The Notebooks of Leonardo Da Vinci — Complete
[Footnote: See Pl. XXIV, No. 3.]
387.
Of delivering a blow to the right or left.
[Footnote: Four sketches on Pl. XXIV, No. 1 belong to this passage.
The rest of the sketches and notes on that page are of a
miscellaneous nature.]
388.
Why an impetus is not spent at once [but diminishes] gradually in
some one direction? [Footnote 1: The paper has been damaged at the
end of line 1.] The impetus acquired in the line _a b c d_ is spent
in the line _d e_ but not so completely but that some of its force
remains in it and to this force is added the momentum in the line _d
e_ with the force of the motive power, and it must follow than the
impetus multiplied by the blow is greater that the simple impetus
produced by the momentum _d e_.
[Footnote 8: The sketch No. 2 on Pl. XXIV stands, in the original,
between lines 7 and 8. Compare also the sketches on Pl. LIV.] A man
who has to deal a great blow with his weapon prepares himself with
all his force on the opposite side to that where the spot is which
he is to hit; and this is because a body as it gains in velocity
gains in force against the object which impedes its motion.
On hair falling down in curls.
389.
Observe the motion of the surface of the water which resembles that
of hair, and has two motions, of which one goes on with the flow of
the surface, the other forms the lines of the eddies; thus the water
forms eddying whirlpools one part of which are due to the impetus of
the principal current and the other to the incidental motion and
return flow.
[Footnote: See Pl. XXV. Where also the text of this passage is given
in facsimile.]
On draperies (390--392).
390.
OF THE NATURE OF THE FOLDS IN DRAPERY.
That part of a fold which is farthest from the ends where it is
confined will fall most nearly in its natural form.
Every thing by nature tends to remain at rest. Drapery, being of
equal density and thickness on its wrong side and on its right, has
a tendency to lie flat; therefore when you give it a fold or plait
forcing it out of its flatness note well the result of the
constraint in the part where it is most confined; and the part which
is farthest from this constraint you will see relapses most into the
natural state; that is to say lies free and flowing.
EXAMPLE.
[Footnote 13: _a c sia_. In the original text _b_ is written instead
of _c_--an evident slip of the pen.] Let _a b c_ be the fold of the
drapery spoken of above, _a c_ will be the places where this folded
drapery is held fast. I maintain that the part of the drapery which
is farthest from the plaited ends will revert most to its natural
form.
Therefore, _b_ being farthest from _a_ and _c_ in the fold _a b c_
it will be wider there than anywhere else.
[Footnote: See Pl. XXVIII, No. 6, and compare the drawing from
Windsor Pl. XXX for farther illustration of what is here stated.]
391.
OF SMALL FOLDS IN DRAPERIES.
How figures dressed in a cloak should not show the shape so much as
that the cloak looks as if it were next the flesh; since you surely
cannot wish the cloak to be next the flesh, for you must suppose
that between the flesh and the cloak there are other garments which
prevent the forms of the limbs appearing distinctly through the
cloak. And those limbs which you allow to be seen you must make
thicker so that the other garments may appear to be under the cloak.
But only give something of the true thickness of the limbs to a
nymph [Footnote 9: _Una nifa_. Compare the beautiful drawing of a
Nymph, in black chalk from the Windsor collection, Pl. XXVI.] or an
angel, which are represented in thin draperies, pressed and clinging
to the limbs of the figures by the action of the wind.
392.
You ought not to give to drapery a great confusion of many folds,
but rather only introduce them where they are held by the hands or
the arms; the rest you may let fall simply where it is its nature to
flow; and do not let the nude forms be broken by too many details
and interrupted folds. How draperies should be drawn from nature:
that is to say if youwant to represent woollen cloth draw the folds
from that; and if it is to be silk, or fine cloth or coarse, or of
linen or of crape, vary the folds in each and do not represent
dresses, as many do, from models covered with paper or thin leather
which will deceive you greatly.
[Footnote: The little pen and ink drawing from Windsor (W. 102),
given on Pl. XXVIII, No. 7, clearly illustrates the statement made
at the beginning of this passage; the writing of the cipher 19 on
the same page is in Leonardo's hand; the cipher 21 is certainly
not.]
_VIII._
_Botany for Painters and Elements of Landscape Painting._
_The chapters composing this portion of the work consist of
observations on Form, Light and Shade in Plants, and particularly in
Trees summed up in certain general rules by which the author intends
to guide the artist in the pictorial representation of landscape._
_With these the first principles of a_ Theory of Landscape painting
_are laid down--a theory as profoundly thought out in its main
lines as it is lucidly worked out in its details. In reading these
chapters the conviction is irresistible that such a_ Botany for
painters _is or ought to be of similar importance in the practice of
painting as the principles of the Proportions and Movements of the
human figure_ i. e. Anatomy for painters.
_There can be no doubt that Leonardo, in laying down these rules,
did not intend to write on Botany in the proper scientific
sense--his own researches on that subject have no place here; it
need only be observed that they are easily distinguished by their
character and contents from those which are here collected and
arranged under the title 'Botany for painters'. In some cases where
this division might appear doubtful,--as for instance in No._
402--_the Painter is directly addressed and enjoined to take the
rule to heart as of special importance in his art._
_The original materials are principally derived from MS._ G, _in
which we often find this subject treated on several pages in
succession without any of that intermixture of other matters, which
is so frequent in Leonardo's writings. This MS., too, is one of the
latest; when it was written, the great painter was already more than
sixty years of age, so we can scarcely doubt that he regarded all he
wrote as his final views on the subject. And the same remark applies
to the chapters from MSS._ E _and_ M _which were also written
between_ 1513--15.
_For the sake of clearness, however, it has been desirable to
sacrifice--with few exceptions--the original order of the passages
as written, though it was with much reluctance and only after long
hesitation that I resigned myself to this necessity. Nor do I mean
to impugn the logical connection of the author's ideas in his MS.;
but it will be easily understood that the sequence of disconnected
notes, as they occurred to Leonardo and were written down from time
to time, might be hardly satisfactory as a systematic arrangement of
his principles. The reader will find in the Appendix an exact
account of the order of the chapters in the original MS. and from
the data there given can restore them at will. As the materials are
here arranged, the structure of the tree as regards the growth of
the branches comes first_ (394-411) _and then the insertion of the
leaves on the stems_ (412-419). _Then follow the laws of Light and
Shade as applied, first, to the leaves (420-434), and, secondly, to
the whole tree and to groups of trees_ (435-457). _After the remarks
on the Light and Shade in landscapes generally_ (458-464), _we find
special observations on that of views of towns and buildings_
(465-469). _To the theory of Landscape Painting belong also the
passages on the effect of Wind on Trees_ (470-473) _and on the Light
and Shade of Clouds_ (474-477), _since we find in these certain
comparisons with the effect of Light and Shade on Trees_ (e. g.: _in
No._ 476, 4. 5; _and No._ 477, 9. 12). _The chapters given in the
Appendix Nos._ 478 _and_ 481 _have hardly any connection with the
subjects previously treated._
Classification of trees.
393.
TREES.
Small, lofty, straggling, thick, that is as to foliage, dark, light,
russet, branched at the top; some directed towards the eye, some
downwards; with white stems; this transparent in the air, that not;
some standing close together, some scattered.
The relative thickness of the branches to the trunk (393--396).
394.
All the branches of a tree at every stage of its height when put
together are equal in thickness to the trunk [below them].
All the branches of a water [course] at every stage of its course,
if they are of equal rapidity, are equal to the body of the main
stream.
395.
Every year when the boughs of a plant [or tree] have made an end of
maturing their growth, they will have made, when put together, a
thickness equal to that of the main stem; and at every stage of its
ramification you will find the thickness of the said main stem; as:
_i k_, _g h_, _e f_, _c d_, _a b_, will always be equal to each
other; unless the tree is pollard--if so the rule does not hold
good.
All the branches have a direction which tends to the centre of the
tree _m_.
[Footnote: The two sketches of leafless trees one above another on
the left hand side of Pl. XXVII, No. 1, belong to this passage.]
396.
If the plant n grows to the thickness shown at m, its branches will
correspond [in thickness] to the junction a b in consequence of the
growth inside as well as outside.
The branches of trees or plants have a twist wherever a minor branch
is given off; and this giving off the branch forms a fork; this said
fork occurs between two angles of which the largest will be that
which is on the side of the larger branch, and in proportion, unless
accident has spoilt it.
[Footnote: The sketches illustrating this are on the right hand side
of PI. XXVII, No. I, and the text is also given there in facsimile.]
397.
There is no boss on branches which has not been produced by some
branch which has failed.
The lower shoots on the branches of trees grow more than the upper
ones and this occurs only because the sap that nourishes them, being
heavy, tends downwards more than upwards; and again, because those
[branches] which grow downwards turn away from the shade which
exists towards the centre of the plant. The older the branches are,
the greater is the difference between their upper and their lower
shoots and in those dating from the same year or epoch.
[Footnote: The sketch accompanying this in the MS. is so effaced
that an exact reproduction was impossible.]
398.
OF THE SCARS ON TREES.
The scars on trees grow to a greater thickness than is required by
the sap of the limb which nourishes them.
399.
The plant which gives out the smallest ramifications will preserve
the straightest line in the course of its growth.
[Footnote: This passage is illustrated by two partly effaced
sketches. One of these closely resembles the lower one given under
No. 408, the other also represents short closely set boughs on an
upright trunk.]
400.
OF THE RAMIFICATION.
The beginning of the ramification [the shoot] always has the central
line [axis] of its thickness directed to the central line [axis] of
the plant itself.
401.
In starting from the main stem the branches always form a base with
a prominence as is shown at _a b c d_.
402.
WHY, VERY FREQUENTLY, TIMBER HAS VEINS THAT ARE NOT STRAIGHT.
When the branches which grow the second year above the branch of the
preceding year, are not of equal thickness above the antecedent
branches, but are on one side, then the vigour of the lower branch