A Treatise on Painting/Chapter 303

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A Treatise on Painting
by Leonardo da Vinci, translated by John Francis Rigaud
Various Precepts in Painting
4016878A Treatise on Painting — Various Precepts in PaintingJohn Francis RigaudLeonardo da Vinci

Chap. CCCIII.Various Precepts in Painting.

The termination and shape of the parts in general are very little seen, either in great masses of light, or of shadows; but those which are situated between the extremes of light and shade are the most distinct.

Perspective, as far as it extends in regard to painting, is divided into three principal parts; the first consists in the diminution of size, according to distance; the second concerns the diminution of colours in such objects; and the third treats of the diminution of the perception altogether of those objects, and of the degree of precision they ought to exhibit at various distances.

The azure of the sky is produced by a mixture composed of light and darkness[1]; I say of light, because of the moist particles floating in the air, which reflect the light. By darkness, I mean the pure air, which has none of these extraneous particles to stop and reflect the rays. Of this we see an example in the air interposed between the eye and some dark mountains, rendered so by the shadows of an innumerable quantity of trees; or else shaded on one side by the natural privation of the rays of the sun; this air becomes azure, but not so on the side of the mountain which is light, particularly when it is covered with snow.

Among objects of equal darkness and equal distance, those will appear darker that terminate upon a lighter ground, and vice versâ[2].

That object which is painted with the most white and the most black, will shew greater relief than any other; for that reason I would recommend to painters to colour and dress their figures with the brightest and most lively colours; for if they are painted of a dull or obscure colour, they will detach but little, and not be much seen, when the picture is placed at some distance; because the colour of every object is obscured in the shades; and if it be represented as originally so all over, there will be but little difference between the lights and the shades, while lively colours will shew a striking difference.

  1. See chap. ccxcii.
  2. See chap. ccxii. ccxlviii. cclv.