Distant Figures Left Unfinished; Choosing the Background
Why intervening air blurs far objects, contrasting ground with figure, and a precept on the edge of shadow
A text leaf from Part Three of the Treatise on Painting. It teaches that small distant figures should be merely suggested, not finished, because the great mass of air between eye and object thickens into a body that hides the minute particles of far forms. A further chapter directs the painter to set an illuminated part against a dark background and a shadowed part against a light one, greatly aiding relief, and a precept begins on judging where shadow borders light and where it is more or less softened.
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Leave distant small figures unfinished
Things of minute form are so because they are far from the eye, and the much intervening air hinders the plain appearance of their form, making the minute particles indiscernible. The painter should therefore make small figures merely suggested and not finished; to do otherwise counterfeits the effects of nature, his mistress.
Contrast the ground with the figure
Since all bodies are surrounded by shadow and light, the illuminated part of a body should end against a dark thing and the shadowed part against a light thing. This rule gives great help in bringing figures into relief.
Precept: watch the border of shadow and light
Labelled c, the precept begins: where the shadow borders the light, take heed where it is brighter or darker, and where it is more or less smoky (softened) toward the light.
