The eye's pupil, night vision, and pigment recipes
Owl, cat and human pupils, images and rays within the eye, with recipes for green and red and a note of monies
This composite mount gathers several fragments of Leonardo's notes on vision: how images of the sun linger in the eye, how the pupil of man dilates in darkness compared with the hundredfold enlargement in the owl, and how the pupil of the cat and lion changes from a slit to an oval to a circle. Small diagrams accompany a discussion of how pyramidal rays cross and invert the image of a spherical body on the eye. Further blocks give practical recipes for a fine green and a fine red, a formula for painting oil, and a memorandum of monies received from ser Matteo with a short column of figures.
On this page
Images of the sun retained in the eye
Among the images of the sun that remain within the eye, the one that has been retained by the eye for the shortest time will appear the most luminous. A companion note adds that the whiter a surface is, the more it takes on the colour of the luminous object that lights it.
Pupil of man and owl in the dark of night
If night is a hundred degrees darker than evening and man's eye doubles its pupil, the darkness is effectively halved, leaving fifty degrees. The owl, enlarging its pupil a hundredfold, gains a hundred degrees of visual power and so sees in full darkness as man does by day; it hides by day only to escape the mobbing of other birds.
The changing shape of the cat and lion pupil
Of nocturnal animals only the leonine kind enlarges and contracts its pupil while changing its shape: at its smallest it is a long slit, when middling it is oval, and at its largest it is circular. A drawing of a cat's pupil accompanies the note.
Pyramidal rays and the inverted image of a sphere
Using the labels a d e c b and n a S o t r m, Leonardo asks whether a slit-shaped pupil makes round bodies look elongated. After the pyramidal rays converge, they pass from a r through o into n m, so the parts of the sphere's shadow are exchanged: the lower point t becomes upper at n and the upper point S becomes lower at m.
Recipes for a fine green and red, and painting oil
For a fine green: mix green with mummy for the darkest shade, then green with ochre and green with yellow for the lighter passages, plain yellow for the highlights, and glaze all with green and turmeric. For a fine red: cinabrese with burnt ochre for shadows, hematite and minium for mid-tones, minium alone for highlights, glazed with fine lake. Good painting oil is one part oil to one of first and one of second turpentine.
Monies received from ser Matteo
A household memorandum records sums had from ser Matteo: first 20 grossoni, then 3 ducats in three instalments, then 6 grossoni and then 3, then 3 and 3, then 40 soldi and 12 grossoni. A short column of figures runs along the lower margin.
