Kitabı oku: «The Notebooks of Leonardo Da Vinci. Complete», sayfa 7
129
MEMORANDUM OF THINGS I REQUIRE TO HAVE GRANTED [AS AXIOMS] IN MY EXPLANATION OF PERSPECTIVE.
I ask to have this much granted me—to assert that 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.
FIRST BOOK ON LIGHT AND SHADE
On the nature of light (130. 131).
130
The reason by which we know that a light radiates from a single centre is this: We plainly see that a large light is often much broader than some small object which nevertheless—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 be a broad light and n be the object in front of it, casting a shadow on the plane, and let a b be the plane. It is clear that it is not the broad light that will cast the shadow n on the plane, but that the light has within it a centre is shown by this experiment. The shadow falls on the plane as is shown at m o t r.
[Footnote 13: In the original MS. no explanatory text is placed after this title-line; but a space is left for it and the text beginning at line 15 comes next.] Why, to two [eyes] or in front of two eyes do 3 objects appear as two?
Why, when you estimate the direction of an object with two sights the nearer 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 the object looked at. And it is only the central and sensible line that can discern and discriminate colours and objects; all the others are false and illusory. And if you 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.
Light acts in the same manner, for in the effects of its lines (=rays), and particularly in perspective, it much resembles the eye; and its central rays are what cast the true shadow. When the object in front of it is too quickly overcome with dim rays it will cast a broad and disproportionate shadow, ill defined; but when the object which is to cast the shadow and cuts off the rays near to the place where the shadow falls, then the shadow is distinct; and the more so in 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 rays passing through the atmosphere are obliged to travel in straight lines. Unless they are deflected by a denser or rarer air, 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. And if this is the eye, the intercepting object will be seen by its colour, as well as by form and size. But if the intercepting plane has in it some small perforation opening into a darker 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 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 [on one hand] and from their origin [on the other]. There they intersect and form 2 pyramids 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; f g is the inner plane. You will find that a falls upon the inner plane below at g, and b which is below will go up to the spot f; it will be quite evident to experimenters that every luminous body has in itself a core or centre, from which and to 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.
131
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 of equal size their light will be equal; and the case will be the same with the pyramids of shadow; as may be seen in the intersected pyramids a b c and d e f, which though their bases differ in size are equal as to breadth and light.
[Footnote: 51—55: This supplementary paragraph is indicated as being a continuation of line 45, by two small crosses.]
The difference between light and lustre (132—135).
132
Of the difference between light and lustre; and that lustre is 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 (to the eye) as gold or silver or the like.
133
OF THE HIGHEST LIGHTS WHICH TURN AND MOVE AS THE EYE MOVES WHICH SEES THE OBJECT.
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 the point d: 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 as the eye moves from d to a, the lustre will move from c to n.
134
OF PAINTING.
Heigh light or lustre on any object is not situated [necessarily] in the middle of an illuminated object, but moves as and where the eye moves in looking at it.
135
OF LIGHT AND LUSTRE.
What is the difference between light and the lustre which is seen on the polished 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 eye on which they strike moves. But reflected lights will, on those same objects, appear in as many different places on the surface as different positions are taken by the eye.
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.
WHAT BODIES WILL DISPLAY LUSTRE BUT NOT LOOK ILLUMINATED?
Those bodies which are opaque and hard with a hard surface reflect light [lustre] from every spot on the illuminated side which is in 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.
136
The relations of luminous to illuminated bodies.
The middle of the light and shade on an object in light and shade is opposite to the middle of the primary light. All light and shadow expresses itself in pyramidal lines. The middle of the shadow on any object must necessarily 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.]
[Footnote: In the original MS., at the spot marked a of the first diagram Leonardo wrote primitiuo, and at the spot marked c—primitiva (primary); at the spot marked b he wrote dirivatiuo and at d deriuatiua (derived).]
Experiments on the relation of light and shadow within a room (137—140).
137
SHOWS HOW LIGHT FROM ANY SIDE CONVERGES TO ONE POINT.
Although the balls a b c are lighted from one window, nevertheless, if you follow the lines of their shadows you will see they intersect at a point forming the angle n.
[Footnote: The diagram belonging to this passage is slightly sketched on Pl. XXXII; a square with three balls below it. The first three lines of the text belonging to it are written above the sketch and the six others below it.]
138
Every shadow cast by a body has a central line directed to a single point produced by the intersection of luminous lines in the middle of the opening and thickness of the window. The proposition stated above, is plainly seen by experiment. Thus if 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 the 2 angles of the window o f, reaches d; and from the horizon 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.
[Footnote: B here stands for cerchio del' orizonte tramontano on the original diagram (the circle of the horizon towards the North); A for levante (East) and C for ponete (West).]
139
Every shadow with all its variations, which becomes larger as its distance from the object is greater, has its external lines intersecting in the middle, between the light and the object. This proposition is very evident and is confirmed by experience. For, if a b is a window without any object interposed, the luminous atmosphere to the right hand at a is seen to the left at d. And the atmosphere at the left illuminates on the right at c, and the lines intersect at the point m.
[Footnote: A here stands for levante (East), B for ponente (West).]
140
Every body in light and shade is situated between 2 pyramids one dark and the other luminous, one is visible the other is not. But this only happens when the light enters by a window. Supposing a b to be the window 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 p; the light to the left at k will pass to the right of the object at i and 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 f i g. 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.
Light and shadow with regard to the position of the eye (141—145).
141
Every shaded body that is larger than the pupil and that interposes between the luminous body and the eye will be seen dark.
When the eye is placed between the luminous body and the objects illuminated by it, these objects will be seen without any shadow.
[Footnote: The diagram which in the original stands above line 1 is given on Plate II, No 2. Then, after a blank space of about eight lines, the diagram Plate II No 3 is placed in the original. There is no explanation of it beyond the one line written under it.]
142
Why the 2 lights one on each side of a body having two pyramidal sides of an obtuse apex leave it devoid of shadow.
[Footnote: The sketch illustrating this is on Plate XLI No 1.]
143
A body in shadow situated between the light and the eye can never display its illuminated portion unless the eye can see the whole of the primary light.
[Footnote: A stands for corpo (body), B for lume (light).]
144
The eye which looks (at a spot) half way between the shadow and the light which surrounds the body in shadow will see that the deepest shadows on that body will meet the eye at equal angles, that is at the same angle as that of sight.
[Footnote: In both these diagrams A stands for lume (light) B for ombra (shadow).]
145
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 as the sun: and if you look towards the 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.
The law of the incidence of light.
146
The edges of a window which are illuminated by 2 lights of equal degrees of brightness will not reflect light of equal brightness into the chamber within.
If b is a candle and a c our hemisphere both will illuminate the edges of the window m n, but light b will only illuminate f g and the hemisphere a will light all of d e.
147
OF PAINTING.
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 the part which the luminous rays strike between less equal angles will be less strongly illuminated.
SECOND BOOK ON LIGHT AND SHADE
Gradations of strength in the shadows (148. 149).
148
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 marked m is in the highest light because it faces the window a d by the line a f; n is in the second grade because the light b d strikes it by the line b e; o is in the third grade, as the light falls on it from c d by the line c h; p 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.
[Footnote: The diagram belonging to this chapter is No. 1 on Plate III. The letters a b e d and r 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 reproduced within the diagram.—Compare No 275.]
149
The light which falls on a shaded body at the acutest angle receives the highest light, and the darkest portion is that which receives it at an obtuse angle and both the light and the shadow form pyramids. The angle c receives the highest grade of light because it is directly in front of the window a b and the whole horizon of the sky m x. The angle a 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 intercepted which lies between y and x. Although it gains as much on the other side its line is nevertheless not very strong because one angle is smaller than its fellow. The angles e i will have less light because they do not see much of the light m s and the light v x and their angles are very unequal. Yhe 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 p t, and at f 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 l 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 the centre of the light. The several luminous images cast within the frame of the window at the points a and b make a light which surrounds the derived shadow cast by the solid body at the points 4 and 6. The shaded images increase from o g and end at 7 and 8.
[Footnote: The diagram belonging to this chapter is No. 2 on Plate III. In the original it is placed between lines 3 and 4, and in the reproduction these are shown in part. The semi circle above is marked orizonte (horizon). The number 6 at the left hand side, outside the facsimile, is in the place of a figure which has become indistinct in the original.]
On the intensity of shadows as dependent on the distance from the light (150-152).
150
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.
A light which is smaller than the object on which it falls will light up a smaller extent of it in proportion as it is nearer to it, and the converse, as it is farther from it. But when the light is larger than the object illuminated it will light a larger extent of the object in proportion as it is nearer and the converse when they are farther apart.
151
That portion of an illuminated object which is nearest to the source of light will be the most strongly illuminated.
152
That portion of the primary shadow will be least dark which is farthest from the edges.
The derived shadow will be darker than the primary shadow where it is contiguous with it.
On the proportion of light and shade (153-157).
153
That portion of an opaque body will be more in shade or more in light, which is nearer to the dark body, by which it is shaded, 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.
154
OF PERSPECTIVE.
The shaded and illuminated sides of opaque objects will display the same proportion of light and darkness as their objects [Footnote 6: The meaning of obbietti (objects) is explained in no 153, lines 1-4.—Between the title-line and the next there is, in the original, a small diagram representing a circle described round a square.].
155
OF PAINTING.
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.
156
OF PAINTING.
Among objects in various degrees of shade, when the light proceeds from a single source, there will be the same proportion in their shadows as in the natural diminution of the light and the same must be understood of the degrees of light.
157
A single and distinct luminous body causes 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.
THIRD BOOK ON LIGHT AND SHADE
Definition of derived shadow (158. 159).
158
Derived shadow cannot exist without primary shadow. This is proved by the first of this which says: Darkness is the total absence of light, and shadow is an alleviation of darkness and of light, and it is more or less dark or light in proportion as the darkness is modified by the light.
159
Shadow is diminution of light.
Darkness is absence of light.
Shadow is divided into two kinds, of which the first is called primary shadow, the second is derived shadow. The primary shadow is always the basis of the derived shadow.
The edges of the derived shadow are straight lines.
[Footnote: The theory of the ombra dirivativa_—a technical expression for which there is no precise English equivalent is elaborately treated by Leonardo. But both text and diagrams (as Pl. IV, 1-3 and Pl. V) must at once convince the student that the distinction he makes between ombra primitiva and ombra dirivativa is not merely justifiable but scientific. Ombra dirivativa is by no means a mere abstract idea. This is easily proved by repeating the experiment made by Leonardo, and by filling with smoke the room in which the existence of the ombra dirivativa is investigated, when the shadow becomes visible. Nor is it difficult to perceive how much of Leonardo's teaching depended on this theory. The recognised, but extremely complicated science of cast shadows—percussione dell' ombre dirivative as Leonardo calls them—is thus rendered more intelligible if not actually simpler, and we must assume this theory as our chief guide through the investigations which follow.]
The darkness of the derived shadow diminishes in proportion as it is remote from the primary shadow.
Different sorts of derived shadows (160-162).
