[Footnote 281. 282:  The title line of these chapters is in the original simply "pro", which may be an abbreviation for either Propositione or Prospettiva—­taking Prospettiva of course in its widest sense, as we often find it used in Leonardo’s writings.  The title "pro" has here been understood to mean Prospettiva, in accordance with the suggestion afforded by page 10b of this same MS., where the first section is headed Prospettiva in full (see No. 94), while the four following sections are headed merely "pro" (see No. 85).]

283.

WHAT PORTION OF A COLOURED SURFACE OUGHT IN REASON TO BE THE MOST
INTENSE.

If a is the light, and b illuminated by it in a direct line, c, on which the light cannot fall, is lighted only by reflection from b which, let us say, is red.  Hence the light reflected from it, will be affected by the hue of the surface causing it and will tinge the surface c with red.  And if c is also red you will see it much more intense than b; and if it were yellow you would see there a colour between yellow and red.

On the use of dark and light colours in painting (284—­286).

284.

WHY BEAUTIFUL COLOURS MUST BE IN THE [HIGHEST] LIGHT.

Since we see that the quality of colour is known [only] by means of light, it is to be supposed that where there is most light the true character of a colour in light will be best seen; and where there is most shadow the colour will be affected by the tone of that.  Hence, O Painter! remember to show the true quality of colours in bright lights.

285.

An object represented in white and black will display stronger relief than in any other way; hence I would remind you O Painter! to dress your figures in the lightest colours you can, since, if you put them in dark colours, they will be in too slight relief and inconspicuous from a distance.  And the reason is that the shadows of all objects are dark.  And if you make a dress dark there is little variety in the lights and shadows, while in light colours there are many grades.

286.

OF PAINTING.

Colours seen in shadow will display more or less of their natural brilliancy in proportion as they are in fainter or deeper shadow.

But if these same colours are situated in a well-lighted place, they will appear brighter in proportion as the light is more brilliant.

THE ADVERSARY.

The variety of colours in shadow must be as great as that of the colours in the objects in that shadow.

THE ANSWER.

Colours seen in shadow will display less variety in proportion as the shadows in which they lie are deeper.  And evidence of this is to be had by looking from an open space into the doorways of dark and shadowy churches, where the pictures which are painted in various colours all look of uniform darkness.