“That the atmosphere attracts to itself, like a lodestone, all the images of the objects that exist in it, and not their forms merely but their nature may be clearly seen by the sun, which is a hot and luminous body. All the atmosphere, which is the all-pervading matter, absorbs light and heat, and reflects in itself the image of the source of that heat and splendor and, in each minutest portion, does the same. The north pole does the same as the lode stone shows; and the moon and the other planets, without suffering any diminution, do the same.”

— Leonardo Da Vinci

The Notebooks of Leonardo da Vinci (1883), II Linear Perspective

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Italian Renaissance polymath 1452–1519

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“All bodies together, and each by itself, give off to the surrounding air an infinite number of images which are all-pervading and each complete, each conveying the nature, colour and form of the body which produces it.”

Leonardo Da Vinci (1452–1519) Italian Renaissance polymath

The Notebooks of Leonardo da Vinci (1883), II Linear Perspective

“The instant the atmosphere is illuminated it will be filled with an infinite number of images which are produced by the various bodies and colours assembled in it. And the eye is the target, a lodestone, of these images.”

Leonardo Da Vinci (1452–1519) Italian Renaissance polymath

The Notebooks of Leonardo da Vinci (1883), II Linear Perspective

“A luminous body when obscured by a dense atmosphere will appear smaller; as may be seen by the moon or sun veiled by fogs.”

Leonardo Da Vinci (1452–1519) Italian Renaissance polymath

The Notebooks of Leonardo da Vinci (1883), IV Perspective of Disappearance

“A single and distinct luminous body causes stronger relief in the object than a diffused light; as may be seen by comparing one side of a landscape illuminated by the sun, and one overshadowed by clouds, and so illuminated only by the diffused light of the atmosphere.”

Leonardo Da Vinci (1452–1519) Italian Renaissance polymath

The Notebooks of Leonardo da Vinci (1883), III Six books on Light and Shade

“All objects project their whole image and likeness, diffused and mingled in the whole of the atmosphere, opposite to themselves.”

Leonardo Da Vinci (1452–1519) Italian Renaissance polymath

The Notebooks of Leonardo da Vinci (1883), II Linear Perspective
Context: All objects project their whole image and likeness, diffused and mingled in the whole of the atmosphere, opposite to themselves. The image of every point of the bodily surface, exists in every part of the atmosphere. All the images of the objects are in every part of the atmosphere.

“Is not the Heat of the warm Room convey'd through the Vacuum by the Vibrations of a much subtiler Medium than Air, which after the Air was drawn out remained in the Vacuum? And is not this Medium the same with that Medium by which Light is refracted and reflected and by whose Vibrations Light communicates Heat to Bodies, and is put into Fits of easy Reflexion and easy Transmission?… And do not hot Bodies communicate their Heat to contiguous cold ones, by the Vibrations of this Medium propagated from them into the cold ones? And is not this Medium exceedingly more rare and subtile than the Air, and exceedingly more elastick and active? And doth it not readily pervade all Bodies? And is it not (by its elastick force) expanded through all the Heavens?”

Isaac Newton book Opticks, or a Treatise of the Reflections, Refractions, Inflections and Colours of Light

Query 18
Opticks (1704)

“We exist in the geographical environment, moving about in space-time, as we carry on our continual intercourse with nature, through breathing, drinking, eating, absorbing light, heat and other forms of radiant energy, eliminating through breathing, urination and defecation, through the skin and by radiation of heat, as the geographical environment flows in and out of us, as it does in all other organisms.”

Lawrence K. Frank (1890–1968) American cyberneticist

Source: Nature and human nature (1951), p. 37 as cited in: Laura Thompson (1961) Toward a science of mankind. p. 84

“[Venice is] somewhat disguised by the artists who usually paint Venice, who have disfigured it by turning it into a city heated by the brightest and hottest sun. On the contrary, Venice, like all luminous cities, has a grey hue, the atmosphere is mild and misty and the sky arrays itself with clouds, just like the sky of our Norman and Dutch regions.”

Eugène Boudin (1824–1898) French painter

Quote of Boudin's letter, from Venice, 1895; to art-dealer Durand-Ruel; as cited in 'Venice, The Grand Canal' 1895, by Anne-Marie Bergeret-Gourbin https://www.museothyssen.org/en/collection/artists/boudin-eugene/venice-grand-canal, Museo Thyssen <br class="br">1880s - 1890s

“The hypothesis of molecular vortices is defined to be that which assumes — that each atom of matter consists of a nucleus or central point enveloped by an elastic atmosphere, which is retained in its position by attractive forces, and that the elasticity due to heat arises from the centrifugal force of those atmospheres revolving or oscillating about their nuclei or central points.
According to this hypothesis, quantity of heat is the vis viva of the molecular revolutions or oscillations.”

William John Macquorn Rankine (1820–1872) civil engineer

"On the Centrifugal Theory of Elasticity as applied to Gases and Vapours" in The London, Edinburgh and Dublin Philosophical Magazine and Journal of Science (July-December 1851), p. 510

“Atmosphere is the medium through which we see all things. In order, therefore, to see them in their true value on a photograph, as we do in Nature, atmosphere must be there. Atmosphere softens all lines; it graduates the transition from light to shade; it is essential to the reproduction of the sense of distance. That dimness of outline which is characteristic for distant objects is due to atmosphere. Now, what atmosphere is to Nature, tone is to a picture.”

Alfred Stieglitz (1864–1946) American photographer

Source: 'A Plea for Art Photography in America', Alfred Stieglitz, in 'Photographic Mosaics,' Vol 28, 1892: About Pictorialism.

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