1452

Private life

Leonardo da Vinci was born on Saturday 15^th April at 10.30 pm in Anchiano, Vinci, a small town just outside of Florence. He was the illegitimate son of 25year-old ser Piero Fruosino di Antonio da Vinci (a notary) and a country girl, Caterina.

The illegitimate nature of Leonardo’s birth, did not appear to have carried with it social stigma, with the exception that some professions would have been closed to him. He was a welcomed child and was raised in his father’s house, who married another woman.

1460

Leonardo moved to Florence (see Florence), with his father.

Florence

In the 14^th Century, Florence had been a city in decline. It had seen wars, civil uprisings and political conspiracies. However, in the 15^th century it grew to become the most prosperous Italian city and the European capital of the Arts. Florence became wealthy through its commercial enterprises, based on silks, textiles, metalworking and banking. Politically, power was held by those responsible for the city’s wealth; the merchants, manufacturers and bankers.

Florence also became renowned for its tradition of liberty and humanist (see Humanism) learning.

A number of its chancellors were scholars, who advanced the concept that learning could be applied to the running of public affairs. It was a city famous for its financial and political shrewdness and its exceptional craft skills. These factors gave the people of Florence a renewed confidence and belief in their city.

The famous banking family, the Medicis, seized power in 1434, marking the beginning fifty year rule. With their wealth and influence, the Medicis encouraged a vibrant exchange of intellectual, artistic, political and philosophical ideas, which enabled Florence to enjoy a period of unrivalled cultural activity.

Cosimo Medici was patron to Brunelleschi, Donatello, Fra Angelico and Fillippo Lippi. Brunelleschi’s stunning dome of the cathedral dominated the city’s skyline. The cathedral itself was surrounded by impressive public buildings and the palaces of wealthy Florentine families. These families competed with each other to secure the finest artists to work for them (see Patronage). Cosimo’s grandson, Lorenzo, continued this patronage, encouraging a great flourishing of art, music and poetry.

Humanism

Humanism was the great intellectual movement of the Renaissance. Humanists rediscovered Greek or Latin classics, believing them to contain the lessons individuals needed to lead a moral and purposeful life. From this “rebirth” or “renaissance” of the ancient classical world, humanists developed a new, disciplined classical scholarship. In antiquity these disciplines were called “artes liberales” or”liberal arts”. These were considered to provide the knowledge and skills which would enable an individual to be free, to determine for themselves, truth and falsehood. Humanist philosophy emphasised the dignity of humanity. Humanists developed their own view of theology, some believed the message of Christianity could be learnt by any educated person who studied the Bible.

Patronage

The ‘ideal’ patron of the arts is someone who financially supports an artist and purchases their work. However from the very earliest days of patronage, works of art were regarded as either items for use, or as a display of wealth, designed to enhance the prestige of both patron and artist.

Historically wealthy individuals or communities endeavoured to employ the finest craftsmen to work for them. As early as the 14^th Century, Giotto found patrons who not only engaged him as recognition of his fame, but also considered that his presence in Florence would enhance the prestige of their city.

Ambitious popes of the 15^th and early 16^th Century tried to impress upon artists the power of their religious positions and the following they commanded, to secure artists to work for them. Pope Julius II was notable for his desire to return Rome to its former imperial grandeur. Famous artists such as Bramante, Michaelangelo and Raphael worked for him.

In the Northern states, King Francis I of France employed Leonardo and Cellini, while Emperor Maximilian engaged Durer and Burgkmair. In England, King Henry VIII employed Holbein and Torringiano. Such rulers also wanted to be seen as enabling the arts to flourish under their patronage, thus enhancing their reputations.

1469

Leonardo became an apprentice in the workshop of the great Florentine sculptor and painter Andrea del Verrocchio (c. 1436 -88). His apprenticeship followed the established training of grinding and mixing paint pigments, the mixing of colours, studying their uses and preparing panel surfaces. He made studies of nudes and draped models in preparation for pictures and statues. He studied geometry, optics and perspective and also learnt the technical skills of foundry and metalwork.

1470 - 1473

Verrocchio was commissioned to paint Baptism of Christ. This is the first evidence of a Leonardo painting, on which he assisted while still in Verrocchio’s studio. He painted the angel on the extreme left of the picture. Verrocchio painted in tempera, Leonardo in oil.

Tempera was an ancient painting medium using a mixture of coloured pigments, egg yolk which acted as an adhesive and water. The fifteenth century saw the introduction of paints with an oil base and at the time of Leonardo, was relatively innovative.

1472

After his three year apprenticeship, Leonardo was admitted as a member of the Painters Guild of Florence. Although this meant that he was now able to undertake his own commissions, he chose to remain in Verrocchio’s workshop.

1476

Private life

Leonardo was anonymously accused, along with three others, of committing sodomy with Jocopo Salterelli (a 17-year-old part-time model in Verrocchio’s studio). The case was dropped, due to lack of evidence and possibly due to the fact that co-accused Lionardo Tornabuoni was the son of a Medici. The Tornabuoni family were also patrons of Verrocchio.

Military

Despite calling war “beastly madness” Leonardo designed some of the most formidable weaponry of his time. His notebooks display numerous sketches of military weaponry and plans for fortifications.

He was able to observe the many armourers’ workshops and arsenals in Florence, which stimulated his ideas on improving existing weapons and designing new ones.

Leonardo’s approach to weapons design was distinct, and followed his overall design philosophy; to organise, assemble and mechanise a particular activity. His goal was to devise a single machine, where previously several were needed, to achieve the same results.

Milan had a long history of arms specialism, producing the highest quality traditional weaponry of the time. Many of Leonardo’s designs were, however, unique and it was the uniqueness of his machines that he promoted. The social standing of a military engineer during the Renaissance was highly regarded, providing not only political, but also military prestige to those who engaged them.

City states

In the 15^th Century what is now Italy was divided into many small independent states, which were ruled in various ways. In the South, Naples was ruled by a series of kings. The middle part of Italy was ruled by the Popes of the Roman Catholic Church. Northern Italy was ruled by powerful families who controlled the richest and largest city states such as Milan, Venice and Florence. In a climate of continual power struggles, these city states fought wars against each other and military weaponry played an important role.

1481

Military

In 1481, Leonardo wrote a fascinating letter to Ludovico Sforza, later to become Duke of Milan. This letter, aimed at obtaining work at Sforza’s court, reads like a Renaissance CV, but it is Leonardo’s emphasis on his military skills which makes this document so remarkable. He notes, almost as a postscript, that he is also a painter and sculptor, able to create an equestrian bronze sculpture, which is to be commissioned.

“Most illustrious Lord, having by now sufficiently considered the experience of those men who claim to be skilled inventors of machines of war, and having realised that the said machines in no way differ from those commonly employed, I shall endeavour, without prejudice to anyone else, to reveal my secrets to Your Excellency, for whom I offer to execute, at your convenience, all the items briefly noted below.

I have a model of very strong but light bridges, extremely easy to carry, by means of which you will be able to pursue of if necessary flee an enemy; I have others, which are sturdy and will resist fire as well as attack and are easy to lay down and take up. I also know ways to burn and destroy those of the enemy.

During a siege, I know how to dry up the water of the moats and how to construct an infinite number of bridges, covered ways, scaling ladders, and other machines for this type of enterprise.

If by reason of the height of the banks or the strength of the place and its position, it is impossible when besieging a place, to avail oneself of the plan of bombardment, I have methods for destroying every rock or other fortress, even if it were founded on rock.

I have kinds of mortar; most convenient and easy to carry; and with these I can fling small stones almost resembling a storm; and with the smoke of these cause great terror with the enemy, to his great detriment and confusion.

I know how to use paths and secret underground tunnels, dug without noise and following tortuous routes, to reach a given place, even if it means passing below a moat or a river.

I will make covered vehicles, safe and unassailable, which will penetrate enemy ranks with their artillery and destroy the most powerful troops; the infantry may follow them without meeting obstacles or suffering damage.

In case of need, I will make large bombards, mortars, and fire-throwing engines, of beautiful and practical design, which will be different from those presently in use.

Where bombardment would fail, I can make catapults, mangonels, trabocchi, or other unusual machines of marvellous efficiency, not in common use. In short, whatever the situation, I can invent an infinite variety of machines for both attack and defence.

And if battle is to be joined at sea, I have many very efficient machines for both attack and defence; and vessels that will resist even the heaviest cannon fire, fumes and gun-powder.

In peacetime, I think I can give perfect satisfaction and be the equal of any man in architecture, in the design of buildings public and private, or to conduct water from one place to another.

I can carry out sculpture in marble, bronze, and clay; and in painting can do any kind of work as well as any man, whoever he be.

Moreover, the bronze horse could be made that will be to the immortal glory and eternal honour of the lord your father of blessed memory and of the illustrious house of Sforza.

And if any of the items mentioned above appears to anyone impossible or impractical, I am ready to give a demonstration in your park or in any other place that should please Your Excellency - to whom I recommend myself in all humility, etc.

1480 - 1482

Military

Eight-barrelled organ

Sketches of the eight barrelled organ (or gun) appear in the Codex Atlanticus and are dated between 1480-1482. Leonardo designed a fan-shaped formation of small calibre gun barrels. The barrels were supported on a single wheel carriage and would have achieved a longer firing range and greater accuracy of adjustment than traditional guns. The gun carriage itself, despite holding eight barrels, wasn’t large or cumbersome, and would have enabled quick manoeuvrability in battle.

Thirty-three-barrelled organ

Sketches from the same Codex reveal plans for another of Leonardo’s multi-barrelled artillery weapons, a machine gun capable of firing from thirty-three barrels. The barrels were designed to fire in sets of eleven, which were supported on a single revolving structure. The designs stipulate that when the first row of eleven barrels had been fired, the second and third rows of eleven barrels could be loaded. These were hinged to the framework so that they swung upwards for loading. Once loaded, the barrels would have been held in position with a metal bar fitted with wooden pins.

It is unclear from the codices if either of these weapons were ever built.

Art

The Adoration of the Magi, was intended for the Monastery of Saint Donato a Scopeto near Florence, but it was left unfinished when Leonardo left for Milan.

The painting displays a crowd of people, some on horses, surrounding the Virgin and Child. The staircase of a ruined palace looms in the middle distance and a procession of people advance to join in the worship. To the far right of the picture stands a shepherd boy, which is thought by some to be the only self-portrait of a young Leonardo, based upon a bronze statue for which he modelled for his master, Verrocchio. The ruins have been thought to reflect the demise of paganism after the birth of Christ.

In terms of composition Leonardo focused attention on the central group, despite the animated crowd around them, using light, space, line and gesture.

The Adoration of the Magi is a highly ambitious painting, where Leonardo attempted to portray not only an intricate and crowded scene, but also delved into a study of human emotion. In this painting Leonardo displayed his interest in the complexity of human nature and anatomy. He was so intent on a true physical representation of his figures that he painted his figures nude first and then dressed them.

In order to paint a true narrative representation of the event, Leonardo returned to the Bible to study his vision of the original story.

There remain more preparatory sketches and drawings for this painting than for any of Leonardo’s other works, one of which is based entirely on mathematically accurate perspectivei norder to create a convincing illusion of space. In these, Leonardo grappled with the final composition, drawing the figures in a multitude of forms. He also completed numerous studies for the horses, experimenting with different positions and placement.

1485

Flight

Parachute

Leonardo was the first known inventor of a parachute. His drawings show a pyramid-shaped linen canopy, which was about seven metres wide and equally deep, if held open firmly. He concluded anyone could jump from any height without any risk at all. It is not known if Leonardo ever tested his design, however, modern parachutists have recreated his invention and tested it by leaping from a moving aircraft. It worked.

Aerial Screw (helicopter)

Leonardo’s sketch of the Arial Screw was made while he was in Milan, between 1483-1486 and was part of a series of machines focused on mechanical flight. Some have likened his sketches of the Aerial Screw as a version of the modern-day helicopter.

The design had a diameter of 5 metres, and the proposed materials were wire, linen and reed. It is assumed that it would have been operated by four men standing on the central ledge, with their hands appliying pressure on the bars in front of them, enabling the shaft to turn.His notebook also contained sketches for a paper model of a screw, which would be propelled upwards using a coiled spring placed around the screw’s base.

Leonardo’s sketch, was not designed as an actual flying machine but as a study of a propeller’s efficiency. However, he appears to be suggesting in his notes that, in principle, if constructed in a larger size and given enough power, the Aerial Screw could have lifted from the ground.

1485 - 1487

Military

Giant crossbow

Whilst Leonardo was renowned for his innovation for new forms of military weapons, now regarded as incredibly advanced for his time, much of his work focused upon improving traditional weaponry design, adapting them to work more effectively. An example of this was his work on a giant crossbow, which was intended to fire large arrows into enemy lines. The enormous bow was designed to be made in a number of sections which would increase not only the force of the arrow but would also enable flexibility of movement. In the design, a rope was stretched by a mechanical device and released by lever action. To provide firing stability, the six carriage wheels that supported the crossbow could be inclined.

    next > Page 1 of 2

Content last updated: 29/04/2008

Comments