Soft Edges for Distant Things and Remote Figures
An edge is a mathematical line, not a line; how to paint far figures as patches, and lights only on white
The precept warns the painter not to define the boundary between fourth and fifth planes as sharply as between the first and second, since an edge is of the nature of a mathematical line, not a line, being merely the meeting of one colour with another and imperceptible up close, and so should not be pronounced in distant things. A further section on the flesh-tones and figures remote from the eye advises placing only soft patches with confused edges, choosing such figures when it is cloudy or toward evening, avoiding defined lights and shadows, and refusing profiles, separated hairs, and white lights except on white things. A last fragment opens the point that the edges of shadowy bodies are ill seen in their own lights and shadows. The page carries a large ink stain but no diagram.
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A distant edge is a mathematical line, not a line
The painter should not terminate the fourth planes against the fifth as sharply as the first against the second, for the edge of one thing on another is of the nature of a mathematical line, not a line. It is merely where one colour begins upon another and is imperceptible close by, so it must not be pronounced in distant things.
Painting remote figures as soft patches
In figures and things remote from the eye set down only the patches, undefined and with confused edges, choosing such figures when the sky is cloudy or toward evening. Avoid defined lights and shadows, which look stained from afar; make no profiles, do not separate the hairs, and give white lights only on white things.
Shadows must not kill colour; edges lost in light and shade
Shadows should never be so dark that the colour beneath them is lost, unless the place itself is dark. The concluding note observes that the edges and figure of any part of shadowy bodies are ill recognized within their own shadows and lights.