Trees, foliage and the blue of distant landscapes
Aerial perspective, the five colours of leaves, and the cast shadows of trees
These two densely written leaves set out Leonardo's rules for painting trees and distant scenery. He explains why landscapes take on their finest blue at midday, when fair weather clears the air of vapours, how foliage seen against the sun shows five principal colours, and how the wind brightens a wood by turning up the paler undersides of the leaves. The facing page analyses the cast shadows of trees, their darkness, breadth and shape, and how cloud shadows and open ground alter the tonal balance of a landscape. Small diagrams of the sun and its rays accompany the text in the margins.
On this page
Why distant landscapes are bluest at midday
Landscapes have their finest blue in fair weather when the sun is at midday, because the air is then cleared of vapours. Looking that way, the trees seem beautiful toward their edges and dark toward the middle, and the interposed air of long distances grows most beautiful when something darker lies behind it.
The five principal colours of leaves against the sun
Leaves set between the eye and the sun show five principal colours: a most beautiful lustrous green, the mirrored light of the air on the parts the sun cannot reach, the shadowed leaves that see only the ground, and the darkest leaves surrounded by shadow. Trees standing between the sun and the viewer reveal their transparent leaves and lustrous edges, while their shadows stay dark.
How the wind brightens a wood
Under the heading 'On the wind', Leonardo notes that a viewer on the windward side sees the trees far brighter, because the wind uncovers the undersides of the leaves, which are much whiter than their upper faces. They appear brightest of all when the wind blows from the quarter of the sun and the viewer has turned their back to it.
The cast shadows of trees
All trees seen toward the sun are dark toward the middle, and their cast ('derived') shadow is as dark as that centre and never smaller than the tree's own mass, growing larger where the ground it falls on is more oblique. The shadow narrows toward the middle of a sparsely branched tree, and its edge on the lit side is clothed with light for the space of a mile toward the sun.
Cloud shadows over hills and plains
Where a cloud shadows the hills, the trees change less than the open ground, since hill trees are denser in branch and already dark and full of shadow. The plains between them, having lost no shadow of their own, alter strongly in brightness, especially worked soil, mountain ruins, and barren or stony ground that differs from green.
