Leonardo da Vinci

Da Vinci redirects here. For other uses, see Da Vinci ings have survived.[nb 1] Nevertheless, these few works,
(disambiguation). together with his notebooks, which contain drawings, sci-
entic diagrams, and his thoughts on the nature of paint-
This is a Renaissance Florentine name. The name da ing, compose a contribution to later generations of artists
rivalled only by that of his contemporary, Michelangelo.
Vinci is an indicator of birthplace, not a family name
and the person is properly referred to by the given name Leonardo is revered for his technological ingenuity. He
Leonardo. conceptualised ying machines, a type of armoured ght-
ing vehicle, concentrated solar power, an adding ma-
[8]
Leonardo di ser Piero da Vinci (Italian: [leonardo chine, and the double hull. Relatively few of his de-
di sr pjro da (v)vinti]; 15 April 1452 2 May signs were constructed or even feasible during his life-
1519), more commonly Leonardo da Vinci or simply time, as the modern scientic approaches to metallurgy
Leonardo, was an Italian polymath whose areas of inter- and engineering were only in their infancy during the Re-
est included invention, painting, sculpting, architecture, naissance. Some of his smaller inventions, however, such
science, music, mathematics, engineering, literature, as an automated bobbin winder and a machine for testing
anatomy, geology, astronomy, botany, writing, history, the tensile strength of wire, entered the world of manufac-
and cartography. He has been variously called the fa- turing unheralded. A number of Leonardos most practi-
ther of palaeontology, ichnology, and architecture, and cal inventions are nowadays displayed as working models
is widely considered one of the greatest painters of all at the Museum of Vinci. He made substantial discov-
time. Sometimes credited with the inventions of the eries in anatomy, civil engineering, geology, optics, and
parachute, helicopter and tank,[1][2][3] he epitomised the hydrodynamics, but he did not publish his ndings
[9]
and
Renaissance humanist ideal. they had no direct inuence on later science.

Many historians and scholars regard Leonardo as the Today, Leonardo is widely considered one of the most
prime exemplar of the "Universal Genius" or Renais- diversely talented individuals ever to have lived.[10]
sance Man, an individual of unquenchable curiosity
and feverishly inventive imagination.[4] According to
art historian Helen Gardner, the scope and depth of his 1 Life
interests were without precedent in recorded history, and
his mind and personality seem to us superhuman, while See also: Personal life of Leonardo da Vinci
the man himself mysterious and remote.[4] Marco Rosci
notes that while there is much speculation regarding his
life and personality, his view of the world was logical
rather than mysterious, and that the empirical methods 1.1 Childhood, 14521466
he employed were unorthodox for his time.[5]
Born out of wedlock to a notary, Piero da Vinci, and
a peasant woman, Caterina, in Vinci in the region
of Florence, Leonardo was educated in the studio of
the renowned Florentine painter Andrea del Verrocchio.
Much of his earlier working life was spent in the service
of Ludovico il Moro in Milan. He later worked in Rome,
Bologna and Venice, and he spent his last years in France
at the home awarded to him by Francis I of France.
Leonardo was, and is, renowned primarily as a painter.
Among his works, the Mona Lisa is the most famous and
most parodied portrait[6] and The Last Supper the most
reproduced religious painting of all time.[4] Leonardos
drawing of the Vitruvian Man is also regarded as a cultural Leonardos childhood home in Anchiano
icon,[7] being reproduced on items as varied as the euro
Leonardo was born on 15 April 1452 (Old Style) at the
coin, textbooks, and T-shirts. Perhaps fteen of his paint-
third hour of the night[nb 2] in the Tuscan hill town of

1
2 1 LIFE

Leonardos early life has been the subject of histori-

cal conjecture.[20] 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 responded with a painting of a monster
spitting re that was so terrifying that Ser Piero sold it to
a Florentine art dealer, who sold it to the Duke of Mi-
lan. Meanwhile, having made a prot, Ser Piero bought a
shield decorated with a heart pierced by an arrow, which
he gave to the peasant.[21]

Leonardos earliest known drawing, the Arno Valley (1473),

1.2 Verrocchios workshop, 146676
Uzi

Vinci, in the lower valley of the Arno river in the ter-

ritory of the Medici-ruled Republic of Florence.[12] He
was the out-of-wedlock son of the wealthy Messer Piero
Fruosino di Antonio da Vinci, a Florentine legal notary,
and Caterina, a peasant.[11][13][nb 3] Leonardo had no sur-
name in the modern sense da Vinci simply meaning
of Vinci"; his full birth name was Lionardo di ser Piero
da Vinci, meaning Leonardo, (son) of (Mes)ser Piero
from Vinci.[12] The inclusion of the title ser indicated
that Leonardos father was a gentleman.
Little is known about Leonardos early life. He spent
his rst ve years in the hamlet of Anchiano in the
home of his mother, and from 1457 lived in the house-
hold of his father, grandparents and uncle in the small
town of Vinci. His father had married a sixteen-year-
old girl named Albiera Amadori, who loved Leonardo
but died young[14] in 1465 without children. When
Leonardo was sixteen (1468), his father married again
to twenty-year-old Francesca Lanfredini, who also died
without children. Pieros legitimate heirs were born
from his third wife Margherita di Guglielmo (who The Baptism of Christ (147275), Uzi, by Verrocchio and
Leonardo
gave birth to six children:[15] Antonio, Giulian, Mad-
dalena, Lorenzo, Violante and Domenico) and his fourth In 1466, at the age of fourteen, Leonardo was appren-
and nal wife, Lucrezia Cortigiani (who bore him an-
ticed to the artist Andrea di Cione, known as Verrocchio,
other six children:[16] Margherita, Benedetto, Pandolfo, whose bottega (workshop) was one of the nest in
Guglielmo, Bartolomeo and Giovanni).[17][18]
Florence.[22] He apprenticed as a garzone (studio boy) to
In all Leonardo had twelve half-siblings, who were much Andrea del Verrocchio, the leading Florentine painter and
younger than he (the last was born when Leonardo was sculptor of his day (and would do so for 7 years).[23] Other
forty years old) and with whom he had very few contacts, famous painters apprenticed or associated with the work-
but they caused him diculty after his fathers death in shop include Domenico Ghirlandaio, Perugino, Botticelli,
the dispute over the inheritance.[18] and Lorenzo di Credi.[14][24] Leonardo would have been
Leonardo received an informal education in Latin, exposed to both theoretical training and a vast range of
geometry and mathematics. In later life, Leonardo technical skills,[25] including drafting, chemistry, metal-
recorded only two childhood incidents. One, which he lurgy, metal working, plaster casting, leather working,
regarded as an omen, was when a kite dropped from the mechanics and carpentry as well as the artistic skills of
sky and hovered over his cradle, its tail feathers brushing drawing, painting, sculpting and modelling.[26][nb 4]
his face.[19] The second occurred while he was exploring Much of the painted production of Verrocchios work-
in the mountains: he discovered a cave and was both ter- shop was done by his employees. According to Vasari,
ried that some great monster might lurk there and driven Leonardo collaborated with Verrocchio on his The Bap-
by curiosity to nd out what was inside.[14] tism of Christ, painting the young angel holding Jesus
1.3 Professional life, 14761513 3

robe in a manner that was so far superior to his masters the monks of San Donato a Scopeto.[30] Neither commis-
that Verrocchio put down his brush and never painted sion was completed, the second being interrupted when
again, although this is believed to be apocryphal.[27] Leonardo went to Milan.
Close examination reveals areas that have been painted orIn 1482, Leonardo, who according to Vasari was a tal-
touched-up over the tempera using the new technique of ented musician,[31] created a silver lyre in the shape
oil paint; the landscape, the rocks seen through the brown
of a horses head. Lorenzo de' Medici sent Leonardo
mountain stream and much of the gure of Jesus bearing to Milan, bearing the lyre as a gift, to secure peace
witness to the hand of Leonardo.[28] Leonardo may have with Ludovico Sforza, Duke of Milan.[32] At this time
been the model for two works by Verrocchio: the bronze
Leonardo wrote an often-quoted letter describing the
statue of David in the Bargello and the Archangel Raphaelmany marvellous and diverse things that he could achieve
in Tobias and the Angel.[13]
in the eld of engineering and informing Ludovico that
By 1472, at the age of twenty, Leonardo qualied as a he could also paint.[24][33]
master in the Guild of Saint Luke, the guild of artists Leonardo worked in Milan from 1482 until 1499. He
and doctors of medicine,[nb 5] but even after his father was commissioned to paint the Virgin of the Rocks for
set him up in his own workshop, his attachment to Ver- the Confraternity of the Immaculate Conception and
rocchio was such that he continued to collaborate with The Last Supper for the monastery of Santa Maria delle
him.[14] Leonardos earliest known dated work is a draw- Grazie.[34] In the spring of 1485, Leonardo travelled to
ing in pen and ink of the Arno valley, drawn on 5 August Hungary on behalf of Ludovico to meet Matthias Corvi-
1473.[nb 6][24] nus, for whom he is believed to have painted a Holy Fam-
ily.[35] Between 1493 and 1495, Leonardo listed a woman
called Caterina among his dependents in his taxation doc-
1.3 Professional life, 14761513
uments. When she died in 1495, the list of funeral expen-
ditures suggests that she was his mother.[36]

The Adoration of the Magi (1481), Uzi

Florentine court records of 1476 show that Leonardo and

three other young men were charged with sodomy but
acquitted; homosexual acts were illegal in Renaissance
Florence.[13] From that date until 1478 there is no record
of his work or even of his whereabouts.[29] In 1478, he
left Verrocchios studio and was no longer resident at his
fathers house. One writer, the Anonimo Gaddiano, Study of horse from Leonardos journalsRoyal Library,
claims that in 1480 Leonardo was living with the Medici Windsor Castle
and working in the Garden of the Piazza San Marco in
Florence, a Neo-Platonic academy of artists, poets and Leonardo was employed on many dierent projects
philosophers that the Medici had established.[13] In Jan- for Ludovico, including the preparation of oats and
uary 1478, he received an independent commission to pageants for special occasions, designs for a dome for
paint an altarpiece for the Chapel of St. Bernard in the Milan Cathedral and a model for a huge equestrian
Palazzo Vecchio; in March 1481, he received a second in- monument to Francesco Sforza, Ludovicos predeces-
dependent commission for The Adoration of the Magi for sor. Seventy tons of bronze were set aside for cast-
4 1 LIFE

ing it. The monument remained unnished for several
years, which was not unusual for Leonardo. In 1492, the
clay model of the horse was completed. It surpassed in
size the only two large equestrian statues of the Renais-
sance, Donatellos Gattamelata in Padua and Verrocchios
Bartolomeo Colleoni in Venice, and became known as the
"Gran Cavallo".[24][nb 7] Leonardo began making detailed
plans for its casting;[24] however, Michelangelo insulted
Leonardo by implying that he was unable to cast it.[14]
In November 1494, Ludovico gave the bronze to be used
for cannon to defend the city from invasion by Charles
VIII.[24]
At the start of the Second Italian War in 1499, the in-
vading French troops used the life-size clay model for
the Gran Cavallo for target practice. With Ludovico
Sforza overthrown, Leonardo, with his assistant Salai and
friend, the mathematician Luca Pacioli, ed Milan for
Venice,[37] where he was employed as a military architect
and engineer, devising methods to defend the city from
naval attack.[14] 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 ocked to see it
as if they were attending a great festival.[38][nb 8]
from the sea to Florence, in order to allow a supply of
water to sustain the canal during all seasons.
Leonardo returned to Florence, where he rejoined the
Guild of Saint Luke on 18 October 1503. He spent two
years designing and painting a mural of The Battle of
Anghiari for the Signoria,[37] with Michelangelo design-
ing its companion piece, The Battle of Cascina.[nb 9] In
Florence in 1504, he was part of a committee formed to
relocate, against the artists will, Michelangelos statue of
David.[42]
In 1506 Leonardo returned to Milan. Many of his
most prominent pupils or followers in painting ei-
ther knew or worked with him in Milan,[14] includ-
ing Bernardino Luini, Giovanni Antonio Boltrao and
Marco d'Oggiono.[nb 10] At this time he may have com-
menced a project for an equestrian gure of Charles II
d'Amboise, the acting French governor of Milan.[43] A
wax model survives and, if genuine, is the only extant ex-
ample of Leonardos sculpture.
Leonardo did not stay in Milan for long because his father
had died in 1504, and in 1507 he was back in Florence
trying to sort out problems with his brothers over his fa-
thers estate. By 1508 Leonardo was back in Milan, living
in his own house in Porta Orientale in the parish of Santa
Babila.[44]

1.4 Old age, 15131519

From September 1513 to 1516, under Pope Leo X,
Leonardo spent much of his time living in the Belvedere
in the Vatican in Rome, where Raphael and Michelan-
gelo were both active at the time.[44] In October 1515,
King Francis I of France recaptured Milan.[30] On 19 De-
cember, Leonardo was present at the meeting of Francis
I and Pope Leo X, which took place in Bologna.[14][45][46]
Leonardo was commissioned to make for Francis a me-
chanical lion that could walk forward then open its chest
to reveal a cluster of lilies.[47][nb 11] In 1516, he entered
Francis service, being given the use of the manor house
Clos Luc, now a public museum, near the kings resi-
Leonardo da Vincis very accurate map of Imola, created for dence at the royal Chteau d'Amboise. He spent the last
Cesare Borgia three years of his life here, accompanied by his friend
and apprentice, Count Francesco Melzi, and supported
[44]
In Cesena in 1502, Leonardo entered the service of by a pension totalling 10,000 scudi.
Cesare Borgia, the son of Pope Alexander VI, acting as Leonardo died at Clos Luc, on 2 May 1519. Francis I
a military architect and engineer and travelling through- had become a close friend. Vasari records that the king
out Italy with his patron.[37] Leonardo created a map of held Leonardos head in his arms as he died, although
Cesare Borgias stronghold, a town plan of Imola in order this story, beloved by the French and portrayed in ro-
to win his patronage. Maps were extremely rare at the mantic paintings by Ingres, Mnageot and other French
time and it would have seemed like a new concept. Upon artists, as well as by Angelica Kauman, may be legend
seeing it, Cesare hired Leonardo as his chief military en- rather than fact.[nb 12] Vasari states that in his last days,
gineer and architect. Later in the year, Leonardo pro- Leonardo sent for a priest to make his confession and to
duced another map for his patron, one of Chiana Valley, receive the Holy Sacrament.[49] In accordance with his
Tuscany, so as to give his patron a better overlay of the will, sixty beggars followed his casket.[nb 13] Melzi was the
land and greater strategic position. He created this map in principal heir and executor, receiving, as well as money,
conjunction with his other project of constructing a dam Leonardos paintings, tools, library and personal eects.
2.1 Florence: Leonardos artistic and social background 5

Clos Luc in France, where Leonardo died in 1519

Leonardo also remembered his other long-time pupil and

companion, Salai, and his servant Battista di Vilussis,
who each received half of Leonardos vineyards. His
brothers received land, and his serving woman received
a black cloak of good stu with a fur edge.[nb 14][50]
Leonardo da Vinci was buried in the Chapel of Saint-
Hubert in Chteau d'Amboise in France.
Some 20 years after Leonardos death, Francis was re-
ported 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.[51] Lorenzo Ghibertis Gates of Paradise (142552) were a source
of communal pride. Many artists assisted in their creation

2 Relationships and inuences

Francesca had made a detailed study of perspective,[56]
2.1 Florence: Leonardos artistic and so- and was the rst painter to make a scientic study of light.
These studies and Albertis treatise De Pictura[57] were to
cial background
have a profound eect on younger artists and in particular
[52][54][55]
Florence at the time of Leonardos youth was the centre on Leonardos own observations and artworks.
of Christian Humanist thought and culture.[22] Leonardo Massaccios "Expulsion from the Garden of Eden" de-
commenced his apprenticeship with Verrocchio in 1466, picting the naked and distraught Adam and Eve created
the year that Verrocchios master, the great sculptor a powerfully expressive image of the human form, cast
Donatello, died. The painter Uccello, whose early ex- into three dimensions by the use of light and shade, which
periments with perspective were to inuence the devel- was to be developed in the works of Leonardo in a way
opment of landscape painting, was a very old man. The that was to be inuential in the course of painting. The
painters Piero della Francesca and Filippo Lippi, sculp- humanist inuence of Donatellos David can be seen
tor Luca della Robbia, and architect and writer Leon Bat- in Leonardos late paintings, particularly John the Bap-
tista Alberti were in their sixties. The successful artists of tist.[52][53]
the next generation were Leonardos teacher Verrocchio, A prevalent tradition in Florence was the small altarpiece
Antonio del Pollaiuolo and the portrait sculptor Mino of the Virgin and Child. Many of these were created in
da Fiesole, whose lifelike busts give the most reliable tempera or glazed terracotta by the workshops of Filippo
likenesses of Lorenzo Medicis father Piero and uncle Lippi, Verrocchio and the prolic della Robbia family.[52]
Giovanni.[52][53][54][55] Leonardos early Madonnas such as The Madonna with a
Leonardos youth was spent in a Florence that was orna- carnation and the Benois Madonna followed this tradition
mented by the works of these artists and by Donatellos while showing idiosyncratic departures, particularly in the
contemporaries, Masaccio, whose gurative frescoes case of the Benois Madonna in which the Virgin is set at
were imbued with realism and emotion, and Ghiberti, an oblique angle to the picture space with the Christ Child
whose Gates of Paradise, gleaming with gold leaf, dis- at the opposite angle. This compositional theme was to
played the art of combining complex gure composi- emerge in Leonardos later paintings such as The Virgin
tions with detailed architectural backgrounds. Piero della and Child with St. Anne.[14]
6 2 RELATIONSHIPS AND INFLUENCES

The Portinari Altarpiece, by Hugo van der Goes for a Florentine

family

to visit Venice.[53][55]
Like the two contemporary architects Bramante 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, al-
though none was ever realised.[53][58]
Small devotional picture by Verrocchio, c. 1470

Leonardo was a contemporary of Botticelli, Domenico

Ghirlandaio and Perugino, who were all slightly older than
he was.[53] He would have met them at the workshop of
Verrocchio, with whom they had associations, and at the
Academy of the Medici.[14] Botticelli was a particular
favourite of the Medici family, and thus his success as
a painter was assured. Ghirlandaio and Perugino were
both prolic and ran large workshops. They competently
delivered commissions to well-satised patrons who ap-
preciated Ghirlandaios ability to portray the wealthy cit-
izens of Florence within large religious frescoes, and Pe-
ruginos ability to deliver a multitude of saints and angels
of unfailing sweetness and innocence.[52]
These three were among those commissioned to paint the
walls of the Sistine Chapel, the work commencing with
Peruginos employment in 1479. Leonardo was not part
of this prestigious commission. His rst signicant com-
mission, The Adoration of the Magi for the Monks of Lorenzo de' Medici between Antonio Pucci and Francesco Sas-
Scopeto, was never completed.[14] setti, with Giulio de' Medici, fresco by Ghirlandaio
In 1476, during the time of Leonardos association with
Verrocchios workshop, the Portinari Altarpiece by Hugo Leonardos political contemporaries were Lorenzo
van der Goes arrived in Florence, bringing from Northern Medici (il Magnico), who was three years older, and
Europe new painterly techniques that were to profoundly his younger brother Giuliano, who was slain in the Pazzi
aect Leonardo, Ghirlandaio, Perugino and others.[53] conspiracy in 1478. Leonardo was sent as an ambassador
In 1479, the Sicilian painter Antonello da Messina, who by the Medici court to Ludovico il Moro, who ruled
worked exclusively in oils, travelled north on his way Milan between 1479 and 1499.[53]
to Venice, where the leading painter Giovanni Bellini With Alberti, Leonardo visited the home of the Medici
adopted the technique of oil painting, quickly making it and through them came to know the older Human-
the preferred method in Venice. Leonardo was also later ist philosophers of whom Marsiglio Ficino, proponent
2.3 Assistants and pupils 7

of Neo Platonism; Cristoforo Landino, writer of com-

mentaries on Classical writings, and John Argyropou-
los, teacher of Greek and translator of Aristotle were
the foremost. Also associated with the Academy of the
Medici was Leonardos contemporary, the brilliant young
poet and philosopher Pico della Mirandola.[53][55][59]
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 ex-
actly what Leonardo meant by this cryptic comment.[14]
Although usually named together as the three giants
of the High Renaissance, Leonardo, Michelangelo and
Raphael were not of the same generation. Leonardo was
twenty-three when Michelangelo was born and thirty-one
when Raphael was born.[53] Raphael lived until the age
of only 37 and died in 1520, the year after Leonardo
died, but Michelangelo went on creating for another 45
years.[54][55]

2.2 Personal life

Main article: Personal life of Leonardo da Vinci
Study for a portrait of Isabella d'Este (1500) Louvre
Within Leonardos lifetime, his extraordinary powers of
invention, his outstanding physical beauty, innite
grace, great strength and generosity, regal spirit and known male prostitute. The charges were dismissed for
tremendous breadth of mind, as described by Vasari,[60] lack of evidence, and there is speculation that since one
as well as all other aspects of his life, attracted the cu- of the accused, Lionardo de Tornabuoni, was related to
riosity of others. One such aspect was his respect for Lorenzo de' Medici, the family exerted its inuence to
life, evidenced by his vegetarianism and his habit, ac- secure the dismissal.[66] Since that date much has been
cording to Vasari, of purchasing caged birds and releasing written about his presumed homosexuality and its role in
them.[61][62] his art, particularly in the androgyny and eroticism mani-
fested in John the Baptist and Bacchus and more explicitly
Leonardo had many friends who are now renowned either in a number of erotic drawings.[67]
in their elds or for their historical signicance. They in-
cluded the mathematician Luca Pacioli,[63] with whom
he collaborated on the book De divina proportione in 2.3 Assistants and pupils
the 1490s. Leonardo appears to have had no close re-
lationships with women except for his friendship with Gian Giacomo Caprotti da Oreno, nicknamed Salai or
Cecilia Gallerani and the two Este sisters, Beatrice and Il Salaino (The Little Unclean One i.e., the devil), en-
Isabella.[64] While on a journey that took him through tered Leonardos household in 1490. After only a year,
Mantua, he drew a portrait of Isabella that appears to have Leonardo made a list of his misdemeanours, calling him
been used to create a painted portrait, now lost.[14] a thief, a liar, stubborn, and a glutton, after he had made
Beyond friendship, Leonardo kept his private life secret. o with money and valuables on at least ve occasions
His sexuality has been the subject of satire, analysis, and and spent a fortune on clothes.[68] Nevertheless, Leonardo
speculation. This trend began in the mid-16th century treated him with great indulgence, and he remained in
and was revived in the 19th and 20th centuries, most no- Leonardos household for the next thirty years.[69] Salai
tably by Sigmund Freud.[65] Leonardos most intimate re- executed a number of paintings under the name of An-
lationships were perhaps with his pupils Salai and Melzi. drea Salai, but although Vasari claims that Leonardo
Melzi, writing to inform Leonardos brothers of his death, taught him a great deal about painting,[70] his work is
described Leonardos feelings for his pupils as both lov- generally considered to be of less artistic merit than oth-
ing and passionate. It has been claimed since the 16th ers among Leonardos pupils, such as Marco d'Oggiono
century that these relationships were of a sexual or erotic and Boltrao. In 1515, he painted a nude version of the
nature. Court records of 1476, when he was aged twenty- Mona Lisa, known as Monna Vanna.[71] Salai owned the
four, show that Leonardo and three other young men Mona Lisa at the time of his death in 1525, and in his will
were charged with sodomy in an incident involving a well- it was assessed at 505 lire, an exceptionally high valuation
8 3
John the Baptist (c. 151316), Louvre. Leonardo is thought to
have used Salai as the model.
for a small panel portrait.[72]
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 Leonardos death.[14] Melzi inherited the artis-
tic and scientic works, manuscripts, and collections of
Leonardo and administered the estate.
3 Painting
See also: List of works by Leonardo da Vinci
Despite the recent awareness and admiration of
Annunciation (14751480)Uzi, is thought to be Leonardos
earliest complete work
Leonardo as a scientist and inventor, for the better part
of four hundred years his fame rested on his achieve-
ments as a painter. A handful of works that are either
authenticated or attributed to him have been regarded as
PAINTING
among the great masterpieces. These paintings are fa-
mous for a variety of qualities that have been much im-
itated by students and discussed at great length by con-
noisseurs and critics. By the 1490s Leonardo had already
been described as a Divine painter.[73]
Among the qualities that make Leonardos work unique
are his innovative techniques for laying on the paint; his
detailed knowledge of anatomy, light, botany and geol-
ogy; his interest in physiognomy and the way humans reg-
ister emotion in expression and gesture; his innovative use
of the human form in gurative composition; and his use
of subtle gradation of tone. All these qualities come to-
gether in his most famous painted works, the Mona Lisa,
the Last Supper, and the Virgin of the Rocks.[74]
3.1 Early works
Unnished painting of St. Jerome in the Wilderness (1480),
Vatican
Leonardo rst gained notoriety for his work on the
Baptism of Christ, painted in conjunction with Verroc-
chio. Two other paintings appear to date from his time at
Verrocchios workshop, both of which are Annunciations.
One is small, 59 centimetres (23 in) long and 14 centime-
tres (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.[75] In both Annuncia-
tions, 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 pic-
ture, approached from the left by an angel in prole, with
3.3 Paintings of the 1490s 9

a rich owing garment, raised wings and bearing a lily. Leonardos life, as evidenced in his diary: I thought I
Although previously attributed to Ghirlandaio, the larger was learning to live; I was only learning to die.[14] Al-
work is now generally attributed to Leonardo.[76] though the painting is barely begun, the composition can
[nb 16]
In the smaller painting, Mary averts her eyes and folds her be seen and is very unusual. Jerome, as a penitent,
hands in a gesture that symbolised submission to Gods occupies the middle of the picture, set on a slight diago-
will. Mary is not submissive, however, in the larger piece. nal and viewed somewhat from above. His kneeling form
The girl, interrupted in her reading by this unexpected takes on a trapezoid shape, with one arm stretched to the
messenger, puts a nger in her bible to mark the place outer edge of the painting and his gaze looking in the op-
posite direction. J. Wasserman points out the link be-
and raises her hand in a formal gesture of greeting or [78]
surprise.[52] This calm young woman appears to accept tween this painting and Leonardos anatomical studies.
Across the foreground sprawls his symbol, a great lion
her role as the Mother of God, not with resignation but
with condence. In this painting, the young Leonardo whose body and tail make a double spiral across the base
of the picture space. The other remarkable feature is the
presents the humanist face of the Virgin Mary, recognis-
ing humanitys role in Gods incarnation. [nb 15] sketchy landscape of craggy rocks against which the g-
ure is silhouetted.
The daring display of gure composition, the landscape
3.2 Paintings of the 1480s elements and personal drama also appear in the great un-
nished masterpiece, the Adoration of the Magi, a com-
mission 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 stud-
ies, including a detailed one in linear perspective of the
ruined classical architecture that forms part of the back-
ground. 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.[13][76]
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 ll a
large complex altarpiece.[79] Leonardo chose to paint an
apocryphal moment of the infancy of Christ when the in-
fant John the Baptist, in protection of an angel, met the
Holy Family on the road to Egypt. The painting demon-
strates an eerie beauty as the graceful gures kneel in
adoration around the infant Christ in a wild landscape
of tumbling rock and whirling water.[80] While the paint-
ing is quite large, about 200120 centimetres, it is not
nearly as complex as the painting ordered by the monks
of St Donato, having only four gures rather than about
fty and a rocky landscape rather than architectural de-
tails. The painting was eventually nished; in fact, two
versions of the painting were nished: 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.[24][37]
Virgin of the Rocks, National Gallery, London, demonstrates
Leonardos interest in nature
3.3 Paintings of the 1490s
In the 1480s, Leonardo received two very important
commissions and commenced another work that was of Leonardos most famous painting of the 1490s is The Last
ground-breaking importance in terms of composition. Supper, commissioned for the refectory of the Convent of
Two of the three were never nished, and the third took Santa Maria della Grazie in Milan. It represents the last
so long that it was subject to lengthy negotiations over meal shared by Jesus with his disciples before his capture
completion and payment. and death, and shows the moment when Jesus has just
One of these paintings was St. Jerome in the Wilder- said one of you will betray me, and the consternation
ness, which Bortolon associates with a dicult period of that this statement caused.[24]
10 3 PAINTING

The Last Supper (1498)Convent of Sta. Maria delle Grazie,

Milan, Italy

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.[81] This was beyond the compre-
hension of the prior of the convent, who hounded him
until Leonardo asked Ludovico to intervene. Vasari de-
scribes how Leonardo, troubled over his ability to ade-
quately depict the faces of Christ and the traitor Judas,
told the Duke that he might be obliged to use the prior as
his model.[82]
When nished, the painting was acclaimed as a mas-
terpiece of design and characterisation,[83] but it de-
teriorated rapidly, so that within a hundred years it Mona Lisa or La Gioconda (150305/07)Louvre, Paris,
was described by one viewer as completely ruined.[84] France
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
aking.[85] Despite this, the painting remains one of the
most reproduced works of art; countless copies have been
made in every medium from carpets to cameos.

the painterly technique, employing oils laid on much like

3.4 Paintings of the 16th century
Among the works created by Leonardo in the 16th cen-
tury is the small portrait known as the Mona Lisa or la
Gioconda, the laughing one. In the present era it is ar-
guably the most famous painting in the world. Its fame
rests, in particular, on the elusive smile on the womans
face, its mysterious quality perhaps due to the subtly shad-
owed 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 Leonardos smoke. Vasari, who is gener-
ally 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
nd that it was as alive as the original.[86][nb 17]
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 ux, the
subdued colouring, and the extremely smooth nature of
tempera and blended on the surface so that the brush-
strokes are indistinguishable.[nb 18] Vasari expressed the
opinion that the manner of painting would make even the
most condent master ... despair and lose heart.[89] 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.[90]
In the painting Virgin and Child with St. Anne the com-
position again picks up the theme of gures in a land-
scape, which Wasserman describes as breathtakingly
beautiful[91] and harkens back to the St Jerome picture
with the gure set at an oblique angle. What makes this
painting unusual is that there are two obliquely set gures
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 impend-
ing sacrice.[24] This painting, which was copied many
times, inuenced Michelangelo, Raphael, and Andrea del
Sarto,[92] and through them Pontormo and Correggio.
The trends in composition were adopted in particular by
the Venetian painters Tintoretto and Veronese.
3.6 Drawings 11

3.5 Murals 3.6 Drawings

Leonardo was not a prolic painter, but he was a most

prolic 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 identi-
ed as preparatory to particular works such as The Ado-
ration of the Magi, The Virgin of the Rocks and The Last
Supper.[95] His earliest dated drawing is a Landscape of
the Arno Valley, 1473, which shows the river, the moun-
tains, Montelupo Castle and the farmlands beyond it in
great detail.[14][95]
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
(160100 cm) in black chalk on coloured paper of The
Virgin and Child with St. Anne and St. John the Baptist in
The Virgin and Child with St. Anne (c. 1510)Louvre the National Gallery, London.[95] This drawing employs
Museum 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.[96]
Other drawings of interest include numerous studies gen-
erally referred to as caricatures because, although ex-
aggerated, they appear to be based upon observation of
live models. Vasari relates that if Leonardo saw a per-
son with an interesting face he would follow them around
all day observing them.[97] There are numerous stud-
ies of beautiful young men, often associated with Salai,
with the rare and much admired facial feature, the so-
called Grecian prole.[nb 19] These faces are often con-
trasted with that of a warrior.[95] Salai is often depicted
in fancy-dress costume. Leonardo is known to have de-
signed sets for pageants with which these may be asso-
ciated. Other, often meticulous, drawings show studies
of drapery. A marked development in Leonardos abil-
ity to draw drapery occurred in his early works. An-
other often-reproduced drawing is a macabre sketch that
The Virgin and Child with St. Anne and St. John the was done by Leonardo in Florence in 1479 showing the
Baptist (c. 14991500)National Gallery, London body of Bernardo Baroncelli, hanged in connection with
the murder of Giuliano, brother of Lorenzo de' Medici,
[95]
Leonardos The Battle of Anghiara was a fresco commis- in the Pazzi conspiracy. With dispassionate integrity
sioned in 1505 for the Salone dei Cinquecento (Hall of Leonardo has registered in neat mirror writing the colours
the Five Hundred) in the Palazzo Vecchio, Florence. Its of the robes that Baroncelli was wearing when he died.
central scene depicted four men riding raging war horses
engaged in a battle for possession of a standard, at the
Battle of Anghiari in 1440. At the same time his rival
Michelangelo, who had just nished his David, was des-
ignated the opposite wall. All that remains of Leonardos
work is a copy by Rubens, but Maurizio Seracini is con- 4 Observation and invention
vinced it can still be found and has spent a lifetime search-
ing for it. He was allowed to drill some pilot holes in a
mural in the Salone dei Cinquecento, Palazzo Vecchio, Main article: Science and inventions of Leonardo da
Florence, and his team did nd evidence of an oil paint- Vinci
ing underneath.[93][94]
12 4 OBSERVATION AND INVENTION

4.1 Journals and notes

See also: List of works by Leonardo da Vinci

Manuscripts
Renaissance humanism recognised no mutually exclu-

A page showing Leonardos study of a foetus in the womb (c.

1510) Royal Library, Windsor Castle

types and sizes, distributed by friends after his death

have found their way into major collections such as
The Vitruvian Man (c. 1485) Accademia, Venice the Royal Library at Windsor Castle, the Louvre, the
Biblioteca Nacional de Espaa, the Victoria and Albert
Museum, the Biblioteca Ambrosiana in Milan, which
sive polarities between the sciences and the arts, and
holds the twelve-volume Codex Atlanticus, and British Li-
Leonardos studies in science and engineering are some-
brary in London, which has put a selection from the Codex
times considered as impressive and innovative as his artis-
Arundel (BL Arundel MS 263) online.[98] The Codex Le-
tic work.[24] These studies were recorded in 13,000 pages
icester is the only major scientic work of Leonardo in
of notes and drawings, which fuse art and natural phi-
private hands; it is owned by Bill Gates and is displayed
losophy (the forerunner of modern science). They were
once a year in dierent cities around the world.
made and maintained daily throughout Leonardos life
and travels, as he made continual observations of the Leonardos notes appear to have been intended for publi-
world around him.[24] cation because many of the sheets have a form and order
that would facilitate this. In many cases a single topic, for
Most of Leonardos writings are in mirror-image cursive.
example, the heart or the human fetus, is covered in de-
While secrecy is often suggested as the reason for this
tail in both words and pictures on a single sheet.[99][nb 21]
style of writing, it may have been more of a practical ex-
Why they were not published during Leonardos lifetime
pediency. Since Leonardo wrote with his left hand, it was
is unknown.[24]
probably easier for him to write from right to left.[nb 20]
Leonardos notes and drawings display an enormous
range of interests and preoccupations, some as mundane 4.2 Scientic studies
as lists of groceries and people who owed him money
and some as intriguing as designs for wings and shoes for
Leonardos approach to science was observational: he
walking on water. There are compositions for paintings,
tried to understand a phenomenon by describing and de-
studies of details and drapery, studies of faces and emo-
picting it in utmost detail and did not emphasise exper-
tions, of animals, babies, dissections, plant studies, rock
iments or theoretical explanation. Since he lacked for-
formations, whirlpools, war machines, ying machinesmal education in Latin and mathematics, contemporary
and architecture.[24] scholars mostly ignored Leonardo the scientist, although
These notebooksoriginally loose papers of dierent he did teach himself Latin. In the 1490s he studied math-
4.3 Anatomy and physiology 13

Rhombicuboctahedron as published in Paciolis

De divina proportione

ematics under Luca Pacioli and prepared a series of draw-

ings of regular solids in a skeletal form to be engraved as
plates for Paciolis book De divina proportione, published
in 1509.[24] Anatomical study of the arm, (1510)
The content of his journals suggest that he was planning a
series of treatises to be published on a variety of subjects.
A coherent treatise on anatomy was said to have been ob-
served during a visit by Cardinal Louis 'D' Aragons sec-
retary in 1517.[100] Aspects of his work on the studies
of anatomy, light and the landscape were assembled for
publication by his pupil Francesco Melzi and eventually
published as Treatise on Painting by Leonardo da Vinci
in France and Italy in 1651 and Germany in 1724,[101]
with engravings based upon drawings by the Classical
painter Nicolas Poussin.[102] According to Arasse, the
treatise, which in France went into 62 editions in fty
years, caused Leonardo to be seen as the precursor of
French academic thought on art.[24]
While Leonardos experimentation followed clear sci-
entic methods, a recent and exhaustive analysis of
Leonardo as a scientist by Fritjof Capra argues that
Leonardo was a fundamentally dierent kind of scien-
tist from Galileo, Newton and other scientists who fol-
lowed him in that, as a Renaissance Man, his theoris-
ing and hypothesising integrated the arts and particularly
painting.[103]

4.3 Anatomy and physiology

Leonardo started his study in the anatomy of the human Leonardos Physiological Sketch of the Human Brain and Skull.
body under the apprenticeship of Andrea del Verrocchio, (1510)
who demanded that his students develop a deep knowl-
edge of the subject.[104] As an artist, he quickly became
14 4 OBSERVATION AND INVENTION

master of topographic anatomy, drawing many studies of lished his work on anatomy and physiology in De humani
muscles, tendons and other visible anatomical features. corporis fabrica in 1543.[108]
As a successful artist, Leonardo was given permission to
dissect human corpses at the Hospital of Santa Maria
4.4 Engineering and inventions
Nuova in Florence and later at hospitals in Milan and
Rome. From 1510 to 1511 he collaborated in his stud-
ies with the doctor Marcantonio della Torre. Leonardo
made over 240 detailed drawings and wrote about 13,000
words towards a treatise on anatomy.[105] These papers
were left to his heir, Francesco Melzi, for publication,
a task of overwhelming diculty because of its scope
and Leonardos idiosyncratic writing.[106] The project was
left incomplete at the time of Melzis death more than
50 years later, with only a small amount of the material
on anatomy included in Leonardos Treatise on painting,
published in France in 1632.[24][106] During the time that
Melzi was ordering the material into chapters for publi-
cation, they were examined by a number of anatomists
and artists, including Vasari, Cellini and Albrecht Drer,
who made a number of drawings from them.[106]
Leonardos anatomical drawings include many studies
of the human skeleton and its parts, and of muscles
and sinews. He studied the mechanical functions of A design for a ying machine, (1488) Institut de France, Paris
the skeleton and the muscular forces that are applied to
it in a manner that pregured the modern science of During his lifetime, Leonardo was valued as an engineer.
biomechanics.[107] He drew the heart and vascular sys- In a letter to Ludovico il Moro, he claimed to be able
tem, the sex organs and other internal organs, making one to create all sorts of machines both for the protection of
of the rst scientic drawings of a fetus in utero.[95] The a city and for siege. When he ed to Venice in 1499,
drawings and notation are far ahead of their time, and if he found employment as an engineer and devised a sys-
published would undoubtedly have made a major contri- tem of moveable barricades to protect the city from at-
bution to medical science.[105] tack. He also had a scheme for diverting the ow of the
Arno river, a project on which Niccol Machiavelli also
Leonardo also closely observed and recorded the eects
worked.[109][110] Leonardos journals include a vast num-
of age and of human emotion on the physiology, study-
ber of inventions, both practical and impractical. They
ing in particular the eects of rage. He drew many
include musical instruments, a mechanical knight, hy-
gures who had signicant facial deformities or signs
draulic pumps, reversible crank mechanisms, nned mor-
of illness.[24][95] Leonardo also studied and drew the
tar shells, and a steam cannon.[14][24]
anatomy of many animals, dissecting cows, birds, mon-
keys, bears, and frogs, and comparing in his drawings In 1502, Leonardo produced a drawing of a single span
their anatomical structure with that of humans. He also 720-foot (220 m) bridge as part of a civil engineering
made a number of studies of horses.[95] project for Ottoman Sultan Beyazid II of Constantinople.
The bridge was intended to span an inlet at the mouth of
Leonardos dissections and documentation of muscles,
the Bosporus known as the Golden Horn. Beyazid did not
nerves, and vessels helped to describe the physiology and
pursue the project because he believed that such a con-
mechanics of movement. He attempted to identify the
struction was impossible. Leonardos vision was resur-
source of 'emotions and their expression. He found it dif-
rected in 2001 when a smaller bridge based on his design
cult to incorporate the prevailing system and theories of
was constructed in Norway.[111][112]
bodily humours, but eventually he abandoned these phys-
iological explanations of bodily functions. He made the Leonardo was fascinated by the phenomenon of ight
observations that humours were not located in cerebral for much of his life, producing many studies, including
spaces or ventricles. He documented that the humours Codex on the Flight of Birds (c. 1505), as well as plans for
were not contained in the heart or the liver, and that it several ying machines such as a apping ornithopter and
[24]
was the heart that dened the circulatory system. He was a machine with a helical rotor. The British television
the rst to dene atherosclerosis and liver cirrhosis. He station Channel Four commissioned a 2003 documentary,
created models of the cerebral ventricles with the use of Leonardos Dream Machines, in which various designs
melted wax and constructed a glass aorta to observe the by Leonardo, such as a parachute and a giant crossbow,
[113][114]
circulation of blood through the aortic valve by using wa- were interpreted, constructed and tested. Some of
ter and grass seed to watch ow patterns. Vesalius pub- those designs proved successful, whilst others fared less
well when practically tested.

5 Fame and reputation
Main article: Cultural references to Leonardo da Vinci
Leonardos 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.
Burial site of Leonardo da Vinci in Amboise
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 con-
tinue to hail him as a genius while speculating about his
private life, as well as about what one so intelligent actu-
ally believed in.[24]
Giorgio Vasari, in the enlarged edition of Lives of the
Artists, 1568,[115] introduced his chapter on Leonardo da
Vinci 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 tran-
scends 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.
15
Everyone acknowledged that this was true of
Leonardo da Vinci, an artist of outstanding
physical beauty, who displayed innite grace
in everything that he did and who cultivated
his genius so brilliantly that all problems he
studied he solved with ease.
Giorgio Vasari
Francis I of France receiving the last breath of Leonardo da
Vinci, by Ingres, 1818
The continued admiration that Leonardo commanded
from painters, critics and historians is reected in many
other written tributes. Baldassare Castiglione, author of
Il Cortegiano (The Courtier), wrote in 1528: "... An-
other of the greatest painters in this world looks down on
this art in which he is unequalled ...[116] while the biog-
rapher 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 ....[117]
Statue of Leonardo in Amboise
The 19th century brought a particular admiration for
Leonardos 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
16
excellence: made up of all the elements that constitute
the essence of genius ...[118] 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.[119]
By the 19th century, the scope of Leonardos notebooks
was known, as well as his paintings. Hippolyte Taine
wrote in 1866: There may not be in the world an ex-
ample of another genius so universal, so incapable of ful-
lment, so full of yearning for the innite, so naturally
rened, so far ahead of his own century and the follow-
ing centuries.[120] 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.[121]
The interest in Leonardos genius has continued un-
abated; experts study and translate his writings, analyse
his paintings using scientic techniques, argue over attri-
butions and search for works which have been recorded
but never found.[122] Liana Bortolon, writing in 1967,
said: Because of the multiplicity of interests that spurred
him to pursue every eld of knowledge ... Leonardo can
be considered, quite rightly, to have been the universal
genius par excellence, and with all the disquieting over-
tones inherent in that term. Man is as uncomfortable to-
day, faced with a genius, as he was in the 16th century.
Five centuries have passed, yet we still view Leonardo
with awe.[14]
6 Miscellaneous
Davinciite, a recently described mineral recognised in
2011 by the International Mineralogical Association, is
named in honour of the artist.[123]
7 See also
Aerial perspective
Italian Renaissance painting
Leonardo da Vinci, A Memory of His Childhood
Leonardo da Vinci-Fiumicino Airport
List of Italian painters
List of vegetarians
Medical Renaissance
Museo della Scienza e della Tecnologia Leonardo
da Vinci
Renaissance technology
8 FOOTNOTES
8 Footnotes
[1] There are 15 signicant artworks which are ascribed, ei-
ther in whole or in large part, to Leonardo by most art his-
torians. This number is made up principally of paintings
on panel but includes a mural, a large drawing on paper
and two works which are in the early stages of prepara-
tion. There are a number of other works that have also
been variously attributed to Leonardo.
[2] His birth is recorded in the diary of his paternal grandfa-
ther Ser Antonio, as cited by Angela Ottino della Chiesa in
Leonardo da Vinci, and Reynal & Co., Leonardo da Vinci
(William Morrow and Company, 1956): A grandson of
mine was born April 15, Saturday, three hours into the
night. The date was recorded in the Julian calendar; 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. The conversion
to the New Style calendar adds nine days; hence Leonardo
was born 23 April according to the modern calendar.[11]
[3] It has been suggested that Caterina may have been a slave
from the Middle East or at least, from the Mediter-
ranean. According to Alessandro Vezzosi, head of the
Leonardo Museum in Vinci, there is evidence that Piero
owned a Middle Eastern slave called Caterina. That
Leonardo had Middle Eastern blood is claimed to be sup-
ported by the reconstruction of a ngerprint as reported by
Falconi, Marta (12 December 2006) [1 December 2006].
Experts Reconstruct Leonardo Fingerprint (News ed.).
Washington Post. Associated Press. Retrieved 6 May
2013. The evidence, as stated in the article, is that 60%
of people of Middle Eastern origin share the pattern of
whirls found on the reconstructed ngerprint. The article
also states that the claim is refuted by Simon Cole, as-
sociate professor of criminology, law and society at the
University of California at Irvine: You can't predict one
persons race from these kinds of incidences, especially
if looking at only one nger. See also Hooper, John (12
April 2008). Da Vincis mother was a slave, Italian study
claims. The Guardian (News ed.). Retrieved 16 August
2015.
[4] The diverse arts and technical skills of Medieval and Re-
naissance 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.
[5] That Leonardo joined the guild before this time is deduced
from the record of payment made to the Compagnia di
San Luca in the companys register, Libro Rosso A, 1472
1520, Accademia di Belle Arti.[13]
[6] This work is now in the collection of the Uzi, Drawing
No. 8P.
[7] Verrocchios statue of Bartolomeo Colleoni was not cast
until 1488, after his death, and after Leonardo had already
begun work on the statue for Ludovico.
[8] In 2005, the studio was rediscovered during the restora-
tion of part of a building occupied for 100 years by the
Department of Military Geography.[39]

[9] Both works are lost. The entire composition of Michelan-
gelos painting is known from a copy by Aristotole da San-
gallo, 1542.[40] Leonardos painting is only known from
preparatory sketches and several copies of the centre sec-
tion, of which the best known, and probably least accurate,
is by Peter Paul Rubens.[41]
[10] D'Oggiono is known in part for his contemporary copies
of the Last Supper.
[11] 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.[48]
[12] On the day of Leonardos death, a royal edict was issued
by the king at Saint-Germain-en-Laye, a two-day journey
from Clos Luc. This has been taken as evidence that King
Francis cannot have been present at Leonardos deathbed.
However, White in Leonardo: The First Scientist points
out that the edict was not signed by the king.
[13] This was a charitable legacy as each of the sixty paupers
would have been awarded an established mourners fee in
the terms of Leonardos will.
[14] The black cloak, of good quality material, was a ready-
made item from a clothier, with the fur trim being an
additional luxury. The possession of this garment meant
that Leonardos house keeper could attend his funeral re-
spectably attired at no expense to herself.
[15] Michael Baxandall lists 5 laudable conditions or reac-
tions of Mary to the presence and announcement of the
angel. These are: Disquiet, Reection, Inquiry, Submis-
sion and Merit. In this painting Marys attitude does not
comply with any of the accepted traditions.[77]
[16] The painting, which in the 18th century belonged to
Angelica Kauman, was later cut up. The two main sec-
tions were found in a junk shop and cobblers shop and
were reunited.[78] It is probable that outer parts of the
composition are missing.
[17] Whether or not Vasari had seen the Mona Lisa is the sub-
ject of debate. The opinion that he had not seen the paint-
ing 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 gure with eyebrows that were subsequently
removed. (They were not fashionable in the mid-16th
century.)[24] 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.[87]
[18] Jack Wasserman writes of the inimitable treatment of the
surfaces of the painting.[88]
[19] The Grecian prole has a continuous straight line from
forehead to nose-tip, the bridge of the nose being excep-
tionally high. It is a feature of many Classical Greek stat-
ues.
17
[20] Left-handed writers using a split nib or quill pen experi-
ence diculty pushing the pen from left to right across the
page.
[21] This method of organisation minimises of loss of data in
the case of pages being mixed up or destroyed.
9 References
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[11] Vezzosi, Alessandro (1997). Leonardo da Vinci: Renais-
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[19] Rosci, p. 21.
18
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 20
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William Heinemann.
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 21

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trated Encyclopedia. Octopus. ISBN 0-7064-0857-8. Project

Richter, Jean Paul (1970). The Notebooks of Complete text & images of Richters translation of
Leonardo da Vinci. Dover. ISBN 0-486-22572-0. the Notebooks
volume 2: ISBN 0-486-22573-9. A reprint of the
original 1883 edition. Web Gallery of Leonardo Paintings

Drawings of Leonardo da Vinci

Rosci, Marco (1977). Leonardo. Bay Books Pty
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Rossi, Paolo (2001). The Birth of Modern Science. The true face of Leonardo Da Vinci?
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Leonardo da Vincis Ethical Vegetarianism
Santi, Bruno (1990). Leonardo da Vinci. Scala /
Riverside. The Notebooks of Leonardo da Vinci

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ture 'Horse and Rider' unveiled
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Abrams. ISBN 0-8109-0262-1. Leonardo da Vinci: Anatomist The Queens
Gallery, Buckingham Palace, Friday, 4 May 2012 to
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044164-6.
Leonardo da Vinci, Master Draftsman, Catalog of an
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Winternitz, Emanuel (1982). Leonardo Da Vinci As
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11 External links
Herbermann, Charles, ed. (1913). "Leonardo da
Vinci". Catholic Encyclopedia. New York: Robert
Appleton Company.

Leonardo da Vinci and the Virgin of the Rocks, A

dierent point of view

Works by Leonardo da Vinci at Project Gutenberg

Leonardo da Vinci by Maurice Walter Brockwell at

Project Gutenberg

Works by or about Leonardo da Vinci at Internet

Archive
22 12 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

12 Text and image sources, contributors, and licenses

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bling Man, YurikBot, Wavelength, TexasAndroid, Pranakhan, ChiLlBeserker, Kinneyboy90, Gyre, Ste1n, Brandmeister (old), PlasticMan,
RussBot, Anonymous editor, Splash, ZFGokuSSJ1, KSmrq, Ansell, TommyP, KevinCuddeback, Mythsearcher, Akamad, Stephenb, Gaius
Cornelius, CambridgeBayWeather, Alvinrune, Neilbeach, Macukali, RadioKirk, Gustavb, Big Brother 1984, Burek, Skotte, Royalbroil,
Shanel, NawlinWiki, EWS23, Wiki alf, BigCow, Bachrach44, Markwiki, Veledan, Test-tools~enwiki, Grafen, Milo99, Dugosz, Justin
Eiler, Icelight, Howcheng, Cholmes75, Mithunc, Larry laptop, Moe Epsilon, RUL3R, Misza13, Iicatsii, Zzzzzzus, Tony1, Bucketsofg,
Syrthiss, DGJM, Aaron Schulz, Romarin, Samir, Antoshi, Gadget850, Wangi, Bota47, Asarelah, Tachyon01, Haemo, 1717, Nlu, Eric
Paul Owens, Tetracube, Crisco 1492, FF2010, Alecmconroy, Laszlo Panaex, Rolf-Peter Wille, Theodolite, Open2universe, Thursiya,
Jules.LT, Cynicism addict, Nikkimaria, Arnie587, Yuetyanli, Skenmy, E Wing, Pb30, NYArtsnWords, BorgQueen, GraemeL, MStraw,
TBadger, Artdealer1935, Superp, LeonardoRob0t, Fram, Peter, Amren, Tyrenius, Emc2, JLaTondre, Spliy, Spooksh, InvisibleSun,
RunOrDie, Spaceboy492, Katieh5584, Kungfuadam, Jonathan.s.kt, Snaxe920, Kcarlin, JDspeeder1, Philip Stevens, GrinBot~enwiki, El-
liskev, Gavinholt, Amberrock, Stumps, DVD R W, Psychade, Cobun, Luk, Lviatour, ChrisMott, Attilios, Phinnaeus, Sintonak.X, Crys-
tallina, Sarah, Damson88, SmackBot, Zuloon, YellowMonkey, Selfworm, PiCo, Elonka, Haymaker, Moeron, Bobet, JK23, Malkinann,
Reedy, TheTapedCrusader, Person man345, KnowledgeOfSelf, Kramertron, TestPilot, AdamDobay, Bigbluesh, David.Mestel, Jrinaldi,
Grantb, Pgk, Loukinho, Jak119, Blue520, Jacek Kendysz, NeshyD, Mszoldies303, Jagged 85, Chairman S., Bmearns, Samivel, Dell-
dot, AArz, Arniep, Vilerage, Wb, Kintetsubualo, Hudd, Bertilvidet, Antidote, Ga, Commander Keane bot, Xaosux, Yamaguchi ,
Gregreyj, Gilliam, Tomathy, Ohnoitsjamie, Hmains, Betacommand, Jushi, Ennorehling, Nfgii, Honbicot, ERcheck, Andy M. Wang,
Axis12002, Durova, Cowman109, Alicejenny, Sdalmonte, Anwar saadat, Mossman93, Bluebot, Mazeface, Baldghoti, NCurse, Stub-
blyhead, B00P, Master of Puppets, Djln, Jeysaba, G.dallorto, MalafayaBot, Papa November, JoeBlogsDord, Cloj, NewGuy, Je5102,
Kungming2, Patriarch, DHN-bot~enwiki, Da Vynci, Colonies Chris, Slumgum, Tweetystu101, Gracenotes, CARAVAGGISTI, Mex-
cellent, Tcpekin, Butterboy, Royboycrashfan, Zsinj, Driscoll, Sneltrekker, Can't sleep, clown will eat me, Timothy Clemans, Ajaxkroon,
Jahiegel, Andropow~enwiki, Vulcanstar6, Vanished User 0001, Joeyprokop, Ww2censor, Bentobias, Metaphysicus, TheKMan, EvelinaB,
Whpq, Chcknwnm, Mosca, SundarBot, Charm quark, Grover cleveland, J.R. Hercules, Sidious1701, Runefurb, Khoikhoi, Krich, Fuhghet-
taboutit, Swainstonation, Tvaughn05, MalevolentJuan, Iapetus, Tapered, Downwards, JmanPugs@gmail.com, Nakon, Savidan, TedE, Jid-
disch~enwiki, PL, RaCha'ar, Witchbaby, Iblardi, Lpgeen, Invincible Ninja, Sdol, Das Baz, Tanyakh, Wisco, Ashuvashu, Jklin, DMacks,
Wizardman, Kabalyonkey, Engleham, -Marcus-, Jollyjim311, Gaelin, Mion, Curly Turkey, Pilotguy, Wikipedical, Kukini, Ceoil, DCB4W,
Will Beback, Kkailas, Cyberevil, Bhludzin, CIS, SashatoBot, Lambiam, Checco, Nishkid64, Xdamr, Eliyak, Akubra, Arnoutf, Rory096,
12.1 Text 23

Ser Amantio di Nicolao, Yakbasser, Mad Jaqk, Sophia, Dbtfz, Kuru, John, Carnby, Euchiasmus, Ian Spackman, Treyt021, J 1982, Mugsy-
wwiii, Ascend, Brujo~enwiki, Pomakis, Jaganath, AllStarZ, PietVA, JoshuaZ, Chodorkovskiy, Christopherdunlap, CaptainVindaloo, Wick-
ethewok, Wormboysandwich, Bucs, Sailko, PseudoSudo, 041744, Across.The.Synapse, Eivind F yangen, Special-T, Tupac13th, The-
HYPO, Martinp23, Mr Stephen, Luvtheheaven, Hackerb9, Mets501, Zelrelli, Neddyseagoon, Dcyer, Anonymous anonymous, Ryulong,
Big Smooth, Onetwo1, Dr.K., RichardF, MTSbot~enwiki, Fromeout11, DavidMacD, Delta759, Hu12, Licorne, Tawkerbot, DabMachine,
Norm mit, ThuranX, Allisondata, Vanished user, Fan-1967, Iridescent, Alessandro57, MFago, Clarityend, Ssschulte, J Di, Boreas74,
Joao.caprivi, Sophruhig Vita@comcast.net, Twas Now, Jaksmata, Cbrown1023, Saturday, Tony Fox, Lilbtt99, Shoshonna, MikeHobday,
Ruiyuwu1998, Karunamon, Sharron Connelly, Rohin adalja, Shannernanner, Ewulp, Civil Engineer III, Az1568, GiantSnowman, Hmendel,
Ziusudra, Anger22, PatIZZLE, Melancholia i, Ande B., Tawkerbot2, MarylandArtLover, Dlohcierekim, Ellin Beltz, Daniel5127, Binks,
VinceB, Chris55, Orangutan, Baqu11, SupaPhly, SkyWalker, Firehawk1717, Dia^, Zotdragon, GeneralIroh, Stockdot, Retune, Wolfdog,
Randhirreddy, Patrick Berry, Ale jrb, Geremia, Unionhawk, Van helsing, Silversink, SupaStarGirl, Arancini, Opblaaskrokodil, Green cater-
pillar, ShelfSkewed, Halbared, Gold900, Shizane, Casper2k3, Stefan Jansen, Doctorevil64, C5mjohn, Keithh, Beornas, Chicheley, Charlie
Huggard, MrFish, Lookingforgroup, Mike 7, Spang, Kelly elf, Funnyfarmofdoom, Qrc2006, Nilfanion, Supernerd1234, Sopoforic, Pit-
yacker, Jane023, Cydebot, Potters house, Meighan, Marqueed, Abeg92, Road Wizard, Terri G, Reywas92, Robinatron, Sherkhon~enwiki,
Gwdr500, Grahamec, Brillig20, Evenni, ZippyKid, DrunkenSmurf, Vanished user vjhsduheuiui4t5hjri, Gogo Dodo, Kettil, Travelbird, Red
Director, JFreeman, Llort, Adolphus79, Neblund, RabidWolf, Rasssd, Benjiboi, Synergy, Amandajm, Wiki-doo, Karaas, Tawkerbot4,
Kwaku~enwiki, Chrislk02, Asenine, Cykotik freek, Biblbroks, Garik, Kozuch, Cshore, Jtzapp, Ward3001, SteveMcCluskey, Omicron-
persei8, Woland37, Nol888, Ntfc2, Bissy~enwiki, NadirAli, Godfrey of Bouillon, Rjm656s, I63G, Malleus Fatuorum, Thijs!bot, Allen
43, Rhooker1236, Peter morrell, Wikid77, Blazikien 30, Qwyrxian, CSvBibra, Mohsinwaheed, TonyTheTiger, Willworkforicecream,
Kablammo, Martin Hogbin, Kikipo, Smilyperson123, Sdh-94, Imusade, Newton2, Marek69, Pradeep13, West Brom 4ever, John254,
Kingsleychan94, WSFWarlord~enwiki, Basmaz, Merbabu, Csm 1701, Tellyaddict, GregTheGoose, Dcanem, Aericanwizard, Assianir,
CharlotteWebb, Short stop, BKI 1226, Sandman9081, Tock90, Insiriusdenial, Sean William, GLGerman~enwiki, Geneects, Hexag1,
AlefZet, Northumbrian, Oreo Priest, Clever curmudgeon, Keepinitril, EdJogg, AntiVandalBot, Yuanchosaan, RobotG, Bradycardia, Ma-
jorly, Manuel de Sousa, Luna Santin, Aldebaran69, Fatidiot1234, N2000, Opelio, Dr. Blofeld, O29, Mrshaba, Moorematthews, Hay-
wardmedical, Mal4mac, Vic226, Hopiakuta, Clamster5, TexMurphy, R.A Huston, Jacqke, Modernist, Williamsmith1977, Farosdaugh-
ter, Walt373, Gh5046, Politicaljunkie23, Lonestar662p3, Fireice, Coreydaj, RYGLEN, .anaconda, LawfulGoodThief, DarkAngel007,
Sluzzelin, JAnDbot, Denidoc@gmail.com, Dan D. Ric, Dereckson, Athkalani~enwiki, Candent shlimazel, MER-C, BonRouge, Hydro,
Matthew Fennell, Sanchom, Blood Red Sandman, Fetchcomms, Dalek Cab, Andonic, RainbowCrane, TAnthony, Snesfm~enwiki, Severo,
Itsjustlife, Y2kcrazyjoker4, LittleOldMe, Meeples, Z22, Exairetos, Magioladitis, Connormah, Loic54, Bongwarrior, VoABot II, Mar-
tinDK, Pinkstarmaci, Kaizokuo, Xn4, JNW, Yandman, Norden1990, Super gaara, Praveenp, Winthr0p, Mbc362, Rivertorch, Barbagianni
potente, SilentStryk07, Schreiber777, Becksguy, Sasha l~enwiki, Mapetite526, Avicennasis, Hifrommike65, DXRAW, Dmv74, Bubba
hotep, GroovySandwich, KConWiki, Hekerui, Armuk, Vanished user dkjsdfkljeritekk4, LeinaD natipaC, Syphon8, Cyktsui, Iwantedthe-
dudebutitwasgone, User86654, Dementedscribe, PsychoYoshi, CaCtUs2003, Freddyd945, Vlad b, Bjbeamish, Gdk411, JaGa, Leonar-
doDaVinci, Interrobamf, Wdake, Esanchez7587, JdeJ, Unsy770, Wi-king, Aeolian Angel, DuO, Mn101, Gun Powder Ma, Wikianon,
Rickard Vogelberg, Oroso, Claudev8, FisherQueen, Paganize, Skarioszky, Mercewiki en, MartinBot, Langdon341, Arjun01, N734LQ,
Rettetast, Prochelle11, Davinci1234, Nickpunt, Averross, CommonsDelinker, Wiki Raja, Henrylievsay, Nev1, Mr.mister2, Spindaqlous,
Tlim7882, EscapingLife, Patsyanks06, Bogey97, Numbo3, Nbauman, Galahad 86, Hans Dunkelberg, Discott, SlightlyInsane, Maurice Car-
bonaro, Traviskeys, Kkcolor, Wonkeythemonkey, Drewwiki, Cowngers, Gowaes, TomS TDotO, HirschiDude, Davidprior, JDHarper,
Raver212, Acalamari, Bot-Schafter, Katalaveno, Stammer, Johnbod, Opeje, Boghat, Grosscha, P4k, Melty girl, Z388, Gmchambless1,
Real singh shady, Jon335, Shoveling Ferret, AntiSpamBot, (jarbarf), Chiswick Chap, Pannonius, Ajox~enwiki, Rev. John, ULC, NewEng-
landYankee, Ultimantorca, Strekoza, DadaNeem, LeighvsOptimvsMaximvs, ArdenD, Tanaats, Prof Reeder, Benw7700, Gtrfreek28, Sil-
lyhillbillyjiminybillybob, Mrmuk, SmallPotatoes, Gtomlin2003, Johnmizzi, Ross Fraser, Natl1, Jangalinn, Ender823, Albalovescholo, In-
wind, Useight, Ktoonen, Scewing, Xiahou, Arael2, Spellcast, SimDarthMaul, Neva07, Lorenzop~enwiki, Ploue, Daimore, David E Welsh,
Hatoshi, Hugo999, Vranak, Quatzzle, UnicornTapestry, Dandanaz, Team7826, VolkovBot, Coconut45621, Vincentlinuno, Je G., Indu-
bitably, Randy6767, Lanapopp, Nyahnyah, Vampirehunter007, Szesetszedziesitsze, TXiKiBoT, Saxobob, Johnello, CosmicWaes,
Hqb, Xerxesnine, Planetary Chaos, Park70, Rei-bot, Fusionsnake, Ann Stouter, Stagerj, Big ant 88, Astrius, Dr. Gary Carter, Proudrepub-
licanguy, Tupolev154, NVO, X1a4muse, Andreas Kaganov, Geradusmercator, Steveniscool, Qwerty098756qwerty09876, Leoinvenci-
ble~enwiki, JhsBot, Stephen-holmes, Gsimlote, FireColts, Thethethe123, Imnotsure, Omcnew, Soul Train, Wassermann~enwiki, Lam-
byte, Latouedisco, Cogburnd02, Sapiens The Reader, Peter Konieczny, Kiinslayer, Mohit.sachdeva, Ozalid, XX7, Captaincoee, Do-
minicgump, Reuteler, Lucas Voudrie, Sorrimnalyd, Daufer, MCTales, Seresin, Djmckee1, Jaa1229, MurderWatcher1, Ebany2, Citymove-
ment, Doc James, AlleborgoBot, Qwertqwertqwert, Symane, Bigmac1994, Planet-man828, Photo.guy4god, Blac4051, Vanje, Demmy,
Drako Knight, DivinePaladin, Ysp~enwiki, Pentium1000, Hornybugger, Wrathchild96, SieBot, Starshman9, Oxxo, Ostap R, Nihil novi,
Lasergreen, EwokiWiki, Sonyack, ReDickYouLess, Gerakibot, Born Again 83, Parhamr, Viskonsas, Triwbe, Mulhim, Joe4t, Columbia13,
Donnie higginbotham, Chack Jadson, JohnManuel, Lucky george, Sn7789, Happysailor, Exert, Bbb556, Monegasque, Ryanmikalson,
Surgeonboi, Thbestforever, Smartskater, Shakko, Oxymoron83, Antonio Lopez, Artoasis, Lourakis, Lisatwo, Lightmouse, RSStock-
dale, Kattukuthira, Ycsm, Ogre lawless, Drjamesaustin, OKBot, Kumioko (renamed), Dillard421, RogueTeddy, Coldcreation, StaticGull,
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rot, Jamieeeeeeeeeeee, Lartoven, Lasta, ParisianBlade, NuclearWarfare, Aurora2698, Jotterbot, TheRedPenOfDoom, Mickey gfss2007,
Audaciter, Dolphineclipse, Muro Bot, Louturks, JasonAQuest, BOTarate, Vermat10, Johnuniq, MasterOfHisOwnDomain, Darkicebot,
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rolls, Zorrobot, HerculeBot, CommuteByCycle, Legobot, Luckas-bot, Yobot, EchetusXe, JJARichardson, Kjell Knudde, KamikazeBot,
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erMMVIII, A455bcd9, TechBot, Sylwia Ufnalska, As instructed, Seanmercy, Gap9551, Uomodis08, Almabot, Hi878, Armbrust, Swd,
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man, Dabit100, Evenrd, Zabadinho, Jujutacular, AustralianMelodrama, Necrojesta, Feuerrabe, Kgrad, Ambarsande, TobeBot, Thunder-
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cense: CC BY-SA 4.0 Contributors: Own work Original artist: Mitzi.humphrey
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posture_and_body_mechanics_08.web.jpg License: CC BY-SA 4.0 Contributors: Own work Original artist: Ziv lenzner
File:Andrea_del_Verrocchio,_Leonardo_da_Vinci_-_Baptism_of_Christ_-_Uffizi.jpg Source: https://upload.wikimedia.org/
wikipedia/commons/b/bc/Andrea_del_Verrocchio%2C_Leonardo_da_Vinci_-_Baptism_of_Christ_-_Uffizi.jpg License: Public
domain Contributors: The Yorck Project: 10.000 Meisterwerke der Malerei. DVD-ROM, 2002. ISBN 3936122202. Distributed by
DIRECTMEDIA Publishing GmbH. Original artist: Andrea del Verrocchio
File:Andrea_del_Verrocchio_-_Mary_with_the_Child_-_Google_Art_Project.jpg Source: https://upload.wikimedia.org/wikipedia/
commons/9/9a/Andrea_del_Verrocchio_-_Mary_with_the_Child_-_Google_Art_Project.jpg License: Public domain Contributors:
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License: CC0 Contributors: https://openclipart.org/detail/105859/booksajsvg-aj-ashton-01 Original artist: AJ on openclipart.org
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nal artist: ?
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tributors: HubbleSite: gallery, release. Original artist: NASA, ESA, J. Hester and A. Loll (Arizona State University)
File:Da_Vinci_Vitruve_Luc_Viatour.jpg Source: https://upload.wikimedia.org/wikipedia/commons/2/22/Da_Vinci_Vitruve_Luc_
Viatour.jpg License: Public domain Contributors:
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Original artist: Leonardo da Vinci
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utors: Own work Original artist: RexxS
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Machine.jpg License: Public domain Contributors: http://www.drawingsofleonardo.org Original artist: Leonardo da Vinci
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http://www.vandaprints.com/image.php?id=68396 Original artist: Leonardo da Vinci
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inal artist: ?
12.2 Images 25

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artist: ?
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sa-3.0 Contributors: ? Original artist: ?
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Contributors: Petit Palais 19th Century Collection Original artist: Jean Auguste Dominique Ingres
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//www.wga.hu/art/g/ghirland/domenico/5sassett/frescoes/5confir3.jpg' data-x-rel='nofollow'><img alt='Inkscape.svg' src='https:
//upload.wikimedia.org/wikipedia/commons/thumb/6/6f/Inkscape.svg/20px-Inkscape.svg.png' width='20' height='20' srcset='https:
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wikipedia/commons/thumb/6/6f/Inkscape.svg/40px-Inkscape.svg.png 2x' data-le-width='60' data-le-height='60' /></a> Image <a
href='http://www.wga.hu/html/g/ghirland/domenico/5sassett/frescoes/5confir3.html' data-x-rel='nofollow'><img alt='Information
icon.svg' src='https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Information_icon.svg/20px-Information_icon.svg.png'
width='20' height='20' srcset='https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Information_icon.svg/30px-Information_
icon.svg.png 1.5x, https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Information_icon.svg/40px-Information_icon.svg.png
2x' data-le-width='620' data-le-height='620' /></a> Info about artwork Original artist: Domenico Ghirlandaio
File:Gylleneportarna.jpg Source: https://upload.wikimedia.org/wikipedia/commons/c/ca/Gylleneportarna.jpg License: Public domain
Contributors: Created by Domeij Original artist: Gates of Paradise
File:Hugo_van_der_Goes_006.jpg Source: https://upload.wikimedia.org/wikipedia/commons/f/f1/Hugo_van_der_Goes_006.jpg Li-
cense: Public domain Contributors: The Yorck Project: 10.000 Meisterwerke der Malerei. DVD-ROM, 2002. ISBN 3936122202. Dis-
tributed by DIRECTMEDIA Publishing GmbH. Original artist: Hugo van der Goes
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main Contributors: Web Gallery of Art: <a href='http://www.wga.hu/art/l/leonardo/08heads/07isabel.jpg' data-x-rel='nofollow'><img
alt='Inkscape.svg' src='https://upload.wikimedia.org/wikipedia/commons/thumb/6/6f/Inkscape.svg/20px-Inkscape.svg.png' width='20'
height='20' srcset='https://upload.wikimedia.org/wikipedia/commons/thumb/6/6f/Inkscape.svg/30px-Inkscape.svg.png 1.5x, https://
upload.wikimedia.org/wikipedia/commons/thumb/6/6f/Inkscape.svg/40px-Inkscape.svg.png 2x' data-le-width='60' data-le-height='60'
/></a> Image <a href='http://www.wga.hu/html/l/leonardo/08heads/07isabel.html' data-x-rel='nofollow'><img alt='Information icon.svg'
src='https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Information_icon.svg/20px-Information_icon.svg.png' width='20'
height='20' srcset='https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Information_icon.svg/30px-Information_icon.svg.png
1.5x, https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Information_icon.svg/40px-Information_icon.svg.png 2x' data-le-
width='620' data-le-height='620' /></a> Info about artwork Original artist: Leonardo da Vinci
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License: Public domain Contributors: Web Gallery of Art: <a href='http://www.wga.hu/art/l/leonardo/01/8jerome.jpg' data-x-
rel='nofollow'><img alt='Inkscape.svg' src='https://upload.wikimedia.org/wikipedia/commons/thumb/6/6f/Inkscape.svg/20px-Inkscape.
svg.png' width='20' height='20' srcset='https://upload.wikimedia.org/wikipedia/commons/thumb/6/6f/Inkscape.svg/30px-Inkscape.
svg.png 1.5x, https://upload.wikimedia.org/wikipedia/commons/thumb/6/6f/Inkscape.svg/40px-Inkscape.svg.png 2x' data-le-
width='60' data-le-height='60' /></a> Image <a href='http://www.wga.hu/html/l/leonardo/01/8jerome.html' data-x-rel='nofollow'><img
alt='Information icon.svg' src='https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Information_icon.svg/20px-Information_
icon.svg.png' width='20' height='20' srcset='https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Information_icon.
svg/30px-Information_icon.svg.png 1.5x, https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Information_icon.svg/
40px-Information_icon.svg.png 2x' data-le-width='620' data-le-height='620' /></a> Info about artwork Original artist: Leonardo da
Vinci
File:Leonardo_Da_Vinci{}s_Brain_Physiology.jpg Source: https://upload.wikimedia.org/wikipedia/commons/e/e2/Leonardo_Da_
Vinci%27s_Brain_Physiology.jpg License: Public domain Contributors: http://www2.warwick.ac.uk/fac/med/study/ugr/mbchb/societies/
surgical/events/invited_lecture_-/ Original artist: Leonardo da Vinci
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Vinci_-_Annunciazione.jpeg License: Public domain Contributors: http://www.marysrosaries.com/collaboration/index.php?title=File:
Annunciation_-_Leonardo_Da_Vinci_-_Annunciazione.jpeg Original artist: Leonardo da Vinci
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CC0 Contributors: Own work Original artist:
File:Leonardo_da_Vinci_-_Adorazione_dei_Magi_-_Google_Art_Project.jpg Source: https://upload.wikimedia.org/wikipedia/
commons/2/27/Leonardo_da_Vinci_-_Adorazione_dei_Magi_-_Google_Art_Project.jpg License: Public domain Contributors:
RQFL5tibYCPGOg at Google Cultural Institute, zoom level maximum Original artist: Leonardo da Vinci
File:Leonardo_da_Vinci_-_Plan_of_Imola_-_Google_Art_Project.jpg Source: https://upload.wikimedia.org/wikipedia/commons/
8/85/Leonardo_da_Vinci_-_Plan_of_Imola_-_Google_Art_Project.jpg License: Public domain Contributors: hgEpMgZ5mn6R4A at
Google Cultural Institute maximum zoom level Original artist: Leonardo da Vinci
File:Leonardo_da_Vinci_-_Saint_John_the_Baptist_C2RMF_retouched.jpg Source: https://upload.wikimedia.org/wikipedia/
commons/b/b8/Leonardo_da_Vinci_-_Saint_John_the_Baptist_C2RMF_retouched.jpg License: Public domain Contributors: Based on
File:Saint Jean-Baptiste, by Leonardo da Vinci, from C2RMF.jpg, originally: C2RMF: Galerie de tableaux en trs haute dnition: image
page Original artist: Leonardo da Vinci
File:Leonardo_da_Vinci_-_Studies_of_the_foetus_in_the_womb.jpg Source: https://upload.wikimedia.org/wikipedia/commons/6/
63/Leonardo_da_Vinci_-_Studies_of_the_foetus_in_the_womb.jpg License: Public domain Contributors: Hi! Magazine (direct link)
Original artist: Leonardo da Vinci
File:Leonardo_da_Vinci_-_Virgin_and_Child_with_Ss_Anne_and_John_the_Baptist.jpg Source: https://upload.wikimedia.org/
wikipedia/commons/c/c8/Leonardo_da_Vinci_-_Virgin_and_Child_with_Ss_Anne_and_John_the_Baptist.jpg License: Public domain
Contributors: National Gallery collection Original artist: Leonardo da Vinci
26 12 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

File:Leonardo_da_Vinci_Virgin_of_the_Rocks_(National_Gallery_London).jpg Source: https://upload.wikimedia.org/wikipedia/

commons/4/49/Leonardo_da_Vinci_Virgin_of_the_Rocks_%28National_Gallery_London%29.jpg License: Public domain Contributors:
1. The Yorck Project: 10.000 Meisterwerke der Malerei. DVD-ROM, 2002. ISBN 3936122202. Distributed by DIRECTMEDIA Publish-
ing GmbH.
Original artist: Leonardo da Vinci and workshop
File:Leonardo_da_vinci,_The_Virgin_and_Child_with_Saint_Anne_01.jpg Source: https://upload.wikimedia.org/wikipedia/
commons/b/bb/Leonardo_da_vinci%2C_The_Virgin_and_Child_with_Saint_Anne_01.jpg License: Public domain Contributors:
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srcset='https://upload.wikimedia.org/wikipedia/commons/thumb/6/6f/Inkscape.svg/30px-Inkscape.svg.png 1.5x, https://upload.
wikimedia.org/wikipedia/commons/thumb/6/6f/Inkscape.svg/40px-Inkscape.svg.png 2x' data-le-width='60' data-le-height='60'
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1.5x, https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Information_icon.svg/40px-Information_icon.svg.png 2x' data-le-
width='620' data-le-height='620' /></a> Info about artwork Original artist: ?
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commons/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg License: Public domain Contributors:
Cropped and relevelled from File:Mona Lisa, by Leonardo da Vinci, from C2RMF.jpg. Originally C2RMF: Galerie de tableaux en trs
haute dnition: image page Original artist: C2RMF: Galerie de tableaux en trs haute dnition: image page
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cense: LGPL Contributors: The source code of this SVG is <a data-x-rel='nofollow' class='external text' href='//validator.
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svg,<span>,&,</span>,ss=1#source'>valid</a>. Original artist: Peter Kemp
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