Reflections that Lighten Shadows and Stand Against Dark Fields
How surface polish, the darkness of the ground, and prudent use govern reflected lights
This page treats reflected light in painting. An opening note holds that a reflection partakes more of the surface where it forms than of the body casting it, in proportion as that receiving surface is the more polished. A chapter then explains how reflections from lit parts rebound into opposite shadows and lighten them by their nearness and brightness, and advises the painter to use both reflected and non-reflected passages where needed while keeping their causes plainly visible, so as to satisfy every critic. A final chapter states that a reflection shows more or less clearly according to the darkness of the field behind it, standing out strongly against a darker ground and fading against a lighter one.
On this page
Reflections and the polish of surfaces
A reflection partakes more of the surface on which it forms than of the body that casts it, in proportion as that receiving surface is more polished than the generating one.
Reflected light lightening shadows
Reflections from lit parts rebound into the opposite shadows and lighten them according to their nearness and brightness. Leonardo advises the painter to use both reflected and non-reflected passages where needed, always making their causes plainly visible so that no critic can justly fault the work.
Reflections against dark or light fields
A reflection shows more or less clearly according to the darkness of its field. Against a ground darker than itself it stands out strongly through the great difference of their colors; against a lighter ground it appears less evident.