The Notebooks of Leonardo Da Vinci - Leonardo Da Vinci (ebook reader below 3000 txt) 📗

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.

OF TREES WHICH CONCEAL THESE SPACES IN ONE ANOTHER.

That part of a tree will show the fewest spaces, behind which a large number of trees are standing between the tree and the air [sky]; thus in the tree a the spaces are not concealed nor in b, as there is no tree behind. But in c only half 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 only that at the side remains.

 

451.

 

OF TREES.

What outlines are seen in trees at a distance against the sky which serves as their background?

The outlines of the ramification of trees, where they lie against the illuminated sky, 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 first tree a which, being near to the eye, displays the true form of its ramification; but this shows less in b and is altogether lost in c, 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 whole is lost [to sight] the parts are lost, 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.

[Footnote: The sketch No. 4, Pl. XXVIII, belongs to this passage.]

The cast shadow of trees (452. 453).

 

452.

 

The image of the shadow of any object of uniform breadth can never be [exactly] the same as that of the body which casts it.

[Footnote: See Pl. XXVIII, No. 5.]

Light and shade on groups of trees (453-457).

 

453.

 

All 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.

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 taller in proportion as the spot on which it falls, slopes towards the centre of the world.

The shadow will be densest in the middle of the tree when the tree has the fewest branches.

[Footnote: The three diagrams which accompany this text are placed, in the original, before lines 7-11. 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 cima (summit).]

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 some part of a hill the [shadow of the] trees there will change less than in the plains; for these trees on the hills have their branches thicker, because they grow less high each year than in the plains. Therefore as these branches are 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 or rocks. Where the trees are against the atmosphere they appear all the same colour—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.

TREES AT A SHORT DISTANCE.

[Footnote 29: The heading alberi vicini (trees at a short distance) is in the original manuscript written in the margin.] 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.

 

454.

 

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.

 

455.

 

Of trees seen from below and against the light, 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 that r, the eye, will see the portion c f in great part transparent and lighted by the light s which falls upon it from the opposite 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 darkest.

 

456.

 

That part of a tree which has 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 and the leaves lustrous from the sunlight falling on them.

 

457.

 

In the composition of leafy trees be careful not to repeat too often the same colour of one tree against the same colour of another [behind it]; but vary it with a lighter, or a darker, or a stronger green.

On the treatment of light for landscapes (458-464).

 

458.

 

The landscape has a finer azure [tone] when, in fine 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 remoter distance the atmosphere which 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 are 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, and the darkest which are surrounded by something that is not dark. The trees in the 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 trees, when you place yourself between 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 situated, they 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 under side of the leaves, which, in all trees, is 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.

[Footnote: At S, in the original is the word Sole (sun) and at N parte di nuvolo (the side of the clouds).]

 

459.

 

When the sun is covered by clouds, objects are less conspicuous, because there is little difference between the light and shade of the trees and of the buildings being illuminated by the brightness of the atmosphere which surrounds the objects in such a way that the shadows are few, and these few fade away so that their outline is lost in haze.

 

460.

 

OF TREES AND LIGHTS ON THEM.

The best method of practice in representing country scenes, or I should say landscapes with their trees, is to choose them so that the sun is covered with clouds so that the landscape receives an universal light and not the direct light of the sun, which makes the shadows sharp and too strongly different from the lights.

 

461.

 

OF PAINTING.

In landscapes which represent [a scene in] winter. The mountains should not be shown blue, as we see in the mountains in the summer. And this is proved [Footnote 5. 6.: Per la 4_a di questo_. It is impossible to ascertain what this quotation refers to. Questo certainly does not mean the MS. in hand, nor any other now known to us. The same remark applies to the phrase in line 15: per la 2_a di questo_.] in the 4th 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