The Notebooks

No white or black is transparent. 278. OF PAINTING. [Footnote 2: See Footnote 3] Since white is not a colour but the neutral recipient of every colour [Footnote 3: _il bianco non e colore ma e inpotentia ricettiva d'ogni colore_ (white is not a colour, but the neutral recipient of every colour). LEON BATT. ALBERTI "_Della pittura_" libro I, asserts on the contrary: "_Il bianco e'l nero non sono veri colori, ma sono alteratione delli altri colori_" (ed. JANITSCHEK, p. 67; Vienna 1877).], when it is seen in the open air and high up, all its shadows are bluish; and this is caused, according to the 4th [prop.], which says: the surface of every opaque body assumes the hue of the surrounding objects. Now this white [body] being deprived of the light of the sun by the interposition of some body between the sun and itself, all that portion of it which is exposed to the sun and atmosphere assumes the colour of the sun and atmosphere; the side on which the sun does not fall remains in shadow and assumes the hue of the atmosphere. And if this white object did not reflect the green of the fields all the way to the horizon nor get the brightness of the horizon itself, it would certainly appear simply of the same hue as the atmosphere. On gradations in the depth of colours (279. 280). 279. Since black, when painted next to white, looks no blacker than when next to black; and white when next to black looks no whiter than white, as is seen by the images transmitted through a small hole or by the edges of any opaque screen ... 280. OF COLOURS. Of several colours, all equally white, that will look whitest which is against the darkest background. And black will look intensest against the whitest background. And red will look most vivid against the yellowest background; and the same is the case with all colours when surrounded by their strongest contrasts. On the reflection of colours (281-283). 281. PERSPECTIVE. Every object devoid of colour in itself is more or less tinged by the colour [of the object] placed opposite. This may be seen by experience, inasmuch as any object which mirrors another assumes the colour of the object mirrored in it. And if the surface thus partially coloured is white the portion which has a red reflection will appear red, or any other colour, whether bright or dark. PERSPECTIVE. Every opaque and colourless body assumes the hue of the colour reflected on it; as happens with a white wall. 282. PERSPECTIVE. That side of an object in light and shade which is towards the light transmits the images of its details more distinctly and immediately to the eye than the side which is in shadow. PERSPECTIVE. The solar rays reflected on a square mirror will be thrown back to distant objects in a circular form. PERSPECTIVE. Any white and opaque surface will be partially coloured by reflections from surrounding objects. [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.