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).

160.

SHADOW AND LIGHT.

The forms of shadows are three:  inasmuch as if the solid body which casts the shadow is equal (in size) to the light, the shadow resembles a column without any termination (in length).  If the body is larger than the light the shadow resembles a truncated and inverted pyramid, and its length has also no defined termination.  But if the body is smaller than the light, the shadow will resemble a pyramid and come to an end, as is seen in eclipses of the moon.