Condensation, the Movement of Figures, and Shadows on Muscles
Three notes: vapour condensing in an enclosed vessel, the changing limbs of figures, and the lights and shadows of each muscle
A closely written page gathering three short notes under separate headings. The first, on condensation, argues that vapour is compressed within an enclosing wall and cites smoke gathering in a glass distilling vessel as proof. The second, on painting, urges the artist to observe how the shoulder-blades alter the back as the arms and shoulders move, referring the reader to Leonardo's book of anatomy. The third, on shadows and lights, instructs the painter who draws from nature to record the quantity, quality and shape of the lights and shadows of every muscle.
On this page
On condensation: vapour compressed within an enclosing wall
Such is the nature of the condensation of walls that constrain the space they enclose: the enclosed matter is multiplied within the enclosing. It is proved by the smoke generated in an enclosed place, as seen in the glass vessels used for distilling, where one can recognise in which part of the transparent vessel the smoke more or less condenses.
The motions and attitudes of figures
Note in the motions and attitudes of figures how the limbs and their expressions vary, because the shoulder-blades in the movements of the arms or shoulders greatly alter the backs. Leonardo says all the causes of this will be found in the book of his anatomy.
Recording the lights and shadows of each muscle
You who draw from the works of nature should render the quantities, qualities and shapes of the lights and shadows of each muscle, noting in the lengths of their shapes toward which muscle they direct themselves, and the straightness of their central lines.