RAPHI ES OF T HE GREAT ART IST
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P R E F A C E.
Mom: or less successful biographies of Leon ardo da Vinci hav e of late years appeared fromthe pens of Charles Blane; h C rl Clement Mrs. H a an d rl Bru . ha es , e ton, Ka n In t is
Mr P E P l r lat w rk i . r . r o , wh ch e cy inke ton has kind y t ans ed z for me I av w l m ro erto , h e sought to keep ithin the i its p p
m r r r m l v r f a s a e e biog aphy, endeavou ing ain y to e i y the f ct
’ ar s l f firm ho of the ti t s i e, and to con the authenticity of t se
k H l in n wor s which he has left behind . appi y this instace it has been not wholly impossible to add somewhat to our f rm r r l l r a r the o e pe sona know edge of the g eat p inte , as
’ best and most reliable sources ofinformation are Leonardo s 2: own u l c m v hi r met npub ished do u ents, which ha e the to ‘ w u a fr m art The ith b t scant ttention o the student of .
r r m f r M resea ches unde taken by e in the our Leona do SS. in and m r m m r nda R al London, the nu e ous e o a in the oy — Library at Windsor access to which has been most — graciously accorded to me hav e led to results which
’ throw new light upon several facts relatin g to Leonardo s
b r r his or . iog aphy, and to the histo y of w ks v m i me os .
' C r in l a a n e r s c ar c ter e ta y , p i t h a is to be gauged from a
study of his pictures rather than from the actual incidents
’ in his life in c n rd o da r yet dis ussing Leo a Vinci s wo ks , it
is r m r l r l e s a w e av to p i a i y with histo ica qu stion th t h e do . In this volume I hav e purposely treated only of such paintings by the maste r which I can conscientiously pro
i f the l r a u h s . O so no nce to be these ist is sho t one, that t o m m r m r r n ma r r r so e y e a ks the eo y savou of hype c iticism. Yet for this the master himself is to blame ; we can only echo the universal lament as to the dearth of pictul e s
’ r ar which he has given to poste ity . In Leon do s own da m r r l r r s y, even , his conte po a y Ugo ino Ve ino w ote thu reproachfully of him
rs n e L n u u fo an s p rat eo ardus Vi ci s omnoo, Tellers do abula dextram sed nesoit et ins ar t , t " P o o e nia multis ix u uam riicit annis r t g v po .
It would have been outside my purpose to sift and weigh the reasons no less obv ious than un w arrautable whereby so v ast a list of spurious picture s has been l traditionally ascribed to Leonardo . Possib y also such a task wou ld hav e been quite barren of result ; for when called upon to refute the assertions of prejudiced
- sm the art r f lls rl s. P egoi , pen of the c itic a powe es ainting — has a language of its ow n a language with dialects not
m lf has l r o all . rd e unde st od by Leona o hi s just y said ,
" T ir ll erch th d ll h st sha p y tongue , and thy bo y sha
s r l c l and st ere wa te th ough a k of s eep su enance , thou sanst describe in words that which painting instantly
Se ts forth before the eye .
r l r t l r T re i n the wo ds of a ce eb a ed Ita ian connoisseu , he
r li l ou n r not l is still ve y tt e known ab t Leo a do da Vinci, on y ii PREFACE. v
r Al ls m n r on a . To the othe side of the ps, but o a o g us he e
r G r he r as r a gethe with io gione, anks that one of the g e t
l m r a r an d d Ita ian aste s who, th nks to the igno ance stupi
n s m met ff r e na v va ity of o e, has with indi e enc , y e en with
r l m r c . To fi r dis espe t show us this gu e a ight , in its sub i e,
l l l r m a f l al its co ossa out ine, is in t uth the ost be uti u as so the most diflicul t of tasks which the art- historian can
hims lf E l d v ar l u n set e . ng an , with its iety of count ess
c v r r a r of all l fi dis o e ed t e su es , is p aces the ttest whence to c m r r m r him l r an d o e nea e to the aste , to study c ose , to ” know himmore thoroughly .
J . P. R.
NDON December 18 9 LO , , 7 . I LLU S T R A T I N O S.
A ter Paintin s f g .
Adoration of the Kin gs The Last Supper
Vir in and St A nne Double g . ( Battle of A nghiari
Mona Lisa
Vierge au x Rochcrs
La Sainte A nne
A fter Drawings.
Portrait of himself
Female Head
Head of Christ
Head of a Boy
A Sketches fter .
Men on Horses fighting with a Dragon G rou p for the Last Supper Suggestion for the Sforz a Monument
A En ravin fter g g.
Female Head in London
l mson Wi lia . Drawn by James J.
N N T CO T E S.
CHAPTER 1 . rec s The Florentine School of Painting in the Fifteenth Century The ou h of Leonardo da Vinci—The Studio of his Master y t , Verrocchio
HAPTER I I C . — — Journey to Milan His Letter to D uke Lodovwo The Last — ’ — Supper Goethc s Criticismof the Picture Preparatory Studies 12
HAPTE I I I C R . — The Equestrian Statue of Francesco Sforz a Leonardo as an — — A rchitect A s a Painter Portrait Pain tings
HAP ER C T I V.
’ “ Leonardo s Scholars in Lombardy : The Academia Leonardi — — Vincii Milanese En gravings The Fall of Lodovico Sforz a 48
HA C PTER V. — Leonardo at Venice His Portrait of I sabella G onz a a — g Residence in Florence I n the service of Cesare Borgia CONTENTS.
CHAPTER VI .
I n French Service—Visi to Rome —I n the Service of Francis t 1. — The Madonnas in the Louvre and at Charlton Park — ’ Residenoe at Clan Leonardo s Death
CHAPTER VII .
’ — — Leonardo s personal Appearance His Principles in A rt Cari — — catures The Ttettato della Pittura His Manuscripts ’ Achievements in Science Leonardo s Library The Phr CHR N L Y LE D O O OG OF ONARDO A VINCI.
4 1 52 Born at the Cas le Vin ci 4 . t , M 7O about . He en ers the studio of Verrocchio . ( ) t , 7 14 2 M m r F 7 e be of the Gu ild of Pain ers at lorence . t , 7 1480 Commissioned to paint the Adoration of the Kings for San Donate
at w in fi z i Florence - 10 Sco no he at 9 . peto ( t U ) , 1482 abou Se les down at Milan 16 ( t) . tt , ’ 1489 He be ins the Trea ise of the Human Fi ure 113. g t g , 1490 A ril 23 he recommences the E u estrian S a ue and be ins p , q t t , g ’ the Trea ise on Li h and Shadow 31. t g t ,
1493 Th Mod f M numen xhibi ed at Mil n 37. e el of the S orz a o t e t a , t u io dio 0 March 6 he German J l enters his s u 5 . , t ,
March 24 Galeaz z o enters his s udio 50. , t ,
Jun 30 Fl r n Member of a Commission 70. e , at o e ce, , 1497 Lodovico Sforz a urges Leonardo da Vinci to cornplete the Last
h L T e ast Su er com le ed 19. pp p t , L him n d A ril 25 u o ve a i e ar 54. p , d vico Sforzn gi s v y ,
- March 13 visi s Venice 57 5 . , t , 8 A ril 4 a l 3 p , t F orence, 6 . ’ esare Bor ia s Decree nomina es Leonardo his en ineer 64 . C g t g , Jul 30at rb no 66 y , U i , .
A u us 1 at Pesaro 67. g t , , u 8 B mn A us at i i i 67. g t , ,
A u us 11 at Cessna 67. g t , ,
Se ember 6 at Cessnatioo 67. pt , ,
A F o nce 69. pril 8, at l re , xi] CHRONOLOGY OF LEONARDO DA VINCI .
mi F rence 4 memb r of a om ssi n a lo . n . 2 e o t Ja 0, C , 7
and 15 P e ares the Picture for the Battle of A n hiari 75 . 05 . r p g ,
A u ust 3 Jmo the G man e nters his s udio 91. g , w er t ,
A ril 14 Lorenz o en ers his stu dio 91. p , t , L Mil n 9 eaves for a , 1.
T w urn to Florence 94 . o jo eys ,
ct 2 c t Mil n 94 . O . 1 , ba k o a , i di B r M i March 22, at Florence in the house of P ero a to artell , 4 121 9 , .
I n the S rin at Florence 94 p g, , . I n D mber at M ilan 5 ece , , 9 .
4 l aves Milan for m Se t. 2 e Ro e 9 p , , 6.
Se t 2 at S. A n elo on the P0 96 p . 7, g , .
A t Rome, 97.
I n the A u u mn with Francis the First in Northern I tal 10 3. t , y, I n F ran the hateau loux ne mb i 1 ce, at C C , ar A o se , 03.
A ril 23 he ma es his W111 104 p , k , . Ma 2 d es 1 4 y , i , 0. A u us 12 buried in the Ro al cha el at Amboi e 1 6 g t , y p s . 0.
2 s w o anno.
pupils ; each was also anxious that by new reads a n ew d l m r All i ea ight be eached . the more important works of the early Florentine school are alike distingu ished by an intense breadth an d grandeur of conception an d m r f l execution . With these aste s the acu ty of regarding
nature from an exalted stan d - point appears to have been mm a . The r l l c inn te t ivia , the co onp a e had no share in their design ; their whole aim was a characteristic por r al of if l f t ay the beaut u such as they ound it in nature. A dr a del Cas P ol c ll n e tagno, a o U ce i and Masaccio form
r c mm n m of r the t io, whence, at the o e ce ent the centu y, r r s ml the movement sp ang . Doct ine si i ar to theirs were taught to the su cceeding generation by the two Polla
uolos P r ll r Al ss Bal j , ie o de a F ancesca, e io dovinetti and l Andrea Verrocchio . Fra Fi ippo Lippi and his son ’ li B t ll —Kli ino s e r— P Fi ppino , ot ice i pp t ache and esellino of untimely death were among those whose bent lay in a m r more romantic direction. Do enico Ghi landajo prepares the w ay for Fra Bartolommeo and Raphael ; to Signorelli succeeds Michelan gelo ; while in Verrocchio the art of fi its mm r ur r Leonardo da Vinci nds i ediate p ec so . The style of all these masters is characterised by a marked d l fr m arl er man r of Gi f ec ine o the e i ne otto, the ounder of the Florentine school of painting and indeed of all Italian
art. r has ffirm t Since Vasa i , it been a ed hat these old masters drew their kn owledge principally from the r a s l ma antique . It is ce t inly po sib e that they y have been influenced by those few old Roman statues to which they A ll s h r ff r s fi l . t a of had access event , t ei e o t in the e d art cannot be ascribed to any less powerful a source of in
no f r of l m um n of Gre t o get that“ the sp endid on e ts ek 3 ms rancuasoas.
art its r m hi r l r i e at p i e, w ch we can now admi e , the F o ent n
a r v p inte s knew nothing whate er.
f ll ar ra r da v es u s In the o owing p ag ph , Leona do Vinci gi a more correct idea of how slight w as the influence of the
r r r antique upon Flo entine a t in the fifteenth centu y . We
ll a G an d a a o sha notice , too , that he ssigns to iotto M s cci precisely that amount of importance which is still theirs in the present day . A painter will produce works of but poor quality who takes for his guide the paintings of others ; but if he will l r fr m r l ll r f r fru ea n o natu a objects , he wi b ing o th good it .
Thi ma see m l fi l r R m a r s we y exe p i ed in the ate o an p inte s, who by continually copying the work of others from age
a of r Af r am to age hastened the dec y their a t. te these c o
G l r r am m iotto, the F o entine, who, b ought up ong the oun
s for his m a s f m lf tain , with goats co p nion , yet ound hi se
r e ur an r e an u g d by nat e to be a tist, and b g by sketching
mal h he e r m upon stones the ani s whic t nded . F o this he proceeded to copy all the other animals that he met
in r e mea a u r with the neighbou hood , and by th se ns cq i ed such a degree of skill as to surpass not only the artists
of own m all of m a A f e his ti e, but those any past ges . t r
him art f ll off r u u al m a of , again e , th o gh contin i it tions
ur l T mm of l r — as a a pict es, unti o aso F o ence known M s ccio —showed by the perfection of his work how fruitless were the labours of those who followed an y other leader than ” m r f all m r r o a . Natu e , the ist ess ste s ’ Vasari s detailed account of the life an d works of
n r r 1550 r - ar f Leo a do was w itten in , just thi ty one ye s a ter ’
er a . Al l e if a the paint s de th though not the o d st , t ken
a l v l r r r s a who e , it is e en now the best ite a y sou ce whence i of the m we n l a . in the ca ga n a know edge ster. A MS LE N D 4 O AR O.
Magliabechian Library at Florence contains a short bio
r of an rl r a r a m r g aphy ea ie d te, w itten by an nony ous autho ,
’ which throws new light upon the facts of the artist s ’ f ’ P r a w as al f r ar li e . e h ps it so be o e Vas i s time that Paolo
Giov io of C m l e his r , o o, pub ish d inte esting biography of
ar —Giovio r a e a s r n Leon do , the g e t st L tin hi to ia of the
' f u m x r . A ew l r f si teenth centu y 1 doc ents , ette s o his own an d of m r r his r ar conte po a ies , with p inted essays , e all that
f rm r r of hi s l f we have to o the disconnected eco d i e .
ar n w as r 1452 a Leon do da Vi ci bo n in , t the Castle
a l of A r Vinci , which is situ ted in the va e the no, mid w ay between Pisa and Florence . He was the natural son of Ser P r A tar ie o ntonio da Vinci , no y to the Signory ’ m r m of l r . His a C r a an F o ence othe s n e was ate in , d she afterwards married a certain Accatabriga di Piero del VW The son w as brought up entirely in his ’ father s house . Of his youthful education we are unable to judge ; we av e a ar on ly know it to h e be n v ied one . Vasari tells u s
a ar m ma r r r th t, In ith etic he de such apid p og ess that he often confounded the master who was teaching him by
r l r and ffi l the pe petua doubts he sta ted , by the di cu ty of the H e ls mm qu estions he proposed . a o co enced the study of mu r lv a r art of l l sic and eso ed to cqui e the p aying the ute , w e a r of an xal ima a and f h n , being by n tu e e ted gin tion ull of the m ra fu l v v a a a r ost g ce i city, he s ng to th t inst ument m v l m r v n m m ost di ine y, i p o isi g , at the sa e ti e, both the ” verses and the music .
of rl r i dr m Yet his ea y pu su ts , awing and odelling ‘ ’ — Archivio Storico I taliano. Serie Terz m a o o xvi. . 219 230 , t p . ’ t Bossi ‘Del lo Leo 1 See G . , Cenaco di nardo da Vinci. Milano. 18 0 ’ m a m oss m mo s es. 5
had r r m w as in clay the g eatest charm fo hi . It this w his f r la him w fr n hich induced athe to p ce ith his ie d , ’ A r del rr c u nd ea Ve o chio , in whose studio the boy s geni s
v l w oul d be de e oped by a thorough artistic training . N 0 more fitting teacher could at that time hav e been
l r r hi w as of he r a e found in F o ence . Ve rocc o one r g e t st geniuses : it is only in productiv eness that he ranks
m r l P r second to most of his conte po aries . Un ike e ugino
ll of a for and Bottice i , he was not those who p inted the market : works from his brush are rare yet they mark ’ Hi a in ar erro chi o s u w as m a v . s n epoch t. V c geni s i it ti e pupils were primarily taught sculpture an d modelling in
r z l a Am e l ar b on e, and ikewise p inting . ong thos who e nt of r z him we e Loren o di Credi an d Peru gino . ’ Ra l f r G v a a ill w as phae s athe , io nni S nti , whose sk ’ r ter n v r has u l Peru n g ea in pai ting than in e se , co p ed gi o s name with that of Leonardo in the following lines
’ ’ Due iovin ar d etate ar d onore g , p e p , ’ Leonardo da Vinci e l Peru ino g , ’ ! Pier della Pieve ch a. u n divin ittore , p .
Of the profound influence exercised by Verrocchio u pon his pupils we have evidence in the fact that his drawin gs and those of Leonardo an d Lorenz o di Credi bear su ch close resemblance in style as to be not easily distingu ish ’
l . A r a ar w as n er n ar s ab e cco ding to V s i , it u d Leo do supervision that Di Credi produ ced the gracefu l figu res in his r f ll fi r m ll w r if ca e u y nished pictu es ; s a onde , then , these should at times be ascribed to his more illu striou s
- r w v r fellow student . Leona do as e en ent usted with the ’ m l of Verrocchio s a an d er co p etion own p intings , consid in x t r l e ma r an d l is g the e is ing e ations betwe n ste pupi , this 6 L EONARDO.
less a matter for surprise than a like occurren ce would be in
art rl of tO- errocchie mm i b the wo d day . V was co iss oned y the monks of Vallombrosa near Florence to paint a pictu re of Ba tismo L T is t at the the p f our ord . his ye to be seen A d m of A l r r n s ca e y Fine rts in F o ence . Ch ist sta d in the
r ver l i r a creased in r r i ook ng downwa ds , with h nds p aye , to
r l l lm- r l n the the ight knee two ange s by a pa t ee , ho di g ’ Sav r r le l f iou s obe , whi , on the e t, John the Baptist is seen
f i A ar - in l f rm in the act o baptiz ng . f stretch g andscape o s
the c r a ar in i of r ll ba kg ound . V s i , speak ng this wo k, te s “ nar a e n l ldi m us that, Leo do p int d an a ge ho ng so e vest
m m l e fi r m r t ents , and co p et d that gu e in such a anne hat the angel of Leonardo w as much better than the portion
m r i se la r n r executed by his aste , wh ch cau d the tte eve to
l r mor m l a to fin d touch co ou s e , so uch was he disp e sed that a mere child could do more than The kneeling angel in the foreground is certainly the most pleasing ’ fi ur t r and m r g e in the pic u e , thus it co es that Vasa i s
a has l h a . r a necdote a ways been be ved On the othe h nd, it er im r a l l s r is v y p ob b e, and doubt e s an exagge ation , that it was the maestro himself w ho proclaimed his pupil victor m the n e . At an r l er n our in co t st y ate , upon c os exa inatio , '
r ll diflerent . The la are ve dict wi be a one p n, the design, ’ hi The m m m clearly Verrocc o s. sa e ediu which gave such luminous transparency to all the works of the early Florentine masters is here used in the painting of the bold Th of and realistic figure of St. John . e anatomy vein and muscle in the gaunt hands of the hermit is given with l r ll and r r of abso ute accu acy . Donate o othe a tists the time were all wen t to represent John the Baptist as the
r of men and rr hi who r e e most hagga d , thus Ve occ o, is e p n
f r fi r t ar l l me for sible o the gu e in ques ion, can sc ce y be b a d ’ m BAPTISM or e m 'r n s BY s a mo. , v s oee f ll r m l . Wa r ar o owing thei exa p e h t sha e, then , had Leon do in the picture ? Not merely the angel ascribed to him by
ra al fi r Of r nd of n t dition, but so the gu es Ch ist a the seco d
l as ll as la r are v u l ange , we the ndscape backg ound ob io s y
in e r l oil m ar al a s pa t d enti e y in , a ethod which Leon do w y
m l r Verrocchie v r a e p oyed, whe eas ne e ab ndoned his
m r r r T r the te pe a g oundwo k . he same hand which d ew charming profile Of the angel is discernible in the flowing lo arm a an d r of fi u r of C r cks , in the s, h nds to so the g e h ist,
h are l rf w Da w ich no ess pe ect in their ay . Respecting ’ ’ r Of in errocchio s a l r w Vinci s yea s study spent V te ie , e
n r z Cre am k ow that, when the e, Loren o di di bec e so ’ m ar l a his r of a i bued with Leon do s sty e , th t pictu es th t
r period have been confounded with those of the lat te . In all likelihood it w as he who painted the beautifu l
M na Na ll fir at adon al Ga r NO. s , in the tion e y ( t r G rla a an d at re e P lla l a t ibuted to hi nd jo p s nt to o juo o, ’ i sm picture rich w ith reminiscences of Verrocch o s Bapti . At all ev ents it w as in his studio that the Madonna w as produced . ’ Leonardo probably came under Verrocchio s tu torship in the year In the June of 14 72 we fin d an entry Of his name in the account - books Of the guild of
e H me as painters as an independ nt artist . e is ntioned ” f all arl r Lyonardo di Ser Piero da Vinci . O his e y wo ks r m al a ar an d a m u not one e ains, though both V s i the nony o s
a ar him a r- l u r re biographer mention c toon by in w te co o s ,
r ll a imal re are a p esenting the Fa , in which n s and t es p inted
w as av a of with wonderful truth . It intended to h e piece tapestry wov en in Flanders after this design for the King
w as v r . W a r r of Portugal ; but this ne e done hen V sa i w ote ,
’
da inci. Firenz e 18 2. z ielli Ricerche intorno a L. V 7 U , , 8 m amb o.
sa ar he sam r r v es mi di ppe ed. T e w ite gi a nute description
’ shi l i e nar ai e a his Of a. e d wh ch L o do p nt d t father s request . His aim w as to impart to the panel a pow er equal to that ssess ac l a of sa ref re po ed by the tua he d Medu , and the o he d te a. hi an d a alli m ns er r at in epic d deous pp ng o t , b e h g son flames rr atm re offire poi and , and su ounded by an osphe .
This a se to from a rift in a ar roo he c u d issue d k k, with
ison rackin fr m av r s hr a fl mes dart n po g o the c e nou t o t, a i g fr m es an d v a o r r s fr m s ril —in o the ey , p u s i ing o the no t s such sort that the result w as indeed a most fearful an d ” m n o strous creature . This w as afterwards sold to the
Du Of il for 300 s an d c is ke M an ducat , sin e then nothing f T known o it . he same fate befel an unfi nished picture of Medusa an d l is ardl m e sa d for the , its oss h y co p n te by a im lar a Of la er a e rr sl ascr e to s i p inting t d t , e oneou y ib d
o r w hi n w ffiz i l r e U at ce . Le na do, ch is in the F o en
On r as r im elf ul ar anothe occ ion , Vasa i h s wo d appe to hav e v He m s a ur e be n decei ed . ention picture of O Lady which w as greatly priz ed by Pope Clement the Seventh : among the accessories of this w ork w as a bottle filled with water in which some flowers w ere placed with dew
re l av r a r a a r d d ps on the e es , so t ue to n tu e th t they ppea e
r to be real . Now it is beyond question that the wo k at r s in r G ll r at R m an d hi h p e ent the Bo ghese a e y o e, w c
rr l an r to hi r w as in r al na ow y swe s t s desc iption, e ity
a e r z Cr al s r to Da p int d by Lo en o di edi , though a c ibed
r al of ra ma for A t Vinci . Vasa i so speaks a d wing, de n onio
of N his ar r sea- r Segni , eptune in ch iot d awn by ho ses , in
hi t r ul av ar s an m sur w ch the u b ent w es , the v iou ph to s r r m st r Of w ounding the cha iot , the on e s the deep , the inds an d the heads Of the marine deities are w hat provoke his
’ 9 m ADORATI ON or THE m es.
r l l r l of special w onde . We have ikewise to dep o e the oss ’ am r r lle of ar this work . Yet ong the a e co ction the tist s
r i r r a m l r m d aw ngs at Windso the e is si i a co position , done
l al r a l a r l e of n in b ack ch k , p ob b y ough out in his desig . His anonymous biographer informs us : An d he began
r for P laz z Pu l hi l r to paint a pictu e the a o b ico w ch , ate
m l fr m ra il Fra on , was co p eted o his d wing by F ippo di h f 1 14 l x ili o . T e r o r 78 l a F pp cont act Janua y , , is sti e t nt , in which Leonardo agreed to paint an altar- piece for the
- h r ar v m . T chapel of St . Be n d in the abo e na ed pal ace e young artist set to work at once an d as early as March
r v an lm f T a w as all o fee . had ecei ed insta ent his h t ,
v r for ft r a l mm n w as ra f rr howe e , a e whi e the co issio t ns e ed
l m n e a ll to Fi ippino Lippi , whose co position is i d ed tota y ’
ar ra of ar ma er . independent one, be ing no t ce Leon do s nn
v r l m la l l of l s We can, howe e , c ose this e ncho y ist o t ’ r r the first- fr of a r a t easu es, uits the p inte s genius , with
ur l fi ar am l r of pict e, which , a though un nished , be s p e p o ’ of m r e e of hi is l o the aste s hand , and the g nuin ness w ch a s
lar v a f attested by documents . It is the ge can s o the
t n Al in Adoration of he Kings in the Ufliz i at Flore ce . though
m l ou r m of is w a an inco p ete state, enjoy ent it in no y
more l el marr . rar ed On the cont y, the c os y we study it , the m re m v if m le in o we beco e con inced that, co p ted
l is m fr m v r ma fi e of oi s , th co position , o the e y gni c nce its
l l f arm a l l o . is a in design , wou d ose not itt e its ch It p inted
r r r a a f r r b own , and ep esents the Madonn se ted in the o eg ound
fa r rm h holding the In nt Christ in he a s . T e kings w ith
r are r ar n f rm m ir l thei attendants g ouped ou d , o ing a se ic c e
ra l ol m a T ofvene b e d en an d enthusi stic youths . he ordinary ' efiects to be gained in the colouring of rich robes are not
’ re l l rf r h e l r sought he , est they shou d inte e e wit the b ho de s 10 m s se ou . just appreciation of the subtle shades of expression to be f not m ou nd in the faces and gestures of each. We do ean to say that Leonardo left this incompleted because he was
r ai rr n ou t of m unce t n as to the ca yi g his sche e, which ,
of l l mm r s n in the case Miche ange o, was the co on—ea o why so many of his w orks remained unfinished On the
r r r ar r the cont a y, the wo k does not be in any one pa t
— v the l of r u traces of indecision not e en in detai s backg o nd,
m of r m n r f as r s. The co posed ho se e , t ees and ant tic uin several forms are drawn w ith a sure hand and are all l r the characterised by great individua ity . In this espect, picture may be considered as complete as similar works by
R m ra m r m — for c e b ndt in onoch o e as, instance , the sket h
’ of John the Ba tist P reachin r l ll . p g, in Lo d Dud ey s co ection In the March of 1480the monks of San Donate at Scopeto had given an order to Leonardo for this picture to
r ef al ar of h ir h rc an d J l of ado n the chi t t e c u h, in the u y
r follow in a f rmal r m was r t the yea g o ag ee ent ente ed in o . ' The r oflercd w as r r florins l p ice th ee hund ed in go d, on
n di r r a i - u r or co tion that the wo k was e dy with n twenty fo , m at m r . As r l f lfil the ost , thi ty onths the a tist fai ed to u
arra m him w as cau these conditions , the nge ent with
ll an d l w as s r to r ce ed, Fi ippino Lippi in t ucted do the wo k . ’ Li i s fi s r Adoration o the Kin s pp un ni hed pictu e, the f g , is
en the Ufliz i at l re yet to be se in F o nce , where it hangs ’ l o ar r r e a of m c ose to Le n do s ep es nt tion the sa e subj ect . It must have been about this time that the small paint
nar w as r e n ew ing by Leo do p oduc d , in the Vatican
Pinacotcca R m . a r m r me at o e It is in b own onoch o , and St r r a e l n . er m fi r r l ep esents kn e i g J o e , whose gu e is g eat y
i r ll a f d foreshortened. In the W ndso co ection we h ve oun
preparatory drawings for this picture . m u s 11 wo xs.
’ Nor does Vasari omit to tell us of the young painter s
r d l rr a er en an ll as r . e gy ski a scu pto Ve occhio, his te ch , w as w far m re r fi e l t , as we kno , o p o ci nt with the chise han w Da n c le ru . A r a ar ith the b sh cco ding to V s i , Vi i, whi
et x t v ral rra- a y quite a youth , e ecu ed se e heads in te cott l of m l n m an d r w r f rwar s i i g wo en chi d en , which e e a te ds r r e n of r m an d ep oduc d in gypsum. But no e these e ain ;
of m r fi r m r l r z an d rra- a the nu e ous gu es in a b e, b on e te cott ’ Verrocchio s has fur a m ra l which studio nished , d i b e as
m of m are r a can r a ost the , the e is not one th t with ce t inty
a r r be sc ibed to Leona do . ’ ’ Vasari s testimony as to the young painter s skill as an architect is corroborated by the wonderful specimens of original architecture to be seen in the picture of the
E a alr r piph ny eady desc ibed . CHAPTER II . — — Jous ssr ro MI LAN BIS LETT ER TO DUKE Locovrco rs s LAST
’ ‘ sorrsa —oos'rns s CRITICI SM or w e prorc as—rssu s aroar
a a rom s .
BONARDO DA VINCI has often been blamed for
o i f r m of his cho s ng to o sake the ho e you th, and
r i la of n r t fo mak ng Mi n the scene his e e gies , wi h the f rz his r T Duke Lodovico S o a as pat on . here was certainly no lack of offers of employment ; n or could he complain
of an n l . foll li a fr m y eg ect In the owing nes, t ken o the r ll r a fin d l n onymous biog aphy, we sha pe h ps the so utio ' “ re z il Ma nifico a the of this . Lo n o de Medici g dopte d r him l r omm io young painte , giving a sa a y and c iss ns
r r n of ar for pictu es , with the ga de the Medici (ne the " a l r e as i hi Piaz z a di San Marco t F o enc ) his stud o . T s
f rmerl i l r for r m r l s garden o y conta ned ate ie s a tists , a b e , an d also a small collection of antiques . We know that The Michelangelo worked here some years late r. biography further t e lls us that Leonard o was thirty years old when he w as sent by Lorenz o ii Magnifico with Atalanta
e of Migliorotti to take a lute to th Duke Milan . r r r r e Accordin g to Vasa i, Leona do is epo t d to have gone ” “ “ own w t l he h there on his account, i h a ute which ad Y T L JOURNE O MI AN . 13 himself constructed almost wholly of silv er and in the ’ of r a an d f f l f rm al a shape a ho se s head , new anci u o c cul ted to m r f r give o e o ce and sweetness to the sound . When playing this instrument, Leonardo surpassed all the musicians who had assembled to perform before the Duke ; h e w as besides one of the best improv isatori in v erse e xisting at the time ; and soon the Dukebecame enchanted w ith the admirable conv ersation of the young Florentine artist . In fixing the date of this occurrence the anonymous
r r l m r rr a a ar biog aphe is undoubted y o e co ect th n V s i ,
w ho am f rz a as f rz a did n es Lodovico S o the Duke , but S o n ot m l r 1494 succeed to the dukedo unti the yea , when
- the r s r a e of f r . Belin z o e a ti t had eached the g o ty two n ,
at all v ell a ar fes e ents , t s us th t Leon do conducted the tiv ities which took place at Mila n on the occasion of the marriage of the Duke Gian Galeaz z o with Isabella
l Th n m ra r v e of Ca abria. e ano y ous biog phe who gi s the year 14 82 as the date when this occurred is therefore An d has am A more entitled to ou r belief. he n ed ta — lanto Migliorotti who used to learn lute playin g under ’ m a Leonardo s tuition as his co p nion .
r 144 7 f rz a fam l had om r In the yea , the S o i y c e into powe
il As r a of G Gal az z at M an . gua di n his nephew ian e o ,
v f rz ll il r r of ra Lodo ico S o a, ca ed Mo o , thi d son F ncesco
f rz had l e a re S o a, ikewise succe ded in obt ining the gency . 1 This w as in 480. In order to maintain his hold upon the reins of gov ern
m n f rz a to a ar f r in e t, S o sought ppe be o e his subjects l rol of a r l v ra an d of the doub e e c ue , indictive ty nt a
r lli l r r w ro him l b i ant phi anth opist, who d e a und the ead
in re res t of art of th g p en atives science and e day. We 14 w onanno.
’ have still a manuscript by Leonardo in which he oflem T i r m r l me his services to Lodovico . h s e a kab e docu nt is as follows H m ll r l r l r aving , ost i ust ious o d , seen and du y conside ed the experiments of all those who repute themselves m s r art of i v r m s of w ar and a te s in the n enting inst u ent , having fou nd that their instruments difler in no way fr m as are mm ll e ur o such in co on use, I wi end avo ,
t i r an l m n wi hout wish ng to inju e y one e se , to ake know to your Excellency certain secrets of my own ; as briefly enumerate d here below f l r l . o n r in r s I have a way co st uct g ve y ight b idge , m s a arr c m ma rs o t e sy to c y, by whi h the ene y y be pu ued fl l of r i t . r r and put o ight Othe s a so a st onge k nd , that fi o d lac re re r u l an are r m . sist assa t, easy to p e and to e ove I kn ow ways also for bu rning and destroying those of the e m ne y .
2 of v l n . In case in esting a p ace I k ow how to remove
r fr m t m r cali the wate o di ches , and to ake va ious s ng l r r r m u s. adde s, and othe s ch inst u ent “ m I f 3. e : f a u o or r h It , on cco nt the height st engt of l a n m r e position , the p ace c n ot be bo ba ded, I hav a way for ruining every fortress which is not on stone
4 can l m a of a n and con . I a so ake kind c nno , easy v ni nt tr r ll r fl mma l e e to anspo t, that wi discha ge in a b e m er s re r to m al re att s, cau ing g at inju y the ene y and so g at
m mo terror fro the s ke . 5 m : m n of rr and i r . Ite By ea s na ow w nding unde r u a m d r v g ound p m a e without noise , I can cont i e a way r n r e or an r m fo passi g unde ditch s y st ea .
6. m: r c r r Ite I can const uct ove ed ca ts, secure and
LEONARDO.
m and it is far fro easy to decipher. to write all his private memoran da in can therefore conclude that this decame more than a sent to Lode
amon l of a m l m that , g the ist his cco p ish ents he i l l e- l n for as r ll nc ude ut p ayi g, , Vasa i te s us, it fascinating performances on the him under the notice of the r r r r l e biog aphe , howeve , e at s that as a lute - player to Lodovico by that perhaps it was only natural mention of a talent which had alread y been
ardo da Vinci new took up his
r ri l of m reas p oduced du ng the who e that ti e , whe l r d l to fi e in a ike pe io , was ab e execute an in nit ’ mas L r r r er i . t t p eces Indeed , eona do s enti e a tis ic l of within the imits those twenty years . From political reasons it was necessary for . il More to secure the favour and it was probably on this sec commission ed by the Duke to
re en r of C r s w i p s ting the bi th h i t , h ch was sent to the m r r a G rma re . R r e n e pe o as p sent especting this pictu e, a m ra r ll u s i the nony ous biog phe te s that, in the op nion of
c e r l k d u on onnoiss u s , it was oo e p as a marvellous and n r of art ne w al ! r l l t u ique wo k , , as enti e y os to us. ms ENGAGEMENT T MI LAN 17 A .
The Duke seems to hav e understood how to p rofit by
e ar l f w s r e n ot th v ious ta ents o his artist . He a ent ust d
l ff r m r e d e r n on y with di e ent atte s conn cte with engin e i g, but also at the many court festiv ities he w as made master of the ceremonies an d manager in general ; bu t howev er much the people of his epoch may have admired the
r llian of in hi a a a r m an b i cy his genius t s c p city, it is ci cu st ce
w e of da an e l r r m a u which this y c only d p o e . F o the cco nts of these gay proceedin gs the studen t of art history can
le i Al of rs l in l g an noth ng . though , cou e , on y out ine , the designs which Leonardo made on these occasions wou ld undoubtedly be of the greatest in terest : w ork of that kin d by great masters has always had a special worth ’ an d we may safely assume that Leonardo s con tribution s to these decorations would hav e been stamped w ith such taste and such refinement as to serv e as a model
It is without doubt a sad task for the biographer of the
‘ r t l r n re r r of ma f l g ea F o e tine, in co ding the sto y his ni o d
a be a l an a l re l . ctivity, to un b e to point to y t ngib e su t ’ For da if eo ar fam as a re ar he in at this y , L n do s e g at tist popular opin ion n ot less than that of Raphael it can on ly
r on e rem re n —en l a re n ew est upon his sup e c atio y w ck , , — it is true yet which bears abundant proof of the extra
r r al e f Hi r r o dina y qu iti s o his genius . s la ge f esco of tlB Last Supper in the refectory of the conv ent of the Madon n a delle Graz ie in Milan has for lon g past been in a greatly
am et— l El mar le d aged condition , y ike the gin b s, in which,
t r m l n ma r es despi e thei uti atio , one y ecognise the high t — ’ ideal that sculpture has ever reached Leonardo s picture remains the most perfect composition in the history
of all a an d r r of painting ges . Copied ep oduced times
Q 18 A nseN nne.
dm re ld la es o a i d . O p t f it in the Florentine and Pad uan style appeared long before Morghen produced his cele
ra e rav . Most of the old es can v as b t d eng ing copi on , which are often to be met with in public galleries an d ’ r v a e lle are a ri e t o M rco O ienn o p i t co ctions, tt but d a d gg , ’ one of Leonardo s pu pils . At the begin n ing of the cen
u r os al ome fif ce ies t y, B si cat ogued s ty p , and countless others are now circulated annu ally in ev ery part of the
v world . We may e en see it as a fresco in a Byz antine
v of A a e a. l mi s o mm con ent the thos, in M c doni Vo u nou o en
ar e a r u o in r urn av t i s h ve been w itten p n it, which thei t h e
ar all l needed comment ies equ y engthy. The original paintin g occu pies the entire breadth of the
n arr all f - e - ll ow w o a now unus d dining ha in the conv ent . l l A ill Of its origin we know but itt e . b sent in by the
r h e of the m n a r 1497 for r a c it ct o ste y in , wo k in the ” r f r r ar has a A stl s has e ecto y whe e Leon do p inted the po e , hitherto led one to suppose that at that time the fresco
s r fu r w as completed . Yet thi theo y is con ted by a ecently ’ di r l r of fr m hi can be scove ed ette the Duke s, o w ch it ’ clearly seen that in that year Leonardo s picture w as far
m The r to his e fr fi d. r t r o being nishe Duke , w iting s c e a y
m r he in o an e s Do ino Ma e s St g , say
We have entrusted to you the carrying out of the matters mentioned on the enclosed list and althou gh our
r r r l r w ord of m ll o de s we e de ive ed to you by outh, it sha add
our mf r t m w few r to co o t hat we set the do n in these wo ds, to informyou how extraordinary is our interest in their
xe e cution . Lun wo MARIA SFORTI A ov .
Mila h of n 149 n, the 30t Ju e, 7. LA T P R THE S SUP E . 19
The memorials appended to this letter shows that the r ll a r l re in ar f the Duke ea y took pe sona inte st t. O thir e ff r ma r r m o e rea er t en di e ent tte s he e enti n d , the g t
r r f r w ork f m : Of e n ar of po tion e e s to s o art . Ite L o do Floren ce it is to be solicited that he finish the work in the
Re f tor ll Gratie m set r the et io de e , when he ust to wo k upon oth r fr ll r f hi if can a r me e ont wa the eo , w ch , he do, the g ee nts prev iously signed by him respectin g its completion within ” a given time will be cancelled . This interesting documen t proves that it w as not only the m l w ho av him com onks, but a so the Duke g e the m s ast u er alm s n l e i sion to paint the L S pp . One is o t i c in d to believ e that there w as some sort of difference between
and r e e r rre e w as Ludovico the a tist , sinc th i co spond nce
n the r n conducted in this indirect man er . By wo k upo ” the front wall of the refectory is probably meant the portraits to which we shall hav e occasion to refer later on i l f rm fin el a in 14 98 . Luca Pac o o in o s us de it y th t
r He Leonardo had put the finishin g touch to his pictu e . may have been ten years en gaged upon it perhaps ev en l r t an h ell on e of v el rela onge h t is . Band o, in his no s , tes ’ how m m l m l in lan , in Lodovico s ti e , so e gent e en iving Mi ’ were met one day in the monks refectory of the conv ent
lle Graz r u v e w atc e de ie, whe e with h shed oices th y h d Leonardo da Vinci as he w as finishing his marv ellou s
r of th ast u er The a r w as ell lease pictu e e L S pp . p inte w p d w that each should tell him what they thought of his ork . He would often come to the con v ent at early dawn ; an d
mo n the this I hav e seen him do myself. Hastily u ting
c ff l r e il l l a e of s a o ding, he wo k d d igent y unti the sh d s even in c m ell him a r a f g o p ed to ce se, neve thinking to t ke ood at all s r in r m s so e his r . A t , ab o b d was he wo k othe ti e ‘ c 2. 20 LEONARDO. he would remain there three or fou r days w1thou t touch
r nl m for a few r r ma ing his pictu e , o y co ing hou s to e in
ef r f l e arm az fi r as if to b o e it, with o d d s , g ing at his gu es
r em m l A mid - a lar e f. t d c iticise th hi s y, too, when the g e of a sun at its z en ith has made barren all the streets of
M la av him a fr m l r i n , I h e seen h sten o the citade , whe e
w as m ll his l al r he ode ing co oss ho se , without seeking the
a r e w a n v r o l sh de, by the sho t st y to the co ent , whe e he w u d
add a r an d mm a l r e e touch o two i edi te y retu n . Th s accounts certamgiv e on e the impression of being tru st
w r —m r be re e at an ra n an ec o thy, o e to c dit d y te tha the dotes about the prior of the conv ent who complained to ’ h l r ma l al t e of ar a e an d . Duke the tist s di to in ss, ny ike t es Durin g the fifteenth century in Florence the Sacramen t of ou r Lord formed a v ery common su bject for represen ta
all f v r f r e I n 14 80 rtl o e e . tion on the w s con nt ecto i s , sho y ’ f r e ar l f l re e ome G rl a be o e L on do e t F o nc , D nico hi and jo s picture there of the Last Supp er w as completed in the
f f v n isan r l Re ettorio o the con ent Og ti. Ve y possib y ’ Leonardo knew also of A n drea del Castagne s treatment
in r A ll a. of the same subject the refecto y of St . ppo oni Both ’ frescoes in their general arran gement resemble Leon ardo s
re The rea of the all - a n pictu . b dth w p i ting is occupied
a l n a le ehi sc l are s by o g t b , b nd which the di ip es eated ,
w C r s in en r has a ar l ith h i t the c t e , who pp ent y just
re r On e of s all e ra an d utte d the wo ds, you h b t y Me in the faces of the disciples is to be read the v arious w e ffect which His ords produce . In its main features ’ Leonardo s presentment of the subject is the same as that of the earlier masters of the Florentine Renaissance) the G o l as al Fra A l But with i tto schoo , so with nge ico ,
n w as a differ A the co ception ent one . ndrea del Castagno
THE LA T UPPER 21 S S .
was fir find a m of r a m the st to new ethod t e t ent, one in k r h R a a S r . t e eeping with the en iss nce pi it In his pictu e,
fi r nl an d of u a ar r gu es o y of St . John J d s Isc iot ecall the
m v l m a S r arrangement of edie a co positions . Jud s its apa t at
ar of a l to av u r l the ne side the t b e opposite the S io , whi e
h l ni for r in Sl m r hi s a r n u Jo n is ea ng wa d u be , he d esti g pon ’ rl a r S ll fin as his arms .) In Ghi and jo s pictu e we ha d this w ll The ar w r v l r l x e . tists e e ob ious y pe p e ed as to how they ’ should depict the Apostle actually resting upon Christ s ’
m. G Last Su er Pa u a a of boso In iotto s pp , in d , the he ds the
i l r a a fr m a r an d u rr u e d scip es, tu ned w y o the spect to s o nd d by
m im av alm lu r u effe A n r a r n . eno ous bi , h e an ost dic o s ct d e del Castagno Ghirlandajo and Da Vinci left ou t the n imbi altogether ; but Leonardo w as the first to represen t them
ll a l Yet l a seated on the far side of the t b e .) not on y in
ral l als e of fi u re gene out ine, but o in his conc ption the g s, Andrea del Castagno must be regarded as the foreru n n er ’ ar A r a fr of v r A s le of Leon do . In nd e s esco the pose e e y po t is as natural as it is v aried ; there is in div idu ality in each h fa r a r of rau ma s . T e u r ce, and g e t powe d ghts n hip pict e makes a profound impression u pon u s Botticelli an d Filippo Lippi could certain ly nev er hav e conceiv ed so
f a A m h a t u lo ty an ide l . co parison between t e L s S pp er in
v of . A ll a in l re e w h a in the the con ent St po oni , F o nc , it th t r i l z l rl v f r of . ar a l Gra e ea r es a in e ecto y St M de e i , c y p o th t
A r del Ca a n Da V had a rea re e e s r nd ea st g o , inci g t p d c s o who stood in about the same relativ e position to him as did Masaccio to Raphael . ’ In order to thoroughly understan d Leonardo s composi t n l a lu el e e ar s u its io as a who e , it is bso t y n c ss y to t dy
r The m r has em d e hi u indiv idual pa ts . aste bo i d s tho ghts as l nl as l arl as can ll be et e r full p ai y and c e y we , y th i 22 LEONARDO. meaning is not to be gathered from a casual examination) Nor is this more than can be expected from a man Of such
n u and r l w as high ge i s, when we conside how ong the
im S r f all o t e pent in wo king out his conception . O th se
who av e r e fr G has r n h e d sc ib d the esco , oethe pe haps bee most thoroughly able to gi ve v erbal expression to the ’ H r ar . e an r tist s intention w ote essay upon this pictu e , fromw hich w e quote the following important paragraphs ‘ f The means of excitement which he employed to agitate the holy and tranquil company at table are the words Of ’ a r T r am The a r . the M ste , he e is one ongst you th t bet ays Me
r sare er an d l m a r w wo d utt ed , the who e co p ny is th o n into consternation ; bu t He inclines His head with bent - dow n lee l l m Of arms ks, whi e the who e attitude, the otion the ,
v r hi m to r a the hands and e e yt ng , see epeat the in uspicious l r i Sil lf nfirm . r exp essions, wh ch the ence itse co s Ve i y,
v r l r am a r . e i y, the e is one ongst you th t bet ays Me Leonardo enliv ened his picture chiefly by the motion of
l a a an O v r r a . the h nds , b ious esou ce to an It i n The figu res on both sides Of ou r Lord may be con sidered r of r an d a r if in g oups th ee , thus they ppea as formed into unities corresponding in a certain relation
r N r r a are a . C with e ch othe ext to h ist, on the ight h nd ,
P r John , Judas and ete !
P r f r r n r of our r f ete , the a thest, on hea i g the wo ds Lo d , r l f rm his v m ar er ises sudden y, in con o ity with ehe ent ch act .
rrifi a l a r s l Judas, with te ed counten nce, e ns ac o s the tab e,
l lu r t r a l tight y c tching the pu se wi h the ight h nd, whi e
lef m an v l ar n v ls v m with the t he akes in o unt y co u i e otion , ” as if sa a ma m ? ? to y, Wh t y this ean what is to happen
m a l P r his l f a has s z d In the e nwhi e , ete with e t h nd ei e
’ Ada ted fromNeehden s ransl tion 1821. p t a , THE LAST SUPPER.
n r l r ar s him Joh by the ight shou de , who bends tow d , and
o C r a ar l ifi a ul ask p inting to h ist, pp ent y sign es th t he sho d
ra r who is the t ito . With the handle of a knife w hich
l s his r an he ac e all u es he ho d in ight h d , cid nt y to ch the
of . The of la er w ho stee in f rw ar side Judas pose the tt , , p g o d
l rm t a l - llar u e fu ll ma a a ed , upse s sa t ce , is th s succ ss y naged . T his group may be regarded as the leading one in the picture : it is certainly the most perfect) While on the right hand with a certain degree of
m mm dia r v n m r a rr r e otion i e te e e ge see s to be th e tened , ho o an d detestation of the treachery man ifest themselv es on m w l ft . a l r ra a in err r an d the e J es the e de d ws b ck t o , ith arm r a az ra fix h a l s outsp e d, he g es t ns ed , his e d bowed , ike on e who imagines that he already sees w ith his eyes those
r r w r fea ful things which he hea s ith his ea s. Behind his
l r T oma a r a ou r or an d ra s f r shou de , h s pp o ches L d i es the o e
f . f a fi r o r a re e . P l r nge his ight h nd to his o h d hi ip , the thi d m l m of s r a l as ma er . thi g oup , co p etes it in ost p e ing nn
R sin f r r w ar s a er an d i g, he bends o wa d to d the M st , with his his r a l arl a hands upon b e st, he is c e y s ying ; It is not
r T w T w m r ar I, Lo d , hou kno est it hou kno est y pu e he t, it is not I ! An d now the three last figures on this side afford
m T ar v er us new matter for conte plation . hey e con sing
rr l w a r ea erl together about the te ib e ne s . M tthew tu ns g y
his m a l f as l r ou t to two co p nions on the e t , h ti y st etching
r h r an a m r l his hands towa ds t e Maste . By d i ab e con trivan ce of rt s he u s ma e the f re the a i t , is th de to conn ct o
w T a aeu w m going group with his o n . h dd s sho s the ut ost
ur r an d l ft a re s p ise , doubt suspicion his e h nd sts upon the
l l l f r as o er a tab e, whi e he i ts the ight th ugh he w e bout to
r tw o r mm a v r a l f st ike the togethe , a co on ction in e e yd y i e, 24 LEON ARDO.
as at om l e - for c rre man sh ul sa when s e un ook d oc u nce a o d y, ’ Did I not tell you so Did I not alw ays suspect it ?
m Ol Of all s w r a i i at Si on , the dest , its ith g e t d gn ty the
t m Of a le s a full v Of his fi ur bot o the t b ; we thu get iew g e,
hi la a l fl w n ar His u w ch is c d in ong o i g g b . co ntenance an d movement show him to be troubled in mind and full
of h e v r la an m r thoug t ; he do s not, howe e , disp y y a ked afitation) I f we turn our eyes at once to the Opposite end of the
l ll see r lom w ho r st h1s n ht tab e, we sha Ba tho ew, e s on g
f r l f v r an d e i oot , c ossing the e t o e it, b nd ng his body
f r ar w r s w l o w d , hich he suppo t ith both his hands eaning
l H l e s as if ar upon the tab e . e ist n to he what John will ’ ask of r a s l s a r the Lo d indeed , th t di cip e nxiety is sha ed
l r m . a o r i in by the who e g oup J es the y unge , stand ng ’ ehi ar l m r l ft P r s b nd B tho o ew, ests his e hand on ete
u l r m w a as la er l a a sho de , in the sa e y the tt e ns upon th t ’ am fa nl r of St. John . On J es s ce we see o y a placid equest
r x la a : P r a i m r r v fo e p n tion ete ga n see s to th eaten e enge. )
An d P r e ame r as ete b hind Judas, so J s the younge
r e ou t e A r Of st etch s his hand b hind nd ew, who , being one
m r m fi u re x re se alf- l f e arm the ost p o inent g s , e p s s by h i t d s an d ou r a a fix rr r w tsp e d h nds, the ed ho o with hich he is
T x r r l e z e . e r s i d his e p ession occu s on y onc in the pictu e , al u ala ! Ofte re eat d r m tho gh , s it is too n p in wo ks co posed ” q an d l with less genius ess reflection .
’ From this description it is ev iden t that Goethe s eu ’ deav ou r has been to do the utmost ju stice to the pain ter s
e hi ala ! r l r conc ption . But t s , s in its enti ety, is no onge
o r fin d ori al n or in earl u s ; we do not it in the gin , the iest ’ e n or Ra a l Mor hen s x ll r n copi s , yet in ph e g e ce ent eng avi g .
Ev the u r lf as x re o en in pict e itse , it now e ists , the exp ssi n THE LAST SUPPER . 25 in sev eral Of the faces of the apostles is exaggerated — ’ and a ral l n r w or Of ar r unn tu no o ge thy Leon do s b ush .
r Old m of fr s - a n n r Igno ing the ethod e co p i ting, Leo a do — mi his l r w Oil a fa al v a a xed co ou s ith t inno tion s it prov ed . ’ Don ate Mon torfon o s fr o Of Cruc xion a esc the ifi , p inted in
1495 fa Last Su er am ref r , which ces the pp in the s e ecto y , is i da an ex ll a of r rv a l to th s y in ce ent st te p ese tion , whi e ’ Leonardo s production in its shattered con dition is a m l l r f of fal f or e ancho y p oo the sity O his the y . Already his ’ il maz z hi s Tra a lla P u ra a of pup Lo o in tt to de itt , s ys it, ” r r v a La pittu a e o in ta tutta. In the course of a few centuries it has been re- painted n o less than three times ;
ll 1726 az z a 1770 an d fi all in his by Be otti in , by M in , n y t
r a m r a 4 m r . 180 A ore the centu y, pe h ps o e th n once In , tti , ’ m l r of m r r di ar da n lls co pi e Me o ie Sto iche Leon do Vi ci, te us that m standing before the original he could hardly r ni an d a its ral fea res w er l dis ecog se it, th t gene tu e on y h l tin gu is ab e when seen from a distance . On the other
if l o at - da u l an d l u r hand, we o k it to y , both o t ine co o ing a r m s l mar e of u r e w ppea ost di tinct y k d ; this is, co s , o ing to the present thorough method of restoration ; and if the
ail Of r r v ou r m ra s lel det s the pictu e p o oke ad i tion , it is o y
r r r due to the specious talent of modern resto e s . In thei delineation of the heads they hav e probably gone to Marco ’ ’ l d Oggien n o s copy in Milan for a mode . Under these circumstances it woul d be unfair to Leonardo da Vinci to make him responsible for such travestied features of most of the heads .
Nor w as l l la r- da r rers b o - it so e y the tte y esto , y the way ,
r l who hav e done ha m to the origina . With in compre hensible indifference the Dominican monks allowed the
o r r Of ral r to e r in l we po tion the cent g oup be d st oyed, 26 LEONARDO .
r m r r all . a r r f ct r o de to ake a doo in the w L te on , the e e o y ’ w as v r a le Na ol r con e ted into a st b by p eon s d agoons, who amused themselv es by peltin g the heads of the apostles with brickbats . ’ e r 1800 Ra a l Mor hen s l ra eu In the y a , ph e g ce eb ted
rav a ar r m f f l g ing ppe ed , which is eputed to be the ost aith u r r l and v r e ep oduction possib e , in e e y way the b st substitute
Yet v w as r for the original. e en this not executed f om the
lf r r ar picture itse . Du ing the th ee ye s which he spent in
x r v w the e ecution Of his eng a ing he as resident at Florence .
His m l ra b T r Matteini m at ode was a d wing y eodo o , ade ’ r of Mor hen s m l r Gr of the equest g e p oye , the and Duke
T u sa M ttein i la f r a r I f a o . c ny, who sent to Mi n th t pu pose
ma l v Am r r is Mattein i we y be ie e o etti the e no doubt that ,
fi the r l as 1t s w l r l r nding , o igina tood ou d not enti e y se ve
r e w as l e ma u se of r his pu pos , ob ig d to ke the pictu e by ’ ’ Mor h n s e rav m l d Oggienno. g e ng ing is thus si p y a copy ’ of a r r at r m is th t a tist s p oduction , who the p esent ti e cr r m l edited with all the mo e i portant copies Of the origina . Besides the one at Milan there is another at Ponte Capriasco
in wi z rl r v r f r S t e and ; a thi d in the Lou e, and a ou th in the
l r f R al A a m The l s Diploma Ga le y O the oy c de y. a t is the
m s l r Of m et ra of a o t ce eb ated the , y in the d wing the he ds ’ the pupil has certainly n ot kept closely to his master s
A r r n al rea m ff rs m m el. s od ega ds tech ic t t ent , too, it di e uch ’ r i nn The r f fromother authentic wo ks by d Ogg e o. autho O this v alu able picture is far more likely to hav e been Gian ’
P e r a r l v r il Of ar . Pa av e i t ini , ve y c e e pup Leon do s De g informs u s that Bernadin e Lu in i executed a copy for Louis
T lf of r e w w as l u r Of the we th F anc , hich p aced in the ch ch ’ G rma l Au xerrOis P r s. Bu t Of hi St . e in in a i this not ng
ma Of r f r r is n . R l u the k own ubens a so de a copy the pictu e,
28 LEONARDO.
for u l er few i r m f un t nate y v y authent c ones e ain. The ull siz e drawings of the heads of several of the apostles in the collection of the Gran d Du chess of Weimar have un
rv l r o Of i ar dese ed y the eputati n being genu ne, as they e
l t m n z assumed to be identica with hose entio ed by Loma z o.
Yet are d l r on r m z z ll they one in b ack c ay , whe eas Lo a o te s
us a r red l . A rtion Of w th t the heads we e in cha k pp th e i n tifi r missingdrawings can be de ed in theWindso collection .
Am mare fi u di for Of M ong the nished st es the heads atthew,
m a are all e r l ss f . Si on and Jud s , who sh wn with bea d e aces Br ra G ll r l r i lf In the e a e y at Mi an , the e is a genu ne ha lifeo siz e t l for a e Of C r ic is s udy in penci h ad h ist, wh h in a deplorable state Of preservation . We seemto learn some thin g of the w ay in which the picture was first originated by a pen- and- ink sketch in the Louvre Of several nude
figu res in various attitudes . It contains also a grou p Of fi ve seated at a small table ; a you th converses with two ol r men l r l e r his d de , whi e anothe youth ist ns, esting hea
hi lb - a ro e f s o . o r. on e ow tho ugh conc ption a St J hn, eve though the sketch only reminds one of some episode in or r l f as r r o ma Of m dina y i e , the h ty ep oducti n , it y be, so e P r r tavern scene . e haps Leona do was meditating u pon the figure Of Christ when drawing the man in the lower corner of r ri his rea the pape , who, with his ght hand upon b st, e Th points with the l ft to a dish . e sketches on the upper portion of the sheet (not giv en in our ill ustration) have no connection with any of his kn own works ; the
i s r l arl l l a m rr r n c iption , which is c e y egib e in i o , refers to r for v e la i i ffix an appa atus nti t on , to wh ch a sponge is a ed . ’ On of a s one Of n r e two the p ge in Leo a do s not books, 6 b Mr bequeathed in 187 y . John Forster to the South Ken e m w e find m m r m sington Mus u , a e o andu which shew s u s the mann er in which he first thought out his conception of L THE AST SUPPER .
the different types of the Apostles. It is without doubt the most important docu ment w hich we possess relating ’ ’“ to the greatest efforts of the master s bru sh z
UnO che (voleva bere) beveva One (of the apostles) is abou t to allasciOlO stare nel suO si o e drin but leaves it the lass t , k, ( g ) volselatesta inverse 11 re o in its lace and urns his head p p p , t n i o ow rds th r re a e olocu or. t . t p t Un altro rose le dita delle sue Another extends out the fingers
mani insieme echo ri ide ci lia Of his hands and with a severe g g , ’ si vol a al ex ression on his br turn t co pagno. p ow s towards his nei hb ur g o . Laltro cholle mani a erte mos ra A no her O ens his hands showin p t t p , g le alms di uelle e alz aless alli the alms and shru s the p q , p p , g ’ ' inv le orechi efla laboeha della shoulders owards the ears t , r i li whils ma av g a. t with his mou th he ex resses hi a n i n p s sto shme t.
Un altro arla nellorechio allaltro A no her whis ers ia the ear Of p , t p se u ello che las l a si torce one who hear ens bendin q co t k , g ’ cu v eo lui e li or ie liorechi e toward s him and holdin his g p g , g ear close o im h teneudo u n choltello neluna t h , w ilst in one mano e nellaltra il pane mez o hand he holds a knife and in di iso d l lte l o the other the bread hich is v a ta co l . , w
half out b the said nif y k e.
t l n nu A nother holc a n Lal ro ne voltarsi tene do , fi g k ife in his ’ n l h nd choltello in man, v sa co ta a , overturns with this hand mano vna z aina sepi a della the glass which stands on the
tavola. table .
Laltro posa le mani sopra della A nother rests his hands On the
avola e uards laltrO sofliar table and re ards his nei hbour t , g g g ,
nel bocho ue . who blows u on his food p . Laltro si china per vedcrc il pro A nother bends forward towards
oni ore e ffarsi Obra colla manO the rolocu or and sha s hi p t , p t , de s
alliochi. e es wi h e han y t on d . Laltro si tira indexieto acquel A nother withdraws behind the chesichina che vede il proponi on e who stoops forward and
tore infral muro el cielo . loo s at the rolocu tor be wc k p , t en
the u all and the sk y.
S A end x No ee pp i , te 1. 30 LEONAR DO.
m ar e r lf we On co p ing th se notes with the pictu e itse , shall easily see that they differ but little from the ideas w hich the master has embodied in his fresco ; indeed they possess all the characteristic featu res Of that wonderful
r f m r r r composition . It is wo thy o re a k that he e neithe
a le n or C r s are m e m l r the post s h i t ention d by na e , the atte
r a l l r r v l being epe ted y sty ed p oponito e , e ident y with r f re era r l on e Of ll e e nce to the utt nce Ve i y , you sha ” ra bet y Me . There are tw o other studies for the Last Supper in the
s r ll n l l ra - an d- h Wind o co ectio , ight y d wn in pen ink , in w ich the figure Of Christ corresponds to that in the Louv re
The arran m rl r sketch . ge ent is the same as in the ea ie ’
l ren n e re St . l a av ur F o ti pictu s ; John , e ning upon the S io s
rea res s his ea u on a l l a d b st . t h d p the t b e , whi e Jud s is seate on O e s e f the pposit id O it .
FROM T HE SKET CH l N T HE LOUVRE. HAPTER C III.
— THE EQ UESTRI AN STATUE OF FRAN CESCO SFORZA I E ONARDO A S — — AN ARCHITECT AS A PA I NT ER PORTRAI T PAI NTI NGS.
l r hi r il or N the ette w ch Leona do sent to Lodovico M o ,
a hi s a a l e me am n er st ting c p bi iti s, he ntions o g oth things that he is willing to undertake the execution Of the bronz e horse in lasting memory of his father ” Fr f ill r s u Of f rz e c an d O . W av an esco, the ust iou ho se S o a h e various reasons for inferring that the model w as begu n
A r n ell h l s of m . a t e ar s without os ti e cco di g to B nd o , ti t worked alternately at the Last Supp er and this equestrian
r ar la r is r ai a he statue ; but, as eg ds the tte , it ce t n th t
n rru e f could not have giv en it his u inte pt d attention . O
s a r f ma u r ere thi we h ve p oo in his own n sc ipts, wh , in ’ a the remar c rs : the essay on Light and Sh de , k o cu I
wr i 23rd Of A r l 14 90 al began to ite th s on the p i , , when I so ” - A n d re commenced working at th e equestrian statue . in
l er Of w u f r u a l do a ett to the Duke, hich , n o t n te y, we not
e a ar m la of rr ar of poss ss the d te, Leon do co p ins the a e s his s lar a : sa Of r e au se a y, dding I y nothing the ho se, b c I
m es as all f r er . e know the ti es B sid , we sh see a th on , in 14 90and 1495 Leonardo w as away from Milan . 32
As ll w n w as r n a vico is we kno , it by shee i justice th t Lodo
am u f r s r i did ri s c e to s cceed his athe , u u p ng, as he , the ght
f i h a l az z f rz a . Yet Fr c o h s nep ew Gi n Ga e o S o ances o, the f r Of n m lf ur r s ounde the dy asty, was hi se an us pe ; it can thu ' be well understood that it was in Lodovico s interest to per ’ m petuate his father s memory by so pretentious a monu en t . The chronicle Of the w ay in which Francesco contrived to reach the throne Of Milan forms an interestingepisode
r of N r r l . W r 14 47 in the histo y o the n Ita y hen in the yea , l Of the li r the ast Visconti, Duke Fi ppo Ma ia, died, the burgesses of Milan declared monarchy to be nothing short ' im estilenz a r f omer of esa a . es o rz cond e p p But F anc c S o a , the and quondam general of the republic in her w ar with
e an d f rw r im lf f la Venic , who a te a ds h se ought against Mi n,
was r s s f r r m u ged by his succe se to add yet u the to the ,
e l l e m r m l n r wh n , as new y e ect d duke, he ade his t iu pha e t y
m ru a fit r r for a . T into th t city his see ed, in t th , ewa d the herculean labours Of a warrior who had spent his life in n mb rl all r f l untiri g co at with nea y the powe s o Ita y . On
er ila st r r la or condottiere ent ing M n , so hi o y e tes, the vict ious ,
' his r r alofl. n seated upon ho se , was thus bo ne upo the shoulders of the populace in such way the coa
m w r l di r l r Off r p ed on to a ds the sp en d cathed a , the e to e
r v Perha up his g atitud e to Hea en . ps it was j ust the glory Of that triumph which Lodovico w as mindful Of when he gave Leonardo the commission for the equestrian figure
ro z o um s f a in b n e . M n ent o th t kind are not now to be
met l r e l n ot r with in F o enc , a though it was unusual to e ect
a r of l d n r st tues in honou the ea i g he oes Of the republic .
‘ m m to the coadotlien H In the onu ents two , John awkwood
. 1394 and N l Marracci da T l (d ) icco o o entino (d .
r t P l U ll A r del C t h v e the a tis s , ao o cce i and nd ea as agno, a FRANCESCO SFORZA . 33
cert n l w m r e a are m l ai y sho n the on ho s b ck , but these si p y mural paintings on the entrance wall of the Florentine
c h dral . r w r r v r at e In Venice, howeve , he e a ho se is ne e
r of r fi r fif seen, the e ection equest ian gu es in the teenth century became all the more common ; and with the growing demand for them the aid of Florentine artists w as T 4 m l e . P a ell 14 3 ne ded hus in adua, Don t o in co p eted his m fi r Of G am la mma r Of ounted gu e att e ta , the co nde the f r o l w as fir lar o ces f the Venetian repub ic . It the st ge
a ha a al s la m casting th t d been m de in It y ince c ssic ti es . The year 14 95 saw another such monument in the — ’ statue to General ColleOni the last work Of Leonardo s m r rr l ra r ll n o . aste , Ve cchio In the ce eb ted Windso co ectio ’ Of r are r of a u in Da Vinci s sketches , the e th ee the st t es
ra n r a l m aid m r in his question , d wi gs p ob b y ade to the aste
Am fin m r u for own work . ong these we d nu e o s designs the monument which he himself executed ; they are well - nigh
a n m f r f r n all th t ca co pensate us o the loss o the o igi al . ’ ar m r a radi al fe : Leon do s sche e had , pe h ps , this c de ct it
r r l r l The was far too pretentious eve to be tho ough y ea ised . Venetian republic would hav e easily enabled him to carry
Of la r a out such a design ; the Duke Mi n , on the othe h nd ,
r m r am r l grew hourly mo e and o e h pe ed by the ack of money . Thus this equestrian statue played just su ch a part in the ’ f r r r m of P l story o Leona do s ca ee , as did the to b ope Ju ius l in that Of Michelange o . ’ Leonardo s drawings at Windsor embrace not only all the stages of his work ; they also give us an insight into
r r r m l am l those p ojects which neve eached co p etion ; n e y,
an al m ar the castin g Of the figure d its pedest . So e e studies of the horse only ; others Of both horse and rider ; in some the horse is represented stepping ; in others it is D L NAR 34 EO DO.
r r ram l ll r r a i of ea ing and t p ing a fa en war io bene th ts ho s .
of all d r ll o at But the sketches in the Win so co ecti n , th drawn in silv erpoint on blue tinted paper is the only one in which the head Of the rider bears a close resemblance to ’ T l r r the Duke of Milan s portrait . his shou d not su p ise
r in r l mi r for us when we conside that, his p e i na y designs a m an ar r a n ma f ful co position , tist is neve at p i s to ke a aith l n r r m hi ike ess . Among these drawings the e a e so e w ch seemingly serv e no pu rpose in the completion of the
for a of a r v r statue, as, inst nce, the one p ancing steed o e
rni a v - f H r r l tu ng ase with its fore oot . e e we have p obab y m only the motive for an ornamental statuette Of so e sort .
Af r r m ar Of all m te an accu ate co p ison the designs , it beco es indeed difficult to affirm which Of them correspond to the
a ll rr The work which Ws actua y ca ied out . sketches in
hi l of a m r are w ch the qua ity ction is o e insisted upon , probably the earlier ones ; and these were followed by stu dies Of the recu mbent warri or beneath the feet of the
l r a Of r a im r a a ga loping ho se . It is act g e t po t nce th t in nearly all these drawings the right arm of the rider
l ff is r l r ar ho ding the sta , vigo ous y st etched backw ds, not ’ l a r a as r wi he d bove the ho se s he d , in a d a ng in the Munich f ll r . Cou ra od o Ga e y, which M j supposes to be a copy
Thi r w as r a l the lost original . s d awing p ob b y done by the
l r ar P lla l b l Of F o entine tist o juo o , and , to judge y the sty e
m n ffi l a can a ri its co positio , it is with di cu ty th t we sc be
n r r a ff r are l it to Leo a do . G e t di e ences a so to be noticed
r d l of m in his designs fo the pe esta . One the shows an architectural treatment Of an ornamental shrine containin g T hi a sarcophagus of the Duke . hose again in w ch the
rm a r m al r l e a of statue is made to su ount t iu ph a ch , ik th t
m v v r m i ff n R a t. Co stantine in o e, ha e e y i pos ng e ec
3 6 LEONARDO.
e r r is l n statu in Venice, whe e the ho se a so show in the f l attitude O wa king .
ar lar a r r to e a Leon do had dec ed th t , in o de ast the st tue,
On e r Of r n z r r r hund ed thousand pounds b o e we e equi ed .
To r w as m r Th p ovide this no easy atte . e anonymous
o ra r m r to om l H bi g phe entions anothe check its c p etion . e ll la re a l l r the te s us In Mi n he e cted co ossa ho se, with
r f rz as r r r a l r . Duke F ancesco S o a ide ; in t uth, sp endid wo k
a a r z mm nl It was to h ve been c st in b on e, which was co o y
l v e m l all be ieved to ha e b en i possib e , especi y as it was ’ Th r Leonardo s intention to cast it in one piece . e wo k t e m ” f l ained unfinished . We can con ute this atter statement ’ r ma u s r are at r by Leona do s own n c ipts , which now Windso . In Italy at that time the method of casting in bronz e for
large w orks Of that kind had been re- adopted by Donatello ’ or can r an d Verrocchio with much success . N Leona do s
r a n rm an rl r ll l on unde t ki g be te ed utte y unpa a e ed e . In Barletta there is still a Byz antine statue in bronz e of an
m er r h l fift e f e e p o , w ich is c ose upon e n e t high . Luca
Paciola in his Tra a ro ortion e , tt to de Divina p p (Venice , ’ states the height of Da Vinci s equestrian statue
av e elv ra e to h e be n tw e b c ie , which is about twenty ’li ix f e av r a di s e t. We h e no e son to spute this bu t in the face of the fact it is utterly impossible for us to imagine that the horse can have been represented galloping as has e r b en hithe to supposed . We can thoroughly under stand how full of enthusiasm Leonardo must have been as long as he really believ ed that his work would l reach comp etion . In one of his letters we read the following energetic sentence : Let yu or eyes be opened ;
he bron t e f T z e s atu o Prince Albertin the Memorial in Remington rdens i onl alf i h Ga s y h as h g . F R A M N MENT 37 m S O Z O U . and el m ll h t L n r Of l r b ieve e when I te you t a eo a do F o ence , who is at work upon the bronz e horse of the Duke Of Fr cesc e mm fr m for f ll an o, n eds no co issions o you ; I know u ” w l ar e l how to employ the days Of my life . In the ye 1493 on the of m rr Of a a ar a , occasion the a iage Bi nc M i
Sf rz a w r r ax m li m l of o ith the Empe o M i i an , the ode the equestrian statue was publicly erected on the Piaz z a del ’ C st ll now P z z d Armi r m r v a e o, the ia a , unde an i p o ised trium l r r m r Of all l . pha a ch, whe e it beca e the wonde Mi an
' Laz z aroni ‘ T r l and accone, the poets who have desc ibed the nu tial f t r f f rma n p es ivities, give us b ie but decided in o tio
on r m Lan cinio la m this n . a a poi t One b d, by n e , exc i s
“ Ex ectan animi molem ue futurum p t , q s Suspiciaut ; fl uat aes ; vox crit ; ecce Deu .
We cann ot by any means assume with Vasari that the
m l l m l la for f r ode was on y co p eted in c y, a te it had stood
for rs s l arr m r r for yea in thi p ace, ange ents we e ente ed into
i r m l rr r ts e ova to Fe a a . Vasari tells us that this model remained as he had left it until the French with their King Louis came to ” M lan n ll r Cas i , whe they tota y dest oyed it. Sabba da
ti lione 1D his ma av a u g , who youth y h e seen the st tue , th s
co firms l Of r he m l Of n the ta e its dest uction . T ode the
rse at r r for ars ho , which Leona do had wo ked sixteen ye , thanks to the ignorance and negligence Of those who could
t r un r n or v l a e to nei he de stand a ue genius, was ab ndon d m destru ction . Thus did this wonderful work beco e a ” ' r for r r et all ar l ta get the Gascon a che s . we sh sc ce y
fin d the l r in e r r for ar af r who e t uth thes epo ts, , two ye s te
Mil n had r Er l l . a been sacked by the F ench, the Duke co e
’ ' Oodice A lan ico tel. 316 See A endix Note 3. t t , . 1 pp , 3 LEONARDO 8 .
’ d Este o f rr r a l r r l sc v re Fe a a, in ette ecent y di o e d by
Cam ori l e s m m ll in p , be i ve the onu ent to be sti existence.
T r n a r l v his p ince , bei g anxious to do n his capita , had gi en a commission for an equestrian statue to some Obscure
r di f r a le m l rk . a tist, who ed be o e he was b to co p ete his wo
19th Of m r 1501 Er l r te to On the Septe be , , co e w i s his agent in Milan as follows
r xi s at la m l of r Seeing that the e e st Mi n a ode a ho se,
r n r o r ma r r executed by a ce tai Messe Le na do, a ste ve y
ilf l m r sk u in such atte s, one which the Duke Lodovico
l a a w e if u a w ys intended to have c st, think that the se r r e of m l l o we e g ant d us this ode , it wou d be a g od and , m a r m es ra l a f . T r f r d i b e thing to ake c sting o it he e o e, we w ish you to go immediately to the most illustrious and rev erend the Lord Cardin al of Rouen an d acquaint him ou r s r n r v r l r if with de i e , beggi g his e e end o dship , he
e a m el m lf do not n ed the s id od hi se , to be so good as to
v l h make it o er to us . We wou d not deprive im of an y a l al a l are r a thing th t he ho ds v u b e , yet we pe su ded that
are l l for r . ma l he c s but itt e this wo k You y add , ikewise , that this will be very agreeable to us for the reasons aforesaid ; an d that we w ou ld gladly be at pains to
m v e r m ha a m l re o e it, b a ing in ind t t the s id ode at Milan
v l fall a l a r is , as you ha e to d us, ing d i y into dec y, the e
r I f v r being n o ca e taken Of it . the ery ev erend lord
ll ra f w e e ma r ll wi g ti y us, as hop , in this tte , we wi send persons to bring the said model hither with all care an d
a m r D r . n due p ecaution , so th t it co e by no hu t O ot fail to employ all your good offices that ou r petition may be
a v r r v r l r m r gr nted by his e y e e end o dship , to who p efer ” ff r of r ou r m l ou r O e s se vice and hu b e duty . The Cardinal of Rou en mentioned in this letter w as R A MENT 39 rnE SFO Z MONU .
a v t that time the French gov ernor of Milan . Gio anni ’ V ll s r l a 24th Of m r hi a a ep y is d ted the Septe be , in w ch he says With reference to the model of the horse
er v far as r his ected by Duke Lodo ico , as he is conce ned , reverend lordship perfectly agrees to its removal ; yet as his had m lf Majesty the King hi se seen the statue , ’ his lordship dare not grant the Duke s request w ithout ” r l f rm T la p evious y in o ing the King . his is the st news whi a ch we get bout the work .
I t l l a T lf is not ike y th t Louis the we th , who died in
15 15 r l him lf f r er m m , t oub ed se any u th about the onu ent ’ r r w as ar and when his successo F ancis, who Leon do s
r rl ar Of his r r la pat on in the ea y ye s eign , ente ed Mi n , it
en lmo l r erl had be a st who ly dest oyed . It is now utt y ’ l . r 1559 aria e ro el ost In the yea , M de M dici w te to Mich angelo : I hav e decided to hav e a statue made in ’“ r z Of m l r r a r z b on e y o d on ho seb ck , a wo k which in si e ” r lan el w as must befit the courtya d Of a palace . Miche g o
to ru e exe Of have been ent st d with the cution this , but he
hi r a n l f r A a did n ot ng mo e than si g e sketch o it . t th t
im la w l av ma u se Of t e, the easiest p n ou d h e been to ke ’ e r o m l if T lf had reall r u L ona d s ode , Louis the we th y b o ght
m v r r it with hi o e to F ance . ’ Pa l Giov io his v of C l ra e Men v es an o o , in Li es e eb t d , gi ’ accurate description of Francesco Sforz a s personal appear
a if s s a ar so- lle nce, and , judged by thi t nd d , the ca d copies
r al a f ll v r far r of mar Of the o igin st tue a e y sho t the k . They certainly cannot be said to possess an y of those characteristics of which the historian in his subtle an d
r ma r l ara r h penet ating nne has to d us, ch cte istics whic
I . Of r n Henry I F a ce (d . 4 LEONARDO 0 .
hav e leading claims to be deemed authentic The
Giovio r ll a r an d hin Duke , so w ites, was ta in st tu e t
l alv of his l m r m ul r an witha , the c es egs being o e usc a th
Hi l r r r a l . s a sh pe y chest and shou de s we e b o d , and he
A ul mi m li r r . s r of s had a i ta y bea ing the es t abste ousne s, his waist w as so unu sually small that he could span it
f a r r a . His with both hands e tu es we e plebei n in type, f r s ll and his countenance o bidding in aspect, with a a ow,
l r m l x His - d . l r isco ou ed co p e ion b uish g ey eyes , set deep r r r l m r s in the head unde bushy b ows, we e g oo y in exp e
had r m l in sion ; he a p o inent nose, not aqui ine shape,
- Th and thinl y formed lips . e Duke was always clean
av l l cu t a r an d r ll w er sh en , with c ose y h i ; he gene a y e a cap of conical shape Here w e have a description Of ’ the ra a ara ma Duke F ncesco s ppe nce, which we y well ’ suppose to hav e been wri tten when Leonardo s statue ’ w as fr a r r ll yet esh in the utho s eco ection . It is probable that as long as Da Vinci remained at ’ - la u rv e his l and v i \ Mi n in the D ke s se ic , ta ents his acti ty
r r A r we e more di rected to enginee ing than to art . ve y great portion of the manuscripts which he has left behind him treat Of the solution Of geometrical an d techn ological
r l m r l s all ma t r ed p ob e s, and e ate e peci y to t e s connect with
r w as he r o r l Of hyd aulics . It who unde to k the egu ation
of r v r m ar ar r the beds the i e s in Lo b dy, e ning the eby the
l u u asting gratitude Of the co ntry . O r knowledge Of his
r as an ar e can l be re en ageant wo k chit ct on y gathe d p . We know that in conjunction with Francesco di Giorgio
of ie a 14 39 r w as ter S n ( who is bette kno n a pain , Leonardo w as consulted by Gian Galeaz z o as to the con
‘ ’ l Jo i u t i Pau i vn V tae ill s r umVirorum, Basileae, 1578, ch. 87. m FAME P TER s rrE 'r 4 1 s As AIN AND ARc O .
s r i n r A r r Of t uct o of the cathed al of Pavia . eco d this
ur w e s r a Of his dr n at jo ney po sess, pe h ps in one awi gs ’ M l n r r e l i r Of a r Pav a. i a , ep es nting the c o ste S nta Ma ia in i In on e Of the documents at Milan four artists are men ” tioned l as being I n geniarii duca es .
B m i ic r ra antus ingeniar us et p to ,
JO. J b u n niarius t scul tor ae . Dulce on s, i ge c p , murator J a . Ba iu d l uds in eniari us et J c tag s e a , g ,
Leonardus de Floren ia in eniarius et inctor. t , g p
That Bramante is here mentioned show s us that the
title engineer is also meant to include that of architect. I n 14 87 Leonardo was commissioned by the authorities l to prepare a model for the cupola of Milan Cathedra .
Within the space Of six months a salary Of n inety- three
lir an d f ur l a him T r ar e o teen so di had been p id to . h ee ye s
l r n r v h m l back a a as ate Leo a do asked to ha e is ode g in , no
m r l 15 10 am Of . e use had been ade it N ve the ess , in , his n e appears as a member Of the committee appointed to super
r f h r l intend the e ection O the cat ed a . T
Court life at Milan was one rapid succession of gaieties . On each and ev ery occasion Da Vinci w as called upon to
act as manager- in - chief and perhaps it w as his efficiency in this and like capacities which won him most fav our in
of . r l r a the eyes the Duke It is ce tain y notewo thy th t, although he was far more often engaged as a contriv er than
r n r ar ra r n r as a painte , it is Leo a do the tist, the than Leo a do
the lful i r m m r r v ski eng nee , who his conte po a ies ha e chosen
m r as the object Of their ad i ation .
’ ’ dex A tl nti u s See moretti Me morie Storiche . 159. Co a c . A , , p
t l i i i dei rinci ali rofessori d i belle arti che C. Ca v , Not z e p p p ’ d l f rz a florirono Milano durante il governo de Visconti eg i S o .
- d e 18- 20 m iii ix. and xxviii. an a s M P rts iii D u . r no 1869. a . oe la , p g ,
- - 22 24 , 5657. LE NARD 42 O O.
Bellinz on i v rse mm m r the poet , in his e s co e o ating the ’ l r of G a Galeaz z o s f v a g o ies i n wedding esti ities, spe ks thus of the ducal court
’ u i come l a e al mel vienne O n i dot o Q p g t , Di virtuosi ha la sua corte iena p , ” Da Fiorenz a nu Ap elle ha qui condotto.
An d in another passage
Del Vinci e suor penelli e suoi colore ” I moderni e li antichi hanno ura ‘ g pa . 1
G a a is S r z z l r i r of i n B tt ta t o i , the F o ent ne, w ites the
a n er m lar ra r his su r p i t in a si i st in , whe e , punning upon
m a na e , he s ys “ Vince costui pm 8010
T utti altri e vince F rdia e vince A ell , p e, ” E tutto il lor vittoriosa stuolo . 1
Ar men e r f ll l iosto , who tions L ona do in the o owing ines,
e r t a a an d G ll rm him the tog the wi h M ntegn ian Be ino , te s
r a e ar s m em r r g e t st ti t a ong his cont po a ies .
E que i che furo a nostri di et son horo
Leonardo A ndrea M n n , a teg a e Gian Bellino .
T O n of s ma l his , the pinio poet , y be ooked upon as the
v r all a res i r uni e s y ccepted one pect ng Leona do . There are yet some smaller paintings of his produced
“ A s comes to hone - laden flowe rs he y t bee, So hither come the learne d ; and his court I s filled with cu nn in artists als e g , o h Has from fair Florence an A ellcs brou ht p g .
“ Da Vinci colours and his brush in hand , , I n awe ma es men of Old and m r k ode ns stand .
1 H e alon e
Van uished Vince all others Pheidias he sur assed q [ ] , p . Surpassed Apelles and the conquering troop Of th ou f l eir pr d ol owers.
- I 43 PORTRAIT PA NTI NGS.
' I in l n h ll f r m As a ri ll Mi a whic ca o ention . V sa te s us Leonardo embellished the other wall of the conv ent ‘2 r f ct r r a of Last Su er he e e o y, whe e opposite to th t the pp painted the portraits of the Du ke Lodov ico with that
Of his first- r x m l an d of e bo n son , Ma i i ian , the Duch ss
B w r n O ra ea r a e r . N t ice ith F ncesco, th i seco d son t ce ,
o r m of fr r oil h weve , re ains the escoes, which we e done in , and hi ar m lf saw l r a l w ch Vas i hi se . It is high y p ob b e that these portraits constitu te the u nfinished work to ’ hi all e m r ale a w ch the Duke ud s in his Me o i , bout the
m l f ast u er l co p etion o the L S pp . From this we shou d infer that they were executed between the years 14 97
an d 14 99.
We are also informed that Leonardo painted the portraits ' ' of Lucrez ia Crivella Cecilia Galleram m s re e of and , i t ss s the
A m m r o ese Duke . t so e ti e du ring the last centu y b th th pictures were to be seen in Milan ; since then they hav e
m r art st ll a ar . A in A tota y dis ppe ed ccord g to o etti, the i did not represent the last named simply as she w as ;
l z her a a a he idea i ed as a M donn , who, with one h nd
r n f C r ra r in act Of ou d the in ant h ist, ises the othe the
benediction . The following couplet beneath the picture serv ed as clue to its meaning
Per Cecilia ual te orna lauda e adore q , , El tuo unico Fi li l e Ver ine cxora g o o, 0 b ats g .
r ar r ra of rez a Cri v ll eg ds the po t it Luc i e i ,
Q ( 6I n Cecilia thus adorned like thee n thee we raise O Blessed Virgi p , nd h d r on and ceaselessl A t y ea S , y, ” n i Our hearts in adoratio ra se. 44 LEONARDO.
r l e r f r been ecent y conj ctu ed , without oundation , howeve , r 4 61 n ow that it can be recognised in the pictu e NO.
r T o m ll l l in the Louv e . us it see s we nigh inexp icab e i l l r s that these pa ntings shou d have thus been ost, wo k by
ur a master who at all times has been held in hono . ’ Among Leonardo s manuscripts we shall find the fol l wi r for an ll r l m of o ng p oject a ego ica co position, which
r a n w r pe h ps nothi g more than a sketch as eve made .
The il r r r his r s Duke ( Mo o) to ep esent Fate, hai , hand and r s r r l r v a obe seen in f ont . Messe Gua tie i ad nces
r him ra hem of his rm towa ds , and g sps the ga ent in a r fu m v r f rm of rr l r. P l espect anne o e ty, in the o a ho ib e a ar f ll at e l of a m k pp ition, o ows the h e youth , who the Du e ' l r e l l ti r s shie ds with his ob , whi e with a gi t sta he th eaten
a m the ph nto . Compositions su ch as this one are by no means un ’ common from the master s pencil ; the diflicu lty lies in
lv n r m a e all all r r f rs so i g thei e ning, esp ci y when the ego y e e
l r mainly to the occurrences of a particu a epoch . In the
r m C r s C r C ll f r and in B itish Museu , at h i t hu ch o ege , Ox o d, the Louv re collection there are several sketches of this
r fin d r a a kind ; but we neve such subjects t e ted on c nvas. ’ maz z T ra m a b Lo o, in his ttato, entions a p inting y ar r of San ra l I Leon do in the chu ch F ncesco in Mi an . t r r Annunciation o the ir in ep esents the f V g . The same
'' ’ w riter in an other passage l refers to Leonardo s activity as l r em ll r i of a scu pto , and his stat ent is we dese v ng belief when we remember that in his youth Lomaz z o
ma r H was personally acquainted with the ste . e says : I hav e in my possession a small head in terra- cotta of an
f C r m ll ar da ms lf a in ant h ist, ode ed by Leon do Vinci hi e ,
A 132 At . 12 t p. 1 p E AND DRAWING 4 SCULPTUR . 5
figure strikin g in its in fantine simplicity and purity of e ress o et not t rt l Of ni an d xp i n , y withou a ce ain ook dig ty w om the seem o om of m r r fl and isd , ing utc e atu ed e ection
e eri ce. N th t his r xp en otwi s anding, t in no way obs the n nan ce of its rm r ll t cou te boyish cha ; in t uth , an exce en
He fur r t lls l r of Ar z z am the e us that a scu pto e o, n ed
L osse s d has- r l f of r ar eo e . , p s a e ie a ho se done by Leon do Only recently one of the finest pieces of Renaissance ’ sc l ture in the r the lif - z of d u p Louv e, e si e bust Lo ovico s ’ "I w f B atri e d Este has n r to in i T c . h i e, e c , bee asc ibed Da V e w r manshi is Of r r r l ardl o k p ext ao dina y de icacy, but h y ’ reaches the master s high standard ; it is probably only a ork of the m r l Of w Lo ba d schoo , which we have several e c lle t m l in m x e n exa p es the South Kensington Museu . I n most cases it is a very diflicu lt task accurately to ’ determine the precise epochs to which Leonardo s drawings
l n l f am m r el . The f l a s b ong o owi g ist, ound ong the nusc ipt
Of the ma ter l l hi r r n s , shou d he p us in t s espect ; it ce tai ly forms an interesting summary of the different studies with w ch h was c r o of v hi e oc upied at one pe i d his acti ity .
H of a ou h seen full face wi h fine hair ead y t , , t . n r Studies Of flowers from atu e.
full f e with curl hair. A head, ac , y me—ben h m s of St Jcre ea a fi ure. So e studie . t g th Du A head of e ke . Sketches Of various groups ’ Four drawin s for the anel ic ure of Sant A n elo g p p t g . isto s rie ta Of G rol mo da T he h ry ( to t ) i a Feghine.
A head of Chris drawn with en . t, p
A fi ure of St Sebas ian. g . t
’ o od in th G a e de Beaux- s 18 30- 3 C ura te r 7 8 44 . L. j , e z t s A t , 7, 4 6 LEONARDO.
Several s udies Of an els t g . A h ead in rofile wi h fine hair. , p , t Head with face u lifted bein the or rai of A alanta , p , g p t t t . The head of Ge onimo a F h r d eg ine .
The head of Gianfrancesco Borro.
Stud s or roat o old wom n ie f th s f e .
Several heads of Old men . M any entirely nude figu res. Studi s i nd li e of att tudes a mbs. A M d i a onna (fin shed) . On n nearl in rofile e see y p . M T he head of the adonna who ascends to heaven.
H ad of an Ol man wi h l n ma l e d o n e. , t g t H ad of a i s oman e g p y w .
a c b h t He d overed y a a . ’ Model re resen in Christ s Passion p t g . He d of chi d with laited hair a a l . , p
f r li a a of ri 9 is In the o egoing st he d Ch st (NO. ) men ’ tion ed i a l ar s , but th s c nnot be identica with Leon do
ra of ou r r r w r r rv d wing Lo d c o ned with tho ns , p ese ed in the A a m of as a lv r c de y Venice, th t is done in si e point .
4 an d 10 an T he sketches Nos. c easily be recognised as
w or lle n r those n e in the Winds co ction . Genui e d awings
r ar f r l r T r in by the maste e o tunate y not ra e . hey a e ” m r l m r r nu e ab e , says the anony ous biog aphe ; and he does
v r r m r l not much exaggerate . It is e y e a kab e that in many cases we find several accurate reproductions Of the same
ra for a rf l ll r l com d wing, as inst nce the wonde u a ego ica position in the British Mu seum of a dragon and a unicorn
hil u r fl fighting with dogs, w e a yo th seated nea , ashes a
An r mirror in the rays Of the sun . exact eplica of this is
r l r r o to be found in the Louv e . In the ib a y f the King of
l T r r are v ral m l l ri al Ita y, at u in, whe e se e ost va uab e o gin
ar l w e are a l drawings by Leon do and his schoo , b e to
APTE CH R IV.
’ “ LEONARDO s scsOLA ns rN LOMBARDY ran ACADmrrA ” LEONAR UI e cn — urLANEss ENGRAVI NGS—THE FALL or
LODOVICO SFORZ A .
CONSID ERABLE number of copies of some of ' Leonardo da Vinci s pictures were produced durin g his l f - m as for n Mona Lisa a i e ti e, insta ce the gener lly
n r ls for as speaking, these can ot be asc ibed to his pupi ,
e l m w er h a rule th y be ong to a so e hat lat epoch . T e greater portion of those pictures of which we possess authentic record has n ow either disappeared or been ’ m z z ro . wa his Tr t dell A dest yed Lo a o , by the y, in at ato rte ’ ll P r l u r a l a few de a ittu a, distinct y ass es us th t on y of
m rv v . the r s are all the su i ed On othe hand, instance the more frequent where paintings have been ascribed to the m r l l aste , which not on y in execution but a so the com
s s are l the r of c lar po ition and de ign obvious y wo k his s ho s . Perhaps the fact of there being so painful a lack of genuine works by Leonardo during his lon g stay in
l ma t for mm r Mi an , y accoun the co on wish to c edit him the m r or less es ful i res of his il with o e succ s p ctu pup s. This is especially the case with the panel pictures of the LUI NI AND BELTRAFFI 4 O. 9
om ar m r Bemardin o w ho in a ral l n L b d aste , Luini, n tu ta e t
m r D n n co es nea est to a Vi ci . Most of these are at present i
E l rl alf of em ar set ow r ng and and nea y h th e d n to Leona do . ’ A r of Lu in i s l al e olo r genuine pictu e , sp endid ik in c u an d i of Youth ul Christ surrounded b F our des gn, that the f y
i e 1 Scr b s N . 8 Na o al Gall r w as for a l ( o in the ti n e y) , ong ’ im a r n Al u t Da . Lu in i s ic e sc ibed to Vi ci tho gh , in p
u r l arl r se flu exer se t es, we can c e y ecogni the in ence ci d by
r a s ma r a e u l ar Leona do , they yet possess di tinct nne , p c i
o r for a el w n style f thei own . Un tun t y we are ithou t i formation as to the date of the birth an d death of this m s r n or r a n w r w as orn or w ere h e a te , is it ce t i he e he b , h di Th ed . e dates upon six of his pictures are the sole m w hi an w l v rom eans by ch we c judge hen he i ed . F these it is absolu tely certain that he ou tliv ed Leonardo
at l a f u r ar an d w e ma r a n l n lu e by e st o teen ye s, y ce t i y co c d ’ that Luini w as one of the great Florentine s more youth ful m r r e a e of a u al a a the conte po a i s . In the bs nce ct d t , question must remain u nan swered as to w hether Lu in i
v r v u of ar o lan or w e er e e isited the st dio Leon d in Mi , h th he w s m r l flu i erefor in a e e y in enced by h m. It is th e the widest sen se only that he can n ow be termed on e of ’ ar u l Leon do s p pi s . The to wn of Milan could boast other artists w ho had ma r m r f r ar came u o e as de thei a k be o e Leon do p n the scen , for z the l er Z on al or o n on e instance, Vincen o Foppa e d , e , B g g an d r w ho all m r or les losel the earl othe s, kept o e s c y to y ’ m r l of a n v af er eon ar o a ear Lo ba d sty e p inti g, e en t L d s pp
His v w as al for a e eral rev l ance . ad ent the sign g n o ution
The earl e t it w as no more than could be expected . i s
’ information as to Da Vinci s pu pils is to be fou n d in a
m r h m lf I n on e of memorandum wr itten by the aste i se . E 0 LEONARDO 5 .
ma r S e n M m we the nusc ipts in the outh K nsi gton useu , r a 011 l 6th of ar 14 93 am J l c e d the M ch , , c e u i the “ Germ to s a me an d a r : 24th an t y with , in nothe On the of March 14 94 Galeaz z m s at m , , o ca e to tay y house, on the understandin g that he should pay me the su m of fiv e lire
er m T u l Ra a l at firs R m r p ont h s , ike ph e t in o e, Leona do used to hav e his pu pils u nder the same roof with him.
u a Pe iol to w m w e all aft r r s a L c c o, ho sh e wa d have occ sion
r fer ll mself a ar a u in mm n to e , te s us hi th t he sh ed ho se co o
o ar for r ars fr m 14 95 14 98. with Le n do th ee ye , o to
a ar ame A Boltrafiio or Beltrafiio an d rco V s i n s ntonio , , Ma i l o Da Th f rm r m r of U ion as f . e m gg pupi s Vinci o e , a e be of l a fam l e in la l ra a one the e ding i i s Mi n , on y p ctised p int
mateur an d v r l l k w f him s en a o . ing , e y itt e is no n Beside
a sa e a ar o l m ra r r the p s g in V s i , the n y conte po neous eco d
av r s e m we h e hithe to posse s d is his to bstone, now in the
r l Bu B era at Mi an . t among the v aluable manuscripts of e ar in r ll fin d of L on do the Windso co ection , we a note
e ar o a a a Beltrafiio L on d in which he s ys , th t he eng ged to ma e a n his rh k It is owi g to position , pe aps ,
w r r v r r r T hi that his o ks a e e y a e . o the best of s pictures belong the Madonna and Child in the National N Gallery ( o . an d the large altar piece described
a ari l La Madonna della F ami lia Casio by V s , entit ed g ,
the l T now in Louv re Ga lery (No . o quote the
r of a m u o ra r ar wo ds the nony o s bi g phe , Leon do had
ev ral u l am n m w er ala of la s e p pi s , o g who e S i Mi n and
Z roas r f r l n v o t o o Pe eto a. He the gi es the names of Florentine painters who later on attached themselves
A di 18 di marz o 1493 venu e Julic edesco asstare mecho , t . ' 1' Ricordo ; vedi tonio ( z A ntonio) del beltrafiio efialli trare uns ” ura pitt . — A 5 1 BALAI MELZI LOM ZZO. to ev la r . T o ll Leona do judge by a existing idence, Sa i would seem to have been one of his fav ourite pupils . Unfortunately not a single au thentic work of his has b r rv an d fr m r a a v een p ese ed , o this e son p intings ha e been un rr l r him al nu wa antab y asc ibed to , which , though d l of the l rr le oubted y schoo , do not co espond to the sty ’ of of ll - Am r any its we known members . ong Leona do s
r ls fin d ll of 4th of A r l 14 97 for a jou na , we a bi the p i , , s of l an d hi ma r had r r uit c othes a cap , w ch the ste o de ed f r n l f r 1 0 ems o l . A d a r 15 o e 5 Sa ai te , on th Octob , 7, he se to l la r m the as of have ent the tte oney, on occ ion his ’ s r r all r him si te s wedding . Vasa i speci y b ings into notice
l of lar r an d a of er Sa ai was a youth singu g ace be uty p son ,
rl a r a f a r of r al with waving cu y h i , e tu e pe son beauty by
i r l a T ala wh ch Leonardo was always g eatly p e sed . his S i he r v ar s ma r rel art an d r inst ucted in iou tte s ating to , ce tain works still in Milan and said to be by Salai were re ” r f touched by Leona do himsel .
r lz w as a r of fav u r u l F ancesco Me i nothe his o ite p pi s,
f m a f r o ll rw v e . G v a , who we sh a te a ds ha e to sp ak io nni P ri r are h fl fo la iet ni , whose wo ks c ie y to be und at Mi n ,
1s l m P l m z z a . es on y known to us by n e ao o Lo a o, b t
r a art lik m elf known by his t e tise upon , ewise counts hi s
f ll Tw o of among the o owers of Leonardo . his works form the most trustworthy of all av ailable sources of ’ f rm re r a ar l f al u in o ation , specting the g e t tist s i e, tho gh
l a all r 1 4 ll r . 58 he is on y c su y a uded to the ein In the yea , ’ Tr t ll Ar ll P ra a ar of his atta o de te de a ittu ppe ed , which an English translation w as published at Oxford in
15 m r v 98. e r r a Less co p ehensi was the othe wo k, Ide ’ d l T m ll r e e pio de a Pittura. It is in the fo mer book only that w e fin d in the brief notice upon artists a mention of E 2 52 LEONARDO. the influence exercised by Leonardo upon painters of the
m l - m z z r . r v a er a o Lo ba d schoo In his thi ty se enth ch pt , Lo main tains that Cesare da Sesto and Lorenz o Lotto were ’ am Da m r an d l ra e for ong Vinci s i itato s, notab y p ises th se
r al ll m a m Of l r nz o thei speci ski in the an ge ent ight . Lo e
w as of r al r of Tr sch ol Lotto one the p incip a tists the evisan o , w fl f r n e which as under the immediate in uence o Gio gio . But his connection with Leonardo can in no way be
for a of C ar r vouched ; in the c se es e da Sesto , howeve , the
r f a l p oo is indisput b e .
In the print - room of the British Museum there is an
r v of a f mal ea r fil ful eng a ing e e h d seen in p o e, whose youth l are r e w an iv r r ocks c own d ith y w eath , and ound about — are in scribed the letters A CHA : LE : VI z an abbre v iation of A m ar in cn w as u cade ia Leon di V . It th s execu ted in the academy of which Leonardo was the
r r The rav r a l r Of di ecto . eng ing is ce t in y not the wo k the mas er ms lf w as r a l r r his t hi e , but p ob b y p oduced unde
rv The few l t r Of r n av supe ision . et e s this insc iptio h e no
mall m r a s r of art for fr m m s i po t nce in the hi to y , o the we ’ learn how the master s energy w as employed in the con
of an a a em w er r r v ar r duct c d y , h e the ep oducti e ts we e
u T is firs s u of of also ta ght . his the t in tit tion the kind
which there is historical record ; neither Florence n or. m t im l r A s Venice cou ld at that ti e boas an ything s i a .
in the l A R a a Midd e ges , so too in the en iss nce it was the rule for all who intended to become artists to choose the stu dio of an y acknowledged painter where they could
r r l r r of tu Ev r unde go a egu a pe iod ition . en in the la gest towns neither artist took precedence Of the other ; as
’ ' members of a comp agnia de pittorz they had a general bond
u n io Th O of w as r . of n . e bject these societies the p o ENGRAVINGS— THE ACADEMY F MILAN 53 O .
tection of the common interests of pain ters ; they also had to n r l r the a of pay a ge e a subsc iption , as in c se Leonardo when he first appeared in Floren ce as an
i ar The r of es a n w r ndependent tist . ights th e associ tio s e e
m h m as of mer n l n d r u l uc the sa e those ca ti e a t ade g i ds.
. w as v r all r a ro a St Luke uni e s y thei chosen p t n s int , in consequence of the general belief that he w as the first
' w ho v r a r of a a Th F abraea e e p inted pictu es the M donn . e
di San Luca a v x en at R m as , s id to ha e been in e ist ce o e
rl 14 70 e the arl e re r of an ea y as , is suppos d to be e i st co d
m R m r m u ow v r as acade y at o e the e is so e do bt , h e e , to
of m lls ’ the genuineness the docu ent which te us this . 1
And l r in l a an d Pari at l s when ate , Bo ogn in s the c o e of the sixteenth century an d at abou t the middle Of the
v n of l n a u r a l e se enteenth , institutio s a ike t e and ik
m r f rm n r n am Of a a em na e we e o ed , u de the e c d ies , they
ll f m all af r sam r a were a O the c ed te the e pat on s int . Both in constitution and organiz ation the academy with which Leonardo was connected has more points of com parison with modern institutions than w ith an y Of the h l A e guilds of t e Midd e g s . The nifi r the le ers A CH LE sig cant insc iption , with tt
i ls met i arl om ar w oodcu s VI s a o to be w th in the e y L b d t , which represents a knot wrapped u p with geometrical
i A s ll w n Al r c ur r m a e ntricacy . is we kno , b e ht D e i it t d hi m r r t s design , o itting the insc iption ; but it is ve y doubtful as to whether he had any direct connection with ’ m f art Leonardo s acade y o .
Missirini Memorie er servire alla s oria della romaua Aecademia . p t ’ ma 1823 . 4 . di 8. Luca. Ro , , p ’ ' ‘ Le ts l cour es Pa es. Paris 1 l . Muntz s Ar a a d 8 9 vo . 1 . 1 Eng , p , 7 , 1
3 . p. 2 4 5 LEONARDO.
Although it is not unlikely that Leonardo may hav e
l r m m m l m n ts inc uded eng aving a ong his any acco p ish e ,
a v l a u we c nnot state positi e y th t he did so . O r on ly grou nds for this belief are founded on an en graving n ow in Pr R m of r u m of hi n the int oo the B itish Muse , w ch o
e an d l m n s cond copy exists , which is be ieved by a y
o o r e m r m elf c nn isseu s to have be n executed by the aste hi s .
is lf- l r r of a f m l r file It the ha ength po t ait e a e seen in p o ,
a r la r r All u r with h i p ited ac oss the b east . tends to ass e ’ u s a . d Adda a f r our a , s ys M , th t we have be o e eyes
r of ar E in t ue production Leon do . ven the evident
x r in a - l Of r m r e pe ience the h nd ines the bu in , the a ks of
h a la e l of r r th w ich esc pe in p c s beyond the ine t ace y, e
firm ess of r m a - dr an n the contou s , the costu e , the he d ess, d abov e all the forcible expression of the physiognomy ” r m ra of the a r . r r v s bet y the handiwo k ste Othe eng a ing ,
ri all Of r m n av al r p ncip y ho se e , h e so been asc ibed to
n fr m a al of v are te Da Vi ci , which o technic point iew qui unworthy to be con sidered his ; they are probably the ’ r of l r l m r ra wo k scho a s on y, who took the aste s d wings as a pattern . Leonardo had been in the employ of Lodov ico Sforz a
n ar 14 82 and l of m si ce the ye , with the apse ti e his position
w l m r n d m r re ar w as gre gradual y o e a o e p c ious . It doubt less in those last years that he wrote the letter already ’ he s ea of ar arr r o quoted , in which p ks the two ye s ea s f
a r m a m ar e of p y . F o a L tin docu ent be ing the dat the
26th of A r l 14 99 w e lear v him p i , , n that the Duke ga e a v ineyard which had formerly belonged to the conv ent an r ar rm r Of S Vitto e . In this Leon do is te ed picto cele ” u At m lv berrim s. that ti e Lodovico was invo ed in the
r l l ffi l s All m g av est po itica di cu tie . things see ed hastenin g
FALL OE LoDovrcO SF R A O Z . 55 the fi l a r Of v r hr of r na c tast ophe the o e t ow his ty anny . When in the summer of that year the Venetian s an d r a a of l the F ench tt cked the duchy Mi an , one town after another either through treachery or cowardice
f r l . 2n d of m r was o ced to capitu ate By the Septe be , the
lr fled l l l T r l m l r n Duke had a eady he p ess y to the y o , i p o i g
r t o of Em r r m l l the p o ecti n the pe o Maxi i ian , whi e his general in command relinquished the fortress of Milan
all l li fo with its sp endid supp es to the e . With ju bilant shouts the citiz ens hailed their new Duke in the person
T lf n f r of o a . W l x l Louis the we th , Ki g F nce hi e in e i e, Lodov ico had speedily rallied around him a ban d of
w l him of re- u S iss, which was to he p in his task conq est .
His ff r r v r for e o ts we e anticipated , howe e , the people
f m r r v l arr an o Lo ba dy, goaded to e o t by the og ce an d of r on e a r r ll rapacity the F ench , with cco d eca ed their
As a r am f banished prince . in d e Lodovico S orz a had lost his m l m r m r a dukedo ; in ike anne did he see to eg in it .
5th of r r 1500 lr a re - r On the Feb ua y, , he had a e dy ente ed l an d r m la r at N ra Mi an , th ee onths te , ova , he opposed
r of r e a the enewed attacks the F ench , into whos h nds ,
r r r of s ll a r s er : th ough the t eache y the Swis , he fe p i on he died ten years later in a gloomy dun geon of the Castle
rr Giovio a d m h of Loches in Be i . p sses ju g ent upon im in the follow ing sentence : A man Of extraordinary sagacity
of l m r r r but bound ess a bition , bo n as it we e to b ing ’ “ l r . r a Ba about Ita y s dest uction On the othe h nd , tti
l rm him P r l of ila has fit y te ed the e ic es M n . With his ’ down fall Leonardo s public career at Milan came to an end f r m r e r s o a ti e . It was just the g eat st a ti ts who in that
in ulari ruden i sed rofunda ambition istor i. 6. Vir s H . g p t a, p s, ” 3d exitiumItalias natus. 5 6 LEONARDO. epoch could only maintain their position by the patron age of l Th r n v the eaders of the state . e fo egoi g e ents were ’ doubtless in Da Vinci s mind as in the year 1500he “ r : The l r r f r n w ote thus Duke has ost p ope ty, o tu e an d freedom; not one of his undertakings has he been l m l ” ab e to co p ete . ’ E ll r m f r did qua y pe haps with Lodovico s is o tune,
r r r r of his r a e Leona do eg et the dest uction equest i n statu ,
ha ma er him fi l ou r t t st piece which had cost such in nite ab , d eemed as it w as to be abandoned to the tender mercies of r al l r His l r m r a v a b ut so die y . on y e aining alte n ti e w as to f seek his ortune elsewhere . E CHAPT R V .
LEONARDO AT VENI CE —HIS PORTRA I T OF I SA BELLA GONZ AGA
— RESIDENCE I N FLORENCE— I N TII E SERVI CE OF CESARE
BORGI A .
HE ar 1500 rv C r as a ear of ye , obse ed by the hu ch y
l ro rea l al s re . jubi ee , b ught with it g t po itic di t ss
Cae r r a the fam s son of a m r n famo s are , sa Bo gi , in ou o e i u p nt
r of Alexa er x n v a e or r that wo st popes , nd the Si th , i d d n the n
l all m lf the r w ou Ita y, ying hi se with t oops hich L is the
lf had r E M lan l Twe th b ought from w estern urope . i cou d
r Not no longer forma home for the nurtu re of the fin e a ts.
ma r l also mos of his u l w er f r e the ste on y, but t p pi s e o c d for m to or sa s a e ar a ti e quit the city . Rep t y th t L on do
n a l ms lf lore e hi is v r i st nt y betook hi e to F nc ; t s , howe e ,
f h rc v es of z a a without oundation . In t e a hi Gon g in
am a oll of c me s of the am Mantua, ong c ection do u nt bassadors r s e in en c w e fin d a l er then e id nt V i e , ett in which Leonardo is men tioned as being in that It is addressed A la illustrissima Madamma Elisabetta ” r a do a v a an d is as follo s Ma chesan M nto , w
ll r o Most i ust i us Lady ,
ar da has s e d Leon do Vinci , who is in Venice , h we
me r r of r H in v r w a to a po t ait you ighness, which is e e y y
’ L r u me s n ice 186 See A . Baschet Aldo Manuz io et es et Doc n Ve 7 , , t t , , 58 LEONARDO.
m t r f l l a os t uth u ikeness . Indeed it is so well executed t a n ul b r T all ri b h t nothi g co d be ette . his is that I w te y r a e a r of m r ect this post , and with the epe t d ssu ance y esp , r m lf I beg to subsc ibe yse , ’ ur H fa ful r n Yo ighness s ith se va t, ENZ A A LOR O DA P VI . i 1 Ven ce 3th rch 0. , Ma , 150
A rdi l r r f r fall cco ng to this ette , Leona do, a te the down
of f rz at la had V n e an d the S o a dynasty Mi n , gone to e ic ,
l r r l v e M m or whi e the e, he p obab y isit d the antuan a bassad . Isabella Gonz aga w as on e of the most illustrious women
he w a v r w a e ou s of the Renaissance . S s in e e y y a str nu
l fin e ar s her b e r f . upho de o the t In cabinet, side y sid
w r r of an r r s b ith the t easu es tiquity, we e to be seen wo k y
the foremost artists of the age . I n the annals of art an d
l r r a r lf ur f m ite atu e she has g ined he se end ing a e, by the special encouragement an d sympathy which she gav e to
men as Ar a a C rr T . such iosto, M ntegn , o eggio and itian From the manner in which Lorenz o da Pavia speaks of
r ma l a m w as u n Leona do, we y conc ude th t his na e not
o it s m had e kn wn to the Duchess , but ee s that he not be n
mmis a r ra ma co sioned to p int the po t it in question . It y hav e been executed in Milan from a drawing or a minia
m r r or w r u . ra c tu e, ith so e othe pictu e as a g ide F nces o
G z of lla on aga , the husband the Duchess Isabe , was one ’ of Lodov ico Sforz a s allies before the French inv asion
of 1499 r a r , and, pe h ps , th ough his connection with the
u r r ma av r v a mm co t, Leona do y h e ecei ed co ission for the ’ The st o Duchess s portrait. que i n as to its ultimate fate is of yet greater significance no public or priv ate collec
of r a its n or v a tion the p esent day bo sts possession, e en h m f of i . W as b o r W copy t hat, then , eco e the pictu e e m PORTRAI T OF IsABELLA GON AGA 5 Z . 9 do not find it mentioned in the lists of the art treasures of l of a bu t Per Dan Tré r the cast e Mantu , e , in the so des ’ m r lles l a l 164 2 ll e vei de Fontaineb e u , pub ished in , te s us
th r r of sa lla G z a ar at a po t ait I be on ga , painted by Leon do ,
ll of ra s he r t f ra t o . was in the co ection F nci Fi s , King F nce
r r of ll c f er ar With the othe pictu es this co e tion , it a t w ds
fo l vr Gall r r ll und a p ace in the Lou e e y, whe e it is sti . r v a al as an a n mou s p eser ed (No . being c t ogued no y rtr r Pr v sl had fte ee po ait by Leona do . e iou y it o n b n
ra l of La Belle F erronniere as w as eng ved with the tit e , it then supposed to be a likeness of the mistress of Francis the First ; others again hav e believ ed it to be that of Lucrez ia
ll r can r f r . Crive i . Yet neithe Opinion be conside ed satis acto y One might therefore be disposed to adopt the earliest
iz r D t or r r v . a of Pe e an he y especting this pictu e , th t , did
a m n ot other reasons compel u s to rej ect such s inad issible .
I n r 1534 T a w as a n a or ra of the yea , iti n eng ged upo p t it
lla G z a for had er elf v him Isabe on ga, which she h s gi en
l a h u ess at mi . ar on a v t e the com ssion With p d b e nity, D ch ,
m l r ful w as u w llin a that ti e no onge youth , n i g th t the great Venetian shou ld immortaliz e her as an elderly m r l f r is the ar a wo an , and she acco ding y u n hed tist with
her fr m he om le e portrait taken in youth , o which c p t d
an elv e r Gall r the picture which now h gs in the B de e e y,
A m ar o a at Vienna . co p is n between this , the uthentic
r r and s ti the vr ll po t ait, the suppo iti ous one in Lou e , wi speedily show us how impossible it is that they can be of
h l r the w a w as am er . T e a one and the s e p son tte , by y ,
e r o m lf is s lf l r not done by L ona d hi se , it the ki u wo k
l r a from a l or al of of a pupi , copied pe h ps ost igin the ’ a r m ste s . We have a further proof that Leonardo went to Venice 60 LEONARDO. on leaving Milan before he returned to Florence in one of his memoranda on page 229 of his manuscripts in th e
r m As ll r en B itish Museu . up ti now this has neve be
l e ma rfl v it pub ish d , it y not be thought supe uous to gi e
xa l as : m : i da A r l 8 e ct y it stands Me o that on th s y ( p i th , 1503 av al cild lls me ) I h e given S ai two g ducats , as he te that he wishes to hav e a pair of shoes made for himself
r - l re has e me with ose co ou d edgings , so that he yet to giv
of i me of nine the twenty ducats wh ch he owes , eighteen ” l him l an d which I ent in Mi an two in Venice . From the date giv en as well as from the context w e
a w as e l r r f r can see th t this writt n in F o ence. It the e o e becomes ev ident that Leonardo when in Venice mu st hav e s a er t at l a of l El r on t yed th e wi h e st one his pupi s . sewhe e the same manuscript we come across another memorandum ’ which seems to refer to the master s connection with on e 0 of the patricians of Venice . On page 25 there is a pencil s e of a r man or m r r a l for an k tch ho se , o e p ob b y the design equ estrian statue w ith the words
Me An tonio G ri ss. Venez iano Chompagno ’ ” u ni M D A to o aria. — Messer Antonio Grimani for we must thus supply the — missing syllables is none other than the famous Doge as mm r of a fl w as f who, co ande the Veneti n eet , de eated in
14 99 a w w as r v of rs at Lep nto , hen he dep i ed his honou
r H e f r ar liv an d forthwith imp isoned. a te w ds ed in exile
ar l m o Gr m R me with his son the c dina Do enic i ani at o ,
l a of r v l Loredan — r r t unti , upon the de th his i a whose po t ai — by Gian Bellino is n ow in the National Gallery he became
rm r ffi ma so f reinstated in his fo e o ce . It y not be easy or
S A endix ee pp , Note 4.
62 LEONARDO.
all r l a el of M i w as on t ego ica statues in the ch p the edic , w
v rs f ll ll w to use language the re e e o inte igible . Sti e
av f a all r l of e r o h e to con ess th t the ego ica sketches L ona d , m of are E l are m r m in ost which now in ng and , , and ust e a ,
esse r le r l m l i n u ch ungu d idd s , p ob e s which any exp anat o s s as f r r to s l the o egoing one do not encou age us o ve. On the other side of the sheet on which are the drawin gs
m re is is r f r m r : Al er just entioned , the th b ie e a k togeth ” something has been accomplished . Among the drawin gs of the master in the Royal Library at Windsor there are ’ two sketches of Verrocchio s equestrian statue of Colleon i
e e r l o n ar o r his r in V nic , p obab y d ne by Leo d du ing esidence t er or ra r a la r fr m m m r . An d finall h e , d wn pe h ps te o e o y y , 2 4 f the following note on p . 7 o the London Codex in
r s seu m ma r la e to n r the B iti h Mu , y e t the Ve ice pe iod
efa Gi for C i fam l a del n Gr m n St no gi ( h gi) , ig i co te i a i a ” n sa to Apostolo .
’ Leonardo s stay in Venice can only hav e been a shor t
A a ear after his v s one . bout y i it to that town he must hav e been stayin g in Flor en ce ; an d it was then that the Marchesa Isabella Gonz aga made an effort to secure the ’ ar rv can l tist s se ices . We conc ude from his ev asiv e a r a al a es de a nswe to this ppe , th t b i s being t the time
r l ffer his o as a a r tho ough y indi ent to p sition p inte , he w as n ot ll his ma r n or fr act l who y own ste , ee to independent y . We gain some information respecting this from the fol lowing letter addressed to the marchioness
av e s ar r l I h thi week he d , th ough his pupi Salai an d
’ er of his fr s of ar ar s s e oth iend , Leon do the ti t d cision, which
m n t in the A rchives of San Fedel M Docu e e at ilan . See 0. L , Calvi No iz ie dei rofessori dibelle arti che fiorirouo in Milano du rant , t p e ’ ’ d i onti e de li forz a Milan 9 l o ern e V sc S o 1 6 . i v o 8 vol . iii. . g g , , , p 97 ’ ''‘ R T I ABELLA 6 NAVOLARIA s LEI I E o S GONZAGA. 3 led me to visit him on the Wednesday of Passion Week
r m lf a w as r . r f order to assu e yse th t it t ue In b ie , his mathematical experiments hav e made painting so distasteful to him that he cann ot ev en hear to take up a
r H r r all l fir r art in b ush . oweve , I t ied I cou d , using st eve y ’ order to get him to accede to your highness s wishes ; an d when I saw that he seemed well- disposed to place himself u r O l a n r Em e fr l l him nde b ig tio to you in nce , I ank y to d
v r t m f ll r a n e e y hing, and we ca e to the o owing unde st ndi g, v iz if l l to r l l fr m . : a m f th t, he shou d be ab e e ease hi se o his engagement with the King of France without thereby ’ forfeiting that monarch s goodwill (which he hoped might ’ ma a m a m m l be n ged in , at the ost , onth s ti e) , he wou d serve your Eminence in preference to any one else in the
r ll rl . v a wo d In any case , howe e , he wi at once p int the
r r f r r r Em as small po t ait and o wa d it to you inence , the
u r had for R er o a pict e which he to execute one ob t t , f v r of i of ra fi i l f a ou ite the K ng F nce , is now n shed . I e t ‘ him r r to m r h l l tw o . T e with , in o de expedite atte s itt e
r r r a Ma o a a r t pictu e ep esents d nn se ted, and at wo k wi h a dl l fa C r t f the spin e, whi e the In nt h is , with one oot upon b s of flax l a l l a ket , ho ds it by the h nd e, and ooks with w n er at f r r of l fall f rm of o d ou ays ight , which in the o
r f r m m l l ras a if o . c oss, as wishing the S i ing y, he g ps the
S l hi s el fr m m er . pind e, w ch he seek to withh d o his oth
l fix r a m T hus much I was ab e to with him. I p e ched y
rm od ra a ma r f r se on yesterday. G g nt th t it y b ing o th
r r m r mm r fr for r . ich uit , the hea e s we e nu e ous I co end
l e myse f to your Eminenc . RATER PETRUS DE AVOLARI A F N ,
- Vice G eneral of the Carmelita Monks.
Florenc A ril 4th 1501. e, p ,
Probabl a reference to resen s of some sort y p t . 64 LE NAR O DO.
The Robertet mentioned in this letter was n o other ’ than Loul s the Twelfth s all- powerful Secretary of State
a r mem rs of m rs al who, cco ding to the oi the French a h
R er la ark w as a man of x r fin ob t de M , e ceedingly e ed
as . f r a l s r ar a n te t te Un o tun te y , thi pictu e which Leon do p i d
re rv n or v a of ist has not been p se ed ; does e en copy it ex . In the year 1502 we fin d Leonardo in the service of
Caesar r a n z f H h o his r. e ad Bo gi , the in the enith powe left Rome in the June of that year in order to complete the conquests already begun of the districts south of
f he sta s of r l l al the Po. Most o t te Cent a Ita y had read y m t hi E l been forced to sub it o s yoke . re ong he had
' gained possession of Urbin o through an act of infamous treachery ; an d Camerin o had fallen into his hands in a
w Th less r s a s of e r r a k w like ay . e e t te th i own acco d c no l his s r ma an d f r am n t edged up e cy , o thwith bec e obedie
r l H efor w l m l to his u e . enc th he as wont to sty e hi se f :
Caesar r a Of ran the ra of God Bo gi F ce , by g ce Duke of R ma n a an d of al n and r Pr of the o g V e ce U bino, ince
A r a r of P m G falo r an d a n nd i , Lo d io bino , on nie e, capt i ” e eral of ol Roma r Landed s g n the h y n chu ch . to the skie
a w ho a le him as a s r the by sycoph nts , h i d uccesso to
Caesar of v l w to s , the deeds io ence by hich he sought
rall l or can establish his kingdom knew no pa e . N it be denied that the sev erity of his regime was in many
r s e n efi al asm c as r for the R ma n a e p cts be ci , in u h it secu ed o g an immunity from the rapacity of those who had long fed
1502 s f ll r e u pon its strength . In he i sued the o owing dec e dated from Pavia ' ' all of ou r locotenentz castellam ca itani con TO those , , p ,
’ dottieri o ciali an d subditz om ma n r r , fi , wh it y co ce n , we he e
an d mma m a v r r with charge co nd the , th t they e e ywhe e and IN THE nsw o zs R BO a er r o sA RGIA. 65
in every place give free entrance to ou r highly- esteemed c ourt r h r da r r of hi a c itect Leona do Vinci , the bea e t s, who h as been commissioned by us to inspect the fortresses an d stro l s of our an d m al ra and ngho d states , to ake such te tions im r m ma f l p ove ents as he y think need u . Both he and his f ll rs are r l an d r o owe to be eceived with hospita ity , eve y fac li ff r him for rs al for m r i ty a o ded pe on inspection , easu e
v l a m r m n ua s a . Fo e t and a tion, just he y wish that
ur s a of men l at al p po e band is to be p aced his dispos , w t v h hich is o gi e im all the help that he may require . With reference to the state works already in course of c m l r v r r r r o p etion, we desi e that e e y enginee be p epa ed to ” fu t r m fin d e r her any unde taking which he ay nec ssary . No written authority could well be more absolute than
r ar w as w as the fo egoing . Leon do da Vinci now in the ’ service of his former master s enemy ; and although pro bably indebted to princely recommendations in gainin g t m r f r all his i po tant position , he owed it be o e things to
m r l l i had alr a his inco pa ab e abi ities, wh ch been e dy tested ,
m r already ad i ed . When in the year 1499 King Louis the Twelfth entered
r m Cae r r r . P l Milan in t iu ph , sa Bo gia ode at his side ao o Giovio has told us with what wonder the French king gaz ed upon the large painting in the conv ent refectory ; n or was the statue of Fran ceso Sforz a without interest
r him l m m of a fo , a beit the onu ent one whose dyn sty he, as
c r . su ccessor of the Vis onti , had set out to dest oy It was ’ if ef r Cae r Bor ia s a e m then, not b o e, that sa g tt ntion ust
r a l r have been t urned to the g e t F o entine . Supposing Leonardo to hav e joined the tyrant in order to make him
r ar l diflicu lt the offer of his se vices , it can sc ce y have been a him l l r task to convince how va uab e such se vices were. ‘3 66 LEONARDO.
’ As n r of rl r t d his an e ginee nea y twenty yea s s an ing, efficiency in this respect might be atteste d by facts facts which could endorse that confiden t statement of his
w rs c rl r po e , whi h at an ea ie date he had sent to the Duke ’ v ae ar Bor ia s r l r l Lodo ico . C s g u e was ce tain y of very short
Alr d m of 50 duration . ea y in the autu n the year 1 2 his i fr m r ll i n emzd ott eri had fallen o thei a egiance . H s co ference with these at Sinigaglia at the close of the year resulted in
r r m r of r r of the t eache ous assac e the g eate part them. In
the r of 1503 s m r r f u n Janua y he vi ited U b ia , whe e he o d
r r v l his r the ba ons in open e o t against autho ity . He
r a R m A r l r l er t r e ched o e in p i , whe e at on, toge he with
fa r P f ll ill . W of his the the ope, he e ith the death the ’ latter on August 18th his son s dominion ’ an end . Ta s f r n r king the e acts into conside atio , Leona do s
r of r c m s ear pe iod se vice cannot have ex eeded, at the o t, a y l m in ength . Among his anuscripts we shall fin d many notes and memoranda which refer to his travels in
r l l l m l of Cwsar Bo cent a Ita y whi e in the e p oy rgia.
r m the a s w h ar l if F o d te hic these be , we conc ude that, he ' all nl was in the Duke s suite at , it can o y have been
m r m r for a short ti e . It is e a kable that while at these ' diflercnt places Leonardo seems to have been occupied with entirely other things than these instructions which
' rr v r l f he had come to ca y out. Se e a o the condottien were then in opposition to the Duke ; these may hav e ’ i i a A thrown difl cu lt es in his p th . ccording to Leonardo s
n t m arr v r 3 ow s ate ent, he i ed at U bino on the oth of
l for a af r a l i l r Ju y, ty d ys te th t sp end d cast e with its p ice
l s r s re had falle of Ce sar B r i e s t ea u s n into the hands o g a .
Here he draws in his note - book a dove- cote and a stair
e w iuh ri a r c s. l at of A cas , va ous pp oa he On the ugust IN E T L IT 6 TRAVELs C N RA ALY . 7
h is in P s r r of A ri i re e e a o, on the sho es the d at c, whe
r of ff r r f ma r m h e makes d awings di e ent so ts o chines . F o t r al n r r R m hi he e he goes o g the coast no thwa d to i ini , w ch
l e r 8 an d ma p ac he eaches on the th , kes notes with
r f r n e to the u l of a r for - ll e e e c s pp y w te the town we .
B the 11th of A to C r y ugust he gets esena, whe e he s us s r of rr a ketches a ho e and gives a de c iption a ca i ge,
a s ll as of al m d of l v n ra we the speci o e cu ti ati g g pes,
w h w as l r r 6th hic pecu ia to that neighbou hood . On the of September he makes a drawing of the harbour of
s natico r R v T a Ce s . , nea a enna hen, going south , he p sses
t r h B C va i h oug uonconvento to asanuo , and thence to Chius , li m P r . W l P e ugia and Fo gno hi e at io bino, opposite to
the slan ofEl fi la v r i d ba, he seeks to de ne the ws which go e n
the w - s of sea r m n al ave beat the on the sho e , aki g speci
n tes res hi . il r o pecting t s Wh e at Siena, he is inte ested in
a ll of r rdi r r rv m he ext ao na y const uction . O ieto is the ost southerly point which he mentions in his notes relating
f far r m r a a to these tours . O greate i po tance th n these sp rse
m m r n are r al ma of ff r e o a da, the six geog aphic ps di e ent
ri ts R l rar at r ra dist c in the oya Lib y Windso , d wn up by
l The lar an d m s m r a f the master himse f. gest o t i po t nt o ’ these is bounded on the north by the Val d Ema near l r e la of B l l F o enc , on the south by the ke o sena, whi e
ru and C r f rm l m a Pe gia o tona o its i it in the e st , and in
di r m n The the west the st icts fro Siena adjoini g the sea. configurations of the earth are here giv en with the greatest ur of wn s l k Arraz z an d acc acy, and the views to i e o, Siena
l rr are r r a t m of a l Vo te a ende ed with such ex c inuteness det i , can l r v that they be instant y ecognised , e en without the t un dl writ en text at the side, which is doubte y in the
- f r A r ma f r han d w riting O Leona do . nothe p on a a smaller F 2 68 LEONARDO.
l a A n an d it sca e shows in the e st the pe nines , in the west the as as far as r All ma r gives co t Co neto . the ny int ica
of r v r- m are ar f ll ive d a l cies the i e syste c e u y g n in et i .
T r are als r ma lar an d r he e o two othe ps , one ge the othe small w r r l r rs of Ar , hich ep esent the owe cou e the no , show m . v r r a r o ing its outh It is , howe e , unce t in whethe b th these were completed while Leon ardo w as in the serv ice
ae ar r h m ll h l of C s Bo gia . T e s a er one as obv ious y been
designed merely for the regulation of the ri ver- course
lar r a a of i r n Lu eca an d the ge one , g in , the d st ict betwee Volterra was without doubt drawn up for the purposes
f r m lar ara r ma of o st ategy . Si i in ch cte to these is the p ar an d l m H the Pontine M shes the Vo scian ountains . ere
fin d Via A a fr m C r T rr we the ppi indicated , o iste na to e a
a an d sea and rm P r cin the , the towns Se oneta , ipe no
d a of C r . fin d Wn r an the C pe i ce Besides these , we at i dso
a ma of o an d e h r of m l p the t wn the n ig bou hood I o a, with
a of f r fi a distinct indic tions the o ti c tions .
‘ T ar v s al v alu as r of art hese ch ts ha e a peci e wo ks , owing to their exquisite finish of draughtsmanship and t he clear
n m r v w a av a d co p ehensi e y in which they h e been design ed .
I f we compare themwith other an d better- known maps of ’ ar as for n a the on e of rr Leon do s , i st nce the Medite anean an d the chart of the World Tin the Royal Library at
s r la r m be m r rr an d r Wind o , the tte see to e e hu ied ca e x lessly executed sketches . The si maps in question are fru of a u ra la r an d a n s r w ll the it cc te bou p tient i du t y, as e
as of a r e fi l e in ha as tho ough sci nti c know edg , t t day unparalleled as were the marv ellous gifts possessed by the
r ma as v r r r great d aughts n , who in this , in e e y othe b anch
’ I n the Milan Codex Atlanticus.
This however can scarcel be called a enuine wor of Leonardo’ , , y g k s.
70 LEONARDO.
er c ali n of of il and t a s vi e ( stipe di) the Duke M an, h t ” f r r m t r l e ar a te dive s a te s had taken p ace in thos p ts, the fr l r r er l two iends went to F o ence togethe , wh e they odge d ’ of in the same house . In spite twenty years residen ce in
M l rd m n s l l r i an, Leona o was by no ea s ab o ute y est anged fr m the f r o city o his bi th. It is probable that durin g that r ma l r m re a n c if pe iod he y have gone to F o ence o th n o e,
f r m l o r . for n on y a sho t ti e We have, insta ce, decided nf rm a 1495 re f r me i o ation th t in he was the o so weeks, r m pe haps for some on ths . The November of 1494 saw the prescription of the
M l il rola mi n edici by pub ic voice, wh e Savona the Do nica , l m C l R z d the l r i ike so e second o a di ien i, hea ed F o ent ne r l r n r of f r w s epub ic du i g the pe iod ou eek . It was at his ‘ s r ll a r f ll wish , so Va a i te s us , th t in the yea o owing the Sale del Consiglio in the Palaz z o della Signoria should
l r . la l a of n be en a ged Miche nge o , then but youth twe ty ,
Giuliano da San Gallo ( 1445 - 15 16) and Il Cronaca ( 1454 who found in Savonarola a gen erous benefactor all these were asked to join thei r judgmen t to that of Leonardo respecting the designs for this architectural m m r l l a l r v . Af w r i p o e ent te engthy consu t tion , the p ans e e r fr m c the all n s was ag eed upon, o whi h h as it now sta d l The ul an ll r m had bui t . Gi iano da S Ga o he e entioned ’ fore to la re z M i been sent once be Mi n by Lo n o de edic ,
r r has l r whe e, as Vasa i it, he had dea ings with Leona do, and gave him the benefit of sound counsel respecting the
i of r execut on his equest ian statue . In the environs of Florence there is also a work of art ’ which seems to point to Leonardo s connection with that
r l s r of fif e n r town du ing the a t yea s the te nth ce tu y . One
I n his life of the architec Simone called 1! ream t , C RETURN T FLOREN 71 O CE.
of the salons of the Palaz z o Communale at Pistoja contain s ’ a large sculpture in relief of two naked youths holding
94 n T s e r a 14 . a weapon . hi b a s the d te In the conceptio of these figures we can easily recognise the style of the great master ; and when we remember that Leonardo w as in l r c at r lar m m r le F o en e this pa ticu ti e, it is not i p obab that he had a share in their design if not in their execution
Wh 1503 am l r he robab en Da Vinci in c e to F o ence , p y m t r rm l i an d f ll eant o eside there pe anent y . In th s the o ow ing years his name appears in the account - books of the ’ Compagnia de pittori H e w as soon met by Offers of
m l m a ar ll a r mon e p oy ent. V s i te s us th t the Se vite ks had at that time commissioned Filippin o Lippi to paint the altar- piece for the principal chapel in their church ’ ta. r ll A z a e ar lar San Ma ia de nnun iat , wh n Leon do dec ed that he wou ld himself v ery willingly hav e undertaken l l r . T e r a such a wo k his b ing epe ted to Fi ippino , ike the
m l man w as r im lf at a iab e that he , he withd ew h se once, ” n The when the monks gav e the picture to Leo ardo . original contract signed by Filippino with the brethren of the Servi has been found in the Florentine archiv es
of 1 03 l had alr a and bears the date 5 . Fi ippino e dy
r of Descent rom the Cross begun upon his pictu e the f , in
- fi r r l f z e . ar ev r which the gu es we e i e si Leon do, how e ,
h r a ar was clearly disinclined to go on with t is wo k . V s i writes T o the end that Leonardo might make progress
r m him r ow n a with the wo k , the onks took into thei bode
all l l x of with his househo d , supp ying the e penses the
l m him for l who e, and so he kept the attending on a ong tim ma mm m at l e, but did not ke any co ence ent ; but ength
’ i ll Ricer he in orn a Lon o da inc Fir nz e 18 G. Uz e i c o e ard V i e 2 , t , , 7 ,
- 164 5. pp. 72 LE NARD O O.
’ r r r a r the Mad nna n t howeve he p epa ed ca toon , with o , Sa A f C r ad m r l t nna and the In ant h ist , so i ab y depic ed , that it not only caused astonishment to every artist who saw
fin m r r w as it, but, when ished , the cha be whe ein it stood r for a men an d m old c owded two d ys by wo en , and young ,
a ur r as fl c to m conco se, in sho t, such one sees o king the ost
l m f als all a l rs so e n estiv , h stening to beho d the wonde
r n r a m z m in p oduced by Leo a do, which wakened a a e ent
l l . Nor w as t u the who e peop e this withou good ca se , seeing that in the countenance of that Virgin there is all the simplicity an d lov eliness which can be conceived as ra a r of C r s giving g ce and be uty to the Mothe h i t, the artist proposing to show her in the modesty and humility
of v r in fill la co m the i g , ed with joy and g dness as she nte
la e a Of her m rl p t s the be uty son , who she is tende y
r her la An w l r a suppo ting in p. d hi e Ou L dy with eyes
l w l at a l l San G an n modest y bent do n is ooking itt e iov i , ’ la a lam a A a at mm of who is p ying with b , S nt nn , the su it
l rv r a m l of ess de ight , is obse ing the g oup with s i e happin an d rejoicing as she sees that her terrestrial progeny have become div ine ; all which is entirely worthy of the min d of ar T n and genius Leon do . his cartoon was subseque tly ” ra taken to F nce .
maz z als f rm of its r m val r ce Lo o o in o s us e o to F an ,
a a m 1584 ar w as at l n dding th t in his ti e ( ) the c toon Mi a ,
in the of a r A r l r ar n o possession the p inte u e io Luini , Be n di ’ ni An d v r Lu i s son . e en in the meag e description of ’ ard r a m ra r Leon o s wo ks by his nony ous biog phe , it is this
ra a is s l f r r His k tc s d wing th t ing ed out o p aise . s e he
ll m rv ll m Madonna wi are we nigh a e ous ; among the is 9. th ” A ne w a n r T ca St. n s . rtoo , which take to F ance his n,
’ ’ Tra tato dell A r e d lla Pittura . 171. t t e , p
74 LEONARD O.
ra his r f maz f rm u m re fu ll p ctised p o ession. Lo z o in o s s o y ‘ it . n r t upon this point When setti g to wo k to pain , if he er m er f r also ou l was as w e ast ed by ea . So he c d fi n i had 8011] e full nish oth ng which he begun , his b ing
of l m of Art er w as l see the sub i ity , wh eby he enab ed to faults in pictures which others hailed as miracu lous
r c eations . ’ At m l l r n r ome y this ti e Miche ange o, Leona do s ju io by s r f r h d fir au l A o a l r . t th l of sco e yea s , won his st e s e c ose “ ” r 1503 ta e of av il n e was all the yea , his s tu D id giga t , m f l l e . 20th o a r 1504 s m but co p et d By the J nua y, , an as e b y
of art an d n ta l r s w as d in or r to ists o b e bu gesse convoke , de
fix a for r The r l of n site its e ection . p otoco these proceedi gs “ ill e The art ear l ff r t i w . st exist d ists, it app s, he d di e en v e s G l a San G ll ar i of O i a iu i no da a o, the ch tect, was pin on th t a good position for the statue w ould be in the central arch ’ ’ of the Loggia de Signori (n ow Loggia de Lanz i) either la tr a on e can a r t p ced in the cen e, so th t p ss ound on bo h
s of or in the ro a the ll side it, backg und ag inst wa , with a
ar e e eo ar Ser Pi r da n d k nich b hind it . L n do di e o Vi ci
w as l v of as em l v r i as the e e enth the s b y who ga e his ve d ct, ’ follows : I am of Giuliano s Opinion that it should be
la e n t r un of the low p c d in the Loggia, agai s the backg o d
all and r r am of r m how w , with a p ope ount o na ent, which,
r l rf r w l of ll eve , shou d not inte e e ith the actua uses the ha ” lf all of l l w as itse . Fin y, at the wish Miche ange o, it decided the statue should be placed n ear the door of the
r Palaz z o della Signo ia . mof ar M lan l r s Deep at the botto his he t , iche ge o che i hed l h for Da Vinci a rooted dis ike . T e anonymous biographer
’ ’ Tra to dell A r e della Pi tu ra 114 tta t t , p. . ' i inedito de li A ’ ii 5 Ga e Carte o r isti . . 4 1 y , gg g t , p 5. LA r n MI A 75 RE TI ONS w r CHEL NGELO.
of the latter r r l t r s n a tist e a es an anecdote e pecti g this, an i - r ci n ta fr m l r r l f . s n de t ken o F o entine st eet i e A Leona do,
c m a co G . G v w as a panied by da a ina, passing the Spini b nk, ar r of a Tr a ral a l h d by the chu ch S nta init , seve not b es w re t r a m l r a a e he e sse b ed , who we e discussing pass ge in n e ar him m Da t , and seeing Leon do , they bade co e and t m m l explain it to them. A the sa e mo ent Miche a lo s an d on e of r ll him nge pa sed , on the c owd ca ing to , Leonardo said Michelangelo w ill be able to tell you
wha m . T o la r n had t it eans which the tte , thi king this ee s to ra him r l Na x la b n aid ent p , ep ied , y , do thou e p in it — lf r - m ll r art a l thyse , ho se ode e that thou who, un b e to ca t in r z a f r am st a s atue b on e, w st o ced with sh e to give ’ u the em . r his a p att pt So saying, he tu ned b ck upon m the and departed . ’ Michelangelo s statue Of David was not yet erected when Leonardo had already begun to work upon the large cartoon which w as to form the principal work of his
r o n h d re Florentine pe iod . B th he a d Michelangelo a ceived commissions for large historical compositions for the Sala del Consiglio in the Palaz z o della Signoria at
l la l fr m F orence . Miche nge o chose to depict a scene o the
l r n r P a le Soldiers Bathin F o enti e wa s with the is ns , entit d g, ’ w l ar e w as Battle o An hiari a hi e Leon do s subj ct the f g , v r l ren 29th of icto y gained by the F o tines (on the June, 1440 r l of la The er a w as as ) ove the peop e Mi n . und t king magnificent as it w as nov el hitherto scen es of profane
s or had l m ee mm r al s hi t y but se do b n i o t i ed in this way,
r l v r l r l r r r rl and ce tain y ne e on so a ge a sca e . In o de p ope y ’ to r e v al e ar r u i l app eciat and u Leon do s p od ct on, we shou d
glan ce for a moment at the battle- pieces of early Florentine
art. Those P ol ll ll r of l r by a o Ucce i , in the ga e ies F o ence , 76 LEONARDO.
Paris and London had been produced some seventy years
l r r of r l m r . h p evious y In t ei choice, howeve , new p ob e s
art ma r m ali r ou t in , both ste s see ke to have st iven to
l v r ult r in . st ip the age which they i ed Yet the es is , l ff r 5 a a rm u . A r 145 in e ch c se , eno o s y di e ent bout the yea , Piero della Francesca produced his imposing picture of the conflict between the Persian cavalry and that of
r f San r H ra l . o e c ius It is in the chu ch F ancesco , at
fre as m l r ll Ar z z . e o In this sco , in the si i a ones by Ucce i, the composition is made subserv ient to the laws which
l r T r an gov ern ancient p astic a t . he e c be no doubt that Leonardo w as the first to introduce an d to put into exe cu tion n ew rules which in works of this kind are of ser
v in r da ll t in vice e en the p esent y . We sti possess no es his a r e a l of a l m s a h ndw iting , d t i s the b tt e which u t h ve
rv as the a s of m se ed b si his co position .
The r al a has e r l o igin p inting b en dest oyed, on y a small copy of part of it bein g preserved ; if we would
a an ea of ol m f ll w r ramm g in id the wh e , we ust o o the p og e as for the ma u r it is set th in n sc ipt, even though we
a r l l w as a all d r c nnot be su e how c ose y it ctu y a he ed to .
G r l l r d N c lo P P e ene a s on the F o entine si e i co da isa, i tro
G am a l N r G Ca C r c s o Gu lfi i p o o , e i di ino pponi, ount F an e c
de l l r o e . R O sin , B nedetto Medici, Miche etto, M ina do degli
m s Albiz z i an d rs. be fter , othe It u t then shown how, a
arm he r an d l a being ed, took ho se , how the who e rmy — followed him forty squadrons ofcav alry an d two thousand im h ’“ infantry went with h . T e Patriarch ascended a moun
a arl m r mma t in in the e y o ning, which co nded a view of the surrounding hills an d v alleys of the district ; and he discov ers Niccolo Picenin o adv ancing from Borgo San
Lodovico Scaram i Mez z arota Pa riarch of A uile a p , t q j .
r m nt . s t f ll so r fu on y By thee eans hey e into g eat con si , N lo rd r to his ro s icco gave o e s his son to withdraw t op , n they fled to Borgo . Great was their defeat ; only e ca fir ref fli ht es ped who at the st had taken uge in g , r d l The l la ad hid en themse ves . batt e sted until sun n r ar r ll r , when the pat i ch eca ed his t oops that they ” ht r sl r r d bu y the ain and erect a t ophy . On ea ing clear and vivid account of the particu lars of the le ma l la r n , we y conc ude that it was the tte decidi g ’ se in the day s 00t which the artist chose to li e f mrta s in his re sco . Durin g the years 1504 and i r li l r the , he wo ked di gent y at the ca toon, and w in g year saw him alre ady engaged upon the l- r t elf for a l i pictu e i s , which he had specia k n d of l able scaffo din g constr ucte d . w as expedient that ' he should lose no time ; Michel
l s l at r E ll 310 was a so bu i y wo k . ach was natura y ions to secure for himself the foremost share of the
was e r . N r l of M l l y that to be th i s eve the ess , iche ange o , w l a r the r f kno on y th t he p oduced ca toon o his work. reon ardo the anonymou s biographer relates : Follow!
m f Pl r r so e hints which he ound in iny, he p epa ed 8. del kind of stucc o on which to lay on his colou rs ; a f His fir m this prov ed ailure . st experi ent therewith when painting a picture in the Sela del Papa upon ch he had already begun to work. He had painted it ll an d r lar fire b f r he wa , bu nt a ge e o e it, so that the Lt heat might cause the colours to become absorbed i l dried in . But th s on y happened in the lower zion where the fire was ; it could not suflicien tly heat
’ r r for r s uppe pa t, it was a g eat di tance ofi . Paolo
B this is mean the S a del o s l y t el C n ig io. rRE BATTLE OF ANCHI ARI . 79
Giovio gives us more minute information respectin g the techni al t l of r r hi c de ai s the p ocess , who exp esses s opinion of the picture in the following words In the Town- hall ’ of Florence there is Leonardo s painting of the Battle and
Con uest o the Pisans a l r l an q f , sp endid wo k, a though nu s cces ful one n la r of ll u s , owi g to the p ste the wa , which w ould n ot t l r a had m ake the co ou s th t been ixed with oil.
Gr at fa l r ll ieved his unexpected i u e , he a owed the work to ” ’ r m in nfin a ar t l e a u ished . V s i s accoun a so tallies with
hi r r P r ar l a t s epo t. e haps the tist be ieved th t he had on ce again discovered the method in vogue among the a of ncients, painting on wax, in which, as we know, the
- n c r H m lr process of burning i was ne essa y . e ust a eady have entirely abandoned the whole work in 1506 for in
e s mm r of r find him l l th u e that yea we at Mi an , deep y ma r engaged with other tte s . On the 18th of August the French Governor of that
tim r fr m l r r r e w ites o F o ence to the Signo y, equesting
l v of for ar an d Jafredu s ar ea e absence Leon do , K di on the da f ll i l r am ff y o ow ng despatches a ette to the s e e ect .
I n re l l r P r Soderini l r p y to the atte , iet o , the F o entine
nf l r 9th of r f ll Go a onie e, on the Octobe penned the o owing bitter lines : Leonardo has not treated the Republic in
i v H ha l the w ay in wh ch he ought to ha e done . e s a lowed a r l su m of m be him conside ab e oney to paid to , yet has m ll of r r made but a s a beginning his g eat wo k ; indeed , ” r r r ll ha he has acted like a t aito . Vasa i te s us t t the ’ n ni re s r was m l fa Go falo e ange ain y due to the ct that, hi ar s r r m relying upon s success , the ti t had equi ed oney r r to be advanced to him from the state t easu y . When with the aid of friends Leonardo was able to raise the
t“ a e Carte io inedi o de li artisti. G y , gg t g sum t o s in ques i n , he wi hed to hand it
r su flicien t who , howeve , had sense to entire failure of his technical method become thorou ghly evident in the course ar ye s. Albertim s Memo things to be seen in horsemen (cavalli) o ” ’ car r drawings . In a pente s bill of the year 1 “ h r 8 liv . 12. for i r i t e cha ge , putt ng boa d ng the great hall
of the pictu re draw n with all the ma er fin ll l st , who a y b otted out the
His o f his own. c py shows , in act and nothing more moreover these
l of M l c Duke Fi ippo i an , in whi h he m fi r t r horse en ghting ound a s anda d , f Am r the possession thereo . on g othe
r m r l scene , it is to be e a ked that not on y and the - desire for revenge apparen t in
r l of m l wi the ho ses a so ; two these ani a s ,
° r d are i a r inte twine , attack ng e ch othe less fiercely than do the cavaliers who are fl
LE F THE BATT O ANGHI ARI . 81
s f m a a h tandard . One o the co b t nts as seiz ed the object of
r r f an d r r its thei st i e with both hands, is u ging his ho se to
hil l n l of r o speed , w e he, e ding the who e weight his pe son t
effort l his m r af of the , c ings with ut ost st ength to the sh t
r an d r v ar ma f r fr m the banne , st i es to te it by in o ce o the
of f r r w ho are all la r f hands ou othe s , bou ing to de end
l f r a ra s s it with up i ted swo ds , which e ch b ndi he in the attempt to div ide the shaft w ith one of his hands while
ra of w h r An Old he g sps the cause contention ith the ot e . s l r red ca a has al s z e o die , with a p on his he d, who so ei d the
r an d rai a. rv m ar standa d with one hand , sed cu ed sci it in
r t r r e of ra an d fi r l al a the othe , is ut e ing c i s ge e ce y de ing blow by which he is endeavouring to cut off the hands of of O w ho r r e are two his pponents , , g inding thei t eth , struggling in an attitude of fixed determination to defend
r a r. e r am f of r e thei b nne On the a th , ong the eet the ho s s ,
r r fi r for - rt are n a el a e two othe gu es e sho ened , who obsti t y fighting inthat position ; one has been hurled to the ground l r has r m lf him an d ra s whi e the othe th own hi se upon , i ing
arm m is r his a er his to its ut ost height , b inging down d gg with all his force to the throat of the enemy the latter m il r l m l arm an d f e is eanwh e, st ugg ing ighti y with s e t,
r m l defending himself f o the impending death . It wou d be scarcely possible adequately to describe the skill shown
r r or s a by Leona do in this wo k , to do ju tice to the be uty of design with which he has depicted the warlike ts of l r r lm r s habilimen the so die s , with thei he ets , c est and m fi l v ar as are or other orna ents , in nite y ied they ; the wonderful mastery he exhibits in the forms an d mov e ments of the horses ; these animals were indeed more
r a an r ma er admirably treated by Leona do th n by y othe st .
lar ev l m ma of ir m The muscu d e op ent, the ani tion the ove 6 82 LEONARDO.
m n s an d ir a are r d r d wit the e t , the exquisite be uty en e e h m ” ut ost fidelity . It is clear that Vasari has only sought to describe single
ar s of w h l r N v r h le e r t has p t the o e wo k . e e t e ss , his d sc ip ion ’ led one to think that Leonardo s composition w as confined
l i V i r m s s . T to thi ing e scene h s ew, howeve , eets with
ra i t a of a m r r cont d c ion at the h nds the nony ous biog aphe , w ho f rms af r a of m r in o us that, te the de th the aste in the
s al of Sa ar N v a the reater ortion of ho pit nta M ia uo , g p
ar w as ll x e el l the c toon sti in e ist nce . to which b ongs a so
ra of r a r w as m l the d wing the equest i n g oup , which co p eted ” an d rema al ined in the p ace . In the present day we do not possess many genuine
es s ar for s i t r al r are d ign by Leon do thi p c u e, though the e numerous sketches by him of horses an d riders in v arious
H e w as all all f ll of a an d r . r positions , u d sh spi it pe son y
a rea l v er of r e a as a ar m r such g t o ho s s th t, V s i so ewhe e sa He se r a his erva an d r v ys , u d to et in s nts ho ses, e en ” w h d l v l hen he a nothing to i e upon . Ludovico Do ci speaks of the masterly w ay in which he w as able to “ e r e ) T er for i d pict ho s s M . hi s possessed a sketch th s
r m r rse e a e s as ele o . pictu e, in which the ho n hown sk t ns
There are also some little sketches in the print - room of
r s e m of m t m a a s r the B iti h Mus u , oun ed co b t nt in va ious attitudes ; they may refer to parts of the pain ting which
are r r a v - m r v not ep oduced in the bo e entioned eng a ings . There are also in the Royal Library at Windsor two very
ere n es of r m fi r l int sti g sketch ho se en ghting, appa ent y
re ara r s for r r p p to y tudies the desc ibed pictu e . Benv enuto Cellini tells us in his autobiography ’ Mich elangelo s cartoon w as hung in the palace of the
Stu endis imo in far cavalh S A tino s . ee re eni 155 . p , V ce, 7
84 LEONARDO.
F rs let air e a fu m re of m i t, the xhibit con sed ixtu s oke, arisin f r ll r m r an d g from the discharge o a ti e y and usket y, the dust raised by the horses of the combatants ; an d
O erv a of an ar a r bs e, th t dust being e thy n tu e, is heavy ,
et r a f m ar l a l but y , by e son o its inute p tic es, it is e si y
m ll ar m s air r l s i pe ed upw ds, and ixe with the ; neve the e s ,
rall fall w ar a mos l r s it natu y s do nw ds ag in , the t subt e pa t of it al a an r l r e of l a one g ining y conside ab e deg e e ev tion , and at m an d ra r as its ut ost height it is so thin t nspa ent, m a ar r l f air . The to ppe nea ly of the co our o the s oke ,
m x air form of r thus i ing with the dusty , s a kind da k
l at Of w h is i s fr m c oud , the top ich it d stingui hed o the m f i a. l s r a r o ts dust by b ui h cast, the dust et ining o e
a ral l r ar fr m hi li t n tu co ou . On that p t o w ch the gh
r s m r of air m will e r p oceeds , thi ixtu e , s oke, and dust, app a mu r The m r ch b ighter than on the opposite sides . o e the
m ata t are v lv r le m l s co b n s in o ed in this tu bu nt ist, the es
s l ll an d m r f ll di tinct y they wi be seen , the o e con used wi
in l f f they be their ights and shades. Let the aces o the m e r e r d an d v r r m be usket e s , th i bo ies , e e y object nea the ,
e r s hu e v air or l of ting d with a eddi h , e en the c oud dust ;
r all urr m . T red o in sho t , that s ounds the his tinge y u w ill diminish in proportion to their distance from the
h r r r mar a s . T e of fi s a r p i y c u e g oup gu e , which ppea at a
s a w r an d l ll f rm di t nce bet een the spectato the ight, wi o a dark mass upon a light ground ; an d their legs will be more un determined and lost as they appeared nearer to
r e a s r v r and r the g ound , b c u e the e the dust is hea ie thicke . I f you mean to represent some straggling horses run
n Of ma r al s m m ll l ni g out the in body , int oduce so o e s a c ouds of s as far s a fr m a r as l of the du t, di t nt o e ch othe the egs rs l l l s ll m fa r m r ho e, and these itt e c oud wi beco e inte , o e 85 THE BATTLE OF ANGHIARI .
’ scant and diflused r rt r a fr m y, , in p opo ion to thei dist nce o the r T r f ll l be ho se . hat nea est to his eet wi consequent y
the m s rm m ll of all. o t dete ined, s a est, and the thickest
air f ll of arr all r n m Let the be u ows , in di ectio s , so e asc n m fall an d m ar r endi g, so e ing down , so e d ting st aight f r r Th m . e ll of r o wa ds bu ets the usket y, though not seen , w ll m r r r r Of m i be a ked in thei cou se by a t ain s oke, which br aks t r r l fu The fi ur e h ough the gene a con sion . g es in the for r u l r r r eg o nd shou d have thei hai cove ed with dust, as
l th r r l r l a l r a l a . a so ei eyeb ows , and p ts i b e to eceive it
The r s r ll r f r ar r victo iou pa ty wi be unning o w ds , thei
r r l r fl n r e e hai and othe ight pa ts yi g in the wind , thei y
r ws l r m of r m m r r rl b o owe ed, and the otions eve y e be p ope y c n r for m r f for o t asted ; instance, in oving the ight oot
l f a m m f rw ar al I f r s t r r . wa d , the e ust be b ought o d so
ou m an of m fall w mar l of y ake y the en do n , k the p ace his f ll l r r - a an d r the a on the s ippe y, go e st ined dust, whe e
r l s m r a l let r of g ound is e s i p egn ted with b ood , the p int ’ men s feet an d of horses that have passed that way be
m r r m r r of a ked . Let the e be so e ho ses d agging the bodies
r r r an d l n m a f rr m thei ide s , eavi g behind the u ow ade by
r l the body thus t ailed a ong . The countenances of the v anquished will appear pale
T r r r m r le and dejected . hei eyeb ows aised , and uch w ink d
f r a h k The of r about the o ehe d and c ec s. tips thei noses somewhat div ided from the nostrils by arched wrinkles
rm at r r of rinkle te inating the co ne the eyes , those w s being occasioned by the opening and raising of the
r l the r l r v r et h nost i s ; uppe ips tu ned up , disco e ing the te .
T r m an d r of v l lam hei ouths wide open, exp essive io ent en ma r tation . f ll One y be seen a en wounded on the g ound , endeavourir i h one a r his an d g w t h nd to suppo t body, 8 LEON 6 ARDO.
v r w r the alm f h ch is co e ing his eyes ith the othe , p o w i
r r m r ru nin aw a an d tu ned towa ds the ene y . Othe s n g y, m m r al B e with open ouths see ing to c y oud . etw en the legs of the combatants let the ground he strewed with all
r f rm as r l o r s r s l . so ts a s, b oken shie ds , spea s , wo d , and the ike a ul r m rel M ny dead bodies sho d be int oduced , so e enti y v r r r l let loo co e ed with dust, othe s in pa t on y the b d which seems to issue immediately from the wound appear of r l l r r a i din r its natu a co ou and unning in w n g cou se,
ll m i f rm r is d of mu d ti , ix ng with the dust, it o s a edd h kin .
m l a of r t So e shou d be in the gonies death thei tee h shut ,
e r l l r r fis l an d r th i eyes wi d y sta ing, thei ts c enched, thei
e s rte m ma a r arm l g in a disto d position . So e y ppea dis ed
n d b at m ll fi r a e en down by the ene y, sti ghting with thei
fi s an d v r st teeth, and endea ou ing to take a passionate ,
r ma be l r l though unvailing revenge . The e y a so a st agg ing m r a. r r r l r r n ho se without ide , unning in wi d diso de ; his a e fl f all f re ying in the wind , beating down with his eet be o m A him an d l of a a . l r , doing a dea d ge wounded so die ma al fall r u and tem y so be seen ing to the g o nd , at pting
v r m lf w his shi l le an m to co e hi se ith e d , whi ene y bending
r him av r v him fi r ove ende ou s to gi e the nishing st oke . Sev eral dead bodies should be heaped together under a
a r m of r r as n de d ho se . So e the conque o s , havi g ceased fi ma n r fa fr m r ll ghting, y be wipi g thei ces o the di t co ected on them by the mixture of dust with the water fromtheir eyes .
The r do reserve ill s a v a a l bu t co ps w be een d ncing g i y,
l r r r f r r s s a cautious y, thei eyeb ows di ected o wa d , h ding their eyes with their hands to observe the motions of the
m m l of m i ene y, a idst c ouds dust and s oke, and seemng
f ou ma ls a attentive to the orders of their chie . Y y a o m ke
88 LEONARDO.
in l l the G v a a. ers n of the hospita ies young io ann , p o ” r T r f are nl fantastic fe atu es . hese two b ie notes the o y in formation which we hav e respectin g his relation to
m t er e ar of r r n er s to and his o h ; th y e ve y g eat i t e t us ,
’ place the artist s person al character in a most fav ourable
3 1? It was about the year 1504 that the portrait of Mona Lisa his m l at r in r G ll r . was co p eted , p esent the Louv e a e y In t r r r r of his painting, athe than in any othe p oduction , we
’ a c r m e r l He r can the e siest dis e n the ast s sty e . was at wo k '
re r f r l r . a upon the pictu du ing ou who e yea s Mona Lis , the r of A r Noldo G r r was daughte ntonio Ma ia di he a dini , a N l n an d r f of Z del G n 14 60 eapo ita , thi d wi e anobi ioco do ( whence it comes that she is also called la Gio ” m rri him the r 1495 . r conda She w as a ed to in yea . F ancis
r a a few r la r f r u l florins the Fi st p id , yea s te , ou tho sand go d m for the r r an n rm su th se s. Th po t ait, e o ous in o day e
’ i r r r s l f - z fi u r a arm- r p ctu e ep esent a i e si e g e se ted in an chai , ur i r l f r s la t n ng towa ds the e t , with hands c o sed in the p. Only the upper part of the body is visible ; the costume is
‘ l th e x r m a m d r m m . si p e in e t e e , with no tte pt at a o n ent A
far- r l n a f rms the a r n st etching a dsc pe o b ckg ou d , painted s l Th with the u tmo t de icacy . e achniration which this por trait has always created is owin g not merely to the beauty
of the r n or to rm of the m s t m sitte , the cha su ptuou cos u e and ifi r n H magn cen t colou i g. erein its chief excellences do not
' ‘ lie are rimaril h of an d r ssion ; they p y t ose conception exp e . ” T ere so l a n an e re s r h is p e si g xp s ion , says Vasa i , and a
m l h l l at n ' s i e so sweet, that w i e ooking it o e thin ks it rathm
v a uma and has v r di ine th n h n , it e e been esteemed a
rf l r l f s lf l wonde u wo k, since i e it e cou d exhibit no other
" G iovannina vise fan as ico sta asca chaterin llos , t t , s a pednle.
90 LEONARDO.
A the n r or acted as his helper and instructor. bove o th do of the baptistry of Florence there is a lifec sise bron z e
r him of o B r i s a s g oup by J hn the aptist p each ng, who t nd
we l e Phar es. On e of fi ur bet en two ist ning ise the g es, that of - l k old man l t an energetic oo ing with ba d head. is wi h good reason believed to show that Leonardo had not a ’ r ll little to do with Rustici s work. Vasa i te s us that
ma l m l for i r he when Rustici was king the c ay ode th s wo k, him bu t r da n would have no one about Leona do Vi ci, who actually did not quit his side until the design had been r l m l The l i the fi r enti e y co p eted . sty e in wh ch gu e just m r l rl of r entioned is executed is pa ticu a y that Leon a do . Amon g the Florentine artists who ev en earlier than this e fl n b m had b en in ue ced y Da Vinci, we ust specially me i Fra r ol mm v m l e h nt on Ba t o eo , who, ha ing co p et d is
rm of la C im R s lli ms lf te pupi ge with os o o e , devoted hi e ’ ‘ z l l of m ea ous y to the study the aster s w orks . Jacopo — Carmcci da Pontormo (1494 155 7) is another painter w ho ’ was among the pupils who visited Leonardo s studiofi — The sc ulptor Baccio Bandinelli ( 1493 1560) w as employ ed by himas a w orker in relief i For a certain period Ridolfo ’ del Ghirlandajo was a su ccessful imitator of Leonardo s l The m r r ll sty e . § anony ous biog aphe te s us that when
Leonardo was at work upon his battle - piece in the Palaz z o i rr r l Vecch o , Fe ando the Spania d was his pupi , together ’ R ffa ll d An ton io R with a e o di Biagio and iccio (18. Santa Cr the la r a a r of m t i oce , tte p inte who no h ng beyond his
sari ed . Lemonier ol. vi 0 Va v i. . 15 , , p .
i o . x 30. t Vasar , v l i. p.
s r ol. x. z Va a i, v p. 295. He ain ed the ic u re of the Annunciation o 1288 p t p t , N . in the Fl n I b Ufllzi at ore ce. t hu een ermneomb u cd bed to lmmrda ms FLORENTINE 1 PUPILS. 9
’ am “ n e is known . In one of Leonardo s manuscripts the r m r c r 1505 T n 14 of e a k oc u s , , on uesday eveni g, the th
A r l r z m a w m He l me a p i , Lo en o ca e to st y ith e. to d th t his a e w as T a w as r z o g seventeen. h t this Lo en Lotto is hardly a safe assumption ; there is absolutely no grounds for su ch l f r u m ma r a be ie . In the B itish M seu nusc ipt we find a German mentioned as being also a pupil or assistant ’ of r of him s Leona do s , but we know nothing beyond ju t
his. r r Earl Sa r a m r t Leona do w ites y on tu d y o ning, the
3rd of A 1504 G rma Jmo am m ugust, , the e n mc e to y house
av l a am a him to stay . We h e sett ed th t I to p y one
arl da El r the r w . ar c ino a y . se he e on MS the e e entries in m r of m of r l the sa e handw iting the na es othe pupi s , ’ fi r f r l which gu e in one o the a tist s househo d accounts . We must not omit to quote these hitherto un published memoranda just as Leonardo set them down : they speak to us of the domestic life of the master an d his pupils .
Au s 14 T mma 18th of gu t th, twopence to o so ; on the
m m f r l 8 of the sa e onth, ou pence to Sa ai ; on the th
m r S I I a r S Septe be , ixpence to F tto e on the unday, the 16 f m r av f r T mm th o Septe be , I g e ou pence to o aso
m f rma l Respectin g this To maso we hav e no in o tion at al .
11 r r of G v a ra Pe n Fatto e is the sob iquet io nni F ncesco n i , who r at l r 1486 an d was bo n F o ence in , who is known to ’ f a l l l have been one o R phae s ear iest pupi s . In the summer of 1506 Leonardo receiv ed permi ssi on
r m r of l r v is la aft r f o the Signo y F o ence to it Mi n . When e t fr m m m r r l r his a his he o ti e to ti e etu ned to F o ence , st y there was always a brief one ; that he did this w as mainly
m r of a r l m s an d rs al a re owing to atte s pu e y do e tic pe on n tu , w i v ar v r s r f rt h ch ha e no be ing whate e upon the hi to y o a .
’ - Archivio s orico I aliano eerie erz a tomo xvi. . 219 0. t t , t , , pp 3 CHAPT ER VI .
— — is mason ssmn cs vxsnr ro non e m sermon or —ras a m s sa FRA HCIS x. o s I N ran Louvas A M) AT
’ — ’ ‘ cassuros max m:swsscs A l cw ux Lsomuno s m 0m .
B NAR s ft r his re ur il l v O DO , oon a e t n to M an, i ed
i his fr lz an d the u mmer of 1506 w th iend Me i , in s
e r se r of r r me Th he ent ed the vice the F ench gove n nt. is we gather from the following excerpts take n from a letter ’ d r C arle d Amboise the r r r a d essed by h s , F ench gove no of
la r of l re . ll ill n Mi n , to the Signo y F o nce We sha st eed ’ r r l m l of Messe Leona do s he p in the co p etion a work. We therefore beg for an extension of the
v r e f r r rd r lea e g ant d to the a o esaid Leona do , in o e that he " m a l r la Hi may stay so ewh t onge in Mi n . s relations with T w lf er r mm Louis the e th v y soon eco enced . This we infer ’ fr m a l r of ra c Pan dolfini s the l r o ette F n esco , F o entine ‘ mb d r at re r . I t a B a assa o the F nch cou t is d ted lois,
a r 22 1507. n m lf m r J nua y , Findi g yse this o ning in the
r e e of m Chr his Ma e p es nc the ost istian King, j sty called
: Y ur l r m r r me r me and said o o ds ust ende a se vice . Write
‘ ’ Ga e Csrte io vol. 11. . 5 y , gg , p 9.
94 LEONARDO.
C rd al of errara ri his fl n to b ar the a in F , to b ng in ue ce e
r at d m nl upon the Signo y , whose han s he ight not o y
ai al a v r f v r obt n justice but so e dict in his a ou . After twice v isiting Florence during the year 1507
w e fin d him a a r m rt in October gain at Mil n . F o the sho
in on e of ma r at l note his nusc ipts , Bought Mi an on
12th of r can a the Octobe , we see th t he was in
a in the a m of ar r d e th t city utu n that ye , whe e , to ju g fr m a m lar u r r remar r ls r o si i c so y k which occu s e ewhe e , he ‘ f r lan also spent part of the ollowing sp ing. Just then Mi w as the scene of great festiv ities an d rejoicings in honour ’ of Louis the Twelfth s recent v ictories ov er the Venetians
A a ll an d r r a l ar . at gn de o , in these Leona do p ob b y took p t But in one of the British Museum manuscripts we read as f ll : e l r of P r o ows B gun in F o ence , in the house ie o
ar ar ll 22n d of ar 1508 di B to M te i , on the M ch , At the beginning of the year 1511 he addressed the fol ’ l w le r C arl d Amboise r r r o ing tte to h es , the F ench gove no at Milan Workin g as I hav e done for his most
C r s a a e the n l r a l l h i ti n M j sty Ki g, it wou d g e t y p ease me to know whether I am to continu e to receiv e my n T a l salary or ot. o the m ny etters which I hav e sent
r E elle r i s v v r r v you xc ncy espect ng thi , I ha e ne e yet ecei ed l l m n a r. a a l f r a nswe I now send S i , who wi in o you that
l r rs arl an the awsuit with my b othe is ne y at end . I hope
rr v er h Ea r an d ll r me to a i e th e t is ste , I sha b ing with
r of a a of ff r z . T two pictu es the M donn , di e ent si es hese
r for m C r s a a or for a e his ost h i ti n M jesty, any one else m r Ex lle ma fit m on who you ce ncy y see to bestow the . On my return I should be v ery glad to know where I am to a e m res e as l n o l r w h t k up y id nce , I wou d onge is
Navi lio di San ri foro di Milano fatto adi 3 di g C sto Marz o, 1509 . THE WO MADONNA- PI CTURES 95 T .
r r Ex ll 1508 an d 1509 to be a bu den to you ce ency . In he ll re of a r al n as m lf was sti in ceipt oy stipe d , he hi se ’ lls Atl ntieu te us in the Codex a s. Leonardo w rites a similar letter to the inspector of
a rw r a n a r r at Ea er w te o ks , s yi g th t he intended to etu n st and that he would bring tw o pictures of the Madonna
hi had an d at had r a w ch he begun , which he wo ked good
l ar m a r a a e of dea in his sp e ti e , so th t they we e in st t f r r m l n T r o wa d co p etio . he e is no evidence to show that both or ev en one of these paintings became the property of e T lf or f m Louis th we th . N can we identi y the with the two undoubtedly genuine Madonnas by Leon ardo in the
L f s ll v f r O a r l a . I ouv e , which we ha h e p esent y to spe k ’ re ar al v r n ar l r at an the F nch M sh e e got Leo do s ette , he y rate w as then in no position to interest himself about works of art r of 1510 had at w ar w . Since the Octobe he been ith
P l n f r all f l e o o a . ope Ju ius the S co d , be o e the w s Bo gn
He at C rr f ll r ar ll died o eggio in the o owing Feb u y , who y
r a the l fa l r of his ra c ushed bene th signa i u e st tegy . In
m r f 1511 ar w as a a o la . the Dece be , Leon do g in at Mi n
T r v of r ma r he e is e idence this in the Windso nusc ipts , where are two drawings representing large con flagra
t an d a al a e ions ; to these speci note is pp nded , which expressly states that the Swiss had lit these fires when ila ‘ in M n . 1 In the December of the following year Maximilian ’ f rz ma r la S o a, Lodovico s son , de his ent y into Mi n , although the French troops still occupied the citadel
1 R dinar he e r mi o Fe]. 89 ichordo de i c io ho auot dal re pe a prO uisione dallu l 1508 insino a rile rossimo 1509 rima scu di 100 g o , p p , p ” oi 200 oi 0 oi 50e oi 20e oi 2 0fr n hi 48 er lune . p , p 7 e p p p 0 a c a p
See A endix No e 8. pp , t 96 LEONARDO.
He had been enthrone d by representativ es of the Holy
v r m r t v l m ll League the duchy, howe e , was co pa a i e y a s a one n ow an d f l forz a l l rn , the youth u S was on y ab e to gove
for the a of re rs it sp ce th e yea .
15 13 a l re of e of di In , F o ntine the hous Me ci had been elected pope at Rome under the title of Leo the Tenth. ’ He w as r z Il Ma nifieo s G a c Lo en o g son , iov nni Medi i, who
a m w as l r - v e ar old at th t ti e on y thi ty se n ye s . Both
a l an d lan l e m fam Raph e Miche ge o had by th n beco e ous , owing to their labours in the Vatican ; whereas the years had Lo r era of gone by and e na do da Vinci , a vet n sixty , had as n l f R m r ll i - yet o y once set oot in o e , the a y ng point ll ar ts of e r A of of a R . tis not , the ve y thens the enaissance
a r r la e s of the l of V sa i e t that , on the occasion exa tation
h Pe e r P t e Te r of St. ope Leo nth to the chai t , the Duke ’ Giuliano de Medici took Leonardo with him as his com ’
a o R m . G l was o es r r p ni n to o e iu iano Le s young t b othe ,
his i r m r r man l being jun o by so e th ee yea s , a gent e ’ and melancholy in disposition . It w as the Pepe s in tention to give him an important duk edom in Central
l the br r of 15 15 he r Ita y . In Fe ua y was bet othed to the
’ Pr l r r of r s . m incess Fi ibe ta , siste King F anci I s other, ' o The r a n v b asar for L uisa . e so gi en y V i Leonardo s visit His a m to Ro me is not the true one . st te ent is contradicte d ’ of m ste r m r by a note in one the a s own anusc ipts. I left
' il 24 Of m r for R m e M an on the th Septe be o e , a com ‘ nied b G o i r lz al r z o n pa y i vann , F ancesco Me i , S ai , Lo en , a d ” T ll Fanfeis . his apparen tly points to a formal migw of r s r si l who tion the a tist e dent in Mi an , at that time must have foun d life in that city and in Lombardy well- nigh A in unendurable . ll exist g accounts seem to agree as
Gio nni A n onio Belt o va t rafi G) .
98 LEONARDO.
r m l m He h m s home and o r n . t e u ous otio t en ade eye , , a b a d
for the r a re tamsd a e c e tu , which he and kept in a c ge h w ould then show it to the fri ends who came to visit him; ” ran rr A and all who saw it away te ified . ccording to Vasari this was but one of the many equ ally extraordinary ex m w hich he l He peri ents in de ighted. also occu pied him self a great deal with mirrors and optical instruments of all k n s v i i d , besides in ent ng new sorts Of Oils for a r to r s r or p inting, and va nishes p e e ve w ks when executed . The Pope is said to hav e given him a commission for a
t r was l r l pic u e, but when he to d, p obab y by some enviou s
u r i t of m in w as b sybody, that the a tist, ns ead ak g a design , engaged in preparing a solution of distilled oils and “ r a v r s for it la m : T man he bs as a ni h , he exc i ed his , las ! ill r dl h all a w assu e y do not ing at , since his thoughts ” are of en d f r has m n the be o e he even ade a beginni g. Nothing is more likely than that intrigues were the reason tha t the artist re ceived no commission for larger and m r m r r e l of o e i po tant wo ks . W on y know two small pictur es which he is supposed to hav e pain ted when at
Rome at r Of s r Baldaesare Tu r i , the equest Me se in , of ' P P r The fir of s escia , the ope s data y. st the e is a little " l of m rvell race a an d h chi d, a ous g and be uty, the ot er a Madonna and Child c n ri , whi h, eve when Vasa saw it, was d already in a greatly eteriorawd state . There is a picture still in good preservation which has ’ e fal l be fr m ar s r i be n se y supposed to o Leon do b ush. It s
' a fresco in the lunette of a corridor in the convent of
fr r atic re r s . e Mad n S Ono io nea the V an, p enting a on a
l act of lam a r This ma v and Chi d in the b ing dono . y ha e Beltraflio r l n wi L been done by , who p obab y we t th M
m 1 15 the r a to Rome . In Dece ber 5 painte was ag in in ’ POPE LE — L D x x. OR urron M O s s ADONNA . 99
ila a r a f M n . It is supposed th t the e son o his return was
due to m a r m lan l so e dis g ee ent with Miche ge o, the two artists hav ing at that time been in competition for the ele
a of f of San r z l r l This v tion the acade Lo en o in F o ence . was
l m r l h for hi the ast ti e that Leona do was to see Mi an , w ich m
had e n as r m S f ar b e , it we e, a second ho e . oon a terw ds he
r his in m l of r , ente ed upon duties the e p oy the F ench king . Perhaps it was during this last visit to Milan that some Of
his a l r r i d f r el f p ne pictu es we e pa nte , which o tunat y or u s
re n r m m z z ll a u inju ed by ti e . Lo a o te s us that in his
days there w as a panel- picture in the Capella della Con
cez ion e l r in Mi an, done by Leona do da Vinci , in which the w l f l St . John Baptist is sho n knee ing with o ded hands
f r v o r r r l l aw an be o e the Sa i u , whe eby is exp essed chi d ike e d
o i l a a in r alle m s ecu bed ence , whi e the M donn wonde [ g p lez ione r r him her a f ll of m l ] ega ds , counten nce u ing ed joy l t f of ra a and expectancy . Whi e wi h ace di nt beauty the seraph seems wrapt in the contemplation of that boundless bliss which shall go forth to mankind as the outcome of
m r l f a r the yste y on which he now ooks , the e tu es of the Infant Christ are distinctly stamped with an expression
h r l m. T e l f l . o God ike wisdo Vi gin knee s , ho ding St John
her r l she r l ft f r r with ight hand, whi e st etches the e o wa d ,
f r r The which is thus seen o esho tened . angel holds the
l f l ft a r z Ho y In ant by the e h nd, who , sitting up ight, ga es “ l n hil le him earnest y at St . Joh w e bestowing b ssing upon . Of this picture also Lu tu ada makes mention in his Des
iz n r M l 1796 cr io e di It was pu chased at i an , in , H ml af r r l r ff l by Gavin a i ton , who te wa ds so d it to Lo d Su o k ,
’ ’ ato dell Ar e della Pi ura . 171. Tratt t tt , p
' — l i . . 245 246. 1 Vo . v pp 00 1 LEONARDO. in whose collection at Charlton Park t he work is at present A r l f ff r m w the be . O s to seen ep ica it , di e ing o e hat in
l of the la ca an d ra Of the el detai s nds pe in the d wing ang , ’ is o r l r i l Of m t r now in the L uv e; doubt ess an o ig na the as e s ,
l h r is l The a though its isto y ess known. painting in the
vr fr m the l r u La Lou e , known o andscape backg o nd as
Vier e aua: Rockers fir me e as am n g , is st ntion d o g the
l ra r i s fo works of art be onging to F ncis the Fi st . Des gn r
f T r an d at r the it are to be ound at u in Windso , in which n l s r a a l a ge is shown with out t etched h nd , a det i which r P only occu rs in the pictu e at aris .
Louvre is La Saints Anne the Virgin is seated in her
’ s la rd H l C l mother p, and bending downwa s to the o y hi d , a lam The m i who is fondling b . co posit on of the work is wholly different fromthe cartoon in the Royal Academy ;
r s r ter fr m althou h in l r n the d awing hows g ea eedo , g co ou i g r r of Vier e aux Rocker it has not the vivid t anspa ency the g s.
For whereas in this picture each flower in the fore grou nd is given with such exquisite truth that to classify
all s ma r in the Saints Ami e b it botanic y is an ea y tte , u t
l are ca d and l r the r few detai s indi te , a togethe wo k is A evidently in an unfinished state . whole set of stu dies
' for this W r ll n painting is to be seen in the indso co ectio ,
for r r of . A n s also sketches the head and d ape y St n e , be ide s several studies for the figures Of the Virgin and the Holy
The l ll s n s r li Infant . on y a u io s to thi pictu e in the ters ture of the sixteenth century occur in a son net by Giro
l Per 8. A in lamo Casio de Medici, entit ed nna che dip ge i tenea la r braz z o n on v oles il L . Vinc , che Ma ia in , che ’ ’ n dessi r nu n ll Giovio s r figlio see sop a ag e o , and in biog aphy
The r n wr es us : A an l- of the artist . histo ia it th p e pictu re
m m omas m m noum 101
I n thn t r l m r the r n of the Ch ist at p ay, with his othe Vi gi , an d r m r A na r s r his g and othe n , was pu cha ed by F ancis the ” r w ho a n sacrario. Giovio Fi st , c used it to be hu g in his thinks so highly of the work that he classes it with the Last
u er and the Battle o An hiari n l r r s S pp f g , the o y othe pictu e
as W it “ I t .
m n H r . r re s ord which he entio s oweve , the is no exi ting ec of a r s Of the m n r it mong the invento ie French o a ch. From r e r the r R l A m F anc , togethe with ca toon in the oya cade y, i f its l for 1 t may have ound way back to Ita y, in 629 r s r ard l l it was pu cha ed in Lomba dy by C ina Riche ieu . Of rea r m r r n mer is or g te i po tance , howeve , tha its e h t y, 102 LEONARDO is the question as to when the painting w as first
r m v w as e p oduced, So e ha e thought that it execut d in ’ Fr n r l r f in l a ce du ing the c osing yea s o the pa ter s ife . But the fact remains that the original was frequently
M la ar m l m r r of copied by i nese tists, ost y conte po a ies
The r f ll an d a r e Leonardo . ca e u y executed ccu at copies in ’ ll r l r l as l Lu ini s the ga e ies at Munich , F o ence, Mi an, a so reproduction in his Madonna now at Lugano are sufficient proof Of how early the picture had gained a high recogni . l f r m z z a o a an d . tion , notwithst nding the si ence Vas i Lo a o It remains doubtfu l if either or both of these pictures now at Paris are identical w ith those which the artist mentions
i l er aré al a in h s last ett to the M ch de Ch umont .
T r a r r ar o he e is nothe genuine wo k by Leon d , the
Fi ure o John the Ba tist in v r m g f p , now the Lou e, entioned l f i as av e l o ra i . h ing b en in the co ection K ng F nc s St . ’ fi u r alf l f - z lo n John s g e is h i e si ed , with head oki g to
l f I n his r a r s ma of r the e t . ight h nd is a c os de eeds , to
zn t f Al tl s which he po s with the le t . though doub e s an
ri i al r r t has n o r o g n , the pictu e in its p esent sta e g eat
m l r n has arm for . be ch us Owing to ti e , the co ou i g
m l a a l ar s m l co e unp e s nt y d k in tone , and in o e p aces the work shows signs of hav in g been painted ov er ; yet the face is modelled with a delicacy an d refinement thoroughly
r f r a ar P l v wo thy o the g e t tist . upi s ha e repeatedly copied the r ma of ara m v fr pictu e , king use sep te oti es there om for m lar r l m ev r t c si i p oductions ; se do , how e , wi h su cess. Nev ertheless the greater part of these has been indis crimin ately classed among the genuine works Of the master . No sooner had the youn g Kin g Francis the First suc ceeded r of r r f to the th one F ance than , at the equest o the
104 LEONARDO.
” r r w ll fi r which we e neve ho y nished . In the P int
Room of the British Museum there is a genuine pen - an d
s ar of a u Leda and the Swan ink ketch by Leon do, n de , a
er for the l r Of P omona study, p haps , ost pictu e . the we
nl a she was re r en e lau fa o y know th t p es t d with ghing ce , ” w r r l v e l ” r m u a Pamona ea ing a t ip e i . 1 Without Ve tu n s cannot well be Among the rare works of
r lz er an x ell r r s ta of F ancesco Me i, th e is e c ent ep e en tion this mythical scene in the painting in the Berlin Gallery
- No. fi r are l fe z The a ( the gu es in which i si e . he d of P omona is a s al arm an d p inted with e peci ch , in the ’ other parts of the picture Leonardo s influence is clearly
r l disce nib e . l On 23rd of A r l 15 19 o ar m l . the p i , , Le n do ade his wi “ In it he commends his soul to Nostro Signore Messer
m all lor a r n s ar a a m or Do ine Dio , a g ios Vi gi M i , onsign e
o l a u li ea i A n l a San cte del San to Miche e, e t tti b t ge i s ncti e ”
Paradise . a r a w h his w as rre In cco d nce it wish , he inte d
i He al Church of San Floren tin e n Am o se . in the , b i so gave direction s for the performance of masses to be said
ft r a u rr on the 2nd of Ma the a e his de th , which occ ed y in
- am ar the x v e ear of his a e . s e ye , in si ty se nth y g As regards the touching story so often represented b m er ar s s of the v s o f r y od n ti t , i it King F ancis to the ’ r ea - bed x res in the arm o f a r painte s d th , who e pi s his p t on, although it passed for true in the time of Francesco ’ llan da an d a ar ma saf l r as a d O § V s i , we y now e y eject it
’ ’ l T m o d l a ll Pi tura 164 . Idea de e i e la T ratt to dell A rte de a t , p p
’ i ura cha . ii. P tt , p ’ Idea . 132. 1 , p ’ Ovid Metamor h . lib. xiv. vers. 623 se . , p , q
See A endix No e 9. pp , t m D ATH 105 s E .
’ l l m . For r ea a o yth when Leona do s d th took p ce at C ux,
Fra r his C r w as far a at ncis the Fi st , with ou t, dist nt
t ma n n v f S . Ger e a a d a o in L ye , we h ve the e idence the personal diaries of the king to prov e that at the time of ’ ltr cchi s the event he had not quitted that place . In O e ' ’ Groteschz there is a v erse which refers to the painter s ’ decease ; his accoun t of the king s behav iou r may well be
r th r w r conside ed e t ue one . Sore ept king F ancis when
ar fr m lz a Da n w as ea he he d o Me i th t Vi ci d d , who , ‘ w l v la a Last Su er a r hen i ing in Mi n , p inted the pp , pictu e
w i x els e ver 1st of u lz h ch e c y On the J ne , Me i ,
wr fr m Am nf rm G u l a da of iting o boise, i o ed i i no Vinci his ’ br er ea can fr m r ef x r s oth s d th . We see o the g i e p es ed in
his l r how l had fr s ette , c ose been the iend hip between the
m m l H m the f f r er an d e f. e w as e o ast hi s to best athe s , an d it is impossible for me to express the grief that his
ea ha e l da w m d th s caus d me . Unti the y hen y body is
la er the r n s all ex r e r al rr w id und g ou d , I h pe i nce pe petu so o ,
an d n ot w r a for a l ed me m s ithout e son , he d i y shew the o t
ev e an d armest affe His lo is a r f d ot d w ction . ss g ie to
v er on e for in r of r r r e y , it is not the powe natu e to ep oduce ” er u a m n anoth s ch a . The an onymous biographer tells us of the disposition of ’ Leonardo s property in the following words : T o Melz i
l ft a r ala an d his erv a a a he e his p pe s, to S i s nt , B ttist de
la his ar ar lan an d r r su m Vi ni , g den ne Mi , to his b othe s the Of fo u r hundred ducats deposited at Santa Maria Nuov a ” l r in F o ence .
l r r av of la r m Di igent esea ches h e te yea s been ade by M. ’ Ar e H sa r a r la of r al s ne ous ye , especting the p inte s p ce bu i ,
v l f or r l A yet they ha e ed to no satis act y esu t . t the tM e
f ar r w as far l l r an d o Leon do, F ance behind Ita y in cu tu e 106 LEONARDO.
’ in r l f e the fine arts . Leona do s i e in France must hav be l l h r of x l rr l o l en itt e s o t e i e , su ounded by peop e who c u d neither understand n or appreciate him; and thus both
an d rav f ll ra l l Nor if he his g e e pid y into ob ivion . we examine the work produced in the French school of painting can w e feel surprise that it should hav e remained
t rl u n in flu en c d ri Of r l r ut e y e by the spi t the g eat F o entine . At that time it could have but little in common with a geni us such as his .
r of R al C a l Am In the a chives the oy h pe at boise , ’ Leonardo s burial is thus recorded : Fut inhumé dans
’ le cloistre é l Lion ard n osble de cette g ise M de Vincy, “ millan ais 1 r et é r et ar e du Ro , peint e ing nieu chit cte y , ’ meschasn ischien d estat et anchien directeur de peinture ° ’ du la . Ce fu t faict le ve r duc de Mi n do jou d aoust,
’ ’ d E ci il d A i ’ H . Herluison A c es tat v rt stes fran ais , t c , Orleans,
18 . 4 . 73, p 53
108 LEONARDO.
The anonymous biographer says His figure was
f ll r r had l an d en beauti u y p opo tioned , and he a nob e
a i H e all r r - l r g g ng presence . usu y wo e a ose co ou ed coat r a n the an d l h e as w as fa e chi g to knee , ong os , the shion
a m His ar f ll m r f ll at th t ti e . c e u y co bed hai e in ” ’ l x r far a his iov io s u u iant curls as s waist . In G bio graphy we read : He w as of an extremely kind an d
r s s of m s r a ara gene ous di po ition, o t st iking ppe nce , with
fin e f r H f m a an d . e o s eatu es was possessed uch t te, had al a al ale for r a a l so speci t nt ente t ining, which he not b y
la u l rf m He disp yed in the cond ct of theatrica pe or ances .
ls sa ll l an d ll l m as a o ng we to the ute , was specia y we co ed ” a companion of princes . Amon g the greatest masters of the Florentine Renais s ar da ance, stands Leon do Vinci; side by side with l a l an d Ra a l . As arl w as Miche nge o ph e the e iest, so too he the real initiator of the highest phase of the
R s l ma l enais ance . In the pub ic eye he y not take equa ra ar s r l of for nk with these ti ts , owing to the c ue ty tune , which has robbed us of just his best an d most beautiful f m r . To r hi a rs v r wo k con ont with these p inte , howe e , is to do him a manifest injustice ; to institute a parallel
r r an d l fa r ar between thei wo ks his is no ess un i . Leon do da r l a al e r of art as Vinci ce tain y st nds on in the histo y , on e who both conceiv ed an d realiz ed ideals which were
ll fr u ll who y independent om the antiq e . In a his
m r r an d r v r nu e ous pape s w itings , he ne e quotes the
e as m a of r fo r n antiqu a e ns inst uction r the a tist. Si gu larly enou gh he only once mentions the Graeci et ” R ma an d m r l m f r a m o ni , then e e y as asters o the t e t en t of fl r v owing drape y . Leonardo was the first who enture ,
" to base all art instruction exclusiv ely and entirely A TER TI m CHAR C I S CS or s ART . 109
t of r and is m upon the s udy natu e , it not too uch to say that in his genius the aims of his numerous pre decessors lm a ma art l r cu in te , king no onge dependent
r bu t m r mm at s upon t adition , o e upon the i edi e tudy of
r r lf l al m r Natu e he se . Un ike those ide s which conte po ary ar s f r m m ar fi r ti ts chose to set be o e the , he i p ts to the gu es in his canv as a grace and a sensibility at once strange l f an d unaccountab e . None o his paintings awe one in
a rf l r a of lan l the sense th t do the powe u c e tions Miche ge o , r ral l h which as it we e enth the sou . T e charm of ’ ar r r r for l Leon do s pictu es is ese ved those on y, who by deeper examination are enabled Wholly to discern an d appreciate those subtle and hidden mean in gs w ith which ’ r da n his works are charged . Leona do Vi ci s name has been and ev er will be a popular on e ; the art of
r can v r a : l f l m Leona do ne e be th t it is too o ty, too sub i e . From the few genuine works by him which we still
se m l f rm an a pos ss , it is i possib e to o adequ te conception of ma - n or l s ro his ny sided genius , , in the count es p du ction s of l r ll fin d v r al his scho a s, sha we an e en pa ti recompense . He giv es us an accurate idea of his artistic principles and intentions in his drawings an d manuscripts ; but of
l v r r r The r these very litt e has e e been ep oduced . w itin gs of the painter Lomaz z o are in many ways a contribution ’ r o rt A to ou r kn owledge of Leona d s a . mong them are ’ fou nd the follow ing passages on the master s method of ’ a ar l r r a ra p inting . Leon do s co ou ing is subo dinate to g nd
l of r of is a l m r sty e d awing, which he an bso ute aste ,
r of m f rm w an d his rep esentation the hu an o , hether
r of f ll- r n man are l of child o u g ow , a ike distinguished by n oble inspiration [nabil furia]. I n the techn ical LEONARDO.
management of his pictures he carefully intensifies an d renders tran sparen t the light an d shade by successive ’ ” laz con veh so ra veli m f . r o l g ings, p In the t eat ent ight ,
r v r a v m v he appea s e e nxious to a oid aking it too vi id , m l ar l r r m t m e p oying it sp ing y he e and the e , at the sa e i e putting in his shadow s in the very deepest ton es of m colour. By these eans he arriv es at a balance of light
” ' ’ and . The P r r s ra d Ollan da shade 1 o tuguese a ti t F ncesco ,
for ar had l f a who about nine ye s studied in Ita y, is o
l O . r r n ike pinion In his t eatise on painting , w itte in “ 15 9 a r da w as fir 4 , he s ys , Leona do Vinci the st who P l l a a m z z f r r m bBd y p inted sh dow . I Lo a o u the re arks that Leonardo used to say that the success of a pain t ing depends not only on the observance of the laws of
r f r r n l ff pe spective and o esho te ing, but a so on the e ects of light and Lomaz z o twice refers to the many grotesque heads
f dr which he was in the habit o awing . Leonardo took special delight in draw ing likenesses of clumsy and de
f rm ol l h a m l r fa A o ed d peop e, wit s i e upon thei ce . urelio ’ v ino a of ma r n a Lo had sketch book the ste s , containi g bout ” P r r m fifty such studies . e sons who we e on inti ate terms with the artist were wont to tell Lomaz z o how Leonardo once intended to make a picture of a company of laughin g
a He n r r peas nts . did not i tend to ep oduce it on canvas ; it
w a m l r for r r s si p y a d awing, which he chose ce tain pe sons him m t l whose faces seemed to to be the os suitab e. When
’ l em io della Pi tu ra ch . xiii. I dea d e T p t ,
' ’ I dea ch . xv. 1 , ’ Racz ns i Les A rts en Por u al Paris 1846 . 54 . I See A . y k , t g , , , p ’ o i. Idea, h . xv ’ 60 a l A r e della Pi ura . 3 T ratt to de l t tt , p
LEONARDO.
l An d ma w ell l v a r ridicu ous . we y be ie e th t whe e the artist w as alw ays employed in depicting figures of such
rf r t an d l es mu v f l pe ect pu i y ho in s , he st ha e e t the need
f m r a o me an l e him o so e e cti n , so ch ge which wou d tak
n a r rl completely i to nothe wo d . No artist perhaps has ev er studied anatomy so deeply
n r H r h as did Leo a do . ithe to it as been thought that all these researches were only of interest to him
e r r l ifi ar r are in th i pu e y scient c ch acte , as they not included in the cu rrent e ditions of his Trattato ’ ra an xam of m della Pittu . Yet on e ination the anu
r a r fer u ll sc ipts which h ve e ence to these q estions, we sha “ arriv e at quite another conclusion) All that he says on the gubject of osteology and the mov ement of muscles possesses no less v alue for the student of medicine than
e of a Th a i for the stud nt rt. e ccu racy of h s anatomical
w av r a v r T dra ings h e pe h ps ne e been equalled . o each of these drawings are marginal notes appended of an
l r a u r as for a of exp anato y n t e, inst nce , on the one the muscles of the foot we read : Those muscles of the cal: below the knee which are only employed in raising the
ar mar e m n an d o m l s ar foot e k d , ; th se usc e which e used ” f -Wa are m r a T in moving the oot side ys a ked . hese are questions of great importance also for artists in the f l r da . The l n r r p esent y o owi g ough notes , w itten upon the back of some sketch showing various sku lls in
ll r arr l ar sections , wi p ove to us how n ow y Leon do studied facial anatomy ; they also testify to his thorough know
h r l r ledge of t e gene a g ounds and principles of physiog m a m l a n o y . Wh t usc e is th t which causes one eye to mov e
in u i n Most of the MSS. q est o are in the Royal Collection at
Windsor.
114 LEONARDO.
’ a u r a ma r r and cq ainted with the g e t ste s w itings , which
me r r ra or r an d t with thei wa mest p ise . N is the e y oubt that the Trattato della Pittura is also a means of
a v ery useful instruction for the artists of to d y. In
1 53 ll - r a r r la r 8 the we known F ench p inte s Ing es, De c oix , ' Flandrin Jou flroy an d Meissonier expressed the follow ing Opin l on as to the method of teaching drawing in the
’ re The fir is fall F nch Lycees. st thing to be done to back
a r of old ma r r upon the utho ity the ste s , whose doct ines as r an d ra of art an d to the theo y p ctice , the way in
l a v l which it shou d be t ught, ha e he d good up to the
r s m S all so in a of p e ent ti e . peci y is this the c se ” a i f r on P r Leon rdo da V nci . O the opening chapte e s ectiv e a A r Pa p , he ded What the young tist in inting ” in firs l l ar it ma u t ought the t p ace to e n , y not be tho gh irrelevant to remark that this same chapter exercised so profound an influen ce upon Alma Tadema when still
' a H lla a at a d young student in o nd , 1 th t he once dopte the principles adv ocated therein ; an d to these he has
r s l e t. ff r e hithe to consi tent y k p Indeed , the e ect p oduc d ’ by this artist s pictures is in a great measure due to his adherence to the maxims so firmly laid down by
r Leona do .
A r n a ma cr Tra a o cco di g to the V tican nus ipt , the tt t
v s a a e as r is di ided into eight book , being e ch he d d unde
1. The Na r of Pa P r l tu e inting , oet y , Music, and Scu p r tu e .
2. Pr for Pa r ecepts the inte .
3. Of P m f H r ositions and Move ents o the uman Figu e.
See 116 p. . ’ ' There exists an old Du ch ransla ion of Leonardo s Tra ta o 1 t t t t t , ublis ed at ms erdam in 5 2 p h A t 1 8 . ‘ ’ THE TRATTATO DELLA PITTURA.
4 . f r r O D ape y .
5 . and a an d P r Light Sh de e spective.
6 Of Tr l a . ees and Fo i ge .
7 . Of Cl ouds .
8. Of H r z the o i on .
The l r of fir high y inte esting contents the st book , which has r la fr m r l r a of not yet been t ans ted o the o igina , t e t
t of r l n r r r ques ions a mo e genera atu e . Leona do seeks he e to explain the advantages of the art of painting in ” m ar r co p ison to the siste arts .
Am r ar ma th f ll u l ong othe s, Leon do kes e o owing tho ghtfu r mr To a r r of e a ks p int with wo ds is the p ovince poesy, ' and in this she difle rs frompainting ; but in the present ment of events painting bears the palm; there is the same difference between them as between deeds and words ;
has r ear : with deeds , the eye to do , with wo ds , the the difference is the same as that which exists between the
l f l For re ative an d objective acu ties . this reason I place
r The l m f f painting highe than poesy. c ai s o the ormer v la ! for l met r n ha e, a s ong past with no due ecog ition, owing to those painters who lacked the eloquence to
m P has of r h r uphold the . ainting no need wo ds ; e a l m a r l r al ppea to hu anity is di ect one, on y to be e ised in an objective manner ; whereas poesy finds in language a resource whereby she can equally sound her own ” ra p ises .
r l s se of s f r m r Leona do p aces the en ight in the o e ost ank, it r m r r an because eceives its i p essions di ect , the cause d r place of action being appa ent . Thus sculpture and ar a r h r l l painting , having the ne est pp oac to ea ity, shou d,
’ The are omi ed in Manz i s edi ion of the Vatican M S y tt t S. ee ’ ’ l Leonardo da Vinci i z 8 3 D er uch Le . Jordan, as Ma b s, p ig, 1 7 , p 61. 1 2 116 LE N O ARDO.
ar a e i r r m as he gues , t k h ghe ank a ong the fin e arts than
m l a low er f does usic, which appea s to sense, the e fect being
n l r s l c she ma o y a t an ient one , a though , in essen e, y be ” a l r r of cknow edged as the younge siste painting , whose
h rm ro r are l r a onious p po tions no ess he s. Below music
s n m r r l r fl f tands poesy, bei g a e e ve ba e ex o the words and
d of man r l of l the dee s , with powe on y to speak the actua , r al e . For hav ing set sculpture lower in the scale than paint in r f ll w r c m f g, Leona do gives the o o ing easons , the out o e o
his r n s ot ra of rt expe ie ce in b h these b nches a .
r l f r r of l r i Fi st y, the in e io ity scu ptu e is owing to ts
u r ff fr m l tte dependence upon the e ects to be gained o ight , we being only able to judge justly of it when placed in a certain position whereas painting has in itself both light
an d a sh de . l m r al mm l re Second y , with the ate i s at its co and, scu ptu is similarly unable to giv e a faithful likeness of those
a r l r n a n tu a objects which it seeks to p oduce ; painti g, gain ,
l f l r ma e is enab ed to do this by means o co ou . We y not
h r a r w as fr of l e e, in p ssing , that Leona do no iend po y “ chromatic decoration)
T r l al l r la m v n r r hi d y, though scu ptu e c i s to ha i g g eate
r l e m a a at m a ma r l du abi ity, this s e ing dvant ge , ost te ia
a can a r ll ma of one, p inting cqui e at wi , by king use
a ll m r a l r subst nces equa y i pe ish b e , such as stone, coppe , l and the ike .
r l m l or l r r Fou th y , the i possibi ity to change a te a wo k
Somewhere in the T rattato Leonardo praises the works of Della Robbia (Luca della Robbin died in bu t we must not forget that the early works of the term- cotta sculptu re are enamelled only in white
nd b ue th whi e servin for th fi ures the blue for the bac round. a l , e t g e g , kg
118 LEONARDO. chapters which treat of questions of a more general
r natu e .
u or ou tudent in a R le f a y ng S P inting.
he r a of of and a in T o g n sight is one the quickest, t kes l la an nfi ar of f rm n otwith at a sing e g nce i nite v iety o s , a n it rf l m r n m r st ndi g which , cannot pe ect y co p ehe d o e than
a m A n man n ral one object at ti e . you g , who has a atu l of art l inc ination to the study this , I wou d advise to act thus : in order to acquire a true n otion of the form of
m u arts things , he ust begin by st dying the p which
m m a ll h s ll co pose the , and not p ss to a second, ti he a we
r mem r an d ffi l ra fir sto ed his o y, su cient y p ctised in the st
r l m an d ll m r l othe wise he oses his ti e , wi ost ce tain y protract his studies ; and let him remember to acquire ” r f r ui e accu acy be o e he attempts q ckn ss .
’ How to discover a oun Man s Dis osition or Paintin y g p f g.
a are r s r of l rn n r M ny ve y de i ous ea i g to d aw, and are
r are n n v of r r ve y good at it, who , otwithstandi g , oid a p ope
s f r T ma di position o it . his y be known by their want of
r v ra l dr r urr pe se e nce , ike boys who aw eve ything in a h y,
v r fi n or ne e nishi g shadowing .
That a Painter should take pleasure in the Opinions of
ever bod y y.
A painter ought not certainly to refuse listening to the
O i of an for a al h man pin ons y one, we know th t, t ough a be
m a r ma v n s of f rm of at, a p inte , he y ha e just notio the o s men Now if w a men are l of th . , we kno th t ab e to judge e
r of Na r s l m m r l wo ks tu e , hou d we not think the o e ab e to ? ” detect ou r errors ’
THE TRATTATO. 9
O the Grace ulness o its M er f f f emb s.
The members are to be suited to the body in graceful m o r of m a h fi r oti ns , exp essive the e ning w ich the gu e is
f ha intended to convey . I it d to give the idea of genteel
a r a l rr mem r m l r an d and g ee b e ca iage , the be s ust be s ende
e ll r l a mu l r l l w tu ned , but not e n , the sc es ve y s ight y mar s ft ma r m n ked , indicating in a o nne such as ust eces saril a ar rm r i u larl l a y ppe ; the a s pa t c y p i nt, and no member in a straight line with any other adjoining ” r membe .
Prece ts in Paintin p g.
Perspectiv e is to painting what the bridle is to a ” r an d r r . ho se , the udde to a ship
O those who a l themselves to the Practice without havin f pp y , g
learnt the theor o the Art y f .
T m e am r of art t hose who beco e n ou ed the , withou hav ing previously applied to the diligent study of the
fi art of ma be om are m r r w ho scienti c p it, y c p d to a ine s put
ru er or m r f r to sea in a ship without dd co pass , and the e o e
r a n of arr v i - f r cannot be ce t i i ing at the w shed o port .
ra m alw a f r s P ctice ust ys be ounded on good theo y to thi ,
r an d ra pe spective is the guide ent nce, without which ” n othing can be well done .
O those Painters who draw at home rom one Li ht and f f g , afterwards adapt their studies to another situation in the
It is a great error in some painters who draw a figure fr m Na r m an ar l r l aft r o tu e at ho e, by y p ticu a ight, and e wards make use of that drawing in a picture representing LE ONARDO. an c u r r r l l of the open o nt y, which eceives the gene a ight
r rr air l all . sky, whe e the su ounding gives ight on sides This painter would put dark shadows where Nature would
i r r or if r f be e the p oduce none, , any, so ve y aint , as to almost imperceptible ; an d he would throw reflected lights ” r m l r l whe e it is i possib e the e shou d be any .
The brillianc o a Landsca e y f p .
The vivacity and brightness of colour in a landscape will never hear any comparison with a landscape in Nature
ll m l r when i u ined by the sun , un ess the pictu e be placed ” r m l fr m lf so as to ecieve the sa e ight o the sun itse .
Painters are not to imitate one another .
A painter ought nev er to imitate the manner of any other ; because in that case he cannot be called the child
of Na r r l . l tu e, but the g andchi d It is a ways best to have r r N r r l an ecou se to atu e , which is ep ete with just abund ce of r of r ma r objects , than to the p oductions othe ste s, who ” r r fr m her lea nt eve ything o .
Of no other old master do w e possess so many manu
s n script as of Leonardo da Vinci. I the library o f the
I i Par r are f r l m lettert d nst tut de is , the e ou teen vo u es ,
A M w r r fr m l r to , which e e b ought o Ita y by the F ench T m m arm r N l . he f of all y unde apo eon ost a ous , the ’ Atlanticu s ll l l of Codex , is sti in Mi an ; the on y one w av ar ll l T er hich the contents h e been p tia y pub ished . h e are other codices in Milan belonging to different priv ate l peop e .
The m r of r E l are ma anusc ipts Leona do in ng and , we y as m r as m r a all r re say, nu e ous and i po t nt as the est p served in continental collections . Most of them are at
122 L EONARDO.
Divina Proportion e the following passages occur : The geometrical drawings (for this publication) have been ’ ' ' made by Leonardo s in eflable left hand (in eflabile sinistra
- v m m x r ma ell ch le r a l e. no) , w s oo d in e e y the atica e e cis
ma r fr m the l f r v r lan so One y w ite o e t on the e e sed p ,
a m m l rea nle s s s th t it beco es i possib e to d , u s one u e a m rr r or if l s rev r i of a r i o , one ho d the e sed s de the p pe m m a s l as . T ag in t the ight , is y custo his is the way in
ar da the l of art of a which Leon do Vinci , ight the p inting
l m lla ra r who is le t handed al ( u e de pittu ) w ites , f , (qu e v v l m ama as a a s ra . ncino) , I h e s id e e ti es ’ Af r r d a all m n u r r r te Leona do s e th , his a sc ipts we e b ought
r lz la His a m al back by F ancesco Me i to Mi n . an to ic
v r r n ot am for the studies , howe e , we e ong these, as
m ra r a e r anony ous biog phe st tes , th y we e then in the
i ll T a e r ar a N v a l r . conv ent of S . M o e in F o ence h t th i great v alue w as well know n to the men of that time is
v e fr m f ll w n l er fr m Al r Ban didio e id nt o the o o i g ett o be t ,
rrar s am a a r at M la u Alfon the Fe e e b ss do i n to the D ke so I .
r l ar h at rra a . a e an 6t 1523 Fe It is d t d Mi , M ch , ’ lz n ar l an d x r Me i , Leo do da Vinci s pupi , e ecuto , is
of ma of his e r t es e a r m er possessed ny s c e s , b id s g eat nu b
f m m ra an l o his e o nda d notes . I hav e a so been told that l he paints v ery well himse f. He is a handsome young
l l ll v v f ll r a . a e ow, with no itt e ski in con e s tion I h e
l m a him m v r t rr r sev era ti es sked to co e o e o Fe a a . I believ e that he has got the little manu scripts of Leon ’ ” m d s ot r arm r a o . a do s on an t y, besi e he ch ing things ’ A s l as lz w as al v ma r s a r r ong Me i i e, his ste p pe s we e
Of e r s f m z z in safe keeping . th i ubsequent ate Lo a o has ’ ol u s r n a o ar r n t d , when w iti g b ut Leon do s cont ibutio s to
u me fift ars l l er r a r . it at e , so y ye te ’ I hav e seen at Francesco Melz i s the drawings done by 123 CONTRIBUTI ONS To SCI ENCE.
’ wn n x la he a m Leonardo s o ha d, in which he e p ins t nato y
f h H e h l of the human figure and that o the orse . as a so made diagrams of all the different proportions of the
T r ar s a him r v m . e hu an body he e e s ys by on pe specti e ,
l r for r of fi r on ight, di ections the const uction gu es
l r r a l f - z an d ma r r all a ge th n i e si e, ny othe w itings , speci y
m al s r r l in m . r r e at g to athe atic que tions Fu the , the e is a
m v l f v f m for a r o a &0. O ethod the e sy e o a he y weights,
all v r has r . these things , howe e , nothing been p inted T he greater portion of his manuscripts is in the hands of P m l r C l a o pei Leoni, scu pto to his atho ic M jesty the King ’ m fr m r of a a Melz i s . Sp in , who got the o F ncesco son ” r s of Dr. M z n Others a e in the posses ion Guido a e ta.
Af r ma v m of ma r f te ny icissitudes , ost these nusc ipts ound
r i Am r a l rar la r thei way nto the b osi n ib y at Mi n, whe e they remained from 1637 until the time of the French l Revo ution . It is now no easy task to determine the value of ’ r r Leona do s cont ibutions to the science of mathematics .
For fir la ou r l of a , in the st p ce, know edge wh t he did
r far fr m a a an d l in this espect is o being dequ te second y, we lack the ev idence as to the extent of the knowledge possessed by his contemporaries on this particular sub ject ; so that we cannot tell precisely in what measure
r a m e r he su p ssed the . N ve theless it must he confessed that in more than one field he made discov eries for
s m af r v H which tho e co ing te ha e gained the credit . e was the first to restore those laws relating to the u se o f l v r l the e e , which had been ost since the time of Ar m s l all chi ede , whi e those connected with statics
r r v and hyd ostatics , discove ed by Ste inus some century l r r r l r ar A ate , we e tho ough y unde stood by Leon do . ccordin g
’ Del T m io l r e de a Pi tu a . 17 p l t , p 124 LE N O ARDO. to Lombardin if we must look u pon Da Vinci as the originator of the science of hydraulics he was convinced of m l l r r r of a r as ialdi ‘' the o ecu a st uctu e w te , and C l r la lr a l f l e tes , he had a eady g ined a know edge o the aws
r m me of a far as which gove n the ove nts w ves , going so to apply these principles to the theory of Optics and of
a . C ar esarini n or arda u coustics It was not es e C C n s ,
has e r v r as b en thought, but Leona do who disco e ed the
m ra r He firs r f an d of ca e obscu a . t t od the paths o botany i l r l n f phys o ogy, having been a ve y di igent stude t o the structure an d arrangement of foliage i He is supposed to hav e been one of the first of Eu ropean scholars who
m l n of l m r a n e p oyed the sig s p us and inus ; it is not ce t i ,
v r r es ma r r howe e , whethe th e y not have had thei o igin
Ar a B f r Comman din A ol calcu in abi . e o e and ut ycus , he lated the method of fin ding the centre of grav ity of
rami l m r a m tr l s r py ds , whi e, in o e th n one geo e ica di cove y he w as in advance of T artaglia . " Among his manuscripts there are a number of design s for the construction of
ma m of are ll . His saw for chines, any which sti in use ,
a m l in mar l - rr of inst nce, is now e p oyed the b e qua ies
Carrara ; and Grothe assures us that his rope - making
r a u e machine is even bette th n the ones now in s . 1T
’ ’ r r d lla ci nz a idrauli Mi ano l in del P o esso e S e ca. l D e l Orig e e g ,
1872.
’ ' l Milano 1873 No. 3. 1 Po itechnico, , , ‘ ’ ’ - N u ovo Giornale botanico 1869. Gaz et e des Beaux Ar s 1877 t , t t , ,
- 44 354 . pp. 3 ’ I confess in readin Leonardo s manuscri s never to have met , g pt , with the Sign in the meaning of plus ; he uses this figure when 4 writing the nu mber . ’ ° Libri Histoire des Sciences mathémati ues en I alie 2 edi ion , q t , t . v ii 10- 58 ol. . pp. , ’ Leona do a Vinci als I n enieu r uud Philoso h e lin 1 11 r d g p , B r , 874.
126 LE ONARDO.
Ma nan l g e lo. ’ Cronica Desidero u u D . (Pa l s iaconus ’ ’ P s le d r n i to Ov dio. I lian r la n ( ta t a s tio , ‘ ’ Pis ole del Filelfo I talian ranslation 1484 t . ( t , ) ’ S ero. A m p ( cos ography. ) ’ Fac di eti Fo P l f r o . e glo. ( oggio Braccio ini o A ez z ) ’ D ir e Ch omatia. (By H artlieb ’ Formulario di istole p . Fiore di virtiI
’ ite di Fi o i Di V l s fi. o ( ogenes Laerte s. ) ’ La idario p . ’ Della ceser o d l i ld d illa a v ti l ta. a e a san (Arna o e V nov . ) ’ i ch d A C e o sse li A n . o . ( poem o astronomy ) Alberto a ni M g o. ’ R orich ett a nova.
’
Cibaldone. A reatise on h iene ( t yg . ) '
I so ZESO s Fables. po. ( p ) ‘ ’ Salmi Psalms . ( ) ’ ’ De I mmortalita d A nima M ili Ficini . ( ars o . )
rc S nn ts Bu hiello. ( o e )
Driad o Poem e . ( s )
In another place he mentions the following which he had borrowed :
From Messer Oc aviano Palaviano the Vi ruvius. t , t ’
F ro B ucci Masli r d l u lat on . m est a o, e Ca c i e ’ F rom F ra Bernadi io A lberto Ma no de 00910 et Mund g , ( g ) , o. From A lessandro Benedetto the boo on A na om , k t y.
F rom Nicolb della Croce the Dan e. , t
In one of his manuscripts at the South Kensington u u th r f Hi r M se mhe quotes e w itings o ppok ates . Elsewhere ’ ’ fin d fr mA s C t te we a quotation o ugu tine s De ivi a Dei. ' Geoflroy Tory wrote of Leonardo in 1524 : Leonardo da Vinci w as not only both an excellent painter and a veritable Archimedes ; he was also a very great philo ” r sophe . 127 PHILOSOPHICAL MAXIMS.
“ The following extracts from his writings may serve as in forming a general conception of his philosophical l an d moral princip es .
A a l - s ff r is a rm g inst injustice , ong u e ing as ga ent l a a l . For as er r as g inst the co d , wh e the co d inc e es , thou ’ sh u l l the m er of r s w o d st doub e nu b thy w ap , so ith the ’ growth of injustice should st thou enlarge thy forbear l ” a as al arm . nce , by so doing it sh not h thee
r l for h r r f r er Spi it is voice ess , w e e the e is o ce th e is body an d where there is body there is occupation of
S a r m v m is r can p ce Whe e no o e ent , the e be no v r of air om r m an d oice no pe cussion without s e inst u ent,
r n o i n strument w ithout substance . Spi it can hav e
r v n or f rm n or for . r are rv neithe oice , o , ce Whe e no ne es or S r as ima i can er bones the pi it , we g ne it, ex cise no ” mot v r i e powe .
A u ram s : P r e sa p ngent epig , thi ha is es , that is to y , ” ’ fri r I n Tra a ll P r l a . s a l s the tt to de a ittu a , he sty e batt e ” fr z a bestial en y . Of existence he writes When I thou ght I w as ” l arni l v w as l r e ng to i e, I but ea ning to die . Long I s
ll s that life that is we pent .
ll S v f l l e Just as a day we pent gi es joy u s eep , so do s ” l f ll l ful i e we emp oyed give joy death .
m me l s am r P r Dee not vi e becau e I not poo . oo is ” h ma v r m r s ' t e n who o e uch desi e . 1 Experience nev er ’ ” v nl m d m l him f l e decei es, o y an s ju g ent p ays a s ;
Paz z ia bestialissima.
’ ’ Deh l non maver a vil ch io non son v r po e o, ” Po ero é uel ch ass i ose v q e a c desidera.
L x erien ia non falla mai ma sol falla o n a e t n i os ri luditi. t p , t g 128 LEONARDO.
maz z has a or of Lo o beque thed to us a sonnet , the auth
w a r l s . which, he says , Leona do It is p easant to think that these were the principles which gu ided the great painter throughout the course of his most wonderful In English we might read them thus
Who canno do as he d esires mus do t , t What lies within his w r ain i is po e . V t T o wish what cannot be ; the wise man holds That fr f om such wishing he must free h imsel . Our j oy and grief consist alike in this I n knowin g what to will and what to do. But only he whose judgment never strays Beyond the threshold of the right learn s this ’ Nor is it always good to have one s wish What seemeth sweet full oft to bitter turns F ulfilled desir hath mad mine e es to w e e e y e p. T herefore 0 reader of these lines if hou , , t ’ Would s virtuous be and held b others dear t , y , ” Wi ll ever for the power to do a right.
130 u mxnm
’ equesta ingru sersi m dits dipoi srms eflerm secondo il bh ogno sl modo di questo chavn ls forms e poi falla grom o mi riemla form smez z a a mez mcoqnells integrs poi co sua ferri cierchials ugmls sllsrichisd i deutro dove ad andare il bronz o.
“ Del a f fare l orma di pen i.
“ Segnia sopra il cavallo finito tutti li pesi della forms di che tn voi ven tirc tsl cavallo e nello in te rrare li taglis in ogni interratura sccioche quanto fu finita ls forma chettu lapossi chavare e poi ricomettere sl p‘ ” ocbo cholli sua scon ri delli contrsse ni etc. etc. l t g . ’ Space does not here allow me to 00s: an explanation of these im or an sen ences which are now for the firs ime made u blic u p t t t , t t p . I th s reserve wha roofs I ma have for it s ec ial essa in which I sha t p y p y, ll ' see to show ha these notes of Leonardo s as also o her memoranda k t t , t made b himin his manuscri s at Windsor will lesd to a differen y pt , t r i ed a b in the conclusion to that a r v t y M. Courq od respect g vexed
ues ion of the Sforz a Monument Gaz e te des Beam- A r s 1877 q t ( t t , , ’ - 844 LA rt 1879 No 25 1 No. 390 ; , .
“ om 8 — A rite li ccchi ds cotestn terra ncn trarrete so N 3 (p. 7) p g . non opere di vili e gmesi msgistri credetelo a met salvo lmnanlo n no che fa il cavallo del Dum a oesco di bron cbc non flore ti , m mc lisogns fare stims per'cbé h che fiu e il tempo di sua vitme dubito che l ” per essere si grands cpers che non a flnirh mai.
4 Ricordo come n el so ra detto io o lo dedi sn nls Nm (p. p g m j d ucati 2 doro i quali disse volersene fsre u n paio di cslz i romti coma fumimentj chs restai a dsre dnchsti 9 pcstto che erami debitore ammo ” B r ilano e ducsti Q O cOe I p estni a M 2 a vinegia.
o r l r o . u se mesa ll e New 5 (p. S p a del e m 69 po s ls qual amigo: flchatione dello nostro emispherio in forms di medo sopra il quote sia u no paone clnolla chads disstssa chi passi la groppa riohameu te ornate et ogni ornamento che al cavallo aspartiene sis di pens di psone in champo doro assignificaz ione della belles” che risulta della gratis e ben se che viene da quello ch rve. “ Nello scbndo u no speechio grands an igniflcsrc che so uol faucri
Dalloposita psrte fis similsmente chollochsta ls fortez a chols m NDI 1 APPE X. 13 — ebollono ifiiano vestita di biancho che signifies e tutti coronati e la — prudentia con tie occhi la sopraveste del cavallo sia da semplice oro essuto semina a diss essi ochi di a omi cc uesto siano di ertu tto t t p p g q p . Dallato sinistro fia una rota il cierchio della quale sia cholocata alla coscia di dietro del chavallo per la cavita e al detto cierchio apparia la pru dentia veslita di rosso sedente in focosa chadriga e no ramicello di laro i lsi nifl on l man a g caz i e de la speraz a. ” Et in somma fu fa o al una chose tt c .
NOTE 6 69 Bicordo come addi 8 da rile 1503 io lio o da (p. ) p nard vinci prestai a Nani Miniature ducati 4 doro innoro portogli salai e t c ro ria mano disse rendermili inf l o d 40 de te in a e. p p ra osspati i ” rni gio .
News 7 (p. Spcse per la (mor) socteratura di caterina
I s“) 2 di cera
Per 10 catalecto Portatura e posture di croce Per la portatura del morto Per 4 preti e 4 cerici Commas li spunge Per li soeterratori
Allatiano
Per la liciétia ali uficialj
I n modico
Z uchero e cadele
Adi 1 ic m Non 8 . 6di d e bre dove in a icato il fuocho (p pp . Adi 18 di dicembre 15 11 a bore 15 fu fat o ue o n , t q st seco do incendio ' o Milano al luo d cto da sviz eri iist a co i .
Wha shall I sa o L o ews 9 . f e nardo da Vinci N (p t y , whom K of France rea ed wi h such honour tha he the ing t t t , t appointed clad in sil and brocade to wai u on him So nobleman k t p . great was ’ monarch s love for him hat in his sic ness he visited him the , t k , and x 2 32 P 1 A PENDIX.
su orted him whe he la a- d in in i pp n y y g his arms. Thus d d this famous ainter brea h his l u on th brea o H no p t e ast p e st f the King. o urs ” ’ ’ such a here are not for Po tu uese ar is s —France d Ollanda s s t r g t t . sco Wo k on he ld M s 1549 A a i L A ts r t O a te rs . See R cz ns es r en , . y k , Po l is 16 6 rt u a Par 18 . 0. g ! , , p
“ — l to l ied nell l . I m li h o ano an i e e New 10(p. l 3) usco c e m v so t p l n hie in u ue i alz are dinanz i se ne f. m n nati nella gamba da gi oc g eq st h l i r c el i ie ane in ersela d fo i sen li muscoli f. u p g v . ' Q uale nerve a chagiene del mete dellechie aflare che] mete del lunechie tiri laltre ; del chiudere ls ciglia ; delle alz are ls ciglia ; e ir liochi etc delle abbassare le ciglia ; delle chiudere li ochi : dell apr e , . Adi 2 da le 1489 libre titol fi re u mana pri ato di gu . Eecosi piacesse al nestre alto re che ie potessi dimostrare la naturu ” d ll lor n a fi u e j emini e e costumi el mode che ie desscrive l sua g re .
134 or weas a m s.
Birth o hrisl f r. h r Maximili 16 C o e Em ro n . f , t pe a , Portra its o Lodovico and M il an orz a f axim i Sf , 43. Portr t i ai o Lucrez a velli 43. f Cri , Madonna and I nfant Christ (the Madonna is a portrait of Cecilia Gallei an 43 i) , M an Annun ati n t e Vir n in h hur h f St Frances o at il 44 . ci o of h gi , t e C c o . c .
— Second Period , 15001519 .
- Por ait I be la onza a 57 59 . tr of sa l G g ,
- h adonna with the S indle for Roberto 63 64 . T e M p ; t,
The Battle o An hiari 5 . f g , 7
o it inevra Benci 89. P rtra of G , ’ u es de i tb - Two Madonna Pict r , st ned r Charles d Ambeise, 94 95 . hild fo r Baldassar m 8 Portrait o a C e Turini ainted at Ro e 9 . f , , p , Madonna and Child for Baldassare Turini ainted at Rome 98 , , p , . Leda 103—104 , . —04 t n 1 3 1 . o a, 0
I I PA L I . I NT INGS A SCRI BED T O EONA RDO.
4 ” Florence Pit i P la Portrait o a w 7 t a ce f Je eller.
La lilonac a .
ead o M d H f e usa . Portrait Leona of rdo.
The Ann unciation .
' “ ' ’ G otten Par Lord Warwic s i ier r o ur ha s relie k k g f. ‘ M ilan A mbrosian Librar Portrait o ia n Galeaz z o S e r a 7 y f G i r .
’ Portrait I sabella o Ar 7 of f agon . Bacchu s.
‘ L b l e Fero n a e l mere. ’ Sant nofrio ir in a n h l O . V g d C i d with donor
( fi asco) . Van it n t y a d Modes y. l H oly Fami y. Madonna and hi fr C ld ( esco) .
I V L L T E . OST SCU P UR S.
Heads of Women and Children in erra cotta and m l su l . ( t gyp ) , ’ Statue o f Fra cesco forz a l 3 — n S a, t Mi an, 1 39 .
Head o f hr t in terra- eetta 45 C is ( ) ,
- r li f f r 45 Bus e e o a Ho se, NDEX A L I OF NAMES ND P ACES.
PaL8e Page ’ Albertini Memorials 80 Francesco d Ollanda 1 4 110 , 0, f rmra 122 Fra i Alfonso, Du ke o Fe . nc s 1.
Amboise 103, 106 Amboise harles (P 92 94—95 Galeaz z o , C , , Gian Anon mou s Bio ra her 4 G allerani cilia y g p , Ce ’ A sliburnham8 Lord Collec ion 121 Ghirlanda o Ridolfo , t j ,
Ginevra, wife of Benci ’ Bandello Baccio Gio to Leonardo da Vinci s , t ,
Bandinelli, Baccio . sentence on
Bartol mmeo Fra . Giovio bio ra h r o , , g p e ’ Beatrice d Este Giuliano da San Gallo
Beltrafiio A ntonio del u il Gonz a a I sabella , (p p ) g , 50 Grimani A ntonio , — , . 64 66 G M Bor ia esare . ualtieri esser g , C ,
1 h u e um e L ndon . B itis M s , se o Holkham L n r Catarina, Mother of eo a do ’ ( inc i 4 87 I olito d s la V , p E te 0 93, 94
e llini Benven uto 82 113 I sabella G onz a a 5 - 59 62- 63 C , , g 7 , Cesare da Sesto 52 e n ourne to 67 Ja00 o the German u il C se a, j y p (p p ) e natico ourne to 67 Julio the erm n u il C se , j y G a (p p ) n P Pic u re at 1 0 Charlto ark , t 0 iu i urne to 67 Kardi afr du Ch s , jo y , J e s
Cloux, Chateau 103 S Credi. Lorenz o di 5, Leo of Arez z o 4 5
43 59 L Po - r l Lu re ia eo X . C ive li, c z , , pe 96 98 Li i Fili in 3 pp , pp o 9, 7 Lis Mon 5 Donatello a, a 48, 8 Lo maz z o 1 09 5 . 1 London Bri i m 44 4 Edelinck , G erard , t sh M useu , 6,
2 54 - Ercole of Ferraro. 5 , , 6062, 69, 82, 104, 120 l 96 London National Galler 49 5013 Fan foia (pupi ) , y , , 5 F r d the amard u il 90 London Ro al A cadem 26 3 101 e ran o Sp (p p ) , y y , 7 , ‘ B lle 59 London Sou th Kensin ton Ferronicre , La e , g
t 9 M useum 4 5060- 62 2 Florence, Pictures a 7, 5, , , 69, 8 , F oli no ourne to 67 91 94 104 120 g , j y , , . r i Lorenz o il Ma nifi o l 12 Francesco di Gio g o 40 g c , , 96 6 mi) 13 INDEX on ru n s ru nes.
Pm P ’ nz a i W 110d nio «11Bia io 255 Lore o di P v a . 58 Anto g F 108 Loah XE of rance 27, 92 Lnoensi en ra Biooio di Santa roce u il 90 . g ver C (p p ) Bimin 67 Luini i, Journey to b 63 64 Ro ertot . Rom o 69 96 e, Journey t , Mar elli Piero di Bar olo 94 121 t , t , Rome Va ican Librar . 113 114 ’ , t y , Masaccio Leonardo s opinion of 8 , Rome Va ican Pinaco eca 10 103 , t t Ro uen Cardinal of 38 Maxi Em r 16 37 55 , milian, per , , al Academ rec London. ’ y, Mediat Giuliano de Bu 8 26. 80 12 96 Media l menz o de 1. , - R il 0 0 89 90 ow up ) o 0 O Melz i u il 5 1 96 105 (p (p p ) o 0 . . 0 1 l 6062 105 Sa ai . , , Michelan l 12 75 96 108 ge o , , , Savonarola 70 Ambrosian Library 31 39 Sforz a, Francew o , 123 125 , Sfo ovico 12 13 18 54- 56 rz a, Lod , . . i 6 103 aroma, Maximlian 95 . 9 , Siena ur e 67 , Jo n y M n s — M Sa a w co . 9 80 Sederini, Piero o . 7 Mih ma Maria delle Graz ie, South en n on London. K si gt , m Stan M rcb i 13 ge, a es no Mor h 18 26 g en, Raphael , 100107 T urin o al Li . , R y hmry , 98 T urini, Baldassare 66 Urbino, Journ ey to
nardo da Vasari, Life of Leo Vinci 3 et asaim ’ . p O iomna l l arco d gg 46, 4 7
ie o isited b t he ar ist . 67 Or t , v y n e ourne to v t Ve ic , J y
Verrocchio . 5
Luca 19 5069 - 7089 1 05 Peciolo. , Vile nie Bat is a do 03 1 . , , t t ,
- . 92 93 i G ul an da 105 Vinc , i i o Paris I ns i u de France 120 nteni de 4 87 . t t t Vinci, Piero A n , 5 80, 45, 50, 9 .
- 0- 102 88 89, 10 Weimar Collec ion of the , t 40 2 Grand D uchess of . 8 67 Windsor Librar 10 28 , y , , 62 67 68 95 30, 46, 50, , . , . 20 100, 112, 1
Z oroastro of Peretola 50
Li i L ' un Ric/a nt Clay 8 80118, mted. ondon 4 B n y.
ILL STRATED BIOGRAPBIEB 0? HE G EAT ART S S — U T R I T . (m t. l
I TALI AN PAI N TE RS S L AND CU PTORS.
G I OT T O. B HARRY fn M Fro r e t s i at on y t tt, A. m ec n I nve t g i s at ' “ and Assisi. I llm ted wi th En ravin : ot the Presentation in the . g g — W The Entombmw t of Christ—O ed ience and o the r Fre sco's M ich on the b , ' ' m anile l o - n u l te o s Ca I l renoe o d Co ou red Pla cl the Mad nna at As isi. p , FRA A N G ELI CO A N D T H E E A R LY PA I N T E R S O F ’ N o FLORE CE . By C. M . Pmou u o nt . I llustrated with En vin ot the Resu scita ' ' M M 80 b Man er - h Ad oratio the a e c h t , n g . ot a gg 001m 2‘ I2e a 55 ° Li i" rg'tca m G" M ! g 99 pp N ; l — Bottice li end 13 othe r Paintings. E O B RT LLI A N A N DR FRA BA RT OLOM M . A L E I N E , D E A
D L E . I u t e t the E ne ELSARTO . By EA D R SCOTT ll s rat d wi h nthro tncnt of the Virgin — Mun Fo r a m o—The Vir in i St. Mark Salvator di rtolo me and b , by B g Sa nts. by Al emnelli
- — l Del ar o and to o r ai tin . The Madonna de Sacco. by S t the P n gs
I BERT I N D D ON AT E LLO B LEADER G H A . SCOTT . Illustrated ' with Enz n viu of the Marble Pu lpit ot Pim o he Bronze Gate of the Baptistery at —' — Florence ihorti o es lh e St. Ge or e of Donatello and ro other exam l s of . by p s ) g p e
r at . a Sculpture . P ice
B B A E LLI I A N D T L B DE LLA R O I , C N , O H E R CE E R A T E D
F T HE 1 1 3 AN D t or n EN R ES. I ! . With SCULPTORS O 5 C TU I By “ AD S—oon I llut trations of the Sin er: and other Baa- Re licts Luca de lla Ro bin Perseus — g — . by b , by in b Gtovanui da Bolo na and man other Statues. Price m Gd Cell i Mm . y g y .
' M AN T E G NA A N D FRANCI A . B ULIA Caarwntonr Illustrated yJ . ’ with En vinga ot Lodovico Gonz aga an d his So n - Part of the T riu mpha nt Ca u r The onnn c Ia Vlttoria Mante na—The Vir in and Saints- The De osition , by g g p ’ ’ — A Ptoth Pranem ond 8 other Paintin s. . by g
' ' A V I N CI B Dr PA L t n t z l . I llustrated w E ON A RD O D . . U it L y . J — h Engrafi ‘ of the lm t Su ppet he Virgin end Sh Ann Mom Lin T he Vierge oux i ' — — Battle of An hiari H ead of Christ and Paintin : fi nd Drawin s Rochero ghe g 9 g g .
G LO B U ON AR R O T I B CHARLES CLEAt EN’r M I CH E LAN E . y . r om F c s the Lost u ment- r Illustrated with Eug o fr the ren oe of J dg— The P ophet I saiah—The Crea tion of art- Plu m So ldier-r in the Arno and of the Statu e : — — ' of Moses The Madonna of Braz en The T ombs of and Giuliano de Medici
and ro other Works in Paintinz and Sculpttn e .
’ A E L B N D Am ns. Illustrated with En ra of L0 RAPH . y . — — g - n o i - h im La Belle ard inihre The School of Athens Madon a di l gno Sr. ’ — — — — wlia Mad oo—n:t d o T e nds M ado nna della Sa tin Bottle of Constantine Tho Transfiguration end at othe r Paintings.
M I l En o f A . l us r te with ra L H u m . t a d vi T I T I AN B R. a . y — , — g Bella di Tiz inno The Tribute - Money T he Assumption o f the Virgin Peu ro — ' - te r T itian s IN G! 8 other Pointin : Altar pieoe St. Pe r Mmy M g
' W R rom I nva t n N T R ET T O B . . OSLRR. F t o s T I O . y i of the Miracle of the 5 13 T e arna c I llustrated w—ith Bum h g The Be trothal of St. thcnne &c Entombment The Cruci , .
n : u ron Illustrated ”ma R E G G I O B M. Co n r H . “ COR . y o — — ’ — g e St. c u N ottc Il GIorno Man inge ot St. Catherin ohn the Em fi : j ’ M onm ot Du cdoo- ond s other l aiutinp . Prior s . “