Leonardo da Vinci

Leonardo da Vinci (English: /ˌliːəˈnɑːrdoʊ də ˈvɪntʃi, ˌliːoʊˈ-, ˌleɪoʊˈ-/;[lower-alpha 1] 14/15 April 1452[lower-alpha 2] – 2 May 1519)[4] was an Italian polymath of the High Renaissance who is widely considered one of the greatest painters of all time (despite fewer than 25 of his paintings having survived).[lower-alpha 3] The Mona Lisa is the most famous of Leonardo's works and the most famous portrait ever made.[5] The Last Supper is the most reproduced religious painting of all time[6] and his Vitruvian Man drawing is also regarded as a cultural icon.[7] He is also known for his his notebooks, in which he made drawings and notes on science and invention; these involve a variety of subjects including anatomy, cartography, painting, and palaeontology. Leonardo's collective works compose a contribution to later generations of artists rivalled only by that of his contemporary Michelangelo.[8]

"Da Vinci" redirects here. For other uses, see Da Vinci (disambiguation) and Leonardo da Vinci (disambiguation).

In this Renaissance Florentine name, the name da Vinci is an indicator of birthplace, not a family name; the person is properly referred to by the given name, Leonardo.

Leonardo da Vinci
Portrait attributed to Francesco Melzi, c. 1515-18[1]
Born	Lionardo di ser Piero da Vinci[2] 14/15 April 1452 Anchiano, Vinci, Republic of Florence (present-day Italy)
Died	2 May 1519(1519-05-02) (aged 67) Clos Lucé, Amboise, Touraine, Kingdom of France
Known for	Painting, drawing, sculpting, science, engineering, architecture, anatomy
Works	Virgin of the Rocks (c. 1483–1493) Lady with an Ermine (c. 1489–1491) The Vitruvian Man (c. 1490) The Last Supper (c. 1492–1498) Salvator Mundi (c. 1499–1510) Mona Lisa (c. 1503–1516)
Movement	High Renaissance
Signature

Properly named Leonardo di ser Piero da Vinci,[lower-alpha 4] Leonardo was born out of wedlock to a notary, Piero da Vinci, and a peasant woman, Caterina, in Vinci, in the region of Florence, Italy. Leonardo was educated in the studio of the renowned Italian painter Andrea del Verrocchio. Much of his earlier working life was spent in the service of Ludovico il Moro in Milan, and he later worked in Rome, Bologna and Venice. He spent his last three years in France, where he died in 1519.

Although he had no formal academic training,[9] many historians and scholars regard Leonardo as the prime exemplar of the "Renaissance Man" or "Universal Genius", an individual of "unquenchable curiosity" and "feverishly inventive imagination."[6] He is widely considered one of the most diversely talented individuals ever to have lived.[10] According to art historian Helen Gardner, the scope and depth of his interests were without precedent in recorded history, and "his mind and personality seem to us superhuman, while the man himself mysterious and remote."[6] Scholars interpret his view of the world as being based in logic, though the empirical methods he used were unorthodox for his time.[11]

Leonardo is revered for his technological ingenuity. He conceptualized flying machines, a type of armoured fighting vehicle, concentrated solar power, an adding machine,[12] and the double hull. Relatively few of his designs were constructed or even feasible during his lifetime, as the modern scientific approaches to metallurgy and engineering were only in their infancy during the Renaissance. Some of his smaller inventions, however, entered the world of manufacturing unheralded, such as an automated bobbin winder and a machine for testing the tensile strength of wire. He is also sometimes credited with the inventions of the parachute, helicopter, and tank.[13][14] He made substantial discoveries in anatomy, civil engineering, geology, optics, and hydrodynamics, but he did not publish his findings and they had little to no direct influence on subsequent science.[15]

Life

Early life

Leonardo's childhood home in Anchiano, Vinci, Italy

Leonardo was born on 14/15 April 1452[lower-alpha 2] in the Tuscan hill town of Vinci, in the lower valley of the Arno river in the territory of the Medici-ruled Republic of Florence.[18] He was the out-of-wedlock son of Messer Piero Fruosino di Antonio da Vinci, a wealthy Florentine legal notary, and a peasant named Caterina,[lower-alpha 5] identified as Caterina Buti del Vacca and more recently as Caterina di Meo Lippi by historian Martin Kemp. There have been many theories regarding Leonardo's mother's identity, including that she was a slave of foreign origin or an impoverished local youth.[17][20][21][22][lower-alpha 6] Leonardo had no surname in the modern sense—da Vinci simply meaning "of Vinci"; his full birth name was Lionardo di ser Piero da Vinci,[2][25] meaning "Leonardo, (son) of ser Piero (from) Vinci."[18][lower-alpha 4]

Leonardo spent his first years in the hamlet of Anchiano in the home of his mother, and from at least 1457 lived in the household of his father, grandparents and uncle in the small town of Vinci.[26] His father had married a 16-year-old girl named Albiera Amadori, who loved Leonardo but died young[27] in 1465 without children. In 1468, when Leonardo was 16, his father married again to 20-year-old Francesca Lanfredini, who also died without children. Piero's legitimate heirs were born from his third wife Margherita di Guglielmo, who gave birth to six children, and his fourth and final wife, Lucrezia Cortigiani, who bore him another six heirs.[28][29] In all, Leonardo had 12 half-siblings, who were much younger than he was (the last was born when Leonardo was 40 years old) and with whom he had very little contact.[lower-alpha 7]

Leonardo received an informal education in Latin, geometry and mathematics. In later life, Leonardo recorded few distinct childhood incidents. One was of a kite coming to his cradle and opening his mouth with its tail; he regarded this as an omen of his writing on the subject.[31][32] The second occurred while he was exploring in the mountains: he discovered a cave and was both terrified that some great monster might lurk there and driven by curiosity to find out what was inside.[27] He also seems to have remembered some of his childhood observations of water, writing and crossing out the name of his hometown in one of his notebooks on the formation of rivers.[26]

Leonardo's early life has been the subject of historical conjecture.[33] Vasari, the 16th-century biographer of Renaissance painters, tells a story of Leonardo as a very young man: A local peasant made himself a round shield and requested that Ser Piero have it painted for him. Leonardo, inspired by the story of Medusa, responded with a painting of a monster spitting fire that was so terrifying that his father bought a different shield to give to the peasant and sold Leonardo's to a Florentine art dealer for 100 ducats, who in turn sold it to the Duke of Milan.[34]

Verrocchio's workshop

The Baptism of Christ (1472–1475) by Verrocchio and Leonardo, Uffizi Gallery

In the mid-1460s, Leonardo's family moved to Florence, and around the age of 14,[30] he became a garzone (studio boy) in the workshop of Verrocchio, who was the leading Florentine painter and sculptor of his time.[35] Leonardo became an apprentice by the age of 17 and remained in training for seven years.[36][37] Other famous painters apprenticed in the workshop or associated with it include Ghirlandaio, Perugino, Botticelli, and Lorenzo di Credi.[27][38] Leonardo was exposed to both theoretical training and a wide range of technical skills,[39] including drafting, chemistry, metallurgy, metal working, plaster casting, leather working, mechanics, and wood-work, as well as the artistic skills of drawing, painting, sculpting, and modelling.[40][lower-alpha 8]

Much of the painting in Verrocchio's workshop was done by his employees. According to Vasari, Leonardo collaborated with Verrocchio on his The Baptism of Christ, painting the young angel holding Jesus' robe in a manner that was so far superior to his master's that Verrocchio put down his brush and never painted again, although this is believed to be an apocryphal story.[41] Close examination reveals areas of the work that have been painted or touched-up over the tempera, using the new technique of oil paint, including the landscape, the rocks seen through the brown mountain stream, and much of the figure of Jesus, bearing witness to the hand of Leonardo.[42] Leonardo may have been the model for two works by Verrocchio: the bronze statue of David in the Bargello, and the Archangel Raphael in Tobias and the Angel.[20]

By 1472, at the age of 20, Leonardo qualified as a master in the Guild of Saint Luke, the guild of artists and doctors of medicine,[lower-alpha 9] but even after his father set him up in his own workshop, his attachment to Verrocchio was such that he continued to collaborate and live with him.[27][43] Leonardo's earliest known dated work is a 1473 pen-and-ink drawing of the Arno valley,[38] which has been cited as the first "pure" landscape in the Occident.[lower-alpha 10][44] According to Vasari, the young Leonardo was the first to suggest making the Arno river a navigable channel between Florence and Pisa.[45]

Professional life

See also: List of works by Leonardo da Vinci

Leonardo's Virgin of the Rocks, c. 1483–1493,[d 1] Louvre version

In January 1478, Leonardo received an independent commission to paint an altarpiece for the Chapel of St. Bernard in the Palazzo Vecchio,[46] an indication of his independence from Verrocchio's studio. One anonymous writer claims that in 1480, Leonardo was living with the Medici and often worked in the garden of the Piazza San Marco, Florence, where a Neoplatonic academy of artists, poets and philosophers organized by the Medici met.[20] In March 1481, he received a commission from the monks of San Donato in Scopeto for The Adoration of the Magi.[47] Neither of these initial commissions were completed, being abandoned when Leonardo went to offer his services to Duke of Milan Ludovico Sforza. In 1482, he casted a silver stringed instrument[lower-alpha 11] from a horse's skull and ram horns to bring to Sforza,[48] whom he wrote a letter describing the diverse things that he could achieve in the fields of engineering and weapon design, and mentioning that he could paint.[38][48][49]

Leonardo's horse in silverpoint, c. 1488[50]

Leonardo worked in Milan from 1482 until 1499. He was commissioned to paint the Virgin of the Rocks for the Confraternity of the Immaculate Conception and The Last Supper for the monastery of Santa Maria delle Grazie.[51] In the spring of 1485, Leonardo travelled to Hungary on behalf of Sforza to meet king Matthias Corvinus, and was commissioned by him to paint a Madonna.[52] Leonardo was employed on many other projects for Sforza, including the preparation of floats and pageants for special occasions, a drawing and wooden model for a competition to design the cupola for Milan Cathedral (which he withdrew),[53] and a model for a huge equestrian monument to Ludovico's predecessor Francesco Sforza. This would have surpassed in size the only two large equestrian statues of the Renaissance, Donatello's Gattamelata in Padua and Verrocchio's Bartolomeo Colleoni in Venice, and became known as the Gran Cavallo.[38] Leonardo completed a model for the horse and made detailed plans for its casting,[38] but in November 1494, Ludovico gave the bronze to his brother-in-law to be used for a cannon to defend the city from Charles VIII.[38]

With Ludovico Sforza overthrown at the dawn of the Second Italian War, Leonardo, with his assistant Salaì and friend, the mathematician Luca Pacioli, fled Milan for Venice.[54] There, he was employed as a military architect and engineer, devising methods to defend the city from naval attack.[27] On his return to Florence in 1500, he and his household were guests of the Servite monks at the monastery of Santissima Annunziata and were provided with a workshop where, according to Vasari, Leonardo created the cartoon of The Virgin and Child with St Anne and St John the Baptist, a work that won such admiration that "men and women, young and old" flocked to see it "as if they were attending a great festival."[55][lower-alpha 12]

Leonardo's map of Imola, created for Cesare Borgia

In Cesena in 1502, Leonardo entered the service of Cesare Borgia, the son of Pope Alexander VI, acting as a military architect and engineer and travelling throughout Italy with his patron.[54] Leonardo created a map of Cesare Borgia's stronghold, a town plan of Imola in order to win his patronage. Maps were extremely rare at the time and it would have seemed like a new concept. Upon seeing it, Cesare hired Leonardo as his chief military engineer and architect. Later in the year, Leonardo produced another map for his patron, one of Chiana Valley, Tuscany, so as to give his patron a better overlay of the land and greater strategic position. He created this map in conjunction with his other project of constructing a dam from the sea to Florence, in order to allow a supply of water to sustain the canal during all seasons.

Leonardo had left Borgia's service and returned to Florence by early 1503,[57] where he rejoined the Guild of Saint Luke on 18 October of that year. By this same month, Leonardo had begun working on a portrait of Lisa del Giocondo, the model for the Mona Lisa,[58][59] which he would continue working on until his twilight years. In January 1504, he was part of a committee formed to recommend where Michelangelo's statue of David should be placed.[60] He then spent two years in Florence designing and painting a mural of The Battle of Anghiari for the Signoria,[54] with Michelangelo designing its companion piece, The Battle of Cascina.[lower-alpha 13]

In 1506, Leonardo was summoned to Milan by Charles II d'Amboise, the acting French governor of the city. The Council of Florence wished Leonardo to return promptly to finish The Battle of Anghiari, but he was given leave at the behest of Louis XII, who considered commissioning the artist to make some portraits.[63] Leonardo may have commenced a project for an equestrian figure of d'Amboise;[64] a wax model survives and, if genuine, is the only extant example of Leonardo's sculpture. Leonardo was otherwise free to pursue his scientific interests.[63] Many of Leonardo's most prominent pupils either knew or worked with him in Milan,[27] including Bernardino Luini, Giovanni Antonio Boltraffio, and Marco d'Oggiono. In 1507, Leonardo was in Florence sorting out a dispute with his brothers over the estate of his father, who had died in 1504. By 1508, Leonardo was back in Milan, living in his own house in Porta Orientale in the parish of Santa Babila.[65]

Old age and death

An apocalyptic deluge drawn in black chalk by Leonardo near the end of his life (part of a series of 10, paired with written description in his notebooks)[66]

In 1512, Leonardo was working on plans for an equestrian monument for Gian Giacomo Trivulzio, but this was prevented by an invasion of a confederation of Swiss, Spanish and Venetian forces, which drove the French from Milan. Leonardo stayed in the city, spending several months in 1513 at the Medici's Vaprio d'Adda villa.[67] In March of that year, Lorenzo de' Medici's son Giovanni assumed the papacy (as Leo X); Leonardo went to Rome that September, where he was received by the pope's brother Giuliano.[67] From September 1513 to 1516, Leonardo spent much of his time living in the Belvedere Courtyard in the Apostolic Palace, where Michelangelo and Raphael were both active.[65] Leonardo was given an allowance of 33 ducats a month, and according to Vasari, decorated a lizard with scales dipped in quicksilver.[68] The pope gave him a painting commission of unknown subject matter, but cancelled it when the artist set about developing a new kind of varnish.[68][lower-alpha 14] Leonardo became ill, in what may have been the first of multiple strokes leading to his death.[68] He practiced botany in the Gardens of Vatican City, and was commissioned to make plans for the pope's proposed draining of the Pontine Marshes.[69] He also dissected cadavers, making notes for a treatise on vocal cords;[70] these he gave to an official in hopes of regaining the pope's favor, but was unsuccessful.[68]

In October 1515, King Francis I of France recaptured Milan.[47] Leonardo was present at the 19 December meeting of Francis I and Leo X, which took place in Bologna.[27][71][72] In 1516, Leonardo entered Francis' service, being given the use of the manor house Clos Lucé, near the king's residence at the royal Château d'Amboise. Being frequently visited by Francis, he drew plans for an immense castle town the king intended to erect at Romorantin, and made a mechanical lion, which during a pageant walked toward the king and—upon being struck by a wand—opened its chest to reveal a cluster of lilies.[73][74][lower-alpha 15] Leonardo was accompanied during this time by his friend and apprentice, Francesco Melzi, and supported by a pension totalling 10,000 scudi.[65] At some point, Melzi drew a portrait of Leonardo; the only others known from his lifetime were a sketch by an unknown assistant on the back of one of Leonardo's studies (c. 1517)[76] and a drawing by Giovanni Ambrogio Figino depicting an elderly Leonardo with his right arm assuaged by cloth.[77][lower-alpha 16][lower-alpha 17] The latter, in addition to the record of an October 1517 visit by Louis d'Aragon,[lower-alpha 18] confirms an account of Leonardo's right hand being paralytic at the age of 65,[80] which may indicate why he left works such as the Mona Lisa unfinished.[78][81][82] He continued to work at some capacity until eventually becoming ill and bedridden for several months.[80]

Drawing of the Château d'Amboise (c. 1518) attributed to Francesco Melzi

Leonardo died at Clos Lucé on 2 May 1519 at the age of 67, possibly of a stroke.[83][82] Francis I had become a close friend. Vasari describes Leonardo as lamenting on his deathbed, full of repentance, that "he had offended against God and men by failing to practice his art as he should have done."[84] Vasari states that in his last days, Leonardo sent for a priest to make his confession and to receive the Holy Sacrament.[85] Vasari also records that the king held Leonardo's head in his arms as he died, although this story may be legend rather than fact.[lower-alpha 19][lower-alpha 20] In accordance with his will, sixty beggars carrying tapers followed Leonardo's casket.[87][lower-alpha 21] Melzi was the principal heir and executor, receiving, as well as money, Leonardo's paintings, tools, library and personal effects. Leonardo also remembered his other long-time pupil and companion, Salaì, and his servant Baptista de Vilanis, who each received half of Leonardo's vineyards.[88] His brothers received land, and his serving woman received a fur-lined cloak. On 12 August 1519, Leonardo's remains were interred in the Collegiate Church of Saint Florentin at the Château d'Amboise.[89]

Some 20 years after Leonardo's death, Francis was reported by the goldsmith and sculptor Benvenuto Cellini as saying: "There had never been another man born in the world who knew as much as Leonardo, not so much about painting, sculpture and architecture, as that he was a very great philosopher."[90]

Relationships and influences

Artistic and social background

Presumed self-portrait of Leonardo (c. 1510) at the Royal Library of Turin, Italy.

Florence at the time of Leonardo's youth was the centre of Christian Humanist thought and culture.[35] Leonardo commenced his apprenticeship with Verrocchio in 1466, the year that Verrocchio's master, the great sculptor Donatello, died.[lower-alpha 22] The painter Uccello, whose early experiments with perspective were to influence the development of landscape painting, was a very old man. The painters Piero della Francesca and Filippo Lippi, sculptor Luca della Robbia, and architect and writer Leon Battista Alberti were in their sixties. The successful artists of the next generation were Leonardo's teacher Verrocchio, Antonio del Pollaiuolo, and the portrait sculptor Mino da Fiesole.[91][92][93][94]

Leonardo's youth was spent in a Florence that was ornamented by the works of these artists and by Donatello's contemporaries, Masaccio, whose figurative frescoes were imbued with realism and emotion; and Ghiberti, whose Gates of Paradise, gleaming with gold leaf, displayed the art of combining complex figure compositions with detailed architectural backgrounds. Piero della Francesca had made a detailed study of perspective,[95] and was the first painter to make a scientific study of light. These studies and Alberti's treatise De pictura[96] were to have a profound effect on younger artists and in particular on Leonardo's own observations and artworks.[91][93][94]

Benois Madonna, c. 1478–1481[d 2]

A prevalent tradition in Florence was the small altarpiece of the Virgin and Child. Many of these were created in tempera or glazed terracotta by the workshops of Filippo Lippi, Verrocchio and the prolific della Robbia family.[91] Leonardo's early Madonnas such as The Madonna with a carnation and the Benois Madonna followed this tradition while showing idiosyncratic departures, particularly in the latter in which the Virgin is set at an oblique angle to the picture space with the Christ Child at the opposite angle. This compositional theme was to emerge in Leonardo's later paintings such as The Virgin and Child with St. Anne.[27]

Leonardo was a contemporary of Botticelli, Domenico Ghirlandaio and Perugino, who were all slightly older than he was.[92] He would have met them at the workshop of Verrocchio, with whom they had associations, and at the Academy of the Medici.[27] Botticelli was a particular favourite of the Medici family, and thus his success as a painter was assured. Ghirlandaio and Perugino were both prolific and ran large workshops. They competently delivered commissions to well-satisfied patrons who appreciated Ghirlandaio's ability to portray the wealthy citizens of Florence within large religious frescoes, and Perugino's ability to deliver a multitude of saints and angels of unfailing sweetness and innocence.[91] These three were among those commissioned to paint the walls of the Sistine Chapel, the work commencing with Perugino's employment in 1479. Leonardo was not part of this prestigious commission. His first significant commission, The Adoration of the Magi for the Monks of Scopeto, was never completed.[27]

The Portinari Altarpiece (c. 1475), Hugo van der Goes

In 1476, during the time of Leonardo's association with Verrocchio's workshop, the Portinari Altarpiece by Hugo van der Goes arrived in Florence, bringing from Northern Europe new painterly techniques that were to profoundly affect Leonardo, Ghirlandaio, Perugino and others.[92] In 1479, the Sicilian painter Antonello da Messina, who worked exclusively in oils, travelled north on his way to Venice, where the leading painter Giovanni Bellini adopted the technique of oil painting, quickly making it the preferred method in Venice. Leonardo was also later to visit Venice.[92][94]

Like the two contemporary architects Donato Bramante (who designed the Belvedere Courtyard) and Antonio da Sangallo the Elder, Leonardo experimented with designs for centrally planned churches, a number of which appear in his journals, as both plans and views, although none was ever realised.[92][97]

Leonardo's political contemporaries were Lorenzo de' Medici (il Magnifico), who was three years older, and his younger brother Giuliano, who was slain in the Pazzi conspiracy in 1478. Leonardo was sent as an ambassador by the Medici court to Ludovico il Moro, who ruled Milan between 1479 and 1499.[92]

With Alberti, Leonardo visited the home of the Medici and through them came to know the older Humanist philosophers of whom Marsiglio Ficino, proponent of Neo Platonism; Cristoforo Landino, writer of commentaries on Classical writings, and John Argyropoulos, teacher of Greek and translator of Aristotle were the foremost. Also associated with the Academy of the Medici was Leonardo's contemporary, the brilliant young poet and philosopher Pico della Mirandola.[92][94][87] Leonardo later wrote in the margin of a journal, "The Medici made me and the Medici destroyed me." While it was through the action of Lorenzo that Leonardo received his employment at the court of Milan, it is not known exactly what Leonardo meant by this cryptic comment.[27]

Although usually named together as the three giants of the High Renaissance, Leonardo, Michelangelo and Raphael were not of the same generation. Leonardo was 23 when Michelangelo was born and 31 when Raphael was born.[92] Raphael died at the age of 37 in 1520, the year after Leonardo died, but Michelangelo went on creating for another 45 years.[93][94]

Personal life

Main article: Personal life of Leonardo da Vinci

Study for a portrait of Isabella d'Este c. 1499–1500,[d 3] Louvre

Within Leonardo's lifetime, his extraordinary powers of invention, his "outstanding physical beauty," "infinite grace," "great strength and generosity," "regal spirit and tremendous breadth of mind," as described by Vasari,[98] as well as all other aspects of his life, attracted the curiosity of others. One such aspect was his love for animals, likely including vegetarianism and according to Vasari, a habit of purchasing caged birds and releasing them.[99][100]

Leonardo had many friends who are now renowned either in their fields or for their historical significance. They included the mathematician Luca Pacioli,[101] with whom he collaborated on the book Divina proportione in the 1490s. Leonardo appears to have had no close relationships with women except for his friendship with Cecilia Gallerani and the two Este sisters, Beatrice and Isabella.[102] While on a journey that took him through Mantua, he drew a portrait of Isabella that appears to have been used to create a painted portrait, now lost.[27]

Beyond friendship, Leonardo kept his private life secret. His sexuality has been the subject of satire, analysis, and speculation. This trend began in the mid-16th century and was revived in the 19th and 20th centuries, most notably by Sigmund Freud.[103] Leonardo's most intimate relationships were perhaps with his pupils Salaì and Melzi. Melzi, writing to inform Leonardo's brothers of his death, described Leonardo's feelings for his pupils as both loving and passionate. It has been claimed since the 16th century that these relationships were of a sexual or erotic nature. Court records of 1476, when he was aged twenty-four, show that Leonardo and three other young men were charged with sodomy in an incident involving a well-known male prostitute. The charges were dismissed for lack of evidence, and there is speculation that since one of the accused, Lionardo de Tornabuoni, was related to Lorenzo de' Medici, the family exerted its influence to secure the dismissal.[104] Since that date much has been written about his presumed homosexuality and its role in his art, particularly in the androgyny and eroticism manifested in Saint John the Baptist and Bacchus and more explicitly in a number of erotic drawings.[105]

Assistants and pupils

Saint John the Baptist c. 1507–1516,[d 4] Louvre. Leonardo is thought to have used Salaì as the model.

Gian Giacomo Caprotti da Oreno, nicknamed Salaì or Il Salaino ("The Little Unclean One," i.e., the devil), entered Leonardo's household in 1490. After only a year, Leonardo made a list of his misdemeanours, calling him "a thief, a liar, stubborn, and a glutton," after he had made off with money and valuables on at least five occasions and spent a fortune on clothes.[106] Nevertheless, Leonardo treated him with great indulgence, and he remained in Leonardo's household for the next thirty years.[107] Salaì executed a number of paintings under the name of Andrea Salaì, but although Vasari claims that Leonardo "taught him a great deal about painting,"[74] his work is generally considered to be of less artistic merit than others among Leonardo's pupils, such as Marco d'Oggiono and Boltraffio. In 1515, he painted a nude version of the Mona Lisa, known as Monna Vanna.[108] Salaì owned the Mona Lisa at the time of his death in 1524, and in his will it was assessed at 505 lire, an exceptionally high valuation for a small panel portrait.[109]

In 1506, Leonardo took on another pupil, Count Francesco Melzi, the son of a Lombard aristocrat, who is considered to have been his favourite student. He travelled to France with Leonardo and remained with him until Leonardo's death.[27] Melzi inherited the artistic and scientific works, manuscripts, and collections of Leonardo and administered the estate.

Painting

See also: List of works by Leonardo da Vinci

Despite the recent awareness and admiration of Leonardo as a scientist and inventor, for the better part of four hundred years his fame rested on his achievements as a painter. A handful of works that are either authenticated or attributed to him have been regarded as among the great masterpieces. These paintings are famous for a variety of qualities that have been much imitated by students and discussed at great length by connoisseurs and critics. By the 1490s Leonardo had already been described as a "Divine" painter.[110]

Among the qualities that make Leonardo's work unique are his innovative techniques for laying on the paint; his detailed knowledge of anatomy, light, botany and geology; his interest in physiognomy and the way humans register emotion in expression and gesture; his innovative use of the human form in figurative composition; and his use of subtle gradation of tone. All these qualities come together in his most famous painted works, the Mona Lisa, the Last Supper, and the Virgin of the Rocks.[111]

Early works

Annunciation c. 1472–1476,[d 5] Uffizi, is thought to be Leonardo's earliest complete work

Leonardo first gained attention for his work on the Baptism of Christ, painted in conjunction with Verrocchio. Two other paintings appear to date from his time at Verrocchio's workshop, both of which are Annunciations. One is small, 59 centimetres (23 in) long and 14 centimetres (5.5 in) high. It is a "predella" to go at the base of a larger composition, a painting by Lorenzo di Credi from which it has become separated. The other is a much larger work, 217 centimetres (85 in) long.[112] In both Annunciations, Leonardo used a formal arrangement, like two well-known pictures by Fra Angelico of the same subject, of the Virgin Mary sitting or kneeling to the right of the picture, approached from the left by an angel in profile, with a rich flowing garment, raised wings and bearing a lily. Although previously attributed to Ghirlandaio, the larger work is now generally attributed to Leonardo.[113]

In the smaller painting, Mary averts her eyes and folds her hands in a gesture that symbolised submission to God's will. Mary is not submissive, however, in the larger piece. The girl, interrupted in her reading by this unexpected messenger, puts a finger in her bible to mark the place and raises her hand in a formal gesture of greeting or surprise.[91] This calm young woman appears to accept her role as the Mother of God, not with resignation but with confidence. In this painting, the young Leonardo presents the humanist face of the Virgin Mary, recognising humanity's role in God's incarnation.

Paintings of the 1480s

In the 1480s, Leonardo received two very important commissions and commenced another work that was of ground-breaking importance in terms of composition. Two of the three were never finished, and the third took so long that it was subject to lengthy negotiations over completion and payment.

Unfinished painting of Saint Jerome in the Wilderness c. 1480–1490,[d 6] Vatican

One of these paintings was Saint Jerome in the Wilderness, which Bortolon associates with a difficult period of Leonardo's life, as evidenced in his diary: "I thought I was learning to live; I was only learning to die."[27] Although the painting is barely begun, the composition can be seen and is very unusual.[lower-alpha 23] Jerome, as a penitent, occupies the middle of the picture, set on a slight diagonal and viewed somewhat from above. His kneeling form takes on a trapezoid shape, with one arm stretched to the outer edge of the painting and his gaze looking in the opposite direction. J. Wasserman points out the link between this painting and Leonardo's anatomical studies.[114] Across the foreground sprawls his symbol, a great lion whose body and tail make a double spiral across the base of the picture space. The other remarkable feature is the sketchy landscape of craggy rocks against which the figure is silhouetted.

The daring display of figure composition, the landscape elements and personal drama also appear in the great unfinished masterpiece, the Adoration of the Magi, a commission from the Monks of San Donato a Scopeto. It is a complex composition, of about 250 x 250 centimetres. Leonardo did numerous drawings and preparatory studies, including a detailed one in linear perspective of the ruined classical architecture that forms part of the background. In 1482 Leonardo went to Milan at the behest of Lorenzo de' Medici in order to win favour with Ludovico il Moro, and the painting was abandoned.[20][113]

The third important work of this period is the Virgin of the Rocks, commissioned in Milan for the Confraternity of the Immaculate Conception. The painting, to be done with the assistance of the de Predis brothers, was to fill a large complex altarpiece.[115] Leonardo chose to paint an apocryphal moment of the infancy of Christ when the infant John the Baptist, in protection of an angel, met the Holy Family on the road to Egypt. The painting demonstrates an eerie beauty as the graceful figures kneel in adoration around the infant Christ in a wild landscape of tumbling rock and whirling water.[116] While the painting is quite large, about 200×120 centimetres, it is not nearly as complex as the painting ordered by the monks of St Donato, having only four figures rather than about fifty and a rocky landscape rather than architectural details. The painting was eventually finished; in fact, two versions of the painting were finished: one remained at the chapel of the Confraternity, while Leonardo took the other to France. The Brothers did not get their painting, however, nor the de Predis their payment, until the next century.[38][54]

Lady with an Ermine, c. 1489–1491,[d 7] Czartoryski Museum, Kraków, Poland

Leonardo's most remarkable portrait of this period is the Lady with an Ermine, presumed to be Cecilia Gallerani (c. 1483–1490), lover of Ludovico Sforza.[117][118] The painting is charcterised by the pose of the figure with the head turned at a very different angle to the torso, unusual at a date when many portraits were still rigidly in profile. The ermine plainly carries symbolic meaning, relating either to the sitter, or to Ludovico who belonged to the prestigious Order of the Ermine.[117]

Paintings of the 1490s

The Last Supper c. 1492–1498,[d 8] Convent of Sta. Maria delle Grazie, Milan, Italy

Leonardo's most famous painting of the 1490s is The Last Supper, commissioned for the refectory of the Convent of Santa Maria della Grazie in Milan. It represents the last meal shared by Jesus with his disciples before his capture and death, and shows the moment when Jesus has just said "one of you will betray me", and the consternation that this statement caused.[38]

The novelist Matteo Bandello observed Leonardo at work and wrote that some days he would paint from dawn till dusk without stopping to eat and then not paint for three or four days at a time.[119] This was beyond the comprehension of the prior of the convent, who hounded him until Leonardo asked Ludovico to intervene. Vasari describes how Leonardo, troubled over his ability to adequately depict the faces of Christ and the traitor Judas, told the Duke that he might be obliged to use the prior as his model.[120]

When finished, the painting was acclaimed as a masterpiece of design and characterization,[121] but it deteriorated rapidly, so that within a hundred years it was described by one viewer as "completely ruined."[122] Leonardo, instead of using the reliable technique of fresco, had used tempera over a ground that was mainly gesso, resulting in a surface subject to mould and to flaking.[123] Despite this, the painting remains one of the most reproduced works of art; countless copies have been made in various mediums.

It is recorded that in 1492, Leonardo, with assistants painted the Sala delle Asse in the Sforza Castle in Milan, with a trompe-l'œil depicting trees, with an intricate labyrinth of leaves and knots on the ceiling.[124]

Paintings of the 16th century

Mona Lisa or La Gioconda c. 1503–1516,[d 9] Louvre, Paris

In 1505 Leonardo was commissioned to paint The Battle of Anghiari in the Salone dei Cinquecento (Hall of the Five Hundred) in the Palazzo Vecchio, Florence. Leonardo devised a dynamic composition depicting four men riding raging war horses engaged in a battle for possession of a standard, at the Battle of Anghiari in 1440. Michelangelo was assigned the opposite wall to depict the Battle of Cascina. Leonardo's painting deteriorated rapidly and is now known from a copy by Rubens.[125]

Among the works created by Leonardo in the 16th century is the small portrait known as the Mona Lisa or La Gioconda, the laughing one. In the present era, it is arguably the most famous painting in the world. Its fame rests, in particular, on the elusive smile on the woman's face, its mysterious quality perhaps due to the subtly shadowed corners of the mouth and eyes such that the exact nature of the smile cannot be determined. The shadowy quality for which the work is renowned came to be called "sfumato," or Leonardo's smoke. Vasari, who is generally thought to have known the painting only by repute, said that "the smile was so pleasing that it seemed divine rather than human; and those who saw it were amazed to find that it was as alive as the original."[126][lower-alpha 24]

Other characteristics of the painting are the unadorned dress, in which the eyes and hands have no competition from other details; the dramatic landscape background, in which the world seems to be in a state of flux; the subdued colouring; and the extremely smooth nature of the painterly technique, employing oils laid on much like tempera, and blended on the surface so that the brushstrokes are indistinguishable.[lower-alpha 25] Vasari expressed the opinion that the manner of painting would make even "the most confident master...despair and lose heart."[129] The perfect state of preservation and the fact that there is no sign of repair or overpainting is rare in a panel painting of this date.[130]

In the painting Virgin and Child with St. Anne, the composition again picks up the theme of figures in a landscape, which Wasserman describes as "breathtakingly beautiful"[131] and harkens back to the St Jerome picture with the figure set at an oblique angle. What makes this painting unusual is that there are two obliquely set figures superimposed. Mary is seated on the knee of her mother, St Anne. She leans forward to restrain the Christ Child as he plays roughly with a lamb, the sign of his own impending sacrifice.[38] This painting, which was copied many times, influenced Michelangelo, Raphael, and Andrea del Sarto,[132] and through them Pontormo and Correggio. The trends in composition were adopted in particular by the Venetian painters Tintoretto and Veronese.

Drawings

Landscape of the Arno Valley (1473), probably the first true landscape in art[44]

Leonardo was not a prolific painter, but he was a most prolific draftsman, keeping journals full of small sketches and detailed drawings recording all manner of things that took his attention. As well as the journals there exist many studies for paintings, some of which can be identified as preparatory to particular works such as The Adoration of the Magi, The Virgin of the Rocks and The Last Supper.[133] His earliest dated drawing is a Landscape of the Arno Valley, 1473, which shows the river, the mountains, Montelupo Castle and the farmlands beyond it in great detail.[27][133][lower-alpha 26] According to art historian Ludwig Heydenreich, this is "The first true landscape in art."[134] Massimo Polidoro says that it was the first landscape "not to be the background of some religious scene or a portrait. It is the first [documented] time where a landscape was drawn just for the sake of it."[44]

The Vitruvian Man (c. 1485) Accademia, Venice

Among his famous drawings are the Vitruvian Man, a study of the proportions of the human body; the Head of an Angel, for The Virgin of the Rocks in the Louvre; a botanical study of Star of Bethlehem; and a large drawing (160×100 cm) in black chalk on coloured paper of The Virgin and Child with St. Anne and St. John the Baptist in the National Gallery, London.[133] This drawing employs the subtle sfumato technique of shading, in the manner of the Mona Lisa. It is thought that Leonardo never made a painting from it, the closest similarity being to The Virgin and Child with St. Anne in the Louvre.[135]

Other drawings of interest include numerous studies generally referred to as "caricatures" because, although exaggerated, they appear to be based upon observation of live models. Vasari relates that if Leonardo saw a person with an interesting face he would follow them around all day observing them.[136] There are numerous studies of beautiful young men, often associated with Salaì, with the rare and much admired facial feature, the so-called "Grecian profile."[lower-alpha 27] These faces are often contrasted with that of a warrior.[133] Salaì is often depicted in fancy-dress costume. Leonardo is known to have designed sets for pageants with which these may be associated. Other, often meticulous, drawings show studies of drapery. A marked development in Leonardo's ability to draw drapery occurred in his early works. Another often-reproduced drawing is a macabre sketch that was done by Leonardo in Florence in 1479 showing the body of Bernardo Baroncelli, hanged in connection with the murder of Giuliano, brother of Lorenzo de' Medici, in the Pazzi conspiracy.[133] In his notes, Leonardo recorded the colours of the robes that Baroncelli was wearing when he died.

Journals and notes

See also: List of works by Leonardo da Vinci § Manuscripts

Renaissance humanism recognised no mutually exclusive polarities between the sciences and the arts, and Leonardo's studies in science and engineering are sometimes considered as impressive and innovative as his artistic work.[38] These studies were recorded in 13,000 pages of notes and drawings, which fuse art and natural philosophy (the forerunner of modern science). They were made and maintained daily throughout Leonardo's life and travels, as he made continual observations of the world around him.[38] Leonardo's notes and drawings display an enormous range of interests and preoccupations, some as mundane as lists of groceries and people who owed him money and some as intriguing as designs for wings and shoes for walking on water. There are compositions for paintings, studies of details and drapery, studies of faces and emotions, of animals, babies, dissections, plant studies, rock formations, whirlpools, war machines, flying machines and architecture.[38]

A page showing Leonardo's study of a foetus in the womb (c. 1510), Royal Library, Windsor Castle

These notebooks—originally loose papers of different types and sizes, were largely entrusted to Leonardo's pupil and heir Francesco Melzi after the master's death.[137] These were to be published, a task of overwhelming difficulty because of its scope and Leonardo's idiosyncratic writing.[138] Some of Leonardo's drawings were copied by an anonymous Milanese artist for a planned treatise on art c. 1570.[139] After Melzi's death in 1570, the collection passed to his son, the lawyer Orazio, who initially took little interest in the journals.[137] In 1587, a Melzi household tutor named Lelio Gavardi took 13 of the manuscripts to Pisa; there, the architect Giovanni Magenta reproached Gavardi for having taken the manuscripts illicitly and returned them to Orazio. Having many more such works in his possession, Orazio gifted the volumes to Magenta. News spread of these lost works of Leonardo's, and Orazio retrieved seven of the 13 manuscripts, which he then gave to Pompeo Leoni for publication in two volumes; one of these was the Codex Atlanticus. The other six works had been distributed to a few others.[140] After Orazio's death, his heirs sold the rest of Leonardo's possessions, and thus began their dispersal.[141]

Some works have found their way into major collections such as the Royal Library at Windsor Castle, the Louvre, the Biblioteca Nacional de España, the Victoria and Albert Museum, the Biblioteca Ambrosiana in Milan, which holds the 12-volume Codex Atlanticus, and the British Library in London, which has put a selection from the Codex Arundel (BL Arundel MS 263) online.[142] Works have also been at Holkham Hall, the Metropolitan Museum of Art, and in the private hands of John Nicholas Brown I and Robert Lehman.[137] The Codex Leicester is the only privately owned major scientific work of Leonardo; it is owned by Bill Gates and displayed once a year in different cities around the world.

Most of Leonardo's writings are in mirror-image cursive.[143][44] Since Leonardo wrote with his left hand, it was probably easier for him to write from right to left.[144][lower-alpha 28] Leonardo used a variety of shorthand and symbols, and states in his notes that he intended to prepare them for publication.[143] In many cases a single topic is covered in detail in both words and pictures on a single sheet, together conveying information that would not be lost if the pages were published out of order.[147] Why they were not published during Leonardo's lifetime is unknown.[38]

Scientific studies

Main article: Science and inventions of Leonardo da Vinci

Rhombicuboctahedron as published in Pacioli's Divina proportione (1509)

Leonardo's approach to science was observational: he tried to understand a phenomenon by describing and depicting it in utmost detail and did not emphasise experiments or theoretical explanation. Since he lacked formal education in Latin and mathematics, contemporary scholars mostly ignored Leonardo the scientist, although he did teach himself Latin. In the 1490s he studied mathematics under Luca Pacioli and prepared a series of drawings of regular solids in a skeletal form to be engraved as plates for Pacioli's book Divina proportione, published in 1509.[38] While living in Milan, he studied light from the summit of Monte Rosa.[63] Scientific writings in his notebook on fossils have been considered as influential on early palaeontology[148][149] and he has been called the father of ichnology.[150]

The content of his journals suggest that he was planning a series of treatises on a variety of subjects. A coherent treatise on anatomy is said to have been observed during a visit by Cardinal Louis d'Aragon's secretary in 1517.[151] Aspects of his work on the studies of anatomy, light and the landscape were assembled for publication by Melzi and eventually published as A Treatise on Painting in France and Italy in 1651 and Germany in 1724,[152] with engravings based upon drawings by the Classical painter Nicolas Poussin.[153] According to Arasse, the treatise, which in France went into 62 editions in fifty years, caused Leonardo to be seen as "the precursor of French academic thought on art."[38]

While Leonardo's experimentation followed scientific methods, a recent and exhaustive analysis of Leonardo as a scientist by Fritjof Capra argues that Leonardo was a fundamentally different kind of scientist from Galileo, Newton and other scientists who followed him in that, as a "Renaissance Man", his theorising and hypothesising integrated the arts and particularly painting.[154]

Anatomy and physiology

Anatomical study of the arm (1510)

Leonardo started his study in the anatomy of the human body under the apprenticeship of Andrea del Verrocchio, who demanded that his students develop a deep knowledge of the subject.[155] As an artist, he quickly became master of topographic anatomy, drawing many studies of muscles, tendons and other visible anatomical features.

As a successful artist, Leonardo was given permission to dissect human corpses at the Hospital of Santa Maria Nuova in Florence and later at hospitals in Milan and Rome. From 1510 to 1511 he collaborated in his studies with the doctor Marcantonio della Torre. Leonardo made over 240 detailed drawings and wrote about 13,000 words towards a treatise on anatomy.[156] Only a small amount of the material on anatomy was published in Leonardo's Treatise on painting.[138] During the time that Melzi was ordering the material into chapters for publication, they were examined by a number of anatomists and artists, including Vasari, Cellini and Albrecht Dürer, who made a number of drawings from them.[138]

Leonardo's physiological sketch of the human brain and skull (1510)

Leonardo's anatomical drawings include many studies of the human skeleton and its parts, and of muscles and sinews. He studied the mechanical functions of the skeleton and the muscular forces that are applied to it in a manner that prefigured the modern science of biomechanics.[157] He drew the heart and vascular system, the sex organs and other internal organs, making one of the first scientific drawings of a fetus in utero.[133] The drawings and notation are far ahead of their time, and if published would undoubtedly have made a major contribution to medical science.[156]

Leonardo also closely observed and recorded the effects of age and of human emotion on the physiology, studying in particular the effects of rage. He drew many figures who had significant facial deformities or signs of illness.[38][133] Leonardo also studied and drew the anatomy of many animals, dissecting cows, birds, monkeys, bears, and frogs, and comparing in his drawings their anatomical structure with that of humans. He also made a number of studies of horses.[133]

Leonardo's dissections and documentation of muscles, nerves, and vessels helped to describe the physiology and mechanics of movement. He attempted to identify the source of 'emotions' and their expression. He found it difficult to incorporate the prevailing system and theories of bodily humours, but eventually he abandoned these physiological explanations of bodily functions. He made the observations that humours were not located in cerebral spaces or ventricles. He documented that the humours were not contained in the heart or the liver, and that it was the heart that defined the circulatory system. He was the first to define atherosclerosis and liver cirrhosis. He created models of the cerebral ventricles with the use of melted wax and constructed a glass aorta to observe the circulation of blood through the aortic valve by using water and grass seed to watch flow patterns. Vesalius published his work on anatomy and physiology in De humani corporis fabrica in 1543.[158]

Engineering and inventions

A design for a flying machine (c. 1488), first presented in the Codex on the Flight of Birds.

An aerial screw (c. 1489), suggestive of a helicopter, from the Codex Atlanticus.

During his lifetime, Leonardo was also valued as an engineer. With the same rational and analytical approach that moved him to represent the human body and to investigate anatomy, Leonardo studied and designed a bewildering number of machines and devices. He drew their “anatomy” with unparalleled mastery, producing the first form of the modern technical drawing, including a perfected "exploded view" technique, to represent internal components. Those studies and projects collected in his codices fill more than 5,000 pages.[159] In a letter of 1482 to the lord of Milan Ludovico il Moro, he wrote that he could create all sorts of machines both for the protection of a city and for siege. When he fled from Milan to Venice in 1499, he found employment as an engineer and devised a system of moveable barricades to protect the city from attack. In 1502, he created a scheme for diverting the flow of the Arno river, a project on which Niccolò Machiavelli also worked.[160][161] He continued to contemplate the canalization of Lombardy's plains while in Louis XII's company[63] and of the Loire and its tributaries in the company of Francis I.[162] Leonardo's journals include a vast number of inventions, both practical and impractical. They include musical instruments, a mechanical knight, hydraulic pumps, reversible crank mechanisms, finned mortar shells, and a steam cannon.[27][38]

Leonardo's drawings of a scythed chariot and a fighting vehicle.

Leonardo was fascinated by the phenomenon of flight for much of his life, producing many studies, including Codex on the Flight of Birds (c. 1505), as well as plans for several flying machines, such as a flapping ornithopter and a machine with a helical rotor.[38] A 2003 documentary by British television station Channel Four, titled Leonardo's Dream Machines, various designs by Leonardo, such as a parachute and a giant crossbow, were interpreted and constructed.[163][164] Some of those designs proved successful, whilst others fared less well when tested.

Research performed by Marc van den Broek revealed older prototypes for more than 100 inventions that are ascribed to Leonardo. Similarities between Leonardo´s illustrations and drawings from the Middle Ages and from Ancient Greece and Rome, the Chinese and Persian Empires, and Egypt suggest that a large portion of Leonardo's inventions had been conceived before his lifetime. Leonardo´s innovation was to combine different functions from existing drafts and set them into scenes that illustrated their utility. By reconstituting technical inventions he created something new.[165]

Fame and reputation

Francis I of France receiving the last breath of Leonardo da Vinci, by Ingres, 1818[lower-alpha 20]

Main article: Cultural references to Leonardo da Vinci

Leonardo's fame within his own lifetime was such that the King of France carried him away like a trophy, and was claimed to have supported him in his old age and held him in his arms as he died. Interest in Leonardo and his work has never diminished. Crowds still queue to see his best-known artworks, T-shirts still bear his most famous drawing, and writers continue to hail him as a genius while speculating about his private life, as well as about what one so intelligent actually believed in.[38]

The continued admiration that Leonardo commanded from painters, critics and historians is reflected in many other written tributes. Baldassare Castiglione, author of Il Cortegiano (The Courtier), wrote in 1528: "...Another of the greatest painters in this world looks down on this art in which he is unequalled..."[166] while the biographer known as "Anonimo Gaddiano" wrote, c. 1540: "His genius was so rare and universal that it can be said that nature worked a miracle on his behalf..."[167]

Statue outside the Uffizi, Florence, created by Luigi Pampaloni (1791–1847)

Giorgio Vasari, in the enlarged edition of Lives of the Artists (1568)[168] introduced his chapter on Leonardo with the following words:

In the normal course of events many men and women are born with remarkable talents; but occasionally, in a way that transcends nature, a single person is marvellously endowed by Heaven with beauty, grace and talent in such abundance that he leaves other men far behind, all his actions seem inspired and indeed everything he does clearly comes from God rather than from human skill. Everyone acknowledged that this was true of Leonardo da Vinci, an artist of outstanding physical beauty, who displayed infinite grace in everything that he did and who cultivated his genius so brilliantly that all problems he studied he solved with ease.

The 19th century brought a particular admiration for Leonardo's genius, causing Henry Fuseli to write in 1801: "Such was the dawn of modern art, when Leonardo da Vinci broke forth with a splendour that distanced former excellence: made up of all the elements that constitute the essence of genius..."[169] This is echoed by A.E. Rio who wrote in 1861: "He towered above all other artists through the strength and the nobility of his talents."[170]

Leonardo Museum in Vinci, Italy, which houses a large collection of Leonardo's models reconstructed on the basis of his drawings.

By the 19th century, the scope of Leonardo's notebooks was known, as well as his paintings. Hippolyte Taine wrote in 1866: "There may not be in the world an example of another genius so universal, so incapable of fulfilment, so full of yearning for the infinite, so naturally refined, so far ahead of his own century and the following centuries."[171] Art historian Bernard Berenson wrote in 1896: "Leonardo is the one artist of whom it may be said with perfect literalness: Nothing that he touched but turned into a thing of eternal beauty. Whether it be the cross section of a skull, the structure of a weed, or a study of muscles, he, with his feeling for line and for light and shade, forever transmuted it into life-communicating values."[172]

The interest in Leonardo's genius has continued unabated; experts study and translate his writings, analyse his paintings using scientific techniques, argue over attributions and search for works which have been recorded but never found.[173] Liana Bortolon, writing in 1967, said: "Because of the multiplicity of interests that spurred him to pursue every field of knowledge...Leonardo can be considered, quite rightly, to have been the universal genius par excellence, and with all the disquieting overtones inherent in that term. Man is as uncomfortable today, faced with a genius, as he was in the 16th century. Five centuries have passed, yet we still view Leonardo with awe."[27]

Twenty-first-century author Walter Isaacson based much of his biography of Leonardo[104] on thousands of notebook entries, studying the personal notes, sketches, budget notations, and musings of the man whom he considers the greatest of innovators. Isaacson was surprised to discover a "fun, joyous" side of Leonardo in addition to his limitless curiosity and creative genius.[174]

On the 500th anniversary of Leonardo's death, the Louvre in Paris arranged for the largest ever single exhibit of his work, called Leonardo, between November 2019 and February 2020. The exhibit includes over 100 paintings, drawings and notebooks. Eleven of the paintings that Leonardo completed in his lifetime were included. Five of these are owned by the Louvre, but the Mona Lisa was not included because it is in such great demand among general visitors to the Louvre; it remains on display in its gallery. Vitruvian Man, however, is on display following a legal battle with its owner, the Gallerie dell'Accademia in Venice. Salvator Mundi was also not included because its Saudi owner did not agree to lease the work.[175][176]

Location of remains

Tomb of Leonardo da Vinci in the Chapel of Saint Hubert at the Château d'Amboise, where a plaque explains that the remains are only presumed to be those of the Renaissance artist.[177]

Much of the Collegiate Church of Saint Florentin at the Château d'Amboise, where Leonardo was buried, was damaged during the French Revolution, leading to the church's demolition in 1802.[177] Some of the graves were destroyed in the process, scattering the bones interred there and thereby leaving the whereabouts of Leonardo's remains subject to dispute. While excavating the site in 1863, fine-arts inspector general Arsène Houssaye found a partially complete skeleton with a bronze ring on one finger, some white hair, and stone fragments bearing the inscriptions "EO," "AR," "DUS," and "VINC"—interpreted as forming "Leonardus Vinci".[177][89][178][179] A silver shield found near the bones depicts a beardless Francis I, corresponding to the king's appearance during Leonardo's lifetime, and the skull's inclusion of eight teeth corresponds to someone of approximately the appropriate age.[178] The unusually large skull led Houssaye to believe that he had located Leonardo's remains,[179] but he thought the skeleton seemed too short.[178] Other art historians say that the 1.73 metres (5.7 ft) tall skeleton may well be Leonardo's.[180]

The remains, except for the ring and a lock of hair which Houssaye kept,[89] were brought to Paris in a lead box, where the skull was allegedly presented to Napoleon III,[178] before being returned to the Château d'Amboise and re-interred in the Chapel of Saint Hubert in 1874.[177] A new memorial tombstone was added by sculptor Francesco La Monaca in the 1930s.[181] Reflecting doubts about the attribution, a plaque above the tomb states that the remains are only presumed to be those of Leonardo.[177] It has since been theorized that the folding of the skeleton's right arm over the head may correspond to the paralysis of Leonardo's right hand.[178][77][83] In 2016, it was announced that DNA tests would be conducted to determine whether the attribution is correct.[177] The DNA of the remains will be compared to that of samples collected from Leonardo's work and his half-brother Domenico's descendants;[177] it may also be sequenced.[182] The lock of hair and ring, now in a private US collection,[lower-alpha 29] were displayed in Vinci beginning on 2 May 2019, the 500th anniversary of the artist's death.[183][89]

Art market

Salvator Mundi, a painting by Leonardo depicting Jesus holding an orb, sold for a world record US$450.3 million at a Christie's auction in New York, 15 November 2017.[184] The highest known sale price for any artwork was previously US$300 million, for Willem de Kooning's Interchange, which was sold privately in September 2015.[185] The highest price previously paid for a work of art at auction was for Pablo Picasso's Les Femmes d'Alger, which sold for US$179.4 million in May 2015 at Christie's New York.[185]

See also

• Aerial perspective
• Italian Renaissance painting
• Leonardo da Vinci, A Memory of His Childhood
• Leonardo da Vinci-Fiumicino Airport
• Medical Renaissance
• Museo Ideale Leonardo da Vinci
• Museo Nazionale Scienza e Tecnologia Leonardo da Vinci
• Renaissance technology

Notes

1. LEE-ə-NAR-doh də VIN-chee, LEE-oh-, LAY-oh-[3]
2. His birth is recorded in the diary of his paternal grandfather Ser Antonio:[16] "A grandson of mine was born April 15, Saturday, three hours into the night". As it was Florentine time and sunset was 6:40 pm, three hours after sunset would be sometime around 9:40 pm, which was still 14 April by modern reckoning.[17]
3. There are 25 significant artworks which are ascribed to Leonardo by most art historians, either in whole or in large part. This number is made up principally of paintings on panel but includes two murals, 2 large drawings on paper, and two works which are in the early stages of preparation. There are a number of other works that have also been variously attributed to him.
4. Italian: [leoˈnardo di ˌsɛr ˈpjɛːro da (v)ˈvintʃi] (listen) The inclusion of the title 'ser' (shortening of Italian Messer or Messere, title of courtesy prefixed to the first name) indicates that Leonardo's father was a gentleman.
5. Between 1493 and 1495, Leonardo listed a woman called Caterina among his dependents in his taxation documents. When she died in 1495, the list of funeral expenditures suggests that she was his mother.[19]
6. It has been suggested that Caterina may have been a slave from the Middle East "or at least, from the Mediterranean" or even of Chinese descent. According to art critic Alessandro Vezzosi, head of the Leonardo Museum in Vinci, there is evidence that Piero owned a slave called Caterina.[23] The reconstruction of one of Leonardo's fingerprints shows a pattern that matches 60% of people of Middle Eastern origin, suggesting the possibility that Leonardo may have had Middle Eastern blood. The claim is refuted by Simon Cole, associate professor of criminology, law and society at the University of California at Irvine: "You can't predict one person's race from these kinds of incidences, especially if looking at only one finger". More recently, historian Martin Kemp, after digging through overlooked archives and records in Italy, found evidence that Leonardo's mother was a young local woman identified as Caterina di Meo Lippi.[24]
7. He also never wrote about his father, except a passing note of his death in which he overstates his age by three years.[30] Leonardo's siblings caused him difficulty after his father's death in a dispute over their inheritance.[29]
8. The "diverse arts" and technical skills of Medieval and Renaissance workshops are described in detail in the 12th-century text On Divers Arts by Theophilus Presbyter and in the early 15th-century text Il Libro Dell'arte O Trattato Della Pittui by Cennino Cennini.
9. That Leonardo joined the guild by this time is deduced from the record of payment made to the Compagnia di San Luca in the company's register, Libro Rosso A, 1472–1520, Accademia di Belle Arti.[20]
10. On the back he wrote: "I, staying with Anthony, am happy," possibly in reference to his father.
11. Either a lute or lyre
12. In 2005, the studio was rediscovered during the restoration of part of a building occupied for 100 years by the Department of Military Geography.[56]
13. Both works are lost. The entire composition of Michelangelo's painting is known from a copy by Aristotole da Sangallo, 1542.[61] Leonardo's painting is known only from preparatory sketches and several copies of the centre section, of which the best known, and probably least accurate, is by Peter Paul Rubens.[62]
14. Pope Leo X is quoted as saying, "This man will never accomplish anything! He thinks of the end before the beginning!" [68]
15. It is unknown for what occasion the mechanical lion was made, but it is believed to have greeted the king at his entry into Lyon and perhaps was used for the peace talks between the French king and Pope Leo X in Bologna. A conjectural recreation of the lion has been made and is on display in the Museum of Bologna.[75]
16. Identified via its similarity to Leonardo's presumed self-portrait[78]
17. These two portraits were announced on the 500th anniversary of Leonardo's death.
18. "... Messer Lunardo Vinci [sic] ... an old graybeard of more than 70 years ... showed His Excellency three pictures ... from whom, since he was then subject to a certain paralysis of the right hand, one could not expect any more good work." [79]
19. This scene is portrayed in romantic paintings by Ingres, Ménageot and other French artists, as well as Angelica Kauffman.
20. On the day of Leonardo's death, a royal edict was issued by the king at Saint-Germain-en-Laye, a two-day journey from Clos Lucé. This has been taken as evidence that King Francis cannot have been present at Leonardo's deathbed, but the edict was not signed by the king.[86]
21. Each of the sixty paupers were to have been awarded in accord with Leonardo's will.[87]
22. The humanist influence of Donatello's David can be seen in Leonardo's late paintings, particularly John the Baptist.[91][35]
23. The painting, which in the 18th century belonged to Angelica Kauffman, was later cut up. The two main sections were found in a junk shop and cobbler's shop and were reunited.[114] It is probable that outer parts of the composition are missing.
24. Whether or not Vasari had seen the Mona Lisa is the subject of debate. The opinion that he had not seen the painting is based mainly on the fact that he describes the Mona Lisa as having eyebrows. Daniel Arasse in Leonardo da Vinci discusses the possibility that Leonardo may have painted the figure with eyebrows that were subsequently removed. (They were not fashionable in the mid-16th century.)[38] Pascal Cotte said in 2007 that, according to his analysis of high-resolution scans, the Mona Lisa had eyebrows and eyelashes that have been subsequently removed.[127]
25. Jack Wasserman writes of "the inimitable treatment of the surfaces" of the painting.[128]
26. This work is now in the collection of the Uffizi, Drawing No. 8P.
27. The "Grecian profile" has a continuous straight line from forehead to nose-tip, the bridge of the nose being exceptionally high. It is a feature of many Classical Greek statues.
28. He also drew with his left hand, his hatch strokes "slanting down from left to right—the natural stroke of a left-handed artist".[145] He also sometimes wrote conventially with his right hand.[146]
29. Bought from Houssaye's great-grandson in Paris in 1925 by an American collector, and sold to the current owner, another American collector, in 1985.[89]

References

1. Royal Collection Trust.
2. Brown 1998, p. 7.
3. Wells, John (3 April 2008). Longman Pronunciation Dictionary (3rd ed.). Pearson Longman. ISBN 978-1-4058-8118-0.
4. Ian Chilvers (2003). The Concise Oxford Dictionary of Art and Artists. Oxford, England: Oxford University Press. p. 354. ISBN 9780199532940.
5. John Lichfield, "The Moving of the Mona Lisa", The Independent, 2 April 2005 (accessed 9 March 2012)
6. Gardner, Helen (1970). Art through the Ages. pp. 450–56.
7. Vitruvian Man is referred to as "iconic" at the following websites and many others:Vitruvian Man, Fine Art Classics, Key Images in the History of Science; Curiosity and difference at the Wayback Machine (archived 30 January 2009); "The Guardian: The Real da Vinci Code"
8. Kalb, Claudia, Why Leonardo da Vinci's brilliance endures, 500 years after his death, National Geographic, 2019.05.01
9. Polidoro, Massimo (2019). "The Mind of Leonardo da Vinci, Part 2". Skeptical Inquirer. 43 (3): 23–24.
10. See the quotations from the following authors, in section "Fame and reputation": Vasari, Boltraffio, Castiglione, "Anonimo" Gaddiano, Berensen, Taine, Fuseli, Rio, Bortolon.
11. Rosci 1977, p. 8.
12. Kaplan, Erez (1996). "Roberto Guatelli's Controversial Replica of Leonardo da Vinci's Adding Machine". Archived from the original on 29 May 2011. Retrieved 19 August 2013.
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16. Angela Ottino della Chiesa in Leonardo da Vinci, and Reynal & Co., Leonardo da Vinci (William Morrow and Company, 1956)
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18. His birth is recorded in the diary of his paternal grandfather Ser Antonio, as cited by Chiesa 1967, p. 83
19. Codex II, 95 r, Victoria and Albert Museum, as cited by Chiesa 1967, p. 85
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21. Paratico, Angelo (2015). Leonardo Da Vinci. A Chinese Scholar Lost in Renaissance Italy. Hong Kong: Lascar Publishing. ISBN 978-988-14198-0-4.
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29. Magnano 2007, p. 138.
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33. Brigstoke, Hugh (2001). The Oxford Companion the Western Art. Oxford.
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95. Piero della Francesca, On Perspective for Painting (De Prospectiva Pingendi)
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124. "Segui il restauro" [Follow the restoration]. Castello Sforzesco – Sala delle Asse (in Italian). Archived from the original on 16 October 2018. Retrieved 19 October 2018.
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128. Wasserman 1975, p. 144.
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131. Wasserman 1975, p. 150.
132. Chiesa 1967, p. 109.
133. Popham, A.E. (1946). The Drawings of Leonardo da Vinci.
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138. Keele Kenneth D (1964). "Leonardo da Vinci's Influence on Renaissance Anatomy". Med Hist. 8 (4): 360–70. doi:10.1017/s0025727300029835. PMC 1033412. PMID 14230140.
139. Bean, Jacob; Stampfle, Felice (1965). Drawings from New York Collections I: The Italian Renaissance. Greenwich, CT: Metropolitan Museum of Art. pp. 81–82.
140. Major, Richard Henry (1866). Archaeologia: Or Miscellaneous Tracts Relating to Antiquity, Volume 40, Part 1. London: The Society. pp. 15–16.
141. Calder, Ritchie (1970). Leonardo & the Age of the Eye. 630 Fifth Avenue, New York, NY: Simon and Schuster. p. 275.CS1 maint: location (link)
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144. Livio, Mario (2003) [2002]. The Golden Ratio: The Story of Phi, the World's Most Astonishing Number (First trade paperback ed.). New York City: Broadway Books. p. 136. ISBN 0-7679-0816-3.
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146. Ciaccia, Chris (15 April 2019). "Da Vinci was ambidextrous, new handwriting analysis shows". Fox News. Retrieved 15 April 2019.
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148. Baucon A., Bordy E., Brustur T., Buatois L., Cunningham T., De C., Duffin C., Felletti F., Gaillard C., Hu B., Hu L., Jensen S., Knaust D., Lockley M., Lowe P., Mayor A., Mayoral E., Mikulas R., Muttoni G., Neto de Carvalho C., Pemberton S., Pollard J., Rindsberg A., Santos A., Seike K., Song H., Turner S., Uchman A., Wang Y., Yi-ming G., Zhang L., Zhang W. 2012. A history of ideas in ichnology. In: Bromley R.G., Knaust D. Trace Fossils as Indicators of Sedimentary Environments. Developments in Sedimentology, vol. 64 . Abstract available from http://www.tracemaker.com
149. Baucon, A. 2010. Da Vinci’s Paleodictyon: the fractal beauty of traces. Acta Geologica Polonica, 60(1). Accessible from the author's homepage
150. Baucon, A. (2010). "Leonardo da Vinci, the Founding Father of Ichnology," Palaios 25. https://doi.org/10.2110/palo.2009.p09-049r
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152. Chiesa 1967, p. 117.
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156. Alastair Sooke, Daily Telegraph, 28 July 2013, "Leonardo da Vinci: Anatomy of an artist", accessed 29 July 2013.
157. Mason, Stephen F. (1962). A History of the Sciences. New York: Collier Books. p. 550.
158. Jones, Roger (2012). "Leonardo da Vinci: anatomist". British Journal of General Practice. 62 (599): 319. doi:10.3399/bjgp12X649241. ISSN 0960-1643. PMC 3361109. PMID 22687222.
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160. Masters, Roger (1996). Machiavelli, Leonardo and the Science of Power.
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166. Castiglione, Baldassare (1528). "Il Cortegiano". Cite journal requires |journal= (help)
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170. Rio, A.E. (1861). "L'art chrétien". Cite journal requires |journal= (help)
171. Taine, Hippolyte (1866). "Voyage en Italie". Cite journal requires |journal= (help)
172. Berenson, Bernard (1896). "The Italian Painters of the Renaissance". Cite journal requires |journal= (help)
173. Henneberger, Melinda. "ArtNews article about current studies into Leonardo's life and works". Art News Online. Archived from the original on 5 May 2006. Retrieved 10 January 2010.
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180. Heaton, Mary Margaret (1874), Leonardo da Vinci and his works, Kessinger Publishing, Whitefish, MT, 2004, p. 204: "The skeleton, which measured five feet eight inches, accords with the height of Leonardo da Vinci. The skull might have served for the model of the portrait Leonardo drew of himself in red chalk a few years before his death."
181. Collignon, Roland AE. Leonardo da Vinci. 1. Lulu.com. p. 309. ISBN 9780244668464.
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Sources for dating

1. Virgin of the Rocks (Louvre version)
   • Kemp 2019, p. 41: c. 1483–1493
   • Marani 2003, p. 339: between 1483 and 1486
   • Syson 2011, p. 164: 1483–c. 1485
   • Zöllner 2019, p. 223: 1483–1484/1485
2. Benois Madonna
   • Kemp 2019, p. 21: c. 1478–1480
   • Marani 2003, p. 338: probably after March 1481
   • Syson 2011, p. 18: c. 1481 onwards
   • Zöllner 2019, p. 217: c. 1478–1480
3. Portrait of Isabella d'Este
   • Kemp 2019, p. 101: 1500
   • Marani 2003, p. 339: End of 1499 / early 1500
   • Syson 2011, p. 44: c. 1499–1500
   • Zöllner 2019, p. 236: December 1499 – March 1500
4. Saint John the Baptist
   • Kemp 2019, p. 189: c. 1507–1514
   • Marani 2003, p. 340: c. 1508
   • Syson 2011, p. 63: c. 1500 onwards
   • Zöllner 2019, p. 248: c. 1508–1516
5. The Annunciation
   • Kemp 2019, p. 6: c. 1473–1474
   • Marani 2003, p. 338: c. 1472–1475
   • Syson 2011, p. 15: c. 1472–1476
   • Zöllner 2019, p. 216: c. 1473–1475
6. Saint Jerome in the Wilderness
   • Kemp 2019, p. 31: c. 1481–1482
   • Marani 2003, p. 338: probably c. 1480
   • Syson 2011, p. 139: c. 1488–1490
   • Zöllner 2019, p. 221: c. 1480–1482
7. Lady with an Ermine
   • Kemp 2019, p. 49: c. 1491
   • Marani 2003, p. 339: 1489–1490
   • Syson 2011, p. 111: c. 1489–1490
   • Zöllner 2019, p. 226: 1489/1490
8. The Last Supper
   • Kemp 2019, p. 67: c. 1495–1497
   • Marani 2003, p. 339: between 1494 and 1498
   • Syson 2011, p. 252: 1492–1497/1498
   • Zöllner 2019, p. 230: c. 1495–1498
9. Mona Lisa
   • Kemp 2019, p. 127: c. 1503–1515
   • Marani 2003, p. 340: c. 1503–1504; 1513–1514
   • Syson 2011, p. 48: c. 1502 onwards
   • Zöllner 2019, p. 240: c. 1503–1506; 1510

Sources

Books

Early sources

• Anonimo Gaddiano (1959) [c. 1532]. Goldscheider, Ludwig (ed.). Leonardo da Vinci; life and work, paintings and drawings. London, England: Phaidon Press. OCLC 1394808.

• Giovio, Paolo (1959) [c. 1527]. Goldscheider, Ludwig (ed.). Leonardo da Vinci; life and work, paintings and drawings. London, England: Phaidon Press. OCLC 1394808.

• Vasari, Giorgio (1965) [1568]. Lives of the Artists. Translated by George Bull. Penguin Classics. ISBN 978-0-14-044164-2.CS1 maint: ref=harv (link)

Modern sources

• Arasse, Daniel (1998). Leonardo da Vinci. Konecky & Konecky. ISBN 978-1-56852-198-5.

• Berti, Luciano (1971). The Uffizi. Scala.

• Bortolon, Liana (1967). The Life and Times of Leonardo. London: Paul Hamlyn.

• Brown, David Alan (1998). Leonardo Da Vinci: Origins of a Genius. New Haven, Connecticut: Yale University Press. ISBN 978-0-300-07246-4.

• Brucker, Gene A. (1969). Renaissance Florence. Wiley and Sons. ISBN 978-0-471-11370-6.

• Capra, Fritjof (2007). The Science of Leonardo. US: Doubleday. ISBN 978-0-385-51390-6.

• Chiesa, Angela Ottino della (1967). The Complete Paintings of Leonardo da Vinci. Penguin Classics of World Art series. ISBN 978-0-14-008649-2.

• Da Vinci, Leonardo (1971). Taylor, Pamela (ed.). The Notebooks of Leonardo da Vinci. New American Library.CS1 maint: ref=harv (link)

• Hartt, Frederich (1970). A History of Italian Renaissance Art. Thames and Hudson. ISBN 978-0-500-23136-4.

• Isaacson, Walter (2017). Leonardo da Vinci (1st ed.). New York City, New York: Simon & Schuster. ISBN 978-1-5011-3915-4.

• Kemp, Martin (2006). Leonardo Da Vinci: The Marvellous Works of Nature and Man. London, England: Oxford, England. ISBN 978-0199207787.

• Kemp, Martin (2011) [2004]. Leonardo (Revised edition ed.). Oxford, England: Oxford University Press. ISBN 978-0-19-280644-4.CS1 maint: extra text (link)

• Kemp, Martin (2019). Leonardo da Vinci: The 100 Milestones. New York City, New York: Sterling. ISBN 978-1-4549-304-26.

• Leonardo da Vinci: anatomical drawings from the Royal Library, Windsor Castle. New York: The Metropolitan Museum of Art. 1983. ISBN 978-0-87099-362-6.

• Magnano, Milena (2007). Leonardo, collana I Geni dell'arte. Mondadori Arte. ISBN 978-88-370-6432-7.

• Marani, Pietro C. (2003) [2000]. Leonardo da Vinci: The Complete Paintings (1st ed.). New York City, New York: Harry N. Abrams. ISBN 978-0-8109-3581-5.

• Martindale, Andrew (1972). The Rise of the Artist. Thames and Hudson. ISBN 978-0-500-56006-8.

• Nicholl, Charles (2005). Leonardo da Vinci: The Flights of the Mind. Penguin. ISBN 978-0-14-029681-5.

• Gasca, Ana Millàn; Nicolò, Fernando; Lucertini, Mario (2004). Technological Concepts and Mathematical Models in the Evolution of Modern Engineering Systems. Birkhauser. ISBN 978-3-7643-6940-8.

• O'Malley, Charles D.; Sounders, J.B. de C.M. (1952). Leonardo on the Human Body: The Anatomical, Physiological, and Embryological Drawings of Leonardo da Vinci. With Translations, Emendations and a Biographical Introduction. New York: Henry Schuman.

• Popham, A.E. (1946). The Drawings of Leonardo da Vinci. Jonathan Cape. ISBN 978-0-224-60462-8.

• Rachum, Ilan (1979). The Renaissance, an Illustrated Encyclopedia. Octopus. ISBN 978-0-7064-0857-7.

• Richter, Jean Paul (1970). The Notebooks of Leonardo da Vinci. Dover. ISBN 978-0-486-22572-2. volume 2: ISBN 0-486-22573-9. A reprint of the original 1883 edition

• Rosci, Marco (1977). Leonardo. Bay Books Pty Ltd. ISBN 978-0-85835-176-9.CS1 maint: ref=harv (link)

• Syson, Luke; Larry Keith; Arturo Galansino; Antoni Mazzotta; Scott Nethersole; Per Rumberg (2011). Leonardo da Vinci: Painter at the Court of Milan (1st ed.). London, England: National Gallery. ISBN 978-1-8570-9491-6.

• Theophilus (1963). On Divers Arts. Chicago: University of Chicago Press. ISBN 978-0-226-79482-2.

• Turner, A. Richard (1994). Leonardo da Vinci (1st ed.). Berkeley, California: University of California Press. ISBN 978-0520089389.

• Wallace, Robert (1972) [1966]. The World of Leonardo: 1452–1519. New York: Time-Life Books.CS1 maint: ref=harv (link)

• Wasserman, Jack (1975). Leonardo da Vinci. Abrams. ISBN 978-0-8109-0262-6.

• Williamson, Hugh Ross (1974). Lorenzo the Magnificent. Michael Joseph. ISBN 978-0-7181-1204-2.

• Winternitz, Emanuel (1982). Leonardo Da Vinci As a Musician. New Haven: Yale University Press. ISBN 978-0-300-02631-3.

• Vezzosi, Alessandro (1997). Leonardo da Vinci: Renaissance Man. 'New Horizons' series. Translated by Bonfante-Warren, Alexandra (English translation ed.). London: Thames & Hudson Ltd. ISBN 978-0-500-30081-7.CS1 maint: ref=harv (link)

• Zöllner, Frank (2015). Leonardo (2nd ed.). Cologne, Germany: Taschen. ISBN 978-3-8365-0215-3.

• Zöllner, Frank (2019). Leonardo da Vinci: The Complete Paintings and Drawings (Anniversary ed.). Cologne, Germany: Taschen. ISBN 978-3-8365-7625-3.

Journals and articles

• Brown, David Alan (1983). "Leonardo and the Idealized Portrait in Milan". Arte Lombarda. 64 (4): 102–116. JSTOR 43105426.

• Cennini, Cennino (2009). Il Libro Dell'arte O Trattato Della Pittui. US: BiblioBazaar. ISBN 978-1-103-39032-8.

• Cremante, Simona (2005). Leonardo da Vinci: Artist, Scientist, Inventor. Giunti. ISBN 978-88-09-03891-2.

• Giacomelli, Raffaele (1936). Gli scritti di Leonardo da Vinci sul volo. Roma: G. Bardi.

• Kemp, Martin (2003). "Leonardo da Vinci". Grove Art Online. Oxford, England: Oxford University Press. doi:10.1093/gao/9781884446054.article.T050401. (subscription or UK public library membership required)

• Lupia, John N. (Summer 1994). "The Secret Revealed: How to Look at Italian Renaissance Painting". Medieval and Renaissance Times. 1 (2): 6–17. ISSN 1075-2110.

Online

• "A portrait of Leonardo". Royal Collection Trust.

Further reading

• Bayer, Andrea (2004). Painters of reality: the legacy of Leonardo and Caravaggio in Lombardy. New York: The Metropolitan Museum of Art. ISBN 978-1-58839-116-2.

• Bérence, Fred (1965). Léonard de Vinci, L'homme et son oeuvre. Somogy. Dépot légal 4° trimestre 1965.

• Broek van den, Marc (2018). Leonardo da Vincis Erfindungsgeister. Eine Spurensuche. Germany: NA Verlag. ISBN 978-3-96176-045-9.

• Broek van den, Marc (2019). Leonardo da Vinci Spirits of Invention - A Search for Traces. Germany: A.TE.M. ISBN 978-3-00-063700-1.

• Müntz, Eugène (1898). Leonardo da Vinci. Artist, Thinker, and Man of Science. Volume 1. London: William Heinemann.

• Müntz, Eugène (1898). Leonardo da Vinci. Artist, Thinker, and Man of Science. Volume 2. London: William Heinemann.

• Priwer, Shana; Phillips, Cynthia (2006). The Everything Da Vinci Book: Explore the Life and Times of the Ultimate Renaissance Man. Adams Media. ISBN 978-1-59869-101-6.

• Santi, Bruno (1990). Leonardo da Vinci. Scala / Riverside.

External links

• Leonardo da Vinci at the Encyclopædia Britannica
• Herbermann, Charles, ed. (1913). "Leonardo da Vinci" . Catholic Encyclopedia. New York: Robert Appleton Company.
• Works by Leonardo da Vinci at Project Gutenberg
• Leonardo da Vinci by Maurice Walter Brockwell at Project Gutenberg
• Works by Leonardo da Vinci at LibriVox (public domain audiobooks)
• Works by or about Leonardo da Vinci at Internet Archive
• Universal Leonardo
• Complete text and images of Richter's translation of the Notebooks
• The Notebooks of Leonardo da Vinci
• Leonardo da Vinci at BBC Science
• Leonardo da Vinci: Anatomist The Queen's Gallery, Buckingham Palace, Friday, 4 May 2012 to Sunday, 7 October 2012. High-resolution anatomical drawings.
• Leonardo da Vinci, Master Draftsman, Catalog of an exhibition held at the Metropolitan Museum of Art, New York, 22 Jan – 30 March 2003.