Leonardo da Vinci by Maurice W. Brockwell
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Maurice W. Brockwell >> Leonardo da Vinci
Produced by Juliet Sutherland, David Widger and the DP Team
[Illustration: Plate 1-MONA LISA. Frontispiece
In the Louvre. No. 1601. 2 ft 6 1 ins. By 1 ft. 9 ins. (0.77 x 0.53)]
LEONARDO DA VINCI
By MAURICE W. BROCKWELL
Illustrated With Eight Reproductions in Colour
[Illustration]
"Leonardo," wrote an English critic as far back as 1721, "was a Man
so happy in his genius, so consummate in his Profession, so
accomplished in the Arts, so knowing in the Sciences, and withal, so
much esteemed by the Age wherein he lived, his Works so highly
applauded by the Ages which have succeeded, and his Name and Memory
still preserved with so much Veneration by the present Age--that, if
anything could equal the Merit of the Man, it must be the Success he
met with. Moreover, 'tis not in Painting alone, but in Philosophy,
too, that Leonardo surpassed all his Brethren of the 'Pencil.'"
This admirable summary of the great Florentine painter's life's work
still holds good to-day.
CONTENTS
His Birth
His Early Training
His Early Works
First Visit to Milan
In the East
Back in Milan
The Virgin of the Rocks
The Last Supper
The Court of Milan
Leonardo Leaves Milan
Mona Lisa
Battle of Anghiari
Again in Milan
In Rome
In France
His Death
His Art
His Mind
His Maxims
His Spell
His Descendants
LIST OF ILLUSTRATIONS
Plate
I. Mona Lisa
In the Louvre
II. Annunciation
In the Uffizi Gallery, Florence
III. Virgin of the Rocks
In the National Gallery, London
IV. The Last Supper
In the Refectory of Santa Maria delle Grazie, Milan
V. Copy of the Last Supper
In the Diploma Gallery, Burlington House
VI. Head of Christ
In the Brera Gallery, Milan
VII. Portrait (presumed) of Lucrezia Crivelli
In the Louvre
VIII. Madonna, Infant Christ, and St Anne.
In the Louvre
HIS BIRTH
Leonardo Da Vinci, the many-sided genius of the Italian Renaissance,
was born, as his name implies, at the little town of Vinci, which is
about six miles from Empoli and twenty miles west of Florence. Vinci
is still very inaccessible, and the only means of conveyance is the
cart of a general carrier and postman, who sets out on his journey
from Empoli at sunrise and sunset. Outside a house in the middle of
the main street of Vinci to-day a modern and white-washed bust of the
great artist is pointed to with much pride by the inhabitants.
Leonardo's traditional birthplace on the outskirts of the town still
exists, and serves now as the headquarters of a farmer and small wine
exporter.
Leonardo di Ser Piero d'Antonio di Ser Piero di Ser Guido da
Vinci--for that was his full legal name--was the natural and
first-born son of Ser Piero, a country notary, who, like his father,
grandfather, and great-grandfather, followed that honourable
vocation with distinction and success, and who subsequently--when
Leonardo was a youth--was appointed notary to the Signoria of
Florence. Leonardo's mother was one Caterina, who afterwards married
Accabriga di Piero del Vaccha of Vinci.
[Illustration: Plate II.--Annunciation
In the Uffizi Gallery, Florence. No. 1288. 3 ft 3 ins. By 6 ft 11 ins.
(0.99 x 2.18)
Although this panel is included in the Uffizi Catalogue as being by
Leonardo, it is in all probability by his master, Verrocchio.]
The date of Leonardo's birth is not known with any certainty. His age
is given as five in a taxation return made in 1457 by his grandfather
Antonio, in whose house he was educated; it is therefore concluded
that he was born in 1452. Leonardo's father Ser Piero, who afterwards
married four times, had eleven children by his third and fourth wives.
Is it unreasonable to suggest that Leonardo may have had these numbers
in mind in 1496-1498 when he was painting in his famous "Last Supper"
the figures of eleven Apostles and one outcast?
However, Ser Piero seems to have legitimised his "love child" who very
early showed promise of extraordinary talent and untiring energy.
HIS EARLY TRAINING
Practically nothing is known about Leonardo's boyhood, but Vasari
informs us that Ser Piero, impressed with the remarkable character of
his son's genius, took some of his drawings to Andrea del Verrocchio,
an intimate friend, and begged him earnestly to express an opinion on
them. Verrocchio was so astonished at the power they revealed that he
advised Ser Piero to send Leonardo to study under him. Leonardo thus
entered the studio of Andrea del Verrocchio about 1469-1470. In the
workshop of that great Florentine sculptor, goldsmith, and artist he
met other craftsmen, metal workers, and youthful painters, among whom
was Botticelli, at that moment of his development a jovial
_habitue_ of the Poetical Supper Club, who had not yet given any
premonitions of becoming the poet, mystic, and visionary of later
times. There also Leonardo came into contact with that unoriginal
painter Lorenzo di Credi, his junior by seven years. He also, no
doubt, met Perugino, whom Michelangelo called "that blockhead in art."
The genius and versatility of the Vincian painter was, however, in no
way dulled by intercourse with lesser artists than himself; on the
contrary he vied with each in turn, and readily outstripped his fellow
pupils. In 1472, at the age of twenty, he was admitted into the Guild
of Florentine Painters.
Unfortunately very few of Leonardo's paintings have come down to us.
Indeed there do not exist a sufficient number of finished and
absolutely authentic oil pictures from his own hand to afford
illustrations for this short chronological sketch of his life's work.
The few that do remain, however, are of so exquisite a quality--or
were until they were "comforted" by the uninspired restorer--that we
can unreservedly accept the enthusiastic records of tradition in
respect of all his works. To rightly understand the essential
characteristics of Leonardo's achievements it is necessary to
regard him as a scientist quite as much as an artist, as a philosopher
no less than a painter, and as a draughtsman rather than a colourist.
There is hardly a branch of human learning to which he did not at
one time or another give his eager attention, and he was engrossed in
turn by the study of architecture--the foundation-stone of all true
art--sculpture, mathematics, engineering and music. His versatility
was unbounded, and we are apt to regret that this many-sided genius
did not realise that it is by developing his power within certain
limits that the great master is revealed. Leonardo may be described as
the most Universal Genius of Christian times-perhaps of all time.
[Illustration: PLATE III.-THE VIRGIN OF THE ROCKS
In the National Gallery. No. 1093. 6 ft. 1 in. h. by 3 ft 9 1 in. w.
(1.83 x 1.15)
This picture was painted in Milan about 1495 by Ambrogio da Predis
under the supervision and guidance of Leonardo da Vinci, the
essential features of the composition being borrowed from the earlier
"Vierge aux Rochers," now in the Louvre.]
HIS EARLY WORKS
To about the year 1472 belongs the small picture of the
"Annunciation," now in the Louvre, which after being the subject of
much contention among European critics has gradually won its way to
general recognition as an early work by Leonardo himself. That it was
painted in the studio of Verrocchio was always admitted, but it was
long catalogued by the Louvre authorities under the name of Lorenzo di
Credi. It is now, however, attributed to Leonardo (No. 1602 A). Such
uncertainties as to attribution were common half a century ago when
scientific art criticism was in its infancy.
Another painting of the "Annunciation," which is now in the Uffizi
Gallery (No. 1288) is still officially attributed to Leonardo. This
small picture, which has been considerably repainted, and is perhaps
by Andrea del Verrocchio, Leonardo's master, is the subject of Plate
II.
To January 1473 belongs Leonardo's earliest dated work, a pen-and-ink
drawing--"A Wide View over a Plain," now in the Uffizi. The
inscription together with the date in the top left-hand corner is
reversed, and proves a remarkable characteristic of Leonardo's
handwriting--viz., that he wrote from right to left; indeed, it has
been suggested that he did this in order to make it difficult for any
one else to read the words, which were frequently committed to paper
by the aid of peculiar abbreviations.
Leonardo continued to work in his master's studio till about 1477. On
January 1st of the following year, 1478, he was commissioned to paint
an altar-piece for the Chapel of St. Bernardo in the Palazzo Vecchio,
and he was paid twenty-five florins on account. He, however, never
carried out the work, and after waiting five years the Signoria
transferred the commission to Domenico Ghirlandajo, who also failed to
accomplish the task, which was ultimately, some seven years later,
completed by Filippino Lippi. This panel of the "Madonna Enthroned,
St. Victor, St. John Baptist, St. Bernard, and St. Zenobius," which is
dated February 20, 1485, is now in the Uffizi.
That Leonardo was by this time a facile draughtsman is evidenced by
his vigorous pen-and-ink sketch--now in a private collection in
Paris--of Bernardo Bandini, who in the Pazzi Conspiracy of April 1478
stabbed Giuliano de' Medici to death in the Cathedral at Florence
during High Mass. The drawing is dated December 29, 1479, the date of
Bandini's public execution in Florence.
In that year also, no doubt, was painted the early and, as might be
expected, unfinished "St. Jerome in the Desert," now in the Vatican, the
under-painting being in umber and _terraverte_. Its authenticity is
vouched for not only by the internal evidence of the picture itself, but
also by the similarity of treatment seen in a drawing in the Royal
Library at Windsor. Cardinal Fesch, a princely collector in Rome in the
early part of the nineteenth century, found part of the picture--the
torso--being used as a box-cover in a shop in Rome. He long afterwards
discovered in a shoemaker's shop a panel of the head which belonged to
the torso. The jointed panel was eventually purchased by Pope Pius IX.,
and added to the Vatican Collection.
In March 1480 Leonardo was commissioned to paint an altar-piece for
the monks of St. Donato at Scopeto, for which payment in advance was
made to him. That he intended to carry out this contract seems most
probable. He, however, never completed the picture, although it gave
rise to the supremely beautiful cartoon of the "Adoration of the
Magi," now in the Uffizi (No. 1252). As a matter of course it is
unfinished, only the under-painting and the colouring of the figures
in green on a brown ground having been executed. The rhythm of line,
the variety of attitude, the profound feeling for landscape and an
early application of chiaroscuro effect combine to render this one of
his most characteristic productions.
Vasari tells us that while Verrocchio was painting the "Baptism of
Christ" he allowed Leonardo to paint in one of the attendant angels
holding some vestments. This the pupil did so admirably that his
remarkable genius clearly revealed itself, the angel which Leonardo
painted being much better than the portion executed by his master.
This "Baptism of Christ," which is now in the Accademia in Florence
and is in a bad state of preservation, appears to have been a
comparatively early work by Verrocchio, and to have been painted
in 1480-1482, when Leonardo would be about thirty years of age.
To about this period belongs the superb drawing of the "Warrior," now
in the Malcolm Collection in the British Museum. This drawing may have
been made while Leonardo still frequented the studio of Andrea del
Verrocchio, who in 1479 was commissioned to execute the equestrian
statue of Bartolommeo Colleoni, which was completed twenty years later
and still adorns the Campo di San Giovanni e Paolo in Venice.
FIRST VISIT TO MILAN
About 1482 Leonardo entered the service of Ludovico Sforza, having
first written to his future patron a full statement of his various
abilities in the following terms:--
"Having, most illustrious lord, seen and pondered over the experiments
made by those who pass as masters in the art of inventing instruments
of war, and having satisfied myself that they in no way differ from
those in general use, I make so bold as to solicit, without prejudice
to any one, an opportunity of informing your excellency of some of my
own secrets."
[Illustration: PLATE IV.-THE LAST SUPPER
Refectory of St. Maria delle Grazie, Milan. About 13 feet
8 ins. h. by 26 ft. 7 ins. w. (4.16 x 8.09)]
He goes on to say that he can construct light bridges which can be
transported, that he can make pontoons and scaling ladders, that he
can construct cannon and mortars unlike those commonly used, as well
as catapults and other engines of war; or if the fight should take
place at sea that he can build engines which shall be suitable alike
for defence as for attack, while in time of peace he can erect public
and private buildings. Moreover, he urges that he can also execute
sculpture in marble, bronze, or clay, and, with regard to painting,
"can do as well as any one else, no matter who he may be." In
conclusion, he offers to execute the proposed bronze equestrian statue
of Francesco Sforza "which shall bring glory and never-ending honour
to that illustrious house."
It was about 1482, the probable date of Leonardo's migration from
Florence to Milan, that he painted the "Vierge aux Rochers," now in
the Louvre (No. 1599). It is an essentially Florentine picture, and
although it has no pedigree earlier than 1625, when it was in the
Royal Collection at Fontainebleau, it is undoubtedly much earlier and
considerably more authentic than the "Virgin of the Rocks," now in the
National Gallery (Plate III.).
He certainly set to work about this time on the projected statue of
Francesco Sforza, but probably then made very little progress with it.
He may also in that year or the next have painted the lost portrait of
Cecilia Gallerani, one of the mistresses of Ludovico Sforza. It has,
however, been surmised that that lady's features are preserved to us
in the "Lady with a Weasel," by Leonardo's pupil Boltraffio, which is
now in the Czartoryski Collection at Cracow.
IN THE EAST
The absence of any record of Leonardo in Milan, or elsewhere in Italy,
between 1483 and 1487 has led critics to the conclusion, based on
documentary evidence of a somewhat complicated nature, that he spent
those years in the service of the Sultan of Egypt, travelling in
Armenia and the East as his engineer.
BACK IN MILAN
In 1487 he was again resident in Milan as general artificer--using
that term in its widest sense--to Ludovico. Among his various
activities at this period must be mentioned the designs he made for
the cupola of the cathedral at Milan, and the scenery he constructed
for "Il Paradiso," which was written by Bernardo Bellincioni on the
occasion of the marriage of Gian Galeazzo with Isabella of Aragon.
About 1489-1490 he began his celebrated "Treatise on Painting" and
recommenced work on the colossal equestrian statue of Francesco
Sforza, which was doubtless the greatest of all his achievements as a
sculptor. It was, however, never cast in bronze, and was ruthlessly
destroyed by the French bowmen in April 1500, on their occupation of
Milan after the defeat of Ludovico at the battle of Novara. This is
all the more regrettable as no single authentic piece of sculpture
has come down to us from Leonardo's hand, and we can only judge of his
power in this direction from his drawings, and the enthusiastic
praise of his contemporaries.
[Illustration: PLATE V.--COPY OF THE LAST SUPPER
In the Diploma Gallery, Burlington House
This copy is usually ascribed to Marco d'Oggiono, but some critics
claim that it is by Gianpetrino. It is the same size as the original.]
THE VIRGIN OF THE ROCKS
The "Virgin of the Rocks" (Plate III.), now in the National Gallery,
corresponds exactly with a painting by Leonardo which was described by
Lomazzo about 1584 as being in the Chapel of the Conception in the
Church of St. Francesco at Milan. This picture, the only _oeuvre_
in this gallery with which Leonardo's name can be connected, was
brought to England in 1777 by Gavin Hamilton, and sold by him to the
Marquess of Lansdowne, who subsequently exchanged it for another
picture in the Collection of the Earl of Suffolk at Charlton Park,
Wiltshire, from whom it was eventually purchased by the National
Gallery for L9000. Signor Emilio Motta, some fifteen years ago,
unearthed in the State Archives of Milan a letter or memorial from
Giovanni Ambrogio da Predis and Leonardo da Vinci to the Duke of
Milan, praying him to intervene in a dispute, which had arisen between
the petitioners and the Brotherhood of the Conception, with regard to
the valuation of certain works of art furnished for the chapel of the
Brotherhood in the church of St. Francesco. The only logical deduction
which can be drawn from documentary evidence is that the "Vierge aux
Rochers" in the Louvre is the picture, painted about 1482, which
between 1491 and 1494 gave rise to the dispute, and that, when it was
ultimately sold by the artists for the full price asked to some
unknown buyer, the National Gallery version was executed for a
smaller price mainly by Ambrogio da Predisunder the supervision, and
with the help, of Leonardo to be placed in the Chapel of the
Conception.
The differences between the earlier, the more authentic, and the more
characteristically Florentine "Vierge aux Rochers," in the Louvre, and
the "Virgin of the Rocks," in the National Gallery, are that in the
latter picture the hand of the angel, seated by the side of the Infant
Christ, is raised and pointed in the direction of the little St. John
the Baptist; that the St John has a reed cross and the three principal
figures have gilt nimbi, which were, however, evidently added much
later. In the National Gallery version the left hand of the Madonna,
the Christ's right hand and arm, and the forehead of St. John the
Baptist are freely restored, while a strip of the foreground right
across the whole picture is ill painted and lacks accent. The head of
the angel is, however, magnificently painted, and by Leonardo; the
panel, taken as a whole, is exceedingly beautiful and full of charm
and tenderness.
THE LAST SUPPER
Between 1496 and 1498 Leonardo painted his _chef d'oeuvre_, the
"Last Supper," (Plate IV.) for the end wall of the Refectory of the
Dominican Convent of S. Maria delle Grazie at Milan. It was originally
executed in tempera on a badly prepared stucco ground and began to
deteriorate a very few years after its completion. As early as 1556 it
was half ruined. In 1652 the monks cut away a part of the fresco
including the feet of the Christ to make a doorway. In 1726 one
Michelangelo Belotti, an obscure Milanese painter, received L300 for
the worthless labour he bestowed on restoring it. He seems to have
employed some astringent restorative which revived the colours
temporarily, and then left them in deeper eclipse than before. In 1770
the fresco was again restored by Mazza. In 1796 Napoleon's cavalry,
contrary to his express orders, turned the refectory into a stable,
and pelted the heads of the figures with dirt. Subsequently the
refectory was used to store hay, and at one time or another it has
been flooded. In 1820 the fresco was again restored, and in 1854 this
restoration was effaced. In October 1908 Professor Cavenaghi completed
the delicate task of again restoring it, and has, in the opinion of
experts, now preserved it from further injury. In addition, the
devices of Ludovico and his Duchess and a considerable amount of
floral decoration by Leonardo himself have been brought to light.
Leonardo has succeeded in producing the effect of the _coup de
theatre_ at the moment when Jesus said "One of you shall betray
me." Instantly the various apostles realise that there is a traitor
among their number, and show by their different gestures their
different passions, and reveal their different temperaments. On the
left of Christ is St. John who is overcome with grief and is
interrogated by the impetuous Peter, near whom is seated Judas
Iscariot who, while affecting the calm of innocence, is quite unable
to conceal his inner feelings; he instinctively clasps the money-bag
and in so doing upsets the salt-cellar.
It will be remembered that the Prior of the Convent complained to
Ludovico Sforza, Duke of Milan, that Leonardo was taking too long to
paint the fresco and was causing the Convent considerable
inconvenience. Leonardo had his revenge by threatening to paint the
features of the impatient Prior into the face of Judas Iscariot. The
incident has been quaintly told in the following lines:--
"Padre Bandelli, then, complains of me
Because, forsooth, I have not drawn a line
Upon the Saviour's head; perhaps, then, he
Could without trouble paint that head divine.
But think, oh Signor Duca, what should be
The pure perfection of Our Saviour's face--
What sorrowing majesty, what noble grace,
At that dread moment when He brake the bread,
And those submissive words of pathos said:
"'By one among you I shall be betrayed,'--
And say if 'tis an easy task to find
Even among the best that walk this Earth,
The fitting type of that divinest worth,
That has its image solely in the mind.
Vainly my pencil struggles to express
The sorrowing grandeur of such holiness.
In patient thought, in ever-seeking prayer,
I strive to shape that glorious face within,
But the soul's mirror, dulled and dimmed by sin,
Reflects not yet the perfect image there.
Can the hand do before the soul has wrought;
Is not our art the servant of our thought?
"And Judas too, the basest face I see,
Will not contain his utter infamy;
Among the dregs and offal of mankind
Vainly I seek an utter wretch to find.
He who for thirty silver coins could sell
His Lord, must be the Devil's miracle.
Padre Bandelli thinks it easy is
To find the type of him who with a kiss
Betrayed his Lord. Well, what I can I'll do;
And if it please his reverence and you,
For Judas' face I'm willing to paint his."
* * * * *
"... I dare not paint
Till all is ordered and matured within,
Hand-work and head-work have an earthly taint,
But when the soul commands I shall begin;
On themes like these I should not dare to dwell
With our good Prior--they to him would be
Mere nonsense; he must touch and taste and see,
And facts, he says, are never mystical."
[Illustration: PLATE VI.--THE HEAD OF CHRIST
In the Brera Gallery, Milan. No. 280. 1 ft. 0-1/2 ins. by
1 ft. 4 ins. (0.32 x 0.40)]
The copy of the "Last Supper" (Plate V.) by Marco d'Oggiono, now in
the Diploma Gallery at Burlington House, was made shortly after the
original painting was completed. It gives but a faint echo of that
sublime work "in which the ideal and the real were blended in perfect
unity." This copy was long in the possession of the Carthusians in
their Convent at Pavia, and, on the suppression of that Order and
the sale of their effects in 1793, passed into the possession of a
grocer at Milan. It was subsequently purchased for L600 by the Royal
Academy on the advice of Sir Thomas Lawrence, who left no stone
unturned to acquire also the original studies for the heads of the
Apostles. Some of these in red and black chalk are now preserved
in the Royal Library at Windsor, where there are in all 145 drawings
by Leonardo.
Several other old copies of the fresco exist, notably the one in the
Louvre. Francis I. wished to remove the whole wall of the Refectory to
Paris, but he was persuaded that that would be impossible; the
Constable de Montmorency then had a copy made for the Chapel of the
Chateau d'Ecouen, whence it ultimately passed to the Louvre.
The singularly beautiful "Head of Christ" (Plate VI.), now in the
Brera Gallery at Milan, is the original study for the head of the
principal figure in the fresco painting of the "Last Supper." In
spite of decay and restoration it expresses "the most elevated
seriousness together with Divine Gentleness, pain on account of
the faithlessness of His disciples, a full presentiment of His own
death, and resignation to the will of His Father."
THE COURT OF MILAN
Ludovico, to whom Leonardo was now court-painter, had married Beatrice
d'Este, in 1491, when she was only fifteen years of age. The young
Duchess, who at one time owned as many as eighty-four splendid gowns,
refused to wear a certain dress of woven gold, which her husband had
given her, if Cecilia Gallerani, the Sappho of her day, continued to
wear a very similar one, which presumably had been given to her by
Ludovico. Having discarded Cecilia, who, as her tastes did not lie in
the direction of the Convent, was married in 1491 to Count Ludovico
Bergamini, the Duke in 1496 became enamoured of Lucrezia Crivelli, a
lady-in-waiting to the Duchess Beatrice.
Leonardo, as court painter, perhaps painted a portrait, now lost, of
Lucrezia, whose features are more likely to be preserved to us in the
portrait by Ambrogio da Predis, now in the Collection of the Earl of
Roden, than in the quite unauthenticated portrait (Plate VII.), now in
the Louvre (No. 1600).