LEONARDO DA See also:

• VINCI, LEONARDO (1690-173o)

VINCI (1452–1519)  , the See also:

• GREAT

great See also:

• ITALIAN

Italian painter, sculptor, architect, musician, mechanician, engineer and natural philosopher, was the son of a Florentine lawyer, See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born out of wedlock by a See also:

• MOTHER

mother in a humble station, variously described as a See also:

• PEASANT (O. Fr. paysant, Mod. paysan; Lat. pagensis, belonging to the pagus or country; cf. " pagan ")

peasant and as of See also:

• GENTLE (through the Fr. gentil, from Lat. gentilis, belonging to the same gens, or family)

gentle See also:

• BIRTH (a word common in various forms to Teutonic languages from the root of the verb " to bear ")

birth . The See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place of his birth was See also:

• VINCI, LEONARDO (1690-173o)

Vinci, a See also:

• CASTELLO, BERNARDO (1557—1629)
• CASTELLO, GIOVANNI BATTISTA (1500 ?–1569 ?)
• CASTELLO, VALERIO (1625-1659)

castello or fortified See also:

• HILL
• HILL (0. Eng. hyll; cf. Low Ger. hull, Mid. Dutch hul, allied to Lat. celsus, high, collis, hill, &c.)
• HILL, A
• HILL, AARON (1685-175o)
• HILL, AMBROSE POWELL
• HILL, DANIEL HARVEY (1821-1889)
• HILL, DAVID BENNETT (1843–1910)
• HILL, GEORGE BIRKBECK NORMAN (1835-1903)
• HILL, JAMES J
• HILL, JOHN (c. 1716-1775)
• HILL, MATTHEW DAVENPORT (1792-1872)
• HILL, OCTAVIA (1838– )
• HILL, ROWLAND (1744–1833)
• HILL, SIR ROWLAND (1795-1879)

hill See also:

• VILLAGE

village in the Florentine territory near See also:

• EMPOLI

Empoli, from which his See also:

• FATHER

father's See also:

• FAMILY

family derived its name . The See also:

• CHRISTIAN
• CHRISTIAN, WILLIAM (1608-1663)

Christian name of the father was See also:

• PIERO (1443—1496)

Piero (the son of See also:

• ANTONIO
• ANTONIO (1429—1498)
• ANTONIO, NICOLAS (1617-1684)

Antonio the son of Piero the son of Guido, all of whom had been men of See also:

• LAW
• LAW (0. Eng. lagu, M. Eng. lawe; from an old Teutonic root lag, " lie," what lies fixed or evenly; cf. Lat. lex, Fr. loi)
• LAW, JOHN (1671—1729)
• LAW, WILLIAM (1686-1761)

law like their descendant) . Leonardo's mother was called Catarina . Her relations with See also:

• SER

Ser Piero da Vinci seem to have come to an end almost immediately upon the birth of their son . She was soon afterwards married to one Accattabriga di Piero del Vacca, of Vinci . Ser Piero on his See also:

• PART

part was four times married, and had by his last two wives nine sons and two daughters; but he had from the first acknowledged the boy Leonardo and brought him up in his own See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house, principally, no doubt, at See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence . In that See also:

• CITY (through Fr. cite, from Lat. civitas)

city Ser Piero followed his profession with success, as See also:

• NOTARY, or NOTARY PUBLIC

notary to many of the See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief families in the city, including the See also:

• MEDICI
• MEDICI, GIACOMO (1817-1882)

Medici, and afterwards to the signory or governing See also:

• COUNCIL (Lat. concilium, from cum, together, and the root cal, to call)

council of the See also:

• STATE
• STATE, GREAT OFFICERS OF

state . The son born to him before See also:

• MARRIAGE

marriage See also:

• GREW, NEHEMIAH (1641-1712)

grew up into a youth of shining promise . To splendid beauty and activity of See also:

• PERSON, OFFENCES AGAINST THE

person he joined a winning See also:

• CHARM (through the Fr. from the Lat. carmen, a song)

charm of See also:

• TEMPER (from Lat. temperare, to mingle or compound in due proportion, to qualify, rule, regulate, to be moderate, formed from tempos, time, fit or due season)

temper and See also:

• MANNERS, CHARLES (1857– )

manners, a tact for all See also:

• SOCIETIES, LEARNED

societies, and an aptitude for all accomplishments . An inexhaustible intellectual See also:

• ENERGY (from the Gr. ivipyela; iv, in, ipyov, work)

energy and curiosity See also:

• LAY

lay beneath this amiable See also:

• SURFACE

surface . Among the multifarious pursuits to which the See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young Leonardo set his See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand, the favourites at first were See also:

• MUSIC

music, See also:

• DRAWING

drawing and modelling .

His father showed some of his drawings to an acquaintance, See also:

• ANDREA, GIOVANNI (1275-1348)

Andrea del Verrocchio, who at once recognized the boy's See also:

• ARTISTIC

artistic vocation, and was selected by Ser Piero to be his See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master . Verrocchio, although hardly one of the great creative or inventive forces in the See also:

• ART

art of his See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age at Florence, was a first-See also:

• RATE

rate craftsman alike as See also:

• GOLDSMITH
• GOLDSMITH, LEWIS (c. 1763–1846)
• GOLDSMITH, OLIVER (1728–1774)

goldsmith, sculptor and painter, and particularly distinguished as a teacher . In his studio Leonardo worked for several years (about 1470–1477) in the See also:

• COMPANY

company of Lorenzo di See also:

• CREDI, LORENZO DI (1459-1537)

Credi and other less celebrated pupils . Among his contem» poraries he formed See also:

• SPECIAL

special ties of friendship with the painters Sandro See also:

• BOTTICELLI, SANDRO

Botticelli and Pietro See also:

• PERUGINO, PIETRO (1446-1524)

Perugino . He had soon learnt all that Verrocchio had to See also:

• TEACH [THATCH OR THACH], EDWARD (d. 1718)

teach—more than all, if we are to believe the oft-told See also:

• TALE (O.Eng. talu, number, account, story; the word is common to many Teutonic languages; cf. Ger. Zahl, number, Erzahlung, narrative, Du. taal, speech, language)

tale of the figure, or figures, executed by the See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil in the picture of See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ's See also:

• BAPTISM

Baptism designed by the master for the monks of See also:

• VALLOMBROSA

Vallombrosa . The See also:

• WORK

work in question is now in the See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy at Florence . According to See also:

• VASARI, GIORGIO (1511-1571)

Vasari the See also:

• ANGEL

angel kneeling on the See also:

• LEFT

left, with a drapery over the right See also:

• ARM (a common Teutonic word; the Indo-European root is ar, to join or fit; cf. the Lat. armus, shoulder, and the plural word arma, weapons, Gr. apphs, joint, and the reduplicated apapilKSV, to join)

arm, was put in by Leonardo, and when Verrocchio saw it his sense of its superiority to his own work caused him to forswear See also:

• PAINTING

painting for ever after . The latter part of the See also:

• STORY, JOHN (c. 1510-1571)
• STORY, JOSEPH (1779-1845)
• STORY, ROBERT HERBERT (1835-1907)
• STORY, WILLIAM WETMORE (1819—1895)

story is certainly false . The picture, originally painted in See also:

• TEMPERA (the Italian term), or DISTEMPER

tempera, has suffered much from later repaints in oil, rendering exact See also:

• JUDGMENT

judgment difficult . The most competent See also:

• OPINION (Lat. opinio, from opinari, to think)

opinion inclines to acknowledge the hand of Leonardo, not only in the See also:

• FACE (from Lat. fades, derived either from facere, to make, or from a root fa-, meaning " appear "; cf. Gr. cbatvstv)

face of the angel, but also in parts of the drapery and of the landscape background . The work was probably done in or about 1470, when Leonardo was eighteen years old . By 1472 we find him enrolled in the lists of the painters' gild at Florence .

Here he continued to live and work for ten or eleven years longer . Up till 1477 he is still spoken of as a pupil or apprentice of Verrocchio; but in that See also:

• YEAR

year he seems to have been taken into special favour by Lorenzo the Magnificent, and to have worked as an See also:

• INDEPENDENT

independent artist under his patronage until 1482–1483 . In 1478 we find him receiving an important See also:

• COMMISSION (from Lat. commissio, committere)

commission from the signory, and in 1480 another from the monks of See also:

• SAN

San Donato in Scopeto . Leonardo was not one of those artists of the See also:

• RENAISSANCE, THE

Renaissance who sought the means of reviving the See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient glories of art mainly in the See also:

• IMITATION (Lat. imitatio, from intitari, to imitate)

imitation of ancient See also:

• MODELS

models . The antiques of the Medici gardens seem to have had little See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence on him beyond that of generally stimulating his See also:

• PASSION (post-classical Lat. passio, formed from pati, passus, to suffer, endure)

passion for perfection . By his own instincts he was an exclusive student of nature . From his earliest days he had flung himself upon that study with an unprecedented ardour of delight and curiosity . In drawing from See also:

• LIFE

life he had See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early found the way to unite precision with freedom and See also:

• FIRE (in O. Eng. f j'r; the word is common to West German languages, cf. Dutch vuur, Ger. Feuer; the pre-Teutonic form is seen in Sanskrit pu, pavaka, and Gr. irup; the ultimate origin is usually taken to be a root meaning to purify, cf. Lat. purus)

fire—the subtlest accuracy of expressive See also:

• DEFINITION (Lat. definitio, from de-finire, to set limits to, describe)

definition with vital See also:

• MOVEMENT

movement and See also:

• RHYTHM (Greek pvBµds, from bap, to flow)

rhythm of See also:

• LINE

line—as no draughtsman had been able to unite them before . He was the first painter to recognize the See also:

• PLAY

play of See also:

• LIGHT

light and shade as among the most significant and attractive of the See also:

• WORLD

world's appearances, the earlier See also:

• SCHOOLS

schools having with one consent subordinated light and shade to See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour and outline . Nor was he a student of the broad, usual, patent appearances only of the world; its fugitive, fantastic, unaccustomed appearances attracted him most of all . See also:

• STRANGE, SIR ROBERT (1721-1792)

Strange shapes of hills and rocks, rare See also:

• PLANTS

plants and animals, unusual faces and figures of men, questionable See also:

• SMILES, SAMUEL (1812-1904)

smiles and expressions, whether beautiful or See also:

• GROTESQUE

grotesque, far-fetched See also:

• OBJECTS

objects and curiosities, were things he loved to See also:

• PORE

pore upon and keep in memory . Neither did he stop at See also:

• MERE
• MERE, ADALBERT (1838-1909)

mere appearances of any See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind, but, having stamped the See also:

• IMAGE (Lat. imago, perhaps from the same root as imitari, copy, imitate)

image of things upon his See also:

• BRAIN (A.S. braegen)

brain, went on indefatigably to probe their hidden See also:

• LAWS

laws and causes .

He soon satisfied himself that the artist who was content to repro-duce the See also:

• EXTERNAL

external aspects of things without searching into the hidden workings of nature behind them, was one but See also:

• HALL
• HALL (generally known as SCHWABISCH-HALL, tc distinguish it from the small town of Hall in Tirol and Bad-Hall, a health resort in Upper Austria)
• HALL (O.E. heall, a common Teutonic word, cf. Ger. Halle)
• HALL, BASIL (1788-1844)
• HALL, CARL CHRISTIAN (1812–1888)
• HALL, CHARLES FRANCIS (1821-1871)
• HALL, CHRISTOPHER NEWMAN (1816—19oz)
• HALL, EDWARD (c. 1498-1547)
• HALL, FITZEDWARD (1825-1901)
• HALL, ISAAC HOLLISTER (1837-1896)
• HALL, JAMES (1793–1868)
• HALL, JAMES (1811–1898)
• HALL, JOSEPH (1574-1656)
• HALL, MARSHALL (1790-1857)
• HALL, ROBERT (1764-1831)
• HALL, SAMUEL CARTER (5800-5889)
• HALL, SIR JAMES (1761-1832)
• HALL, WILLIAM EDWARD (1835-1894)

hall equipped for his calling . Every fresh artistic problem immediately became for him a far-reaching scientific problem as well . The laws of light and shade, the laws of " See also:

• PERSPECTIVE (Lat. peespicere, to see through)

perspective," including See also:

• OPTICS

optics and the See also:

• PHYSIOLOGY (from Gr. 4 i s, nature, and koyos, discourse)

physiology of the See also:

• EYE
• EYE (O. Eng. edge, Ger. Auge; derived from an Indo-European root also seen in Lat. oc-ulus, the organ of vision (q.v.)

eye, the laws of human and See also:

• ANIMAL
• ANIMAL (Lat. animalis, from anima, breath, soul)

animal See also:

• ANATOMY
• ANATOMY (Gr. avaroyil, from ava-silo c', to cut up)

anatomy and See also:

• MUSCULAR

muscular movement, those of the growth and structure of plants and of the See also:

• POWERS, HIRAM (1805-1873)

powers and properties of See also:

• WATER

water, all these and much more furnished See also:

• FOOD
• FOOD (like the verb " to feed," from a Teutonic root, whence O. Eng. foda; cf. " fodder "; connected with Gr. lrareicOae, to feed)

food almost from the beginning to his insatiable spirit of inquiry . The See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence of the young See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man's predilections and curiosities is contained in the legends which tell of. lost See also:

• WORKS

works produced by him in youth . One of these was a See also:

• CARTOON (Ital. cartone, pasteboard)

cartoon or monochrome painting of See also:

• ADAM
• ADAM (or ADAN) DE LE HALE (died c. 1288)
• ADAM, ALEXANDER (1741–1809)
• ADAM, JULIETTE (1836– )
• ADAM, LAMBERT SIGISBERT (1700-1759)
• ADAM, MELCHIOR (d. 1622)
• ADAM, PAUL (1862– )
• ADAM, ROBERT (1728—1792)
• ADAM, SIR FREDERICK (1781-1853)
• ADAM, WILLIAM (1751-1839)

Adam and See also:

• EVE

Eve in tempera, and in this, besides the beauty of the figures, the See also:

• INFINITE (from Lat. in, not, finis, end or limit; cf. findere, to deave)

infinite truth: and elaboration of the, foliage and animals in the background are celebrated in terms which bring to mind the treatment of the subject by Albrecht Diirer in his famous See also:

• ENGRAVING

engraving done See also:

• THIRTY

thirty years later . Again, a peasant of Vinci having in his simplicity asked Ser Piero to get a picture painted for him on a wooden See also:

• SHIELD (0. Eng. scild, cf. Du. and Ger. Schild, Dan. Skjold; the origin is doubtful, but may be referred to the root seen in " shell " or " scale "; another suggestion connects it with Icel. skjalla, to clash, rattle; it is not connected with the Indo-Ger
• SHIELD, WILLIAM (1748—1829)

shield, the father is said to have laughingly handed on the commission to his son, who thereupon shut himself up with all the noxious See also:

• INSECTS

insects and grotesque See also:

• REPTILES (Lat. Reptilia, creeping things, from reptilis; ref ere, to creep; Gr. Ep7rety, whence the term " herpetology," for the science dealing with them)

reptiles he could find, observed and See also:

• DREW
• DREW, SAMUEL (1765-1833)

drew and dissected them assiduously, and produced at last a picture of a See also:

• DRAGON (Fr. dragon, through Lat. draco, from the Greek; connected with SEpeoµay " see," and interpreted as " sharp-sighted "; O.H. Ger. tracho, dracho, M.H.G. trache, Mod. Ger. Drachen; A.S. draca, hence the equivalent English form " drake," " fire-drake,

dragon compounded of their various shapes and aspects, which was so fierce and so life-like as to terrify all who saw it . With equal See also:

• RESEARCH (O. Fr. recerche, from recercher, re- and cercer, mod. chercher, to search; Late Lat. circare, to go round in a circle, to explore)

research and no less effect he painted on another occasion the See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

head of a snaky-haired See also:

• MEDUSA

Medusa . (A picture of this subject which See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long did See also:

• DUTY (from " due," that which is owing, O. Fr. deu, dil, past participle of devoir; Lat. debere, debitum; cf. " debt ")

duty at the Uffizi for Leonardo's work is in all likelihood merely the See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production of some later artist to whom the descriptions of that work have given the cue.) Lastly, Leonardo is related to have begun work in See also:

• SCULPTURE
• SCULPTURE (Lat. sculptura, from sculpere, to carve, cognate with Gr. yXb4ew)

sculpture about this See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time by modelling several heads of smiling See also:

• WOMEN

women and See also:

• CHILDREN, LAW RELATING TO

children . Of certified and accepted paintings produced by the young See also:

• GENIUS (from Lat. genere, gignere)

genius, whether during his apprentice or his independent years at Florence (about 1470-1482), very few are extant, and the two most important are incomplete . A small and charming See also:

• STRIP

strip of an oblong " See also:

• ANNUNCIATION

Annunciation " at the Louvre is generally accepted as his work, done soon after 1470; a very highly wrought drawing at the Uffizi, corresponding on a larger See also:

• SCALE
• SCALE (1) A

scale to the head of the Virgin in the same picture, seems rather to be a copy by a later hand . This little Louvre " Annunciation " is not very compatible in See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style with another and larger, much-debated " Annunciation " at the Uffizi, which manifestly came from the workshop of Verrocchio about 1473-1474, and which many critics claim confidently for the young Leonardo . It may have been See also:

• JOINT (through Fr. from Lat. junctum, jungere, to join)

joint studio-work of Verrocchio and his pupils including Leonardo, who certainly was concerned in it, since a study for the See also:

• SLEEVE (O. Eng. slieve, slyf, a word allied to " slip," cf. Dutch sloof, apron)

sleeve of the angel, preserved at Christ See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

Church, See also:

• OXFORD
• OXFORD, EARLS OF
• OXFORD, EDWARD DE VERE, 17TH EARL
• OXFORD, JOHN DE VERE, 13TH EARL OF (1443-1513)
• OXFORD, PROVISIONS OF
• OXFORD, ROBERT DE VERE, 9TH EARL OF (1362-1392)
• OXFORD, ROBERT HARLEY, 1ST

Oxford, is unquestionably by his hand .

The landscape, with its mysterious spiry mountains and winding See also:

• WATERS, TERRITORIAL

waters, is very Leonardesque both in this picture and in another contemporary product of theworkshop, or as some think of Leonardo's hand, namely a very highly and coldly finished small " Madonna with a See also:

• PINK

Pink at See also:

• MUNICH (Ger. Munchen)

Munich . The likeness he is recorded to have painted of Ginevra de' Benci used to be traditionally identified with the See also:

• FINE

fine portrait of a matron at the Pitti absurdly known as La Monaca: more lately it has been recognized in a rather dull, expressionless Verrocchiesque portrait of a young woman with a fanciful background of See also:

• PINE (Lat. Pinus, Gr. srlrur)

pine-sprays in the See also:

• LIECHTENSTEIN

Liechtenstein See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

gallery at See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna . Neither attribution can be counted convincing . Several works of sculpture, including a bas-See also:

• RELIEF

relief at See also:

• PISTOIA
• PISTOIA, SYNOD OF

Pistoia and a small terra-See also:

• COTTA
• COTTA, BERNHARD VON (1808—1879)
• COTTA, GAIUS AURELIUS (c. 124—73 B.c.)

cotta See also:

• MODEL (0. Fr. modelle, mod. modele; It. modello, pattern, mould; from Lat. modus, measure, standard)

model of a St See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John at the See also:

• VICTORIA
• VICTORIA (or VITTORIA), TOMMASSO LUDOVICO DA (C. I540-C. 1613)
• VICTORIA [ALEXANDRINA VICTORIA]

Victoria and See also:

• ALBERT
• ALBERT (1490'1545)
• ALBERT (149o-1568)
• ALBERT (1522–1557)
• ALBERT (FRANCIS CHARLES AUGUSTUS ALBERT EMMANUEL) (1819—1861)
• ALBERT (FRIEDRICH RUDOLF ALBRECHT)
• ALBERT, FREDERICK AUGUSTUS
• ALBERT, MADAME (c. 2805—2846)

Albert Museum, have also been claimed, but without See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general consent, as the young master's handiwork . Of many brilliant early drawings by him, the first that can be dated is a study of landscape done in 1473 . A magnificent See also:

• SILVER

silver-point head of a See also:

• ROMAN

Roman See also:

• WARRIOR

warrior at the See also:

• BRITISH

British Museum was clearly done, from or . for a bas-relief, under the immediate influence of Verrocchio . A number of studies of heads in See also:

• PEN (Lat. penna, a feather, pen)

pen or silver point, with some sketches for Madonnas, including a charming See also:

• SERIES (a Latin word from serere, to join)

series in the British Museum for a " Madonna with the See also:

• CAT
• CAT, CIVET
• CAT, HOUSE

Cat," may belong to the same years or the first years of his See also:

• INDEPENDENCE
• INDEPENDENCE, DECLARATION OF
• INDEPENDENCE, WAR OF

independence . A See also:

• SHEET

sheet with two studies of heads bears a MS. See also:

• NOTE
• NOTE (Lat. nota, mark, sign, from noscere, to know)

note of 1478, saying that in one of the last months of that year he began painting the " Two Maries" One of the two may have been a picture of the Virgin appearing to St See also:

• BERNARD, CHARLES DE
• BERNARD, CLAUDE (1813-1878)
• BERNARD, JACQUES (1658--1718)
• BERNARD, MOUNTAGUE (1S2o—1882)
• BERNARD, SAINT
• BERNARD, SAINT (Iogo-1153)
• BERNARD, SIMON (1779—1839)
• BERNARD, SIR THOMAS, BART

Bernard, which we know he was commissioned to paint in. that year for a See also:

• CHAPEL

chapel in the See also:

• PALACE (Lat. Palatium, the name given by Augustus to his residence on the Palatine Hill)

Palace of the Signory, but never finished: the commission was afterwards transferred to Filippino See also:

• LIPPI

Lippi, whose performance is now in the Badia . One of. the two heads on this dated sheet may' probably have been a study for the same St Bernard; it was used afterwards by some follower for a St Leonard in a stiff and vapid " See also:

• ASCENSION
• ASCENSION, FEAST OF THE

Ascension of Christ," wrongly attributed to the master himself in the See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin Museum . A pen-drawing representing a ringleader of the Pazzi See also:

• CONSPIRACY (from Lat. conspirare, literally to breathe together, to agree, combine, and especially to form a secret plot)

conspiracy, Bernardo Baroncelli, hung out of a window of the Bargello after his surrender by the See also:

• SULTAN (an Arabic word meaning " victorious " or " a ruler," sultat, dominion)

sultan at See also:

• CONSTANTINOPLE
• CONSTANTINOPLE, COUNCILS OF

Constantinople to the emissaries of Florence, can be dated from its subject as done in See also:

• DECEMBER (Lat. decent, ten)

December 1479 . A number of his best drawings of the next following years are preparatory pen-studies for an altarpiece of the " See also:

• ADORATION (Lat. ad, to, and os, mouth; i.e. " carrying to one's mouth ")

Adoration of the Magi," undertaken early in 1481 on the commission of the monks of S . Donato at Scopeto .

The preparation in monochrome for this picture, a work of extraordinary See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power both of See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design and physiognomical expression, is preserved at the Uffizi, but the painting itself was never carried out, and after Leonardo's failure to fulfil his See also:

• CONTRACT
• CONTRACT (Lat. contract us, from contrahere, to draw together, to bind)

contract Filippino Lippi had once more to be employed in his place: Of equal or even more intense power, though of narrower See also:

• SCOPE (through Ital. scopo, aim, purpose, intent, from Gr. o'KOaos, mark to shoot at, aim, o ic07reiv, to see, whence the termination in telescope, microscope, &c.)

scope, is an unfinished monochrome preparation for a St See also:

• JEROME, JEROME KLAPKA (1859– )
• JEROME, ST (HIERONYMUS, in full EUSEBIUS SOPHRONIUS HIERONYMUS) (c. 340–420)

Jerome,, found accidentally at See also:

• ROME
• ROME (Roma)

Rome by See also:

• CARDINAL (Lat. cardinalis)

Cardinal See also:

• FESCH, JOSEPH (1763–1839)

Fesch and now in the Vatican gallery; this also seems to belong to the first Florentine See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period, but is not mentioned in documents . The tale of completed. work for these twelve or fourteen years (1470-1483 or thereabouts) is thus very scanty . But it must be remembered that Leonardo was already full of :projects in See also:

• MECHANICS

mechanics, See also:

• HYDRAULICS (Gr. iS&,p, water, and ai,Xos, a pipe)

hydraulics, See also:

• ARCHITECTURE (Lat. architectura, from the Gr. ap)(LTEKrwv, a master-builder)

architecture, and military and See also:

• CIVIL

civil See also:

• ENGINEERING

engineering, ardently feeling his way in the work of experimental study and observation in every See also:

• BRANCH (from the Fr. branche, late Lat. branca, an animal's paw)

branch of theoretical or applied See also:

• SCIENCE (Lat. scientia, from scire; to learn, know)

science in which any beginning had been made in his age, as well as in some in which he was himself the first See also:

• PIONEER

pioneer . He was full of new ideas concerning both the laws and the applications of See also:

• MECHANICAL

mechanical forces . His architectural and engineering projects were of a daring which amazed even the See also:

• FELLOW

fellow-citizens of See also:

• ALBERTI, DOMENICO (c. 1710–1740)
• ALBERTI, LEONE BATTISTA (1404–1472)

Alberti and See also:

• BRUNELLESCHI (or BRUNELLESCO), FILIPPO

Brunelleschi . See also:

• HISTORY

History presents few figures more attractive to the mind's eye than that of Leonardo during this period of his all-capable and dazzling youth . He did not indeed See also:

• ESCAPE (in mid. Eng. eschape or escape, from the O. Fr. eschapper, modern echapper, and escaper, low Lat. escapium, from ex, out of, and cappa, cape, cloak; cf. for the sense development the Gr. iichueoOat, literally to put off one's clothes, hence to sli

escape calumny,. and was even denounced on a See also:

• CHARGE
• CHARGE (through the Fr. from the Late Lat. carricare, to load in a carrus or wagon; cf. " cargo ")

charge of immoral practices, but fully and honourably acquitted . There was nothing about him, as there was afterwards about See also:

• MICHELANGELO (MICHELAGNIOLO BUONARROTI) (1475-1564)

Michelangelo, dark-tempered, See also:

• SECRET (Lat. secretum, hidden, concealed)

secret or morose; he was open and genial with all men . He has indeed praised the self-sufficing power of solitude " in almost the same phrase as See also:

• WORDSWORTH, CHARLES (1806–1892)
• WORDSWORTH, CHRISTOPHER (1774–1846)
• WORDSWORTH, CHRISTOPHER (1807–1885)
• WORDSWORTH, DOROTHY (1771-1855)
• WORDSWORTH, WILLIAM (1770-185o)

Wordsworth, and from time to time would even in youth seclude himself for a See also:

• SEASON (0. Fr. seson, seison, mod. saison, Lat. satio, sowing time, the spring, from serere, to sow; in Late Lat. the word is found with its present meaning, the spring being considered as particularly the season of the year)

season in See also:

• COMPLETE

complete intellectual absorption, as when he toiled among his bats and wasps and lizards, forgetful of See also:

• REST (O. Eng. rest, reste, bed, cognate with other Teutonic forms, e.g. Ger. Rast, Riiste, rest, and probably Gothic Rasta, league, i.e. resting or stopping place)

rest and food, and in-sensible to the noisomeness of their corruption . But we have to picture him as anon coming out and gathering about him a tatterdemalion company, and jesting with them until they were in fits of See also:

• LAUGHTER

laughter, for the See also:

• SAKE

sake of observing their See also:

• BURLESQUE (Ital. burlesco, from burla, a joke, fun, playful trick)

burlesque physiognomies; anon as eagerly frequenting the society of men of science and learning of an older See also:

• GENERATION (from Lat. generare, to beget, procreate; genus, stock, race)

generation like the mathematician Benedetto Aritmetico, the physician, geographer and astronomer See also:

• PAOLO (GIROLAMO GASPARE)5 (1532-1600)

Paolo Toscanelli, the famous See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek Aristotelian Giovanni Argiropoulo; or as out-rivalling all the youth of the city now by charm of recitation, now by skill in music and now by feats of strength and See also:

• HORSEMANSHIP

horsemanship; or as stopping to buy caged birds in the See also:

• MARKET (Lat. mercatus, trade or place of trade)

market that he might set them See also:

• FREE

free and See also:

• WATCH (in O. Eng. wcecce, a keeping guard or watching, from wacian, to guard, watch, wacan, to wake)

watch them rejoicing in their See also:

• FLIGHT

flight; or again as See also:

• STANDING

standing radiant in his See also:

• ROSE
• ROSE (Rosa)
• ROSE, GEORGE (1744-1818)
• ROSE, HUGH JAMES (1795—1838)
• ROSE, WILLIAM STEWART (1775-1843)

rose-coloured cloak and his See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich See also:

• GOLD
• GOLD [symbol Au, atomic weight 195.7(H = 1),197.2(0 =16)]

gold See also:

• HAIR (a word common to Teutonic languages)

hair among the throng of young and old on the piazza, and holding them spell-See also:

• BOUND, or BOUNDARY (from O. Fr. bonde, Med. Lat. bodena or butina, a frontier line)

bound while he expatiated on the great projects in art and mechanics that were teeming in his mind . Unluckily it is to written records and to See also:

• IMAGINATION

imagination that we have to See also:

• TRUST

trust exclusively for our picture . No portrait of Leonardo as he appeared during this period of his life has come down to us .

But his far-reaching schemes and studies brought him no immediate gain, and diverted him from the tasks by which he should have supported himself . For all his shining power and promise he remained poor . Probably also his exclusive belief in experimental methods, and slight regard for mere authority whether in science or art made the intellectual See also:

• ATMOSPHERE (Gr. fir µ6r, vapour; orkaipa, a sphere)

atmosphere of the Medicean circle, with its passionate mixed cult of the classic past and of a See also:

• CHRISTIANITY

Christianity mystically blended and reconciled with See also:

• PLATONISM

Platonism, uncongenial to him . At any rate he was ready to leave Florence when the See also:

• CHANCE (through the O. Fr. cheance, from the Late Lat. cadentia, things happening, from cadere, to fall out, happen; cf. " case ")

chance was offered him of fixed service at the See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

court of Ludovico See also:

• SFORZA
• SFORZA, CATERINA (1463-1509)

Sforza (il See also:

• MORO, ANTONIO (c. 1512-1575)

Moro) at See also:

• MILAN
• MILAN (Ital. Milano, Ger. Mailand, anc. Mediolanum, q.v.)

Milan . Soon after that See also:

• PRINCE
• PRINCE (Lat. princeps, from primus capio, " I am the first to take "; Ital. principe, Fr. prince)

prince had firmly established his power as nominal See also:

• GUARDIAN

guardian and See also:

• PROTECTOR

protector of his See also:

• NEPHEW

nephew Gian Galeazzo but really as usurping ruler of the state, he revived a project previously mooted for the erection of an equestrian See also:

• MONUMENT (Lat. monumentum or monumentum; from monere, to advise, bring to mind, remind; the German equivalent is Denkmal)

monument in See also:

• HONOUR (Lat. honos or lwnor, honoris; in English the word was spelled with or without the u indifferently until the 17th century, but during the 18th century it became fashion-able to spell the word " honor "; Johnson's and Webster's Dictionaries stereoty

honour of the founder of his house's greatness, See also:

• FRANCESCO
• FRANCESCO, 210

Francesco Sforza, and consulted Lorenzo dei Medici on the choice of an artist . Lorenzo recommended the young Leonardo, who went to Milan accordingly (at some uncertain date in or about 1483), taking as a See also:

• GIFT (a common Teutonic word, cf. Ger. die Gift, gift, das Gift, poison, formed from the Teut. stem gab-, to give, cf. Dutch geven, Ger. geben; in O. Eng. the word appears with initial y, the guttural of later English is due to Scandinavian influence)

gift from Lorenzo and a token of his own skill a silver See also:

• LUTE (Arabic al'ud, " the wood "; Fr. luth; Ital. liuto; Span. laud; Ger. Laute; Dut. luit)

lute of wondrous sweetness fashioned in the likeness of a See also:

• HORSE (a word common to Teutonic languages in such forms as hors, hros, ros; cf. the Ger. ross)

horse's head . Hostilities were at the moment imminent between Milan and See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice; it was doubtless on that See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account that in the See also:

• LETTER (through Fr. lettre from Lat. littera or litera, letter of the alphabet; the origin of the Latin word is obscure; it has probably no connexion with the root of linere, to smear, i.e. with wax, for an inscription with a stilus)

letter commending him-self to the See also:

• DUKE (corresponding to Fr. duc, Ital. duca, Ger. Herzog)

duke, and setting forth his own capacities, Leonardo rests his See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title to patronage chiefly on his attainments and inventions in military engineering . After asserting these in detail under nine different heads, he speaks under a tenth of his proficiency as a civil engineer and architect, and adds lastly a brief See also:

• PARAGRAPH

paragraph with reference to what he can do in painting and sculpture, undertaking in particular to carry out in a fitting manner the monument to Francesco Sforza . The first definite documentary evidence of Leonardo's employments at Milan See also:

• DATES

dates from 1487 . Some biographers have supposed that the See also:

• INTERVAL

interval, or part of it, between 1483 and that date was occupied by travels in the See also:

• EAST
• EAST, ALFRED (1849- )

East . The grounds of the supposition are some drafts occurring among his See also:

• MSS

MSS. of a letter addressed to the diodario or diwddar of See also:

• SYRIA

Syria, See also:

• LIEUTENANT

lieutenant of the sultan of See also:

• BABYLON (mod. Hillah)

Babylon (Babylon meaning according to a usage of that time See also:

• CAIRO
• CAIRO (Arabic Misr-al-Kahira, or simply Misr)

Cairo) . In these drafts Leonardo describes in the first person, with sketches, a traveller's strange experiences in See also:

• EGYPT

Egypt, See also:

• CYPRUS
• CYPRUS, CHURCH OF

Cyprus, Constantinople, the Cilician coasts about See also:

• MOUNT, WILLIAM SIDNEY (1807-1868)

Mount See also:

• TAURUS (" the Bull ")

Taurus and See also:

• ARMENIA (old Persian Armina, Armenian Hayasdan, or Hayq)

Armenia .

He relates the rise and persecution of a See also:

• PROPHET (Irpo4i ri7s)

prophet and preacher, the See also:

• CATASTROPHE (Gr. Karaurpoch, from KaraQrp4ecv, to over-turn)

catastrophe of a falling See also:

• MOUNTAIN (0. Fr. montaigne; popular Lat. montanea, an adjectival form from the classical mons, montis, whence Eng. " mount," a form usually used along with the name of an individual mountain, e.g. Mt Everest)
• MOUNTAIN, THE (La Montagne)

mountain and submergence of a great city, followed by a general inundation, and the claim of the prophet to have foretold these disasters; adding See also:

• PHYSICAL

physical descriptions of the See also:

• EUPHRATES (Babylon. Purattu, Heb. Perath, Arab. Frdt or Furst, Old Pers. Ufratu, Gr. Eb4 parrls)

Euphrates See also:

• RIVER

river and the marvellous effects of sunset light on the Taurus range . No contemporary gives the least hint of Leonardo's having travelled in the East; to the places he mentions he gives their classical and not their current See also:

• ORIENTAL

Oriental names; the catastrophes he describes are unattested from any other source; he confusesthe Taurus and the See also:

• CAUCASUS

Caucasus; some of the phenomena he mentions are repeated from See also:

• ARISTOTLE
• ARISTOTLE (384-322 B.C.)

Aristotle and See also:

• PTOLEMY (CLAUDIUS PTOLEMAEUS)

Ptolemy; and there seems little See also:

• REASON (Lat. ratio, through French raison)

reason to doubt that these passages in his MSS. are merely his drafts of a projected See also:

• GEOGRAPHICAL

geographical See also:

• TREATISE

treatise or perhaps See also:

• ROMANCE

romance . He had a passion for See also:

• GEOGRAPHY (Gr. yil, earth, and ypiickty, to write)

geography and travellers' tales, for descriptions of natural wonders and ruined cities, and was himself a practised fictitious narrator and fabulist, as other passages in his MSS. prove . Neither is the See also:

• GAP

gap in the account of his doings after he first went to the court of Milan really so complete as has been represented . Ludovico was vehemently denounced and attacked during the earlier years of his usurpation, especially by the. partisans of his See also:

• SISTER

sister-in-law See also:

• BONA (BONE)
• BONA, JOHN (1609-1674)

Bona of See also:

• SAVOY, HOUSE
• SAVOY, HOUSE OF

Savoy, the mother of the rightful duke, young Gian Galeazzo . To repel these attacks he employed the talents of a number of court poets and artists, who in public recitation and See also:

• PAGEANT

pageant, in emblematic picture and banner and See also:

• DEVICE

device, proclaimed the See also:

• WISDOM, BOOK OF, or WISDOM OF SOLOMON (Sept. Io4ia IaXwµwvos; Lat. Vulg. Liber sapientiae)

wisdom and kindness of his guardianship and the wickedness of his assailants . That Leonardo was among the artists thus employed is proved both by notes and projects among his MSS. and by allegoric sketches still extant . Several such sketches are at Christ Church, Oxford: one shows a horned See also:

• HAG

hag or she-fiend urging her hounds to an attack on the state of Milan, and baffled by the Prudence and See also:

• JUSTICE (Lat. justitia)

Justice of Il Moro (all this made clear by easily recognizable emblems) . The allusion must almost certainly be to the attempted assassination of Ludovico by agents of the duchess Bona in 1484 . Again, it must have been the pestilence decimating Milan in 1484—1485 which gave occasion to the projects submitted by Leonardo to Ludovico for breaking up the city and reconstructing it on improved sanitary principles . To 1485—1486 also appears to belong the inception of his elaborate though unfulfilled architectural plans for beautifying and strengthening the Castello, the great stronghold of the ruling power in the state . Very soon afterwards he must have begun work upon his plans and models, undertaken during an acute phase of the competition which the task had called forth between See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German and Italian architects, for another momentous enterprise, the completion of Milan See also:

• CATHEDRAL

cathedral .

Extant records of payments made to him in connexion with these architectural plans extend from See also:

• AUGUST (originally Sextilis)

August 1487 to May 1490: in the upshot none of them was carried out . From the beginning of his See also:

• RESIDENCE (Latin residere, to remain behind, to dwell, reside)

residence with Ludovico his See also:

• COMBINATION (Lat. combinare, to combine)

combination of unprecedented mechanical ingenuity with See also:

• APT

apt allegoric invention and courtly charm and eloquence had made him the directing spirit in all court ceremonies and festivities . On the occasion of the marriage of the young duke Gian Galeazzo with See also:

• ISABELLA (1451-15o4)
• ISABELLA, ISABEAU

Isabella of See also:

• ARAGON, or ARRAGON (in Span. Aragon)

Aragon in 1487, we find Leonardo devising all the mechanical and spectacular part of a masque of See also:

• PARADISE (Gr. lrap6BEwos)

Paradise; and presently afterwards designing a bathing See also:

• PAVILION

pavilion of unheard-of beauty and ingenuity for the young duchess . Meanwhile he was filling his note-books as busily as ever with the results of his studies in See also:

• STATICS (from Gr. root am-, stand, or cause to stand)

statics and See also:

• DYNAMICS
• DYNAMICS (from Gr. bbvayts, strength)

dynamics, in human anatomy, See also:

• GEOMETRY

geometry and the phenomena of light and shade . It is probable that from the first he had not forgotten his great task of the Sforza monument, with its attendant researches in equine movement and anatomy, and in the science and art of See also:

• BRONZE

bronze casting on a great scale . The many existing sketches for the work (of which the chief collection is at See also:

• WINDSOR
• WINDSOR (properly NEw WINDSOR)

Windsor) cannot be distinctly dated . In 1490, the seventh year of his residence at Milan, after some expressions of impatience on the part of his See also:

• PATRON

patron, he had all but got his model ready for display on the occasion of the marriage of Ludovico with See also:

• BEATRICE

Beatrice d'See also:

• ESTE
• ESTE (anc. Ateste, q.v.)

Este, but at the last moment was dissatisfied with what he had done and determined to begin all over again . In the same year, 1490, Leonardo enjoyed some months of uninterrupted mathematical and physical research in the See also:

• LIBRARIES

libraries and among the learned men of See also:

• PAVIA (anc. Ticinum, q.v.)

Pavia, whither he had been called to advise on some architectural difficulties concerning the cathedral . Here also the study of an ancient equestrian monument (the so-called Regisole, destroyed in 1796) gave him fresh ideas for his Francesco Sforza . In See also:

• JANUARY

January 1491 a See also:

• DOUBLE
• DOUBLE (from the Mid. Eng. duble, the form which gives the present pronunciation, through the Old Er. duble, from Lat. duplus, twice as much)

double Sforza-Este marriage (Ludovico Sfiorza himself with Beatrice d'Este, Alfonso d'Este with See also:

• ANNA
• ANNA (Hindustani ana)
• ANNA, BALDASARRE

Anna Sforza the sister of Gian posterity a great part of its power . At the same time its true history has been investigated and re-established . The intensity of intellectual and See also:

• MANUAL

manual application which Leonardo threw into the work is proved by the fact that he finished it within four years, in spite of all his other avocations and of those prolonged pauses of concentrated imaginative effort and intense self-See also:

• CRITICAL (in alphabetical order of authors)

critical brooding to which we have See also:

• DIRECT

direct contemporary See also:

• WITNESS
• WITNESS (from O. Eng. witan, to know)

witness .

He painted the picture on the See also:

• WALL (O. Eng. weal, weall, Mid. Eng. wal, wane, adapted from Lat. vallum, rampart; the original O. Eng. word for a wall was wag or tenth)
• WALL, RICHARD (1694-1778)

wall in tempera, not, according to the See also:

• LEGEND (through the French from the med. Lat. legenda, things to be read, from legere, to read)

legend whic