191

On the shape of the cast shadows.

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 proved by the 7th which says:—The shadow will appear lighter or stronger as it is surrounded by a darker or a lighter background. And by the 8th of this:—The background will be in parts darker or lighter, in proportion as it is farther from or nearer to the luminous body. And:—Of various spots equally distant from the luminous body those will always be in the highest light on which the 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 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 from the body that casts it. The shadow c d, cast by the body in shadow a b which is equally distant in all parts, is not of equal depth because it is seen on a back ground of varying brightness. [Footnote: Compare the three diagrams on Pl. VI, no 1 which, in the original accompany this section.]

Taken from The Notebooks of Leonardo da Vinci edited by Jean Paul Richter, 1880.

II * IV
Notebooks of Leonoardo da Vinci
III: Six books on Light and Shade.
. . .
171,
172,
173,
174
On the relative intensity of derived shadows.
175,
176,
177,
178,
179
Shadow as produced by two lights of different size.
180,
181
The effect of light at different distances.
182
Further complications in the derived shadows.
183,
184,
185,
186,
187
On the shape of the cast shadows.
188,
189,
190,
191
On the outlines of cast shadows.
192,
193,
194,
195
On the relative size of shadows.
196,
197
Effects on cast shadows by the tone of the back ground.
198
A disputed proposition.
199
On the relative depth of cast shadows.
200,
201,
202
Principles of reflection.
203,
204
On reverberation.
205
Reflection on water.
206,
207
Experiments with the mirror.
208,
209,
210
Appendix:--On shadows in movement.
211
. . .