Choosing a site's light to give faces graceful relief
Westward streets and reflected sky-light shading nose, lip and chin
A dense page of painting theory on the sites one should choose so that faces take on relief with grace. Leonardo describes westward streets at midday with high walls, where the shadowed side of a face partakes of the darkness of the opposite wall while the front stays lit, giving soft shadows without any sharp boundary. He explains that light passing between the roofs strikes the pavement and rebounds into the shadows of the face, brightening them. A small ray diagram lettered a e, f and h shows how the sky-light reaches under the nose, the lip and the chin.
On this page
Sites to choose for relief with grace
Leonardo prescribes westward streets with the sun at midday and walls high enough that the sunlit side does not reverberate onto the shadowed bodies. An eye placed in the middle of the street's mouth then sees the sides of the face turned toward it lit and those turned to the walls shadowed. The result is a graceful gradation of shadow, entirely free of any sharp boundary.
Reflected light softening the shadows of a face
The graceful shadow arises, he says, because the length of light passing between the roofs penetrates the walls and terminates on the pavement of the street. From there it rebounds by reflected motion into the shadowed places of the face and brightens them somewhat, changing from step to step into brightness until it dies away at the chin.
Sky-light reaching under nose, lip and chin (a e, f, h)
Taking the light to be at a e, Leonardo shows that the line f e illuminates as far as under the nose, and the line c f only as far as under the lip. The line a h extends as far as under the chin, and here the nose stays strongly luminous, being seen by all the light a b c d e.
