[Footnote 2: See Footnote 3] Since white is not a colour but the neutral recipient of every colour [Footnote 3: il bianco non e colore ma e inpotentia ricettiva d'ogni colore (white is not a colour, but the neutral recipient of every colour). LEON BATT. ALBERTI "Della pittura" libro I, asserts on the contrary: "Il bianco e'l nero non sono veri colori, ma sono alteratione delli altri colori" (ed. JANITSCHEK, p. 67; Vienna 1877).], when it is seen in the open air and high up, all its shadows are bluish; and this is caused, according to the 4th [prop.], which says: the surface of every opaque body assumes the hue of the surrounding objects. Now this white [body] being deprived of the light of the sun by the interposition of some body between the sun and itself, all that portion of it which is exposed to the sun and atmosphere assumes the colour of the sun and atmosphere; the side on which the sun does not fall remains in shadow and assumes the hue of the atmosphere. And if this white object did not reflect the green of the fields all the way to the horizon nor get the brightness of the horizon itself, it would certainly appear simply of the same hue as the atmosphere.
On gradations in the depth of colours (279. 280).
279.
Since black, when painted next to white, looks no blacker than when next to black; and white when next to black looks no whiter than white, as is seen by the images transmitted through a small hole or by the edges of any opaque screen …
280.
OF COLOURS.
Of several colours, all equally white, that will look