Leonardo Studies I: Linear Perspective and Visual Dimensions of Science and Art
This is the first comprehensive treatment of LEONARDO DA VINCI'S writings on linear perspective.
The author outlines the ancient and medieval background and assesses the contributions of 15th century authors such
as ALBERTI, FILARETE, FRANCESCO DI GIORGIO MARTINI, PIERO DELLA FRANCESCA and LUCA PACIOLI.
With photographs of models and three-dimensional diagrams he is able to explain Leonardo's often cryptic
two-dimensional sketches. Through experimental reconstructions carried out with the
distinguished Leonardo scholar, Dr. Kenneth D. Keele, he establishes that da Vinci
was the first to demonstrate quantitatively the laws of linear perspective.
With the patience of a detective he traces the steps that led from simple surveying
experiences to a complex method of spatial demonstration.
He describes the instruments that Leonardo used and considers the relation between his
theory and practice.
We are shown how Leonardo applied his new science of linear perspective to curvilinear and angular survaces and thus became the first to study systematically anamorphosis (prospettiva artificiale), which he advised against the painting practice, although it continued to fascinate him as a scientist because of the systematic transformations it entailed.
A basic argument of the book is that perspective is not simply a menas of copying reality but rather a method serving to build bridges between geometry and nature. Three aspects of this process are described, namely, how Leonardo uses perspective to make three-dimensional models of:
1. the regular solids and other geometrical figures,
2. organic objects in Nature and
3. of abstract concepts of physics such as heat and force
He thus renders geometry naturally and Nature geometrically, and this coupled with his concept of the four powers (percussion, force, weight and motion) prepares the way for the quantitative study of Nature which Galileo, Descartes, Huygens and Newton codified in the 17th century.
In part three we are shown how Leonardo also extended his new found principles to colour and loss of distinctness perspective. The author traces Leonardo's growing awareness of discrepancies between the geometrical laws of perspective and psychological experiences of vision and explains how this inspires a new concept of chiaroscuro which Leonardo sees as a branch of perspective. In this context Leonardo's major paintings are reassessed.
Perspective, the author concludes, transformed Leonardo's approach and changed the direction of Renaissance art and science. Some of its wider philosophical and cultural implications he explores in an epilogue.
