The blue of distant landscapes and the colours of leaves
Light, shadow and wind in the painting of trees
A densely written double page of Leonardo's painting theory on how trees read in light. On 113v he explains why distant landscapes are bluest at fair-weather midday, describes the five principal colours of leaves seen against the sun, and notes how wind, by turning up the pale undersides of leaves, brightens a wood. On 114r he analyses the cast (derivative) shadows of trees, their darkness and spread, and how clouds change the plains between trees more than the trees themselves. A small diagram at the top of 113v shows a shaded body with a circle and converging rays, and figures with notes stand in the right margin of 114r.
On this page
Why distant landscapes are bluest at midday
Landscapes show their finest blue in fair weather when the sun is at midday, because the air is then cleared of moisture. The interposed air grows more beautiful over long distances, especially when something darker lies behind it, so the blue is at its most beautiful.
Five principal colours of leaves against the sun
Leaves set between eye and sun show five chief colours: a glossy green; the mirrored light of the air on leaves the sun cannot reach; the shadowed leaves that see only the ground; and the darkest leaves, surrounded by nothing but shade.
The cast shadow of a tree
A tree's derivative shadow is never smaller than the tree itself, and grows larger as the ground on which it falls slopes more obliquely toward the centre of the world. Its darkness matches the darkness at the tree's core, and it narrows where the branching is sparse.
Wind reveals the pale undersides of leaves
Standing on the side from which the wind blows, you see trees far brighter, because the wind uncovers the undersides of the leaves, which in all trees are much whiter than their upper faces. They are brightest of all when the wind draws from the sun's own quarter.
