second, of the same size, can never be seen.

[Footnote: This passage contains the solution of the problem
proposed in No. 29, lines 10-14. Leonardo was evidently familiar
with the law of optics on which the construction of the stereoscope
depends. Compare E. VON BRUCKE, _Bruchstucke aus der Theorie der
bildenden Kunste_, pg. 69: "_Schon Leonardo da Vinci wusste, dass
ein noch so gut gemaltes Bild nie den vollen Eindruck der
Korperlichkeit geben kann, wie ihn die Natur selbst giebt. Er
erklart dies auch in Kap. LIII und Kap. CCCXLI_ (ed. DU FRESNE)
_des_ 'Trattato' _in sachgemasser Weise aus dem Sehen mit beiden
Augen_."

Chap. 53 of DU FRESNE'S edition corresponds to No. 534 of this
work.]

535.

WHY OF TWO OBJECTS OF EQUAL SIZE A PAINTED ONE WILL LOOK LARGER THAN
A SOLID ONE.

The reason of this is not so easy to demonstrate as many others.
Still I will endeavour to accomplish it, if not wholly, at any rate
in part. The perspective of diminution demonstrates by reason, that
objects diminish in proportion as they are farther from the eye, and
this reasoning is confirmed by experience. Hence, the lines of sight
that extend between the object and the eye, when they are directed
to the surface of a painting are all intersected at uniform limits,
while those lines which are directed towards a piece of sculpture
are intersected at various limits and are of various lengths. The
lines which are longest extend to a more remote limb than the others
and therefore that limb looks smaller. As there are numerous lines
each longer than the others--since there are numerous parts, each
more remote than the others and these, being farther off,
necessarily appear smaller, and by appearing smaller it follows that
their diminution makes the whole mass of the object look smaller.
But this does not occur in painting; since the lines of sight all
end at the same distance there can be no diminution, hence the parts
not being diminished the whole object is undiminished, and for this
reason painting does not diminish, as a piece of sculpture does.

On the choice of a position (536-537)

536.

HOW HIGH THE POINT OF SIGHT SHOULD BE PLACED.

The point of sight must be at the level of the eye of an ordinary
man, and the farthest limit of the plain where it touches the sky
must be placed at the level of that line where the earth and sky
meet; excepting mountains, which are independent of it.

537.

OF THE WAY TO DRAW FIGURES FOR HISTORICAL PICTURES.

The painter must always study on the wall on which he is to picture
a story the height of the position where he wishes to arrange his
figures; and when drawing his studies for them from nature he must
place himself with his eye as much below the object he is drawing
as, in the picture, it will have to be above the eye of the
spectator. Otherwise the work will look wrong.

The apparent size of figures in a picture (538-539)

538.

OF PLACING A FIGURE IN THE FOREGROUND OF A HISTORICAL PICTURE.

You must make the foremost figure in the picture less than the size
of nature in proportion to the number of braccia at which you place
it from the front line, and make the others in proportion by the
above rule.

539.

PERSPECTIVE.

You are asked, O Painter, why the figures you draw on a small scale
according to the laws of perspective do not appear--notwithstanding
the demonstration of distance--as large as real ones--their height
being the same as in those painted on the wall.

And why [painted] objects seen at a small distance appear larger
than the real ones?

The right position of the artist, when painting, and of the
spectator (540-547)

540.

OF PAINTING.

When you draw from nature stand at a distance of 3 times the height
of the object you wish to draw.

541.

OF DRAWING FROM RELIEF.



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