Rendering a Storm of Wind and Rain
Form in illuminated versus shadowed rain, and how to compose a tempest scene
A leaf of the Trattato della pittura, header TERZA, continuing the treatment of rain and storm. It first distinguishes how form is read in illuminated versus shadowed rain, then records the copyist's note that Leonardo's original held here a watercolor of a foreshortened city under sunlit rain, done by the author's own hand. The long chapter that follows, on arranging a storm of winds and rain, describes bent and stripped trees, whirling dust and sand, breaking clouds pierced by sunbeams, and terrified animals fleeing across the shore. Text only, in a clear scribal hand.
On this page
Light in luminous versus shadowed rain
In shadowed rain things lose only their principal lights, but in luminous rain they lose both light and shadow: the lit parts blend with the brightness of the illuminated air, and the shadowed parts are brightened by that same air.
A lost watercolor of a city under sunlit rain
A copyist's note records that in the middle of this chapter Leonardo's original bore a city seen in foreshortening, over which fell a rain lit here and there by the sun, executed in watercolor and by the author's own hand.
Arranging a storm of winds and rain (Della disposizione d'una fortuna)
The air is tinted with dark cloud, mixed with rain, wind, and serpentine lightning. Plants bend to the ground with overturned leaves; whirling dust and sand rise from the shore; sunbeams break through gaps in smoky cloud to strike the earth, while frightened animals run in circles across the shores.
