than the second; and so on by degrees to the end of things visible. I find by experience that if a second object

distate da-1'ochio tuo, che

,

beche

Tfra loro

che la 2 a fia altret7sieno di pari gradezza tato minore che la prima, e se 8 la terza cosa di pari gradezza alia 2 a e 3 a inanzi a essa fia lontana dalla 2 a 9 quato la 2 a dalla a terza fia di meta gradezza della 2 e cosi
,

as far beyond the first as the first is from the eye, although they are of the same size, the second will seem half the size of the
is

I0 grado in gra do per pari distazia farano sempre diminutione per meta la secoda dalla prima "pure che lo itervallo no passi dentro al numero di 20 braccia e ifra 20

di

third object is of the same and the 3 rd is as far beyond the second as the 2 nd from the first, it will appear of half the size of the second; and so on by degrees, at equal distances, the next farthest will be half the size of the former object. So long as the space does not exceed
first

and

if

the

size as the 2 nd ,

dette braccia la
2

/4

figvra simile a te perdera i di sua gradezza e ifra 40 perdera i 9/ 10 I3 e

i

I2

the length of 20 braccia. But, beyond 20 braccia figures of equal size will lose 2/4 and at 40

60 braccia, e cosi di mano I / 20 I fara sua diminutione, facendo J 4la pa2 volte tua gradezza; riete lotana da te
poi
19

braccia they will lose 9/10, and T 9/20 at 60 bracThis cia, and so on diminishing by degrees.
if the picture plane is distant from you twice your own height. If it is only as far off as your own height, there will be a great difference between the first braccia and the second.
is

mano

che'l fare una sola fa gra e prime braccia alle 2

.

diffe I5 rezia dalle

sechode
16. si

gradeza.

12.

ochupino

o circhudino.

13. difinitione.

15. 17.

pichojo spirachulo

chosa
. .

[chosa di la da esso].
para.
18.

"vegha"
. .

[possa vedere esse stoperai

.
.

detto spircolo

quello].

[stopameto

ti

ochu] ella

spirachulo

essettu
gg. 2. nelo.
ala.
9.

stoperai

picholo.
. .

3.

qua
.
.

la

cosa

ochupera [tutte] la. ecquato. 4. sechoda ecchosi.

19.

5.

chosa sechonda sessara.

7.
.

gradeza chella
la.

esse.
di
.

8.
.

gradeza
gradeza.

dala

gradeza
. .

ecossi.

10. diminvitione
14. parieta
.
.

sechoda.
.

n. 20 br
. .

dette br
.
.

12.

atte

4^

13.

60 br ecossi

diminvitione.

datte

gradeza

fare

sola

dife

15. 2.

gg. This chapter is included in DUFRESNE'S and H. MANZI'S editions of the Treatise on Painting.

ought not

to

regard Leonardo as responsible for

it.

LUDWIG,
time he

in his

commentary,
that
its

calls this

der wichtigsten im ganzen Tractat",

asserts

chapter "fines but at the same

in the case of this chapter, the old MS. is reproduced copies agree with the original as it above. From the chapters given later in this edition,

However,

substance

has

been

so

completely disfigured in the best

M S.

copies that

we

which were written at a subsequent date, it would apon these points. pear that Leonardo corrected himself

6b
A. 84]

THE THEORY OF THE ART OF PAINTING.

100.

[100102.

DELLA DIMINUTIONS DELLE PER VARIE DISTATIE.

2

COSE

OF THE DIMINUTION OF

OBJECTS AT VARIOUS DISTANCES.

La

cosa

che

sia

lontana

clalla

prima dal1'ochio apparira la me 3 ta minore che la prima benche infra loro prima quato
la

A second object as far distant from the first as the first is from
the

eye will appear half the size of the first, though they be of the

sieno di pari grandezza.

same

size really.

DE' GRADI DEL DIMINVIRE.

5

OF THE DEGREES OF
If at

DIMINUTION.

Se

ti

all'

ochio prima cosa che fia lontana dal tuo 6 ochio 4 braccia diminvira- j V 4 della sua altezza in detta pariete; E se fia lotana Mall' ochio 8 braccia, diminvira j ?/8 e se fia lontona 1 6 braccia diminvira j 'S/,6 8 di sua altezza-, e cosi fara-di ma-

porrai la pariete uno braccio la

vicina

you place the vertical plane one braccio from the eye, the
object,

first

being
4

at

a distance
will

of 4 braccia
diminish to

from your eye

of
its

height at that plane; and if it is 8 braccia from the eye, to ?/8 ; and if it is 1 6 braccia off, it will diminish to I5/i6 of its height and so on by degrees,
as the space doubles the diminution
will

no

in

mano raddoppiado
raddoppiera
9 la

il

passato

spatio,

diminvitione.

double.

C. A. 4iai 132*]

IOI.
linia

Comlcia prima dalla

coll'

mf
|

Begin from the

line

mf

with

ochio di sotto

poi alza e colla

il

linia

n -fcoll'

rifa
\

medesimo

ochio di po'fa sopra e riscotra le 3 2 mire atte attera

cicc ]

the eye below; then go up and do the same with the line nf, then with the eye above and

m
c

close to the 2 gauges on the ground look

at
is

e
\ \
!

quato
tra
J

en-

to

n; then as cm n so will

?-W'tantoI

-/#-etra J --jn-s. 4 se a n entra 3 volte J fb p fara quel

|

be to n If a n

s.

into/, m p will do the same into

3 times

goes

m
,

'

/ g
che 5 a n

di poi c d-

ti

medesimo J tira tato J dirieto

p g. Then
that c
will will

d goes

e tato

quanto
c entra 6 j

2 volte jn sara da p g da g h e quato d o p tanto p enentri

,

be equal to g h. And m p into h p as often as d c into o p.

go backwards so far as twice into a n and / g

go

tra
Ash.

h- p12 b\
I

I.

102.

lO DO

GRADI DELLE COSE OPPOSTE ALL' OCHIO Z COME IL MVSICO QUELLI DELLE UOCI OPPOSTE ALL'ORECHIO.

THE DEGREES OF THE OBJECTS SEEN BY THE EYE AS THE MUSICIAN DOES THE NOTES HEARD BY THE EAR.
I GIVE

Pochio

le cose opposte altocchino Puna 1'altra di mano I mano, no *di nieno far6 la mia regola di 20 in 20 braccia
3

Benche
si

eye do, in fact, as they recede,

Although the objects seen by the touch each other

I

will nevertheless

found

my
.

rule

on spaces of 20
5.

100.

x.
.
.

diminvitione

chose.
6.
.

2.
.

chosa
.

2
.

chessia
.

aparira.
7.
.

3.

chella

[che] infralloro
.

grandeza.
8. alteza
.

Setti porai
.
.

i
.

br la
rado-_

chosa
.

cheffia.

4-hr

alteza

Ksseffia.

br

esseffia.

16

br.

e chosi

imano

piado
101. t.

radopiera.
.

chomTcia
dala.
2.

oposte al
il

chol.

2.

chola
3.

fa chol
.

risschotra.
4.

102.

t.

chome

mvsicho

delle.

oposte

tocino.

20 br

affatto

il

mvsicho.

5.

apichata.

6.

quele

echosi.

7.

ale.

ioi.

The

first

three lines are unfortunately very obscure.

103106].
come
a fatto
il

LINEAR PERSPECTIVE.
mvsico
ifra

6l

$\G voci che,

benche

appiccata Tsieme, nodimeno a posti gra 6 di di uocie in uocie domadado quello prima e 2 a 3 a 4 a e 5 a e cosi di grado ?! grado a posto nomi alle varieta d'alzare e bassare la voce.
S.

la sia vnita e

braccia each; as a musician does with notes, though they can be carried on one into the next, he divides into degrees from note to note calling them i st , 2 nd, 3 rd, 4 th, th 5 ; and has affixed a name to each degree in raising or lowering the voice.

which

K. M. IP. 166]

103.

PROSPETTIVA.
P altezza e distantia
la
dell'

PERSPECTIVE.
ochio,
3

a sia

Let

pariete

dell'
*<e

altezza
sia

d'un

omo
dico
s

be the level and distance of the eye; and a the vertical

vn
fia

omo;
sulla
tia al 2

cotale

plane, as high as a man ; let e be a man, then I say

that

pariete la dista-

on

che dalla parie 6 te

be the

the plane this will distance from

homo.

the plane to the 2 nd man.

C. A. 130,5; 398(5]

IO4.
differences in the diminution of obof equal size in consequence of their jects various remoteness from the eye will bear among themselves the same proportions as those of the spaces between the eye and the
different objects.

Li ecciessi della diminutione che fanno

le

The

cose equali per essere co uarie distatie dallo occhio remote; ano infra loro le mede,

sime proportion!

quali son quelle delli spazi

che

infra P ochio e le cose

s'Pterpongono.

Cierca quado vn

omo

diminviscie in

Find out

how much

man

diminishes at a

tata distatia quato 6 e la sua lughezza, e poi in 2 lughezze e poi in 3, e cosl fa ?tua

certain distance and what its length is; then at twice that distance and at 3 times,

and and

regola gienerale.
H. 2
28 6}

so

make your

general rule.

If

L' ochio no
la

puo giudicare
an

The eye cannot judge where

object

doue

cosa alta debe 3di-

high

up

ought

to

sciedere.1

descend.

G. 296]

106.

PROSPETTIVA.
2

PERSPECTIVE.

Infra le

due cose

simili e equali

3poste

If

Puna dopo
si

Paltra con

una data

distantia

placed

two similar and equal objects are one beyond the other at a given
the
difference
in in
their
size
will

loro gradezze,
103.
2.

dimostrera maggiore sdifferetia in nelle 6 quado esse sara piu vicine

lalteza he.
3.

distance

appear

greater

proportion

as

they

are

alteza.

4.

chotale.
2.

104. i. delle diminuitioni cheffanno.

la

infralloro.

3.

spati

che infrallochio

elle.

4.

terpongano.

5.

ciercha

diminviscie.

6.

he

105.

sua lugeza i. po. 3 R.

lugeze.
3.
2.

dissciedere.
Infralle

106.

i.

presspecctiva.

due chose.

3.

posste

chon.

4.

disstantia

dimossterra magiore.

5.

diferetia inelle lor

Qu5.

62

THE THEORY OF THE ART OF PAINTING.

II

[ID/.

alPochio che le ?vede E cosi de coverso 8 si dimostrerk infra loro meno 9 varieta di I0 gradezza quato esse so piu remote dal
predetto ochio. Prouasi mediante le propor1 '

nearer to the eye that sees them.

versely there will
in their size in

And

con-

seem

to

be

less

difference

proportion as they are remote

from the eye.

This is proved by the proportions of their distances

tioni
12

che

anno
perche

infra loro le lor

IJ

among
ves;
first

distantie,

se fra

essi

due
tanta

themselif the of these two

for,

corpi sara distantia F ochio alia quato dalla

'*dal-

prima
first this

objects were as far from the eye, as the 2 nd from the

pri'Sma alia 2 a, questa si dimada 2 a iSproportione, perche se la prima e discoa sta vn braccio dall'oc^chio e la 2 e discosta 2 braccia, il 2 e do l8 pio all'uno e per questo I9 il primo corpo si di mostrera doppio al se tu 2<> rimoverai da te cento braccia la prima e cento uno braccio 2I la secoda, tu trover-

would be called the second propor-

tion: since, if the first is at i braccia from the nd at two braccia, two being eye and the 2

twice as

much

as

2E

one,

the

first

object will

look twice as large as the second. But if 'you place the first at a hundred braccia from you and the second at a hundred and one,

22 rai la prima essere maggiore della secoda 2 quato cen 3to e minore di ceto uno e questa 2 per co versa; *E acora il medesimo si proua a la 4 di questo 25 che dicie delle cose per 26 a equali tal proportione e da gradezza 2 28 a distan?le e da distatia grandezza qua tia 29 delF ochio che le 3 V ede.

you
10 1
;

will find that the first is

larger again,

only so much than the second as 100 is less than and the converse is equally true. And
the

of

this

jects

same thing is proved by the 4 th book which shows that among obthat are equal, there is the same pro-

portion in the diminution of the size as in the increase in the distance from the eye of the
spectator.

E.

107.

Pa
3

1 DELLE COSE EQUALI LA PIU REMOTA

OF EQUAL
The
.
.

PAR MINORE.1I

OBJECTS THE MOST REMOTE LOOK THE SMALLEST.

La

OB

natural 4
5

in

pratica della prospettiva si diuide parti, delle quali la prima figura tut-

\ilj- iog)!

te le cose

vedute

dall'

6
7

distantia e questa in se

cose come F ochio le e obbligato Fomo a stare piu in un sito I0 9 che in la un'altro, pure che il muro non
8

ochio in qualunche mostra tutte esse uede diminuite, e non

practice of perspective may be divided parts [4], of which the first treats of objects seen by the eye at any distance; and it shows all these objects just as the eye sees them diminished, without obliging a man
into
.

to

stand in

so

one place rather than another long as the plane does not produce a

riscorti la
11

Ma la 2 a

secoda volta. pratica e vna mistione

I2

di

pro-

spettiva fattainparte dall' arteein par^te dalla natura, e F opera fatta ^colle sua regole non a

is a combination of perspective derived partly from art and partly from nature and the work done by its rules is in

second foreshortening. But the second practice

6.

chelle.

7.

chosi

seffra.
19.

13. disstantia.
.

mossterra

giore.
107.
i.

23. ceto

si dimosstera infrallorome. n. le pro "ne" che. 12. infralloro . disstantie disscossta 2 br. do. 18. il ppro "ne" perche sella p e disscossta vnbr. 17. ella 21 . troverrai [lultima] "la prima" essere [mij. cento i br Esse 20. "datte" certo br 22. [norej mae cquessta p "no" coversa 24. 4 di quessto. 25. tal pro "ne". 27. disstatia. 28. addisstantia. 29. chelle.

..

coverso
15.

[si

dimo).

8. [stera]

quessta.

16.

chose.
.

chome
cha
. .

3. praticha diminute e ne.

.

presspectiva.
8.

4. in
.

...
.

parte

p fighura
sito.

tuc.

5.

dele chose.
10.

6.
. .

ecquesta

mosstra.

7.

chose

ne obbrighato

asstare
.

piu nun

9. nol.

risscorti
13.

sechoda.

n. Malta

2* prati-

misstione.

12.

presspetdva facta dall

As a marginal

note "in parte".

natura

[e

nonam]

ellopera.

14. reghole.

107.

4. in

... parte.

The space

for the

number

is

left

blank

in the original.

io8.]

LINEAR PERSPECTIVE.
every portion of
it, influenced by natural perspective and artificial perspective. By natural perspective I mean that the plane on which

JS parte al cuna che no sia mista colla prospetl6 naturale e colla prospettiva ^accidentiva l8 colla prospettiva na turale intendo tale I9 na dove tale essere la pariete pia prospet20 tiva e figura ta, la qual pariete ancora ch'e 2I lla sia di lunghezza e altezza paralella, 22 ella e costretta a diminuire le parti ^remote piu che le sua parti prime, e que 2 ^sto di sopra e la sua si prova per la prima diminu 2 5tione e naturale; e la prospettiva accide 26 tale cioe quella ch'e fatta dall'arte
||

this perspective is represented is a flat surface, and this plane, although it is parallel both in

length and height,

forced to diminish in its its nearer ones. And this is proved by the first of what has been said above, and its diminution is natural.
is

remoter parts more than in

But

artificial

perspective, that

is

that

which

is

fa

cotra 2 7rio in se, perche crescie nella 28 li corpi che I pariete scorta ta tanto piu 2 lor sono equali, 9quato 1'ochio e piu naturale e piu vicino al3la pariete e quanto la 3 ' dove si figura e piu parte d'essa pariete, remota dall'ochio;
il

devised by art, does the contrary; for objects equal in size increase on the plane where it is foreshortened in proportion as the eye is more natural and nearer to the plane, and as the part of the plane on which it is figured is farther from the eye.

32

33

e questa tal parietc sia d e nel-

And let this be d e on

3 equal
circles

plane

34 la
35

qual

si

which are seen

figv-

ra 3 circoli equa-

which are
this
is
c.

3 6 li

che son dopo

37esso
3 8 li

beyond

plane

e,

cioe

d
ora

<?,

that

circoli

a b

c;

the circles

39 tu

vedi che Pochisulla

Now
h

a b you see

4o h vede
41
42

that the eye sees on the

vertical plane

pariete retti
linia
li

tagli del-

the sections of
the images, largest of those that are
farthest

43 le 44 ri

spetie maggionelle maggiori

and

45distantie o mi46

smallest of the
nearest.

nori nelle vicine.

E.

I08
seguita quel 2 da piedi dirieto margine,

'

Qui

che

manca
a
e

in

questa

Here follows what is wanting in the margin at the foot on the other side
of
this

faccia.

che natura nella sua procon spectiva 4adopera in contrario ciosiache nelle Smaggiori distan6 si dimo stra tie la cosa veduta
3 II

page. Natural

perspective

acts
at

in

r\

for, greater way; contrary distances the object seen appears smaller, and at a smaller distance

minore e nella distantia minore 7 la cosa par maggiore; Ma questa

15

the

this

ta 8 le
chuna.
.

inuencione
.

costrignie
16. cholle presspettiva.
17.

object appears larger. said invention requires the his eye at a spectator to stand with
19. presspettiva effighura. 20. pariete

But

missta cholla prespec.

21.

cholla presspettiva.
chelle
31. 44.
. .

[in se]

anchora.

alteza.

22.

chostretta

parterte.
30.
43.

23.

parte

ecq.
32.

24.

lap'di

ella

sua

<

26. cheffatta dallaltre.

27. cresscie.

28. illorsono.

ecquanto.

fighura eppiu.
46. nor.
.

ecquesta.

34.

fighv.

35. ro 3 cl

equa.

36.

chesson sop.
2.

38.

li
.

cl a.
.

39. chellochi.
3'.

magio.
4.

magior.

108

mancha.
dimos.
7.

[dir]

dappiedi
8.

acquesta.
.

si

Macquesta.
di sopra

chosstrignie

prosspectiva. ueditore as. 9. chollochio

inchontrario
.

chon

chSnel.

5.

magior distant*
spiracholo

vedita,

piracholo.

10. dattale

24.

la

prima

i.

e.

the

first

of the three diagrams which,

in

the

original

MS., are placed

in

the margin at the beginning

of this

chapter.

64
il

THE THEORY OF THE ART OF PAINTING.

[109.

20 propia forma che sia possibile; E di 2I questa prospettiua senplicie, della quale la pariete taglia le "piramidi portatricie

a vno ueditore a 9 stare coll'ochio e 10 allora da tale spiracolo si dimostrera "bene; Ma perche molti occhi s'ab I2 battono a vedere a un medesimo tenpo vna '^medesima opera fatta con tale arte e so 14 lo vn di quelli vede bene 1'ufitio di tal l6 pro'Sspectiua e li altri tutti resta confu si; Egli e dunque da fuggire tal pro'^spettiva l8 conposta e a tenersi alia se plicie, la qual no uol uedere pariete in i^scorto, ma piu
spiracolo

small hole and then, at that small hole, it will be very plain. But since many (men's) eyes endeavour at the same rime to see one and

same picture produced by this artifice only one can see clearly the effect of this perspective and all the others will see confusion.
the
It is

well therefore to avoid such

complex

perspective

in

simple perspective which does not regard planes as foreshortened, but as much as possible in their proper form. This simple perspective, in which the plane
intersects the

and hold

to

pyramids by which the images

delle spetie all'ochio ^equalmente distanti dalla virtu visiua 24 ci ne da sperietia la

are conveyed to the eye at an equal distance from the eye is our constant experience,

curva lucie del 25 l'ochio sopra la quale tali z6 piramidi si ta gliano equalmete distanti
dalla virtu
2 7

from the curved form of the pupil of the on which the pyramids are intersected at an equal distance from the visual
eye
virtue.

visiua ecc.

Br.

M.

62 a]

109.

DELLA PROSPETTIVA NATURALE MISTA COLL A

PROSPETTIVA ACCIDETALE.

OF A MIXTURE OF NATURAL AND

PERSPECTIVE.

ARTIFICIAL

Questa dimostratione divide la pronaturale dalla accidetale, ^ma spettiva auanti che piu oltre proceda difmirai quale e naturale e quale ac^cidetale; prospettiva naturale dicie cosl If delle cose d' equal

artificial

This diagram distinguishes natural from perspective. But before proceeding

any farther I will define what is natural and what is artificial perspective. Natural perspective says that the more remote of a series of

a distantia Ma la prospettiua acci8 le co se inequali in varie distantie, riservado la minore piu vicina al1'ochio che 9 la maggiore, co tal distantia che essa maggiore si dimostra essere minore di tutte I0 l'altre, e di questo e causa il mvro doue tal dimostratione e figurata, il quale
stantia

5 la piu remota si dimostra magnitudine minore E de converse la piu propinqua si dimostra maggiore, e tal proportione e da diminutione a diminutione qua?le e da di;

objects of equal size will look the smaller, and conversely, the nearer will look the larger and

the apparent size will diminish in proportion to the distance. But in artificial perspective

detale

pone

"a

distantia

inequale

dall'ochio

in

ogni

when objects of unequal size are placed at various distances the smallest is nearer to the eye than the largest and the greatest distance looks as though it were the least of all; and the cause of this is the plane on which the objects are represented; and which is at unequal distances from the eye throughout its length. And this diminution

II. molti [omi] ochi [p]sa.

12.

battano aumedesimo.

13.

chon.

arte esso.

14.

lo

vn diuuegli vede
22.

pres.

15. elli

ressta.
24.

16.

daffuggire

pre.

17.

chonposta e attenersi.
26. distante.

19. chessia.

20. presspectiva.

piramide portatricie.

23. distante.

cieneda sperietia.
presspectiua
.
.

25. tale

piramide.
2.

109.

i.

cholla presspectiva.
.

presspectiva.
. .

3.

proccieda difinira

ennaturale ecquale.
7.

4.

prespectiua.

chosi.
. .

5.

dimosstra
8.

chonverso
. .

dimos.
.
.

6. ettal
9.

diminuitione addiminuitione.
disstantia
. .

disstantia addistantia
. .

cho.

innequali

disstantie

chel.

cho

magiore

dimosstra

di tuc.

10.

Malla presspectiua eddi quessto ecchausa

LINEAR PERSPECTIVE.
parte della sua'lughezza e questa tal
I2

di-

minutione del
spettiua
in

muro

esso

e naturale, ma la profigurata e accide^tale,

of the plane

is
it

natural,
is

but the perspective

since
that
it

shown upon
agrees plane.

artificial

nowhere

with the

true diminution of the said

it

perche
colla

in nessuna parte non si accorda vera diminutione del det^to muro; onde ne resulta che, removendosi alquato 1'ochio d'essa prospetti I5 va risguardatore, ogni cosa figurata apparisce mostruosa, il che no l6 interviene nella prospettiua natuJ rale, la quale e difinita di sopra ecc. ?ad-

Whence

follows,

when

the

unque diremo

il

quadrate

di sopra essere un dall'ochio situate in mezzo della larghezza J che a la sua fronte; Ma 9la prospettiva accidetale mista colla naturale fia trovata 20 nel quadra to detto el main, cioe e h,

ngurato in iscor l8 to, veduto

abed

eye is somewhat removed from the .[station point of the] perspective that it has been gazing at, all the objects represented look monstrous, and this does not occur in natural perspective, which has been defined above. Let us say then, that the square figured above is foreshortened being seen by the eye situated in the centre of the side which is in front. But a mixture of artificial and natural perspective will be seen in this
tretragon
e

abed

called

el

main,

that

is

to

say

fg

il

quale a a parere all'ochio che lo vede

2I

h which must appear to the eye of the spectator to be equal to a b c d so

long as the eye remains in
its

fg

simile

al

a b

cd

state 1'ochio

fermo nel

first

position

22 primo sito infra c d, e questo si dimostrera fare buono effetto: perche la prospettiua
2 naturale del muro fa 3 che tal muro occuldi tal mostruosita. tera il mancameto

between c and d. And this will be seen to have a good effect, because the natural
perspective of the plane will conceal the defects which would [otherwise] seem monstrous.

dimosstratione e fighurata.
nuitione del dec.
interviene
.

n.

disstantia
. .

ecquesta.

12.
15.

diminuitione

malla presspectiua.
.

13.

acchorda cholla

dimi16.

14.

cherremovendosi
.

presspecti.
17.
. .

rissghuardatore
.

chosa fighurata apparisscie mosstruoso.

.

ne

presspectiua
.

eddifinita.

addunque direno
apparere
. .

fighurato

innissco "r".
22.

18.

largheza
. .

froncte.

19. lla

presspectiva
.

missta cholla.
. .

20. decto

chello.

21. ecquesto.

dimossterra

presspectiua.

23. chettal

ochulture

il

manchameto

musstrvosita.

109.

20. el

main

is

quite

legibly written

in

the original;

the

meaning and derivation of the word

are equally doubtful.

VOL.

I.

Six books on Light and Shade.

Linear Perspective cannot be immediately followed by either the "prospettiva de' perdimenti" or the "prospettiva de' color!" or the aerial perspective ; since these branches of the subject presuppose a knowledge of the principles of Light and Shade. No apology, therefore, is here needed for placing these immediately after Linear Perspective.

We have
in

various plans suggested by Leonardo for the arrangement of the mass of

materials treating of this subject.

Among

these

I have given
,

the preference to a scheme

No. ill, because, in all probability we have here a final and definite propounded purpose expressed. Several authors have expressed it as their opinion that the Paris Manuscript C is a complete and finished treatise on Light and Shade. Certainly, the

and Shade form by far the larger portion of this MS. which consists two separate parts; still, the materials are far from being finally arranged. It is of also evident that he here investigates the subject from the point of view of the Physicist rather than from that of the Painter.
Principles of Light

The plan of a scheme of arrangement suggested in No. 1 1 1 and adopted by me has been strictly adhered to for the first four Books. For the three last, however, few materials have come down to us ; and it must be admitted that these three Books would find a far more appropriate place in a work on Physics than in a treatise on Painting. For this reason I have collected in Book V all the chapters on Refiections, and in Book VI I have put together and arranged all the sections of MS. C that belong to the book on Painting, so far as they relate to Light and Shade, while the sections of the same

MS. which
the series

of the "Prospettiva on Light and Shade.

treat

de' perdimenti" have,

of course, been excluded from

GENERAL INTRODUCTION.

Br.

M.

171 a]

110.

Bisognia
2

ti
3

descrivere la teorica e poi

discriuerai

You must
the

first

explain
First

la

pratica;

primo de obra e

then the practice.

lumi de'corpi
parenti.

^densi e poi de'corpi tras-

shadows and lights and then on transparent bodies.

the theory and you must describe on opaque objects,

C. A. 246 a; 733 a]

III.

PROEMIA.
2

INTRODUCTION.
della

[Auedo

io

trattato

natura
trattero

de' obre _ e loro

percussione, Ora

de
3

i quali da esse obre tochi fieno, loro curuita, obbliquita o dirittura o di di

lochi,

[Having already treated of the nature of shadows and the way in which they are cast, I will now consider the places on which they fall; and their curvature, obliquity,
flatness
or,

Scheme
'

of

Light a^d" ^hade.

in

qualunque qualita trovare per me si potra.] iQbra e privatione di luce; spa rendo a me le obre essere di somma neciessita in nella
prospettiva, peroche sanza quelle 6 opachi e cubi male sieno intesi
i

short,

any character

may

be able

to detect in them.]

Shadow is
appear to

the obstruction of light.

to

Shadows

corpi

che detro

a'

sua termini collocato

quello fia, e

be of supreme importance in perspective, because, without them opaque and solid bodies will be ill denned; that which is contained within their outlines and their boundaries themselves will be ill-understood
unless they are
therefore in

me

male i sua cofini itesi fieno se essi no terminano I capo di uario 7 colore da quello
del corpo;

shown
first

of a different tone from

against a background And themselves.

per questo jo propogo nella

my
state

shadow
is

that

prima propositione dell' obre, dico I questa forma come ogni corpo 8 opaco fia circu-

proposition concerning every opaque body

surrounded
in

veloped

and shadow

its

whole surface enAnd on and light.

no.
in.

x.
x.

teoricha.

2.

praticha.
.
.

3.

ellume.
.

4.

tractate delle nature

6.

elloro

perchussione.
.
.

chorpi trapareti. 2. choruita

diritti.
. .

3.

Obra
.

he.
.

5.

ame
[

inella prosspettiva .. chorpi

.

"oppachi e" chubi.

malle esua chofini

chapo.

7.

dacquello

chorpo

allobre

"dicho Iquesta forma" chome

in.

some
scritti

slight
e

This text has already been published with variations in Dozio's pamphlet Degli disegni di Leonardo da Vinci, Milan 1871,
31.

to

him, but from an old copy (MS. .H. 227 in the

Library).
io Jractato.

Ambrosian
2.

Avendo
refers

We

may suppose
MS.,

that

he

pp. 30

Dozio did not transcribe it from the original MS. which seems to have remained unknown

here

to

some

particular

possibly

Paris C.

;o

THE THEORY OF THE ART OF PAINTING.

this

[112.

dato e superfitialmete vestito d'obre e di il primp libro; lumi, e sopra questo edifice a di questo 'esse obre sono in se di Oltre uarie qualita d'oscurita perche da varie

proposition I build up the first Book. Besides this, shadows have in themselves various degrees of darkness, because they are caused by the absence of a variable amount

abbadonate spno, e quatita di razzi luminosi I0

queste

domado obre

originali,

perche sono

i corpi dpue prime obre, che uestono sono, e sopra questo edifichero il appiccate 2 libro; "da queste obre originali ne re-

le

of the luminous rays; and these I call Primary shadows because they are the first, and inseparable from the object to which they belong. And on this I will found my second From these primary shadows there Book.

sultano

razzi obrosi

quali

si

uano

dila-

tando per 1'aria, e sono di tante qualita, quate "sono le uarieta dell'onbre originali, donde essi derivano e per questo io chi-

amo
altre

esse obre obre diriuatiue, perche da obre ^nascono, e sopra di questo

jo faro

il libro; Ancora queste 3 T tanti diriuative nelle loro percussioni fanno vari effetti quato son van i lochi dove

onbre

shaded rays which are diffused atmosphere and these vary in through character according to that of the primary shadows whence they are derived. I shall therefore call these shadows Derived shadows because they are produced by other shadows; and the third Book will treat of these. Again these derived shadows, where they are
result certain

the

E
16

esse percuotono, e qui fard il quarto libro *s percussione della diriuativa perche la obra e senpre circudata da percussione di
.

luminosi razzi

la

quale per reflesso cocorso

risaltando indirieto uerso la sua cagione trova

originate

intercepted by various objects, produce effects as various as the places where they are cast and of this I will treat in the fourth Book. And since all round the derived shadows, where the derived shadows are intercepted, there is always a space where the light falls and by
reflected dispersion
is

e si mischia e si couerte variadola di sua J ?natura alquato e sopra questo edifichero il quito libro Oltr'a di questo faro il sesto libro, nel quale l8 e molte diuersificationi si coterra le uarie delli risultanti razzi reflessi, i quali uarierano

Ton bra

thrown back towards

its

in quella

cause, it meets the original shadow and mingles with it and modifies it somewhat in its

nature; and on this I will compose my fifth Book. Besides this, in the sixth Book I will
investigate

the

many and

various diversities

la originale

di

tanti vari colori

I9 qua to

fie

vari

lochi

ode
20

essi reflessi razzi

deriuano .lancora faro

delle uarie

la

luminosi settima diuisione

of reflections resulting from these rays which will modify the original [shadow] by [imparting] some of the various colours from
different objects whence these reflected Again, the seventh Book rays are derived. will treat of the various distances that may

distantie, che fia infra la percussione del razo reflesso al loco dode nasce; quato fie uarie le similitudini de co2I

the

lori

che esso nella percussione

al

corpo

opaco appicca.

between the spot where the reflected rays fall and that where they originate, and the various shades of colour which they will acquire in falling on opaque bodies.
exist

Ash.

I.

6b]

112.

ITratterai
Different
' P CS PCS and' p?a ns en t f

prima

de'

lumi
2

fatti dalle

First I will treat of light falling

through

finestre ai quali porrai

.

nome

aria costretta

poi tratterai de lumi della capagnia, ai quali

16)

porai nome lume sUbttO-di poi del lume de corpi luminosi.1I

,..,,..
. .

tratterai

windows which I will call Restricted [Light] and then I will treat of light in the open coun"Ill JilVV, MIX, UO.IUV, \J1 UlllU' "J L<J "IV11 try, to which I will give the name of diffuof & e Hght of sed Light Then : win

^^

luminous bodies.

vari [razi] "quatita dirazzi" luminosi [sono] abbacirchudato vesstito edificho. 9. dosschurita chorpo oppacho resulta razi e quali ix. dacqueste libro [dopo questo]. donate "sono" ecqueste. io. vestano i chorpi apichate Ibro Anchora laria [i quali] e. siuano 12. originale essi obre "5bre" diriuatiue. perchussioni. 14. effe 13. naschano
.

effetti

dove

"esse" perchotano
17.

perche [dintorno
.

alia].

15.

perchussione
.

circhudata

perchussione
.

chochorso.
.

16. essimista essi chouerte.

essopra

cholera.
.

18. diuersifichationi
. .

risaltand razi refressi

21.

cholori.

19. refressi

anchora.
1X3.
i.

20. cheffia infralla

2.

perchussione
tratta.

allocho

nasscie

similitudine.

perchussione

chorpo oppacho appicha.

porai.

aia costretta

j. libro

dipo trara.

US
K.3,

16].

ON LIGHT AND SHADE

IN GENERAL.

25,5]

"3-

DE
2

PITTURA.

OF
The
conditions

PAINTING.

Li aspetti dell'onbre e lumi 3coll'ochio sono 3, de quali ^I'uno e quado 1'ochio e 6 '1 lu^me son da un medesimo lato del corpo
8 veduti; 72 e quando 1'ochio e dina ti al1'obietto e '1 lume e do9po esso obbietto; 11 I0 3 e quel che 1'ochio dinati al !' obbietto e '1 lume e da lato I2 i modo che la linia che

of shadow and light [as

seen] by the eye are 3. Of these the first is when the eye and the light are on the same side of the object seen; the 2 nd is when the eye is in front of the object and the light
is

behind
front

in

s'aste^de dall' obbietto all'ochio, e da es^so obbietto al lume, giugne^dosi la cogiutio sara rettagulare.

one drawn from the object to the eye and one from the object to the light should form a right angle where they meet.

The 3 it. is when the eye is of the object and the light is on side, in such a way as that a line

rd

K.3, 26 a]

114.

DE
2

PITTURA.
3

OF
cioe della na-

PAINTING.

Ecci vn altra partitione,

tura dell'ob^bietto riflesso posto isfra 1'ochio

e'l Iu 6

me

per diuersi aspetti.

This is another section: that is, of the nature of a reflection (from) an object placed between the eye and the light under various
aspects.

M. So a]

"5-

DE
2 3
-

PICTURA.

OF
si

PAINTING.
visible

Di

tutte le cose

vedute

a a cosiderare

As

regards

all

objects

things

4 3 cose cioe il sito dell'ochio che vede, e '1 sito della cosa veduta e '1 lume, 5 el sito del 6

lume che allumina

tal

corpo

must be considered. These are the position of the eye which sees: that of the object seen [with regard] to the light, and the po-

(JL

Tb. e

1'

ochio

a e

la

cosa veduta c e

il

sition
ject,

lume;
8

of the light which illuminates the obis the eye, a the object seen, c the

# e 1'ochio b e
il

la cosa che allumina, corpo ch'e alluminato.

light,

is

the eye, b the illuminating body,

c is the illuminated object.

M.

79*1

116.

a
c

sia

il

lume b

1'ochio

Let a be the

light,

b the
'

e la cosa 2 veduta dal1'ochio e dal lume; 3Q U este dan vna volta 1'ochio fra '1

eye, c the object seen eye and in the light.

show,

first,

by the These the eye between

113.

115
i 2.
.

R.

2.
. .

asspetti

ellumi.
13. e

4.
e.

equ"a"do
14.

ellu.

6.

veduto.

7.

ecqu"a"ndo locho.

10.

chellochio.

n.

dallato.

12. chella

chessaste.
3.

da
4.

gugne.
6.

15.

cogutio sare rettagule.

hellochio a ella
c ellume.
8.

114.

6 R.

2.
.

partione.
.

coe.

refresso posto.
3.
[la].

asspetti.
il.

115.

chose
6. ella

siaha chosiderare.

3.

cose coe [lochio]

5.

[che a]

el.

7.

b.

ellochio

cosa [veduta] che alluma.

THE THEORY OF THE ART OF PAINTIM;.

lume
e'l 6a
-

[II7-II9.

e'l

corpo
a
il

Ma

2a

il

lume
s

fra

1'ochio

corpo corpo, 3 e 1'ochio b la cosa alluminata c e il lume.

fra

1'ochio e'l

lume

nd the light light and the body; the 2 , between the eye and the body; the 3 rd the body between the eye and the light, a is the eye, b the

the

illuminated object, c the light.

E. 3*1

"7
OF PAINTING. OF THE THREE KINDS OF LIGHT THAT
INATE OPAQUE BODIES.
ILLUM-

PlCTURA. DELLE 3 SORTE DE' LUMI CHE ALLUMINANO 3 LI CORPI OPACHI.

+ 11

primo de lumi

colli quali

s'alluminano
that

The
inate

first

kind of Light which

may

illum-

Different
*(ii7. us),

cor s pi opachi e detto particulare- e questo e 6 il sole o altro lume di finestra o fuoco:
\\

opaque bodies is called Direct light as of the sun or any other light from a win-

II

?secondo e vniversale come accade ne'tepi nu 8 bolosi o di nebbia e simili; II 3 e copo'sto, cioe quando il sole da sera o da mattina
I0

or flame. The second is Diffused [universal] light, such as we see in cloudy weather or in mist and the like. The 3 rd is Subdued light, that is when the sun is entirely below
the horizon, either in the evening or morning.

dow

e integralmete sotto 1'orizonte.

G.

118.

DE' LUMI.
lumi che alluminano li corpi opachi 4 sorti, cioe vniversale come quello e del' aria ch' e * dentro al nostro orizzonte s quello del sole o d'una particolare com'e finestra o porta o altro spa 6 tio; e'l terzo e il lume riflesso ed ecce ne vn 14, il quale 8 o passa per cose traspareti, come tela
1
2

OF
The
lights

LIGHT.

which may illuminate opaque

sono

di

bodies are of 4 kinds. These are: diffused light as that of the atmosphere, within our horizon. And Direct, as that of the sun, or of a window or door or other opening. The third th is Reflected which light; and there is a 4
that which passes through [semi] transparent bodies, as linen or paper or the like, but not transparent like glass, or crystal, or .other diaphanous bodies, which produce
is

carta o simili,

ma no
effetto

traspareti

come

vetri,

9o
il

cristali o' altri

mede I0 simo

corpi diafani, li quali fan come se nulla fusse

interposto i^fra'l corpo obroso e'l lume che

I2 1'allumina, e di que sti parleremo distintamete nel nostro discorso.

same effect as though nothing intervened between the shaded object and the light that falls upon it; and this we will discuss fully in our discourse.
the

Ash.

I.

119.

CHE COSA E OBRA E

2

LUME.

WHAT
Shadow

LIGHT AND SHADOW ARE.

is

Obra e

priuatio di luce e sola opposi-

Definition of tione de' corpi desi opposti a razzi luminosi : of shadow" obra e di natu^ra delle tenebre: lume e di

(119-122).

natura del i a

uce

p una 4c j e i a e
1

i'

a it ro

diai

mostra

sono sepre

absence of light, merely of the luminous rays by an opaque body. Shadow is of the nature of darkness. Light [on an object] is of the nature of a luminous body; one conceals and
the the obstruction
the other reveals.

copagnia cogivti

corpi, e 1'onbra e di

maggiore potetia che

7. ellochio.

They are always associated and inseparable from all objects. But shadow

116.

i. 2.

c ella.

4.

ilumc frallochio.
3.

117.

oppachi.
.

chorpi oppachi.

4.

cholli

li

chor.

5.

oppachi he detto partichulare ecquesto he.

refresso.

6.

offuocho.

7. sc-

chondo he
118.
3.

achade.
sorte coe
.

8.
.

3" he chopo.
quel.
fussi.
4.

9. dassera.
5.

di [3]

"4"
2.
.

nosstro orizonte.
. .

quel.

6.

7.

trasspareti.

8.

charta

ossitnili

trasspareti.

9. crisstali.

10.

chome

12. parlere

nosstrodisscorso.
. .

119.

eltume.
ellaltro
.

Obra "e
5.

priuatio di luce" e sola opositione

proibissce.
6.

opostia razi.

3.

luna

[e privatione e laltro].

4.

[di

mo]

ciela

magiore.

luce ella luchc

chaciare.

I2O

122.
j

ON LIGHT AND SHADE

is

IN GENERAL.

73

'1

lume Ipero-che quella proibisce e priva iteramete i corpi della luce, e la luce no puo mai cacciare I tutto 7l'6bra de' corpi
6

a more powerful agent than light, for it can impede and entirely deprive bodies of their
light,

cioe corpi desi.

dow from a body,

120.

while light can never entirely expel shathat

is

from an opaque body.

W.

L. 145;
11

Da]

Obra

lume diminuito

positio dell'opacoll. ^Obra e '1 suppliomeHo del razzo luminoso taSgliato dallo opacol. 6 Pruovasi, perche il razzo ^obroso e della medesima 8 figura e quatita

mediante Pop-

Shadow is the diminution of light by the intervention of an opaque body. Shadow is the counterpart of the luminous rays which are cut off by an opaque body.
This is proved because
the

che era 9 il razzo luminoso nel quale 'essa obra si trasmuta.

shadow cast is the same in shape and size

as the luminous rays were which are transformed into a shadow.

121.

W.

232,*]

L' obra e diminutione di lucie e di tenebre ed e interposta infra esse tenebre e lucie; 3 L' onbra e d' infinita oscurita e d' infinita diminutione d'essa oscurita; s Li principi e fini dell' onbra s'astedono infra 6 la lucie e le tenebre ed e d' infinita
2

Shadow is the diminution alike of light and of darkness, and stands between darkness and light.

shadow may be

infinitely dark,

and also

of

dimi?nuitione e d'ifmita aumetatione. L' onbra e pronutiatione de' corpi delle

lor
9

degrees of absence of darkness. The beginnings and ends of shadow lie between the light and darkness and may be infinitely diminished and infinitely increased.
infinite

figure.

Le figure de corpi delle lo TI ro qualita sanza

10

no dara
1'

notitia

onbra.

Shadow is the means by which bodies display their form. The forms of bodies could not be understood in detail but for shadow.

Ash.

I.

122.

DEL'ESSERE DEL' OBRA PER

2

SE.

OF THE NATURE OF SHADOW.

vni-

L' obra

versali

e della natura che tutte sono piv

il

delle cose
3

Shadow partakes of
versal

the nature

of uni-

poteti
;

cipio

e luerso

fine ideboliscono

nel prldico nel

matter.

All

such

matters

are

more

4 d' principio ogni forma e qualita evidete ed inevidete e no delle cose codotte s di piccol pricipio I molto accrescimeto dal tepo,

powerful in their beginning and grow weaker towards the end, I say at the beginning, whatever their form or condition may be and whether visible or invisible. And it is not from
small beginnings that they grow to a great size in time as it might be a great oak which has a feeble beginning from a small acorn. Yet I may
;

come sarebbe una gran

pricipio per

quercia che a debole

azi diro la

una piccola ghiada;

piv potete al nascimeto 8 ch' ella fa della terra, cioe nella maggiore sua
quer?cia

essere

grosseza,

adunque

le

tenebre sono

il

primo

9grado del' onbra e la luce e 1' ultimo: I0 aduque tu pittore farai Po bra piv scura alia sua cagione e il fine fa che appresso si coverta in luce, cioe che paia saza
fine.

is most powerful at its beginwhere it springs from the earth, which is where it is largest (To return:) Darkness, then, is the strongest degree of shadow and light is its least. Therefore, O Painter,

say that the oak

is

ning, that

make your shadow

ject that casts it, ding into light,

darkest close to the obfa-

and make the end of it seeming to have no end.

iao. i. ellume.
lai.
i.
.

2.

oppacho.
. .

3. 2.

Obra

[ellume].

4.

te del.
4.

5.

oppacho.
. .

8.

ecquatita.
5.

diminuitione
nuitione.
. .

eddi.

ellucie.

3. osschurita.
. .

minuitione

osscurita.

effini

sasstedano

infral.

6. el'le

tenebr.

8.

chorpi.
.

10.

chorpi
3.

no dara.
4. 8.

122. 2. dela

chose
7.
. .

chettutte.
. .

Ideboliscano.

ecqualita.
. .

5.

pichol

Imolt

sarebe

gra.
9.

6.

che he debole
10.

per
.

pichola.

cie essere

chela fa dela tera.

magiore

grosseza adunq

le

tenebre

e.

ella luce.

apresso

chagione

coverti.

VOL.

I.

74
C. .4']

THE THEORY OF THE ART OF PAINTING.

3
2

123-125.

or

.he various kin.U

^ Tenebre e pri vatio di luce;

3

of shadows

(123-125).

nu tio di luce: obra primitiva e quella che je appiccata a corpi obrosi 4 obra dinvativa e quella che si spicca da corpi obrosi e scorre
;

.--.

...

obra e dimi-

Darkness
diminution of

is

absence of

light.

Shadow
is

is

light.

Primitive

shadow

that

per 1* aria 5 obra ripercossa e quella che e cir6 cudata da luminata pariete; l'6bra senplice e quella che no uede alcuna parte
;

causa H 7 l'6bra senplice comlcia in nella linia che

del
la
si

lume che

from a body not in Derived shadow is that which is disengaged from a body in shadow and pervades the air. A cast transparent shadow is that which is surrounded by an illuminated A simple shadow is one surface. which receives no light from the luminous body which causes it. A
which
the
is

inseparable

light.

simple
line

shadow

begins within the

parte da' termini de' corpi minosi a b.

lu-

which starts from the of the luminous body a b.

edge

Br.

M.

248

<5|

124.

1
3

Onbra senplice e

quella che

no vede alcu

simple shadow

is
it.

one where no

light

Iumi 2 noso1f

at all interferes with

onbra composta e quella che da vno o

4 piu Iu minosi e alluminata.

A compound shadow is one which is somewhat illuminated by one or more lights.

Ash.

I.

125.

CHE
^

DIFFERETIA

COI CORPI A'

E DA OBRA COGIUTA OBRA SEPARATA?

WHAT
THAT
si

is IS

THE DIFFERENCE BETWEEN A SHADOW INSEPARABLE FROM A BODY AND A

CAST SHADOW?

quella che parte dai corpi alluminati, *come una palla la quale state al lume una parte di se 5 occupata dall' obra, mai si diuide per mvtatio di sito

Obra cogivnta e

mai

sarebbe
sepre a la quale
fatto

da

essa 6 palla; Ombra separata puo essere e non essere creata dal corpo; 7poniamo che essa palla sia distate a uno muro uno braccio e dal'opposita parte sia 8 il lume; il detto lume madera I detto mvro apputo tanta dilatazione di 69bra quat' e quella che si troua sulla parte della palla ch' e volta a detto
lp muro Quella parte dell' obra separata che non appare fia quado il lume "fia di sotto alia palla che la sua obra ne va luerso il cielo e no trovado resi I2 stetia pel cami-

inseparable shadow is that which is never absent from the illuminated body. As, for instance a ball, which so long as it is in the light always has one side in shadow which never leaves it for any movement or change of position in the ball. A separate shadow may be and may not be produced by the body itself. Suppose the ball to be one braccia distant from a wall with a light on the opposite side of it; this light will throw upon the wall exactly as broad a shadow as is to be' seen on the side of the ball that That portion of is turned towards the wall. the cast shadow will not be visible when the
is below the ball and the shadow is thrown up towards the sky and finding no

An

light

no

si

perde.

obstruction on

its

way

is

lost.

II
obra separata e cogiuta
(separate

obra separata inevidete

(separate invisible shadow).

and inseparable shadow).

123.

R.
.

2.
.

obra he diminuitio.
dalluminata.
.

3.

he quella
.

che he appichata achorpi.

7.

4.

he quella

spicha

escore.

5.

ecquella

che he
124.
i.

6. lo
3.

senplice he

chella.
.

inella

chessiparte.

ecquela

alchu.

chonposta ecquella
1
. .

oppiu.
5.

125. 3. ecquella.

4.

chome sarebe
chessi troua.

parte.
.
.

ochopata.
.

6.
.

po

corp"o".

7.

muro

br e

oposita.

8.

detta

aputo data.

9.

ro.

Quela

seperata

apare

ilume.

n.

ala pala.

12.

chamino.

126128.]

ON LIGHT AND SHADE

IN GENERAL.

75

Br.

M.

171 a]

126.

COME SON
i

RAGIONI LUMI 2 L'UNO SEPARATO E L'ALTRO COGIVTO 3Ai CORPI.

DI
2

HOW THERE ARE 2 KINDS OF LIGHT, ONE SEPARABLE FROM, AND THE OTHER INSEPARABLE
FROM
BODIES.
that which falls upon the or th Separate light io " s body. Inseparable light is the side of the body f
is
is illuminated by that light. One is called primary, the other derived. And, in the same way there are two kinds of shadow: One primary and the other derived. The primary

Separate e quello che illumina

6

s il

corpo

cogivnto e quella par te del corpo alluminato da esso Iu7me; 1'uno lume si dimada
8 primi tiuo e Paltro dirivatiuo; 9 e cosi sono di 2 nature obre, I0 l'una primitiva e obra

that

I26

I2 7).

dirivatiua;

"primitiva e quella -ch'e appic-

cata ai

I2

corpi, dirivatiua e quella

^che

si

separa dai corpi, portado

^i se

alle parieti

de'mvri

la

forma 'Sdella sua cagione.

inseparable from the body, which proceeds from the body conveying to the surface of the wall the form of the body causing it.
is
is

that

which
is

the derived

that

Br.

M.

170-5]

127.
2

Come sono 2 different! lumi uno si chianm libero e altro costretto, 3 libero e quello
1' 1'

How

there are 2

different kinds of light;

il

che libero allumina

corpi,

costretto e quello

one being called diffused, the other restricted. The diffused is that which freely illuminates

che per qualche Sspiracolo o finestra

allu-

objects.

The

restricted

is

that

which being
or

mina

medesimamete

corpi.

admitted
illuminates

through

an

opening

window

them on

that side only.

C. A. 114

i/ I}

355 a]

128.
2

Lucie e discacciatore
e

di tenebre,

onbra
is

Light

is

the chaser

away of darkness. Shade

is

General

priuatione di luce, flume primitiuo e 4 il quale e cagione d' alluminaSre i quello 6 e li diriuatiui lumi so quelle corpi obrosi; 7 de' corpi 8 dal primo lume allumiparti I0 nate; sQnbra primitiva e quella parte de' dal lume "veduta esser no puo; corpi che

the obstruction of light. Primary light

that

which

falls on objects and causes light and shade. And derived lights are those portions of a body which are illuminated by the pri-

mary

A primary shadow is that side light. of a body on which the light cannot fall.

126. 2. seperato
12. ecquella.

elalto.

4.

[seperato

ecquello]

seperato ecquello chellumina.

15.
.

5.

ecquella.

8.

ellaltro.

n.

que che apicata.

13. chessi sepera.

14. ale pariete.

chagione.
4.
7.

127. i. difenti.

2.

ciama
3.

libro.

3.

libre ecquello

alumina.

costeto ecquelo.
. .

5.

alumina.
9.

6.

chorpi.
10.

128. i. discaciatore.

ecquello.

4.

chagione.

6.

el diriuatiui.

parte

corpi [alluminate].

hecquella.

chorpi

da-

127. At the spot marked A in the first diagram Leonardo wrote lume costretto (restricted light). At

the spot

on the second diagram he wrote lume

light).

libero (diffused

THE THEORY OF THE ART OF PAINTING.

"Cocorso obroso e luminoso I5 e quella soma de'razzi che da M corpo obroso o lumisi parto'Sno scorrendo per 1'arie sanza J percussione obrosa o luminosa ?e quel l8 il loco che inpediscie e sopra se taglia obrosi e lumi I9 nosi. concorso de'razzi 2l le quell' ochio meglio conosciera

[12 9

noso
l6

*E

figure de' corpi che infra le parti e luminose situato fia.

22

onbrose

of shadow and of the rays thrown off by a shaded or illuminated body passing through the air without any interference and the spot which intercepts and cuts off the distribution of the dark and light rays. And the eye can best distinguish the forms of objects when it is placed between the shaded and the illuminated parts.
general
distribution
light is that

The

sum

total

A.

129.

METIONE DELLE CHOSE LE QUALI 10 DIMANDO CHE MI SIANO COCIEDUTE 2 IN NELLE PROVE DI
QUESTA
MIA
PROSPECTIUA. ^Io dimado che mi sia coceduto lo aflfermareche ciascuno razzo 'passando per aria che sia d' equale sottilita scorrino per retta linia dalla s loro cagione all' obbiecto

MEMORANDUM OF
GRANTED

THINGS

[AS AXIOMS] IN

REQUIRE TO HAVE MY EXPLANATION OF

i

PERSPECTIVE.

o percussione.
lume.
16.

much granted me every ray passing through air of equal density throughout, travels in a straight line from its cause to the object or place it falls upon.
I

ask to have this

that

to

assert

ii.

po.

12.

elluminoso.

13.
. .

ecquella

soma

razi.
18.

14.

olluminoso
. .

si

parta.
20.

15.

scornendo
.
.

sanza percussione.
21.

perchussione.

17.

ecquellocho

inpedisscie essopra.

chonchorso

razi.

ecquellochio

chonossciera.

de-

corpi infralle.
139.
i.

chose

sia

chociedute.

2.
.
.

inellc.

3.

chocieduto lo
. .

aflfermarc |che
5.

razi

visuali

e razi

luminosi]

che ciasscuno

razo".

4.

aria [duna] chessia

soctilita scorino

data.

chagione.

FIRST BOOK ON LIGHT

W.
L.
I 4 6a]

AND SHADE.

130.

ragione perche il lume a I se vn 2 noi conosciamo si e questa; chiaramente vn lume grade avaza 3 re molte volte vna cosa piccola, il quale niete di meno, 4 benche lui co sua razzi la circudi molto piu che mezza, 5 senpre 1'onbra apparisce nella prima pariete e senpre si
solo
cietro

La

The reason by which we know

light

that
is

a On

the na

radiates

from a single centre

this:

We

'^^i

plainly

much broader
nevertheless

see that a large light is often than some small object which

vede;
6 Poniamo che c \f sia il lume grade ?e che n sia la cosa opposta gli che genera 8 1' obra nella pariete, e che a b sia la pariete; 9chiaro apparisce che il gra lume no coducerebbe I0 1'onbra n alia pariete; ma
I
j

and although the rays [of the large light] are much more than twice the extent [of the small body] always has its shadow cast on the nearest surface very visibly.
Let
c

f
it

be a broad
of
it,

light

and n be

the

object in front the plane , and

clear that
is

casting a shadow on It is let a b be the plane. not the broad light that will
it

cast the

shadow n on

perche rimetado, 1'onbra

il

lume a

se "cietro,
si

provo speI2

the light has within

coduce
o
\

alia

come

lo figura \

pariete,

t
\

this experiment. The plane as is shown at m o

the plane, but that a centre is shown by shadow falls on the

t r.

^Perche
14

due o dinazi

ai

dua

occhi,

rappresentatovi 3 cose si fario 2. J5 co Perche liuellado vna dirittura mire la prima apparisce l6 falsa: dico

to two [eyes] or in front of [13] Why two eyes do 3 objects appear as two? Why, when you estimate the direction of an object with two sights the nearer
,

130.

i. 7.

ilume.
e

2.

noi choi chogniossiamo.

|

3.

chosa
9.

mene.
il

4.
.
.

beneche

lui

cho

razi

circhudi

m[eza].

5.

apparissce.

che

sia

la

chosa
13.

gienerare.
ai

aparirebe

chonducerebe.
. .

n.
15.

cietro
. .

12.

chomel fighura.

dueo odinaza

dua.

14. rapresentatovi

chose.

cho

pro sperimetado lonbra schoduce. apparisscie. 16. dicho chellochio

.

130.
it

13.

In the original

and the

text

beginning

at line

MS. no explanatory text 15 comes next.

is

placed after this

title-line;

but a space

is

left for

UK IHKoKN

"1

'I

Hi:

ART OF PAINTING.

:i

3 o.

che 1'ochio portado con seco jfinite linie '^sono appiccate overo vnite co le sopravenienti che si partono dalle cose I8 vedute e solo la linia di mezzo d'essa sesuale e quella che conosce I9 e givdica e colori, tutte 1'altre sono false e j corpi 20 e quado tu porrai 2 cose distant! bugiarde; vno gomito 1'una dall'altra 2I e che la prima
le quali

appears confused. I say that the eye projects an infinite number of lines which mingle or join those reaching it which come to it from And it is only the the object looked at. central and sensible line that can discern and discriminate colours and objects; all the

appresso alPochio, la superfizie della prima "rimarra in alto piv cofusa che la 2 secoda, la ragio si e ^che la prima e vinta da maggior nvmero di linie. false che 2 *la
sia

secoda, pero e piv dubbiosa.

And if you are false and illusory. place 2 objects at half an arm's length apart if the nearer of the two is close to the eye its form will remain far more confused than that of the second; the reason is that the first is overcome by a greater number of false lines than the second and so is rendered vague.
others

sll

lume

fa

negli

effetti

delle

questo medesimo, perche 2<3 sue linie e massime

2 nell'opere di prospettiva e molto simi ?le e '1 suo cietro porta il uero nella alPocchio; 28 dell'onbre e quado la cosa posta ripruova dinazi sara troppo 2 9 presta vita da' razzi gli tristi mostrera obra grade e spropor^zionata e mai terminata; ma quado la cosa che a a giene 3 'rare 1' obra tagliera i razzi del lume e sara apresso alia 3 2 percussione allora 1'ombra s'aviene buona e massime 33 quado il lume sara discosto, perche il razzo del cetro 34 nella lunga distazia a meno co-

Light acts in the same manner, for in its lines (=rays), and particularly in perspective, it much resembles the eye;
the effects of

and

rays are what cast the true the object in front of it is too quickly overcome with dim rays it will cast a broad and disproportionate shadow,
its

central

shadow.

When

defined; but when the object which is to cast the shadow and cuts off the rays near
ill

to

the place

where the shadow

distinct;

falls,

then
in

the

shadow

is

and the more so

pagnia de razzi

falsi

>

perche

le linie del-

6 1'ochio, e solari e altre linie luminose, ^ scorredo per 1'aria couiene a loro osservare retta dirit^tura; se gia no fussino ipedite per 1'aria piv spessa o piv rara ^rimarebbero in alcuna parte torte; ma se 1'aria e net 39 ta

proportion as the light is far off, because at a long distance the central ray is less overcome by false rays; because the lines from the eye and the solar and other luminous
passing through the atmosphere are Unless obliged to travel in straight lines. are deflected by a denser or rarer air, they when they will be bent at some point, but so long as the air is free from grossness or moisture they will preserve their direct course, always carrying the image of the object that intercepts them back to their point of origin.
rays

di grossezze la

di umidita quelle
4

osserueranno

senpre portando I dirieto alia lor derivazio^ne la cagione del lor ropimento, e se sara 1'occhio li sa 42 ra givdicato '1 ronpimeto per colore come per fazione o gradezza; Ma se la pariete di detto ropimeto avra I se alcuno piccolo foro 4l il quale etri in abitazione oscura no per titura ma per priva 4 5zio di lume: vedrai le linie entrare per detto forame li )6 portano nella secoda pariete tutta la forma del lor nascimeto, ^s\ per colore come per fazione;
chonsecho.

loro retta

natura,

And
will

if this is

the eye, the intercepting object

be seen by its colour, as well as by form and size. But if the intercepting plane
in
it

some small perforation opening chamber not darker in colour, but by absence of light you will see the rays enter through this hole and transmitting to the plane beyond all the details of the
has
into a darker
.
.

18. apicchate cho [quelle] "le sopravenienti" chessi partano chose. 18. mezo chogniosscie. 19. givchose disstan vnoghomito. 21. chella chofusa chella sechoda. dichaj chorpc cholori. 20. porai apresso. 22. rmara . razi trissti magior. 24. sechoda. 25. quessto. 26. prosspettiva emolto. 28. chosa posstali. 29. pressa vita 23. chella mostera chosa. 31. razi delume sara. 32. perchussione alora lombra savemebuona. esspropor. 30. ziona e ma terminata
. .

33. disschossto 38. ara

razo

zietro.
. .

34.

lugha disstazia
39.
.

chopagnia
.
.

razi.

36.

schoredo
retta.

chouiene alloro

diri.

37. Ipedita.
. .

rimarebono in alchuna
.
.

sellaria cne.
.

grosseze
|

oseruerranno loro

41.
45.

cholore chome

gradeza.

43.

Massella

ara

alchuno

"picciolo" foro.

44. osschura.

chagione forame "-f.

esse.
li

42. givdichato

-\-" porta.

46. donella

FIRST

BOOK ON LIGHT AND SHADE.

79

* & Ma ogni cosa sara sotto sopra; quado sara tato dal forame al' ultima percussione delle 49 linie, quato e da lor nascimeto, sara la percussione per grandezza a sri-

Ma
e'

object they proceed from both as to colour and

form; only every thing will be upside down. But the size [of the image] where the lines are reconstructed will be in proportion
to the relative distance of the aperture from the plane on which the
lines
fall

nascimeto delle
e
53 nerare

linie, Itersegarsi 2 piramidi 54colle gie 55 e le basi opposite; pute Isieme s 6 sia b il nascimento delle linie, s 7 sia d e la prima pariete sia c
;

52

[on one hand] and from

their origin [on the other]. There they intersect and form 2 pyramids

s 8 il

forame dov'e

la intersegazione

59

delle linie; sia 6o troverai riete :

riete

-f-g- 1' ultima pa'1 a nelP ultima pa-

a percussione 6l rimanere di sotto nel 2 risalire di sopra luogo del g e '1 b di sotto
63

with their point meeting [a common apex] and their bases opposite. Let a b be the point of origin of the lines, d e the first plane, and c the aperture with the intersection of the lines \fg is the inner plane.

nel luogo del/";

rira ali

chiaro appa-

You

will find that

falls

upon

sperimetatori che ogni 64 corpo luminoso a per se una virtu recodita che e tie65 tro, dal quale e al quale

the inner plane below at g, and b which is below will go up to the spot/; it will be quite evident to experimenters that every luminous body has in itself a core or centre, from which and

capitano tutte le linie gienerate dalla luminosa super6 ficie e di li 7ritornano o risaltano J fuori, esse non ano

66

ipedimento

68

si

spargeranno per

1'aria.

which all the lines radiate which are sent forth by the surface of the luminous body and reflected back to it; or which, having been thrown out and not intercepted, are dispersed in the air.
to
131.

C. 8 a]

IRAZZI ONBROSI ELUMINOSI-SONO-DI MAGGIOREPOTENTIA E VALITUDINE NELLE PUNTE LORO

CHE NE'LATI.

THE RAYS WHETHER SHADED OR LUMINOUS HAVE GREATER STRENGTH AND EFFECT AT THEIR POINTS THAN AT THEIR SIDES.
Although the points of luminous pyramids may extend into shaded places and those of pyramids of shadow into illuminated places, and though among the luminous pyramids one may start from a broader base than
another; nevertheless, if by reason of their various length these luminous pyramids acquire angles
will

Benche le punte delle luminose piramidi s'astedino in obro sisiti e quelle delle 3 piramidi obrose discorrino I luminosi lochi, e che infra le luminose 4 egli nasca da maggiore basa 1'una che 1'altra, no di
di uarie esse luminose pislunghezze ramidi pervengono a equale 6 grossezze d'agoli saran no di pari lume infra loro e il simile farano le piramidi obrose, come

meno, se per cagio

of equal size their light

^ si dimostra nelle tagliate pirache midi a- b- c e cosi d e

be equal; and the case will be the same with the pyramids of shadow; as may be
seen in the intersected pyramids

benche

elle

gradezze di mili di gradezza e

sechoda
deza.
. .

nascano 8 da uarie base pur son sidi

47.

a b

and d

e /,

which though
in
size

their bases

differ

are

lume.
cholore
51.
-Jli

equal as to breadth and

chome
-{-.
. .

light.

nasscimeto.

chosa.

48.

Mquada

perchussione.
54.

49.

nasscimeto

perchusione per ghan58.

50.

a rianassimeto.
60.

52. Itersegharsi.

53. piramida.

chole.

55. elle base.

56. nassimeto.

dove

laterseghazione.
eccietro.
I.

perchussione.
67. esse

61.

luogho.
Ipe.

62.

luogho.

63.

aparira alissperimetatori.
laria.
3.

64.

chorpo

ape serecodita

65. chapitano.
.

nonano
2.
.

68.
. .

sesspargha per
piramide
.
.

i.

razi

elluminosi
. .

magiore.
.

benchelle
.

ecquelle.
.

piramide
.

dischorrino

infral[loro]eluminose.
ellsimile
. .

4.

enascha
.
.

piramide

6. infralloro chellaltra piramide peruegino grosseze. chagio. magiore 5. lungeze simile benchelle nasscino. 9. di uarie chome. 7. piramide echosi gradeza.
.
.

51

55.

This supplementary paragraph

is

indicated as being a continuation of line 45, by two small crosses.

8o

THE THEORY OF THE ART OF PAINTING.

[132-135.

Ash.

I.

J 32-

Th

e nce b e-~ tween light U e

.

^e
come
i

differetia
lustri

e da lumi
in nel

lustri

Of
and

the difference between light

is

and

lustre;

^no sono

nvmero de

*i"1- r5)

coMori ed e saziare di bianco s e nascie ne'stremi de 6 bagniati corpi; II lume e 7 del colore della cosa doue 8 nascie come oro o arieto o 9 simile cosa.

not included among colours, but is saturation of whiteness, and derived from the surface of wet bodies; light partakes of the colour of the object which reflects it
that lustre
(to the eye)

as gold or silver or the like.

Ash.

I.

3*1

133-

DE'COLMI DE LUMI CHE si VOLTANO E TRASMUTANO 2 SECONDO CHE SI TRASMUTA L' OCHIO VEDITORE D'ESSO CORPO.

OF THE HIGHEST LIGHTS WHICH TURN AND MOVE AS THE EYE MOVES WHICH SEES THE
OBJECT.

corpo detto sia questo todo qui d'acato figurato, e che il lume sia il puto a e che la parte del corpo alluminata sia b c, e che 1'ochio 5 sia nel puto d\ dico che '1
'1

Poniamo che

Suppose the body to be the round object figured here and let the light be at the point a, and let the illuminated side of the object be b c and the eye at
I say that, as lustre is every where and complete in each part, if you stand at the point d the lustre will appear at c, and in proportion d as the eye moves from d to a, the lustre

the point d\

lustro

perche

e tutto

tutto nella parte d, che il lustro parra nel puto c tato quato 1'ochio si tras?mvtera

per tutto e che stado nel puto

e

da

all'

a tanto
;/.

il

lustro

si

trasmutera

will

move from

c to n.

da

c a

134-

DE
2

PICTURA.
il

OF
lustro di

PAINTING.
light

lumi de' lumi cioe

3

Heigh
is

or

lustre

on

any

qualuque

cosa non sara situate

,

nel

mezzo
fara
1'

della

taste
ri

parte alluminata azi mutazioni quate fara

di quello.

not situated [necessarily] in object the middle of an illuminated object,

but

ochio

guardatore

moves as and moves in looking at

where
it.

the

eye

E.

135-

DEL LUME
2

E LUSTRO.
3

OF LIGHT AND
che
the

LUSTRE.

Che

differetia

e dal lume al lustro

delli

What

is

si

dimostra nella superfitie Uersa

si

corpi

lustre

the difference between light and which is seen on the polished

opachi? s Li lumi che

6

gienerano nelle super-

terse delli corpi opachi sa?ranno inmobili ne' corpi inmo 8 bili, acora che 1'ochio
fitie

surface of opaque bodies? The lights which are produced from the polished surface of opaque bodies will be stationary on stationary objects even if the
lights will,

d'essi vedito^re si
I0

mvova;

Ma

li

lustri sa-

ran sopra li medesimi corpi in tati JI lochi della sua superfitie quati sono I2 li siti dove
1'ochio
si

eye on which they strike moves. But reflected on those same objects, appear in

as

many

different

move.
echorae
inel

different positions are taken

places on the surface as by the eye.

133. 2.
9.

lusstri

ilusstri.

3.

decho.

4.

saziaredi doubtful.

6.

chorpi Elume.

7.

cholore dela chosa.

8.

chome.

chosa.
chessi
. .

133.

i.

trassmutano.
. .

2.

sechondo chessi trassmuta.

7.

3.

dachato.

4.

chella

chorpo

chellochio.

5.

dicho.

6.

che-

lustro para
134.
2.

ettato

sistra.

trassmutera.

lusstro.

3.
2.

chosa

mczo.
. .

5.

quato.
3.

,35. i. ellustro.
5. chessi. 6.

differetia

Ittstro so.
7.

|p]

che

si

dimosstra nella superfitie

9. Mallilusstri.

(del).

4.

[li \\\\

cho] terse

chorppi oppachi.
13. chorpi.

chorpi oppachi.

chorpi.

8.

achora chellochio.

10. chorpi.

12.

dove Ihio

si

move.

136.

37-]

FIRST

BOOK ON LIGHT AND SHADE.

8l

QUALI CORPI SON QUEL^LI CHE HANNO LUME

SAZA LUSTRO?
15 Li corpi opachi che avra superfitie densa l6 e aspra no gienerano mai lustro J 7in alcuno loco della sua parte al l8 luminata.

WHAT

BODIES

HAVE LIGHT UPON THEM WITHOUT LUSTRE?

Opaque bodies which have a hard and rough surface never display any lustre in any portion of the side on which the light falls.

20 CHE AVRA LUSTRO QUALI CORPI so QUELGLI E NO PAR 2I TE LUMINOSA?

WHAT

WHICH WILL DISPLAY LUSTRE BUT NOT LOOK ILLUMINATED?

BODIES

Li corpi opachi densi con desa 2 3 superfitie son quelgli che anno tutto il lustro
in 24 tanti lochi della
25

22

Those bodies which are opaque and hard with a hard surface reflect light [lustre] from
in

parte alluminata quati

26

sono

li

siti

che possino ricievere I'ango

lo

della incidentia del

2 7

lume e

dell'ochio;
le

ma
cose

perche tale superfitie spechia tutte

28

cir

custati

la

alluminata no

si

cono 2 9scie

in tal parte del

corpo alluminato.

every spot on the illuminated side which is a position to receive light at the same angle of incidence as they occupy with regard to the eye; but, as the surface mirrors all the surrounding objects, the illuminated [body] is not recognisable in these portions of the illuminated body.

Br.

M.

1710:]
J

136-

2 Ogni /2 d'obra e lume cogiu to a' 3 mezzo del suo corpi obrosi si dirizza al lume primitiuo. 4 Ogni lume e obre si ritrae 5 a linie pirimidali; 6 e neciessario che il mezzo 7di ciascuna obra ris8 guardi il mezzo del suo lume per linia retta che passi il cietro I0 d'esso corpo; IJ il mezo del lume sara a, I2 dell' obra

The middle of
on an object
posite
to

the

in light

light and shade The and shade is op1[/

reia[

the

middle

of

J""

the

primary
expresses

All light and shadow light. itself in pyramidal lines. The

the
sarily

illuminated bodies.

middle of

shadow on any object must neces-

fia

d,

[ancora
J

corpi obrosi

circuscritti

convie

4da obre e lume che '1 mez'Szo di ciasal cietro d'esso e sia linia retta dal-

cuno
corpo
1'uno
J

si dirizzi l6

all'altro
al

mezzo passa-

be opposite the middle of its light, with a direct line passing through the centre of the body. The middle of the light will be at a, that of the shadow at b. [Again, in bodies shown in light and shade the middle of each must coincide with the centre of the
body, and a straight line will pass through both and through that centre.]

7do

cietro].

w.

i.

1372

PRUOVA COME OGNI

3 4

PARTE DI LUME FA UNO

PUTO.

SHOWS HOW LIGHT FROM ANY SIDE CONVERGES TO ONE POINT.

Although the balls a b c are lighted Experiments from one window, nevertheless, if you follow ion of light and shado<w the lines of their shadows you will see they within a room intersect at a point forming the angle n. (137140).
16.

Benche
finestra

vna

se seguiterai ?le 8 a quelle fare iterlinie delle sue obre vedrai 9 segatione e puto nel angolo n
14.

le palle niete di

abi lume

da

meno

chea lume saza

luminoso.
chusstate
2.

lusstro.

15.

chorpi "oppachi" che ara.

23.

easspra no
24.

lusstro.

17.
25.

alchuna [po] locho.

cheppossino
.

20. ara lusstro. 27.

21. 28.

22.
[la

chorpi oppachi [chonass] chon. no si chon. allume] lo

.

cheantutto.

quato.

langho.

chose.

136. i. ellume.

accorpi

diriza.

3.

mezo.

4.

lumeme.
. .

5.

allinie piramidale.

6.

mezo.

7.

mezo.

13. circhuscritti.

14. obrel-

lume convie chouie chel me.

137.
i.

15. dirizi.
6.

16. essia

dalluno alaltro mezo.

7.

chome.

2.

fa

i.

3.

benchelle balle.

seghuiterai.

obr"e".

8.

acquele

Iterseghatione.

136.

In the original MS., at the spot marked a

first

137.

of the

diagram Leonardo wrote

primitiuo,

and

slightly

The diagram belonging to this passage is sketched on PL XXXII a square with three
;

at the spot

marked

-primiliva (primary); at the spot dirivatiuo

balls

below

it.

The
are

first

three

lines

of the text

marked
VOL.

he wrote

and

at

deriuatiua

belonging to

it

written
it.

above the sketch and

(derived).
I.

the six others below

82

THE THEORY OF THE ART OF PAINTING.

[138.

Ash.

I.

io6\

138.

linia del

Ogni obra fatta da'corpi si dirizza colla mezzo 2 a vn solo 3punto fatto per itersegatione di linie luminose in nel mezzo

a body has a a single point produced by the intersection of luminous lines

Every

shadow

cast

by

central

line

directed to

dello spatio e grossezza della finestra s la ragione promessa di sopra chiaramete appare 6 per isperieza, Iperoche se figurerai vno sito colla finestra a tramotana la quale sia s
;

in the

middle of the opening and thickness of

the window.
plainly seen

The proposition

stated above,
if

is

orizzote di levate produrre vna 8 linia che toccado li 2 agoli de! la finestra o in d- e 1' orizzote di ponete capitera produrra la sua 9 linia toccando li altri 2 agoli della finestra r s e finira in c e questa
^

vederai

all'

you draw a place with a window looking northwards, and let this be s f, you will see a line starting
from the horizon
to the east, which, touching

by experiment. Thus

intersegatione viene apputo nel mezzo dello spatio e della grossezza della "finestra;

I0

acora ti cofermerai meglio questa ragione a porre due basto I2 ni come nel loco di g h Xvi vederai la linia fatta dal mezzo del' obra 3 reale dirizzarsi al cietro e col-

1'

orizzote

-f.

window of, reaches d; on the west another line, touching the other 2 angles r s, and ending at c; and their intersection falls exactly in the middle of the opening and thickness of the window. Again, you can still better confirm this proof by placing two sticks, as shown at g h\ and you will see the line drawn from the centre of the shadow directed to the centre m and prolonged to the horizon n f.
the 2 angles of the and from the horizon
6.

138.

i..

diriza
i.

mezo.
.
.

4.

inel

mezo
9.

grosseza.
li

5.

apare.
. .

figurerai
.

cola.
10.

7.

alorizote
.
.

produre
it.

tochado
.

de.
. .

8.

d.

ellorizote
12.

produra.
linia [del

tochando
fatta
. .

atri 2

effinira

ecquesta.
.

mezo

grosseza.

achora

meglo

apore.

locho

me]

mezo.

13. dirizarsi

lorizote.

138.

here stands for cerchio derorizonte tramon-

horizon towards the North);

for levante (East)

and

tane

on the original

diagram

(the

circle

of the

for ponete (West).

139-

I40-J

FIRST

BOOK ON LIGHT AND SHADE.

Ash.

I.

20 a]

139-

Ogni obra co tutte sue varieta che per distatia cresce 2 per larghezza piv che la sua-cagione, le sue linee esteriori 3 si cogivngono insieme ifra
il

Every shadow with which becomes larger as

the

all
its its

its

variations,

distance

from

object

is

greater,

has

external lines

lume e '1 corpo obroso. Questa propositione chiaramete appare e si coferma s dalla esperie*

intersecting in the middle, between -the light and the

za,
fia

Jperoche

se

a>b-

una finestra saza alcuna tramezzatura, 6 l'aria luminosa che sta da destra in a e vista, da
sinistra

This proposition very evident and is confirmed by experience. For, if a b is a window without any object interobject.
is

posed, the luminous

at-

mosphere hand at a
left

to
is

right seen to the

the

\n-d-. e

I'a^ria

at

d.

And

the

at-

che sta da

sinistra allu-

mina da destra nel punto c e dette linie s' inter8 secano nel puto m.

mosphere at the left illuminates on the right at c, and the lines intersect at
the point m.

Ash.

I.

20 a]

I4O.

ramidi
si

Ogni corpo obroso si truova ifra 2 pi2 vna scura e Paltra luminosa, I'una uede e 1' altra no, 3 e questo solo accade

Every body in light and shade is situated between 2 pyramids one dark and the other luminous, one is visible the other is not.

quado il lume etra per una finestra; fa coto che a b sia la finestra e che r sia il s corpo obroso il lume destro z passa il in corpo da lato sinistro del corpo obroso 6 sinistro k passa a il lume e va in p g detto corpo nel lato destro in i e va
-,
-

But

this only happens when the light enters a window. Supposing a b to be the window by and r the body in light and shade, the light to the right hand z will pass the object to the left and go on to /; the light to the left at k will pass to the right of the object at / and

139. i.
. .

cho

chresscie.
5.

2.

largeza
i

chella.
.

3.

cogivngano
6.
. .

chorpo.
ella.
3.

4.

Questa [cosa chiaramente] propositione

apare

essi.

dala
2.

fia

finestra

tramezatura.

in

140.

i.

piramide.

uno scuro e

laltro

luminoso luno

ellaltro.

ecquesto

achade

Hume

per

finestra.

4.

chorpo

139.

here stands for leuante

(East),

B for ponente

(West).

84
in

THE THEORY OF THE ART OF PAINTING.

[I4II44.

e queste 2 linie s' Iter^segano i-cfano piramide dipoi a b tocca il corpo 8 fa sua obroso in * piramide in /; mai egli puo vei-g-f fia oscuro perche dere il lume a b\ v-i-g-c- sepre fia luminoso perche egli uede il lume. e
li

go on to m and the two lines will intersect at c and form a pyramid. Then again a b falls on the shaded body at i g and forms a
pyramid fig, f will be dark because the light a b can never fall there; i g c will be illuminated because the light falls upon it.

C. 10

141.

Tutti
Light and

che

la

popilla
e'
1

corpi obrosi di maggior gradezza i quali s' interporranno infra

the

rcgar7o

thc posiiion of the eye

l'occhio

corpo

luminoso

si

dimo'stre-

Every shaded body that is larger than pupil and that interposes between the luminous body and the eye will be seen dark.

ran no
3

d'

oscura

qualita.
'

(141145)-

E
i

L' ochio posto infra 1 corpo luminoso corpi da esso lume alluminati vedra detti corpi saza alcun obra.
i

When the eye is placed between the luminous body and the objects illuminated by it, these objects will be seen without any shadow.

Ash.

I.

I2a]

142.
i

Come
2

2 lumi che mettino in

lati

mezzo

Why

the 2 lights one

it

on each

side of a

piramidato di basse 3piramidi lo lasciano saza obra.

vno corpo da 2

body having two pyramidal

apex leave

sides of an obtuse

devoid of shadow.

Br.

M.

171 a]
2 corpo obroso situate inlume e 1' ochio no mo-

143-

H
fra
il

A
-n

body

in

between the

shadow light and

its

situated

the

eye

3strera

se parte lumi1' ochio no uede tutto no*sa se

di
il

mai

can never display

illuminated

lume

originate.

portion unless the eye can see the whole of the primary light.

Tr. 20]

144.

L' ochio
1'

onbra e

che si trovera in mezzo fra lumi circuda 2 tori delli obrosi

The eye which looks (at a way between the shadow and the

spot)
light

half

which

[luminoso]
cheli uede.
141.
i.

obroso ilume.

5;

pasa

ecque

2.

7.

piramida

effa.

8.

piramida

oschuro

mailipo

ilume.

9.

per-

Tucti

chorpi "5brosi" di magior gradeza chella

3.

quali

[saranno situati]
. .

"sTnterporanno" infrallocchio

el

chorpo.

2.

steranno dosschura.

chorpo
2.

chorpi
3.

vedera

chorpi

sanzalchun.

142. i.

comeme
.

imezo.
stera.
. .

chorpo.

piramide.

143. 2. infralume.

3.

5.

lume

[primiti] originate.
2.

144. i. chessi

mezo

ellumi circhuda.

chorpi

vedera

chorpi

magiore.

3.

sieno

rischotarsi

chosecho.

141.

The diagram which

line
I

in the original stands

II,

142.

The sketch

illustrating this is

on Plate XLI

given on Plate after a blank space of about eight

above

is

No

2.

Then,
is

No

i.

lines,

the diagram

143.
144.
(light)

stands for corpo (body),

B for lume (light).

A
stands for lume

Plate II

No

is
it

placed in the original. There

no
it.

In both these diagrams

for

explanation of

beyond the one

line written

under

ombra (shadow).

145-

FIRST BOOK
vedra
in

ON LIGHT AND SHADE.

surrounds the body in shadow will see that the deepest shadows on that body will meet

corpi
3

che

esse

in essi corpi le maggiori obre sieno a riscotrarsi co seco

infra

equali agoli ^cioe della incidetia vi-

suale.

the eye at equal angles, that angle as that of sight.

is

at the

same

Ash.

I.

170]
2

DELLA DISCRETIONS DEL'ONBRE

DELLE COSE POSTE
3
I

DE'

SITI

OF THE DIFFERENT LIGHT AND SHADE IN VARIOUS

ASPECTS AND OF OBJECTS PLACED IN THEM.
If the sun is in the East- and you look towards the West you will see every thing in full light and totally without shadow because you see them from the same side and if you look towards the as the sun: South or North you will see all objects in light and shade> because you see both the side towards the sun and the side away from it; and if you look towards the coming of the sun all objects will show you their shaded side, because on that side the sun cannot fall upon them.

QUELLI.

Se

il

sole

fia

neP oriete e guarderai

occidete vedrai 4 tutte le cose luminate essere iteramete private d'obra perche vedi cio che vede 1 sole, e se riguarsdi a mezzodl e tramotana vedrai tutt'i corpi essere circudati da 6 6bra-e lume perche vedi quello che no vede e vede il sole e se riguarderai Tverso il camino del sole, tutti i\ corpi ti mostreranno la loro luerso

parte avbrata, perche quella parte essere veduta dal sole.

no puo

Tr. 29]

146.

1 J labri della finestra che sieno allumida 2 vari lumi 2 d' equale chiarezza no metteranno lume
nati

The
minated

detro

all'

abitatione

d'

of a window which are illu- The law of 6" lights of equal degrees of^tf^ brightness will not reof flect light equal
brightness into the cham-

equale qualita. 1 4 Se b fia vna cadela e a c sia il nostro 5 l'uno e emisperio 1' altro allumina i labri
;

ber within.
If b
is

a candle and

a c both

our

hemisphere

will illuminate the

della

finestra
Iu 6

m
g
d-

n
allu-

ma

il

me

b non

edges of the window m n, but light b will only

illuminate

mina se no '/ emisperio a

nera 7insino in

e lo
e.

fg

and the
will light

-allumi-

hemisphere a all of d e.

145. 3. vederai.

chudati.
146.
i.

6.
.

finesstra

chorpi dobra "perce vedi co ce vedel sole" esse. 5. mezodi ettramotana vederai 4. tute lecosse chamino. 7. chorpi .. mostrerano .. quela. lume "perce vedi quelo ce no vede 'e vede il sole" esse ello emissperio. 6. aluma finesstra. lumi [che]. 2. chiareza. 4. chadela et. 5. alumina
. . . . . . .

cir-

8.

po.

86

THE THEORY OF THE ART OF PAINTING.

[147-

Ash.

I.

28*]

147-

PlTTURA.

OF
che ricieve

PAINTING.

1 Quella parte sopra se il razzo lu^minoso infra equali an5 goli Quella fia piu ch'altra parte d'esso obbietto luminosa.H 6 1 E quella parte che fia ferita da lumijioso

dell'obietto

That part of a body which receives the luminous rays at equal angles will be in a higher light than any other part
of
it.

And
will

the

razzo

infra

qua apparira

me

angoli piv lumi 8 nosa.K

disequali

rays strike

part which the luminous between less equal angles

be

less strongly illuminated.

147. 2. [Illume

che

ferisscie lobietto infra cqueliangoli].

3.

soprse

razo.

6.

Ecquella

cheffia

razo

aparira.

?L. HI

>

A** ^:

SECOND BOOK ON LIGHT AND SHADE.

Ash.
I.

22 a]

148.

QUELL A PARTE DEL CORPO OBROSO FIA MENO LUMINOSA 2 CHE FIA VEDUTA DA MINORE QUATITA DI LUME.
3

THAT PORTION OF A BODY IN LIGHT AND SHADE WILL BE LEAST LUMINOUS WHICH IS SEEN UNDER THE LEAST AMOUNT OF LIGHT.
That part of the object which
is

La

di

lume

e primo grado parte del corpo perche 11 vede tutta la finestra a

marked
it

Gradations
f

m
it

4 per la linia -a- f-, n e'l secodo grado perche 11 uede il lume b d per la linia b e o e '1 terSzo grado perche 11 vede il lume c d per la linia c h p e '1 penoltimo perche 11 ue 6 de c d per la linea d v Q e 1' ultimo grado perche 11 non uede nessuna parte 7della finestra8 Tanto quato c d 9 entra in a d tanto I0 e piv scuro n r s "che e tutto Paltro I2 canpo sanza 6 bra.
,
\

d-

the highest light because the window a d by the line af; n second grade because the light b
is

in

faces
in the
strikes

is

dows
148. 149).

by the

light falls

line b e; o is in the third grade, as the on it from c d by the line c h ; is the

lowest light but one as c d falls on it by the line d v; q is the deepest shadow for no light falls on it from any part of the window. In proportion as c d. goes into a d so will n r s be darker than m, and all the rest is space without shadow.

Ash.

I.

21 b\

149.

sopra ai corpi * il primo grado di chiarezza e quello fia piv scuro che ricieve 1' agoli meno equali ^e il lume o
obrosi
Ifra equali

Ogni lume

che cade

agoli tiene

The light which falls on a shaded body at the acutest angle receives the highest light,
it

1'onbre fario loro-ofitio per piramide; 4 l'angolo c tiene jl primo grado di chiarezza

and the darkest portion is that which receives at an obtuse angle and both the light and the shadow form pyramids. The angle c receives the
it is

highest grade of light because

directly in

143. i.

149.

i.

Quela chade

chorpo
chorpi.

luminoso.

2.

cheffia.
3.

4.

f
4.

el

secodo.

6.

novede.

n.

ettutto.
. .

2.

chiareza ecquelo.

ollonbre.

chiareza.

5. ettutto

lorizote

pocha

diferetia mettano.

6.

socto

148.

No

The diagram belonging to on Plate III. The letters

abed

this chapter is

No

and

are not reproduced in facsimile of the original, but have been replaced by ordinary type in the margin.
5
12.

The

original text of these lines

is

repro-

duced within the diagram. Compare No 275149. The diagram belonging to this chapter

In the original it is placed 2 on Plate III. between lines 3 and 4, and in the reproduction The semi circle above these are shown in part. The number 6 at the is marked orizonte (horizon). left hand side, outside the facsimile, is in the place of a figure which has become indistinct in the
original.

is

88

THE THEORY OF THE ART OF PAINTING.

[150.

perch6 gli uede tutta la finestra a b 5e tutto 1'orizzote del cielo 1'angolo d fa poca differetia da c perche li agoli

>*,
altri
?

che
e

lo

mettono

mezzo no sono
quato
li

tato difdi sotto

formi di proportione

front of the window a b and the whole horizon of the sky m x. The angle d differs but little from c because the angles which divide it are not so unequal as those below, and only that portion of the horizon is

solamete quella parte delch'e tra -y x bench' eli acquisti altrettat;o dall' opposite lato- nodimeno la sua 8 linia e di po ca poteza perch il suo angolo minore che' 1 suo copagno, rangoli-^' e
macagli
1'orizzote
/

intercepted

which

lies

between

y and

x.

gains as much on the other side its line is nevertheless not very strong because one angle is smaller than its fellow.

Although

it

The

non minore lume 9perch egli vede manco il lume m s e 1 lume v x ei loro agoli sono assai disformi: 1'angolo 10 k e 1'angolo sono messi in mezzo ciascu per se da agoli molto diformi 1'uno dal'altro e pero fieno "di poco lume perche in k vede solamete il lume / / e in /; no uede se no / q o g f\a 12 1' ultimo grado di lume perche 11 no uede nessuna parte del lume del' orizzote e sono quelle le linie che vn altra ^volta ricopogono una piramide- simile alia piramidefia

di

'

'

/ si trovera I4 nel d'obra, perch acora lei cade primo grado ifra equali agoli e essi agoli si dirizzano la

quale

piramide

i will have less light because do not see much of the light m s and they the light v x and their angles are very unequal. The angle k and the angle f are each placed between very unequal angles and therefore have but little light, because at k it has only the light / /, and at /only t q; o g is the lowest grade of light because this part has no light at all from the sky; and thence come the lines which will reconstruct a pyramid that is the counterpart of the pyramid c; and this pyramid / is in the first grade of shadow; for this too is placed between equal angles directly opposite to each other on either side of a straight line which passes through the centre of the body and goes to

angles e

'Se si sguardano per una linia retta che passa dal cientro del corpo obroso e capita l6 al mezzo del lume; le spetie luminose

the

centre of the

light.

The
the

several lumi-

nous

images

cast

within

window

at the points

of the a and b make a light

frame

mvltiplicate ne' termini della finestra ne' b fano '^chiarore che circuda puti a 1'obra diriuativa creata dal corpo obroso ne' lochi 4-6 6- I8 le spetie oscure si mvltiplicano

which surrounds the derived shadow cast by The the solid body at the points 4 and 6. shaded images increase from o g and end at 7 and 8.

jn

e finiscono

in

8.

C. A. 46(5; 1440]

ISO-

si dimostra piu obroso che alluminato da minor luminoso 2 e quel S dowsL de-l ummoso alluminera minor parte del corpo

Quel corpo

Ontheinten-sia
on

pendent

the distance from the

(150-152)-

obroso il quale ^li fia piu vicino; per la ,,," couersa tanto maggior quatita n allu 4 mmera S n fi a pi" lontano. Quel lume che sia minore dell' obroso 6 n' alluminera tanto minor quatita quan to li fia piu vicino e per la couersa fara essendo
.

The smaller the light that falls upon an object the more shadow it will display. And the light will illuminate a smaller portion of the object in proportion as it is nearer to it; and conversely, a larger extent of it in
proportion as
it

is

farther off.
is

light
it

which
it

on which
extent of

smaller than the object light up a smaller in proportion as it is nearer to it,

falls

will

remote Ma ?quando il lume sara maggiore che 1' obroso allor tanto piu ne vedra 8 dell'6mbroso quato esso fia piu
piu
;

and the converse, as it is farther from it. But when the light is larger than the object
will light a larger extent of it object in proportion as it is nearer and the converse when they are farther apart.

illuminated
the

vicino e

per

il

contrario

fara essedo pi 9 v

remoto.

e e machali.
12.
.

7.
.

orizote
. .

daloposito.
13. volto

8.
.

cha poteza
.

delume
chapia
.

orizote

quele.

piramide

chopagnio langolo. 9. mancha ilume. dirizano. ala. ecquali 14. chade

. . .
.

10.

ellangolo
. .

imezo.
.

15. essi

per

linia

mezo.
2.
.

18.

effiniscano.
3.
[fia]

150.

i.

dimosstra.
.

ecquel.

lifia

piu

magior.

4.

quato

eli fia.

5.

Quelume chessia

quatita q.

7.

cquando

thellobroso

tanta.

SECOND BOOK ON LIGHT AND SHADE.

C. A. 130,$; 398 6}

89

151.
2

HQuella partedella cosa

piv lumi^nosa,

alluminata sara

qual cavsa del suo lume.t

la

fia

4 piv vici na alia

That portion of an illuminated object which is nearest to the source of light will be the most strongly illuminated.

H. 1 i8a]

152.
2 sara primitiva 3 lotana dai sua

Quella parte dell'obra meno oscura che fia piv

stremi.

be

4 L' obra dirivativa che cofisna colla primitiua fia piv 6 oscura d'essa primitiva.

That portion of the primary shadow will dark which is farthest from the edges. The derived shadow will be darker than the primary shadow where it is contiguous
least
it.

with

E.

153-

2 opaco sa ra piu 3 aobrato o alluminata che fia piu vicina all' obroso che la oscura 1 o luminoso che P alumina. sLe cose vedute infra lume e 1'obre si

Quella parte del corpo

That portion of an opaque body will be On the pro in shade or more in light, which is ^"'"anc^ she nearer to the dark body, by which it is shaded,

more

di 6 mostrera di
7

maggiore

rilievo

che quelle

che so nel lume o nell'obre.

or to the light that illuminates it. Objects seen in light and shade show in greater relief than those which are wholly in light or in shadow.

S.

K. M.

II.

r 54-

DE
3Le

PROSPETTIVA.

OF
The
portion
jects[6].

PERSPECTIVE.

parti aobrate e alluminate de'corpi ^opachi sarano nella medesima Sproportione 6 di chiarezza e oscurita qual fie quelle de'

opaque objects

illuminated sides of display the same proof light and darkness as their obwill

shaded

and

loro obbietti.

G. 320]

r 55-

DE

PICTURA.
3

OF
parte

PAINTING.

Li termini e figura di qualunche

de' corpi obrosi male si conos 4 cono nelle 5 nelle obre e ne' lumi loro, parti inter6 poste infra li lumi e 1'onbre le parti d'essi

ma

The outlines and form of any part of a body in light and shade are indistinct in the shadows and in the high lights; but in the portions between the light and the shadows
they are highly conspicuous.

corpi sono

Fprimo grado

di notitia.

E. 150]

PICTURA.
2

OF
oscurita, pri3vati

PAINTING.

jfra

li

corpi

di uarie
tal

Among
when

d'un medesimo lume,

151.

proportione

4 fia

objects in various degrees of shade, the light proceeds from a single source,

14
7.

R.
3.

152. 2. osschura. 153. i.

dasua.
2.

4.

chofi.
3.

5.

cholla.

6.

oschura.
4.

chorpo oppacho.
chesso.

cheffia.

chella osscura.

olluminoso chellalumina.

5.

chose

infrallume ellobre.

6.

mossterra.

154. 2. [le parte

155. 2. effigura.

obrose elluminose].
3.

3.

parte.
5.

5.

ciareza e osscurita.
6.
5.

chorpi.
. .

4.

chanelle.
3.

interposste infralli.
4. iafralle.

ellonbre le parte

chorpi.

156. 2. Jfralli chorpi

osschurita.

proportio.

osscurita.

154.

6.

The meaning of

obbietti

(objects)

is

ex-

plained in no 153, lines VOL. i.

14.

Between the

title-line

and the next there is, in the original, a small diagram representing a circle described round a square.

THE THEORY OF THE ART OF PAINTING.

infra le loro

[157-

obre qual

fia

la proSportione
6

delle loro natural! oscurita

ai

il

medesimo

ad intendere

delli lor lumi.

will be the same proportion in their shadows as in the natural diminution of the light and the same must be understood of

there

the degrees of light.

E.

157-

II lume particulare e causa di dare migliore rilievo alii corpi onbrosi che ^lo vniversale come si mostra il para^gone
2

A
causes

single

and

distinct

luminous

body

sole e
6

d'una parte di campagnia alluminata sdal vna aobrata dal nuvolo che sol si
allumina del lume vniversale
dell' aria.

stronger relief in the object than a diffused light; as may be seen by comparing one side of a landscape illuminated by the
sun, and one overshadowed by clouds, and so illuminated only by the diffused light of the

atmosphere.

157. i.

Hume

partichulare e chausa.

2.

chorpi

chel.

3.

chome

si

mosstra.

4.

ghone

chanpagnia.

6.

delume.

THIRD BOOK ON LIGHT AND SHADE.

W.
2323]
I

Onbra diriuativa non. e in essere sanza lume primitive; pruovasi per la prima
dicieTI

Derived

shadow

cannot

exist

without

Definition

3di questo che

tenebre essere inte-

grale pri^vatio di lucie, e obra e alleuiation di te s nebre e di lucie, e tanto parti6 o me delle tenebre che della cipa piu lucie, quato la ?tenebra e in se corrotta da essa lucie.

primary shadow. This is proved by the first of this which says: Darkness is the total
absence of
tion
light,

shadow

and shadow and of

is

an

alleviait
is

of darkness
less

light,

and

more or

dark or light in proportion as the darkness is modified by the light.

E.

159-

Onbra e diminuitio di lume. 2 Tenebre e privatione di lucie.

3 L' onbra si diuide in due parti delle *quali la prima e detta onbra priSmitiva, la secoda e 1' onbra diriuativa; 6 senpre 1' onbra
7 primitiva si fa basa dell' onbra diriuativa. 8 Li termini dell'onbre dirivative 9 son

Shadow Shadow
the
is

is

Darkness
is

is

diminution of light. absence of light. divided into two kinds, of which

first is

called primary shadow, the second

The primary shadow is derived shadow. always the basis of the derived shadow. The edges of the derived shadow are
straight
lines.

retti

linii.

158. i.

non

[po]

"e in"
3.

essere.
4.

2.

per la

p*.

3.

essere ingral pri.

8.

5.

eddi

ettanto.

6.

ome

delle.

7.

tenebre

conrocta.

159. i.

honbra.

parte.

he decta.

5.

ellonbra.

dirivativi.

10. diminuisscie la osscu.

12. eppiu.

the ombra dirivativa a techwhich there is no precise English equivalent is elaborately treated by Leonardo. But both text and diagrams (as PL IV, I 3 and PL V) must at once convince the student that the distinction he makes between ombra primitiva and
158.

The theory of

room
is

in

nical expression for

investigated,

which the existence of the ombra dirivativa when the shadow becomes visible.
perceive

Nor

is it difficult to

how much

of Leonardo's

teaching depended on this theory. The recognised, but extremely complicated science of cast shadows
percussione
is

ombra
tific.

dirivativa

is

not

Ombra
This

dirivativa is
is

merely justifiable but scienby no means a mere abstract

idea.

easily proved by repeating the experiment made by Leonardo, and by filling with smoke the

dirivative as Leonardo calls them more intelligible if not actually simpler, and we must assume this theory as our the investigations which chief through guide

deW ombre

thus rendered

follow.

THE THEORY OF THE ART OF PAINTING.

Tanto piu diminuisce dell'onbra diriuativa, quato remota dall'obra primitiva.
IO

[160.

161.

la

oscu"rita essa I2 e piu

The darkness of the derived shadow diminishes in proportion as it is remote from

the primary shadow.

C. 76]

160.

ONBRA
2

E LUME.

SHADOW AND

LIGHT.

Tre
sc
al

sono
la

le figure

ochc
pari
(160162).

materia
,

che

lume

1'

ombra

dell'pbre inperfa 1'onbra e e simile a vna co-

The forms of shadows are three: inasmuch as if the solid body which casts the
shadow
is

equal

(in

size)

to the light, the

ne a termine alcuno. Se la mamaggiore che "1 lume 1'onbra sua e simile a vna retrosa e contraria piramide e la sua longitudine 5& sanza
teria e
:

shadow

resembles

column

without

any

alcuno

termine;

Ma

se la materia- e

minore-che la lucie 1'ombra fia simile a vna piramide ed e finita come s

dimostra ^nelle
eclissi della luna.

termination (in length). If the body is larger than the light the shadow resembles a truncated and inverted pyramid, and its length has also no defined termination. But if the body is smaller than the light,
the

shadow

will
is

come

to

an end, as

resemble a pyramid and seen in eclipses of the moon.

E. 31 a]

161.

DELLE OBRE DERIVATIVE

^

SENPLici.
di

OF
due
in-

SIMPLE DERIVED SHADOWS.

is

La

sorti cioe

senplicie obra dirivativa e vna finita in Munghezza e

The simple derived shadow

kinds: one kind which has
its

of two

due

length denned,

finite 6
8

e la finita e piramidale ?e delle

infi-

vna ve n'e colonnale e I0 di tabile, e tutte tre son

nite

^I'altra dilalati

rettilini;

Ma
e

1'onbra co 11 correte cioe piramidale naI2 sci e dall'onbroso minore del lumino^so,

da on I4 broso equale da obroso luminoso, del Iu l6 minoso ecc. maggiore

la

colonale nasce
e
la

al

dila 1 stabile

and two kinds which are undefined; and the defined shadow is pyramidal. Of the two undefined, one is a column and the other spreads out; and all three have rectilinear outlines. But the converging, that is the pyramidal, shadow proceeds from a body that is smaller than the light, and the columnar from a body equal in size to the light, and the spreading shadow from a bo:!y
larger than the light; &c.
.
.

160.

2.

obr

sella
.
.

chefla
5.

lume [lonbra] 1'ombra

6.

essimile
. .

cho.
7.

3.

alchuna.

4.

Sella materia

magiore

essimile

chontraria
161.
3.

ella.

alchuno.

Massella
6.

chella

chome.

nello.
el.

he.
. .

4. sorte ciee.

5.

lungheza eddue.

ella .. he.
17.

8.

cholunnalee
18. posste.

9. ettutte.

10. rectilini

[Mallonbra] co.
.

n. chor-

rete

nassci.

13. ella

cholunale nasscie.

14. ella.

cho.

19.

onbra

conposste. 20. sortti

cho/unali. 21. labile.

PL. IV

r**> "j

.
(

Tf^n #*/

\
\

:u*

* 1
1

Heliog- Dujardin

Imp.

Eudes

162.]

THIRD BOOK ON LIGHT AND SHADE.

DELLE OBRE DIRIUATIVE co l8 POSTE.

93

OF COMPOUND DERIVED SHADOWS.

deriuative conposte sono 2I 20 di due sorti cioe colonali e dila tabili.

onbre

Compound
kinds; that
is

derived shadows are of two columnar and spreading.

E. 32 a]

162.

DE
2

ONBRA.

OF SHADOW.
Derived shadows are of three kinds of which one is spreading, the second columnar,
the third converging where the two sides meet and
to

delle
s

L' onbre dirivative sono di tre nature, quali 1'una e dilatabile, 1'altra co^lunnale, la terza concorrete al sito della

the

point

intersegatione delli sua lati, li quali dopo ta6 le intersegatione sono d'lfinita lunghez?za se tu diciessi ta 8 le overo rettitudine; onbra essere terminata nell'angolo 9 della congiutione de sua lati e no passare piv

intersect,

and you

beyond
tely

this intersection the

sides are

infiniif

prolonged or straight

lines.

And

say, this shadow must terminate at the angle where the sides meet and extend no farther,
I

questo si ni ega perche nella prima ir dell' onbre sopra 6 pro vato Hquella cosa esI2 sere interamente termi nata della qual parte alcuna non eccede 3li sua terminal il che I4 qui in tale onbra si ve de il contrario conT ciosiache mediante che 5 nascie tale onbra nascie manife l6 stamete la figura dirivativa di due piramidi obrose, le quali nel I7 li sua l8 se per angoli son congiute; addunque 1'aversario la prima piramide obrosa e ter^minatricie dell' onbra dirivativa col suo
oltre,
J

I0

deny shadow

this, because I have proved:

its

above

in

the

first
is

that a thing

on com-

pletely terminated

beyond

when no portion of it goes Now here, in terminating lines. this shadow, we see the converse of this, in as much as where this derived shadow originates

we obviously have
of

the figures of two

at

pyramids
angles. the first

shadow which meet

their

Hence, if, as [my] opponent says, pyramid of shadow terminates the

derivative
starts,

shadow

at

the

angle whence

it

donde nascie, addunque la seconda ango 2I dicie 1'aversario esser pira mide obrosa cavsa 22 ta dall'angolo e no dal corpo obroso;
lo

20

e questo si questo che dete create

a 3niega coll'aiuto della 2 di obra essere vn'acciHI' 2 dalli cor Spi obrosi interposti d'essa obra 26 e '1 corpo lumi'1 sito infra 2 nosoH, e per questo e chia 7rito 1'onbra no
2

^ dicie

second pyramid of shadow so says the adversary must be caused by the angle and not from the body in shadow; and this is disproved with the help of the nd 2 of this which says: Shadow is a condition produced by a body casting a shadow, and interposed between this shadow and the luminous body. By this it is made clear that the
then the

28 esser giedal angolo dell' onbra dirivativa ma sol dal corpo obroso ecc. 29 Se nerata, lo sperico obroso fia alluminato dal lumi-

3noso
dalla
di
si

luga figura, 1'onbra che si gienera parte piu lunga d'esso luminoso fia termini 32 men noti che e quella che
di
3
1

not produced by the angle of the shadow but only by the body casting the shadow; &c. If a spherical solid body is illuminated by a light of elongated form the shadow produced by the longest
is

shadow

derived

gienera dalla Iarghez3-za del medesimo lume; E questo si prova per la pas34sata che disse quell' obra essere di termini me noti 35 C h'e creata da maggiore lumin-

oso e de coverso, que! 36 la essere di termini piu noti che s'allumina da minor luminoso.

will have less defined which is produced by the breadth of the same light. And this is proved by what was said before, which is That a shadow will have less defined outlines in proportion as the light which causes it is larger, and conversely, the outlines are clearer

portion

of

this

light

outlines than that

in

proportion as

it

is

smaller.

162. 2.

[si]

dirivativ.

3.

cho.
8.

4.

choncorrete.
9.

5.

interscghatione.

6.

interseghatione

dlfinita
ati.

"righor" lunghe.

7.

Essettu

"di"
the

ciessi [chella] ta.

angholo.
oltre.

della [interseghatione] "congiutione"

de sua

Questo.

margin
13.

no passare piv

10.

egha
14.

perche [terminata] nella p" dellonbre so pro.

chontrario chonciossiache.
chol suo angho.
. .

The following occurs in n. chosa. 12. alchuna

. .

eciede.
17.

qui [no] in "t" ale onbra

[ella].

sivi.

15.
.

nasscie
.

nasscie.
21.

16.

piramide "obrose".
.

angholi son chongitite

22.

18. 23.

etter.

19.

20. nasscie 24. chor.

sechonda.

obrosa [perche]
.

dicie

chavsa.
27.

angholo

quessto.

niegha [medi] choll

ch'ed.
31.

26.

chorpo luminoso) [addunque] e

32.

quessto.

angholo.
33.

29. Sello spericho.

30.

lugha fighura
35.

chessi.

[parte piu] lungha.

[chen]

"men"

noti

che ecquella

chessi.

Ecquesto.

34. cheddisse.

magiore.

36.

termini menoti chessalumina daminor.

162.

The two diagrams

to this chapter are

on Plate IV, No.

I.

94

THE THEORY OF THE ART OF PAINTING.

163.

[163

166.

H.* 28*]

TIL'

onbra diriuatiua no
il

on
u

the reia-

corpo dove nascie se

mai simile 2 al lume no sara della

fia
.

The derived shadow can never resemble

the body from which 16 D d y
t}

it

proceeds unless the

size as the

ved and""3figura _ _ primary sha-

do*

1L

e gradezza del corpo obroso 1 .. -. _ _, obra dinvativa no puo essere simile

. .

*&

R same form and

the shadow.
,

body causing

5 per figura alia primitiva, se essa no percuote fra equal! 6 angoli.U

The derived shadow cannot be of the same form as the primary shadow unless it is intercepted by a plane parallel to it.

Ash.

I.

6a]

164.

COME L'OBRA SEPARATA NO

2

FIA

HOW

MAI SIMftE PER GRADEZZA ALLA SUA CAGIONE.

A CAST SHADOW CAN NEVER BE OF THE SAME SIZE AS THE BODY THAT CASTS IT.
If the rays of light proceed, as experience

3Se li razzi luminosi sono, come sperieza coferma, cavsati da uno solo puto e I corso circulate al suo puto si vanno
disgregado e sparg edo per 1'aria, quato piv s'alontanano piv s'a6 largano e sepre la cosa posta fra lume e la pariete e portata per obra maggiore perche ?i razzi che la toccano 8 givnto lor cos

shows,

from a single point and are diffused in a sphere round this point, radiating and dispersed through
the
air,

the

farther

they

spread

cor^so alia pariete e fat I0 to piv

largo.

must spread; and an object placed between the light and a wall is always imaged larger in its shadow, because the rays that strike it [7] would, by the time they have reached the wall, have become larger.
the wider they

Br.

M.

170/5]

Ogni obra separata dal corpo obroso e tutta della natura e qualita di quella 3 ch' e 4 il mezzo cogivnta a esso corpo
2
;

Any shadow cast by a body in light and shade is of the same nature and character as that which is inseparable from
the body.

della

obra s sepre si dirizza al mezzo del corpo luminoso 6 neciessario e che o 7 gni obra 8 risguardi col suo mezzo 9il mezzo del suo lume.
.

lughezza

di ciascuna

The

centre of the length of a

shadow always corresponds to that of the luminous body [6], It is inevitable that every shadow must have its centre in a
line with the centre

of the

light.

E. 31 a]

166.

DEL' OBRA PIRAMIDALE.

L' onbra piramidale gienerata dal 3 corpo On the shape parallelo sara tanto piu stretHa che '1 corpo "shadow! obroso, quato la seplisce onbra deriuativa 6 (166-174). fi a taglia ta piu distante al suo corpo obroso.
163.
i

OF THE PYRAMIDAL SHADOW.

The pyramidal shadow produced by a columnar body will be narrower than the body itself in proportion as the simple derived shadow is intersected farther from the body which casts it.
. .

6 R.

2.

nasscie selume.
3. razi
.
.

3. figure e

gradeza.
. .

4.

dirivativ
5.

po.

5.
6.
.
.

percote.
. tocano. magiore perche d_. 7. A.' i razi mezo. 6. [Egli e] neciessario e cheo. 7. gni obra
.

164. 2. gradeza.
165. i. obr.
[si dirizi

da

solo.
3.

4.

circhulare
4.

van.
.

essepre.
5.

2. ettulta

quela.

chorpo.

mezo
.

lugeza.
9.

diriza

al
.

mezo
.

del suo].
4.

8.

[lume] risguardi
6.

mezo.
.

mezo.

166. 3.

chorpo

strec.

chel chorpo.

disstante

chorpo.

164.

7-

The following

lines are

wanting to com-

plete the logical connection.

165.
6.

166. Compare we here conceive

the

first

diagram

to

No. 161.

If

This second statement of the same idea

of
its

shadow
apex
is

on
this
is

of the outlines of the pyramid the ground as prolonged beyond

rise

as

former sentence, but in different words, does not, in the original, come next to the foregoing sections 172 and 127 are placed between them.
in

the

gives

to

second
the

this

what

spoken

of at

pyramid; beginning of

No. 166.

167

169.]

THIRD BOOK ON LIGHT AND SHADE.

95

B.

M.

170,5]

167.
2

QueP onbra separata

avra
il

fia

piv luga

che

The
the light

cast
is

shadow

will

be longest when

lume

piv basso.

lowest.

^QuelPobra separata 6 quale avra il lume piv

sfia piv brieve,

alto.

la

The
the light

cast
is

shadow

will

be shortest when

highest.

Tr. 28]

L' onbra primitiva e dirivativa fia mag3 giore a essere cavsata da lume di cadela dell' aria 11 ^tato quato spobra diche quello
If

will

Both the primary and derived shadow be larger when caused by the light of
light.

a candle than by diffused

The

differ-

minor riva 6tiva entra 7 la maggiore nella I0 tato la 9cavsa della mi nore e piv "luminosa che
la
I2

will

ence between the larger and smaller shadows be in inverse proportion to the larger
lights causing them.

maggiore.
*

and smaller

'

Ash.

I.

25 a]

QUELLI CORPI CHE FIENO PIV PROPINQUI O REMOTI DAL LORO LUME ORIGINALE FARANO PIV 2 O MENO BRIEVE LA LORO OBRA DERIVATIVA.
4 3jfra i corpi d' equal gra dezza quello che da maggior slume alluminato fia avra 6 la sua obra di minore lughezza; 7 Nello sperimetare s' afferma la sopra detta propos m-n-e sitione per cagione che '1 corpo

ALL BODIES, IN PROPORTION AS THEY ARE NEARER TO, OR FARTHER FROM THE SOURCE OF LIGHT, WILL PRODUCE LONGER OR SHORTER
DERIVED SHADOWS.

Among bodies of equal size, that one which is illuminated by the largest light will have the shortest shadow. Experiment confirms this proposition. /Thus the body m n is surrounded by a larger amount of light
6.

167. i. 168. 2.

ombra

[sia]
. .

separata.

2.

ara ilume.

4. 7.

magiore

chausata.

3.

chadela.
3.

169.

i.

chorpi cheffiano.

36

R.

chorpi.

Quello obra [fia piv] separata. 5. ara. magiore nela. n. chella. 12. magiore. magior. 5. ara. 6. lungeza. 4. deza
.

ilume.

7.

chagione.

8.

abraciato.

9.

chefFa

168.

In the

diagrams

stands

for

celo

(sky),

for cadela (candle).

169.

The diagram, given on

between
lines 2

PI.

in the original

and

IV, No. 2, stands 7, while the text

of lines 3 to 6 is written on its left side. In the reproduction of this diagram the letter v at the outer right-hand end has been omitted.

THE THEORY OF THE ART OF PAINTING.

abbracciato da piv parte di lume che '1 corpo q come di sopra si dimostra; 'Diciamo che v c a b d x sia il cielo che fa il lume originate e che s t sia una 10 finestra / dode etri le spetie luminose e cosi " cotraposti a \p q sieno i corpi obrosi n sara di minore obra dedetto lume; riuativa perche la sua obra ori I2 ginale fia poca e il lume diriuatiuo fia grade perche
|

[170.

than the body / q, as is shown above. Let us say that v c a b d x is the sky, the source of light, and that s t is a window

by which the luminous rays enter, and so m n and / q are bodies in light and shade as exposed to this light; m n will have a small derived shadow, because its original shadow will be small; and the derivative
be large, again, because the origid will be large and p q will have more derived shadow because its original shadow will be larger, and its derived light will be smaller than that of the body m n because that portion of the hemisphere a b which illuminates it is smaller than the hemisphere c d which illuminates the body /// n.
light will

ancora
'
|

fia

grande

\p q- avra piv sua obra '* originale fia maggiore; il lume suo derivative fia minore che quello del corpo '5; perche quella parte dell' emis1<5 che perio a b che 1'allumina e minore 1' n. emisperio c d alluminatore del corpo

originale c-dobra diriuativa perche la

'^il

lume

nal light c

w.

H.J

170.

Quella proportione

che

The shadow
same proportion

m
to

bears the
the sha-

a
c

la linia

b c

colla

linia

tale

avra

la

scurita

*m

dow n
the line

as

the

line

to

colla oscurita n.

c.

Ash.

I.

25 IrtJ

171.

PlTTURA.
Infra
di pari 1' onbre quella che sia piv
all'

OF
Of

PAINTING.

different

shadows of

qualita visina

ochio

appari-

equal strength that which is nearest the eye will seem

the least strong. Why is the

ra

minore oscurita. 4 Perch e a 1' onbra

di
in
5

shadow
the

b e

primo

grado

di

a b

in

the
c

first

grade of
se-

scurita

do

ragione b non vede

b c e in secoe in terzo ? La si e che 6 c a

-

strength,

b c

in

cond;
e

in
is

the
is

third?

The reason
visible,
it

that as

il

cielo in al-

a b the sky

cuna parte aduque ? nessuna del cielo parte uede lui e per questo e 8 priva to del lume origib c vede la parte nale

gets

from nowhere no light

whatever from the sky, and so has no direct [pri-

mary]

light.

faces

the portion

of the sky

sia
15.

J.

10.

dodetri

echosi.
.

12.
.

pocha ellume

anchora.

13. c

.
||

[AJ p

ara.

14.

magiore ilume.

chorpo.

perche [lemisper] quella

ara.
3. osscurita.
.
.

chellalumina.

16.

chorpo.
sechodo.
cieno in alchuna.
10.

170.
171.

2. 2.

Infrallonbre

chessia.

3.

aparira

osscurita.

4.

schurita.

5.

6.

il

9.

dacquela.

ma-

I73-J

THIRD BOOK ON LIGHT AND SHADE.

97
it.

del cielo
d.

da quella e alluminata: c k essendo visto c d da maggiore soiiia di cielo "che non e b c e ragiohe vole che sia piv luminoso, I2 e cosi insino a cierta distantia il muro a
9

vede

il

f-g-z I0
cielo

g and

is

illuminated by

faces

the

/z

senpre
il

I3

insino a tato che la

viciera

rischiarera per le dette ragioni I4 scurita del' abitatione

sky at h k. c d, being exposed to a larger extent of sky than b c, it is reasonable that it should be more lighted. And thus, up to a certain distance, the wall a d will grow lighter for the reasons here given, until the darkness of the room overpowers the light

lume

della finestra.

from the window.

Br.

M.
2

I70<5]

172il

lume dell' aria 3 sara costretto 4 corpi 6brosi, essedo essi corpi sdal cietro d'essa equidistati 6 finestra, quello che si trovera traverse fara maggiore piv

Quado

When
restricted

the

a luminare

[by

76bra dopo

se.

light of the atmosphere is an opening] and illuminates bodies which cast shadows, these bodies being equally distant from the centre of the window, that which is most

obliquely placed will cast the

largest

shadow beyond

it.

Ash.

i.

24^]

*73-

Quelli corpi sparsi situati in abitatione alluminata 2 da una sola finestra faranno

These bodies
a

standing apart in a

room

Fobra diriuativa piv o meno brieue secodo 3 che fia piv o meno a riscotro d'essa finestra. 4 \ Jfra 1' onbre fatte s da equali corpi
6

derilighted by single vative shadows more or less short according as they are more or less opposite to the
will

window

have

window.

8 disequali distatie ?dallo spiraculo Io ro

queMa fia piv luga che suo corpo meno "luminoso: e tato
alluminatore
I2

I0

il

Among the shadows cast by bodies of equal mass but at unequal distances from the opening by which they are illuminated, that shadow will be the longest of the body
And in prois least in the light. portion as one body is better illuminated than another its shadow will be shorter than another. The proportion n m and e v k bear to r t and v x corresponds with that of the
4 and y. those bodies which are placed most in front of the middle of the window throw shorter shadows than those
to

fia

which

Fu Fombra sua quarto

piu

luminoso
17

"3

che
T

1'altro

fia

5piv

corpo, corta che

F al 1 6 tra.1

Q uella
^k
co
21

n
2

J8 proportione che a in se co r t et v x, 20 tale

shadow x

avra onbra

4- y
i

The reason why

3La ragione che

situati
2

corpi obrosi, che

al

si

trovano
finestra,

piv

dritti

mezzo
brievi

della

obliquely

situated
in
its

*fanno

Fobre
I

piv

che

appears

That proper form

is:

the

window
to

and

the

quelli situati I

trauerso

sito si e,

che vedono
i

mag'Sgiore la finestra
corpi
traversi
2fS

propia forma, e
in

la

uederanno
la finestra

iscorto;

a quello

di

mezzo

pare grade,

obliquely placed ones it appears foreshortened; to those in the middle, the window shows its full size, to the oblique 'ones it appears smaller; the one in the middle faces the whole and those on the side hemisphere that is e

ai traversi

pare piccola, quel

12. chosi. 13. risciarera

di

mezzo vede
attato.
[si

have only a
.
.

strip;

that

is

q r faces a b;

giore soma.
172. i.

14- surita

ilume.
3. cosstreto.
. .

[lobra reale sia piv luga quato piv].

2.

trova]
2.

Quado
i

ilume.
.
.

5.

al 3.

chessi

magiore.
Ifrallonbre.
5.

173. i.
6.

chorpi [separati chessi troueranno] sparsi.

e Idisegli.
7.

da

sola

omeno
r.

sechodo.
il

cheffia.

4.

ecquali.

spirachulo.

8.

chorpo qu*'a". 15. chorta. mezo. queli 24. lobra

.

alumatore que. 9. m oo "e" 18. n

. .
.

la effia piv luga.

.

10. fia
.

19.

k cho
25.

suo chorpo m. n. ettato fi"a". 13. chellaltro 22. [situati]. c"o". 20. ara onbra 23. chessi

+
.

sie.

[questa]

che vede ma.

propia

uechano

acquelo.

26.

mezo

picola

173.

Compare the diagram on

this

PI.

IV, No.

3.

In

the

original

drawing

is

placed between lines

3 and 22; the rest, from line 4 to line 21, on the left hand margin.

is

written

VOL.

I.

THE THEORY OF THE ART OF PAINTING.

quelli da lato lo uedono q r vede a b a8 d\ il corpo di mezzo e cosi m n vede di lume che quelli perche a maggiore quatita 2 da cato, e allumi 9nato assai piv basso che'l
a

[174-

Pemisperio

?grade cioe

<?/

piccolo cioe

and m n faces c d\ the body in the middle having a larger quantity of light than those at the sides is lighted from a point much
below
shorter.
its

suo cientro, e per6-P6bra e piv breve, e tato 3 in tanto la piramide e quato a b entra g 4 entra in l-y appunto. 3 Ogni mezzo d'obra dirivativa passa per 6 /a e si dirizza

col mezzo dell'obra 3* originate e col cietro del corpo obroso e del lumederiuatiuo 3e col mezzo della finestra e in vltimo col mezzo di quella 34parte del lume originale fatto 6 dal' emispe^srio cieleste; 3 -y h e il mezzo
-

pyramid g 4 goes into / y exactly as often as a b goes into e /. The axis of every derivative shadow passes through 6'/2 [31] and is in a straight line with the centre of the primary shadow, with the centre of the body casting it and of the derivative light and with the centre of the
that finally, with the centre of the portion of the source of light which is celestial hemisphere, y h is the centre of the derived shade, / h of the primary shadow, / of the body throwing it, / k of the derived light, v is the centre of the window, e is the final centre of the original light afforded by that portion of the hemisphere

And

centre, the

and thus the shadow

is

window and,

dell'obra diriuatiua / h del'obra originale / sia il mezzo del corpo obroso 37 / k del lume deriuativo v sia il mezzo della e sia 1' ultimo mezzo del lume finestra
37

originale fatto

da quella parte dell'emispeil

rio del cielo

C. 21 a]

che lumina

corpo obroso.

of the sky which illuminates the solid body.

174-

QUANTO
TANA

PIU

L'ONBRA
CIPA

DIRIVATIUA

DELLA PRIMITIUA

TANTO

S'ALLON2 PIU PARTI-

THE FARTHER THE DERIVED SHADOW

PROLONGED THE LIGHTER
IT

IS

DI CHIAREZZA.

BECOMES.

3Tal proportione quale a il diamitro dell' onbra- diriuatiua

lo della
4

You

will find that the

con quel-

primitiua, tale trouerai nella oscurita

proportion of the diameter of the derived shadow to that of the primary shadow will be the

dell'obra s primitiua -con quello della diriuatiua.

6

same as
ry
<x

that

between the
the

darkness of
of the

primathat

a b

sia

il

dia-

shadow and

mitro dell' onbra primitiua c d- sia-quello della -di 7 riuatiua-,

derived sha-

dow.
[6] Let a b be the diameter of the pri-

dico che etrando come vedi a b 3 volte in d- c 8 che

1'

mary
c

shadow
that

and
the

of

onbra
volte

d
piv

fia

derived

chiara

che quella di a b. 9se la grandezza del corpo alluminate supera quella del corpo I0 alluminato accadera onbrosa intersegatione dopo la quale
giore
.

shadow, I that a b going, say as you see, three ti-

mes into d shadow d c

c,

the

will

be

three times as light as the shadow a b. [8]

If the size of the

illuminating
larger
.

body
that
31.

is

than
piramida.

of

queli

chato e alumi.

29. asai.

30.

mez

per 6'/2 (passes through 6'/2). The mean the ing of these words is probably this: Each of three axes of the derived shadow intersects the
31. passa

This
but
it

is
is

self evident

only in the middle diagram

equally true of the side figures if we conceive of the lines 4 /, x n v m, y I k v, and 4 e, as

centre

(mazo)

ginale) and,

of the primary shadow (ombra oriby prolongation upwards crosses six lines.

prolonged beyond the semicircle of the horizon. 8. 174. 6 Compare No. 177.

175

I78-J

THIRD BOOK ON LIGHT AND SHADE.

in

99

"I'onbre correranno
corsi
,

due

diuersi

condi-

co

I2

me

se

da due

diuersi

lumi

nuassmo.

body an intersection of shaoccur y beyond which the shadows will run off in two opposite directions as if they were caused by two separate lights.
the illuminated

dow

will

175-

PlTTURA.
2

ON
sua principi.
portion as
it

PAINTING.
is
its

L'onbra diriuatiua 3e tato piu potete

ell'e

The derived shadow

is

quango

piv vicina

Salli

nearer to

stronger in pro- One the ti

reia-

place of origin.

o f derived

shadows
(175-179)-

Ash.

I.

is]

176.

COME L'OBRE PER LUGA

PERDONO.

DISTATIA

si

HOW

SHADOWS FADE AWAY AT LONG

DISTANCES.

L'onbre-si perdono I lunga distatia perche la gra quatita dell' aria luminosa, 3 che si truova Ifra 1' ochio e la cosa veduta tigne le sue obre d'essa cosa nel suo
,

fade and are lost at long because the larger quantity of illuminated air which lies between the eye

Shadows

distances

and the object seen

its

tints

the

shadow with

colore.

own

colour.

Tr. 22]

177.

LUME

Quate volte a b
tato fia piv scuro
3

etra in

c b d.

a b

will

be darker than
c

in
b.

a b che c

proportion as

d is broader

than a

C. A. 3 6a;

II5]
1'

178.

Pruovasi perche
piv oscura,
1

onbra o p

h e tanto
is

It

can be proved why the shadow o p

it

h
to

quanto

ella

lima / k, ed e tanto piu 3 quato essa piu s'avicina alia linia o c e sia il Mume # b fine,

piu s'avicina alia chiara

darker in proportion as
the
line

is

nearer

stra, e la pariete oscura,

dove
sia

h and is lighter in as it is nearer to the proportion Let the light a b, be line o c. a window, and let the dark wall

tale
riete.

finestra

collocata,
lati

in

which

this

b s cioe vn de

d'essa palinia

s, that is, the wall.

window is, be b one of the sides of

say that the darker than any

6 Addunque diremo la h essere piu oscura che

Then we may
line

?al-

is

tra parte dello

spatio

p c h,

8 perche essa linia ve de ed e da tutto lo spatio obroso veduta

other part of the space o p c h, the because this line faces whole surface in shadow of

175.

14

R.

3. ettato

potete q"a".
distatia si perdono.
z.

176. i.

come

[son] lobre

illunga

dellaire luminoso.

3.

chessi

ella

le

sue obre d'essa cosa.

177. 2. suro.
178. i.

op c h e ettanto

osscura

tanto pi.

3.

essia.

4.

ella

osschura

tal finesstra.

5.

e cholochata.

6.

direno

is

177. In the original MS. the word lume (light) written at the apex of the pyramid.

178.

In the original the diagram

is

placed be-

tween

lines

27 and 28.

100

THE THEORY OF THE ART OF PAINTING.

the wall b
s.

[179-

della pariete b s , ma 'la linia o c & piv I0 chiara che altra' parte d'esso spa tio o p linia vede lo spatio luc h perche essa

The

line

is

lighter
c h,

than

the other part of this space o

this

because
b.

"minoso a
I2

line faces the

b.

luminous space a
is

1 Doue 1'obra e maggiore o minore o equale '^al corpo obroso sua origine.1 ['*Di prima della qualita de lumi divisi.

Where

the

shadow

larger,

or smaller,

or equal the body which casts it. [First of the character of divided lights [14].

DELL'ONBRA COMPOSTA p. R, c, 11 l6 NATA DAL LUME PARTICULARE.

OF THE COMPOUND SHADOW

tal
si

F. R, C.

H
such

CAUSED BY A SINGLE LIGHT.

modo
fa

'^L'onbra composta r c h & in conditionata l8 che quanto ella piu remota dal suo lato intrinsi\
:

The

shadow

is

under

'9co, tanto perde della suaoscurita; pruovasi 20 Sia adunque il luminoso da e 2I 1' obroso a e vna delle n, e sia laterali della finestra cioe parieti

conditions as that where it is farthest from its inner side it loses depth in proTo prove this: portion.

Let d a, be the light and n the solid body, and let a e be one of the side walls of the window that is d a.

/
nd

Then

say

according to the

[pro-

22

a; Dico per

la 2

a
,

la superfitie

2 d'ogni corpo par 3ticipa del color del suo obbietto, adunque il lato r c, ch' e 2

position]: that the surface of any body is affected by the tone of the objects

4yeduto dalla oscurita a

e,

participa

d'essa oscuri 2 sta e similmete il lato estrinsico ch'e veduto dal lume 2(> da participa d'esso lume e cosi abia de2 finite tale stremo ?del niezzo cote-

surrounding it, that the side r c, which faces the dark wall a e must participate of its darkness and, in the same
that the outer surface which faces the light d a participates of the light ; thus we get the outlines of the extremes on each side of the centre inclu-

way

nuto
28

dalli stremi]
'

Questa si diuide in 4 parti 29 prima delli stremi c6tene"3ti 1'onbra conposita, 3'seconda, Dell'onbra coposita tro alii sua stremi.
32

ded between them.]

is

This

den-

the extremes,

divided into four parts. The first which include the compound

shadow, secondly the between these extremes.

compound shadow

C. A. 201 a; 597 a]

179'

L'OPERATIONE DEL LUME COL SUO

CIETRO.

THE ACTION

OF THE LIGHT AS FROM

ITS

CENTRE.

quello che cavcorpi a quello cotraposti converebbe, 3che quello corpo ch'e molto minore che' 1 lume facesse dopo se vn obra piramidale -, e la spe^rieza non lo mostrado couiene che'l cietro d'esso lume
tutto
il

Se

sasse

1'

onbre
,

lume dopo

fusse

If it were the whole of the light that caused the shadows beyond the bodies placed in front of it, it would follow that any body much smaller than the light would cast a pyramidal shadow; but experience not showing this, it must be the centre of the light that

sia

quello che facci

tale ofitio.

produces

this

effect.

osschura.
15.

8.

dactutto losspatio.
16. partichulare.

9. [losspatio] la linia.

10. tio [perche]

o p c h
20.

vede

\\\\\
.

12.
.

magiore ominoe.
21.

13.
. .

chorpo.

chonposste.

17.

chonposta.
.

19.

cho
24. a
.

osschurita.
. .

ellobroso
. .

essia.
25.

pariete

finesstra.

22.

Dicho
lume

26. chosi

179. i.

. ilato. dongni chorpo. 23. cholor stre'"me". 29. 4 p"a" p"a" delli. 31. chosuo. 2. scttutto fussi chavsassi
.
. .

vedvuta

osschurita

osschuri.

esstrinsicho

che vcduta.
.

"a" De Dellonbra chonposita.

acquello
.
.

chonverebe.

3.

chorpo

faciessi

ella.

4. rieza

nol

divisi. The text here breaks off abruptly. The diagram belonging to this passage is between lines 4 and 5 in the original. Comp. the reproduction PI. IV, No. 4, The text and drawing of

14.

lumi

179.

rable

chapter have already been published with toleSee M. JORDAN: "Das Main-buck accuracy. des Leonardo da Vina". Leipzig 1873, p. 90.
this

i8o.

181.]

THIRD BOOK ON LIGHT AND SHADE.

PRUOVA.
PROOF.

IOI

gradezza del lume d' una quale dia il lume a vno bastone ritto i pie 7 da a c e da a d sia dove la finestra. tutta iteramete da il suo lume Jn c e no puo vedere quella parte 8 ch' e ifra / b della finestra E simil
'

sia la

finestra

la

Let a b be the width of the light from a window, which falls on a stick set up at one foot from a c [6]. And let a d be the space where all the light from the window is visible. At c e that part of the window In which is between / b cannot be seen.
the

mete -d-f- no uede a

cagione
I

questi

lochi

e per questa co9micia a stre-

same way a m cannot be seen from and therefore in these two portions
fail.

mare

il

lume.

the light begins to

c. 84]
1

180.

Quel corpo obroso che

fia,

infra equali

lumi
i

collocate

fara tate obre

qua
fia

ti;

fieno

lumi, le quali obre fieno tato piv scure 1'una

che

1'altra,

quato

il

lume

che

dall'oppo-

A body in light and shade placed between Shadow two equal lights side by side will shadows in proportion to the [amount of] And the shadows will be one darker light.

as

sita
li

parte

fia

piv visino a

esso corpo

che

altri.

than the other in proportion as one light is nearer to the said body than the other on
the opposite side.

equalmete distate infra 2 lumi situate sia, fara 6 due obre tanto piv oscure 1' una- che 1'altra
quato i lumi d'esso ^ 1' una che 1' altra.
cagio
sie

Quel corpo onbroso

che

A
light other.

body placed

at

an equal distance be-

tween two

maggiori

deeper which causes

lights will cast two shadows, one than the other in proportion, as the
it

is

brighter

than

the

Br.

M.
II

170^]
2

l8l.

lume minore che corpo obroso T ombre terminare in esso corpo

3

fa

light
it

which

is

smaller than the body

illuminates

produces shadows
the

e fa poca obra
di

mista, e lo vede
5 il

of which the outlines end within

[the

surface

*meno
giore

mezzo;

lume magobroso
fa
6

of]

body,

and

not
falls

much compound shadow; and

on less than half of it. A which is larger than the
it

che'l

corpo

lo

vede piv di mezzo e obra mista.

molta

light

body

illuminates, falls

on more

than half of

it, and produces much shadow. compound

mostrado chouiene
iochl cho.

cheffacci.

6.

gradeza

pie [c d].

7.

sie

Itera raeta

po.

8.

Essimil

mete

chagione

9. ilu ne.
i.

180.

17

R.

Infrae.
6.

2.

Quel chorpo
.
.

chollochato
.

chellaltra.

4.

cheffia
.

oposita
7.

chorpo piv

chelli.

5.

chorpo

lumi [ch] situato. 181. i. ilume . . obrso.

osschure
3.

chellaltra
.

quato
5.

elumi

chagio

magiori

chellaltra.

effa

pocha

mezo.

magiore chel chorpo.

6.

mezo

effa.

6.

bastone (stick).

The diagram has a sphere

in

180.

In

the

MS. the

larger

place of a stick.

above the

first

line; the smaller

diagram is placed one between 1. 4 & 5.

IO2

THE THEORY OF THE ART OF PAINTING.

[l82.

183.

Ash.

I.

5*1

182.

DEL'OBRA FATTA DA UNO CORPO SITUATO

IFRA 2 EQUALI LUMI.

OF THE SHADOW CAST BY A BODY PLACED

BETWEEN
2

EQUAL LIGHTS.

Quello corpo che

The
effect

si

trovera collocato

se 2 obre le diffc'rfnt' dlquali si dirizzerano per linia a 2 Mumi e se stances, nrnoverai detto corpo e farai lo piu presso 6 all'uno-de'lumi, 1'ombra sua, che si dirizzera
ifra 2 equali

lumi

movera da

al piu
rita,
8

^ proplquo lume, fia di minore oscuche quella che si dirizzera al piu lotano

body placed between 2 equal lights will shadows of itself in the direction of the lines of the 2 lights; and if you move this body placing it nearer to one of the lights the shadow cast towards the nearer light
cast 2
will

be

less

deep

than

that

which

falls

lume.

.towards the more distant one.

W.

L. 145.

Ao]

183-

oscurita delle obre e la seonbra dirivatiua, perch essa no ve^de lions in "h e nessun de'due lumi a I, c d. derived La shadows .... secoda di minore oscurita e oscurita (183187). dmvativa e j n, e questa e la minore la meta perch6 da vn sol lu^me
Further
'

La massima

The
simple
lighted

greatest depth

plice

derived

of shadow is shadow because it

in the
is
b,

not
c d.

ll

by

either
less

of the two

lights

The next
ved shadow
is

..

less

deep shadow is the deriand in this the shadow by half, because it is illuminated by
e

n;

rischiarata cioe c d.
8

E questa e d'uniforme oscurita natu^rale,

I0 la perche per tutto vn sol de'due luminosi vede; Ma si varia colla oscurita "accidentale, I2 da tale lume, perche quato piu si scosta '3 sua chiarezza. me participa della

uniform in natural tone because it is lighted throughout by one only of the two luminous bodies [10]. But it varies with the conditions of shadow, inasmuch as the farther it is away from the light the less it
is

a single This

light,

that

is

c d.

is

terza oscurita e 1' onbra ^ media, ma questa non e di vniforme l6 oscurita natural e, perche quato piu 17 s'avicina alia senl8 plice obra diriva tiva, tanto si fa piu oscura, e la uni IQ formita vniformemete difforme acciden 20 tale e quella che la corronpe cio che 2I qua to piu si discosta dalli due luminosi si 22 fa piu oscura.
14

illuminated by

La

La quarta e 1' onbra k r s, e questa si tanto piu oscura di scurita naturale, 2 quanto Sessa s'avicina al k s, perch me vede del lu-' 6 me a b, ma per accidentale piu
23

is the middle But this is not uniform in natural tone; because the nearer it gets to the simple derived shadow the deeper it is[i8], and it is the uniformly gradual diminution by increase of distance which is what modifies it[2o]: that is to say the depth of a shadow increases in proportion to the distance from the two lights. The fourth is the shadow k r s and this

The

it [13]. third degree of depth

shadow [15].

fa

2*

is

all
it

the darker in natural tone in proportion

is

perde

d' oscu-rita,

perche piu

s'avicina al
li

lume
lumi.

c d,

&

28 que sta sepre vede

due

nearer to k s, because it gets less of the light a b, but by the accident [of distance] it is rendered less deep, because it is nearer to the light c d, and thus is always exposed to both lights.
as

182. i.

da

corpo.

3.

quelo chorpo chessi

chollochato.
7.

4.
.

muvera obre che

.

quali.

5. esse

detto

\\\

corpo effara.

6.

de

lumi [che

allaltro]
.
.

lombra
4.

chessi dirizera.
. .

oschurita
5.

chessi dirizera.
6.
(pi]

183. i. osschurita
9.

ella.

sechoda
.
.

osschurita ello.

osschurita.
di.

10.
16.

Massi

cholla osscurita.
.

n.
18.

sisschossta.

he efn ecquessta ella. 12. dattale lume

20.
.
.

osscurita.

7. rissciarata.

8.

ecquesta.
15.

me.
.

14.
.

osschurita

cllonbra.

ma-

cquessta e
22.

osschurita
. .

quato

pi.

osscura ella unifor.

26. acidentale

quela chella
27.

cioe cheq"ua".
29. osschurita.

21. disschosta.

osschura.

23. hellonbra

ecquessta.

24. osschura.

dosscu.

cd ecq.

30. ciasscuna.

183.
PI.

V.

The diagram to To the left is the

this

section

is

given on

15.

We
20.

gather from what follows that

(the

facsimile of the beginning

it.

means pmbra media

18

middle shadow).

of the text belonging to

Compare

lines

1013.

JHf

'.,

/]

Heliog-.

Dujardin.

Imp, Kudes.

84.]

THIRD BOOK ON LIGHT AND SHADE.

The
fifth
is

103

9La quita e di jninore oscurita 3 c he ciascuna delle altre perche sen3 I pre vede u de due lumi interi e tutto 3 2 o parte dell'altro, e questa tanto 33 pi u perde d' oscurita quanto 34 ella piu s'avicina alii due Iu35mi, e tanto 36 s a vicina al lato esteriore piu quanto piu
2
'

deep in shadow than because it is always entirely exposed to one of the lights and to the whole or part of the other; and it is
less

either

of the

others

t,

37

&a

perche piu vede del secodo lume

b.

deep in proportion as it is nearer to the two lights, and in proportion as it is turned towards the outer side x /; because it is more exposed to the second light a b.

less

C. A. 174^; S 2 3 a l

184.

DELL'ONBRA

SENPLICIE.

OF SIMPLE SHADOWS.
Why, at the intersections a, b of the two compound shadows e f and m c, is a simple
shadow produced as at e h and while no such simple shadow is produced at the other two intersections c d made by the very same compound shadows?

Perche nelle intersegationi a-b delle due obre coposte 3 e f, c, si gienera 1'onbra 4 e senplicie e cosi in e h e ing, no si gienera tale obra senplicie

m g,

nelle
fatte

due

altre intersegastioni c d,

dalle

medesime obre com-

poste dette di sopra?

RISPOSTA.
7

ANSWER.
miste

Le obre conposte son

Compound shadow

are a mix-

di chiaro e di scuro, e 8 le senplici so di senplicie oscurita; aduque

1'

9 due lumi n o 1'uno vede obre coposte da vn lato e 1' altro 10 vede 1'onbre conposte dall' altro, ma nessu lume vede le inter 1 'segationi a b e per6 e senplicie obra, ma nell'obra I2 vede 1'uno o 1' altro lume; e coposta dubbio T 3per 1'aversario, qui nasce vn dicie nelle intersegatio dell'onbre perche c6po I4 ste per neciessita vedi li due lumi causa d'esse obre, e per J 5questo tali onbre si debbono annullare; concio l6 siache dove no vede li due lumi, noi diciamo 1' obra essere ^senplicie, e dove vede v solo de' due lumi diremo tal'onbra l8 esser coposta, e dove vede li due lumi, essere obra ^annullata, perche dove vede li due lumi, no 20 si 6bra di nessuna sorte, ma solo gienera

delli

ture of light and shade and simple shadows are simply darkness. Hence, of the two lights n and o, one falls
side,

on the compound shadow from one and the other on the compound
side, but where they as at a b; therefore

intersect
it

shadow from the other no light falls,

is

simple shadow.

Where

there

is

compound shadow one

and

light or the other falls; here a difficulty arises for adversary

my

since he says that, where the compound shadows intersect, both the lights which produce

the shadows must of necessity fall and therefore these shadows ought to be neutralised;

2I circudatore esser vero 22 il Qui rispode detto d' esso aversario, il quale sol fa mentione di quella veri 2 3ta ch'e I suo fauore, ma se vi agivgnie il rimanete, egli cocludera 24 esser vera la mia proposta, e questo e 25 che, se vedendo li due lumi in tale interse 26 gatione, tali obre sarebbono annullate';

copone

la chiarezza del
si

capo

inasmuch as the two lights do not fall there, say that the shadow is a simple one and where only one of the two lights falls, we say the shadow is compound, and where both the lights fall the shadow is neutralised; for where both lights fall, no shadow of any

we

delle obre;

kind

is

limiting

what

my

produced, but only a light background Here I shall say that the shadow. said was true: but he adversary
such
truths

only mentions favour; and if conclude that

that
is:

as

are
is

in

his

we go on

to the rest he
true.

must

my
if

proposition

And
the

That

both

lights

fell

on

31. 184. 2.

ettutto. 32. dellaltro

ecqua tanto.
3.

33. dosschurita.

35. ettanto.

36. allato seriore.

5.

37.

sechodo.
6.
. .

interseghatione
.
.

coposste.
8.
.

chosi in a h he
9.
.

g.

4.

intersegha.

composste.

risspossta.

7.

conposste son
1.2.

misste
nasscie.

edidisscuro.

osscurita adduque.
. .

ellaltro.

10.

conposste.

n. seghationi

essenphcie.
. .

ollaltro

noi dicia. 17. senplicie chausa. 15. annulare [sima] concio. 16. novede chopo. 14. sta 21. circhudatore. 23. se ciarezza del chSpo. 20. soli eduve vedi vsol de due lumi diriStal. 18. chSpossta 28. vedessino. 29. vede. tale. 27. Quando. uagivgnie il rimanete e chScludera. 24. ecquesto. 25. chesse. 26. ghatione
13. interseghatio
.

104
2?

THE THEORY OF THE ART OF PAINTING.

28

[185.

186.

questo cofesso esser vero, quando obre no vedessimo nel medesimo

le
2

due

9sito,

point of intersection, the shadows neutralised. This I confess to be true

of]
the two

would be
if

[neither

3 lume, perche se dove vedi vn'obra e vn obra coposta, e dove 3'vedi due si gienera obre e due lumi simili, no si pu^ 2 6 variare

parte alcuna essa obra, 33essendo le obre 54 equali e equali li Iu mi, e questo si prova
in

shadows fell in the same spot; because, where a shadow and a light fall, a compound shadow is produced, and wherever two shadows or two equal lights fall, the shadow cannot vary in any part of it, the shadows and the lights both being equal.

de ^sproportione dove dicie, tal proportio3 ne a senplicie potetia co senplicie

nell'ottava
6

And
sition]

this

is proved in the eighth [propoon proportion where it is said that if

a given quantity

has a single unit of force

resisted 7tia

quale a duplicata potetia co du-

plicata resistetia.

and resistance, a "double quantity will have double force and double resistance.

Br.

M. 2430)

185-

DEFINITIONS.

DEFINITION.
fatta

La intersegatione n e create dal lume *b, perche nera 1'onbra x b e 1'obra * la e fatta intersegatione
2

dall'onbre

tale

lume b

gie-

s b, ma dal lume

a che gienera M'obra

a.
6

a e Pobra

due lumi a due obre n 7 in u medesimo tepo, e oltre a di questo se ne gienera due altre di 8 senplicie onbre cioe r o, nelle quali no uede nes^su de due luminosi. 1 I0 tanto sono li gradi della oscurita che acquista 1' onbre c6po jl ste, quanto saran minori li numeri de' luminosi che la vedono.H
se tu scopri
si
li

Ma

b,

allora

gienera

le

The intersection n is produced by the shadows caused by the light b, because this b, light b produces the shadow x a and the shadow s b, but the intersection m is produced by the light a which causes the shadow s a, and the shadow x a. But if you uncover both the lights a b) then you get the two shadows n m both at once, and besides these, two other, simple shadows are produced at r o where neither of the two

lights falls at all. The grades of depth in compound shadows are fewer in

proportion

as

the

and crossing them are

1

lights falling on, less numerous.

Br.

M.

248^]

86.

Perche la intersegatione n essendo co2 posta di due c6 poste obre diriuatiue gie-

Why

the

intersections

at

n being com-

posed of two

compound derived shadows,

30. coposita.

31.

vede
n
.

"simili".
3.

32.

alchuna.
4.

34. ecquesto.

37.

co dup "ta".
5.

185. 2. interseghatione

cflfatte.

ellobra.

interseghatione
it. site
.
.

effatta.
. .

sa he lobra. .6.

Massettu

gienera.

7.

nu me-

desimo

addi

gienera.

10. osscurita.

numere

chella \\\\dano.

I8/.J

THIRD BOOK ON LIGHT AND SHADE.

.

105

nera onbra coposta

s

^ e no senplicie come fan 1'altre intersegationi dell obre copos^te.

Questo accade per

6

la 2 a di

questo che

di-

cie U

intersegatione dell' obre dirivativenata dalla ^ intersegatione delli obrosi collunali alluminati da u sol Iu 8 minoso non gienera onbra sepliciell; e questo nascie 9 per
la

La

plici rita

prima che dicie la intersegatione delle senI0 onbre diriuatiue mai acquista oscu:

perche
giunte

I:

tutte le

somme

oscurita in-

sieme

non

ac I2 quistano

maggiore

oscurita che vna sola, perche se le mol^te somme oscurita crescessino oscurita nelle lor dup^plicationi, esse non si potrebbino no-

forms a compound shadow and not a simple as happens with other intersections of compound shadows. This occurs, according nd to the 2 [diagram] of this [prop.] which The intersection of derived shadows says: when produced by the intersection of columnar shadows caused by a single light And does not produce a simple shadow. st this is the corollary of the i [prop.] which The intersection of simple derived says: shadows never results in a deeper shadow, because the deepest shadows all added together cannot be darker than one by itself.
one,
if many deepest shadows increased in depth by their duplication, they could not be called the deepest shadows, but only part-shadows. But if such intersections are illuminated by a second light placed between the eye and

Since,

minare oscurita so'Sme

Ma
e
T

se

tali

parte di oscurita; interse l6 gationi sara alluminate

ma

da un secondo lume po I7 sto

li

infra 1'ochio l8 6bre sara corpi intersegati, allora tali obre conposte e avra vniforme oscurita

the

intersecting

bodies,

then those shadows

9cosi nella intersegatione come nel rima20 nete; per la prima e seconda di sopra
le intersegationi i k no si raddoppiano di 22 oscurita elle si raddoppiano di qua tita,
2I

would

become compound shadows and be

come

ma
2

in

questa 3

le intersegationi

gn

si

rad-

^doppia

di oscurita e di quantita.

uniformly dark just as much at the interIn the i st section as throughout the rest. and 2 nd above, the intersections i k will not be doubled in depth as it is doubled in quanBut in this 3 rd at the intersections g n tity. they will be double in depth and in quantity.
,

C. A. 187 lla; 562 a]

187.
2

COME
3

.E

DOVE L'OBIETTO OSCURO

si

MISCHIA

COL LUME DIRIUATIVO DEL CORPO LUMINOSO.

HOW AND WHEN THE SURROUNDINGS IN SHADOW MINGLE THEIR DERIVED SHADOW WITH
THE LIGHT DERIVED FROM THE LUMINOUS BODY.

^L'onbre

diriuative delle

parieti

oscure

The derived shadow of

on
of

the

scolaterali dello splendore della finestra son

6 que! le che colle lor varie oscurita si mischiano col 7 lume diriuativo d'essa finestra e

window

bright are what mingle their various degrees shade with the light derived from the

each

side

of

the

dark walls light of the

co uarie oscu 8 rita tutto

nel
:

lo

tingono eccietto

lume massi 9 mo c provasi e sia d a I0 1' onbra primiti va la quale tutta vede e fa
oscuro colla sua obra "diriuatiua
il

puto

e,

come

si

dimostra per

il

Tangolo e vede tutta la il puto v e veduto dalla oscur^ita a s, parte del ado. per esser piu il tutto che
186.
i.

# e d del quale basa ^oscura d a c,

I2

window; and these various depths of shade modify every portion of the light, except where it is strongest, at c. To prove this let d a be the primary shadow which is turned towards the point e, and darkens it by its derived shadow; as may be seen by the
a e d, in which the angle e faces triangle the darkened base d a e; the point v faces
the

dark shadow a s which is part of a and as the whole is greater than a part,

d, e

interseghatione
7.
.

choposta

cho.

2.

posste

choposta.
.

3.

interseghatio
10.

chopo.

4.

site.

5.

achade.
12.

6.

inter-

seghation.
osschurita
16.

interseghation chollunali.
selle. 13.

9. la

p'che

interseghatione.
14.
. .

osschurita.
. .

u. some
15.
19.

osschurita.

magiore

some osschurita
2*

cressciessino osschurita.
elli

plichationi
18.

osscurita.
.

disschurita

Massettale.

ghatione
20.
.

sechondo.

17. infrallochio

chorpi interseghati
21.

tale.

ara

osscurita.

chosi
22.

interseghation
. .

chome.

per la p* e
.

disopra

interseghatio.

radoppiano disscurita chomelle se radoppia.

chol

quessta

inter -

seghationi
187.

ra.

24. disschurita eddi.

2.
.
.

come
[cheso

[1]

e dove lobbietto osscuro.

5. finesstra.

si

missta colla suobra diriuatiua.

8.

3.

lumi "noso".
12.

4.

lonbra dmuativa
. .

osscure

la].

6.

cholle

misstaro.

tinghano.

9. essia.

10. effa.

langholo.

14. eser

chella.

15. osscu.

187.

The diagram on
r.

PI.

IV, No.

belongs to

this

passage;

but

it

must be noted that the text

side. explains only the figure on""the right-hand

VOL.

io6
5

THE THEORY OF THE ART OF PAINTING.

[l8 7

sara parte e, che vede il tutto della basa, oscu l6 ro che v che ne vede parte; mepiu
diate la coclusio'^ne
t

di

sopra
'1
'

alia

figura,
la

sark

meno

os l8 curo che

v e e parte della similmete succede / meno o 20 scuro del /,

del /
y

v perche ^ basa del

t

basa

which faces the whole base [of the triangle], be in deeper shadow than v which only faces part of it. In consequence of the conclusion [shown] in the above diagram, / will be less darkened than z/, because the base of the / is part of the base of the
will

perche
del

e parte della ba 2I sa /-e'l c e termine del'obra dirivatiua

la

basa del

A/

e pri"cipio
alluminata.

massimo

della

massima parte

v; and in the same way it follows that-/ is less in shadow than /, because the base of the /. / is part of the base of the And c is the terminal point of the derived shadow and the chief beginning of the

highest

light.

17.

fighura

[c piu] sara.

18.

churo.

19.

essimilmete suciede

meno

os.

FOURTH BOOK ON LIGHT AND SHADE.

I.i

37 e\
2

188.

La stanpa dell' onbra di qualuque cor po uniforme grossezza mai sara simile ^al corpo donde ella nasce.
di
c. A. 184

The form of the shadow cast by any On the shape body of uniform density can never be the of cast sha same as that of the body producing it. (188-191).
~

6-,

5553]

189.

sulla pariete la

Nessuna obra separata potra stampare uera forma del corpo obroso, se il cietro del lume no fia equidistate dalli

No cast shadow can produce the true image of the body which casts it on a vertical
plane unless the centre of the light is equally distant from all the edges of that body.

stremi d'esso corpo.

A.

a]

190.
If a a room,

il

Se la fmestra a b mada per se in casa cresciera codesto sole la gra 2 dezza sole della finestra e diminvira 1' onbra
,

window a b admits
the

of

the sunlight into sunlight will magnify the size the window and diminish the

che quado detto omo acco^stera quella obra di se persa a quella che porta la uera gradezza della finestra, vedra 4 in sul contatto dell' onbre perse e codell'

omo

in

modo

shadow of a man in such a way as that when the man makes that dim shadow of himself, approach to that
which defines the real size of the window, he will see the shadows where they come into contact, dim and confused from the strength of the light, shutting off and not allow-

fuse dalla potetia della luce chiudere e no laSsciare passare i razzi solari, e fara 1' onbra fatta dall' omo

**

cotatto 6 lo effetto e figurato apputo. sopra

sul detto

che

qui

di

ing the solar rays to pass; the effect of the shadow of the man cast by this contact will be exactly that figured above.

188. 2. grosseza.

3.

nassciesi.
2. sel
.
.

189.

stapire suli.
sella
. .

alii.

190.

i.

chasa

desto sole.
5.

2.

deza

imodo checquado
acjeffara.
6.

acho.

3.

acquella

gradeza

vedera.

4.

chontatto

civdere e no [po]

la.

razi solari

[chome

effigurato aputo.

188.

Comp.
is

the drawing on

PI.

XXVIII, No.

5.

190. It

scarcely possible to

of this sentence with strict

render the meaning accuracy; mainly because

is

In the very slight original important part line 4. sketch the shadow touches, the upper arch of the window and the correction, here given is perhaps not justified.

the grammatical construction

defective in the most

108

THE THEORY OF THE ART OF PAINTING.

75*1
si

194.

C. A. 237 II;

I91

L'onbra no

dimostrera mai d'uniforme

2 loco dove essa si taglia se tale oscurita nel 3 loco non e equidistante dal corpo luminoso;

che diceTI quell' obra provasi per la ; * dimostrera chiara o piu oscura che fia piu circunda s ta da capo piu oscuro o piu chiaro, 6 avra per la ottava di questol quel campo le sua parti tanto piu ?scure o piu chiare 8 sara piv remoto o piu vicino al
a

si

A shadow is never seen as of uniform depth on the surface which intercepts it unless every portion of that surface is equidistant from the luminous body. This is th which says: The shadow proved by the ;
will

quato egli distancorpo luminoso- ell infra li siti d' equal <>tia dal luminoso quel si dimostrera piu alluminato I0 che ricieve li razzi luminosi infra angoli piu equali, "senprel 1'onbra segnata I2 si dimoin qualunche inequalita di sito trera colli sua vari termini equali al corpo

appear lighter or stronger as it is surrounded by a darker or a lighter background. And by the 8 th of this: The background will be in parts darker or lighter, in proportion as it is farther from or nearer to Of various spots the luminous body. And equally distant from the luminous body those will always be in the highest light on which the
:

^onbroso, se 1'ochiosi pone dove

del luminoso.
T*

fu

il

cietro

rays fall at the smallest angles: The outline of the shadow as it falls on inequalities in the surface will be seen with all the contours similar to those

QuelF onbra si dimostra piu oscura che I6 l'6bra e piu remota 'sdal suo corpo obroso; nata dallo '?a se equidistate corpo c d, 6 l8 broso a b, no si dimostra ^equale in 20 oscurita per esse re in capo di uarie chiare 2 ^ze.

of the body that casts it, if the eye is placed just where the centre of the light was. The shadow will look darkest where it is
farthest

dow

from the body that casts it. The shacast by the body in shadow a b, ,

is equally distant in all parts, is not of equal depth because it is seen on a back ground of varying brightness.

which

C. A. I24<i; 3830) I
51

192.
di

termini
fia

''""adow?
(192-195)-

piu cussione
ginale.
C. A. 3630;

distinti

quella obra diriuativa sadella quale la sua per,

The edges of
most
distinct

a derived shadow will be

it

where

is

cast nearest to the

piv propiqua

all'

ombra

ori-

primary shadow.

193-

dall'obra

piu 1'onbra diriuativa si primitiva, piu si uaria 3 primitiva co! li sua termini.

Quato

remove da essa

As
tant

the

derived

shadow

gets

mqre

dis-

from the primary shadow, the more the cast shadow differs from the primary shadow.

C. A. 146^; 4340]

194.

D
2

OBRE CHE MAI SO TERMINATE.

il

OF SHADOWS WHICH NEVER COME TO AN

The
light

END.

Quato
5

lume sara maggiore

li

del corpo
di tal

obroso,

tanto

termini dell'onbre

corpo
191.
i.

sara piu confusi.

duniforme osscurita.
5.
.
.

greater the difference between a and the body lighted by it, the light being the larger, the more vague will be the outlines of the shadow of that object.
.

dimossterra mai

[de]

2.

locho

settale

locho

al.

3.

chorpo.
8*.
.

4. 6.

dimosstera
quessto
9.
.

chiarara
.

oppiu osschura cheffia circhunda.

.

ara

parte.

7.

oppiu

osschuro oppiu chiaro [ecqua] per la chapo infralli esara "piv remoto o" piu vicino [orremoj. 8. to al
. .

chanpo[sia]
.
.

disstan.

tia al

dimossterra.

10. angholi.

12.

dimossterra cholli.

13. sellochio si po.

14.

dimosstra

osscura.

15.

chorpo.

17. asse equidisstate

chorpo.

19. iscurita.

20.

chapo.

193. i. disstinti.

193. i. dellobra.

2.

chol.
7.

194. 2. magore.

6. ara.

cofusil termini

percu.

191.

Compare

the three diagrams

on PL VI, no

which, in the original accompany this section.

PL, VI

p.

Eude

1956

FOURTH BOOK ON LIGHT AND SHADE.

The derived shadow will be most confused towards the edges of its interception by a plane, where it is remotest from the
body
casting
it.

li

Quell'obra dirivatiua avra piu ^cofusi termini della sua percus 8 sione nella pa9 e riete, la quale piu remota dal suo corpo obroso.

W.

232^]

195-

dell'

2 termini quella che fa li obra cofusi e in^gnoti? 4 Se'l'e possibile di dare termisni spediti

Che causa e

What

is

the

outlines of the

Whether
definite

it

cause which makes the shadow vague and confused? is possible to give clear and

e noti

alii

cofini

delle obre.

outlines to the edges of shadows.

Ash.

I.

196.

QUEL CORPO CHE

3

E PIV PROPIQUO 2 AL LUME FA MAGGIORE OBRA, E PERCHE?

obietto
fia di

THE BODY WHICH

If an

IS

NEAREST TO THE LIGHT

CASTS THE LARGEST SHADOW, AND

light is very close to

WHY?
<?n the reucast

antiposto a uno partipropiqua vHcinita vedrai a quello fare obra gradissima nella cotra5 posta pariete e quato piv allotanerai detto obbietto dal Iu 6 me, tato si diminvira la forma
culare

Se uno lume

object placed in front of a single it you will see that it

shadows
I97)-

casts a very large shadow on opposite wall, and the farther you remove the object from

( I9<5 -

the light the

smaller will the image of the

d'essa obra.

shadow become.

PERCHE L'ONBRA MAGGIORE CHE LA SUA

8

WHY

CAGIONE
9

SI

FA DI DISCORDATE PROPORTIONE.

A SHADOW LARGER THAN THE BODY THAT PRODUCES IT BECOMES OUT OF PROPORTION.

La

discordantia della proportione delI0

l'obra grade piv che la sua

cagione nascie,
1'

il lume sendo minore che no puo esse^re di equale distatia

perche

obietto,

alle stre-

disproportion of a shadow which is than the body producing it, results from the light being smaller than the body, so that it cannot be at an equal distance from the edges of the body[n]; and the
larger

The

mita
I2

d' esso obbietto, e quella parte ch' e piv distate piv cresce che le propique, e pero
. . .

portions which are most remote are made this larger than the nearer portions for

piv cresce

reason [12].

PERCHE L'ONBRA MAGGIORE CHE LA SUA

CAGIONE

WHY

^A

TERMINI COFUSI.

A SHADOW WHICH IS LARGER THAN THE BODY CAUSING IT HAS ILL-DEFINED OUTLINES.

15 Quell' aria che circuscrive il lume e l6 quasi di natura d'esso lume per chia rezza

is

The atmosphere which surrounds a light almost like light itself for brightness and

195. i. 196. i.
8.

chausa ecquella cheffa. che piv. 2. alume

.

2.
.

chofusi.
3.

4.

selle.
i
.

5.
.

ennoti.
i

magiore.
9.

se

partichulare.
. .

4.

acquelo
. .

chotra.
ecquella.

5.

ecquato.
13.

7.

magiore
15.

chella.

chagione

dischordate.

dischordantia.

10.

chagione

ilume

po.

n.

magiore.

circhuscriue

196.

il.

12.

H. LUDWIG

in

his

edition

of the

old copies, in the Vatican library in which this chapter is included under Nos. 612, 613 and 614
alters this

passage as follows
cresce che le distanti,

propinqua piu

quella parte ctfe piu although the Vatican

for instance, that on PI. XXXI No. 3. the spot where the light is that illuminates the and that the line behind figure there represented, the figure represents a wall on which the shadow of

Supposing
is

copy agrees with the original MS. in having dutante in the former and propinque in the latter place. This

the figure is thrown. It is evident, that in that case the nearest portion, in this case the under part of the and the rethigh, is very little magnified in the shadow,

supposed amendment seems

to

me

to invert the facts.

moter

are parts, for instance the head,

more magnified.

THE THEORY OF THE ART

e quato piv si allotana, piv 17 cosa che fa perde sua similitudine, e la grande obra e vicina al lume e truovasi allue per colore,

<>1

PAINTING.

'197.

198.

minata dal lume

quest' aria lascia
i

l8

termini

e dal'aria luminosa, ode confusi del' obra.

colour; but the farther off it is the more it An object which loses this resemblance. casts a large shadow and is near to the light, is illuminated both by that light by the lu-

minous

atmosphere;

hence

this

diffused

light gives the

shadow

ill-defined edges.

E.

197.

Quel luminoso
fa
^li
5

lunga e stretta figura termini dell' obra diri 4 vativa piv condi
il

narrow

fusi

che

lume sperico, e
alia
li

questo e quel

che c67tradicie

propo
I2

sitione sequete:

body which is long and shape gives more confused outlines to the derived shadow than a spherical light , and this contradicts the proposition next following: A shadow will have
luminous
in

QueM'obra avra
il

termini

I0

piu noti che

fia

its

outlines
it

piu "vicina all'onbra pri

'-Jcorpo obroso,

mitiva,

o voi dire

as

is

more clearly defined in proportion nearer to the primary shadow or, I

ma
l6

di

questo e cavsa la

'5

figura luga del

luminoso a c ecc.

should say, the body casting the shadow; [14] the cause of this is the elongated form of the luminous body a c, &c. [16].

E. 32*1

198.

DE
2

OBRE CORRO1TE.

OF MODIFIED SHADOWS.
Modified shadows are those which are cast

Obre
4

Effects on

vedute

corrotte so dette ^qiielle che so da parieti chiare o alstro luminoso.

on

light walls or other illuminated objects.

b\h e

h ad
tone

back ground.

6 l Quell'obra si dimostra 7 piu oscura che e in 8 canpo piu biaco. U 9 Li termini di quell' 610 bra diriuatiua sara piu noti IJ che fien piu

A
to the

shadow looks darkest against a

light

background.

The

outlines

obra primitiva.il ^L'obra dirivativa I4 avra li termini del is la sua impressione pi l6 v noti, li quali si ta'^gliano infra l8 ango li piu equali nella '9 sua pariete.
vici

I2

ni

all'

'Quella parte d'u2I

34
35
36

na medesima obra
si

e quello obietto

will be clearer as primary shadow. A will be most defined in shape where it is intercepted, where the plane intercepts it at the most equal angle. And the Those parts of a

shadow

derived they are nearer derived shadow

of

shadow
will

22

dimostrera piv 2 'oscura che avra cotra se piu oscuri 2 si dimosobietti; 26 strera me24

oscuro 37 che fia

38

appear darkest which have

larger the

surface

di

mag-

27

no oscura che fia 28 veduta da obbiet2

39giore qu-tatita, piu 4I oscure42 ra 1'obra

43

darker objects opposite to them. And they will appear less dark when they face
lighter objects.

of the dark
object the more
it

will

darken

^to piu chiaro; 3quello obietto chia3 1 ro che fia maggiore, pi32

diriuati-

And

the larger

the derived

44

va nel
suapercussione.

^sito della
46

the light object opposite, the more

the

shadow
where
interit

is

v rischiarera;

shadow

will

47

be lightened.

cepted.

ilume ecquasi
197.
i.

percia.

16.

reza

chalore ecquato
chonfusi.
5.

ella.

17.
6.

alume

aluminata da.
. .

18.
7.

chonfusi.
9.

lungha.

2.

esstretta

fighura.

4.

spericho.

quessto ecquel

cho.

traddicie.

ara.

ij.

chorpo.

14.

quessto echavsa.
chorrocte.
2.

15. fighura

lugha.
3.

198.

i.

obra chorrotte.
15.

chesso.
17.

4.

pariete.
19.

0.

dimosstra.
22.

7.

osscura.

8.

chanpo
23.

biancho.

10. 24.

bra "diritrasse
33.
.

uatiua" sara.
osscuri.
25.

14. ara.

inpresione.
|piu]

angho.
27.

par"i"ete.
30.

dimossterra.
31.

osschura che ara.

32.

Essi.

26.

sterra

me.

osschura.

cquello.
45.

cheffia magiore.

rissciarera.

[ech].

35. osschuro.

37. cheffia.

38 ma.

39. givre q.

41. osscure.

perchu.

197.

1416. The

lettering refers to the

lower diagram,

PI.

XLI, No.

5.

199-

FOURTH BOOK ON LIGHT AND SHADE.

Ill

Ash.

I.

13 6}

199.
1

OPENIONE D'ALCUNI CHE UN TRIAGOLO NO FACCI IN VNA PARIETE ALCUN OBRA.

^ Sono stati alcuni matematici che anno tenvto per fermo che uno triagolo, che abbia ^la basa volta verso el lume, no facci in vna pariete alcuna obra-, la qual s C osa prouano diciedo: cosi, nessuno corpo spe6 che lume puo givgnere alia rico minore

OF THE OPINION OF SOME THAT A TRIANGLE CASTS NO SHADOW ON A PLANE SURFACE.

Certain mathematicians
that a triangle, of to the light, casts

have maintained A which the base is turned P r no shadow on a plane;

disputed P sition -

and

this

they

spherical reach the

lines

body smaller than

prove by saying [5] that no the light can middle with the shadow. The

meta col' obra le linie radiose sono 7aduque poniamo il lume sia g h e '1 triagolo sia / m n e _ dica 8 no il la pariete sia i k lume g vedere la faccia del triagolo / n e la parte della ^e cosi Ji vede pariete i q
: ;
:

rette,

of radiant light are straight lines [6]; therefore, suppose the light to " - be g h and the triangle I m n, and let the plane be i k; they
say the light

falls

on the side

of the

come

la

faccia

e poi

vede -m-n-e

and the' , triangle / portion of the plane / q. Thus again h like g falls on the side
/ m, and then on m n and the plane / k', and if the whole plane thus faces the lights g it is evident that the triangle has no //, shadow; and that which has no shadow can cast none. This, in this case appears cre-

r e se I0 essa 5 e vista dal lume g h couiene essere il triagolo saza obra, e che "non a obra -no la puo dare: la qual cosa

k la pariete tutta la pariete

pare
*

questo

caso credibile se'l triagolo

,

ri-p-g-nd fusse visto da 2 lumi -g- h ma-z'-/-e cosi g-k-n.6n e ciasuno per se 3 visto se no da uno sololume-, cioe i-pno puo esser visto da h g\ k no sara mai *4 visto da g aduque / q fia piv chiaro il doppio che dua visiui spati che tega
J
-

But if the triangle n p g were not illuminated by the two lights g and h, but by / / and g and k neither side is lighted by more than one single light; that is / p
dible.
is

d'

obra.

k will never be lighted be twice as light as the by q two visible portions that are in shadow.
invisible to

g and
will

g; hence

C. A. 30,?;

2OO.

1 3 Quel loco e piv obroso che da mag^gior di razzi obrosi veduto fia Ifsquel loco che sara 6 percosso da piv g?rosso angolo I0 a fia fat 8 to da razzi obrosi, 9 fia piv scuro; di doppia osc^urita che b perch I2 e da I5 14 doppia base ^nascie in pari dist atia 1 quel l6 loco sara piv luminoso che da mag gior somma di razzi luminosi ripercosso fiat I7 de il principio dell' onbra d /-, e tignie poco l8 d /; e piv 1' onbra in- c- d-e- e mezza tignie ^nella percussione b di -f e tutto lo intervallo 20 obroso e interamete tignie di se il loco a.

A
large

spot

is

most

in

the

shade when a On

the reia-

soma

number of darkened

spot which widest angle and by darkened rays will be most in the dark; a will be twice as dark as b, because it originates from twice as large a base at an equal distance. A spot is most illuminated when a large number of luminous

The

rays fall upon it. ca^tfhadowl 2 2 )receives the rays at the (2

rays fall upon it. d is the beginning of the shadow df, and tinges c but a little; d e is half of the shadow <// and gives a deeper tone where
it

is

cast

shaded space

at b than at f. And the whole e gives its tone to the spot a.

199.

i.

dalchuni cun

faci.

3. Estati
7.

alchuni
8.

che
. .

triagolo cheabi.
9.

4.

facinvna.
10.

5.
.

6.

po

[avere]
12. fussi.

givgnere.
13.

ilume.
.

facia

dela.
. .

facia
. .

esse.
. .

esse

cosa [riprouo I questa forma] prouano. dalume obreche. n. nona obr

.
.

po.

da

solo
delli
.

po.

14. vsto

da

charo

dopio

spatio.
2.

120

i.

ettinta
5.
.

[del cholore]

chontra se posti chorpi obrosi e luminosi.

6.

della
10. 19.

chiareza osscurita.
12.
.

3.

Quelocho

ma.

4. razi.

qel locho
.

chessara.
.
.

perchosso.
17.

7.

fa.

8.

razi.
.

9.
.

schuro.
.

dopia ossc.
perchussione

dopia ossc.
.

13. nasscie.

15.

locho

ma.

16. razi

riperchosso.

pocho.

18.

he

meza.

ettutto.

20. illocho.

199'

56.

This

passage

is

so

obscure that

it

200.

The diagram here

2.

referred to

is

on

PI.

would be rash to offer an explanation. seem to have been omitted.

Several words

XLI, No.

112

THE THEORY OK THE ART OF PAINTING.

201. 202.

Tr.

201.
,|

1
in

Tato quato a b d 2 tanto a n

3

etra
fia

A
c

will

be darker than
to

in

proportion

the

piv scuro che

r.J

number of times
goes into c d.

that a b

Ash.

I.

28/.]

202.

fatta dall'obbietto sosara minore che la sua ca3 gione, tanto esso obbietto fia alluminato da piv deboli razzi luminosil *d e &

TIQuanto 1'onbra
la pariete
2

pra

The shadow cast by an object on a plane will be smaller in proportion as that object is lighted by feebler rays. Let d e be the object and d c the plane surface; the

L.

FIFTH BOOK ON LIGHT AND SHADE.

Ash.
I.

203.

MODO DOVE DEBBONO

3

TERMI 2 NARE FATTE DALI OBBIETTI.

L'

ONBRE

OF THE WAY

IN

WHICH THE SHADOWS CAST

the mountain here figured, light is at the point a,

BY OBJECTS OUGHT TO BE DEFINED.

If the object
is

obietto fia questa motagna qui e 1 lume fusse il puto figurata d-e sia ^dico che da- b no fia lume se milmete da c no per ra s zzi reflessi e questo nasce che i razzi luminosi no 6 s'adoprano se non per liniasecond! e quel medesimo fanno recta
1'
'

Se

principles of
(

and the

I say that

cf

from b d and also from there will be no light but from

rays.

ct
2 j,"

reflected

And

this

results

from the fact that rays of light can only act in straight lines ; and the same is the case with the secondary
.

razzi

che sono

reflessi.

or reflected rays.

W.

232-}]

204.

Li termini dell' onbra dirivativa son 2 circundati dai colori delli obbietti allumi3nati circustati 4 al corpo luminoso, causatore di essa S 6bra.

The edges of the derived shadow are defined by the hues of the illuminated objects surrounding the luminous body which
produces the shadow.

Ash.

I. .21

a]

205.

DE
2

RIVERBERATIONE.

OF REVERBERATION.
da corpi semidesa
.

Le

riverberationi sono cavsate

qualita
le

di

chiara

di

piana

superfitie,

3quali, percosse dal lume a similitudine del balzo della palla, lo ripercuotono nel primo obbietto.

is caused by bodies of a On nature with a flat and semi opaque bright surface which, when the light strikes upon

Reverberation

rever

them, throw it back again, like the rebound of a ball, to the former object.

203. 3. fussi.

4.

essimilmete.
3.

5.
li

nasscie.

6.

fano

razi chessono.
4.

304.
205.

2. 2.

circhundati de.

nati
3.

[quali circudano] circhusstati.

chausatore dessa.
. .

chavsate
I.

chorpi.

perchosse dal lume quelo assimilitudine del bazo

riperchuotano.

5.

chorpi desi

si

vestano

VOL.

THE THEORY OF THE ART OF PAINTING.

DOVE NO PUO
s

[206. 207.

ESSERE RINVERBERATIONE LUMINOSA.

clesi

WHERE THERE CAN

BE NO REFLECTED LIGHTS.

Tutti

corpi

rivestono

le loro su6

i di lume-eobre; perfitie di uarie qualita lumi-sono di due nature , 1'uno si domada

^ originale dico originale 1* altro derivatiuo essere quello che diriva da vapa di foco o dal lume del sole 8 o d'aria lume dirivatiuo fia il lume reflesso ; ma per tornare alia 9 difinizione dico che riverbera; :

All dense bodies have their surfaces occupied by various degrees of light and shade. The lights are of two kinds, one called original, the other borrowed. Original light is that which is inherent in the flame of fire or the light of the sun or of the atmosphere. Borrowed light will be reflected
light;
I

promessa

tione luminosa

corpo
boschi

che
,

fia

lochi scuri

parte del volta a corpi obrosi, come prati "di varie altezze d'erbe
fia
, ,

no

da quella

I()

benche la verdi o secchi i quali I2 parte di ciascu no ramo volta al lume originale si veste della qualita d'esso lume , niete I3 di meno e' sono tate 1'onbre fatte da ciascuno ramo per se e tate 1' onbre fatte dal^Funo ramo sulP altro che in soma ne risulta tale oscurita che il lume
v'e

but to return to the promised definition: say that this luminous reverberation is not produced by those portions of a body which are turned towards darkened objects, such as shaded spots, fields with grass of various height, woods whether green or bare ; in which, though that side of each branch which is turned towards the original light has a
share of that
cast by
light,

nevertheless the shadows

each branch separately are so numerous, as well as those cast by one branch

on the
is

per niete-, onde no possono simili alcuno dare a corpi oppositi obbietti
'5

others, that finally so much shadow the result that the light counts for nothing.

Hence

objects

of

this

kind

cannot
objects.

throw

lume
28-5]

l6

riflesso.

any reflected
206.

light

on opposite

PROSPECTIVA.
Reflection

PERSPECTIVE.
object mirrored in water in small avelets, will walways be larger than the external obin

w
(rf.

r
>* ).

L'onbre over le cose ^spechiate nell'acqu*a movete, cioe co5m' onde piccole, se8 6 ? che la cosa di fo ri, pre sara maggiori

The shadow or
that
is

motion,

to say

donde nasce.
Br.

ject

producing

it.

M. It

93/5] 93 ]

*W
e

Inpossibile

che
sia

la

cosa
in

spechiata
figura
al-

sopra

dell'acqua

simile

It is impossible that ah object mirrored on water should correspond in form to the

1'obbietto che

3 si

spechia, essendo
4

il

centre

dell'ochio
le loro.
ii.
7.
.

sopra
dicho
.

la

superfitie
8.
.

dell'acqua.
Hume
.

is

object mirrored, since the centre of the eye above the surface of the water.
dicho.
ij.
.

focho o dalume.
.

refresso.
12.

9.

dacquella.
.
.

10.

chorpo cheffia
14.

achorpi

chome.
15.

alteze
. .

bossci
.
.

verdi

ossechi

ciasscu.

vessta.

ciasscuno

ettante.

isscurita

che lume.

po

simili

chorpi
3.

alchuno.
5.

16. refresso.
6.

306.

2.

chose.

achu.

pichole.

magiorc.

7.

chella chosa.

8.

nassce.

207.

stands

for

ockio

[eye],

for aria [air],

original
line
13.

MS. the second diagram

is

placed below

for acqua [water],

for cattto [cathetus].

In the

2O8

2IO."

FIFTH BOOK
di

ON LIGHT AND SHADE.

This is made plain in the figure here given, which demonstrates that the eye sees the surface a b, and cannot see it at //, and at r t;
it

sQuel che
6

sopra

si

manifesta nella

da parte, nella quale si uede F oc^chio uedere la superfitie a d, e non la puo 8 poi vedere in-//-e in r t, vede 9 la superfitie. del simulacro in r t e non la 10 vede nella cosa reale c d: adunque "e inpossibile vedere quel ch'e detto di sopra, 12 se Fochio non e situato nella superfitie dell'a^cqua, come si mostra qui di sotto.
figura
fatta qui

sees the surface of the

image
real

at

t,

and
d.

does

not
it

see
is

it

in

the

object c

impossible to see it, as has been said above unless the eye itself is situated on the surface of the water as is

Hence

shown below [13].

S.

K. M.

III.

37 6]

208.

SPECHIO.

THE
If the
size

MIRROR.
is

Se la alluminata fia della 3 gradezza della cosa allumi^nate e di quella dou' esso si reflette tal propor 6 tione avra la
lume 8 mezzano, quale avra esso lume secodo 9 col primo, essedo essi corpi
qualita del
7reflesso

illuminated object

of the same

Experiments

as

the

luminous body and as that in

(2

nbn
8

which the
of

lume

col

light is reflected, the amount the reflected light will bear the same

-210

)-

I0

piani e biachi.

proportion to the intermediate light as this second light will bear to the first, if both bodies are smooth and white.

W.

232*]

209.

Descrivi come nessu corpo in se e terminate nello 2 spechio ma lo termina F ochio, che detro a tale spechio 3 lo vede, inperoche,
se tu rappresenti il tuo viso neMo spechio, la 5 parte e simile al tutto, conciossiache la parte

Describe

how

it

is

that

no object has

its

limitation in the mirror but in the eye which For if you look at sees it. in the mirror.

e tutta per tutto lo spechio, ed e s tutta in ogni parte del medesimo spechio, e il simile ac 7 cade di tutto il simulacro di tutto F obietto cotra po 8 sto a quello spechio ecc.

your face in the mirror, the part resembles the whole in as much as the part is everywhere in the mirror, and the whole is in every part of the same mirror; and the same is true of the whole image of any object placed opposite to this mirror, &c.

C. A. 139^; 419-5]

210.
2

Nessuno omo vedra

Faltr'

la similitudine
3

del-

No man
man
CL
in

omo
si

sopra

lo spechio nel propio

loco
,

dove
4

riferiscie,

perche

ciascuno

proper place with regard to the objects; because every

its

can see a mirror in

the image

of another

obietto cade sopra s lo spechio ifra 6 angoli, e se F omo, che vede equali Faltro nello spechio, 7 non e posto
colla linia delle spetie, no lo vedra 8 nel loco dove cade, e s'egli entra nelle linie, 9egli occupa Faltr'omo e

object falls on [the surface of] the And if the mirror as equal angles.

one man, who sees the other in the mirror, is not in a direct line with the image he will not see it in the and if he it really falls; into the line, he covers the other gets and puts himself in the place occupied
place where

mette-se medesimo
similitudine:

I0

"

o sia

sopra lo spechio

la

sua
b
sia

man

207.

i.

chella chosa.

2. infigra.

3.

sisspechia.

4.

dellacq "a".

5.

manifessta.

6.

dapparte.

7.

po.

9- nolla.

12.

sellochio.

13.

qua
sella.

mossstra.
3.

308.

2. i. al

gradeza.
. .

4.

edidi quella douessolu.

2.
.

5. 3.

rifretta.

6.

ara.

7.

refresso

mezano.
spechio
.

8.
[il

ara.

10. ebbianchi.
.
.

209.

desscriui
fuch.5.
5.

etterminato.

mallo
.

attale.
.
.

inperochessettu rapresenti.
7.

4-

tutto ettutta] la
8. sta

essimile

chonciossia chella
locho.
4.

ettutta

losspechio.

chade
8.

di tutto
.

il

il

simulacro
9.

cStrappos.

acquale.
17.

210.

i.

vedera.

3.

chade.

6.

nelo.

7.

cola

vedera.

nelocho

esseli.

elli

ochupa.

16. tocha.

tochera

u6
1'ochio dell'amico tuo
'31'ochio

THE THEORY OF THE ART OF PAINTING.

I3

[211. 212.

dti

sia

del

tuo amico

tuo ochio; pare in -a: e

il

all'amico par ^che'l tuo sia in c '5e la IterI6 si fa in e segatione delle linee visuali tocchera 1'ochio deltocca 17 in

o be the mirror b and d your own eye. Your friend's eye will appear to you at a, and to him it will seem that yours is at c, and

by

his

image.

Let

the eye of your friend

qualuque
1'altro

the intersection of the visual rays will at m, so that either of you touching

occur

will

omo
al'
2I

che
altro

fia

aperto;

l8

Se toccherai
20

1'ochio

'sdell'altr'omo

sopra
il

lo

spechio

parrk

che tocchi

tuo.

touch the eye of the other man which shall be open. And if you touch the eye of the other man in the mirror it will seem to him that you are touching your own.

E. 2t\

211.

DELL'ONBRA o suo MOTO.

Appendix:On shadows. in movement
(211.

212).

2 obrosi che Pu dopo Paltro son . e la panete con alqua^to S p ati o s' interponghino, sponbra dell'onbroso, che sara vicina alia 6 pariete del muro, sara mobile, se P o^broso propinquo alia 8 finestra fia in moto traversale a
2

Se
.

li

p m fra
3

la finestra

essa finestra; prova^si e sia li due obrosi a b interpo I0 sti infra la finee la pari i: ete o /, con stra n I2 alquanto spatio interpo sto infra loro il quale e lo spatio a b; X 3dico che se Pobroso a si movera in'^verso s che Pobra dello obroso b, la qua'Sle e c, si movera in d.

ad

212.]
16

FIFTH BOOK ON LIGHT AND SHADE.

117

tale

anno

infra loro le predette

ve I7 locita

de' moti.
18

Ma
20

se
al

il

luminoso
dello

sara

ve I9 locita
1'onbra

moto

equale in obroso, allora

infra

1'onbroso

fieno
il

loro

di

2I se equali; 22 velocie dello 6 broso

moti

body b to c, to that moved over by the shadow d to e, the proportion in the rapidity of their movements will be the same. But if the luminous body is also in movement with a velocity equal to that of the solid body, then the shadow and the body
that
casts
if
it

luminoso sara piu

allora
il

will

move

with

equal

speed.
ra-

1'obra sara piu

tar 2 3 do

che'l

moto delmoto dello

And

the luminous

body moves more

obroso.

pidly than the solid body, the motion of the shadow will be slower than that of the body
casting
it.

luminoso fia piu tardo che 2s allora 1' obra sara piu velocie che 1' onbroso,
se
il

But

if

the luminous

body moves more

F obroso.

slowly than the solid body, then the shadow will move more rapidly than that body.

20. ellonbroso fie infralloro

ecquali.

21. Essellluminoso.

23.

da chel.

24.

Masse

chellonbroso.

25. alora

chellobroso.

SIXTH BOOK ON LIGHT AND SHADE.

C.
7

a (9*)]

213-

PROSPETTIVA.
2

PERSPECTIVE.
If you transmit the rays of the sun through a hole in the shape of a star you will see a beautiful effect of perspective in

Se

farai in

passare

razzi del sole per lo

Stella

The effect of spiracolo

6

forma

di

vedrai

belli

"ihro^T
holes
(213. 214).

effetti

di

fa tta dal

prospettiua *'m nella percussione passato sole.

the spot where the sun's rays

fall.

A. 64*]
2

214.

spiraculo puo trasmutare razzi luminosi I modo che per lunga -Mistantia-non porgino all'obietto la similitudine della lor cagione ^jnpossibile e che i razzi luminosi passati per paralello non dimostrino nelP obbietto la forma s della loro cagione; 6 perche tutti li effetti de' corpi luminosi son dimostratori delle loro cagioni la luna di forma ? naviculare passata dallo spiracolo figurera nell' obietto uno corpo naviculare. 8 Perche 1'ochio vede le cose distati
il

Nessuno

concorso

de

No small hole can so modify the convergence of rays of light as to prevent, at a long distance, the transmission, of the true form of the luminous body causing them. It is impossible that rays of light passing through a parallel [slit], should not display the form of
body causing them, since all the effects produced by a luminous body are [in fact] the reflection of that body: The moon, shaped
the
like a boat, if transmitted through a hole is figured in the surface [it falls on] as a boatshaped object. [8] Why the eye sees bodies

maggiori
riete?

die

no

le

misura

sulla

pa-

a distance, larger than the vertical plane?

at

they measure on

313. 2. seffarai
314.
i.

razi

spiracholo

vederai
.

prosspettiua [in esso sole].

2.

2.

inella perchussione.
.

[ogni spirachulo per lunga disstantia

disstantia
. .

porgie allobiecto la forma]. forma] la

.

spirachulo potrassmutare
5.

il

chonchorso
.

imodo.

3. 6.

porghino
7.

allobiecto

[la
.

chagione.

4.
. .

razi.
i

non
8.

if

wanting in the original

chagione.

chorpi

chagioni.

navichulare

spiracholo [alo] figurera

corpo.

chose.

213.

the order of the

to,

In this and the following chapters of MS. original paging has been ad-

which occur on these pages,

plained, with the exception are here given.

are hardly ever exof those few which

hered

and

is

shown

in parenthesis.

Leonardo

himself has but rarely worked out the subject of these propositions. The space left for the purpose

has occasionally been

matter.

made

use of for quite different

214. This chapter, taken from another MS. may, as an exception, be placed here, as it refers to the same subject as the preceding section.
8.

Even the numerous diagrams, most of them very delicately sketched, lettered and numbered,

In the MS.

a blank space

is

left

after

this

question.

215. 2i6.1

SIXTH BOOK ON LIGHT

AND SHADE.

119

215.

larghezza e lunghezza dell' onbra e benche per li scorti si facci piv 2 e piu non diminuira ne stretta corta, cresciera la qualita e quantita di sua chiarezza o scurita.
del

La

lume

Although the breadth and length of lights p n and shadow will be narrower and shorter in tlon d 2i sforeshortening, the quality and quantity of the light and shade is not increased nor dimi(

nished.

3L'ofitio

dell'

onbra

nvito

per li scorti da luminare *jl contraposto corpo secondo la qualita e quatita che a esso corpo
appare.

e del lume-dimisara da onbrare e 1' altro

function of shade and light when by foreshortening , will be to give shadow and to illuminate an object opposite, according to the quality and quan-

[3] The

diminished

tity
1'

sQuanto- piv
cinera
ai

onbra diriuatiua
stremi
:

s'aui-

sua penvltimi

di

tanta

6 maggiore scurezza apparira g-z-e dopo la sol ueduto dalla parte delintersegatione

fall on the body. proportion as a derived shadow is nearer to its penultimate extremities the deeper it will appear, g z beyond the intersection faces only the part of the shadow [marked] y z;

in

which they

[5] In

z- che piglia per itersegatione n ? e per dirittura 1' onbra a z onde ha -due tanti piu obra che 8 y x uede per intersegatione -n-o-e per diretto -n-m- a onde x-y si dimostra auere1'onbra 1' on-bra

m
3

piu obra che z -g\ x-f- vede per 9 o b e per diretto vede o itersegatione n-m a; onde diremo adunque che 1' onbra x sara 4 tanti piv I0 scura che ch'e tra 1' onbra z perch e vista da 4 tanti piv
tanti
.

by intersection takes the shadow from n but by direct line it takes the shadow a m hence it is twice as deep as g z. Y x, by intersection takes the shadow n o, but by direct line the shadow n m a, therefore x y is three times as dark as z g; x f, by intersection faces o b and by direct line o n m a,
this

therefore

we must
will

say that the shadow be-

obra

a b- sia la parte del' onbra primitiua/ b c fia il lume primitiuo,- d sia il loco della intersegatione, I2/~-^-sia 1' onbra diriuatiua < il lume diriuatiuo. J3 questo uole essere nel principio

11

be four times as dark as the shadow z g, because it faces four times as much shadow. Let a b be the side where the primary shadow is, and b c the primary light, d will be the spot where it is intercepted, f g the

tween

fx

derived shadow and_/<? the derived light. And this must be at the beginning of
the explanation.

della dimostratione.
C.

216.

che

Quella parte della superfitie de' corpi fia percossa da maggiore angolo delle spetie de' contra se posti corpi piv si tig2

That part of the surface of a body on which the images [reflection] from other
placed opposite fall at the largest angle will assume their hue most strongly. In the diagram below, 8 is a larger angle than 4, since its base a n is larger than n This diagram below should the base of 4. end at a n 4 8. [4] That portion of the
bodies
<?

niera

in nel color di quelle

8 di sotto
la

maggiore agolo che 4, perche a-n-e maggiore che * n basa

figura di

sua basa

Questa sotto vol' essere terminata da a

8. 4

di

n e 4 e
215. i. largeza

Quella parte
.

dell'

alluminato

ellungeza
4.

schorti

pivsstrecta

eppiu
. .

chorta.
5-

2.

cressciera
vltimi
. .

osschurita.

3.

lisschorti
6.

e[llaltroj
.

dalluminare.
piglia.
9.
.

chontrapossto chorpo sechondo che. 10. schura sara. adumque

. . .

chorpo.

"pen"

magiore scureza.
13.

dellonbra

[z]

y
a

n. lume
.
.

[diriuatiuo] "primitiuo".

ecquesto.
. .

316.

i.

chorpi
.

cheffia
8. 4.

he

he

perchossa da magiore circhunda la perchussione

.

chontra
.

chorpi.

2. inel

cholor diquele

magiore

magiore.

3.

percusio.

In the original MS. the text of No. 252 precedes the one given here. In the text of No. 215 there is a blank space of about four lines between
215.

much

clearer if he

first

reads the final lines II

13.

Compare 216. The diagram

also line

4 of No. 270.
originally placed

between

lines

the lines 2 and

3.

The diagram given on

PI.

VI,

placed between lines 4 and 5. Between lines 5 and 6 there is another space of about three lines and one line left blank between lines 8 and 9.

No. 2

is

In the diagram given 3. 3 and 4 is above line 14 of the original, and here printed in the text, the words corpo luminoso [luminous body]

on PL VI, No.

are
b

written

in

the

circle

m, luminoso

in

the circle
o.

The reader

will find the

meaning of the whole passage

and ombroso [body

in

shadow]

in the circle

120

THE THEORY OF THE ART OF PAINTING.

illuminated surface on

[217.

On
r

relative

o? ught and S Sh a i a -2*i )

la percussione dell' onbra fia luminosa, la quale sara piu a essa perpiv cussione uicina. 5 Siccome vna cosa toccata da maggior soma-di razzi luminosi si fa piv chiara, cosi quella si fara piv scura che da 6 maggior soma di razzi obrosi sia percossa. 74 Sia la parte delFalluminato-4 8 che circuda la percussione dell' onbra- g c 4, e 8 fia esso loco 4- piv luminoso-perche 11 uede minor soma d' onbra che no fa nel loco e 8 -, perche 4 9 vede solamete 1' obra 8 vede ed e percosso dall' onbra a c e daP obra I0 / n ch' e 2 tati piv scura, e questo medesimo accade quado "1'aria col sole metterai in loco dell' obra e del lume. 1 2 II concorso dell'onbra, nata e terminata

che circunda

which a shadow

is

cast will be brightest which lies contiguous to the cast shadow. Just as an object which is lighted up by a greater quantity of lumi-

nous rays becomes brighter, so one on which a greater quantity of shadow falls, will be darker. Let 4 be the side of an illuminated sur-

And
less

face 4 8, surrounding the cast shadow g e 4. this spot 4 will be lighter than 8, because

/,

shadow

falls

on

it

than on

8.

Since 4

faces only the shadow / ; and 8 faces and receives the shadow a e as well as / n which

makes

it

twice as dark.

And

the

same thing

happens when you put the atmosphere and the sun in the place of shade and light.
of shadow, origiplane surfaces placed near to each other, equal in tone and directly opposite, will be darker at the ends than at the
[12]

The

distribution

propinque et piane superfitie di pari qualita- e retta oppositione, "^avra piuscuro fine che principio jl quale terminera ininfra
fra la

nating

in,

and limited by,

percussione
razzi.

de' luminosi

^Quella proportione troverai di oscurita infra 1'obre

diriuatiue

which be determined by the incidence of the luminous rays.

beginning,
will

You
the

will find the

quale
della

fia

vicinita

quella de'

same proportion

in

corpi luminosi
b, 15

che le cavsano, e seessi corpi luminosi fieno di pari grandezza ancora

troverai
tal proportione delle percussioni de' cierchi luminosi e 1'obre qual'e quella della distantia

depth of the derived shadows a n as in the nearness of the luminous bodies m b, which cause them; and if the luminous bodies

were of equal
find the

d'essi corpi luminosi.

the

size you would still farther same proportion in the light cast by luminous circles and their shadows as in

the distance of the said luminous bodies.

C. 4

217.

QUELLA PARTE DEL REFLESSO FIA PIV CHIARA BELLA QUALE I RAZZI DELLA REFLESSIONE
FIEN PIU CORTI.
2

THAT PART OF THE REFLECTION WILL BE BRIGHTEST WHERE THE REFLECTED RAYS ARE
SHORTEST.
darkness occasioned by the casting of combined shadows will.be in conformity with its cause, which will originate and terminate between two plane surfaces near together, alike in tone and directly opposite each other.
[2] The

La

oscurita

fatta

nella

dell'

onbroso
infra

concorso
la

avra

percussione conformita

col suo
finita

principio,

3 fia nata e quale e piane superfitie propinque

di pari

qualita e retta

oppositione.

5.

Sichome
.

.'

chosa tocha da magior

8.

razi
i
.

Chosi
.

pivsschura
. .

magior.
.

6. razi

perchossa.
.
.

7.

circhuda

la per-

chussione

effia.

locho

locho.
.

9.

he

perchoso
.
.

he dallobra.

10.

schuro

achade.

n. chol

sole
. .

meterai ilocho.

12.

chonchorso

etterminata.
15. essehessi

13.
.

ara
.

infralla

perchussione.
.
.

14. troverrai di

osschurita infrallobre
16.'
.

luminosi "m. b." chelle chavsano.

317. i. refresso
.

grandeza anchora
.

perchussioni luminosi dello.

.

bri

quale quella.
3. effinita
. .

razi

chorti.

2.

osscurita facta per"ne"la perchussione

comchorsso

ara

chonformita

chol.

217.

Diagrams are inserted before

lines 2

and

4.

2i8. 219.]

SIXTH BOOK ON LIGHT AND SHADE.

fia
il

121

Quanto maggiore noso tanto piu 1 corso

'

delli

corpo lumionbrosi e lumi-

is

fia insieme misto; speffetto della sopra detta propositione accade perche doue si truoua essere maggiore somma di razzi luminosi 6 ll si e maggior lume e doue n'e meno minor lume ne resulta onde i razzi obrosi si uegono a mischiarsi

nosi razzi

be

[4] In proportion as the source of light larger, the luminous and shadow rays will more mixed together. This result is prois

duced because wherever there

quantity
light, least light, consequently come in and mingle with

a
is

larger

of luminous rays, but where there are

the

there

most
is

fewer

there

shadow rays

them.

Isieme.
218.

Di tutte-le proportion! ch'io faro s'intende che '1 mezzo che si trova infra corpi 2 sia per se equale Quanto minore fia il
;

corpo luminoso tanto piu distinto fia il concorso dell' onbroso. 3 Quando due obre opposte, nascienti da u medesimo corpo fieno 1'una all'altra4 per oscurita duplicate e per figura simili due lumi causa di quelle-, fieno infra loro di dupplicato diametro e distantia da esso corpo 5 onbroso 1'uno alPaltro duplice; 6 Se 1' obietto fia mosso co tardita dinazi al corpo luminoso e la percussione dell'onbra d'esso obbietto sia lontana da esso obbi 7 etto tal proportione avra il moto dell' obra diriuativa
,
:

I lay down it medium between the bodies is always the same. [2] The smaller the luminous body the more distinct

In

all

the

proportions

must be understood

that the

will

the
[3]

When

transmission of the shadows be. of two opposite shadows, produ-

ced by the same body, one is twice as dark as the other though similar in form, one of the

two

lights

causing them must have twice the diameter that the other has and be at twice the distance

from the opaque body.

If the

object is lowly moved across the luminous body, and the

is intercepted at some distance from the object, there

shadow
will

le

quaobbietto 8 e lume con quello che tra F obbietto e la percussione modo che movedosi F obietto avra lo spatio che tra
1'

col

moto

della primitiva

dell'

onbra

co

tardita,

Fobra

fia

veloce.

be the same relative proportion between the motion of the derived shadow and the motion of the primary shadow, as between the distance from the object to the light, and that from the object to the spot where the shadow is intercepted; so that though the object is

moved

slowly the shadow

moves

fast.

Quel corpo luminoso parra di minore splendore jl quale da piv luminoso campocircundato fia. 2 Ho trovato che quelle stelle che so piv
maggiore apparisca presso figura che Faltre perche esse vedono e so vedute 3 da maggior soma del corpo solare che quado esse so sopra di noi e per ueder piv sole esse ano maggior lume e 1 corpo che
, '

A
liant

when

luminous body will appear less brilsurrounded by a bright back-

ground.
[2]! have found that the stars which are nearest to the horizon look larger than the others because light falls upon them from a larger proportion of the solar body than when

all'orizote

di

they are above us ; and having more light from the sun they give more light, and the bodies
.
.

ecpiane

errecta.
.
.

4.

chorpo

chorso
2.

missto.
. .

5.

decta
.
.

achade

razi.

6.

318. i. proportione

mezo
fia
.

del chessi.
.

chorpo
4.

disstinto

fiel

chonchorso

dall.
.

razi siuegano a misticharsi. magior nasscienti 3. due "obre" oposite

. . . .

chorpo [onbroso]
chussione
219.
i.
. .

iscurita

duplicata.

infralloro di dupplichoto
.

diamitro
8.

chorpo.

6.

obiecto cho
. .

ella

per-

obbiecto.
.

7.

eto

ara
2.

il

chol
. .

ara

trallobietto.
. .

trallobbiecto ella perchussione

cho.
. .

chorpo

chanpo circhundato.

chesso

aparissca di magiore

chellaltre hesse

vegano

esso.

3.

hesse

hesse ano

218.

There

are

2 and 3 but they

are

diagrams- inserted before lines not reproduced here. The

219.

Between

lines

and

there

is

in

the

original a
this text.

large diagram which

does not refer to

diagram above line 6 is written upon as follows: at A lume (light), at B obbietto (body), at C ombra
<f obbietto

(shadow of the
I.

object).

VOL.

122

THE THEORY OF THE ART OF PAINTING.

4

[220. 221.

sara piv luminoso

si

dimostra

maggiore figura, come si mostra il sole nella nebbia sopra di noi che par maggiore,
di

Sessedo sanza nebbia, e colla nebbia diminvisce; 6 Nessuna luminoso parte del corpo mai fia veduta dalla piramidal pura

ombra

diriuativa.

which are most luminous appear the largest. As may be seen by the sun through a mist, and overhead; it appears larger where there is no mist and diminished through mist. No portion of the luminous body is ever visible from any spot within the pyramid of pure derived shadow.

C. 26 (14*)]

220.

II

corpo che riceve

delle

razzi so-

lan passati
ficationi

infra le sottili rami-

andare
2

no

piante, a lungo fara piv d' un' obra.

lu-

A body on which the solar rays fall between the thin branches of trees far apart will cast
but a single shadow. [2] If an opaque body and a luminous one are (both) spherical the base of the pyramid of rays will bear the same proportion to the luminous body as the base of the pyramid of shade to the opaque body.
[4]

Se'l

corpo onbroso -e

minoso fieno
dita-, tal

di sperica retonproportione avra la

basa

della

luminosa
dell'

3pirapira-

mide
a
la

col suo

corpo-, quale

basa

onbrosa

mide col suo corpo onbroso. 4 la percussione Quanto

fatta
dall'

When

the transmitted sha-

onbroso

concorso

dow

is

intercepted

by a plane

contra se posta pariete, fia piu distante al corpo luminoso e piv s propinqua a sua diriuatione, tanto piu scure e
nella
di termini

surface placed opposite to it and farther away from the luminous body than from the object [which
casts
will appear propordarker and the edges tionately
it]

it

piu

distinti

appari-

ranno.

more

distinct.

C. 2 a

(14/5)]

221.

II

corpo
razzi

alluminato

dai

A
solar

body illuminated by the

rays

passati per le ramification! delle piate grosse fara tate obre quat' e il nvmero de' rami che infra 1 sole 2 e esse interposti sono.
solari
'

passing between the thick branches of trees will produce as many shadows as there are branches between the sun

and

itself.

H 3 La
brosi

percussione
nati
,

delli

on-

razzi

da piramidal

the shadow-rays from an opaque pyramidal body are

Where

sara di biforcata figura e uaria oscurita nelle sue puteTl 4 jl lume che sara maggior della puta e minor della basa del contra se posto
magior
aao.
i.
. .

corpo obroso

dow of
light

intercepted they will cast a shabifurcate outline and various depth at the points.

which is broader than the apex but narrower than the base
. .

5.

come diminvisscie. 6. chorpo. el [ume] chorpo. magiore. 5. cholla 4. magiore figura [Macq] ramifichatione infralle ara. allungo. 2. elluminoso spericha chorpo che ricievfono] "e"" J razi chonchorso disstante alchorpo chol chontrassepossta chorpo. 4. perchussione facta chorpo assua schure term! piu disstinti.
.
.

"il

3.
.

chol

eppiv.

391.

razi chorpo biforchuta chorpo

i.
. .
. .

paate fara per'Me" grosse ramificadone osscurita propo. 4. chessara magior

. .
.

in fral sole
. .

esse interpossti.
.

3.
.

eminor

chontrasse

possto

chorpo

perchussione . . razi . . chellonbroso .

.

The diagram which, in the original, is placed above line 2, is similar to the one, here given on The diagram here given in the margin stands, in the original, between lines 3 and 4. pa'ge 73 (section 120). 221. Between lines 2 and 3 there are in the original two large diagrams.
220.

221.]

SIXTH BOOK ON LIGHT AND SHADE.

123

piramidal corpo onbroso fara che 1' onbroso cavsera sin sua percussione 6bra-di biforcata figura e uaria qualita di scu,

rezza.

corpo onbroso minor del lumidue onbre e il corpo obroso simile al luminoso, e il maggiore ne fa vna, e coue^niete cosa che '1 corpo piramidale che a parte di se minore parte pari e parte maggiore dal luminoso, faccia obra

Se
,

'1

noso

fa

of an opaque pyramidal body placed in front of it, will cause that pyramid to cast a shadow of bifurcate form and various degrees of depth. If an opaque body, smaller than the light, casts two shadows and if it is the same size or larger, casts but one, it follows that a pyramidal body, of which part is smaller,
part equal to,

and part larger than, the lumia bifurcate shadow.

nous body,

will cast

biforcata.

chausera.
hel chorpo
.

Here in
.

the

luminoso e hel magiore

margin: propo (proposition). vna echoue.

.
.

5.

perchussione
in th:

biforchuta
7.

disscureza.

6.

chorpo
. .

onbre e
.
.

Here

mirgin: come.

chosa chelchorpo

magiore dal

faccobra biforchata.

IV.

Perspective of Disappearance.
The theory of the "Prospettiva de' perdimenti" would, in many important details, be quite unintelligible if it had not been led up by the principles of light and shade on which it is based. The word "Prospettiva" in the language of the time included the
principles of optics;

what Leonardo understood by "Perdimenti"

224.
// is in the very nature

will be clearly seen in

the early chapters, Nos. 222

of the case that the farther

explanations given in the subsequent chapters must be limited to general rules.

sections

The
only

given as 227

231

"On

indistinctness at short distances" have,

it is

true,

an

indirect bearing on the subject] but on the other hand, the following chapters, 232
indistinctness at great distances,"

234, 239,

"On

go fully

into the matter,

and in

chapters 235

which treat "Of the importance of light and shade

naturally followed by the statements as to
the apparent size of bodies" (Nos. 240
ie

in the Perspective

the practical issues are distinctly insisted on in their relation to

tJie effect

of Disappearance", This is the theory.

250).

of light or dark backgrounds on At the end I have placed, in the order

treat

of the original, those sections

appearance" and

from

the

MS. C which

of the "Perspective of Dis262).

serve to some extent to complete the treatment of the subject (251

E.

Sort] 2

222.

PERSPECTIVA DE'PERDIMETI DE'CORPI

*

CHE FA

LI

STREMI

OF THE

DIMINISHED DISTINCTNESS OF THE OUTLINES OF OPAQUE BODIES.

veri stremi de' corpi opachi sin qualunche minima distantia, 6 maggiormente sara invisibili nelle lughe
inuisibili
li

Se

son

If the real outlines of

indistinguishable at even they will be more so at

since

opaque bodies are a very short distance/ long distances; and,

Definition

distatie; Ife se la uera figura

per

li

termini

di

cias 8 cu

si cognosce corpo opaco e

know
by
its
its

macado per
tutto,

it is by its outlines that we are able to the real form of any opaque body, when

distantia la

maggiormete manchera

9cognitio d'esso I0 la cognitione

remoteness we

fail

to discern
fail

it

as

whole,

much more must we

and
outlines.

to discern

delle sue parti e termini.

parts

E. 80 6]

223.
Z

DELLA PROSPETTIVA DIMINUTRICE

OPACHI.
3

DELLI CORPI

OF THE DIMINUTION

IN PERSPECTIVE OF

OPAQUE

OBJECTS.

Infra

li

orpi

tudine *tal

fia la

opachi d' equal magnidiminutione delle lor figure

Among opaque

objects of equal size the

in apSparetia qual' e quella delle lor distantie da! 6 Pochio che le vede, tale propor-

ma

tione e ?c6uersaT[ perche dove la distantia e mag 8 giore, il corpo opaco si dimostra minore 9 e dove la distantia e minore, esso I0 dimostrera maggiore, e di qui corpo si nasce la pro^spectiva liniale e in seguito

size will be in proportion to their distance from the eye of the spectator; but it is an inverse proportion, since, where the distance is greater, the opaque body will appear smaller, and the less the distance

apparent diminution of

the larger will the object appear. And this is the fundamental principle of linear perspec-

converra
tia

corpo per lunga distaUogni quel^la parte di quel corpo, perde prima
in se

I2

and it follows: [n] every object as it becomes more remote loses first those parts which are smallest. Thus of a horse, we
tive

la

quale

e piu

I4

sottile

come

dire:

d'un cavallo si perdera pri'Sma le ganbe che la testa, perche le ga l6 be son piu sottili d'essa testa, e prima si per^dera il collo che il busto, per la medesima ragio l8 ne detta; aduque seguita che 1' ultima parte
222. 2. cheffalisstremi

should lose the legs before the head, because legs are thinner than the head; and the neck before the body for the same reason. Hence it follows that the last part of the horse which would be discernible by the eye would be the mass of the body in an oval
the
chu

de chorpi op.
9.

4.

chorpi oppachi.
10.

5.

disstantia.
. .

6.

disstatie esse.

7.

chogniosscie

fighura.

8.

oppacho
223.
i.

machado.

magiormete.

chognitione

parte
.

||

"ettermini" adunque.
4.

prosspectiva diminuitrice.

3. Infralli
si
. .

chorpi oppachi
9.

magrritudi.
10.

diminuitione.
. .

5.

Quale "qu"lla

delle.

6.

chelle.

7.

chonversa.

8.
.

chorpo oppacho
14.

dimosstra.
chavallo.

chorpo.

dimossterra
il

nasscie.

n. seguita chonve "ra"

dessa tessta.
17.

(?)

ogni.
.

12.

chorpo

lungha.

chome

15.

ghanbe [che

cho] chella tessta.

16. soctile

chollo

128

THE THEORY OF THE ART OF PAINTING.

form, or rather
this
its

[22 4

che della cognitione del cavallo fia al20 vata sara il busto restate in forma ovale, 2I ma piu tosto traente al colonnale e perderas"si prima la grossezza che la a 23 lunghezza per la anti detta 2 conclusione ecc. 2
'9

in
its

a cylindrical form

and

1'ochio riser

would lose

length above, &c.

If

apparent thickness before nd rule given according to the 2

[23].

1'ochio e in 5mobile, la prospet2 28 26 tiva termina ?la sua distanti a in punto; 2 9ma se 1'ochio ^si move per ret^ta linia

*Se

34 perche pro 32 spettiva ter33mina in linia, e prova^sto la linia es 3<3 sere gienera 3 ?ta dal moto del 38 puto e il no& stro vedere 4'e per 4 2 questo seguita ^che chi move il 6 ve^'dere, move il pu^sto e chi mo' ve il puto,

la

remains stationary the perspective terminates in the distance in a point. But if the eye moves in a straight [horizontal] line the perspective terminates in a line and the reason is that this line is generated by the motion of the point and our sight; therefore
the

eye

it

follows that as

the point moves, and as we the line is generated, &c.

we move our sight move the

[eye],

point,

giene^ra

la linia ecc.

Ash.

I.

23

224.
allo ofi -

Ogni forma corporea

si

quato

Every
say:

visible

body, in so

far as

it

affects
is

tio

divide in 3 parti- cioe dell'ochio-, 3 corpo figura e colore: la similitudine corporea s' astede piv lontana dalla sua origine che no fa il colore o la figura -, di poi il colore s' astede piv che la figura,
,

the eye, includes three attributes;

that

to

ma

questa regola no

si

osserua da corpi

luminosi.
ilust
'

mass, form and colour; and the mass is recognisable at a greater distance from the place of its actual existence than either colour or form. Again, colour is discernible at a greater distance than form, but this law does not apply to luminous bodies.

La propositione di sopra e molto bene dimostrata e cofermata dalla sperieza, inpero?che, se tu vedrai uno uomo da presso -, tu conoscerai la qualita del corpo -, la qua8 lita della figura, e similmete del colore-, se quello s' allontana da te alquato spatio, e,
tu no conoscierai 9 c hi quello si sia perche maca-la qualita della figura :se s'astedera I0 no potrai disciernereacora-piv lotano il colore suo anzi ti parra uno corpo oscuro di piv lontano ti para IJ un minimo corpo
:

The above proposition is plainly shown and proved by experiment; because: if you see a man close to you, you discern the exact appearance of the mass and of the form and also of the colouring; if he goes to some distance you will not recognise who
he
will
is,

because the character

of the

details

disappear, if he goes still farther you will not be able to distinguish his colouring,

but he

will appear as a dark object, and still farther he will appear as a very small dark

retodo
distatia

mebra

e scuro retodo parra perche la diminv I2 isce tanto le particulari che non ne apparisce se non la

rounded
distance

object.

It

appears rounded because

maggiore massa; '3 la ragione e questa Noi sappiamo chiaro che tutte - le similitudini delle cose etrano nella inpressiua per uno dell' ochio piccolo spiracolo aduque se tutto 1'orizzote a d 5 etra per simile spiracolo sendo il corpo b c una minimis:

-,

sima parte

d' esso orizzote, l6

che parte avra

diminishes the various remains visible but the And the reason is this: We larger mass. know very well that all the images of objects reach the senses by a small aperture in the eye; hence, if the whole horizon a d the is admitted through such an aperture, object b c being but a very small fraction of this horizon what space can it fill in that
so
greatly
details that nothing

bussto.

18.

chelluhima.
. .

21. tossto 29.

cholonale e perdera.
. .

22.

grosseza chella
[ecc].
41.

perle ami.

24. sellochio he.

25. la perspc.
[li

27. disstanti

puncto.

Massellochio
f).
.

rcc.

39. sstro.
3.

40.
5.

elnputo e per.
6.

42. quessto.
7.
.

45.
.

qualj e chi.
.

934. i. |lc similitudine

.
.

delle chorpi

2.

chorporea.
. .

cholore.
9.

macquesta.
.

chofermata.

chessettu
i

vederai
. .

homo
n.
in
. .

chonoscierai.
.

8.
.

essimilmete

esse quelo

datte.

chicquello
12. isscie
.

macha.

10.

cholore
. .

para

chorpo

para.
.

minimo chorpo

escuro

[di

forma quasi] retodo para.

none apariscie

magiore.

13.

ecquesta

sapiamo

223. 23.

224.

Compare line 1 1. The diagram belonging

is

placed

between

lines

and

6;

it

is

No. 4

to

this

passage

on PL VI.

225
egli

22 7-l

PERSPECTIVE OF DISAPPEARANCE.

129

tione di

a occupare della minima rappresetaJ si grade emisperio; ?e perche i corpi luminosi soho piv poteti ifra le tenebre che nessun altro corpo, l8 e neciessario che-, essendo lo spiracolo della vista assai tenebroso, com'e la natura ^di tutti i busi-, che le spetie de' corpi lotani si cofondino ifra tata luce del 20 cielo, e se pure appariscano, che paiano oscure e nere come fa ogni

minute image of so vast a hemisphere? And because luminous bodies have more power in darkness than any others, it is evident that, as the chamber of the eye is very dark, as is the nature of all colored cavities, the images of distant objects are confused and lost in the great light of the sky; and if they are visible at all, appear dark and black,
as every small body must when seen in the diffused light of the atmosphere.

corpo piccolo

2I

visto nel chiarore dell' aria.

E.

79-5]

225.

DELL' ARIA ITERPOSTA !FRA L'OCHIO

E L'OBIETTO VISIBILE.

OF THE ATMOSPHERE THAT INTERPOSES BETWEEN THE EVE AND VISIBLE OBJECTS.
A object will appear more or less distinct at the same distance, in proportion as the atmosphere existing between the eye and that object is more or less clear. Hence, as I know that the greater or less

sL'pbbietto si dimostrera tanto piu o meno ^noto i" u na medesima distatia, 5 quato P ari a, interposta infra 1' ochio e esso 6 sara piu o me rara; Adunque obbietto, conosce?do io che la maggiore o minore 3 quantita del !' aria interposta infra 1' ochio e P obietto re9de all' ochio piu o me confusi I0 li termi ni d' essi corpi, tu farai li perdimeti "delle notitie d'essi corpi tanto nella

An

quantity of the air that lies between the eye and the object makes the outlines of that object more or less indistinct, you must diminish the definiteness of outline of those
objects in proportion to their increasing distance from the eye of the spectator.

me I2 desima
J

proportione infra loro quale e quella delle loro distatie dall' ochio d' esso r* risguardatore.
3

L. 77*1

226.
io
fussi

Quando
2

in

vn

sito

di

mare

When

was once

in a

equalmete

distante

at

infra la spiaggia 3e'l

an equal distance from the shore and the

expei place on the sea, Anment.

i

j-

mote, molto piv lugo mostra essere 4 quello che della spiaggia quello del mote.
Br.

a
10

mountains, the distance from the shore looked much greater than that from the mountains.

M.

lisa]
2

227.
alii

Se ti porrai uno corpo obroso dinati ochi per spatio di 4dita, 3 e ch' egli sia minore che non e dall' una all' aHtra luce,
non occupera il uedere d' alcuna 6 scosa che sia dopo quella; nessituata dopo il uisiuo suna cosa 7 obietto dell' ochio no puo essere
8 occupa ta da esso obbietto se sara mino^re che lo spatio che
,

If

vou place an opaque object

at a distance
i
/?<-

in front
it.

of On

your eye

of four fingers breadth, S h if it is smaller than the space be(22 tween the two eyes it will not interfere with

jii

indistinctness at distan-

^ ^,
2

your seeing any thing

it.

that

may be beyond
beyond

No

object

another object seen by the eye can be concealed by this [nearer] object if it is smalsituated
ler

sta

infra le luci.

than the space from eye to eye.

c
orizote.
16.

chettutte

le similitudine

delle chose.

14. ala

inpresiua

picholo
.
.

settutto lorizote. 15. b

infrattSta.
5-

ara
. .

ochupare

dela
825.
i.

rapresetatione.
2.

17.

chorpo.
3.

18. spiracho.
.

19. chelle
4.

chofondino
.

20. esse

apariseano.
. .

infrallochio.
8.

ellobietto.

diraossterra
9.

6meno.

noto nuna

disstStia.

interpossta

obbiecto.
14.

paino enere. 6. chonossiS

7. chella.

interpossta .. ellobietto.
3.

chonfusi.

n.

chorpi.

12. infralloro

quale he.

13. disstltie.

rissghuardatore.

326. 2. disstante infralla spiagga.

227. i. settiporai
!-

mosstra.
3.

chorpo.

2.

ispatio.

echella

sia

alia.

4.

ochupera.

5.

chosa chessia.

6.

chosa.

7.

oc

ispatio.

VOL.

I.

130

THE THEORY OF THE ART OF PAINTING.

[228231.

228.

L'ochio no conprende

il

propl-

The eye cannot

ous angle which
is

take in a lumin-

'quo-angolo luminoso.

too close to

it.

C. 120]

229.

Quella parte della pariete alluminata 2 che da piv grosso anpiv luminosa luminoso alluminata fia; E quel loco golo da detti razzi osseruera meno ^la conveniete qualita del lume che da piv grosso angolo obroso adombrata fia.
fia

That part of a surface

will

be better lighted
falls

on which the

light falls at the greater angle.

And
least

that part,

on which the shadow

at

the greatest angle, will receive from those rays

of the benefit of the

light.

E. 150)

230.

DELL'OCHIO.
Li termini di quel corpo antiposto alia pu'pilla dell'ochio si dimostrera tanto meno noti * quanto e' sarano piu vicini a essa
5 provasi per lo stremo del 6 antiposto alla popilla d, la nel uedere es?so termine et quale popilla vede ancora tutto lo spatio a c, 8 che j e di la da esso termine, e le spetie C che vengono 9 d a esso spatio si mischiano colle spetie di tal ter I0 mine e cosl 1'una spetie cofonde Taltra^e tale cofusione priva la popilla della notitia di tal termine. 2

popilla;

corpo

;/

The edges of an object placed in front of the pupil of the eye will be less distinct in proportion as they are closer to the This is shown by the edge of eye. the object n placed in front of the pupil
d; in looking at this edge the pupil also sees all the space a c which is beyond the edge; and the images the eye receives from that space are

mingled with the images of the edge, so that one image confuses the other, and this confusion hinders the pupil from
distinguishing the edge.

Br.

M. i88al

231.

termini di quella cosa saranno manco 2 sequali sara piu vicini agli ochi, guita che gli termini piu remoti saran piu 3 infra li noti; corpi minori della popilla delli ochi 4quelli sara maco noti, che sara piu vicini 5 a essa lucie.
I

noti

li

The outlines of objects will be least clear when they are nearest to the eye, and therefore remoter outlines will be clearer.

Among

objects which are smaller than the pupil of the eye those will be less distinct which are nearer to the eye.

998. 999.

I.

2.

R.
.

i. 2.

piv

[luminosa)

230.

chorpo

antipossti.
10.

stano cholle.
231.

luminosa [che da magiore soma). 2. Ecquel locho. razi 3. chonveniete. 3. dimossterra. 5. chorpo n antipossto. losspatio. 8. lesspetie che vengh"a". 7. anchora chosi chofonde. u. attal chofusione termi"ne".
.

9.

mi-

15.
4.

The writing runs from

left to right,
. .

i.

qlla cosa seran

mancho

note a qual sera piu vicina.

2.

scran.

3.

infralli

chorpi.

sara

macho

nota chessara

vicin.i.

232235.]
i

PERSPECTIVE OF DISAPPEARANCE.
232.

a]

Le
4

cose vicine

all'

ochio

pare rano
s

di

maggiore obbietto che

le di3stati.
6

Le cose vedute co

Objects near to the eye will appear larger than those at a distance. Objects seen with two eyes will appear if they are seen with only one.
seen,

du' ochi parirano

on indistinctness at great
(232-234).

rotonde, che quelle che co uno

fieno.

piv ochio vedute

8

rounder than
e 1'obra
will

?Le cose vedute ifra il lume parirano di maggior relie 9vo.

C. A. 173 6; 520(5]

Objects

between
relief.

light

and shadow

show

the

most

233-

DE
2

PICTURA.

OF
3dimi-

PAINTING.

Tanto

si

perde della uera cognitione

figura, quanto per distantia nvisce della sua grandezza.

della

Our true perception of an object diminishes in proportion as its size is diminished

by distance.

A. 86]

234-

PROSPETTIVA.
2 Perche le cose da lontano paiono ochio grandi e la ripruova fatta nella ^pariete le dimostra piccole.

PERSPECTIVE.

Why
large
to

al'

objects seen at a distance the eye and in the image

appear

on the

vertical plane they

appear small.

PROSPETTIVA.

PERSPECTIVE.
I ask how far away the eye can discern a non-luminous body, as, for instance, a mountain. It will be very plainly visible if the sun is behind it; and could be seen at a greater

sDomado quato 1' ochio puo vedere lontano un corpo che no sia luminoso 6 come
una motagnia; vedrassi assai, se '1 sole la -da lei e vedrassi 7piu-o menolontana secodo dove fia il sole nel cielo.
dire

fia-di

or less distance according to the sun's place

in the sky.

A.

2 a]

235-

II

corpo obroso

che

fia

veduto per

la

An opaque body

seen in a line in which

J^'J^

]^

linia

della incidetia del lume, 2 di se all' ochio al;

no dimostrera

the light falls will reveal

no prominences to and shade in For JB-'SUSTC' the eye.

stance, let a be the appearance (235-239)1-J I J solid body and c the

cuna eminete parte

3
il

esenpli gratia
sia
-

sia
,

corpo obroso a

m
no

lume e cosi c n
il

c
sia-

light; will

and
the
is

be
that

lines

of incidence of the
light,
-

4 le

linie jncideti

to say

luminose, cioe quelle- linie scono-il lume al corpo *a\

233.
i

che trasferi1' ochio sia in

la

the

lines

which transmit the

light

to

the

object a.
cho.

The eye being

at the point b, I say

6 R.
8.

2.

magiore
. .

chelle dis.

4.

chosa veduta

5.

retonde checquelle checho.

6.

ochi.

7.

chose

infral-

lume.
333.
2.

ellobra

magior.
3.

cognitione "dela figura" della cosa Quanto.

. .

diminvisscie
5.

sua [propia] grandeza.

6.

334. 2. chose dallontano paiano

rassi.
7.

grande.

3.

pichole.

po

chorpo.

chome

dire

montagnia vederassi

dallei evede-

sechodo.
. .

935. i.

chorpo

cheffia

dimostera.

2.

alchuna.

3.

chorpo

echosi.

4.

Incidete luminosa

trasferisschano

chorpo.

234.
!

The

clue to the solution of this problem (lines

Objects seen with both eyes appear solid since they are seen from
3)
is

given in lines

46,

No. 232.

two distinct points of sight separated by the distance between the eyes, but this solidity cannot be represented in a flat drawing. Compare No. 535.

132
nel

THE THEORY OF THE ART OF PAINTING.

puto b
,

[236-239.

dico che vededo

il

lume
che

c
ui

that

tutta la parte

m-n

che

quelli rilieui

part
will

sono sarano tutti alluminati: aduque 1'ochio 7 posto j c no ui potra vedere obra- e lume-, no la 8 vededo ogni parte li para d'uno colore 9 6de le differetie delle parti emineti 10 e globose non aparirano.

at c

the light c falls on the whole n the portions in relief on that side all be illuminated. Hence the eye placed cannot see any light and shade and, not since
///

portion will appear of the therefore the relief in the promitone, nent or rounded parts will not be visible.
seeing
it,

every

same

Ash.

I.

si a]

236.

DE
2

PITTURA.

OF

PAINTING.

ficulta e

L' onbre le quali tu discernerai con dii loro termini no puoi conosciere

anzi

con

scrivi in nella

co >fuso givditio lo tua opera, no

pigli

tra-

le farai finite
fia di

overo terminate,
legniosa

che

la

tua opera

When you represent in your work shadows which you can only discern with difficulty, and of which you cannot distinguish the edges so that you apprehend them confusedly, you must not make them sharp or definite lest your work should have a wooden
effect.

resultatione.

E. 17 a]

237-

PITTURA.
2

OF

PAINTING.

Noterai nel tuo ritrarre

insesibili

come

infra 3le

You
the

will

observe in drawing that

among

obre sono obre

d' oscurita

e di

a 5 che diciel figura e questo si prova per la 3 6 di tante varie le superfitie globulenti so oscurita e chiarezza, qua?te so le uarieta delle oscurita e chia 8 rezze che le stan per

obbietto.

shadows some are of undistinguishable rd gradation and form, as is shown in the 3 which says: Rounded surfaces [proposition] display as many degrees of light and shade as there are varieties of brightness and darkness reflected from the surrounding objects.

E.

238.

DE
2

OBRE E LUME.

OF LIGHT AND SHADE.

Vedi

le quatita le qualita

tu che ritrai dell' opere di na3tura, e le * figure de' lumi e

You who draw from

fully) at the extent,

onbre
6

muscolo e nota nelle ludella lor figura a qual muscolo si ghezze dirizzano colla rettitudine de 8 lle lor linie ciedi cias s scun

of the lights
in

and the form and shadows on each muscle; and

nature, the degree,

look (care-

their position lengthwise observe towards which muscle the axis of the central line is

trali.

directed.

Ash.

I.

256]

239-

Quella cosa-, che per chiarezza fia piv 2 fia veduta- piv-dalontano luce e di maggiore forma che non si 3 richiede
simile alia
,

alla qualita del

corpo

in

detta distatia.

An object which is [so brilliantly illuminated as to be] almost as bright as light will be visible at a greater distance, and of larger apparent size than is natural to objects so remote.

5. inel

dicho.

6.

checquelli

.illuminate
.

J|e]c.

7.

ellume nolla.

8.

cholore.

9.

diferetie.
2.

10.

globbose.
inclla
. .

336.

2.

dissciernerai

chon

difichulta

poi [dissciernere] "chonossciere"

anzi

chon cho.

ettrasscrisse

nolle.

3. chclla.

337. 2.
8.

chome
chelle.

infral.

3.

dosscurita.

4.

fighura ecquesto.

5.

cheddicie

globbulenii.

6.

osschurita.

7.

toso

osschurita.

338.
239.

i.
i.

ellume.

3. elle.
.

4.

fighure.
2.

5.

scun musscholo.
.
.

6.

gheze.

7.

dirizano cholle.

chosa

chiareza.

dallontano

magiore.

3.

chorpo.

240-243.]

PERSPECTIVE OF DISAPPEARANCE.

133

E. 32

6]

24O.

2 Quell'onbra si dimostrera piu oscu ra che fia circundata da piu 3 S plendida biachezza e de conveHso sara meno evidete dov'ella e giene^rata in piu oscuro canpo.

A
it

to the brilliancy of the light conversely it will be less

is

effect appear dark in proportion The of light or surrounding it and dark backconspicuous where ^apparent size of ob seen against a darker background.

shadow

will

(240250).
176]

241.

DE
2

PROSPETTIVA COMUNE.
3

OF ORDINARY

PERSPECTIVE.

li Quella cosa d'uniforme grossezza e colore che sara veduta in ca^po di disuniforme colore si dimosstrera di disuniforme

grossezza 1
6

se

di uarii colori sara

una cosa d'uniforme grossezza ?e veduta in ca 8 po d' uniforme

colore, essa cosa 9 si dimostrera di uaria grosI0 e quanto i colori del canpo o della sezza,

An object of equal breadth and colour throughout, seen against a background of various colours will appear unequal in breadth. And if an object of equal breadth throughout, but of various colours, is seen against a background of uniform colour, that object will appear of various breadth. And the more the colours of the background or of the object
seen against the ground vary, the greater will the apparent variations in the breadth be though the objects seen against the ground be of equal breadth [throughout].

canpo veduta sara di colori ch'abmaggiore varieta, allora le grossezze par^rano piv varie, ancora che le cose ^nel canpo vedute sieno di pari grossezza.
cosa bino
nel
J2

IJ

242.
If

chiaro
4

Quella cosa oscura che fia veduta in capo essa si dimostrera minore ch' essa
ell
i

3non

dark object seen against a bright background will appear smaller than it is.

Quella cosa chiara s s dimostrera di 6 maggiore figura che sara veduta in canpo di piv oscuro 7 colore.
C. A. 124 6; 383-5]

A
is

light

object

will

seen against

look larger when it background darker than

itself.

243-

DEL
2

LUME.

OF
che
si

LIGHT.

Quel corpo luminoso,

trouera

luminous body when obscured by a

will

essere occupato 3 da piv grossa aria, apparira di minore gradezza, 4 come si dimostra nella luna o sole occupati dalla snebbia.

dense atmosphere

be seen by the

moon
OF

appear smaller as may or sun veiled by mists.

;

DEL
7

LUME.

LIGHT.

corpi luminosi d' equal grandezza 8 si dimostrera distantia e spledore quello forma il quale da piu oscuro di maggiore canpo circhQ9dato fia.
Infra
i
,

several luminous bodies of equal size and brilliancy and at an equal distance, that will look the largest which is surrounded by

Of

the darkest background.

DEL

LUME.
lumi,

OF
I

LIGHT.

"Jo trouo che ciascuno corpo I2 nebbia noso, veduto nella folta e spessa
240.
241.
i.
i.

any luminous body when seen a dense and thick mist diminishes through
find that
biachezza
6.

dimosstera piu osicu.

prosspectiva.
.
.

2. cheffia

circhundata dappiu.
5.

3.

[e

de chon ver],
.
.

4.
7.

dovella giene.
vari[a] colore.

3.

osschuro chanpo.
8.

2.

grosseza.

3. chessara.

tera

grosseza.
.

esse

grosseza.
14. in].

cholore.

9. di-

mosterra
242.
i.

grosseza.

n.
.
.

colori cabino.

12.

magiore
4.

grosseze pa.
. .

13. chelle.

grosseza.
5.

Quala
6.

oscura
.

fia
.

chapo.
. .

2.

dimossterra.
7.

Quala

chiara [sara veduta.

[canpo

di] si

dimosterra

ma-

giore.
243. 2.

chessara
. .

chanpo
. .

osscuro.

cholore.
3.

chorpo

chessi troverra
8.

ochupato.
.

35 R.

arie aparira.

5.

esspredore.

dimossterra di magiore

dappiu osschuro chanpo circhu.

ossole ochupati. 7. chorpi cheme si dimosstra 12. dimiesspessa. n. checciasscuno chorpo

. . . .

134

THE THEORY OF THE ART OF PAINTING.

in

[244.

245.

s' allontana dall' occhio piu die cosi '^fa-il sole di dl come la minuisce, luna-e li altri immortali lumi di notte. E 4 essi lumiqua' do 1'aria-e pura quanto _:.\. ~ .1l^.<4-irin/-i /-Inll' r\f*r-h'\r\ Sr\'iii rar* ci dall'occhio, '5 piu pare si s* allontanano piu faccino di maggiore forma.

quanto piu

Thus

lnrnr^r in r>rrrrrl-ir>n as f-h^i/ are AirfVit- from ac nr* farther fmm larger in proportion they the eye.

proportion to its distance from the eye. it is with the sun by day, as well as the moon and the other eternal lights by night. And when the air is clear, these luminaries appear

F. 12 a\

244.

Quella parte dello obbietto oscuro d' uniforme grosse'zza si dimostrera piu sottile che fia veduta in capo 3pj u luminoso. *e e il corpo dato oscuro in se e d'uniforme gross sezza, abzcd son capi oscuri piu 6 1'uno che 1'altro, b c e canpo luminoso come se fusse vn loco percosso ^ da vno spiracolo 8 che di sole in una camera oscura; dico, 1'obietto e g parra piu grosso in -V/" che in g h perche ef a 1 canpo piu oscuro che esso log h ancora la parte / g parra sotjl tile per esse re veduta dall' ochio o in campo b c che e chiaro. I2 La parte del corpo lu'
;

That portion o/ a body of uniform breadth which is against a lighter background will look narrower [than the rest]. [4] e is a given object, itself dark and of uniform breadth a b and <r^are two backgrounds one darker than the other; b c is a bright background, as it might be a spot lighted by the sun through an aperture in a dark room.
;

minoso d'uniforme grossezza ^e splendore

I4 in parra esser piu grossa che fia veduta oscuro e questo luminoso essere canpo piu

say that the object eg will appear larger than at g h ; because ef has a darker background than g h; and again s&fg it will look narrower from being seen by the eye o, on the light background be. [12] That part of a luminous body, of equal breadth and brilliancy throughout, will look largest which is seen against the darkest background; and
I

Then
at e

ifocato.

the luminous

body

will

seem on

fire.

Ash.

I.

245I

ACCOMPAGNATI DA ONBRA E VARIANO I LOR TERMINI DAL COLORE E LUME ^DI QUELLA COSA CHE COFINA COLLA SUA SUPERFITIE.

COME

CORPI

LUME

SEMPRE

WHY BODIES IN LIGHT AND SHADE HAVE THEIR OUTLINES ALTERED BY THE COLOUR AND BRIGHTNESS OF THE OBJECTS SERVING AS A BACKGROUND TO THEM.
If you look minated portion
at a
lies

4 Se vedrai uno corpo che la parte alluminata campeggi e termini I campo oscuro 5 la parte d' esso lume che parra di 6 che maggiore chiarezza fia quella E se terminera coll' oscuro in d. detta parte alluminata cofina col 7 il termine d'esso corcanpo chiaro po alluminato parra men chiaro che 8 prima e la-sua-soma chiarezza apparira al termine del campo m-f-e. 1'onbra; ifra 9 medesimo accade all'obra, imquesto peroche '1 termine di quella parte del corpo
,

body of which the illuand ends against a dark

background,
will

that part of the light which look brightest will be that which lies against the dark [background] at d. But if this brighter part lies against a of the oblight background, the edge ject, which is itself light, wil) be less

appear
thing

distinct than before, and the highest light will to be between the limit of the backin

ground
is

and

the

shadow.

The same

seen with regard to the dark [side],

nuisscie e chosi.
244.
i.

ij.

chome

altrimortali

Ecqua.
.
.

14.

eppura.
4.

barte

obbiecto osscuro.
6.

2.

seza

dimosterra

cheffia veduto.

he

il

duniforma.

5.

seza ab he
. .

osscuri
13. es-

piu lucellaltro.

fussi
14.
.

percoso.

7.

spiracol di sole
. .

nuna

osscura.

8. chellobietto.

n. veduto

chia"ro".

splendore
345.
i.

eser.
.

osscuro ecquesto
2.

esere
3.

"focato".

achompagniati
parira
. .

ellume.
6.

cholore ellume.

chosa
.
.

cholle.
. .

4.

chorpo

chella
.

champegi ettermini
chiareza
. .

oschuro.

5.

chiareza.

chetterminera cholloschuro

Esse

col.

7.

chanpo

para.

8.

champo.

9.

achade.

244.
refers, is
4,

The diagram
placed

to

in the original

which the text, between

lines

II,

PL XLI, No.
after line
14.

4.

In

the

original

these are

placed

lines 3

and

and is given on PL XLI, No. 3. Lines 12 to 14 are explained by the lower of the two diagrams on

ded surface

245. In the original diagram o at the level of d.

is

inside the sha-

246248.]
aonbrato che
di
I0

PERSPECTIVE OF DISAPPEARANCE.

135

capeggia in loco chiaro in /, molta maggiore oscurita che '1 resto parra E se " detta obra termina in campo oscuro,
il

inasmuch as that edge of the shaded portion of the object which lies against a light
background, as at /, looks much darker than the rest. But if this shadow lies against a dark background the edge of the shaded part
appear lighter than before, and the deepest shade will appear between the edge and the light at the point o.
will

termine dell'onbra parra I2 piv- chiaro che prima e la sorha sua scurezza fia infra detto

termine

e'l

lume ^nel punto

o.

C. A. 124*1; 383^]

246.
will appear smaller when surrounded by a highly luminous background, and a light body will appear larger when it is seen against a darker background. This may be seen in the height of buildings at night, when lightning flashes behind them
it

nore gradezza,
fia

Quel corpo obroso si dimostrera di miil quale da piu luminoso capo

An opaque body

is

2 e quel luminoso si dimostrera che cofinera co piv oscuro capo maggiore 3 come si dimostra nelPaltezze degli edifiti la notte, quado dirieto a quelli vapeggia che subito par 4 che '1 vapeggiado diminvisca 1' edifitio di sua altezza: e di qui nasce che essi 5 edifizi paiono maggiori quado e nebbia o notte che quado 1'aria e purificata e allumi-

circudato,

it

suddenly seems, when

it

lightens, as

though

the height of the building were diminished. For the same reason such buildings look
larger in a mist, or atmosphere is clear

nata.

by night than when the and light.

G.

247.

DE'LUMI INFRA L'OBRE.

2

ON
member,
in

LIGHT BETWEEN SHADOWS.

are drawing any object, recomparing the grades of light in

Quando
fai

ritrai

alcuno corpo,
4

When you

quando
6

parago

della

potetia de' lumi

5 parti alluminate che spesso I'ochio s'inganna, paredogli piu chi7aro quello ch'e me chiaro, e la 8 cavsa nascie mediante I0 li con pa9ragoni delle parti che cofinano se avra due par"ti di chiarezza loro, perche ine I2 guali e che la me chiara confirm con parti oscure e la pi^v chiara cofini co parti chia'Sre chom'e il celo o simili chiarez l6 ze allora quella ch'e me chi^ara o vo dire l8 lucida, para pi v lucida e la piu lucida parra ^piu oscura.

delle sua

the illuminated portions, that the eye is often deceived by seeing things lighter than they are. And the reason lies in our cpmparing those parts with the contiguous parts. Since if two [separate] parts are in different grades of light and if the less bright is conterminous with a dark portion and the brighter is conterminous with a light background as the sky or something equally bright , then that which is less light, or I should say less radiant, will look

the brighter and the brighter will seem the darker.

C. A. I24<*; 383*]

248.

Infra le cose di pari oscurita che dopo lunga e pari distantia situate sieno, quella

Of objects equally dark in themselves and situated at a considerable and equal distance,
that will

apparira piu oscura, 2 collocata fia.

che piv alta da terra

look the darkest which

earth.

is

farthest

above the

to.

chapegia illocho
. .

para
2.

magiore

ischurita Esse.
.

n. jn champo oschuro
3.

parira.
4.

12. ella

scureza.
.
.

246. i. dimosterra

gradeza.

dimosterra magiore

osscuro.

alteze

vapegia.

che vapegiado dimivisca

alteza

nasscie.
247.
5.

5.

paiano magiori.
parendoli.
7.

parte.

6.

ara quelle

ella.
.

9.
.

parte.

10.

colloro

ara.

it.

ti

d[equale] di chiareza inne.

12. chella.

13.

parte osscure ella

Infralle

14. parte.
.

15. ossimili

chiare.
. .

18. ella
. .

piu lucia.
datterra..

19. osscura.
2.

248.

i.

chose

osschurita

eppari disstantia

hoschura

chollochata.

136

OF PAINTING. THE THEORY OF THE ART

[249251,

249.
A.
64-51

PRUOVA-COME

LONTANO-MAGGIORI-CHE 3Se porrai-2-candele

DI CORP. LUMINOSI_ 'PA.ONO NO SONO.

.

TO PROVE HOW
If

IT IS THAT LUMINOUS BODIES AT A DISTANCE, THAN THEY ARE. APPEAR LARGER,

acciese appresso e a lontanerati da all'altra '/, braccio I'unavedrai 4 per P accrescimeto esse 200 braccia uno -solo corpo lummoso di ciascuno farsi uno solo -de' due lumi-e parra braccio.
-

candles side by you place two lighted from them to half a braccio apart, and go side will see that by a distance 200 braccia you will appear the increased size of each they with the light as a single luminous body wide. the two flames, one braccio

grande-uno

'

A VEDERE-LA UERA GRADEZZA

CORPI LUMINOSI.

DE

TO PROVE HOW YOU MAY

If

SEE THE REAL SIZE

OF LUMINOUS BODIES.

Se vuoi vedere
corpi luminosi-abbi
faui

la

vera gradezza d'essi

uno buso quato

una assetta sottile sareb^be uno piccolo pual-

pressotale-di striga-e I modo che nguardado 1'ochio quato puoi lume tu gh 'per esso buso il sopra detto e cosi assai spatio d' aria dintorno vegga co prestezza essa asse leuado e ponedo vedrai dal tuo-ochio-cosi cho prestezza cresciere esso lume.

ponitela tato

you wish to see thin board and luminous bodies take a very the tag o make in it a hole no bigger than it as close to your eye a 4ace and place this that when you look through possible, so can see a 1 hole, at the said light, you Then by rapidly movit. space of air round and forwards being this board backwards
;

the real size of these

see the light increase fore your eye you will [and diminish].

250.
C. 24 a (6*)]

Infra
Propositions dall'
c : tive of d!s

corpi di

pan
-

qualita

che

sien

parira

occhio equalmete distanti, que^ap2 da piv Immo di minor figura che

fia

and equally several bodies of equal size smalfrom the eye, those will look the distant the lightest background. lest which are against

Of

appearance
fr

S C ,To-262)

campo circundato fia. -hOgni corpo evidete

6

da lume e obra

rotodita, circQdato.il I^Quel corpo d'equale avere s e obra circudato fia, parra che da lume

tanto piv

quato

fia

1'una che piv 7alluminata

grande 1'una parte

chelakra
1

be surrounded by Every visible object must and shade. A perfectly spherical body light to will appear surrounded by light and shade the other in have one side larger than j than one is more highly lighted portion as
the other.

altra.1

251.
C. 23 a
'

PERSPECTIVE.

PROSPETTIVA.

umani Nessuno evidete corpo puo dagli ben giudicato ochi-essere ben conpreso-e 3 Se no per la uarieta del canpo-doue2

e cofinano, stremi- d'essi- corpi terminano

4

de' nessuna cosa inquato a liniameti

essi
di-

da capi sua stremi apparira essere distante s la luna benche-sia molto uisa;

human eye and comprehended by the the difference of the background cepting from termiwhich the edges of the object against no which they are bounded, and nate and by stand out] separate object will appear [to as the outlines from that background so far
of
its

No

visible object

can be well understood

borders are concerned.

x.

chomc

chorpi.

2.

paiano

magiori.

3-

P.

aoresso

1/2 '

br. vederai. br, e alontanerati 200

6.

^^

4-

la "

cho rpi.

8. sc volli

'.,

252

257-]

PERSPECTIVE OF DISAPPEARANCE.
though when,
it

137

dal corpo del sole qua 6 do per le eclissi-si truoui- infra li ochi nostri e' 1 sole, perche essa lu?na Canpeggia sopra il sole appare ali
,

ochi
8

vmani congivnta e appiccata con esso

sole.

at a great distance from the sun/ an eclipse, it comes between our eyes and the sun, appears to the eyes of men to be close to the sun and affixed to it, because the sun is then the background to the moon.
is

in

c. s

(*)]

252.

Quel corpo luminoso parra piv splendido il quale da piu oscure tenebre circundato fia.

A
liant

luminous body
in

will
it

proportion as

is

appear more brilsurrounded by

deeper shadow.

c.

MIS *))
I retti

253.

termineranno

termini de' corpi parrano rotti che in loco tenebroso rigato da percussione di luminosi razzi.

The straight edges of a body will appear broken when they are conterminous with a
dark space streaked with rays of
light.

C.

(15-5)]

254.
i

Infra

corpi

d'

equal gradezza e distatia alluminato parra

all'

quello- che fia-

piv

ochio

piv propiquo e maggiore.

Of several bodies, all equally large and equally distant, that which is most brightly illuminated will appear to the eye nearest
and
largest

C. 14* (i6a)]

255.
If several luminous bodies are seen from a great distance although they are really separate they will appear united as one body.

Se mold corpi luminosi fieno veduti di lontan paese, benche infra loro sien diuisi parranno insieme vniti e cogivnti.

C. 14 <* (166)]

256.

Se mold

corpi obrosi di quasi congiunta

vicinita fieno veduti

lunga distatia
intervallo.

capo luminoso in parrano separati da grade

in

If several objects in shadow, standing very close together, are seen against a bright back-

ground they
intervals.

will

appear separated by wide

c. 21 6

(i 7 a)]

257.

Jnfra le cose d' equal gradezza e colore quella che fia piv lontana parra piv chiara

Of
that

which

several bodies of equal size and tone, is farthest will appear the lightest

e di minore figura.
meti

and
lume
ealtre ste] la luna
.

smallest.

aparira.
7.
.

5.

[II
. .

sole

perche.
352.
.

chapegia
.

apare chongivnta

e appichata

chorpo b chon esso.

.

pe"r"

le clissi.

6. nosstri

sole [e che essa luna chape]

chorpo
chorpi chorpi chorpi chorpi
.

253354. 955-

osschure circhundato. parra [di magiore] piv splendido [che] jl tenebroso [limato] "rigato" da perchussione Chettermineranno illocho
. . .

razi.

gradeza
paesse
.

Quello

cheffia
. .

para
. .

magiore.

infralloro
.
.

parano
.

vnite e chogivnte.

356.
357.

chapo chongiunta illunga. cheffia. cholore Jfralle chose gradeza

. .

252.

placed after this text, has

VOL.
I.

The diagram which in the original no connection with it.

, ,

is

253. 254.

nal have

Here again the diagrams no connection with the text. S

in the origi-

138

THK THEORY OF THE ART OF PAINTING.

^258260.

C. 120)

258.

bianle cose d' equal grandezza capo e longitudine quella- che fia di piu chiara superfitie apparira di maggior 2 I1 ferro d' equal grossezza mezzo figura; Ifocato ne fa proua, *peroch& essa parte Ifocata pare piu grossa che '1 resto.
Infra

chezza

di

Of several objects equal in size, brightness of background and length that which has the flattest surface will look the largest. A bar of iron equally thick throughout and of which half is red hot, affords an example, for the red hot part looks thicker than the rest.

C.

259-

Infra i corpi d'equale grandezza e longitudine e d' equale figura e oscurita quella 2 di minor grandeza che da piu apparira luminoso canpo circundata fia.

of equal size and form and in depth of shade, that will appear smallest which is surrounded by the most luminous background.
several

Of

bodies
in

length,

and

alike

c. 8*]

260.
FIA
PIV

OSCURA

QUELLA PARTE DELLA PARIETE O LUMINOSA CHE DA PIV

GROSSO

ANGOLO OSCURO
2

LUMINOSO FIA PERCOSSO.

DIFFERENT PORTIONS OF A WALL SURFACE WILL BE DARKER OR BRIGHTER IN PROPORTION AS THE LIGHT OR SHADOW FALLS ON THEM AT A LARGER ANGLE.

mete

sopra detta propositione chiaraquesta forma si pruova diciamo q essere il corpo luminoso e cosi *f-gin
:

La

The foregoing proposition can be clearly proved in this way. Let us say that m q is the luminous body, then_/- will be the opaque

il corpo obroso e a e sia la nominata pariete, doue sopra detti agoli percuotono, li rappresentado la natura e qualita di loro base ora 1 a fia piv luminoso che b la basa dell' angolo a e piv grossa che 5 di b e pero fa piv grosso agolo, quella il q e la piramide b p quale fia a

sara

6 piv stretta, e piu sottille sia quella in mano , quato piv o c e cosl di s'appressa a e fieno le piramidi piv strette

fia

-m

body; andletd^be the above-mentioned plane on which the said angles fall, showing [plainly] the nature and character of their bases. Then a will be more luminous than b; the base of the angle a is larger than that of b and it therefore makes a greater angle which will be a m q; and the pyramid b p m will be narrower and m o c will be still finer, *"and
:

mano

so

on by degrees,
e,

in proportion as they are

e piu oscure 7 Quel puto della pariete fia di minore chiarezza nel quale la grossezza
;

pyramids will become narrower and darker. That portion of the wall will be the darkest where the breadth of the
nearer to
the

358.

i.

Infralle

chose

grandeza biancheza
.

"capo" ellongitudine.

Quella cheffia

di piu

piana superfitie aparira

magior.

2.

fero

'grosseza

mezo Ifochato

Ifochata.
osschurita.

259. i. chorpi

260.

i.

. . grandeza ellongitudine osschura olluminosa . dappiu

. .

Quella [cheffia] apparira.

[fia
.

2.

grandeza
. .

dappiu
3.

chanpo circhundata.
. .

osscuro olluminoso
5.

perchosso].

2.

chorpo

chosi.

chorpo
.
.

douessopra
. .

perchuotano.

4.

ecqualita

hora.

agolo [ode]

il

ella piramide.

6.

echosi dimnnonoimano

sapressa

piramide

26 1. 262.]

PERSPECTIVE OF DISAPPEARANCE.

139

della piramide obrosa supera la grossez 8 za della luminosa.

a fia di tata potetia la piraJ>Nel puto mide luminosa quato la obrosa, perche la basa e simile alia basa
-

pyramid of shadow is greater than the breadth of the pyramid of light. At the point a the is pyramid of
equal in strength to the pyramid of shadow because the base is equal to the base rf. At the point d the pyramid of light is narrower than the pyramid of shadow so much as the base s/is less than the by base/,?-. Divide the foregoing proposition into two diagrams, one with the pyramids of light and shadow, the other with the pyramids of light
light

/
I0

piramide luminosa che la obrosa piv quato s-f-e minore che la basa /-.
sottile
,

puto

aMa

-r-f-

nel

fia

tanto

fg

la

basa

''Diuidi
in

la

sopra
cioe

detta

due

proposition
colle

figure

una

colle

obrose e
nose.

luminose e

1'altra

piramidi I2 lumi-

[only].

C. 13 1]

261.
di pari qualita
all'

Infra 1'onbre
fia

piv propinqua nore oscurita.

Quella che ochio apparira di mi-

Among shadows of equal depth those which are nearest to the eye will look least
deep.

C. 100]

262.

po luminoso

Quanto-di maggiore splendore fia-il cordi tanta maggiore oscurita fieno 1'onbre-fatte da'corpi da esso alluminati.

more brilliant the light given by a luminous body, the deeper will the shadows be cast by the it illuminates.
objects

The

p^rr J,,,m:
261. i. Infrallonbre
36*.
z.
. .

quale '"

*""""' u
. .

~. .

*-

- -

oho,.

cheffia

Apparira
.

hosscurita.

magiorel-splendore"

chorpo

magiore osschurita

lonbr

chorpi.

Theory of colours.
Leonardo 's theory of colours
of light
is

even more intimately connected with his principles

and shade than

to

his Perspective

of Disappearance and
the

is in fact

merely an appendix
264, 267,

or supplement

those principles, as

we gather from

titles

to sections

and

276, while others again (Nos. 281, 282) are

headed Prospettiva.

very

few of

these chapters are to be

found

in the oldest copies

and

editions

of

the Treatise on Painting,

connection

and although the material they afford is but meager and the between them but slight, we must still attribute to them a special theoretical
utility

value as well as practical

all the

more

so because our knowledge of the theory

is still

and

use of colours at the time of the Renaissance

extremely limited.

37

263.

DE
2

PICTURA.
3

OF
del

PAINTING.
is

II colore dello alluminato participa colore dello alluminante.

The hue of an illuminated object ted by that of the luminous bodv. J J

affec- The reciprocai effects of

colours on
objects pla-

ced opposite each other

E.

264.

(263

272).

DE
2
If

ONBRA.
d'ogni opaco participa

OF SHADOW.
The surface of any opaque body is affected by the colour of surrounding objects.

La

superfitie

del colore del suo obbiettot.

W.

232,5]

265.

L'onbra participa sepre suo obbietto.

del

color

del

shadow is always affected by the colour of the surface on which it is cast.

Br.

M.
II

266.

simvlacro inpresso nello spechio par2 ticipa del co lore del predetto specchio.

An image produced
by

in a

mirror

is

affected

the colour of the mirror.

Ash.

I.

2 a]

267.

DE
2

OBRA E LUME.
,

OF LIGHT AND SHADE.

Every portion of the surface of a body is varied [in hue] by the [reflected] colour of the object that may be opposite to it.

cuda
di

che cirdella superfitie trasmuta I parte del colore corpi, quella cosa che gl'e posta per obietto.

Ogni parte
i

3 si

363. 2. cholore
364. 2.

3.
3.

cholore
.

alluminancte.

oppacho.
delcho.
2.

cholore

obbieto.

265. obbiecto.

266.

i.

267. i. ellume.

circhuda

chorpi.

3.

trassmuta

cholore

chelle posta.

5.

settu porai unofpalla da]

uno chorpo

sperL-

144

THE THEORY OF THE ART OF PAINTING.

ESEPLO.

[268270.

EXAMPLE.
If

tu porrai-uno corpo-sperico-I mezzo a van obietti, 6 cioe che da una parte sia lume del sol* e dall' opposita parte sia uno muro 7 alluminato dal sole il quale sia verde o d'altro colore, il piano dove si posa 8 sia,

you place a spherical body

objects
that is
to

between

various

say with [direct] sunlight on one side of it, and on the other a wall illuminated by the sun, which wall may be green or of any other colour, while the surface on which it is placed may be red, and
the two lateral sides are in shadow, you will see that the natural colour of that body will

rosso
il

dai 2

lati

traversi
di detto

sia

scuro

vedrai

natura^le colore

corpo participare

de' colori

che
il

potete
della
dell'

fia

sono per obietto; IO I1 piu luminoso; II secondo fia quello

li

ll pariete allumina ta-,

,

II

terzo quello-

obra

Rimane poi una

quatita,

che par-

I2 ticipa del colo re delli

stremi.

assume something of the hue reflected from those objects; The strongest will be [given by] the luminous body; the second by the illuminated wall, the third by the shadows. There will still be a portion which will take a tint from the colour of the edges.

E. 17

268.
]

parsuperfitie d'ogni corpo opaco Ma co ticipa del colore del suo obbietto tanta maggiore o minore < inpressione quato esso obietto s fia piu vicino o remote o di
-3

La

The

surface of every opaque

body

is

affec-

ted by the colour of the objects surrounding it. But this effect will be strong or weak in

proportion as those objects are more or less

maggiore o minore potetia.

remote and more or

less strongly [coloured].

W.

240 i\

269.

PlTTURA.

OF
par-

PAINTING.

La superfitie d'ogni corpo opaco 3 colore del suo obbietto. ticipa del
2
*

The

surface of every opaque

body assumes

tanta maggiore potetia si tignie la del corpo s opaco del color del suo obbietto quato li razzi 6 delle spetie di
superfitie
tali

Co

the hues reflected from surrounding objects. The surface of an opaque body assumes
the hues of surrounding objects more strongly proportion as the rays that form the images of those objects strike the surface at
in

obbietti feriscono essi corpi infra angoli piu equali. 8 tanto piu si tigne la superfitie de' 9 del suo obietto corpi opachi del colore tal superfitie e piu biaca e'l coquato lore dello I0 obietto piu luminoso o allu?

more equal

of an opaque body assumes a stronger hue from the surrounding

the

And

angles. surface

minato.

objects in proportion as that surface is whiter and the colour of the object brighter or more highly illuminated.

W.

L. 145;

Ba]

270.

DELLI RAZZI CHE PORTA PER L'ARIA LE SPETIE DE CORPI.

1

OF THE RAYS WHICH CONVEY THROUGH THE

AIR THE IMAGES OF OBJECTS.
the minutest parts of the image All intersect each other without interfering with

H Tutte le parti minime delle spetie penetra 3]' una 1'altra sanza occupatione 1'una
cho Imezo
to.
. .

sia
. .

muro.

7.

cholore.

8.

schuro

vederai

[detto chorpo) al

natura.

9.

cholore

chorpo

cholori.

iluminoso

sechondo.
2.

268.

i.

chorpooppacho.
orremoto.
6.
4.

del cholore del cholore del suo

obbiecto.

3.

Ma[cqua] tanta

ominore.

In the margin: 4. cho.

5.

ominore.
8. Ettanto. 10. aluminato. razi. 6. feriscano. 9. biacha. magiore. 5. oppacho de chorpi. 3. ochupatione. 4. essia spiracholo. 5. ris.-cotro. 6. losstrcmo. 7. le(spemo no po
. . . .

369.

2. i.

oppacho.
razi
. .

370.

lesspetie

attale.

270.

13.

This probably refers to the diagram given under No. 66.

li

271. 272.]

THEORY OF COLOURS.
each other.

'45

dell'altrajU 4 pruovasi e sia r 1'un de'lati dello spiracolo s a riscotro del quale sia s

To prove

this

let

r be one of

ochio,

il quale ve de lo stremo inferiore o della linia n o, il qua 7 le stremo no puo madare la similitudine di se a tale 8 ochio s ch'ello no tocchi esso

the sides of the hole, opposite to which let s be the eye which sees the lower end o of the line n o. The other extremity cannot

transmit

stremo
d'essa
10

r, e' linia

si g mile

fa

mezzo
allo
,

cosi

accade

stremo superiore n all' ochio u e se lo stremo n "e rosso u ochio no vedra in tal labro di spira I2 colo r il colore verde di o, ma solo il rosso J 3di n per la 7 a di questo,
dicie ogni simula I4 cro

its image to the eye s as it has to strike the end r and it is the same with regard to m at the middle of the line. The case is the same with the upper extremity n and the

dove
per

mada

eye u. And if the end n is red the eye u on that side of the holer will not see the green colour of o, but th of only the red of n according to the 7

fori di
Tfla

se spetie

sue per

linia

bre I5 vissima

quale

where it is said: Every form projects images from itself by the shortest line, which
this

neciessita e retta ecc.

necessarily

is

a straight

line,

&c.

C. A. 178 a; 536^]

271.

PlCTURA.

OF

PAINTING.

La superfitie d'ogni corpo participa del 3 Li colori delli colore del suo obbietto. obbietti alluminati s'imprimono nelle superfitie 1' u del' altro 4 in tati vari siti quate son
2

The surface of a body assumes in some degree the hue of those around it. The colours of illuminated objects are reflected from the surfaces of one to the other in various spots, according to the various positions of those objects. Let o be a blue object
in
full

le uarieta delle situationi

6

1'

obbietto

di tali obbietti; azzurro alluminato e vede

solo sanza altra ^conpagnia 1 8 spatio b c della spera bia ca a b c d e f, e la tignie di colore azzurro; ^m el obbietto giallo il

light,

facing

all

by

itself

quale allumina

e lo copagnia a tigne in colore verde Tfper la 2

12

lo spatio dello o azzur lj ro

I0

b in

space b c on the white sphere a b c d e f, and it will give it a blue tinge. ;;/ is a yellow body reflected onto the space a b at the same time as o the blue
the

body, and they give

colour (by the
ri-

it

a green

questo che prova lo azzurro e giallo fa T 3re verde bellissimo eccll-e'l

3i

2 nd

[proposition]

manete
in

si

dira

I4

nel libro della pictura;

make
will

of this which shows that blue and yellow And the rest a beautiful green &c.)

questo libro

si

pro'Svera facciedo pene-

be

set

forth in the
it

Book on

Painting.

trare la spetie de' corpi e co l6 lori delle cose alluminate dal sole per piccolo ^spiracolo

In that

rotondo in loco oscuro I pa l8 riete piana in se bianca ecc. 19 Ma ogni cosa fia sotto sopra.

be shown, that, by transmitting the images of objects and the colours of bodies illuminated by sunlight through a small round perforation and into a dark chamber onto a plane surface, which itself is quite white, &c. But every thing will be upside down.
will

Book

C. A. 44 (5; 137 J]

272.

2 fa 1'obra 3 no la ue 4 de. 1'obre 6 son fatte 7 da lumino 8 so gignitor'e 9circudato I0 re del'obre. "L'onbra fatta dal luminoso e che e I2 giallo,

Quel che
Perche

That which casts the shadow does not because the shadows are produced it, by the light which causes and surrounds the shadows. The shadow caused by the light e,
,

face

111

Combination
of different colours in c

^^f"

8. chella

g no tochi
3. 8.

stremo

[o]r.

9.

chosi achade.
4.

10. essello.

u. errosso
6.

la [pr]bro.

12.

cholo

ongni.
7.

271. 2.

obbiecto.

obbiecti
.
.

"alluminati" sinpremano.
9.

quato.

5. bietta.

ellobbietto azurro

"alluminato".
12.

Losspatio
15.

be dulla.
piecho.

cha

ella.

ellobbietto gialloiquale.

10. losspatio. 18.

n.

ello tugnie in cholore.

19.

azurro -egualle.

chor-

16.

picholo.

17.

spiracholo retondo ilocho osschuro.

biancha.

onchosa.

VOL.

I.

146

THE THEORY OF THE ART OF PAINTING.

which
the
is

[273. 274.

viene a essere '^azzurra perche e 1'onbra corpo **a fatta sopra il pauimcto in b, nel'Ma quale 6 veduta dal luminoso azzur l6 ro, e cosl 1' onbra fatta dal lumi' 7 noso d che e azzurro fia gialla nel l8 sito c per lumi^noso dal essere veduta e '1 canpo circudatore giallo, 20 d'esse onbre b c sara (oltre al suo 2I natural colore) tinto d'un colore mi 22 sto di giallo e d' azzurro perche e vedu 2 3to e alluminato
del

yellow, has a blue tinge, because

shadow of the body a is cast upon the pavement at b, where the blue light falls; and the shadow produced by the light d, which is
blue, will be yellow at c, because the yellow light falls there and the

surrounding background to the'se shadows b c will, besides its natural colour, assume a hue compounded of yellow and blue, because it is lighted by the yellow light and by
the blue light both at once. Shadows of various colours, as affected by the lights falling

da luminoso giallo

<e

da luminoso

azzurro in u medesimo 25 tenpo 26 Onbre di uari co 2 ?lori se28 condo Iu mi da loro veduti. 2 9Quel lume che fa 1'obra no 3<>la
i

on them.
the

That light which causes shadow does not face it.

3I

uede.

c. A. 187

s6a]
2

273

The

effect of

spiracoli
,

Li termini d'ogni color che passa per so piu ^evideti che i loro mezzi. Li termini delle spetie ,
5

the'ckmera
scura
.

di
,

qualuche co-

274).

lore

che per stretto

il

loco o?scuro fien

lore che

spiraculo penetrano i 8 sepre di piu pote te co-

The edges of a colour(ed object) transmitted through a small hole are more conspicuous than the central portions. The edges 01 the images, of whatever A nc 01 wnaiever euges of me colour^ which are transmitted through a small
aperture into a dark chamber will always be stronger than the middle portions.

suo mezzo.

w.

L. 145;

D*]
2

274.

DELLA INTERSEGATIONE DELLE SPETIE POPILLA DELL'OCHIO.

3

NELLA
nello

OF THE
The

INTERSECTIONS OF THE IMAGES IN THE PUPIL OF THE EYE.

intersections

La

intersegatione

delle

spetie

introito della popilla *no s'infondono 1'una nell'altra in quello spatio dove tale intersegastione le vniscie, e questo si manifesta 6 perche se li razzi del sole passa per li dua
vetri
7

of the images as they enter the pupil do not mingle in confusion

in

the

space where that intersection unites

tigniera d' azzurro ne di giallo, ma simo verde, e il medesimo accaderebbe alI0 1'ochio se le spe tie de' colon giallo e verde
di 9 bellis-

che sieno infra loro in cotatto, de quali uetri 1' un sia azzurro e 1' altro giallo, allora il razzo 8 in esso penetrate non si

them; as is evident, since, if the rays of the sun pass through two panes of glass in close contact, of which one is blue and the other
yellow, the rays, in penetrating them, do not become blue or yellow but a beautiful green. And the same thing would happen in the
if the images which were yellow or green should mingle where they [meet and] interAs this does sect as they enter the pupil.

nella

intersegatio da lor fatta in"fra se nello introito della popilla s'avessino a inI2 fondere 1'una ne l'altra, la qual cosa non accadendo tal mistione non e in essere.

eye,

not happen such a mingling does not

13. azurra.
15.

exist.
natura

273. 6. facte.

ii. del.

12. giallo

vede lonbre viene a essere.

cho.
27.
.

del

azur.

16.

chosi.

17. azurro.

21.

colore.
273. 474.
2.

22.

eddazzuro.
3. illoro.
3.

26.
5.

sechondo.
istretto.
4.

28. dalloro.

29.
.

Quellume

chefla.

isspiracoli.

cholore

6.

spirachulo
. .

illocho os.
5.

i.

interseghatione.
7.

interseghatione.
. .

sinfondano
9.

intersegha.
.
.

ecquessto

selli razi
.

[solarij.

6.

passa

inchofrasse

tacto.

azurro ellaltro

il

raz.

8.

azurro.

achaderebbe'

selle.

10. cholori gialli

interseghatio dallor.

n.

272. In the original

e "giallo"

diagram we
cirle

find in the circle

and

(yellow) and the also under the circle

"azurro"

(blue)
left

in a

In the second diagram where four circles are placed row we find written, beginning at the left hand,
(yellow),

of shadow to the

"giallo"

"azurro"

(blue),

"z/mfc"

(green),

"giallo" is written

and under that

to the right "azurro".

"rosso" (red).

2/5-]

THEORY OF COLOURS.
DELLI RAZZI CHE si COPOGONO DE CORPI E LORO ITERSEGATIONE.
1

NATURA
"4

OF THE NATURE OF THE RAYS COMPOSED OF

THE IMAGES OF OBJECTS, AND OF THEIR
INTERSECTIONS.

DELLfi SPETIE

rettitudine delli razzi che porta per 1'aria la figura l6 e color de' corpi donde
si

sLa

The directness of the rays which transmit the forms and colours of the bodies whence
they proceed does not tinge the air nor can they affect each other by contact where they intersect. They affect only the spot where they vanish and cease to exist, because that

partono no tingono di se 1'aria, cora possono tignie I7 re 1'uno

nel

ne an-

1'altro

cotatto

della

loro

intersecatione,

ma

sol tin l8 gono

il loco dove eglino perdono il loro essere perche tale loco ve'9de ed e veduto dal'origine

d'essi razzi, e nessuna altra cosa che circuisca 20 essa origine puo

essere veduta da loco dove tale 2I razzotaglian dosi resta destrutto, lasciado la preda da lui quivi
portata.
22

spot faces and is faced by the original source of these rays, and no other object, which surrounds that original source can be seen by the eye where these rays are cut
off

spoil they

And
questo
corpi
si
a prova per la 4 de codove dicie la su 2 3perfitie

and destroyed, leaving there the have conveyed to it.

th
:

sition],

this is proved by the 4 [propoon the colour of bodies, which says

lori

de'

d'ogni corpo opaco participa del colore del suo obbi 2 4etto; aduque e concluso che 2 il loco che mediate il razzo 5che porta le vede ed e veduto dall' origine di tale spetie 26 spetie si tinga del colore d'esso obbietto.

surface of every opaque body is affected by the colour of surrounding objects; hence we may conclude that the spot which, by means of the rays which convey the image, faces and is faced by the cause of the

The

image, assumes the colour of that object.

Ash.

I,

22 a]

275-

OGNI OBRA FATTA DAL CORPO OBROSO MINORE DEL LUME ORIGINALE 2 MADERA LE OBRE DIRIVATIVE TITE DEL COLORE DELLA LORO
ORIGINE.

ANY SHADOW CAST BY AN OPAQUE BODY SMALLER THAN THE LIGHT CAUSING THE SHADOW WILL THROW A DERIVED SHADOW WHICH IS TINGED BY THE COLOUR OF THE LIGHT.
Let n be the source of the shadow ef; it On the assume its hue. Let o be the source of h e deriveTsha do * s which will in the same way be tinged by its hue 6) and so also the colour of v h will be affected by/ which causes it; and the shadow of the triangle z k y will be affected by the colour of q, because it is produced by it. [7] In proportion as c d goes into a d, will n r s be darker than m; and the rest of the space will be shadowless [i i]. f g is the highest light, because here the whole light of the window a d falls; and thus
will
,

tita in

L' origine dell' obra e sia n, e fia suo colore 1' origine di h e sia *e fia similmete tita T suo colore, e cosl il colore di-z>->$-fia tito nel- colore di-/s e 1'obra del triaperche nascie da lui golo z k y fia tita nel colore di Q perche 6 8 7 Tanto diriva da lui quato c d entra in I0 9e a d tanto e che piv scuro n r s
3
[

|j

tutto 1'altro

"canpo sanza 6bra;-/-^-e

di

'1

lume perche quivi allumina tutta la finestra a d I2 e cosi nel corpo obroso -m- e e di simil chiarezza z k y e vno triagolo ^ che cotiene in se il primo
primo grado
;
. .

light; z

on the opaque body m e is in equally high k y is a triangle which includes the

"mistione". 13. razi chessi copoghano. 14. chorpi elloro interseghatione. anchora possa. 17. intersechatione Massol. partano" no si tinghano chosa che cirrazi e nessussuna locho. 19. de "ede veduto da" lorigine 18. ghano il locho dove e perdano illoro cholori de chorpi. 22. ecquesto dallui. chuissca. 20. dallocho do tale razo. 21. ressta desstrutto "quivi" lassciado
popila.
12.

chosa non achadendo

tal [fusione]
si

15.

fighura.

16. e

cholor de chorpi "donde

.
.

23.

chorpo oppacho
delume.
3.

cholore.
effia
. .

24. ecto
sie. 4.

choncluso.
. .

ilocho.

25. 10.

veduta.
ettutto.

26. tingha.

875.

i.

sie

effia

nel

cholore.

n. alumina

tucta.

12.

chiareza

k.

275.

The diagram

PI. Ill,

No.

belongs to this

chapter as well as the text given in No. 148. Lines 12 of No. 148) which are il (compare lines 8 7

written within the diagram, evidently apply to both been inserted in sections and have therefore both.

148

THK THEORY OF THE ART OF PAINTING.

[2 7 6.

capita

grado d'onbra, perche in esso triagolo no & '1 2 grado '*il lume a d\ x h d'obra perch egli non allumina se non */3
sdella- finestra cioe

deepest shadow, because the light a d cannot reach any part of it. x h is the 2 nd grade of shadow, because it receives only '/3 of the
light

c- d>\li- c fia
i

il

tcrzo

from the window, that

is c d.

The

third

I6 dua terzi grado d'obra perche egli uede della finestra b d- c -f fia 1' ultimo grado d'obra perche I7 1' ultimo grado di lume della finestra allumina nel loco di /.

grade of shadow is // e, where two thirds of the The last light from the window is visible. grade of shadow \sbdef, because the highest grade of light from the window falls at /.

W.

L. 145;

C]
2

276.

DELLI COLORI DELL'OBRE DIRIVATIVE

SENPLICI.

OF THE COLOURS OF

SIMPLE DERIVED

SHADOWS.

Li colori dell'obre diriuative fie ^senpre participant delli colori de corSpi che le rischiarano: pruovasi 9e sia il corpo onbroso
-J

The colour of derived shadows

affected

is

always

by

are cast.

body towards which they To prove this let an opaque body be

that of the
:

I0

interposto
riete

infra
li

la

pa-

lu^minosi a b rosso; I2 dico d e luminoso azzurro ve I3 de tutta la pariete sctd ecciet^to op, il quale occupa 1' onbra del 15 corpo obroso q r, come mostra l6 le linie rette d q o, e r p\ E il simple accade del luminoso a b, l8 vede tutta la il quale

sctd e e azzurro e

placed between the plane and the blue light d e and the red light a b, then I say that d e, the blue light, will fall on the

sctd

ting at o red by the

whole surface sctd excepp which is coveshadow of the

body q r,

as

is

shown by

the

straight lines d q o e r p, And the same occurs with

eccietpariete J 9to il loco occupato dalP

sctd

the light a b which falls the whole surface

on

sctd

obroso q r co 20 me mostra le linie d q o e e r p; 2I aduque si coclude che 22 vede il luminoso azzurro d e e 1' onbra n m no 2 3 potendo vedere il luminoso a b rosso 2 n m resta vn' obra azzurra in capo 2S rosso
s c td perche in campo vede 1'uno e Paltro luminoso, 2 7ma nell'obre no vede se no vn sol Iu 28 minoso e per questo 2 tale obra e obra me 9zzana, perche se tale obra no fusse veduta 3 da nessun luminoso 1 essa sarebbe obra J massima ecc. Ma nel1'onbra o p no ve3 2 de il luminoso azzurro, 33 colla sua interpositione perche il corpo q r

excepting at the spot obscured by the shadow q r;

as
is o,

may conclude

that

shown by the lines d and e r p. Hence we the shadow n m is

light

exposed to the blue red light a b cannot

e;

but,

as

the

fall

there,

will ap-

misto

d' azzurro,

26

pear as a blue shadow on a red background tinted with blue, because on the surface sctd both lights can fall. But in the shadows only one single light falls; for this reason these shadows are of medium depth, since, if no light whatever mingled with the shadow, it would be of the first degree of darkness &c.' But in the shadow at o p the blue light

13.

chotiene.
cholori.

14.

ilumc

dobra percheli
5.

alumina.

15.
6.

dela

percheli

(L la.

17. dela
il

alumina
7.

locbo.
il

276.

i.

3. cholori. 8.
[t

4. cho'lori.

chelle risciarano.
d].

[essia
9. essia

il
il

luminoso azzurro de

qua).

[le
.

allvmina
.

chanp
addu-

la pariete sc.]

d cholla dilatatione a b c d d e c
. .

chorpo

interpossto.
. .

10. infralla

elli.
.

n. azzurro
21.

he

ab.
si

que
.

chome mosstra. 12. dicbo. 14. ochupa. 15. chorpo choclude chellonbra. 22. iluminoso. 24. ressta chapo.
. .

19.

locho ochupato

cho.
.

20.

mosstra

ahcf.

25. missto
.
.-

da dazurro

fussi.

30.

sarabe.

32.

iluminoso.

33.

lielo.

35.

tigngnie

tal.

36.

chanpo. 26. ellaltro. 29. settale ressta inchapo. 38. del 37. dazurro errosso.
.

276. In the original diagram

Leonardo has written

body);

at

within the circle q r forfo obroso (body "in shadow); at the spot marked A, luminoso azzurro (blue luminous

E
at

we read ombra

B, luminoso rosso (red luminous body). At azzurra (blue tinted shadow) and
rossa (red tinted shadow).

ombra

277. 278.]

THEORY OF COLOURS.

149

glielo proibi-^sc-ie;

Ma

sol ui

vede

il

lume

rosso a b il jSquale lo tignie di color rosso e cosi ta3 6 le obra rosseggiate resta incapo mi 37 sta d'azzurro e rosso.
38 L'onbra del q r in o p 39 mediante il luminoso azzurro d e 4e rossa e 1'obra d'esso q r mediate il rosso luminoso a b e azzurra 4 * in 5 p adunque diremo che 43 il lume azzurro fa in questo caso 44 fare 1'onbra dirivativa rossa al cor^Spo onbroso 46 fa fare al medeq r Q che'l lume rosso simo obroso 1'obra 4 1 dirivativa azzurra, ma
;

1'onbra

48

primitiva

no

fia

d'esso colore

ma

49fia mista di rosso e azzurro.

sLe
rita
.tetia

se

le

obre dirivative sara d' equal 5I oscunascono da 52 lumi d'equale po. .

because the body q r interposes it there. Only the red light a b falls there and tinges the shadow of a red hue and so a ruddy shadow appears on the background of mingled red and blue. The shadow of q r at o p is red, being caused by the blue light d e ; and the shadow of q r at <?' /' is blue being caused by the red light a b. Hence we say that the blue light in this instance causes a red derived shadow from the opaque body <?'r', while the red light causes the same body to cast a blue derived shadow; but the primary shadow [on the dark side of the body itself] is not of either of those hues, but a mixture of red and blue. The derived shadows will be equal in depth
fall,

does not

and intercepts

if

e distas^tia; pruova

and

they are produced by lights of equal strength at an equal distance; this is proved [53].

F. 23 a]

277.
2

Nessu bianco o nero

e trasparete.

No

white or black

is

transparent.

On

the nature of colours

(277. 278).

75 a]

278.

PlCTURA.
2

OF

PAINTING.
is

Perche

il

bianco non e colore,

ma

e in-

[2]

Since

white

not a colour but the

potentia ricettiva 3d'ogni colore, quando esso e in capagna alta tutte le su 4 e obre sono azzurre; e questo nasce per la 4 a che
dice: la superfitie d'ogni opaco participa del colo 6 re del suo obbietto; Aduque tal
s

neutral recipient of every colour [3], when it is seen in the open air and high up, all its

shadows are bluish; and

this is

caused,

ac-

bianco essendo pri7vato del lume del sole 8 infra per interpositio di qualche obbietto
'1 sole e esso biaco, resta adunque biaco che vede il sole e 1' aria parI0 del colore del sole e dell' aria, e ticipante jl quella parte che non ue de il sole, resta onbrosa participante del colore dell' aria, e se I2 tal biaco non vedesse la verdura della capagnia l^sino all' orizzonte, rie ancora vedesse la biachezza di tale I4 orizzote, sanza dubbio esso biaco parrebbe essere j sdel senplice colore del quale si mostra essere

messo
9

infra
il

tutto

1'

aria.

th cording to the 4 [prop.], which says: the surface of every opaque body assumes the hue of the surrounding objects. Now this white [body] being deprived of the light of the sun by the interposition of some body between the sun and ifself, all that portion of it which is exposed to the sun and atmosphere assumes the colour of the sun and atmosphere; the side on which the sun does not fall remains in shadow and assumes the hue of the atmoAnd if this white object did not sphere. reflect the green of the fields all the way to the horizon nor get the brightness of the horizon itself, it would certainly appear simply of the same hue as the atmosphere.

[dea]qr[m]in.
48. cholore.

40.

errosso ellobra.

42. direno.

43.

Hume

inquessto chaso.

44.

lonbra [azzu] "dirivativa" rossa al chor.

49. missta.

51. osschurita selle

nasschano.

52. eddissta.

277. 2. he.
378. 4.

azzurro
ii.

ecquessto nassce.

5.

oppaco.

6.

biancho.

7.
.
.

interpositiode.

8.

biacho.

9.

ellaria.
. .

10.

ecquella parte che

14.

ue.

resta

"onbrosa"

dellaria esse.

12.

biacho

vedessi.

13.

orizonte neacora vedesse

biacheza.

orizote

biacho parebbe.

53.

The
2.
3.

text
/'/

is

unfinished in the original.

ALBERT! "Delia
trary
:

278.
ricettiva

bianco

non e

colore

ma

e inpotentia

pittura" libro I, asserts on the con"II bianco e 7 nero non sono veri colori, ma sono
delli

d'ogni colore (white is not a the neutral recipient of every colour).

colour,

biit

alteratione

altri

colori"

(ed.

JANITSCHEK,

p.

67;

LEON BATT.

Vienna

1877).

5o

THE THEORY OF THE ART OF PAINTING.

[279281.

C. A. 192 6; 571 6\

279.

il nero dipinto in cofine del Perch 2 no mostra piv nero che dove confina e depth of co- col nero, n il biacho no mostra piu bianco U in cofine del nero che del biaco, co s me fan (279? 28o). 6 le spetie passate per ispiraculo o per termine d'alcuno ostaculo opaco ...

biaco
-5

Since black, when painted next to white, looks no blacker than when next to black; and white when next to black looks no whiter than white, as- is seen by the images transmitted through a small hole or by the edges of any opaque screen.
.

C. A. l8l<5; 546^)

280.

DE
2

COLORI.

OF
Of
will

COLOURS.

De colori d'equal bianchezza quel si mostrera 3 piu candido che sara in campo nero si mostrera piu tenepiu oscuro broso che fia in caSpo di maggior bianchezza. 6 E'l rosso si dimostrera piu focoso che

several colours, all equally white, that

;'!

look whitest which is against the darkest background. And black will look intensest
against the whitest background. And red will look most vivid against the yellowest background; and the same is the case with all colours when surrounded by their

sara
lori.

in

capo piu

giallo,

e cosi fara
retti

tutti

li

colori cir 8 cundati

da loro

contrari co-

strongest contrasts.

A.

281.

PROSPETTIVA.
2

PERSPECTIVE.
si

Ogni corpo sanza colore

o
in

colorisce

On

the reflection of

tutto
3

parte

in

nel

colore

cotra se

colours

(281283).

4 posto; questo si uede per isperieza inpero che ogni corpo che spechia si tignie nel co s lore che gli per obbietto; E quel corpo che si tignie in parte -si e il bianco, e quella 6 parte che fia luminata da rosso parra rossa ed ogni altro colore luminoso o obroso.

Every object devoid of colour in itself less tinged by the colour [of the This may be seen object] placed opposite. by experience, inasmuch as any object which mirrors another assumes the colour of the
is

more or

object mirrored in it. thus partially coloured

And
is

if the surface white the portion

which has a red

reflection

will

appear red,

or any other colour, whether bright or dark.

PROSPETTIVA.
8

PERSPECTIVE.

Ogni corpo

opaco

ticipa
9

di quel colore ch' egli

sanza colore para per obietto

;

the

Every opaque and colourless body assumes hue of the colour reflected on it; as
wall.

questo -accade a uno mvro biaco.

happens with a white

379.

i. 2.
.

biacho.

4.

cho

biacho.
.

5.

pasate.
3. 8'
.

6.

ostachulo oppacho.
.
.

380.

biancheza cholori
.

mosstera.
.

chandido
chundati

chanpopiu osschuro.
cholori.
4.

4.

mosstera

cheffia.

5.

magior.

6.

dimosstera

fochoso.
2.
.

7.

chosi
. .

cholori.
.

281.

i.

pro.

cholore

colorisscie
6.

inel cholore chotra.

7.

[ognij questo
.
.

si

chorpo chesspechia
. .

nel cho.

5.

chorpo
i

chessi

biancho checquela.

para.

pro.

8.

chorpo oppacho

cholore

cholore chellia.

9.

quessto achade a

muro biacho.

281. 282. The title line of these chapters is in the original simply "fro", which may be an abbreviation for either Propositione or Prospettiva taking Prospettiva of course in its widest sense, as we often

has here been understood to

mean

Prospettiva,

in

accordance with the suggestion afforded by page io b of

find

it

used

in

Leonardo's writings.

The

title

"fro

where the first section is headed No. 94), while the four followsections are headed merely "/ro" (see No. 85). ing
this

same

M.S.,

Prospettiva in full (see

282284.]

THEORY OF COLOURS.

A. 2Oa]

282.

PROSPETTIVA.

PERSPECTIVE.

Quella parte alluminata madera all' ochio la similitudine delle 3 sue particule piv disciernibili e spedite che quella che si trovera nel1' onbra.
fia

del

corpo obroso che

of

That side of an object

which
its
is

in light

and shade

towards the light transmits the images

details

more

distinctly

and immediately
is

to the eye than the side which

in

shadow.

PROSPETTIVA.
si razzi
solari ripercossi

PERSPECTIVE.

sopra

lo

spe-

chio
di

quadro risalterano nel distate obbietto rotoda forma.

PROSPETTIVA.

rays reflected on a square mirror will be thrown back to distant objects in a circular form.
solar

The

PERSPECTIVE.

7 Ogni corpo biaco e opaco si tignie in parte della similitudine de colori che li sono

Any
partially

white and opaque

surface will

be
sur-

coloured by

reflections

from

per obbietto.

rounding objects.

Ash.

I.

3 a]
2

283.

QUAL PARTE DEL COLORE

RAGIONEVOLMETE DEVE ESSERE 3piu BELLA.

WHAT
OUGHT
If a IN

PORTION OF A COLOURED SURFACE REASON TO BE THE MOST INTENSE.

the light,
c,

4 Se a fia il lume b fia alluminato per linia-da esso lume, 5 c che no puo vedere esso lume vede solo la parte alluminata 6 la quale parte di,

is

in a direct line,
fall,

and b illuminated by it on which the light cannot

lighted only by reflection let us say, is red.

is

from b which,

ciamo che sia rossa-; Essendo cosl il lume ch' ella ? gittera alia

Hence

the

fc

it,

will

light reflected from be affected by the hue

parte somigliera alia sua ca8 gione e tigniera I rosso la faccia c e se c fia ancora lui rosso vedrai essere molto 9piv bello che b e se c fusse giallo vedrai 11 crearsi uno colo I0 re cagiate Jfra giallo e rosso.

of the

surface

causing

it

and

will tinge the surface c with red. if c is also red you will see

And

more intense than were yellow you would see between yellow and red.
it

much

b;

and

if

it

there a colour

Ash.

i.

26}

284.
IL

COME
3

BELLO DEL COLORE JN SU LUMI.

DEVE ESSERE

WHY

BEAUTIFUL COLOURS MUST BE IN THE

[HIGHEST] LIGHT.

Se

noi

vediamo

la qualita

de' colori
is

conoscivta mediate 3 il lume e da giudicare che dov' e piv lume quivi si vegga 4 piv la vera qualita del colore alluminato e dov' e piu tenebre il colore tignersi s nel colore d' esse tenebre, aduque tu pittore ricordati dimostrare 5 la verita de' colori I su le . parti alluminate.
essere
,
'

Since we see that the riii known L on lyj. by means

,

On the use quality of colour of dark and * T i i 'i i ot light, it -is to light colours
is

be supposed that where there

most

light

p
8
2

^g
}

the true character of a colour in light will be best seen; and where there is most shadow the colour will be affected by the tone of that. Hence, O Painter! remember to show the
true quality of colours in bright lights.

282.

i.

pro.
.

2.
.

chorpo
retoda.
2.

cheffia.

3.

partichule

piv

[spe]
. .

esspedite

chessi.

4.

pro.

5.

razi

riperchossi

los-

spechio
283. i.

6.

pro.

7.
3.

chorpo biacho e opacho

belle.
4.

cholori.
7.

cholore.
9.

deessere.
.

ilume.
.
.

6.
.

chessia.
i
.

gitera

sumigliera

ettigniera.

8. esse

c fianchora

vederai.

esse
4.

fussi gialo
.

vedra

crearsi

cholo.
cholori
.

10. re chagiate.
.

284. 2. deessere.

giudichare

vega.

6. richordati.

7.

parte.

152

THE THEORY OF THE ART OF PAINTING.

I.

[285-287.

Ash.

9*]

285

Quell a
2

cosa che
,

co nero apparira alcun' altra e pero ricordo a te pictore che vesti le tue figure di colori pi*v chiari che puoi che se le farai di colore oscuro sieno
di

dipinta di biaco di migliore rilievo 3 che

fia
.

object represented in white and black than in any other Painter! way; hence I would remind you to dress your figures in the lightest colours
will display stronger relief

An

you can, since,

if

you

put

them

in

dark

poco

rilievo e

di

poca evidetia da

16-

tano e quest' e per 1'onbre di tutte le cose che sono scure 6 e se farai una vesta scura poco di vario fia da lumi al'obre e ne co;

colours, they will be in too slight relief and And the inconspicuous from a distance.

reason
dark.
is little

is

that the
if

And

lori

chiari vi fia

grade vario.

variety

shadows of all objects are you make a dress dark there in the lights and shadows, while

in light colours there are

many

grades.

E.

286.

PlCTURA.

OF

PAINTING.
will display

Li colori posti nelle onbre, partecipera'no tanto piu o meno della lor natural * bellezza quanto essi sarano in minore o in maggio s re
oscurita.
6

Colours seen in shadow

more

or less of their natural brilliancy in proportion as they are in fainter or deeper shadow.

Ma

se

li

luminoso, allora essi

colori sara situati in i?spatio 8 si mostrera di tanto

il

But

if

these

same colours are

situated in

maggiore bellezza quanto maggiore spledore.

luminoso

fia

9di

a well-lighted place, they will appear brighter

in

proportion as the light

is

more

brilliant.

AVERSARIO.

THE ADVERSARY.
variety of colours in shadow must be as great as that of the colours in the objects in that shadow.

"Xante sono

le varieta de' colori delle

The

obre quato sono I2 le uarieta de' colori che anno le cose aobrate.
RlSPOSTA.
'5

THE ANSWER.
Colours seen in shadow will display less variety in proportion as the shadows in which they lie are deeper. And evidence of this is to

Li colori posti nell' onbre mostrerano infra loro tanta minor varieta, quato 1' 6 l6 bre
'4

son situate fieno piu oscure, I7 e di e testimonio quelli che dalle pi l8 azze questo riguardano dentro alle porte delli te^pi
vi

che

onbrosi,
lori
22

doue

le pitture vestite di 20 vari co-

21 appariscono tutte uesti te di tenebre. Adunque in lunga distantia tutte 1'62 3bre delli vari colori appariscono d'una

be had by looking from an open space into the doorways of dark and shadowy churches, where the pictures which are painted in various colours all look of uniform darkness.

Hence

at

a considerable distance
will

all

the

*medesima
25

oscurita.

shadows of different colours the same darkness.

It
is

appear of

Delli corpi vestiti d'

il

26

luminata mostra

obra e lume la parte suo vero colore.

the light side of an object in light

and shade which shows the true colour.

W.

An. IV. 232

287.

Fa
th C ctura i?u"rs of theP' OU e

1'arco cieleste nell' ultimo libro della

Treat of the rainbow in the

last

book on

ma

^a

Pr

'

ma

il

lib 1

"

delli colori

ranbow
(287. 288).

3 acci6 che U p OSsa provare mediante essi colori de' 4 la pictori gieneratio de' colori del' arco.

nati dalla mistio nelli altri colori,

Painting, but first write the book on colours produced by the mixture of other colours, so as to

be able to prove by those painters' colours how the colours of the rainbow are produced.
. .

385.

i.

quela chossa cheffia

5.

biacho.
. .

2.

aparira.
.

3.

alchunaltra
6.

richordo atte
I

cholori.
. .

4.

chesse

cholore osschuro

pocho.
386.
2.

pocha

ecqueste
belleza
9.
. .

chose sono

scure.

esse fara

vesta

pocho
6.

gradi.

cholori possti.

4.

"iminore" o in maggi "o".

ettestimonio.

5. osschurita.

Masselli

[medesimi] cholori.
14.

7.
.

mosstrera.

8.

magiore

iluminoso.
16.

maggiore [chiarezza] spledore.

osschure.
17.

n.

cholori.

12.

cholori che a lechose.

18. dellite. 26. cholore.

cholori

nossterrano.
22.

15. infralloro.

eve son

Queli che delle.

.

20.

cholori aparisscha.

lungha

disstautta.
287.
i.

23. cholori
.

aparisschano.
2.

24. osschurita.
.

25. chorpi
3.

ellume.
4.

fallarcho

mafia.

cholori nati della

cholori.

acio chettu.

cholori delarcho.

288.]

THEORY OF COLOURS.

153

W.

L. 145;

A 6.}
COLOR: DELL'ARCO NASCONO DAL
SOLE.

288.

SE
2

LI

WHETHER THE COLOURS OF THE RAINBOW ARE

PRODUCED BY THE SUN.

Li colon dell'arco no nasco

[dal sole,

3 perche I molti modi si gienera tali colori sanza sole come accade nell'accostare al-

1'ochio il bicchiere dell'acqua, *ne[ uetro del quale sia le minute vesciche che esser sogliono nelli vetri mal
:

The colours of the rainbow are not produced by the sun, for they occur in many ways without the sunshine; as may be seen by holding a glass of water up to the eye when, in the glass where there
;

are

purSgati; le quali vesciche, ancora-

che no

si

veda
sua
e
6

il

vno

de'

lati

sole, gienera da tutti li colori

those minute bubbles always seen in coarse glass each bubble, even though the sun does not fall

dell'arco,

questo

vedrai

nel

metter tale bicchiere in?fra 1'aria 1'ochio tuo in modo che sia in cotatto con esso ochio e che tale bi8 cchiere abbia vna parte per la qual penetri
e
el

on one side it, will produce the colours of the rainbow; as you may see by placing the glass
all

on

lume

dell' aria

e dall'altra l'69bra della

between the day light and your such a way as that it is close to the eye, while on one side the glass admits the [diffused] light of the atmosphere, and
eye
in

pariete laterale di tal finestra destra o siI0 nistra, che no fa ca so qual lato si sia, e cosl voltando tal bicchiere intorno vedrai
11

on the other side the shadow of the wall on one side of the window; either left or
not which. Then, by turning the glass round you will see these colours all round the bubbles in the glass &c. And
right, it matters

"colori intorno a esse vesciche del uetro ecc., e li altri modi diremo a suo
detti

12

loco.

the rest shall be said in

its

place.

COME
x

I4 ALLA L' OCHIO NON A PARTICIPATIONS GIENERATIO DE' COLORI DELL'ARCO.

THAT THE EYE HAS NO PART

IN PRODUCING THE COLOURS OF THE RAINBOW.

sL' ochio nella sopra detta esperietia l6 pare auer participatione al li colori dell'arco esse vesciche del uetro no mostra perche da se tali ^colori se non me-

In the experiment just described, the eye

would seem

Ma

diante 1'aspetto dell' ochio se tu poni tal bicchi l8 ere

;

to have some share in the colours of the rainbow, since these bubbles in the glass do not display the colours except through the

medium of

the

eye.

But,

if

pieno
della
dall'

d'acqua
finestra

piano in modo che

lo
fe-

sul

you place the glass full of water on the window sill, in such a
is

opposita
li

par^te

rischino

vedrai
20

li

razzi solari, allora tu predetti colori gie-

position as that the outer side exposed to the sun's rays, you will see the same colours

nerarsi nella inpressio fatta

penetrati per esso bi 2I cchiere e terminati sopra il pavimeto in loco oscuro a piedi d' essa finestra, e per-

dalli razzi solari

produced in the spot of light thrown through the glass and

upon

the floor, in a dark place,

qui no s'adopera 1'ochio, ciertezza manipossia co festamete dire tali co^lori non avere parte alcuna dall' ochio.

che

22

below the window; and as the eye is not here concerned in with it, we may evidently, and
certainty

pronounce

that

the

eye has no share in producing them.

288.

i.

selli

archo nasscha.'

2.
.

cholori dellarcho

nonasscha.
nelli.
5.

3.

cholori san"za sole"

. .

chome achade
.

nell'

achostare

bichieri

acqu"a".
. .

4.

sia

vesscicha
7.

esser. sole
.

ghati

vesciche anchora
8. chieri
. . .

vndesua.
.

6.
9.

cholori dell' archo

lateral
. .

ecquesto vedera

bichieri.
.

frallaria ellochio
.

chessia in chotatto a esso.

penitri.

finesstra
locho^.

desstra ossinistre
13.
.

cha.
.

10. chosi
.

bichieri

vederai.
16.

n. cholori
cholori
. . . .

vessciche
.
.

[elli altri
. .

modi direno assue].

17. 20.

12.

chome.
lasspecto

14. cholori
. .

archo.
.

15. essperietia. 18.

archo
19.

vessciche
.

mosstra dasse.
cholorigi.

cholori senno
. .

Massettu

bichi.

eri

dacq"a"

finesstra.

ferisschino

facta

penetrata.
27. cholori.

21. chieri etterminata ..

"in locho osscuro"

.. finesstra.

22. cierteza

cho.

23.

alchuna.

24.

dalchuno.

26. quali

si.

154

THE THEORY OF THE ART OF PAINTING.

PENE D'ALCUNO

[288.

DELLI COLORI POSTI NELLE

2

OF THE COLOURS

IN

THE FEATHERS OF CERTAIN

BIRDS.

5VCCIELLO.
li

26

Molti sono
nelle

del rnodo,
bellissimi

vccielli nelle varie regio 2 penne de' quali ?si vede

There are many birds

in various regions

movimeti,

colon gienerarsi nelli lor diuersi 28 come far si vede infra noi alle
!'

29 anitre penne delli pagoni o nelli colli del o delle colonbe ecc. 3 Ancora nelle superfitie delli antichi vetri

trovati sotto terra e in

nelli stati liigo

ne^le

radici de' rava-

tepo ne' fondi delle fonti o altre ac^que inmobili, che ciascuna di tal
radici

e circudata da

tali

archi si'^mili al

cieleste;

vedesi

nell'

utuosita sparsa sopra

34 nelli razzi solari reflessi 1'acqua, ancora dalla superfitie del diamate o berillo a^scora
;

of the world on whose feathers we see the most splendid colours produced as they move, as we see in our own country in the feathers of peacocks or on the necks of ducks or pigeons, &c. Again, on the surface of antique glass found underground and on the roots of turnips kept for some time at the bottom of wells or other stagnant waters [we see] that each root displays colours similar to those of the real rainbow. They may also be seen when oil has been placed on the top of water and in the solar rays reflected from the surface of a

diamond or beryl
facet

nell'

angolo fatto dal

37

berillo ogni

cosa oscura

la

qual termini e circhudata da

Paria e
altri

36

coll' aria

o altra cosa chiara

tale

detta cosa oscura,

li

arco interposto infra e cosl mol3 8 ti

modi

quali lascio perche questi so

again, through the angular of a beryl every dark object against a background of the atmosphere or any thing else equally pale-coloured is surrounded by these rainbow colours between the atmosphere and the dark body; and in many other circumstances which I will not mention,
;

as these suffice for

bastati a

tal discorso.

my

purpose.

28.

paghoni.
.

29. oddelle
.

cholonbe.
. .

31.

lugho

fondi delle fonto

.
.

altra.
.
.

32.

cque
.

ciasscuna

eccirchudata dattali.
36. qual [chaupcg]
.
.

33. cielesste

uduosita
.

anchora.
.

34. refressi

obberillo.
.

35.

chora

angholo
.

chosa osscura.

termini chollaria
disscorso.

chosa

ecirchudata.

37.

archo

infrallaria eddetta

osschura echosi.

38. lasscio

basstati attal

VI.

'Prospettiva de* colon

(Perspective
and

of Colour)

'Prospettiva aerea' (Aerial Perspective).

Leonardo
distinctly separates these

branches of his subject, as

to cast

may

be seen in the

beginning of No. 295.

Attempts have been made

doubts on the results which

Leonardo arrived at by experiment on the perspective of

colour, but not

with justice, as

may

be seen

from

the original text of section 294.

to

The question as

the composition of the atmosphere, which is inseparable

,

from

a discussion on Aerial Perspective forms a separate theory ivhich

siderable length.

is

treated at conescape the

subject,

Indeed the author enters into

it

so fully that

we^cannot

conviction that he must have dwelt with particular pleasure on this part of his

and

that he attached great importance

to

giving

it

a character of general

applicability.

C. 12 6}

28g.

La
in

lunga

quelle
fieno.

uarieta de' colon de' corpi no fia distantia conosciuta se no in parti che dai soli razzi percosse

The
in

variety
at

be discerned

of colour in objects cannot a great distance, excepting

General
rules

(289-291)

those parts which are directly lighted up

solar rays.

by the

C. 13*]

290.
i

Infra
tia

colori

de' corpi

no

fia

differen-

As

to

the

colours

in

lunga distantia nelle loro parti on-

distances no difference
parts in shadow.

is

of objects: at long perceptible in the

brose.

Ash.

I.

291.

BELLA EVIDETIA
2

DE' COLORI.

OF THE
at a distance is
lightest,

VISIBILITY
strikes

OF COLOURS.

Quale colore e piv evidete? quella cosa ch'e piv chiara piv appariscie 3di lontano; e la piv scura fa il cotrario.

Which colour

most? An object most conspicuous, when it is

is

and the darkest

least visible.

W.

232 6}

292.

Delli termini dell'obre; alcu 2 ni so fumosi d'insesibile termine, altri 3di termini noti.

Of the edges
have misty and
distinct ones.

[outlines] of shadows.
ill

Some
others

defined

edges,

se

Nessu corpo opaco e sanza obra o lumi Snon e nella nebbia, sopra terra coperta
4

di neve, e el 6 simile fa

quado

fiocca in can-

pagnia essa

fia

sanza lume e sara circudata

dalle tenebre.

No opaque body can be devoid of light A " and shade, except it is in a mist, on ground covered with snow, or when snow is falling on the open country which has no light on it and is surrounded with darkness.

289.

i.

cholori de chorpi cholori de chorpi

della
. .

illunga

no "in" quele
llunga.

[lor] parti

che

[ffieno] dai sola razi perchosse.

290.
291.
292.

i.
i.
i.

diferentia

cholori.

2.

cholore
2.

chosa
4.

apariscie.

3.

lontano
.

[allo] ella
.

pivschura
5.

chotrario.
6.

obre
7.

[in

che alchu].
8.

niso.

nesu

chorpo oppacho

ollumi.

nelanebia.

fiocha in

chanpagniaesa.

circhudata.

ecquesto achade

neli.

158

TI1K TIIKOUV <>F

THE ART

>K

I'AIN

INC.

[293. 294.

questo accade nc' corpi sperici, perche che anno mebrificatione, le delle mebra riguardatrici 1'unadelparti 1'altra tingo M no 1'una 1'altra dePaccidete della sua superfitie.
nelli al'tri corpi, I0

because

occurs [only] in spherical bodies, which have limbs and parts, those sides of limbs which face each other reflect on each other the accidental [hue and tone] of their surface.
this

And

in other bodies

Ash.

I.

as 6}

293-

Turn
2

COLORI NELLE LONTANE OBRE SONO IGNIORATI E IND1SCERNIB1LI.

i

ALL COLOURS ARE AT A DISTANCE UNDISTINGUISHABLE AND UNDISCERNIBLE.

All colours at a distance are undistinguish-

Tutti

colori
;

in

lontano
la

fieno

nel-

n experieut>

cosa; che non e tocca dal principale 3 lume non e potete a mandare di se all' occhio per 1' aria piv luminosa la sua similitudine, perche il mtnore 4 lume e vinto dal maggiore Esenplo
1'

obre igniorati

perche

able in
is

because an object which the highest light is incapable of transmitting its image to the eye through an atmosphere more luminous than itself; since

shadow,

not

in

Noi
tutti

vediamo
s
i

essendo
i

colori
si

vna casa che quali sono nelle parieti

in

the lesser brightness must be absorbed by the greater. For instance: We, in a house, can
all the colours on the surface of the are clearly and instantly visible when the windows of the house are open; but if

see that

ueggorio chiaro e speditamete, finestre 6 di detta abitatione-' fieno aperte e se noi usciremo fori d' essa casa e riguardaremo vn poco di 7 lontano
;

delle

mvra quado le

walls

per dette finestre di

fatte su dette

rivedere le

pitture
pic-

ture

mura in iscambio d' esse 8 vedremo- vna cotinvata oscurita.

to go out of the house and look in windows from a little distance to see the paintings on those walls, instead of the paintings we should see an uniform deep and colourless shadow.
at the

we were

Ash.

i.

13*]

294.

COME
j

2 IN PRAIL PITTORE DEBE METTERE TICA LA PROSPETTIVA DE* COLORI.

HOW

A PAINTER SHOULD CARRY OUT THE PERSPECTIVE OF COLOUR IN PRACTICE.

The

practice del of the prospettiva de' 4

mettere questa- prospettiva uariarc e perdere over diminvire la

volere

propia essetia de colon piglerai di cieto ciento braccia cose poste Ifra Ma capag-

In order to put into practice this perspective of the variation and loss or diminution of the essential character of colours, observe at every hundred braccia some objects stand-

ing in the landscape,

such as

trees, houses,

nia
I

come sono
6

albori case, omini e

siti,

quato al primo albore avrai uno uetro fermo bene e cosl sia fermo 1' ochio tuo, e
I

detto 7yetro disegnerai uno albero sopra

in front of have a very steady plate of glass and keep your eye very steady, and then, on this plate of glass, draw a tree, tracing it over the form of that tree. Then move it on one

men and
first

particular places.

Then

the

tree

chorpi.
293.
i.

9.
.

mebrifichatione
.

parte.
2.

10.

riguardatricie
. .

tingha.
.

n. nolluna.
chosa
6.
.
.

cholori
.

indissciernibili.
.

choloriillontano
. .

null >bre

tocha.
.

3.

nvna
di.

chasa

chettutti.
8.

5.

icholori

uegono

esspeditamete.

esseno

ussciremo

sua [forma] similitudine. 4. essendo chasa e riguardareno 'vn poche

.

7.

ischanbio.
4.

vederemo chotinvata oschurita.

. .

294.

2.

praticha.

cholori

ciento br

chose.

5.

omini

[e

pianvj

essili.

6. arai

uetro.

7.

veiro

[colorissi

albero

p] di-

294. This chapter is one of those copied in the Manuscript of the Vatican library Urbinas 1270, and the original text is rendered here with no other
alterations, but in the orthography.

Filnftel

da

erslen

abnimmt, wenn er namlich zwaitzig

entfernt
ist (?)".

Ellen

von

trsten

commentary:
jedenfalls

"Das
,

Endt
it

der

He adds in his Nummer ist wohl

the
translation
different

H. LUDWIG,

in

verstummelt"

However
admits

his

edition
:

of this copy translates lines 14 and 15

given

above shows that

of a

thus

"IcA finJe ober als Regel, dass der zweite

nm

vier

rendering.

295-]
la

PERSPECTIVE OF COLOUR AND AERIAL PERSPECTIVE.

di quello, di poi
1'

159

8 scosta tato per albero naturale cofini quasi traverse che col tuo disegnia^to poi colorisci il tuo disegnio in modo che per colore e forma I0 l'uno dell'altro e che tutti stia a paragone e 2, chivdedo uno ochio, paino dipTti sul detto vetro d'una "medesima distatia; e questa regola medesima fa degli alberi secoI2 e de' terzi di cieto I cieto braccia di di mano I mano e questi ti serva come tua auto^ri e maestri, sepre operado nelle tua I4 bene opere doue s' appartegono, e faranno ma io trovo per regola1' opera; fuggir che'l secodo diminviscie 4 /s del primo 'Squado fusse lotano 20 braccia dal primo.

forma

side so far as that the real tree

the side of the tree

is close by you have drawn; then

colour your drawing in such a way as that in colour and form the two may be alike, and
that both,
if

you close one eye, seem

to

be

painted on the glass and at the same distance. Then, by the same method, represent a second tree, and a third, with a distance of a hundred braccia between each. And these will serve as a standard and guide whenever you work

on your own pictures, wherever they may apply, and will enable you to give due distance in those works. [14] But I have found that as a rule the second is 4 /5 of the first when it is 20 braccia beyond it.

Ash.

I.

io<zj

295-

DELLA PROSPETTIVA AEREA.

una altra prospectiva quale chiamo aerea, per la uarieta iperoche 3 dell' aria si puo conosciere le diverse distaci
2

OF AERIAL
There
I
is

PERSPECTIVE.

la

call

tie 4 di uari edifiti,

terminati ne'

lor nasci-

meti da una sola linia, come sasrebbe il uedere molti edifiti di la da uno muro, che tutti apparischino soalla stremita di detto mvro pra d'una medesima gradezza, e tu vo?lessi in pittura fare parere piv lontano 1' uno che 1' altro e da figura 8 re una aria vn poco grossa; Tu sai che I simili arie 1'ultime cose viste 91 quella, come sono le
|

to distinguish the varia- (295297)tions in distance of different buildings, which appear placed on a single line; as,

atmosphere we are able

another kind of perspective which The rules of Aerial Perspective, because by the ^/pectFvT

you
as

for instance, when we see several buildings beyond a wall, all of which, as they appear above the top of the wall, look of the same size, while wish to represent them in a picture
to

more remote one than another and

motagnie
si

per la gra quatita dell' aria che truova infra 1' ochio I0 tuo e la motagnia quella pare azzurra quasi del colore del-

give the effect of a somewhat dense atmosphere. You know that in an atmosphere of equal density the remotest objects seen through in consequence of the great it, as mountains,
quantity

1'aria

quado

il

sole

"e

per leuate;
il

Aduque

farai

sopra detto mvro

;

primo

edificio del

and them same hue

filato

I2 ilpiv lotano fa lo meno proe piv azzurro quello che tu vuo che sia piv J 3in la- altrettato -, fa lo altrettato che voi che sia cique piv azzuro quello volte I4 piv lotano fallo 5 volte piu azzuro; e questa regola fara che li edifiti J Sche

suo colore,

atmosphere between your eye appear blue and almost of the as the atmosphere itself [io] when the sun is in the East[n]. Hence you must make the nearest building above the wall of its real colour, but the more distant ones make less defined and bluer. Those you wish should look farthest away you must make proportionately bluer; thus, if one is to be five times
of
as distant, make it five times bluer. And by this rule the buildings which above a [given]

linia paiono d'una medesima l6 gradezza, -chiaramete si conosciera qual e piv distate e quale e maggiore che li

sopra

una

altri.

appear of the same size, will plainly be distinguished as to which are the more remote and which larger than the others.
line
cholore efforma.
io.

segnia
luna.

albero.

8.

chol.
.
.

9.

Colorisci tuo
12. ciento br
.

imoclo

chivdedo

ochio

di

plti

si

detto vetro

sapartegano effarano. da i muro chettutti apariscino. 6. alia 295. 2. Ecci I altra. 5. rebe 3. conosciere [la distatia di] le diuersa. 4. da i sola. chose. Tussai che Isimile 9. I quella these two words [distati] stremita gradeza echettu. 8. re i aria vn pocho cholore. 12. priffilato azurra io. ella chessi. written beyond the margin have apparently later been added by Leonardo
ii.

ecquesta

dela

ecquesti

serba

tua alto.

13.

azurro
. .

chettu voi chessia.

16.

13. fallo

azzuro

voi chessia.

14.

azuro

ecquesta.

15.

sopra

linia

paiano

gradeza

chonosciera.

ecquale.

295.

io.
is

il.

the sun
refers

in to

here

e per leuante (when Apparently the author morning light in general. H. LUD-

quado

il

sole

WIG however
tican
Osten stehf".

translates

this

the

East).

copy "wenn namlich

die

passage from the VaSvnne (dahinter) ii

i6o

THE THEORY OF THE ART OF PAINTING.

296.

[296

299.

Tr. 75]
II

mezzo ch'e

infra

le lotane ^motaguetro rosso fa che cio dopo lui pare rosso che fanno le stelle sd'intorno ase jl lume e occupato per la tenebrosita della notte che si 6 truova infra 1'ochio e la luminatione d'essa stella.

trasmuta essa 2 cosa come 1'aria azzura fa che

vista
il

1'ochio e la cosa in nel suo colore,

nie paiono azzure; che 1'ochio 4 vede

lying between the eye and object seen, tinges that object with its colour, as the blueness of the atmosphere makes the distant mountains appear blue and
the

The medium

red glass makes objects seen beyond it, look The light shed round them by the stars red. is obscured by the darkness of the night which lies between the eye and the radiant light of
the stars.

w.

3]

297.
la
3

Fa che
si

prospettiua

de'
di

colori

non

Take care
does
not

qualu^che cosa doe che li scolori diminuischino 6 tanto della lor natu?ra quato diminuisco 8 no li
corpi in diuerse ^distantie della loro rale quatita.
Ash.
I.

discordi

dalle

grandezze

disagree

that the perspective of colour with the size of your

objects, hat is to say: that the colours diminish from their natural [vividness] in proportion

I0

natu-

as the objects at various distances diminish from their natural size.

298.

COME
3

L'ARIA

si

QUATO
On
the rela .

"PIV

DEBE PIV FARE 'CHIARA LA FAI FINIRE BASS A.

WHY

AS PALER

THE ATMOSPHERE MUST BE REPRESENTED TOWARDS THE LOWER PORTION.

tive density of the atmo-

sphere

Perche quest' aria e grossa presso alia e quato piv si leua piv 's'assottiglia; e quado _,il sole .. per leuate, e tu ,.riguarderai c ,. , s il ponete participate di mezzodl e tramoterra
.,
.
.

earth,

(298290).

vedrai quel'aria grossa 6 ricievere piv lume dal sole che la sottile, perche i razzi trovano piu resistetia; 7 e se il cielo a la vista tua terminera colla bassa pianvra, 8 quella parte vltima del cielo fia veduta per quella aria- piv grossa e piv sbianca, la quale corrompera la verita del colore che 10 si vedra pel suo mezzo, e parra 11 il cielo biaco che sopra te, che la linia visuale piv "passa per meno quatita d'aria corrotta da I2 grossi umori; e se riguarde rai inverse
t ana>

Because the atmosphere is dense near the and the higher it is the rarer it becomes. When the sun is in the East if you look towards the West and a little way to the South and North, you will see that this dense atmosphere receives more light from the sun than the rarer; because the rays meet with

And if the sky, as you greater resistance. see it, ends on a low plain, that lowest portion of the sky will be seen through a denser and whiter atmosphere, which will weaken its true
colour as seen through that medium, and there will look' whiter than it is above where the line of sight travels through you, a smaller space of air charged with heavy
the sky

leuate-, 1'aria

ti parra piv scura, quato piv T s'abbassa, perche 3in detta aria bassa i razzi luminosi meno passano.

vapour.

And

if

you turn

to the East,

the

atmosphere will appear darker as you look lower down because the luminous rays pass less freely through the lower atmosphere.

Ash.

i.

17

299.
2

DEL MODO DEL CODUCIERE

COSE LOTANE.

IN

PITTURA LE

OF THE MODE OF TREATING REMOTE

IN PAINTING.
It
is

OBJECTS

3Chiaro si uede-essere una aria grossa 4 piv che 1' altre, la quale cofina colla terra
296.
i.

which
.

lies closest to

easy to perceive that the atmosphere the level ground is denser

. .

infrallochio

chosa.
.

2.

inel
.
.

chomellaria azura
6.
ella.

chelle.

3.

parano azure
chelli.

chellochio.

4.

Hume
7.

chefiano.

5.

asse

echo chupato
persspectiua.
.
.

dela
2.

chessi.
.

297.

i.

chella

cholori

disscordi grandeze.

4.

chosa

5.

cholori diminuisschino.

diminuisca.

8.

chorpi

diversi.
.

9. disstantie. 4. ettu.
.

998. 3. ecquato
9.

sassotiglia.

5.

mazodi
. .

ettramotana
10.

vederaia.
il
.

6.
.

"dal sole" chella

razi.
.

7.

esse

cholla.

biancha
para
.
.

[il

quale] la
.
.

coronpera

chessi.

mezo

parali

chella.

n. corutta

oniori esse risghuarde.

12.

schura
i

sabassa.
.

13. razi.
.

399.

3.

esserere

aria

chellaltre

chofina.

}.

tera

ecquato

essotule.

5.

chose [che

flicuo] eleuate

datte.

6.

basseza

pocho.

300.]

AERIAL PERSPECTIVE.
e e

161.

piana,
sottile

quato piv

si

leua

alto,

piv-e

than the
is

gradi,
6

trasparete; Me cose eleuate e che fieno da te lontane -, la lor:

rarer

tions

rest, and that where it is higher up, it and more transparent. The lower porof large and lofty objects which are at

bassezza poco fia veduta perche lauedi per una- linia che passa infra ^I'aria piv grossa e cotinvata la somita di dette altezze si trova 8 essere veduta per una linia, la quale benche dal cato dell'ochio tuo 9 si cavsi in nel' aria grossa nodimeno terminado nella soma altezza I0 della cosa vista, viene a terminare in aria molto piv sottile che "no fia la sua bassezza; e per questa ragi, ,

a distance are not much seen, because you see them along a line which passes through a denser and thicker section of the atmosphere. The summits of such heights are seen along a line which, though it starts from your eye
in
at

a dense atmosphere, still, as it ends the top of those lofty objects, ceases in a much rarer atmosphere than exists at their

one questa te, di puto

sottile
I

linia
I

I2 da quato piv s'allotana punto sepre mvta qualita di

base; for this reason the farther this line extends from your eye, from point to point
the atmosphere becomes more and more rare. Hence, O Painter! when you represent mountains, see that from hill to hill the bases are paler than the summits, and in proportion

sottile

aria;

adu^que

tu pittore,

motagnie, fa che di colle I colle bassezze sie I4 no piv chiare che 1' altezze e quato vi farai piv lontana 1' una da l6 e quato 1'altrafa le basse'Szze piv chiare,

quado
sepre

fai le

le

piv

se

levera

in

alto,

piv

most^rera

la

beyond each other make the bases paler than the summits ; while, the higher they are the more you must show of their
as they recede true

verita della

forma e colore.

form and colour.

Leic.

300.

DEL COLORE
2

DELL' ARIA.

OF THE COLOUR OF THE ATMOSPHERE.

I

Dico 1'azzuro in che si mostra Parja non essere suo propio colore, ma e cavsato da vmidita caPda vaporata in minvtissimi
e insensibili attomi, la quale piglia dopo se la percussio de' razzi solari e fassi luminosa 4 sotto la oscurita delle immese tenebre della

say that the blueness

we

see

in

the o n

the co

regione del fuoco che di sopra le fa copere questo vedra, come vid' io, chi adra soSpra Moboso, giogo dell' alpi che diuidono la Francia dalla Italia, la qual montagnia a la sua basa che parturisce 6 li 4 fiumi che
chio
;

riga per 4 aspetti contrari tutta 1'Europa, e nessuna montagnia a le sue base in simile a! 7 tezza, questa si leua in tantaaltura che quasi passa tutti li nuvoli e rare volte
vi

cade neve,
li

quando
e

ma sol gradi ne d' istate nvvoli sono nella maggiore altezza,

8

atmosphere is not intrinsic colour, but is ^mospWe 37)caused by warm vapour evaporated in mi- (3 nute and insensible atoms on which the solar rays fall, rendering them luminous against the infinite darkness of the fiery sphere which lies beyond and includes it. And this may be seen, as I saw it by any one going up [5] Monboso, a peak of the Alps which divide France from Italy. The base of this mountain gives birth to the four rivers which flow in four different directions through the whole of Europe. And no mountain has its base at so great a height as this, which lifts itself almost above the clouds; and snow seldom falls there, but only hail in the summer,

.when
hail

the
lies

clouds

are

highest.

And

this

questa grandine che se no 9 fosse la reta del caderui e del montarui nvuoli, che non accade 2 volte in vna eta, egli ui sarebbe altissima quatita di

vi si

coserua

in

modo

that if it there, so [unmelted] were not for the absorption of the rising and clouds, which does not happen twice
falling in an age,

an enormous mass of

ice

would

7.

chotinvata

lassomita

alteze.

8.

chato.

9.

chavsi inel.

some

alteza.

io.

atterminare.
16.

n.

basseza.

12.

datte

,.

qualita

[daria] di sottile.

13. basseze.

14. lalteze
. .

ecquato.

15.

ze piv. chiare -f

The two

last lines,

which are headed

by

-)-,

are written on the margin.

lazuro inchessi
di
. .

17. stera
. .

dela.
. .

300.

2.

dicho
. .

cholore
le
.

chavsato

chal.

3.

attimi
. .

pigla

perchussio
franca
.

razi
. .

effassi.

4. 6.

osscuaspeti

rita
. .

fuocho "che
7.

sopra
.

alle.

teza

nvuoli

facoperchio" ecquesto. 5. gogo chade. 8. magore alteza ecquesta

[del s] 2 volte

diuitano

la

alia

patrurissce.
del

imodo chesse.
.
.

9- fussi

"la
li

reta

caderui

e del
il.

montarui nvuoli" che non achade

vna

eui sarebbe

di

diacco inalzato

"da

gradi della grandine

line 20) 300, 5. With regard to the place spoken of as M'oboso (compare No. 301 discussed under Leonardo's Topographical notes in Vol. II.
7.

its

identity will

be

reta

here has the sense of malanno.

X.~

62
inalzato
le di

THE THEORY OF THE ART OF PAINTING.

da li gradi della gradine mezzo luglio vi trovai grossissimo

[300.

diaccio
il

1' aria sopra di me tenebrosa e' 1 che percotea la m6ta"gnia essere piv luminoso quiui assai che nelle basse pianure, perche minor grossezza d' aria s' interl2 ponea in fra la cima d'esso mote e '1 sole;

qua

I0

e vidi

sole

be piled up there by the hail, and in the middle of July I found it very considerable. There I saw above me the dark sky, and the sun as it fell on the mountain was
far brighter

here

than in the plains below,

Ancora per esenplo del colore dell' aria allegheremo il fumo nato di legne ''secche e vecchie il quale vscendo de'camini pare
infra forte azzureggiare quado si trova 1'ochio e '1 loco ^oscuro, ma quado monta in alto e s'interpone infra 1'ochio e 1'aria

alluminata, inmediate si dimostra 'sdi colore cenerognolo, e questo accade perche non a piv oscurita dopo se, ma in loco di quella aria Iu l6 minosa; e se tal fumo sara di legne verdi e giovani allora non pendera in azzurro,

perche no ^sendo trasparente e pie di superchia vmidita, esso fa vfitio di condensata nvuo lache piglia in se lumi e obre terI8 minate, come se solido corpo fusse; El simile fa 1' aria che la troppa vmidita rende biaca e la '9poca infusa col caldo la rede oscura, di color di scuro azzurro, e questo
ci

because a smaller extent of atmosphere lay between the summit of the mountain and the sun. Again as an illustration of the colour of the atmosphere I will mention the smoke of old and dry wood, which, as it comes out of a chimney, appears to turn very blue, when seen between the eye and the dark distance. But as it rises, and comes between the eye and the bright atmosphere, it at once shows of an ashy grey colour; and this happens because it no longer has darkness beyond it, but this bright and luminous space. If the smoke is from young, green wood, it will not because , not appear blue , being transparent and being full of superabundant moisture, it has the effect of condensed clouds which take distinct lights and shadows like a solid body. The same occurs with the atwhich, when overcharged with moisture appears white, and the small amount of heated moisture makes it dark, of a dark blue colour; and this will suffice us so far as concerns the colour of the atmosphere;

mosphere,

basta in quato alia di 20 finitione del colore

dell'aria;

che se
2

're

potrebbe ancora dire suo naturale coloesso azzurro transparente, seguirebbe che
si
1'

Benche

aria avesse per

though

it

might be added

that,

if this

trans-

doue

interponesse maggior quantita d' aria infra 22 1'ochio e 1'elemeto del foco, che quiui si comporrebbe il suo azzurro con
s'

maggiore oscurita, come azzurri e ne zaffiri li quali

'

si

si

vede 2 ^ nelli vetri mostra tanto piv

I'a 24 ria oscuri, quato essi son piv grossi; in questo caso adopera in retto contrario, conciosiache dove piv in quatita s'in 2 ster-

pone
quiui

infra
ci
si

1'

ochio

la

spera del

foco,

mostra piu biancheggiante; e 26 inverse 1' orizzonte; equate questo accade minor sorha d' aria s'interpone infra 1'ochio
e la
nelle

spera
ci
si

del

azzurro,

?oscuro piv mostra, ancorache noi stiamo

foco

tanto

basse pianvre; 28 quel che io di co che

Adunque segue pur

1'

aria piglia

1'

azzurro

mediante
pigliano
li

li

dell' umidita che corpuscoli razzi luminosi del sole; 2 9vedesi

ancora la differetia nelli attomi o nelli attomi del fumo ne' razzi

di

poluere

passa per li oscuri, che 1' un razzo pare essere cenerino

io.
. .

solari, che ^"spiraculi delle parieti in lochi

parent blue were the natural colour of the atmosphere, it would follow that wherever a larger mass air intervened between the eye and the element of fire, the azure colour would be more intense; as we see in blue glass and in sapphires, which are darker in proportion as they are larger. But the atmosphere in such circumstances behaves in an opposite manner, inasmuch as where a greater quantity of it lies between the eye and the sphere of fire, it is seen much whiter. This occurs towards the horizon. And the less the extent of atmosphere between the eye and the sphere of fire, the deeper is the blue colour, as may be seen even on low plains. Hence itfol lows, as I say, that the atmosphere assumes this azure hue by reason of the particles of moisture which catch the rays of the sun. Again, we may note the difference in particles of dust, or particles of smoke, in the sun beams admitted through holes into a dark chamber, when the former will look ash grey

mezo

grossimo
. .

tenenebrosa
14.

ellsole.

n. luminosi
.
.

grosseza.
. .

12. allegereno. 15.

.

13.

seche e vcchie

le

quale vsscendo
. .

azuregare
.

locho.

osscuro macquado
.

essinterpone
.
.

ellaria.
.

ecquesto
18.

achade

osscurita

il

locho.
chella

16. essettal

govane alora
azurro

azzuro.
ella.

17.
.

trassparente
.

contensata
. .

biglia.
.
.

chome

chorpo
20.

fussi
.

tropa vmidita la rende biacha

laria avessi.
21.
.

19.

pocha
focho
.

chaldo
22.

osscura

ecquesto
.
.

bassta inquido.
osscurita.

finition
. .

chessel. .

sinterponessi magor.
. .

ellemeto del focho

. .

magore
.
.

23. azurri

osscuri

Ella.
. .

24.

concosia.
.

25.
.
.

nterpone
27.

ella

mosstra
stiano.

bianchegiante

ecquesto achade.
. .

26. lorizonte
.

ecqulto
29.

soraa

ella

focho.

osscuro azzuro

28.

cho chellaria

laztirro

corpusscoil..

razi.

anchora

30i. 302.]

AERIAL PERSPECTIVE.
del

163
thin

fumo 3i so ttile pare essere azzurro; Vedesi ancora nel1'obre oscure delle motagne remote 3 2 dal1'ochio, 1'aria che si trova infra 1' ochio, e tale obra parere molto azzurra e nella parte
e
1'altro di bellissimo

and the

smoke

will

appear of a most

beautiful blue; and it may be seen again in in the dark shadows of distant mountains when the air between the eye and those

shadows
differ

will

luminosa

di

33tal

troppo dal primo colore; ma chi ne vol uedere le vltime prove tin^ga vna asse di diuersi colori fra li quali sia messo bellissimo nero e sopra tutti sia data sottile 35 e transpare"te biacca, allora si uedra la chiarezza di tal biacca non si mostrare sopra nessun ^ colore di piv bello azzurro che sopra il nero, ma
diasi sottile e

motagnie

no

uariarsi

brightest parts

much

look very blue, though the of those mountains will not from their true colour. But if

any one wishes for a final proof let him paint a board witli various colours, among them an intense black; and over all let him lay a very thin and transparent [coating of] white. He will
then see that this transparent white will nowhere show a more beautiful blue than over the black but it must be very thin and finely ground.

ben macinata.

Leic. 36 a]

301.

E
dopo
fatto

sperienza che mostra,

come

1'aria
2
;

se tenebre e pero pare azzurra

sia

Experience shows us that the air must have darkness beyond it and yet it appears
blue.
If you produce a small quantity of smoke from dry wood and the rays of the sun fall on this smoke, and if you then place behind the smoke a piece of black velvet on which the sun does not shine, you will see that all the smoke which is between the eye and the black stuff will appear of a beautiful

fumo

di legnie

secche

in

poca quantita

il quale fumo 3percota li razzi solari, dopo questo fumo poni vna pezza di uelluno nero che no sia visto dal sole, e uedrai tutto quel fumo s che s' oppone infra

sopra
e

1'

ochio e la oscurita mostrarsi in co 6 lor di

in loco del
?

bellissimo azzurro, e se

blue

ueluto

colour.

And

if

instead

of the

metti
8

poco no forma la perfezione d'e I0 sso azzurro- Ix onde la me I2 diocre 3dispo 14 sitione sdi fu l6 mo forma bello
1
T j

panno biaco, mo, inpedi^sce e'

el

fumo, cioe

el tropofu-

come 1'acqua soffiata a uso d'atazzurro; tomi in loco scuro doue passi la spera del
* 7

sole

fa esso

razzo

azzurro

l8

essendo tale acqva destillata

fa azzurro; quest' e detto

e'l

e massime fumo sottile

you place a white cloth smoke, that is too thick smoke, hinders, and too thin smoke does not produce, the perfection of this blue colour. Hence a moderate amount of smoke produces the finest blue. Water violently ejected in a fine spray and in a dark chamber where the sun beams are admitted produces these blue rays and the more vividly if it is distilled water, and thin smoke
I mention in order to blueness of the atmosphere is caused by the darkness beyond it, and these instances are given for those who cannot confirm [on] my experience on

velvet

looks

blue.

This

per mostrare che

predetti esempli a

show

that

the

M' azzurro
e sopra di
chi

dell' aria

e causato di oscurita che

li

lei,

e dannosi
20

no confermasse

la sperietiadi

Moboso.

Monboso.

F. i8a]

302.
il
1'

Quando
troua
2

infra

fumo di legne secche si ochio di chi lo vede e altro

loco oscuro
1'

aria si

esso pare azzurro; 4 adunque fa azzurra per le tenesbre che essa

3
;

a dopo se

E se tu
.

6 guardi inver so
attimi
razi.
. .

1'

orizzonte

When the smoke from dry wood is seen between the eye of the spectator and some dark space [or object], it will look blue. Thus the sky looks blue by reason of the darkness beyond it. And if you look towards the horizon of the sky, you will see the atmoche lun "razo" pare essere cenenereo
33. del.
34. fralli
. .

la diueretia attimi
. .

30. pariete illochi osscuri

ellaltro.

31.

accurro
.

nellobre osscure.
.
.

32. chessi 36.

tale
.
.

obr

molta azzurro.

essopra.

35.

ettransparete biacha

chiareza
301.
i.

biacha.
2.

chessopra
3.

ebben.
.
.

mostra.
.

seche pocha.

perchota

razi
9. el

peza.
.
.

4.

vissto.
10.

5.

chessoppone infrallochio
13. disspo.
.

ella

osscurita.
17.
.

6.

azuro

essellocho
.

meti pano biacho effumo coe.

. .

pocho
19.

de.
.

so azurro.

16.
.

azurro.
.

dattimi ilocho
.

accurro. 18. masime

desstillata

accurro.

lazurro

e chaussato

da osscurita

dassi

essenpli

confermassi.

20. essperietia.

302.

2.

di cillo

vede

locho.

3.

azzurro (ettato piu quate piu scuro].

5.

Essettu.

6.

lorizonte

non

es.

7.

ecquesto nasscie.

64

THE THEORY OF THE ART OF PAINTING.

sphere

[303-305.

del celo, tu vedrai 1* aria non esse 7 re azzurra, e questo nascie per la sua gros 8 sezza; e cosl in ogni grado che tu 9 alzi 1'ochio sopra esso orizzonte insino al I0 celo chc ti sta di sopra, tu troverai 1'aria "farsi piu oscura,

is not blue, and this is caused by its And thus at each degree, as you density. raise your eyes above the horizon up to the

^tenebre; E se tu ti troverai sopra vn al' 4 to mote, 1'aria si fara tanto piu oscura "s sopra di te, l6 infra te e quanto essa e fatta piu sottile dette tenebre, e cosl seguitera in '7ogni l8 grado d'altezza tanto che al fine re stera

e questo e che

me soma

I2

d'aria

s'

inter-

sky over your head, you will see the atmosphere look darker [blue] and this is because a smaller density of air lies between your eye

pone

infra 1'ochio tuo e esse

and the [outer] darkness. And if you go to the top of a high mountain the sky will look proportionately darker above you as the atmosphere becomes rarer between you and the
[outer] darkness; andthis will be

more

visible

tenebrosa.

'9Quel fumo parrapiu azzurro chenasceda piu secche legne e che sara piu 2I presso a! la sua cagione, e che & veduto in piu oscu 22 ro canpo, dandovi su il lume
20
ra.

each degree of increasing height till at last we should find darkness. That smoke will look bluest which rises from [the driest wood and which is nearest to the fire and is seen against the
darkest background,

and with

the

sunlight

del sole.

upon
3<>3-

it.

C. i8a]

Quella- cosa tenebrosa parra piu azzurche infra se e 1' ochio maggior soma
d' aria
el

color

luminosa interposta fia, 2 come per del cielo dimostrar si puo.

dark object will appear bluest in proit has a greater mass of luminous atmosphere between it and the eye. As may be seen in the colour of the sky.
portion as

29

1>\

304-

di

L'aria e azzurra per le tenebre che a sopra, perche nero e biaco fa azzurro.

The atmosphere
darkness

above

it

is blue by reason of the because black and white

make
Br.

blue.

M. 1690]

305
In the morning the mist is denser above than below, because the sun draws it upwards;

1'altezza

mattina la nebbia e piv folta inverse" che nella 2 sua bassezza, perche il sole Pattrae in alto, onde li edifiti gra3di, ancora che ti sia lontana la cima quato il fondameto, essa * cima ti fia ignota E per s questo il celo si dimostra piu oscu ro inverse!' altezza e inverP orizzonte e nonazzur6 fumo e poluere. reggia, anzi e tra 7 L'aria infusa colle nebbie e interamete
;

La

hence
the

tall

same distance

buildings, even if the summit is at as the base have the sum-

mit invisible. Therefore, also, the sky looks darkest [in colour] overhead, and towards the horizon it is not blue but rather between smoke and dust colour.

The atmosphere, when

full

of mist,

is

8 pare di quel privata d' azzurro, ma solo colore de' nvgoli che biacheggiano quado 1 tepo e sereno; e quarto piv rigvardi verso 1'occidete tu la troverai I0 piv oscura e piv le verdure lucida e chiara verso 1'oriete;
'

quite devoid of bluehess, and only appears of the colour of clouds, which shine white

de 'lie capagnie in mezzana nebbia azzurreggiano alquato, ma ne 2 greggiano nella piv grossa.
1 1

the weather is fine. And the more you turn to the west the darker it will be, and And the brighter as you look to the east. the verdure of the fields is bluish in a thin mist, but grows grey in a dense one.

when

8.

sezza [Esse] e cosi

15.

chettu. 9.

[te]

alzi orizonte.
17.

10. chetti

troverai.
. .

n. osscuro escquesto.
. .

13.

Essetu

troverrai.
21. ca-

14. osscura.

eflfatta.

16. infratte.

nogni*.

dalteza.

19.

para

azurro

nassce.

20. ra di

piu seche.

gone
303. 304.
305.
i.

osscu.
. .

chosa

azuira
sapra
2.
.

in frasse

ellochio

magior

interpossta.

2.

chome

cholor

dimosstrar.

12.
i.
.

R.

2.

biacho
4.

azurro.
.
.

lalteza.

basseza.
9.

ingnota
.

osscu.

5.

lalteza

lorizonte
.

azuregia

ettra.
.
.

7.

dazurro.

8.

biachegano
gregiano.

sereno ecqua.

rissrgvndi

troverai.

10.

osscura

ciara

Elle.

n. mezana

accuregiano.

12.

3 o6.]

AERIAL PERSPECTIVE.
Li
edifizi

I6 S

inver ponete sol ci dimostra lumino I4 sa, poiche'l sole si scojs pre, e'l resto le nebbi lo occultano; Quado il sol s'inalza e caccia le nebbie e si col6 mlcia a rischiarare i colli da quel la parte
'3

la lor parte

buildings in the west will only show where the sun shines, and the mist hides the rest. When the sun rises and chases away the haze, the hills on the side where it lifts begin to grow clearer,
their illuminated side,

The

donde esse

partono, e' fansi azzurri e fule nebbi fuggieti e li edifiti mostrano lumi e obre,- e nelle nebbie I8 me folte mostra solo i lumi e nelle piv folte J niete; e questo e 9quado il moto della nebbia si parte traversalmete, e allora i
si

and look

mano inver^so

blue, and seem to smoke with the vanishing mists; and the buildings reveal their lights and shadows; through the thinner va-

pour they show only

their lights

and through

ter

20

mini

denti terra
22

coll'azzurro

d'essa nebbia saranno poco evi2I e in verso la dell' aria

1'aria

parra
e

Quanto

quasi poluere che sara piv grossa,

alberi
23

s'inalzi;
li

edifiti

the thicker air nothing at all. This is when the movement of the mist makes it part horizontally, and then the edges of the mist will be indistinct against the blue of the sky, and towards the earth it will look almost like dust blown up. In proportion as the atmo-

delle citta

li

delle
si

capagnie par-

rano piv
i

rari,

perche sol

mo

4streranno

piv emineti e grossi. 2 5Le tenebre 26 tingono o 27 gni cosa 28 del lor colore, 29 e quato piv 3 la cosa si par^te da esse tene3 2 bre piv si uede 33 del suo 35 1 moti fieno vero e natural co^lore.

sphere is dense the buildings of a city and the trees in a landscape will look fewer, because only the tallest and largest will be seen.

Darkness

affects

every thing with

its

hue,

and the more an object differs from darkness, the more we see its real and natural colour.

The mountains

dimostra quelli che anno 6 magJ giore intervalli, perche in tal ispatio la 37 mo do che fa chiagrossezza mvltiplica in rezza tale che la oscurita de' collisi diuide e 8 si 3 spedisce bene inverso la sua altezza: ne' colli piccoli e vicini non 39 se ne interpone tata e pero maco si discernono e
rari,

perche sol

si

will look few, because only those will be seen which are farthest apart; since, at such a distance, the density increases to such a degree that it causes a brightness by which the darkness of the hills becomes divided and vanishes indeed towards the top. There is less [mist] between lower and nearer
hills

and yet

me

nelle lor bassezze.

least

little is to be distinguished, and towards the bottom.

G. 53*1

306.
2

La
3

superfitie

d'ogni

corpo
5

del

color

^che Pallumina,

participa del color

the

6 dell'a ria

che infra I'oc 7 chio e esso corpo 8 9 del color del mez I0 zo s'interpone, cioe
e
is il

surface of an object partakes of colour of the light which illuminates it; and of the colour of the atmosphere which

The

lies
is

lj transpa rete

Pocchio,
qualita

ifra interposto ^Ifra li colori di

I2

la

cosa e

me I4 desima
l6

secondo sara del

l8

medesimo

del primo, e ques to nascie per la 20 del mezzo intermul^tiplicatione del color

colore
2I

17

between the eye and that object, that of the colour of the transparent medium and the eye; and lying between the object among colours of a similar character the second will be of the same tone as the first, and this is caused by the increased thickness
of the colour of the
the object

medium

lying between

and the

eye.

po

sto infra la cosa e "Pochio.

13.

sol

si

dimosstra.

14.

sisscopre,

el

ressto

nebie

ochultano.
elli
.
.

15.

sol
18.

"sinalza"
solo

caccia

rissciarare
19.

e e

colli
ter.

dacq.
20.

16.

partano effarsi
. .

azzuri effumano.
. .

17.

nebiefugieti
22. elli.

nebie.
24.

lumi

ecquesto.

saranopochi co. 35. E m5ti

diuide
essi.

chol azurro. 21. para

.

chessinalzi.
. .

23.
.

parano.

sterrannoe. 26. tingano. 33. vero "e natural" cheffa ciareza

. .

sol

s
.

dimostra quelgli
.

ma.
.

36.

ispati

grosseza.

37.

chella osscurita

vi

38. spedissce

alteza

picholi

no.

39. discernano.

On

the

margin between

lines 35

and 36:

mera
purifi

catione.

306.

2.

chorpo.
.

3.

del

color del

color.

4.

chellalumina.
14. qualita

6.

infralloc.
15.

7.

chorpo.
16.

10.

zo

[chessi]

transpa.

n.

interpossto.
20. mezo.

12. Ifralla

, ellocchio.

13. infrallj color,

ma.

sechondo.

cholore.

17. ecques.

18. nasscie.

21. ssto infralla.

166

THE THEORY OF THE ART OF PAINTING.

[SO?-

DE
2

PICTURA.

OF Of
them blue
that

PAINTING.

Infra

colon che no sono azzurri quello-

various colours

which are

none

of

in
il

liPga distantia participera piu d' azzurro 4 quale sara piv vicino al nero e cosl de

converse si mostrera per luga distantia nel suo propio colore, il quale sara piv. dis i simile a detto nero. 8 Adunque il uerde delle campagnie si trans^mvtera piv in azzurro che no fa il :o giallo o bia co e cosl de couerso il giallo e '1 biaco maco M si transmuta che lo verde, e '1 rosso maco.
s

at a great distance will look bluest is the nearest to black; and so, conversely, the colour which is least like black
will at

which

a great distance best preserve

the green of fields will
will,

its

own

colour.

Hence

assume a

bluer hue than yellow or white

and con-

versely yellow or white will change less than

green, and red

still

less.

307.

2.

azurri

illu.
.

3.

dazurro.

5.

raontera

disstantia.

6.

cholore

di.

7.

dicto.

9.

azuro.

10.

biacho

mac

ii. chello

macho.

VII.

On

the Proportions

and on

the

Movements of

the

Human

Figure.
human figure must

Leonardo's researches on the proportions and movements of the

have been for the most part completed and written before the year 1498; for

LUCA

PACIOLO

writes, in the dedication to Ludovico il

in

Moro, of his book Divina Proportione,

.

which was published

getia al

that year:

"Leonardo da venci

hauedo gia co

tutta

dili-

degno

libro

de pictura e movimenti humani posto

fine".

The
words
p.

selection

of Leonardo's axioms contained

"e
il

in the

Vatican copy attributes these

to the

author:

recto

si

dira nella universale misura del

huomo".

(MANZI,

147; LUDWIG, No. 264).

cap.

LOMAZZO,

again,
.

in his Idea del

.

Tempio
in

della Pittura

Milano 1590,
proporzioni dei

IV),

says:

"Lionardo Vinci

dimostro anco

figura tutte le

membri

del corpo

umano".
sections

The Vatican copy includes but very few

of the "Universale misura del

huomo" and

until

now nothing has

been

made known of

the original

MSS.

on the subject
collection

which have supplied the very extensive materials for

at Windsor, belonging
to

this portion

of the work. The

her Majesty the Queen, includes by far the most important

this
subject,

part of Leonardo's investigations on

constituting about half of the whole

of the materials here published; and the large number of original drawings adds greatly
to

the interest

which the subject

itself

must command.

Luca Paciolo ivould seem

initials

to

have had these

MSS.

(which I have distinguished by the

Still,

W.

P.) in his

mind when

he wrote the passage quoted above.

certain notes

of a

later date

sue Ji as Nos. 360,

68

THE THEORY OF THE ART OF PAINTING.

362 and 363, from

MS.

E, written in 1513

14,

sufficiently

prove that Leonardo did

of the

not consider his earlier studies on the Proportions

and Movements

Human
Or

Figure
else

final

and

complete, as

we might

suppose

from

Luca, Paciotts statement.

since his
it

he

took the subject up again at

a subsequent period,
1490 and 1500.

former researches had been

is

carried on at Milan between

Indeed
so

highly probable

that the

anatomical studies which

lie

was pursuing with

much

zeal between 1510

16 should

have led him

to reconsider the subject

of Proportion.

H.I 316]

308.

meta

Ciascuno homo nel terzo della sua altezza ultima.

ano

la
full

Every man, at three years old is half the height he will grow to at last.

IT
Preliminary

C. A. 1570; 4630:]

309.
di

Se

1'

omo

2 braccia e piccolo

quello
la uia

di quattro e troppo 2 di mezzo laudabile

si

grade essendo
;

il

mezzo

Jfra

3 di 3 aduque piglia un omo 3 braccia e quello misura colla regola ch' io ti daro; se tu mi diciessi, io mi potrei 4 Iga-

If a man 2 braccia high is too small, one of four is too tall, the medium being what is admirable. Between 2 and 4 comes 3; therefore take a man of 3 braccia in height

If

and measure him by the rule I will give you. you tell me that I may be mistaken, and

nare, givdicado vno bene proportionateche sarebbe-il cotrario, a questa sparte io rispodo che tu debi vedere molti omini di 6 3 braccia e quella maggiore qua tita che

sono coformi

di migliore gratia

ghezza- della 9 volte nell' omo e cosl la testa e dalla fotanella 8 della gola alia spalla e dalla spalla
tetta-e dal'una all'altra tetta-e ciascuna Hetta-alla fontanella.
alia

sopra uno di quelli ? la lupiglia tue misure; mano e J /3 di braccio e etra

di
:

mebra

da

judge a man to be well proportioned who does not conform to this division, I answer that you must look at many men of 3 braccia, and out of the larger number who are alike in their limbs choose one of those who are most graceful and take your measurements. The r length of the hand is /3 of a braccio [8 inches] and this is found 9 times in man. And the face [7] is the same, and from the pit of the throat to the shoulder, and from the shoulder to the nipple, and from one nipple to the other, and from each nipple to the pit of the throat.

308.

i.

homo he
.
.

nel.

2.
. .

ella

meta

alteza "ultima."

309.

i. 2

br e picholo

ettropo.

2.

mezo
8.

laldabile

il

mezo
.
.

piglia
.

omo.
. .

3. di

3 br
6.

ecquello

cioti

settu.

4.

giudii

chado
7.

sarebe
.
.

acquesta.
.

5.

irispodo chettu
ala
.
.

di 3. br
. .

ecquella
9.

settu.

chessono choformi

di

mebrisopra

di.

lugeza

*/

di br e

dala.

dala spala

ala.

teza alia.

is

309. 7. The account here given of the braccio of importance in understanding some of the

Testa face.

must here be understood

to

mean

the

The statements
on PL XI.

in this section are illustrated

succeeding chapters.
VOL.
i.

in part

I/O

THE THEORY OF THE ART OF PAINTING.

W.

P. aa]

310.

Lo
Proportions

ld

and face
(310-318).

pricipio del uolto;

'1

spatio ch' e infra '1 taglio della bocca del naso e la settima parte

The space between

lips [the

the

parting

of the
is

mouth] and the base of the nose

one-seventh of the face.

2 lo spatio ch' e dalla bocca al di sotto del meto c d, fia laquarta parte del uolto e simile alia larghezza della bocca; 3 lo spatio ch' e dal meto al principio di sotto del naso e f, fia la terza parte del
;

uolto e simile al naso e alia fronte 4lo spatio- ch'e dal mezzo -del naso al di sotto -del meto h, fia -la meta-del
;

volto; slo spatio ch'e dal principio di sopra del naso, dove pricipiano le ciglia, i k, al di sotto del mento, fia i due terzi del uolto; 6 lo spatio ch'e infra '1 taglio della bocca e '1 pricipio del mento di sopra / m, cioe dou'esso meto finiscie terminado col labro di sotto 7 della bocca, fia la terza parte dello spatio ch' e dal taglio d' essa bocca al di sotto del meto e la dodecima parte del uolto 8 dal di sopra al di sotto del meto n fia la sesta parte del uolto, e fia la
;

cinquata quatroesima parte delFomo; sdallo ultimo sporto del meto alia gola o p fia simile allo spatio, ch'e dalla bocca al di sotto del meto e la quarta parte del uolto 10 ch'e dal di sopra della lo spatio gola al pricipio di sotto q r, fia la meta e la diciottesima parte deldel uolto P omo "dal mento al dirieto del collo s t e
; ;

The space from the mouth to the bottom of the chin c d is the fourth part of the face and equal to the width of the mouth. The space from the chin to the base of the nose ef is the third part of the face and equal to the length of the nose and to the forehead. The distance from the middle of the nose to the bottom of the chin g h, is half the length of the face. The distance from the top of the nose, where the eyebrows begin, to the bottom of the chin, i k, is two thirds of the face. The space from the parting of the lips to the top of the chin / m, that is where the chin ends and passes into the lower lip of the mouth, is the third of the distance from the parting of the lips to the bottom of the chin and is the twelfth part of the face. From the top to the bottom of the chin m n is the sixth part of the face and is the fifty fourth part of a man's height. From the farthest projection of the chin
the throat o p is equal to the space between the mouth and the bottom of the chin, and a fourth of the face. The distance from the top of the throat to the pit of the throat below q r is half the length of the face and the eighteenth part of a man's height. From the chin to the back of the neck s /, is the same distance as between the mouth and the roots of the hair, that is three quarters of the head. From the chin to the jaw bone v x is half the head and equal to the thickness of the neck in profile. The thickness of the head from the brow to the nape is once and 3/4 that of the neck.
to

quel medesimo spatio ch' e infra la bocca e '1 nascimeto de'capegli cioe 12 i tre quarti
della testa
J
;

3dal

meto

alia

testa

ed e simile

alia

ganascia v x e mezza grossezza del collo

in proffilo; 14 la grossezza del collo entra

vna volta-

V4

dal ciglio

alia nuca.

310.

i.

in fral [la
fia **!
.

bocha]
cioe

taglio

bocha.

2.

bocha

meto "cd"
4.

fia
.

uolto" e simile alia largeza della bocha".

.

3.

naso
.
.

"e f*
sopra
fia
.

uolto "essimile al naso ella [testa]

. . .
.

m"
. .

uolto "effia la
fia

"q r"

ella
.

di

d 6. bocha meto "g h" fia. 5. ciglia "i k" al. meto "ella [vetunesima] dodecima parte del uolto". 8. meto "m n" cholabro. 7. bocha bocha ella. 10. sotto bocca alo gola "o p" fia cinquata, quatroesima parte, dellomo". 9. dalo infralla bocha il nassimeto del chapegli. sollcsima. n. diriecto del chollo "s t" e quel 13. alia
fronte".
. .

mezo

ganasscia "v x"

meza

testa eddissimile

chollo.

14. chollo

nucha.

310.

on
PI.

PI.

VII, No.

The drawings to this text, lines I IO are i. The two upper sketches of heads,
14,

original are placed immediately below the sketches reproduced on PL VII, No. I.

VII, No. 2, belong to lines 11

and

in the

FL.vn

UTO*J

''

oW^vf *^;]Y^

i'f

'
:

,"'

'--

'

"
I

'

V^.v- ',. -<0^"

''"-'

'

'4

Hcliog-.

Dujardin.

Imp.Eudes

'

v(

/
/ J^

-,

'*

~-' * /.
.
-

^
'
.

:.

^ J>

TO^^^

,.^

J
'

^^^

*/

f*

['

li/4

&&.
1

it-^

Dujardin

313.]

THE PROPORTIONS OF THE HUMAN FIGURE.

3"dall'
-,

I/I

A. 626}

Tanto e
chio
all'

una appiccatura

dell' ore-

quato e dalle givnture delle al meto; 'tanto -e grade la bocca ciglia ._ ,, , , ,. _, ,, _ n d u bel uolto, quato e dalla diuisio de ,,labn
altra
, , v
.

distance from the attachment of one other is equal to that from the meeting of the eyebrows to the chin, and in a fine face the width of the mouth is equal
ear
to

The

the

al di sotto del

meto.

to the length

from the parting of the

lips to

the bottom of the chin.

A. 63 a]

312-

2 II di taglio overo spigolo del labro sotto della bocca e il mezzo Jfra 3 il di sotto del naso e '1 di sotto del meto. 5 II uiso fa I se uno quadro, cioe 6 la sua larghezza e da 1'uno al'altro ^stremo del ochio, e la sua altezza 8 e da il fine

The cut or depression below the lower lip of the mouth is half way between the. bottom of the nose and the bottom of the chin. The face forms a square in itself; that is its width is from the outer corner of one
eye to the other, and its height is from the very top of the nose to the bottom of the lower lip of the mouth; then what remains

sopra del naso ?al di sotto del labro di IT di sotto I0 della bocca, poi cio che resta I2 fa 1' altezza sopra e di sotto a esso quadro d'u simile quadro ^\a b e simile allo spaI e ch' e infra c d- ^d-n-G cosi n c tio similmete s r q-p'[ IS h> k sono infra
di
\

above and below this square amounts to the height of such another square, a b is equal to the space between c d; d n in the same way to n c, and likewise s r, q p, h k are equal
to

loro simili.H

each other.

Tato e da m-s- quato e dal di sotto del naso al meto; 7 1'orechio e apputo tato l8 tato e da x-s quato lugo, quato il naso;
16
*

It is as far between m and s as from the bottom of the nose to the chin. The ear
is

dal naso al meto;

proffilo
20

si

dirizza

taglio della bocca I all'agolo della mascella;

I9 il

from x

It is as far exactly as long as the nose. to s as from the nose to the chin.

tato deb'essere alto 1'orechio, quat'e dal 2I al di sopra del coperdi sotto del naso chio-delF ochio; 22 tanto e lo spatio-ch'e
li ochi, quato la gradezza d'un ochio; 1'orechio cade nel mezzo -del collo-in 2i tanto e da 4 a 5 quato e da proffilo

infra
23

parting of the mouth seen in profile The ear slopes to the angle of the jaw. should be as high as from the bottom of the nose to the top of the eye-lid. The space between the eyes is equal to the width of an
eye. The ear when seen in to 5 is equal
is

The

r.

profile. to that

over the middle of the neck, The distance from 4

from

s to r.

W.

P.

uga]
(a b) is equal to (c d).

(a-b) e simile a (c-d).

da
le

311. i. apichatura
313.
i.

[pi]
.
.

dele.
4.

2.

bocha

dala.

delabro.

2.

bocha

mezo.

[la large].

5.

se
17.

quadro.
.

6.

largeza.

7. alteza. 19.
. .

9.
.
.

delabro.
diriza al

10.
. .

dela bocha.
raasscella.

13. essi20. esere.

mile alo.
21.

14. essimilmehte.

16.
.

tato
.

[te]

e.

aputo
23.

lugo quato.
. .

bocha
chollo.

choperchio.

22. ellosspatio

quada

la gradelza.

chade

mezo

313. essimile.

312.

See PL VIII, No.

I,

where the

text of lines

discussed

it

fully

[note on page

12];

he has how-

13

is

also given in facsimile.

ever somewhat altered the original measurements.

313.

made here
in

See PL VII, No. 3. Reference may also be to two pen and ink drawings of heads of which with figured measurements profile
,

The complicated calculations which M. RAVAISSON The has given appear to me in no way justified. sketch, as we see it, can hardly have been intended
for
to

no description in the MS. These are given on PI. XVII, No. 2. A head, to the left, with part of the torso [W. P. 5 a], No. i on the same plate is from MS. A 2 b and in the original occurs on a page with wholly irrelevant text on matters of
there
is

ascertain relative

any thing more than an experimental attempt We do not find proportions

.

that

Leonardo made use of

circular lines

in

any

other study of the proportions of the human head. At the same time we see that the proportions of this

natural

history.

M. RAVAISSON

in

his
this

edition

of

the Paris

MS.

has

reproduced

head and

sketch are not in accordance with the rules which he usually observed (see for instance No. 310).

1/2
W.
P. 7 a]

THE THEORY OF THE ART OF PAINTING.

314-

Dcapo a/-

&

'/6

maggiore

che

The

head

'/6

larger

than

V. IV. 16]
2

3I5-

col
fia

Dal ciglio alia cogiuntione del labro meto e la punta 3 della masciella e '1
sopra dello
4

lip

fine di

uno qua s drato-perfetto; E ciascuna faccia 6 per se e mezza testa. 8 7 si E' 1 cauo dell' osso della guancia truova I mezzo fralla punta del ^naso e '1
I0 confine della masciella , ch'e la punta di JI in nella sotto dello orecchio figurata

orecchio colla tenpia

the eyebrow to the junction of the with the chin, and the angle of the jaw and the upper angle where the ear joins the

From

temple
side

will

be a perfect square.
head.

And

each

by

itself is half the

half

The hollow of the cheek bone occurs way between the tip of the nose and
is

the top of the jaw bone, which angle of the setting on of the

the lower
in

ear,

the

stella;

"dal cantone dell' osso- dell' ochio allo' ^orecchio e tanto spatio quanto e la ^lunx ghezza dello orecchio o vuoi-il sterzo,

frame here represented. From the angle of the eye-socket to the ear is as far as the length of the ear, or the third of the face.

della testa.

W.

Pr. 12]

3 l6

Tanto dev' essere da a b cioe dal 2 nascimeto dinazi de' capelli alia 3 linia della somita del capo, quarto e da c d cioe dal 6 fine di sotsto del naso alia cogiutio de' Iab bri dinazi della bocca; 7 tanto e dal lagrimatoio 8 alia somita del capo a dell' occhio al di sotto del meto s e da quarto 10 b sono simili per spatio IX 1' uno s c
|

From a
roots

to b that is to say from the of the hair in front to the top of the

m m

head ought to be equal to c d; that is from the bottom of the nose to the meeting of the lips in the middle of the mouth. From
the inner corner of the eye to the top of the head a is as far as from down to

the chin

s.

cf b

are all at equal distances

all'altro.

from each

other.

W.

P. 5 a]

Dalla sommita del capo al di sotto del meto J /8, 2 dal nascimeto de' capelli al mento
3e
J

From
hair
to

of the chin
the roots

/9

dello spatio ch'e

4

da esso nascimeto
larghezza del uolto

head to the bottom and from the roots of the the chin is */9 of the distance from
the top of the
is
l

/s,

terra.

La maggior
<i)

greatest width

of the hair to the ground. The of the face is equal to the

314.

II i.

capo

[v

J/6
2.

magiorc.
.
.

315.

cogiunctione.

chol

ella.

3. massciella.

4.
.

cholla
.

fia !
. .

qua.

5.

perfecto Ecciasscuna.

6.

meza
13.

tessta.

7.
.

chauo.
.

8.
14.

Imezo.

9.

chonfine della ma&sciella.

15. tessta.
2.

10.

lla

disocto

orechio.

n.

issclla.

12.

chantone.

ettanto

ella.

lungeza.
deessere.

316.
317.

i. i.

nasscimeto.
2.

3.

chapo.

4. diso.

5.

dela.
3.

6.

bocha.

7.

ochio.
4.

8.

chapo.

10. simile perispatio.

. .

dalasomita del chapo.

chapelliti ella

mento.

nasscimeto atterra.

magior largeza

essimile.

5.

dala bocha al

315.

See

PI.

IX.

The
head.

text,

in

the

original

is

22'/2 centimetres

wide by 29 long, and

is

numbered

written behind the

The handwriting would

127 in the top right-hand corner.

316.

seem to indicate a date earlier than 1480. On same leaf there is a drawing in red chalk of two horsemen of which only a portion of the upper The whole leaf measures figure is here visible.
the

The drawing
PI.

tinted paper

has

been partly

in silver -point on bluish which belongs to this chapter drawn over in ink by Leonardo

himself.

t^-ar-.-

'

"x"" --.-.
'

,>

,-,

-;-^,

,-

Hclioo-.

Duja-rdin

i8320.]

THE PROPORTIONS OF THE HUMAN

FIGURE.

. lo spate eh e dal d del capo fia -simile a mento al .lagrirnanojo delli del sotto

lachrymatory ,

duct of the

^ ST.

dal spatio ch'e

meto

alh
i

to the

space beis

?&

318.

^./ch'elibero.

Tur.

7]

are

the moutn.

Proportions
Of
t

h e head

della grossezza

9de labn dell ochio,

>

. eye

;a

rr~a
e que

l8

Valtro;

sti

tali

spati ciascu

per se

eyes

or of the space

o ch'einfra

Mmisurado
dell'ochio
alia
28

fg, n fri del nan d e larghezza delle

-d

li ochi; dal taglio

<:

* V,

di
7
'

fon del labro

*,,

*e

eyes

m0

t'/,o

T
320.

will be equal to

/3

m
of the eyelids
th'e

from the
to the letter
ti>e
,.

width of

nosml.

T ""
infraiciatridellepopme

The

th '

,L

outer

^ers

of the eye,

'

318. 319.

See See

PI.

XL
XII.

19. la

forte.

to This singular notation seems

ma

M<vw (nineteenth).

PI.

174

THE -THEORY OF THE ART OF PAINTING.

[3

2I.

322.

cio6 dove M' ochio termina colla cassa del1'osso

8

che

lo ricieve,

le

code

di fori,

fia

that is where the eye ends in the eye socket which contains it, thus the outer corners, is

v mezzo volto.

half the face.

La maggiore
la
linia

larghezza, che abbia

ochi,
fia
10

9 il

uolto
dall'

quat'e per degli appiccatura dinazi de'ca^pegli al taglio della bocca.

greatest width of the face at the of the eyes is equal to the distance from the roots of the hair in front to the parting of the lips.
line

The

w.

p. 3;

ii]

321.

II naso fara 2 quadrati cio& la larghezza del naso nelle narici entra 2 volte dalla punta del naso al principio delle
,

The nose
that
is

will

make a double square;

goes

the width of then-ose at the nostrils twice into the length from the tip of

ciglia,

strema
colla
il

profile tato fia dalla parte della narice, doue si cogivgnie

I
,
,

e similmete

guacia alia puta d'esso naso quato naso largo in fascia da 1' una al' altra
4
;

narice
tutta

se

diuiderai -in

parti
:

equali

lunghezza del naso, cioe dallasua puta all' appiccatura delle ciglia tu troverai sche una delle parti etra dal di sopra delle narici al di sotto della puta del naso
la

e la superiore parte etra dal lagrimatojo ochio all' a6 ppiccatura delle ciglia e le 2 parti di mezzo fieno tato gradi quato e F ochio dal lagrimatojo alia coda d' esso
dell'
:

ochio.

the nose to the eyebrows. And, in the same way, in profile the distance from the extreme side of the nostril where it joins the cheek to the tip of the nose is equal to the width of the nose in front from one nostril to the other. If you divide the whole length of the nose that is from the tip to the insertion of the eyebrows, into 4 equal parts, you will find that one of these parts extends from the tip of the nostrils to the base o/ the nose, and the upper division lies between the inner corner of the eye and the insertion of the eyebrows; and the two middle parts [together] are equal to the length of the eye from the inner to the outer corner.

W.

P. it]

322.

II dito grosso del pie e la sesta parte d'esso pie, tolgliendo la misura in profile di detro dode esso dito na2 dalla polpa del petto del pie insino alia sua stremita a b; ed simile allo spatio ch'd dalla bocca al di sotto del meto; ^se fai il in profilo di fora fa pie nasciere il piccolo dito ai tre quarti della lunghezza d'esso pie, e troverai lo spatio ch' e dal principio d' esso dito insino all' ultimo sporto del dito grosso.

The
foot,

great toe is the sixth part of the taking the measure in profile, on the inside of the foot, from where
this toe springs

scie

from the

ball
its

of the sole of the foot to

tip

and it is equal to the distance from the mouth to the bottom of the chin. If you draw the foot in profile from the
a
b;
ters

outside, make the little toe begin at three quarof the length of the foot, and you will find

the

as to the farthest

same distance from the insertion of this toe prominence of the great toe.

de cha.
quatrati
3.
.

n. bocha.
.

331.

i.

lungheza

nelle anarise
4.
.

entera
.

dala puta.
parte
. . .

2.

essimilmete
.
.

"I proffilo" tanto

5.

narisa
.

chogivgnie.
clla

cholla.
toro.
333. i. clla

dalluna allaltra anarisa.

. .

dinisterai
.

6.
. .

pichatura
dito
[si

elle

mezo
2.

lagrimatoro
3. scffai
.

alia
.

lungeza choda.
.

apichatura.

che

dele

anarise

lagrima-

po] nascic.

bocha.

nasscicre

il

picholo

lungeza.

4. allultimo

[spado] sporto

gro.

320.

There

are,

with this section, two sketches

No. 4

face

the

six

lines

of this

section.

With

of eyes, not reproduced here. The two bottom sketches 321.

on

PI.

VII,

regard to the proportions of the head in profile see No. 312.

123- 324-]

W.

P. 8a]'

323-

Tato e
2

v medesimo
che e
c

homo
3
.

lo

spatio

ifra

a b quato

d.

J ^U
J

For each man respec.

tively the distance

is

between

(c
}

.a b

equal to c d.

W.

P.

a]

pie e tanto piv lungo che lae la grossezza del bracio alia mano doe givntura della dou' eli e piv sottile, 2 stando in faccia
11

mano

The

foot

is

as

much

longer than the hand

Relative

quanto

as the thickness of the

arm

at the wrist .

where

3 Ancora troverai il pie essere tanto maggiore della mano quanto e dall' appiccatura di dentro del

it is thinnest seen facing. Again, you will find that the foot is as much longer than the hand as the space between the inner angle of the little toe to the last projection of

rSTS and
foot
-

piccolo

dito del pie

la

all'

tamento del dito grosso

misura-per
s

ultimo ^sportogliendola
,

La palma
le

lunga dirittura del pie;

della

mano
due

sanza
6

dita

entra

the big toe, if you measure along the length of the foot. The palm of the hand without the fingers goes twice into the length of the foot without the toes.
If

volte-nelpie-sanzalesuedita;

you

hold

your hand

Se

tu terrai-la
diti- diritti
-,

manoe stretti

coi

quella essere larga quato la maggior larghezza del piede cioe doue
7

sua insieme

trouerai

with the fingers straight out and close together you will find it to be of the same width as the widest part of the
foot, that
is

where

it

is

joined

si

cogiugnie coi sua8

E se

diti;

onto the toes.

tu

della
alia

nocca del pie puta del dito

misuri dalla puta di detro

grosso
;

trouerai questa misura essere grade 9 quato e tutta la mano 10 Dalla givntura del pie di

And if you measure from the prominence of the inner ancle to the end of the great toe you will find this measure to be as long as the whole hand.
From
is

the top
to to

angle of the

sopra
diti

appiccatura de' sua di sopra e tanto quato

all'

foot to the insertion of the toes

equal
joint

the the

hand
tip

from
of the

dal' appiccatura

della

mano
;

puta "del suo dito grosso La minore larghezza della mano e simile alia minore larghezza del pie infra la sua
alia
12

X
The
is
it

wrist

thumb.

The
hand
is

smallest

width of the equal to the smallest

appiccatura colla gaba e '1 pncipio de' diti sua. larghezza del calcagnio nel suo disotto e simile alia grossezza dello bracio, dove si givgnie colla mano di dentro,

width of the foot between its joint into the leg and the insertion of
width
the toes. of the
to

part equal joins the hand;

that

heel at of the
also

the
to

lower
leg

arm where
the

and

324.

i.
. .

ettanto piv
esstretti
.
.

ella grosseza. chella apichatura lung 3. magiore puta magiore largeza del piedi. 7. cho sua. 8. essettu
.
.

picholo.
.

4.

tollendo.

6.

settutterrai
10.

choi

[del pie]
.

della noce.

9. ettutta.

apichatura

apichatura.
. .

chalchagnio

infralla sua apichatura cholla. essimile 12. largeza [del pie] "della mano" 13. largeza del largeza grosseza essimile givgnie chol suo bracio di dentro Essimile. 14. facia. 16. me/o . . gradeza . . bocha
. .
.

THE THEORY OF THE ART OF PAINTING.

simile

I4

dove

la

ganba

in

faccia

6 piv

where
front.

it

is

thinnest

when

viewed

in

sottile;

*sLo spatio che a il piv lungo dito del pi& infra '1 principio della sua diuisione dal dito grosso alia sua stremita 6 la l6 quarta parte del pie, cio,e dal
polo punta, Ed c simile alia gradezza della bocca: 'E lo infra la bocca e '1 spatio ch'
alia

length of the longest toe, from its division from the great toe to its tip is the fourth of the foot from the centre of the
first

The

mezzo

del suo

di detro

sua

ancle bone to the tip, and it is equal to the width of the mouth. The distance between the mouth and the chin is equal to that of the knuckles and of the three

I8 e simile ture d'esse, stando la ma distesa, allo nodo del dito grosso della mano al pricipio della sua vnghia, stado disteso, ed la quarta parte 19 della mano e del uolto; infra li stremi *9Lo spatio ch' de' poli dentro e fori de' piedi, detti talloni ouero nocche - o burelle del pie ch'e a b fia simile alto "spatio infra la bocca e '1 lagrimatojo del.

mento; 17 simile- allo spatio ch'& infra le nocche e delle 3 dita di mezzo e le prime givn-

middle fingers and to the length of their first joints if the hand
is spread, and equal to the distance from the joint of the thumb to the outset of the nails, that is the fourth part of the hand and of the face.

between the extreme and outside the foot poles called the ancle or ancle bone a b is equal to the space between the mouth and the inner corner of the
inside
eye.
*.

The space

1'

ochio.

w.

p.

D
Relative proportions of the foot and of the

pie

dal

suo

nascimeto
alia

The

foot,

from

where

it

il

colla

ganba

insino

stremita

attached to the leg, to the tip of

the

d ei

dito

grosso

simile allo spadi

grea^toe

is

as

long

as

the

sopra

space between the upper part of

the chin

del meto, al nascimeto de' capegli

and the roots of the hair

to
five sixths

a d

e simile a cinque

sesti

del

b;

and equal

of

uolto.

the face.

W.

P. 7 a]

326.

a d e vna testa, 2 c b e vna testa, *i quatro minori diti son dal di sopra del' unghie al di sotto grossi a v modo e sono / I3 del
l

is

a head's length,

is

a head's

four smaller toes are all equally length. thick from the nail at the top to the bottom,

The
'i

pie.

and are

the foot.

w.

p. 3 .

nj
il

327.

entra dal gomito alia givntura della mano e dal gomito all' appiccatura di detro del braccio diuerso la poppa,
pi&

Tutto

The whole length of the foot will lie between the elbow and the wrist and between the elbow and the inner angle of the arm
clle

Ello
.

infralla
.
.

bocha.

17.
[di]
.

Essimile

noche

dimezo della
21. la

lama.

18. essimile alia

nocha

vnglia.

20. infralli

effori

ouero noci
.

o bu

relic

de pie "a b".

2.

boga

el

lagrimatorio.
6. esimia.

315.

i.

nasscimeto

cholla

essimile alia allosspatio.

. .

nasscimcto de chapeglia.

326. 3. 397.
i.

minor

son grossi dal

. .

ungie.
2.

apichatura

bracio diuer la popa.

ettanto

chapo magiore alteza

chapo

effigiirato

il

pie entra 3 volte.

Hert

Ott ttxt breakt off.

326.

See PL XIV, No.

I,

drawing of a foot with the

text in three lines

below

it

PL.X.

HeKogp D-ujardin.

PL. XI

-"yy
;.,A:,:
'
'

'

.-^

:^*:.T&$
. --

-'..

'
.

'"

8
>.' '**".
.
. i

:;

"

"''"'''

*f<

?&*

^ii^M *; ~^ E|
-,:.-:-:
>;
':

'

r.
'

mt--

W&$$
'"

-^
'
.

^^O^rp^^jC^-'-

%
-

-v

v\ -:v".

v^u-

W.
1

"

'.W
5?

J^^P^S:;^!^^

^.5J*J'>.'

''"

BjpH^^af^M
-"> J'-i'-

BK^TO^^^*-!*^ %
1

<

<\iv

^-

7 ^

.$-;

,>

;<1

C
:
.

.~\m ^'''^
? .- !
;

-"

'

.i^-^-i.

'.-

-.s.

-'

-*'.'>.".'

,'.'/
''
i

.'

.M
'

*.*.
'

'/"'"? >.--'

iv.'v*^' rv^^/'^i^A/^-' .'.--''%'

*

\TV

. ::

'

"
"

'?"

y ''^
:

v^/

: '"''

-' V:.;

-"

;
.

''

V;

"r^Vf^i.

''
....
;

''"J^^KSJ

Heliog^

Dujardin

'iS'

v#.v

g.

$r&

--*&

'-

Imp. Ku.de

Heliogp Uujardin.

'

"1

<

?
fi
,

y^..
I

/
1

'

i*i

*<

Heliog- Dujardu

328.]

THE PROPORTIONS OF THE HUMAN FIGURE.

;

177
is

2 II pie e quado il braccio sta piegato tanto grade quato tutto il capo dell' omo, cioe dal di sotto del meto alia maggiore altezza del capo nel modo che qui e figurato.

towards the breast when the arm

folded.

The
man,

foot
that

is
is

as long as the whole head of a from under the chin to the topmost

part of the head [2] in the

way here

figured.

W.

P. ya]

328.

grossezza della polpa della a b 2 ed e piv larga la uetesima parte che la maggiore larghezza del pie. $a c e mezza testa, ed e simile a d b

La maggior

The
leg
is
is

gaba e

nel terzo della sua altezza

at

greatest thickness of the calf of the Proportions a third of its height a b, and (338 jjif

e all' appiccatura de' 4 cinque diti-ef, 6 d k h diminviscie il sesto in nella gaba x 8 n crescie il sesto Tg li e /3 della testa; di a e ed e ?/ I2 della testa; ^o -p e minore 10 6 a si e il YIO di d- k ed e /I7 della testa, r si e mezzo infra b q ed e x /4 dell' omo, mezzo infra s-b; I2 il cauo del ginochio di fori r e piv alto che '1 cavo di detro a, J 3la meta della grossezza della gaba da pie, 14 ^ si trova in mezzo infra il gobbo s e il l6 piano b; **v e in mezzo infra ^-^- la faccia e simile alia grossezza della coscia I maggiore ^larghezza della faccia del uiso cioe 2 /3 dello spatio ch'e I8 dal meto alia somita del capo; *?z r e s/6 di 7 v. 20 n e simile a 7 v ed e r /4 di r b, 2I x y entra 3 in r-b-Q in r- s;

a twentieth part thicker than the greatest thickness of the foot. a c is half of the head, and equal to d b

and

d k

g
is

the insertion of the five toes e f. diminishes one sixth in the leg g h, h is Ya of the head; m n increases one
to

sixth

from a

a
is

Yio less than is at half the

x

/4

and
side r

and is ?/ I2 of the head, o.p d k and is 6/ I? of the head. distance between b q, and f the man. r is half way between s [n]. The concavity of the knee oute

is higher than that inside a. The half of the whole height of the leg from the foot r,

is

half

way between
b.

the prominence s

and

v is half way between / and b, The thickness of the thigh seen in front is equal to the greatest width of the face, that is of the length from the chin to the top of the head; z r is 5 /s of 7 to v; m n is J r b, x y goes equal to 7 v and is /4 3 times into r b, and into r s.
the

ground

22

a- b entra

in c -f6, e
/

in c

n ed e simile

a
in

g
d

k,

23

m
n,

entra 4 in
24

d -f,
r
s
-

in

n,

ed e
n
|

3/7

del pie,
2
2(5

/
T

q
T

d'f
e
IO

e 3 in b
q,

$x y e
si

/s

di

xf
nf,

entra 3 ed e
27

simile a
si

3 7
]

/9 di

di

c/a.nd six times equal to g h; i k I m goes 4 times into d f, and 4 times into d n and is 3/ of the foot; p q r s goes 3 times into 7 d f, and 3 times into b n; [25].* y is x /s of x and is equal to n q. 3 7 is x/9 of n f; 4 5 is YIO of /[2;].
\22~\a b

goes

six times into

into c n

and

is

328.

i.

magior grosseza
9. della

alteza.

2.

parte

[del]
1/4.
.
.

chella magiore largeza.

3.

meza

T
. . .

ed esimile ha
.

apichatura.
14.

8. cresscie.

T.

10. infra

b ede

10.

mezo.

n. mezo.
e simile

12. difori

"r" e

chelchavo.
18.

13. grosseza.

5. ghi. mezo
.

gobo.
ha.

15.

imezo.

16.
.

grosseza cosscia
in.

facia essimile magiore. in c

.

17. largezza

facia.

somita del chapo.

20. essimile
34. cazo.

22. entra [6]. 3

"6 e 6

n" ed

ha

g.

25.

ha.

28. [II].

31. cinarsi.

33. chosi.

327. 2. nel modo che qui efigurato. See PI. VII, No. 4, the upper figure. The text breaks off at the end of line 2 and the text given under No. 321 follows below. It may be here remarked that the second sketch on

il. b is

here and later on measured on the right

side of the foot as seen

by the

22

35.

The sketch
2.

illustrating these

spectator. lines

is

on

PL XIII, No.
22. a

W.
No.

P. 3 II

328.

The drawing
to the in

has in the original no explanatory text. of a leg seen in front PL XIII,

text

b entra

in

c f

6 e 6 in c

n.

Accurate mea-

i belongs measurements

from

lines

21.

The

surement however obliges us to read 7 fo r 6. 25. y is not to be found on the diagram and x
occurs twice; this makes the passage very obscure. 22 27. Compare with this lines 18 24 of No. 331,

this

section

with the text No. 331, lines i of a leg seen in front on PL XV. VOL. i.

should be compared 13, and the sketch

and the sketch of a leg

in profile

PL XV.

THE THEORY OF THE ART OF PAINTING.

sapere quato vno 3crescie leuadosi in puta 3'di pie, e ncl chinarsi quato ~*p-g diminviscie e quato n q 33cresca e cosl la
2

[32933I.

9Vo

want to know how much a man increases

height by standing on tip-toe and how much / g diminishes by stooping; and how much it increases at n q likewise in bending
in
.

piega del pie;

the

foot.
[3 tfe

3*^/4
35

dal

cazzo

al

di

sotto del pie

/is

four times in the distance be-

3 7 e

6 da

3 a 2

ed e simile a g- h- et

tween the genitals and the sole of the foot; [35J3 7 i g si* times from 3 to 2 and is
equal to

i-k.

g h and

k.

B. 3)

329-

n
etra

pi& 2

dalla
2

punta
dal
1'

al

calcagnio
al

The

length

of the

foot

from the
goes twice

volte

calcagnio

gi-

end of the toes

into that
is

to the heel

nochio, cioe dove

si

osso della ^ganba

della

from the heel to the knee, that

[fibula] joins the

cogivgnie

con quello

co-

where the leg bone

scia.

thigh

bone [femur].

w.

P.

7,5]

33 b son
2

a
fia

11

simili,

son

simili

2 pie; *n

fia

2 pie.

makes two

a n b are equal; feet; n d makes

end

are equal;
2
feet.

n c

w.

p. s

331'

m
3

n o sono

simili

2
;

la

della

gaba

faccia etra

minore grossezza *8 volte dal di

s a lla givntura del ginochio, e a similitudine col braccio 7 I faccia sul' 8 mano e colla maggiore appiccatura della

sotto del pie

m n o are equal. The narrowest width of the leg seen in front goes 8 times from the s-ole of the foot to the joint of the knee, and is the same width as the arm, seen
front at the wrist, and as the longest measure of the ear, and as the three chief divisions into which we divide the face; and this measurement goes 4 times from the wrist joint of the hand to the point of the elbow. [14] The foot is as long as the space from the knee between a and b; and the patella of the knee is as long as the leg between r and s.
in
[ 1

I lughezza sdell'orechio e-coi-3 spati, che e diuiso il uolto, e que"sta grossezza

I2 4 volte da la giutara della mano al del go^mito; ^tato e largo il pie, x quato e slo spatio del ginochio ifra-a-^; l6 tato e la padella del ginochio, ' 7 quato e la gaba Ifra r-s.

IO

etra

fine

18

La minore

grossezza della gaba

I9 I

8]

proffilo etra

6 volte dal

di sotto 20 del pie

profile

The least thickness of the leg in goes 6 times from the sole of the foot

35. simile

he

g.
3.

3g.
330.
331.

i.

dala chalcagnio.

chogivgnie chon.
chol br.
18.

2.

som

simili.
5. ala. 6. 7.

2.

grosseza.

apichatura.
19.

8.

chola

rragiore lugeza.
.
.

9.

e co

3.

10.

Iche diuiso.

n.

grosseza.
I.

14. largho.

16. padela.

grosseza.

socto.

21. chollo

infralla.

22.

choda.

23. cholla

magiore grosseza del br

4 dal cazo. By reading i for e the sense 34. t of this passage is made clear. 35. 2 is not to be found in the sketch which
renders the passage obscure.

the left of the front view

refers.

of the leg, to which

it

The two

last

lines

27 are in the middle column and refer to the leg seen in profile and turned to the left, on the right hand side of the writing. Lines 20 30 are
Lines 18

are plainly legible in the facsimile. * 330. See the lower sketch, PI. XIV, No. I. 331. See PI. XV. The text of lines 2 17

above, to the

Some
is

to

leg will

and apply to the sketch below them. remarks on the proportion of the be found in No. 336, lines 6, 7.
left

farther

Im Eu.de s

'

'

-V7PS3F--

^^K^'i?"*,. IZ*^^^-^**-?*.^ "^TT^"^

?
:

7'
f

"v

-";:

_-_.^_.

^7

V2^^- '^": Utf^-^e:

:

C>>;

.v

^-^.i

T^s

1-5 J

L ^ < "*Z~=t~
(l

*i

^<

~&

<

^-

>

fe;
tf^
6

>

^ X*^!T*'L<t ^ \x^<^\\ W
I
-^

i4|
*"

V
;

~^^

~"^--^.,-'

M.

C~~~~

<

eoL&z

5^ ^' v. ^ /^ P *

."'

*'<**',

llrhcg- Duja.rdin.

Imp Eude
.

332334-]

THE PROPORTIONS OF THE HUMAN FIGURE.

to the

179

alia givntura del ginochio, 2I e a similitudine collo spatio, ch'e ifra la 22 coda del'ochio 23 al buso dell' orechio, e colla maggior grossezza del braccio I profile, 2 ^e col lagri-

the

knee joint and is the same width as space between the outer corner of the eye and the opening of the ear, and as the
thickest part of the arm seen in profile and between the inner corner of the eye and the
insertion of the hair.

matojo
pelli.
2s

del'ochio
c

al'

appiccatura
loro

de'

ca-

a b
:

sono

ghezza

equali per luz6 etra 2 volte dal di sotto del

ifra
2

pie al */2 del ginochio e quel dal ginochio al fiaco.

28
2

7medesimo

a b c \d\ are all relatively of equal length, c d goes twice from the sole of the foot to the centre of the knee and the same
to the hip. [28] a b c are equal; a to b is 2 feet that is to say measuring from the heel to the
tip

from the knee

a- 6-C'Sono equali,
dal

a-b

9cioe

calcagnio

alia

e 2 piedi, puta del dito

\

3grosso.

of the great toe.

W.

P. 6; la]

332.

s' inginochia, quello stremera la parte di sua altezza; 3 Stando 1' omo ginochioni colle mani al 4 petto il bellico fia il mezzo di sua altezza e simil 5 mente le punte de' gomiti; 6 II mezzo dell'omo che sede, cioe dal sedere alia 7 sommita del capo, fia il braccio 8 e '1 di sotto della di sotto della poppa essa parte sedete, 9 cioe dal sedere spalla; I0 al di sopra del capo, fia tanto piv che mezzo 1'omo, quanto e la IJ grossezza e
2

Se vno

quarta

In kneeling down a man will lose the On th e cen., tral point of r c , i i fourth part of his height. the whole When a man kneels down with his hands body
. '

folded on his breast the navel will mark half and likewise the points of the elbows. Half the height of a man who sits that is from the seat to the top of the head
his height

be where the arms fold below the breast, and below the shoulders. The seated portion that is from the seat to the top of the head will be more than half the man's [whole
will

lunghezza de

testiculi.

height]

by the length of

the scrotum.

W.

P. 6; 16}

333-

Ilcubito-e la quarta parte dell' altezza dell'omo ed e simile -alia maggior larghezza J11_ __11~. > _: j_ii_ 2 J_l> delle
spalle;
dal'
fia
4

spalle all' alt ra fia dalla somita del

una due
al

delle givntura teste 3 e '1 simile

dalla detta- somita

petto all' ombelico nascimeto del mebro

;

one fourth of the height of ^pl^ons equal to the greatest width of of theoftorso the ii_ _ _i j TT> _ _.!- _^-__ _t ij_- and the shoulders. From the joint of one shoulder whole figure. to the other is two faces and is equal to the distance from the top of the breast to the
cubit
.

The

is

man and
i

is

j.i-

navel.

[9]

From

this point to the genitals is

vna

testa.

a face's length.

W.

P. 6; lla]

334the roots of the hair to the top is the sixth part of the height of the head an e of a man and this measure is equal. toreo!

Dalle radici de' capegli-alla somita del petto- a b fia la sesta- parte dell' altezzadell'omo 2 e questa misura fia simile.
apichatura de "ca pelli".

From

the breast a b

24.

colagrimator

25.

[d]

lugeza.

26.

disocto

equl.

27. fiacho.

29.

puda.

30.

grossoe chosi.
3.
. .

332. 2. alteza.
10.

cholle.
ella.

mezo

mezo alteza 4. belicho n. ellungeza de testichuli.

. .

essimil.

6.

mezo

chessede.

7.

chapo

fia

il

br di

popa.

9.

chapo.

333.
334.

i. i.

chupido
chapegli

ella
. .

alteza

magior largeza.
3.

2.

dalluna
.

spalli.

3.
.

pecto

onbellicho.
.

4.

nasscimeto
6. II

vna T.
.

petto

"a b"

fia.

[e]

tanto

..

spalli.

4. bellicho

ecquesta

nasscimeto.

br dove sispicha

332.
333.

See

PI. VIII,

No.

2.

4.

dalla detta somitct.

It

would seem more accurate

Compare with this the sketches on the other page of the same leaf. PL VIII, No. 2.

to read here dal detto ombilico.

334.

The

three

sketches PL XIV,

No

2 belong

to this text.

i8o
3

THE THEORY OF THE ART OF PAINTING.

Tanto e daP ultima parte delle spalle quanto e dalla somita dell petto

[335338-

all'altra,

4 al bellico e questa parte entra quattro volte -dal di sotto del pie al nascimeto sdi sotto del naso. 6 II braccio, dove si spicca dalla spalla dinazi, entra -6 uolte-in nello spatio ch'e infra 1'uno e 1'altro ?stremo delle spalle -e 3 volte nella testa dell'omo, e quattro nella

the outside part of one shoulder other is the same distance as from the top of the breast to the navel and this measure goes four times from the sole of the foot to the lower end of the nose.
to

From

the

lunghezza del e fori.

pie,

e tre nella

mano

dentro

springs 6 times into the space between the two outside edges of the shoulders and 3 times into the face, and four times into the length of the foot and three into the hand, inside or outside.

The

[thickness of] the

arm where

it

from the

shoulder

in

front

goes

W.

P. 6;

335-

simili allo spaappiccatura del braccio col proportions ,11-1 i 2 del mebro e lo.spatio of the torso petto e 1 appiccatura the and dalla puta de' diti della mano al fopello ch'e ,J (335- 336)del braccio, e al mezzo del petto, e sappi ^ che c b e la terza parte che a la lunghezza dell'omo dalla spalla a terra; *de /- son simili infra loro e son simili alia

a b c sono equali e son

ch' e
dall'
.

The

relative

tio

..

maggior larghezza delle

spalle.

a b c are equal to each other and to the space from the armpit of the shoulder to the genitals and to the distance from the tip of the fingers of the hand to the joint of the arm, and to the half of the breast; and you must know that cb is the third part of the height of a man from the shoulders to the ground; d e are equal to each other and equal to the greatest width of the shoulders.

W.

P. 5

336.
2

Foppel del meto

fianco

al nasci-

meto

4fin del pescie di del grosso dito sfi n del rilevo del fuso detro della coscia

Top of the chin hip the insertion of the middle finger. The end of the calf of the leg on the inside of the thigh. The end
of the swelling of the shin bone of the leg. [6] The smallest thickness of the leg goes 3 times into the thigh seen in front.

minore grossezza della gaba entra 73 nella sua coscia stando in faccia.
della gaba;
la

w.

P. 2 a]

337-

busto a b fia nella piu sottile parte e da- a- b- fia- 2 pie, che fia- 2o "^-uno-pie: 2 of the torso quadrati al cavallo la piv sottile sua the foot. parte entra 3 volte nella lughezza che fa

^h e

a b in its thinnest part meaand from a to b is 2 feet, which makes two squares to the seat its
torso sures

The

foot;

quadrati.

thinnest part goes 3 times into the length, thus making 3 squares.

W.

P. 7 a]

338.
2

L'omo a
The
proporthe
tions of

giaciere

arriva a

/9

di

sua
'/9

A man

when he

lies

down

is

reduced to

^altezza.

of his height.

whole figure (3J8-340nello

335. .

ellaltro.

7. spalli
.

lungeza.
.

dalla
.

pichatura
4.
2.

chol
.

e lla |b] pichatura.

.
.

a.

ello

a fobello

mezo

essapi.

3. clla

alia

largcza dcllomo

atterra.

infralloro
3.
.

largeza

spali.
fin de.
.

336
337.

fopel.
fi

fiancho.
.

nasimeto.
fia.

5.

6.
.

grosscza

entrc.

"a"

nel pi

che

2.

chavallo

lugeza.

33.

diacere.

2. ariva.

3. alteza.

335.
3.

See See

PI.

lunghezza, in
PI.

XVI, No. i. MS. larghezza.

XVII, No. 2, middle sketch. No. 2, the lower sketch.

I.

// biuto

in
in

the

sketch

uno p&. This is less plainly shown which accompanies the text than

336.
337.

See

PI, VII,

No. 5. (W. 104). da a b fia 2 pit. For 2 read J perhaps 2 / 2 ; but the whole passage is obscure.

PL. XVI.
:

J''
=

'V

r-

; ; *.v

''-~vt;

. "*''

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^-

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V^*?'^ '*-'''
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-,rr^r

-<-,

^HS^^S'w'-^P
>

<l ^.

'

>
'.''.

'^"
i

'

-r)r''

'i'"

\_

>

.V'^'^^V

- T
-,

: '<_ r

-..

:-;
,
.

'-.
;.
i
'
'.

>

. '

-**!

Y~
:-'vT-'-:,

If^' ,.-^^^^^Z^:
;'
'

''*

^^:; ;?^: |iv^

;

'

L^J;<..
(

IS
-^-'
-

1 'L-^t v JK*-i;;-> ^--i/>t <J. /, 5i__^'Mt>---F >

1

, -

fi!^?S '^f r J \^ -/ S^^fe "' t, W' Mii^-^Pi v^lll ^ *-" Stri u ^'f U x-'WI
:

>

<

'

'

-*..-..
'

>..,
'
-

-^-^

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ileliog-.Bujard

Iinp.

Eudes.

PL. XVII.

r
,:

*$&
"f I

^.

t**?

'

'

T-L:
,-.

*.,

-'.*-.

:.f~

>viT
l

^:..v-

^:^;23

...

ii6u-i..

Imp Eudes

339-342.]

THE PROPORTIONS OF THE HUMAN FIGURE.

181

W.

P. 7 6]

339-

Ilbucodell' orechio, lanascitadellaspalla, quella del fiaco e del pie son perpediculare 3 a n linia e simile a-m- o.
2
;

The opening of the ear, the joint of the shoulder, that of the hip and the ancle are in
perpendicular lines; a n
is

equal to

o.

C. A. 35011; 1089 a]

340the chin to the roots of the hair of the whole figure. From the joint of the palm of the hand to the tip of the
*/io

insino al nascimeto de' ca2 della givntura della palma della mano Jsino alia sommita del dito lungo I / lo parte, 3 dal meto alia sommita del capo Vs parte, 4 e dalla forpelli si e

Dal mento

From

VIO

parte dalla figura;

is

x petto si e /e parte, s e dalla forciella del petto jnsino alia sommita del capo J /4 parte, 6 e dal meto alle nari del naso J/3 parte del uolto, ?e quel medesimo dalle nari al ciglio e dal ciglio al nascimeto de' capegli, 8 e '1 pie e J /6 parte, 9e'l

ciella alia sofhita del

the part of the face, the same from the nostrils to the brow and from the brow to the roots of the hair, and the foot is
.

longest finger is Vio- From the chin to I top of the head /s; and from the pit of stomach to the top of the breast is J /6> from the pit below the breast bone to J From the chin to top of the head /4
J

the
the

and
the

nostrils

/3

gomito V4 parte,
parte.

10

larghezza di spalle

/4

/6,

the
T

elbow

/4J

the width

of the shoul-

ders

/4-

W.

P. 5 a]

341di spalle

Larghezza
taglio

*/4

del tutto,

dalla
3

The width of
whole.
the
to

the shoulders

is

/4

f the

snodatura della spalla

del labro di
spalla

alia

mano

/3 ,

dal

From

sotto alPomero 4 della uno pie. s La maggiore grossezza delPomo dal 6 petto alia schiena entra 8 volte nell'omo ed e simile allo ?spatio ch'e dal meto alia
sofhita del capo.
8

hand is */3> below the shoulder-blade

the joint of the shoulder to from the parting of the lips

is

one
8
th

foot.

The
the

greatest thickness of a breast to the spine is one

is

man from
of his

height and

La maggior

larghezza e nelle spalle, e

equal to the space between the bottom of the chin and the top of the head. The greatest width is at the shoulders

entra 4.

and goes

4.

w.

P.

-jb\

342.
i

Tanto e I'omo sotto

spatio de' fiachi.
2

bracci quato lo

The width of
,1

man under
i

the

arms

is

The

torso

the

same

as at the hips.

^1

fron t

from the and

back.

Tanto e

dal

somo

largo ne' fiachi quat' e d'essi fiachi 3 a l di sotto delle

1'
i

omo

natiche,

stado I'omo di pari peso sopra

man's width across the hips is equal to the distance from the top of the hip to the bottom of the buttock, when a man stands

339.

i.

[lane]

il

puso
10.

la

nasc
.

spala.
2.

2.
.

hacho
.

perpedichulare.
4.

3.

ha

m.
6. allianari.
7.

340.

i.

nassimeto de chapelli

dela.

dala

dela

lungho.

dala forciella dellalla.

dalanari

nasimeto.

9.

egomito.
il

largeza dispale.

341.

i.

trezo:

written,
8.

on the margin
. .

largeza.
spalli.
di.

4.

spalla

pie.

5.

magiore grosseza

sciena.

6.

[essimile].

7.

somita

del chapo.
342.
i.
i

largeza [delle] e
2.

br quato.

sumo.

4.

somita

5. spalli.

6.

mezo

infralla.

339.

See

PI.

XVI, No.

2, PI.

the upper sketch.

342.

The lower sketch

XVI, No.

2, is

drawn by the side of

line

I.

182
2 sua
fia

THE THEORY OF THE ART OF PAINTING.

'pie,

L343-

*e

'1

medesimo
de'
6

spatioalia

equally balanced on both feet; and

there
is

da essa somitk
s

fiachi
la

the the

same distance from the

hip
to

givntura

delle

spalle;

cintura
fia

top

of

the

armpit.

The
in

overo

il

di

sopra dc fiachi
7

waist,

or narrower part above

the

hips

will
pits

mezzo
e
'1

infra la

givntura delle spalle

the

arm

be half way between and the bottom of

di sotto delle natiche.

the buttock.

Yen. (121)

343Vitruvius, the architect, says in his work that the measurements of the

Vetruuio architecto mette nella sua-d' architecture che le misure dell'omo sche^Tof opera dalla natura 2 distribute in questo proportions, sono modo cio che 4 diti fa uno palmo e 4
,

on architecture

human body
follows: that

6 palmi fa un cubito uno uomo -64- cubiti fa uno passo e 24 palmi fa uno uomo e queste misure son ne' sua edifiti; *Se tu a P ri t^to le gabe che tu cali da capo '/, 4 di tua alpalmi fa uno pie
-Jcubiti
,

fa

by Nature as 4 fingers make i palm, and 4 palms make i foot, 6 palms make And i cubit; 4 cubits make a man's height. 4 cubits make one pace and 24 palms make a man; and these measures he used in his
are distributed
that
is

tezza e apri e alzi tanto le braccia che colle

lunghe dita tu tochi del capo, sappi che

delle aperte

la
'1

linia della

ssomita

buildings. If you open your legs so much J as to decrease your height /, 4 and spread and raise your arms till your -middle fingers

mebra

cietro delle stremita 6 e lo spatio fia il bellico

le

che

si

truova infra

gabe,

fia

triagolo

touch the level of the top of your head you that the centre of the outspread limbs will be in the navel and the space be-

must know

equilatero.
7

tween the legs

1'

will

be an equilateral

triangle.

Tanto apre

omo

nelle braccia

quato

e la sua altezza.

Dal nascimento de' capegli al fine sotto del mento e il decimo dell' altezza -del uomo; dal di sotto -del mento alia somi 9 ta del capo e 1'octauo del1' altezza dal di sopra del petto dell' omo alia sorhita del capo il fia sexto delI0 1'omo; dal di so pra del petto al nascimeto de' capegli fia la settima parte di tutto 1' omo dalle tette al di sopra del
di
:

capo fia "la quarta parte dell'omo: la maggiore larghezza delle spalle contiene in se la quarta parte dell'omo dal go I2 mito
,

The length of a man's outspread arms equal to his height. From the roots of the hair to the bottom of the chin is the length of a man's height; from the bottom of the chin to the top of his head is one eighth of his height; from the top of the breast to the top of his head From the top of will be one sixth of a man. the breast to the roots of the hair will be From the seventh part of the whole man. the nipples to the top of the head will be the fourth part of a man. The greatest width
is

alia

punta
dell'

della
:

mano
fia

fia

la

quinta
al
'*

parte

omo

da esso gomito
la

ter-

mine
d'esso

della

omo:

spalla tutta la

octaua
fia la

parte

mano

decima

of the shoulders contains in itself the fourth of the man. From the elbow to the fifth part of a tip of the hand will be the man; and from the elbow to the angle of the armpit will be the eighth part of the man. The whole hand will be the tenth part of
part

343.

i.

mecte
!

chelle.
.
.

2.
i

disstribuite

inquessto
4.

fa
.
.

palmo
ella.
. .

fa

pie
.

fa

un chubito.
. .

3.

fa !

homo
5.

he.
.

4.
.

chubidi
bcllicho.
.

fa

passo he
.
.

fa
. .

homo

ecqueste.
. .

Settu
7.

chettti chali
.
.

da chapo
8.

alza

cholle lunge.
.

chapo
9.

6. ello

chcssi

infralle alteza
10.

disocto.
.
.

nele

nasscimento

de chapegli
.

somi.
.

pccto
spalli

somita del chapo.

. .

sectima

tucto pecto
12.

nasscimeto de chapegli
tucta
. .

sectima
14.

chapo.
. .

he chapo n. largcza
socto
.

chonticno

se

[la oct]

la quarta.

isspalla.

ij.

nasscie

mezo.

sectima

socto.

343.

See

PI.

metres wide and 33'/2 Jong.

scale

XVIII. The original leaf is 21 centiAt the ends of the

from Vitruvius
drawing
is

is

Book

III,

Cap.

I,

and Leonardo's

given in

the

editions

below the figure arc written the words diti The passage quoted (fingers) and palmi (palms).

FRA GIOCONDO (Venezia 1511, fol., and by CESARIANO (Como 1521).

of Vitruvius by Firenze 1513, 8vo.)

PL. XVIII.

>'

rH
*\
I

V*

rf'T

-f

* jrjf^ft

tut

"*

fT^ffi

mwv-4>r*r

vww ".

"

Sfe^fe^4T^-^^

w.iJr

ib$i4fe^i^^

^^XF?- e^fi/f^Jf""*?" ^
~~\~

n'j/VI/^-'.

on^Jli---/'J'-*'""v'

wrN'

'c'

*^*!^ "Z

:^^a^RC^^t^|
Jrf
,

M^rr-

f3^SS3KftfeJS> n =3P# is, rt J,-^,^. j^*^-*r-V*^ #i-^-W

i
:

i rj'>j'r i-Air.ftJtit JiiTk

v rfm
,;j^*.
i

"*7l2S. .fir

..
,

RB
Imp. Eudes.

Jtfc.

Heliog'. Dujardin.

344347-]
parte
nel
dell'

THE PROPORTIONS OF THE HUMAN FIGURE.

183

mezzo

parte

il menbro virile nascie omo; il '4 pie fia la settima dell' omo; dal di sotto del pie al
:

omo

the

dell'

the

man; the beginning of the genitals marks middle of the man. The foot is the seventh part of the man. From the sole of
the foot fourth
to below the knee will be the From below the part of the man. to the beginning of the genitals will

di sotto del ginochio fia la quarta parte del? omo; "sdal di sotto del ginochio al

nascimeto del
dell'
16

membro

fia

omo

le

parti che

il meto e '1 naso e '1 pegli e quel de' cigli ciascuno spatio se e simile all'orechio ed e '1 terzo uolto.

quarta parte truovano infra nascimeto de' casi

la

per
del

knee be the fourth part of the man. The distance from the bottom of the chin to the nose and from the roots of the hair to the eyebrows is, in each case the same, and like
the ear, a third of the face.

Ash. I; 12 a]

344e una testa e cosl da c a,

jl
2

Da
recto.

b a

questo accade quado

gomito

fa

angulo

b to a is one head, as well as from The arm and a and this happens when the elbow forms a right angle.

From

to

W.

P.

8rt]

345the tip of the longest finger of the Proportions to the shoulder joint is four hands or, [^ll$. if you will, four faces.

alla givtura della spalla e 4 teste.

*

Dalla puta del piv lugo dito della mano 4 mani 3 O vuoi

From

hand

a b

sono equali e ciascuno

teste.

inter-

a b
heads.

are

equal and each interval

is

vallo

-62-

B.

346.

Tsino doue del braccio etra 4 volte dalla puta del piv 3lungo dito isino alia giv-

La mano
2

si

cogivgnie

col

The hand from

osso

the longest finger to the wrist joint goes 4 times from the tip of the lon-

gest finger to the shoulder

joint.

tura della spalla.

w.

P. 4 a]

347c

a
pie

b
e

sono
spatio
2

equali

lo

mamolino,
P omo

d-e

fia

e son simili al dalla tetta al -la terza parte di tutto

a b
foot

c are

equal to each other and to the

ch'e

the

to the space between the nipple and navel de will be the third part of the
is

and

whole man.

f-g
mile a

e la quarta- parte dell' omo ed e h e simile al cubito.

si-

fg

the fourth part of a

man and

is

equal to

g h and

measures a

cubit.

15. socto
.

chessi.

16.

nasscimeto de chapegli ciasscuno

345.

i.
*

dala
chol<

dela.

2.

dela spala.

4.

ciaschuno.

5. intervalo.

essimile allorecheel.
e
i

34 6

344.

i.

cio.

2.

ecquesto achade.

347-

i.

esson.

3.

ella essimile

ha

essimile al chupido.

344.
345.

See PL XLI, No.

Lines

I.

13

are

given on

PI.

XV

below the

front

view of the leg; lines 4 and

text.

are

below

again, on the left side.

347.
i.

The
I.

lettering refers to the bent

arm near the

See

PI.

XIX, No.

mamolino

(= bambino,

little

child)

may mean

here the navel.

84

THE THEORY OF THE ART OF PAINTING.

[348.

W.

P. 5*)

348.

a b entra 4 volte in a c e 9 in a-m; 1 la maggiore grossezza del braccio intfra '1 H * ed e gomito e la mano entra 6 in a simile a-r-/-; Ma maggiore grossezza del 6 braccio infra la spalla e '1 go mito entra 4 dac-M-ed e simile -h-n-g; ?la minore

grossezza del braccio sopra '1 gomito x-ynon e ra 8 dice quadrata, ma e simile al mezzo dello spatio // 3 9 che si trova infra la givntura del braccio detro I0 e la givntura della

a b goes 4 times into a c and 9 into a m. greatest thickness of the arm between the elbow and the hand goes 6 times into a m and is equal to r f. The greatest thickness of the arm between the shoulder and the elbow goes 4 times into c m, and is equal to h n g. The smallest thickness of the arm above the elbow x y is not the base of a square, but is equal to half the space // 3 which is found between the inner joint

The

mano;
grossezza del braccio sulla mano 12 volte in tutto il braccio, "3 cioe dalla punta de' diti insino I4 alla givntura della spalla, cioe ^3 nella mano e 9 nel
11

of the

arm and

the wrist joint.

La

[n]The
into

width of the wrist goes 12 times

"entra

the

whole

arm;
to

that

is

from .the

tip

of the fingers
is

braccio;

braccio piegato e 4 teste; braccio dalla spalla al gomito l8 nel pieI9 di sua lunghezza cioe la lungarsi crescie
'711
20 dalla spalla -al gomito, eesso ac 2I crescimeto e simile alia gro 22 ssezza del braccio 2 sulla giuntura della ma, 3quado sta in proffilo,

l6

shoulder joint; that 3 times into the hand and 9 into the arm. The arm when bent is 4 heads. The arm from the shoulder to the elbow
the

ghezza

e simile

24

allo spatio ch'e dal di sotto del

meto

al ta 2S glio della bocca, e la grossezza delle 2 * 6 dita della di mezzo, e la gradezza

ma

della bocca, e lo spatio ch'e dalla appicca 28 tura de' capelli alia fronte, e la sofhita
27

del

9capo;

mili infra loro

3 2 I1

Queste cose nominate so 3sima no simili al 3 1 sopra detto

dal gomito alia

bending increases in length, that is in the length from the shoulder to the elbow, and this increase is equal to the thickness of the arm at the wrist when seen in profile. And the space between the bottom of the chin and the parting of the lips, is equal to the thickness .of the 2 middle fingers, and to the width of the mouth and to the space between the roots of the hair on the forehead and the top of the head [29]. All these distances are equal to each other, but they are not equal to the above-mentioned increase in
in

accrescimeto del braccio.

braccio

the arm.

mano mai
givntura

33

crescie per piegare o dirizarsi; 34 II braccio dalla spalla alia

di detro
36

35

quad'e disteso;
il braccio e disteso p n e a n a; E quando si piega 38 di sua lughezza e '1 39 S i m il e fa

The arm between the elbow and wrist never increases by being bent or extended. The arm, from the shoulder to the inner joint when extended.
extended, / n is equal bent n a diminishes x n does the same. /e of its length and p The outer elbow joint increases 1 /7 when bent; and thus by being bent it increases to the length of 2 heads. And on the inner
is
it

Quando
J

simi37le a

to

When the arm a. And when

is

/;
349.
2.

sciema
crescie
J

/6

gomito di 4fori nel piegarsi e questo nel 4'suo piegarsi cre'1 scie e ariva alia lughezza di 2 * 2 teste,
'1

/7>

magiore grore grosseza

in

I.

3. ella.

4.

essimile
.

ha

r.

5.
.

magore
.

grosseza del br infralla

. .

ego.

7.

grosseza

br

sopral gomito
. .

"x
il

y"
14.

non.
ala
.
.

8.

mezo

"h

3".
16.

9. chessi

infral [br di dentro] la

18.
il

del

br.
19.

10. ella.

n. grosseza
.

br

12

br.

coe.

15.

nel br.
22.
.

4 T.

17.

brcio.

nel
25.

cresscie.

lungeza
26.

lungheza.
ella

20.

de dalla

essoa.
ello
.

21.
.
.

cresscimeto essimile.
apicha. 28. chapelli
37. le
.

seza del br sula.

29.

23. essimile.

bocha

ella grosseza.
il

mezo

gran34. II

deza. 27.
br.
36.

bocha
bre
. .

ella somita.

nominate. 31. acresimedo del br. 32.

39. Ell e
|

br.

33. cresscie.

il
.

essimi.
42.

ha

a Ecquondo.

38. lugeza.

"questo".
45.

40. cresscie.

41. piegarsi
46.
*/i

"cres-

scie" e

lugeza.

dentro ne nel.

43. esso br era dal na.

44. chollater.i al.

tesste e

mezo.

e.

47. col-

IO and II 15 348. Compare PI. XVII. Lines I are written in two columns below the Extended arm,

29.

Queste

cose.

This passage seems to have been

written

of the fingers we find the words: fine (TunghU (ends of the nails). Part of the text * s visible lines 221025 by the side of the sketches

and

at

the

tips

The

rectify the foregoing lines. explained by the accompanying sketch of the bones of the arm.

on purpose to
is

error

on

PI.

XXXV,

No.

I.

PL. XIX.

^M

fV

g&

?:**

Heliog..

Dujardin

3480

THE PROPORTIONS OF THE HUMAN FIGURE.

side,

I8 5

dentro nel suo pie^garsi fa che dove esso braccio era dal nas 44 cimento suo collaterale al suo fine 4 s colla mano, 2 teste e mezzo, piegax 46 to sciema quella /a Testa e torna due, 47 vna dalla givtura al suo fi colla8 l'altra infmo alia ma. terale,
-

by bending,

it

is

found that whereas

arm from where it joins the side to the wrist, was 2 heads and a half, in bending it loses the half head and measures only two:
the

one from the [shoulder] joint to the end [by the elbow], and the other to
the hand.

braccio piegato avra 2 teste dal di sopra s della spalla al gomito e 2 da esso gos^ito al nascimeto
de'

49 II

quatro

diti

S2sulla

mano; lo spatio, 53ch'e meto de' 4 diti al gomito, 54mai

alcuna mutatione
56
55

palma da esso

della nascisi

muta per

del braccio!

folded will measure up to the shoulder from the elbow and 2 from the elbow to the insertion of the four fingers on the palm of the hand. The length from the base of the fingers to the elbow never alters in any position of the arm.
2 faces

The arm when

braccio si dirizzera, elli ca3 dello 57 S patio ch'e infra b-n, e se sia diritto e pie s8 gherassi, cresciera la meta
lera
il

Se questo

If the

arm

is

extended

it

decreases by

the length between b and n; and if extended it is bent, it will increase being

V3 of

S9tanto e dalla spalla al gomito, dal pricipio dentro del grosso quanto 6l a b c. dito a esso gomito 62 La minore grossezza del braccio in 6^ dal nodello della proffilo z c entra 6 del gomito disteso 64 e 14 in mano al foppello
di

o c;

the

6o e

tutto
6

sla

filo

il braccio e e 42 in tutto 1' omo suo maggiore grossezza del braccio in profe simile 66 alla maggiore grossezza del
;

half of o c. [5 9] The length from the shoulder to the elbow is the same as from -the base of the thumb, inside, to the elbow a b c. [62] The smallest thickness of the arm in profile z c goes 6 times between the knuckles of the hand and the dimple of the elbow when extended and 14 times in the whole

arm and 42

in

the

whole

man [64],

The

6 braccio in facia; ma 1'una ?e posta nel terzo del braccio dalla givntura alia meta, 68 della nel terzo P altro givntura alia

greatest thickness of the arm in profile is equal to the greatest thickness of the arm in front; but the first is placed at a third of the arm from the shoulder joint to the elbow and the other
at a third

mano.

from the elbow towards the hand.

lare.

49. br
.
.

ara 2

dal.

50. eso.

52. sula.

53.

nassimeto.

54.

alchuna.
6).

56. dirizera e chalera.

.

58. gerassi cressciera.

60.

dento
.

dito neso.
66.
\\\\\\

62. grosseza del br (in proffil

in.

entra

63.

nodel

fopilo.

64. bree.
\\\\\\\

65.

magiore grosseza magiore

in

essimile.

magiore grosseza del br

67.

de br dala.

69. la

minore grosseza del br

70. 2 nella

del br grosse

5961.
62
64.
I.

The

however drawn
VOL.

figure sketched in the to different proportions.

margin

is

MS.
PI.

is

XX

on identically the same as that given below which may therefore be referred to in this
In line 62

The arm sketch on

the

margin of the

place.

we read

therefore z c for

n.

AA

ART OF PAINT1M-. THE THEORY OF THE

349
W.
P. 7*1
.

[349-351-

Tanto e

dalla somita

della spalla

^
?e
.

.?. son
'/.

simili

a una mezza testa

:

^.g
a"d
,

entia4da--*-f<fc-*^ sta e
testa;
*

'/3

t?

'

I0

eitt-^-tfJ

rt^-sciemaV7

f,

u .'fVla'polpa

-''"
350-

del braccio

ed e vna
eS
t
f

',

,U be

/.

of r<.

Br.

Mut. 44"!

delle giunture di Nelle piegature vltime

""
e piv

*J^^*g&^
mistakes
are^

^^^tSTto
the

Their

own

iti che
lati.

dinazi,

--, dmeto

che ne

IISBSi=
*

back than

at the sides.

351
w.
197!

Quando

il

braccio

si

nel piega in agolo

When

the

arm

tt

"
^
. musscoli aposlU

350.

i.

gunture.

2.

s,

,
ui

mvsscou>

3>

asso

349.
351.

See See

PI.

XX

PI.

where the XIX, No. 2.

text is also seen

from lines 5-23-

PL. XX

7
"t
.'

?
/

p
-

''.',
-

-{-'' '
'

i\

-.

AA

'

jp

^,
.-*
-

352354-]

THE PROPORTIONS OF THE HUMAN FIGURE.

the muscles

I8 7

fanno piv brieui, e li muscoli oppositi si faranno di ma^ggior lunghezza che in ordinario come dire nello esenplo d c e s forte diminviranno b n forte s' allarghera.
;
:

outside will become of greater than before. As is shown in the example ; d c e will shrink considerably; and b n will be much extended.

length

Ash.

I; 25 II a]

352-

PlTTURA.
2

OF
dirieto

PAINTING.

II

braccio
spalla a

la

sua

dove si uolta tira mezzo la schiena.

The arm, as it turns, thrusts back its shoulder towards the middle of the back.

C. A. 44^5; 137 6]

353li

10 sono
cioe in
3

moti principal

della

mano,

dentro, in fori, destro e ^sinistro, 6 e circuvolvbile, sin su e in giu, chiudere dilatatione e 7 restrinsione delle sua aprire,
dita.

The principal movements of the hand are 10; that is forwards, backwards, to right and to left, in a circular motion, up or down,
to

close

and

to

open,

and

to

spread the

fingers or to press

them

together.

C. A. 98 6; 308^1

354-

DEL MOTO DELLE

2

DITA DELLE MANI.

OF THE MOTIONS OF THE

The movements of
consist in extending

FINGERS.

Li moti delli diti sono principali cioe Sastendere e piegare: 1'astendere e pie4 gare si uaria in modi, cioe alcuna s volta
si
6 piega tutto d'un pezzo sopra la prima alcuna volta si piega ?o dirizza giuntura, mezzo sopra la 2 a giu 8 tura, e alcuna volta

the fingers principally

piega tutto 9 in se e nel medesimo tempo I0 piega in tut te le sue 3 giunture, e se alle 2 prime "giunture sara proibito il pieI2 allora la 3 a giutura sara piegata gamento, con mag^giore facilita, che ne mai si potra piega I4 re per se sola, essendo libere 1'altre giunture, T 5e essa no si pieghino tutte l6 le 3 giu ture; Oltre alii- predetti moti ce r ne a ?4 altri principali, de' quali 2 sono fra su l8 e giu, e 2 altri tra qua e la, e ciascu di que^sti e fatto colla sua senplice corda; Di 20 questi ne seguita infiniti altri moti fatti se 2I pre co 2 corde; e lasciata vna d'esse corde 22 va ripigliando Paltra; fu fatto le corde 2 3grosse di dentro al dito e le sottili di fori; fu 2 4 fatto le corde di dentro a ogni 2 giutu 5ra e di fori no. 26 Delia potetia che fa le 3 2 7 corde densi

and bending them. This extension and bending vary in manner; that is, sometimes they bend altogether at the first joint; sometimes they bend, or extend, half nd joint; and sometimes they way, at the 2 in their whole length and in all the bend
If the 2 first joints three joints at once. are hindered from bending, then the 3 rd joint can be bent with greater ease than before;

si

other are movements there are 4 other principal motions of which 2 are up and down, the two others from side to side ; and each of these is effected by a single From these there follow an infitendon.
it

can never bend

of

itself,

if

the

joints are free, unless bent. Besides all these

all

three

joints

movements always by two tendons; one tendon ceasing to act, the other takes up the movement. The tendons are made thick inside the fingers and thin outsidej and the tendons inside are attached to every joint but outside they are not.
nite

number of other

effected

tro

alii

diti

nelle

28

3 giuture.
he 6 n
sallargera.

[2 6] Of the strength [and effect] of the 3 tendons inside the fingers at the 3 joints.

4.

gor lungeza
. .

chellin.

5.

35. mezo

sciena.
4. sinisstro.
5.

353' 3- desstro.
354. i. delli.
2.

ciudere.

7.

resstrinsione.
.

coe.

3.

asstendere e pieghare
8.

eppie.
10.

4.

ghare

coe.

5.

piegha

pezo.

6.

guntura
[il].

piegha.
.
.

7.

[mezo]

o diriza
13.
. .

mezo
.

2* gu.

piegha.
14.

9.

piegha
15. 3

in tu.

gore
gutu.

che p"a".
cheffa.

gunture.

gu.

18.

gunture esse. e gu e qua

.

n. gunture
ella.

piegamento
27.

12. alora 23.

elle.

guntura.

19.

effatto.

ellasciato.

24:

chorde

26.

28. guture.

354.

26.

This head line has, in the original, no text to follow.

88

THE THEORY OF THE ART OF PAINTING.

[355-358.

E. ija]

355la uariationc della spalla in tutti

li

Nota
The moveincut of (he lo 6i

mo

ti

del

braccio intra su c giu, in dentro,

infora, ^indirieto, inati, e cosl ne'

moti revcr-

tigHnosi e qualuche
s
'1

altri

moti.

e petto so 6 pra

simile fa del collo, li fianchi ecc.

mani c piedi

Observe the altered position of the shoulder the movements of the arm, going up and down, inwards and outwards, to the back and to the front, and also in circular movements and any others. And to the same with reference to the neck, hands and feet and the breast above the lips &c.
in
all

w.
3

356.

sono

li

cioe

bed,

muscoli principali 2 della spalla e due ^sono li laterali che la

indirieto, cioe
tira
6

movono 4 inazi e move inazi e o la

o\

la

indirieto; e insu 1'alza

bed,
8

insu

e inazi a b c, insu
9

e
il

indi-

rieto c

o; e in giu basta

quasi

peso

di se
10

medesima;
II

Three are the principal muscles of the that is b c d, and two are the lateral muscles which move it forward 2 backward, that is a o; a moves it forward, and o pulls it back; and bed raises it; a be moves it upwards and forwards, and c d o upwards and backwards. Its own weight almost suffices to move it downwards.
shoulder,

d si vnisce col muscolo c, braccio va inanzi, e nel tornare I2 indi rieto il muscolo b s'unisce col muscolo c.
muscolo
il

M qua do

the
scle

The muscle d acts with arm moves forward;

c.

the muscle c

when

and

backward the muscle b

acts

moving with the mu-

in

W.

A.

II;

203*

(24)]

357-

DELLE RENI INARCATE.

2

OF THE
3

LOINS,

WHEN

BENT.

Le reni

inarcate overo schiene

4

senpre
d'

The

loins

or backbone being bent.

The

le

poppe so piu basse che

le

scapule
6

essa

schiena. sNelli

breasts are are always lower than the shoulderblades of the back.
If the breast bone is arched the breasts are higher than the shoulderblades. If the loins are upright the breast will

pe
7

so

le senpre petti inarcati 7 scapule piu alte che le

popdella
le

schiena.

Dalle reni diritte fie sepre Hrovate I0 d'esse scapule. poppe delFaltezza
W.

always be found at the same level as the

shoulderblades.

215)

358tallone nelP alzare

2

a b nervo e
s'

del calaltro e

3 cagnio accostano vn dito 1' uno nello abbassare 4 si separano vn

all'

a b the tendon and ankle in raising the heel approach each other by a finger's breadth; in
lowering
it

dito.

they separate by a finger's breadth.

355. 356.

i.
i.

spclla.

2.

del

br

su eggiu.
2.

3. chosi.
3.

5.

chollo

eppiedi e pecto.
4.

musscoli

principoli.
il

d he
.

due.

chella movano.
12.
3.

innazi

coe.

8.
c.

gu

bassta.

10.

musscolo

vnissce

musscolo.
357.
i.

n.

[p]

brracco

innanzi.
sciene.

musscolo b sunissce col musscolo

4.

inmrchate.
8. delle
2.

2.

innarchate

chel.
10.

spatole

sciena.

5.

elli

pectinarchati.

6.

chelle.

7.

spatolo della

sciena.
358.
i.

rene diricte

fie.
.

9. trovato.
si

desse spatole.

ettallone.

chalchagnio |d

superano] "sachostano".

356.

See

PI.

XXI.

In the original the lettering

358.

has btfen written in ink upon the red halk drawing and the outlines of the figures have in most places

mile

See PL XXII, No. 2. Compare this facsiand text with PI. Ill, No. 2, and p. 152
Also with No. 274 of LUDWIG'S

of MANZI'S edition.

been inked over. 357- See PI. XXII, No.

edition of the Vatican Copy.

I.

Duiardm

359361.]

THE PROPORTIONS OF THE HUMAN FIGURE.

189

A.

a\

359Just so

Tato quato la parte dello nvdo d a diminviscie pel posare tato 1' opposita 2 parte crescie: cioe tato quato la parte d a dimi,

much

nude

nviscie di sua
crescie
alia

misura 1' opposita parte sopra 4 el bellico mai sua misura

;

position so much does the opposite part increase; that is: in proportion as the length of the part
figure

as the part decreases in this

d a

of the

escie di

sua altezza verso

s

il

mebro

virile;

abassameto nascie perche la questo che posa sopra uno pie quel pie si figura 6 del sopra posto peso essedo fa cietro
e
:

cosl

il

mezzo
7

delle spalle
fori

ui

si

dirizza di

sopra

Vsciedo
la

della

sua

linia
i

diculare,

quale

linia

passa per

perpemezzi

8 super fitiali del corpo, e questa linia si uiene a torcere nella sua superiore stre 9 mita sopra il pie che posa e i liniameti traversi

diminishes the normal size so does the opposite upper part increase beyond its [normal] size. The navel does not change its position to the male organ; and this shrinking arises because when a figure stands on one foot, that foot becomes the centre [of gravity] of the superimposed weight. This being so, the middle between the shoulders is thrust above it out of it perpendicular line, and this line, which forms the central line of the external parts of the body, becomes bent
at
its

d a

the
the
side

foot

upper extremity [so as which supports the

lines

to be]

above
.

body;

and

transverse
that

are

costretti

I0 a equali angoli si fanno coi loro stremi piv bassi I quella parte che posa 11 come appare m- a b c.

angles

their
is

ends

forced into such are lower on the

which
c.

supported.

As

is

shown

at

a b

E. 3 a]

360.

PlCTURA.

OF
figure lor setimeti, delle braccia
delle
3

PAINTING.

Nota nelli moti e attitudini come si variano le me 4 bra e li

perche

Note

in

the

motions

and

attitudes

of

le Sscapule nelli moti e spalle ua6 riano assai la schiena, e di quei sto troverai tutte le cause nel 8 libro della

figures how the limbs vary, and their feeling, for 'the shoulderblades in the motions of the

mia notomia.

arms and shoulders vary the [line of the] back bone very much. And you will find all the causes of this in my book of Anatomy.

Ash.

I.

15

361.

DELL' ATTITUDINE.
fotanella della gola cade sopra e gittado uno braccio inati la fotapie nella escie d' esso pie, 3 e se la gaba gitta indirieto la fontanella va inati, e cosl si
il
, , ,

OF [CHANGE
The
pit

OF] ATTITUDE.
is

La

of the throat

over

the

feet,

and by throwing one arm forward the pit of the throat is thrown off that foot. And if the leg is thrown forward the pit of the throat is thrown forward; and so it varies in
every attitude.

mvta

in ogni attitudine.

359.

i.

par dello
.
.

loposita.

2.
.

cresscie
.

cioe [que] tato diminvissie.

5.

3.

loposita

sopra [cresscie
. .

a]
7.

cresscie.

4.
. .

belicho

essae
lare.

alteza [ag] overo

.
.

ecquesto.
la.

nasscie
.

sopra
.

pie.

6.

chosi
10.
5.

spali
. .

diriza.

vssciedo
.

perpedichu-

8.
.

chorpo ecquesta
.

torciere

9.
.

posa

[ele par] ei
4. elli
.

chostretti.
les.

angholi

360.

2.
.\'

neli

attitudine.
6.

3.

fighure chome.
7.
. .

varianno.
. .

perche

spatole nelli

fano [be] coloro . quela. n. apare. On the margin: . delle br .\- ua

. .

esspalli.

lassciena.
2.

stro troverai

chavsene.
3. esse.

361. i. dattitudine.

chade

gittando

braccio.

359.

See

PI.

XXII, No.

3.

190
E. 200]

THE THEORY OF THE ART OF PAINTING.

[362. 363-

PlCTURA.
'Descrivi quali sieno li muscoli e quali Jcorde, che mediante diuersi movimeti di

OF
the

PAINTING.

Indicate which are the muscles,

PIC proper- le
r

tendons,

which

at

"differ'e nt

age
(361-367;.

mebro si scuoprino o si ascondono o no sfaccino ne 1'u ne 1'altro, e ricorcias 4 cun

che que 6 sta tale actione e inportatissima, e necies^sarissima appresso de' pittori e scultori che fa 8 professione di maestri ecc. 9 E '1 simile farai d' un fanciullo dalla sua na'tiuita insino al tenpo della sua decrepitudi"ne per tutti li gradi della sua
dati

in the limb; or which do neither [but are passive]. And remember that these indications of action are of the first importance and necessity in any painter or sculptor who professes to be a master &c. And indicate the same in a child, and

retreat

and which become prominent or different movements of each

from
its

birth

to

eta come infanti e giovetu ecc.

I2

a,

pueritia,

adolescientia

life;

as
in

infancy,

decrepitude at every stage of childhood, boyhood,

youth &c.
mutationi delle

'^E

in tutti discriverai le
J

And
the limbs

mebra

*e giunture

le quali

ingrassano o

and

each express the alterations in joints, which swell and which

dimagrano.

grow
363.

thinner.

E.

O pictore anatomista guarda che la troppa

2

O
too

Anatomical Painter!
indication

beware

lest

the

notitia

delli ossi,

corde e

muscoli no

si 'a

cavsa di farti vn pictore legnioso, col 4 volere che li tua ignivdi mostrino tutti li setime s ti loro, aduque, volendo riparare a 6 vedi in che modo li muscoli nelli questo, vechi o magri ^coprino over vestino le loro 8 a questo nota la regola ossa, e oltre

of the bones, sinews strong and muscles, be the cause of your becoming wooden in your painting by your wish to

make

your nude figures display all their feeling. Therefore, in endeavouring to remedy this, look in what manner the muscles clothe
or cover their bones in old or lean persons; and besides this, observe the rule as to how
these
the

medesimi mus 9 coli rienpino li spati I0 superfitiali che infra loro s'I terpongono; e quali sono li muscoli M di che mai si perde

come

li

la

notitia

in
li

alcu

grado
delli
si

di

quali

so

muscoli

I2 grassez za, e quali per ogni

same muscles fill up the spaces of that extend between them, surface which are the muscles which never lose

perde la notitia delli lof c6 I4 tatti, e molte son le volte che di I5 ne fa vn sol muscolo nello piu muscoli se e molte I6 so le volte che nel ingrassare, dimagrare o invechiare d'un sol ^muscolo se ne fa piu muscoli, e di questo tal l8 discorso se ne dimostrera a suo loco tutte le
'9

mi^nima pinguedine

their prominence in any amount of fatness; and which too are the muscles of which the

attachments
least

are

lost

to

sight

in

the

very

plumpness. And in many cases several muscles look like one single muscle in the increase of fat; and in many cases, in growing lean or old, one single muscle divides
into

several

muscles.

And

in

this

particularita loro, 20 interposti infra le

massime

nelli

spati

giuture di

ciascu

me-

bro ecc.
dcsscrivi

each in its place, all their peculiabe explained and particularly as to the spaces between the joints of each limb &c.
treatise, rities will
sisscuoprino
ossi

369. 2.

mtisscholi equali.
di

3,

chorde.

4.

schun

asschondono.
12.

5.

nelluncllaltro
13. tucti

richordati

checquesta.
14. e

7.

pichtori esschultori cheffa.

9. fanciullo |al] dalla.

n. chome.
chol.
8.

adolesscientia.

disscriverrai.

giunture e quale ingrassa oddimagra.

2.

363.

i.

natomisstn ghuarda chclla.

chorde emusscholi.
. .

3.

eno chausa
. .

4. chelli

ingnivdi raosstrino.
.

5.
.
.

acquessto.
lisspati
.
. .

6.

musscoli

magri chu.
10.

7.

obprino

vesstino

[le

ossej le

oltri.

adi quessto
13. 18.

reghola.
.

9.

choli

infrallorossT.
olle
19.
.

musscholi. terponghono E quali muscholi. 15. muscholo. 17. musscholo ,

.
.

n. alchu.
.

12. ecquali.
.

pinghuedine
disschorso
j .

cho.

14. tacti

molte

musscholi ed
21.

quessto.

dimossterra assuo locho.

22.

partichularita.

20. interpossti infralle

ciassu.

Anchora

mancherai della

di notare is wattttuf.

predecd

363.

DE

ROSSI remarks on this

Roman

edition of

questo luogo solo,

chapter, in the the Trattato, p. 504: "Non in ma in altri ancora osserverh it lettore,

suo rivale Bonarroti, che di anatomia facea tanta pompa." Note, that Leonardo wrote this passage in Rome, probably under the immediate impression of MICHAEL
il

che Lionardo va fungendo g nelli che

fanno

abuso delta

ANGELO'S paintings
RAPHAEL'S Isaiah

in

the

Sistine

Chapel and of

loro dottrina anatomica, e sicuramente con cid

ha in mira

in Sant'

Agostino.

364. 365.]
2I

THE PROPORTIONS OF THE HUMAN FIGURE.

[di notare] della

Ancora no mancherai
22

Again,

do not

fail

[to

observe] the va-

lipredetti muscoli intorno 2 alle givture delli me 3bri di qualuche animale, mediante la diversita de' 24 moti di

varietachefanno

ciascu mebro, perche in alcuno lato d' es 25 se giuture si perde integralmete la notitia d' essi

musco :6 li per causa dell' accrescimeto o macameto della car 2 ?ne, 'lella quale tal
muscoli son composti ecc.

forms of the above mentioned muscles, round and about the joints of the limbs of any animal, as caused by the diversity of the motions of each limb; for on some side of those joints the prominence of these muscles is wholly lost in the increase or diminution of the flesh of which these muscles are composed, &c.
riations in the

Ash.

I.

7 a]

DELLE DIFFERENT! MISURE CH'E DAI PUTTI

2

AGLI OMINI. e
puttinitruovo gra difda 1'una all'a! 4 tra givi

OF THE DIFFERENT MEASUREMENTS OF BOYS AND MEN.

There is a great difference in the length between the joints in men and boys for, in man, from the top of the shoulder [by the neck] to the elbow, and from the elbow to the tip of the thumb and from one shoulder to the other, is in each instance two heads, while in a boy it is but one because Nature constructs in us the mass which is the home of the intellect, before forming that which contains the vital elements.

Tra

li

omini

fereza di lughezze tura , imperoche 1' omo a

spalla al gomito del dito grosso e
6
5

dalla giutura della e dal gomito alia puta da 1'vn omero della spalla

all'altra due teste per pezzo, e '1 putto n'a una perche la natura ci copone 7prima la

gradezza della casa dello

delli spiriti
8

itelletto

che quella

vitali.

W.

240*5]

365-

DE' PICTURA.
2

OF
che
si

PAINTING.

Quali muscoli sono quelli

diui-

Which
in

are the muscles

which subdivide

dono 3nello inuechiare o ne' giouani che 4 Quali son li lochi nelle mebra dimagrano ? vmane doue 5 per nessuna qualita di grassezza mai la carne 6 non cresce ne per nessu grado di magrezza 7 mai la carne non diminuisce? 8 Quel che si ricerca in questa dimanda
fia

old lean? of the

age youth, when becoming Which are the parts of the limbs human frame where no amount of fat
or
in

makes
.

the flesh thicker, nor any degree of leanness ever diminishes it?

The
will

thing

sought
in
all

for

in

this

question

^trouato in tutte
I0

delle delle

ossa,

come

giunture superfitiali spalla, gomito, giunture

le

be found

the

external joints of

delle dita, fianchi, ginochi, caI2 e simili cose, le quali uigli e dita de' pie si diranno ai lochi loro; I3 le maggior grosI4 sono in sezze, che acquistino le mebra, quella parte del muscolo ch'e piu dis^tante

ma "e

joints,

the bones, as the shoulder, elbow, wrists, fingerhips, knees, ancle-bone and toes and
like;
all

the

of which shall be told in

its

place.
is

The
is

any limb
farthest

greatest thickness acquired by at the part of the muscles which

its

from

attachments.

ai

sua fermameti. 16 La carne non cresce mai in quella parte del^li ossi che son vicini alia superfitie de' mebri.

Flesh never increases on those portions of the limb where the bones are near to the
surface.

musscholi.
364.
365.
i. 2.

24.

ciasschu
3.

alchuno.
.
.

25.

giuchere
4.

musscho.
5.

26. accresscimeto
6. 6.

o machameto.
7. 7.
. .

27.
.
.

musscholi chonpossti.
intelleto.
8.

diferenti.

2. elli.
. .

difereza

lugeze.

spala.
5.

dallun.

pezo na
.
.

perche.

gradeza

musscoli
gunture.

chessi

diuidano.

3.

one gouani.
12.

grosseza.
13.

cresscie

magreza.
14. e in

diminuissce.

chessi ricercha.
al.

9.

10.

gunture.

n.

chauichi.

essimile.

maggor

grosseze.

musschulo.

15.

16. cressce.

92
18

THE THEORY OF THE ART OF PAINTING.

In b

[3

66. 367-

da

c e

f mai
le

I'accrescimeto o

diminutio 19 ne
tia;

*La
omo

della carne fa troppa differennatura a posto nel moto y

2I

dell'

tutte que!

parti dinanti,

le quali, percotedo l'oir,o,abbiaa "sentire doglia , e questo si sente ne' fusi

the increase or diAt b r d a c e minution of the flesh never makes any considerable difference. Nature has placed in front of man all those parts which feel most pain under a blow; and these are the shin of the leg, the

nella fronte e naso, a c6 *seruatione dell'omo, 2 5no fussi inperoche se tale dolore preparato in essi mebri, cierto le mol-

del 2 'le

ed e

fatto

ganbe e 2

forehead, and the nose. And this was for the preservation of man, since, if such pain were not felt in these parts, the number of blows to

done

te

a6

percussion! in

tali

mebra
2?

rice-

which they would be exposed must be

the cause of their destruction.

uute sarebbero causa della

tione.
28

lor distrut-

Descriui perche 1'ossi delle brac-

Describe why the bones of the arm and leg are double near the hand and
foot [respectively]. And where the
flesh
is

cia ganbe son doppi in^uerso delle mani e de' piedi; 3Doue la carne cresce o diminuisce nelle piegature * delle menbra.
l

thicker

or

thinner

in

the

bending

of

the

limbs.

E.

366.

PlCTURA.

OF

PAINTING.

u tutto sia proportionata se vno homo e di 4 5 sia figura grossa e corta che il medesimo in se ogni suo mebro, cioe: braccia corte 6 e grosse, mani larghe grosse e corte dita co! 7 le sue giuture nel sopra detto modo, e co*sl il rimanete el medesimo intedo aue^re detto delli vniversi animali e piate I0 cosl nel diminuire per le proportionality "delle

Ogni parte
suo tutto

d'

3al

come

Every part of the whole must be in proThus, if a man is portion to the whole. of a stout short figure he will be the same that is with short and thick in all his parts arms, wide thick hands, with short fingers with their joints of the same character, and so on with the rest. I would have the same thing understood as applying to all animals and plants ; in diminishing, [the various parts] do so in
:

grossezze

come

nello ingrossarle.

due proportion

to the size, as also in enlarging.

Ash.

I.

7/1]

DELLA COUENTIONE DELLE MEBRA.

2

OF THE AGREEMENT OF THE PROPORTION OF

THE
LIMBS.
to

ancora
nel

ti

ricordo
le

che tu abbi grade

3

And

again,

remember

be very careful

auerteza

dare

mebra

alle

figure

che paino, dopo 1'essere cocordati alia gradezza del corpo, *acor similmete all' eta, cioe a giovani mebra co pochi mvscoli e vene s e dilicata superfitie- e rotode, di grato 6 e piene colore, Ali omini sieno nerbose di mvscoli Ai vechi sieno co superficie nervi molto grlze ruvide e venose ?e
,

in giving your figures limbs, that they appear to agree with the size of the

must body

Thus a youth has to the age. limbs that are not very muscular not strongly veined, and the surface is delicate and round, and tender in colour. In man the limbs are sinewy and muscular, while in old men
and likewise
the surface is wrinkled, rugged and the sinews very prominent.

and knotty,

evideti.

17.

chesson.

18.

la

cresscimcto.

19. diferentia. 26. sare

4.

20. possto. 21. parte

27. desstructione.
5.

abbia as.

22.
.
.

ecquesto
losse
.

si

[ue] sente.

23.

ennaso ed

cflatto a cho.

24.

inperochessi.
|

chausa.
.

28. desscriui
6.

br.

30. cresce o diminuissce.

. .

366. 2. tucto.

3.

suottutto
10. chosi.

chome.
e anchora

fighura

chorta.

br corte.

chorte dital chol.

7. le

sugiutiire

e cho. 8. indede.

9. eppiate.

n. grosscze chome
ti

delle.
3.

367.

i.

dela.

2.

"(chomcj"

richnrdo chettu.

ale

lesere gradeza.

4.

acor

aleta

che

a.

5.

retode

cholore.

368. 369-]

THE PROPORTIONS OF THE HUMAN FIGURE.

193

COME
10

I PUTTINI ANO LE GIVNTURE COTRARIE ALLI OMINI NELLE LORO GROSSEZZE.

HOW

YOUNG BOYS HAVE THEIR JOINTS JUST THE REVERSE OF THOSE OF MEN, AS TO SIZE.
Little children

1 putti piccoli

sottili

li

spati,

ano tutte le givture posti fra P una e Pal^tra-,

have

all

the joints slender

sono grossi e questo accade perche la pelle I2 sopra le givture e sola sa z'altra polpa ed e di natura di neruo che cignie e lega
isieme li ossi J 3e la carnosita umerosa si trova fra 1' una e 1' altra givntura ^ inclusa fra la pelle e 1' ossa ma, perche 1' ossa sono
.

and the portions between them are thick; and this happens because nothing but the skin covers the joints without any other flesh and has the character of sinew, connecting
the

bones
is

like

ligature.

And

the

fat

piv grosse nelle givntu'Sre che ifra le giuture la carne nel crescere dell' omo viene a Iascia l6 re quella superfluita che staua fra la pelle e 1'osso: onde la pelle, s'acco^sta piv all' osso e viene a sottigliare le mebra e sopra le giu l8 ture, perche no u'e se no
,
;

neruosa pelle, no puo disec^care, e no diseccado no diminuisce onde per queste ragioni i puttini so 20 no sottili nelle giuture e grossi infra le 2I vede le giunture de' giunture come si diti, braccia e spalle sottili e concaui busi, e Porno 22 per lo cotrario essere grosso I tutte le givture, dita, braccia, gabe e dove 2 3i puttini anno i fori, loro aver di
la cartilaginosa e
,

on between one joint and the next, and between the skin and the bones. But, since the bones are thicker at the joints than between them, as a mass grows up the flesh ceases to have that superbetween the skin and fluity which it had, the bones; whence the skin clings more closely to the bone and the limbs grow more slender. But since there is nothing over the joints but the cartilaginous and
fleshiness laid

rilieuo.

sinewy skin this cannot dry up, and, not drying up, cannot shrink. Thus, and for this reason, children are slender at the joints and fat between the joints; as may be seen in the joints of the fingers, arms, and shoulders, which are slender and dimpled, while in man on the contrary all the joints of the fingers, arms, and legs are thick; and wherever children have hollows men have prominences.

Ash.

I.

6t]

368.
di figurare le

Modo
Pomo,
2

18 operation! deP-

Of

the

ferrnezza-mouimeto, corso, 3 r itto, appoggiato, * a sedere chinato ginochioni giacete, sospeso, 5 Portare esser portato,
splgiere
tirare

actions of man.

manner of representing the 18 Repose, movement, running,

The moveme the human

fi

battere,

essere battuto agfigura con u peso

gravare
in

e levare.

7 [Come debe stare una mano 8 Ricordoti.]

standing, supported, sitting, leaning, kneeling, lying down, suspended. Carrying or being carried, thrusting, pulling, striking, being struck, pressing down and lifting up. [As to how a figure should stand with a weight in its hand [8] Remember].

& ure
~~

375 ''

A. 286]

Quello che siede no

si

se la parte che dal polo

puo leuare in pie, 2 manzi-no pesapolo

indirieto,

part
that

piv

che quella che da esso

sitting man cannot raise himself if that of his body which is front of his axis [centre of gravity] does not weigh more than

which

is

behind that axis

[or

centre]

sanza forza di braccia;

without using his arms.

6.

cho.
.

7.
.

nerbi.

8.
. .

chome.
ellaltra.

9.

grosseze.
. .

10.

picholi
. .

elli

fralluna
.

ellal.
.

u. ecquesto
16. fralla 22. br
. .

achade
ellosso.
23.
!

pele essola.

13. ella
le

omorosa
[e

14. fralla

ellossa

nele.

15.

cresscere
.

lasci.

17. assottigliare

mebra

nelle] esopra.
2.

18.

no po
3.

disc.

20. infralle.
4.
3.

21. esspali sittilli

eleomo.
6.

gabe.
stare
4.

ano.
.
.

368.

i.
i.

operatione.

fermeza chorso.
.
.

Ricto apogiato.
2.

assedere

diaciete.
.

agravare.

7.

figura

imano.
. .

369.

quelo chessiede

leuare [dassede] in.

brazo.

quela che

locho chonviene magiore.

chioe.

6.

alchuno

368.

8.
i.

The

original text ends here.

369.

See

PI.

XXII, No.

4.

VOL.

BB

194
J

THE THEORY OF THE ART OF PAINTING.

[370372.

loco conQuello die mota I qualunque viene che dia di se maggiore peso * dinati
al

pie piv alto

che

dirieto,

cioe
s

dinati al

polo
1'

che dirieto a
dara di
quella

esso
.

polo,

a duque-

se sepre maggiore peso 6 parte dove disidera moversi che in alcuno altro loco 7 Quello che piv corre piv pende luerso il loco doue corre e da di se maggiore 8 peso dinanzi al polo suo che dopo; quello che corre alia china fa ^il suo polo sulle calcagnia, e quello che corre all' erta lo fa I0 de' piedi -, e quello che corre sulle pute alia pianvra lo fa prima ai calcagni e poi "nelle punte de' piedi; I2 Questo no portera il suo peso, se no ristora colla persona tirata Idirieto ^il peso

omo

inverse

who is mounting any slope finds he must involuntarily throw the most weight forward, on the higher foot, rather than behind that is in front of the axis and not behind it Hence a man will always, involuntarily, throw the greater weight towards the point whither he desires to move than in
that

A man

any other direction.

din.
si

xi

modo che
mezzo

sepre

il

pie che posa

troui in

del peso.

The faster a man runs, the more he leans forward towards the point he runs to and throws more weight in front of his axis than behind. A man who runs down hill throws the axis onto his heels, and one who runs up hill throws it into the points of his feet; and a man running on level ground throws it first on his heels and then on the points of his feet. This man cannot carry his own weight unless, by drawing his body back he balances the weight in front, in such a way as that the foot on which he stands is the centre of gravity.

W. An.

Ill, 67*5)

370.

Come

fa

1'omo
3

levarsi

in
**

How

man

proceeds to raise him-

piedi stado a sedere

in terra piana.

self to his feet,

when he

is sitting

on

level ground.

F. 8 3

L'omo che camina e piv veloce col ca 2 po che co' piedi. ^L'uomo che caminado attraveHsa tutto vji sito piano, va s prima alia china e poi altre6 tanto all' erta.

A man
A man

when walking has

feet.

his

head

in

advance of his

when walking across a long

level

plain first leans [rather] backwards as much forwards.

and then

S.

K. M.

II.* 14 a]

372.
2

alle

L' omo nel correre da di se mi nor peso similgambe che a sta're fermoj

A man
on
in
his

mete *il cavallo che corre sente minor Speso delFomo ch'esso porta, 6 6de molti si fanno
maraviglia

the

when running throws than when standing same way a horse which
legs

less
still.

weight

And

is

running
carries.

feels less the

weight of the
think

man he
it

?che nel corso del cavallo esso

Hence many persons

wonderful that, in running, the horse can rest on one single

locho.

7.

quelo che

chore

locho
. .

chore magiore.
.
.

8.

ecquello che chore.

370.
i.

10.

ecquello

chore

chal chagni.

n.

peso [dopo] dinanzi quelo che chore. 9. chal chagnia imezo. nell. 12. chola persono. 13. imodo
.
. . .

allevarsi.
sit]

2.

assedere.
5.

371. 4. sa [vn
373. 2. assta.

tutto.

cina.

4.

chorre.

8. regiere.

n. piv he veloce.

3?i-

36. He
like a

strides

forward with the

hill.

air of a

man going down

hill;

when weary, on

the contrary

he walks

man going up

PI.

xxi;

wr - f

P" -rr

WJ%

*r V

'
.

.Heiiog-, Dujardi

"

**-

-*

rl r *

Imp Eu.de
,

a.

373
8

37S-]

THE MOVEMENTS OF THE HUMAN FIGURE.

foot.

195
stated that

si

si

dira,

possa reggere sopra vn sol 9 piede, ode che '1 pe I0 so in moto traversale,

From

this

it

may be

when

quarto piv e veloce, tato

pendiculare verso
il

me

I2 pe sa per-

cietro.

a weight is in progressive motion the more rapid it is the less is the perpendicular weight towards the centre.

M.

373-

nel pigliare il suo salto braccia, qua,3do lui nello spiccare del salto sfu 4 gisse indir rieto /3 di braccio che mancheSrebbe esso 6 poi del primo suo salto, e cosl se lui fussi
2

Se vno omo,

sopra loco

stabile, salta 3

aumetato
egli del
8

? braccio /3 di quantoaccrescierebbe detto salto?

If a man, in taking a jump from firm ground, can leap 3 braccia, and when he was taking his leap it were to recede J /3 f a braccio, that would be taken off his former x leap; and so if it were thrust forward /3 of a braccio, by how much would his leap be

increased ?

C. A. ijBa; 5360:]

374-

PlCTURA.
2

OF DRAWING.
vol consumare
$si

Quado 1'omo
lo

correte

When
tralise the

man who

is

1'inpeto che

transporta,

prepara

impetus that carries

running wants to neuhim on he pre-

inpetuosita contraria, la qual si gienera col

pedere Pdirieto provasi, perche se 1' impeto trasporta il mobile co potentia sdi 4 e '1
;

mobile vol tornare e cadere indirieto co potetia di 4,

1'altra

allo 6 ra

Puna potentia consuma

si

pares a contrary impetus which is generated by hanging backwards. This can be proved, a moving since, if the impetus carries body with a momentum equal to 4 and the moving body wants to turn and fall back with a momentum of 4, then one momentum neutralises the other contrary one, and the
his

a se cotraria e 1'ipeto

cosuma.

impetus

is

neutralised.

W. An.

II.

203 a]

375-

2 Quando Porno vol fermare il suo corso e consumare Pinpeto, nece 3 ssita lo fa pedere indirieto e fare 4 piccoli e presti passi; ssenpre il centre del peso dell'omo, che leua 6 Pun de' piedi da terra, resta sopra del centro 7della pianta del suo piede. 8 L' uomo che monta sopra le scale 9 da I0 al piu di se tanto peso inanzi e da costa alto piede, che da contrapeso "alia ganba I2 piu bassa, onde la fa tica d'essa ganba ^ in mouere se medesima. bassa sol s' astede

When a man wants to stop running and check the impetus he is forced to hang back walking and take short quick steps. [5] The centre ofand down f r, up of gravity of a man who lifts one of his feet (375-379). from the ground always rests on the centre
..

<!*.

mo

cosa che fa Pomo nel suo a gradi, esso scarica la gamba che 16 lui vole alzare della grauita del busto che l8 *? sopra essa ganba si posaua, e ol tre a
14

La prima

stare

of the sole of the foot [he stands on]. A man, in going up stairs involuntarily throws so much weight forward and on the side of the upper foot as to be a counterlabour of poise to the lower leg, so that the this lower leg is limited to moving itself. The first thing a man does in mounting to lift steps is to relieve the leg he is about of the weight of the body which was resting on that leg; and besides this, he gives to

373. 2. locho

3 br qua.
. .

3. 3.
5.

spichare.
se pr para.

4. gissi

di br che.
5.

5.

del pr suo.
6.
8.

6.
.
.

chosi sellui.
ellipeto.
10.

7.

br quanto

acressciere be.

374. 2. chorrete

chello.

4. sellinpeto. 6.

chadere.
7.

asse

375. 3.

effere.

4.

pichole.

chelleua.
17.

piedi

ti

terra.
.

piedi.
18.

lesscale.
.

piedi.

12.

ticha

sasstede.

14. 24.

chosa.

15. scharicha.

16. bussto.

posaua [onde taiga]

ol.

adiquesto

charicha.

22. piedi.

23.

appogga.

cossca

375. See PL XXIII, No. the left belongs to the four

I.

The lower sketch

Lines 5

to

refer to the two upper figures,

and the lower figure

to

first lines.

31

the right

is

explained by the last part of the chapter.

196
questo carica
1'

THE THEO Y OF THE ART OF PAINTING.

il

[376-378.

opposite ganba di ''tutto rcsto della quantitk dell'omo insieme co "I'altra ganba, dipoi alza la gamba e pone 21 di quel grado, ove esso si il pie di sopra uole leua"re: fatto questo esso rende al ^1'altro peso del busto e piede alto tutto 24 la mano sopra della ganba, e appoggia 2 la testa ina 5zi e fa il la coscia e caccia 26 sumouimeto inuerso la punta del piede il con prestezza calcagno periore, alzando del pie 27 de inferiore, e con quello inpeto si 28 medesimo tenpo distende leua in alto e nel 2 ilbraccio, ch'egli appoggiaua sopra ^il ginochio, il qual distendimeto di braccio spigne e la testa in alto e cosl dirizza il bus3to
la schiena incur^'uata;
il grado, che per 1'omo si sara di maggiore altezza ta3<to la sua testa sara piu psnanzi che '1 piede suo su-

the

opposite leg all the rest of the bulk of the whole man, including [the weight of] the other leg; he then raises the other leg and the foot upon the step to which he sets

wishes to raise himself.

Having done

this

he restores to the upper foot all the weight of the body and of the leg itself, and places his hand on his thigh and throws his head forward and repeats the movement towards the point of the upper foot, quickly lifting the heel of the lower one; and with this impetus he lifts himself up and at the same time extends the arm which rested on his knee;
extension of the arm carries up the and the head, and so straightens the body spine which was curved. [3 2] The higher the step is which a man has to mount, the farther forward will he place his head in advance of his upper foot, so as to weigh more on a than on b; this man As is shown by will not be on the step m.

and

this

32

Quanto
*6

33

sale,

per periore; 39 quest' o*"mo

'Smostra

pesare
6

37pj u
-

a
nel

3che
43

b\

non 4'sara
la
Ii47

grado

n ia

the line

g f.

s.

K. M. n. 1 *><)
2

376.
I ask the weight [pressure] of this man every degree of motion on these steps, what weight he gives to b and to c. [8] Observe the perpendicular line below the centre of gravity of the man.

Dimado questo 3 peso dell' omo in o 4 gni 6 5 che grado di moto sopra questa scala,
peso esso da
8
7

at

a b e a
">

c.

il

perpendiculare I2 dell'uomo. cietro "della gravita

Guarda

la linia

I0

sotto

H.* tja]

377-

Quado moti la scala, se poggi le ma sopra le ginochia, tutta la fatica che 3acquistano le braccia si toglie ali ner^vi di sotto
2

le ginochia.

In going up stairs if you place your hands on your knees all the labour taken by the arms is removed from the sinews at the back of the knees.

L. 27 6}

378.

li
2

nerbo che dirizza

la

gamba,

il

quale e

congiunto colla padella del ginochio, se^te

piu
fatica

which
the
is

tanto
*

leuare

1'omo

in
il

alto

sinew which guides the leg, and connected with the patella of the knee, feels it a greater labour to carry
is

The

man upwards,

in

proportion as the leg

quanto essa

gamba

e piv piegata, e

mus-

more bent; and

the

muscle

which acts

echacca.
lassciena. 376. 377.
378.

25.

effa

piedi.

26.
.

chon presteza.
.

27. di.

28.

il

br

chelli

apogaua.
42. inel.

29. di

br spigne.

30. ella

diriza

32. Ivmosi.
7.
i.

33. salgle
c.

magore

alteza.

35. piedi.

41. sarra.

17
i

R.

ha 6 he a

8.

ghuarda
2.

6 R.
chi.
2.

lasschala se pogi.

iliuo. 9. perpedichulare. faticha. sopra e ginochia

. .

3.

aquisstano.
4.

i.

congunto chol [ginoc]

la.

3.

faticha allcuare

altoq.

elmuss.

5.

diriza

chefla la cosscia.

6.

conguntione

376. See PL XXIII, No. the original, written in ink.

2.

Lines

812

are, in

377.

379.

See PL XXIII, No. See PI. XXIII, No.

3.

4.

L^:,M

WA

.::-:

Hpliog- Diijardin.

Imp.

37938I-]
Scolo
il

THE MOVEMENTS OF THE HUMAN FIGURE.

upon
where
ficulty

197

quale dirizza Pangolo che fa

6

the
it

angle

made by
less

the

thigh
diflift,

la coscia

nella congiuntione ch'ella

joins the

body has less

weight
the
itself.

fa col busto,

me

difficile

e a a
li

le8

and has a
it

to

uare
il

maco

peso,

perche-

ma

ca

because
weight besides

has
the
it

not

[additional]

peso della coscia e oltre a questo a misglori muscoli perche son quelli che fano le na I0 tiche.

of
this

thigh

And

has stronger muscles,

being those which form the buttock.

W.

379-

Quel che disciede fa i passi piccoli, perche peso resta sopra il piede dirie^to E quel che sale fa li pas^si gradi, perche il suo peso sta sopra sil pie dinanzi.
2

A man
because

coming down

hill

takes

little

steps,

il

the

weight rests

upon

the

hinder

foot, while a man mounting takes wide steps, because his weight rests on the foremost foot.

E. 15*]

380.

DEL MOTO UMANO.

2

OF THE HUMAN BODY

d' al-

IN ACTION.

Quado
fatti

tu vuoi fare

1'

omo motore
li

cuno peso, considera che

per diuerse
linie,

essere
in alto

moti sono 2 da doe o di s basso

con senplice moto, come 6 fa quel che chinandosi piglia il peso che ?dirizzandosi vole alzare; O quado 8 si uole schiacciare alcuna cosa diri^eto overo sospigniere inati o voi I0 tirare inbasso con corda che passa per car^rucole, Qui si ricorda che 12 '1 il peso del !' omo tira tanto quato
tro

When you want to represent a man asOn the human body in ,v i, j moving some weight consider what the move- action ments are thatare to be represented by different (3 8 3 8 8). lines; that is to say either from below upwards, with a simple movement, as a man does who stoops forward to take up a weight
-i

cientro della ^gravita sua e fori del ciedel suo soste ^ tacolo le J Sa questo s'a l6 giugne la for^za che l8 fa le gan'9 be e la schie 20 na piega 2I ta nel suo
22

lift as he straightens himself. does who wants to squash something backwards, or to force it forwards or to pull it downwards with ropes passed through pullies[io]. And here remember that the weight of a man pulls in proportion as his centre of gravity is distant from his fulcrum, and

which he

will

Or

as a

man

dirizzarsi.U

added the force given by and bent back as he raises himself.

to this is

his legs

Mz.

I3

(17)]

a ma 2 ggior sorha T[L'uomo 3 nelle di forza ganbe che no 4 si richiede al suo e che cio 5 si e vero posa in piedi peso I'o 6 mo sopra la litta e poi metti ?vn altro homo adosso, e ve 8 drai quanto piu si proI0 e fonda; 9 Di poi li lieua 1'omo da dosso

ancor

lui

Again, a man has even a greater store of strength in his legs than he needs for his own weight; and to see if this is true, make a man stand on the shore-sand and then put another man on his back, and you will see how much he will sink in. Then
take
the

fallo saltare

in alto a dirit TI tura quato esso e troue I2 rai la stapa del suo pie^de puo essersi piu profondata nel ^salto che col1'omo adosso; adipsque qui per 2 modi e l6 aver piu forza il doppio prouato 1'omo che non si richiede a sostenere se mede-

man from

off his

back and make

him jump you will

straight up as high as he can, and find that the print of his feet will

simo.lf

be made deeper by the jump than from having the man on his back. Hence, here, by 2 methods it is proved that a man has double the strength he requires to support his own body.
musscoli
quelle chefiano.
5,
7.

bussto.

7.

dificile.
.
.

8.

cha

cosscia
. .

adiquesto.
3.

9.

379. 380.

i.

chedissciede
de.
3.

piccoli.

2. ressta
5.
.

piedi.
. .

Ecquel chessaglie
6.
.

fallipa.
.

dinanza.

i. 9.

alchuno, chonsidera.
10.

baso

senplici.

facquel
.

ched.

Ocquado.
17.

8.

isstracinare
18.

alchuna chosa.
19.

sosspigniere.

chorda

per cha.

n. ruchola

richorda.

14. tacholo.

chef.

faleghan.

be

esscie.

20.

piegha.

22. dirizarsi.

380.

10.

Compare

the sketch on page 198 and on 201

(S.

K. M.

II. 1

86<*).

198

THE THEORY OF THE ART OF PAINTING.

382.

[382385.

C. A. j|io; io5<t|

D
*Se tu ai a o che leui Jo
al
tiri

PICTURA.

OF
che moui

PAINTING.

figurare vno homo o porti vno peso simile

suo,

in

che

modo

*li

debi accociare le

If you have to draw a man who is in motion, or lifting or pulling, or carrying a weight equal to his own, in what way must

ganbe
A. 30*]

sotto alia sua persona?

you
383-

set

on

his legs

below

his

body?

DELLA FORZA
,

DELL'OMO.

OF THE STRENGTH OF MAN.

pulling a [dead] weight balanced himself cannot pull more than his own weight. And if he has to raise it he will [be able to] raise as much more than
against
his

'L'orno tirando vno peso in bilancia co se no pu6 tirare se no tanto quato pesa lui, 3e s'egli a a leuare egli leuera tato piv che no pesa quato lui avaza la comvne forza 4 delli altri omini
,
|

A man

weight as his strength

may

lamaggior forza chepossa

1'omo-con pan prestezza e movimeto si e quado lui fermera i piedi sopra 1' una delle teste delle bilacie e po6 tera le spalle in qualche cosa
fare
s

be more than that of other men. The greatest force a man can
apply, with equal velocity and impetus, will be when he sets his feet on one end of the balance [or lever] and then presses his shoulders against some stable body. This will raise a weight at the other end of the balance [lever], equal

stabile:

questo
testa

leuera
della

dal-

1'oposita 7 tato peso

bilacia

quato-

lui

quato lui pesa e tato peso -a forza porta in sulle spalle.

own weight and [added to that] as much weight as he can carry on his shoulders.
to his

s.

K. M.

m.

58

<5]

3842

Nessuno
vere piv
troSva
culo.
fori

animale puo se^plicemete mo4

No
its

peso
del

che

sia

la

sorha

che

si

weight]

cietro

del

suo

sostenta-

animal can simply move [by its dead a greater weight than the sum of own weight outside the centre of his

fulcrum.

s.

K. M.

7]

Quello che uol trarre assai da 2 lunga colParco debbe tirarsi tutto insu u pie, leuado 1' altro tato lontano da ^quello-che facci debito cotrapeso alia persona che si gitta
fori del primo pie, e non tega-disteso Iteramete il braccio, s e accio che possa meglio sostenere la fa4

A man who wants

to

send an arrow

very far from the bow must be standing entirely on one foot and raising the other so far from the foot he stands on as to afford the requisite counterpoise to his body which is thrown on the front foot. And he must not hold
his

arm

fully extended,

and
to

in order

tica,
381. 2.

tega all'arco v legnio che

gor soma
di

a
ganbe ne n5.

that
4. cio is

he may be more able

wanting.
6.

bear the
10. effalo.

forza [che no
13. di essersi.
.

si).

3.

[richiede] nelle

sopralabita e pometti.

12. rai esse la.

16. riciede
.
.

assosstenere.
4.

3*a. 383. 384. 385.

2. 2.

affigurare

chellcui.
3.

3.

ottiri
.

enche.
. .

achociare.
4.

chose nopo.
po.
4.
.

essellialle -arc

U
2.

chomvne.

magior

chompari presteza.
chessi.

6.

lesspalli

chosa.

7. ettanto.

3.
i.

chessia la
.

soma

chessi truo.

6. sosttentachulo.

uuol

dallunga chollarcho.

insuru.

3.

quuello

cheffacci

4.

desteso.

5.

meglio sostenere

la

archo.

382. In the
383finishes
rish,
7-

MS.

The
the

this question remains unanswered. stroke at the end of this line

in

original

in

a sort of loop or

flou-

M. RAVAISSON regards these as numbers (compare the photograph of page 30 in his edition of MS. A). He remarks: "Ce chi/re % et, a la fin de V alinea
prfcedent,
renvois."
le

and a similar flourish occurs at the end of the previous passage written on the same page.

chiffre

sont,

dans

le

manuscrif,

des

0)4

PL.

XX IV

:a HW I
:i
5
**

H >H
*^
^5
.

^ ?
^

4~

Ri'-Zl rfei.T*

* 44*' ^i

4t ll

^*tl
'".?

i^HlU^i 1^4^
T"j
st

vfv-imv-*
1

i.*
'

x--~^/
^V''

f(Jf-iJV^f v-l

v H -vjj
;

\.^!L \
L.

>

.--

.QC'^y^C^.,'

%m
-

"TT^tl ___^^^,

""^.r???'
i *~? S k^-

^5^Sl

^Si^' S ^CF^
^

*-^ItIv

aJiff > -H^i-7

TL

386388.]
vso
pa,
di

THE MOVEMENTS OF THE HUMAN FIGURE.

vada dalla mano
?vuol
8

199

tenieri

alia

quado
Inati

lassare,
il

subito

popa v
del-

tepo
11
T

salti

e disteda
I0
I2

braccio

9l'arco e lassi la corda,

fara

e se co destrezza
fara
as-

he must hold a piece of wood which in all crossbows, extending from the hand to the breast, and when he wishes to shoot he suddenly leaps forward at the same
strain

there

is

instant

and extends

his

arm with
if

ogni

cosa

in

un tepo,

releases the string.

And
it

3sai via.

every thing at once

will

the bow and he dexterously does go a very long way.

Leic. 8 a]

386.
2

oniini sono in nelli stremi pancone posto in bilancia insieme coll' equal peso delli omini, e che 1'u di lo^ro voglia spiccare vn salto in alto

Quando due

oppositi d'vn

allora

esso salto
di

stremo

pancone

mai

in alto,

F opposite

ma omo

sara fatto in giu dal suo 4 e I'omo non si leuera restera nel suo sito insino che
li

ribatte

il

paco

ne'

When two men are at the opposite ends of a plank that is balanced, and if they are of equal weight, and if one of them wants to make a leap into the air, then his leap will be made down from his end of the plank and the man will never go up again but must remain in his place till the man at the other end dashes up the board.

W.

387.

Dello scaricare
nistra.

il

colpo

a destra o

si-

Of
left.

delivering

blow

to

the

right

or

C. A. 344 6; io66rt]

388.

Perche 1' inpeto no si puo inmediate con2 endo per qualunche linia; sumare ma 1' inpeto adunque acquistato per la linia 3# b c d si consuma per la linia d e, ma non e in tato che no ui res 4 ti parte della sua
si\\\\\\\\\\

Why

an impetus

is

not spent at once [but

diminishes] gradually in

some one

direction?

The impetus acquired

spent in the line but that some of
to this force is

in the line

a b

is

d
its

but not so completely force remains in it and

in the

potetia, alia qual potetia, aggiunto il moto s della linia d e colla forza del suo motore,

added the momentum

e necessario,
alia
il

si moltiplichi 1' inpeto e piu che non avrebbe fa?tto percussione senplice inpeto nato dal moto d e. 8 L' uomo che a a dare gra percussione

che

dispone con tutta la sua I0 dov'e potentia in contraria parte a quella il loco che da lui debbe essere percosso -, e perche la cosa "che piv si move si fa I2 piu potete sopra della cosa che tal mo to
colla sua
9 si

arme

with the force of the motive power, and it must follow than the impetus multiplied by the blow is greater that the simple impetus produced by the momentum d e. man who has to deal a great blow [8] with his weapon .prepares himself with all his force on the opposite side to that where the spot is which he is to hit; and this is beline

de

cause a body as
motion.

it

gains in velocity gains

in force against the object

which impedes

its

impedisce.

6.

pop"a" eghuado.
.

7.

vuo.

8.

praccio.
3.

10. esse
.
.

cho destreza.
4.

n.
.

fara oni.
.

12.

nun.

386. 2. inelli

opositi

chellundilor.

spichare

allorara.

ellomo

chello.

387. 2. ossinistra.

388.

i.

linpeto

[no]
.

no

sipo.

2.

acquisstato.
9.

4.

sti
.

parte
.

agunto.
10.

8.

che a

perchussione cholla.

disspone

acquella.

6. perchussione locho che dallui

arebbe.

7.
. .

senplice

[moto]

inpeto.
chettal.

perchosso

perchella.

n.

12. inpedissce.

386.

PI. XXIV, No. 3. 387. Four sketches on PI. XXIV, No.

See

388.
i

i.

belong

end of
stands,

line in

The paper has been damaged at the I. The sketch No. 2 on PI. XXIV
^

to this passage. The rest of the sketches and notes on that page are of a miscellaneous nature.

Compare

the original, between lines also the sketches on PL LIV.

and

8.

200

THE THEORY OF THE ART OF PAINTING.

[389. 390.

w.

IV|

389.
il

Nota
on
f

moto
3

del liuello

dell'

acqua,
s

il

h*ir

ng
*in c uris*

quale moti, de' quali 1'uno attede

uello,
1'altro
7

fa

a vso

de' capelli, che

al
6

anno due
pe so del
volte;

al

Iinia

mento

delle

sue volte revertigino 8 se, acqua delle quali vna parte attende 'al inpeto I0 "del corso principale, l'al tro attede al moto
cosl
1'

Observe the motion of water which resembles that two motions, of which one flow of the surface, the lines of the eddies; thus

the surface of the

le

eddying whirlpools one due to the impetus of the principal current and the other to the incidental motion and
return flow.

of hair, and has goes on with the other forms the the water forms part of which are

incidete e reflesso.

Ash.

I.

29*)

39'
DE' PANNI.

DELLE NATURE DELLE PIEGHE

2
'

OF THE NATURE OF THE FOLDS

IN

DRAPERY.

1 Quella parte della piega che si trova iv lontana-dai sua costretti 3 S tremi-si P riduciera piu in sua prima natura;! *Naturalmete ogni cosa desidera matenersi in suo essere; S I1 panno perche e di equale densita e spessitudine, s) nel suo 6 disidera rouescio come nel suo diritto
,

That part of a fold which is farthest from the ends where it is confined will fall most
nearly in
rest.
its

natural form.
to remain at being of equal density and

Every thing by nature tends

Drapery,
its

thickness on

wrong

side

and on

its right,

onde ?quando lui e da piega o falda costretto a lasciare 8 essa planitia osserua la natura della forza in quella parte ?di se dov'elli e piv e quella parte ch' e piv lontana costretto 10 a essi costrignimeti troverai riducersi 1 sua natura cioe dello piv alia prima stare disteso e apio.
di

stare -piano:

qualche

has a tendency to lie flat; therefore when you give it a fold or plait forcing it to out of its flatness note well the result of the constraint in the part where it is most confined ;

and the part which is farthest from straint you will see relapses most
natural
flowing.
state;

this

con-

into the
free

that

is

to

say

lies

and

ESEPLO.
Sia a b c la piega del panno detto a c sia il lo^co doue esso sopra panno piegato e costretto -io ti pro'Sposi, che Quella parte del pano che era piv lontana ai costretti stremi l6 si ridurebbe piv in nella sua prima natura. x ?Adunque b trouadosi piv lontano
'3
'

EXAMPLE.
Let a b c be the fold of the drapery spoken of above, a c will be the places where this folded drapery is held fast. I maintain that the part of the drapery which is farthest from the plaited ends will revert most to its natural form. Therefore, b being farthest from a and c in the fold a b c it will be wider there
than anywhere else.

di

da a
che

c
in

I7 a li la b c fia piv piega nessun altro suo loco.

larga

389.

i.
i.

delicllo.

2.

acq"a".
.
.

3.

chapclli.
4.

6.

lacq"a".
. .

7.
.

alle

reveruertigino.
5.

io. refresso.
6.

390.

piege.

2.

chessi

chostretti.
.

chosa
io.

suo

sessere.

esspessitudine.
aplio.
13.

riuerscio
14.

chome.

7.

offalda
15.

cosstretto
chostretti.

allasciare.
16. inella.

9.
18.

chostretto

ecquella.

chosstrignimeti.

n.

a b

sia.

cho chostretto.

locho.

389.

Sec
is

PI.

XXV. Where

also the text of this

passage
390.

given in facsimile. See PL XXVIII, No.

drawing from Windsor PI. XXX for farther tion of what is here stated.
13.

illustra-

6,

and compare the

a c

sia.

instead of c

an evident

In the original text b slip of the pen.

is

written

^
'
i

?**&

^^ ^Uj
' .

Imp Rude s.
,

391- 392-]

ON DRAPERIES.

2OI

Ash.

I.

17 6]

391.
NE' PANI.

DELLE POCHE PIEGHE

2

OF SMALL FOLDS

IN DRAPERIES.

Come
'1

le figure,

tello,
3

no debono tato
matello paia
I
'1

essedo vestite di mamostrare lo nvdo

sulle
*

carni, se gia matello fusse sulle carni, Iperoche tu debi pensare che tra '1 mante s llo e le carni sono altre vesti che Ipediscono lo scoprire e '1 pare 6 re la forma delle mebra sopra il matello; e quelle mebra che fai ? discoprire fa le in modo grosse che li apparisca sotto il matello altre

che

tu

no volessi che

How figures dressed in a cloak should not show the shape so much as that the cloak looks as if it were next the flesh; since you surely cannot wish the cloak to be next the flesh, for you must suppose that between the flesh and the cloak there are other garments which prevent the forms of the limbs
appearing distinctly through the cloak. And those limbs which you allow to be seen you must make thicker so that the other garments
only give something of the true thickness of the limbs to a nymph [9] or an angel, which are represented in
thin draperies, pressed and clinging to the limbs of the figures by the action of the wind.

?vestimeta, ma solo farai scoprire la quasi uera grossezza delle mebra 9auna-nifa o uno agielo, i quali si figurano vestiti di sotsospiti e ipressi dal soffiare de' ueti sopra le mebra di dette figure.

may appear to be under the cloak. But

tili

vestimeti

I0

Ash.

I.

i8a]

392.

a uno pano non si deve dare cofusione di molte pieghe, anzi ne fa so2 lamete doue colle mani o colle braccia sono ritenvte, ilresto sia
3

Come

You ought not to give to drapery a great confusion of many folds, but rather only introduce them where they are held by the hands or
the arms ; the rest you
let fall

lasciato

may

cadere seplicemete doue lo tira sua natura, e no

sia Itra4 versato lo ignvdo da troppi liniameti o ropi-

simply where it is its nature to flow; and do not let the nude forms be broken by too many details

metifdi pieghe; s Come i pani

uorai fare
le
6

and interrupted folds.

:

si

debo

ritrare di naturale, croe se

should be drawn from nature that

is

How draperies

pano lano usa

to say if

youwant

to re-

pieghe secodo quello,

e se sara seta o pano fino

vilani o di lino o di ue 7 lo, va diuersificado - a ciascuno le sue pieghe,

o da

present woollen cloth draw the folds from that; and if it is to be silk, or fine cloth or coarse, or of linen or of
crape, vary the
folds in

e no molti

come 8 fano sopra mofare

abito
di

delli coperti

carte

o
Iganneresti forte.
. .

corami

sottili
sule
8.

che
.

t'

each and do not represent dresses, as many do, from models covered with paper or thin leather which will deceive you greatly.
charni
.

391. 4. fussi

Iperochettu
. .

chettra.
9.

5.
i

elle

Ipedischano lo scorire.

6.

cheffai.

7.

fa

lie

imodo

chellia-

parisca.
392. i. a
. .

massolo

grosseza.
. .

agielo.
.
.

i piege. 2. cholle pano non si de dare pano fine. pano lano. 6. pege sechodo
.

o cholle.

3.

chadere
a

e no sua Itra.
.

4.
.

lo

nvdo

tropi.
8.

5.
.

coi pani
.

7.

diuersifichado

ciaschuno

piege

come mol.

fano

modeli

chettlganeresti.

(W.

pen and ink drawing from Windsor on PI. XXIII, No. 7, clearly illusgiven trates the statement made at the beginning of this passage; the writing of the cipher 19 on the same
391.

The

little

page is inLeonardo's hand; the cipher 2 1

9.

is

certainly not.

102),

Una

nlfa.

Nymph,

in

drawing of black chalk from the Windsor col-

Compare the

beautiful

lection, PI.

XXVI.

VOL.

I.

CC

PL XXVI

.,

J*^ ~

.*,

W
/''.'

''
J

',-". v
.

-V
:

<*

iJ
,

'Vt;

/.

?..'

"
.'
.

"'

>-,

t^'r
'

,'

f^^ ; -'V
'> <>
* '^''^
T

Y" >-:\
'
'

*.-

*-r
:

,..--.

'

K%1
'

-:

^
r&>?&.4

S?^

^|;vly^

t
"

"^'
"

:/
;
,'.,

"',./.

...
;

--

*
i

- ~ V^jE^' "V *f "-*v"i!7T~ r*r *:-. .::" >.--^

.>
.

m
,

~'

v ^*"' ^

Heliogp.

Dujardin,

^i
'

i-

- -.

-._"
"*

~-N,.

--*
?

*V

^r

-**-^^*-^'
'

r*"

'

--

i
Imp Eude s

VIIL

Botany for Painters

and 'Elements
Painting.

of Landscape

The chapters composing this portion of the work consist of observations on Form, Light and Shade in Plants, and particularly in Trees summed up in certain general rules by which the author intends to guide the artist in the pictorial representation of
landscape.

With these the first principles of a Theory of Landscape painting are laid down

a theory as profoundly thought out

details.

in its

main

lines

as

it is lucidly

worked out

in its

In reading these chapters the conviction is irresistible that such a Botany for painters is or ought to be of similar importance in the practice of painting as the prin-

of the Proportions and Movements of the human figure i. e. Anatomy for painters. There can be no doubt that Leonardo, in laying down these rules, did not intend to write on Botany in the proper scientific sense his own researches on that subject have
ciples

no place here', it need only be observed that they are easily distinguished by their character and contents from those which are here collected and arranged under the title
'Botany for painters'.
instance in No. 402

In some cases where this division might appear doubtful,

the Painter is directly addressed

as for

and

enjoined to take the rule to

heart as of special importance in his art. The original materials are principally derived

from MS. G,

in

which we often

intermixture find this subject treated on several pages in succession without any of that This MS., too, is one of other matters, which is so frequent in Leonardo's writings. was already more than sixty years of the latest] when it was written, the great painter as his final views on of age, so we can scarcely doubt that he regarded all he wrote which to the chapters from MSS. E and And the same remark the
subject.

applies

were also written between 1513

15.

For
exceptions
reluctance

the sake

of

clearness,

however,

it

has been desirable

to sacrifice
it

with

few

the original

and only after long do I mean to impugn the logical

was with much order of the passages as written, though hesitation that I resigned myself to this necessity. Nor
connection of the author's ideas in his

MS.;

but

it

2O4

THE THEORY OF THE ART OF PAINTING.

will be easily understood tliat the sequence of disconnected notes, as they occurred to Leonardo and were written down from time to time might be hardly satisfactory as a systematic arrangement of his principles. The reader will find in the Appendix an exact
,

can
tJie

account of the order of the chapters in the original MS. and from the data there given As the materials are here arranged, the structure of restore them at will.

regards the growth of the branches comes first (394 411) and then the Then follozv the laws of Liglit and insertion of the leaves on the stems (412 419). Shade as applied, first, to tiie leaves (420 434), and, secondly , to the whole tree and
tree as

After the remarks on the Liglit and Shade in landscapes generally (458 464), we find special observations on that of vieivs of toiuns and buildings To the theory of Landscape Painting belong also the passages on the effect 469). (465
to

groups of

trees (435

457).

of Wind on Trees (470

473)

and on

the Light

we find
in

in these certain

comparisons with the

and Shade of Clouds (474 effect of Light and Shade on

477), since Trees (e. g.

:

No. 476, 4. 5; and No. 477, 9. 12). The chapters given in the Appendix Nos. 478 and 48 1 have hardly any connection with the subjects previously treated.

87 1\

393-

ALBERT.
2

TREES.
Small, lofty, straggling, thick, that is as to foliage, dark, light, russet, branched at the
ciassifica-

Bassi,

alti,
8

4rari,

scuri,
diritti

7chiari,

rossi, sramificati insu,

Sspessi cioe di foglie, I0 chi

I2

tion of trees>

gabi biachi, *3a chi trapare 1'aria J -a chi no, 'Schi e trito
l6

all'ochio,

"chi

in giu,

di posta,

chi e raro.

some directed towards the eye, some downwards; with white stems; this transparent in the air, that not; some standing close together, some scattered.
top;

394-

Tutti i rami delli alberi in ogni grado loro 2 altezza givnti insieme sono ealia gro^ssezza del loro pedale. quali
della

of

its

All the branches of a tree at every stage The relative height when put together are equal in th^bnmches

^Tutte
s

le

ramification!

d'

ogni grado di loro 6 equal moto, sono equali

delFacque in lunghezza essendo

-,

alia

grossezza

to thickness to the trunk [below them]. thejrunk 3 All the branches of a water [course] at every stage of its course, if they are of equal rapidity, are equal to the body of the

del loro ^principio.

main stream.

M.

395-

i rami delle piante anno loro maturita, essi anno 4coposto, givti insieme, saltrettanta grossezza, 6 qua to e la grossezza del suo pe^dale, e in 8 ogni grado della sua ramificatione tu troI0 9 verai la grossezza di detto pedale come e i k: e f: c d: a b I2 tutti saranno h:

Ogni ano, che

3

dato fine alia

X3 loro, non essendo 1' albero storequali infra I4 I5 falla. piato, altremeti la regola

Tutti i rami anno le di^ritture che dirizzano l8 al cietro dell' albero m.

16

si

Every year when the boughs of a plant made an end of maturing their growth, they will have made, when put together, a thickness equal to that of the main stem; and at every stage of its ramification you will find the thickness of the said main stem; as: i k, g h, e f, c d, a b, will always be equal to each other; unless the tree is if so the rule does not hold good. pollard All the branches have a direction which
[or tree] have

tends to the centre of the tree m.

393.

16 R.

6. 3.

chiari.

9. ramifichati.
5.

13.

achistrapar laria.

14.

achinno.

15. chi ettrito di posta.

394. 2. alteza.

sseza.

lungeza.
maturta.

6.

mo

sono

grosseza.
6.

395-

i.

ogniano che rami.

i

3.

5.

grosseza.

grosseza.

7.

ella.

8.

ramifichatione.

9.

grosseza.

10.

il

pedale come

he

k.

13. lloro

sto "r".

14. piati.

15. nofalla.

17. chessi dirizano.

395.

The two sketches of

belong to
this

leafless

trees

one above another on the

left

hand

side

of

PI.

XXVII,

No.

i,

passage.

2O6

THE THEORY OF THE ART OF PAINTING.

1396-399-

M.

396.

*di

Se m,

la pianta
i

tione *a

n cresciera alia grossezza sua rami faranno tutta la cogiub per lo ingrossare de' rami in-

If

the
at

plant
its

n grows

to

the

thickness

dentro come di 4 fuori. 6 s I rami delle piante fanno in ogni naThe law ofscimento de' sua ? ramiculi vna tortura la n 8 p Tnthe quale, partorendo il ramo, si ^viene a fai* rcare e detta bifor locatura si trova in th^ benches (396-402). mezzo a due "angoli, de' quali quello sara
piv grosso che sara dal lato del ^ramo piv grosso, proportione^volmete, se no lo
I2

correspond [in thickness] to the junction a b in consequence of the growth inside as well as outside. The branches of trees or plants have a
twist

shown

m,

branches

will

and

is given off; giving off the branch forms a fork; this said fork occurs between two angles of which the largest will be that which is on

wherever a minor branch

this

the

side

of the larger branch, and in proit.

guasta 1'accidetale.

portion, unless accident has spoilt

G.

34/5]

3972

Nessu gobbo
sia

dato
6

a 4 lcun

e ne rami, che 3 no ui ramo, il squale e ma-

There is no boss on branches which has not been produced by some branch which has
failed.

cato;

Crescono piuli ramiculi ^inferioride'rami de! 8 le piate, che li superio^ri, e questo sol nasci ro e perche 1'umore che li nu^triscie,
per aver lui gravi ingiu che allo insu,
I2

ta,

e piu facilme^te allo '*e ancora perche quelli

shoots on the branches of trees than the upper ones and this occurs only because the sap that nourishes them, being heavy, tends downwards more than upwards; and again, because those

The lower

grow more

l6 da ve'Sgono allo Igiu si discostan 1'obra ch'e inverse il cetro '^della piata; l8 quato li rami so '^piu vechi, tanta mag20 26 li sua ramiculi 22 di gior diferetia e da 2 sopra a quelli ^di sotto e i quali sieno del ^medesimo anno o epoca.

che

[branches] which grow downwards turn away

towards the older the branches the difference between their upper and their lower shoots and in those dating from the same year or epoch.
the
exists

from

shade

which

centre of the plant. are, the greater is

The

G. 35"]

398.

DELLI MARGINI DELLI

ALBERT.

OF THE SCARS ON
The scars thickness than
on
is

TREES.

3 Li margini delli alberi cresco pi^v in s grossezza che no richiede il umo re distribuito che le nutriscie.

trees grow to a greater required by the sap of the limb which nourishes them.

G. 13*)
2

399

Quella pianta osseruera il suo accrescimeto co 3 piu diritta linia, la quale 4 genera piu minuta raSmificatione.

The plant which gives out the smallest ramifications will preserve the straightest line
in the course of
its

growth.

396. 397.

i.

sella

cressciera
6. cresca.

grosseza [che].
9.

7.

ramichuli.

9.

biforchare.

10.

chatura

mezo.

12. chessara.
13.

14. lacidetale.

124
vc.

R.

8. chclli.

ccquesto sol nassci.

23. e I
. .

10.

lomore

chelli.

12. facilmaltimc.

ingu,

14.

perche que che

15.

grno
i.

allo.

20. gor.
3.

22. acquelli.
le
. .

398.

15
i

R. R.

delle margini.

cresca

qua del. 24. annaepoca. illomo. omo. 4. v groseza

. .

5. re distrebito

chelle nutrisscie.

399.

2.

accresscimeto.

396.

The sketches

illustrating

this
I,

right hand side of PI. XXVII, No. is also given there in facsimile.
397.

are on the and the text

399.

This passage
sketches.

is

illustrated

by two

partly

The sketch accompanying

this in the

so effaced that an exact reproduction

MS. is was impossible.

of these closely resembles the lower one given under No. 408, the other also represents short closely set boughs on an upright
effaced
trunk.

One

4OO

2 -]

BOTANY FOR PAINTERS.

207

G. 14 a]

400.

DELLA RAMIFICATIONS.
2

OF THE

RAMIFICATION.

Senpre

il

principio della ramifi-

catione a la linia cetrale della sua

si

The beginning of the ramification [the shoot] always has the central

gro^ssezza, che
cetrale
s

dirizza alia linia

line [axis]

of

its

thickness directline [axis]

ed to

with

the

central

della pianta.

of the plant

itself.

G. 37

401.

Senpre
dal

li

rami nello

sepa

rarsi

In

starting

from the

main stem

fusto fano
4

vna ^basa con una

si

the branches always form a base with

globosita,

come

mostra

in

ab

c d.

a prominence as

is

shown

at

a b

c d.

G. 33*]

4O2.
LI

PERCHE MOLTE VOLTE

DIRITTI NELLE

LEGNAMI NO LOR UENE.

so

WHY, VERY FREQUENTLY, TIMBER HAS

THAT ARE NOT STRAIGHT.

VEINS

3 Quado li rami, che succedono il secodo anno so^pra del ramo dell' anno passato, no anno le Sgrossezze simili sopra li rami 6 sono dal lato, allora il antecedeti, ma

When the branches which grow the second year above the branch of the preceding year, are not of equal thickness above the antecedent branches, but are oh one side,
then the vigour of the lower branch is diverted to nourish the one above it, although it

uigore di quel ramo ?di sotto si torce al nutrimeto de quel ch'e piu a! 8 to, ancorache esso sia vn poco dal lato; 9 Ma se tali ramificationi avra equalita
le uene del loro fusto e equidistati in ogni grado d'altez I2 za della loro pianta. ^Aduque tu pittore, che non ai tale
I0

may be somewhat on one

But
if

side.

nel loro cresciere,

diritte

"sara

the ramifications are equal in their growth, the veins of the main stem will be straight [parallel] and equidistant at every degree of the height of the plant.
!

regole,

per 'tfuggire
sii

il

biasimo

delli

inte-

denti

^ritrare ogni tua cosa vago di naturale e no dispre l8 zzare lo studio

di

Wherefore, O Painter! you, who do not know these laws in order to escape the blame of those who understand them, it will be
well
that you should represent every thing from nature, and not despise such study as those do who work [only] for money.

come fanno

guadagnatori.

400.

15
i

R.

3 chatione a
i-

[il

centre] "la linia cetrale" della.

4.

se chessi diriza.

4*402.

4 R-

sepr.
5.

2.

fano.
7.

3.

sucedano.
dalte.

grosseze simile.

notrimeto.

8.

pocho.

9.

Massettale ramificatione ara.

10. neiloro cressciere

fussto.

ii.

14. sia

vagho.

18. zare.

208

THE THEORY OF THE ART OF PAINTING.

[403. 404.

E. 64]

4032

DELLA RAMIFICATIONS
piate,

DELLE PLATE.
dilatano,

OF THE
The
the

RAMIFICATIONS OF PLANTS.

che assai

si

anno

The

delle partition! che separano le angoli loro raSmificationi tanto piu ottusi, quato growth (403407) el na 6 scimento loro e piu basso, cio piu vi?cino alia parte piu grossa e piu vecchia del 8 !' albero adunqve nella parte piv giova9ne dell' albero li agoli delle sua ramificatiodirecli

plants which spread very much have angles of the spaces which divide their branches more obtuse in proportion as their point of origin is lower down; that is nearer to the thickest and oldest portion of the Therefore in the youngest portions of tree.
the tree the angles of ramification are acute.

more

10

ni

sono piu

acuti.

G. 32*]

404.
of the boughs of plants [and they are borne down by the weight of their fruits, turn towards the sky
tips

Li stremi delle ramificatio delle piate, no so superati dal peso de' frutti, si volta^no Iverso il celo quato e possi'se
bile;

The

trees],

unless

as

much

as possible.
n

*Le
lor

parti

diritte

delle
sin-

The upper
leaves
is

foglie

stanno volte

side of their turned towards the

verso il celo per ricevere il nutrimeto de6 lla rugiada che

sky that it may receive the nourishment of the dew which

,

cade
i

la notte;

falls

at night.

sole

da
8

alle

piate

spirito e vita la terra col-

The sun
life

gives

to

plants

spirit and and the earth

1'umido le notrisce; sintorno a questo caso io provai gia a I0 lasciare solamete vna mi"nima radice a vna zucca e quella tenevo I2 nutrita coll'acqua, e tale zucca codusse a per^fezione tutti li
frutti ch'ella,

nourishes them with moisture.

[9]

With regard

to this I

made

the experiment of leaving only one small root on a gourd and this I kept nourished

pote poi '^gene-

circa 60 z'Sucche, di e posi la mete co dili l6 genquelle lunghe, tia a tale vita e cognobbi che la rugiada '^della notte era quella che col suo umido l8 abondantemete per Pappipe netrava I9 ccatura delle sua gra foglie al nutrimeto 20 d'essa piata colli sua figliuoli overo uo21 va che anno a producere li sua figliuoli. 22 La regola delle foglie nate nel ramo vltimo 2 3dell'ano sara nelli 2 rami fratelli in contra 24 rio moto, cioe che voltandosi intorno il nascime 2 sto delle foglie il loro

rare,

li

quali furono

water, and the gourd brought to perfection all the fruits it could produce, which were about 60 gourds of the long kind, and I set

with

my mind

diligently [to consider] this vitality

and

perceived that the dews of night were what supplied it abundantly with moisture through the insertion of its large leaves and gave nourishment to the plant and its offspring or the seeds which its offspring had to

produce

[21].

The
last

rule of the leaves

produced on the

ramo

in

modo

che la 6 a foglia

26

di

sopra

shoot of the year will be that they will grow in a contrary direction on the twin branches; that is, that the insertion of the leaves turns round each branch in such a

403.
404.

i.

delle ramifichatione.

3.

angholi.

4. partitio

chcsscperano.
9.

6.

base.

9.

agholi

ramifichatio.

io. achuti.
12.

4.

parte stao.

6.

rugada che chade.

16.

8. ella.

acquesto.
18.

io. allassciare.

n. zucha
chatura.

ecquella.

zuzza.
21.

13. fczzione.
[delli]

14. circha.

15. ucc.

attain

chella

rugada.

abondamete.

19.

20.

overo ho.

va

che

of

PI.

Compare the sketches on the lower portion XXVII, No. 2. 12 was 404. A French translation of lines 9
403.

Arts, Oct.

1877; his paper also contains some valuable information as to botanical science in the ancient
classical

writers

and

at

the

time

of

the

given by M.

RAVAISSON

in

the

Gazette des

Beaux

Renaissance.

405407.]
nasce sopra
2

BOTANY FOR PAINTERS.

la

2O9

sesta di
e,

sotto,

'1

moto
volta

?del

loro voltarsi

se 1'Q volta inuerso

1'altra
li

way, as that the sixth leaf above is produced over tne sixth leaf below, and the way they
turn
is

la

sua copagna
'

a sinistra; foglia e tetta over poppa del ., ramo o fru^to che nasce nell'anno che
viene.

28

a destra,

si

that

if

one turns towards

its

com-

"^ Kftjt ^serving as the nourishing 1 T* breast the leaf

ther

left,

*'

for the shoot or fruit which

grows the follow-

ing year.

G.

S a]

405piu bassi
frutti

Li rami

delle

2 pia te

che fa gra foglie e

noci,
fichi

3gravi
si

come
diriz-

e sr*mili
s

sempre

The lowest branches of those trees which have large leaves and heavy such as nut-trees, fig-trees fruits, and the like, always droop towards
the ground.

zano
6

alia

terra.
li

Senpre

rami nascono so 7 pra

The
above
[in

branches

la foglia.

always originate the axil of] the leaves.

G. I

406.
ramiculi
superior!
delli
2

rami
the

The upper shoots of

branches
ones.

the

lateral

laterali delle piate

^costa piu al lor

fa quelli di

of

plants

lie

closer

to

ramo maestro che no

sotto.

parent

branch

than

the

lower

G. 35

*]

407.
2

Senpre li rami piu anno generate ^I'angolo

4 tione

bassi, poich'elli della lor seperapi

s

The lowest branches,

formed the angle of
their

after

they separation

have from

del suo fusto,

si

egano

in

basso

the parent stem, always

bend downwards so

6 per no si ser rare adosso alii altri ra7mi che 8 sopra lui s'accodano nel medesimo fusto

as not to crowd against the other branches which follow them on the same stem and

figloli.

23.
29.

dellano

sarano.
il.

24. coe.

25. folie

chella.

26. sessta.

27. sellu

il

suo copagno.

28. adesstra

assini-

stra.

he.

31. nassce
3.

32.
4.

lanno.

Lines 29
6.

32 are written in margin.

05.

R. R.
R.
I.

2 poglie.

coci.
di.

dirizano.

nassca.

406. 407.

14
i

maes.
5.
si

4.

que
7.

21

se.

sacodano.

8.

fussto.

9.

podere.

10.

chelli

nutrissce.

ir.

mosstra.

13.

affatto

[lagolo]

ilato-

VOL.

^D

210
e
9

THE THEORY OF THE ART OF PAINTING.

to

[408410.

11

10 l'aria che per potere meglio pigliare "come mostra Pangolo b a c 12 che il ramo a c poich'elli ^a fatto il lato

nustrisce

dell'an^golo a
e il ramicu l6 lo '7suo di sottile.
l8 '9

c,

si

si

piega in ba'Ssso in c d secca per 1'essere

be better able to take the air which nourishes them. As is shown by the angle b a c; the branch a c after it has made the corner of the angle a c bends downwards to t d and the lesser shoot c dries up, being too thin.
is

Senpre

il

come mostra

il

ramo maestro va di sotto ramo / 20 n ;//, che no

The main branch always goes below, as shown by the branch / n m, which does

va per

2l

o.

not go to

o.

G. 36*]
2

408.

(4

o8-4Ti).

L'olmo senpre mette piu Iun ghezza ne iij vltimi rami del me'desimo anno che in quelli che 4 so piu bassi, e questo fa la 6 Snatura, perch i rami piu a! ti so quelli che anno a cresce?re
la quatita dell'albero e que! li di sotto anno a seccare, 9 per8

The
to

the

last

than to

che
10

nascono

loro

nell'onbra e il sarebbe accrescimeto

dello
introito

elm always gives a greater length branches of the year's growth the lower ones; and Nature does this because the highest branches are those which have to add to the size of the tree; and those at the bottom must get dry because they grow in the shade and their growth would be an

"inpedimeto
I2

impediment

de' razzi solari e dell' aria in*3fra essa ramificatio mae^stra

di tal piata.

to the entrance of the solar rays and the air among the main branches of the tree.

*5Li rami maestri inferio l6 ri

si

piu

piegano piv che i superio^ri, per essere l8 essi superiori e ancora obbliqui che

perche so ^maggiori e piv vecchi.

than those than those upper ones, and also they are larger and older.

The main branches of the part bend down more above, so as to be more oblique
lower

because

G. 36*]

409.
2

quasi tutte le piate sMn^curvano tenedo la Sparte convessa diver6 so mezzodl, e le loro 7ramificazioni son
rettitu3dini

Vniversalmente
delle

In general almost
tions of trees curve

all

the upright por-

piu lunghe e grosse e piv ^spesse a esso mezzodl I0 che a tramotana,

somewhat turning the convexity towards the South; and their branches are longer and thicker and more abundant towards the South
than towards the North. And this occurs because the sun draws the sap towards that surface of the tree

e questo nascie perche '1 I2 sole tira 1'umore in 1 ^ verso quella superJ fitie del'^la pianta la quale li e 5piu
11

which
sun

is

nearest to
this

it.

vicina.
l8 ll questo s'os^serua se no 20 e ocupato ^il sole dall'al tre piate.

And
is

16

may be observed
screened
off

if

not

by

the other

plants.

G. 51 a]
2

410.

II ciriegio e di natura dell' a bete nella sua ramifica^tione fatta a gradi intorno a

The
the
fir

cherry-tree

is

of
its

the

character of

tree as regards

ramification placed

M- piegha.
408.
2.

16.
neli.

secha per lesere.

4.

17. disutile.

18.
6.

Senpre maesstro.
cressce.
. .

19.
8.

ramo
anno
|

f.

ggheza

ecquesto.

5.

perche rami.
18. essc.

7.

eque.

assechare.

9.

nasscano.

10. acresscimeto.

15. maesstri.

16.
2.

chesuperiori.
3.

19.

magori
ella.
si 7.

vechi.
10.

49-

*> (R).

tucte.
18.

dine.

6.

mezodi

ramificazione.
20.

attramotana.

n. ecquesto
21.

nasscie.
(?)

12.

lomore.
(?).

16. 22.

ecquesto os.

ochupato.

19.

ecquesto

manifessta.

nellc piante chessono.

spesse rimode

che ro

mettano ogni 3 anni. de 4<o. 113 R. i. ciriego

. .

a.

4.

allor futslo

elli.

5.

nasscano

ho.

7.

ella

soma.

o.

piramide cipr.

10. latera dal

mezo.

4H. 4 12
lor fusto

-]

BOTANY FOR PAINTERS.

e
li

211
in stages
its

suSa rami nascono

round

its

main stem ; and

a 4 o
tro
8

a cinque o 6 a riscondell'altro,

?l'un

e la
9

soma

branches spring, 4 or five or 6 [together] opposite each other;

conpone I0 dal mezzo in "su; piramide e il noce e la quercia I2 dal mezzo insu copone v^na mezza
spera.

delli

stremi ramiculi

tips of the topmost shoots form a pyramid from the middle upwards; and the walnut and oak

and the

form a hemisphere from the middle

upwards.

G. 88 1>\

411.

ramo del 2 noce che e battu^to quad'elli a percosso a perfe 6 ctione

Per
il

solo
s

e
hit

C 6dotto

The bough of the walnut which and beaten when it has brought
.

is

only

to per-

fection

412.

DEL
2

NASCIMETO. DE' RAMI NELLE PLATE.

OF THE

INSERTION OF THE BRANCHES ON PLANTS.

t

Tale e il nascimeto delle ramificationi delle 3piate sopra i lor rami prlcipali qual'e quella de^l nascimeto delle foglie sopra li
ramiculi del
dere,
le quali foglie

Such as the growth of the ramification J hne o" s ehe

of plants is -on their principal branches, so is that of the leaves on the shoots of the same plant. These leaves have [6] four modes of growing one above another. The first,
leaves
(4I2

~ 419

mesdesimo ano d'esse foglie, ano 6 quattro modi di proce1'una piu alta che 1'altra; ?il primo
e,

which

is

the

most general,

is

that the sixth

[8];

piu

vniuersale
8

che senpre

la

sesta

di

nasce sopra la sesta di sotto, e il secondo 9e che le 2 terze di sopra so sopra

sopra
le

due terze che la 3 a di

di I0 sotto,
JI

'1

terzo
a

modo

always originates over the sixth below the second is that two third ones above over the two third ones below [10]; and third way is that the third above is over
third

are the the

sopra e sopra Ia3

di sotto.

below [n].

ii.
411.

i6
i.

ecquerch. 12, mezo. 13. meza. R. i. della. 2. chessolo he.

2
.
.

412.

-nascimeto.

Tale he

il

ramifichationi.

3.

quel e quella.
8.

4.

nasscimeto
.

ramichuli.

5.

dessimo ano desse foglie

le.

6.

proccedere

chellaltro.

7.

eprimo

he chessenpre.

nassce

sessta.

9.

he che

2.

10. hechella.

n.

essopra.

411.

The end

of the text and the sketch in red

it,

nuovo

chalk belonging to

are entirely effaced. 412. See the four sketches on the upper portion of the page reproduced as fig. 2 on PL XXVII.

il manoscritto Vaticano". This has since been done by D. KNAPP of Tubingen, and his accurate copy has been published by H. LUDWIG, the painter.

The passage

in

question occurs in his edition as

Quattro modi (four modes). Only three are described in the text, the fourth is only suggested by a sketch.
6.

This passage occurs in MANZI'S edition of the Trattato, p. 399, but without the sketches and the
text
is

No. 833; and there also the drawings are wanting. The space for them has been left vacant, but in the Vatican copy 'niente has been written on the margin; and in it, as well as in LuDWIG's and
1

passage
Italiano,

mutilated in an important part. The whole has been commented on, from MANZI'S
in

MANZI'S edition, the text

8.

is

mutilated.
2/5

la sesta di sotto.

"Disposizione

1/5.

Leonardo

version,

Part I of the Nuovo

Giornale Botanico
I).

osservd probabilmentc soltanto la

prima" (UziELLl).

by

Prof. G. UZIELLI (Florence 1869, Vol.

10. terze di sotto:

He remarks
si

as to the 'four modes': "Leonardo, come

ire esempli.

lare di foglie decussate,

a di sotto:

in cui

"Intende qui senza dubbio paril terzo verticello e nel

"
/2

vede nelle linie seqtienti da solo

Questa
di

piano del primo" (UziELLl).

li.

ed altre inessattezze fanno

desiderare, sia

esaminato

"Disposizione

(UziELLl).

212

THE THEORY OF THE ART OF PAINTING.

[413- 414-

G.

413.

DESCRITIO DELL'OLMO.

A
The
'

DESCRIPTION OF THE ELM.

Questa ramificatione dell'olmo ^a il 4 maggiore ramo nella sua frote, e 1 minore e il primo ed il penvltimo 5q U ado la mae2

ramification of the

branch at the top. The one are smaller, when

straight.

first

elm has the largest and the last but the main trunk is

stra e diritta;

nascimeto da Tuna foglia all'al 7 tra meta della maggior Iughez 8 za della e la 9 perche le foglie fano foglia alquato maco,
6
II

interual I0 lo ch'e circa

al

della

larghez-

"za

di tal foglia.

"L'olmo
I5 alla I6

a le

^sue
"7

foglie

'^piu presso
l8

nasciramo, che al metoe le '^lorlarghezze 20 pocovaria 2I no, esonorisguar"dandole di vn me^desimo aspetto.

cima del suo

the insertion of one half the extreme length of the leaf or somewhat less, for the leaves are at an interval which is about the 3 rd of the width of the leaf. The elm has more leaves near the top of the boughs than at the base; and the
leaf to

The space between

the
rest
is

broad [surface] of the leaves varies

to [angle

little

as

and] aspect.

G. 280]

414.
2

foglie del noce, conpartite per tutto il ramiculo di quell' anno, 3 so tanto piu distanti 1'una *dall altrae co maggiore nuf

Le

smero, quato
1

il

ramo, doue

tal

ramicolo

nascie, e piu giova 7 ne, e son tato piu vicine ne 8 loro nascimeti e di minore nu 9 mero, I0 quanto il ramiculo do ve nascono e nato
I2 pi''v vechio; nascono li sua fru tti del suo ramiculo, li sua ^e in istremo rami maggiori son di sotto M al lor ramo,

in

ramo

I5 e questo accade perche la suo umore e piu atta a discende^re che a motare, e per questo li 18 rami che nasco sopra di loro, ^che vanno 20 in verso il celo, son pi ccoli e sottili, e il ra 2I miculo guarda inuerso il celo, quado 2 " le ^dal suo strefoglie sue si dilatano 24 mo con colle lor 2 Scime e eguale partitio se '1 ramiculo guarda all' o 26 rizzonte le 2 foglie restano ispia ?nate, e questo nasce 28 universalmente tengono il perche le foglie

doue nascono;
l6

grauita del

tree the leaves which on the shoots of this year are further apart from each other and more numerous in proportion as the branch from which this shoot springs is a young one. And they are inserted more closely and less in number when the shoot that bears them Its fruits are springs from an old branch. borne at the ends of the shoots. And its largest boughs are the lowest on the boughs And this arises from the they spring from. weight of its sap which is more apt to descend than to rise, and consequently the branches which spring from them and rise towards the sky are small and slender[2o]; and when the shoot turns towards the sky from it [at an angle] its leaves spread out with an equal distribution of their tips; and

In

the

walnut

are

distributed

if
lie

the shoot turns to the horizon the leaves

flat;

and

this

arises

from the

fact

that

leaves

2 9loro volto alia terra. ramiculi so 3' tanto mino3 2 ri quanto essi na^scono piu vicJ3^ni al nascime^sto del ramo che 3 6 li produce.

riverscio
3

exception, turn their underside to the earth [2 9]. The shoots are smaller in proportion as

without

they spring nearer to the base of the bough they spring from.

413. j.

magore.

4. eil

p* el

il.

5.

maestra.

6.

nasscimeto dalluna.
17
23.

Lolmo alle sue foglie piu presso medesimo asspetto.

414. 2.

la ciraa alia.

magor 7. ella ramo chellnasscimeto el

.

luge.

8.

macho.

9.

fano.

10. large.

1215.
a vn

lor largeze

pocho variano

di risguardare

anno

e.

3.

distance lun.
15.

gori.

14.

nascano.
27.

6. nasscie . goua. 4. magiore. atto ecquesto acade che. 16. omore

. . .

8.
.
.

nasscimeti.

10.

nasscano.

n. nassono.
ecquado.

13.

elli
. .

ma-

disscende.

20. choli essotili

22. dilata

eguali.

26. rizonte.

ecquesto nassce chelle.

28.

tengano

iriverscio.

31. tanto [p]

mino.

32. ri

quanto e na.

33. nasca.

Above the sketch 413. See PI. XXVII, No. 3. and close under the number of the page is the word olm<? (elm).
l

414.

See the two sketches on

PI.

XXVII, No.
30.

4.

The second

refers to the passage lines 20

415-

BOTANY FOR PAINTERS.

213

G. 16

6}

4I5-

DEL NASCIMETO DELLE

3

FOGLIE SO 2 PRA

LI

OF THE

INSERTION OF THE LEAVES ON THE

SUOI RAMI.

BRANCHES.

Non

ramo

dallo spatio, ch' e

diminviscie la grossezza di nes 4 su da foglia s a foglia,

6 se no quato e la grossezza del1'ochio ch'e su essa foglia, ?la

The thickness of a branch never diminishes within the space between one leaf and the next excepting by so much as the thickness of the bud which is above the
leaf

ramo, qual grossezza maca al che succiede, insino aM'altra foglia.

10

and this thickness is taken off from the branch above [the node]

as far as the next leaf.

messo la natura le foglie lj delli vlti mi rami di molte piate in I2 modo, che senpre la se sta foglia e
sucsopra la prima, e cosl segue se la regola non e cessiuamete, I4 inpe dita, e questo a fatto per 2 vtilita dle'Ssse piate, e la prima
3
J

Nature has so placed the leaves of the latest shoots of many plants
that the
sixth leaf
is

always above
in succession,

the
if

first,

and so on

l6 il ramo e e perche, nascendo frutto nell'ano seguete dalla '1

the rule is not [accidentally] interfered with; and this occurs for two useful ends in the plant: First that, as the shoot and the
fruit

of the

following year spring

^gemellavena o ochio ch'e sopra

in cotatto

dell'a l8 ppicatura
J

della

9tal ramo possa foglia, 1'acquache bagnia 20 tal gemella col ferdisciendere a nutrire 2I concavita marsi la goccia nella del nascimeto d'essa foglia; e il 22 secodo giovameto e che, nasciedo 1'uno ra 2 3mi 1'anno seguete, tali

from the bud or eye which lies above and in close contact with the insertion of the leaf [in the axil], the water which falls upon the shoot can run down to nourish
the bud,

by the drop being caught

in

the hollow [axil] at the insertion of the leaf. And the second advantage
that as these shoots develop in the following year one will not cover the next below, since the 5 come forth on five different sides; and the sixth which is above the first is at some distance.
is,

no copre
volti
2

1'altro

perche

4nascono
5
il

a cinque aspetti li 5e '1 sesto nasce sopra remoto.

rami,

primo

assai

G. 30*]

416.
2

DELLE RAMIFICATIOI DELLE LORO FOGLIE.

3

PIATE COLLE

OF THE

RAMIFICATIONS OF TREES AND THEIR FOLIAGE.

Le ramification! delle piante, al4 come olmo sono larghe e 6 sotti 5 li a uso di mano aperta in iscor to,
cune
1'

The

the elm, are wide

ramifications of any tree, such as and slender after the

fingers,

manner of a hand with spread

foreshortened.

e queste si mostra nelle lor 7quatita: di sotto si mostra dalla par 8 te superiore e quelle che so piu al^te si moI0 mezzo in stra di sotto, e quelle di vna parte di sotto e vna "di sopra; e la parte di sopra e inistre I2 mo d'essa ramificatione, e que I3 sta parte di mezzo e la piu scor^tata, che nessuna altra di que I5 lle, che sono volte colle 16 pute in verso te; e d'esse parti di mez^zo dell'altezza delfe. piata la
;

And

these are seen in

the distribution [thus]: the lower portions are seen from above; and those
that are above are seen

from below; and

those in the middle, some from below and some from above. The upper part is the extreme [top] of this ramification

and the middle portion is more foreshortened than any other of those which

And
5.

are turned with their tips towards you. of those parts of the middle of
grosseza' macha.
.
.

4*5-

9 Rdi

i.

nasscimeto.
.

3.

diminvisscie.
13.

4.

daffoglia.
sella.
14.

affbglia ella grosseza.

15.

7.

10.

deli.

n. rami
17.

[delle]

piante che.
20.
6.

sucessiuamete

ecquesto affatto.

ella

naciendo.

16.
.

nellano.

vena

ochio.

18.

pichatura.
5.

gocca.

21. nasscimeto.
8.

22.

govameto he che nassciedo.

,
.

24.

nasscano

asspetti.

416. 4. essotti.

ausso.

ecqueste.

ecquelle.

9.

mosstra

ecquelle.

n.

ella.

12. ecquesta.

13.

mezo

ella.

15.

ches-

214

THE THEORY OF THE ART OF PAINTING.

d'e^ssi

[417. 418.

l8 li stremi pi v lunga sara inverse i0 alberi e fara queste tali rami ficatio
2I saluatica foglie della felce 22 de' fi vmi. 1'argine
2J

come

le

che nasce per

Altre ramifi catio so tonde

delli

come
2

24

son

quelle 26 la prima, culi c foglie che la sesta sopra 2 altre son rare e tras ?pareti come il salice e simili.

alberi

che mettono

li

5rami-

the height of the tree, the longest will be towards the top of the tree and will produce a ramification like the foliage of the common willow, which grows on the banks of rivers. Other ramifications are spherical, as those of such trees as put forth their shoots and

leaves in the order of the sixth being placed above the first. Others are thin and light
like the willow

and

others.

G.

417-

Vedi

nel

ramo

inferiore

del sa 2 buco

il

quale mette

a due, incrociado le poste l'u*na sopra dell'altra, e se '1 fusto va dirit s to inverse il celo, questo ordine no 6 maca mai, e le maggiori sue foglie 8 7 so nella e le parte piu grossa del fusto,
le foglie

a 2

minori nella parte piu sottile, 9 cioe inverse cima Ma per torna I0 re al ramo di sotto dico che le foglie ' delle quali le lor poste
la
; '

aueano a incro I2 ciarsi secondo

il

ramo

di

see in the lower branches of which puts forth leaves two and two placed crosswise [at right angles] one above another, that if the stem rises straight up towards the sky this order never fails; and its largest leaves are on the thickest part of the stem and the smallest on the slenderest part, that is towards the top. But, to return to the lower branches, I say that the leaves on these are placed on them
will

You

the elder,

sopra, esse esse'^do costrette alia legie delle foglie che '^anno a voltare la parte del lor diritto '5 inverse il celo per piglare la I6 notte, e necessario che tali rugiada la si pie' 7 ghino e no faccia piv crociaposte

mento.

crosswise like [those on] the upper branches; as, by the law of all leaves, they are compelled to turn their upper surface towards the sky to catch the dew at night, it is necessary that those so placed should twist round and no longer form a cross.

and

G.

418.

Senpre
inverso
il

la foglia volgie cielo accio pos'sa

il

suo

dritto

leaf always turns

it

meglio ricevere

the sky so that

con tutta la *sua superfitie la rugiada che all its surface, co lenHo moto discende dall'aria, e ta6 li from the atmosphere. And these leaves are 7 foglie sono in modo coparti te sopra le. so distributed on the plant as that one shall loro piate che Tuna oc 8 cupa Paltra il me cover the other as little as possible, but shall che sia possibile 9 col'interzarsi 1'una sopra lie alternately one above another as may be I0 come si uede fare all'edera seen in the ivy which covers the walls. dell'altra, "che copre li muri e tale intreccia I2 meto And this alternation serves two ends; that serue a due cose, cioe al la'^sciare 1'interto leave intervals by which the air and is, valli che 1'aria e '1 sole pos' 4 sa penetrare sun may penetrate between them. The 2 nd infra loro, la 52 a ragione e che le goccie che reason is that the drops which fall from the ca t6 giano della prima foglia possa ca'Mere in other first leaf may fall onto the fourth or a l8 onto the sixth. trees sopra la 4 e la sesta de li altri alberi.
I

upper side towards on may the dew which drops gently

its

the better receive,

sono.
417. 2.

16.
il

parte di me.
qualle.
3.

17. alteza.

18.

lungha.
4.

19

cfTara.

20. felice.
diri.

21. nassce.
elle

24.

mcttano.

25. effolic chella.

7.

bucho

in cro [se]

dado.
16.

essel fnssto
.

va

6.
.

macha mai
.

magor sue

foglie so.

fussto.

8. elle.

9. coe.

ii.

aueano inocro.
4. sia
.
.

12. esc.

notte
5.

posste.
7.

17. facia
9.

cruciamento.
rinterzarsi.

418.

2.

acco po.

rugada che colen.

etta.

chclluna.

col

n. chopre

ettale interza.

12.

coe.

13.

chellan.i el sole po.

14. loro ellaria la.

15.

ragione he che.

16. possa.

17. ella sessta.

417.

See

PI.

XXVII, No.

5.

-'

F*T
'^5sT

-^ an
--./->

^
;

^5f^
^%^_'
J
;

-m^mi Xm
'
-

':

Imp.
io^cr

Eudes

Dujardin.

419423-]

ELEMENTS OF LANDSCAPE PAINTING.

215

33*1

419.

Ogni ramo e ogni frutto nasce sopra il na 2 scimeto della sua foglia, la quale li scusa ma^dre col porgierli 1'acqua delle 4 piogge e I'umidi ta della rugiada che li cade la notte di sopra, e s mo lte volte li
toglie
sole.
li

superchi

calori

delli

razzi

del

Every shoot and every fruit is produced above the insertion [in the axil] of its leaf which serves it as a mother, giving it water from the rain and moisture from the dew which faUs at night from above, and often it protects them against the too great heat of the
rays of the sun.

M.

77

<$]

42O.

2 alQuella parte del corpo sara piv luminata che fia ferita dal ^razzo luminoso

infra angoli piv equali.

That part of the body will be most ilium....... ,, mated which is hit by the luminous ray coming between right angles.
.

Light on branches
.

and leaves

G.

8]

421.
2

piate giovani anno le foglie piu traspareti e piv poli^ta scorza che le vechie, e in i 4 specie il noce e piu chiaro di s maggio che di settenbre.
-

Le

more transparent plants have and a more lustrous bark than old ones; and particularly the walnut is lighter

Young

leaves

coloured in

May

than in September.

G. 24 A ]

422.
2

DEL COLOR ACIDETALE

3

DELLI ALBERI.
delli

OF THE ACCIDENTS OF COLOURING

The
trees

IN TREES.

Li colori accidentali delle fr6 4 de

alberi

sono

4,

cioe obra, lu s me,

lustro

accidents of colour in the foliage of are 4. That is: shadow, light, lustre

transparetia.

[reflected light]
?

and transparency.
THESE ACCIDENTS.

DELLA DIMOSTRATIO
8

DELLI ACCIDENTI.
9

OF THE

VISIBILITY OF

Delle parti accidentali delle foglie delle piate in lunga dista I0 tia si fara vn misto il quale p TI artecipera piu di quello acI2

cidete che sara di maggiore figu^ra.

These accidents of colour in the foliage of trees at a great distance and that which has most breadth [whether light or shade, &c.] will be most conspicuous.

become confused

G. ioa]

DELL' OBRA DELLA FOGLIA.

2

OF THE SHADOWS
accideti

OF A LEAF.
three
i

Alcuna volta
onbra,
se'
1

la

foglia

a 3

Sometimes
r
<

leaf

has
t

accidents The
r

propor-

3 4

cioe

lustro
'

transparetia,

i i [of light] that is:

.
i

shade, lustre

[reflec-

tions of light and shade in

come
e

lume
b

fussi in

alia foglia

$s,

Pocchio
,

in

che vedra
c

allumi 6 nato
parente.

aobrato,

trans-

ted light] and transparency [transmitted Thus, if the light were at ;/ as light]. regards the leaf s, and the eye at m, it would see a in full light, b in sha-

^.l!^.

dow and
. .

c transparent.

419.

onni
.

ongni
3.

nassce.

2.

liscusa.

3.

ellumidi.
4.

4.

chelli.

5.

taglie.

420.
421.

chorpo.
5

razo luminoso da [angoli p.].

2.

razi infra.
5.

R.
R.

i.
i. i.

govane an.
de color.
fogla.
2.

trasparete.
5.

3.

chelle.

magio.
10.
.

4 22

13

4. ce.

lusstro ettransparetia.
3.

il

qua

p.

12.

magore.

423.

6 R.

foglia a.

coe.

5.

sellocchia

vedera.

420.

See

PI.

XXVIII, No.

i.

216

THE THEORY OF THE ART OF PAINTING.

[424

426.

G.
2

424.

da

La foglia di superfitie cocava, veduta riverscio di sotto I su, ^alcuna volta si

mostrera mez*za obrosa e mezza trasparete, 6 s come e 0-/sia la foglia e '1 lume 7 dra o aobrato p erw il quale ve 1' ochio t ch il lume 8 no la percote infra angoli I0 9 e '1 cqua H ne da ritto no da riuerscio; Jl il fia alluminato da ritto, quale lume / I2 riverscio. traspare nel suo

concave surface seen from and up-side-down will sometimes show itself as half in shade and half transparent. Thus, if op is the leaf and the light m and the eye //, this will see o in shadow because the light does not fall upon it between equal angles, neither on the upper nor the under side, and / is lighted on the .upper side and the light is transmitted to its under side.
leaf with a

the under side

o.

425-

Ancorache

le foglie di pulita

superfitie

Although those leaves which have a polished

sieno in gra par^te d' u medesimo colore da ritto a 4 loro riverscio, elli accade che $ quella

surface

are

to

a great extent of the

side

parte ch'e veduta dall'aria participa del colore d' essa aria, e ^ tanto piu pare parti8 cipar d'esso colore d'aria, quanto 1' ochio
I0 9piv propiquo e la- vede piu in i scorto|!e vniversalmete le sue "obre si dimo-

same colour on the right reverse, it may happen that

turned

and on the
is

the side which

1'e

towards the atmosphere will have something of the colour of the atmosphere; and it will seem to have more of this colour of the atmosphere in proportion as the eye
is

stra piu oscu

"3
il

I2

re nel

diritto

che nel river-

fatto da lustri scio, per parago che 11 '* che con tale obra cofinano. l6 s II riverscio della foglia, a corache in se il suo colore sia ^il medesimo che del I8 dimostra di piu bel colore, il diritto, si qua'9le colore a vn verde participate di 2I giallo, e questo accade qua do tal foglia
j

e interposta infra

nearer to it and sees it more foreshortened. And, without exception the shadows show as darker on the upper side than on the lower, from the contrast offered by the high lights which limit the shadows. The under side of the leaf, although its colour may be in itself the same as that of the upper side, shows a still finer colour a colour that is green verging on yellow and this happens when the leaf is placed between

G.
2

426.
the eye and the light which falls upon from the opposite side. And its shadows are in the same positions as those were of the opposite side. Therefore, O Painter! when you do trees close at

1' ochio e '1 lume, che 1' alumina dalla opposita parte. ^E le sue onbre son *nelli medesimi 6 siti che es s se era dalla opposita parte; aduque tu pittore, quando ^failialberi d'apresso, ricordati 8 che, sendo coll' ochio alquato I0 9 sotto 1'albero, che ti accadera ve dere le sue foglie dal diritto e da"l riuerscio, e le I2 sara tanto piu azzurre quat' parti diritte elle ^fie vedute piu in iscorto e una I4 medesima foglia alcuna volta 'Smostra vna parte da ritto e l6 vna da riverscio e

it

per questo

ti

^bisognia farla di due

meza
colore
4.

colori.

that if the eye is almost under the tree you will see its leaves [some] on the upper and [some] on the under side, and the upper side will be bluer in proportion as they are seen more foreshortened, and the same leaf sometimes shows part of the right side and part of the under side, whence you must make it of two colours.

hand, remember

4*44*5-

i
*

12 2I

R-

3'

vota simosstrera.

4.
2.

trassparete.
4.

6. ellochio.

8.

nola.

9. le ne.

10. alluminata.

n.
13.

il

qua lume.

R-

anchora chelle.
17. diritto esi.

gra pa.
\\\\\

achade.

9.

ella.

n.

osscu.

12.

re

dal

diritto.

chellefatto dallustri.

14.

confin.-..

19.

vn.

20. gallo
9.

ecquesto achade.

21. to tal foglio.

le parte.
12.

436

17

R.

i.

ellume chellalumina.

[adun]

elle.

achadera.

n.

he

azure.

13.

e vn.

15.

mosstra.

424.

See

PI.

XXVIII, No.

2,

the upper sketch on the page.

In the original they are drawn in red chalk.

427430.]

ELEMENTS OF LANDSCAPE PAINTING.

217

G.
2

427.

L'onbre che so nelle foglie traspa renti, vedute da riverscio, son quelle 3medesime obre che son dal diritto d'essa * foglia, la quale traspare da riverscio sjnsieme colla 6 parte luminosa, ma il lustro mai puo trasparere,

The shadows in transparent leaves seenofthetransf from the under side are the same shadows pari!"ves as there are on the right side of this leaf, (427429)they will show through to the underside together with lights , but the lustre
light]

[reflected

can never show through.

G. 4 a]

428.

Quando
2

tra,

li

lustri delle foglie

1'una verdura e dirieto all'ale le 3 lor traspare-

When one
hind
it,

green has another [green] be-

the lustre

on the leaves and

their trans-

dimostra di maggiore po 4 tetia che quelle che cofmano colla chiaSrezza deltie
si

1'aria.

E se '1 sole allumina le foglie sanza che s' inframettono infra lui e 1'ochio e 8 sanza che esso ochio veda il sole, ^allora
6

parent [lights] show more strongly than in those which are [seen] against the brightness of the atmosphere. And if the sun illuminates the leaves without their coming between it and the eye and without the eye facing the sun, then the
reflected lights and the transparent lights are very strong. It is very effective to show some branches which are low down and dark and so set off the illuminated greens which are at some distance from the dark greens seen below. That part is darkest which is nearest to the eye or which is farthest from the luminous

li

lustri

delle

foglie
vtile
il

lor

I0

traspa

rentie
fica-

sono eccessive.

"Molto e

fare alcune rami

I2

tioni basse, le qualisienb scure e in verdure alluminate che sie

ca^peggino ^alquanto

l6 dalle verdure oscure vedute di sotto; ^quella parte e piv oscura ch'e piv vicina l8 all' ochio o ch'e piu distate dal-

remote

1'aria

luminosa.

atmosphere.

G.

429.

No

finger

mai

foglie

transpareti

al

Never paint leaves transparent

to the sun>

sole, perche son confuse e questo ac^cade perche sopra la trasparetia d'una * foglia vi si stanpira 1'onbra d'una al s tra foglia che li sta di sopra, la qua 6 le obra e di

termini spediti e di te^rminata oscurita, e alcuna vo! 8 ta e mezza o terza parte d'essa I0 9 foglia che a obra, e cosl tale ra mificatione e cofusa ed e da fu jl gire la sua imitatione.
12

Quella foglia e
il

piglia

trasparente 3che lume infra agoli piu ^disformi.

me

because they are confused; and this is because on the transparency of one leaf will be seen the shadow of another leaf which is above it. This shadow has a distinct outline and a certain depth of shade and sometimes is [as much as] half or a third of the leaf which is shaded; and consequently such an arrangement is very confused and the imitation of it should be avoided. The light shines least through a leaf when it falls upon it at an acute angle.

430.

Le obre delle piate no son mai 2 nere, perche dove 1'aria pene 3 tra non puo essere
tenebre.

The shadows of
for

where the atmosphere penetrates can never be utter darkness.

plants are never black, The gradations of there shade and

colour in
leaves

(430434)427.
i.

dellonbre chesso.
. .

4.

438. 3. trassparetie
ii.

magore.
12.

quale \\\\\ sspa \\\\ da. 5. reza. 4. cofinanno.

6. essel.

7.

chessinframettano

ellochio.
15.

9. lusstri

ellor.

10. ecesiue.

fare ver alcune.

base

sure.

13.

pegino.

14.

alquando remote dalle prime.

[che

si e]

delle verdure osscure.

16. delle.

17. osscura.
3.

429. 2. ecquessto.

chade

trassparetia.

5.

chelle sta.

12. trassparente.

430.

13
VOL.

R.
I.

3.

po.

EE

218

THE THEORY OF THE ART OF PAINTING.

[431. 432-

G.

8-J)

431.
If the light comes from and the eye n the eye will see the colour of the
is

2 e 1'occhio sia '1 lume viene da-; esso ^ochio vedra il coloHe delle s participate del colore foglie a b tutte 6 cioe dell' aria, e '1 T*b c sara dello vedute da 8 riverscio traspareti ^co bellissimo color ver I0 de partecipate di giallo

Se
n
-

in

is

at

leaves a b
that

all affected by the colour of m of the atmosphere; and b c will be seen from the under side as transparent, with a beautiful green colour verging on yellow.

77Z

sara il luminoso "alluminatore ^tutti gli occhi che vedranno il ^riverscio di essa foglia, la ve'Sdra di bellissimo verde chiaro I6 per essere trasdella foglia s
,

11

Se

If

is

the

the
side

leaf s all

of

this

luminous body lighting up eyes that see the under leaf will see it of a beautiful
the

parete;

'^Molte so le volte che le poste l8 delle foglie sara sanza obre 9e anno il riverscio 20 e il diritto fia lustro. trasparente
J

being transparent. In very many cases the positions of the leaves will be without shadow [or in full
light green,
light], and their under side will be transparent and the right side lustrous [reflecting light].

G.
II
2

432salice e altre simili pia te che si taglor rami 3 ogni anni, mettono *assai diritti e la loro obra e inSverso
li

liano

304

rami
il
li

mezzo doue nascono 6 essi rami, e inverse stremi 7 fan poca obra per le lor minu 8 te foglie e rari e sottili rami, I0 ^adunque li rami che si leua no verso il celo avra poca "obra e poco rilieuo, e quelli "rami, che guardano dal1'orizzote ^in giu nascono nella parte
"oscura
dell'

obra

vegonsi

ris-

l6 'Schiarado a loro appoco insino e questi mostra^no bo rileuo per stremi, essere in gra l8 di di rischiaramento in capo capo
J

other similar trees, which boughs lopped every 3 or 4 years, put forth very straight branches, and their shadow is about the middle where these boughs spring; and towards the extreme ends they cast but little shade from having small leaves and few and slender branches. Hence the boughs which rise towards the sky will have but little shade and little relief; and the branches which are at an angle from the horizon, downwards, spring from the dark part of the shadow and grow thinner by will be degrees up to their ends, and these

The willow and

their

have

onbroso.
20

Quella piata
piu
rara

fia

meno onbra 2I ta, che

e rare
fo-

being in gradations of light a background of shadow. against That tree will have the least shadow
in strong relief,

avra
glie.

ramificati 22 one

which has
leaves.

the

fewest

branches

and

few

431. i

R.

2.

ellochio.
2.
. .

r.

vedera.
3.

6.

coc.
'4.

8. trassparente.

13.
5.
.

vederanno.
. .

14. foglia.
7.

17. chelle.
8.

19. ano. 9.
.

to. lusstro.

431.

x22
ix.

R.

chcssi.

mett.i.

asai

ella.

mezo
.

nasscano.
15.

pocha.

essottili.

chessi.

10.
18.

ara.
riss-

pocho

ccquclli.
21. ara.

13.

ingu n.iscano.

14.

osscura

vegansi.

sciarado appocho.

16.

alloro

ecqueste.

ciaramento.

433435-]

ELEMENTS OF LANDSCAPE PAINTING.

219

G.

10,5]

4332

DELLE FOGLIE OSCURE

oiNANzi ALLE TRAS-

OF DARK LEAVES

IN

FRONT OF TRANSPARENT

PARETI.

ONES.

saranno interposte occhio, allora la piu viciSna all' occhio sara piu scura e la piu re6 mota sara piu chiara, no capeggiado ne 8 7 1' aria; e questo accade nelle fogli e che so dal centre dell'albero 91 la cioe inverse

3Quado
il

le

foglie

When
the
light nearest to

infra

lume e

1'

the leaves are interposed between and the eye, then that which is the
distant

the
is

most

eye will be the darkest, and will be the lightest, not

il

lume.

being seen against the atmosphere; and this seen in the leaves which are away from the centre of the tree, that is towards the light.

G. 286]
E'
2

434-

LUMI DELLE FOGLIE SCURE.

OF THE
The
will

LIGHTS ON DARK LEAVES.

lumi di quelle foglie sara piu del coche in loro si specchia, le sono di co^lore piu oscuro; e questo quali e causaHo perche il chiaro della parte alluminata coll' oscuro in se conpo 6 ne colore azzurro, e tal chiaro nascie ?dall' azzurro
1

lore del 3 !' aria

lights on such leaves which are darkest, be most near to the colour of the atmo-

che nella 8 superfitie polita di tal foglie si specchia, ed aume"9ta 1' azzurro che I0 la detta chiarezza sol generare colle cose
dell'aria

oscure.

And the sphere that is reflected in them. cause of this is that the light on the illuminated portion mingles with the dark hue to compose a blue colour; and this light is produced by the blueness of the atmosphere which is reflected in the smooth surface of these leaves and adds to the blue hue which this light usually produces when it falls on dark objects.
OF THE
LIGHTS ON LEAVES OF A YELLOWISH GREEN.

DE' LUMI DELLE FOGLIE DI UERDURA TRAENTE AL GIALLO.

13

Ma
*s

le foglie di

no

anno nello spechiare

uerdura traete al giallo dell'aria a fare

lustro

d' azzurro participant e, conciosiache l6 Ifogni cosa che appari sce nello specchio del colore di tale ^spechioll adunparti cipa
l8

But leaves of a green verging on yellow reflect the atmosphere do not a reflection verging on blue, inasproduce much as every thing which appears in a mirror takes some colour from that mirror, hence

when they

dell' aria spechi ato nel giallo della foglia pare verde, perche azzurro e I9 gia llo insieme misti copongono bellisimo

que 1'azurro

the blue of the atmosphere being reflected in the yellow of the leaf appears green, because blue

color 20 e verde, adunque verdi gialli sara li 21 lustri de! le foglie chiare traenti al color
giallo.

and yellow mixed together make .a very fine green colour, therefore the lustre of light leaves verging on yellow will be greenish
yellow.

Br.

M.

114 6]

435-

di

Sono li alberi infra loro in nelle capagnie varie nature di uerde, in 2 peroche alcuni
9 R2.

The
kinds

trees in a

of

green,

inasmuch

landscape are of various A " as some verge

ciassific

to their

colours.
433- !

trasparente.

3.

interposste.

4.

infralume ellocchio.

5.

ella.

6.

capegado.

7.

ecquesto achade.

8.

chesso.

9. coe.

434.

i.

fogle.

3.

sisspecohia.
9.

4.

osscuro ecquesto.
. .

5.

chiaro "della parte alluminata" collosscuro.

14.

6.

ettal

nasscie.
18.

7.

azurro.

8.

sisspecchia.

azurro chella
.
.

ciareza.

10. osscure.

isspechiare

affare lusstro.

15.

concosiache.

gallo "della

foglia" pare.
435.
i.

20. verdigalli
2.

lusstri.
.

infralloro inelle.

alcuno neggregga

essimili.

3.

giallegia

e noci

vite

verdure

\\\\\\\\\\\\\\.

4-

giallegiano con

433-

See

PI.

XXVIII, No.

2,

the lower sketch.

220
negreggia,

THE THEORY OF THE ART OF PAINTING.

come
abeti, pini, cipressi,
lauri,

[436. 437-

towards blackness, as
laurels,

firs,

pines,

bussi e simili, ^alcuni gialleggia, come sono noci e peri, viti e verdure muni alcuni i come castagni gialleggiano con oscurita
roveri, salcuni rosseggiano inverse 1'autunno come sorbi, melagrani, viti 6 e ciriegi, alcuni

box and the

such
as

like.

Some

cypresses, tend to

and verdure.
in

walnuts, and pears, vines are both yellowish and dark as chesnuts, holm-oak. Some turn red

yellow

Some

bianchcggiano come
i.

salici,

oliui,

canne e

si-

Sono

1'alberi di uarie figure..

autumn as the service-tree, pomegranate, vine, and cherry; and some are whitish as the willow, olive, reeds and the like. Trees are of various forms
.
.

G. 120]
2

436.

DEL LUME VNIVERSALE ALLU MINATORE DELLE

PIANTE.

OF

A GENERALLY DISTRIBUTED LIGHT AS LIGHTING UP TREES.

trees will be seen to dark shadow which is farthest

Quella parte della piata

The
proper-

4 si

dimostrera
6

That part of the

lie

vestita d'on 5 bre di minore oscurita, anTsh.Kfia piu remota dahlia terra.
trees

la

quale

in the least

from the

earth.
it let a p be the n b c the illuminated hemisphere [the sky], the under por-

(436440)

Provasi,
c sia
IO

n b

p pfonta, Pemisperio allumisia la

To prove

tree,

nato, "la parte di sotto del1'albero ve I2 de la terra / c e vede vn cioe la par lj te o I4 poco del l'emisperio in c d;
,

tion of the tree faces the earth / c, that is on the side o, and
it

Ma

la

'5

parte
10

da c maggior soma de I7 H'emisperio, b c cioe e per que l8 sto (e no vede la oscurita '9 della terra) perche
cocauita

piu e veduta

alta

nella

faces a small part of the hemisphere at c d. But the highest part of the convexity a faces

the greatest part of sphere, that is b c.

the

hemithis

For

resta
-'-'sso

piu
2I

allumi 20 nata;
di foglie,

Ma

spesso

come

se 1'albero, e lauro, albatro, bo-3

o
24

leccio,

cora
26

che a

allora e variato, 2 perche anno veda la 2 s terra e' uede la

obre

oscurita delle fo 27 glie, diuise da mo 28 lte 2 9la quale osscurita riverbe3 r ra insu
2

and because it does not face the reason darkness of the earth it is in fuller light. But if the tree has dense foliage, as the lauwill be rel, arbutus, box or holm oak, it different; because, although a does not face the earth, it faces the dark [green] of the
leaves

so33praposte foglie, 34 e 6 questi tali aUsberi anno 1'onbre ta3 to piu 37 esse so 3piu vicine al oscure, quanto
nelli ri3 versci delle

39mezzo dell'albero.

cut up by many shadows, and this darkness is reflected onto the under sides of the leaves immediately above. Thus these trees have their darkest shadows nearest to the middle of the tree.

G.

x5

437-

DELL'ONBRA DELLA VERDURA.

2

OF THE SHADOWS OF VERDURE.

The shadows of verdure are always somewhat blue, and so is every shadow of every object; and they assume this hue more in proportion as they are remote from the eye, and less in proportion as they are nearer.

no

Senpre 1' onbre delle verdure partecipadello azzurro e cosl ogni onbra d'o 4 gni
e piu

altra cosa,
ella

e tanto piu ne pisglia quanto distante daH'ochio, e meno, quanto ella e piu vi7cina.

osscurita

come

asstagni rove
off.

\\\\\\\\\\\\.

5.

rossegiano inver laltunno.

6.

bianchegiano

salci

essi.

8. figure

de quali

la

here
436.

tiie

text breaks

139
13.

R.

4.

dimostcra.

5.
.

osscurita.
.

6.

la

qua

fia.

8.

a i

sia.

9.

n b c
coe
.

sia [lorizote o].

n. diso

dcllalbero.

12. coe.

pocho. 14. lemissperio bero esspesso. 22. ollecco

questi.
35. beri allonbre.
. .

Malla.
variato

16.

magor soma.
23.

17. llemissperio

a c

e pe que.

18. osscurita.

20. Massellal34. ec-

^.
39.
.

A. perche.

28.

obre (delle

vici).

29.

[nej la quale.

33.

praposste.

36. osscure.
.

meza.
5.

437- 3- accuro

ongni.

4.

chosa ettanto

ne

pit.

ellatre piu distanti.

6. cllahc.

to.

lazurro.

12.

mosstrano.

17.

[La cosa

438440.]
8

ELEMENTS OF LANDSCAPE PAINTING.

221

Le

foglie,

"I'aria,

che 9spechiano 10 l'azzurrodelI2 si mostrano ^all'ochio per senpre

.

ta I4 glio.

The leaves which reflect the blue of the atmosphere always present themselves to the eye edgewise.

BELLA PARTE ALLUMINATA

E MOTI.
18

l6

DELLE VERDURE

OF THE ILLUMINATED PART OF VERDURE AND

OF MOUNTAINS.

La parte alluminata si dimostrera piv 20 lunga distanza del suo na turale colore, 2I la quale sara allumi nata da piu potente lume.
J

The
.

illuminated

in

distance, will tural colour

at a great portion, appear most nearly of its nawhere the strongest light falls

upon

it.

G. 286]

438.
2
_

Li ALBERI CHE SONO ALLUMINATI E DALL'ARIA.

3

DAL SOLE
e

OF

TREES THAT ARE LIGHTED BY THE SUN AND BY THE ATMOSPHERE.

[both]

Li

alberi

alluminati

dal

sole

dalthe

In trees that are illuminated

by

4 le 1'aria, avendo foglie di colore oscuro, sara da vna parte s alluminati daH'aria e

sun and the atmosphere and that have leaves of a dark colour, one side will be
illuminated by the atmosphere [only] and in consequence of this light will tend to blueness, while on the other side they will be illuminated by the atmosphere and the sun;

per

questo

tale

allu 6 minatione

participa

d'azzurro, e dall'altra parte ?saranno alluminati dall'aria e dal sole, e quella 8 parte

che 1'ochio
lustra.

vedra alluminata dal sole

fia

and the side which the eye sees illuminated by the sun will reflect light.

Ash.

I.

439SITO SELUAGGIO.

DEL FIGURARE UNO

2

OF DEPICTING A FOREST

SCENE.

Li alberi e 1'erbe, che sono piv ramirami, deono 3 avere minore oscurita d' obra quell' albero e quelle erbe,
ficati di sottili
:

The trees and plants which are most thickly branched with slender branches ought
to have less dark shadow than those trees and plants which, having broader leaves, will cast more shadow.

che avrano maggiori

foglie,

fieno cagio di

maggiore obra.

E.

440.

PlCTURA.
Nella situatione dell'ochio, il qual uede alluminata quella parte delle piante che 4 veggono il luminoso, mai fia veduta al6 5 luminata 1' una pianta come 1' altra pruovasi e sia 1' ochio c che vede ? le due piante
3
;

ON

PAINTING.

In the position of the

eye

which sees

that portion of a tree illuminated which turns towards the light, one tree will never be

To prove

seen to be illuminated equally with the other, let the eye be c which sees this,

438.

alluminata re]. 3. Deli alberi .

8.

18.
.

aluminata

si

dimosstrerra.

19. illungha.

20. cholore.

21.
. .

eddallaria.
lusstra.
2.
li

4.

osscuro.

5.

alluminate alluminate dallaria

talle.

potente [cholore] lume. 6. dazurro. 7. alluminate

ecquella.

chellochio
i

439.

i.

sito seluagio.

alberi

[erbe]

ellerbe chessono

piv ramifiga[ndi]ti.

3.

osscurta

arano magiore.

4.

chagio

di

magiore.
440.
4.

veghano.

5.

chome.

6.

essia.

8.

dicho chettale.

9.

vedera.

n. chome

inperochecquell albero.

12.

dimossterra.

PI.

The two lower sketches on the left of 440. XXVIII, No. 3, refer to lines 21 23. The upper

sketch has
himself.

apparently been

effaced

by Leonardo

222
b d,

THE THEORY OF THE ART OF PAINTING.

8

[441. 442.

le quali sono allu minate dal sole a; dico che tale occhio c ^non vedra li lumi I0 essere della medesima proportione alia nell'vno albero "come sua obra

the two trees b d which are illuminated by the sun a; I say that this eye c will not see the light in the same proportion to the shade,
in

one

tree

as in
tree

the

other.
is

Be-

nell'altro-; inperoche quell' albero,

si dimoobroso che quell che n'e piu remo^to, quato 1'uno

cause,
the

the

which

nearest to

ch'e

I2

piu vicino al sole,

strera tanto pi' 3 v

e piu vicino al co'Scorso de' razzi solari che vegono all' ochio
albero
16

sun will display so much the stronger shadow than the more distant one, in proportion as one tree is nearer to the rays of the sun
that

converge to the eye than the

che 1'altro ecc. '^Vedi che dell' albero d no si uede dall' occhio c I8 altro che obra, e dal medesimo occhio c si '9 vede 1' albero b mezzo alluminato e mezzo
aobrato. 2 'L' albero che e veduto sotto: 1' ochio vede 22 la cima d'esso albero stare detro alia cir^culatione che fanno li sua rami. 2 "Ricordati, opictore, che tanto sono varie 2 le 5oscurita dell'onbre in una medesima
20

that the eye c sees nothing of the tree d but shadow, while the same eye c sees the tree b half in light and half in shade. When a tree is seen from below, the

other; &c. You see

eye

sees

the

top of

it

as

placed

within

the circle

made by its boughs[23]. Remember, O Painter! that the

depth
of shade
in

variety

of
rity

any one

spe
27

tie di piante, quante son varie le o densita delle loro ramificationi.

rarita

species of tree is in proportion or density of their branches.

particular to the ra-

E.

441.

Le obre
The
disui2

si

delle piate, poste ne' paesi, no dimostrano vestite di se co 3 medesima

The shadows of trees placed in a landscape do not display themselves in the same
position in the trees on the right hand and those on the left; still more so if the sun
to the right or left. As is proved by the th 4 which says Opaque bodies placed between the light and the eye display themis
:

iightand

situatione nelle piante

destre co 4 me
il

nelle

rcfere'ncTto sinistre, e e l a sinistra; of th^s pec"

massime essendo
provasi

sole a sdestra

per

la

4 che
infra
'1

di cie

(4i-43)-

UK
7e
la

corpi oppachi,
1'

interposti

lume
e

ochio,

si

dimostra

tutti obrosi,

per

infra '1 corpo corpo opaco tutto I0 e per la 6 a HI' ochio e '1 corpo alluminato, opaco, interposto infra le "tenebre e'l lume, fia veduto mezzo obroso e mezzo lu I2 minoso.

a Hl'o 8 chio 5

interposto
il

opaco e lu'me vede

th shadow; and by the 5 The eye when placed between the opaque body and the light sees the opaque body th When entirely illuminated. And by the 6 the eye and the opaque body are placed between darkness and light, it will be seen half in shadow and half in light.

selves

entirely

in

G. 9 6}

442.

DELL'ERBE
2

DE' PRATI.

OF THE HERBS OF THE

FIELD.

piate,

Delle erbe che piglia 1'onbre delle che nascono infra esse, quelle che

Of the plants which take a shadow from the plants which spring among them, those
18. eddal. 19.

13.

checquell.
24.

14. al

cho.
.

15.

chorso
.

veghano.
.(le

16. chellaltro.

emezo.

21.

Labro.
.
.

23.

chulatione chef-

fanno.
441.
i.

Richordati
2.
si

chettanto

le

o].

25.

[bre] osscurita dellonbrc nuna.

27. oddensita

ramitichationi.

posste.

6.

chorpi
.

442.

opacho i 21 R.

[debbo] dimosstrano [circhu] vestite. 4. sinisstre. 5. desstra o assinisstra . . cheddi. 3. desstre cho. 8. interpossto 7. ellochio si dimosstra tuttc obrose. oppacho ollu. 9. oppacho. 10. chorpo infralle. n. cllume . mezo mezo.
.

interpossti.

i.

delie erbe

piglia

dellepi 2.

3.

nasscano

esse (quelle

is

wanting').

5.

minate

ellerbe.

6.

aonbrate.

441. See the PL XXVIII, No.

figure
3.

on the
first

right

hand side of
of the text

are written below

the

diagram and above

it

are

The

five lines

the last eight lines of the text, given as No. 461.

443- 444-]

ELEMENTS OF LANDSCAPE PAINTING.

which

223

so di qua -dall'obra anno li festuchi alluSminati in cSpo obroso, e 1' erbe, che c loro

anno onbrate, ?ano

chiaro, cioe nel
bra.

li

festuchi oscuri
di la

capo ch'e

capo da 9l'on-

are on this side [in front] of the shadow have the stems lighted up on a background of shadow, and the plants on which the shadows [fall have their stems dark on a light background; that is on the background beyond the shadow.

DELLE PIATE CHE SONO "INFRA L'OCHIO E

'L
J3

OF

TREES WHICH ARE BETWEEN THE EYE AND

LUME.

THE LIGHT.
1'

Delle piate

che sono infra

ochio e
but

Of

the

trees

which are between the eye

lume, *4la parte dinati fia chiara, la qual ^chiarezza fia mista di ramificatio di fol6 glie traspareti (per essere vedute da riverl8 ^scio) co foglie lustre vedute dal di ritto, e il loro canpo di sotto e dirieto T 9sara 20 di verdura oscura, per essere a6 brata dalla parte dinati della detta piata, 2I e questo accade nelle piate piu alte del'1
1'

and the

light the part in front will be light; this light will be broken by the rami-

fications

of transparent

leaves

being

seen

from the under side and lustrous leaves being seen from the upper side; and the background below and behind will be dark green, being in shadow from the front portion

of the said

tree.

This occurs in trees

ochio.

placed above the

eye.

G.

443-

DOVE

SI

DE'.

RITRARRE

LI PAESI.

FROM WHENCE TO DEPICT A LANDSCAPE.

the trees

3 Li paesi si debbono ritrarre in modo, che 4 li alberi sie mezzo alluminati e mezzo a s obrati, ma meglio e farli quado il so 6 le e occupato da nvvoli, che allora li 7 alberi s' aluminano da lume vniversale 8 del celo e da obra vniversale della terra, ?e questi

Landscapes should be represented so that may be half in light and half in shadow; but it is better to do them when the sun is covered with clouds, for' then
light

so tato piu oscuri nelle I0 lor parti, quato esse parti so piu pres TI so al mezzo delPalbero e della terra.
;

the trees are lighted by the general sky, and the general darkness earth. And then they are darkest in parts in proportion as those parts are the
to

of of the

certain

nearest

the middle of the tree

and

to the earth.

G.

20-5]

444.

DELLE PIATE MER^DIONALI.

3 Quado il sole e all'oriete, le pi^ante meridionali e settetriona s li anno quasi tanto di lume qua 6 to d' obra tato mag8 gior so7ma di lume quato esse son pi v occidetali, e tato ma9gior soma d'obra I0 so piu orietali. quato esse
;

Op TREES TO THE

SOUTH.

When
the South

the sun

is

in the east the trees to

and

to the

Ma

much
of

as they lie to the greater share of shadow in proportion as they lie to the East.

light as shadow. light in proportion

North have almost as But a greater share

West and a

DELLI PRATI.
12

OF MEADOWS.
If the sun
is

Stado

il

sole alPoriete, le ver^dure de'

the

in the East the verdure of The

.

effects

-of

prati e altre piccole pia^te so di bellissima

meadows and

of other small

plants

is

morning n g ht

verdura per esse^re traspareti al sole, il che non ac l6 cade ne' prati occidetali, e le erbe
17

meridional! e settetrionali so

l8

di

mediocre

of a most beautiful green from being transnot occur in parent to the sun; this does the meadows to the West, and in those to the South and North the grass is of a moderately brilliant green.

(444-448).

bellezza di verdura.
chessono.

8.

chSpo

coe.
21.

10.

chessono.

13.

14.

ella qual.

15.

chiareza di

fol.

16.

trassparSti

vedete.

17.

lusstre.

19.

osscura.
i.

ecquesto achade.
3.
li

443. 444.

i-nR.
1-18 R.
16.

side ritrarre.
he.
5.

debo

chel.
6.

4.

mezi

emezo.
so.

6.

ochupato.
8.

9.

ecquesti

osscuri.

10. esse
14.

parte .. pre.
15. sole
il

n
ce none
a.

3. sole
.
.

anquasi.

MattSto magor

ettanto.

9. gor.

13. pichole.

ese.

chade

elli.

17. essettetrionali.

224

THE THEORY OF THE ART OF PAINTING.

[445447.

G. lia]

445-

4 ASPETTI DE* PAESI.

OF THE 4 POINTS OF THE COMPASS

3l e

[IN LANDSCAPES].

Quando il sole 6 all' oriete, tutte so -di bellissima parti alluminate delle piate verdura, e questo acScade, perche le foglie alluminate dal 6 sole detro 1 alia me2

ta dell' orizzonte,

cioe la
,

meta

orie-

I0 e detro al tale, so Hraspareti semicircolo occide"tale le verdure anno tristo colore; 12 e 1'aria vmida e turba, di color z ^di oscura cenere,
l4 per non es sere trasparete come la l6 orie'stale, la quale e lucida e ta to piu quato essa e piu vmida. '?Le obre delle piate orietali l8 occupano

the sun is in the East all the portions of plants lighted by it are of a most lively verdure, and this happens because the leaves lighted by the sun within the half of the horizon that is the Eastern half, are transparent; and within the Western semicircle the verdure is of a dull hue and the moist air is turbid and of the colour of grey ashes, not being transparent like
that in the East, which is quite clear and all the more so in proportion
as
it

When

is

moister.

I9 e sono tanto piu gra parte della pianta oscure quato 20 li alberi so piu spessi di

foglie.

the trees to the East cover a large portion of them and are darker in proportion as the foliage of the trees is thicker.

The shadows of

G.

446.

DEGLI ALBERI ORIETALI.

2

OF TREES

IN

THE EAST.

Stado

il

sole

all'

oriete,

li

alberi ve^duti
il

inverse esso oriete avran^no

lume che

li

circundera, d'intoSrno alle sue obre, eccetto

diuer6 so la terra, saluo se 1'albero no fus7 si

stato

rimodo

1'

anno passato

8
;

E gli
I2

When the sun is in the East the trees seen towards the East will have the light which surrounds them all round their shadows, excepting on the side towards the earth; unless the tree has been pruned [below] in
the past year.

alberi

And

the trees
in

meridionali

e sette^trionali

saranno mezzi

obrosi e
brosi
11

luminosi, e piu e luminosi secodo che sara

mez IO /i

me

on-

and North will be half light, and more or less

to the South shade and half in in shade or in light

piu e

meno
I4

orietali

o occi I3 detali.
l6

in proportion as they are the East or to the West.

more or

less to

L'occhio alto o basso varia 'Sle obre

alto

lumi nelli alberi, inpero che 1'ochio vede li alberi, co po I7 che obre e il basso con assai obre. 18 Tanto so varie le verdure T 9 delle piate
li

The [position of] the eye above or below varies the shadows and lights in trees, inas-

much

with the

as the eye placed above sees the tree little shadow, and the eye placed
in plants varies

below with a great deal of shadow.

as

quato so varie

20

le loro spetie.

The colour of the green much as their species.

G. 220]

447-

DEL' OBRE BELLI ALBERI.

2

OF THE SHADOWS
occi-

IN TREES.

Stado

il

sole

all' oriete,

li

alberi

The sun being

the
will

in the East [to the right],

alPochio si dimostrano di po 4 chissimo rilievo e quasi d' insesi s bile dimostra-

trees

to

the

West

[or left]

of the eye

show

in small

relief

and almost imper-

445. i

20 R.

I.
.

asspetti.
.

3. parte.

T2. alluria

etturba.
aberi.
3.

13.

8. coe. 6. sole [in tutto lorizo] detro . . orizonte. 4. ecquesto. osscura cenere [elliari] per non e. 15. he lucida etta. 18. ochupano. 4. chelli.
5.

10. 19.

gemice ocidc.
essono
.

n.

an.

osscure.
i

446.

20 R.
ii.

i.

aran.

eccepto.
14.
7.

6.

aellalbero
15. elli.

non

fu.

8.

essette.

9.

sara

mez

obrosi.

10.

luminos e

piu.

olluminosi secdche.
2.

12.
5.

ho
per

occi.
lari.i.

obbasso.

447.

i22

R.

oci.

4.

ecquasi.

he molto.

n. chadone

achade

chelie.

12.

militudine

ellume.

13.

ve-

Heliog; Dxijardin.

Imp. Eudea.

448. 449-J

ELEMENTS OF LANDSCAPE PAINTING.

ceptible gradations,
lies

225

6 perche 1'aria, die in fra 1'occhio e esse piante s* interpone, ?e molto fvsca, per 8 e so privati d'obra, e la 7 a di questo; beche 1'obra 9sia in ciascuna diuisio I0 di

tione,

because the atmosphere between the eye and those trees th is of this and very dense [7], see the 7 have no shade; for though a shadow exists they

which

ramifi II catione, egli accade che le

dini

si

I2

militu-

dell'obrae lume, che ^vegono all'ochio, sien cofuse e I4 miste insieme e per la loro
IS figura no si possano copredere lumi pncipali so nelli ^mezzi delle l8 piate e le obre inver so li stremi, e le loro I9 so diuise dal'obre delli interseparation!

in every detail of the ramification, it results that the images of the shade and light that reach the eye are confused and mingled

piccola
l6

li

ualli

d'esse
2I

20

piate,

quado

spesse
si

d'alberi,

e' nelli rari

selue sono termini po 22 co

le

vedono.

together and cannot be perceived on account of their minuteness. And the principal lights are in the middle of the trees, and the shadows towards the edges; and their separation is shown by the shadows of the intervals between the trees ; but when the forests are thick with trees the thin edges are but little seen.

G.

448.

DELLI ALBERI ORIETALI.

2 Stado il sole all'oriete, li sua alberi sono oscuri inverse il mezzo e li loro stremi

OF TREES TO THE

EAST.

When
edges are

the

sun

is

in

are darker towards

light.

the

the East the trees middle while their

so luminosi.

L.

449-

LE

COSE POSTE NEL LUME MAL SI DISCIER2 NONO, MA FRA LUME E OBRA SPICHERA
BENE.
3

OBJECTS IN HIGH LIGHT SHOW BUT LITTLE, BUT BETWEEN LIGHT AND SHADOW THEY STAND OUT WELL.
represent a landscape choose that The effects of midday 11 j i sun shall be at noon and look toight draw. And wards the West or East and then if you turn towards the North, every object placed on that side will have no shadow, are nearest to the particularly those which of the] shadow of your head. And [direction if you turn towards the South every object on that side will be wholly in shadow. All sun towards the which are trees the and have the atmosphere for their backwhich ground are dark, and the other trees lie against that darkness will be black [very in the middle and lighter towards the

Per

ritrare

paesi fa che

'1

sol sia

To

mezzodl e volta 4 ti
e
le
ritrai,

e se

ti

a ponete o a levate volte s rai a settetrione, tutte

the

cose che sara poste 6 per questa linia fie sanz' obre, e massime quelle ^ che sara piv 8 e se ti propinque all'obra del tuo capo;
volterai a mezzodl,
9 linia

ogni
I0

cosa

per

quella

fia tutto
il

obrosa;

tutte le piate, che

fie

verso

sole,

che

avranno per

suo
I2

"canpo

1'aria,

fieno oscure, e 1'altre pia

te,

che capeggieranno in tale oscurita, fie nere X 3in mezzo e chiare inverso li stremi.

dark] edges.

gano.
448.
i
T,

14. pichola.
3. i

15.
. .

poss3 cSpledere.
chelli.
.

17.

mezi

elle.

18. elle lor seperationi.

22.

vedano.
asse
r

R.

osscuri

mezo
.

449

1-13

lecho

ello nel

disciernano.

2.
.

frallume.
.

3-

amezo

[e volta.

4-

alleuate
12.

esetti.

chessara.

6.

masime

quele.

8. essetti

10. cheffie

cheara.

n. osscure

chelaltre.

chapegieranno.

13-

This possibly referred to something written on the seventh page of this VOL. i.
447.
7.

per

la 7

di questo.

note book marked G. Unfortunately

out and
lost.

it

has been cut

226
G. ,5*)

THE THEORY OF THE ART OF PAINTING.

450
Z

[450. 451.

OF THE
DELLE PLATE IN
nelli
5

DELLA TRAFORATIO
^

SE.

SPACES [SHOWING THE SKY] IN TREES THEMSELVES.

the
parts
in

La
1'

The appea- delle

r

Ce
i

traforatione dell' aria piante e la traforatione

corpi

The spaces between

mass
of
trees,

the

delle piate

and

the

spaces

between

tre

nthe infra

diance

6 distantia non si dimoaria in lunga 7 s trano alii occhi, perche, doue con fatica si 8

the trees in the air, are, at great distances, invisible to the eye; for, where it is an effort

vn misto confuso, I0 il qual parti ci pa piu di quel ch'e maggior soma; "li traforameti dell'albero sono di
9 fassi
I2 par ticule

conprede il tutto, scono le parti ma

con

difficulta

si

cono-

[even] to see the whole discern the parts. mixture is the result,
to

it

is most difficult But a confused

d'aria alluminata, le quali so minori della piata, e pero pri^ma si perdono di notitia che essa pian'Sta, ma no resta per questo che esse no I6 vi
'3assai

sieno,

onde per
e
di

neciessita

si

fa

vn mi I7 sto
il

d'aria

quale ue I9 de.

l8

scuro del' albero onbroso, insieme cocorre all'ochio che

'1

chiefly partaking of the [hue] which predominates. The spaces between the leaves consist of particles of illuminated air which are very much smaller than the tree and are lost sight of sooner than the tree ; but it does not therefore follow that they are not there. Hence, necessarily, a compounded [effect] is produced of the sky and of the shadows of the tree in shade, which both together strike the eye which sees them.

DELLI ALBERI CHE OCCUPANO LE TRA 2I FORATIONI L'UN DELL'ALTRO.

22

OF TREES WHICH CONCEAL THESE

ONE ANOTHER.

SPACES IN

Quella parte dell'albero sara

me

tra-

fora 2 3ta, alia quale 2* 1' albero, e 1' aria

s'oppone
e

dirietro

infra

That part of a tree will show the fewest spaces, behind which a large number of trees
are

standing

be-

maggior somma
d' altro

a! sbero,

tween the tree and

the air [sky]; thus in the tree a the

come a no

nel albero
si

occupa ne in b per no esservi alberi dirieto: 27 Ma in c u'e sol la meta traforata cioe c o 28 occu2 pata dall' albero d, e vna parte del 9 1' altra 26 foratione,

l>,

as there

is

not are spaces concealed nor in no tree behind. But in c only

bero
oltre

de

occupata dall' albero

la traforatione

e,

po3co

piu

tutta

I corpo3 rale

delli

shows the spaces filled up by the tree d, and part of the tree d is filled up by the tree e and a little farther on all the spaces in the mass of the trees are lost, and
half

alberi e persa 3* e sol ui re33sta la Ia34terale.

only that at^the side remains.

G. 266]

451-

DE' ALBERI.
dall'aria che
le piate 3remote capo? *Li termini, che anno le ramificatio deli
si
2

OF
What

TREES.

Quali termini dimostrano

fa lor

outlines are seen in trees at a distance

alberi
6

coll' aria alluminata, quanto piu so remoti piu si fanno in figura tra 7 ete allo 8 sperico, e quanto piu son vicine piu dimo-

against the sky which serves as their background? The outlines of the ramification of trees, where they lie against the illuminated sky,

strasi

remote da
che

9 tale
I0

spericita,

come a
vicino
conplede
il

display a form which more nearly approaches the spherical on proportion as they are remote, and the nearer they are the less they appear in this spherical form; as in
the
tuto.
25.

albero primo,
450. 4. ella.
18.
5.

per essere
7.

lui

first

tree

a which, being near

10.

to the eye,
16. mis. 28.

lungha.
20.

6.

allocchi.
23.

faticha

si

8.

conosce.
26.

maggor soma
alberi.

co.

14.

perdano.

cocore.

ochupano.

sopone.

24. ellaria

magor.

ocupa.

no csser a

27. trofaroto coe.

ocu-

pato.

31. deli.
3.

451. 2. dimostrino.

remo

dall

aria chessi.

4.

cheale.

5.

collarinlluminatn.

7.

spericho.

8.

dimostia remote.

9.

albero P*

45. The sketch No.

4, PI.

XXVIII, belongs

to this passage.

452. 453-J

ELEMENTS OF LANDSCAPE PAINTING.

displays

227

"dimostra la vera figura I2 della J sua ramificatione, la 3 quale si diminuiscie I4 e al tutto si perde in c, doue quasi in b, non che li ra'Smi d'essa pianta si vedono, ma tut l6 ta la pianta co gra fatica si conoall'ochio,
sce.
J

7lIOgm corpo onbroso,

si

il

quale

sia di
20

qua lunque figura

l8

voglia, in lunga dista-

na9tia pare essere spericojlf questo 2 scie perche, s'elli e vn corpo quadra 'to, in 22 breuissima distatia si perdono li ango li
sua, e poco piv si perde piu di lati mi^nori 2 che restano, e cos! prima che si lperda il 2 tutto si perde le parti per esse 5re minor del tutto, come 1'uomo, ch'e 26 in ta! le aspetto, perde prima le ganbe, 2 braccia e tes 7ta che '1 busto, di poi

true form of its ramification; shows- less in b and is altogether lost in f, where not merely the branches of the tree cannot be seen but the whole tree is distinguished with difficulty. Every object in shadow, of whatever form it may be, at a great distance appears to be spherical. And this occurs because, if it is a square body, at a very short distance it loses its angles, and a little farther off it loses still more of its smaller sides which remain. And thus before

the

but

this

the whole

is

lost [to sight] the parts are lost,

stremi della lunghezza perde prima li 2 che della larghezza e 9quado son fatti vi restassino, equali sarebbe Q se li an3 goli ma non ui restando e tondo.
,

28

being smaller than the whole; as a man, who in such a distant position loses his legs, arms and head before [the mass of] his body, then the outlines of length are lost before those of breadth, and where they have become equal it would be a square if the angles remained; but as they are lost it is round.

Li 37*1

452.

La
2

po

di

stanpa dell'onbra di qualuque coruniforme grossezza mai sara simile

^al corpo,

donde

ella nascie.

the shadow of any object 1f il H uniform breadth can never be [exactly] the same as that of the body which casts it.

of

The image of r
'

The
452

1..1

shadow
<
-

cast of

trees

4S ^-

Br.

M.

453All trees seen against the sun are dark towards the middle and this shadow will be of the shape of the tree when apart from
others.

Tutti li alberi, veduti diuerso il sole, sono oscuri verso il 2 mezzo, la quale oscurita fia della figura del suo albero, quado fia 3 diuiso
dalli altri.

tLe onbre
dal
sole,

diriuative delli alberi, veduti sono oscure quato quelsla del

delli alberi,

mezzo delli alberi. 6 L'onbra diriuatiua

di

mai

fia

minor

somma
fia
si

che

la

somma

d'esso al-

7bero,
sito
8
il

ma

tanto
fia

maggiore

dove

taglia

quato il piv obbliquo luerso

stretta
il

The shadows cast by trees on which the sun shines are as dark as those of the middle of the tree. The shadow cast by a tree is never less than the mass of the tree but becomes which taller in proportion as the spot on it falls, slopes towards the centre of the
world.

cetro del

modo.
inverse suo albero

sQuella onbra sara piv

il

mezzo

fia

del quale I0 di piu rara ramificatione.

dell' albero,

of the tree branches.

The shadow will be densest in when the tree has

the middle the fewest

che.
21.

12. le.

14.

perde
. .

c.

15.

vedino mattu.

16.

faticha.

17.

onbro.
26. le

18.

lungha.

19.
.

innbreuissima
.
.

geza

largeza ec.

perdono. -23. 29. sarebe O>

nori che resstano.

selli.

24. parte.

essetto perde

20. nasscie. spericho Ecquessto. brca e tes. 27. bussto. 28. lun-

452. 2. grosseza Mai.

453.
i.

3. nasscie.
. .

osscuri.

2.

mezo
ii.

osscurita.
.
.

4.
.

solessono osscure.
.

5.

mezo
.

dellalberi.
.

6/ chella.
14.

7.

maffia
15.

magore.
. .

9.

mezo.
. .

10. [pi] di piu.

ogngni

mezo

tutti.

13.

obra

vesstita

parte.

dacquella.

ecquesto

dacquella

452.

See

PI.

XXVIII, No.

5.

453. The three diagrams which accompany text are placed, in the original, before lines ^

this

n.

At the spots marked B Leonardo wrote Albero (tree). At A is the word Sole (sun), at C Monte (mountain) at D piano (plain) and at E clma (summit).

228

THE THEORY OF THE ART OF PAINTING.

[453-

"Ogni ramo a M mezzo dell'onbra di di tutto qualunche ramo e per cosegueza

12
il

suo albore.
3

La

ramo o d'albero
luminose
viene
il

figura di qualunche obra di fia vestita di parti

M da
lume,

quella
la

parte,

donde

Light and sh a n g r o upso f

trees

quale alluminatione ' dell' onbre, e questo fia della figura fia per ispati d'u miglio da quella l6 sole. il parte che si trova il ^S'elli accade che alcu nvuolo in alcuna parte aonbra qualche parte de' colli, I8 li alberi sua fanno maca mvtatione che in loco piano, perche essi alberi su colli ^son piv spessi di
rami, perche
20

Every branch participates of the central shadow of every other branch and consequently [of that] of the whole tree. The form of any shadow from a branch or tree is circumscribed by the light which falls from the side whence the light comes; and this illumination gives the shape of the shadow, and
this may be of the distance of a mile from the side where the sun is. If it happens that a cloud should anywhere overshadow som? part of

hill

will

the [shadow of change less than

the] trees there in the plains;

manco mettono per anno

oride
di

essi rami per natura e per essere pieni d'onbre, le onbre de nvuoli no li 2I possono piv oscurare, e i piani che si interpongono infra li alberi, che non anno

che ne' piani,

essere

oscuri

preso al"cuna onbra, forte si transmutano della lor chiarezza, e massimamente quelli 2 3che son vari dal verde cioe terreni lauorati o ruine di moti o loco di sterilita e 2* dove li alberi confinano coll' aria, sasso; 2 essi paiono d'u medesimo colore 5se gia non fussino molto propinqui e di foglie 26 spesse, come il pino e simili alberi; quado tu vedrai li alberi per quel uerso che li allumina il sole, tu li vedrai quasi d'una medesima 2 7 chiarezza e le obre che dentro

hills have because they grow less high each year than in the Therefore as these branches are plains. dark by nature and being so full of shade, the shadow of the clouds cannot darken them any more; but the open spaces between the trees, which have no strong shadow change very much in tone and particularly those which vary from green; that is ploughed lands or fallen mountains or barren lands Where the trees are against or rocks.

for

these

trees

on

the

their

branches

thicker,

sono fieno occupate dalle foglie alluminate, che infra 1'ochio tuo e 28 P onbre s'intervi

pogono.
ALBERI
2

atmosphere they appear all the same if indeed they are not very close together or very thickly covered with leaves like the fir and similar trees. When you see the trees from the side from which the sun lights them, you will see them almost all of the same tone, and the shadows in them will be hidden by the leaves in the light, which come between your eye and those shadows.
the

colour

VICINI.
'1 sole e 1'ochio onbre, che diuerso

TREES AT A SHORT DISTANCE.

'Li alberi, che infra

s'
il

interpongono

dopo

le

loro cietro si dilatano, 3 s i uedra il uerde delle lor foglie trasparete, la qual transparetia fia interrotta in molte 3 parti dalle

foglie e rami onbrati, che infra te e loro s'interpogono, o nelle lor parti superiori 3 2 da molti lustri di foglie fieno accopag-

nate.

When the trees are situated between the sun and the eye, beyond the shadow which spreads from their centre, the green of their leaves will be seen transparent; but this transparency will be broken in many places by the leaves and boughs in shadow which will come between you and them, or, in their upper portions, they will be accompanied by many lights reflected from the leaves.

chessi.

17.

achade.
. .

18. iloco

"spatio" piani perche.

21. osscurare
sia.
. .

19.

mettano

'

"per anno" che

22.

.*

esse ramp.

20. lessere ossuri e

pere
lau-

essere le onbr de
olati or

possano.

chessi interpongano infralli.

chiareza e massimamenti.
26. chelli.
.
.

23.
elle
.

coe
.

uine "e"
.

loco sterilita essasso

28.
.

24.

paiono.

25. molti.
li

26. essimili.

27. ciarera
il

ochupate

delle

infrallochio tuo ellonbre.

.

sinterpongano. 29.
32. lusstri.

abri

ellochio sinterpongano

suo cietro.

30.

traasparete.

31. parte

elloro interpogano

parte.

32. acopagnate.

29.

The heading

alberi vidni (trees

at

a short distance)

is

in

the

original

manuscript written in the

margin.

454456.]
B.

ELEMENTS OF LANDSCAPE PAINTING.

229

M.

172 5}

454-

Li alberi delle canpagnie poco spiccano 1' uno dall' altro, perche le lor parti luminate 2 confmano sopra le luminate dopo loro, e in questo e poco differetia da' lumi a
1'obre.

The trees of the landscape stand out but little from each other; because their illuminated portions come against the illuminated portions of those beyond and differ little
from them
in light

and shade.

G. 6a\

455di sotto
2

Belli alberi veduti

e cotro al
la parte s e chi-

lume 1'un dopo I'al^tro vicinamete: vlti^ma del primo sara transparete

ara in gra parte e can 6peggiera nella parte oscura 7 dell' albero secondo, e cosl faran tut 8 ti successiuamete che sara situ 9 ati colle
predette coditioni. I0 s sia illume, r sia "I'ochio, c d n sia I2 1' albero primo, a b c sia il secondo; dico 13 che r occhio vedra la in gra parte ^c

seen from below and against one beyond the other and near together. The topmost part of the first will be in great part transparent and light, and will stand out against the dark portion of the second tree. And thus it will be with all in succession that are placed under the same conditions. Let s be the light, and r the eye, c d n the first tree, a b c the second. Then I say
trees

Of

the

light,

that

r,

the

eye, will

see

the

portion

cf

tl

J parte trasparete 5e chiara per il lume s, l6 che la ve de dall' opposita parte, e ve^drala in canpo scuro b c, perche l8 tale oscurita

in great part transparent light s which falls upon

it

and lighted by the from the opposite

e 1'onbra
20

dell'

albero

Ma se T occhio vedra o p oscuro nel

23

^a
e

c\
ai

situate in t

esso

canpo
2

chi 22 arq,

n g.
delli

Delle parti
26

^6brose traspa 2 Sreti

?a
te

alberi
23

la

piu vicina

e piu

oscu-

side, and it will see it, on a dark ground b c because that is the dark part and shadow of the tree a b c. But if the eye is placed at t it will see o p dark on the light background n g. Of the transparent and shadowy parts of trees, that which is nearest to you is the

ra.

darkest.

w.

vi.]

456.

Quella parte dell' albero, che campeggia 1' onbra, e tutta d' un colore e do3 ve li alberi overo rami so piv spes 4 si ivi
2

That part of atreewhichhas shadow for background, is all of one tone, and wherever the trees or branches are thickest they will be darkest, because there are no little intervals of air. But where the boughs lie against a background of other boughs, the brighter parts are seen
lightest

diuerso
piv

scuro,

1'aria;

capeggiano sopra 8 altri ra7mi, disi quivi le parti luminose mostra piv chiare e le foglie 9 lustre per lo sole che Pallumina.
li
2. pocho diferetia. pocho spichano parte. R. 4. del p sara. 6. pegiera osscura. 7. albero 2 14. gra. 15. i lume chella. 16. oposita. 18. talle osscurita.
i.
.

Ma

perche

11

maco

5 si

stapa

dove

ra 6 mi

and the leaves lustrous sunlight falling on them.

from the

454.
455.

128

tu.

8.

sucessiuamete. 12.
21. osscuro.
4.

p, a b

c sia

il

2 dicho.

13. vedera.

20. sellochio.
. .

23. parte.
5. stapissce.

24. trasspa.
6.

25. rete deli.

7. parte.

456.

i9
8.

R.

i.
.

chanpegia.
.

2.

ettutta

cholore.

3.

albri[so]overo

spe.

macho.

cSpegiano.

dimostra

chiari.

9.

chellalumina.

230

THE THEORY OF THE ART OF PAINTING.

[457- 458.

G.

457In
careful

Nelle copositioni delli alberi fro'duti sia auertito di no replicare Hroppe volte vn

the

composition
to

of

leafy

trees

be

not

medesimo colore * d' una piata, che canpeggi s sopra il medesimo colore dell' altra pranta,

repeat

too often the

same

ma

varialo

co verdura ?piu chiara o

8

piv

colour of one tree against the same colour of another [behind it]; but vary it with a
lighter,

oscura o piu

verde.

or a darker, or a stronger green.

Bi.

M.

458.
i

Piv bello azzurro anno

paesi, quiido

omhc treat- per li tenpi belli el sole e a mezzodl che ht m nessuna 2 atra eta del dl, perche 1'aria *n for un'cf6 disgrossata d'umori e risguardando per iapes (458464)quell'aspctto tu vedi li al'beri belli in verde
nei loro stremi e 1'onbre inverso il mezzo oscure, e nelle lunghe distantie 1'aria che

finer azure [tone] weather the sun is at noon than at any other time of the day, because the air is purified of moisture; and looking at it under that aspect you will see the trees of a beautiful green at the outside and the shadows dark towards the middle; and in

The landscape has a

in
fine

when,

s'interpone infra te e loro si fa piv bella lei e cosa piv oscura, e pero Pazzurro e bellissimo. H SL C cose, vedute

the

remoter distance the atmosphere

which

quado dopo

per quel uerso che '1 sol' allumina, non ti mostrera le sue onbre Ma se tu sei 6 piv basso d'esso sole, tu uedrai quel che dal sole no fu veduto e cio sara tutto onbroso ?le foglie delli alberi, che s' interpogono infra te e 1 sole, son di due colori pricipali 8 cio verde bellissimo, lustro -e specchiameto dell' aria che allumina che no puo essere 9 veduto dal sole, e le onbrose che sol uedono la terra, e le piv oscure che da altro che I0 da oscurita so circudate.
j

'

comes between you and them looks more beautiful when there is something dark beyond. And still the azure is most beautiful. The objects seen from the side on .which the sun shines will not show you their shadows. But, if you are lower than the sun, you can see what is not seen by the sun and that will be all in shade. The leaves of the trees, which come between you and the sun
of two principal colours which are a splendid lustre of green, and the reflection of the atmosphere which lights up the objects which cannot be seen by the sun, and the shaded portions which only face the earth,
are

"Molto sono

piv

belli

li

alberi

infra

le

457. 2. repricare. 458.

i.

7.

osscura.
.

accurro

paessi. 2. dissgrossata doraori

. .

4.

infratte elloro

chosa.
.
.

5.

chose

. rissguardando . asspetto. 3. inverde loro estremi ellonbre mosstera Massetusse. 6. eco sara. 7. chessinterpogano
. . .

oscure
.
.

disstantie.
. .

ellsole

di

(tre)

"a"

colori.
10.

8.

coe

lusstro esspecchiamcto

allumina ch"e" no poteessere.

.
.

9. elle

onbrose chessol uedano

13.

elle piv

osscure.

osscurita.

n.

infralle

chessono

ette.

12.

tusse

elloro ecquesto accade.

lisstremi

trasparete.

458. At S, in the original is the

word

Sole (sun)

and

at

N parte

di nuvolo (the side of the clouds).

459-

ELEMENTS OF LANDSCAPE PAINTING.

'1

231

canpagnie, che sono infra

sole e te,
'1

I2

che

and the darkest which are surrounded by

quelli ai quali tu sei infra

sole e loro, e

questo accade che

il

quelli,

che sono diuer^so

li

sole,

mostrano

inverso

stremi le lor

foglie traspareti, e chi

non e traspare^te,
1'

cioe insu

li

stremi, lustro vero, e che

onbre

sono oscure per is che da niente sono occupate.

'

j6 Li alberi, ai quali tu ti interponi infra sole e loro, non ti si mostreranno se no ^col loro chiaro e naturale colore, il quale
1

The trees in something that is not dark. landscape which are between you and the sun are far more beautiful than those you see when you are between the sun and them; and this is so because those which face the sun show their leaves as transparent towards the ends of their branches, and those that are not transparent that is at the ends reflect the light; and the shadows are dark because they are not concealed by any thing.
the

The

trees,

when you place yourself

be-

per se non e molto eccessiuo e oltre a l8 questo al cuni lustri, li quali per non essere in capo troppo vario dalla loro chiarezza, fieno di poca evide^tia, e se sei piv basso di loro siti, potranno mostrare ancora con 20 le quali il sole no vide, che quelle parti,
fieno onbrose.

tween them and the sun, will only display to you their light and natural colour, which, in itself, is not very strong, and besides this some reflected lights which, being against a background which does not differ very much from themselves in tone, are not conspicuous; and if you are lower down than they are

Pel ueto. Ma se sarai da quella parte, d'onde il ueto spira, tu vedrai li alberi di molto 2 mag 3giore chiarezza che per altri versi no uedresti, e questo accade perche esso veto
22

21

may also show those portions on which the light of the sun does not fall and these will be dark. In the Wind. But, if you are on the side whence the wind blows, you will see the trees look very much lighter than on the other sides, and this happens because the wind turns up the
situated, they
is

di 24 scopre in

roversci

delle foglie,

le quali

sono molto piv biacheggiati che dal loro 2 5diritto, e sopra tutto fieno chiarissime se '1 uento trae da quella regi 26 one,
tutte

donde

si trova il sol di sopra alia quale tu abbi volte le schiene.

under side of the leaves, which, in all trees, much whiter than the upper sides; and, more especially, will they be very light indeed if the wind blows from the quarter where the sun is, and if you have your back turned to it.

Br.

M.

114,51

459il

Quado

sole e occupato

da nvgoli,

le

cose sono di poca evidetia 2 perche e poco differentia infra i lumi e 1' onbre delli alberi e delli edifiti, per 3 essere alluminati dalla chiarezza dell' aria che circuda I modo le s cose, ^ che poche sono 1' onbre e quel le poche si uanno perdedo in modo che i lor termini se ne vanno I fumo.

the sun is covered by clouds, are less conspicuous, because there is objects little difference between the light and shade

When

of

the

trees

and

of the

buildings being

by the brightness of the atmowhich surrounds the objects in such a sphere way that the shadows are few, and these few
illuminated

fade away so that their outline

is

lost in haze.

G. ii

460.
ALBERT E LORO LUME.

OF
The
colle

TREES AND LIGHTS ON THEM.

best

Il-uero

modo da

pratico nel figurare

method

of

practice

in

re-

le

canpagnie o vo'dire paesi

coe
loro
. .

sua

presenting

country

scenes,

or

should

14.

insulli stremi lusstro [e nelle parte]

vero e chellonbe
18.

osscure.

15.

ochupate.

16. tutti

elloro
tia

mossterranno
.

17.

"ciaro e" naturale

parte.
.

a di quessto.

lusstri
21.

dalloro" ciarezza" fieno di pocha.

.
.

19.
.

essesse

mos.

strare

20.

le

quale
li

il

son novide cheffieno.

24. biachegiati.
.

Massessarai
.
.

ma.

22.

gore chiareza
.

uedressti ecquesto

achade
459. i.

veto dis.
.

23.

quali.

25.

essopra
3.
.

dacquella.

26. alle

lessciene.
4.

ochupato pocha. 2. e po diferentia da loro lumi chen] che posono ecque. 460. i 8 R. i. elloro. 2. modi. 5. ochupato
.
.

ellonbre.

dalla gradeza de'llaria che circhilda.

[che pocha diferStia

5.
.

che
.

lor

ifumo.

accoche.

232
*piante
ricevino
si
il

THE THEORY OF THE ART OF PAINTING.

e dello elegiere che al cielo Ssia 6 sole, acciochd esse can pagnie
7 il

[461. 462.

occupato
del
sole,

lume vniversale e no
il

particulare
8

say landscapes with their trees, is to choose them so that the sun is covered with clouds; so that the landscape receives an universal

quale

fa

1'onbre

tagliate

assai differed dalli lumi.

and not the direct light of the sun, makes the shadows sharp and too strongly different from the lights.
light

which

E. 19 <]

461.

PlCTURA.
2

OF
winter.

PAINTING.

Li paesi,

fatti

nella figuratione del uerno,

no debbono dimostrare le sue motagnie azzur4 re come far si uede alle motagnie 6 di dell' e s state, e questo si prova per la 4 a
3

In landscapes which represent [a scene in] The mountains should not be shown blue, as we see in the mountains in the

questo che dicie K Infra

?te

montagnie, vedu8 inluga distantia, Quella si dimostrera di

le
I I0

9se piu spogliate delle lor foglie si dimostrera "di colore piu I2 se piu oscura, aduazzurro, la qual fia I
spogliate delle lor '* berrettino, foglie, si dimostrera di color essendo che le foglie son di color 'Sverde, e tato quato il uerde & piv oscuro che l6 il berrettino, tanto si dimostrera piu azzur^ro il uerde che il berrettino; e per la 2 a di l8 que sto .K 1'onbre delle piate, uestite di '9 tanto piu oscure che 1'obre di foglie, son
quelle piante che
2I

colore piu azzurro, la qual fia oscura; aduque essendo le piate

And this is proved [5] in the 4 of this which says: Among mountains seen from a great distance those will look of the bluest colour which are in themselves the darkest; hence, when the trees are stripped of their leaves, they will show a bluer tinge
summer.
which
will

th

be

in

itself

darker;
their

therefore,

que, essendo le piate

I3

when

leaves they will look of a gray colour, while, with their leaves, they are green, and in proportion as the green is darker than the grey hue the
the trees
lost

have

green will be of a bluer tinge than the gray. nd 2 The shadows of this: Also by the of trees covered with leaves are darker than the shadows of those trees which have lost
their leaves in proportion as the trees covered with leaves are denser than those without leaves and thus my meaning is

20

sono spogliate

di foglie,

quato le piate, rare che quelle che no "anno abbia provato il nostro Iteto.
23

vestite di foglie,

son

me

foglie,

e cosl

proved.
azzur'Sro

La

difinitione

24

del

colore

The

definition

of

the

blue

colour of

dell'ariada 26 sentetia, perche li 2 ?paesi so 2 28 piu az zurri di state che 9di verno.

the atmosphere explains why the landscape is bluer in the summer than in the winter.

C. A. i8i<5; 546-}]

462.

DE' PICTURA.
2

OF
inuerso

PAINTING IN A LANDSCAPE.

Se infra 1' ochio e

del

1'orizzonte s'in^terpone
decli 4 nante

If the slope of a hill

comes between

the

1'obliquita
1'

colle

eye and the horizon,

ochio,

mezzo

il quale ochio $si troui circa il della altezza d* essa declina 6 tione, al-

eye, while the eye is the height of this slope,

sloping towards the opposite the middle of

then that

hill

will

461. 2. fighuratione.
dicie [Infralle.

3. 7.

dimosstrare.

4.

chome
. .

[le]

far

delles.
8.

5.

ecquesto

si

prova [perche
.

lialberi]
9.

per.

6.

quessto ched10. di.

inllugha disstantia

dimossterra.
I.

[piu] di cholore piu

13.

fia

[piv]

I.

osschura adduque.
14.

mossterra.
color.
15.
.

n.

[piu] di
. .

cholore

fia

piv

12.

osschura adduque.
.

dimostera di cholor.

berrectino

cholli

ettato
.

eppiu osscuro.
24. cholore.
5.

16.

berrectino

dimossterra.

18.

son

[piu].

19.

osscuro chellobre.

20.

piate [prij.

22

nano

cchosi.
3.

28. di sstate.
il

462. 2. ellorizonte.

cholle.

cecea

mezo "della

alteza" dessa.

6.

tale

[paese] "collo" aquistera.

7.

osscurita edequal.

461.

5.

6.

Per

la

4" di

questo.

It is

impossible

applies
questo.

to

the

phrase

in

line

15:

per

la

2"

di

to

ascertain

what
not

this

certainly

does

quotation refers to. Questo mean the MS. in hand, nor

to us.

462.

The quotation

in this

passage again cannot

any other

now known

The same remark

be

verified.

463465.]

ELEMENTS OF LANDSCAPE PAINTING.

increase in

233
throughout its length. th of this which says ; darkest when it is seen

lora tale colle acquistera ? oscurita in ogni 8 grado della ,sua Iongitu dine; Provasi per
la 7

darkness

This
that

is

di questo che di cie: quella pianta si dimostrera piu oscu I0 ra la quale fia veduta
9

proved by the

a tree looks

I2 e verificata pivdisotto; "la propositione J tal colle mostrera dal mezzo 3in su perche tutte le sue piate nelle parti che so ^tanto

la

alluminate dalla chiarezza del cielo quanto I5 aobrata dalle oscurita parte che e l6 della terra, per la qual co sa e neciessario che tali piante sieno di medi^ocre oscurita; l8 e da quel sito inverse le radi ci del colle T9 tali piante vano rischiarado per la senpre a essa 7 a e quando coversa della 7 e per 20 tali piate piu s'avicinano alia somita di 21 tal colle, e neciessario a quelle farsi piu os 22 cure; Ma tale oscurita non e propora tionata 2 3alla distantia per la 8 di questo che dicie: 24 quella cosa si dimostrera piu oscura che si tro 25 va in piu sottile aria, e 26 a quella si dimostre ra piu oscura per la io
,
:

from below; the proposition is verified, since this hill will, on its upper half show all its trees as much from the side which is lighted by the light of the sky, as from that which is in shade from the darkness of the earth; whence it must result that these trees are of a medium darkness. And from this [middle] spot towards the base of the hill, these trees will be lighter by degrees by the converse of the 7 th and by the said 7 th For trees so placed, the nearer they are to the summit
:

of

the

hill

the

become.

But

to portion of this which darkest which

darker they necessarily darkness is not in proth the distance, by the 8

this

says:
is

That

atmosphere; and darkest which stands

in [seen] th by the io

shows object clearest the

:

That shows

out against a lighter

che confina

in

capo piu chiaro.

background.

463-

DE'
2

PAESI.

1 colori oscuri

dell'onbre delle

motagne
bello
at

The colours of
a
great

the

shadows
take

pigliano piv e piu senplice, che no fanno le 6 sloro parti luminose, e di qui nasce qua do che le sue il sasso della motagnia rosseggia 7 e piv parti luminose son di bissa, e quat 8 alluminata piv si fara del suo propio co-

nelle

lunghe

distantie

distance

in mountains a most lovely

^azzurro

blue,

much purer than their illuminated And from this it follows that portions.
when
the rock of a mountain is reddish the illuminated portions are violet (?) and the more they are lighted the more they display their proper colour.

9 lore.

H.2
2

464.

Quel loco sara piv

mo3tagnie
fia

luminoso che dalle piu remoto.

A place is most luminous when most remote from mountains.

it

is

G.

465-

OBRE
2

E LUME DELLE CITTA.

sole e all'oriete e 1'ochio
di
3

OF LIGHT AND SHADOW

S tia
is

IN

A TOWN.

Quado
il

il

sopra

mezzo

una

citta

esso

o^chio

When the sun is in the East and the eye onfc above the centre of a town, the eye will for
The word here scratched through and
14.
fe-

of

(465469).

dimosstera piu osscu. 10. disocto ad. n. dunque g&k seems to have been diremo. ,2. mossteral mezzo.
9
.

\\\\\\\\\\\\\\\

la

proposstione.

nelle ,3. in giututte

18.

puedi chesso.
rissiarado.
19.

alluminate
.
.

"dalla a;
|

del

che.
.
.

15. osscurita.

16. chettali.

17. osscurita.

cholle

vano

coversa

"-*

*>

P la <

quato piu
mosste.
463. 2. oscure.

somita.
.

21.
.

cholo enneciessario acquelle.

22.

scure Mattale osscurita.

24.

dimosstera piu

26. osscura
3.

lunge.

chapo. 4. azurro

fanno

lele.

5-

Parte.

6. chelle.

7-

Parte.

8.

propie.

&.

l-l R!
VOL.
I.

i.

ellume.

2.

ellochio.

3-

mezo.

vedera.

5-

mezi.

6.

mezo.

7-

nale nella.

8.

ella.

234
vedra
li

THE THEORY OF THE ART OF PAINTING.

la
5 parte meridionale d'es sa citta aver

[466-

tetti

mezzo

see the Southern part of the town with roofs half

its

obrosi e 6 mezzo luminosi e

cosl la settetri-

half in light, and the

shade and

same
the

e la ?onale, orietale fia tutta obrosa 8 e la fia occidetale tutta luminosa.

towards North; the

Eastern side will

be all in shadow and the Western will be all in light.

C. A. 157 a; 463

466.

Delle case d' una citta, di che si conoscono le diuisioni delle case per il rischiarare che fa I basso la 2 nebbia; se 1'ochio e piv alto che le case, li lumi visuali in
nello Iteruallo ch' e tra 3 casa e casa si uano profondado in nebbia piv grossa, e pero sendo me trasparete pare piv biaca, e se le case sono piv alte 1' una che 1' altra
,

houses of a town, in which the may be distinguished by the light which fall on the mist at the bottom. If the eye is above the houses the light seen in the space that is between one house
the
divisions between the houses

Of

and the next sinks by degrees into thicker mist; and yet, being less transparent, it appears whiter; and if the houses are some higher
than
the
others,

ueSro neH'aria piv sottile, onde le case paiono piv scure quato piv s'alzano; ^n-o-p-q sieno le qualita dell'aria grossa di umori, a sia 1'ochio, la casa b c para piv chiara 7 in fondo e perche e in aria piv- grossa, le linie c-d-f

sepre

si

discierne piv

il

since

the true [colour]

is

always more discernible through the thinner atmosphere, the houses will look darker in proportion as they are higher up. Let n op q represent the various density of the atmosphere thick with moisture, a being the eye,

8 parano chiare a uno modo, e beche / sia piv distate che c, egli e eleuato in aria piv sottile, se le case b-e sono d'una meMesima altezza, perche anno a diuidere

the house b c will look lightest at the bottom, because it is in a thicker atmosphere;

per chiarore, variato di nebbia; questo e solo perche la linia I0 del ochio, che nascie alta, si ua col suo fine profondado in aria
piv

bassa

grossa

in

d "che

\-b: -e
I

cosl la linia

si

truova piv bassa

>f

che che

in

c,

e la casa

in e si truo 12 va dal-

la linia la

insino a

andare piv scura

edifiti.

somita degli atiposti

d will appear equally light, for is more distant than c, it is raised although into a thinner atmosphere, if the houses b e are of the same height, because they cross a brightness which is varied by mist, but this is only because the line of the eye which starts from above ends by piercing a lower and denser atmosphere at d than at b. Thus than at c; and the the line a is lower at will be seen darker at e from the house line e k as far as m, than the tops of the houses standing in front of it.
the lines c

466.

i.

dele chessi conocie le diuisioni delle case per risciarare cheffa.

5.
.

2.
.

chelle
.

le
.
.

lume visuale
a
i

inelo.
9.

3.

inebbia.
. .

4.

biacha

esse.

paiano
10.

nelaria.

6.

omori
12.

ciara.

7.

perche en aria

la linia

modo.

ano

alteza

ciarorc ne-

bia

lini.

chol.

if. chosi.

ha

somita.

4 6 7 468.]
.

ELEMENTS OF LANDSCAPE PAINTING.

235

E.

467.

DELLE
4 s

CITTA o ALTRI EDIFITI

VEDUTi DA SERA

O MATTINA NELL A
Belli
edifizi

NEBBIA.
distatia

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
;

veduti in lunga

da sera o mattina I nebbia o aria grossa solo si dimo 6 stra la chiarezza delle lor parti
alluminate dal
1'orizzonte, e

sole
le

7che

si

trova inverse
8

parti

delli

detti

edifizi,
.

che no son vedute dal sole, restano quasi del 9colore di mediocre oscurita di
nebbia.

as the mist.

PERCHE LE COSE

PIU

ALTE

IJ

POSTE NELLE

WHY

DISTATIE SON P1UOSCU I2 RE CHE LE BASSE

ANCORA

OBJECTS WHICH ARE HIGH UP AND AT A DISTANCE ARE DARKER THAN THE LOWER

*3CHE LA NEBBIA SIA VNIFORME

GROSSEZZA.

EVEN

IF

THE MIST

ONES,

IS

UNIFORMLY DENSE.
in

o altra o per ^vapore o fumo o distanl6 tia, quella fia tanto piu nota qua to ella sara piu alta; E delle cose
cose, poste nella nebbia
aria grossa
I7 d'equale al tezza quella parra piu oscura che canl8 peggia in piu profonda nebbia, come accade al-

^ Delle

Of

objects

standing

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
mist.

1'ochio

h ^che vededo a
d'eguale altezza

background the deepest Thus the eye h

c,

torri

infra

loro,

che vede

20

looking at a b c, towers of equal height, one with

another,
sees
c

somita della prima torre bassezza di due gradi 2I di profondita nella nebbia, e vede la somita della torre 22 di mezzo b in vn sol grado di nebbia; 2 aduque c somita si ^dimostra piu oscura che la somita della torre b ecc.
in r,

the

top

of the

first

tower at r , at two

depth in the mist; and 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.

degrees, of sees the height of the

G. 22 6]

468.

DELLI FUMI DELLE CITTA.

Li fumi so ueduti melio e piu orieta^li che nelle occidetali, stado sil S ole all'oriete, e questo 6 nascie per due cavse, e la prima ?e che il sole 8 traspare colli su a razzi nelle particule di tal 9 fumo e le rischiara e falle ^evidenti, la secoda e che li IT tetti delle case, veduti all'o I2 riete in tal tenpo, sono obro^si perche la loro obliquita no ^puo essere allunelle parti
2

OF THE SMOKE OF A TOWN.

Smoke
on
the sun
is

is

seen better and more distinctly

the Eastern side than

in the East;

on the Western when and this arises from

two causes; the first is that the sun, with its through the particles of the smoke and lights them up and makes them visible. The second is that the roofs of the houses seen in the East at this time are in shadow, because their obliquity does not allow of their
rays, shines

467. 2. dassera
. .

omattina.
6.
. .

3. 7.

nebbia
chessi

[in
. .

lungha
elle

disstantia].
9.

4.

[Le chose che]

. .

li

vedutti
.

lungha
osschu.
17.

disstatia.
12.

5.
.
.

dassera

dimos.

parte.

parte.
15.
. .

cholore

osscurita.

n.
.

disstantie
.

chelle

ancho.

13. chella 18.

grosseza.

14.

chose

nebia.

offumo o
infralloro

disstantia.

16. ta ella

Eddelle chose.
.

osschura e chanpeggia.

chome achade
18

hallochio e h.
.

19. torre

che
8.

ve.
rizi
.

23. diraosstra
.

o-schura chella.
elle risciara effalle.
14. po.
15.

468. i

R.

3.

esspediti

parte.

5.

ecquesto.

6.

ella p".

partichule.

9.

achade.

236
minata dal
I6

THE THEORY OF THE ART OF PAINTING.

'Ssole, e
il

[469471.

simile accade
1'altra

nella

poluere luminosa quanto

Tuna e
ella
il

e
l8

ta'^to

piu

e piu

desa,

ed e

piu densa inverse

mezzo.

being illuminated by the sun. And the same thing occurs with dust; and both one and the other look the lighter in proportion as they are denser, and they are densest towards the middle.

G.

469.

DEL FUMO
2

E POLVERE.
If the
will

OF SMOKE AND
cities

DUST.

Stado il sole all'oriete, il fumo 3 delle no sara veduto allo * occidente, perche esso no*n e veduto penetrate dalli 6 razzi solari, ne veduto I capo ?scuro, perch de! 8 le case mostrano all'occhio tetti li I0 si mostra al 9quella medesima parte che
citta sole,
I2

e per que M sto capo chiaro tal fumo co si uede. po '3 Ma la poluere in simile ^aspetto si dimostra oscu'Sra piu che '1 fumo per esser l6 di materia piu densa ^ch'e '1 fumo, lei ch'e materia vmida.

sun is in the East the smoke of not be visible in the West, because on that side it is not seen penetrated by the solar rays, nor on a dark background; since the roofs of the houses turn the same side to the eye as they turn towards the sun, and on this light background the smoke is not
very visible.

But dust, under the same aspect, will look darker than smoke being of denser material than smoke which is moist.

E. 66]

470.

DEL UETO
2

DIPITO.

OF REPRESENTING WIND.
In representing wind, besides the bending of the boughs and the reversing of their nd leaves towards e uarter whence the 51 comes, you should also represent them amid of fine dust min^ led with the troubled air.

The
'

effect

"

gare d e

Nella figuratione del ueto, oltre al pierami e [\ rouersciare le sue * folo

(470-473)-

glie inverso ~

auenimeto sdel ueto,

,

si

debbe

figurare h ra'nugolameti della

sottil

poluere

^J^

mista cho! 7 la intorbidata

aria.

Br.

M.

172*5]

471.

Descriui i paesi con veto e con acqua e co tramotare e leuare del sole.

the water,

Describe landscapes with the wind, and and the setting and rising of the sun.

VETO.

THE WIND.
All the leaves which hung towards the by the bending of the shoots with their branches, are turned up side down by the
earth

che pendevano a terra, nel piegare de' lor ramiculi, insieme con esso 3ramo a rovesciate si dirizzano col corso de' veti, e qui la prospettiua loro fa contrale foglie

Tutte

-Unperoche, se 1'albero e tra te e '1 nascimeto del ueto, le parti delle foglie che son diuerso te 5 danno la lor naturale dimostratione e le opposite, che avevano a 6 volgere le punte in contraria parte, son per lo loro arrovesciameto volte colle pute inverso te.
rio offitio,

gusts of wind, and here their perspective is reversed; for, if the tree is between you and the quarter of the wind, the leaves which are 'towards you remain in their natural

aspect,

while
to

those

on

the

opposite side

which ought

have

their points in a con-

trary direction have, by being turned over, their points turned towards you.

16.

eleuana ele altro

17

etta.

17. tu piu
. .

elle piu.

18. 12.

mezo.
cho.
5.

469.
470.
471.

R.

6. razi. 3.

7.

schuro
4.
2.

de.

10.

mosstra.

13.

Malla.
.
.

14.

asspetto
6.

si

dimosstra ocssu.
.

2.
i.

fighuratione.

ghare.

auenimeto
3.

[delle sue).

foglie] del

fighurare.
4.

nugholamcti
. .

soctil
. .

chol.
5.

a cq "a"

clleuarc.
6.

attcrra.

dirizano

ecqui la prosspettiua.

inporochcsse

parte

chesson.

dimos-

strationc elle opositc.

arovesciameto.

4/2476.]

ELEMENTS OF LANDSCAPE PAINTING.

237

C. A. ;8a; 228^]

472.

Lalben

percossi

dal corso de' veti

si

2 piegano inverse il loco dove tal ueto si move, e passato che e il ueto 3 S i piegano in contrano moto, cioe nel moto reflesso.

to the side

Trees struck by the force of the wind bend towards which the wind is blowing ;
in the
is

and the wind being past they bend

contrary direction, that

in reverse motion.

B.

M. 277 6}
2
li

473-

mota

Quella parte dell'albero, ch'e piv redalla potentia che lo percuote, piv e
,

da essa 3 percussione perche e maggiore lieua, onde la natura in questo ^caso a proveduto collo ingrossarli in quella parte oue Spiv possono esser offesi, e massime nelli alberi che cresco 6 no in grade altezza,
offesa

That portion of a tree which is farthest from the force which strikes it is the most injured by the blow because it bears most
strain; thus nature has foreseen this case by thickening them in that part where they can be most hurt; and most in such trees as

come

grow
like.

to

great

heights,

as

pines

and

the

abeti e simili.

35*]

474-

Scriui

come
2

come
pori

si riso!

li nugoli si copongono e uono, e che causa leua li ua-

Describe

how

the clouds are

how

they vapour.

dissolve,

formed and and what cause raises

Light and shade on

(474477)-

W.

VI.]

475le

Tanto sono
are
zote.
2

quanto

essi

obre de' nuvoli piu chison piv vicini all'oriz-

The shadows
proportion
rizon.

in

as

they

are

clouds are lighter in nearer to the ho-

B.

M.

172,5]

476.

Quando i nvuoli s'interpongono infra '1 sole e 1'ochio tutti li stremi delli 2 loro globi sono chiari e inverse il mezzo sono oscuri,

When
the

clouds
the

eye forms are

all

light,

come between the sun and upper edges of their round and towards the middle they

472. i. perchossi dal chorso 473. 2. della 474. i.

.
.

pieghino.
3.

2.

locho

eppassato.
4.

3.
.

pieghino
.

refresso.

chello perchote.
2.

perchussione magiore.

chaso

chollo.'

5.

possano

cressca.

6. alteza

essimili.

copongano.
2.

uano.
. .

475. i. chiare.

vicine
.
.

orizonte.
.
.

476.

i.

sinterpongano

solle ellochio

lisstremi.

2.

globbi

mezo

osscuri.

3.

chade.

4.

datte

ecquesto

acchade

473. Compare the sketch drawn with a pen and washed with Indian ink on PI. XL, No. 2. In the

and from
it

this

it

must be inferred, that the leaf as

now

Vatican copy
ftimo\
capitulo

we

find,

the
tin

following rompimento di montagna, per dentro

:

under a section entitled 'del Era sotto di questo remark

delle

land,
at

Queen of Engwas already separated from the original MS. the time when the Vatican copy was made. 475. The drawing belonging to this was in black
exists
in the library of the
is

quali roture scherzaua fiame di fuoco, disegnate di penna et ombrate </' acquarella, da uedere cosa- mirabile et uiua

chalk and
476.

totally effaced.

(Ed.

MANZI,
to

appears

This p. 235. Ed. LUDWIG, Vol. i, 460). refer to the left hand portion of the

drawing in red chalk from the Windsor collection (see PI. XXIX), representing a landscape
with storm-clouds,

may

serve to illustrate

this sec-

drawing here given

from the Windsor collection,

tion as well as the following one.

THE THEORY OF THE ART OF PAINTING.

i superiori stremi sono veduti dal sole piv alto di loro e da te piv basso, e questo medesimo accade nelle poste de' rami sdelle piate: e ancora si fanno in parte chiari cosl nwoli come li alberi per es6 sere alquato transparenti e nelli stremi si mostra piv sotti-

A77-

e questo ac^cade perche inverse

detti

are dark, and this happens because towards the top these edges have the sun above them while you are below them; and the same thing happens with the position of the

of trees; and again the clouds, being somewhat transparent, are lighted up in part, and at the edges they
branches
like

the trees,
thinner.

gliezza.
7

show

Ma
'1

quando
sole, el

1'ochio

si

trova infra

'1

nu-

But,

when
sun,

8 nugolo fa 1' opposite che facea, perche li stremi delle sua globuprima lenze sono oscuri ^e inverse il mezzo son e questo accade perche tu vedi chiari, I0 quella par te che ancora il sole vede in faccia e perche essi stremi anno del transpare"te e rendono alPochio quelle parti che dopo lor s'ascodono che no sendo veI2 dute dal sole come le parti che li son volte, e neciessario che sieno al^quato piv oscure; ancora pu6 essere che tu uedi le

volo e

and
effect

the
to

the eye is between the cloud the cloud has the contrary
for
is

edges of its towards the middle; and this happens because you see the same side as faces the sun, and because
the former,
the

mass

are

dark and

it

light

the edges have some transparency and reveal to the eye that portion which is hidden beyond them, and which, as it does not catch the

necessarily

sunlight like that portion turned towards it, somewhat darker. Again,

is
it

glo^bulentie dal lato di sotto, di sopra, e perche esse no sono situate 'sin modo che abbino a rendere chiarezza del sole come prima facea,
e
'1

minvtie

d' esse

sole le

uede

pero sono oscure. l ?I nuvoli neri, che spesse volte si uegl8 gono sopra chiari e allumina ti dal sole, sono obrati dalli altri nuvoli che infra loro
i

l6

'1

sole
20

s'

inter 1 9pongono.
le

Ancora

ano

il

sole in faccia,

globbosita de' nvuoli, che 2I mostrano i sua ter-

mini oscuri, perche campeggiano 22 col canpo chiaro; e che questo sia vero guarderai la s6 2 3mita di tutto il nuvolo ch' e chiara perche 2 capeggia nell'az 4zurro dell' aria, ch'e piv scura che '1 nuvolo.

may be that you see the details of these rounded masses from the lower side, while the sun shines on the upper side and as they are not so situated as reflect the light of the sun, as in the first instance they remain dark. The black clouds which are often seen higher up than those which are illuminated by the sun are shaded by other clouds, lying between them and the sun. Again, the rounded forms of the clouds that face the sun, show their edges dark because they lie against the light background and to see that this is true, you may look at the top of any cloud that is wholly light because it lies against the blue of the atmosphere, which is darker than the cloud.
;

W.

231 a]

477DI

NUVOLO FUMO E POLVERE E FIAME O FORNACIE IFOCATA.

2

FORNO

OF

CLOUDS, SMOKE AND DUST AND THE FLAMES OF A FURNACE OR OF A BURNING KILN.

II

se

no

sole,

nuvolo no mostra le sue globulcntie quelle parti che son vedute dal e 1'altre globosita 3 sono insensibili
in

pel essere

lor

nelle obre.

The clouds do not show their rounded forms excepting on the sides which face the sun; on the others the roundness is imperceptible because they are in the shade.
Ma
cquando.
12. la
.
.

posste.

5.
.

eanchora

pere.

6.

transsparente

mosstra.
. .

7.

8.

lisstrcmi
. .

globbulenze
13.

osscurc.
.

9.

mczo

chiare ecquesto achade.

n. rcndano
16.
.

parte

sasscode.

parte chelli
18.

chessicno.
.

po

chettu.

15.

chcllabbino arrcndere chiarcza.

globbosita.
21.

osscure.
.

17.
. .

enuvoli

chessprcsse
23.
3.

ucgano.
nella.
4.

nvoli

infralloro. 19.

pongano.

20.

mosstrano c sua
.
.

osscuri
.
.

canpegiano.
.
.

capegia

24.

nuvollo.
all
.
.

477.

i.

eppoluere cffiame

ifochata.

2.

mosstra

parte

ellaltre.

per essere.

sole he

elle

intepossto infra-

477.

The

text of this chapter is given in facsi-

d' aria inverse forizonte

(of the redness of the atmo-

and XXXVIL The two halves of the leaf form but one in the original. On the
mile on Pis.

XXXVI
to

margin close

lines

4 and

5 is the note:

rossore

The sketches on the sphere near the horizon). lower portion of the page will be spoken of in No. 668.

'

SS,
'

'
.

: ;

?>s
Imp.Eudes.

478480.]
'1

ELEMENTS OF LANDSCAPE PAINTING.

sole
.e

239

all'oriete e le

nuvole

al-

1'

occidente, allora 1' ochio, interposto infra '1 sole s e '1 nuvolo, vede li termini delle globosita coponitrici d'esso nuvolo essere scuri 6 e le parti che son circudate da esse oscurita fieno chiare; questo nascie 7perche 8 li termini delle globosita di tali nuvoli vedono il cielo superiore e laterale, il quale

If the sun is in the East and the clouds in the West, the eye placed between the sun and the clouds sees the edges of the rounded

in

quel

si
'1

spechia.
le
I2

9E

onbrose

nuvolo e la piata I0 a JI sanza dimostrazione

sue parti d'alcuna

forms composing these clouds as dark, and portions which are surrounded by this dark [edge] are light. And this occurs because the edges of the rounded forms of these clouds are turned towards the upper or lateral sky, which is reflected in them. Both the cloud and the tree disroundness at all on their shaded play no
the
side.

globuletia.

C. A. 346 a; 1072 a}

478.
Painters often deceive themselves , by On Tet representing water in which they make the ! water reflect the objects seen by the man. But the water reflects the object from one side and the man sees it from the other; and it often happens that the painter sees an object

2 inganano molte volte faciedo fanno vedere a loro acque qua^li s vede 4 quel che vede 1'omo; Ma 1'acqua 6 e 1'omo lo uede 1'obietto per uno lato 8 per Paltro, e ?spesse volte accade che '1 vedra 9yna cosa di sotto e copittore sl vn me I0 desimo corpo veduto dinazi

I pittori

s'

le

nelle

perche sopra e di sotto, mostra il simv^lacro dell'obietto 1'acqua gli in un mo^do, e 1' ochio lo uede in vn
altro.

11

e dirieto, di

I2

one and the same hind part before and upside down, because the water shows the image of the object in one way, and the
object
is

from below,

and thus

seen from

eye sees

it

in another.

E.

o']

479si

Li colori di mezzo all'arco

infra loro.
2

mischiano

The

colours in the middle

is

of the rain- or

L'arco in se no e nella pioggia, ne etia nell' ochio che 3 lo vede, benche si gieneri dalla pioggia, dal sole e dall' ochio. ^L'arco cieleste e senpre veduto da quelli ochi, sli
'1 corquali s'interpogono infra la pioggia e 6 del sole adunque stando il sole all' oripo
;

bow mingle together. The bow in itself

in the

rainbows an d
.

(4 7 g

not in the rain nor

eye that sees

rain,

it;

by the

the sun,

though it is generated and the eye. The rain-

bow

ente e 7la pioggia all' occidete, esso arco 8 gienera nella piog gia occidetale.

si

is always seen by the eye that is between the rain and the body of the sun; hence if the sun is in the East and the rain is in the West it will appear on the rain in the West.

E. o"]

480.
1'aria
si

converte in pioggia, essa farebbe vacuo, se 1'altra aria 3 no lo fa con proibisce col suo socorso, la ^quale

Quando

When the air is condensed into rain it would produce a vacuum if the rest of the air did not prevent this by filling its place, as

sole.
il
.
.

5.

vedede

deso.
ella.
2.

6. 10.

ella parte

chesson circhSdata

osschurita
12.

Ecquessto.

7.

tal.

8.

vedano

ellaterale [cir]

sisspechia.

9.

alle

parte.

n. dimosstracione.
4-

dalchuna globbuletia.
.

478.

i.

singannammolte.
.

nelle

q"a".
9.

3- allei.

Ma"
2.

laqua.

6.

ellomo

perllaltro es.

7.

spesse

achade

chella.

8.

[equa

ue]
479.
i.

chel pitore vedera.'

chosa.

10.

veduto.

13. lacrofnu] dell'obietto

numo.
3. llo.

14. ellochio
4-

vede nvn.
. .

cholori di

mezo
2.

allarcho simistano infrallori.

6.

Larcho

in se

no

nella.

Larcho

cielesste essenpre

dacquel

5.

sinterpoghano
chonverte.

infralla.

alloriente el.
3.

7.

allocidete esso archo.

4.

480.

i.

vachuo

sellaltra.

nolle broibisse chol suo sochorso.

chon

ecque.

5.

sto

he quel

nasscie

240

THE THEORY OF THE ART OF PAINTING.

it

4 8l.

s Ipetuoso moto, e que sto e quel veto che nascie d'esta6 te insieme colle furiose piog-

does with a violent rush; and this is the wind which rises in the summer time, accomrain.

gie.

panied by heavy

37*1

481.
li il

Tutti
or
flower
eds<
2

fiori

che
seme,

ueggono
li

il

sole,

All
that
is

the

flowers which
their seeds;

conducono
che

lor

altri
*

no,

cioe
del

sun perfect
flection

turn towards the but not the others;

re-

quelli sole,

sol

uedono

la

reflessione

to say those of the sun.

which get only the

6. cholle.

481.

i.

ueghano.

a.

condiicano

clli.

3.

coecquelli

uedano.

4.

refressione.

IX.

The Practice of Painting.

It is

Jiardly

necessary

to

offer

any excuses for the division carried out

in It

the

arrangement of

tJie

text into practical suggestions

and

theoretical

enquiries.

was

evidently intended by

Leonardo Jiimself as we conclude from incidental remarks in the MSS. (for instance No no). The fact that this arrangement zvas never carried out either
tlie

in

old

MS.

copies

or in any edition

since,

is

easily

accounted for by the general

disorder which residts

from

the provisional distribution of the various chapters in the

old copies.
tJic

We have
collected

materials

every reason to believe that the earliest copyists, in distributing by them, did not in the least consider the order in which the

original

MS.

lay before them.

It is ev'ident that

the painter

almost all the chapters which refer to the calling and and which are Jiere brought together in the first section (Nos. 482

life

of

508)

may be referred to two distinct periods in Leonardo's life; most of them can be dated as belonging to the year 1492 or to 1515. At about this later time Leonardo may have formed the project of completing his Libro della Pittura, after an interval of some years, as it
would seem, during which
background. In the second
section,

his

interest

in

t/ie

subject

had fallen somewhat

studio,

into the

which

treats first

of the

artist's

the construction of

a suitable window forms the object of careful investigations; the special importance attaclied to this by Leonardo is sufficiently obvious. His theory of the incidence of light which was fully discussed in a former part of this work, was to him by no means
being deduced, as he says, from experience (or experiment) was required to prove its utility in practice. Connected with this we find suggestions for the choice of a light with practical hints as to sketching a picture and some other

of mere abstract value,

but,

precepts of a practical character which must come under consideration in the course of completing the painting. In all this I have followed the same principle of arrangement

was carried out in the Theory of Painting, thus the suggestions for the a picture, (Nos. 536569), are followed by the theory of light and shade Perspective of
in the

text as

for the practical method of

or the

optics

(Nos. 548

566> and this by the practical precepts

treatment of aerial perspective ($6j

242

THE PRACTICE OF PAINTING.

on Portrait and Figure Painting the principles of painting as a bust and head are separated and placed first, since the advice to figure applied painters must have some connection with the principles of the treatment of composition by which they are followed. But this arrangement of the text made it seem advisable not to pick out the pracIn
the passage
to

tical precepts

as

to the representation

of

trees

and landscape from

the close connection in

which they were originally placed

theory of this branch of the subject. entitled Botany for Painters.

unlike

the rest of the practical precepts

with the
section

They must therefore be sought under the

di Pittura

As a supplement
the

to the

Libro

of the Painter's materials,

as chalk,

/ have here added those texts whicli treat drawing paper, colours and their preparation, of
in

management of

oils

and varnishes ;
It is in

the appendix are

all,

some notes on chemical

in connection with the

substances.

Possibly some of

these, if not

may

have stood

preparation of colours. indications as to colours

the very

and

the -like should be now-a-days extremely obscure

nature of tilings that Leonardo's incidental and could

only be explained by professional experts

therefore have seemed advisable
to

by them even in but

few

instances.

It

might

any

translation.

reproduce exactly the original text without offering The rendering here given is merely an attempt to suggest what

Leonardo's meaning

may have
II,

been.

LOMAZZO
in

tells

us in his Trattato dell'arte della Pittura, Scultura ed Architettura

(Milano 1584, libro

Cap. XIV):

"Va
di

discorrendo ed argomentando Leonardo Vinci

un suo

libro

letto

da

me

(?)

questi anni passati, ch'egli scrisse di

in

mano

stanca

ai

prieghi di se

LUDOVICO SFORZA duca

fatica di corpo,

e piu nobile la pittura o la e sudore, tanto piu e vile, e

determinazione di questa questione, Milano, scultura; dicendo che quanto piu un'arte porta seco

men

pregiata".

But

the existence of any

book specially written for Lodovico il Moro on the superiority of Painting over sculpture The various passages in praise of Painting as compared not is perhaps mythical. with Sculpture but with Poetry, are scattered among MSS. of very different dates. merely
Besides, the way, in which the subject is discussed appears not to support the supposition, that these texts were prepared at a special request of the Duke.

MORAL PRECEPTS FOR THE STUDENT OF

G.

PAINTING.

254

482.

NOTITIA DEL GIOVANE DI 2 SPOSTO ALLA

PICTURA.
3

WARNING CONCERNING YOUTHS WISHING TO

BE PAINTERS.

Mold sono

li

omini che an desiderio ed

amo^re
questo
le lor

al disegnio, sfia conosciuto

ma

Many
love

are

they

who have who

a taste and

HOW
T
.

to
6

no

dispositione, e
li

nelli putti,

quali

for drawing, but no will be discernible in boys

talent;

and

this

""p^o'ns
an
artis

are not

dili- f

sono se 6 za

diligetia e

mai finiscono con obre

co 7 se.

gent and never shading.

finish

their

drawings

with

Ash.

I.

i8a]

483.

tiua, di

giovane debe prima Iparare prospetpoi lemisure d'ognicosa, ^poi [disegni?] mano di bo maestro per suefarsi a bone mebra, 4 poi di natura per cofermarsi le ragioni delle cose Iparate, Spoi vedere uno
II
2

tepo 1'opere
6

di

mano
al

di

diversi
I

poi fare abito rare 1'arte.

mettere

maestri, pratica e ope-

The youth should first learn perspective, The course Then he uonTor"^ then the proportions of objects. may copy from some good master, to ac- 4 custom himself to fine forms. Then from nature, to confirm by practice the rules he Then see for a time the works has learnt. of various masters. Then get the habit of putting his art into practice and work.

483.

17
2.

R.
.

i.
.

del [pi] govane.

4.

ecquesto.

6.
.

ma
.

finiscano.
5.

483.

pole

doni.

3.

poi di.

4.

chofermarsi

dele.

tepo di mano.

6.

all

praticha.

483.

The Vatican copy and numerous abridgeall

tican

ments

place this

chapter at the beginning

of

copy however all the general considerations on the relation of painting to the other arts are
placed
first,

the Trattalo, and in consequence DUFRESNE and all subsequent editors have done the same. In the Va-

as introductory.

244

THE PRACTICE OF PAINTING.

Ash.

I,

2t\

4 84

DEL RITRARE.
2

OF THE ORDER OF LEARNING TO DRAW.

buono maedi-

Ritrai

pri^ma
4

disegni

di

stro fatto sul'

arte e sul naturale -e no di

pratica,
6

poi

di rilievo in

copagnia del
,

segnio
?

tratto
il

da esso

rilievo

poi di
I

buono

naturale,

quale debbi mettere

uso.

First draw from drawings by good masters done from works of art and from nature, and not from memory; then from plastic work, with the guidance of the drawing done from it and then from good natural models and this you must put into practice.
;

Ash.

I.

25-5]

485-

PRECETTI DI PICTURA.
2

PRECEPTS FOR DRAWING.

II

pictore debbe prima

di

suefare la
di
,

mano

col stro

ritrarre
3

disegni e fatta detta suefationi

,

mano

bo mae-

The artist ought first to exercise his hand by copying drawings from the hand of a good
master. And having acquired that practice, under the criticism of his master, he should

debbe del suo precettore col ritrarre * cose di rilievo

regole che di sotto
si

col givditio di poi suefarsi

bone co quelle

dira.

next practise drawing objects in relief of a style, following the rules which will presently be given.

good

Ash.

I.

ioa]

486.

DEL
2

RITRARE.
ritrare di naturale

OF DRAWING.
o
i

Thestudyof3d'atico,

Qual e meglio o o qual e piv ^ lumi?

fatica

proffili

o *o

Which is best, to draw from nature or from the antique? and which is more difficult to do outlines or light and shade?

C. A. 145*; 4310]

487.
It
is

L' imitatione
laudabile

delle cose antiche e piv che quella delle moderne.

better to imitate [copy] the antique

than

modern work.

484. 2. del ritrare "di naturale" ritrai.

4. arte sul
.

praticha.
4.

5.

chopagnia.
cho.

485.

2.

chol

maesstro.
.

3.

e "atta

chol

chol.

chose.

5.

486. 3. daticho 487.

i.

faticha.

chose

laldabile chelle.

486. 487. These are the only two passages in which Leonardo alludes to the importance of antique art in the training of an artist.

haps be a reminiscence of the statue

Aurelius at

of Marcus

The

question

asked
it

No. 486 remains unanswered by him and seems to me very doubtful whether the opinion
in

Rome. It seems to me that the drapery in a pen and ink drawing of a bust, also at Windsor, has been borrowed from an antique G. G. Rossi has, I believe, model (PI. XXX).
correctly interpreted Leonardo's feeling towards the antique in the following note on this passage in

stated
it.

in No. 487 is to be regarded as a reply to This opinion stands in the MS. in a connection

as will be explained later on which seems to require us to limit its application to a single special
case. At any rate we may suspect that when Leonardo put the question, he felt some hesitation as to the answer. Among his very numerous drawings I have not been able to find a single study from the antique, though a drawing in black chalk, at Windsor,

MANZI'S edition,
i

p.

501:

valorosi artisti Toscani dell 'fta dell'oro

"Sappiamo dalla storia, che ddVartc stui/iadal Magnifico

tali

rono sugli antichi

marmi

raccolti
il

LORENZO

DE* MEDICI.
si

Pare che
Quest'

Vinci a

monumenti non
per maestro
alia
sola

accostasse.

uomo sempre
principle
lo

rifonosce

la

natura,

qutsto

stringeva
10,

imitatione di essa."

Compare No.

26

28

foot-

of a

man on horseback

(PL

LXXIII) may per-

note.

PL.

XXX

"f

488490-]
L. 79 a]

MORAL PRECEPTS.
488.

245

DE
2

PITTURA.
al pittore,
3

OF
per essere
gesti
di
It
is

PAINTING.
to

Necessaria cosa e

indispensable

Painter

who

The

n
i

bon membrificato*re nelP attitudine e

s

che

far si

possono per
nelli

li

nudi,

sapere

would be thoroughly familiar with the limbs mi c knowin all the positions and actions of which they ggg
,
>

la
8

notomia de'

are

ner?ui, ossi, mvscoli e lacerti,

per sapere

diuersi

moui^menti e forze
di tal
I2

I0 o muscolo e qual neruo e solo quelli fare "causa,

mouimeto
e in-

euidenti

grossati,

no
i

3li

altri

per tutto,

come

mol I4 ti fanno, che per parere gra

tore fanno

'Sdisegnia-

know. the anatomy of the sinews, bones, muscles and tendons so that, in their various movements and exertions, he may know which nerve or muscle is the cause of each movement and show those only as prominent and thickened, and not the others all over [the limb], as many
capable,
.the

in

nude,

to

ignvdi legnosi e sanza che pare a vederli v l8 sacco di noci gra^tia

loro

l6

their

do who, to seem great draughtsmen, draw nude figures looking like wood, devoid of grace; so that you would think you were
looking at a sack of walnuts rather than the human form, or a bundle of radishes rather than the muscles of figures.

piv
20

presto che ^superficie

fascio
di

vmana o vero
2I

vn

rauanelli

piu

presto che

muscolosi nvdi.
Ash.

I.

489.

COME AL
3

DIPINTORE E NECESSARIO SAPERE LA INTRPSICA FORMA DELL* OMO.

,

HOW

IT IS NECESSARY TO A PAINTER THAT HE SHOULD KNOW THE INTRINSIC FORMS

[STRUCTURE] OF MAN.
familiar with the namuscles, and tendons, will know very well, in giving movement to a limb, how many and which sinews cause it; and which muscle, by swelling, causes the contraction of that sinew; and which
is

Quello dipitore

che
,

della natura de'

4

nervi

cognitione mvscoli e lacierti,

avra

The

ture

of the

painter who sinews,

sapra bene nel movere uno mebro quati e quali nerui ne son cagioSne e quale mvscolo gofiado e cagione di raccortare esso
,

nervo

quale

corde
e cosl
^

convertite

soti-

sinews,

expanded

into the thinnest cartilage,

lissime cartilagini

circondano e raccogliono
sara
uari
8

detto mvscolo
versale
diate
i

diuerso e vni-

dimostratore di
vari effetti delle

muscoli mee no fara sempre fano

in bracsi

figure

surround and support the said muscle. Thus he will variously and constantly demonstrate the different muscles by means of the various attitudes of his figures, and will not do, as many who, in a variety of movements,
in

come
quelle
cia,

molti

che

I 9

diuersi atti

medesime

cose dimostrare

schiene, petto,

gabe
i

le quali piccioli

cose no

display the very same things [modelling] And the arms, back, breast and legs. these things are not to be regarded as
still

debbono mettere
C.
A'.

minor

faults.

ifra

errori.

196 6; 586 6}

490.
E suo ORDINE.

DELLO STUDIO

OF STUDY AND THE ORDER OF STUDY.

I say that first you ought to learn the limbs and their mechanism, and having this

x Dico che prima si debbe imparare le mebra e sua travagliameti, e finita 2 tal no-

HOW

to

p^cticl.

488.

4.

giessti.

6.

di ner.

7.

mvsscoli ella

certi.

9.

efforze.

10.

omusscolo he

di.

n.

essolo quelgli.

16.

inudi

essanza.

17.

vuederi.
sicha.
3.

18.

sacho.
. .

20. fasscio.
4.

21. musscolosi.
i

489.

2.

ara

ellacierti.

movere
. .

mebro
8.

ecquali.

5.

ecqualle

sgofiado

e chagione

racortare

ecquale.

6. sotilisime cartilagine e

racholano
is -written

chosi.

chome.
i.

9. sciene.
2.

490. dello studio essuo ordine

on the margin,

essua.

seguitale.

3.

conpone

lesstorie.

4.

accaso.

5.

coe.

6.

facia

490.

his reading

This passage has been published by Dr. M. JORDAN, however varies slightly from mine.

Das Malerbuch

des L.

da

Vinci,

p.

246
titia

THE PRACTICE OF PAINTING.

.49

'

li si debbe seguitare li atti secondo accidenti che accadano all'omo, 3 e 3 conporre le stone, lo studio delle quali sara

fatto

dalli
li

atti

natural,

fatti
11

a caso me-

diante

loro accideti, e por

5

mete per

le

knowledge, their actions should come next, according to the circumstances in which they occur in man. And thirdly to compose subjects, the studies for which should be taken from natural actions and made from time to as circumstances allow; and pay time,

e capagnie, e notarli co brieue discritione di liniameti, cioe che per una testa 6 si faccia vno o e per uno braccio una
strade piazze

e piegata, e '1 simile si faccia delle e busto, e poi tornado alia casa fare ga?be 8 tali ricordi in perfetta forma Dice 1' averlinia retta
;

them in the streets and piazze and note them down with a brief indication of the forms; [5] thus for a head make an o, and for an arm a straight or a bent line, and the same for the legs and the body, [7] and when you return home work
attention
to

and

fields,

sario che per farsi pratico e fare

ch'elli
>

opere assai
dello

e meglio che

'1

tepo primo muri

fa

studio sia messo

in ritrarre vari

conponidi I0 uersi

meti, fatti per

carte o
si
si

per

out these notes in a complete form. The Adversary says that to acquire practice and do a great deal of work it is better that the first period of study should be employed in drawing various compositions done on paper or on walls by divers masters, and that in
this

maestri,

e in quelli
al

pratica veloce

way

practice

is

bono
abito

quale sarebbe bono, essendo fatto sopra J2 studiosi opere di boni componimeti e di maestri; e perch questi tali maestri son si
rari

abito,

M risp6 de che questo

methods; to which will be good, if

rapidly gained, and good I reply that the 'method

it

is

based on works of
skilled

good

composition and by

masters.

But since such masters are so rare that there are but few of them to be found, it is a surer

andare

che pochi se ne trova, e piv ^sicuro alle cose naturali che a quclle d' esso naturale co gra peggio'-'ramcto imitate e
perche chi puo andare
5al uaso.
alia

way

to

go

to natural objects, than to those

fare tristo abito,

which are imitated from nature with great deterioration, and so form bad methods; for he who can go to the fountain does not go
to the water-jar.

fonte no vada

Ash.

I.

7 b\

491.
si

QUALE REGOLA
2

DE'

DARE A PUTTI

WHAT

PITTORI.

RULES SHOULD BE GIVEN TO BOYS LEARNING TO PAINT.

industry and nes conditions

e delle veloci operationi che sia, r g the nrst puto vede ifinite forme: niete di
,

(491-493-)

Noi conosciamo chiaramete che la vista 3 ed in vn meno no T se non una cosa ^pervolta; Pocoprende niamo caso tu lettore guarderai in vna ocij_

for certain that sight is one of most rapid actions we can perform. In an instant we see an infinite number of forms, still we only take in thoroughly one object

We know

the

chiata tutta questa Scarta scritta, e subito giudicherai quella esser piena di uarie lettere,
6

ma non

conoscierai in questo tepo

che
ti

nc che voglino dire, ?6de bisogna fare a parola a parola verso per 8 notitia d'esse lettere; uerso, a voler avere
le lettere sieno,

Ancora se vorai motare

all'altezza

d'uno

a time. Supposing that you, Reader, were to glance rapidly at the whole of this written page, you would instantly perceive that it was covered with various letters; but you could not, in the time, recognise what the letters were, nor what they were meant to tell. Hence you would need to see them word by word, line by line to be able to understand the letters. Again, if you wish to go to the top of a building you must
at

go

up

step

by step; otherwise

it

will

be

per ibr una.

14.

facia.

7.

ebbussto.

8.

effare

tepo p

dello.

10.

maesstri.

n.

te che.

12.

macsstri.

13.

acquelle

pego.
491.
i.
. .

po

no
2.

\\\\\\\\\.

quella regola.

chonosciano
. .

chella
7.

operatione chessia.
.

3.

coplende se none

1
.

cosa.
alteza.

4.

chaso

innvna.
10.

5.

charta

Cisubito. 6. chonoscierai

volino.

fare apparola

versso per. 8.

Anchora

9.

chonuera.

chosi dicho

Lines 5

explained by the lower portion of the sketch No.

on

PI.

XXXI.

492- 493 -J
edifitio 9ti

MORAL PRECEPTS.
conuerra
salire

247

a grade alla sua la natura volgie a questa-arte, "se vuoi aver vera comlciarai notitia delle forme delle cose I2 alle parti cule di quelle e non adare alia
,

a grado

latrimeti fia ipossibile peruenire altezza; cosl dico a te il quale

I0

impossible that you should reach the top. I say to you, whom nature prompts to pursue this art, if you wish to have a sound knowledge of the forms of objects begin with the details of them, and do not

Thus

go on
first

to the

second
in

[step]

till

you have the

in practice. will throw

seconda se prima non ai bene nella memoria ^e nella pratica la prima; E se altro farai, gitterai via il tepo o vera^mete allu,

well
if

fixed

memory and

And
your

you do otherwise you

gherai assai lo studio; E ricordoti ch'Ipari T prima la deligeza 5che la prestezza.

or certainly greatly prolong to acquire rather than rapidity. diligence

away your

time, studies.

And remember

Ash.

I.

8]
SI

492.

COME
3

DEBE PRIMA INPARARE LA DILIGEZA CHE LA PRESTA PRATICA.

tu disegniatore vorrai fare

HOW

THAT DILIGENCE [ACCURACY] SHOULD FIRST BE LEARNT RATHER THAN RAPID EXECUTION.
If you,

Quando

bono

who

draw,

desire

to study well

e vtile studio

adagio
teghino

vsa nel tuo disegnia^re fare e givdicare Ifra i lumi quali e quati
il

primo gra s do

di chiarezza,

si-

milmete Ifra 1'onbre quali sieno quelle che sono piu schu 6 re che 1' altre e in che modo
si

mischiano isieme

le quatita,
i

nare

?l'una choll'altra

liniameti

paragoa che

parte si dirizzino, e nelle linie quata parte 8 d' esse torcie per vno o altro verso, e dove piu o meno evideti e se sia larga 9o sottile,

ed

in

ultimo

che

le

tue obre e lumi sieno

uniti

saza tra I0 tti o segni, a uso di fumo: quado tu avrai fatto la mano e '1 givpiu

a que IT sta diligeza verati fatto presto che tu no te ne avederai.

ditio

and to good purpose, always go slowly to work in your drawing; and discriminate in the lights, which have the highest degree of brightness, and to what extent and likewise in the shadows, which are those that are darker than the others and in what way they intermingle; then their masses and the relative proportions of one to the other. And note in their outlines, which way they tend and which part of the lines is curved to one side or the other, and where they are more or less conspicuous and consequently broad or fine; and finally, that your light and shade blend without strokes and borders [but] And when you have looking like smoke. thus schooled your hand and your judgment by such diligence, you will acquire rapidity before you are aware.
;

C. A.

493-

VlTA DEL PICTORE NE

2

PAESI.

Al

pittore e neciessario la

matematica

appartenete a essa 3pi c tura, e la priuatione di copagni che son alieni dalli loro studi, e ciervello mutabile secondo la uariatione delli Sobbietti, che dinanti se li oppongono

A painter needs such mathematics as beAnd the absence of all long to painting.
companions who are alienated from his studies; his brain must be easily impressed by the variety of objects, which successively come

atte
.
.

acquesta.

n.

uolli

chose comiciati.

12.

sechonda

nonnai

memori"a".

13.

praticha

Esse.

14.

allugerai

richordoti.
chella
e
. .

15. presteza.
4. 8.

492.

2.

praticha.
drizino.
.
.

givdichare.
.
.

5.

chiareza essimilmete
9.

qul sieno
. .

chessono.
.
.

6.

sinmischano
10.

elle.

7.
.
.

chol-

laltra

dessa

cosi larga.

ossotile

[quando] ed

ellumi

saza.

ossegni

arai

acque.

n.
493i.

fatta presto

notte.
2.

pictore [filosafojne.

[la]

al

pitore

le

matematiche apartenete nessa.

3.

Ella

copagnie chesson

allieni.

5.

op-

493- In the title line Leonardo had originally written del piclore filosafo (the philosophical painter), but he himself struck out filosofo. Compare in

No. 363 pictora notomista (anatomical painter). original text is partly reproduced on PI. CI.

The

248
e

THE PRACTICE OF PAINTING.

[494

6 se nella contealtre cu re; e difinitione d'u caso se ne I'Fterplatione pone vn secondo caso come accade, quado 8 muove il senso, allora di tali 1'obbietto casi si debbe giu^dicare quale 6 di piu fatiI0 cosa difinitione, e quello seguitare insino l ' alia sua vltima chiarezza, e poi seguitare E sopra tutto essere la difinitione dell'altro; 12 di mete equale alia natura che a la super-

remote da

before him, and also free from other cares

[6].

defining one as hapsubject, a second subject intervenes pens when an object occupies the mind, then
if,

And

when considering and

he must decide which of these cases

is

the

more difficult to work out, and follow that up until it becomes quite clear, and then work out the explanation of the other [n]. And above all he must keep his mind as
clear

^la quale si trasmuta in sono li ^colori delli sua obbiecti; e le sue copagnie abbino 'Ssimilitudine con lui in tali studi e, no le trol6 vsi co se medesimo nelle sue covando, I7 in fine no troverra piu templationi, che
fitie

dello spechio,

as

the

tanti vari colori, quati

sumes colours as various as

surface of a mirror, which asthose of the

different objects. And his companions should be like him as to their studies, and if such

cannot be found he should keep

his specu-

vtile

conpagnia.

lations to himself alone, so that at last he will find no more useful company [than his own].

Ash.

I.

8a]

494.
STUDIO.

BELLA VITA DEL PITTORE NEL suo

2

OF THE

LIFE OF

THE PAINTER
that

IN

HIS STUDIO.

Accioche la prosperita del corpo no guastiquella dello ingegno, 3J1 pittore ovvero disegniatore debe essere solitario -, e massime quado e inteto 4 alle speculationi e considerationi che continvamente apparedo dinazi Sagli ochi che danno materia alia mese tu 6 sarai moria d'esser bene riservate; solo tu sarai tutto tuo, e se sarai acom7 pagniato da uno solo copagnio sarai mezzo tuo, e tato meno quanto sara maggiore la indiscretione della 8 sua pratica; e se sarai con piv caderai in piu simile incoueniete e se 9 tu volessi dire, io faro a mio modo,

To the end may not injure

or draughtsman

well-being of the
solitary,

body
and

that of the mind, the painter

must remain

particularly when intent on those studies and reflections which will constantly rise up before his eye, giving materials to be well stored
in

are entirely your

While you are alone you [master] and if you have one companion you are but half your own, and the less so in proportion to the indisAnd if you have cretion of his behaviour.
the

memory.

own

many companions you

the
will

will

fall

deeper into

same
go

trouble.

parte per potere meglio specuforme delle cose naturali, dico ir questo potersi mal fare, perche no po tresti fare che spesso no prestassi orechi alle lor I2 ciacie, E, non si potendo servi re a 2 situ faresti male 1' ufitio J 3 della cognori
10

mi

tirer6
le

my

you should say: "I own way and withdraw apart, the
If

lare

better to study the forms of natural objects", be able to help I tell you, you will not

often listening to their chatter.

And

so, since

pagnia e peggio

1'

effetto
T

x*

del'arte: e se tu

sdirai io

della speculatione mi tirero tato I

l6 parte che le lor parole no peruenirano e no mi darano Tpacio, io I questa parte ti dico che tu 1 7 sarai tenvto matto; ma vedi che cosl faciedo tu saresti pur solo; l8 e se

one cannot serve two masters, you will badly fill the part of a companion, and carry out your studies of art even worse. And if you say: "I will withdraw so far that their words cannot reach me and they cannot disturb me", I can tell you that you will be thought mad. But, you see, you will at any rate be And if you must have companions alone.

ponghano
tare
. .

erremoti.

6.

Esse

chaso.
.

7.

chaso
13.

achade.

8.

|di talc
elle.
.

i]

di tali.
.
.

9.

[e ppiu] e di
16. vsi

ecqual.
. .

io.

seghui-

eppoi.
.

n.
.

siguitare

Essopra.

trassmuta.
.

14.

15.

collui

ennolle.
5.

chose
.

cotemplatione.
6. tussarai io.
. .

494.

2.

Acciochclla
. .

incicgno.
i

4.

isspechulationc
7.

e chonsiclcratione
.

che chontinvamene.
.

algli

Essettu.
9.
.

esse

achompagniato da n. chesspesso naturale.

.

solo.
. .

mezo.
13.
.

8.

praticha esse

chon

chaderai
.
.

inchoueniete esse.
15.
. .

spechu.
16.

chose

prestasi.
18.

chopagnia e pegio.
.

14.

dela

essettu.

dirai imi

chcllc.

queparte

chcttu.

17.

mato

chosi.

esse

chopagnia.

19.

giovare ver chonferiraeto

achade

spechula.

20. tione.

6
his

II.

Leonardo here seems

to

be speaking of
his

and

this

passage explains,

at

least

in

part,

the

own method of work

as displayed in

MSS.

peculiarities in their arrangement.

495-497-]

MORAL PRECEPTS.
ship find

249

pure vorai copagnia pigliala del tuo istudio: questa I9 ti potra giovare a aver quel conferimeto che accade dalle varie specula tioni: ogni altra copagnia trebbe esser assai danosa.
20
ti

you

to

This it in your studio. have the advantages which

speculations.

may
arise

assist

from

various

All

other

po-

company

may be highly mischievous.

495-

Ash.

I.

ga]

S'EGLI E MEGLIO

A DISEGNARE

COPAG-

OF WHETHER

NIA o NO.
2

IT IS BETTER TO DRAW WITH COMPANIONS OR NOT.

Dico e confermo che

'1

disegniare

co-

pagnia e molto meglio che solo, per molte 3 la ragioni, prima e che tu ti vergognerai
d'

essere visto

nel

numero

de'

I say and insist that drawing in company much better than alone, for many reasons. The first is that you would be ashamed to be seen behindhand among the students,
is

The
l

distri-

tim e"for
tu
(

^'

ing
)

disegniatori

and such shame

will

*e questa vergognia fia di bono studio secodariamete la cagione Tuidia bona ti stimv 5 lera a essere nel nvmero
isofficiete,
;

essedo

lead you

to

careful

study. Secondly, a wholesome emulation will stimulate you to be among those who

sproL' altra e che tu piglie 6 rai de' tratti di chi fa meglio di te, e se sarai meglio degli

de' piv laudati di te,

;

che

1'

altrui

lode

ti

nerano

altri farai

profito di schifare

man^camenti,

more praised than yourself, and this praise of others will spur you on. Another is that you can learn from the drawings of others who do better than yourself; and if you are better than they, you can profit by your contempt for their defects, while the praise of
are

e P altrui laude accrescerano tua virtu.

others will incite

you

to farther merits.

Ash.

i.

9 t]
2

496.

DELLO STUDIARE
3

INSINO QUADO TI DESTI o NAZI T'ADORMETI NEL LETTO ALLO SCURO.

OF

STUDYING, IN THE DARK,

WHEN YOU WAKE,

.SLEEP.

OR IN BED BEFORE YOU GO TO

I

in

me

provato essere
ti

di

no pocca

myself have proved

in

it

to

be of no small
fancy

vtilita,
4

quado

truovi allo scuro nel letto

use,

when

bed

andare colla inmaginativa repetedo i liniameti superfitiali delle forme Sper 1'adrieto studiate, o altre cose notabili da sottili speculatione coprese, 6 ed e questo propio uno atto laudabile e vtile a confermarsi le cose nella memoria.

in the dark, to recall in

the external details of forms previously studied, or other noteworthy things conceived

by subtle speculation; and this admirable exercise, and useful

things

is

certainly an

for impressing

on the memory.

Ash.

I.

8,5]

497-

Di CHE TEPO-SI DEVE STUDIARE LA ELETIONE

DELLE COSE.
2

OF THE TIME FOR STUDYING SELECTION OE

SUBJECTS.

veglie sere da' giovani vsate nelli studi delle 3 cose aparechiate Testate, cioe tutti li nvdi che

Le

della invernata

devono

es-

Winter evenings ought to be employed by young students in looking over the things prepared during the summer; that is, all the

495.

i.

chopagnia ono.
5.

2.

dicho e confermo
.

chopagnia
6. 5.
. .

chessolo.
. .

3.
'

chettutti insoficiete [secondaria sia].

7.
!

4.

ecquesta

bonasti stimv.
496.
497.
2.
2.

laldati
. .

lade
. .

Laltra chettu.
4. chollo.

esse

scifare.

lalde.
. .

schuro.

3.

Oirae
3.

pocha
.
.

alo.

chose.
lastate
;

6.

propio

atto laldabile
is

chonfirmarsi le chose.
4.

istudi delle.

chose

lastate cioe chettutti

convienti

wanting in the original.

effare.

5.

praticha.

495.

The

contradiction

by

this

passage of the

with others than to work alone, that the studies of

pupils only are under consideration here. 497. An injunction to study in the evening occurs
also in No. 524.

foregoing chapter is only apparent. It is quite clear, from the nature of the reasoning which is here used to prove that it is more improving to work

VOL.

I.

II

250
ai fatti

THE PRACTICE OF PAINTING.

Testate, convienti
*

[498500.

riducierli

Tsieme

fare

eletione

delle

migliori
in

mebra e
pratica

corpi sdi quegli

e metterli

drawings from the nude done in the summer should be brought together and a choice made of the best [studies of] limbs and bodies

among them,
to

to apply in practice

and commit

bene a mete.
"

memory.

DELLE
?

ATTITUDINI.

OF
After this
in

POSITIONS. the

Di poi alia seguete state farai eledi qualchevno che stia bene 8 in su la vita e che no sia allevato I givboni a ci6 la persona no sia strana ^dalla suatione
,

following

summer you

natura , e a quello farai fare atti legiadri e galati e se 10 questo no mostrassi bene i mvscoli detro ai termini delle mebra, no m6 T1 t'a niente, bastiti auere sol da I2 riquesto le boneattitudini, e le mebra correggi cho quelle che studiasti la invernata.

should select some one who is well grown and who has not been brought up in doublets, and so may not be of stiff carriage, and make him go through a number of agile and graceful actions; and if his muscles do not show plainly within the outlines of his limbs that does not matter at all. It is enough that you can see good attitudes and you can correct [the drawing of] the limbs by those you studied in
the winter.

S.

K. M.

III.

246}
2

498.

On

the pro- \\

ducUve power of minor

artists

S uo

Tristo e quel discepolo che maestro.

non avaza

He

is

a poor disciple

who does not

excel

his master.

(498501).

G. 25*]

499-

Non e laudabile quel pittore che no fa bene 2 se non vna cosa sola, come vno nudo, te'^sta, panni o animali, o paesi o simili pa*rticulari, inperoche non e si grosso in s giegnio che, uoltatosi a vna cosa sola e 6 que lla senpre messa in opera, no la facci
bene.

Nor is the painter praiseworthy who does but one thing well, as the nude figure, heads, draperies, animals, landscapes or other such details, irrespective of other work; for there can be no mind so inept, that after devoting itself to one single thing and doing it constantly, it should fail to do it well.

Ash.

I.

10 a]

500.
IL PITTORE NON E LAUDABILE QUELLO NON E UNIVERSALE.
si
2

COME
3

SE

THAT A PAINTER
HE
si

is
IS

NOT ADMIRABLE UNLESS

UNIVERSAL.
assert
thati

D'alcuni
,

puo chiaramete

dire

che

Some may

distinctly'

those

quali chiamano bono maestro 4 quello pittore, jl quale sol fa bene una s testa o vna figura Cierto non gra fatto

inganano

persons are under a delusion who call that painter a good master who can do nothing well but a head or a figure. Certainly this
is

che studiado una sola cosa

il

tepo

della

no great achievement;

after studying

one

6. attitudine.

8.

no

sia stra.
2.

9.

acquello

esse.

n. dacquesto

attitudine.

12. richoregi

cho

studiassti.

498.

i.
i.

trissto

dissciepolo.
2. 2.

maesstro.
3. 3.

499.

laldabile.

none vna.
secquelo.

ossimili.

4.
si

rtichularc.

5.

ecque.

500.

i.

laldabile.

alchuni

po

chessi.

4-quelo

bene

testa

e non.

5.

studiado

sola chosa

vcgi

499.

In

MANZI'S

edition

(p.

502)

the

painter

mentions

the

case

of CLAUDE LORRAIN.
to

But

he

G. G. Bossi indignantly remarks on this passage. "Parla il Vince in questo luogo come se tutti gli artisti
avessero quella sublimita d'ittgegno capace di abbracciare
tutte le cose,

overlooks the fact that in Leonardo's

time landindepen-

scape painting
lines 3,

made no

pretensions

dence but was reckoned among the

lari,
4).

details (particu-

di cut era egli dotato?

And he

then

5oi. 502.]

MORAL PRECEPTS.

251

sua vita che non veghi a qualche 6 perfecma conosciedo noi che la pittura tione abraccia e contiene -in se tutte ?le cose che produce la natura e che coduce 1'accidetale operatione delli omini 8 e in vltimo cio che si puo coprendere cogli ochi, mi 9 quello che solo pare uno tristo maestro una figura fa bene: Or no vedi tu quati I0 e quali atti sieno solo fac ti da li omini
,
,

single thing for a life-time who would not have attained some perfection in it? But, since we

know
itself

that painting embraces and includes in every object produced by nature or resulting from the fortuitous actions of men,

in short, all that the eye to me but a poor master

can

see,

he seems

vedi quati diuersi animali e cosl albori, JI varieta di siti motuosi e piani-, fiori, I2 strufoti, fiumi-, citta, edifiti publici e privati, vari abiti e meti opportuni all' vso vmano
erbe,
,

No

a figure well. many and various actions are performed by men only; how many different animals there
are, as well as trees, plants, flowers, with

who can only do For do you not perceive how

many

ornameti

arti;
l

tutte queste
di pari
*

^cose appar-

tegono d'essere
vsate da quello
pittore.

operazione e bonta che tu vogli chiamare bo

mountainous regions and plains, springs and rivers, cities with public and private buildings, machines, too, fit for the purposes of men, divers costumes, decorations and arts? And all these things ought to be regarded as of
equal importance and value, by the can be termed a good painter.

man who

Ash.

I.

501.

DELLA TRISTA SCUSATIONE FATTA DA QUELLI

CHE FALSAMENTE 2 E IDEGNIAMETE
SI

FANO CHIA-

OF THE MISERABLE PRETENCES MADE BY THOSE WHO FALSELY AND UNWORTHILY ACQUIRE THE
NAME OF
PAINTERS.

MARE

PITTORI.

3Ecci vna cierta gieneratione di pittori D isognia che quali per loro poco studio vivino sotto la bellezza d' oro e d' azzurro, i
i

Now

there

is

a certain race of painters

little,

who, having studied but

take as their standard

must need

quali c5 soSma stoltitia allegano no met6 tere in opera le bone cose- per tristi pache saprebbono ancora be loro fare gameti come vn altro, ?quado fussino bene pagati;
,

vedi, giete stolta no sano questi tali tenere qualche opera bona, diciedo questa e da bo premio 9e questa e da mezzano, e questa e di sorte, e mostrare d'avere
,

Or

of beauty mere gold and azure, and these, with supreme conceit, declare that they will not give good work for miserable payment, and that they could do as well as any other if they were well But, ye foolish folks! cannot such paid. artists keep some good work, and then say: this is a costly work and this more moderate

opera

I0

da ogni premio.

and this is average work and show can work at all prices?

that they

Ash.

I.

gi]

502.

COME NELLE OPERE

DE* FIDARE

D'lPORTATIA L'OMO NO SI TA 2 TO DELLA SUA MEMORIA CHE NO DEGNI RITRARE DI NATURALE.

il

HOW, IN IMPORTANT WORKS, A MAN SHOULD NOT TRUST ENTIRELY TO HIS MEMORY WITHOUT CONDESCENDING TO DRAW FROM NATURE.
Any
that
effects

Quello maestro

quale

si

dessi

ad
le

intedere di potere riseruare I se tutte forme * e li effetti della natura certo

master who should venture to boast A caution he could remember all the forms and sidS'study"

mi

questo essereornato di moltaignoraza, 5 C 6ciosia cosa che detti effetti sono e la memoria nostra non e di tata ifiniti, 6 che basti: Aduque tu pittore capacita

parebbe

me

of nature would certainly appear to be graced with extreme ignorance, inasmuch as these effects are infinite and our
to

memory
them.

is not extensive enough to retain Hence, O! painter, beware lest the

acqualche.
ecquaatti.
501.
i.

6.

chonociedo

chella

chontiene.

10. fiori
4.

[chapagnie].
. .

12. tutte
. .

que.
5.

cheffalsa.

beleza

azurro
.
.

coso.
5.

8. choplendere cholgli pare 5 7. chose. chose apartengano dacquello. 14. chettu chose. 6. chesse perebono anchora . chome. 7.
.

tristo.
. .

9.

sola

figura

13.

pitore.
.

istolto
. .

no sano.
. .

502.

3.

Quelo maesstro.

4. elli

parebe.

chosa

dette

ella.

6.

chella chupidita.

7.

guadagni

chellonore

richezze.

252

THE PRACTICE OF PAINTING.

la
lust

[SOSSOSshould
for

cupidita del guadagnio no che il guadell' arte dagno delPonore e molto maggiore che 1'onore delle richezze, 8 sicche per queste ed altre ragioni che si potrebbo dire attenderai prima col disegnio 9 a dare con

guarda che
superi
I

of gain

supplant

in

you

the

te

Pono 7 re

the acquisition of glory is a much greater thing than the glory of riches. Hence, for these and other reasons

dignity of art;

dimostratiua forma alPocchio la intctione, e la Tuentione fatta I prima I0 nella tua imaginatiua di poi va leuado e ponedo tato che tu ti sadisfaccia, "di poi fa acociare omini vestiti o nudi nel modo che isul opera ai I2 e fa che per misura- e gradezza, ordinato,
,

which might be given, first strive in drawing to represent your intention to the eye by expressive forms, and the idea originally formed in your imagination; then go on taking out or putting in, until you have satisfied yourThen have living men, draped or nude, self. as you may have purposed in your work, and take care that in dimensions and size, as determined by perspective, nothing is left in the work which is not in harmony with reason and the effects in nature. And this will be the way to win honour in your art.

sotto posto alia prospettiva, che no passi niete ^ dell' opera che bene no sia cosiliata dalla ragione e dalli effetti naturali, ^e questa fia la uia da farti onore della tua arte.

c. 5*1

503-

DELL A VARIETA DELLE

2

FIGURE.
vni-

OF VARIETY

IN

THE FIGURES.

II

pictore

debbe cercare d'essere

HOW

to

acquire universaiity

^uersale, perche gli

4

manca

assai di degnita

a fare vna cosa bene e 1'altra male, co s me molti che solo studiano nello ignu 6 do misurato e proportionate,
varieta,

e no ricer^ca la sua

esse 8 re proportionate e essere grosso e cort^o o lungo e sottile o mediocre, e chi I0 di questa va-

perche puo vno

omo

The painter should aim at universality, because there is a great want of self-respect in doing one thing well and another badly, as many do who study only the [rules of] measure and proportion in the nude figure and do not seek after variety; for a man may be well proportioned, or he may be fat
and short, or
tall

and
takes

And

a painter

who

rieta

no

tiene

coto

fa

i:

varieties

senpre
I2

le

always

makes

thin, or medium. no account of these his figures on one

figure

la qual

sue in stapa che pare essere tut ti fratelli, cosa merita gra ripresi'^one.

pattern so that they might all be taken for brothers; and this is a defect that demands stern reprehension.

Ash.

I.

4]
SI

54PUO IMPARARE.H

U COME PER TUTTE VIE

2

HOW

SOMETHING MAY BE LEARNT EVERYWHERE.

modo

Questa benigna natura ne provede I che per tutto 3 il modo tu trovi dove

Nature has beneficently provided that throughout the world you may find something
to imitate.

imitare.

G. 5*]

505-

DELL'ORDINE DEL FARSI VNIVERSALE.

2

OF THE MEANS OF ACQUIRING

It is

UNIVERSALITY.
to

Facile cosa e a
tutti
4
li

M'omo

farsi vniuersale,

an easy matter to

men

acquire

animali terrestri anno similitudine di me s bra, cioe muscoli nerui e ossa, e 6 nulla si uariano se no in lughezza o in ?grossezza come sara dimostrato nella

imperoche

universality, for all terrestrial animals resemble each other as to their limbs, that is in their

muscles, sinews and bones; and they do not vary excepting in length or in thickness, as

8.

ragione chcssi
cerchare.
3.

chol.

9.
4.

chon

ella.
. .

10.

valleuado
5.

chettutti.
. .

12.
7.

effa.

14. ecquesta.
. .

503.

2.

Mancha.

se affare

ellaltra.

chessolo

iniv.

cha

la

perche e po vno.

8.

chort.

9.

lungho

essottile.

n.

tu.

12. fratelle.

504.
505.

i. 2.

chome per

tutti via si

po.

2.

benignia.
3.

cosa he a chi ssa

farsi [vniversale].

farsi poi vniuersale inperochetti.

4. terrestri

a similitudine di me.

5.

bra [mussco]

5o6. 507.]
8

MORAL PRECEPTS.
will

253

natomia ecci poi li animali d' acqua che 9son di molte varieta, delli quali no persua10 dero il pittore che ui faccia regola, per"che son quasi d' infinite varieta, e cosl li
;

be

shown under Anatomy.

But then

there are aquatic animals which, are of great variety ; I will not try to convince the painter that there is any rule for them for they are

12

animali insetti.

of

infinite

variety,

and so

is

the insect tribe.

Ash.

I.

506.

PlTTURA.
2

PAINTING.

Lo

spechio jl quale senpre 3 si trasmuta nel colore di quella cosa ch'eli a per obietto e di tate simili 4 tudini s' enpie quate sono le cose che li sofio contraposte Aduque coSnosciedo tu pittore no potere esser bono se no sei vniversale maestro di 6 cotrafare colla tua
, ,
.

similitudine

ingiegnio dello

del pittore vol essere a

the

The mind of
object
it

the painter must resemble

a mirror, which always takes the

reflects

colour of

and

is

completely

arte tutte le qualita delle forme che produce la natura, ^ le quali no saprai fare, se no le vedi e ritenerle nella mete; Onde andado 8 tu per capagnie fa che 1 tuo givditio si uolti a vari obietti e di mano
,
'

occupied by the images of as many objects in front of it. Therefore you must know, Oh Painter! that you cannot be a good one if you are not the universal master of representing by your art every kind of form produced by nature. And this you will not know how to do if you do not see them, and retain them in your mind. Hence
as are

as

you

go

through

the

fields,

turn

your

attention to various objects, and, in turn look

ma9no riguardare

or

questa

cosa

ora

now

at this thing

and now

at that, collecting

I0 cose quell' altra, faciedo vn fascio di uarie elette e scielte infra le no bone;

me
i

facci

come

alcuni pitto^ri,

quali

stachi

a store of divers facts selected and chosen from those of less value. But do not do like some painters who, when they are wearied with
exercising their fancy dismiss their work from their thoughts and take exercise in walking for
relaxation, but
still

colla lor fantasia, dismettono 1' opera e fano esercitio I2 col andare a sollazzo, riserban-

dosi vna stachezza nella mente, la quale, *3n6 cheveghino, non porgono I mente varie

keep fatigue

in their

mind

ma spesse volte scontrado ^li amici e pared, essendo da quelli salutati no che li vedino o sentino, X 5e non altrementi sono
cose,
,

which, though they see various objects [around them], does not apprehend them; but, even
friends or relations and are by them, although they see and hear them, take no more cognisance of them than if they had met so much empty air.

when they meet

saluted

cognioscivti
tat' aria.

-,

come

se vi scontrassino altre

Ash.

I.

9 a]

E'

GIOCHI CHE DEBONO FARE

2

DISEGNIATORI.
disegniatori sollazzo

OF GAMES TO

BE PLAYED BY THOSE

WHO
to
S
useful
es d e e r ci se S

DRAW.

Quando

vorete
giochi

voi

When, Oh draughtsman, you

find relaxation in

desire

pigliare coi
3

al proposito professione cioe del fare bono igiuditio di ochio, del sapere givdicare la uerita delle larghezze e lughezze delle cose s e per suefare lo ingiegnio a simili cose

da vsare

qualche senpre cose

,

utile

games you should always

della- vostra

practise such things as may be of use in your profession, by giving your eye good practice in judging accurately of the breadth and length of objects. Thus, to accustom your mind to such things, let one of

(507- 508).

coe musscoli.
506.
2.

6.

assimilitudine.
8.
.

seno illugeza. 3. cholore .

7.
.

dimostrao.
4.

8.

dacq"a".
. .

9.
.

deli.

10. pichttore.
. .

chosa.
.
.

tudine
. .

quati

chose

chontraposte
re
i

cho.

5.
. .

se nose.

6.
.

cotraffare
.

cholla.
12.

chapagnie.
.

10. esscielte
. .

infralle

faci

chome

alchu.
I

n.
.

quali stachi cholla

.

dismettano
ossentino.

effano.
15.

chol

assollazo
se

stacheza.

13.

no che vegino o porgn

givdichare

mente

varie chose

schotrado.

14.

cho-

gnioscivti

chome
. .

li

schontrasino altre tataria.

3.

507.

2.

choi

nutile sollazo.

chose.

4.

largeze ellugeze

chose.

5.

assimile chose faccia

diuoi.

6.

chaso

254
faccia

THE PRACTICE OF PAINTING.

5 08.

uno di uoi una linia recta 6 a caso su vno mvrp e ciascuno di voi tega una sottile festuca o paglia in mano ^ e ciascuno
lunghezza che li pare lontani 8 per ispatio linia, stado di braccia IO-, e poi ciascuno vada allo esenplo a misurare co quella la sua ^givditiale misura: E quello che piv s'awicina I0 colla sua misura alia lunghezza de llo eseplo fia superiore e uincitore e acquisti da tutti il premio, che inazi da uoi "fu orAncora si debbe pigliare misure dinato
tagli la la prima

you draw a straight line at random on a wall, and each of you, taking a blade of
grass or of straw in his hand, try to cut it to the length that the line drawn appears to him to be, standing at a distance of 10

sua

alia

dardo o altra se una cierta caria, e distatia e ciascuno '^col suo givditio stimi quate volte quella misura entri I quella distatia, acora a chi 'Hira meglio una linia di uno braccio, e sia riprovata con filo tirato-;E simili giochi sono 'Scagione di
scortate, cio6
,

pigliare uno riguardare dinazi a

I2

'

fare bono jvditio d'ochio, cipale atto della pittura.

il

quale e

'1

prl-

then each one may go up to the measure the length he has judged it to be. And he who has come nearest with his measure to the length of the pattern is the best man, and the winner, and shall receive the prize you have settled beforehand. Again you should take forshortened measures that is take a spear, or any other cane or reed, and fix on a point at a certain distance and let each one estimate how many times he judges that its length will go into that distance. Again, who will draw best a line one braccio long, which shall be tested by a And such games give occasion to thread. good practice for the eye, which is of the
braccia;
line to
:

first

importance

in painting..

Ash.

I.

130]

508.

Mono D'AUMETARE
2 3

E DESTARE LO A VARIE IUETIONI.

IGIEGNIO

A WAY
I

OF DEVELOPING AND AROUSING THE MIND TO VARIOUS INVENTIONS.

No

restero pero di mettere lira questi

precietti una nova luetione di speculaHione, la quale beche paia piccola e quasi de-

precepts although

cannot forbear to mention among these a new device for study .which, it may seem but trivial and almost
is

gnia di
e

riso,

nodimeno e
ingegno
6

a destrare lo mvri inbrattati

di s grade vtilita a varie invetioni,

ludicrous,

arousing

the
is,

questa-e-se tu

riguarderai

in

alcuni
di

And
with
if

this

nevertheless extremely useful in mind to various inventions. when you look at a wall spotted

di uarie

machie o pietre

uari misti, ?se avrai a luentionare qualche sito potrai 11 uedere similitudine di diuersi

ornati di motagnie, fiumi, sassi, albori, 9 in diuersi modi, pianvre, gradi valli e colli ancora vi potrai vedere diuerse battaglie e atti proti di J figure strane arie di uolti
paesi,
,

with a mixture of stones, devise some scene, you may discover a resemblance to various landscapes, beautified with mountains, rivers,
stains,

or

you have

to

e abiti

infinite

cose

"durre
viene
I

del suono I2 di capane che ne' loro tochi vi tronome e vocabolo che tu verai ogni
misti

e simili mvri e
in itegra

bona

le quali potrai riforma , e iter-

rocks, trees, plains, wide valleys and hills in varied arrangement; or again you may see battles and figures in action; or strange faces and costumes, and an endless variety of

come

i^maginerai.

which you could reduce to complete and well drawn forms. And these appear on such walls confusedly, like the sound of bells in whose jangle you may find any name or word you choose to imagine.
objects,

6.

sunvno
9.

ciasschuno
. .

tega

sottile
. .

festucha
10.
.

imano.

7.

e ciasschuno

talgli
. .

lungeza

chelli.

8. di br. 10
i.

cho.
.
.

Ecquello
i

savisina cholla

lungeza.
.

premio
. .

di che.

n. Anchora
15.
. .

schontate.

u.

pigliare

12.

china

asse

cierta.
i

14.
.
.

meglio

ilinia di 4.

br essia
5.
i.

chon

Essimili.
.

chagione.
settu.
6. miscti.
7. arai.

508.

3.
. .

precietti

nova

spechula.
. .

pichola.

longiegmo

ecquesta

8. vale e cholli.

n. durc

del so.

12. viroverai

vocavlo chettu

II.

THE ARTIST'S STUDIO. INSTRUMENTS AND HELPS FOR THE APPLICATION OF PERSPECTIVE. ON JUDGING OF A PICTURE.

Ash.

I.

19 &]

5<>9-

lo

Le staze overo -abitationi piccole j' mgegno et le gradi lo suiano.

.
*.

ravia

Small rooms or dwellings discipline theOn the size ofthestudio. j i mind, large ones weaken it.
i
,

B.

M.

171 b]

510.

Quato piv grosso fia muro 2 minore fia il lume.

il

The

larger the wall the less On

the construction of

the light will be.

windows
(510512).

B. 20t]

Modi
di

di vari

finestre

alle

lumi dati per varie forme canove: la piv disutile 2 e

The
cellars

different

kinds of light afforded in

by various forms of windows.

The

509.
510.

i.

nbitatione pichole

logiegnio

lossuiano.

2.

ilume.

511. r.

chanove.

2.

freda

pivtile ella

chalda.

3. ella

mezana.

511.

From

light

for

painting

a reference to the notes on the right it becomes evident that the ob-

the window-opening
only,
it

In the diagram 6 as well as in that under No. 510 is reduced to a minimum, but

serrations made on cellar-windows have a direct bearing on the construction of the studio -window.

would seem,

in order to

emphasize the advan-

tage of walls constructed on the plan there shown.

2 56

THE PRACTICE OF
a pfo vti e c piv calda e che vede

PAINTING.
and Ihe coldert
useful,
!

.,

lda

least useful

Ae wmdowat*
and warmest

The most

the lightest

Joivcielo e
6 di mezzana Ah.

la

finestra-J: la finestra-o

and most open to

at b.

the

vtilita.

The window

at c is

sky of

is

the

window
utility.

medium

I.

<9|

5 12 '

FlNESTRA DEL PITTORE E SUA COMODITA.

'II

OF THE PAINTER'S WINDOW AND

The
should

ITS

ADVANTAGE.

rale,

che vsa imitatione del natudebbe avere vlume-il quale lui Jpossa
pittore,

from nature painter who works have a window, which he can raise

.rtv

Vmf^ ^*mw\ "0

*' ^
'

tf<*3t*

Hi.*

f0

'? JV "y* *A VV (Vff* V^

"

>

cA

(^AV/

^AV***^ Acn \6

^MMk.AwS^A
^yri?U^

&$& & f*-A

511.
t.

fojl*

,-

tun.j\,

llWm*|Vf l'Y\ f'"T* ,y-)

,\^

-wiAyw.-

'[f-^pA-<.|jp.AV^ SyfwiHV n

J
chassa
abassare

comodiu.

2.

imitations

il

naturals

vllumc.

3. il

possa

finre.

5.

lauoro

chellopera.

6.

enone

lines

See PL XXXI, No. 2. In this plate the have unfortunately lost their sharpness, of the negative has accidental loss for the necessitated a reproduction from a positive. But
512.

process,

in

VON LOrzow's
The sharpness of

Zeitschrift

fur

bildende
it

A'unst (Vol. XVII, pg. 13) I

in the text

have reproduced
it

here
<>ri-

the outline in the

having formerly published

this

sketch by another

ginal sketch is here preserved but the reversed side.

gives

it

from

513

5I5-]

THE ARTIST'S STUDIO.

;

257

e abbassare alzare la ragio si e: die qualche volta tu vorai finire * vna cosa che ritrai a presso del lume s a b c d sia la cassa, dove si possa abbassare e alzare il lauoro, accioche
;

you

and lower. The reason is that sometimes will want to finish a thing you are
drawing, close to the
light.

1'

6 opera si mova da alto e basso e non il maestro; e ogni sera puoi madare sotto 1' opera e serrarla di sopra, ^ che la sera

Let a b c d be the chest on which the work may be raised or lowered, so that the work moves up and down and not the And every evening you can let painter. down the work and shut it up above so that in the evening it may be in the fashion of
a chest which, when shut up,

stia a vso di cassa laqual serrata serve a seruitio di paca

che

le

may

serve the

purpose of a bench.

Ash.

I.

15

HQuale lume e bono per

2 ritra re

di

Which
nature;
small,

light

is

naturale: o alto o basso 3o grade o piccolo o potete gra^de, o potete piccolo o grasde debole o piccolo e debole ?H

whether
or

high

strong

best for drawing from On the best or low, or large or pfinting and broad, or strong and (5*3 52)-

small, or

broad and weak or small and weak?

A. 23 a]

514.

BELLA QUALITA DEL LUME.

2

OF THE QUALITY OF THE

LIGHT.

II

lume grande e
fia

alto e

no troppo pole particule will

broad
render

light

tente

quello

che rendera

the

high up and not too strong details of objects very

de' corpi

molto grate.

agreeable.

Ash.

I.

zb\

515-

CoME DEBE
3 II

ESSERE ALTO
DI

IL

LUME
di

DA RITRARE
vole

THAT THE LIGHT FOR DRAWING FROM NATURE

SHOULD BE HIGH
UP.

NATURALE.
ritrare
,

lume da
fai

naturale

essere a tramotana
e se lo
acio
il

acio no facci ^mutatione,

tieni finestra

The light for drawing from nature should come from the North in order that it may
not vary. And if you have it from the South, keep the window screened with cloth, so that with the sun shining the whole day the light may not vary. The height of the light should be so arranged as that every object shall cast a 'shadow on the ground of the same
length as
itself.

a mezzodl
5

ipanata

sole,

alluminado tutto

quella

no
6

facci

mutatione
I

il giorno, L'altezza del

lume
corpo quato

de' essere
facci tato

modo

situate

luga per terra la sua

altezza.

che ogni 1 obra

e la sua

il

maesstro e

poi

esserarla.
5.

7.

loch chella

chassa

la ualserata chelle

pacha.

513. 3. picholo.
514. 2.
515. 3.

4.

picholo.

picolo he debole.

lume

partichule de chorpi.
4.

attramotana.

essello fai a

mezo

di.

5.

aluminado

Lalteza.

6.

imodo

faci

luga.

7. alteza.

513.

The question here

I.

put

is

unanswered

in the original

MS.

VOL.

KK

2 58

THE PRACTICE OF PAINTING.

[516. 517.

DELLA QUAUTA

DELL' ARIA 'AL'OBRE E LUMI.

THE KIND OF LIGHT

REQUISITE FOR PAINTING LIGHT AND SHADE.

jQucl corpo far maggiore differeza daT ombre ai lumi che si trovera essere da maggiore lume come lume di visto
,

An

object will display the greatest differlight

ence of

and shade when

it

is

seen in

sole
6

la

nocte

il

Mume

del foco: e questo

the strongest light, as by sunlight, or, at night, by the light of a fire. But this should not

e poco

da usare

j pittura,

jperoch6 1'opere

rimagono crude e sanza grazia. 7 Quel corpo -, che si trovera J mediocre 8 dai lumi lume, fia in lui poca differeza all* ombre, e questo accade sul fare della sera o quado e nuvolo 9 e queste opere sono
dolci

be much used in painting because the works remain crude and ungraceful. An object seen in a moderate light
displays
little

difference

in

the

light

and

sicche
si
:

e acci gratia ogni qualita di volto, lo I ogni cosa li stremi sono vitio-

shade; and this is the case towards evening or when the day is cloudy, and works then painted are tender and every kind of face
graceful. Thus, in every thing extremes are to be avoided: Too much light gives crudeness; too little prevents our seeing.

becomes

il

troppo lume

fa

crudo
il

il

troppo

scuro bono.

no

la

lf

scia

vedere:

mezzano e

The medium

is

best.

DE' LUMI PICCOLI.

'

OF SMALL
finestre

LIGHTS.

Ancora

lumi

fatti

da piccole

fanno gra differeza da lumi al'obre -, e massime se la '*staza da quelle alluminata fia bono a usare. grade, e questo non

Again, lights cast from a small window give strong differences of light and shade, all the more if the room lighted by it be large, and this is not good for painting.

Ash.

I.

26 1]

PITTURA.
T 9 Quella
aria

PAINTING.

luminosa che penetra e

The luminous

air

passa- per
forate
alle
I0

le- per-

oscure
far&

parieti abiil

__

a
rn

which en ters by passing through orifices

in

walls

tationi

lo-

co tanto "meno che tenebroso

,

yuanto Quanto f

essa
[

perforatura-entra

"I
v.

nelle- parieti -

*
-

'
il

^^^=1^^=^ ^^^-^^^JJ
<*

dark rooms will render the less dark place in proportion as * the opening cuts
into into
in

the

walls

3-e coprono

lor

pavimento.1

and cover

which the pavement.

\'

surround

aluminau

ecquesto.

"

'

518520.]

THE

ARTIST'S STUDIO,

259

A.

2<J]

518.

QUALITA
2

DI LUME.

OF THE QUALITY OF
etra

LIGHT.

Tato quanto a b
c

In proportion to the

num-

in
3

tate

volte

e piu
'

ber

of times

that a
it

luminoso che c d-, e similetate volte

into c

will

goes be more lumi-

mete
4

quanto
c

il

nous than
in

c d.

And
as
will
c
it

similarly,
e

puto e entra -in

e piv
s

d
e

tate

proportion

the point

uolte
c d,

luminoso

che

e questo

lume

bono

goes into c d luminous than

light
is

be more

d;

and

this

per quelli che tagliano

sottili.

lauori

useful

for
[5].

carvers of

delicate

work

Ash.

I.

5I9-

H Come la pittura debe essere vista da una sola finestra, come appare per cagione 2 de'

That the

light

should

fall

upon a

picture

from one window only.

This

may be
If

seen

in the case of objects in this form.

you

corpi

cosl fatti;

se tu voli

fare

in

want

to represent a

round
it

ball at a certain

vn altezza vna
farla

lunga

palla tonda ti bi^sogniera a questa similitudine, e star tato

height you must

make

oval in this shape,

and stand so
ing
it

far off as that

bv foreshorten-

Idirieto

ch' ella

scortado

apparisca

toda. II

appears round.

Ash.

I.

15 a]

520.
DELL' ARIA AI VOLTI.
2

DELLA ELETIONE
3

CHE DA GRATIA

OF SELECTING THE LIGHT WHICH

GRACE TO FACES.
If

GIVES

MOST

posta
fia

Se avrai una corte da potere a tua coprire co teda lina questo lume 4 bono overo quado voi ritrare vno
-,

you should have a court yard

that

you

can

at pleasure cover with a linen awning that light will be good. Or when you want to take a

a cattivo tepo o sul fare della sera, sfaciendo stare il ritratto colla schiena a vno de' mvri d'essa corte; accosto
ritralo
6

portrait
falls,

do it in dull weather, or as evening making the sitter stand with his back to one of the walls of the court yard. Note in the
as

poni

mete per

le

strade

sul

fare della

streets,

evening

falls,

the

faces 'of the

518. 2. [a. b.]

3.
.

essimile mete.
.

5.

ecquesto.
2. 5.

519. i.

da

sola
I

apre
4.

chagione.

chosi

settu
.

alteza.
6.

3.

acquesta.
7.

520.

3.

arai

corte.

cativo tepo sol.

chollasciena

achosto.

chattivo.

dolcieza

illoro

arai

corte.

8.

acomodata.

518.

M. RAVAISSON
remarks on
f et g,

in

his

edition of the Paris

:

the wall of the

room opposite

to the

window

and the

MS.
les

lettres

"La figure forte passage auxquellcs rien ne renvoie dans I* exthis

cette explication

semicircle described

byfg stands

for the arch of the

plication;

par

consequent,

est incomplete.

La figure
the text
It is

semblerait, d'ailleurs,

se rapporter

Vejfet

de

la reflexion
is

par un miroir concave" So

not imperfect, nor
is

far as I

can see

sky; this occurs in various diagrams, for example under 511. Asimilar semicircle, PL III, No. 2 (and compare No. 149) is expressly called 'orizonte in writing. For the same reason a window thus constructed 5.
1

the sense obscure.

would be convenient
painter.

for an illuminator or a miniature

hardly necessary to observe that c d here indicate

2<50

THE PRACTICE OF PAINTING.

volti
d'

[521-523.

omini e done, quado e cate dolcezza si uede tivo 'tepo quata gratia
sera
in
i

men and women, and when

aduque tu pittore accommodata coi mvri titi

loro;

avrai
in

una corte
nero co

the weather is what softness and delicacy you may perdull, ceive in them. Hence, Oh Painter! have a

tetto sopra esso mvro, alquato sporto di di braccia 10 e luga 20 e alta e sia larga conviene coprire co teda, 10, e quado e sole
I0

opur
sera

ritrare

una opera

sul

fare

della

court arranged with the walls tinted black narrow roof projecting within the should be 10 braccia wide and It walls. 20 braccia long and 10 braccia high and covered with a linen awning; or else paint

and a

e questo e quado e nvuolo o nebbia

aria.

"perfecta
A. t.|

a work towards evening or when it is cloudy or misty, and this is a perfect light.

521-

Per ritrare uno ignudo di naturale o * vsa tenere 1 mano uno filo 'altra cosa con vno piobo, per potere vedere li scotri
-l,. dclle cose.
Ah.
I.

To draw
any thing
line

else,

a nude figure from nature, or hold in your hand a plumb-

to enable

you to judge of the

relative

position of objects.

64)

522.

DEL RITRARE VNA

COSA.

OF DRAWING AN

OBJECT.

2 Fa che, quado ritrai, che tu moui alcu tutto il pricipio di linia che tu guardi per Jche tu ritrai -, qualuque cosa -si corpo,

care to set up a you must observe all throughout the object you are drawing; every
principal
line

When you draw

take

which

scotri
linia.

per

la

dirittura

della

pricipiata

thing should bear relation to the direction of

this

principal line.

Ash.

r.

DEL MODO DEL RITRARRE UNO

2

SITO CORETTO.

OF A MODE OF DRAWING A PLACE ACCURATELY. Have a piece of glass as large as a half sheet of royal folio paper and set thus firmly in front of your eyes that is, between your eye and the thing you want to draw; then place
2 yourself at a distance of /3 of a braccia from the glass fixing your head with a machine in such a way that you cannot move it at all. Then shut or entirely cover one eye and with a brush or red chalk draw upon the glass that

Abbi uno uetro grade come uno mezzo foglio regale e quello ferma bene dina^zi
ali

occhi tua, cioe tra

,

tu vuoi ritrare

ochio
la

al

detto

1' ochio e la cosa che e dipoi ti poni lontano 4 col vetro 2/3 di braccio, e ferma

testa

con

vno strumeto
;

$1

modo no

possi
ti

copri

mouere puto la testa dipoi serra o uno ochio e col pe 6 nello o co

,

lapis a matita macinata segnia cio che di la appa 7 re, e poi lucida

sul vetro
la carta

co

dal uetro e spoluerizzala sopra e dip!gi 8 la, se ti piace, vsando

bona carta bene poi la

which you see beyond it; then trace it on paper from the glass, afterwards transfer it onto good paper, and paint it if you like,
carefully attending to the arial perspective.

prospettiva aerea.

IPARARE A FARE BENE UNO POSARE.

HOW

TO LEARN TO PLACE YOUR FIGURES CORRECTLY.

10 Se tu vuoi suefare bene alle rette e bone posature delle figure forma uno quadro "over telaro detro riquadrato co fila Ifra
,

If you want to acquire a practice of good and correct attitudes for your figures, make a square frame or net, and square it out
i

9. essia Sat. ritrare I

dibr 10
.
.

equado esso
a.
.

le coprire.
!

10. ritrare

opera

nebia.

Inudo
2,

chosa.
.

mano
.

filo
i

chon.
3.

JM.

i.

i.

chosa.

cchettu
2.

alchu
uetro
.

chorpo.
i

chettu
.

chosa
3.

schotra.
4. efferma.
5.

583. i.ritrarre I sito.

abi

chome

mezo

ecquello.

ella.

sera ottutti copri

ochio e chol.

5*3-

Leonardo

invention

commonly E. VON BROCKE

is commonly credited with the of the arrangement of a plate of glass known as the "vertical plane." Professor

der bilJenden J&inste," Leipzig 1877, pg. 3, writes on Unsere Glastafel ist die sogenannte this contrivance.
Glastafel des

Leonardo da Vinci,

die in

Gestalt

eintr

in

his

"Bruchsturke aus der Theorie

Glastafel vorgesteUte Bildflache."

523-1!

INSTRUMENTS AND HELPS.

tuo
e lo

26l

1'ochio

nudo che

I2

ritrai,

e que'

medesimi quadri farai sulla carta dove voi ritrare detto nvdo sotti^lemete dipoi poni una pallotta di ciera in vna parte della J rete che ti serva 4per una mira, la quale
,

with thread; place this between your eye and the nude model you are drawing, and draw

senpre

nel

riguardare

lo

nudo

scotrerai

nella fotanel is la della gola, e se fusse volto

dirieto scotrala
16

con uno de' nodi del

collo,

same squares on the paper on which you mean to draw the figure, but very deliThen place a pellet of wax on a cately. spot of the net which will serve as a fixed point, which, whenever you look at your model, must cover the pit of the throat; or, if his back is turned, it may cover one of
these

e queste fila t'isegniera in tutte le parti del corpo che I ciascuno atto si tro^vano

vertebrae of the neck. Thus these threads will guide you as to each part of the body which, in any given attitude will
the

sotto la fontanella della gola, sotto li agoli delle spalle, sotto le tette, fia l8 chi e altre parti del corpo; e le linie traverse della
rete
ti

be found below the

the angles

mostrano

pit of of the shoulders, or hips and other parts of the transverse lines of the

^quato e piv
i
,

throat, or or the nipples, the body; and net will show

the

alto

nel

posare sopra una gaba che 1'altra, e cosl i fiachi e le gi 20 nochia e ma ferma piedi
senpre
effet
2I

la rete

per

linia

to

tutte le parti che tu

perpediculare, e in vedi che lo

you how much the figure is higher over the leg on which it is posed than over the other, and the same with the hips, and the knees and the feet. But always fix
the net
sions

perpendicularly so that

all

the divi-

nvdo
22

piglia della
pigli

rete
della

fa

che

'1

tuo nvdo

disegniata; i essere 2 ^tato miquadri disegniati possono nori che quelli della rete quato tu volli

disegniato

rete

you see the model divided into by the net work correspond with your drawing of the model on the net work you have sketched. The squares you draw may
that

be
as

as

much

smaller than those of the net

that

che

la

tua figura sia minore

dipoi
tieni

za<

ch' e la

na-

turale;

a mete nello figurare

2s

che
bra

farai la

regola dello
te
le

scotro delle
rete
,

me-

come
distate

mostro
26

la

la

quale

debe essere
3

alta

3 braccia e

mezzo e larga

da

te braccia

7 e presso allo

nvdo uno

braccio.

your figure should be Afterwards remember when drawing figures, to use the rule of the corresponding proportions of the limbs as you have learnt it from the frame and net. This should be 3 braccia and a half high and 3 braccia wide; 7 braccia distant from you and i braccio from the model.

you wish

smaller than nature.

6.

cho

matite
.
.

apa.
ello.
17.

7.

esspoluerezza.
13.
.

8. airea.

9. affare
.
.

bene

i.

10. settu 14.

ai retti e

boni posati fo"r"ma

scoterai nela fontane.
19.
.

quadro.
15.

n.

telaro
.
.

cho

12. sala charta.

poni
.

balotta

chetu serva.
18.
.
.

per

miera
. .

esse
.
.

fussi

scotralo chon.
20. effe.
21.

fontanela dela
.
.

dele spali sottotette.

. .

chorpo
chella.

elle

timostrano.
. .

sopra

gaba
25.

chosi.
tro
.

chettu

chello.

22. dela
. .

possano.
.
.

23.

minore
i

24. cheella

nelo

cheffarai.

scho-

chome.

26. 3 br e

mezo

ellarga

datte br 7

nvdo

br.

6.

The word
sense

lapis is

never used by Leonardo in

cosa

veduta,

tale

che la piramide visiva penetri

(ed.

per

la

the

of pencil as is shown in the following passage from A. CONDIVI, Vita di Michel-Agnolo Buonarotti,

rarita del velo."

JANITSCHEK, pg.

101).

On
Text

this
be-

the editor notes (pg. 237):

"Im

lateinischen

(Michelangelo in 1495) non avendo che mostrare, prese una penna (perciocche in quel tempo il lapis non era in uso) e con tale leggiadria gli gli dipinse una niano, che ne restb stupefatto"
egli

Chap. XVIII:

"Ma

tont ausdriicktich Alberti, dass er der Erfinder des 'Velo' set" (n cujus ego

This
1457,

is

farther confirmed

usum nunc primum adinveni"). byVASARl: "L'anno poi

10.

ii.

of this

telaro .. rete. The invention quadro contrivance is to be ascribed to LEONBATTISTA

13.

fu trovato V utilissimo modo di stampare i GIOVANNI GUITTEMBERG germano; trovb LEON BATTISTA a quella similitudine, per via d'uno
che
libri

da

ALBERTI who describes Pittura:" "Egli e uno velo

1

it

in

the

first

Book

'Delia

strumento,

il

modo

di lucidare le prospettive naturali e

il

sotilissimo tessuto raro, (into di

diminuire

le

figure, ed

modo parimente da potere

utili

ri-

quale a te place colore, distinto con fili piu grossi in quanti a te piace parallels; qual velo pongo tra rocchio et la

durre

le

cose

capricciose,

all'arte,

bello off to" at

(Ed. SANSONI, 1878, II, 540).

262

THE PRACTICE OF PAINTING.

[524.

525.

A. i*|

MODO

DI

RITRARE DI NOTTE
RILIEUO.

UNO
J

'Fachemettiunacarta, non
troppa
lucida, infra rilieuo
ritrare.

A METHOD OF DRAWING AN OBJECT IN RELIEF AT NIGHT. Place a sheet of not too transparent paper between the
relievo

lume e avrai bono

and the light and you can draw thus very well.

A.

su uno mvro -, e la figura che ui dipignierai paia in propia forma e spiccata 3 da esso mvro farai in questo modo 4 di ferro fa da avere una sottile piastra e fali uno piccolo spiraculo nel mezzo 5 rotodo uno e accostavi il quale sia lume I modo che lo tocchi col suo mezzo,

Se

voli fare

una figura

il

qual muro

sia in iscorto

If you want to represent a figure on a while the wall, the wall being foreshortened, in its proper to is form, appear figure

and as standing free from the wall, you must proceed thus have a thin plate of iron and make a small hole in the centre; this Set a light close to hole must be round.
:

it

in

such a position as that

it

shines through

dipoi poni quello corpo o figura che piv 7 1 modo ti piace , apresso a detto mvro lo tocchi e segnia la sua obra I detto mvro
, ,

e poi la obra e da 8 lei sua lumi e fa che quello che vora vedere detta figura stia 9 a quello medesimo spiracolo doue I0 stette in prima il e no ti potrai lume, mai persuadere che detta figura no sia spiccata dal mvro.
, ,

hole, then place any object or wall that figure you please so close to the it touches it and draw the outline of the shadow on the wall; then fill in the shade
the
central

and add the

to see
it

who is lights; place the person so that he looks through that same

hole where at first the light was; and you will never be able to persuade yourself that the image is not detached from the wall.

524. i. 535.
i.

none
fare

rilieuo.

2.

fa

che metta

charta nono tropa.

2. ella
. . .
.

3.

lume
3.

ea.
1
.

figura Tsununo
5.

mvro

[m]
.

il.

esspichata.

vedere

sottile.

4. difere effale i
7.

picholo spirachulo nel

tochi essegnia.
8.

mezo.

retodo

e achosta vi

lume

chello tochi chol suo mezo.

6.

quelo chorpo offigura.

effa

che quello.

9. [al]a

quelo

spiracholo

disspichata.

524.

Bodies thus illuminated

will

show on

the

"les

mots 'dans
les

le

mur

paraissent etre de trap.

Leonardo

surface of the paper how the copyist has to distribute light and shade.
525. uno piccolo spiratolo nel metzo.
in

a du

fcrire

par

distraction?

But

'nel

mezut

is

M. RAVAISSON,
52,

his

edition of

MS.

photograph facsimile Kavaisson himself, and the objection he given by

clearly

legible

even on

the

(Paris),

p.

reads nel

raises

muro

mistake for nel mcno which is quite plainly written; and he translates it "fait /ui une petite coverture dans le mur" adding in a note:
evidently a

disappears at once. It is not always wise or safe to try to prove our author's absence of

mind or inadvertence by apparent

the sense or connection of the text.

difficultie s

in

I'L

XXXI

^*5^-

^
s~

CJ

'

X
1
I

Hehofr. Duiardin

Imp Eudea.

5 26.]

INSTRUMENTS AND HELPS.

263

A.

38;$]

526.
DI DI

FARE UNA FIGURA IN V MURO BRACCIA 'CHE APPARISCA D'ALTEZZA BRACCIA

12
24

DRAW A FIGURE N A WALL I2 BRACCIA HIGH WHICH SHALL LOOK 24 BRACCIA HIGH.
If you wish to draw a figure or any other object to look 24 braccia high you must do in this way. it First, on the surface m r draw half the man you wish to represent; then put on the then the other half; n [the rest of] the figure spovault ken of above; first set out the vertical plane on the floor of a room of the same

3 Se voli fare una figura o altra cosa che apparisca d' altezza di 24 braccia 4 farai in questa forma: figura prima la pariete m r colla 5 meta deP omo che voi fare dipoi 1' altra meta farai nella volta m n 6 la figura che voi fare detta di so: :

pra;
d'

fa

prima
7

la pariete in sul pia

una sala
colla

della

mvro

forma che a il volta dov'ai a fare la

tua 8 figura dipoi farai dirieto a essa pariete la figura disegniata I

,

che gradezza ti piace, le sue linie al puto f 10 e nel modo-ch'elle si tagliano sulla pariete n cosl le figura "sul mvro che a similitudine colla
di pro^ffilo e tira tutte

shape as the wall with the coved part to paint your figure. Then, behind it, draw a figure set out in profile of whatever size you please,

on which you are

Faltezze e e le larghezze spor figura, over grossezze che si trovano nel mvro ^diritto r faraile in propia forma, imperoche, nel fugire del J mvro, 4la figura diminvisce per se
pariete
I2
,

avrai

tutte

lines from it to the point and, as these lines cut m n on. the vertical plane, so will the figure come on the wall, of which the vertical plane gives a likeness, and you will have

and draw

ti

della

the [relative] heights and prominences of the figure. And the breadth or thickness which are on the upright wall n are to be drawn in their
all

medesima la figura che va nella volta 1 s ti bisognia diminvirla, come se ella fussi diritta, la quale dimil6 nvitione ti bisognia fare I su una sala be piana e 11 sara T ? la figura che leverai dalla pariete r n con le sue vere grossezze I8 e bisogna ridiminuirla in su una pariete di rilievo e fia bo modo.
;

proper form, since, as the wall recedes the figure will be foreshortened by itself;

but

[that

part

of]

the figure

which goes into the cove you must foreshorten, as if it were standing upright; this diminution you must set out on a flat floor and there must stand the figure which is to be transferred from the vertical planers [17] in its real size and reduce it once more on a vertical plane; and this will be a good method [18].

*
i.

i.

affare
.
.

figura chola.

12 br.
6.

2.

aparissca dalteza.
.

3.

fare
7.

figura
.

chosa che aparischa

8.

24 br.
. .

4.

forma
. .

[di]
.

figura

5. nela.

pariete "insul
. .

sala".

chessta
12.

cholo.
.

laffigura.

9.

gradeza
insuruna

ettira

puputo

f.

10. sula.
15.

ii. assimilitudine
16.

cholla
17.

arai
. .

alteze esspor.
le

largeze

grosseze chessi.

13. farai.

14. le figura diminvite.

. .

chomesse.

insuruna.

dala

chon

sue
|

"vere" grosseze.

18. e ridiminuirle

effia.

526.
in

See

the

plate

completed In the original the larger diagram

lines 5
I.

3. The second sketch, which incomplete, is here reproduced and from the original to illustrate the text.

PI.
is

XXXI.

17.

che leverai dalla pariete

to the larger sketch,

No. 3 on

is

placed between

and

6.

'del

C. A. 157 a ; 463 a has the similar heading: cresstiere della figura! , and the text begins: "Se
2.

voli

The

fare \" figura grande b c" but here it breaks off. translation here given renders the meaning of the passage as I think it must be understood. The MS. is perfectly legible and the construction of the sentence is simple and clear; difficulties can only
arise

1 8. Leonardo here says image foreshortened by perspective and thus produced on the vertical plane is to be transferred to the wall; but from what is said in Nos. 525 and 523 we may conclude that he was familiar with the process of casting the enlarged shadow of a squaring net on the surface of a wall to guide him in drawing

The letters refer XXXI. nothing as to how the

r n.

PI.

the figure.
Pariete di rilieuo;

"sur une paroi en

Schnittlinie

relief"

(RA-

VAISSON).

cularly towards the

from the very fullness of the meaning, end of the passage.

parti-

explanation of this pression must be sought in No. 545, lines 15

(LUDWIG).

"Auf The

einer

zum

Aufrichten" puzzling ex17.

264

THE PRACTICE OF PAINTING.

[527-529.

A. 42*]

527-

di

vna figura cuba dimostratione In v 2 cauolessi

fare
di

Se

in

you would -to draw a cube an angle of a wall, first draw

If

tone
I

mvro

fa

prima

la

cosa

the

object

in

its
it

own proper
onto a
verti-

propia
^

forma e levala

Tsulla

shape and raise

cal plane until

pariete,

ch' essa somigli al can-

it

resembles the

tone

dove a

essere

figurato

angle in
is

which the said object

detto corpo.

to

be represented.

Ash.

I.

528.
2

Perche la pictura pare meglio chio -die fori?

nello spe-

Why

are paintings seen

it?

more

correctly in

a mirror than out of

Ash.

i.

a a]
SPECHIO E
'L

529.

COME LO
2

MAESTRO DE PITTORI.
,

HOW

THE MIRROR

IS

THE MASTER [AND GUIDE]

OF PAINTERS.

Quado

voi vedere

se la

tua

pittura
3

tutta Tsieme a conformita colla cosa

di naturale, abbi vno spechio specchiare la cosa viua, e

ritratta

e favi detro

pa4 ragona
,

la

When you want to see if your picture corresponds throughout with the objects you have drawn from nature, take a mirror and look in that at the reflection of the real
and compare the reflected image with your picture, and consider whether the subject of the two images duly corresponds in both, particularly studying the mirror. You should
things,

e cosidera spechiata colla tua pittura bene se '1 subietto s dell' una e 1' altra similitudine a coformita isieme e sopra tutto
10 spechio;
lo spechio si de' pigliare per suo maestro, cioe lo spechio piano, ipero ch'I sulla sua 7 superficie le cose anno similitudine colla pittura I molte parti; cioe tu vedi la 8 pittura fatta sopra a uno piano dimostrare cose che paiono rilevate, e lo
6

cosa

spechio

La

pittura

sopra uno piano fa quel medesimo e vna sola superfitie e lo

;

that is to the mirror for your guide a flat mirror because on its surface the say objects appear in many respects as in a Thus you see, in a painting done painting. on a flat surface, objects which appear in also a flat surface relief, and in the mirror The picture has look the same. they

take

I0 specchio quel medesimo-; La pittura e Ipalpabile I quato che quello che pare todo 11 e spiccato no si pu6 circudare colle mani,

one

plane

surface
picture

and the same with the

is

mirror.
as that

The

intangible,

in so far

which appears round and prominent

537.
538.

i.
i.

megli.

fugura [chuba] di chuba. 2. ch *fori.

. .

2.

chatone

chosa

Tsu pariete.

539. 2. sella
. .

conformita cholla cossa.

7.

3. abi
.
.

effavi
8.

speciare.

4.
.

chola.

5.

ellaltra

choformita sopra
i

essopra.
fa.

6.

maesstro

perrochlsula.

anno

chola

imolte.

piano

chose che paiano.

9.

piano paiano

n.

esspi-

as follows:

this passage you draw the upper half a figure on a large sheet of paper laid out on the floor of a room (sola be piano] to the same scale (con le
I

understand the concluding lines of

If

as the lower half, already drawn upon the wall(lines 10, I i)you must then reduce them on a 'pariete di rilievo,' a curved vertical plane which serves as a model to reproduce the form of the vault

sue vere grosseze)

530.]
I2

ON JUDGING OF A PICTURE.
il

265

e lo spechio fa

simile;

se tu conosci

cannot be grasped in the hands;

the

and
since

it

is

che

lo spechio per mezzo de liniameti e obre e lumj ti fa parere J 3 le cose dispiccate e avedo tu fra i tua colori 1' ombre e lumi
14

same with

the mirror.

And

you

che quelli dello spechio- cierto, se li saprai be comporre Isieme, la tua pitura 'Sparrk acora lei una cosa naturale vista
piv poteti
I

by means of outmakes objects appear in relief, you, who have in your colours far stronger lights and shades than those in the mirror, can certainly, if you comcan see that the mirror ,
lines,

shadows and

lights,

pose your picture well, make that also look like a natural scene reflected in a large
mirror.

vno grade spechio.

Ash.

i.

530-

DEL
2

GIVDICARE LA TUA PITTURA.

OF JUDGING YOUR OWN

PICTURES.

Noi sappiamo chiaro che li errori si conoscono piv in altrui opere che nelle
sue,

e spesso ripredendo li altrui piccoli errori ignorerai i tua gradi, et per ifugire
3

We know very well that errors are better recognised in the works of others than in our own; and that often, while reproving
faults in others, you may ignore great ones in yourself. To avoid such ignorance, in the first place make yourself a master of perspective, then acquire perfect knowledge of the proportions of men and other
little

simile

ignoraza
,

fa

che

prima

sii
-

bono
:

dipoi abbi instera notitia prospectiuo delle misure dell' omo e d' altri animali e

acora bono archi 6 tetto cioe

tiene
alia
-

quato

s'

apar-

animals, and also,

that
is

study

good

architecture,

co?se
ifinite

forma delli edifiti e dell' altre che sono sopra la terra, che sono forme di quate 8 piv avrai notitia
;

concerns the forms of buildings and other" objects which are on the face of the earth; these forms are infinite,
so
far

as

and
where from
carry I say

the

piv

fia

laudabile

la
ai

tua

quella che tv
il

non
di

ritrarle

di

pratica ma naturale
:

operatione 9 no recusare
,

e in

admirable

alia

sopra dipigiere che tu debi tenere uno spechio piano e spesso ri"guardarai detro 1' opera

I0

promessa

dico

per tornare che nel tuo

a
as

flat

you know them the more your work be. And in cases you lack experience do not shrink But, to drawing them from nature. out my promise above [in the title] that when you paint you should have mirror and often look at your work
better
will

reflected

in

it,

when

you

will

see

it

tua
rio

quale e par iz ratti di

la

ui fia

veduta per

lo contra-

mano
1'

d'altro

maestro
;

reversed, and it will appear to you like some other painter's work, so you will be better

11

givdicherai meglio

errori

che altri^meti
e pigliar

able to judge of
it

its

faults than in

any other

ancora bono spesso leuarsi

cose tu
e
ai

un

poco d'altro
alle
T

sollaz I4 zo-, perche- nel ritornare

well that you should often way. Again, leave off work and take a little relaxation, because, when you come back to it you are
is

saldo

migliore ivditio, che lo stare ansul' opera ti fa forte Igannare

;

cora

bono

lo alontanarsi,

l6

perche

1'

opera

pare minore e piv si coprende in vna occhiata I7 meglio si conoscie le discordati e spro-

portionate

mebra

I8

e colori delle cose.

a better judge; for sitting too close at work greatly deceive you. Again, it is good to retire to a distance because the work looks smaller and your eye takes in more of it at a glance and sees more easily the discords or disproportion in the limbs and colours of the objects.

may

chato
pore.
530.
i.

po circhudare cholle
*

ello.

12.

Esse tu

mezo

ellumi.

13.

chose dispichate
achora.
10.

cholori.

14.

delo

chomtera-

15.

para

lei

cosa.
. .

givdichare.
8.

2.

sapiamo
.

chelli
. .

chonioscano.
. .

3.

piccioli.

4.
.

sia.
.

5.

6.

ala

cho

.
|

chessono
.
.

chessono.
II.
. .

arai
. .

laldabile

chettv

praticha.
. .

9.

rechusare

allo.

dicho chettu
.
.

tenere
. .

spechio
14.,

esspesso.

guardarai
chello.
I.

chontrario e parr.
16.

12. elli

lerori.
17.

13.

anchora se bono

speso

pocho

sola.

ale chose tuuai

13.

anchora Tganare.

choplende.

chonoscie

le dischordati.

18. cholori.

VOL.

266

THE PRACTICE OF PAINTING.

532-

Ash.

I.

ii*)

531.

DEL MODO DEL BENE IPARARE A

2

METE.

OF A METHOD OF LEARNING WELL BY HEART.

Quado tu vorrai sapere vna cosa studiata bene a mete tieni questo modo, cioe m a nt 3 of" works quado tu ai disegnato vna cosa medesima (531- 53*)- tate volte, che te la paia avere a mete, 4 pruova a farla saza lo esepio e abbi lucidato sopra vno uetro sottile e pia s no lo esepio tuo e porrai lo sopra la cosa che ai fatta saza 6 lo esepio, e nota bene dove il lucido non si scotra col disegnio tuo e dove truo?vi auere errato 11 tieni a mete di non errare piv, azi ritorna allo 8 esepio a ritra re tate volte quella parte errata che tu 1' abbi bene nella imaginatiua, e se 9 per lucidare una cosa tu no potessi avere vetro piano, tolli una carta sottilissima I0 di capretto e bene vnta e poi secca, quado 1' avrai adoperata a uno disegnio, 10 potrai colla spugnia cancellarla e fare il
On
the
,

When you want to know a thing you have studied in your memory proceed in this way: When you have drawn the same
you think you by drawing it by heart, without the model ; but have the model traced on flat thin glass and lay this on the drawing you have made without the model, and note carefully where the tracing does not coincide with your drawing, and where you find you have gone wrong; and bear in mind not to repeat the same mistakes. Then return to the model, and draw the part in which you were wrong again and again till you have it well in your mind. If you have no fla glass
thing

so
it

many

times

that

know

test

it

secondo.

for tracing on, take some very thin kidts-kin parchment, well oiled and dried. And when you have used it for one drawing you can wash it clean with a sponge and make a second.

Ash.

I.

9 <5]

532.

COME
2

IL PITTORE DEBBE ESSER VAGO D' UDIRE NEL FARE DELL' OPERA SUA GIVDITIO D*OGNI OMO.

THAT A PAINTER OUGHT TO BE

CURIOUS TO
HIS

HEAR THE OPINIONS OF EVERY ONE ON WORK.

Certainly while a not to shrink

^Ciertame non e- de recusare in metre che Ponio dipignie, il givditio di ciascuno, 4 iperoche noi conosciamo che 1'omo beche no sia pittore avra notitia della forma
,

man

is

painting

he

ought

from hearing

dell'

altr'

omo

be

givdichera

s'egli

For we know very well opinion. man, though he may not be a painter, is familiar with the forms of other men and
capable of judging whether they are hump backed, or have one shoulder higher or lower than the other, or too big a mouth
very
tKat

every that a

gobbo o a una spalla alta o bassa o 6 o naso ed altri macas'elli a gra bocca
e

meti; e se noi conosciamo

li

omini potere
,

con

uerita givdica?re 1'opere della natura

ci

quato magiormete
questi potere
sai
8

conuerra

confessare

or nose, and other defects; and, as we know men are competent to judge of the

givdicare li nostri errori, che quato 1'omo s'ingana nelP opere sua;

se

non

lo

conosci

altrui e farai

profitto delli altrui

in te, consideralo in I0 errori

,

sicch& sia vago co patietia vdire le altrui openioni e co^sidera bene e pesa bene se 1 biasimatore a cagione o no 'di biasimarti se troui di si, "raccocia e se troui di no fa la vista no 1' avere Iteso, o tu li mose ^omo che tu tra per ragione s'elli stimi la ragione come lui s'inganna.
' :

works of nature, how much more ought we to admit that they can judge of our errors; since you know how much a man may be deceived in his own work. And if you are not conscious of this in yourself study it in others and profit by their faults. Therefore be curious to hear with patience the opinions of others, consider and weigh well whether those who find fault have ground or not for blame, and, if so amend; but, if not make as though you had not heard, or if he should be a man you esteem show him by argument the cause of his mistake.
I

531. 2. chosa.

3.
. .

disegniato
esse.
9.

chosa.
*

4.

affarla
.
.

abi

sopra
10.

uetro.
.
.

5.

poralo.

6.

chol.
10.

7.

erato

erare.
il

8.

erata

chettu labi
532.
i.

lucidare
.

cosa

tolli
. .

carta.

secha

larai

disegnio.
.
.

chanellarla effare
. .

scchondo.
i

duldire.
.
.

3.

ederechusare
6.

chellomo
.

givdito di ciaschuno.
.

4.

chonosciano

chellomo
8.

avera.
. .

5.

spalla
9.

osselli

bocha.
.

machameti
10.

ali

chen
.

givdicha.

7.

chonuera chonfessare.
12.

chessai
.
.

Esse nollo.
.

chonchettu

sideralo
. .

effarai.

cho

vldire

li

cho.

n. biassimatore a chagione Esse.

rachocia

esse

ottu.

13.

chome.

533- 534-J

ON JUDGING OF A PICTURE.

267

Ash.

I.

21 a]

533-

COME NELLE COSE

LI
2

ERRORI

PICCOLE NO s' INTEDE COME NELLE GRADI.

HOW

IN

SMALL OBJECTS ERRORS ARE LESS DENT THAN IN LARGE ONES.

,
.

EVI-

Nelle cose
delle

di

minvta forma -no

si

puo conprendere
3

come

la qualita del suo errore, grandi ; e la ragione si e che,

se questa cosa piccola fia fatta a similitudine ^cl'un omo o d'altro animale le sue parti per la immensa diminvtione no possono essere ricercate 5 con quello debitofine dal suo operatore che si conuerebbe-,
,

In objects of minute size the extent of On the ... limitations i is not so perceptible as in large ones; O f painting and the reason is that if this small object (533535-) a representation of a man or of some is other animal, from the immense diminution the details cannot be worked out by the artist with the finish that is requisite. Hence it is not actually complete; and, not being
error

ode no rimane finita, 6 non essendo finita no puoi conpredere errori Esuoi 7 senplo: Riguarderai da lontano vno omo per ispatio di 300 braccia, e con diligieza
i

complete, its faults cannot be determined. For instance: Look at a man at a distance of 300 braccia and judge attentively whether he be handsome or ugly, or very remarkable
or of ordinary appearance. You will find the utmost eifort you cannot persuade yourself to decide. And the reason is that at such a distance the man is so much diminished that the character of the details
that with

8 o brutto -, givdicherai se quello e bello o s'eli e mostruoso o di comvne qualita: vedrai che con somo tuo sforzo no ti 9potrai persuadere a dare givditio, e la ragione si e che per la sopra detta distatia I0 diminviscie tato che no si questo uomo puo compredere le qualita delle particule, jl lie se voli ben vede re detta diminvitione dell'omo sopradetto ponti vno dito presso all' ochio vno palmo I2 e tanto alza e ab,

__

cannot be determined.

see how much this diminished [by distance] hold one of your fingers at a span's distance from your eye, and raise or lower it till the top joint touches the feet of the
figure

And man is

if

you wish

to

bassa detto dito che la sua superiore stremita termini sotto i piedi della figura 13 che tu-riguardi: e vedrai apparire vna incredibile diminuitione e per questo spesse 1 4 volte si dubita la formadell'amico da lontano.
,

you are looking

at,

and you

will see

an incredible reduction. For this reason we often doubt as to the person of a friend at
a distance.

Ash.

I.

25 6}

534-

PERCHE LA PITTURA NO PUO MAI PARERE 2 SPICCATA COME LE COSE NATURALI.

3

WHY
in

A PAINTING CAN NEVER APPEAR DETACHED AS NATURAL OBJECTS DO.

fall

Li

pittori

spesse
loro

disperatione
4

del

volte imitare

cadono
il

naturale,

rilieuo

le loro pitture non avere quel e quella vivacita che anno le 5 cose vedute nello spechio, allegado loro avere 6 o per iscurita colori che per chiarezza

vededo

into despair of imitating see their pictures fail in that relief and vividness which objects have

Painters often

nature

when they

that are seen in a mirror; while they allege that they have colours which for brightness

avanzano di gran luga la qualita de'lumi e obre della cosa vista ^ nello spechio accusado in questo caso la loro ignioraza e no la ragione-, perche 8 no la conoscono; Impossibile e che la cosa pita apparisca di tale rilievo 9 che s'assomigli alle cose dello spechio beche 1' una e 1'altra sia in su
,
.

or depth far exceed the strength of light and shade in the reflections in the mirror, thus displaying their own ignorance rather than
It is

the real cause, because they do not know it. impossible that painted objects should appear in such relief as to resemble those reflected in the mirror, although both are

seen on a

flat

surface,

unless they are seen

chome
. .

533.

i.

chome

chose pichole

erori
. .

chome.

2.

chose
4.

chesse cquesta chosa pichola

6.

assimilitudine.

domo
. .

chonplendere la qualita [dello errore] o imensa ricierche. posono

.

del.
5.

3.

ella

chon

chonuerebbe.
. .

poi chonpredere.
. .

7.
.

300. br. e

chon dilegieza
sforto.
13.
3.

[riguarderai] givdicherai secquello ebbello.

decta.
.

8.
. .

esseli e

mosstruoso

cho-

mvne
palmo.
534.
i.

vederai

chon somo tuo

. .

9. ella

10.
.

diminvissce chompredere
14.

partichule.

n. vno

[span]

12. ettanto
2.

chella
le

dela.

chettu

vederai
.

vno.

amicho dallontano.
. .

po.

sichata
7.

chome

chose.
8.

6.

chosa.

acusando chaso.

anno. inaturale. chagiano 4. ecquella chonoschano. 8. Inpossibile chella chosa apparischa.

.
. . .

5.

chose

cholori
.

chiareza.

9.

sasomigli

chose

benchelluna

268

THE PRACTICE OF PAINTING.

[535-

vna

I0 saluo se fia vista -co u solosuperfitie, ochio e la ragio si e, j 2 ochi che vedono
||

Tuna cosa "dopo 1'altra come a b m no pu6 occuche vede n m 2 basa interamete n perch& la pare delle linie visuali 6 si larga-che vede il corpo secondo dopo il primo Ma se chiv'^di vn ochio come s il
1
,

with only one eye; and the reason is that two eyes see one object behind another as a and b see m and n. cannot

corpo

occupera r perche

la linia

visuale nascie in un solo ^puto-e .fa basa nel primo corpo, dode il

secondo
visto.

di

pari gradezza

mai

fia

of] n because the base of the visual lines is so broad that the second body is seen beyond the first. But if you close one eye, as at s the body / will conceal r, because the line of sight proceeds from a single point and makes its base in the first body, whence the second, of the same size, can never be seen.

exactly

occupy

[the

space

Ash.

I.

166]
Z

535-

PERCHE
3

PARRA DI 2 COSE DI PARI GRADEZZA MAGGIORE LA DIP1TA CHE QUELLA DI RILIEUO.

Questa ragione no fia come molte altre,
di facile

WHY OF TWO OBJECTS OF EQUAL SIZE A PAINTED ONE WILL LOOK LARGER THAN A SOLID ONE.
The reason of this is not so easy to demonstrate as many others. Still I will endeavour to accomplish it, if not wholly, at any rate in part. The perspective of diminution demonstrates by reason, that objects diminish in proportion as they are farther from the eye, and this reasoning is confirmed by experience. Hence, the lines of sight that extend between the object and the eye, when they are directed to the surface of a painting are all intersected at uniform limits, while those lines which are directed towards a piece of sculpture are intersected at various limits and are of various lengths. The lines which are longest extend to a more remote limb than the others and therefore that limb looks smaller. As there are numerous lines each longer than the others since there are numerous parts, each more remote than the others and these, being farther
off, necessarily appear smaller, and by appearing smaller it follows that their diminution makes the whole mass of the object look smaller. But this does not occur in

stratione

ma

dimopure im'I-

giegnier6 di sadisfare, se no in tutto, in qualche parte; la prospettiva dimisnvitache le cose quato ci dimostra per ragione 6 diminvidal' ochio piv piv alotanono scono -, e queste ragioni be sono coferme dalla esperieza ?aduque le linie visuali che e 1' occhio , quado si trouano Ifra 1' obietto
,
;

alia superfitie della pittura tagliano a uno medesimo termine; le 9 Hnie che si truovano Ifra 1' ochio -e la scoltura sono di uari termini e lus'
,

astedono
si

tutte

E
I0

piv luga s' aghezze: quella linia ch' stede sopra uno mebro piv lotano che li 11 altri e pero quel mebro pare minore , essedoui molte linie piu lughe che I2 Paltre, e per cagione che le molte particule piv lotane Tuna che 1'altra esse^do piv lontane, couiene che apparischino minori, apparedo minori, vego^no a fare per loro diminvire
etto;

minore

tutta

la

soma

dello

obinella

E
l6

que'Ssto

no

accadedo

pittura per le linie

sima

distatia

terminate a vna medecouiene che sieno saza

painting;
n. chome
.
.

since the lines of sight

all

end

at

ellaltra sia insunvna. 13.

10.

scffia

cho

vegano luna chosa.

.

po

ochupare.

12.

essi

chorpo sechondo.

ochupera
|i
. .

nascienvnsono.
2.
. .

14. effa

neprimo chorpo
5.

sechonda

gradeza.
.

535. perche
7.

due].
chessi

gradeza.

2.

para
8.

quela.
.

chelle.
.

6.

diminvischono
9.

ecqueste ragione
10. ,'geze
.
.

coferme dalla dalla.

.

lini

sastedano.
. .

ala

medesimo

Elle.

chessi
.

ella.

quela
. .

ssasstede sopra
15.

mebro.

n. quemebro

luge.

12.

chagione che ne.

13.

apariscino

vega.

14. affare

soma

Ecque.

achadedo

534.

This

passage

contains
in

the

solution

of

the problem

proposed

Leonardo was evidently optics on which the construction of the stereoscope depends. Compare E. VON BRUCKE, Bruchstucke aus
der
Theorie

1014. 29, lines familiar with the law of

No.

Bild nie den vollen Eindruck der Korperlichkeit geben kann, wie ihn die Natur selbst giebt. Er erklart dies auch in Kaf. Lfff und Kap. CCCXLI (ed. Du FRESNE) des 'Trattato' in sachgemasser Weise aus dem Sehen mit
beiden Augen."

der

bildenden

Atinsff,

pg.

69

"Schon

Leonardo da Vinci wusste, dass

ein noch so

gut gemaltes

Chap. 53 of Du FRESNE'S edition corresponds to No. 534 of this work.

536538-]
diminvitione;

ON JUDGING OF A
aduque le particule no diminviscono la soma dello
no
l8

PICTURE.

269

diminvite

obbietto, e per questo

pittura

diminuiscie la

the same distance there can be no diminution, hence the parts not being diminished the whole object is undiminished, and for this reason painting does not diminish, as a piece

come

la scoltura.

of sculpture does.

Ash.

I.

536.

COME

SI

DEBBE PORRE ALTO

-

HOW
IL

HIGH THE POINT OF SIGHT SHOULD BE

PLACED.

PUTO.

2 II puto debbe essere alto alPaltezza dell'occhio d'uno homo comvnale, 3 e 1' ultimo della pianura che cofina col cielo debbe essere fatto all' altezza d'esso termine della saluo che le 5 motagnie terra col cielo
,

The point of sight must be at the level On the c of the eye of an ordinary man, and the position 6 537)farthest limit of the plain where it touches the sky must be placed at the level of that

che sono

libere.

line where the earth and sky meet; excepting mountains, which are independent of it.

Ash.

I.

256]

537-

DEL MODO
2

DI RITRARE FIGURE PER ISTORIE.

OF THE WAY TO DRAW

The

FIGURES FOR HISTORI-

CAL PICTURES.
painter must always study on the on which he is to picture a story the height of the position where he wishes to arrange his figures; and when drawing his studies for them from nature he must place himself with his eye as much below the ob-

debbe cosiderare 3 quale a a istoriare 1' altezza del sito doue vuole collocare le sue figure-, e cio che lui ri^trae di naturale a detto proposito, e stare tato coll'occhio piv basso che la cosa-che lui sritrae-, quato detta cosa sia messa in opera piv alta che 1'ochio del riguar 6 dante altremete
Senpre
il

pittore

in nella

pariete

la

wall

ject he is drawing as, in the picture, it will have to be above the eye of the spectator.

1'

opera

fia

reprovabile.

Otherwise the work will look wrong.

Ash.

I.

126]

538.

DEL PORRE UNA FIGURA PRIMA NELLA

STORIA.

OF PLACING A FIGURE

IN

THE FOREGROUND

OF A HISTORICAL PICTURE.

La prima figura in nela storia farai tato minore che '1 naturale, quante braccia
3tu
la figuri

You must make

the

picture

less

lontana dalla
,

prima
.

linia,

poi

pom

laltre

a coparatione

di

P r P rtion to which you place

the foremost figure in The r than the size of nature in ^r the number of braccia at
fi

a
r

it

from the front

line,

and

in

quella

make
ru j e>

the Qthers in proportion by the above

colla regola di sopra.

nela.

17.

diminviscano la soma
3.

obbieto.
tera chol
.

536. 2. alteza.

ellultimo
inella.

chol.
lalteza

4.
.

chelle.
. .

5.

chessono.
chellui.
4.

537. 2. chosiderare
5.

3.

chollochare

eccio

istare

chollocchio

chella chosa

chellui.

chosa
pore
I

chellochio.
2.

538.

i.

figura.

inella

quante br,

3.

dala

dique.

4.

cola,

2/0

THE PRACTICE OF PAINTING.

[539-542.

Tr. 7,.

539
PROSPETTIVA.
PERSPECTIVE.
are asked, Painter, why the figures draw on a small scale according to the you notwithlaws of perspective do not appear

perche le minvta forma per dimostratione di prospettiva no paiano in * pan dimostratione di distatia gradi quato le naturali leuate di pari s gradezza alle dipite sopra la pariete. 6 E perch le cose appareti in piccola lontanita in pari distatia ?apparano maggiori che "1 naturale.
pittore
figure

Domadasi
da te

te
J

You

fatte

in

standing the
large
as
real

demonstration of distance as ones their height being the

same
small

as in those painted

on the

wall.

And why
distance

[painted]

objects seen at a appear larger than the real

ones?

Ash.

I.

<;)

540.

DEL
The
right
2

RITRARRE.
-i

OF
naturale
s

PAINTING.

Quado
4

ai

ritrarre di

sta

the' artist*,

lotano 3
ritrai.

volte

la

gradezza della

cosa che

When you draw from nature stand at a distance of 3 times the height of the object
you wish
to draw.

the spectator

(540547).
Ash.
I.

541.

DEL RITRARRE
2

DI RILIEVO.
di

OF DRAWING FROM
si

RELIEF.

Quello che ritrae

in

rilieuo

debbe

accociare
figura
3

modo
sia

tale
al

che
pari

1'

ritratta

ochio della dell' ochio di

quello
testa, rale
,

fara a vna quale avessi a ritrarre di natuperche vniversalmete le figure ovvero persone che scotri per le strade tutti

che

ritrae,

e questo-si

la

In drawing from the round the draughtsman should so place himself that the eye of the figure he is drawing is on a level with his own. This should be done with any head he may have to represent from nature because, without exception, the figures or persons you meet in the streets have their eyes

anno

facessi

loro occhi all'altezza- de'tua, 6 e se li piv alti o piv bassi vedresti a

il

on the same

level

as your

own; and

if

you

dissimigliare

tuo

ritratto.

place them higher or lower you will see that your drawing will not be true.

Ash.

I.

542i CAPITOLI DELLE FIGURE L UNO SOPRA L'ALTRO E OPERA DA FUGGIRE.

?

PERCHE

WHY

GROUPS OF FIGURES ONE ABOVE ANOTHER ARE TO BE AVOIDED.

practice which painters adopt

Questo universale vso,

il

quale

si

fa

The universal

per pittori in nelle faccie delle ^cappelle e molto da essefe ragionevolmete biasimato, Tperocche sfano 1'una storia I v piano col suo paese e edifiti, poi s' alzano uno altro
6

grado e fanno una

storia e variano

il

puto

on the walls of chapels is greatly and reasonably to be condemned. Inasmuch as they represent one historical subject on one level with a landscape and buildings, and then go up a step and paint another, varying the point [of sight], and then a third and a fourth, in such a way as that on one wall
there are 4 .points of sight, which
folly
in
is

dal primo, e poi la terza ?e la

modo,
539. 2. atte

ch'una facciata

si

uede

fatta

quarta in co 4

such painters.

We know
7

supreme
that the

datte fatte (no parano in].

2.
.

3.

[spa] iminvta.
5.

4.

pare.

5.

gnadeza.

6.

chose

piciola.

magiore.

540.
541. 5^a.

i. 2.
i

ritrare.

ai

aritrare.
.
.

4.

gradeza dela.
3. 3.

chosa chettu.
5.
4.

achociare

imodo
perche

chellochio.
chapitoli.

ecquesto.
. .

chesschotri
chappelle.

ano
5.

alteza.
. .

6. esse
i

veresti a disimigliare.
6.

(come

si

d]

pe

inele.

chol

po salzano

altro.

fanno

storia.

7.

ella

543-]

ON JUDGING OF A

PICTURE.

2/1

8 la quale e soma stoltitia di simili punti, maestri; noi sappiamo che '1 spunto e posto aF ochio del riguardatore della storia, e se tu I0 volessi dire in che modo 6 a fare la uita

point of sight is opposite the eye of the spectator of the scene; and if you would [have me] tell you how to represent the life of a saint divided into several pictures on one and the
wall, I answer that you must set out the foreground with its point of sight on a level with the eye of the spectator of the

d'uno santo copartita XI in molte storie in vna medesima facia, a questa parte ti rispo12 do che tu debi porre il prime piano col J puto all' altez 3za dell' ochio de riguare isu detto piano storia, J I4 figura la prima storia grade Se poi, diminvedo di mano I rria l6 no le figure e
datori

same

d'essa

scene, and upon this plane represent the more important part of the story large and then, diminishing by degrees the figures, and the

casameti Tsu diuersi colli e pianvre, farai ^tutto il fornimeto d'essa storia, e '1 resto della faccia I nella sua l8 altezza farai albori gradi a coparatione delle figure o agie^li,
se fossino al proposito della storia, owero vccelli o nvuoli o simi 20 li cose, altrimeti no te ne ipacciare, ch'ogni tua opera fia falsa.

buildings on various hills and open spaces, you can represent all the events of the history. And on the remainder of the wall up to the top put trees, large as compared with the
figures, or angels if they are appropriate to the story, or birds or clouds or similar objects; otherwise do not trouble yourself with
it

for

your whole work

will

be wrong.

543-

QUELLA COSA FATTA

2

MIGL1ORE

IN PROSPETTIVA AVRA EUIDETIA LA QUALE FIA VEDUTA 3 DA LOCO DOV'E FATTA -LA SUA VEDUTA.
4

PICTURE OF OBJECTS IN PERSPECTIVE WILL

LOOK MORE LIFELIKE WHEN SEEN FROM THE POINT FROM WHICH THE OBJECTS WERE DRAWN.
you want you which is
If
is

Se

vorrai

figurare

una cosa da presto

it
.

che fanno le cose naturali, s inpossibile fia che la-tua-pro6 le spettiua non apparisca falsa co tutte
so

che faccia P effetto

to represent an object near to have the effect of nature,

bugiarde dimostrationi e discordati proportioni che si puo ima7ginare in vna trista se il riguardatore d' essa prospetopera tiva no 8 si truova col suo vedere alia propia distatia e altezza e dirittura de^P ochio over puto che situasti al fare d' essa prospettiva: Onde bisognie I0 rebbe fare una finestra della gradezza del tuo volto o veramete uno
,

"buso, dode tu riguardassi detta opera-; e se cosl farai sanza dubio nessu I2 no P opera
tua-,

impossible that your perspective should look wrong, with every false relation and disagreement of proportion that can be imagined in a wretched work, unless the spectator, when he looks at it, has his eye at the very distance and height and direction where the eye or the point of sight was placed in doing this perspective. Hence it would be necessary to make a window, or rather a hole, of the size of your face through which you can look at the work; and if you

not

do
is

this,

beyond

all

doubt your work,

if

it

essendo bene accopagniata d'6bra-e di che fa il naturale, e lumi, fara Peffe^tto no ti potrai fare credere che esse cose sieno '< dipite -, altremeti no te ne inpacciare, se

correct as to light and shade, will have the effect of nature; nay you will hardly persuade yourself that those objects are painted; otherwise do not trouble yourself

gia tu'no facciessi la tua ve^duta-al

meno-

about

it,

unless indeed you

make your view

imodo

fatto.

8.
. .

sapiano.
.

9.

essettu.
16.

10.

dire che
17.
4.

affare

duno sco

copartita.
.

u.
.

imolte storie
20. lie

nvna
.
.

ac-

questa.
543.
i.

12.

chettu

pore
.

alte.

chasameti.
3. locho.

dela facia.
vorai
. .

18. alteza.

19. vccello

ossimi.

cose
5.

ipaciare.
.

[se]

quella chosa
. .

prosspettiva ara.
.

chpsa.

4.

cheffacia

cheffa le chose.
prosspettiva.
8.

chella
.

pros-

spettiua
alteza.

aparischa

cho.
.

6.

dimostratione e disschordate proportine chessi po.

10.

7.
i.

chol
12.

disstatia e

9.

puto

situasti

prosspettiva.

rebe fare

finestra

gradeza

veramete

n. esse

chosi.

achopagniata.

543.

In the original there

in

is

tween lines 3 and 4

not belonging to

which we
text.
It

a wide space befind two sketches

differs
self,

from that of M. RAVAISSON or to

they
are
all

justify

my-

since

the

is

unnecessary to

and can

importance also be immediately, verified from the

in his edition.

of secondary

give prominence to the points in which

my

reading

photograph facsimile

272

THE PRACTICE OF PAINTING.

at

[544

20 volte lontana, quato e la maggiore larl6 ghezza o al tezza della cosa che figuri, e
'? situate questa sadisfara a ogni riguardatore in ogni cotraposta parte a detta opera. 18 Se voli- vedere- la pruova-con breuita-, abbi uno pezzo d'asta a similitudine 9 d'una colonnetta piccola, che sia alta otto gros20 sezze come la colonna saza basa o capitello-, dipoi copartisci I su u mvro piano 2I 40 spa ti equali, quali sieno coformi ali spati, e sarebbero Ifra 40 colonne "simili alia tua piccola colonna, poi fia stabilita
'

least 20 times as far off as the greatest width or height of the objects represented, and this will satisfy any spectator placed anywhere opposite to the picture. If you want the proof briefly shown, take a piece of wood in the form of a little column, eight times as high as it is thick, like a column without any plinth or capital; then mark off on a flat wall 40 equal spaces, equal to its width so that between them they

make

2 3a riscotro del mezzo d' essi spati 4 braccia lotana 24 dal mvro una sottile banda di ferro che abbi nel mezzo uno piccolo buso rotodo, 25 della gradezza d'una grossa perla, e a 26 che tocchi, questo buso cogivgni uno lume poi va ponedo la tua colonna super ciascu 27 segnio del muro e se gnia 1'obre, poni la obra e riguardala pel detto baso del ferro.

40 columns resembling your little column; you then must fix, opposite the centre space, and at 4 braccia from the wall, a thin strip of iron with a small round hole in the middle about as large as a big pearl.
Close to
hole place a light touching it. against each mark on the wall and draw the outline of its shadow; afterwards shade it and look through the hole in the iron plate.
this

Then place your column

A. 410]
2

544-

La cosa diminvita debe essere riguardata a quella medesima 3distantia e altezza e dirittura che ponesti il puto del tuo ochio, altremeti 4 la scietia non avra
,

A
the

diminished object should be seen from

direction
effect.

same distance, height and

will

as

the point of sight of your eye, or else your

knowledge

produce no good
will not,

bono
s

effetto.

And
uoi o
la

if

E
,

you

or cannot, act on

se no

ragione
dipigni

per

no puoi vsare simile 6 cagione della pariete dove ch' e a essere veduta da diuerse
:

persone-, bisognierebbe diuersi puti 7 ode sarebbe discordate e falsa poti lotano il meno IO volte la gradezza della cosa. H 8 II minore errore che possi fare in questo caso sie che tu poga tutte ?le prime cose in propia forma e in qualuque I0 vedute- diminviparte ti porrai -, le cose ranno per se medesime, saluo li spati che si trovano "infra corpi fieno sanza ragione-,
,

because as the plane on which you paint is to be seen by several persons you would need several points of sight which would make it look discordant and wrong
this principle

place yourself at a distance of at least 10 times the size of the objects.

I2 ti d'una porrai nel mezzo e riguarderai molte colonne collocate su per una linia, "3 vedrai infra pochi intervalli d' esse colonne le colonne toccarsi, e dopo J *il toccarsi occuparsi 1' una 1' altra in modo tale, che 1' ultima colonna 'Sappa-

imperoche se
dirittura

The lesser fault you can fall into then, will be that of representing all the objects in the foreground of their proper size, and on whichever side you are standing the objects thus seen will diminish themselves .while the spaces between them will have no definite ratio. For, if you place yourself in the middle of a straight row [of objects], and look at several columns
arranged in a line you will see, beyond a few columns separated by intervals, that the columns touch; and beyond where they touch they cover each other, till the last column projects but very little beyond the Thus the spaces between the last but one.

rira
1'

poco

fori

della

penvltima

aduque
colone-

interval!

che

si

tro l6 vano

infra le

18. chon sadisfiara. chose. 14. faciessi. 15. magiore largeza. 16. teza . della chossa cheffigurt ecquesta . grossez chome la cholona. 20. chapitelo pezo dasste assimilitudine. 19. cholonetta pichola chessia alto * tola di fero stabilito "4 br. lotano" 21. choformi farebono colone*. 22. ala pichola cholona chopartisci Isuuu. 5 del mezo 2]. mvro i sottile di fero che abi nel mezo 4 br. lotano. sottile]. 23. [la quale aci ! buso i] arischotro 13. cheffa
.

abi

picholo
544.
i.

retodo.

25. dela
.

gradeza

acquesto

cogivgui
. .

lume.
5.
.
.

26. tochi
.
.

colona

esse.
6.
.

27.

pola
.

riguardalo.

ella.

2.

chosa

acquella.
. .

3. alteza.

4. lasscietia 8.

ara.

Esse

poi

chagione dela.
.

diuersi

bisognierebe.

7.

sarebe disscordate efialsa chorpi

.

xi.

gradeza dela. inperochessetti porai mezzo.

. .

erore

chaso
.

chettu.
13.
16.

9.

chose

porai
le

chose.

10. lisspati chessi.

12.

cholone
.

cholochate.
.
.

vederai cholone
.

cholone tocharsi.
.

14.
. .

il

to-

charsi ochuparsi

imodo cholona.

15.

aparira

pocho

chessi.

cholone

si

perdano intera

mete Esse

dela

545-1

ON JUDGING OF A
interamete
;

PICTURE.

2/3

si

perdono
T

se
,

il

tuo

modo

fara il medeprospettiva fia bono simo effetto il quale effetto accade l8 nello stare presso alia linia dove si posano le colone, e questo modo ^fia sanza gratia, se la cosa figurata no fia veduta da uno

della

20 nel mezzo del quale sia piccolo buco collocate il tuo puto del uedere e se cosl 2I 1' farai opera tua sara perfetta e ingannera i veditori e ueranno le "colone figurate nella forma qui disotto figurate.
, ,

columns are by degrees entirely lost. So, if your method of perspective is good, it will produce the same effect; this effect results from standing near the line in which the columns are placed. This method is not satisfactory unless the objects seen are viewed from a small hole, in the middle of which is
your point of sight; but if you proceed thus your work will be perfect and will deceive
beholder, who will see the columns as they are here figured.
the

23

A queste

1'

a ed e presso

alle

ochio e nel mezzo nel putocolonne. II

Here the eye is in the middle, point a and near to the columns.

at the

A'.

41 6]

545tu

Se

no puoi

fare

che

li

omini,

che

2 riguardano la tua opera, stieno in vn solo tirati indirieto col ochio, quado figuri puto 3 la tua opera al meno 20 volte la maggiore altezza o larghezza della tua opera, *e questa fara nel mutare 1' ochio del ri5 guardatore si poca varieta che apena si e fia assai laudabile coprendera,
.

at

If you cannot arrange that those who look your work should stand at one particular point, when constructing your work, stand back until your eye is at least 20 times as far off as the greatest height and width of your work. This
will

make so little difference when the eye of the spectator moves, that it will be hardly appreciable, and it will look very good.

6 Se '1 punto sara in poste sul circulo d- b e

/ farai.- tu le figure d'

If

the

point of sight
figures

is

at /

you would

una ^.medesimacholone ecquesto.

nela.
23. acqueste
.

make

the

on the

circle

d
.

all

17.

prosspettiva
. .

achade.
22.

18.

nelo
.

19.
.

chosa
.

da

picholo ochio.

20.

mezo

cholochato

esse chosi
545- i-

inganera.
.

cholone
.

raezo
3. 7.

cholonne

^.
alteza olargeza.
8.

d. settu
. .

poi fare [questo

5.

vedere].
effia
.
.

2. stie'no

nvn
6.

chol.

il

meno magiore
.
.

4.

ecquesta

mvn-

tare

pocha.

choplendera

laldabile.

circhulo.

gradeza

ciasschuna.

vederai.

9.

choplen de che

544.

The

diagram

which

stands

above

this

chapter in the original with the note belonging to it: "a b e la ripruova (a b is the proof) has ob-

viously no connection with the text. The second sketch alone is reproduced and stands in the original

between

lines 22

and

23.

VOL.

i.

MM

2/4

PRACTICE OF PAINTING.
of one

[546.

547.

essendo ciasscuna per esso al gradezza 8 / a vn medesimo modo puto poni mete disotto e vedrai di no, e perche alia figura
,
;

same
the

size, as each of them bears the But consider relation to the point /.

that this

la far6
9

minore
si

in

b che

diagram given below and you will see make b is wrong, and why I shall

e.

smaller than
It is

e [8].

coprende che, collocado 2 cose infra loro equali, che I0 quella ch'e situata nel terzo braccio parra minore che quella ch'e posta "nel secondo braccio questa cosa e piv disputativa che da vsarla perche sei presso. "Tutte le prime cose-, gradi o piccole J ch' essi sieno, falle in propia forma 3e se le
; ,

Chiaro

easy to understand that if 2 objects equal to each other are placed side by side the one at 3 braccia distance looks smaller than that placed at 2 braccia. This however is rather theoretical than for practice, because

you stand close by [n].

large
All the objects in the foreground, whether or small, are to be drawn of their

vedrai

lontano faranno la lor debita dimpstratione -, e se le ved^rai dapresso

"di

diminvirano per loro medesime. *s Fa che sulla senpre la tua pariete l6 quale tu diminvisci le cose vedute, sia fatta della medesima forma che il mvro dov'ai
,

and if you see them from a distance they will appear just as they ought, and if you see them close they will diminish
proper size,
of themselves.

'?

a figurare

la

medesima opera.

on [15] Take care that the vertical plan which you work out the perspective of the objects seen is of the same form as the wall on which the work is to be executed.

Ash.

I.

226

546.

PlTTTURA.
2

OF
figura

PAINTING.

La

gradezza

della

debbe mostrare a che distanza-ell'eveduta;

dipinta

ti

The
to

size

show

you

of the figures represented ought the distance they are seen

se tu vedi
ochio.

una figura grade

si

al

naturale
4

sappi ch'ella
1'

dimostra esser presso

al-

If you see a figure as large as from. nature you know it appears to be close to

the eye.

Ash.

I.

3*1
2

547-

DOVE DEBE STARE QUELLO

LA PITUTRA.

CHE RIGUARDA

WHERE A SPECTATOR SHOULD STAND TO

LOOK AT A PICTURE.
Supposing a b to be the picture and d be the light, I say that if you place yourself between c and e you will not
to
.

3Poniamo
vista
,

che

a
il

b
lume,

sia
4

e che
infra

d
c
-

sia

la pictura Dico, che se ti

la pit-

porrai

-,

male coprenderai
.

cholochado

chose.
13.

pichole chesi.
546. 2. gradeza
547. 4.
.

io.;che quala . esse vederai farano

3.
.

terzo br.
.

para
vede.

quela.

n. sechondo
.
.

chosa

sepreso.

12.

chose grade,

esse

15.

chessenpre

sula

diminvissci le chose.

17. affigurare.

ditebbe.
. .

settu
.

sapi.
5.

Dicho chesse

porai

coplenderai la pitura.

sessia

vernichata

ara.

6. effia

chagione.

7.

chosterai

razi

The second diagram of this chapter 545. 8. stands in the original between lines 8 and. 9.
II.

reads 'sempre sf which gives rise to the unmeaning

.' rendering: 'farteque toujours 15. Compare No. 526 line 18.
.
.

Instead of

'se preset

(= sie

presso)

M. RAVAISSON

547-1

ON JUDGING OF A PICTURE.

2/5

5 e massime se sia fatta a olio o veramete verniciata perche avra lustro 6 e fia quasi di natura di spechio eper questa cagione quato piv t' a?ccosterai al puto meno vedrai perche quivi c

tura,

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

risaltano

razzi

del

lume
*>e

-,

ma:

dato dalla

finestra

alia pittura

you

will see,

because the rays of light

se

ti

porrai infra

11

fia
,

e bene operata la tua vista massime quato piu t' appresserai 10 al punto-^-, perche quello loco e meno
participate^di detta percus^sione de' razzi
riflessi.

falling from the window on the picture are reflected to that point. But if you place yourself between e and d you

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.
will get

8.

Essetti

porai.

10

locho.

n.

razi rifressi.

III.

THE PRACTICAL METHODS OF LIGHT AND SHADE AND

AERIAL PERSPECTIVE.
C. A. 196^5 586*]

548.

DE

PICTURA: DELLA OSCURITA DELLE OBRE O UOI DIRE CHIAREZZE DE* LUMI.

OF

PAINTING:

SHADOWS,

OR

OF THE DARKNESS OF THE MAY SAY, THE BRIGHTNESS^

OF THE LIGHTS.

Gradations
f

!Mld sifade.

2 Beche li pratici mettino in tutte le cose 3 e infuscate, albcri, prati, capelli, barbe peli di 4 sorti chiarezze nel contrafare vn mede-

^prima vn fondameto vna machia che participa una parte piu della forma sdelle parti; 3 lumi piu che spedita e piu chiara, 4 simo
colore,

cioe

oscuro e per 2

altre parti 6 noti di figura

Ma

che esse varieta sieno

7

infinite

me pare sopra vna

Although practical painters attribute to shaded objects trees, fields, hair, beards and skin four degrees of darkness in each colour they use: that is to say first a dark foundation, secondly a spot of colour somewhat resembling the form of the details, thirdly a somewhat brighter and more defined portion, fourthly the lights which are more conspicuous than other parts of the figure; still to me it
all

quatita continua, la quale in se e diuisibile sia vna e cosl lo provo: 8 a quantita cotinua, d sia il lume che P aluin ifinito,

a mina; dico per la 4 che dice Iche quella I0 corpo alluminato sara piu lumiparte del nosa che piu s'a"uicina alia causa che I2 1'allumina; adunque g e piu oscuro che

so 4, ma infinitamete si possono inmaginare, perche c d e quatita cotinva

per tato quato la linia d g e piu lunga che la linia ^d c e per la conclusione che tali gradi di chiarezza o vo' dire di oscurita
sol
I4

no

appears that these gradations are infinite upon a continuous surface which is in itself infini[7] Let tely divisible, and I prove it thus: a g be a continuous surface and let 'd be the light which illuminates it; I say by the th 4 [proposition] which says that that side of an illuminated body is most highly lighted which is nearest to the source of light that therefore g must be darker than c in proportion as the line d g is longer than the line d c, and consequently that these gradations of light or rather of shadow, are not 4 only, but

348. 2. pratichi

infusscate.
. .

3.

eppelli

sorte chiareze
.

coe.
12.

4.

osscura.
[chia]
. .

5.

parte 3* una
.

alte parte.
13.

6.

ame.
.

7.
.

chon-

tinua.

8.

q'Vtita
14.

chella.

n. chellalumina

he.
linie

piu

osscuro
ettal.

lungha chella.
. .

chettali
18.

ciarera

osscurita.

possano.

16. delle

"lugeze ce anno le"

chessasteda

17/ecquella

lungeze.

chessastendano

548.

7.

See

PI.

XXXI. No.

I; the

two upper sketches.

549J

550]
ogni
quatita

ON LIGHT AND SHADE.

continua
infinite

277

5e

diuisibile
le

in

may be conceived
is

ifinito,

adunque

.son

ua
s'

l6

rieta

of as infinite, because cd a continuous surface and every continis

delle lughezze, che

anno

le linie

che

uous surface
asteda
J

infinitely

divisible;

hence

dal luminoso allo alluminato

He

tal fia

7la

the varieties in the length of lines extending between the light and the illuminated object

lumi quale e quella delle delle linie infra loro, I8 che s'astenlunghezze dono dal centro del luminoso alle parti

proportione

delli

and the proportion of the light same as that of the length of the lines between them; extending from the centre of the luminous body to the surface
will

are infinite, be the

d'esso obbietto alluminato.

of the illuminated object.

A. 23*]

549.
IL

COME

PICTORE

SI

DEBBE ACCOCIARE AL
RILIEUO.

LUME COL SUO

2

HOW THE PAINTER MUST PLACE HIMSELF WITH REFERENCE TO THE LIGHT, TO GIVE THE
EFFECT OF RELIEF. Let a b be the window, m the point of I say that on whichever side the light. painter places himself he will be well placed
On
the

del

a b lume
si

sia la
,

finestra,

sia

il

punto

pittore

dico che in qualunque parte il 3 che stia-, ch'elli stara bene pure

choice of light for a

P ochio

sia

infra

la

parte

onbrosa e
,

la

luminosa

del corpo che si ritrae loco tro^verai ponendoti infra

,

il

quale

'1

e la
il

diuisione che fa

P onbra

punto dal lume

only his eye is between the shaded and illuminated portions of the object he is drawing; and this place you will find by putting yourself between the point m and
if

the

the
light

division

sopra

corpo

ritratto.

between the shadow and on the object to be drawn.

the

Ash.

I.

14 a]

550.

COME
2

SI

L' OBRE FATTE DA LUMI PARTICULARI DEONO FUGIRE PERCHE SONO I LORO I FINI SIMILI A PRICIPI.

THAT SHADOWS CAST BY A PARTICULAR LIGHT SHOULD BE AVOIDED, BECAUSE THEY ARE EQUALLY STRONG AT THE ENDS AND AT THE BEGINNING.
The shadows
other
cast

ticulari

sL'onbre, fattedal sole o altri lumi parsono seza gratia del coHpo che
,

by

the

sun

or any

da quella e accopagniato, Tperocche cofusamete lascia le parti s diuise cd euidete ter-

particular light have not a pleasing effect on the body to which they belong,

mine d'obra da lume, e Pobre sono 6 pote tia nel' ultimo che nel pricipio.
.
.

di pari

because the parts remain confuse, being divided by distinct outlines of light and shade. And the shadows are of equal strength at the

end and

at the beginning.

parte.

At

the beginning

of

the text the following is written

on the -margin in five short

chellochio

lines: dello oscurita delle

obre ouoi

dire ciareze de lumi. 549.

i.
.
.

chome
cheffa
chor.

achociare

..

chol.

2.

finesstra

dicho

sisstia.

3.

ella

chorpo chessi

locho.

4. ella

chorpo

ritracto.
. .

55-

3-

4.

dacquella eachopagniato

lasscia le parte

278

THE PRACTICE OF PAINTING.

[551- 552-

Ash.

I.

2t\ SI

551-

COME
2

DEBE DARE LUME

ALLE FIGURE.

HOW

LIGHT SHOULD HE

THROWN UPON

FIGURES.

II

darebbe
la

lume debe essere usato secodo che sito dove 3 fingi essere il natural
figura,

tua

cioe se
4

la

flgi

al

sole

fa

1'onbre

oscure
e

e gra
di

piazze
i

di

lumi

corpi se la figuri j tristo tepo, fa poca differentia da lumi a obra, 6 se e sanza fare alcuna altr' obra ai piedi,
stapi le loro obre
s

1'obre

tutti

circustati

in terra;

The light must be arranged in accordance with the natural conditions under which you wish to represent your figures: that is, if you represent them in the sunshine make the shadows dark with large spaces of light, and mark their shadows and those of
the on surrounding objects strongly ground. And if you represent them as in dull weather give little difference of light and shade, without any shadows at their feet.
all

the

E
^

la figuri

casa, fa
8

gra

Miffereza ^a
e
se
vi

um

If

al'obre

e obra

per terra,

figuri

finestra Ipanata

e abitatione

biaca,

poca
e

differeza

da lumi a obre;
foco, farai
1' i

se ell'e alumirosseggiati
del'

nata
10

da

lumi
'1

poteti, e scure

obre, e

battimeto
Ir

obre

you represent them as within doors, make strong difference between the lights and shadows, with shadows on the ground. If the window is screened and the walls white, If it there will be little difference of light. is lighted by firelight make the high lights
a

per

li

muri o per terra

sia terminate, e

quato piu s'alotana dal corpo

ccia,

-piv si faaplo e magno; E se fusse alluminata I2 e parte dall'aria che quello parte dal foco
sia
'5

dell'aria

sia quasi rosso,

piu potete e quello del foco a similitudine di foco

,

ruddy and strong, and the shadows dark, and those cast on the walls and on the floor will be clearly defined and the farther they are from the body the broader and longer If the light is partly from will they be. the fire and partly from the outer day, that of day will be the stronger and that of the
fire

almost as red as
that

fire

itself.

Above

all

14 dipite sopra tutto fa- che le tue figure abbiano il lume grade e da alto cioe quel
,

vivo che tu

ritrai,

che tu vedi

per

le

'SJperoche persone strade tutte anno il

l6

le

figures you paint are broadly lighted and from above r that is to say all living persons that you paint; for you will

see

the

lume

di sopra e sap pi che non e si gran tuo conosciete che dadoli i lume di sotto

you meet out in the from above, and you must know that if you saw your most intimate friend with a light [on his face] from below
see that all the people
street are lighted

che tu no ^durassi fatica a riconoscerlo.

you would

find

if

difficult to

recognise him.

Ash.

I.

i4

552.

DEL DARE CON

2

ARTIFIZIOSI LUMI E OBRE AIVTO AL FINTO RILIEUO DELLA PITTURA.

3

OF HELPING THE APPARENT RELIEF OF A PICTURE BY GIVING IT ARTIFICIAL LIGHT AND SHADE.

Nell'

aumetare
fare

la

pittura nel
la

suo
figura

rili-

To

increase relief of a picture

figure

you may
the
solid

euo

vserai

infra

finta
la

place, between your

and

quella

cosa

visiua,

che ricieve

sua

obra,
sia

vna

linea di chiaro

lume che diuida

figura dal oscurato obietto, e nel medesimo obietto farai 6 2 parti chiare che mettino

object on which its shadow falls, a line of bright light, dividing the figure from the And on the same object object in shadow. you shall represent two light parts which will surround the shadow cast upon the wall

551.

i.

ilume.

2.

jlume

darebe.
elle.
.

4.

piaze

stapisci
10.
.

lobre

di.

5.

pocha

diferentia.

6.

essella.

7.

difereza

tera esse

Ipanata.

8. difereza
14.
. .

Esse

9. rosegiati.

ecquato.
.

n.
.

facia apla e
.

magnia Esse.
chettu
.

12. foco.

13. assimilitudine

tuto fa chellc.

abino

chettu.
4. ciaro.

15.
5.

chettu

ano

lume

essa.

16. chettu.
7.
.

17. faticha

a richonoscerlo.
8.

55.

3.

Dellaumetare

infralla.

farai [chiaro dopo].

6.

imezo.

chessi.

chorpo e massimo

lebr

552.

6.

Compare

the two diagrams under No. 565.

553- 554-]
in

ON LIGHT AND SHADE.

ombra
by the

279

fatta nel mvro della cotrae vsa spesso fare quelle voi che si partino 8 alquato mebra, dal loro corpo e massime quado le braccia intraversano il petto, di 9 fare che Ifra '1 battimeto dell'obra del braccio sul petto e la propria I0 6bra del braccio resti alquato

mezzo

1'

7posta

figura; che tu

figure placed opposite [6]; and do this frequently with the limbs which you wish should stand out somewhat from the body they belong to; particularly when the arms

di lume che paia che passi infra lo spatio ch'e "infra '1 petto e '1 braccio, e quado tu voi che '1 braccio paia piv distate dal 12 petto tato piv fa detto lume maggiore, e senpre fa che tu t'Igiegni ^d'accomodare

cross the front of the breast show, between the shadow cast by the arms on the breast and the shadow on the arms themselves, a little light seeming to fall through a space between the breast and the arms; and the more you wish the arm to look detached from the breast the broader you must make the light;

capi che la parte d' essi corpi ch'e oscura T * termini in capo chiaro , e la J parte del corpo aluminata termini I 5 capo scuro.
i

corpi

in

always contrive also to arrange the figures against the background in such a' way as that the parts in shadow are against a light background and the illuminated portions
against a dark background.

33*]

553-

DE
2

SITUATIONS.

OF

SITUATION.
the situation of your

Ricordati del situare le figure, perche altro e lume e onbra, se 4 vna cosa
loco scuro
s

Remember

emu
co

[to note]

cosa

in

co lume particulare, altro 6 vna loco chiaro co ? lume particular

8

figures; for the light and shade will be one thing if the object is in a dark place with

del sole,

altro

vna cosa
della
il

in loco scu^ro

lume

vniversale

I0

sera

di

tepo
I2

nvoloso,

"e

altro

lume vniversale

del-

a particular light, and another thing if it is a light place with direct sunlight; one thing in a dark place with' a diffused evening light or a cloudy sky, and another in the diffused light of the atmosphere lighted by
in

1'aria alluminata dal sole.

the sun.

G. iga]

554AI A FARE SOPRA VN OPERA D'J PITTORE.

le figure s'el-

DEL

GIUDITIO CHE
2

OF THE JUDGMENT TO BE MADE OF A

TER'S
First

PAIN-

WORK.

sPrima e che tu cosideri

1'anno
4 il

rilievo
5

lume che
nel

le
6

qual richiede il sito e '1 allumina; che 1'onbre no sie

nelli

have the

quel medesi

mo
7

stremi della storia che

you must consider whether the figures relief required by their situation and the light which illuminates them; for the shadows should not be the same at the extreme ends of the composition as in the middle, because it is one thing when figures are surrounded by shadows and another when
they have shadows only on one side. Those which are in the middle of the picture are

perche altra cosa e 1'essere circundato dalle 8 ombre, e altro e lo aver le obre da vn sol lato; 9 quelle so circu-

mezzo,

date dalFobre che sono in I0 verso

della
storia,

il

mezzo

perche

sono ao^brate dalle

12

e '1 lume; figure interposte fra loro quelle sono aobrate da vn sol ^lato, le quali

surrounded by shadows, because they are shaded by the figures which stand between

sono interposte infra lume e

perche dove no vedono
storia e
ui si
il

I4

la

storia,

lume vedono
la la storia
si

*sla

rappreseta

scurita d' essa

sto l6 ria, e
lo
la

dove no vedono

vedono

them and the light. And those are lighted on one side only which stand between the principal group and the light, because where they do not look towards the light they face the group and the darkness of the group is thrown on them and where they do not face the group they face the brilliant light and it
:

sple^dore del lume, e ui sua chi l8 arezza.

.
.

rappresenta

is

their own darkness shadowing them, which appears there.

fa chettu.
13.

ella.

10. del br
. .

14.

553-

chapo 12 R.

ella.

15.

3.

altre

n. quato pai. capo chiaro. lume "e onbra" vise.

.

bracio.

12.

magiore essenpre

dachomodare
8. illoco dal.

chapi

osscura.

4;

cosa enu loco s[p]curo.

5.

particular! altr.

280
'^Secodaria e che
'1

THE PRACTICE OF PAINTING.

seminameto
sie
20

[555557-

over

copartitione delle figure

copar

2I

tite se22
2

codo

il

caso

nel

quale tu

vuoi che

sia

In the second place observe the distribution or arrangement of figures, and whether they are distributed appropriately to the circumstances of the story. Thirdly, whether the
figures are actively intent

essa storia; Terza che le figure sieno

protitudine intete al lor particulare.

3co

on

their particular

business.

Ash.

I.

7/i]

555-

DEL DARE
2

LUMI.

OF THE TREATMENT OF THE

of

LIGHTS.

la
li

prima una obra vniversale per tutta parte cotenete che no uede il lume, 3poi

Da

da obre mezzane e

le principali

a parail

gone

Punadi

dell'altra-,

e cosl da

lume
i

whole from the light. Then put in the half shadows and the strong shadows comparing them with each other and, in the same way give the extended
,

First give a general shadow to the that extended part 'which is away

cotenete

mezzano lume, dadoli poi

light in half tint, afterwards

adding the half

lights

and the high

together.

lights,

likewise comparing

mezzi e prlcipali Ssimilmete a paragone.

them

G.

ii t]

556.

DE' OBRA NE'CORPI.

2

OF SHADOWS ON
nelli cor-

BODIES.

Quando
'1

figuri le

obre oscure
la

Th
button o f
lig

3pj obrosi, f

figura senpre o

causa

di ta*le

d shade (556559)-

scurita, e
le

obre oscure nascono da

li

simile farai de' reflesSsi, perche 6 scuri obbietti

di piceola chiarezza,

reflessi

da obbi 7 etti
di minuiti;
8

When you represent the dark shadows in bodies in light and shade, always show the cause of the shadow, and the same with reflections; because the dark shadows are produced by dark objects and the reflections
by objects only moderately
with

cioe
e
10

da lumi

tal

proportione
corpi
alia

diminished

light.

And

lighted, there

that
is

is

the

9dalla

parte

alluminata de'
dal
reflesso

parte

rischiarata

qua"le

dalla

causa del

lume

d'essi

cor I2 pi

alia

same proportion between the highly lighted part of a body and the part lighted by a reflection as between the origin of the lights on the body and the origin of the reflections.

causa di tale

reflesso.

Ash.

I.

190]

557-

DE' LUMI E OBRE.

2

OF
minima
di
i

LIGHTS

AND SHADOWS.

Ogni parte
che
ti si
3

del corpo e ogni

particula
rilievo
io

truoua

avere

alquato

ricordo

che guardi a

darli

I must remind you to take care that every portion of a body, and every -smallest detail which is ever so little in relief, must

be

given

its

proper importance as to light

prlcipali del'

obre e de' lumi.

and shade.

554.

23

R.

3.
el.
i

guditio

affare.
.
.

3.

chettu

sellanno.

7.

ellessere.

9.

chessono.
19.

io.

mezo.

n.

fralloro.

12.

Ecquelle.

13.

lume
prima 12 R.

15. lostoria

rapreseta lasscurita.
3.

17. rapresenta.
4.

18. areza.

Secodaria he chel.
.

22. chelle.

555- 2

obra
2.

chotenete.
4.

mezane
. .

elle.

echesi

chotenete di mezano
6.
elli

mezi.
8.

556.

osscure.

osscurita

refres.

5.

nassca das.

refressi.

7.

pichola chiareza coe.

Ettal

eda.

io. alia parte risciarata dal refresso.

12. refresso.
3.

557. 2.

de chorpo

partichula chessi.

richordo.

558-560.]

ON LIGHT AND SHADE.

28l

Ash.

I.

123]
V

558-

MODO DEL
3

FARE ALLE FIGURE 2 L' OMBRA COPAGNIA DEL LUME E DEL CORPO.

FIGURES CORRESPOND TO THE LIGHT [THE COLOUR] OF THE BODY.

OF THE WAY TO MAKE THE SHADOW ON AND TO

se
sia

1'

Quado fai una figura e tu vogli vedere onbra e copagnia del lume, 4 ch' ella no o piv rossa o gialla che si sia la natura
cosl
:

When you draw

to

see

whether the

shadow

a figure and you wish is the pro-

dell'essere del coloSre che tu volli aobrar-,

farai

fa

obra col tuo dito

sopra la

per 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

parte alluminata e se 1' obra accidental e da te fatta fia simple al'obra naturale fatta
dal dito sopra la tua opera, stara bene, 8 e puoi col dito piv presso o piv lotano fare obre piv scure o piv ^chiare-, le quali sepre

paragona

colla

tua.

on the illuminated portion, and if the acshadow 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.
cidental

Ash.

I.

559I

DEL CIRCUDARE
3

CORPI 2 CO VARI LINIAMETI D'OBRA.

1' ombre fatte sopra da uarii obiecti, 4 V sino
,

OF SURROUNDING
Take
must

BODIES BY VARIOUS FORMS OF SHADOW.

Fa che senpre

care that the

la superfitie de' corpi

..
,

the surface of the bodies

shadows cast upon by different objects

ondeggiare co uari torcimeti mediate la _, r 1,1 vaneta de mebra Scbe fanno 1 onbre -, e
, , ,

della cosa

che ricieve essa obra.

to the various *K*J?Wg curves of the limbs which cast the shadows, and of the objects on which they

^^f.

cas t.

Ash.

I.

29 6}

560.

DE
2

PICTURA.

ON
3

PAINTING.
.

1 vari paragoni delle d'obre e lumi fanno spesse

uarie qualita volte [parere] anbiguo e cofuso al pittore, che vole imitare e cotrafare le cose, 4 che uede; la ragion
si e Questa: se tu vedi vn panno biaco a parte 5 vn nero-, cierto quella parte d'esso 6 pano biaco che cofinera col ne ro apparira

The comparison of the various qualities The J uxta ; position of i ,. of shadows and lights not infrequently seems light and ambiguous and confused to the painter who (560^561).
i

desires
sees.

to

imitate

The reason

is

and copy the objects he 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
than the part which lies against the [7] And something whiter than, itself. reason of this is shown in my [book on]
whiter
perspective.

molto
si

che quella che cofinaco maggi7or biachezza e la ragio di

piv Candida
,

questo

si

prova

nella

mia prospettiva.

558. 2.

delume.

3.

fai

figura

ettu.

4.

chela

chessi

cholo.

5.

chettu

chol.

6.

esse

datte.

8.

e poi chol.

9. laquali.

559- i. circhudare

chorpi.
.

2.

fa

chessenpre

chorpi

obiecti.
.

4.
.

ondegiare.
4.
7.

5.

cheffano

chosa.
. .

560.

2.
.
.

parachoni

fano.

3.
.

volte [parere] anbiguo chol.

6.

e chofuso

chotrafare.

uede

settu
.

biacho apare.

5.

vnero

biacho che chofinera

chandida

quela che chofinassi cho.

or biacheza

ella.

560.

7.

It

is

evident from this that so early as in

H9 2

Leonardo's writing in perspective was so far adI.

As that he could quote his own statements. bearing on this subject compare what is said in No. 280.
vanced

VOL.

NN

282

THE PRACTICE OF PAINTING.

[561-563.

Ash.

I.

561.

DEL' OBRA.

OF SHADOWS.
Where a shadow ends
carefully
in the light,

Doue Pobra cofina co lume abbi ^rispetto dov' e piv chiara o scura e do 4 v'ella e piv o me fumosa luerso luSme, e sopra tutto ti ricordo che ne' 6 giovani tu non facci P onbre terminate come fa la pietra, perche
*

where
is

it

is

paler

note or deeper and

where
ful

it

the light; and,

figures

more or less indistinct towards above all, in [painting] youthI remind you not to make the

la

vn poco del trasparete, come I0 9 si uede a guardare in una mano che sia fra Pochio ll e '1 sole, che si vede posta
tiene

came

shadow end
a

like a stone, because flesh has certain transparency, as may be seen by looking at a hand held between the eye and

"rosseggiare

e trasparere luminosa;

*3et

la parte piv colorita metterai x * infra i lumi e Pobre-, e se tu voli 'Svedere che obra si

bright.

the sun, which shines through it ruddy and Place the most highly coloured part between the light and shadow. And to see

richiede alia tua l6 carne faraivi su un obra col tuo '7dito e secodo che la vuoi piv chiara I8 o scura tieni il tuo dito piv presso o lota'^no dalla tua pittura e quella co,

what
cast

shadow

tint

is
it

needed on the

flesh,

with your finger, and according as you wish to see it lighter or darker hold your finger nearer to or farther

a shadow on

trafa.

from your

picture,

and copy

that [shadow].

E. 4*]

562.

DE' CAPI DELLE FIGURE DE*

On
the

-CORPI DIPINTI.

OF THE BACKGROUNDS FOR PAINTED

FIGURES.

(562-565).

3 II canpo, che circuda le figure di qualunque cosa dipinta, debbe essere piv osScuro che la parte allumina 6 ta d'esse figure e piu chiaro che la loro 7 parte obrosa ecc. 4

The ground which surrounds the forms of any object you paint should be darker than the high lights of those figures, and lighter than their shadowed part; &c.

Ash.

I.

4 a]

563IL

CHE CAPO DEBE VSARE

PITTORE

ALLE SUA

OF THE BACKGROUND
SHOULD ADOPT

THAT
IN HIS

THE
WORKS.

PAINTER

OPERE.

sPoiche per isperietia

i

si

vede che

tutti

corp

4i

sono circondati
6

da obra e lume
,

are

vuolsi che tu pittore

accomodi
termini
I

che quella
ter-

Since experience shows us that all bodies surrounded by light and shade it is necessary that you, O Painter, should so ar-

parte ch'e alluminata

.

cosa oscura,

range that the side which is in light shall terminate against a dark body and likewise
that the shadow side shall terminate against a light body. And by [following] this rule you will add greatly to the relief of your
figures.

e cosi la parte del corpo

7

aombrata

mini in cosa chiara- E questa regola dark grade avmeto a rilevare 8 le tue figure.

561. 2.

cho

fina

cho

abi.

3.

schura.
.

5.

richordo.
16.

7.

chome.
. .

8.

pocho
17.

chome.
. .

n.

chesst.
18.

12.
.

rosscgiarc
.

ettras-

parere.
alota.

13. cholorita.
19.
.

14. ellobre

essettu.

charne

chol.

cssechodo

voi.

osschura

il

duo

presso

quela chotrafa.
.

56a.

i.

chapi

fighure.
.

a.

chorpi dipincti.
obrosa.
.

3.

circhii

le

fighure

di qual.

4.

luche chosa.

5.

schuro che

[el

lume

dellej.

6.

fighure

chella.
ale.

7.

563.

i.

chapo.
e chosi
.

2.

3. perrisperictia
7.

chettutti

chorp.

4.

circhondati

ellume.

5.

chettu pitore

achomodi.

6.

osschura

chorpo.

chosa

Ecquesta.

564566.]

ON LIGHT AND SHADE.

283

G. 23 6}

Principalissima
2 li

parte della pittura

son

campi deile cose dipinte; nelli qua^li campi li termini delli corpi naturali *che anno in lor curvita convessa senpre 5 si
6

conoscono, e le figure di tali corpi in essi campi, ancorache li colori de' corpi sieno
7

most important part of painting conthe backgrounds of the objects represented; against these backgrounds the outlines of those natural objects which are convex are always visible, and also the
sists

in

del
8

medesimo colore
li

del predetto

campo,

e
9

questo nascie che

termini couessi de'

non sono alluminati nel medesimo I0 modo, che dal medesimo lume e alluminato "il campo, perche tal termine molte
corpi
volte sara I2 piu chiaro o piu oscuro che esso campo; se tal termine e del colore di tal cam^po, sanza dubbio tal parte di pittura proibira I5 la notizia della

forms of these bodies against the background, even though the colours of the bodies should be the same as that of the background. This is caused by the convex edges of the objects not being illuminated

^Ma

same way as, by the same light, the background is illuminated, since these edges will often be lighter or darker than the background. But if the edge is of the same colour as the background, beyond a doubt
in the
it

I6 e questa tale elefigura di tal termine; tione di pittura e da es I7 sere schivata l8 dalli concioingiegni de' buoni pictori, siache la intentione del pictore e di 19 fare parere li sua corpi di qua dai cam-

will

in

that

fere

with

your
a

part of the picture interperception of the outline,

and
to

such

choice

in

picture

ought

be

rejected

painters,

by the judgment of good inasmuch as the purpose of the

e in nel sopra detto caso contrario 2I no che in pictura, cose di rilieuo.

pi,

20

accade

il

ma

nelle

make his figures appear deis to tached from the background; while in the case here described the contrary occurs, not only in the picture, but in the objects themselves.
painter

Ash.

I.

I9

a]

Come

si

debbe
2

nelle cose

che sono

1'ochio sopra daccato -, le quali uoli che parino

et

tu
di-

scoste 3 dal mvro

tra

fare

e e

1'obra originale 1'onbra di+rivativa

I

uno lume

mezzo,
di-

That you ought, when representing objects above the eye and on one side if you wish them to look detached from the wall to show, between the shadow on the object and the shadow it casts a
middle
light,

parra la cosa

so thatthe
wall.

spiccata dal mvro.

body will appear

566.

to stand

away from the

Ash.

I.

15

COME
2

CORPI BIACHI

SI

DEONO FIGURARE.
sia

How
If
it

WHITE BODIES SHOULD BE REPRESENTED.

you are representing a white body
let
e
lig

Se

figurerai

uno corpo biaco esso

3il

^"^ g

of

circudato

da molt' aria, perche

biacotras-

non a da se colore

ma
,

si

tignie e
li

mvta
5642-

parte del colore

che

e per obi.

be surrounded by ample space, because as white has no colour of its own, it is tinged and altered in some degree by the colour If you see of the objects surrounding it.
.
.

%**

chelli cholori
.
.

. chanpi delle chose dipincte. 3. chanpi chorpi. 6. chanpi anchora chorpi. 4. chonvessa. 5. chognosschano le de chorpi. 7. cholore del predecto chanpo ec. 8. quessto nasscie chelli. 9. chorpi. n. chanpo. 12. oppiu osschuro cholore chan. 15. fighura. 16. ecquessta . . pictura he. 17. scitata. 18. chonchanpo. 13. Massettal
. . .
.

ciossia chella
565.
i.

eddi.

19.

chorpi
2.

chome

chose chessono.

da canpi. 20. decto chaso achade il chontrario. 21. chose. ellonbra. 4. rivativa dachato di sschasto. tuuuoli 3. almvro
.

lume Imezo
vestita.
. .

e para

la

chosa dispichata. corpo biaco circhudato.

6.
3.

566. 2. figurerai 1

dasse coloreassi tignie frasmuta.

7.

4.
.

se vederai
. .

dona [avere
10.

il

5.

biacho

infrana

quela.

imodo

cornel.

cheffia.

8.

razi.

9.

azura

dona

pa.

azurro se nela

tera visina.

284
etto:

THE PRACTICE OF PAINTING.

a woman dressed in white in the midst of a landscape, that side which is towards the sun is bright in colour, so much so that in

se vedrai una donna vestita sdi biaco una capagnia -, quella parte di lei che 6 dal sole il suo colore fia chiaro, fia veduta in modo che dara 1 parte come ?il sole noia alia vista e quella parte che fia veduta
Ifra

some portions the sun itself;

the

it

will

dazzle

the

and the

side which

is

eyes like towards

dalla

aria

luminosa per

li

razzi

del sole,
1'aria

tessuti e penetrati Ifra essa, I se e azzurra , la parte della

sperche

dona

uista

da
se

delta

aria

I0 par ra pedere

in

azzurro;

nella superfitie della terra uicina fia "prati, e che la donna si truovi infra '1 prato

e esso sole, vedrai alluminato dal sole tutte le parti d'esse pieghe, che posso^no essere uiste dal prato, tingersi per razzi ' 4 reflessi in nel colore d'esso prato, e cosl si ua trasmvtado in e' colori de' luminosi e

I2

no lumino'Ssi

obietti vicini.

atmosphere, luminous through being interwoven with the sun's rays and penetrated by them since the atmosphere itself is blue, that side of the woman's figure will appear steeped in blue. If the surface of the ground about her be meadows and if she be standing between a field lighted up by the sun and the sun itself, you will see every portion of those folds which are towards the meadow tinged by the reflected rays with the colour of that meadow. Thus the white is transmuted into the colours of the luminous and of the nonluminous objects near it.

Ash.

I.

PERCHE
2

VOLTI DI LOTANO PAIONO OSCURI.

WHY

FACES [SEEN] AT A DISTANCE LOOK DARK.

(567-57)-

Noi- vediamo- chiaro che tutte le simicose evideti, 3 che ci sono per obietto cosl gradi come piccole, entrano
litudini delle

seso per la piccola luce 4 dell' occhio se per si piccola etrata passa la similitudinc della gradezz adel cielo s e della terra-, essedo uolto dell'omo Ifra si gra similitudini di il cose quasi niete per 6 la lotanita che lo diminviscie, quasi occupa si poco d'essa e avedo a luce che rimane Icopresi 7 bile
al
; ,

passare

uno

dalla superfitie alia Ipressiua per mezzo oscuro, cioe il ne 8 rvo voto che
-,

pare oscuro
si

quella spetie,
in

no sedo

di

colore

della tignie quella potete, via, e givta alia Ipressiua pare oscura: altra cagione no si I0 puo in nessu modo
oscurita
allegare, se quel puto e nero che sta nella luce lo e, perch'elli e pieno d'uno "omore

traparete a vso d'aria e fa 1'ufitio che farebbe uno buso fatto in vna asse, e a riI2 guardarlo pare nero, e le cose viste per 1'aria chiara e scura si cofvdono nella
oscurita.

We see quite plainly that all the images of visible objects that lie before us, whether large or small, reach our sense by the minute aperture of the eye; and if, through so small a passage the image can pass of the vast extent of sky and earth, the face of a man being by comparison with such large images almost nothing by reason of the distance which diminishes it, fills up so little of the eye that it is indistinguishable. Having, also, to be transmitted from the surface to the sense through a dark medium, that is to say the crystalline lens which looks dark, this image, not being strong in colour becomes affected by this darkness on its passage, and on reaching the sense it appears dark; no other reason can in any If the point in the eye way be assigned. is of a black, it is because it is full
transparent
acts
like

humour
a

as

clear
in

as

air

and

a board; on looking into it it appears dark and the objects seen through the bright air and a dark one become confused in this darkness.
perforation

PERCHE-

L'

OMO

VISTO A CIERTA DISTATIA NON E CONOSCIVTO.

ci

WHY

A MAN SEEN AT A CERTAIN DISTANCE

IS

NOT RECOGNISABLE.

^Laprospettiva-diminvitiua che quato-la cosa- e piv lotana

piccola, e se tu riguarderai
ii. chella

dimostraJ5

piv

si

fa

that the farther

it

uno uomo che

dc sono]

perspective of diminution shows us away an object is the smaller If you look at a man at a dislooks.
pieche che possa.
13.

The

dona

aluminato.
14. cholori.

12. vcclcrai tutte (e

le

no esse

tigniera

per razi ref-

ressi nel

ch olore.
2.
.

567.

i.
.
.

pajano.

chettutte le similitudine.
.

3. 7.

ocupa
effa
.

poca
i

ichopresi.
fatto

per

ii.

farelie

buso

nonase.

dela. pichnla piciola. grade 4. picola 10. po inesu I mezo. 8. quelle inque. cofode nela. 2. 12. elle ch\ff\ chi^x 13. none.
. .
. .

5.
. .

dela tera

chose.
luce
.

6.

chello

alcgare
chosa.

percheli.
.

14.

15.

pichola es-e

568. 569.]
sia distate

ON AERIAL PERSPECTIVE.
da te-vna bale l6 strata, e porraiti d' una piccola agucchia apresso

285

la finestra

al' ochio -, potrai ve I7 dere per quella molti omini madare le lor similitudini all' ochio,

e in Q medesimo l8 tepo tutte capirano I detta finestra aduque se 1' omo lotano una balestra^ta mada la sua similitudine all'
;

tance from you of an arrow's flight, and hold the eye of a small needle close to your own eye, you can see through it several men whose images are transmitted to the eye and will all be comprised within the size of the
needle's
the
his

eye; hence, if the man distance of an arrow's flight

who

is

at

can send

ochio, che occupa una piccola parte d' una fine 20 stra d' agucchia, come potrai tu in

piccola figura scorgere o vedere il naso o bocca o alcuna particula d'esso corpo, e no uededosi no potrai "conosciere 1'omo che no mostra le mebra, le quali fanno li omini di diuerse forme.
si
21

whole image to your eye, occupying only a small space in the needle's eye how can you [expect] in so small a figure to distinguish or see the nose or mouth or any detail of his person? and, not seeing these you cannot recognise the man, since these features, which he does not show, are what give men different aspects.

Ash.

I.

4<i]

568.

COME LE FIGURE PICCOLEDEONO * PER RAGIONE

ESSER
FINITE.

THE REASON WHY SMALL FIGURES SHOULD NOT BE MADE FINISHED.

I say that the reason that objects appear diminished in size is because they are remote from the eye; this being the case it is evident that there must be a great extent of

3Dico che le-cose che apparirano di minvta * forma nasciera che detta cosa fia lontana dall'occhio; essendo cosl Scouiene-, che ifra 1' ochio e la cosa sia molta aria
,

la

molt' aria
d' essi

Ipedisce

la
le

evidetia della

atmosphere between the eye and the objects,

forma -d'essi
ticule

obbietti,

ode

minute ?par-

and

this

air

interferes

with the distinctness

fiano indiscernibili e no 8 tu farai-le conosciute; Aduque pittore solamete accienate e no piccole figure farai cotrafarai alii finite, e se 9altrimeti I0 la cosaeffetti della natura tua-maestra; rimae piccola per la distatia grade en' e fra e la cosa, JI la distatia grade ri1' ochio chiude dentro a se di molta aria la molta aria fa I se grosso I2 corpo il quale ipediscie-

corpi

of the forms of the object. Hence the minute details of these objects will be indistinguishable and unrecognisable. Therefore, Painter, make your smaller figures merely indicated and not highly finished, otherwise you will produce effects the opposite to na-

e tolglie
obbietti.

all'

ochio

le

minute particule degli

ture, your supreme guide. The object is small by reason of the great distance between it and the eye, this great distance is filled with that mass of air forms a dense body air, which intervenes and prevents the eye seeing

the minute details of objects.

G.

53-5]

569.
2

D'ogni figura pos ta in luga distasi perde in pri^ma la notitia delsle 6 parti piu mi nute e nell' ultimo si riservan le 8 parti massime, spriuate della no3tia
I0

Whenever a figure is placed at a considerable distance you lose first the distinctness of the smallest parts; while the larger parts are left to the last, losing all distinctness of
detail and outline; and what remains is an oval or spherical figure with confused edges.

titia di tutti
'3

ovale o

stre"mi, e restano di figura I4 sperica di termi ni confusi.

li

I2

homo
20.

chessia
.

atte.

16.

porati
21.

piciola

aguchia.
. .

17.

similitudine

enu.

18.

caperano
chosa
8.

balestra.

19. I

pichola.

daguchia

pichola.
3.

obocha oalchuna
.

deso.
di

22. le chali fano.

568.

i.

Chome

pichole.

dicho

chose [chessiano
partichule
.

pichola] che aparirano.

. .

4.

chosi.

5.

chefra

chosa
. .

aria ella.

6.
.

la [forma] evidesia.
.

7.

fieno indisciernibile

chonosciute.

pichole.

10.

pichola

chosa.

n. rlciude
569.
i.

asse di molta.

12. tolglie
5.

partichole.
7. riserua.

dongni.

2 sta in

lugha

dissta.

lie

parte.

8. parte.

n.

resstan.

13. spericha.

14. chonfusi.

286

THE PRACTICE OF PAINTING.

[570.

W. An.

IV.

570-

PlCTURA.
2 La spessitudine del fumo daH'oriz^zonte * su d ingiv e bianca e dall' orizzote in e ancora che tal 5 fumo sia in se oscura,

OF

PAINTING.

d'

equal
si

colore, essa

equalita

si

dimostra

varia

median te
trvova.

la ^varieta dello spatio nel

The density of a body of smoke looks white below the horizon while above the horizon it is dark, even if the smoke is in itself of a uniform colour, this uniformity will vary according to the variety in the ground on
which
it

qual

is

seen.

5/0. 2 lasspessitudine

ori.

3.

biancha

orizote.

4.

osschura e anchora chettal.

6.

dimosstra.

IV.

OF PORTRAIT AND FIGURE PAINTING.

Ash.

I.

8 a]

571-

DEL MODO DELLO IPARARE BENE A COPORRE

2

OF THE WAY TO LEARN TO COMPOSE

[iN

INSIEME LE FIGURE NELLE STORIE.

FIGURES GROUPS] IN HISTORICAL PICTURES.

tu avrai inparato bene di e avrai a mete tutte le mebra prospettiva * e corpi delle cose, sia vago e spesse volte nel tuo adarti a spasso 5 vedere e considerare i siti e li atti delli omini in nel parlare, in nel cotedere 6 o ridere o zuffare insieme, che atti fieno in loro che atti faccino i circu^stati , i spartitori, i veditori d'esse 8 cose-, e quelli notare co brevi se gni in forma su un tuo piccolo libretto, questa il quale tu debi sepre por9tar co teco, e sia di carte tite, accio no 1'abbi a scacellare
3

Quado

When you have well learnt perspective or sketching 11 r c figures and and have by heart the parts and forms of portraits 57Ig 57 ^' objects, you must go about, and constantly, as observe, note and consider the you go, circumstances and behaviour of men in talk-

11

ing,

quarrelling or laughing or fighting together: the action of the men themselves and the actions of the bystanders, who separate them or who look on. And take
in

ma

mutare di vechio I0 in v novo, che queste no sono cose da essere scacellate

anzi cogradiligeza ri^serbate-, percheglisono tate le ifinite forme e atti delle cose che
la

memoria

I2

non e

capace a

ritenerle,

ode queste
maestri.

riserberai

come tua

autori

a note of them with slight strokes thus, a little book which you should always with you. And it should be of carry tinted paper, that it may not be rubbed out, but change the old [when full] for a new one; since these things should not be rubbed out but preserved with great care; for the forms, and positions of objects are so infinite that the memory is incapable of retaining them, wherefore keep these [sketches] as

your guides and masters.

571. i. chopore.

3. arai

arai.

4.

chorpi

chose
. .

esspesse

adarti ossobasso.
10.

5.

chonsiderare

inel

inel.

7.

chose

ecquelli.
. .

8.

suntuo piciolo.
12.

g.
.

chotecho essia
.

labiaca ciellare.

chose

chacielate anzichogra.

n. perche

eglie tate

chose chella.

chapace

chome

tua altori.

571. 8.

Among

Leonardo's numerous note books

pointed out.

The

fact

that

most of the notes are

of pocket size not one has coloured paper, so no sketches answering to this description can be

written in ink, militates against the supposition that they were made in the open air.

288

THE PRACTICE OF PAINTING.

[572. 573-

Ash.

I.

ga]

572-

DEL MODO DEL TENERE A METE LA FORMA

D'U UOLTO.
2

OF A METHOD OF KEEPING

IN MIND

THE FORM

OF A FACE.
tenere a mete prima a mete
If you want to acquire facility for bearing mind the expression of a face, first make

Se

uolli

avere

facilitk in
,

una
^

aria d'

uno volto

Ipara

in

occhi, nasi, bocche, meti e spalle: e poniamo caso: nasi 4 sono di 10 ragioni dritto j gobbo, cavo, col rilievo piu su o pivgiu che'l mezzo, aquilino, pari , simo e todo e acuto questi s sono boni in quato al proffilo; In faccia
di
teste,
colli

molte

e gole

yourself familiar with a variety of [forms of] several heads, eyes, noses, mouths, chins and cheeks and necks and shoulders: And to put a case: Noses are of 10 types: straight, bulbous, hollow, prominent above or below the middle, aquiline, regular, flat, round or
pointed. These hold good as to profile. In full face they are of types; these are equal thick in the middle, thin in the middle, with the tip thick and the root narrow, or narrow at the tip and wide at the root; with the

nasi

sono
6

mezzo,

sottil'

sottile nell'

equale, grosso in mezzo, la pvta grossa e appiccatura sottile nel?la puta

1 1

di

ragioni
,

in

e grosso

nell'

appiccatura

di

larghe narici

di strette, d'alte e basse, di busi scoperti e 8 di busi occupati dalla puta, e cosl troverai

diversita nelle ^altre particole, delle quali cose tu de' ritrare di naturale e metterle a

wide or narrow, high or low, and the openings wide or hidden by the point; and you will find an equal variety in the other
nostrils

mete,

10 overo quado ai a fare uno volto a mete porta con teco uno piccolo libretto, doue sieno "notate simili fationi-, e quado ai dato una ochiata al uolto della

ritrare, guarderai poi le somiparte glia e fa ui uno piccolo ^segnio, per riconescierle poi a casa. De' visi mostruosi no parlo perche saza fatica '*si tegono a mete.
I

persona

che

uoi

I2

quale naso o bocca se

you must draw from your mind. Or else, when you have to draw a face by heart, carry with you a little book in which you have noted such features; and when you have cast a glance at the face of the person
details;

which
fix

things

nature and

them

in

you wish to draw, you can look, in private, which nose or mouth is most like, or there make a little mark to recognise it again at home. Of grotesque faces I need say nothing, because
they are kept in

mind without

difficulty.

Ash.

I.

573-

IN CHE MODO TU DEBI FARE UNA TESTA 2 CHE LE SUA PARTI SIENO COCORDATI ^ALLE DEBITE DIRITTURE.
*

HOW

YOU SHOULD SET TO WORK TO DRAW A HEAD OF WHICH ALL THE PARTS SHALL AGREE WITH THE POSITION GIVEN TO IT.

Per fare vna testa che

tieni

le

sua mebra
.

To draw
sna11
j

The

position of the head.

s j eno

cocordati al uoltaSre e * o pieeare d'una

questi

a head in which the features agree with the turn - and bend of the _,
.

che ochi, 6 nari di naso, termini della bocca e ciglia, i lati del meto, mascella 7 gote, orechi e tutte
testa
:

modi

tu sai

head,

pursue

this

method [5].

You know

that the eyes, eyebrows, nostrils, corners of the mouth, and sides of the chin, the jaws, cheeks, ears and all the parts of a face are

parti d'

uno
i

volto sono

d'

equale

diritture

squarely and straightly set

chel

upon

the face [8].

573- 2.

mete
.

aria.
.

3. esspalle 6.

chaso.

4.

chavo

"col rilievo piu su o piv

la
. .

gu

mezo aquilino
7.
? i

achuto.

5.

sono
. .

di 1(2]

ragioni
8.

imezo.
. .

imezo
o. . 9.

ochtm.iti ochtipati
i

. .

/^hnsi. . chosi.
12.
2.

grosso nei stremi] nartichnle . . chose. . partichule . . rhose.

[e
. .

essottile net apichatura.

i i

nellapichatura di large anarise

nirinlo. piciolo.
TI. n.

ebbesse.
. . .

TO. 10. .

affare afFare
.

vnltn volto

_ .

. .

rtinntirhn chontecho

simile fatinn*. fatione

_ .

wniiaHo ecquado

dato
573.
i.

ochiata.
*

bocha
chelle

faui

piciolo.
[in]

13.

achasa
4.

laucna. faticha.

icgano. 14. tegano.

5.

fare

testa.

sieno

chochordati.

chocordati.

tussai.

6.

anari

bocha

masella.

7.

volto

573. See PL XXX, No. 4, the slight sketch on the left hand side. The text of this passage is written by the side of it. In this sketch the lines seem intentionally incorrect

this

text

the

drawing
is

in

red chalk from Windsor

Castle

which

reproduced

on PL

XL, No.

i.

and converging
of paralleL

to the right (com-

8. Compare the drawings and the text belong5 ing to them on PI. IX. (No. 315), PL (No. 316),

pare

1.

12)

instead

Compare too with

PL

XL

(No. 318) and PL XII. (No. 319).

574- 575-J
8

PORTRAIT PAINTING.
il

289

poste sopra
il

uolto;

aduque quado

ai

uolto, fa linie ^che passino da 1' uno canto dell' ochio al' altro, e cosl per la dirittufatto
10 ra di ciascuno mebro, e tratte fori de' lati del uolto le stre ir mita d' esse linie, guarda se da destra e da sinistra li spati I2 I nel

medesimo

ricordo che

be ti paralello sono equali, tu Z 3facci dette linie trarre al

Ma

Therefore when you have sketched the face draw lines passing from one corner of the eye to the other; and so for the placing of each feature; and after having drawn the ends of the lines beyond the two sides of the face, look if the spaces inside the same
lines on the right and on the left are equal [12]. But be sure to remember to make these lines tend to the point of sight.

parallel

puto della tua veduta.

Ash.

I.

574SI

COME
CORPO

DE* ESSERE

DEBBE CONOSCERE QUAL PARTE DEL 3 pnj o MENO LUMINOSA CHE

L'
'

HOW

ALTRE.

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

*se 'f fia il lume e la testa sara il 5 corpo da quello alluminato, e quella parte d' essa testa che ricieve sopra di se il razzo
fra
6

f be

the light,

the head will be the Of

the light

angoli

piv equali

sara piu alluminata-,

^ i

e quella parte che ricievera

agoli
8

razzi
;

Ifra

object illuminated by it and that side of the (574576)* head on which the rays fall most directly will be the most highly lighted, and those
parts

meno
,

questo

fa equali fia meno luminosa lume nel suo ofitio a similitudine

on which
lighted.

the rays fall

be

less

The

light

falls

most aslant will as a blow

falls

9 del colpo Tperoche il colpo che cadera Ifra equali agoli fia in primo grado di poI0 infra diseguali tentia, e quando cadera sara tato meno potete "che '1 primo quato 1' Esepli gratia, agoli fieno piu disformi I2 mvro che se gitterai una palla -in un il da te Pestremita sieno equi^distanti se ^gitcolpo cadera -Ifra eguali agoli,
; ,

might,

since
falls

a blow

which

perpen-

with the greatest force, and when dicularly it falls obliquely it is less forcible than the

former
angle.

in

proportion to
if

the

width

of the

at a wall
far
if

terai la

palla I detto muro, stado da una delle sue estremita, 'Sla palla cadera infra l6 appicdiseguali angoli , e il colpo no si

Exempli gratia of which the extremities are equally from you the blow will fall straight, and

you throw a ball

chera.

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.

w.

575-

E RAGIONE PERCHE INFRA LE PARTI ALLUMINATE 2 SI TROVANO PARTICULE PIV LUMINOSE VNA CHE VN ALTRA.
*

THE PROOF AND REASON WHY AMONG THE

ILLUMINATED PARTS CERTAIN PORTIONS ARE IN HIGHER LIGHT THAN OTHERS.
Since it is proved that every definite light or seems to be, derived from one single

lume

sPoiche provato s'e che ogni terminate fa over par che nasca da v sol
sono
diriture.

is,

[sop]

8.
.

facto.
.

9. diritu.
.

10.

ciaschuno

foride [gli]

"2"

lati.

n.

desstra.

12. inel

ecquale

richordo chettu.
574. i. chonosscere.
. .

13. faci
2.

trare

dela.
4. seff
.

chorpo.
.

3.

omeno.

fia

ella
9.

chorpo dacquello.
.

5.

ecquella

razo.

6.

ecquella.
i

7.

irazi

Effa.

8.
il

quessto

assimilitudine del cholpo iperoche.

.

tante atte

cholpo chadera
[1].

essella.

14. giterai la
4.

cholpo balla da
.

chadera.

10.

chadera.

12. gitterai
. .

palla.

13. dis-

delle.
.

15. la

pala chadera
5.

cholpo.
. .

575. i. infralle parte

2.

[f]

si

truova partichule.

nascha

quela.

aluminata.

dacquello ara

quale cha.

6.

dara

574.
right

See

PI.

XXXI. No. 4;
XXXII.

the sketch on the

hand

side.

in paler ink and evidently added by a later hand order to distinguish the text as belonging to the

575. See PI.

plete, is

The

text,

here given com-

Libra di Pittura

(see
left

Prolegomena.

No.

12,

p.

3).

on the right hand

side.

The small

circles

The

text

on the

hand

side

of

this

page

is

above the beginning of lines 5 and II as well as the circle above the text on PL XXXI, are in a
VOL.
i.

given as Nos. 577 and 137.

00

290
punto

THE PRACTICE OF

PAINTING.

[576579.

, quella parte alluminasta da quello avrk la sua particula piv luminosa , sopra 6 la quale ca dera la linia radiosa fra 2 an

point the side illuminated by it will have its highest light on the portion where the line of radiance falls perpendicularly; as is shown

goli nelle
j.

equal!
linie

come
8

di

sopra
J

si

di 7 mostra

a -g -e cosi
quella

a. h.

e simile

above and in
nated
the

in

the

lines

g,

and

/#, e
fia

particula della parte allu-

minata

quale la linia 9 icidente ferira tra 2 angoli piv disb c d, I0e per quesimili, come appare j sta via acor potrai conosciere le parti

me

luminosa

sopra

la

be least luminous, where of incidence strikes it between two more dissimilar angles, as is seen at b c d.
line

/ a; and side will

that

portion

also in a h of the illumi-

And by this means you may also know which parts are deprived of light as is seen
at

priuate di
I2

lume,
li

"come appare
fatti dalle

m-

k.

k.

Quado

angoli,

cideti,
'5 fia
1 7 li

sarano piv ^equali J l6 fieno piu disequali piv lume, e dove

piv scuro.
Tl

Clinic Jquello loco

fia
x8

ancor faro metione

I9 della

ragio del-

la reflessio.

the angles made by the lines of incidence are most equal there will be the highest light, and where they are most unequal it will be darkest. I will make further mention of the reason of reflections.

Where

Ash.

I.

190]

576.

Dove
sul uolto.

si

debe

fare cadere

l'6bra

Where
the face.

the

shadow should be on

W.

a]
2

577-

Quado
Generai
suggestions
for

tu

fai

vna
5

sto^ria
1'

fa

pu-

When you compose

P
ints >

4ti

vno

dell'

occhio
7

altro

del

Ium 6 e

one

*e

a historical picture

int

of

sight,

and
this

^u

cal es

el

qual fa piv

lota che puoi.T!

the other the source of light; as distant as possible.

and make

(577-581).

Ash.

I.

578.
Historical

essere H Come le storie no debbono occupate e cofuse di molte figure.

pictures

ought

not

to

be

crowded and confused with too many

579-

figures.

Ash.

I.

260]

PRECETTI DI PITTURA.
2

PRECEPTS IN PAINTING.
pronto
3
;

II

bozzare delle storie

sia

e'l

mebrificare
^

troppo finito, .. tenvto-solamete asiti d esse mebra, iquah

no

sia

S ia

co-

poia
. .

bell'agio, piacedo
chome.
. .

ti,

*le potrai finire.

Let you sketches of historical pictures be swift and the working out of the limbs not be carried too far. but limited to the . positkm of the limbS) which you can after wards finish as you please and at your leisure.
.

angholi

7.

chosi

essimile.

8.

alumata
14.

lumino
equal!
.

qule.

9.

angholi
16.

disimili
17.

chome

apare.
18.

10.

Ichor

cho nosciere

pruate.

n. chome apare.

[p]

locho.

dixequali.

pivsschuro.

anchor.

19. rasiode rifresio.

576.

lattere.
5.

577. 4. delochi"o".

delum.

occhupate e chofuse. mebrifichare 579. 2. bozarc

578.
. .

sia

[f]

tropo.

3.

chontenuto.

579.

See

PI.

XXXVIII.

ink drawing given there as

No. 2. The pen and No. 3 may also be

collection

compared with this passage. It where it is numbered

is

in the

Windsor

101.

&

^^^ A*fA^
f

580-583.]

FIGURE PAINTING.

291

Ash.

I.

2 a]

292

THE PRACTICE OF PAINTING.

[54- 585.

Ash.

I.

6<i]

584.
FIA
I

COME LA F1GURA NO

QUELLA NON APPARISCE ATTO CHE

LAUDABILE 2 SE 3 ESPRIMA LA PASSIONE DELLO SUO UMORE.

THAT A FIGURE is NOT ADMIRABLE UNLESS IT EXPRESSES BY ITS ACTION THE PASSION OF ITS SENTIMENT.
That
its

ep
s?ntin

7he
8

l'

*Quella figura e piv slaudabile che ne a tto meglio esprime 7 la passione del suo

figure

is

most admirable which by

expresses
the

actions
it.

best

passion that

emotions.

animo.

animates
si

COME
IO

DE'

FARE UNA, FIGURA IRATA.

irata
farai

HOW
uno

AN ANGRY MAN

IS

TO BE FIGURED.

Alla

figura
il

tenere

per

li

capelli,

capo storto a terra,

,

"et con

uno
abbi

de' ginochi sul eostato

il

e col braccio
alto:

destro leuare
li

pugnro
,

I2

in

capelli elleuati
i

le
i

ciglia

questo basse e

^strette,

deti stretti e
il

2 stremi da cato

dalla bocca arcati,

collo grosso e dina^zi

You must make an angry person holding someone by the hair, wrenching his head against the ground, and with one knee on his ribs; his right arm and fist raised on high. His hair must be thrown up, his brow downcast and knit, his teeth clenched and the two corners of his mouth grimly set; his neck swelled and bent forward as he leans over his foe, and full
.

per lo chinarsi

al

nimico sia pieno di grize.

of furrows.

COME
16

SI

FIGURA UNO DISPERATO.

HOW
knife,

TO REPRESENT A MAN
a

IN DESPAIR.

Al disperato farai dare un coltello e colle mani aversi stracciato I7 i vestimeti, e sia una d'esse mani in opera a stracciarsi la ferita, e farla co piedi l8 stati e le gabe alquato piegate, e la persona similmete Z e 9inverso terra co capelli stracciati
sparsi.

You must show

man

in despair with a

having already torn open his garments, and with one hand tearing open the wound.

And make him

legs

standing on his feet and his somewhat bent and his whole person
his hair flying in

leaning towards the earth;

disorder.

Ash.

I.

6t]

585.

COME

DEBl FARE PARERE

2 NATURALE UNO ANIMALE FITO.

HOW

YOU SHOULD MAKE AN IMAGINARY ANIMAL LOOK NATURAL.

Of

representing

il

imaginary
animals.

sai no potersi fare alcuno animale che ciaquale no abbia *le sue mebra, scuno per se a similitudine co qualscuno delli altri animali: aduque se voli fare parere 6 naturale uno animale, finto da te diciamo che sia uno serpete, ^ piglia per la
,

You know that you cannot invent animals without limbs, each of which, in itself, must resemble those of some other animal. Hence
ifyouwishto'make an animal, imagined by you, appear natural let us say a Dragon, take for its head that of a mastiff or hound, with

584.

i.

Chome

laldabile.
*.

2.

nonaparisce.
i il

3.

spriema
il

dello
.

sommore.

5.

laldabile
. .

che choni.

6. latto

sprieme.
abi
li

7.

pa-

sione.
13.

9. fare
.

10. tenere

per

li

chapegli
14.

chapo

attera.
T.

n. chon
16.

chostato e chol bracio.

12.
i

chapegli.
.
.

dachato
. .

bocha

archati
18.
. .

chollo.
.

nimicho.

15. figura

darsidun choltello e cholle. 17. sia

6. naturale

desse

asstra-

cciarsi

effarla cho.
I.

elle

ella.
.
.

19. tera

cho chapegli
cho.

straciati essparsi.
5.

585.

2.

naturale

3. tussai

alchuno

abi.

4. assimilitudine

chuno.

chessia

i.

7.

testa

maschino

585.

The sketch here

inserted of two
is

men on

pen and ink drawing belonging to BARON EDMOND

horseback fighting a dragon

the facsimile of a

DE ROTHSCHILD of

Paris.

586.
testa

FIGURE PAINTING.
una
di

293

mastino
8

ochi di gatta,

o bracco, e per li e per 1'orecchie d'istrice, e per

eyes of a cat, the ears of a porcupine, the nose of a greyhound, the brow of a lion,
the

naso di ueltro, e ciglia da lione e tepie 9di gallo vechio, collo di testudine d'aqua.
lo

the temples of an old cock, the neck of a water tortoise.

A.

230:]

586.
si

DELLO INGANO CHE

2

RICIEVE NEL GIVDITIO

OF THE

DELLE MEBRA.

DELUSIONS WHICH ARISE IN JUDGING OF THE LIMBS.

Quel

le fara simili nelle

simo
lugo

che avra goffe mani sua opere -, e quel mede1'interuera in qualuque 3 mebro se
pittore
,
:

A
paint

painter similar
will

same

who has clumsy hands will The seiechands in his works, and the 'forms* occur with any limb, unless long (586591).

no glielo uieta aduque tu pittore guarda bene quella parte che ai piv
studio

brutta 4 nella tua persona e in quella col studio fa bono riparo , Jperoche se le tue figure s paranno il sarai bestiale simile e sanza ingiegnio e similmete ogni parte di bono e di tristo che ai in te, 6 si dimo strera in parte in nelle tue fi-

tuo

study has taught him to avoid it. Therefore, O Painter, look carefully what part is most ill-favoured in your own person and take particular pains to correct it in your studies.

gure.

you are coarse, your figures will seem and same and devoid of charm; it the same with any part that may be is good or poor in yourself; it will be shown in some degree in your figures.
For
if

the

Ash.

I.

86]

587.
DE' BELLI VOLTI.

DELLA ELETIONE
2

OF THE
di in
It

SELECTION OF BEAUTIFUL FACES.

Parmi
pittore

no
il

piccola

grazia

quella

seems to

me

to

be no small charm
gives
his

quel

quale

fa

bone

arie alle sua

a painter

when he

figures

bracho.

8.

per

li

orechie.
2. ara.

9.

galo

cholo.
4.

586.

i.

delongano chessi.
6. sterra
.
.

3. sellugo.

enquella chol

Jperro

chessessarai.

5.

parano

essanza

essimilmete

trissto.

inelle.

294
figure
in
^

THE PRACTICE OF PAINTING.

la qual gratia
,

[588-590.

chi

no

1'a

per nastudio
le parti

tura-, la

pud pigliare per accidetale 4 questa forma; guarda a torre

di

bone
sieno

molti
5

volti belli

le

quali

belle

per pubblica fama che per tuo givditio perche ti potresti 6 ingannare togliedo visi che avessino coformita col tuo perch& spesso pare che simili coformita ci piacino, ?e se tu fussi

coferme

piv

pleasing air, and this grace, if he have it not by nature, he may acquire by incidental study in this way: Look about you and take the best parts of many beautiful faces, of which the beauty is confirmed rather by public fame than by your own judgment;
for you might be mistaken and choose faces which have some resemblance to your own. For it would seem that such resemblances often please us; and if you should be ugly, you would select faces that were not beautiful and you would then make ugly faces, as many painters do. For often a master's work So select beauties as resembles himself. I tell you, and fix them in your mind.

eleggieresti volti no belli e faresti 6 brutti volti come molti pittori, che spesso

brutto
le

figure somigliano

il

maestro

le bellezze

come

dico,

e quelle

siche piglia metti a

mete.

Ash.

i.

i9

a\

588.

Delle
tione
pittura.

mebra di che si debe fare eleet di tutte le parti al pro 2 posito della

Of
fully

the

limbs,

which ought
the

to

be care-

selected, and of all with regard to painting.

other parts

Ash.

I.

ta\
2

589.
piu

In nella eletione delle figure sia tosto ^gietile che secco o letgnioso.

When

selecting figures

slender ones rather than ones.

you should choose lean and wooden

G. 26a]

590.

MUSCOLI DELLI ANIMALI.

2

OF THE MUSCLES OF
3 \\

ANIMALS.

Le

cocavita interposte infra

muscoli
la pelle

The hollow spaces

the muscles

no debbono essere di 4 qualita che paja che veSsta due bastoni posti

come c, nee ?dua bastoni 8 alquato remo ssi da tal cotatto, e che la 9 pelle peda in vano co curuita la I0 rga come/, ma che
in
lor cotatto

comu

etiam che

paiono

interposed between must not be of such a character as that the skin should seem to cover two sticks laid side by side like c, nor should they seem like two sticks somewhat remote from

sia
I2

"come i posato

sopra

il

grasso

such contact so that the skin hangs an empty loose curve as at f\ but it should be like i, laid over
in

spugoso interposto nelli angoli ^com'e 1' angolo n m o, il quale an I4 golo nascie dal fin del cotatto de'slli l6 mvscoli, e perche la pelle no puo di scedere
tale
in tale

the spongy fat that lies in the angles as the angle n m o; which angle
is

angolo, la natura

x ?

a riepiuto

di grasso angolo con vissispugoso o che minute pie 20ne d'aria, la quale in se 21 si godensa ossia rarefa secondo lo accrescimen 22 to o rarefatione della sustantia de' 23 2 muscoli; alora la cocavita i a *sempre curvita che '1 muscolo. maggior
po
attorre
.

di piccola quan l8 tita vuo dire vi l6 scicoso

formed by the contact of the ends of the muscles and as the skin cannot fold down into such an angle, nature has filled up such angles with a small quantity of spongy and, as I may say, vesicular fat, with minute bladders [in it] full of air, which is condensed

or rarefied in them according to the increase or the diminution of the substance of the muscles; in which latter case the concavity i always has a larger curve than the muscle.
.

587. 3.
7.

perraccidctale.
.

4.
.

le

par bone.

5.

perchctti potressti

inganare.

6.

chofonnita

chessimil

piaccino.

essettu

ellegieresti

effaresti brutti voli.

8.

somiglano

beleze.

588. tutte parti. 589. Inella ellctionc.

3.

sccho.
3.

590.

124

R.

2.

interposste.

musscoli.

4.

chella.

5.

comu.

6.

cotatto

"come c"

nee chel.

8. echella.

10.

rgha

m che.

591- 592.]

FIGURE PAINTING.

295

Ash.

I.

13 a]

DEL SERPEGGIARE
3

BILICO
2

DELLE

FIGURE

OF UNDULATING MOVEMENTS AND

IN FIGURES

EQUIPOISE

.ALTRI

ANIMALI.
tu fai
il
,

AND OTHER ANIMALS.

a

Qualuque figura
ricordati di

tile,

ch' elle

vadino

o animale gie4 cioe legnioso, cotrapesado ossia bilaciando

fugire

When

representing
,

human

figure

or

in

paia uno pezzo di sQuelli che vuoi figurare forti, no cosl, saluo il girare della testa.

modo no

legno;
li

fare

some graceful animal be careful to avoid a wooden stiffness; that is to say make them move with equipoise and balance so as not to look like a piece of wood; but those you want to represent as strong you must not make so, excepting in the turn of the head.

Ash.

I.

6 a]

592.

DELLA GRATIA DELLE MEBRA.

2

OF GRACE
dello

IN

THE

LIMBS.

Le mebra
3

del

corpo
al

debono essere

proposito che tu vuoi che facia la figura: e se vuoi far figura che dimostri in se leggi4 debbi fare mebra adria, getili e distese e sanza dimostrare troppi mvscoli e que' pochi, che al 5 proposito farai dimostrare fa li dolci cioe di poca evideza, col'onbre no
effetto
-

accomodate co gratia

The limbs should be adapted to the body with grace and with reference to the effect that How to pose gu " you wish the figure to produce. And if you wish to produce a figure that shall of itself
look light and graceful you must make the limbs elegant and extended, and without too much display of the muscles; and those few
that

are

tinte,

e le

mebra

massimamete

le braccia,

indicate

disnodate, cioe che nessuno ?bro no ui stia I linia diritta

mecol

mebro che
'1

si

giunge co seco

se

your purpose you must is, not very prominent and without strong shadows the limbs, and particularly the arms easy; that is, none of the limbs should be in a

needed

for

softly,

that

8 fiaco, polo dell'o mo, si trova lo posare fatto che '1 destro sia per

straight line with the adjoining parts.

if the hips, which are the pole of a man, are by reason of his position, placed so, that the right is higher than the left, make the point of the higher shoulder in a perpendicular line above the highest prominence of the hip, and let this right Let the pit shoulder be lower than the left. of the throat always be over the centre of the joint of the foot on which the man is leaning. The leg which is free should have the knee lower than the other, and near the The positions of the head and other leg. arms are endless and I shall therefore not let Still, enlarge on any rules for them. them be easy and pleasing, with various turns

And

piv alto del sinistro, farai la gi 9 vtura della superiore spalla piovere per linia perpediculare sopra al piv eminente J0 oggetto del fianco, e sia essa spalla destra piu bassa che la sinistra, e la fotanella "stia sempre superiore al mezzo della giutura del pie di la gaba che no posi absopra che posi I2 bia il suo ginocchio piv basso che 1'altro, e presso alPaltra gaba; le latitudini della testa e brac^cia sono Ifinite,
,

pero

mi estendero I darne alcuna pure che sieno facili I4 e grate, con vari storcimeti ed i ulcolameti colle givnregola
,

no

ture disnodate, accio no paiano 'Spezzi di legno.

and

twists,

and the

that they

may not look

joints gracefully like pieces of

bent,

wood.

12. neli.
coli.

15.

mvscoe

po.

17. picola

q"a".

18. titadi

rasso spugoso evo.

19. viscice.

21. ossi

acresscimen.

23.

muss-

24.

senpre magor.
. .

591.

i. 2.

del serpegiare epili di delle. 3. tuffai

richordati
. .

chotrapesadosio
.

imodo
. .

paia
5.

pezo

di legnie. 5.

592.

achomodate cho.
7.

3.
.

chettu voi cheffacia

esse voi
Essel.
.

legadria.

4. distesi

tropi.
10.
13.

fali

[solamete]
.
.

dolci

Queli..voi. . notende.
. . .

6. bracia.
. .

chol
.

chessi gugnie cosecho

.
.

9.
.

dela

perpendichulare.
. .

ogietto

fiancho essia
.

chella

ella.

n. mezo

posa

posa

abi.

12.

ginochio

gaba

lattitudini

tessta.

astendero. 14. cole.

acio.

15. pizi

di

legnio.

296
C. A. 1374; 4150]

THE PRACTICE OF PAINTING.

593
diplte

[593-

594-

La
Of appropriate

pictura over le figure

fatte
I

debli

bono esser
a

modo

tale

che

ri-

gestures

(593600).

guardatori d' esse possino co facilita conosciere mediate le loro 3 attitudini il con-

anima loro e se tu ai a fare vn omo da bene, fa che li atti parla*re sua sieno conpagni delle bone 5 parole E similmete se tu ai a figurare vno uomo 6 bestiale, fa lo co movimeti fieri gittando
cetto dell'
||

of human such a way as that the spectator may easily recognise, by means of their attitudes, the purpose in their minds. Thus, if you have to represent a man of noble character in the act of speaking, let his gestures be such as naturally
picture

or

representation
in

figures,

ought to be done

accompany good words; and, in the same way, if you wish to depict a man of a brutal nature, give him fierce movements;
as

with

his

le

braccia
7

contro

all'

auditore,

e la

testa

listener,

and

his

arms flung out towards the head and breast thrust forfeet, as if following

col

nino
del

petto, sportati fori de' piedi , accopag8 similitudine le mani del parlatore,

wardbeyondhis
hands. Thus

the speaker's

it is

with a deaf and

dumb person

parlatori , benche esso sia private dell' audito -, niete di meno

mvto che vededo 2

li

mediate
lui

effetti
il

li

atti

d' essi

to

who, when he sees two men in conversation although he is deprived of hearing can nevertheless understand, from the attitudes

parlato

ri
;

coprede
I

tema
li

della loro disputa

lo vidi gia
jl

Fire"ze vno sordo

tu

accidetale
,

and gestures of the speakers, the nature of their discussion. I once saw in Florence a man who had become deaf who, when you
if

no ti I2 e parlado piano sanza sono di inte dea voce lui t'intedea solo per lo 3menar or tu mi potresti dire no mena delle labra le labra vno che parla forte come- piano, 1' uno come 1' altro no sark e menadole
quale
se
parlaui
forte
lui
,

inteso 'sl'altro
io lascio

come

1'uno

a questa parte
l6

spoke very loud did not understand you, but you spoke gently and without making any sound, understood merely from the movement of the lips. Now perhaps you will say that the lips of a man who speaks loudly do not move like those of one speaking softly, and that if they were to move them As alike they would be alike understood.
argument, I leave the decision to experiment; make a man speak to you gently and note [the motion of] his lips.
to
this

dare la setetia alia

fare
I

sperietia,

fa

parlare

vno piano e puoi

mete

le labra.

Ash.

I.

/5]

594PARLI INFRA PIV

DEL FIGURARE UNO CHE

PERSONS.
2

OF REPRESENTING A MAN SPEAKING TO A

MULTITUDE.

Vserai fare quello che tu voi che infra molte persone parli, di considerare la mate3ria di che lui a da trattare e d' accomo,
:

When you wish to represent a man speaking to a number of people, consider the matter of which he has to treat and adapt
il

593.

i.

facte

talle
5.

chel

ri.

a.
.

cho

conossciere.
.

3.
.

attitudine
.

chonciecto

esse

affare.
.

4.
.

dabbene fare
chol.
13.
7.

chelli

chonpagni.
8.

Essimilmete
9.

settuai
.

affigurare

falli.

6.

cho

chotro allalditore ella

12.
.

achopagnino.
|

Assimilitudine.

auldito

elli.

io.

choprede

la
.
.

xtema.

n.

settu.

parladi
.

sollo per.

labra

"or"

tu

portresti di no.

14.
.

chome
.

chome.

15.

chome

acquesta.

16. serietia
4.

594.

i. !

che.

2.

vsera

quelo

chettu.

3. lui attrattare

e dachomodare.

piano e po fare (pjomete le labra. sela maleria. 5. che cquello . . pigli cole per

2.

593. The first ten lines of this text have already been published, but with a slightly different reading by Dr. M. JORDAN: Dos Molerbuch Leonardo da

justification for introducing the

I

drawing

in this place,

point out that some of the figures illustrate this passage as perfectly as though they had been

may

Vincts p. 86.

drawn

The sketches introduced here are a facsimile of a pen and ink drawing in the Louvre which Herr CARL BRUN considers as studies for the Last Supper in the
594.

I have disfor that express purpose. cussed the probability of a connection between this sketch and the picture of the Last Supper on p. 335.

The

original

drawing
PI.

is

273

church of Santa Maria

Vinci,

delle

Grazie (see
in

LXI, pp. 21, 27 and 28

Leonardo da DOHME'S Kumt und

not here enter

21 high.
sor Castle

The drawing
LII.

in silver point

centimetres wide by on reddish

the original at Windillustrate the subject

paper given on

No.

Kurutler, Leipzig, Seemann). into any discussion of this

I shall

may

also

serve to

suggestion;

but as a

of appropriate gestures, treated in Nos. 593 and 594.

594-]

FIGURE PAINTING.
i

297

lui li atti apartenenti a essa materia, se P e materia persuasiua che li atti sieno al proposito, se Pe materia sdichiaratativa per diuerse ragioni, che quello che dice pigli per le dita della 6 mano destra
4

dare

cioe

uno

dito della sinistra

avedone serrate

li

Thus, if he speaks be appropriate to it. If the matter in hand be to set forth an argument, let the speaker, with the fingers of the right hand hold one finger of the left hand, having the two smaller ones closed; and
his action to the subject. persuasively, let his action

minori,

e col

viso

proto 7rivolto uerso

il

his face alert,

popolo colla bocca alquato aperta che paia che parli e, se lui 8 sedera, che paia che si
;

solleui

alquato
9 in

ritto
,

e inazi colla testa

il

se lo fai

pie petto e la testa inuerso

*

fa lo alquato chinarsi col

popolo,

II

I0

quale

and turned towards the people little open, to look as though he spoke; and if he is sitting let him appear as though about to rise, with his head forward. If you represent him standing make him leaning slightly forward with body and
with

mouth a

6.

mano "destra"
. .

dito

dela

serate le

pro.

7.

chola bocha

che pai che

. .

esse.
12.

8.

soleui

chola

esse.
vasi.

9. fallo

chol.

10.

figurerati.

n.

ati

effare le

boche dalchuno vechio

delle vl.

bocha choi sua stremi

VOL.

1.

PP

298
figurerai 1'oratore
le

THE PRACTICE OF PAINTING.

tacito
I

[595-

e atteto,

tutti

uolto

co"n

atti- amiratiui,

riguardare e fare

head towards the people. These you must represent as silent and attentive, all looking

bocche d'alcuno vecchio per maraviglia v I2 dite sentetie tenere la bocca coi sua stremi bassi, tirarsi dirietro ^moltedelle

and make some old men

at the orator's face with gestures of admiration; in astonishment at

the things they hear, with the corners of their

pieghe delle guacie e colle ciglia alte nelle giunture le quali creino ^molte pieghe per
,

mouths
cheeks

pulled
full

down and drawn

in,

their

la

fronte;

alcuni

sedenti

colle

dita

della

Tsieme tessu'ste tenersi detro lo staco ginochio; altri col'uno ginochio sopra 1'all6 sul quale tega la man, che detro a tro, se ricieva il gomito del quale la sua I7 mano vada a .^ostener el meto barbuto d'alcuno chinato vecchio.

mano

of furrows, and their eyebrows raised, and wrinkling the forehead where they meet. Again, some sitting with their fingers clasped holding their weary knees. Again, some bent old man, with one knee crossed over the other; on which le.t him hold his

hand with his other elbow resting in it and the hand supporting his bearded chin.

Ash.

I.

595-

DELLA COMODITA DELLE MEBRA.

2

OF THE

DISPOSITION OF LIMBS.

Inquato

alia

comodita d'esse mebra

vorrai qualche accidete *o per cato -, che tu e tutte le mebra I la testa anzi farai

avrai a considerare, che

figurare
s'

quado ^tu

vno che per abbia a voltare Idietro

facci
i

As regards the disposition of limbs in movement you will have to consider that when you wish to represent a man who, by some
chance,
side,

movere piedi 5 quella parte dove volta

no

has to turn backwards or you must not make him move

to

one

his feet

operare co partire esso svolgimeto in giv6 ture, cioe quella del piede, del ginochio e
fiaco e collo; e se poserai sulla gaba destra 7 farai il ginochio della sinistra piegare I

and all his limbs towards the side to which he turns his head. Rather must you make the action proceed by degrees and through the different joints; that is, those of the foot, the knee and the hip and the neck. And if you

detro e '1 pie suo fia eleuato alquato di fori, 8 e la spalla sinistra sia alquato piv bassa che la destra e la nvca si scotri a quel 9medesimo loco dove e volta la noce di 10 fori del pie sinistro } e la spalla sinistra la puta del pie destro in perpedicolare sopra M linia-, e sepre vsa le fi gure che dove si volta la testa che no ui si uolga il petto; che la natura per nostra I2 comodita ci a fatto il collo che co facilita puo seruire a diuerse bande, volendo 1'ochio ^voltarsi in vari siti, e a questo medesimo sono T I4 parte obedieti Paltre giutu re, e se fai 1'omo a sedere, e le sue braccia qualche volta s'auessino adoperare IS I qualche cosa
-

him on the right leg, you must make the knee bend inwards, and let his foot be slightly raised on the outside, and the left shoulder be somewhat lower than the right, while the nape of the neck is in a line directly
set
left

over the outer ancle of the left foot. And the shoulder will be in a perpendicular line above the toes of the right foot. And always
left

your figures so that the side to which head turns is not the side to which the breast faces, since nature for our convenience has made us with a neck which bends with
set

the

ease in many directions, the eye wishing to turn to various points, the different joints. And if at any time you make a man sitting with
his

traversa, fa che il petto givtura del fiaco.

si

uolga sopra

la

arms

at to

work
him,

on something which
part

is

sideways
his

body turn

make the upper upon the hips.

of

dirieto.

13.
.

piege dele guace echole

.

nele givunture.

14.

pieghe

sidenti cholle.

15.

chol.

16.

tegha

asse.

17.

assostener
.

vechio.
3.

595. 2. chomodita
partiri
9.

arai achonsiderare.
T.

tu
.

vura
.

sabi.

4.

chato
.

chettu
.
.

faci
8.

tutte

mebra.
. .

5.
.

anzi fara
.

farai

esso sssufolgimeto
10.
.

6.

coe quela
14. seffai

fiacho echollo
.

esse
.

sula.

ella spala 12.

chella
.
.

nvcha

si

schotri.
13.

locho.
.

spala
.

destro

voltarsi

acquesto

giutu.

perpedichulare . . essepre assedcre elle . .

.

chella
bracia.

nosstra.

cho

po

diuerse voglido.

15.

chosa

fiacho.

595.

to,

n. Compare PL VII, No.

5.

The

original drawing at

Windsor Castle

is

numbered

104

596599-]

FIGURE PAINTING.

299

A. 286]

596.
fitrai
li

Quando
metti
in

nvdi fa che sempre

li

When you draw

the whole figure

ritraga interi, e poi finisci quello mebro ti 2 pare migliore, e quello coll' altre mebra
pratica,

which seem

to

the nude always sketch and then finish those limbs you the best, but make them

altremeti

faresti

vso

mai le mebra bene di non ap 3 piccare insieme. 4 Nori vsar mai fare la testa volta dove
petto, ne '1 braccio andare come la gaba, e se la testa si uolta alia spalla destra fa le sue parti piv basse dal lato sinistro
il

act with the other limbs; otherwise you will get a habit of never putting the limbs well

che dal destro,

e se

fai

il

petto infori fa

che, voltandosi la testa sul lato sinistro,

che

le parti del lato destro ?sieno piv a lte che

le sinistre.

together on the body. Never make the head turn the same way as the torso, nor the arm and leg move together on the same side. And if the face is turned to the right shoulder, make all the parts lower on the left side than on the right; and when you turn the body with the breast outwards, if the head turns to the left side make the parts on the right side higher than those on the left.

W.

L. 145 a]

597-

DE
2

PICTURA.
:

OF

PAINTING.

Natura de' movimeti nell' omo ^no replicare le medesime actioni nelle menbra del4 se la neciessita della loro 1' omo operatione

Of the nature of movements in man. Do not repeat the same gestures in the limbs of

men

unless you

are

no

ti

costrignie,

Scome

si

mosstra

in

b.

cessity of their action,

compelled by the neas is shown in a b.

C. A. 337 b; 10266]

598.

la

Li moti delli omi 2 ni sieno qual ri^chiede sua degni^ta o vilta.

The motions of men must be such suggest their dignity or their baseness.

as

C. A. 341 a; 1051 a]

599-

D
2

PITTURA.

OF
pose and meaning.
a
figure

PAINTING.
carry
is

Fa che la opera s'assomigli allo inteto e alia inteHione cioe che quado fai la tua figura che tu 4 pesi bene chi ella e e
,

Make your work

consider well
it

out
it

your

pur-

That

when you draw

is

who

and what

quello che tu

vuoi ch' ella

faci.

you wish

to

be doing.

596.

i.
.

chessepreli ritraga
.

finissci quelo.
6.

2.

ecquelo chollaltre
.
.

inpraticha

nona.

3.

pichare.

4.

vsar [mi] mai

bracio

chome.

5.
.

esse
.

allasspalla.

esseffai
4.

sulato
.
.

delate.

597. 3. replichare

nelle [medesime] menbra.

3.

sella

cosstrignie.
6.

599.

i.

chella

hopera sasomigli.

chettu

e cquello

chettu.

affarlo.

7.

vechio ho u giovane a aparere.

8.

efichacia.

g.

vechio.

596.

In
is

the
to

original

MS.
the
its

much- defaced
of
the
se-

sketch

be

seen

by

side

however PI. XXI.

597.

is

fitly

illustrated

by the

drawings
text
is

on
also
left

cond
has

part

of this

chapter;
the

faded

condition

See

PI.

V,

where part of the

figure to the

rendered

reproduction
facsimile

RAVAISSON'S

impossible. outlines of the

up.

In

M. head

reproduced. The
as unsatisfactory.

effaced

extreme

has evidently been cancelled by Leonardo himself

have

probably

been

touched

This

passage

300

THE PRACTICE OF PAINTING.

[600.

D
6

PITTURA.
effetto

OF
a farlo
in pitin

PAINTING.

Vno medesimo

tura operate ?a vn vecchio o u giovane a a apparere tato di ma 8 ggiore efficacia, quato 9 il giovane e piv potete C he '1 uecchio-e
simigliate farai dal giovane al'lfante.

With regard to any action which you give a picture to an old man or to a young must make
it

one, you the young

more

energetic

in

man

than the old with a young

in proportion as he is stronger one; and in the same way

man and an

infant.

Ash.

I.

15^1

DEL PORRE
2

LE MEBRA.
fatica a
farle

OF

SETTING ON THE LIMBS.

Le mebra,

che durano

mvscolose-e quelle che no farai 3 sanza muscoli e dolci.

s'adoperano,

The limbs which are used for labour must be muscular and those which are not much used you must make without muscles and softly rounded.

DELL'ATTO DELLE FIGURE.

s Farai

OF THE ACTION OF THE

il

FIGURES.

le figure

in

tale

atto

quale-

sia
6

soffitiete

dimostrare
:

quel

che

la

figura

nell'

animo

altrimete la tua arte

no

fia

laudabile.

Represent your figures in such action as fitted to express what purpose is in the mind of each; otherwise your art will not be admirable.

may be

600.

2.

faticha aflarle mvscholose

ecquelle.

j.

muscholi.

5.

chella

altre

mente

laldabile.

V.

SUGGESTIONS FOR COMPOSITIONS.

Ash.

I.

601.
DI

MODO
2

FIGURARE UNA BATTAGLIA.

il

OF THE WAY OF REPRESENTING A

First

BATTLE.

Farai

prima
ifra
1'

fumo
isieme

dell' artiglieria,

mischiato

aria

colla

polvere

mossa ^dal movimeto

battitori
,

de' cavalli e de' co-

you must represent the smoke of or painting air with the dust and (^oxJ^!' tossed up by the movement of horses and the combatants. And this mixture you must
artillery

mingling in the

la

qual mistione

vserai cosi:

la

polvere perche e
e

beche per
e

la

cosa terrestre e poderosa, sua sottilita facilmete Ssi

infra
in

express thus: The dust, being a thing of earth, has weight; and although from its fineness it is easily tossed up and mingles with the It is air, it nevertheless readily falls again.
the finest part that rises highest; hence that

leva

mischia
ritorna

1'aria

nietedimeno

voletieri

basso;

il

suo
piv

somo

motare

e
11

fatto

dalla
fia
II

parte

sottile;

Aduque
1'aria
8

meno
;

part will be least seen and will look almost of the same colour as the air. The higher the smoke mixed with the dust-laden air rises towards

veduta, ?e parra quasi

si

certain

level,

the

more
it

di colore d' aria

fumo che

mischia infra

like

a dark cloud; and

will

will look it be seen that

is

Ipoluerata

quato piv s'alza a certa

9 la

altezza, parira

oscura nuvo

e
I0
I

vedrassi
il

at the top, where the rate from the dust, the

smoke smoke

more sepaassume a
its

will

bluish tinge and the dust will tend to

lour.

co-

nelle

somita piv espeditamente

la polvere;
il

fumo

che

fumo pedera
la

colore al-

quato azzurro, e
colore
;

Dalla parte
mistio I2 ne

questa
J

polvere trara "al suoche viene il lume parra d'aria fumo e polvere

molto piu
3i

lucida

che

dall'

cobattitori

quato
si

piv

fieno

opposita parte ifra detta

;

turbulentia

meno

vedra^no, e meno
alle loro

differetia fia dai

lor lumi

obre

This mixture of. air, smoke and dust will look much lighter on the side whence the light comes than on the opposite side. The more the combatants are in this turmoil the less will they be seen, and the less contrast will there be in their lights and shadows. Their faces and figures and their appearance, and the musketeers as well as those near them you must make of a glowAnd this glow will diminish in ing red. proportion as it is remote from its cause.

601. i. figurare

}.

2.

fumo "dell
$.

artileria" misciato infrallaria

cholla.
8.

3.

chavagli
9.

chobattitori.
10.

4.

chosa terestre
azzuro
ella.

"e po-

derosa" e beche.

levi

misci

baso.

6. dala.

7. chessi.

alteza.

la vederasi.

n. para.

302

THE PRACTICE OF PAINTING.

The
figures
if

[602.

gabe quato piv s'appressera alia terra me 11 fieno vedute, ^perche la polvere piv
grossa
20

Farai rosseggia'Jre i volti e le persone e e li scoppettieri insieme co vicini; E detto rossore quato piv si parte dalla sua cagione piv si perde-, e le figu^re che sono infra te e '1 lume, essedo lotane, pare le loro rano scure in campo chia l8 ro
lor' aria, 16
,

piv

spessa:

correti fori della turba, fa

se farai caualli li nvboletti di

2I

polvere distati

Puno
,

dalFaltro,

quato pu6

which are between you and the they be at a distance, will appear dark on a light background, and the lower part of their legs near the ground will be least visible, because there the dust is coarsest and densest [19]. And if you introduce horses galloping outside the crowd, make the little clouds of dust distant from each other in proportion to the strides made by the horses; and the clouds which are furthest removed from the horses, should be least visible; make them
light,

essere lo iteruallo de' salti fatti dal cavallo ch' e quello nv 22 volo piv lontano da detto cavallo, me si uegga anzi sia alto spar^so e raro e '1 piv presso sia piv euidete e minore e piv deso L' aria 24 sia piena di saettume di diverse ragioni chi moti , chi 2 disceda, Squal sia per linia piana, e le pal26 lotte delli scopietti sieno accopa gnate da fumo dirieto al lor corso e le alquato 27 poluerose , i capelli e prime figure farai e altri loghi piani atti a sostener la ciglia
,
: :

high and spreading and thin, and the nearer ones will be more conspicuous and smaller and denser [23]. The air must be full of arrows in every direction, some shooting

upwards, some
balls

falling,

some

from the guns must have a

flying level. The train of

smoke following their flight. The figures in the foreground you must make with dust on the hair and eyebrows and on other flat
places likely
to

retain

it.

you
hair

will

make rushing

The conquerors onwards with their

on the

farai i vicitori correti co capegli, polvere; e altre cose leggiere, sparsi 2 9al ueto colle ciglia basse

28

and other
with

wind,

light things flying their brows bent down,

Ash.

I.

5")

602.
i

e caccino

cotrari
inazi
il

mebri
pie

inazi,

cioe
2

se
'1

mandera uno
alcuna caduta
ciolare

destro
inazi,

che

braccio staco acor

3

lui

vega
11

e se farai
isdruI

farai

segnio dello

su per la polvere condotta

>

sag-

uinoso ifago

dintorno

alia

mediocre

and with the opposite limbs thrust forward; is where a man puts forward the right foot And if you the left arm must be advanced. make any one fallen, you must show the place where he has slipped and been dragged along the dust into blood stained mire; and in the half-liquid earth arround show the print of the tramping of men and horses who have
that

liquidezza della terra farai vedere stampa-

pedate degli omini e cavalli di 11 6 strascinare passati -, farai alcuno cavallo morto il suo signore e dirieto a quello laste
le

sciare

per la

polvere e fago
farai
i

jl

segno dello
e
battuti

strascinato
8

corpo;

viti

pallidi

colle ciglia alte nella lor cogiutione

9 sia

passed that way. Make also a horse dragging the dead body of his master, and leaving behind him, in the dust and mud, the track You where the body was dragged along. must make the conquered and beaten pale, their brows raised and knit, and the skin above their brows furrowed with pain, the sides of the nose with wrinkles going in an arch from the nostrils to the eyes, and make
the nostrils

e la carne che resta sopra loro

date di doled crespe;
sieno con

abbon-

drawn up
I

which
speak
,

is

the cause
lips

Le
I0

faccie

del naso
in

of the lines of which arched upwards and

teeth ;

and the

alquate grize
14. vedera. 15. elle
20. coreti
elle.
. .

partite

arco

discovering the upper and the teeth apart as with crying out

12. oposita.
. .

dararia

elli
.
.

covicini. 16. della

24. ragione.

chagione.

17.

chessono
. .

sure in champo.
.

19.

Esse

chaualli.

falli.
.

22.

chavalo

uega.

25. elle ballotte [sparsia] e

. .

schopietti
legieri*
. .

achopa.

26. giate

da

chorso

27. chapelli
. .

assostenela.
2.

28. coreti
. .

cho chapegli

chose
. .

29. chole.

601.

i.

echacci cotrari
.

mandera.

stachoachor
[il

esse ffarai alchuna chaduta.

.
.

4. ala
.

liquideza

tera

..
.

isstampi.
.

5.

cha-

valli

alchuno chavallo.
.
.

6. stracinare

8. palidi

charnc.

9.

abondate.

10.

suo cho] morto acquello. 7. effango archo dale anarise etterminate nel prencipio

strascinato chorpo
.

viti

"e battuti".
.
.

anari.

n.

se alte chagio

archate

601.

19

3.

Compare

608. 57

75.

6O2]
dalle
narici e terminate

SUGGESTIONS FOR COMPOSITIONS.

nel

303

1'occhio;

Le
le,

nari ix ci

alte,
in

pncipio delcagio di dette

i

his

and lamentation. And make someone shielding terrified eyes with one hand, the palm

pieghe, sopra,
ai

labra

arcate scoprano

deti di

towards
body.

I2

deti

spartiti

modo

di

gridare

the enemy, while the other rests on the ground to support his half raised

co lameto

L'una

delle

ma^ni

faccia

scudo

Others represent shouting with their

pavrosi ochi, voltado il di detro Iverso I4 L'altra stia a terra a sostenere il nimico, il leuato busto; Altri farai gridati colla 'Sbocca sbarrata efugieti: farai molte sorte d'arme Tfra i piedi de' cobatti l6 tori, come scudi rotti, lancie, spade rotte e altre simili
cose-, farai omini I7 morti, alcuni ricoperti mezzi dalla poluere, altri tutti; La polvere che si l8 mischia coll'uscito sangue coverT tirsi in rosso fango e vedere il sague 9del suo colore correre co torto corso dal corpo
altri moredo strigniere i deti, stravolgiere gli ochi, strignere le pugna alia "persona e le gabe storte Potrebbesi vedere alcuno disarmato e abba 22 ttuto dal

mouths open, and running away. You must scatter arms of all sorts among the feet of the combatants, as broken shields, lances, broken swords and other such objects. And you must make the dead partly or entirely covered with dust, which is changed into crimson mire where it has mingled with the flowing blood whose colour shows it issuing in a sinuous stream from the corpse. Others must be represented
in

the

agonies

of death grinding

alia poluere;

20

their teeth, rolling their eyes, with their fists clenched against their bodies and their legs

nimico
graffi

volgersi

al

nemico
e

fare

crude 2 Jle

morsi e aspra vedetta

co

Potresti vedere alcuno cavallo leggiero correre 24 co i crini sparsi al veto ifra i nimici

contorted. Some might be shown disarmed and beaten down by the enemy, turning upon the foe, with teeth and nails, to take an inhuman and bitter revenge. You might see some riderless horse rushing among the enemy, with his mane flying in the wind, and doing no little mischief with his heels. Some
.

e co piedi fare molto dano; 2 Svedresti alcuno stroppiato cadere I terra farsi copritura col suo scudo, 26 e '1 nemico chinato in basso far forza di dare morte a quello; 27 potrebbesi uedere molti omini caduti I vn gruppo sopra uno cavallo morto; 28 Vedrai alcuni vicitori lasciare il cobattere e vscire delta moltitudine 29 nettadosi colle 2 mani li occhi e le guacie, ricoperte di fago, fatto dal Iacrima3re degli ochi per causa della polvere Vedresti le squadre del soccorso 3 1 stare pie di speraza e suspetto co le. ciglia aguzze, faciedo a quelle obra colle mani e riguardare 3 2 ifra la folta e cofusa caligine dell'essere atteti al comadameto del Capi33tano, e simile il Capitano col bastone levato e correte I verso il socorso 34 mostrare a quelli la parte dov' e di loro caristia Ed alcu flume dentrovi
,

maimed

warrior

may be

seen fallen to the

earth, covering himself with his shield, while the enemy, bending over him, tries to -deal

him a deathstroke. There again might be seen a number of men fallen in a heap over a dead horse. You would see some of the victors leaving the fight and issuing from the crowd, rubbing their eyes and cheeks with both hands to clean them of the dirt made by their watering eyes smarting from the dust and smoke. The reserves may be seen standhopeful but cautious; with watchful eyes, shading them with their hands and gazing through the dense and murky confusion, attentive to the commands of their captain. The captain himself, his staff raised, hurries towards
ing,

these auxiliaries, pointing to the spot where And there may be they are most needed.

35cavalli correti, riepiedo la circonstate aqua di turbuleza d'onde, di schivmo 3 6 e d'acqua

saltate Ifra 1'aria e tra le gabe e 37 no fare nessu loco corpi de' cavalli pianp se no le pedate ripiene di sague.

cofusa

a river into which horses are galloping, churning up the water all round them into turbulent waves of foam and water, tossed into the air and among the legs and bodies of the horses. And there must not be a level spot that is not trampled with gore.

304

THE PRACTICE OF PAINTING.

[603. 604.

G.

603.

DELLE ALLUMINATIONI DELLE 2 PARTI INFIME DELLI CORPI CHE INSIEME ^RESSERO COME LI
OMINI IN BATTAGLIE.

OF LIGHTING THE LOWER PARTS OF

CLOSE TOGETHER, AS OF MEN BATTLE.

BODIES
IN

vagliati
alia
8

omini e cavalli in battaglia traMe lor parti saran tato piu o-

As

to

men and

their different parts will

scure qua6 to esse fien piu vicine

terra
si

che

li

so?stiene;
le

horses represented in battle, be dark in proportion as they are nearer to the ground

questo

pruova per

parieti

de' pozzi i quali si fan tanto piu oscure quango esse piu si profonI0 dano, e questo na scie perche la parte piu profoda de' pozzi vede "ed e veduta da minor parte dell' aria lumi I2 nosa che nessuna altra sua parte. *3E li pauimeti J *del medesimo co'slore,

on which they stand. And this proved by the sides of wells which grow darker in proportion
is

to

their
is

depth,
that

the the

reason

of

which

deepest

of the well sees and smaller amount of the luminous atmosphere than any other part.

part receives a

ga be delli predetti Domini e cavalli, fi l8 eno senpre piu al'^luminati infra a 20 goli equali che 21 le altre predet"te
che anno
le

:6

gabe

ecc.

if it be of the same of these said men and legs horses, will always be more lighted and at a more direct angle than the said legs &c.

And

the

pavement,

colour

as

the

Ash.

I.

17/1]

604
NOTTE.

DEL MODO DEL FIGURARE UNA

2

OF THE WAY TO REPRESENT A NIGHT

That which
is

[SCENE].

or

depicting di
scenes"
i

Quella cosa che e priuata Iteramete essendo la 3 notte luce e tutta tcnebre
;
'

coditione se tu vi vogli figurare una storia farai che, 4 essedovi uno grade fuoco, che quella cosa ch'e piu propiqua a detto fuoco s piv si tiga nel suo colore perche quella cosa ch'e piv vicina all'obie faetto piv 6 partecipa della sua natura ciedo il foco pedere I color rosso 7 farai tutte le cose alluminate da quello, ancora loro rosseggiare, 8 e quelle che sono piv lontane a detto fuoco piv sie tlte dal colore nero 9 della notte le figure che sono tratte al fuoco appariscono scure nella I0 chiarezza d' esso foco, perche quella parte d' essa cosa che vedi e tinta dalla oscuri ll ta della notte e no dalla chiarezza del foco e quelli che I2 si trovano dai lati sieno mezzi oscuri-e mezzi rosseggiati, e quelli che si possono vederedopo ^e' termini delle fiame- saranno tutti alluminati di rosseggiate lume I capo
simile
,

entirely bereft of light is all darkness ; given a night under these conditions and that you want to represent a night

scene,

arrange

that

there

shall

be

which are then the great fire, objects nearest to this fire will be most tinged with its for those objects which are colour;
nearest
in
its

to a coloured light participate most nature; as therefore you give the fire a red colour, you must make all the objects illuminated by it ruddy; while those which are farther from the fire are more

The black hue of night. seen against the fire look dark in the glare of the firelight because that side of the objects which you see is tinged by the darkness of the night and not by the fire; and those who stand at the side are half dark and half red; while those who are visible beyond the edges of the flame
tinted
figures

by the which

are

will

be

fully

lighted

by

the

ruddy glow

I4 a li atti farai quelli che nero-;jn quato farsi scudo colle mani e co 11 sono presso

matelli ripa'Sro del superchio

calore

e torti

As to their a black background. make those which are near it screen gestures, themselves with their hands and cloaks as a
against

603.

2.

parte corpi insiemo.

.

3.

ressro come.
9.

4.

chavagti in bactaglia.
13. elli.

5.

parte

osscure.

6.

chelli.
17.

7.

Kcquessto

pariete.
18.

8. le quali

osscure q"a".

profondano ecquessto nas.

"

14.

cho.

15.

che a

le

gha.

omi e chavagli.
cholore

piua.

20. gholi.

22.
2.
.

604.

i.

notte.

ghabe. chosa .
il

ettutta.

3.

ettu
7.

storia.

4.

sedovi

focho

propTquo
[farai].

focho.

5.

visina.

6.
. .

eflaciedo
till

foco

v cholor.
.

chose aluminate dacquello

10.

rossegiare

8.

ecquelle
del foco
.

chessono
.

focho

del.

9.

chcssooo

focho

apariscino scuri.

chiareza foco ettinta,

n. chiareza

chessi.

12.

men

','

Heljog- Dujardin

'

'
'

*,'..'

"

'

"

''*.

'

~J

kl

.. ..!*

'"
.

'"'

-Vis"*'

. :

605. 606.]
col uolto
I6

SUGGESTIONS FOR COMPOSITIONS.

i

305

cotraria parte

mostrare fugire
di

quelli piv lotani farai

gra parte
J

loro

farsi colle,

mani

alii

ochi, offesi

?dal super-

defence against the intense heat, and with turned away as if about to retire. Of those farther off represent several as raising their hands to screen their eyes, hurt by
their faces

chio spledore.

the intolerable glare.

B.

M. 1690]

605.
terrestre e
3

Discrivi
4

uno ve 2 to Discriui vna

marittimo.

Describe a wind on land and at sea. Describe a storm of rain.

Of

depictin

a tempest
(605. 606).

Ash.

I.

14

606.

COME
2

SI

DEE FIGURARE UNA FORTUNA.

How
If sider

TO REPRESENT A TEMPEST.

Se

tu uoi figurare
i

una fortuna cosidera

e poni bene

effetti; Quado ^il ueto-, soffiado sopra la superfitie del mare e della terra rimove e porta 4 co seco quelle cose
,

sua

you wish to represent a tempest conand arrange well its effects as seen,
the

when
it

wind, blowing

over

the

face

of

the sea

che no sono ferme colla vniuersale massa, e per be s figurare questa fortuna farai I

earth, removes and carries with such things as are not fixed to the general

and

mass.
ately

And

to

represent the

storm accur*

prima

li

nuvoli. spezzati

e rotti
,

diriz 6 zarsi

per lo corso del ueto accopagniati da 1'arenosa polvere leuata. 7 da liti marini-, e

rami e foglie leuati per la potetia del furore del ueto 8 sparse per 1'aria: e I conpagnia
di quelle

you must first show the clouds scattered and torn, and flying with the wind, accompanied by clouds of sand blown up from the sea shore, and boughs and leaves swept along by the strength and fury of the blast and
the

molte altre cose leggiere

li

alberi

9e 1'erbe piegate a terra, quasi mostrarsi volere seguire il corso de' veti I0 coi rami storti
fori del

naturale corso e co le
gli

scopigliate
li

e rouesciate "foglie; uano parte caduti e

la
I2

omini che

si

tro-

rivolti

per

.li

panni e

per poluere, quasi sieno sconoscivti, e che restano ritti sieno dopo qual^che quelli albero abbracciati a quello, perche il ueto

with other light objects through Trees and plants must be bent to the ground, almost as if they would follow the course of the gale, with their branches twisted out of their natural growth and their leaves tossed and turned about [n].' Of the men who are there some must have fallen to the ground and be entangled in their garments, and hardly to be recognized for the dust, while those who remain standing may be behind
scattered
air.

no

li

strascini,

altri

colle

^mani

alii
i

ochi

some tree, with their arms round it that the wind may not tear them away; others with their hands over their eyes for the dust, bending to the ground with their clothes and
hair

per polvere panni e capelli diritti T 5al corso del uento; II mare, turbato e tepestoso, sia pieno di ritrosa schil6

la

chinati

a terra ed

streaming

in

the

wind. [15]

Let the

vma

ifra

1'eleuate

ode e

'1

ueto levato

ifra la

cobattuta aria della ^schivmapiv sot. .

sea be rough and tempestuous and full of foam whirled among the lofty waves, while the wind flings the lighter spray through the stormy air, till it resembles a dense and swathing mist. Of the ships that are
sono
comategli aripa.
15.

osscuri
lore
. .

ecquelli

possano.
queli
. .

13.

e termini

fiame sarano

icapo.

14.

quellieli

cha-

chol ulto.
2.

16. 4.

cole

mani

ali.

605.
606.

i. I i. 1

ve.

terrette.
2.

disscriui.
I.

fortuna.
li.

figurare

3. tera.

4.

cosecho

cholla.

5.

nvole spezati

diri.
.
.

6.

achopagniati.
.

8. isparsi
.

legieri

chose
ali
. .

9. allera.
.

10. echole.
diriti.

n.

pani.

12. conoscivti ecqueli.

. .

13. abraciati
.

quelli.

stracini

chole.
18.

14. [2]
.
.

mani
facci

attera

chapegli

15. ettepestoso

sci.

16. infralle

leuate.

17.

avvilupata nelia.

alchuni

606.

1115.
VOL.
I.

il. See PL XL, No. See P1 XXXIV, the

-

2.

right

hand lower sketch.

QQ

306
tile,
i

THE PRACTICE OF PAINTING.

:

[607. 608.

a vso di spessa ed avviluppata nebbia che detro 8 vi sono, alcuni se ne faccia colla vela rotta e i brani d'essa utitilado i'9fra Paria I copagnia d'alcuna corda rotta, 20 alcuni alberi rotti ca duti col navilio intrae rotto Ifra le tepestose ode, cierti uersato omi 2I ni gridati abbracciare il rimanete del
'

therein
sails
air,

some
the

should
tatters

be shown
fluttering

with

rent

navili,

and
fallen.

with "ropes

broken

and

through the masts split

and

And

the trough of the fury of the waves

the ship itself lying in sea and wrecked by the

and clinging

navilio, farai li nvuoli cacciati "da 1'ipetuosi venti, battuti nePalte cime delle motagne

Make
the

with the men shrieking the fragments of the vessel. the clouds driven by the impetuosity of
to

e fare aquelli avvi^luppati, ritrosi, a similitudine dell' ode percosse nelli scogli; I'aria 24 spaueto sa per le oscure tenebre fatte in neH'aria dalla poluere, nebbia e nvuoli folti.

tain tops,

wind and flung against the lofty mounand wreathed and torn like waves

beating

upon

rocks;

the air

itself terrible

from the deep darkness caused by the dust and fog and heavy clouds.

G.

607.

FlGURATIONE DEL DILUVIO.

L' aria era oscura per la spessa piog^ con obbliqua disciesa, piegata dal trauersal corso 4 de' veti, facieva onde di se p er I'aria, no altrameti s che fafsi uegga alia poluere, ma sol si uariaua pei^che tale inondatione era traversata dalli liniame^ti che fanno le gocciole dell' acqua che disci8 ede; ma il colore suo era tinto dal fuoco, sgienerato dalle saette fenditrici e squarI0 ciatri cie delli nuvoli, e i vampi delle quali percuotea"no e aprivano li gra pelaghi
quali aprimeti niostravano nelli I3 lor vertici le piegatecime delle
delle riepiute
valli,
li 2

TO REPRESENT THE

DELUGE.

or
sen

repre-

la qual, he gia,

The air was darkened by the heavy rain whose oblique descent driven aslant by the
rush of the winds, flew in drifts through the air not otherwise than as we see dust, varied only by the straight lines of the heavy But it was tinged drops of falling water. with the colour of the fire kindled by the thunder-bolts by which the clouds were rent

d"i.fge

(607-609).

"and

shattered; and ed, the broad waters

whose

flashes

reveal-

I2

eys, above which the bending- tree tops. seen in the midst of

of the inundated vallwas seen the verdure of

Neptune
the water

will

be

with his

piante,

I4 e Nettuno si vedea in mezzo alle I5 acque col tridete e vedeasi Eolo colli sua

l6 veti rav uilupare notati piate diradicate miJ 7ste colle immese ode, 1'orizzote con tutto

ricie 19 vuti

emisperio era turbo e focoso per li delle continue saette,vanpi vedeasi 20 li omini e vccielli che riepieva di 2I se li gran di alberi, che scoperti dalle dilo
2

18

Ia 22 tate

onde coponitrici delli colli, circuda3tori delli gra baratri.

158 a]
2

trident, and [15] let ^Eolus with his winds be shown entangling the trees floating upin the huge waves. rooted,' and whirling The horizon and the whole hemisphere were obscure, but lurid from the flashes of the incessant lightning. Men and birds might be seen crowded on the tall trees which remained uncovered by the swelling waters, originators of the mountains which surround the great abysses [23].

W.

608.
IN PICTURA.

DlLUUIO E SUA DIMOSTRATIONE

3

OF THE DELUGE AND HOW TO REPRESENT

IN

IT

A PICTURE.

Vedeasi

la

essere conbattuta dal

chola.
24.
19. rotti
. .

oscura e nvbolosa aria corso di diversi veti

20. chol.

Let the dark and gloomy air be seen buffeted by the rush of contrary winds and
motagne
e fare acquegli avi.
23. lupati
. .

cha.
inell

21. abraciare.

22. battute

assimilitudine

neli.

ischure

dala

nebia.
. .

607.

2.

osschura.
8.

3.

obbliquo discieso peghato

chorso

notaltrometi.

5.

regha.

6.
.

deli..
.

7.cheffalle ghogeciolc

diss-

ciede.

era (participant; del colore]

"unto"

del focho. 9. essquartatri.

10. el ua'po

perchotea. 12. mosstravano.

15.

pieg.
.

hate.

14.

nechunno
19.

mezo

alia.

15. tridede

evlo cholli.
21.

16.

diradichate.

17. cholle

inmesse
22. delli

chon.
colli

18.

emissperio

effochoso.
grabalatri.

continvue saecti.

20.

cherhepieva.

che [anchora erano] scoperti.

osscura

de

circhuda.

23. delle

608.

i.

essua dimosstratione

2.

pictura

[coatti apropiati].

3.

chonbactuta

chorso

veti "eavilupati della co-

607.

23.

Compare

Vol. IL

No. 979.

A*?H *.U Wvf>

vtr

P^ira J
/

it^rjirf
.

-^55V"[
:

-2A,:

.'

^'^

iftSSSS 3
V
!

:^|i
;

;S
/,

fos^fe^ i^^^SlEOti^ ^ "Vr> ^ ^=^^255^ ^ *^'^

J
^ -

;2$;

;5

ffiS^.
'"
OI

^-.-

-i_
,.

<=

*i*Ar*|> J.

*^4^ ':

ifli "-^ix 'fei^^^TK^^

-..-.

l?lii

^
-,*r

1
/ ^

rfc?*.!-!

jOrv

'

,-

.5-*;.'

.-I

.)'''*''
] -

'^flj'/ ^ Off >^ ii^ifcfHWw?^ H^-"

te(K*

ifi7*//f^ a
i

^1 ^C?3v^*2A^
P'f

w&W*S?t? S
\.
.

*"

4t..jrr.^j*A -

'IT,

^>J

^
rjjirj

-^" \

6o8.]

SUGGESTIONS FOR COMPOSITIONS.

307

e avviluppati dalla cotinua pioggia e misti colla gragnuola, li quali or qua 4 ora la portauano infinita ramificatione delle stracciate piante, miste con ifinite foglie; 5 d'intorno vedeasi le antiche piante diradicate 6 e stracciate dal furor de' venti, vede vasi le ruinede' moti, gia scalzati dal corso de'lor fiumi e fiumi, ruinare sopra i medesimi ?li chiudere le loro valli; quali fiumi e somergieuano le rlgorgati allagauano moltissime terre colli lor popo 8 li; ancora avresti potuto vedere nejle somita di molti monti essere insieme ridotte molte 9 varie spetie d'animali, spauetati e ridotti al fin

dense from the continued rain mingled with and bearing hither and thither an infinite number of branches torn from the trees and mixed with numberless leaves. All round may be seen venerable trees, uprooted and stripped by the fury of the winds; and fragments of mountains, already scoured bare by the torrents, falling
hail

into those torrents

till

and choking
rivers

their valleys

the

swollen
the

merge

wide
Again,

overflow lowlands and

and subtheir
in-

habitants.

you might have seen on

dimesticamete in copagnia de' fug I0 giti omini e donne colli lor figlioli; E le canpagnie coperte d'acqua mostrava le sue

many of the hill-tops terrified animals of different kinds, collected together and subdued to tameness, in company with men and women
who had fled there with their children. The waters which covered the fields,- with their waves were in great part strewn with tables, bedsteads, boats and various other contrivances made from necessity and the fear of death, on which were men and women with their children amid sounds of lamentation and weeping, terrified by the fury of the winds which with their tempestuous violence rolled the waters under and over and about the bodies of the drowned. Nor was there any object lighter than the water which was not covered with a variety of animals which, having come to a truce/stood together in a frightened crowd among them wolves, foxes, snakes and others fleing from death. And all the waters dashing oh their shores seemed to be battling them with the blows of drowned bodies, blows which killed those in whom
any
life

ode "in gra parte coperte di tavole, lettiere, barche, altri'vari strumeti fatti dalla neciesI2 della morte, sopra li quali sita e pavra
era donne, omini colli lor figlioli misti, co diuerse lametationi e ^pianti spaventati dal
li quali con gradissima for^sotto sopra e tuna rivolgieva 1'acque insieme colli morti, da quella annegati, e nessuna cosa piu lieve che ^I'acqua era che no fussi coperta di diuersi animali, l6 insieme co i quali, fatti tregua, stauano paurosa collegatione, infra quali era lupi,

furor de' venti,

serpi e d'ogni sorte fugi^tori dalla morte; E tutte 1'onde percuotitricie lor liti conbattevan quelle colle varie l8 pervolpi,

cussioni

corpi annegati, le perquali vccideuano quelli, alii J quali 9era restate vita; Alcune congregacussioni
de'

di

diuersi

remained

[19].

You might have

tinua piogia misti cholla gravza"

5.

li

quali.
.

4.

ramifichatione di "delle stracciate" [varie] piante

the
.

[le quali]
7.

miste chon

ifinite.

diradichate esstracinate.
cholli.
8.
.

6.

sopra e

On
cho.

margin
:

is

written
9.

"e chiudere

le

loro valli".

essomergieuano
ii.
fatti

"li" anchora aressti

.

ridotto.

dimestichamete.
. .

10

righorghati allaghauano mosstrava. Elle chanpagnie choperte

.

choperte.

12. choli
. .

figlio missti
.

13.

chon.

14. socto

choli

dacquella anneghati
18.

chel.
.
.

15. equali [pa]

le
.

treghua
. .

I.

16.

cholleghatione
19.

volpe serpe.

17. della
.
.

perchuotritricie.
20.

perchussioni
.
.

anneghati
li

per-

chussio

alliq"a".

[t]era

Alchune chongreghatione

aressti,

chon arata

difendeno

picholi

era

608.
is

written

This chapter, which, with the next one, on a loose sheet, seems to be the pas-

sage to which one of the compilers of the Vatican copy alluded when he wrote on the margin of fol. 36
:

obviously belong to this text. The drawings No. 2 on PL are, in the original, side by side with the text of No. 608; lines 57 to 76 are shown in

XXXV

the

facsimile.
PI.

In

the

drawing
see

in

Indian

ink

"Qua mi

ricordo

della

mirabile discritione

del Diluuio

given on
1.

XXXIV we

Wind-gods

in the sky,

ddlo autore."
that these

It is scarcely necessary to point out chapters are among those which have never before been published. The description in No. 607 may be regarded as a preliminary

corresponding to the allusion to Aeolus in No. 607 Plates XXXVI and XXXVII form one sheet 1 5.

in

Plates have

(in which be found) must be attributed to the period of about 1515 we may deduce from it the approximate date of the drawings on PI. XXXIV, XXXV, Nos. 2 and 3, XXXVI and XXXVII, since they

sketch
is

for

this

one.

As the MS. G.

'

it

to

The texts reproduced on these however no connection with the sketches, hand excepting the sketches of clouds on the right side. These texts are given as No. 477. The group of small figures on PI. XXXVII, to the left, seems
the
original.

to

be intended
1.

for

'congregatione d'uomini.'

See

No. 608,

19.

308
tioni

THE PRACTICE OF PAINTING.

20

[608.

d'uomini avresti potuto vedere, con armata mano difendevano quali

piccoli

le
li

2I da lioni, siti (che loro era rimasti) e animali rapaci, che quiui .cercava lupi lor salute; quanti romori "spaventevoli sentiva per 1'aria scura, percossa dal si furore de' tuoni e delli fulgori da quelli

che per 2J quella ruinosamente scorrevano percotedo cio che s'opponea al suo corso; O. quati 2 * avresti veduti
scacciati,
li orechi per 2 romori, fatti *per la tenebrosa aria dal furore de' ueti misti con 26 pioggia, tuoni cielesti e furore di saette; Altri no bastando loro il chiudere delli

assemblages of men who, with weain their hands, defended the small spots that remained to them against lions, wolves and beasts of prey who sought safety there. Ah! what dreadful noises were heard in the air rent by the fury of the thunder and the lightnings it flashed forth, which darted from the clouds dealing ruin and
seen

pons

colle

propie

mani chiudersi

schifare 1'Imesi

Ah! opposed its course. have seen closing might their ears with their hands to shut out the tremendous sounds made in the darkened
striking
all

that

how many you

ochi, Ma colle propie mahi ponedo quelle 1'una sopra dell'altra, piu se li copriuano 28 per no vedere il crudele stratio fatto de! la
2?

vmana

spetie dall'ira

di

dio;

quati la-

menti o quati spavetati si gittavano dalli 2 scogli; 9Vedeasilegrandi ramificationi delle gra quercie, cariche d'uomini esser portate 30 per 1'aria dal furore delli inpetuosi venti; Quante era le barche volte sotto sopra,
e quelle intere e quelle in pezzi esservi sopra giente travagliandosi per loro scampo 32 con atti e movimeti dolorosi pronosticati
Altri con movimeti spavete vole morte; disperati si toglievano la uita, disperadosi di no potere sop 34 portare tal dolore, de' quali alcuni si gittavano dalli alti scogli, altri si strI3Sgievano la gola colle propie mani, alcuni pigliava li propi figlioli e con gra36 de rapidita li sbatteva interi, alcuni colle propie sue armi si ferivano e vccidea 3 ?se medesimi, altri gittandosi ginochioni si raccomadaua a dio o quate madri piagie38 vano i sua annegati figlioli, quelli teneti sopra le ginocchia, alzando le braccia aperte in^^verso il cielo e con voci, conposte di diversi vrlameti, ripredeua 1' ira delli dei altri 4 C olle ma giunte e le dita insieme tessute mordeuano e co sanguinosi morsi
di
33
:
||

31

of the winds mingling thunders of heaven and the fury of the thunder-bolts. Others were not content with shutting their eyes, but laid their hands one over the other to cover them the closer that they might not see the cruel slaughter of the human race by the wrath of God. Ah! how many laments! and how many in their terror flung themselves from the rocks! Huge branches of great oaks loaded with men were seen borne through the air by the impetuous How many were the fury of the winds. boats upset, some entire, and some broken in pieces, on the top of people labouring to
air

by

the

raging

with

the

rain,

the

escape

foretelling
less

with gestures and actions of grief a fearful death. Others, with

quel t'diuorava, piegandosi col petto alle ginocchia per lo inmeso e insopportabile dolore; ^Vedeasi li armeti delli animali

desperate act, took their own lives, hopeof being able to endure such, suffering; and of these, some flung themselves from others themselves rocks, lofty strangled with their own hands, other seized their own children and violently slew them at a blow; some wounded and killed themselves with their own weapons; others, falling on their knees recommended themselves to God. Ah! how many mothers wept over their drowned sons, holding them upon their knees, with arms raised spread out towards heaven and with words and various threatening gestures, Others upbraiding the wrath of the gods. with clasped hands and fingers clenched

come

cavalli, buoi,

attornitate

dalle

isola nell'alte

43 esser capre, pecore gia acque e essere restate in cime de' moti gia restrigniersi

gnawed them and devoured them till they bled, crouching with their breast down on their knees in their intense and unbearable anguish. Herds of animals were to be seen, such as horses,
oxen,
goats

and swine

already

environed

rimasi)
is
.
.

conarmata ma.

21. lione

cierchava.
.
.

22. 1'aria

"scura" perchossa da dal

. .

dell fulghore
24. aresti

"dacquelli sati ati"

.

written in the margin.

isscifare.
. .

23. ruinosaraenti
.

[dacq] perchotedo
.
.

chessoppone alsocorso.
.

cholle

chiudersi
. .

25. 'chon

effurore.

26.

basstando

chiu
31.

cholle

pone.

28. gittavo delli scoglie.

. .

29. le

ramifi.

chationi

chariche
morte.

portati.

30. dal [chorso] furore.

equate intere e quale in peze

.
.

schanpo.

32. pronosstichati
.
.

[e dolorosa]

33. Altritri

chon

toglievolla.
. .

34.

dolore [alchunj

delli.

35.'

gievala ghola cholle

. .

alchuni

chon.

36. rapito lissbatteva intera,

alchuno cholle
40.

feria.

37.

racomadaua addio.
.
.

38.

aneghati

ginocha
41.

bracia.

39.
.
.

chon
gino. .

"vo"cie chonposte
chia.
42.

diderse.
.

cholle
.
.

chelle dite [delle mani] insieme

morde
. .

e cho.
.
.

vedeasi

chome

chavalli

chapre pechore.

43. attormitato delle

resstati

pieghandosi chol moto. 44. resstrigniersi

ec-

PL,

xxxv

:.

&

-v

-%/*y^

cHfHa,

.^

A
,2

Iffpft^

fll

P 1 f*

:':>;

f *r?5f i i * 441 Hi]

!

".v--

^
; .

v i* v-V
~f\
'

i_

\|'
i/IJ
'
'

'\

vi

.<*
\
:

-.

>;-,

*'-..*
'

v *'

..'

.^
*fl
l

V'

r>:

;f

v"
1.1
1 1

'.

v
:%.

t
!.-*.

iT^'

rTj 5
'

V5

'

"S*

'>

.:._

6oS.]

SUGGESTIONS FOR COMPOSITIONS.

by

309

insieme, e quelli del mezzo eleuarsi in alto e caminare sopra delli altri e fare infra loro

ne moriva per cauccielli si posauan sopra gli omini e altri animali, no ^^trovando the birds begun to settle on men and on piu terra scoperta die no fusse occupata da viueti, gia la fame, 4 8 ministra della other animals, finding no land uncovered which morte, avea tolto la uita a gra parte delli 'was not occupied by living beings, and already had famine, the minister of death, animali, quando 49 li corpi morti gia leuitaken the lives of the greater number of the ficati si leuauanodal fondo delle sprofonde animals, when the dead bodies, now feracque e surgievano in alto, E infra le mented, where leaving the depth of the conbattenti onde, sopra le S'quali si sbatte. waters and were rising to the top. Among the buffeting waves, where they were vano P un nell' altro, e come palle piene beating
gra
zuffe, de' quali
i6
;

assai

restia di cibo

gia

li

the waters and left isolated on the high peaks of the mountains, huddled those in the middle climbing together, to the top and treading on the others, and fighting fiercely themselves; and many would die for lack of food. Already had

di

veto risaltava s^ndiretro dal sito della lor

percussione, questi si facieva 53basa de' predetti morti: E sopra queste maladitioni si vedea Paria S4coperta di oscuri nuvoli,
diuisi dalli serpeggianti

one against the other, and, like as balls full air, rebounded from the point of concussion, these found a resting place on the bodies of the dead. And above these judgements, the air was seen covered with dark clouds,
of
riven

moti delle infuriate

by the forked

flashes

of

the

raging

sssaette del cielo alluminande or

infra la oscurita
s8

qua or

la

delle tenebre.
dell'

bolts of heaven, lighting depth of the gloom.

up on

all

sides the

57TJVedesi

il

moto

aria medis 8 ante

il moto della poluere, 59 ossa dal corso del cavallo, 6o il moto della quale e tato velo 6l cie a riepiere ;il uacuo, che 62 di se lascia nell'aria, che 6 3di se lo uestiua, 6 ^e la velocita di tal cavallo 6 $a quato fuggirsi dalla predetta aria.

The motion of the air is seen .by the motion of the dust thrown up by the horse's running and this motion is as swift in
again
filling

up the vacuum

left

in
is

the

air

which enclosed the horse, as he passing away from the air.

Perhaps it may reproach
will

rapid in
that

seem
with

to

you

you

6 parra forse po 7termi riprendere 68 io figurato le uie fatte per 1'a6 9ria dal moto del ueto, concio7sia che '1 ueto perse no si uede 7 I infra 1'aria; Aquesta 72 parte si rispode che non il 73 oto del ueto, ma il moto 74 delle cose da lui porta75 te e sol quel che per Paria si uede.1 ti

66

dell'

auere

having represented the currents made through the air by the motion of the wind notwithstanding that the wind itself is not visible in the air. To this I must answer that it is not the motion of the wind but only the motion of the things carried along by it which is seen in the air.

me

DlUISIONI.
77

[7 6]

THE

DIVISIONS.

Tenebre,

vento,

fortuna

mare,

diluvio d' acqua, selue 79 infoccate, pioggia, saette del cie 8o lo, terremoti e ruina di 8l moti,

spianameti di

citta.

Darkness, wind, tempest at sea, floods of on fire, rain, bolts from heaven, earthquakes and ruins of mountains, overthrow of cities.
water, forests

quelli
50.

mezo

chaminare.
.

45. effare

infralloro

charesstia dicib.
.
.

47. fussi

ochupata.
. .

48. minisstra

49. leuificKati.
[al

essurgievano
si.

infralle conbattente.
.

51. fisbattevan

chome.

52. indireto

da

sito

perchussione questi eran

con-

tinue]
59.
.
.

53. di
[il].

Essopra.

54.

choperta
in

di osscuri

serpegianti.
lasscia
. .

55. cielo [le qua]

aluminando

infralla osscurita.

cavallo

60. ettanto.

61. arriepieri
della.

vachuo.

62.

che

[lui].

63. se

il

uestiua quanto Quato.

64.
74.

ella

chavallo.

65.

affuggirsi

66.

[E] Ti.

68. fighurato.

71. infrallaria

Acquessta.

72.

risspode

no

nil.

chose

76. These observations, added at the bottom of the page containing the full description of the doluge seem to indicate that it was Leonardo's in-

considerable

number of drawings

in black chalk, at

Windsor,
are

illustrate this catastrophe.

Most of them
injured is realso the pen

tention

to

elaborate

the

subject

still

farther

in a

separate treatise.
81.

much rubbed; one of the least Compare produced at PI. XXXIX. and ink sketch PI. XXXVI.

Spianamenti dl

cittfr

(ov.erthrow of

cities).

THE PRACTICE OF PAINTING.

82

[609.

lVeti revertiginosi
8

qua,
8

-rami

5HRami

di piate e stracciatti

8 3che portano acomini infra 1'ariall

da

veti

86

misti

col

corso de' ve 8 ?ti con giente di sopra. 1 8 88 1 Piate rotte cariche 9di gente. 1 9 0<|Navi in pezzi rotte ^'battute
iscogli.1 9 2 Delli armeti,

in

Whirlwinds which carry water [spouts] branches of trees, and men through the air. Boughs stripped off by the winds, mingling by the meeting of the winds, with people upon them. Broken trees loaded with people. Ships broken to pieces, beaten on rocks. Flocks of sheep. Hail stones, thunderbolts, whirlwinds. Peoble on trees

^gradine, 9*saette, ssveti

sie

re^vertigino^si.

sopra piate che no si posso sostenere alberi e scogli, torri, colli 99 e altri pie di gete, barche, tavole, madie strumeti da natare colli coperti d'uomini e donne e animali e saette da nvuoli che alluminlo le cose.

98

Gente che

to support them; trees

hills

which are unable to and rocks, towers and

boats,
tables,

covered

with

people,

jj

troughs, and other covered with men,

lightning
thing.

means of floating. Hills women and animals; and

from the clouds illuminating every

W.

158*]

609.

DESCRITIONE DEL DILUUIO.

2

DESCRIPTION OF THE DELUGE.

Let there be first represented the summit a rugged mountain with valleys sur-

monte con alquanta

Sia inprima figurata la cfma d'un aspro valle circustante 3 alia

of

sua basa, e ne'lati di questo si ueda la scorza del terreno leuarsi insieme 4 colle minute radici di piccoli sterpi e spogliar di
se gra parte delli circustanti scogli, sruvinosa discieda di tal dirupameto con tur-

rounding its base, and on its sides let the surface of the soil be seen to slide, together with the small roots of the bushes, denuding .great portions of the surroundAnd descending ruinous from ing rocks.
these
let
it

bolenza del corso vada percuotedo e scale globulenti radici delle e quelle ruinando sotto sopra, gra piate, e le mo^tagnie denudandosi scoprino le profonde fessure fatte in quelle dalli antichi 8 terremoti, e li piedi delle motagnie sieno in gran parte rincalzate vestite ^delle rvine
le

precipices

in

its

boisterous

course,

zando

ritorte

and

dash along and lay bare the twisted of large trees overgnarled roots

delli arbusti precipitati

I0

da

lati dell' alte

cime

de'predetti

moti,

quali sie misti co fango,

radici, rami d' alberi co diuerse foglie infusi le ruine infra esso fango "e terra e sassi,

d'alcuni monti sien disciese nella profondita "d'alcuna valle, e faccisi argine della ringorgata acqua del suo flume, la quale arX3 gine gia rotta scorra con gradissirrie onde, delle quali le massime percuoti^no e ruinino
delle citta e uille di tal valle, ruine degli alti edifiti ' delle predette citta levino gra poluere, T acqua si leui in l6 alto in forma di fumo, o di ravvi luppati nuvoli si movino contro alia disciendete
le

throwing their roots upwards; and let the mountains, as they are scoured bare, discover the profound fissures made in them by ancient earthquakes. The base of the mountains may be in great part clothed and covered with ruins of shrubs, hurled down from the sides of their lofty peaks, which will be mixed with mud, roots, boughs of with all sorts of leaves thrust in trees,
with the
the

mud and

earth

and

stones.

And
fallen

into the depth of

some

valley

may have

mura

fragments of a mountain forming a shore to the swollen waters of its river;

le

pioggia;

Ma
. .

la ringorgata

acqua
79.

si

vada

which, having already burst its banks, will rush on in monstrous waves; and the greatest will strike upon and destroy the walls of the cities and farmhouses in the valley [14]. Then the ruins of the high buildings in these ci-ties will throw up a great dust, rising up in
83. porrtano.
|

Ip] dallui. 90.

77. denebre.

78. salue.

infochate.

80. lo [ruin] teremoti.

.

84. infralla"ria".
.

86.
'.

corsorso.
.

colli [de| chose. poso scotenere albri esscogli. 99. notare lasscorza tereno. 4. picholi . asspro vale circhustante. 3. basa [e di questo] ene 609. i. desscritione. 2. fighurato "circustanti" scogli [ella pioggia]. 5. disscieda di deruppameto chon turbole del chorso perchotedo esspogliar

nave

pezi.

91.

isscoglli.
.

94.

saetti.

98. chessie

esschalzando.
prede.
.

6.

E
.

gluppolente
.

ecquclle
.

elle.

7. inquelli.

8. elli

rinchalzate vestiti.
.

9. albussti

dellalalalte

10. equali

missti

fangho
. .

ringhorghata.

13.

chon

dissciese. fangho. n. etterra essassi Elle . . dalchuni . . delli Elle. 15. della predetta citti laquasi perchuti. 14. runino
.
. .
.

12.
.

dalchuna
ravi.

effaccisi
.

16. lupali

dissciendette Malla ringhorghata

17.

pelagho

asse

chon.

18.

perchotendo errisaltando

cholla fangho.

19. sciu-

609.

The sketches on

PI.

XXXV

3 stand

by the side of

lines

14 to 54.

~.

, '

. , '

..

.-.<

.'".-'

'

'

-f.

-,*

/, -.'''

f,

-.:
'

-\

'
'

^-

\ '

'

'

-.. -^r
-"
'

v-

-:--'.>.

\'
;

,- '--*.
1

-?

Hciiog Duja.rdin.

Imp Eudes

609-]

SUGGESTIONS FOR COMPOSITIONS.

shape like smoke or wreathed clouds against But the swollen waters falling rain.

raggirando pel pelago, che detro a se la l8 rinchiude, e con [ritrosi revertigiriosi in diuersi obbietti percuotendo e risaltando in aria colla fango lg sa schiuma, poi ricadendo e

the

will

them
air

faciendo reflettere in aria 1'acqua percossa; 20 circular! che si fuggono dal le onde loco della percussione, caminando col suo 21 inpeto in tra verso sopra del moto dell'altre onde circulari, che contra di loro si muovono e dopo la 22 fatta percussione risalgono
aria

sweep round the pool which contains striking in eddying whirlpools against the different obstacles, and leaping into the
in muddy foam; then, falling back, the beaten water will again be dashed into the
air.

And
the

the

whirling

waves

which

fly

in

sanza spiccarsi dalle lor base;

23 fa di tal all'uscita, che 1'acqua pelago, si uede le disfatte onde distendersi inverse la

loro vscita,
2

dopo

la

24

disciedendo infra

1'aria,

quale, cadendo over acquista peso e moto

of concussion, and whose impetus moves them across .other eddies going in a contrary direction, after their recoil will be tossed up into the air but without dashing off from the surface. Where the water issues from the pool the spent waves will be seen spreading out towards the outlet; and there
place
ing the

from

inpetuoso, sdopo il quale, penetrando la percossa acqua, quella apre e penetra con 26 furore alia per cussione del fondo, dal quale poi reflettedo risalta inverse la superfitie
lei

del pelago, ac 27 compagnata dall'aria che con e questa resta nella uscita si sorherse, 28 colla schiu ma mista co legniami e altre

cose piu lievi che 1'acqua, intorno alle quali si da principle all' onde che tanto piu crescono in circuito, quato piu ac3quistano di moto, el qual moto le fa tato piu basse
3 quanto ell' acquistano piu larga basa, e per questo sono poco evident! nel lor consu2 mameto; Ma sel'onde riperco^ tono in vari
J

pouring through the air and gainweight and impetus they will strike on water below piercing it and rushreach its ing furiously to depth; from which being thrown back it returns to the surface of the lake, carrying up the that was submerged with it; and this air remains at the outlet in foam mingled with logs of wood and other matters lighter Round these again are formed than water. of waves which increase the beginnings circumference as they acthe more in
falling or

quire
rises

more movement; and

less

this

movement

obbietti, allora elle risaltano in dirietro sopra 1'auenimento dell'altre onde, osser33yando P accrescimeto della medesima curvita ch'el1'avrebbero acquistato nell' oservatio34ne del la pioggia nel gia principiato moto; Ma disciedere de' sua nvuoli e del medesimo 35 color d'essi nvuoli, cioe della sua parte obrosa, se gia li razzi solari no li pene3& fosse, la pioggia trassino, il che se cosl si dimostrerebbe di minore oscurita che esso

high in proportion as they acquire a broader base and thus they are But less conspicuous as they die away. if these waves rebound" from various objects they then return in direct opposition to the
others following them , observing the same of increase in their curve as they have already acquired in the movement

law

nuvolo, e se li gran pesi delle 37massime ruine delli gra monti o d'altri magni edifiti ne' lor ruine percuoteranno li gra pelaghi
38

dell'acque,

allora
1'aria,

risaltera
il

gran
della

quatita

d'

acqua

infra

moto

quale
.

sara fatto per c639trario aspetto a quello che fecie il moto del percussore dell' acque, cioe 1'angolo della reflessio, ie fi a simile
all'

they started with. The rain, as it falls from the clouds is of the same colour as those clouds, that is in its shaded side; unless indeed the sun's rays should break through them; in that case the rain will appear less dark than the clouds. And if the heavy masses of ruin of large mountains or of other grand buildings fall into the vast pools of water, a great quantity will be flung
.

angolo della incidetia Delle cose portate dal corso delle acque quella si dis4 J costera piu dalle opposite riue che fia piu
;

the air .and its movement will be in contrary direction to that of the object which struck the water; that is to say: The angle of reflection will be equal to Of the objects carthe angle nf incidence.
into

ma
23.

richadendo effeciendo refrettera

21. circhulara
. . .

perchossa Elle.
. .

20. circhulari

chessi

fugghano del locho

. .

perchussione chachellacq"a". chussion

.
.

minando chol.
pelagho
. .

chontra
24.

movano.
. .

22.

perchusione risaliano
infrallaria

spicharsi
25.

Ellusscita
26.
. .

disfacte

vssciti.

chadendo
. .

dissciedendo
.

acquissta.

perchossa.
28. chol
31. 34.

refcelledo

pelagho.

27.

chonpagniata

chon
.

ecquessta ressta nella vissci cholla scin.

chose
.

lieve

chellacquo.
. .

29.

chonsumameto Masse
35.

allonde [che chol suo] chettanto tano . ripercho. 32

. . . .

cresschano [quato] in circhuita.

dirieto. 33. lacresscimeto
. .

30. piu [bassa].

. .

largha

poche
dissie-

churvita
.
.

arebbe.
.
.

Malla

dere.

seggia

penetrassi
.
.

chosi.

36. fussi

dimossterrebbe
.

osschurita

hesselli

della
.

ma.

37.

percho-

teranno.

38. infrallariael

percho.

39. asspecto acquello cheffecie

perchussore

langholo

refressio.

40.

angholo

312
grave over
di

THE PRACTICE OF PAINTING.

2

[610.

maggior quantita; Li ritro* si sono tanto piu delle acque elle son piu vicine al <3 suo veloci quanto cientro; La cima delle onde del mare dinelle sue parti

ried

down by

the current, those which are hea-

viest or rather largest in mass will

keep

farthest
in

from the two opposite shores.

The water

the eddies revolves more swiftly in proportion as it is .nearer to their centre. The crests

scende dinazi

alle lor base,

battendosi e con-

frega^dosi sopra le globulentie della sua faccia, e tal confregatione, trita in minute
particule della ^disciendente
corsi de' ueti a

acqua la qual, con vertendosi in grossa nebbia, si mischia nelli

modo
T

di ravilup 46 pato

fumo

of the waves of the sea tumble to their bases falling with friction on the bubbfriction grinds les of their sides; and- this the falling water into minute particles and this being converted into a dense mist, mingles with the gale in the manner of curling
it,

e revolutio di nuvoli, e la leva al fine infra

1'aria e si

rises

smoke and wreathing clouds, and at last into the air and is converted into

couerte

nvuoli.

*?Ma

la pioggia,

che discende

infra 1'aria, nell' essere

conbat-

tuta e percossa dal corso de'uenti, si fa 8 rara o densa, secondo la rarita o densita
d'essi venti, e
1'aria

per questo si gienera infra *9vna inondatione di traspareti, fatti dalla discesa della pioggia, che e vicina
5 la vede; L'onde del mare, che percuotono Pobliquita de'monti che collui confinano, saranno schiumose, s'con uelocita

all'ochio che

contro al dosso de'detti

indirieto
si

colli,

e nel tornare,

scotrano s'nell'auenimeto della

secoda onda, e dopo il gra loro strepito torna con grade inodatione S3 al mare, donde
si

clouds. But the rain which falls through the atmosphere being driven and tossed by the winds becomes rarer or denser according to the rarity or density of the winds that buffet it, and thus there is generated in the atmosphere a moisture formed of the transparent particles of the rain which is near to the eye of the spectator. The waves of the sea which break on the slope of the mountains which bound it, will foam from the velocity with which they fall against these hills; in rushing back they will meet the next wave as it comes and and after a loud noise return in a great Let flood to the sea whence they came.
great

numbers
all

animals of

of kinds

inhabitants
the

men
peaks

and
by

be seen driven

[5 4]

partirono; Gran quantita di popoli d'uomini e d'animali diuersi si uedea scaciati

54

the .rising of the deluge to the mountains in the midst

aforesaid.

of of the waters

dalP accrescimeto del diluuio inverse

alle

le

cime de'monti, uicine

55

predette acque.

Onde

del

mare

di

Piombino

s^tutta

acqua schiumosa. 8 57 Dell' acqua che risalta, 5 de veti di Pionbino a Piobino ritrosi, di ueti e di pioggia co rami e alberi misti coll' aria votameti dell' acqua che piove & nelle bard'
|

[5 5] The wave of the sea at Piombino is foaming water [5 8]. Of the water which leaps up from the spot where great masses fall on its surface. Of the winds of Piombino at Piombino. Eddies of wind and rain with boughs and shrubs mixed in the air. Emptying the boats of the
all

che.

rain water.

C. A. 78*5 228a]

6lO.

Lo immeso
Of
depicting natural
2

furore

del

ueto
le

cacciato

The tremendous
by the
.

fury of the

dalle

mine de'moti sopra

delcorso.
43.
. .

incluse spe.
.

falling

in

of the

hills

wind driven on the caves

.
.

phenomena
(610. 611).
.

41. schosstera

delle oposite
.

cheffia

retro.

42.

acque [quello e piu veloce]

.
.

nlle

parte tanto
.
.

velocie.

suo cientro "la cima" Delle

partichula.
45. dissciente
.

dissciende [la
46.

cima] "dinaci

confregha.. 44. globbulentie

e
la
. . .

ettal

confre. .

ghatione

miscia.

nvuoli [o diseda nebbia]

e
. .

invuoli.

47.

Malta

infrallaria

perchossa.
tile]

48.

eddensa.
.

oddensita
50.

venti

[chella perchotano]
.

quessto
. .

infrallari"a".

49.

innondatione

(di sot-

di trasspareti

dal disscieso.
.

perchote
53.

monti
.

[chell]
.

che chollui

sarrano "sciumose". 51. cho [velocie moto per

55. node.
56.

la]

con

cholli

sissco. 52. sechode.

eddanima

scaciere.

54. accresscimeto.

sciumosa.

57. risalta

55- S^- These two lines are written below the bottom sketch en PI. XXXV, 3. The MS. Leic.

was
there

in

the

year

1502
(see

and possibly
Vol.
II.

returned

subsequently

Topographical

being written about the year 1510 or

not seem to

later,

it

does

me

to follow
at

that

the

sketches

must

notes). 610.

See the sketches and

Lines
i

text

on

PI.

XXXVIII,
left

have been

made

Piombino,

where

Leonardo

No.

I.

16 are there given on the

^,kH^'*fcs

^v

f
'!

-',

*
'f/

"'

'

y.

>**b

^
j

/Wrr/'-*<fo

vfrrVi^j '***HIH*~

n^r^r^wC iJSfc^SSM ^
4^'^HR

T .^-^? ^^T ^;H^ir

^r^k

>4w, T >
I

JiH^ ^<-fl ^'ITJo *-&$ vyvwJ*^ ;?SS 1 ^^ **$*> of

-,
\)^
^fc

^31''T

/oj'O

Jf

!***** T^' / >_l ^2 -ll*v. 4W:^5ELST ***! jrt>'*

j-Jcrin'JW ""I "
ffT
v
.

VOM

"

Mr*

'

O/..TVV-

-V

11 k

*^
-

ibwt/'T

'

'

'

<i

-.

Imp Elides
.

Heliop".

Dujardin.

6n.J
Io3che

SUGGESTIONS FOR COMPOSITIONS.

mediante
le

313
ser-

ruine

de'moti che

caverne
5

+si facieva coperchio.

6 ? pietra, tratta per 1' aria, lascia nelche la 8 vede inpressi^one del suo

by the falling of the hills which ved as roofs to these caverns.

within

La

1'ochio

mo I0 to,
I5

il

medesi^mo fanno
che
l6

le

I2

dell'ac I3 qua

disciedo'^no

dalli

gocciole nuvoli
citta

stone flung through the air leaves on eye which sees it the impression of its. motion, and the same effect is produced by the drops of water which fall from the clouds
the

pioggia 23 sia meno evidete; E dove la 2 pioggia e mista col *veto e colla poluere, i nuvoli creati dalla piog 2 5gia sien piu tra26 E quado spareti che quelli della poluere; le fiafhe del fuoco sara miste con 2 ? nvuoli del fumo e dell'acqua, allora si crea 28 nvuoli tenebrosi e molto oppachi; e '1 resto
di tal 29 discorso
si

quale levi polvere in forma di nuvoli, ma *9il colore di tal polvere sia variato dal colore 20 d'essi nvuoli; E dove la pioggia e 2I piu fo! ta, il color della poluere sia manco 22 euide te, e dove la poluere e piu folta, la
il

18

quado pio ve. I? Vn mote cadente sopra

when
vna
fling

it

[i 6] rains.

[17]

mountain falling on a town, will up dust in the form of clouds but the
;

colour of this dust will differ from that of the clouds. Where the rain is thickest let the colour of the dust be less conspicuous and where the dust is thickest let the rain
less conspicuous. And where the rain is mingled with the wind and with the dust the clouds created by the rain must be more than those of dust [alone]. transparent flames of fire are mingled [2 6] And when with clouds of smoke and water very opaque and dark clouds will be formed [28]. And the rest of this subject will be treated in

be

trattera nel libro

de

pit-

tura distesa3mete.

detail in the

book on

painting.

C. A. 1520:; 4513]

611.

che co gran sollecitu 2 dine apparecchiava uettovaglia 3 sopradiuerse sorte

Vedeuasi

giete,

di navili

fatti

bre^vissimi

dell'onde

no

si

dimoSstravano in que'luoghi dove le te 6 nebrose pioggie colli lor nuvoli 7 reflettevano.

8 doue li uapi gienerati dalle scelesti saette reflettevano, si ve I0 devano tanti lustri fatti da' simvla^cri de' lor vampi, quate

Ma

People were to be seen eagerly embarking victuals on various kinds of hastily made barks. But little of the waves were visible in those places where the dark clouds and rain were reflected. But where the flashes caused by the bolts of heaven were reflected, there were seen as many bright spots, caused by the image of the
eye of the spectator. The number of the images produced by the flash of lightning on the waves of the water were multiplied in proportion to the distance of the spectator's eye.
flashes, to the

era
13
J

Po I2 de, che alii

ochi de' circustati potea

as there

were waves

to reflect

them

reflettere.

4Tanto crescieva il nvmero de' si is mufatti da uapi delle saette so l6 pra 1'onde dell'acqua, quanto cre^scieva la dilacri

statia delli ochi lor ris l8 guardatori.

del [sito dove

610.

i.

[II

n] lo
15.

chadano H gra pesi perchussori delle acque]. chacciato. 2. moti. 3. cha "a"sse chaverne.
piv.
17.

58. chollaria.
4.

choperchio.
. .

6.

lasscia.
22.

7.

chella.
. .

12.

ghucciole.
23.

13. dis-

scieda.

qua

chadende.

20.

Eddove.

21.
[le]

poluerere
le
. .

mancho.
.

dove

[le]

eppiu.

missta chol.
29. disscorso.

24. cholla.
. .

25. trasspareti checquelgli.

26.

Ecquado
si

fuocho

.-

misstecho.

27. eddell.

28. ressto.

desstlta.
4.

611. 2. aparechiava.
12. ali
.
.

dellonde

"no" [pocho]
14.

dimos.

6. cholli.

7.

refrettevano.

9.

cielesste

refrette.
19.

10.

deva

lusstri.

circhusstati.

13. refrectere.

scresscievano.

16.

cres.

17. disstatia.

18. ghardatori.

diminuiva

[no quato

the

hand side, 17 30 on the right. The four lines at bottom on the right are given as No. 472. Above these texts which are written backwards,
,

writing from left to right is spurious. Compare with the facsimile of the rough copy of Leonardo's it letter to Ludovico il Moro in Vol. II.

original sixteen lines in a larger writing from left to right, but only half of this is here visible. They treat of the physical laws of

there are in the

2628.
Indian
to

Compare
on the
his

PI.

ink

left

XL, 2 the drawing in hand side, which seems

observations of an

be a

reminiscence
(see

of his

motion of
that

air
is

and water.

It

does not seem to

me

there
1.

any reason for concluding that this

eruption Vol II).

remarks

on

Mount Etna

in

VOL.

RR

THE PRACTICE OF PAINTING.

X

[611.

9E

cosl diminuiva
2I
s'

20

tal

numero

di si-

auicinavano agli ochi mulacri, quato piu che li * 2 vedeano, com'e provato nella difi"nitione dello splendore della luna 2 <e del nostro orizzote marittimo, 25 quado il sole 26 e che 1'ochio, ui reflette co sua razzi, che ricieve tal re 27 flessione, sia lontano dal predetto mare.

So also the number of the images was diminished in proportion as they were nearer the eye which saw them [22], as it has been proved in the definition of the luminosity of the moon [23], and of our marine horizon when the
sun's

rays are

reflected

in

it

and the eye

remote from

which receives the

the sea.

reflection

is

piu

si].

20. [facie] tal

nume.

24. nosstro

marictimo.

25.

qua quado

refrette cho.

26. razi.

27. fre ione.

6xz.

22. 23.

Com'} provato.

See Vol.

II,

Nos. 874

878 and 892

901.

fj||il;^|f^|

L?Mn*;

T../

' ,

j;:

.."-'-

- 7 V.-ji*5-i

^-i

.Helio^. Dujardin.

VI.

THE ARTIST'S MATERIALS.

S.

K. M.

II. i

O']

6l2.

pute da colorire a secco; co vn po' di ciera e no la secca, 3 la qual ciera disoluerai, co acqua, 4 che, tenperata la biacca, essa acqua stilla-

Per
2

fare

To make
dry.

points [crayons] for colouring

Of chalk
(fa^ntf.

la

tepera

sta se ne vada in fumo e rimaga la 6 ciera sola, e farai bone pute; sap?pi che 8 bisogna macinare i co lori colla pietra calda.

Ma

Temper with a little wax and do not dry it; which wax you must dissolve with water: so that when the white lead is thus tempered, the water being distilled, may go off in vapour and the wax may remain; you will thus make good crayons; but you must know that
the colours must be

ground with a hot

stone.

F. 96 a]

II

lapis
2

se

disfa in

in

acqua

vite,

e poi

si

vino e in aceto o puo ricogiugnere co

Chalk dissolves

colla dolce.

aqua with gum.

or

in

fortis

in wine and in vinegar and can be recombined

S.

K. M.

III.

53 a]

CARTA DA DISEGNARE
SPUTO.

NERO COLLO

PAPER FOR DRAWING UPON IN BLACK BY THE AID OF YOUR SPITTLE.

3 Togli poluere di galla e di vetriolo e polue 4 rizza e spandi sopra carta a vso di uernisce poi scriui co pena intlta nello 6 sputo e farai nero come inchiostro.
, ,

Take powdered gall nuts and vitriol, powder them and spread them on paper like a varnish, then write on it with a pen wetted with spittle and it will turn as black as ink.

6ia.

i. i. 2.

assecho.
ilapis
.
.

2.

covpo

di
2.

cascero
.
.

(?).

3.

acque.

4.

biacha

stila.

6. effara

Massa.

8.

cholla.

613
614.

acq"a".

vte

ricogugnere.
.
.

chollossputo.

4. rizza

esspandi

charta.

5.

pena.

6.

efiarai

inchiosstro.

THE PRACTICE OF PAINTING.

[615617.

Br.

M.

174 a]

6I 5
2

Se

uoi fare lettere scortate, tira la

carta

in telaio e disegnia e poi ta^glia tali lettere e fa passare i razzi -solari per tali spiracoli

stretch

sopra vn altra carsta

goli macati.

tirata,

e poi

rifa

li

an-

you want to make foreshortened letters the paper in a drawing frame and then draw your letters and cut them out, and make the sunbeams pass through the holes on to another stretched paper, and then fill
If

up the angles

that are wanting.

C. A. Tib; 209*1

616.
si

fumo tigniere di di cadela teperato co colla dolce, e poi inbrattare sottilmete la foglia di ^biacca a
Questa carta
debbe
2

olio,

come

si fa

alle lettere

sjstapa, e poi
tal foglia
nelli

This paper should be painted over with candle soot tempered with thin glue, then smear the leaf thinly with white lead in oil as is done to the letters in printing, and then
print
will

in the

stampare nel
rilieui,
il

modo

co 6 mune, e cosl

ordinary
in

way.

Thus

the

leaf

appear shaded

the hollows

parra aobrata ?ne' cavi e alluminata

8

ted

che interuiene qui

al contrario.

on the parts in relief; comes out here just the contrary.

and lighwhich however

F. 5 6 a]

617.
fia

Molto

bella la carta biaca fissa

'

fatta
tal

Very excellent

will

be a

stiff

di mistura e latte di gichero colato,

e fatta

made of
this

the usual mixture

is

and

filtered

white paper, milk

carta e poi inumidita e pie*gata e avviluppata a caso e mista colla misstura e cosl lasciata seccare; se la 6 ropi auati ch'ella

of an herb called calves

Ma

invmidisca accade a ^rnodo di lasagne, e poi inumidisci 8 e avviluppa e poi metti in mistura e lascia ^seccare; ancora se tal 10 carta sara vestita di biaco fisso e trasI2 "pareteesardonio, e poisiainumidi ta accio

foot; and when and damped and folded prepared paper and wrapped up it may be mixed with the mixture and thus left to dry; but if you break it before it is moistened it becomes somewhat like the thin paste called lasagne and you may then damp it and wrap it up and put it in the mixture and leave it to dry; or again
this

nonfacciaangoli, epoi siaavviluppa I3 ta intrasparete forte, e come Fe ferma, ^sega la grossa 2 dita, e lascia secca'Sre; Ancora se fai cartone fisso di l6 sardonio, e seccalo e poi '7lo metti infra 2 carte di papiro 18 e lo ropi dentro co martel di legno, col

may be covered with stiff transpaand sard<nio and then damped so that it may not form angles and then covered up with strong transparent size and as soon as it is firm cut it two fingers, and
paper
rent white
;

pu'9gno, poi apri co diligenza tenedo ferma 20 2I la carta 22 di sotto a^ccioche per piano 2 26 2 li *zi rotti no 2 5si pez sconpa gnino, po ?i abbi

it to dry again you may make stiff cardboard of sardonic and dry it and then place it between two sheets of papyrus and break it inside with a wooden mallet with a handle and

leave

615.

2.

po.

3 effa pasare.
4.
.

5.

agoli macati.
5.
.
.

616. i. quessta charda. 617.

i.

biacha.
.

nistapa stanpire.

6.

chosi

para.

8.

interuene
5.

il.

biacha.

2.

falta
.

ellatte

gichero colato.
.
.

3.

eppoi.
. .

4.

avilupata achaso.

lassciata
.

sechare Massella.
12.
. .

6.

achaso.

8.

aviluppa po
.

ellascia. 9.

sechare

settal.

10.

biacho
16.

ettras.

n. essardonio
I

poi inumidi.
17.

acco no facca anoli

palpiro.
18.

e poi

aviluppa.

14. lasscia sccha.

15.

seffai.

essechalo epoi

la

picha info].

[glio] lo

ello.

616.

This

text,

impression

of a

leaf of sage,

which accompanies a facsimile has already been

insegnato da

altri,

che piu

tardi si legge ripetuto in

molti ricettarii e libri di segreti),

ofcanto a
bianca,

una

foglia di
scritto'-

published in the Sagfio delle Opere di Z. da Vinci, Milano 1872, p. n. G. Govi observes on this pas"Forse aveva egli pensato ancora a farsi un ersage bario, od almeno a riprodurre facilmente su carta le
:

Salvia impressa in nero su carta

lascio

Questa carta

Erano
diala
delle

primi

ttntativi di quella riprodusione

imme-

forme

particolari delle foglie di diverse piante; poiche

(modificando

un metodo

che probabilmenlt gli era

stato

poi sotto il nome </' Impressione Nalurale, fu fondotta a ianta pfrfeziotte in questi tiltimi ittnpi dal signer de ffautr e da allri."
parti
vegetali, che

L.t&

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y.

;:;

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'^STJH

v
'.^
I

-X-

m^^^ %
:

'

''

!iSr. /.*.-:?*;';
.,

r
.^

-"'::

<^ "-.m-rj
.

'.*

-;^^ ir ~f.y~/Y ^^
-*,

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sg

rg

^v^^v.vH^^^^II

M-<-CJ^v>^.;

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>

'

Hel

,,.

-r^.'

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.-.r

vlU5

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,

K..

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"i.

^$

5fc\U
:

-:'>:-.E\id.es.

'^V 'fc^''y.".V^
Imp
.

6i8-62o.J
vna
3'la
28

THE
in 2 9collata

ARTIST'S MATERIALS.
then

317

carta

caPMa, e appicca
e lascia 34fer -

sopra

tut3 2 ti essi pez33 Z i >

mare, 35p O i
38

la uol3 6 ta sotto so3?pra

e da di

spa^tio, 4 pezzi ve 3rsado og^ni volta, |6 8 45poi di ne ro e poi ^di bianco 4 fisso, e
ch'e tra
* 2 li

transpare39te

piu

volute

nello

open it with care holding the lower sheet of paper flat and firm so that the broken pieces be not separated; then have a sheet of paper covered with hot glue and apply it on the top of all these pieces and let them stick fast; then turn it upside down and apply
transparent size several times in
the

spaces

co 4 9sl
spiana

lascia
53

o5gni volta seS'ccare, po5

2
i

la

e pulisci.

between the pieces, each time pouring in first some black and then some stiff white and each time leaving it to dry; then smoothe it and polish it.

C. A. 258(1; 784 a]

618.

Per fare verde bello

j

togli

il

uerde

e
it

To make
with
,v.
i
,

a fine green take green and mix On

colla mumia e farai 1' obra piu 3 poi per farla piu chiaro verde e oquria e per piu chiara verde 4 e giallo e pe' lumi di e giallo ischietto poi togli Syerde curcuma 6 7 Jsieme, e vela sopr' o gni-cosa; per fare

mescola
,

scura

you Then, for lighter [shades] green with yellow ochre, and for still lighter green with yellow, and for the high lights pure yellow; then mix green and turmeric To together and glaze every thing with it.
shadows darker.
a fine red take cinnabar or red chalk or burnt ochre for the dark shadows and for the lighter ones red chalk and vermilion and for the lights pure vermilion and then
glaze with fine lake.
painting.
fining

bitumen

and

will

MI

make

the

.v

the pre paration and use of colours

(618-627).

v rosso bello

togli

cinabrese o mattita

make

oquria arsa pell' obre scure e pelle piu 9matita e minio, e pe'lumi minio solo, poi vela I0 co lacca bella "per fare olio buono

To make good

oil
first

for
re-

a dipigniere

Vna

prima

dirinentia

parte d'olio e una di seconda.

I2

vna

di

One

and

part of oil, one of the one of the second.

C. A. 70*1; 2oja]

6lQ.

nera: adopera 2 lume, biacca, verde, minio e lacca 3Onbremezzane; giallo, 4 e mescola colla togli 1'ombra di sopra arre s cadovi vn poco detta Tcarnazione di giallo e vn po'di uerde, e alle 6 volte

HOnbra

Use

black in

the

shadow,

aud

in

the

and lake. lights white, yellow, green, vermilion Medium shadows; take the shadow as above and mix it with the flesh tints just alluded to,
it a little yellow and a little green and occasionally some lake; for the shadows take green and lake for the middle shades.

adding to

della lacca; ?per avere 1'onbre togli verde e lacca nelP obre mezzane 1

H.2

620.

Farai bella oquria se terrai che si tiene a fare la biacca.

il

modo

You can make

method
as

a fine ochre by the same

to

you use

make

white.

23.

cioche
12 P.

li

pe.

26. appi.
2.

30. apica.

44. poi di dine.

50. chate.

53. pulisca.
3.

618. i

i.

emSsscola.
6.

cholla
8.

mGmia
. .

effarai

isscura poi per\\\a.

pelle piu

eoquria e per.

4.

isscietto.

5.

churchuma
12.

sieme cheuela.
nentia
619.
i.
.

chosa.

o oquria

isscure e

chan.

9.

emminio eppellumi.

10.

cho.

n. parce.

dm. .

sechonda.
(}).

nera e oqurie
6.

2.

biaccha gialla

ellacha.
. .

3.

mezane.
enella.

4.

emesschola cholla

Ichazione

arripi.

5.

edovi

pocho.
630.
i.

laccha.
settierai.

7. 2.

lonbre o verde ellacche

chessi
.
.

mezane

oquria

affare

biaccha.

618 and 619. If we may judge from the flourishes with which the writing sages must have been written in Leonardo's youth.

is

ornamented these pas-

318

THE PRACTICE OF PAINTING.

[621626.

C. A. 70* ; 207 1]

621.

GlALLO BELLO.
2

FINE YELLOW.

Disolui risagallo a
3

vno sorbimeto con

acqua

forte.

Dissolve realgar with one part of orpiment, with aqua fortis.

BIANCO.
sMetti la biacca in vn tegame, che ui 6 g rossa vna corda per tutto, e lasci?a 8 che la stare 2 dl al sole e al sereno, e fa la mattina quando il sole a rasciutto 'la rugiada della notteimu
sia

WHITE.
Put the white into an earthen pot, and no thicker than a string, and let it stand in the sun undisturbed for 2 days; and in the morning when the sun has dried off the night dews.
lay
it

Tr. 78]

622.

Per fare
2

rosso
di

nero per Icarnatione:

To make

reddish

black

for

flesh

tints

Rocca Nova o granati e mischia un attimo; ancora il bolo ^armeno e bono I parte.
togli

rubini

take red rock crystals from Rocca Nova or garnets and mix them a little; again armenian bole is good in part.

L. 92 a\

623.
fia

La obra

verde terra bruciata.

The shadow

will

be burnt

,terra-verte*.

A. Si]

624.

PROPORTIONS
2

DI COLORI.

THE PROPORTIONS OF COLOURS.

con vna
,

Se una oncia

di

nero misto

fanno uno grado di scurita ,. , ,. -^ r iquati gradi 3di scunta-fara 2 ocie di nero
ocia di biacca

ounce of black mixed with one g ives a certain shade of darkness, what shade of darkness will be produced by 2 ounces of black to z ounce
If

one

ounce

of white

sopra una oncia

di

biacca?

of white?

w.

p.

sa ]
,

625.
gialla uerdegiate

1 Ricuocere nera
fine azzurra.11

nel

Remix
end
blue.

black, greenish yellow

and

at the

F. 96 4]

626.

Verde rame e aloe o fiele o curcuma bel verde, ancora il zafferano o 1'opimeto ^bruciato, ma dubito che in brieue no difa
2

makes a
saffron

Verdigris with aloes, or gall or turmeric fine green and so it does with

uega nero; *azzurro, oltramarino e

sorpimeto chon acq
rugada.
. .

giallo di

or burnt orpiment; but I doubt whether in a short time they will not turn

631. 2. risalghallo
.
.

for.

4.

biancho.

5.

biaccha

nvm teghame.

6.

chorda

ellasce.

7.

effa.

8.

chella

rassciutto.

9.

6aa.

i. i.

lorubini di rocha

miscia chollattirao.

3.

amenio.
'

633.
634. 635.

brucata.
cholori.
2.

i.
i.

se t onchia
a.

chon

biacha fannogrado

schurita.

3.

schurita

sopra

[2]

biacha.

richuocere.
. .

azura.
5. ssti
. .

636. 3. brucato

diuegha.

coe.

6.

Lacha

fa

azurro.

627
uetro

629.]

THE ARTIST'S MATERIALS.

missti fanno verde cioe in muro.
fa
bellis-

319

insieme
in fresco,

simo

6 Lacca e verderame azzurro a o 7 lio.

bon obra

black. Ultramarine blue and glass yellow mixed together make a beautiful green for fresco,
that
is

allo

wall-painting.

Lac and

verdigris

make

a good shadow for blue in

oil

painting.

S.

K, M.

[I.i

95 a]

627.

Macina il verderame colorato molte volte insie 2 me co sugo di limo, e guardalo dal giallorino.

Grind
with lemon

verdigris

many
keep

times
it

coloured

juice

and

away from

yellow

(?).

A.

i a]

628.

A PREP AR ARE
2

IL

LEGNIAME PER DIPl'GNIERE SU;

TO PREPARE A PANEL FOR PAINTING ON.

service-tree or walnut.

legnio sara d'arcipresso o pero o sorbo o noce, il quale salderai co ma3stico e tremetina secoda destillata ebiacca o vuoi 4 I modo possa calcina, e metti I telajo discresciere secodo 1'umido o cresciere e
II

The panel should be cypress or pear or ofpreparin r the panel. You must coat it over
mastic

with

and

turpentine
like,

twice

distilled

and white

or, if you in a frame so that it

sia

5 secco; dipoi li da con acquavite dentro disoluto, arsenico o solimato 2 6 o 3 volte, di

-,

che

vi

according to

its

and put it may expand and shrink moisture and dryness. Then
lime,
it [a coat] of aqua vitae which you have dissolved

give
in

poi da olio di lino bolito in modo peni?tri per tutto, e

inanzi
8

si

freddi fregalo
in

bene
parra sopra

arsenic or [corrosive] sublimate, 2 or 3 times. Then apply boiled linseed oil in such a way as
that
it

con v panno
ascivtto
,

modo

may

penetrate every part,

e dalli di verniceliquida e biacca colla stecca, poi laua s con e poi spolorina, quado e ascivtta uerezza e proffila I0 il tuo disegnio sottilmete e da di sopra 1'imprimitura di 30 parti di uerde^rame e vna di uerderame e 2 di giallo.
;

and before it is cold rub it well with a cloth to dry it. Over this apply liquid varnish and white with a stick, then wash it with urine when it is dry, and dry it again. Then pounce and outline your drawing finely and
over it lay a priming of 30 parts of verdigris with one of verdigris with two of yellow.

s.

K. M. in. 52 6}

629.

OLIO.
2

OIL.
di senape,

Fa

olio di

semeza

e se lo

voi fare co piv facilita mischia la ma^cinata semeza con olio di linseme, s e metti ogni cosa sotto'l torchio.
3

Make some oil of mustard seed; and if The r* you wish to make it with greater ease mix 62 g! the ground seeds with linseed oil and put it
all

under the press.

627. i. chollarata.
628.
2.

ilegnio
5. 8.

2. guardallo. ossorbo qua.

. .

3.
.

sticho

destilata
.

ebiacha ovoi
6.
. .

chalcina.
. .

4.

cressciere e discressciere
7.

sechodo
.

osse-

cho.
para.

chon acq"a"

vite

disoluuto
9.

sollimato.
.

da [vernice] olio
spoluereza.
f.

imodo.

enazi

[z]

si

choiwpanimodo

biacha cola stecha po.

3.

chon
5.

assciutta

10. lanprimiera.

639. 2. senapi essello.

voi

mista.

oni sottol torchio

628.
in

M. RAVAISSON'S reading
following passages: "ou bien de \laurier\"
bene con
I.

varies

from mine

panno and renders

de fafon [jusfu'a
7.
ce]

it.

"Frotte le bien avec

etc.

un pain

the

opero allor [?] bo [al-

qu*il

loro?}
6.

colla stecca

po

laua.

He

reads "polacca"

"avec

fregalo

un panno.

He

reads pane for

le couteau

de bois

[?]

polonais [?]."

320

THE PRACTICE OF PAINTING.

[630-632.

K.3 32 6]

630.

A
2

TORRE ODORE

ALL' OLIO.

TO REMOVE THE
Take
into

SMELL OF

OIL.

Togli 1'olio forte e mettine 10 u uaso, e fa vn segnio nel 4 vaso secondo 1' altezza dell' olio, e poi v' a 5 gugni uno boccale d'aceto e fallo ta 6 to bollire che 1'olio diminuisca in?sino alia bassezza del fatto segno, 8 e cosl sarai certo 1'olio essere tor9nato nella prima quatita e 1' aceto essere 10 se ne ito tutto in fumo e portato IJ ne con seco tutto il tristo odore, e'l 12 simile credo farebbe all' olio di no'^ce e ogni altro olio che auesse tri^sto odore.
cali in

the rank oil and put ten pints a jar and make a mark on the jar at the height of the oil; then add to it a pint of vinegar and make it boil till the oil has sunk to the level of the mark and thus you will be certain that the oil is returned to
original

its

quantity

and the

vinegar
it

will

have gone
evil

off in vapour, carrying with

the

same

smell; with

and
nut

believe you may do the oil or any other oil that

I

smells badly.

C. A. 4*;

na]

631.

cierta

le noci sono fasciate da una bucciolina che uiene della natura 2 de se tu non le spogli quando ne fai 1'olio, quel mallo tigne 1'olio, e quando lo metti 3 in opera quel mallo si parte dall' olio e viene in sulla superficie della pittura, 4 e questo e quel che la fa cambiare.

Perche
,

are enveloped in a thin which partakes of the nature of if ., you do not remove it when you make the oil from them, this skin tinges the oil, and when you work with it this skin separates from the oil and rises to the surface of the painting, and this is what makes it change.
rind,
.
.

Since walnuts

C. A. 70 b; 207 6]

632.

PER FAR RINUENIRE COLORI SECCHI A

2

TO RESTORE
OLIO.

OIL

COLOURS

THAT

HAVE

BE-

COME DRY.
a
If you want to restore oil colours that have become dry keep them soaking in soft soap for a night and, with your finger, mix them up with the soft soap; then pour them into a cup and wash them with water, and in this way you can restore colours that have got dry. But take care that each colour has its own vessel to itself adding

Se vuogli
3

far rinuenire

colori secchi

olio,
4
5

tiegli

molle nella maestra del sapone

gli

una

notte, e col dito

,

rimena con detta

riavrai

maestra
7

e versa in un bicchiere e laualo co

l'acqua e in questo
si

modo
fa

colori
ri-

che

seccano,
8
il

Ma

che ogni colore

di

uenuto abbi

per dandogli il suo colore di ma^no i mano che tu gli rinvieni, e fa che sieno molli,
se,
10

suo bicchiere

the

quando
e

li

11

laua

"co acqua 50-6

lascia

uolessi adoperare attepera etu volte con aqua di

by degrees as you restore it mind that they are thoroughly softened, and when you wish to use them for tempera wash them five and six times with and leave them to spring water,

colour

and

pozzo,

posare;

I2

se

la
J

maestrala

settle;

if

the soft soap should be thick with the

s'intorbida

con alcuni

colori

3fa

pas-

any
filter.

of

colours

pass

it

through

sare per

feltro.

630.

i.

Attorre

ne

io.

3.

bochali nu.

4.

vaso 2

lalteza.

5.

gugni

bochale

effallo.

6. chellolio

diminuissca.

7.

basseza.

g. nella p*

quatita ellaceto.

13. auessi.
i.

631.

4 written

from
.

the left to the right,

fassciate

cierta "bucciolina"

che e natura de

\\\\\\\\.

2.

settu.

3.

qul

dalloc.

4.

equessto

chella fa chanbiare.
z.

633.

i.

per rinuenire cholori.

far is wanting;
7.

cholori.
. .

3.

maesstra.

4.

ecchol

chon.
9.

5.
.

maesstra
.

Inum

ellaualocho.
io. ettu.

6.

equessto

riarai
.

cholori chessi.
di

sechano

onicholore.

8.
.

cholore.
.
.

chettu

effa chessieno molle.

ii.

coaque o

chon aqua

pozo

ellasscia.

12. sella

masstra

chon

cholore.

13. falla.

632 and 634.

The same remark

applies to these sections as to No. 618 and 619.

633- 634.]

THE ARTIST'S MATERIALS.

321

S.

K. M.

III.

85 a]

633.
LI
-

OIL.
olio di lino.

Semeza

di

senepa pesta con

Mustard seed pounded with linseed

oil.

C. A. io8<5;

2 dita che
2

non e

di fuori della catinella piv basso il piano dell' olio -, e falla

entrare nel collo d'una anpolla e lasciala e tutto 1' olio cosl se partira da quel 3 verra in questa latte, anpolla e sara chiaro come cristallo e co questo macina i tua colon 4 e ogni bruttura e viscositarimarra insieme co quell* acqua sappi che
stare,
, ,
|

outside the bowl 2 fingers lower than the level of the oil, and pass it into the neck of a bottle and let it stand and thus
all
it

will

the oil will separate from this milky liquid; enter the bottle and be as clear as

tutti

gli

oli

che sono

creati

ne'

semi o

frutti

sono chiarissimi

colore giallo che se no 6 dal non saper lo trarre fuori; il fuoco o caldezza di sua natura a forza di
farli

di lor natura, il tu vedi in loro no nascie

ma

and grind your colours with this, crystal; and every coarse or viscid part will remain in the liquid. You must know that all the oils that have been created in seads or fruits are quite clear by nature, and the yellow colour you see in them only comes of your not knowing how to draw it out. Fire or heat by its nature has the power to make them
acquire colour. See for example the exudation or gums of trees which partake of the nature of rosin; in a short time they harden because there is more heat in them than in oil; and after some time they acquire a certain yellow hue But oil, not having so tending to black. much heat does not do so; although it hardens to some extent into sediment it

licori

?pigliare colore; piglia la sperienza da o d' albori i quali, se tengono

gomme
in

di

ragia,
olio,

perche v'e
nell'

breue 8 tenpo si rassodano, dentro piu caldezza che non e

col lungo

tenpo spigliano vn che pende in nero, ma 1'olio I0 benperche non e si caldo no fa questo, che alquanto si rassodi in sedimento tutta via si fa piu bello, "e '1 cambiare dell' olio, che fa nel dipigniere, non nascie se non e da vn cierto fugo, di natura del mallo,
e
cierto giallo

becomes
occurs
in

finer.

The change

in

oil

which

quale e incorporato in quella bucciolche chiude dentro a se la noce la J quale essendo pesta 3 insieme colle noci e perch' egli e di natura quasi simile all'olio si mescola con esso ed e si sottil cosa ^ ch' egli a forza di penetrare e uscire sopraa tutti i colori e questo e quella cosa ch' egli fa mutare, IS e se tu volessi che 1' olio sapessi di buono e non Tgrossassi -, mettivi dentro vn poco di canfora, l6 fondata al leto fuoco, emescolasi col' olio bene e mai non si rassodi.
il

I2

lina

painting proceeds from a certain fungus of the nature of a husk which exists in the skin which covers the nut, and this being crushed along with the nuts and being of a nature much resembling oil mixes with

of so subtle a nature that it comit is it; bines with all colours and then comes to the
surface,

and

this
if

it

is

change.

And

you

which makes them want the oil to be

good and not to thicker, put into it a little camphor melted over a slow fire and mix and it will never oil the it well with
harden.

633-

2.

sememeza.
. .

634. i. ellaltr\\\\\\nda
latte.
5. 3.

chatinella

effalla.

2.

ellentrare nell chollo .- ellascia lasstare ettutto

.

chossi
.
.

perera da quel.

quessta

essara
.

chome

crisstallo

eccho quessto

e tua cholori.

4. vissciosita 6.

ch5
.
.

chettutti

chessono.
. .

neserai offrutti
7.

"di lor natura"

. .

ma
.

gallo

chettu vediloro no nasscie senno.

.

saperllo

fuocho o chaldezza

afforza.

cholore

lassperienza dallichori o
.

ghomme
.
.

ecchol [tenp] lugho. 9. cheppende nasscie sennon biare . cheffa

. . .

mallolio

chaldo
el
.
.

fugho.
.

12.

inchorporato
15.

in brieue. 8. chaldeza chennon equal! settenghono di ragie inse dimeno cuttavia. n.chanquessto. 10. [esseno] bench. chon . . . . asse pessta. 13. cholle epperch
. . . . . . .

chosa.

14. usscire

attutti

cholori

ecquesto ecqualla chosa.

.

essettu
.

chellolio

sapessi

enonn Igrossasi

pocho dichanfora.

16.

alleto

fuocho emmesscola

chol

emmai

(?)

rassoda.

SS

322

THE PRACTICE OF PAINTING.

[635-638.

S.

K. M.

I.a 5]

[VERNICE.
2 Tolli cipresso e quello destilla e abbi on varnishes vim brocca 3 grade e 11 metti delta deW stillatione co tanta acqua ^che parsii Tan'(63s- 637? e tura ben di sopra in modo no s ui bra spiri , e quado e disoluta arrogi in delta cosa 6 della delta stilatione I modo sia liquida-a tuo modo, ?e sappi che le carabe
, ,

VARNISH [OR POWDER].

Take cypress [oil] and distil it and have a large pitcher, and put in the extract with so much water as may make it appear like amber,
none may evapodissolved you may add in your pitcher as much of the said solution,
it

and cover
rate.

tightly so that
it is

And when
make
it

as shall

liquid to

your
is

taste.

e liquore d'arcipresso].

must know
cypress-tree.

that

amber

the

And you gum of the

[VERNICE.

VARNISH [OR POWDER].

e

9E
nepro
,

perche

la

vernice
10
il

gomma

di gi-

se slilerai

luere in questa nel modo detto disopra].

.

ginepro, potrai disostilatione detta JI vernice

varnish [powder] is the resin you distil juniper you can dissolve the said varnish [powder] in the essence, as explained above.
since

And

of juniper,

if

s. K.

M.

1.2 8]

636.

[VERNICE.
2

VARNISH [OR POWDER].

dalli
1'

Intacca vn
3

ginepro -e

acqua a

liquore mischia- con olio di noce e avrai vernice perfetta fatta 4 di vernice d' anbra bella e buona per ecielletia
piedi, e quello
s

fallo

di

magio over

d'aprile]-

Notch a juniper tree and give it water roots, mix the liquor which exudes with nut-oil and you will have a perfect varnish [powder], made like amber varnish fine and of the best quality make [powder],
at the
it

in

May

or April.

G.

637-

VERNICE.
2
il

VARNISH [OR POWDER].

venere, fattone corretto 4 al
s

Mercuric co giove
sia colla

Mercury
paste

with
these

Jupiter

pa 3 stello,

sagoma

made of
(?)

and Venus, a must be corrected by the

continuo

insino

che

mercurio

si

separi

mould
rates

continuously, until

integralmete da giove e venere.

itself entirely

Mercury sepafrom Jupiter and Venus.

B. 26}

638.
vite racoglie
i se e se uoi fare e per rosso

Ricordo come T acqua

On
chemical tutti
i

colori e odori

de'

fiori,

(638-.650).

azzurro
solani.

metti

ui

fiordalisi

Note how aqua vitae absorbs into itself If the colours and smells of flowers. you want to make blue put iris flowers into it and for red solanum berries (?)
all

635.

2.

ecquello

bocca.
9.

3.

elli

meti.

4. parcel

lanbraetura

imodo.

5.

disoluuta arogi.

6.

attuo.

7.

essapi

chele carabe

darci plesso.
636.
637.
2.
i.

goma.
3. ara.
2.

intacha

acquello.

vernice dellnigna.

638.

i.

chome

tu\\\i cholori edori.

merchurio cho giove "evenere" fiorarisi e 2. azuro

.

il
.

pas.

3.

saghoma

correcto.

4. al

chontinuo

merchurio.

solaci.

637.

Here, and

in

No. 641 Mercurio seems to mean quicksilver,

Giove stands for iron,

Venere for

copper and Saturno for lead.

639642.]

THE ARTIST'S MATERIALS.

323

w. xm.j
2

639.
Salt

Sale fatto di stereo vmano bruciato e calcinate e fattone liscia e que3lla - dissecca al leto fuoco e tutti li ster^chi in simile
,

may be made from human excrement

and these

modo

fanno sale e quelli sono molto penetrati.

burnt and calcined and made into lees, and dried by a slow fire, and all dung in like

S ali

destillati

manner

yields salt,

salts

when

dis-

tilled are

very pungent.

Tr. 49]

640.

over tera

quella ogni salsedine.1 3 ULe lane, messe alle spode del 4 Se sorbiscono 1'acqua dolce. 1 navilio,
arzila,
I

IL'aqua del mare, gocciolata dal fango 2

lassia

Sea water
leaves
all
its

filtered

through
it.

mud

or clay,
stuffs

saltness in

Woollen

placed

co capana, 1'aqua marina fia I princis e adattado vn fornello alia pale ecieleza, sua cucina quelle medesime 6 legnie che cuostilli

ciono, stilleranno vna gra quantita d'acqua, 7se la capana fia grade.

absorb fresh water. If sea water is distilled under a retort it becomes of the first excellence and any one who has a little stove in his kitchen can, with the same wood as he cooks with, distil a great quantity of water if the retort is a
ship

on board

large

one.

G. 53 "I

641.

SAGOMA.
2

MOULD
uenere

(?).

La sagoma

sia

di

overo

di

The mould

(?)

may be of Venus, or of

giove 3o saturno e spesso rigittata in grebo 4 alia madre sua; E sia adoperata con 6 venere e giove Ssottile, e'l sagomato sia ^ re Ma prima proverai inpastato sopra vene uene 8 re e mercurio misto co giove e tieni 9 modo che mercurio se ne fugga I0 poi in bene in modo che "venere o giove volgili 12 sirinectuti ui sottilissimame te quanto sia pos;

Jupiter and Saturn and placed frequently in the fire. And it should be worked with

emery and the mould (?) should be of Venus and Jupiter impasted over (?) Venus. But first you will test Venus and Mercury mixed with Jove, and take means to cause Mercury to disperse; and then fold them well together so that Venus or Jupiter be confine

sibile.

nected as thinly as possible.

W.

VIII.]
2

642.
vitriolo,
6
3

Sal nitro,
iamene
s

C inabro,

allume,

Nitre, vitriol, cinnabar, alum, salt

ammo-

ammoniaco, mercurio, sullimato, 10 9 al7salgemma, sal arcali, sal comune, " allume scisso, "areemoo, di roco lume
^sullimato, ^nsagallo, ^tartero,
;

sal

n i ac, sublimated mercury, rock salt, alcali common sa}^ rock alum, alum schist (?), sa

I6

orpimeto,

sub ii mate , realgar, tartar, orpiment,

^verderame.

verdegris.

639. stercho.

2.
.

chalcinato effatto neliscia ecque.

.

3.
.
.

disecha

focho
3.
.

ettutti lisster.
. .

5.

desstilati.
4. stili

640.

i.

cholata

tera arzila.
.
.

2.
.

lassia

T 6.

quela

salsendine.
.

tesse
.

spote sorbisschono lacq"a".

7.
5.

ch5

lacq.

5.

e dattado

fornelo

chusina.

chochano

stilerano
4. 9.

dacqa.

chapana.
olgirams soctile.
10.
6.

641.

J.

saghoma.
. .

Ma

saghoma. 3. essaturno esspesso. ettieni. proverrai. 8. merchurio missto

2.
.
.

Essia

chon
.
.

is.

inpassato sopra ere.

7.

ev

merchurio

fugghe.

ppoi invulghana.
arsenicho.

n. oggiove

sinnectuti ui

socdlissimame.
642. 2. vitrolo.
4.

allume iamene.

5.

armoniacho.

7.

salgemme.

8.

arkalai.

9.

rocho.

12.

13. risalghallo.

641.
5.

See the note to 637. olgirams and 6, 7. er'enev.

The apparent

un-

meaning of these words is solved, if we read them backwards olgirams =* smariglio; erenev = venere.
:

324

THE PRACTICE OF PAINTING.

[643-648.

H.I

UPece oncie
cieso oncie
2,

4,

cera nova oncie 4,

*olio rosato oncia una.1

Pitch four ounces virgin wax, four ounces incense, two ounces oil of roses one ounce.

H.3
2

644.

Oncie 4 cera nova, oncie 4 pece greca, oncie 2 inceso, 4 oncia una olio rosato, sfodi 6 prima cera e olio, poi la pece greca, ?poi 1'altre cose in polvere.
3

Four ounces virgin wax, four ounces Greek pitch, two ounces incense, one ounce oil of roses, first melt the wax and oil then the Greek pitch then the other things in powder.

Br.

M.
II

139 a]

645.
si

uetro assottigliato
il

bici,

quale posto so^pra

con fortaglia le tarsie d'osso

derate o ^d'altri colori, tu le puoi legare sinsieme coll'osso e poi met6 tere, e restera

co lustro che
fre garsi
8

no

si

frage ne

cosuma

col

Very thin glass may be cut with scissars and when placed over inlaid work of bone, gilt, or stained of other colours you can saw it through together with the bone and then put it together and it will retain a lustre that will not be scratched nor worn away by
rubbing with the hand.

con mano.

s.

K. M. ra. s 3 aj

646.
IL

AD
3

AQUARE

UINO

BIACO

E FARSI NERO.

To
in

DILUTE WHITE WINE AND MAKE

IT

PURPLE.

polverizare la galla e stare 8 dl in vino bianco e cosl fa disoluere il 5 vitriolo

,

Fa

nelPacqua-, e fa ben posare e rischi arare 1'acqua e '1 uino ognivno per se e be co8 ?lare, e quado con essa acqua adac querai il uino bianco esso si fara ^vermiglio.
,

gall nuts and let this stand 8 days white wine; and in the same way dissolve vitriol in water, and let the water stand and settle very clear, and the wine

Powder
the

likewise, each

by

itself,

and

strain

them well;

and when you water the wine

dilute the white

will

wine with the

become

red.

S.

K. M.

III.

55 a]
2

647.
in
4

fa

Metti la marchesita 3yerde sappi che a

;

acqua

forte,

e se

Put

marcasite into

aqua
it

fortis

and

if it
it.

in se

rame, stralo

turns green,

know

that

has copper in

co

6 e sal nitro

sapone tenero.

Take

it

out with saltpetre and soft soap.

L.

2 a]
2 pu6 ismachia re

648.
cavallo bianco
si

II

col

ferretto di

spagna o acqua for^te overo col leuare il pe*lo nero al bianco co merdocco
rottorio, forzare
5

terra.

white horse may have the spots rewith the Spanish haematite or with Removes the aqua fortis or with black hair on a white horse with the singeing iron. Force him to the ground.

moved

643.
644.

i.

04.
R.

2.
i.

o
5

4.

3. 2.

ocieso

02.

4.
3.

f.

17

4.

o 4 grecha.

02.

4.

i.

5.

primo.

7.

chose.

645. 4. tulle poi

646. 2. effarassi.
647. 2. 648.
i.

comrame.
3.
.

esstare.

4.

chosi.

5.

nellacq"a"

effa

rissci.

6.

lacq"a".

7.

ecquado chon.
5. attera.

acq"a"

esse tralo.
2.

6.

essavo.

po issmachia.

ferretto disspagna o

acq"a".

3.

merdocho.

4. al

nere e "bianco" corattorio sorzare.

Iran.
-

Eud.es.

Dujardi

649.

THE

ARTIST'S MATERIALS.

325

S.

K. M.

1.2 5]

649.

Fuoco.

FIRE.

Se volessi fare vn fuoco che seza dano infocherebbe vna sala, 3 farai cosl profuma prima la sala con spesso fumo
4

d'

inceso

d' altra
s

cosa odorifera

di poi

bolendo andare infumo 6 ma fa che la salalibre 10 d'acquavite, e gitta poluere ^ di vernice sia be serrata 8 assai infra detti fumi, che sara il polverio be sostenvto dai fumi, di poi entra subito 9 con vna torcia a presso I detta sala e subito ogni 10 cosa s'infochera.
buffa; overo
farai

make a fire which will a hall in a blaze without injury do this: first perfume the hall with a dense smoke of incense or some other odoriferous substance It is a good trick to play. Or boil ten pounds of brandy to evaporate, but see that the hall is completely closed and throw up some
If

you want

to

set

powdered varnish among the fumes and this powder will be supported by the smoke;
then go into the room suddenly with a lighted torch and at once it will be in a blaze.

s.

K. M.

1.2

650.

Fuoco.
2

FIRE.

Tolli

pomi

sara

quella superfitie gialla, ch' anno raci, 3e quelli destilla al limbico , che detta stilatio ^perfetta.

Take away
oranges and
the distillation

distill

that yellow surface which covers them in an alembic, until

may be

said to be perfect.

[Fuoco.
Serra bene vna camera e abbi vna rame o di ferro ifocata e spruzdua bocca 8 li d'acqua- vite- a zavi-suso poco per uolta-, in modo si converta in fumo,
piastra ?di
,

FIRE.

di poi fa etrare vno con un lume, e subito I0 la camera Ifocarsi a vso d'u vavedrai peggiare cieleste e no "fara alcuna lesione

Close a room tightly and have a brasier of brass or iron with fire in it and sprinkle on it two pints of aqua vitae, a little at a time, so that it may be converted into smoke. Then make some one come in with a light and suddenly you will see the room in a blaze like a flash of lightning, and it will do no

a persona.

harm

to

any one.

649.

r.

fuocho. fuocho.
.
.

2.

focho

infocherebe.

3.

chosi
5.

chonispesso.
6.

650.

r.

3. ecquelli

allimbicho chessara.
9.

fuocho.
10.

5. dacq"a". chamera. 7. fero

.

6. serata.
.

9.

chon

apreso

essubito oni.
8.

espluzavi su so dua bocha.

dacq"a"

a pocho

imodo

si

chonverla Ifum"o".

chonu.

chamera Ifocharsi

vapegiare.

n. alchuna.

VII.

PHILOSOPH Y AND HISTORY OF THE ART OF PAINTING.

S. K.

M.

III.

651.

Cosa
The
relation

bella mortal passa e

no

What

is fair

in
art.

men, passes away,

Q?

but not so in

of art

and

nature
(651. 652).

Ash.

I.

15*]

652.

COME

CHI SPREZZA LA PITTURA

NO

AMA LA

HE WHO
If

FILOSOFIA NE LA NATURA.
3 Se tu sprezzerai la pittura la quale e sola imitatrice di tutte 1' opere evideti di na4 tura, per certo tu sprezzerai una sottile invetione la quale co filosofica e sottile specula5 tione cosidera tutte le qualita delle forme mare e siti, piate, animali, erbe e fieri, le 6 quali sono-cite d'onbra-e lume; e veramete questa e scietia, e legittima figliuo 7 la di natura perche la pittura e partorita da essa natura ma per dire piv corretto 8 di,
: ,

DESPISES PAINTING LOVES NEITHER PHILOSOPHY NOR NATURE.

painting,
visible

you contemn
all

only imitator of

which is the works of nature,

you will certainly despise a subtle invention which brings philosophy and subtle speculation to the consideration of the natureof all forms seas and plains, trees, animals,

remo nipote
evideti

di

natura

perche tutte
dalla

le

cose

which are surplants and flowers rounded by shade and light. And this is true knowledge and the legitimate issue of nature; for painting is born of nature or, to speak more correctly, we will say it is the grandchild

sono

state partorite

natura,

of nature;

for

all

visible

things are

652. i.

spreza.

2.

nella.
. .

3.
figli.

settio
7.

isprezerai.
8.

4. ciertu
. .

tu

sprezerai
9.

I
.

filosoficha

spechula.

5.

essiti.

6.

ellume

questa [arte

e] e

coretto.

direno

chose.

chose

dimadereno.

653- 654-]
9

PHILOSOPHY OF THE ART OF PAINTING.

e nata la pittura,
di

delle quali cose partorite

aduque rettamete

la

dimaderemo nipote

natura, parete di dio.

produced by nature, and these her children have given birth to painting. Hence we may justly call it the grandchild of nature and related to God.

Ash.

I.

i6<5]

6532

COME LA PITTURA AVAZA TUTTE

NENTI
4

I/OPERE

THAT

VMANE PER SOTTILE SPECULAT1Q3NI APPARTEA QUELLA.

L' occhio che si dice finestra dell' anima Se la pricipale via, dode il comvne seso 6 puo piv copiosa- e magifica mete cosiderare le Ifinite opere di natura e 1' orechio e il secodo il qua 7 le si fa nobile per le cose racote, le quali a veduto l'ochio-;se uoi 8 o poeti o altri mattematici istoriografi no ui aveste col' ochio viste le cose, male le
,

PAINTING SURPASSES ALL HUMAN WORKS BY THE SUBTLE CONSIDERATIONS BELONGING TO IT.

The
the the

eye,
is

soul,

central

window of means by which sense can most completely and

which
is

called the

the

Painting su

is
l

principal

^oetry
(

6 53- 654)-

abundantly appreciate
nature;

the

infinite

potreste
I0 poe ta

scritture, e se tu storia colla pittura lx della penna, el pittore col pennello la fa ra di piv facile sadisfatione e me tediosa a es9riferire

per

le

and the ear is the acquires dignity by hearing of the things the eye has seen. If you, historians, or poets, or mathematicians had not seen things with your eyes you could not report of them in
writing.

works of second, which

figurerai

una

And
tell

if

you,

poet,

tell

a
his

story with

your pen, the painter with

it

brush can
stood.
try,

more
less

sere copresa: se tu dimaderai I2 la pittura muta poesia, acora il pittore potra dire del poeta *3 orba pittura or guarda quale e piu dannoso morbo ^o cieco o mvto; se 1 poeta e libero come '1 pittore nelle Tuetioni, le sua finti I5 oni no sono di tata sadisfatione ali omini quato le pitture, perche se la poesia
;

completeness and

easily, with simpler tedious to be under-

And

if

you

the painter

may

ting.

Now which be blind or dumb?

free

call painting dumb poecall poetry blind painis the worse defect? to

Though

the poet

is

as

s'astede colle parole a figvrare forme, atti e siti, il pittore si move colle T 7propie similitudini delle forme a cotrafare esse forme or guarda qual'e l8 piv propiquo all'omo o '1 nome d'omo o la similitudine d'esso omo; il nome ^dell'omo si uaria I uari paesi e la forma non e mvtata se no da
;

l6

painter in the invention of his fictions they are not so satisfactory to men as paintings; for, though poetry is able to
as

the

describe forms, actions and places in words,

the painter deals with the actual similitude of the forms, in order to represent them. Now
tell

me which

is

the nearer to the actual

man:

name of man or the image of the man. The name of man differs in different countries,
the

morte.

but his form

is

never changed but by death.

Ash.

i.

i6]

654.
il

E
2

se

poeta
il

serue al seso per la uia

al3 il

And

if

the

poet
ear,

gratifies

the

sense

by

del' orechio,

pittore per ochio, piv degnio

senso; ma io no uoglio da questi tali tro se no che uno bono pittore figuri
'1

the painter does so by the eye the worthier sense; but I will say no more of this but that, if a good painter represents the fury of a battle, and if a poet
the

means of

furore d'una battaglia e che poeta ne scriua uno altro -, e che sieno mes 4 si I pubblico di copagnia, vedrai i veditori doue piv si fermerano, doue 5 piv cosedererano, doue
si

dara piv laude e quale sadisfara meglio;

6

describes one, and they are both together put before the public, you will see where most of the spectators will stop, to which they will pay most attention, on which they will bestow most praise, and which will satisfy

them

best.

cierto

la pittura,

di

gra lunga piv

utile e

a long way the more intelligible

chessi.
6.

Undoubtedly painting being by and beauchosiderare

*

3-

aparteente.
.
.

4.

locchio
9.

[si

dice essere la prima e pricipale ma]

[le

ellorechio.
.

7.

istogriorafi.
.
.

8. auessi

postresti.
12. pitore 19. ella.

scritture

quali scriture

so
13.

nate dalla pittura] essettu.

io.

storia cola
.
.

pena
.

penelo.

n.coplesa.
tudine dele.

potra [della crittura dire] dire.

danosa mo[s]rso.

15. sella.

16.

cole

essiti

cole. 17. simili-

328

THE PRACTICE OF PAINTING.

tiful, will

[654-

bella, piv piacera; poni scritto il no?me di in v loco e ponui la sua figura a ri8 scotro, vedrai quale fia piv reverita; se la

dio

pittura abbraccia I se tutte le forme della natura, voi no 9n avete se non i nomi i quali non sono vniversali come le forme, se voi
10

Write up the name of some spot and set up His image opposite and you will see which will be most reverenced. Painting comprehends in itself

please most.

God

[Christ] in

avete

li

effetti delle

dimostrationi, noi ab-

the forms of nature, while you have nothing but words, which are not universal as form is, and if you have the effects of the
all

biamo le dimostrationi delli effetti; "tolgasi uno poeta che discriva le bellezze d'una dona al suo inamorato, I2 tolsi uno pittoreche la figuri, vedrai dove la natura volgera
X3 il cierto il givdicatore innamorato cimeto delle cose dourebbe lascia'^re dare la setentia alia sperietia: voi avete rnessa la pittura Ifra 'sl'arti mecaniche, cierto se pittori fussino atti al laudare collo scriue l6 re 1'opere loro come voi, io dubito no

representation,

of the
the painter

effects.

we have the representation Take a poet who describes

piv

lady to her lover and a represents her and you will see to which nature guides the enamoured critic. Certainly the proof should be allowed to rest on the verdict of experience. You have

beauty

of a

who

but,

se uoi la giacerebbe I si uile cognome; chiamate mecanica, perche e prima manvale che le mani figur l8 ano quel che truovano nella fantasia, voi scrittori

I7

disegniate colla
se voi
nello Igie20 diceste

ranked painting among the mechanical arts in truth, if painters were as apt at praising their own works in writing as you are, it would not lie under the stigma of so base a name. If you call it mechanical because it is, in the first place, manual, and that it is the hand which produces what is to be found in
the imagination, you too writers, who set down manually with the pen what is devised in

penna ^manualmete quello che

gnio vostro
si

truova

perche si fa a prezzo chi cade I questo errore, 2I se errore si pu6 chiamare piv di uoi ? se voi legiete per li 22 a chi piv vi premia? studi, no andate voi voi alcuna opera saza qualche premio? fate Be 2 3che questo no dico per biasimare simili
essere mecanica

your mind. because it

aspetta preopenioni, perche ogni fatica mio, e potra dire uno poeta, io far6 una fintione che significa 2 5 cose gradi, questo me-

24

you say it is mechanical money, who falls into if error it can be called this error more than you? If you lecture in the schools do you not go to whoever pays you most? Do you do any work without pay? Still, I do not say this as blaming such views, for every form of labour looks for its reward.
if is

And

done

for

desimo fara
26

il

pittore,

come

fecie

Apelle

la calunia; se voi diceste la poesia e piv 27 essere piv eterne eterna, per questo diro le opere d' un calderaio, che '1 tepo piv le

le vostre o nostre opere; e di poca fatasia; 2 9e la pittura si puo, dipigniedo sopra rame co colori di uetro, fare 3molto piv eterna; noi per arte possiamo essere detti nipoti a dio; 3I se la poesia s'astede I filosofia morale ., e questa I filosofia naturale, 32 se quella descrive 1'operationi della mete, questa cosidera quello che la 33 mete opera ne mouimeti: se quella

coserua

28

che

niete di

meno

spaveta i popoli colle Ifernali 34fitioni-, questa colle medesime cose in atto fa il simile poga si il 35 poeta a figurare una una cosa nefada bellezza, vna fierezza faccia e brutta, ^ 6 vna mostruosa- col pittore a suo modo come vole trasmv^/tationi di
: ,

a poet should say: "I will invent a with a great purpose," the painter can do the same, as Apelles painted Calumny. If you were to say that poetry is more eternal, I say the works of a coppersmith are more eternal still, for time preserves them longer than your works or ours; nevertheless they have not much imagination [29]. And apicture, if painted on copper with enamel colours may be yet more permanent. We, by our arts may be called the grandsons of God. If poetry deals with moral philosophy, paintPoetry ing deals with natural philosophy. describes the action of the mind, painting considers what the mind may effect by the motions [of the body]. If poetry can terrify people by hideous fictions, painting can do
if

And

fiction

much by depicting the same things in action. Supposing that a poet applies himself to represent beauty, ferocity, or a base, a foul
as
5.

654.

i.

esse.

2.

che
.

i.

3. ! altro

sieno me.
.

4.
.

vederai.

lalde.
tolsi
i
.

7.
.

rischotro vederai.
. .

8.

abraccia

dela.
larte
. .

9.

enomi.

io.

abbiano
. .

deli.

n.

poeta

belleze

dona.

12.
.

vederai
18.

voltera.

13.

dourebe.

15.
.

mechanivstro
.
.

che
esse.
.
.

laldare.

16.
.

diacierebbe.
.

17.
.

ciamate mechanicha

chelle.

disegniado cola.

19.

quelo

nelo

20. diciessi
!
. .

mechanicha
25.

prezo

chade
. .

erore.

21. erore si po. 28.

22. alchuna.

23. faticha.
. .

24.

pora dire
posiano
.

faro

significha.
. .

grade.

26. calunia
.

dicessi.
.

27. eterno lopere.

.

pocha.

29. ella

sipo.
. .

30.

deti. 31. sella

ecquesta. 32. secquela

. .

loperatione
37.

35. affigurare

una

fiercza

I.

56. assuo.

metique considera ucella cella. 33. secquella sadisfacci. 38. chonformita colla cosa vua chella Iganato.
.

cole.

34-choIc.

Eudcs

655-1

PHILOSOPHY OF THE ART OF PAINTING.

die
il

329

forme,

pittore

no

sadisfacci piv;

no

s'e egli uiste ^pitture auere tata coformita

colla cosa uiva ch'eU'a Iganato

39homini e

animali?

or a monstrous thing, as against a painter,, he in his ways bring forth a variety of forms; but will the painter not satisfy more? are there not pictures to be seen, so like the actual things, that they deceive men and animals?

may

Ash.

r.

iot]

655.

COME LA SCOLTURA
2

E DI MINORE JGEGNIO CHE LA PITTURA E MACANO IN LEI MOLTE

THAT SCULPTURE is LESS INTELLECTUAL THAN PAINTING, AND LACKS MANY CHARACTERISTICS
OF NATURE.
I myself, having exercised myself no less in sculpture than in painting and doing both Painting is S one and the other in the same degree, it scuipure seems to me that I can, without invidiousness, (6ss< 6s6)-

PARTI NATURALI.

no meno in iscultura 4 e 1' altra 1' una in vn medesimo grado, mi pare co piccola

^Adoperadomi
T

io

che

pittura e faciedo

s Iputatione potere dare setentia quale sia di maggiore ingiegnio e difficolta e per,

fectio

ne
,

1'

una che

1'altra

Prima

la scol-

sottoposta a cierti lumi, 7 Cioe di e la pittura porta per tutto co seco sopra lume e obra; 8 E lume e obra e la Iportatia aduque della scoltura lo scultore I questo caso e ajvtato 9dalla natura-del rilievo ch' ella gienera per se, e '1 pittore per accidetale arte I0 lo fa ne'lochi dove ralo sculgionevolmete lo farebbe la natura tore non si TI pu6 diversificare nelle varie nature de'colori delle cose-, la pittura I2 no
tura e
; ;

pronounce an opinion as to which of the two is of the greatest merit and difficulty and perfection. In the first place sculpture requires a certain light, that is from above,
a picture carries everywhere with
light
it

its

own

Thus sculpture owes its importance to light and shade, and the sculptor is aided in this by the nature, of
and shade.
the relief which
is

inherent in

it,

while the

painter

whose
of

maca-in parte alcuna; le prospettive delli scultori no paio^no mete vere, quelle del pittore paiono a cetinaja di miglia ^di la
dall'

opera;
,

La
is

prospettiva aerea e lotana

i i

must necessarily prosculptor cannot diversify his work by the various natural colours of objects; painting is not defective in any particular. The sculptor when he uses perspecduce
them.

pects spots

art expresses the accidental asnature, places his effects in the

where nature

The

no possono figurare corpi no possono figurare Iu l6 minosi, traspareti no linie reflesse, no corpi lucidi come spechi e simili 7 cose lustrati, no nebbie, no tepi oscuri e infinite cose che no l8 si dicono per no tediare cio che 1' a e ch' ella e piv resistete al tenpo, ben^che a simil resistetia la pittura, fatta sopra rame grosso coda
lor opera;
T
;

tive

true; that

cannot make it in any way appear of the painter can appear like

di smalto biaco e sopra quello diperto 2I I foco pito co colori di smalto e rimesso e fatto cuocere, questa per eternita avaza
22 dire che doue fanno scoltura; Potra uno errore no esser facile il raccociare, 2 questo e Hristo argometo a volere provare

20

la

che una ismemoratagine inremediabile ^faccia 1' opera piv degnia, ma io diro bene che
macha

a hundred miles beyond the picture itself. Their works have no aerial perspective whatever, they cannot represent transparent bodies, they cannot represent luminous bodies, nor reflected lights, nor lustrous bodies as mirrors and the like polished surfaces, nor mists, nor dark skies, nor an infinite number of things which need not be told for fear of tedium. As regards the power of resisting time, though they have this resistance [19], a picture painted on thick copper covered with white enamel on which it is painted with enamel colours and then put into the fire again and baked, far exceeds sculpture in permanence. It may be

655. 2. chella
ella
.

illei.

3.

pittura effaciedo.

4.

ellaltra

nv
12.

pichola.
. .

chaso e avtato.
15.
. .

9.
.
.

chela,
i

n.
. .

diversifichare.

macha
.

8. Ellume dificulta. 7. chosecho. 5. magiore alchuna paiono a cetinara. paia. 13. pitore
.
. .

14. dallor.
18.

possano

chorpi
piv.

possano.

16.

refresse
.

dichano

Cio chela chele

19. assimil.

20.

essopra

essimili. chome chorpi cho. 21. chocere. 22. fano i erore

.
. . . .

17.
. .

soschuri

chose.

rachociare.

23.

che

i.

655.

19.
it

From what
is

on copper
VOL.
I.

is here said as to painting very evident that Leonardo was not

acquainted with the method of painting in oil on thin copper plates, introduced by the Flemish

TT

330
lo

THE PRACTICE OF PAINTING.

2S

[6 5 6.

ingiegnio del

maestro

fia

piv

difficile

raccociare che fa simile errori,

che non
1'a

e a
stata.

raccociare

1'

opera

da

chi

gua-

a mistake is made it is not easy it is but a poor argument to try to prove that a work be the nobler because oversights are irremediable; I should rather say that it will be more difficult to improve the mind of the master who makes such mistakes than to repair the work he has spoilt.
said that
if

to

remedy

it;

Ash.

I.

656.

Noi sappiamo bene che quello che 2 sar& pratico e bono, no fara simili errori , anzi co bone regole andra leuado tanto poco per volta che be co^ducera sua opera;
,

We know

very well that a really experi-

enced and good painter will not make such mistakes; on the contrary, with sound rules he will remove so little at a time that he will bring
to a good issue. Again the sculpworking in clay or wax, can add or reduce, and when his model is finished it can easily be cast in bronze, and this is the last operation and is the most permanent form of sculpture. Inasmuch as that which is merely of marble is liable to ruin, but not bronze. Hence a painting done on copper which as I said of painting may be added to or
his

acora lo scoltore, se fa di terra o ciera, puo 4 e porre e quado e termina*a-co e questa s e 1' ulfacilita si gitta di brozo tima operatione e la piv permanete ch'abbi
leuare
,

work
if

tor

la scultura

Imperocche

marmo
;

e sottoposta alle rouine,

quella ch'e sola di e no lo

brozo aduque ?quella pittura, fatta I rame che si pu6, come dissi della pittura, levare e porre 8 e pan al brozo che quado facievi quell' opera prima di ciera, ancor si poteva 9 leuare e porre; se questa scoltura di brozo
;

altered, resembles sculpture in bronze, which,

I0 e di uetro e e eterna, questa di rame '1 brozo rimane nero e se etternissima; l J di uari e vaghi cobrutto, questa e piena lori e d' infinite varieta, della quale com'e I2 e se tu volessi dire solamete di sopra
;

della pittura fatta

io
J

I tauola, di questa son 3coteto dare la setetia colla scultura, ^e piv diciedo cosl, come la pittura bella e di piv fantasia e piv copiosa, altro no a; & la .scoltura piv dura'Sbile
;

having first been made in wax could then be altered or added to ; and if sculpture in bronze is durable, this work in copper and enamel is absolutely imperishable. Bronze is but dark and rough after all, but this latter is covered with various and lovely colours in infinite variety, as has been said above; or if you will have me only speak of painting on panel, I am content to pronounce between
it

and sculpture; saying

that painting

is

the

co poca fatica mostra quel scoltura che nel l6 la pittura pare cosa miracolosa a far parere palpabile x 7 cose ipalpabili, rileuate le cose piane, lontane le cose vila
;

more beautiful and the more imaginative and the more copious, while sculpture is the more
durable but it has nothing else. Sculpture shows with little labour what in painting appears a miraculous thing to do; to make what is impalpable appear palpable, flat objects close.

cine;
finite

l8

in effetto

la

speculation!

che

pittura e ornata d' inla scultura no le

appear in

relief,

distant objects

seem

adopera.

In fact painting is adorned with infinite possibilities which sculpture cannot command.

24. facia.

25. dificile
.

cheffa

erori.
.

36. cotiare

lopera dacquello guasta

2.

A.
. .

656.

i.

A. noi sappiano
po.
4.

checquello
.

chessara praticho.
5.

erori
6.

pocho

cho.

3.

anchora

la

scholtura

scffa
.

di
.

tera

occiera
8.

pore

ecquesta.
9.

ellultima

ella

abi.

chessola.
essettu.
13.

7.

chessipo

chome
ella.

ti

di
15.

della pitura

pore.
.

quella prima

lopera.

pore

broza.

io. broso.
.

12.

cholla.

14.

pacha faticha

chel.

16.

chosa

affar.

17. ipalpabile.

18. effecto

speculatione chella.

painters of the XVII'h century. J. LERMOLIEFF has already pointed out that in the various collections

Gallery)
Zeitsckrift

are

the works

of a

much
Vol.

later date (see

fur

bildende Kunst.

pg. 333,
Galtrien

and

by the great masters of the Italian Renaissance, those painted on copper (for instance the famous reading Magdalen in the Dresden
containing
pictures

Werke

italienischer

Master

in

den

von
pg.

Munchen, Dresden und Berlin. Leipzig 158 and 159. Compare No. 654, 29.

1880,

PL.XLI1I

Helsogv

Duja-rd-.r.

lore

Eudet.

657660.]

PHILOSOPHY AND HISTORY OF PAINTING.

331

K.3 30 6\

PlTTURA.
2

OF
fatti,

PAINTING.

Li omini e

le

parole ^son

e tu

Men and words

pitto^re no sapiedo adoperaSre le tue figure, tu 6 se' come 1' oratore che ^ no sa adoperare 8 le pa role sue.

Painter, if
figures

your

are ready made, and you, Aphorisms ^ 57 ~".659)you do not know how to make move, are like an orator who
to use his words.

knows not how

W.

A. IV. 152 a]

658.
.

il poeta cessa del figurare colle quel che in natura e in fatto, allora 3 il poeta no S i fa equale al pittore, perche se il poeta, Ia 4 sciando tai figuratione, e' descrive le parole ornate e persuasiue di colui a chi esso vole fare par 6 lare, allora egli si fa oratore e non e piu poeta ne e pittore, e se lui ?parla de' celi, egli si fa

Quando
2

parole

in

As soon as the poet ceases to represent words what exists in nature, he in fact

ceases to resemble the painter; for if the poet, leaving such representation, proceeds to describe the flowery and flattering speech of
the figure, which he wishes to make the speaker, he then is an orator and no longer a poet nor a painter. And if he speaks of the heavens he becomes an astrologer, and

8 astrologo e filosofo, e te ologo parlando cose di natura o di dio, ma 9se esso delle ritorna alia figuratione di qualunche co I0sa e' si farebbe emulo al pittore, se potesse soddi ix sfare all'ochio in parole come fa il

philosopher; and a theologian, if he discourses of nature or God. But, if .he restricts himself to the description of objects, he would enter the lists against the painter, if with words he

pittore.

could

satisfy the

eye as the painter does.

Ash.

I.

659-

Se tu saprai ragionare e scrivere la dimostratione delle forme, 2 il pittore le fara che parrano animate con obre e lumi, coponitori dell' aria de' volti,
3

della quale

tu

no puoi agivgniere
gnie col penello.

colla

pena dove s'agiv-

Though you may be able to tell or write the exact description of forms, the painter can so depict them that they will appear alive, with the shadow and light which show the expression of a face; which you cannot
accomplish with the pen though achieved by the brush.
it

can be

C. A. 139 a; 419*]

660.

COME LA PITTURA VA D' ETA IN ETA DECLINANDO E PEDEDOSI, 2 QUADO I PITTORI NON ANNO PER AUTORE ALTRO CHE LA FATTA PITTURA.
Siccome il pittore avra la sua pittura poca eccielenza se quello piglia per autore
4
,

THAT PAINTING DECLINES AND DETERIORATES FROM AGE TO AGE, WHEN PAINTERS HAVE NO OTHER STANDARD THAN PAINTING ALREADY DONE.
Hence
the painter will produce pictures

on
hist 01
.

di
s
1'

altrui

pitture

cose naturali

jnparera dalle 6 fara bono frutto come ve,

ma

s'

egli

romani, dopo senpre imitarono 1' uno dall' altro ? e

i

demo

in ne' pittori

quali

di eta

of small merit if he takes for his standard the pictures of others. But if he will study from natural objects he will bear good fruit; as was seen in the painters after the Romans who always imitated each other and so their art After constantly declined from age to age.

the of

(e&^eef).

657.

R.

2.

elle.
4.

3.

ettu.

4. 6.

opera.
oratore

658.

2.

facto.

desscrive.

"e non

piu

poeta ne"

no pictore

essellui.

7.

asstrolagho e filosafo

ette.

8.

olagho.
. .

9. potessi cos.

10. sodidi.
3.

n.

ochio\\\\\j parole.

659. i. settu

esscrivere.
.

2.

ellumi.

poi chol.
2.
. .

660.

i.

chome
.
.

va "deta in eta" declinando.

.

ano per altore

chose.
i

altore chella.
. .

3.

chome
7.

la pittura.

4. si
.

chome
super

ara
.

pocha
5.

secquello

altore.
. .

5.

massegli

6.

chome

ine

imitorono.

andaro
.
.

dechinatione
10.
.

vene.

[estado choteto alo

suo maestro non avedo] nato

moti.

9. abitato

chapre essimil

assimile.

capre de

332
in

THE PRACTICE OF PAINTING.

senpre andava
detta arte
I

[66l. 662.

eta

decli-

natione-; dopoquesti venne Giotto Fioretino, 8 il quale [no & stato coteto allo imitare

1'opere

di

moti

soletari,

Cimabue suo maestro] nato I abitati solo da capre e simil

bestie,

a simile
i

delle capre delle quali lui IJ e cosl comlci6 a fare guardatore; tutti li animali che nel paese si trovava in l2 studio tal modo, che questo dopo molto avazo no che i maestri della sua eta, ^ ma
sassi

arte, atti li

questo, sedo volto dalla natura I0 comlci6 a disegniare sopra

era

tutti

quelli

di molti secoli

passati

dopo

questo 1' arte ^ricadde, perche tutti imitavano 'Me fatte pitture e cosl di secolo declinado Isino l6 a tato, che I secolo ado
,

came Giotto the Florentine who not content with imitating the works of Cimabue his master being born in the mountains and in a solitude inhabited only by goats and such beasts, and being guided by nature to his art, began by drawing on the rocks the movements of the goats of which he was keeper. And thus he began to draw all the animals which were to be found in the country, and in such wise that after much study he excelled not only all the masters of his time but all those of many bygone ages. Afterwards this art declined again, because everyone imitated the pictures that were already done; thus it went on from century to century until Tomaso, of Florence, nickthese

Tomaso

fioretino, cognominato Masacio, mostro con opera perfetta co^me quelli che pigliavano per autore altro che la natura, maestra dei maestri, l8 s'afaticavano luano
J

named Masaccio, showed by his perfect works how those who take for their standard any
one but nature
;the mistress

of

all

masters

9cosl voglio diredi queste cose

mat ematiche,

che quegli che solamete studiano 20 li autori e no le opere di natura so per arte ni,

weary themselves in vain. And, I would say about these mathematical studies that those who only study the authorities and not the works of nature are descendants but not
nature the mistress of all good Oh! how great is the folly of those who blame those who learn from nature [2 2],

2I poti e no figlioli d'essa natura, mae stra di della soma stoltitia di quelli i boni autori quali biasimano coloro che "Iparano dalla
;

sons

of

authors.

natvra lasciado stare d'essa natura!

,

li

autori

discepoli

setting aside those authorities

who themselves

were the disciples of nature.

Ash.

I.

iSa]

661.
la

Come
la

prima pittura
2

fu sol d'

quale circudaua

l'6bra

una delFomo,

linia,

fatta

dal sole ne'mvri.

That the first drawing was a simple line drawn round the shadow of a man cast by the sun on a wall.

S.

K. M.

III.

48 a]

662.

The
ter's

painscope,

dipintore disputa natura.

gareggia

colla

The
nature.

painter

strives

and

competes with

[quali] le.

xi. affare tuti.

12

22 are written in
tutti

a parallel column.

12.

a. studio avazo
15.

[tutti

ma]
I

dela.

13.

queli

secholi.
16. attato 19.

14.

richade [insinom] perche

[pigliavano per altore]

.

imitavaho.
. .

chosi di secholo
.
.

seculo ado diclinado.

.
.

che "to"
.
.

maso

"fioretino"

cogniominato masacio
. .

chon

cho.

17. quelgli

altore
di

chella.
.

18.
.
.

iuano.

chosi

chose matematice.

20. altori

le

opre

soprarteui potieno

figlioli. 21. altori

soma

queli

choloro.

22. altori.

661.
663.

i.
i.

circhutaua.
garegia.
2.

cola.

660.

22.

lasciando

stare

li

autori.

In this obser-

as derived from

his

own

investigations, as well as

vation

we may

detect
his

an

indirect

evidence

that

his theories of perspective

and

optics.

Compare what
XIX).

Leonardo regarded

knowledge of natural history

he says

in praise of experience (Vol II;

PL.XLIV

Hehojr. Dujardm.

Iran

E ,c

X.

Studies
An

and Sketches for Pictures and Decorations.

be expected to contain any thing more than incidental references to those masterpieces of his work 'of which the fame, sounded We need in the writings of his contemporaries, has left a glorious echo to posterity. the texts here reproduced do not afford us such not therefore be surprised to find that
artisfs manuscript notes can hardly

comprehensive information as
'

we

could wish.

On

the other hand,

the

sketches

and

studies prepared by

Leonardo for the two grandest compositions he ever executed: The in the Refectory of Santa Maria delle Grazie at Milan, and the Cartoon of the Battle of Anghiari, for the Palazzo della Signoria at Florence have been preserved; and, though far from complete, are so much more numerous than the
Fresco of the

Last Supper

are justified in asserting that in value and interest they amply compensate for the meagerness of the written suggestions. The. notes for the composition of the Last Supper, which are given under nos. 665

manuscript

notes, that

we

at South Kensington, II 2 , written in the years 1494 1495* This MS. sketch was noted down not more than three or four years before the painting was executed, which justifies the inference that at the time when it was ivritten the

and 666 occur

in

MS.

painter
in

had

not

and from
St.

this

made up his mind definitely even as to the general scheme of the zvork; we may also conclude that the drawings of apostles' heads at Windsor,
,

to a later date. They are studies for the head of the sketch (in Matthew, the fourth figure on Christ's left hand see PL XL VII black chalk) for the head of St. Philip, the third figure on the left hand see PL XL VIII

red chalk, must be ascribed

for has

St. Peter's right

arm
a

see

PL XIL, and for

the expressive

head of Judas which

PL

unfortunately L. According

somewhat
to

of outlines, see suffered by subsequent restoration as unfounded as it is improbable, Leonardo made tradition,
by
PI.

use of the head of Padre Bandelli, the prior of the convent,

Judas', this however has already been contradicted
cap.

as the prototype of his Amoretti "Memorie storiche"

has,
it

XIV.
to

The study of the head of a criminal on

LI

seems

to

me, a better

claim

be regarded as one of the preparatory sketches

for

the

head of Judas.

The

334

THE WALL PAINTING OF THE LAST SUPPER.

2>3f
PL,

ALV

STUDIES FOR THE LAST SUPPER.

335

Windsor
extreme

collection contains
left

two old copies of the head of

St.

Simon, the figure

to the

the second

of Christ, both of about equal merit (they are marked as Nos. 2 1 and 36) was reproduced on PI. VIII of the Grosvenor Gallery Publication in 1878.

at Windsor a draiving in black chalk of folded hands (marked with the old No. 212; No. LXI of the Grosvenor Gallery Publication) which I believe to be a copy of

There

is also

hands of St. John, by some unknown pupil. A reproduction of the excellent drawings heads of Apostles in the possession ofH. R. H. the Grand Duchess of Weimar would have of been out of my province in this work, and, with regard to them, I must confine myself to pointing out that the difference in style does not allow of our placing the Weimar
the

drawings

in the

same category as
but,

those here reproduced.

the picture

Weimar drawings is of was painted,

itself sufficient to indicate

The mode of grouping in the that they were not executed before

on the contrary, afterwards;

and

it is,

on the face of

it,

incredible that so great

a master should thus have copied from

in
it

Ids

own work.

nally

The draivtng of Chrisfs head, the work of Leonardo's hand;

Brera palace at Milan was perhaps origihas unfortunately been entirely retouched and
the
to its

re-drawn, so that no decisive opinion can be foi med as

genuineness.

it

The red chalk drawing reproduced on PI. XL VI is in the Accademia at Venice; was probably made before the text, Nos. 664 and 66$, was written. The two pen and ink sketches on PL XLV seem to belong to an even earlier date',

the
St.

more finished draiving of the two , on the right hand, represents Christ with only John and Judas and a third disciple whose action is precisely that described in
I.

No. 666,

4.

It is

hardly necessary

to

observe that the other sketches on this

page

and

the lines of text below the circle (containing the solution

of a geometrical problem)

have no reference to the picture of the Last Supper. With this figure of Christ may be compared a similar pen and ink drawing reproduced on page 297 below on the left hand;
the original
is in

the Louvre.

On

this

page again

the rest of the sketches have no direct

bearing on the composition of the Last Supper, not even, as it seems to me, the group of four men at the bottom to the right hand who are listening to a fifth in their
,

midst addressing them.

is

shaped instrument) Leonardo after the year 1489.

It

Moreover the writing on certainly not in the same

this
style

page (an explanation of a disk

as

we find

constantly used by

may

be incidentally

remarked that no sketches are known for the portrait of

notes ever allude to
it,

"Mona

Lisa", nor do the

it in

MS.

though according

to

Vasari the

master had

hand for fully four

years.

Leonardo's cartoon for the picture of the battle of Anghiari has shared the fate of the rival work, Michael Angela's "Bathers summoned to Battle" : Both have been lost
in

some wholly inexplicable manner. I cannot here enter into the remarkable history of work; I can only give an account of what has been preserved to us of Leonardo's scheme and preparations for executing it. The extent of the material in studies and
this
till

drawings was
cription
text,

now

quite

unknown.

Their publication here

may

give some adequate

idea of the grandeur of this

669 contains a desof the particulars of the battle, but for the reasons given in the note to this I must abandon the idea of taking this passage as the basis of my attempt to
text given as No.

famous work.

The

reconstruct the picture as the artist conceived

and executed

it.

336

THE CARTOON OF THE BATTLE OF ANGHIARI.

/ may here remind the reader that Leonardo prepared the cartoon in t/ie Sala del Papa of Santa Maria Novella at Florence and worked there from the end of October 1503 till February 1504, and then was busted with tlie painting in the Sala del
Consiglio in the Palazzo delta Signoria, till the work was intermpted at the tnd of May ed. 1880.) Vasari, as is 1506. (See Milanesi 's note to Vasari pp. 43 45 Vol.

IV

one scene or episode of the cartoon the Battle for the Standard in the foreground of the composition, as it would seem; and this only was ever finished as a mural decoration in the Sala del Consiglio. This portion of the composition
U'ell

known, describes only

engraved by Edelinck. Mariette had already very acutely observed that Edelinck must surely have worked from a Flemish copy of the There is in the Louvre a drawing by Rubens (No. 565^ which also represents picture.
is familiar to all

from

the disfigured copy

four horsemen fighting round a standard and which agrees with Edelinck' s engraving, but the engraving rei'erses the drawing. An earlier Flemish drawing, such as may have
served as the model for both Rubens and Edelinck, is in the Uffizi collection (see Philth pots's Photograph, No. f$2). It seems to be a work of the second half of the XVI century,

a time when both the picture and the cartoon had already been destroyed. the production of a not very skilled hand. Raphael Trichet du Fresne,

It is apparently

1651,

mentions

that a small picture by Leonardo himself of the Battle of the Standard was then extant in the Tuileriesj by this he probably means the painting on panel which is now in the possession of Madame Timbal in Paris, and which has lately been engraved by Haussoullier
to

me however

as a work by Leonardo. The picture, which is very carefully painted, seems to be the ivork of some unknown Florentine painter, and probably exe-

cuted within the first ten years of the XVI th century. At the same time, it would seem to be a copy not from Leonardo's cartoon, but from his picture in the Palazzo della Signoria;

at any rate this

little

picture,

and

the small Flemish

drawing

in Florence are the oldest

finished copies of this episode in the great composition of the Battle of Anghiari.

In his Life of Raphael, Vasari

nardo's during his stay
in Florence.
till

tells

us that Raphael copied certain works of LeoRaphael's first visit to Florence lasted from the
revisited it in the

summer of 1 506. The and reproduced on page 337 Oxford hasty sketch, also represents the Battle of the Standard and seems to have been made during his first stay, and therefore not from the fresco but from the cartoon; for, on the same sheet we also find, besides an old man's head drawn in Leonardo's style, some studies for the figure
middle of October
1

504

July

505,

and he

now in

the possession of the University of

of

St.

John the Martyr which Raphael used

in

505 in his great fresco in the Church

of San Severo at Perugia.

Leonardo's studies for the Battle of Anghiari I must in the first place point on three of which PI. LII 2, PI. LIII, PI. LVI we find studies for the episode of the Standard. The standard bearer, who, in the above named copies is seen stooping,

Of

to five,

holding on

to

the staff across his

sketch,

shoulder,

is

hand figure in Raphaels and ink drawing in the

and we find

it in

immediately recognisable as the lefta similar attitude in Leonardo's pen

2
the lower figure to
the right.

British

Museum

Pi. LII,
in

It is not difficult to identify the

same figure

and ink drawings, now

also
PI. LII, 2

in the

Accademia at Venice

two more complicated groups in the pen PI. LIII, and PI. LI V where we

find some studies of foot soldiers fighting.

On

the sheet in the British

Museum
one

we

find,

among

others, one group of three horses galloping

f01 wards:

'-'I

M:
'W>^-v.

g?

Imp. "Rude

PL.XLVIIL

Holioy Duja.rdin

Imp. Kude

H'-ff'
'

.*.

Heliogv Duj atrdvn

"-~**T!*'~

-^-^-i-i'j

'^-"gr

S$i

>^s
~*';

si?

|
''*

A:

THE CARTOON OF THE BATTLE OF ANGHIARI.

horseman
two
otliers
is

337

throivn

and

protects himself with his

to

buckler against the lance thrusts of

The same action is pierce kirn as they ride past. with some variation, in two sketches in pen and ink on a third sheet, in the repeated, Accademia at Venice, PI. L V; a coincidence which suggests the probability of such an

on horseback, zvho try

We are not, it is true, in a having actually been represented on the cartoon. to declare with any certainty which of these three dissimilar sketches may have position been the nearest to the group finally adopted in executing the cartoon.
incident

With regard, however,

to

one of the groups of horsemen

it is

with perfect certainty not only which arrangement was preferred, L VII is a drawing in black chalk pied in the composition. The group of horsemen on PL but which appears to me to be the at Windsor, which is there attributed to Leonardo, in this view. work Cesare da Sesto, and the Commendatore Giov. Morelli supports me

possible to determine but the position tt occu-

of

made this drawing from hardly be doubted that da Sesto, as a pupil of Leonardo's, with the copy made by Raphael here reproduced, his master's cartoon, if we compare it
It can

338

THE CARTOON OF THE BATTLE OF ANGHIARI.

for just above the fighting horseman in Raphaefs copy it is possible 1o detect a horse w/iic/i is seen from behind, going at a slower pace, with his tail flying out to the right and the same horse may be seen in the very same attitude carrying a dimly sketched rider, in the, foreground of Cesare da Sesto's drawing.

If a very much rubbed drawing

appears
to be, the
it

in black chalk

at Windsor
it is
it

PI.

LVIis,

as

it

ment from

reversed impression of an original drawing, the portions drawn by Cesare da Sesto. Nay,

not difficult to supplepossible to

may prove

reconstruct the whole of the lost cartoon

from

the

hand which we may regard as

the nucleus

of the

mass of materials we now have at A large pen and ink composition.

THE CARTOON OF THE BATTLE OF ANGHIARI.

drawing by Raphael in the Dresden another, by Cesare da Sesto, in the
collection,

339

Uffizi,

representing three Jiorsemen fighting, and of light Jiorsemen fighting are a farther
it.

contribution rvhich zvill help us to reconstruct

V^i-^f^i<Qj!&i5*fe;--:,

...

^ii^,.

in which The sketch reproduced on PI. LV gives a suggestive example oj the way the groups cartoon as figging among foot-soldiers may have been introduced into the

of horsemen;

and I may

the opportunity 'here^ take

of mentioning

that,

for reasons which

340
it

THE CARTOON OF THE BATTLE OF ANGHIARI.

to enlarge upon here, I believe the Av<> genuine drawings " Venetian sketch-book" as it is called one of a standard heart

would be out of place

/its

Raphael's hand in

marching tmvards the left, and one of two foot-soldiers armed with spears and fighting with a horseman to be undoubtedly copies from the cartoon of the Battle of Anghiari.
on pages 338
in the museum at Buda-Pesth and reproduced and 339 are preliminary studies for the heads of fighting warriors. The two heads drawn in black chalk (pg. 338^, and the one seen in profile, turned to the left, drawn in red chalk (pg. 339^, correspond exactly with those of two horsemen in tlie scene of the fight round the standard as we see them in Madame TimbaFs picture and in the other finished copies. An old copy of the last named drawing by a pupil of Leonardo is in MS. C. A. 187^/561^ (See Saggio, Tav. XXII). Leonardo used to make such finished studies of heads as those, drawn on detached sheets, before beginning his pictures from

Leonardos two drawings, preserved

compare the preparatory studies for the fresco of the Last Supper, given on PI. XL VII and PI. L. Other drawings of heads, all characterised by the expression of vehement excitement that is appropriate to men fighting, are to be seen at Windsor (No. 44) and at the Accademia at Venice (IV, i$) ; at the back of one of the drawings
his

drawings

at Buda-Pesth

there

is

the

bust of a warrior carrying a spear on his

left shoulder,

holding /// the left These drawings

copies exist,

Pvlszky Kdroly). have been made for other portions of the cartoon, of which no may and thus we are unable to identify these preparatory drawings. Finally I

arm

(See Csatakepek a

X VI

Ik

Szdzadbol

osszcdllitotta

may add that a sketch of fighting horse and foot soldiers, formerly in the possession of M. Thiers and published by Charles Blanc in his "Vies des Peintres" can hardly It is not to be found, as I am informed, among the late be accepted as genuine. President's property, and no one appears to know where it now is.

An
perfectly

attempted reconstruction

of the Cartoon,

which

is

not only unsuccessful but

unfounded,

is

to

be seen in the lithograph by

Blanc's "Vies des peintres"

This misleading pasticcio

and reprinted Qfit'The great Artists. may now be rejected without hesitation.

Bergen t, published in Charles L. da Vinci", p. 80.

There are yet a few original drawings by Leonardo which might be mentioned here as possibly belonging to the cartoon of the Batlie; such as the -pen and ink sketches on PI. and on PI. XXXVIII, No. 3 , but we should risk too wide a departure

XXI

from

the

domain of ascertained fact. With regard to the colours and other materials used by Leonardo the reader may
to

be referred Milanesi in

the

his

edition

similar character to

from the accounts for the picture in question given by of Vasari (Vol. IV, p. 44, note) where we find entries of a those in Leonardo's note books for the year 1505; 6". K. M. I2 (see
quotations
in designing decorations

No. 636).

That Leonardo was employed

high festivals, particularly for

and
for

other preparations for

the court of Milan,

his

we

learn not only

from

the writings

of
in

his contemporaries but

/.

from

own

incidental allusions ;

instance in

MS.

C.

\$b

(i),

In the arrangement of the texts referring to this I have placed those first, which historical personages are named Nos. 670 674. Among the descriptions of
9.

Allegorical subjects two texts lately found at Oxford have been included, Nos. 676 and They are particularly interesting because they are accompanied by large sketches which 677. render the meaning of the texts perfectly clear. It is very intelligible that in other cases, whi re

ALLEGORICAL REPRESENTATIONS.
there are no illustrative sketches, the notes

341

must

necessarily

remain obscure or admit of

various interpretations.

The

littcrature

of such
notes

allegorical representations, particularly during the Carnival

of the time affords ample evidence of the use and in Leonardo 's
Nos. 685 and 704. Vasari in his Life various undertakings for Carnival

We find
,

the Carnival expressly mentioned describes

of Pontormo particularly These very graphic descriptions appear to me to throw great light in more festivities. than one on the meaning of Leonardo's various notes as to allegorical represenzvays Nos. 68 1 tations and also on mottoes and emblems 702. In passing judgment on the
allegorical sketches

that 'artist's

and emblems

it

must not be overlooked that even as pictures they

Several finished drawings of were always accompanied by explanations in ivords. or figures have been preserved, but as they have no corresponding allegorical compositions The female figure explanation in the MSS. they had no claim to be reproduced here.
on Pi.

XXVI may perhaps be regarded as a study for such an allegorical painting, of which the purport would have been explained by an inscription.

342

DRAWING FOR "LA VIERGE AUX ROCHERS."

F. U. 115;

44<5

663.

\\\\\\\

bre

1478

jcomiciai

le

vergini

[In

the

autumm

ofj

1478

began the On Madonna

pictures.

Marie.

two Madonna

[pictures].

663.

i.

Jchomlciai

Vergine.

663. Photographs of this page have been published by BRAUN, No. 439, and PHILPOT, No. 718. Incomindai. We have no other information I. as to the two pictures of the Madonna here spoken

meant by the
the

text,

it

drawings VERROCCHIO'S
Florence
1880.
renzo piaceva
seppe cosl
e

were
atelier.

may made
(See
p.

also
for

be supposed

that
in

some comrade
Sansoni's

VASARI,

ed.

As Leonardo here tells us that he had begun two Madonnas at the same time, the word 'incominciaV may be understood to mean that he had begun
of.

564): "E perche a Lomaniera di Lionardo, la bene imitare, che niuno fu che nella pulitezza

Vol. IV,
di

juor

modo

la

nel Jinir I' opere con

diligema

r imitasse

piu di

//'."

the same time preparatory studies for two pictures to be painted later. If this is so, the non-existence
at

Leonardo's notes give me no opportunity of discussing the pictures executed by him in Florence,
before he

may be explained by supposing that were only planned and never executed. I may they here mention a few studies for pictures of the Maof the pictures
particularly a

moved

to Milan.

So the studies

for the

unfinished picture of the Adoration of the Magi cannot be described here, in the Uffizi, Florence

donna which probably belong to this early time drawing in silver-point on bluish tinted a drawing of see PI. XL, No. at Windsor paper
;

nor would any discussion about the picture in the

3,

which the

details have almost disappeared in the distinct in the original but have been rendered quite reproduction; secondly a slight pen and ink sketch

'

Louvre "La Vierge aux Rockers" be appropriate in the absence of all allusion to it in'the MSS. Therefore, when I presently add a few remarks on this
painting in explanation of the Master's drawings for not merely with a view to facilitate it will be it,
critical

the Codex VALLARDI, in the Louvre, fol. 64, No. 2316; again a silver point drawing of a Virgin and child drawn over again with the pen in the His de la Salle collection
in,

researches

about the

picture

now

in

the

National Gallery, London, which by some critics has been pronounced to be a replica of the Louvre pic-

also in the Louvre, No.

101.

TAUZIA,

Notice

des

dessins

(See Vicomte BOTH DE de la collection His de la

Paris 1881, pp. 80, 8 1.) Salle, exposes au Louvre. This drawing is, it is true, traditionally ascribed to Raphael, but the author of the catalogue very justly points out its great resemblance with the sketches
for

but also because I take this opportunity of publishing several finished studies of the Master's which, even if they were not made in Florence
ture,

later in Milan, must have been prior to the painting of the Last Supper. The original picture in Paris is at present so disfigured by dust and

but

Madonnas

in the British

Museum which

are in-

varnish

that

the

current

reproductions

in

photo-

Some of these have been disputably Leonardo's. published by Mr. HENRY WALLIS in the Art Journal, New Ser. No. 14, Feb. 1882. If the non-existence
of the

two

hypothesis

pictures that only

here

alluded to justifies

my

studies

for such pictures are

graphy actually give evidence more of the injuries, to which the picture has been exposed than of the original work itself. The wood-cut given on p. 344, is only intended to give a general notion of the comIt must be understood that the outline position.

144

STUDIES FOR "LA VIERGE AUX ROCHERS."

drawings which appear to
Vitrge
I.

[66 3

and expression of the heads, which in the picture obscured but not destroyed, is here altogether The facsimiles which follow are from missed.

me

to

be studies

for

"La

aux

Rockers."
in

drawing

silver

point

on brown toned

paper of a woman's head looking to the

the

left.

In

2.

Royal Library

at

Turin,

apparently

study

same

figure,

study of drapery for the left leg of the done with the brush, .'Indian ink on
heighten ed with white.

from nature for the Angel's head (PL XLII).

greenish paper, the lights

'
.
-

'

v_'fV

Ileliog:

Dujardin

664.]

BERNARDO

DI BANDING'S PORTRAIT.

345

Th.l

664.

Berrettina di tane, farsetto di raso nero,

cioppa nera foderata, 4 giubba turchina foderata 5 di gole di volpe, 6 e'l collare della givbba
7

A A A

soppannato di velluto appicchiettato nero e rosso; 9 Bernardo di Bandino

8

tan-coloured small cap, doublet of black serge, black jerkin lined blue coat lined, with fur of foxes' breasts, and the collar of the jerkin covered with black and white stippled velvet.

di

Bernardo Bandino
Portrait.

1
!

Bernardo

di

Bandino

IO

Baroncigli;

"calze nere.

Baroncelli; black hose.

664.

i.

berettino.

4.

giupba.

5.

di

ghole

di

gholpe.

6.

chollare.

7.

appkci.

8.

lato

errosso.

10. baroncigli.

n.

chalze.

The

original
PI.

is

at
is

Windsor, No. 223.

defective in the

duction

XLIII

The reproshadow on the

(see Catalogue descriptif des Dessins de Maitres anciens

exposes a

r Ecole
10).

des

Beaux

Arts, Paris

1879;

No. 83,

upper part of the thigh, which is not so deep as in the original; it should also be observed that the
folds

pp. 9 the
as

none other
a

the criminal represented here, is than Bernardino di Bandino Baroncelli

Now,

drapery near the hips are somewhat altered in the finished work in the Louvre, while
of the

murderer of Giuliano de' Medici, whose name

coadjutor in the conspiracy of the Pazzi has

the
this
3.

London copy shows a

study in that particular. A study in red chalk

greater resemblance
for

to

the

bust

of

the

gained a melancholy notoriety by the tragedy of the 26th April 1478. Bernardo was descended from an ancient family and the son of the man who, under

No. 3 in the Windsor collection (PI. XLIV). The well-known silver-point drawing on pale
Infant Christ

King Ferrante, was President of

Justice
in

the

Naples.

His ruined

fortunes,

High Court of it would

head (No. seems to me to be a slightly altered copy, either from the original picture or from this red chalk study. 4. A silver-point study on greenish paper, for the head of John the Baptist, reproduced on p. 342. This was formerly in the Codex Vallardi and is
green paper,
in the

Louvre,

of a boy's
'

363 in REISET, Notice

des dessins, Ecoles d' Italie)

seem, induced him to join the 'Pazzi; he and Francesco Pazzi were entrusted with the task of murdering Giuliano de' Medici on the fixed day. Their victim not appearing in the cathedral at the hour when they expected him, the two conspirators ran to the palace of the Medici and induced him
to

accompany them.

now
The
the

exhibited

among

the drawings in the Louvre.

in the chancel of the Cathedral,

Giuliano then took his place and as the officiat-

lights are, in the original,

outlines,

particularly

heightened with white; round the head and ear,

ing priest raised the Host the sign agreed upon 7 Bernardo stabbed the unsuspecting Giuliano in the
breast

are visibly restored. There is a study

of

an

outstretched
collection

No.

288

in

the

Windsor

hand which was

wards and

with a short sword; Giuliano stepped backfell dead. The attempt on Lorenzo's life

published in the Grosvenor Gallery Publication, 1878, simply under the title of: "No. 72 Study of a hand, pointing" which, on the other hand, I regard as a

however, by the other conspirators at the same moment, failed of success. Bernardo no sooner saw

copy by a
copy.

pupil. The action occurs in the kneeling angel of the Paris picture and not in the London

Lorenzo tried to make his escape towards the" than he rushed upon him, and struck down Francesco Nori who endeavoured to protect Lorenzo. How Lorenzo then took refuge behind the brazen
that
sacristy,

These four genuine studies form,

I believe,

valuable substitute in the absence of any MS. notes referring to the celebrated Paris picture.

doors of the sacristy, and how, as soon as Giuliano's death was made known, the further plans of the conspirators were defeated, while a terrible venthis

These eleven lines of text are by the side of the pen and ink drawing of a man hanged PL LXII, No. I. This drawing was exhibited in 1879 at the Eiole des Beaux-Arts in Paris and the compilers of the catalogue amused themselves by
664.

geance overtook all the perpetrators and accomplices, Bernardo Bandini alone is no place to tell. seemed to be favoured by fortune; he _hid first in
tower of the Cathedral, and then escaped undiscovered from Florence. Poliziano, who was with Lorenzo in the Cathedral, says in his 'Conjurationis
Pactianae Commentarium': " Bandinus fugitans in Tiphernatem irtc'uU, a quo in aciem receptus Senas pervenit."

the

giving the

victim's

name
les

as

follows:

"Un
le

pendu,
. .

vetu d* une longue robe,

mains Hers sur

dos

Bernardo di Bendino Baionti^ni, marchand de fanlalons". VOL. I.

And Gino Capponi

in

summing up

the reports of the

XX

346

NOTES ON THE LAST SUPPER.

[66 5

S. K.

M. H.

665.
2 la zaina nel chc beveua e Iasci6 la testa inverso il proe volse

Vno
sot., on the

One who was

glass
in
its

suo

sito

position

drinking and has left the and turned his head

Vn
insieme
pagnio,
le
li

altro tesse le dita

5

delle
si

sue

mam
al

towards the speaker. Another, twisting the fingers of his hands

together turns with stern brows to his com-

e co rigide ciglia
1'

uolta

co-

altro

colle

mani aperte mostra

di quelle ?e alza le spalle inverse 8 orechi e fa la bocca della maraviglia ;

palme

panion [6]. Another with his hands spread open shows the palms, and shrugs his shoulders up his ears making a mouth of astonishment [8].

669.

i.

vno che [voleua here e per) beveua

cllasscio.

5.

cho.

6.

cholle.

7.

lesspalli

inver

effa la bocha.

9.

ecquello.

numerous contemporary narrators of the event, says 'Bernardo Banditti ricoverato in Costantinopoli, fu per ordme del Sultana preso e consegnato a un Antonio di
:

suppose

that

all

the

members

of

the

conspiracy

Bernardftto dei Medici,

posta in

che

Loremo aveva mandato

di

ap-

were depicted by him in fresco on the facade of the palace, since no fewer than eighty had been condemned to death. We have no means of knowing
whether,
besides Botticelli, any other painters, perLeonardo, was commissioned, when the criminals had been hanged in person out of the windows

Turckia:

cosl

era grange la potenza

di quest'
e

uomo

grande
in
vita

la

vogiia

fame
ucciso

mostra
il

che

non
egli

haps

resfosse

thi

aveagli

frateUo,

applicato

Firenze appena giunto" (Sloria deila Republica di Details about the dates may be //, 377, 378). found in the Ckronichetta di Belfredello Strinati Alfieri:

of the Palazzo del Podesta to

afterwards in effigy in

do we know

represent them there of their disgrace. Nor whether the assassin who had escaped

memory

"Bernardo
preso da
minato, che
delta

di

Bamiino

Bandini
14.

sofradetto

ne

venne
disa-

may
as

at

first

not have been provisionally represented

Gostantinopoli a di

Dicembre 1479 e
di
It

hanged

in effigy.

Now
with

when we

try

to

connect

fu

al Bargello,
allato

Ju

impiccato aile finestre di 29.

the

historical

facts
PI.

this

Bargello

alia

Doana a
strife."

Dicembre

reproduced on
there

MCCCCLXXIX
the

eke pockt di

be mentioned with reference

to the

may however mode of writing

the conspirator's dress

seems
is

to

LXII, No. I, and its colour on the same sheet, be no reasonable dotibt that Bernardo

drawing by Leonardo and the full description of

of the assassin that, though most of his contemporaries wrote Bernardo Bandini, in the

name

Bandini

here represented as he was actually hanged on December 29 th 1479, after his capture at Constan,

Breve Chronuon Caroli Petri de Joanninis he is called Bernardo di Bandini Baroncelli ; and, in the Sententiae

tinople.

The
the

dress

is

certainly not that in

which he
might

committed
very
well

murder.
at

long

furred

coat

Domini Matthaei de
de Baroncellis, as

Toscanis,
is

Bernardusjoannis Bandini written on Leonardo's drawing

of him when hanged. Now VASARI, in the life of Andrea del Castagno (Vol. II, 680; ed. Milanesi 1878),
us that in 1478 this painter was commissioned by order of the Signoria to represent the members of the Pazzi conspiracy as traitors, on the fagade of
tells

Constantinople or at Florence in December, but hardly in April. The doubt remains whether Leonardo described Bernardo's dress so fully

be worn

because

it

struck

him as remarkable, or whether we

actually
it

may not rather suppose that this sketch was made from nature with the intention of using
study for a wall painting to be be denied that the drawing

as a

executed. has
all

It

cannot
appear-

the Palazzo del Podesta

is

the Bargello. This statement

the

obviously founded on a mistake, for Andrea del

Castagno was already dead in 1457. He had however been commissioned to paint Rinaldo degli
Albizzi, when declared a rebel and exiled in 1434, and his adherents, as hanging head downwards; and in consequence he had acquired the nickname of Andrea degl' Impiccati. On the 2ithjuly 1478 the

ance of having been made for this purpose. as it may, the sketch under discussion proves,
rate,
that

Be
at

this

any

Leonardo

was

in

Florence
it

in
is

December
valuable as

1479, and the note that accompanies

one more characteristic specimen to the very small number of his MSS. that can be proved to
adding

have been written between 1470 and 1480.

to

Council of Eight came to the following resolution: "item servalis etc. deliberaverunt et santiaverunt Sandro
Botticelli pro ejus labore in pingendo proditores flor. quadraginta largo? (see G. MILANESI, Arch. stor. VI

(1862)

p.

5 note.

665. 666. In the original MS. there is no sketch accompany these passages, and if we compare them with those drawings made by Leonardo in preparation for the composition of the picture PL XLV, XLVI (compare also PL LII, I and the drawings on p. 297)
,

As
on
only

has been told, Giuliano de' Medici was murdered

the

26 th April 1478, and we see by this that three months later Botticelli was paid for his
'.

impossible to recognise in them a faithful interof the whole of this text; but, if we compare these passages with the finished picture
it

is

pretation

painting of the "proditores'

We

can however hardly

(see

p.

334)

we

shall

see that in

many

places they

''

\y

>

i;.-;*-,Cr>^'- .*^tif|' ?'*:: j*\- *.

:

'

lio

e~-

Duiard

666668.]

NOTES ON THE LAST SUPPER.

347

li orechi, "tenendo vn coluna mano e nell' altra il pa I2 ne mezzo diuiso da tal coltello; r 3l' altro nel uoltarsi tenendo vn coltello in mano versa 14 con tal mano vna zaina sopra della tavola.

e quello che e gli porgie

altro parla nell' orechio all' altro, IO Pascolta si torcie inverse lui

tello nel'

[9] Another speaks into his neighbour's ear and he, as he listens to him, turns towards him to lend an ear [10], while he holds a knife in one hand, and in the other the loaf half cut through by the knife. [13] Another who has

turned, holding a knife in his hand, upsets with his hand a glass on the table [14].

S.

K. M.

II.2 i<5]

666.

L' altro posa le mani sopra della tavola

e guarda, 2 1' altro soffia nel boccone, 3 1' altro si china per uedere il proponitore e fassi

46bra colla

mano
infra
'1

alii

ochi,
si

si'

altro

si

tira
il

inderieto a quel

che

china
e
'1

vede

proponitore

muro

chinato.

Another lays his hand on the table and Another blows his mouthful. [3] Another leans forward to see the speaker shading his eyes with his hand. [5] Another draws back behind the one who leans forward, and sees the speaker between the wall and the man who is leaning [6].
is

looking.

S.

K. M.

II. 2

786]

667.

CRISTO.
2

CHRIST.

Giova cote

-,

quello del ca^rdinale del

Mortaro.

Count Giovanni, the one with the Cardinal of Mortaro.

v. A. x.

8]

668.

Filippo, Simone, Matteo, Tome, Jacopo 2 maggiore, Pietro, Filippo, Andrea, Bartolomeo.

Philip,

Simon, Matthew, Thomas, James

the Greater, Peter, Philip,

Andrew, Bartho-

lomew.

10.

porcie

orechico.
3.

n.
5.

choltello.

12.

mezo.
.

13.
6.

imman.
cinato.

667. i 668.
i

3 2

R.
R.

i.

crissto.

2.

del cha.
. .

666.

2.

bochone.

effassi.

acquel chessi

he.

i.

Matteo -[tome], tome

magore.

2.

filipo.

coincide.

For
fourth

instance,
figure

with

the

compare No. 665, 1. 6 8, on the right hand of Christ.

script
it,

as

the

passage here immediately preceding

justified

may be

in

assuming that Leonardo

figure

The

various actions described in lines 9 10, 13 14 are to be seen in the group of Peter, John and Judas ;
in the

meant

to use the features of the

as a suitable

model

for the

person here named of Christ. The

finished picture

however
is
I

it

is

not a glass but

to

salt cellar that

Judas In No. 666. Line

upsetting.

must

refer

the furthest

drawing of the head of Christ, now hanging in the Brera Gallery at Milan, has obviously been so much restored that it is now impossible to
celebrated
say, whether
to

figure

on the

left;

3,

and 6 describe actions which

left

are

given of Christ
6.

to the

group of disciples on the

hand

compare

it

it was ever genuine. We have only with the undoubtedly genuine drawings

chinato.
this

misread

have to express my regret for having word, written cinato in the original, and
I
I
first

L,

of heads of the disciples in PI. XLVII, XLVIII and to admit that not a single line of the Milan
in its present state can

drawing
668.

having altered it to "cielo" when text, in 'The Academy' for Nov.

after
I

published this
are

See

PI.

8, 1879 immediately and subsequently in the small biography of Leonardo da Vinci (Great Artists)

given in

be by the same hand. XLVI. The names of the disciples the order in which they are written

had discovered

it,

in the original,

from right
is

to left,

above each head.

in in length

The

original drawing
it

here slightly reduced

p. 29.

scale;

measures 39 centimetres

by 26

667.

As

this

note

is

in the

same small Manu-

in breadth.

NOTES ON THE BATTLE OF ANGHIARI.

[669-

C. A. 73<ts 114

669.

o
of

Niccold da Pisa Fiorentini Neri di Gino Capponi Conte Francesco, Anghiri.jp ernar(i etto de' Me- Micheletto, <Pietro Giapaolo dici. sGuelfo Orsino,
the baiiie

Niccolo da Pisa Florentines Neri di Gino Capponi Conte Francesco Bernardetto de' Medici Micheletto,
Pietro Gian Paolo

Ms. Rinaldo

delli

Al-

Guelfo Orsino, Messer Rinaldo degli

Albizzi

bizzi

rCominciasi dal' oration di Niccol6 Piccinino a so! 8 dati e fuori usciti Fiorentini tra quali est ms. Rinaldo delli Albizzi e altri Fioren-

Di poi si faccia I0 to a cavallo armato;

tini
9
;

come

lui

prima modi
lui;

e tutto lo esercito

li

and6

direto,

"40

squadre

cavalli,

"2000 pedoni andavano con

'^E'l

Patriarca la mattina di buon'ora monto '*in su un monte per scoprir il paese, cioe colli, 'Scampi, e valle irrigata da uno fiume, 16 e uide dal Borgo a San Sepolco venire
le genti con gran e scopertolo torno al campo delle polvere, genti e parloloro; '^Parlato ch'ebbe prego

Begin with the address of Niccol6 Piccinino to the soldiers and the banished Florentines among whom are Messer Rinaldo degli Albizzi and other Florentines. Then let it be shown how he first mounted on horseback in armour; and the whole army came after him 40 squadrons of cavalry, and 2000 foot soldiers went with him. Very early in the morning the Patriarch went up a hill to reconnoitre

^Niccolo Picinino con

I8

and the and from thence he beheld Niccolo Picinino coming from Borgo San Sepolcro with his people, and with a great dust; and perceiving them he
the

country, that

is

the hills, fields

river;

valley watered

by a

Dio ad mani

giunte,

comparl

20

una nugola,
2I

al dalla quale usciva san Piero che parlo Patriarca; "500 cavalli furono mandati dal Patriarca per impe^dire o raffrenare lo

returned to the camp of his own people addressed them. Having spoken he prayed to God with clasped hands, when there appeared a cloud in which Saint Peter

and

impeto nimico;

*Nella prima schiera Fran-

cesco, figliuolo di Niccolo Picci 25 nino, venne 2<s ch'era il primo ad investire il ponte, 2 guardato dal Patriarca e Fiorentini; ?Dopo

ponte da mano sinistra mando fanti per impedire li nostri, i quali ripugna2 9de' quali era capo Micheletto, il vano,
il

28

appeared and spoke to the Patriarch. 500 cavalry were sent forward by the Patriarch to hinder or check the rush of the enemy. In the foremost troop Francesco the son of Niccolo Piccinino [2 4] was the first to attack the bridge which was held by the Patriarch and the Florentines. Beyond the bridge to
his
left he sent forward some infantry to engage ours, who drove them back, among

quale quel dl ">per sorte aveva in guardia lo esercito; 3I Qui, ad questo ponte si fa una

669.

163
5.

roritte*

from
.

left to right.
6.
.

T.

fioren"no" Nie "o".

. .

2.

gino Caponi
.

franc"o".
Patriarcha
32.
.

3.
.

Bernardecto

d'.-

4.

giapaulo.

Ghuelfo orsino.

albizi.

7.

Comintisi

nico.

8.

Fior"ni"

albizi.

13.

bonahora.

14.

In susii monte.
37.

19. Parlato

hebbe

giunte chon.

21. Patriarcha.

22. Patriarcha.

26. Patriarcha.

Vmsono.

33. hastorre.

vinnono.

in

669. This passage does not seem to me to be Leonardo's hand, though it has hitherto been

Nicold da Pisa,

compare

line 44.

Conte Francesco, see line 24.

Michelelto Sforza Attendolo, see line 29. He and Pier Giampaolo Orsino were Captains together of the

generally accepted as genuine. Not only is the writing unlike his, but the spelling also is quite different. I would suggest that this passage is a description

Lombard
13.

troops.

of the events of the battle drawn up for the Painter by order of the Signoria, perhaps by some historian

// Patriarcha,

Cardinal Scarampi, Patriarch of

commissioned by them,

to

serve

as a

scheme or

programme of

the

work.

The whole

tenor of the

to me to argue in favour of this style seems theory; and besides, it would be in no way surprising that such a document should have been

preserved among Leonardo's autographs. 2 Neri dl Gino Capponi and Bernardetto de* 7. Medici were the Commissari of the Florentine Republic.

map drawn by Leonardo and reproduced on PI. CXIII borgo a sa sepolcro is "to be read near the upper margin to the left between a view of a town and a sketch of the windings of the Tiber. Below somewhat more to the left is the word 'Anghiari? the name of the village where the battle was fought. 20. Usciva San Piero. The battle took place on
St.

Aquileia, Legate of the Papal see. 1 6. On a Borgo San Sepolcro.

Peter and

St.

Paul's day,

June

29^

1440.

'

'JfcwV

-i**"

6;o.]

NOTES ON THE BATTLE OF ANGHIARI.

349

gran pugna; 32Vinsero li nostri e lo inimico e scacciato; 33Q u Guidoe Astorre suo
i

whom
lot
it

con molte fratello, signore di 34Faenza, 35 genti si rifecipno e resta urarono la guer6 ra, e urtarono tanto forte 3 le genti Fiorentine,

sino ad

che ricuperarono il ponte e 37yennero 38 venne li padiglioni, contro a quali

cavalli

Symonetto con 600

inimici,
4

ad urtare
volta

39 li

li

caccio

un

altra

dal

luogo, e riacquistarono il ponte, e drieto 41 a lui venne altra gente con 2000 cavalli,
42

c'osl

lungo tempo
il

si

combatte variamente;

was their captain Micheletto [2 9] whose was to be that day at the head of the army. Here, at this bridge there is a severe struggle; our men conquer and the enemy is repulsed. Here Guido and Astorre, his brother, the Lord of Faenza with a great number of men, re-formed and renewed the fight, and rushed upon the Florentines with such force that theyrecovered the bridge and pushed forward as far as the tents. But Simonetto advanced with 600 horse, and fell upon the enemy and drove them back once more from the place, and recaptured the bridge; and behind him came more men with 2000

Patriarca per disordinare lo nidipoi mando 44 Niccolo da Pisa innanzi e mico,

et

Napoleone Orsino,

45

giovane senza barba, e

drieto a costoro 46 gran moltitudine di gente, e qui fu fatto 4 ?un altro gran fatto d'arme;

And thus for a long time But then with varying fortune. they fought the Patriarch, in order to divert the enemy, sent forward Niccolo da Pisa [44] and Napoleone Orsino, a beardless lad, followed by a
horse
soldiers.

In questo
innanzi
quali
nostri
61
;

tempo

48 Niccolo

Piccinino spinse
4

great multitude of men, and then was done At the same another great feat of arms.

il

restante

delle

9sue

feciono
e se

un' altra

volta

genti, le inclisnare i
il

non

fusse stato che

Patriarca

mise innanzi e con parole e fatti non avesse rite5 2 nuto que' capitani, sarebbono
si
iti
li

time Niccolo Piccinino urged forward the remnant of his men, who once more made ours give way; and if it had not been that the Patriarch set himself at their head and, by his words and deeds controlled the captains, our soldiers would have taken to
flight.

nostri in fuga;

Fece
54

il

Patriarca pi-

The

Patriarch

had

some

artillery

antare certe artiglierie

al

colle, colle quali

S5

sbaragliava le fanterie delli

n imici;

e fu

questo disordine tanto che Niccolo S6 comincio a rivocare il figliuolo e tutte le sue
57 58

genti,

e
si

si

misero in fuga verso

il

borgo;

qui

fece
si

mini,

59 ne

una grande strage d'uosalvarono se non li primi che

si

placed on the hill and with these he dispersed the enemy's infantry; and the disorder was so complete that Niccolo began to call back his son and all his men, and And they took to flight towards Borgo. then began a great slaughter of men; none escaped but the foremost of those who had The battle fled or who hid themselves. continued until sunset, when the Patriarch

fuggirono

6o

nascosero

Duro

il

fatto
'1

d'arme
lire

fino al

6l

tramontar del sole e

Pa-

gave his mind to recalling his men and burying the dead, and afterwards a trophy

triarca attese 62 a ritirare le genti,

li

was erected.

e seppel-

morti

3e da poi ne fece uno trofeo.

H.3

670.
tra

L'ermellino col sangue, 2 Galeazzo tepo traquillo 3e effigie di fortuna.

4361.

Ermine with blood Galeazzo, between calm weather and a representation of a tempest.
fatti

Allegorical
re
-

r es e

^s

r e ferl

ring to the

duke
Patriarcha. Patriarcha.
46.

of

facto.

50.

fussi

Patriarcha.

51.

havesse.

53.

Patriarcha.

57.

missero.

60.

nascosono.

63.

ne
3.

fe.

Milan (670673).

670.

13
670.

R.

i.

sange.

effigita di.

Only of the beginning

this text

is

legible

Galeazzo

Maria

who

succeeded

Francesco,

the
in

the writing is much effaced and the sense is consequently obscure. It seems to refer like the fol-

founder of the Sforza family

had been murdered

lowing passage
2.

to

Galeazzo probably

an allegorical picture. here means Gian Galeazzo

1476 and his mother, Bona of Savoy, held the regency during the youth's minority; he was imprisoned in 1494 by his uncle Lodovico il Moro and pro-

Maria Sforza, whose tragical death took place in the year when this MS. was written. His father

bably poisoned by his orders.

350

ALLEGORICAL REPRESENTATIONS.

[671-6/3.

671.
II

Moro

cogl' ochiali
diplta,

falsa Pfamia s pel Moro.

6

la

e la invidia colla *givstitia nera

II Moro with spectacles, and Envy depicted with False Report and Justice black for il

La

fatica colla vite

7 I

mano.

Moro. Labour as having a branch of vine

a screw] in her hand.
672.
2

\or

-i

II

pelli
tieri

Moro in figura di uetura colli cae panni e mani inazi, e messer ^ Gualco riverete atto lo pi*glia per li panni
8

d'abasso, venedoMi dalla parte dinazi. 6 acora lapoverta in figura spa ; ventevole

II Moro as representing Good Fortune, with hair, and robes, and his. hands in front, and Messer Gualtieri taking him by the robes with a respectful air from below, having come

in

from the front [5].

corra dirieto a vn giovanetto

e'l

Moro

lo

copra col
dorata
I0

lembo
colle
14

della

vesta, e colla

verga

minacia tale mostro.

ra"dici in
finire;

"Erba
che fusse
16

su

per u'^no
la

Again, Poverty in a hideous form running behind a youth. II Moro covers him with the skirt of his robe, and with his gilt sceptre he threatens the monster.

in

sul

'Ma roba e

A plant
is

with

its

roots in the air to represent

l8 Delle taccole e storne lli. che si fideranno 20 abitare apsQuelli 2I sarano gra turbe, questi presso di lui, che 2 tut 22 ti morirano di crudele mor 3te, e si 24 madri d'insieme colle vedra i padri e le sue 2 sfamiglie esser da crudeli anima 26 li divorati e morti.
I7

gratia.

one who

Of

at his last; a robe and Favour. tricks [or of magpies] and of burlesstarlings]. trust themselves to live

que poems [or of

Those who him, and who

shall
all

near

will

die

be a lar^e crowd, these cruel and fathers deaths;

and mothers together with their families will be devoured and killed by cruel creatures.

1.2 91 a] 2

673-

Era piu nero- ch'un calabrone, gli ochi rossi com' u foco ardete ^e cavalcaua 4 sopra vn gra rozone, largo sei spanne e luns go-piv di 20 co sei giganti attaccati al6 che rodea col dete, 1'arcione, e vno I mano
auea
:

e dirieto

li

uenivano porci co zane

fori

He was blacker than a hornet, his eyes were as red as a burning fire and he rode on a tall horse six spans across and more than 20 long with six giants tied up to his saddle-bow and one in his hand which he And behind him gnawed with his teeth. came boars with tusks sticking out of their
mouths, perhaps ten spans.

della bocca forse dieci spanne.

671.

17

R.
R.

i.

choglochiali.

2.
.

ellauidia cholla.
.

3.

ella.
7.

673.

1726

panni "e mani"

12. dice.
.
.

meser.

3.

gualtieri conriverete.
15. ella. 17. tachole.

cora

avgiovanetto.
lichessi.
31.

8.

lenbo delle.

9.

vesa echolla.

10. rainacci dale.

13. cheffussi. 24. chelle.

2.

19.

Quelle

gra turbe quesitu.

cose

22. crudeli

mo.

23. le essi

vedra
.

elle.

25. eser

da crudele "anima".
3.

673.

i.

hera

chuchalabrone.

chomufocho.
7.

chaualchaua
8.

ga.

4.

se

ellungo.

5.

attachati

allarcone.

6.

imano

chello rodea chol.

uenia

zane.

bocha.

672.
retti in

Memorie

10 have already been published by AmoStoriche cap. XII. He adds this note
:

possi

far

utile,

ogni

studio

vi

metti"

somewhat

with regard to Gualtieri

"A

questo
il

M.

Gualtieri come

ad uomo generoso
netto (faff.

e benefico scrrve

Bellincioni

un

So-

mysterious and evidently allegorical composition at Windsor, see PL LVIII, a pen and ink drawing contains a group of figures in which perhaps the
idea
lines
1 1.

174) per ckiedergli un piacere; e '/ Tantio rendendo ragione a Lodovico il Moro, perche pubblicasse
le

is
i

worked out which

5.

is

spoken of

in the text,

Rime

del

Bellincioni;

cio

hammi
sollicito

imposto,

gli

dice:

Above
sketch

this line in the

MS.

is

a small indisto

r humano

Jidele,

prudente t

executore delli tuoi

tutte le cose

tinct

of

plant,

evidently intended

comandamenti Gualtero, che fa in

owe tu

illustrate this

remark.

ofi

-^
Dujardm

:".

&%$&
-

-.">

Imp. Tmdes.

o^.

6/4-j

ALLEGORICAL REPRESENTATIONS.

351

Br.

M.

250*1]

674.
dell'

Sopra
quale
fia

elmo

fia

una mezza palla

dello
2

la

significatione

nostro
il

emi-

sperio, in
la

forma di modo, quale sopra uno paone colla coda distesa che passi

groppa, riccamete ornato, e ogni orna^ che cavallo s' apartiene sia di al pene di paone in capo d' oro a significatione dalla bellezza che risulta della graHia che viene da quello che ben serue.

meto

Above the helmet place a half globe, which is to signify our hemisphere, in the form of a world; on which let there be a peacock, richly decorated, and with his tail spread over the group; and every ornament belonging to the horse should be of peacock's feathers on a gold ground, to signify the beauty which comes of the grace bestowed
on him who
is

Allegorical
rc

^^*

a"

< 6 74

678).

good

servant.

sNello

scudo
chi

significare che, 8 virtu. nelle sue

uno spechio 6 grade a ^ be uol fauore, si spechi

On
that

the

shield

large mirror to signify

9Dall' opposita parte fia similmete colloI0 colla sua colonna I mano, cata la fortezza vestita di biaco che significa 11 tutte coronate, e la prudetia con 3 occhi; I2 la sopraveste del cavallo fia di senplice oro tessuto, ^seminata di spessi ochi di pagoni, e questo s'intede per tutta 14 la sopraveste dell cavallo e dell'omo; e '1 cimiero
.
.

he who truly desires favour must be mirrored in. his virtues. On the opposite side will be represented
Fortitude,
in like manner in her place with her pillar in her hand, robed in

white, to signify.

And all crowned;

eyes.

and Prudence with 3

plain

The

delPomo 'Se'l suotorchione di pene di pao in campo

d'

housing of the horse should be of cloth of gold closely sprinkled with peac&ck's eyes, and this holds good for all the housings of the horse, and the man's And the man's dress. and his neck-chain crest
are

oro
16

of

peacock's

feathers

Dal
rota,

lato
il

sinistro

fia

on golden ground.

cietro della collocate al cietro della coscia dirieto del cauallo l8 e al detto cietro apparira la prudetia vestita di rosso per la carita sedete ^in focosa qua-

vna

On

the left side will be

quale

^fia

a wheel, the centre of which should be attached to the centre of the horse's hinder
thigh piece,
tre

and
is

Prudence

in the censeen robed

in

red, Charity sitting in a

674. i.

meza

assignifichatione
.

nosstro emissperio.
.

2.

cholla choda disstesa chi

richamete.
. .

3.

pene

chapo

assigni-

fichatione

belleza
.

della.
. .

4.

dacquello chi

.della.
.

rj.

schudo.

6. assignificare.

g.oposita
.
.

chollochata laforteza.
14.

10. cholla
.

..chollona
15.

biacho
di

significha.

n.
17.

tutti

chon. 12. chavallo.

.

13. disspessi

ecquesto.

sopravesste

chavallo.

pene doro

pao

in

chanpo.

cholochata

chauallo.

18.

[per la carita] e al rosso "per la carita".

16.

fochosa

352

ALLEGORICAL REPRESENTATIONS.
fiery

[6 75

67 6.

sidriza e vn ramicello di lauro I man a "OTificatione della speraza, che nascie dal **

ben

seruire.

"Messer Antonio Grimani "venetiano, 23 d* Antonio Maria. copagno

chariot and with a branch of laurel in her hand, to signify the hope which comes rf-.f r*r\r\A service. of good cAi*t/1/tf> [2i]Messer Antonio Grimani of Venice companion of Antonio Maria [23].

B.

la

fama

si

de'
2

dipigniere
in

tutta
di

la

persona piena e I forma di uccello.

di llgue

scanbio

penne,

Fame should be depicted as covered all over with tongues instead of feathers, and in the figure of a bird.

Ox.

a a]

676.

2 fannosi binati, dispiacere perche mai -*l'uno e sanza 1'altro co'me se fussin appiccati, voltasi s le schiene per-

Piacere

che so
6

cotrari.

Pleasure and Pain represent as twins, since there never is one without the other; and as if they were united back to back, since they are contrary to each other.
[6] Clay, gold.

Fango, oro. ?Se piglierai dirieto a se chi,

petimeto.

il

ti

piacere sappi che lui a 8 porgiera tribolatione e

If

you take Pleasure know

will

that

he has

behind him one who

tion

deal you Tribula-

and Repentance.
[9]

9 Questo si e il piacere Isieme col dismai e figuransi binati, perch piacere 10 fanosi colle e spiccato dal ..altro; 1 uno schiene voltate perche son contrari 1'urio i: al' altro; fanosi fondati sopra vn me desimo
,

This represents Pleasure together with and show .them as twins because one is never apart from the other. They are back to back because they are opposed to each other; and they exist as contraries in
Pain,

chadriga
675.
2. 2.

||

"carla" e un
e

laro inianalsi.

20.

nasscie.

21.

Meser antonio

gri.

22.

chopagno.
chol disspiacere
13.

penne
fano.

forma di
4.
\\\\\\.

ucciella.
5.
si

676.

3.

cho.

apichati.
10.

sciene.

7.
.

piacie sa
. .

piche

lui [ch|

adirieto

asse child.

9.

ma
.

luno
eseza

esspichato dalal

fano

chole

chontrari

fanosi.

n.

v medesimo.

12. faticha chol.

chola chana

674.

Maser Antonio
is,

Gri.

His name thus abbre-

that

they

were

intended

to

be

scattered

on

the

viated

Grimani

there can be no doubt, Grimani. Antonio was the famous Doge who in 1499 com-

ground
short
Storico

bottom of ditches to hinder the advance of the enemy. Count Giulio Porro who published a
at the

manded

the Venetian fleet in battle against the Turks.

account of the Trivulzio MS. in the "Archivio

But after the abortive conclusion of the expedition Ludovico being the ally of the Turks who took
possession
exile
;

has

of

Friuli

.Grimani

was

driven

into

"E
la

Lombardo", Anno VIII part IV (Dec. 31, 1881) note on the passages treating of "triboli" : qui aggiungetb che anni sono qitando venne fabbricata
this

he went
filled

to live at

nal

Domenico Grimani.

Rome with his son CardiOn being recalled to VeDoge from

1521 to 1523.

nuova

cavallerizza

furono

trovati
si

due che

nice he

the office of

mente quali

il castello di Milano, ne ho veduto ed erano precisatrovano descritti e disegnati da Leonardo

fresso
to

Antonio Maria

probably means Antonio Maria Gri-

in questo codice".

mani, the Patriarch of Aquileia. 676. The pen and ink drawing on PL
longs to this passage.
oro. Jango: 7. gold, clay. below the allegorical figure.

There can therefore be no doubt

that

this

means

LIX

be-

of defence was in general use, whether it were origiThe play on the nally Leonardo's invention or not.

These words stand

word
9
the

"tribolatione",

as

it

occurs

in

the

drawing

at

Oxford, must then have been quite

22.
left

intelligible.
,

In the drawing caltrops may be seen 8. tribolatione. lying in the old man's right hand, others are falling and others again are shewn on the ground. Similar
caltrops are drawn in MS. Tri. p. 98 and underneath them, as well as on page 96 the words triboli diferro

These
side

lines

in the original

are written on

page and refer to the figure shown on PI. LXI. Next to it is placed the group Lines 21 of three figures given in PI. LX No. I.
of the

and 22, which are written under

planation given.

it,

are the only ex-

are written.

From

the accompanying text

it

appears

'****

m
^*

."-:.
*
"

SL****^'. ^te.

V^

^
'-.'"

jft**ti3

,^

'

>

>7*ft

".'Si"..:*$??
'

*;SK
':

-..

**

".Sf^tyMz*
;

*
'

-*^aipf,;y^a?
V'
'

f^-^---i$V
^^Vj^ijp**
.

'.

??-

'-^BT

.-K

v;
*

"'

",

S
r

'

'-

-^r-'

''-. &
,-

m^F-^V--+:,!
**.
.

'

>5 ^*r ^w*^^'^^iP^^^^i;^^i,/: r ."-^i^SV--.W^V" *it HVi *'? ^tli^w^ sV"r: ;l^'^f4a
.'.'
-

j.

^.-

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-s-.

'

JIW-**--:*^^*^
.-

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msr '^'
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;

^'-"^L :^ v
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'>- -J,v=

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i-

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Imp. Eud

PL LVII
.

,.

W~
-

-'

i
.:

~:~*

--

*Heliog^. Duiardin.

''
'

.S,^
'/=

:'

,.-

Imp Eudes
.

.-

:"jK->' ?*^.t

'-.',

>,..:

:'*;-.Vlr!t

'

'^^V

,,^0Vr-

Imp. Eudes.

-'-".'^x

"''.-'

J ^^%>:

^^^51

*---' $*&??

Imp. Eude

..

r/<

'

'*'

/f-

k|^

N\
fjL

>

Hehoy. Dujardm

Imp Eudes

u*Wfc
?

'4

/v

( ~'fS~'
''

'//

"^"^Mffl ^^r>rr^^7:~^r^b.
*,

l/^
-v

-t- t

*"

-"

'"^:

:;

y*^f

'S

677-!

ALLEGORICAL REPRESENTATIONS.
medesimo fondamedel piaciere
il

353

corpo, perche ano vn

the
is

to, Jperoche '1 fondameto e la fatica col dispiacere,

I2

si

basis,

fondameto del

same body, because they have the same inasmuch as the origin of pleasure labour and pain, and the various forms of
of pain. Therehere represented with a reed in right hand which is useless and without
it

dispiaciere

si

sono
si

pero qui

vari e lascivi ^piacieri; figura colla canna nella

i

ma

evil pleasure are the origin

fore
his

is

destra ch' e vana e seza forza, ' e le pvnture fatte con quella so uenenose mettosi J Toscana al sostegnio J sde' letti, a significare che quivi si fano j vani sogni e quivi si
;

strength,

and

the

wounds

it

inflicts

are

consuma
gitta di

gra parte della vita, quiui si molto vtile tempo, cioe quel della
;

l6

T mattina, 7che la mete e sobria e riposata cosl il corpo atto a ripigliare nove fatiche e l8 ancora 11 si pigliano molti vani piaceri e colla mete Jmaginado co I9 se jmpossibili a se, e col corpo pigliado que' piacieri che 20 spesso son ca gione di macameto di uita,

poisoned. In Tuscany they are put to support beds, to signify that it is here that vain dreams come, and here a great part of life is consumed. It is here that much precious time is wasted, that is, in the morning, when
the
the

mind is composed and rested, and body is made fit to begin new labours;

there

siche
21

per questo
II

si

tiene la
Tvidia

cana per
22

tali

fodamenti.

mal pesiero e

over

Jgra-

titudine.

again many vain pleasures are enjoyed; both by the mind in imagining impossible things, and by the body in taking those pleasures that are often the cause of the failing of life. And for these reasons the reed is held as their support. Evil-thinking is either Envy or Ingratitude.

Ox. zb\

677.
ividia

si figura colle fiche verso se potesse, vserebbe le sue jl cielo, perche, forze cotro a dio; 3 fassi colla maschera J

Questa
2

volto di bella dimostratio^ne

e ferita nella vista
ferito

fassi

ch'ella

da palma Se
lavro e
verita
8

olivo; fassi

1'orechio

di

mirto a signiTTofifendono;

Envy must be represented with a contemptuous motion of the hand towards heaven, because if she could she would use her strength against God; make her with her face covered by a mask of fair seeming; show her the eye by a palm branch as, wounded in and by an olive-branch , and wounded in the
ear by laurel and myrtle, to signify that Many victory and truth are odious to her. thunderbolts should proceed from her to Let her be lean signify her evil speaking.

ficare

che

vittoria e

fassi le vscire
il

molti fvlgori,

a significare

suo mal dire; fassi magra 9e secca, perI0 fassi ch' e sempre J continue strvgimeto,
le
jl

and haggard because

torment.

core roso

da vn

serpete
le

efian IT te;
I2

fassi le

vn turcasso, e

freccie

lingue,
J3

perche spesso co quelle offede;

fassi

le

vna
le

pelle di liopardo,

perche quello ^per

invidia

amazza
I

vn uaso

con Igano; j s fassi mano pie di fiori e si l6a quello

il

Hone,

she is in perpetual heart gnawed by a swelling serpent, and make her with a quiver with tongues serving as arrows, because she Give her a leopard's often offends with it. lion out skin, because this creature kills the of and by deceit. Give her too a vase

Make

her

envy

pie di
fassi le

scorpioni e

rospi

altri
l8

^veneni;
invi-

cavalcare la morte,

perche la

dia,

no moredo, mai languisce ^a signo-

Make never dying, never tires of ruling. her bridle, and load her with divers kinds
chonsuma.
. .

her hand full of flowers and scorpions and toads and other venomous creatures; make her ride upon death, because Envy,
in

fo\\\\\\.

14.
.

choquele
.

mettasi
18.

toscana.

15.
.

significhare
.
.

fano
cho.

16.

dela

tenpo
. .

dela

\\\\\.

17. soblia
.
.

chosi

il

chorpo.

anchora

piglia

chola

19. jposibili

chol chorpo

cha.

20.

machameto
da

jnati

chana
.

fodam"e".
cie\\\\\.

21. pesieri.
. .

677. i.chole
5.

jl

2.potessi vserebe
.
.

chStro

a\\\\\\\.

3. fasi

cola

bela dimostr \\U\\.

4. 8.

chele ferita
assignificare
13.

vissta
.

pal\\\\\\\.

lavro

\\\\\.
.

6.
.

assignificare
\\\\\\\.

vettoria
fasse.
.
.

eve\\\\\\\.

7.

fassele

vsscire

molte folgore.
12.

fassimage\\\\\\\.
. .

9.

essecha

strugime
I

10.

n. turchasso che
fioriess
\\\\.
. .

le frecie.
. .

speso choquela.
\\\\\\\.

fasse

pele

chuel\U\.
18. lan-

14.

amaza
. .

chon

gano.

15. fasse

16.

acqueli
c\\\\\.

rosspical

17- fassele
.
.

chavalchare
.

la mo\\\\\\.
.

vidia
\ir\\

mai

lan\\\\\\\\\\\.

i> asignioregiare

fasse

briglia

20.

cha e charicha

diversi

21. tuti
It

dela.

24.

que.

354

ALLEGORICAL REPRESENTATIONS.
of

[6/8. 679.
all

2 "carica di diverse reggiare; fassi le la briglia 2I strumeti della morte. armi perche tuti

arms

because

her

weapons

are

"Tolerare.
'Jj'tolerabile.

deadly. Toleration.
Intolerable.

Subito che nascie la uirtu, quel'Ma 26 e prima partoriscie contra se la invidia, 2 l'6 ?bra cne la virtufia-il corpo-seza sanza
Br. M.

No
comes

sooner
into

la invidia.

sooner will than Virtue without Envy.

Virtue born than Envy world to attack it; and there be a body without a shadow
is

the

Quado
alor
sia
di

si

apre

diavo-'Ii

2 paradiso di Plutone che son in dodici olle,

il
,

there
like

When Pluto's Paradise is opened, may be devils placed in twelve

openings into
Furies,
hell.

then
pots

*a vso
6

bocche

ifernali
8

squiui sia la
putti

morte,

the

le

furie,
9e

?cenere,

molti

nudi che

ashes,
fires

Here will be Death, many naked children

weeping; living
lours..

made of

various co-

piagino;
59")

uiui fochi fatti di vari colori

679.

m_en !.. fa
picture.

Arrange-

Joanes Battista
2

San Piero

Nostra Dona Bernardino Lodovico s Bonaventura Antonio da 6 Sto Francesco Padua 6 Francesco, i Antonio, giglio e libro, 8 Bernardino col Gesu, 9 Lodovico co 3 gigli nel petto, co corona a piedi, IO Bonavetura co serafini, "Sta Chiara col tabernaculo, "Elisabetta co corona di regina.
^Elisabetta
*
25. partorisscie

S. Agostino Paolo Sta Chiara

John the Baptist

Saint Peter

Saint Augustin

Paul
Saint Clara.

Elisabeth

Bernardino Bonaventura
Saint Francis.
Francis,

Our Lady

Louis

Anthony of Padua.

Anthony, a lily and book; Bernardino with the [monogram of] Jesus, Louis with 3 fleur de lys on his breast and
the crown Bonaventura with Seraphim,
at his feet,

Saint Clara with the tabernacle, Elisabeth with a Queen's crown.

chontra.

26.

678.

i.

sapre.

3.

liche sonco

dodici olle

chorpo. 27. chella 4. boce.

. . .

lanvidia.
7.

cennere.

8.

piaghino.

10. the

leaf

is

here distroyed, only tke word*

vino bole in the middle of the line have remained legible. 679. The five names on the right side: Jo bsita &c. and lines 7
initial letters.
\

to
. .

12 are written from left to right.

None of
.

the

names have
7.

capital

6.

iobs"j"ta
i.

saostino

nostra dona

sea ciara

lodovco

franc"o"

Padu''a".

franc"o".

9.

peto co coronna piedi

co.

n.

ciara.

677.
i

The

larger of the

two drawings on
21
lines

PI.

LXI

explained

by

the

first

of this passage.

following the order in which they are here printed. 12 the names of those saints are repeated In lines 7

L. 22

and 23, which are written above the space between the two drawings, do not seem to have any reference to either. L. 2427 are below the allegorical twin figure which they serve to explain.
679.

of

whom

it

seemed

necessary

to

point

out

the

emblems.

Memorie

680. This has already been published byAMORETTi storiche XVI. His reading varies cap.
that

The

text

of the

first

six

lines

is

written

somewhat from

within

a square
given.

space of the same size as the copy

are
written in the margin

Certi Sangirolami in
1.

here given, e. g. 1. 5 and 6. su d'una figura; and instead of

here

The names

13.

Un San

Bastiano.

>

Imp Eudcs

68o.]

LIST OF DRAWINGS.

355

C. A. 317

959 a]

680.
head, full face, of a young with fine flowing hair,

Una testa in faccia di giouane co una bella capellatura, ^Molti fieri ritratti di naturale,
2

man

Ui tpf draw,
ings.

4vna testa
6
7 8

faccia riccivta,

Many

flowers

drawn from nature,

Jerome,

scierti sa Girolami,

misure d'una figura,

disegni di fornegli,

head, full face, with curly hair, Certain figures of Saint

[6]

The measurements of a

figure,

vna testa del Duca,

9Molti disegni di gruppi, 10 4 disegni della tavola di sato angielo,

IJ

Drawings of furnaces. A head of the Duke,

I2

vna storietta di Girolamo da Fegline, vna testa di Cristo fatta di penna,

many designs for knots, 4 studies for the panel of Saint Angelo A small composition of Girolamo da Fegline, A head of Christ done with the
[9]

'38 sa Bastiani,

pen,

^Molti coponimeti d'agioli, 5vn calcidonio, I(5 vna testa I proffilo co bella capellatura,
J

[13] 8 Saint Sebastians,

A A

coppi di prospettiva, strumeti per navili, ^eierti strumeti d'acqua, 20 vna testa ritratta d'Atalata che alzava
'7cierti
l8

Several compositions of Angels, chalcedony, head in profile with fine hair, Some pitchers seen in(?) perspective,
for ships, for waterworks,

cierti

Some machines Some machines

il

head,

a portrait of Atalanta raising her

face;

uolto,
21 22

la testa di

Geronimo da Fegline,

la testa di Gia Francesco Borso, 3molte gole di vechie, 2 4molte teste di vechi, 2 5molti nvdi iteri, 26 molte bracia ganbe piedi e attitudini, 2 7vna nostra donna finita,
2

The head of Geronimo da 'Fegline, The head of Gian Francisco Borso, Several throats of old women,
Several heads of old men, Several nude figures, complete, Several arms, eyes, feet, and positions,

Madonna,

finished,

28

vn' altra quasi ch'e in proffilo,

Another, nearly in profile,

680. Lines
6.

and
. .

are written
8.
.

from
.

left to

right

and

upside dmvn.
12.

i.

nvna

tessta
13.

gouane.
14.

4.

tessta.

5.

sagirolami.
15.

msure

fighura.
tessta
.

ducha.
.

n. girolamo da
17.

feghine.
di
23.

di

xpo

fatta.
19.

basstiani.
20.

-choponimeti.
.

chalci-

donio.

16.

cho

chapellatura.
tessta
di

choppi
vacielo.

prosspettiva.

dacq"a".
25.

tessta
26.

dattalata.
27.

21. tessta

de ieronimo
28.

da

feglino.
29.

22.

di giafranciessco.

ghole.
.

24.
.

moltesste.

Itegri.
31.

attitudine.

nosstra.
32. tessta

qusi che proffilo.

tessta

nosstra

30. tessta

chol meto lugho.

tessta di

zlghana.

VASARI in his life of Leonardo MILANESI 1880) says: "Oltreche perse tempo fino a disegnare gruppi di cordefatti con ordine, e che da un
q.Moltidisegnidi gruppi.
(IV, 21, ed.

cartette degli scolari (?). Fregi somigliantissimi a questi troviamo infatti impressi in oro sui cartoni di vari volumi contemporanei, e li vediam pur figurare nelle lettere
tniziali di

capo seguissi tutto

il resto

fino air altro, tanio che s'empiessi

alcune edizioni del tempo"

un tondo;
mollo
hello,

che se ne vede in istampa

uno

difficilissimo e

Diirer

who copied them,

the

omitting the inscription,

his

e nel mezzo vi sono queste parole:

Leonardus

added

to

second

impressions

own mono-

Gruppi must here be understood as a technical expression for those twisted ornaments which
Vinci Accademia".

are well

known through wood

cuts.

AMORETTI mentions
I

gram. In his diary he designates them simply as "Die seeks Knoten" (see THAUSING, Life of A. Diirer I, 362, 363). In Leonardo's MSS. we find here and
there
little

six different

ones in the Ambrosian Library.

am

in-

sketches

or

debted to M. DELABORDE for kindly informing me that the original blocks of these are preserved in
his

in Milano, p.

On

department in the Bibliotheque National e in Paris. the cover of these volumes is a copy from one of

DArte where an ornament of the same 315 character is given from the old decorations of the vaulted ceiling of the Sacristy of S. Maria
ornaments.

Compare

too

suggestions for G. MONGERI ,

similar

them.

by 26 I / 4
p.

The size of the original is 231/2 The centre portion of another

.

centimetres
is

delle Grazie.

given on

680.
literally

17.

The meaning
is

in

which the word

I

coppi,

361. G. Govi remarks on these ornaments (Saggio "Codesti gruppi eran probabilmente destinati a p. 22): servir di modello a ferri da rilegatori per adornar le

pitchers, determine; but a

here

used
to copie

am

unable
to

to

change

seems

me

too

doubtful to be risked.

356

MOTTOES AND EMBLEMS.

testa di nostra

[681684.

"la

Jvna

testa d'u uechio col

donna che va in cielo, meto lugo,

Head of Our Lady ascending into Heaven, A head of an old man with long chin,

J'una testa di zlgana J'vna testa col capello I capo, ^vna storia di passione fatta in forma, Jvna testa di putta co treccie ranodate, 3'vna testa con bruna cociatura.

A head of a gypsy girl, A head with a hat on, A representation of the Passion, a cast, A head of a girl with her hair gathered in a knot, A head, with the brown hair dressed.

w.

681.

Mottoes and

Emblems
(681-702).

Ostinato rigore. 2 Destinato rigore.

Stubborn rigour.

Doomed
682.

rigour.

W.

L. 198-)

1 1npedimento no mi piega; ogni Ipedimeto e distrutto dal rigore; no si-uolta chi a stella e fisso.

Obstacles cannot crush me Every obstacle yields to stern resolve He who is fixed to a star does not change his mind.

W.

L. 198*]

683.
di

L'edera e

lunga

vita.

Ivy

is

[a type] of longevity.

W.

P. ii a]

684.
il

Vertia
2

sole

Truth
falsehood

the sun.

bugia
innocetia

maschera

a mask.

^ * s

innocence,
malignity. Fire destroys falsehood,
that
is sophistry, and restores truth, driving out

malignita I II foco distrugie la

bugia, cioe il sofistico, e ?rende la uerita, scacciado 8 le tenebre-1 9 II foco e da essere messo per cosuma10 tore d'ogni sofistico e scopri11 tore e dimostratore di uerita, 12 perche lui e luce, scaccia'3 tore delle tenebre occultatri'<ci

darkness. Fire may be represented as the destroy of

all sophistry, and as the image and demonstration of truth; because it is light and drives out darkness which conceals
all

d'ogni essentia.
vn

essences [or subtle things].

chol chapello 68 1
i.

chapo.

33.

tsstoria.

34. tessta

cho tregte ranodate.

35. tessta

bruna chociatura.

hostinato.

Ma.
683.

i. i.

nomi piegha.
lungha.
5.

2.

onipedimeto.

3.

asstella eftisso.

684. 2. mascera.

distrugie

[la]

la.

6.

coe.

7.

scacado.

10. soffisticho e escopri.

12. lui

[sea] e luce scacca.

13.

ochultatri.

681.

See

P\.

LXII, No.

2,

the two upper pen and

683.

ink drawings. The originals, in the Windsor collection are slightly washed with colour. The back-

sketch
ivy.

In the original there is, near of a coat wreathed above

this

text,

the

waist

with

ground

is

with the

blue sky; the plough and the instrument compass are reddish brown, the sun is

684.

See PL LXIII.

L.

8 are in the middle of

tinted yellow. 682. This text is written to elucidate two sketches which were obviously the first sketches for the drawings reproduced on PI. LXII, No. 2.

page; 1. 9 14 to the right below; 1. 15 22 below in the middle column. The rest of the text
the
is

below

the sketches

on

the

left.

There

are

some other passages on

metry.

this

page relating

to geo-

LXIli

<^r^

-<-

&$*&%
-

.*
j-

n-f/

*+ff

Iinp.

Eudes

685- 686.]

MOTTOES AND EMBLEMS.

357

VERITA.
16

TRUTH.
Fire

II

foco

destrugie

ogni soffistico cioe lo Igano,

destroys

all

sophistry,

that

is

de-

ceit;

7e sol matiene la verita cioe 1'oro.

J

and maintains
Truth
Dissimulation

truth alone, that

is

is

9La

gold.
is

uerita al fine

no
21

si

cela;
fru-

at last

20

no ual simulatione; ISimulatio e

22

cannot be hidden. of no avail. Dissimulation

to

strata avanti atato

no purpose before

giudice. 1 3la bugia mette maschera; 2 4Tfnulla occulta sotto il sole.

2

so great a judge.

foco e messo per la verita, perche destrug26 ge ogni soffistico e bugia, e la ma2 7schera per la falsita e bugia, 28 ocultatrice del uero.
sll

Falsehood puts on a mask. Nothing is hidden under the sun. Fire is to represent truth because it destroys all sophistry and lies; and the mask is for lying and falsehood which conceal truth.

w.

P.

n b\
di

685.

Prima private
2

di giouare.

26
il

moto che stance

13
ch'l

Movement

will

cease

before

we

are

weary
of being useful.

3ljmancheraprimae prim a morte che

Sstanchezza;
v
Y\ no mi
r^

mote

giouameto;
;

Movement
weariness.

will fail

no mi staco nel giouare e motto da carnovale

sine lassitudine.

Death sooner than

In
serving

sooner than usefulness. I am never weary of

is

satio

di seruire;

others I

being useful, a motto for carnval.

fatigue.

7tutte le opere
8

No

no so per istancarmi; 9mani nelle quali fioI0

cannot do enough. labour is sufficient to tire me. Hands into which

Without

cca ducati e pietre pre-

"tiose, queste
I2

mai

si

sta-

cano

di seruire,

ma
per sua
noal

*3tal seruitio e sol

^vtilita e
l6

non e

non mi stance
nel giovare.

'Sstro proposito;

ducats and precious stones fall like snow; they never become tired by serving, but this service is only for its I am never weary utility and not for our of being useful. own benefit.
Naturally nature has so disposed me.

naturalmete
cosl

^natura

ml dispone;

Ash.

I.

a]

686.

Sia fatto
2 il

mano
il

alia Jgra-

titudine|;

3)

legnio

nutrica

foco che

This shall be placed in the hand of Ingratitude. Wood nourishes the fire that

lo

cosuma

consumes

it.

16.

focho
[og].

coe logSno.
messa.
2.

17.
.

essol.
.

18.

soffi.

19.

n5 ual simula.

21.

sta.

22.

gudice.

23.

mette massce.

24. ochulta.

25.

26.

27. oni

ella.

28. scera.
4.

29. ochultatrice.
10.

685.

i.

stancho.
gorare.

di

digouare.

3.

gouameto.

govare.

chaducati.

12.

gano.

13.

essol.

14.

nonce

al

nos

stancho.

15.

686.

i.

fa"to" imano.

2.

ilegnio notricha

il

focho.

358

MOTTOES AND EMBLEMS.

[687692.

Br.

M.

173 -J

687.

PER LA INGRATITUDINE.

TO REPRESENT

INGRATITUDE.

Quando
sole che

apparisce
Jle

il

When
general,

the sun appears

in

scaccia

te-

which dispels darkness which

dispelled
in

you put out the

it

nebre
ni
il

in

comvne, tu spegte le sca-

light

lume che

for
for

you

particular

ciavain particulare 4 a tua

necessita e commodita.
w.
ixj

your need and conve-

nience.

688.

Di qua Ada e di te Eva; o miseria vmana, di quate cose per danari

ti

On

this side

Adam and Eve

on the other;

fai

seruo!

misery of mankind, of how many things do you make yourself the slave for money!

H.3

689.
si

Cosl

se 2 para la trista vninione.

Thus

are base unions sundered.

H.3

Costantia no

comlcia,
1

ma

quel

Constancy does not

begin, b.ut

is

that

che persevera.

which perseveres.

H.3

6gi

Amor Timor
2

e Reverentia, questo

scrivi in tre sassi; de' serui.

Love, Fear, and Esteem, Write these on three stones.

Of

servants.

H.a

Prudentia

fortezza.

Prudence

Strength.

687.
688.

2.'

apariscie

chesscancia.
2.

3.

ilume chettellescaciava in particul.

689.

4.

attua neciessita.

i.

ad!

eva.

chose

13

R.

2.

pera.

690.

12

R.

2.

ce.

691.

R-

6ga. R. forteza.

688.

See
the

PI.

LXIV.

The

Eve

in

clouds here alluded

figures of Adam and to would seem

to symbolise their

689.

A much
text.
It

blurred

superiority to all earthly needs. sketch is on the page

to represent

A drawing in red chalk, also rubbed, 690. which stands in the original in the middle of this for a sword hilt, text, seems to me to be intended
held in a
fist,

by

this

seems

an unravelled

plait

or tissue.

PL-

LXIV

_%HJS?
kSgl?

LiS-r1

<r-c^S6

Helio<?~.

Dujardin

Imp.

Eudes

693-696.]

MOTTOES AND EMBLEMS.

359

H.2

13 a]

6932

sola si leva al cielo, perche le cose virtuose sono amiche 3 a dio 5 4 La infamia sottosopra figurare si deb;

La fama

be, perche tutte le sue operationi

trarie

so con-

a dio e inverse

1'inferi

si

dirizzano.

Fame alone raises herself to Heaven, because virtuous things are in favour with God. Disgrace should be represented upside down, because all her deeds are contrary to God and tend to hell.
'

.z

15 i]

694.

Corta

liberta.

Short liberty.

H.I 40

6 95]

Nessuna cosa e da temere piu che sozza

fama;
2

Nothing

is

so

much
is

to

be feared as Evil
Report.
life.

Questa sozza fama e nata da

uita.

This Evil Report

born of

^
H.I 4 o y\

^&}~
696.

Per no disobbidire.

Not

to disobey.

693.
695.

i. i.

2. chose vertudiose sono miche. la famasola essi leva. chosa edatteme "piu chella" quato soza. 2. soza.

5.

tutte sue.

7-

dirizano.

696. R. disubidire.

MOTTOES AND EMBLEMS.

[697-702.

S.

K. M. 1U

,J]

697.

Abbero

tagliato

che mette

ri-

felled tree

which

is

shooting

again.

30

_J_
1900
*ancora spero;
J 4

30 40 1200
I

am

still

hopeful.

falcon

falcon,

tenpo.

Time.

F. o"]

698.
verita fa qui

La

che

la

bugia affligge

Truth

here

makes

Falsehood

torment

le llgue

^bugiarde.

lying tongues.

M.

699.
il

Tale e '1 mal che no mi noce qual e bene 2 che non mi giova.

Such
is

as

harm

is

when

it

hurts

me

not,

good which avails

me

not.

M.

700.

Chi

altri offende,

se no sicura.

He who

offends others,

does not secure

himself.

M.
2 Ingrati tudo.

701.
Ingratitude.

C. A. 67*; aojJ)

7 2
si

pesieri

voltano alia speraza.

One's thoughts turn towards Hope.

697. 2. anchora.

698.

i.

chella.

2.

afrigue.

3.

bugarde

699.

2.

nommi

[gi] giova.

700. sichura.

70 a. (R).

697.

I.

Albero

tagliato.

This
at

emblem was
Florence in
1881.

dis-

che rit ego le paglucole (pagliucole) chelli (che

It)

annicgano.

played

during
is

the Carnival
ed.

See VASARI VI, 251,

coincidence
699.

MILANESI

1513. But the

700.
701.

See See

PI. PI.

LX, No. 3. LX, No.

4.

Below the bottom

probably accidental. See PL LX, No. 2. Compare

PI.

this

sketch
lines

with that on

LXII, No.

2.

Below the two

//'

sketches are the unintelligible words "sta sttili." For "Ingratitudo" compare also Nos. 686 and 687. 702. By the side of this passage is a sketch of
a cage with a bird sitting in
it.

of the text there are two more lines:

guchi (giundii)

703705.]

ORNAMENTS AND DECORATIONS.

361

C. A. 228,$; 687

6]

703.

Uccello della comedia.

bird,

for a

comedy.

Ornaments and Decora

tions for feasts

(703705).

1.2

704.

VESTA DA CARNOVALE.
2

A
da
T

DRESS FOR THE CARNIVAL.

a beautiful dress cut it in thin it an odoriferous varnish,
in

Per fare vna bella veste

ivernice
s

tagli tela sot-

To make
cloth

tile

e dale 3yernice odorifera, fatta

olio

and

give
oil

di

tremetina e

in

grana
fatta

colla
si

made of

of turpentine and of varnish

stanpa traforata
i

e bagnata, accio no
6

ap-

picchi, e questa stapa

quali poi sie

di

a gruppi, riepivti ?di miglio nero e '1

sia

grain, with a pierced stencil, which must be wetted, that it may not stick to the cloth; and
this stencil may be made in a pattern of knots which afterwards may be filled up with black

capo
Mz. ion

miglio biaco.

and

the

ground with white

millet [7],

(14)] 2

75distante ne lochi ^caldi, de' monti, s e si lasnelle feste ? alle piazze nel

Porterassi neve
tolta dalP al'te

Snow
mountains

taken

cime

might
fall

ciera
8

ca 6 dere
dell'

and

let to

at

from the high peaks of be carried to hot places festivals in open places at

tenpo

estate.

summer
2.

time.

703. ocel.

704.
.
.

dalle.
7.

3. in

grane e o
8.

colla.
|

5.

acio

11011

sia pi\\\\chi.

6.

posieriepivti.

705.

3.

chaldi

dellal.

5. essi.

delle piaze.

dellastate.

703. The biographies say so much, and the author's notes say so little of the invention attributed to Leonardo of making artificial birds fly through

had been commissioned, with some others, to order and to execute the garments of the Allegorical
figures
for

the

of exceptional It interest from being accompanied by a sketch. is a very slight drawing of a bird with outspread
the
air,

that the

text

here given

is

VASARI however,
narono gli

Carnival at Florence in 1515 16; is incorrect in saying of the Flo-

rentine Carnival of 1513: "equelli che feciono ed ordiabiti delle figure furono Ser Piero da Vinci,

wings, which appears to be sliding down a stretched Leonardo's flying machines and his studies string.
of the flight of birds will be referred to later. 704. Ser Giuliano, da Vinci the painter's brother,
.

padre di Lionardo, e Bernardino di Giordano, bellisslmi ingegni." (See MILANESI'S ed. Vol. VI, pg. 251.) of black and white millet would 7. The grains
stick to the varnish

and look

like embroidery.

VOL.

ZZ
l.

REFERENCE TABLE TO THE NUMERICAL ORDER OF THE

CHAPTERS.

KI

KKENCE TABLE.

108.

KKl'KKENCE TABLE.
250.

365

3 66
401.

REFERENCE TABLE.

REFERENCE TABLE.
555-

367

Ash.

I.

70.

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