275

On the colours of derived shadows.

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 e f; it will assume its hue. Let o be the source of h e which will in the same way be tinged by its hue and so also the colour of v h will be affected by p 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 [11]. f g is the highest light, because here the whole light of the window a d falls; and thus on the opaque body m e is in equally high light; z k y is a triangle which includes the deepest shadow, because the light a d cannot reach any part of it. x h is the 2nd grade of shadow, because it receives only 1/3 of the light from the window, that is c d. The third grade of shadow is h e, where two thirds of the light from the window is visible. The last grade of shadow is b d e f, because the highest grade of light from the window falls at f.

[Footnote: The diagram Pl. III, No. 1 belongs to this chapter as well as the text given in No. 148. Lines 7-11 (compare lines 8-12 of No. 148) which are written within the diagram, evidently apply to both sections and have therefore been inserted in both.]

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

IV * VI
Notebooks of Leonoardo da Vinci
V: Theory of colours.
. . .
other.
263,
264,
265,
266,
267,
268,
269,
270,
271
Combination of different colours in cast shadows.
272
The 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,
282,
283
On the use of dark and light colours in painting.
284,
285,
286
On the colours of the rainbow.
287,
288
. . .