The compound shadow, and shadow in painting and sculpture
Ray diagrams of luminous and opaque bodies, an outline of the science of shadow, and a note on marble
A densely worked sheet on light and shadow. Several ray diagrams of luminous and opaque bodies (some labelled red and white) accompany a text on the 'operation of the compound shadow,' arguing that shadows reverse their motion across the intersection of rays. A right-hand column lists the topics of a projected treatise on shadow, while a left-hand column argues that the eye reads solid form only through shadow and light, on which painting, sculpture and astronomy depend. A short note on the left concerns marble and the terms of payment for the writer's work.
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Operation of the compound shadow
Compound shadows are of contrary motions: when an opaque body meets the luminous rays before their intersection, its shadows appear beyond that intersection, moving oppositely, since the upper ray becomes the lower after crossing. The compound derivative shadow also explains why solar rays passing through an angle imprint portions of circles rather than the angle itself.
Contrary motion across the intersection of rays
A thing moved within the rays before their intersection casts a shadow of contrary motion after the intersection of those rays. The rule is attached to a small ray figure labelled d a - c b.
Outline of a treatise on shadow and light
A column of chapter headings for a science of shadow: its utility, motion, figure, quality, quantity and boundaries; simple, compound and decomposed shadow; darkness and light; light through apertures of various shape and number; and whether parallel rays can issue from one source.
The eye reads solid form only through shadow and light
The eye cannot discern the shapes of bodies within their boundaries except by shadows and lights; painting, upon a flat surface, uses them to make hollows and reliefs appear separated at various distances. Sciences such as painting, astronomy and perspective would be nothing without the science of shadow and light.
The sculptor cannot work without shadow and light
Without shadow and light the sculpted material would remain all of one colour, and a flat surface under equal light shows no variation. Unless clothed in the shadows and lights that the reliefs and hollows of the muscles require, the sculptor could not see his work by day any better than if wrought in the dark of night.
Note on marble and payment
A short memorandum: even if the marble should take ten years, the writer does not wish his payment to be delayed beyond the term of the completion of his work.
