Notebooks (47 page)
Authors: Leonardo da Vinci,Irma Anne Richter,Thereza Wells
Tags: #History, #Fiction, #General, #European, #Art, #Renaissance, #Leonardo;, #Leonardo, #da Vinci;, #1452-1519, #Individual artists, #Art Monographs, #Drawing By Individual Artists, #Notebooks; sketchbooks; etc, #Individual Artist, #History - Renaissance, #Renaissance art, #Individual Painters - Renaissance, #Drawing & drawings, #Drawing, #Techniques - Drawing, #Individual Artists - General, #Individual artists; art monographs, #Art & Art Instruction, #Techniques
On the reverse of this sheet is the query:
If there is no love, what then?
In the following note written years later he recalls an unpleasant incident in connection with a representation of the Infant Christ.
When I made a Christ Child you put me in prison. Now if I represent Him grown up you will treat me worse.
3
3
The following statement appeared in the first edition of Vasari’s
Life of Leonardo
, and was omitted in the second: ‘Leonardo was of so heretical a cast of mind, that he conformed to no religion whatever accounting it perchance much better to be a philosopher than a Christian.’
Life of Leonardo
, and was omitted in the second: ‘Leonardo was of so heretical a cast of mind, that he conformed to no religion whatever accounting it perchance much better to be a philosopher than a Christian.’
During 1475-82 he appears to have been studying and working in the garden of Lorenzo de’ Medici at San Marco under his patronage, as described in the
Anonimo Gaddiano
. In the following note Leonardo mentions the garden and a work on which he may have been engaged. On the same sheet there are calculations about weights and a pair of scales.
Anonimo Gaddiano
. In the following note Leonardo mentions the garden and a work on which he may have been engaged. On the same sheet there are calculations about weights and a pair of scales.
The Labours of Hercules for Pier F. Ginori.
The garden of the Medici.
4
4
On 10 January 1478 he was commissioned to paint an altarpiece for the chapel of San Bernardo in the Palazzo della Signoria. This work was never finished; the commission was afterwards transferred to Filippino Lippi.
On 16 April 1478 Giuliano de’ Medici was murdered in Florence Cathedral during the celebration of high mass.
The following notes are written on a sheet with drawings of heads now in the Uffizi. The name of the month is obliterated.
——ber 1478 I began the two Virgin Marys. . . .
Fioravante di Domenico at Florence is my most beloved friend, as though he were my brother.
On 29 December 1479, or on one of the following days, Leonardo stood beneath a window of the Bargello making a drawing of Bernardo di Bandini Baroncelli, who had been hanged for the murder of Giuliano de’ Medici. He wrote the name of the convict and a description of the costume beside the drawing, which is now in the Musée Bonnat in Bayonne.
A tan-coloured small cap.
A doublet of black serge.
A black jerkin, lined, and the collar covered with black and red stippled velvet.
A blue coat lined with fur of foxes’ breasts.
Black hose.
Bernardo di Bandino Baroncelli.
The following note mentions Florentine money and was likely to have been written during this period.
The money I have had from Ser Matteo:
First 20 grossoni, then on three occasions 3S. and then 6 grossoni, then 3, and then 3,3.
To make a fine green take green and mix it with bitumen and you will make the shadows darker. Then, for lighter (shades) green with yellow ochre, and for still lighter, green with yellow, and for the lights pure yellow; then mix green and turmeric together and glaze everything with it.
To make a fine red take cinnabar or red chalk or burnt ochre for the dark shadows and for the lighter ones red chalk and vermilion, and for the lights pure vermilion, and then glaze with fine lake.
To make good oil for painting: One part of oil, one of the first turpentine and one of the second.
5
5
The following list throws light on Leonardo’s dealings with distinguished fellow citizens. On the same sheet are reflections on the flight of time (see pp. 257-8), and the drawing of an instrument resembling a sandglass, where water was to take the place of sand.
Quadrant of Carlo Marmocchi.*
Messer Francesco Araldo.
On Arithmetic, Benedetto.*
Maestro Paolo.*
Domenicho di Michelino.*
Calvo degli Alberti.
Messer Giovanni Argiropulo.*
6
6
In 1481 the monastery of San Donato at Scopeto near Florence commissioned Leonardo to paint an
Adoration of the Magi
. The painting, now in the Uffizi, was never finished. A number of preparatory drawings survive.
Adoration of the Magi
. The painting, now in the Uffizi, was never finished. A number of preparatory drawings survive.
On 28 September 1481 three monks delivered a barrel of wine at his house sent by the monastery. This is the last known date concerning his first stay in Florence.
A list of works in Leonardo’s possession on leaving Florence. On the same sheet are a number of hasty sketches of heads and helmets.
A head, full face, of a young man with fine flowing hair.
Many flowers from nature.
A head, full face, with curly hair.
Various Jeromes.
A head of the Duke.*
Many designs for knots.
4 studies for the panel of Sant’Angelo.
A small composition of Girolamo da Fegline.
A head of Christ done with the pen.
Eight St Sebastians.
Many compositions of angels.
A chalcedony.
A head in profile with fine hair.
Some bodies in perspective.
Some machines for ships.
Some machines for waterworks.
A portrait of Atalante* raising his head.
The head of Geronimo da Fegline.
The head of Gian Francesco Boso.
Many throats of old women.
Many heads of old men.
Many complete nude figures.
Several arms, legs, feet, and poses.
A madonna, finished.
Another almost, which is in profile.
The head of the Madonna ascending into Heaven.
A head of an old man with very long neck.
A head of a gipsy.
A head with a hat on.
A representation of the Passion made in relief.
A head of a girl with tresses gathered in a knot.
A head with the hair dressed.
7
II. FIRST MILANESE PERIOD (1481-1499)7
In 1841 Gian Galeazzo Sforza, duke of Milan, was 13 years old, and his uncle Ludovico Sforza was virtual ruler. According to the
Anonimo Gaddiano
of about 1540, Leonardo was 30 when Lorenzo de’ Medici sent him to the duke of Milan, accompanied by Atalante Migliorotti, to present him with a lute, as he was unsurpassed in playing that instrument. His companion, then a youth of 16, developed into a successful actor, musician, and builder of musical instruments. Also according to Vasari it was Leonardo’s accomplishment in music that was the cause of his summons to Milan. He was greeted with great applause in an assembly of musicians, where he played on a lute which he had made himself in the shape of a horse’s skull and which produced a sound of great volume and clarity.
Anonimo Gaddiano
of about 1540, Leonardo was 30 when Lorenzo de’ Medici sent him to the duke of Milan, accompanied by Atalante Migliorotti, to present him with a lute, as he was unsurpassed in playing that instrument. His companion, then a youth of 16, developed into a successful actor, musician, and builder of musical instruments. Also according to Vasari it was Leonardo’s accomplishment in music that was the cause of his summons to Milan. He was greeted with great applause in an assembly of musicians, where he played on a lute which he had made himself in the shape of a horse’s skull and which produced a sound of great volume and clarity.
A description of Leonardo’s appearance is given by the
Anonimo
. He was a beautiful person, well-proportioned, agreeable and lovely to look at. He wore a short rose-coloured tunic reaching down to his knees, at a time when long clothes were being worn. A fine beard, well arranged in ringlets, descended to the middle of his chest.
Anonimo
. He was a beautiful person, well-proportioned, agreeable and lovely to look at. He wore a short rose-coloured tunic reaching down to his knees, at a time when long clothes were being worn. A fine beard, well arranged in ringlets, descended to the middle of his chest.
Soon after his arrival in Milan Leonardo painted the portrait of Cecilia Gallerani (
Lady with an Ermine,
Cracow, Princes Czartoryski Museum), who became the mistress of Ludovico Sforza in 1481. The following note was addressed by the artist to the sitter:
Lady with an Ermine,
Cracow, Princes Czartoryski Museum), who became the mistress of Ludovico Sforza in 1481. The following note was addressed by the artist to the sitter:
Cecilia, dearest goddess [
amatissima diva
], having read your most gracious. . . .
8
amatissima diva
], having read your most gracious. . . .
8
On 25 April 1483 Leonardo in partnership with the brothers Evangelista and Giovan Ambrogio de Predis negotiated for a commission, which the Confraternity of the Immaculate Conception had to offer, concerning an elaborate carved frame in their chapel adjoining San Francesco. The frame had to be gilt, the centrepiece was to be painted by ‘the Florentine’ and the side panels by Ambrogio. The work on the frame was valued at 700 lire, Leonardo’s work at 100. Somewhat later the artists claimed more pay. The litigation continued for years. Two versions of the
Virgin of the Rocks
were eventually produced (Paris, Louvre and London, National Gallery). See pp. 334 and 342.
Virgin of the Rocks
were eventually produced (Paris, Louvre and London, National Gallery). See pp. 334 and 342.
The following letter addressed to Ludovico Sforza enumerates the services Leonardo was ready to render. There had been a project before Ludovico came to power to erect an equestrian monument in bronze in commemoration of his father, Francesco Sforza. Leonardo at the end of this letter proposed that this task should be entrusted to him.
Most illustrious Lord. Having now sufficiently seen and considered the proofs of all those who count themselves masters and inventors of instruments of war, and finding that the invention and working of the said instruments do not differ in any respect from those in common use, I shall endeavour without prejudice to anyone else to explain myself to your Excellency, showing your Lordship my secrets, and then offering at your pleasure to work with effect at convenient times on all those things which are in part briefly recorded below.
1. I have plans of bridges, very light and strong and suitable for carrying very easily, and with them you may pursue, and at times flee from, the enemy; and others secure and indestructible by fire and battle, easy and convenient to lift and to place in position; and plans for burning and destroying those of the enemy.
2. When a place is besieged, I know how to remove the water from the trenches, and how to construct an infinite number of bridges, covered ways and ladders and other instruments having to do with such expeditions.
3. Also if a place cannot be reduced by the method of bombardment either owing to the height of its banks or to its strength of position, I have plans for destroying every fortress or other stronghold even it were founded on rock.
4. I have also plans of mortars most convenient and easy to carry with which to hurl small stones in the manner almost of a storm; and with the smoke of this cause great terror to the enemy and great loss and confusion.And if it should happen that the fight was at sea I have plans for many engines most efficient for both attack and defence, and vessels which will resist the fire of the largest cannon, and powder and smoke.
5. Also I have means of arriving at a fixed spot by caves and secret and winding passages, made without any noise even though it may be necessary to pass underneath trenches or a river.
6. Also I will make covered cars, safe and unassailable, which will enter among the enemy with their artillery, and there is no company of men at arms so great that they will not break it. And behind these the infantry will be able to follow quite unharmed and without any hindrance.
7. Also, if need shall arise, I can make cannon, mortars, and light ordnance of very useful and beautiful shapes, different from those in common use.
8. Where the operation of bombardment fails, I shall contrive catapults, mangonels,
trabocchi
, and other engines of wonderful efficacy and in general use. In short, to meet the variety of circumstances, I shall contrive various and endless means of attack and defence.
10. In time of peace I believe I can give perfect satisfaction, equal to that of any other, in architecture and the construction of buildings both private and public, and in conducting water from one place to another.
Also I can carry out sculpture in marble, bronze or clay, and also I can do in painting whatever can be done, as well as any other, be he who may.
Moreover, the bronze horse may be taken in hand, which shall endue with immortal glory and eternal honour the happy memory of the Prince your father and of the illustrious house of Sforza.
And if any of the aforesaid things should seem impossible or impracticable to anyone I offer myself as most ready to make the trial of them in your park, or in whatever place may please your Excellency, to whom I commend myself with all possible humility.
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9
In this long list artistic attainments came second. The stress is on military and naval engineering. Had Leonardo acquired such knowledge in Florence or after his arrival at Milan? At a time when Milan as an ally of Naples, Ferrara and the Pope was facing war with Venice, his services as engineer must have been very desirable. In 1484 a council of war was held at Milan; in 1487 Milan annexed Liguria and the port of Genoa.
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