Part 3

Some time after Leonardo's arrival at Milan, a design had been entertained of cutting a canal from Martesana to Milan, for the purpose of opening a communication by water between these two places, and, as it is said, of supplying the last with water. It had been first thought of so early as 1457[i29]; but from the difficulties to be expected in its execution, it seems to have been laid aside, or at least to have proceeded slowly, till Leonardo's arrival. His offers of service as engineer in the above memorial, probably induced Lodovic Sforza, the then Duke, to resume the intention with vigour, and accordingly we find the plan was determined on, and the execution of it intrusted to Leonardo. The object was noble, but the difficulties to be encountered were sufficient to have discouraged any mind but Leonardo's; for the distance was no less than two hundred miles; and before it could be completed, hills were to be levelled, and vallies filled up, to render them navigable with security[i30].

In order to enable him to surmount the obstacles with which he foresaw he should have to contend, he retired to the house of his friend Signior Melzi, at Vaverola, not far distant from Milan, and there applied himself sedulously for some years, as it is said, but at intervals only we must suppose, and according as his undertaking proceeded, to the study of philosophy, mathematics, and every branch of science that could at all further his design; still continuing the method he had before adopted, of entering down in writing promiscuously, whatever he wished to implant in his memory: and at this place, in this and his subsequent visits from time to time, he is supposed to have made the greater part of the collections he has left behind him[i31], of the contents of which we shall hereafter speak more at large.

Although engaged in the conduct of so vast an undertaking, and in studies so extensive, the mind of Leonardo does not appear to have been so wholly occupied or absorbed in them as to incapacitate him from attending at the same time to other objects also; and the Duke therefore being desirous of ornamenting Milan with some specimens of his skill as a painter, employed him to paint in the refectory of the Dominican convent of Santa Maria delle Gratie, in that city, a picture, the subject of which was to be the Last Supper. Of this picture it is related, that Leonardo was so impressed with the dignity of the subject, and so anxious to answer the high ideas he had formed of it in his own mind, that his progress was very slow, and that he spent much time in meditation and thought, during which the work was apparently at a stand. The Prior of the convent, thinking it therefore neglected, complained to the Duke; but Leonardo assuring the Duke that not less than two hours were every day bestowed on it, he was satisfied. Nevertheless the Prior, after a short time, finding the work very little advanced, once more applied to the Duke, who in some degree of anger, as thinking Leonardo had deceived him, reprimanded him in strong terms for his delay. What Leonardo had scorned to urge to the Prior in his defence, he now thought fit to plead in his excuse to the Duke, to convince him that a painter did not labour solely with his hands, but that his mind might be deeply studying his subject, when his hands were unemployed, and he in appearance perfectly idle. In proof of this, he told the Duke that nothing remained to the completion of the picture but the heads of our Saviour and Judas; that as to the former, he had not yet been able to find a fit model to express its divinity, and found his invention inadequate of itself to represent it: that with respect to that of Judas, he had been in vain for two years searching among the most abandoned and profligate of the species for an head which would convey an idea of his character; but that this difficulty was now at length removed, since he had nothing to do but to introduce the head of the Prior, whose ingratitude for the pains he was taking, rendered him a fit archetype of the perfidy and ingratitude he wished to express. Some persons have said[i32], that the head of Judas in the picture was actually copied from that of the Prior; but Mariette denies it, and says this reply was merely intended as a threat[i33].

A difference of opinion has also prevailed concerning the head of our Saviour in this picture; for some have conceived it left intentionally unfinished[i34], while others think there is a gradation of resemblance, which increasing in beauty in St. John and our Saviour, shews in the dignified countenance of the latter a spark of his divine majesty. In the countenance of the Redeemer, say these last, and in that of Judas, is excellently expressed the extreme idea of God made man, and of the most perfidious of mortals. This is also pursued in the characters nearest to each of them[i35].

Little judgment can now be formed of the original beauty of this picture, which has been, and apparently with very good reason, highly commended. Unfortunately, though it is said to have been in oil, the wall on which it was painted not having been properly prepared, the original colours have been so effectually defaced by the damp, as to be no longer visible[i36]; and the fathers, for whose use it was painted, thinking it entirely destroyed, and some years since wishing to heighten and widen a door under it, leading out of their refectory, have given a decided proof of their own want of taste, and how little they were sensible of its value, by permitting the workmen to break through the wall on which it was painted, and, by so doing, entirely to destroy the lower part of the picture[i37]. The injury done by the damp to the colouring has been, it is true, in some measure repaired by Michael Angelo Bellotti, a painter of Milan, who viewing the picture in 1726, made an offer to the Prior and convent to restore, by means of a secret which he possessed, the original colours. His proposition being accepted, and the experiment succeeding beyond their hopes, the convent made him a present of five hundred pounds for his labour, and he in return communicated to them the secret by which it had been effected[i38].

Deprived, as they certainly are by these events, of the means of judging accurately of the merit of the original, it is still some consolation to the lovers of painting, that several copies of it made by Leonardo's scholars, many of whom were very able artists, and at a time when the picture had not been yet injured, are still in existence. A list of these copies is given by P. M. Guglielmo della Valle, in his edition of Vasari's Lives of the Painters, in Italian, vol. v. p. 34, and from him it is here inserted in the note[i39]. Francis the First was so charmed on viewing the original, that not being able to remove it, he had a copy made, which is now, or was some years since, at St. Germains, and several prints have been published from it; but the best which has yet appeared (and very fine it is) is one not long since engraven by Morghen, at Rome, impressions of which have found their way into this country, and been sold, it is said, for ten or twelve guineas each.

In the same refectory of the Dominicans at Milan is, or was, also preserved a painting by Leonardo, representing Duke Lodovic, and Beatrix his duchess, on their knees; done no doubt about this time[i40]. And at or near this period, he also painted for the Duke the Nativity, which was formerly, and may perhaps be still, in the Emperor of Germany's collection[i41].

As Leonardo's principal aim, whenever he was left at liberty to pursue the bent of his own inclination, seems to have been progressive improvement in the art of painting, he appears to have sedulously embraced all opportunities of increasing his information; and wisely perceiving, that without a thorough acquaintance with anatomy, a painter could effect but little, he was particularly desirous of extending his knowledge in that branch. For that purpose he had frequent conferences on the subject with Marc Antonio della Torre, professor of anatomy at Pavia[i42], and not only was present at many dissections performed by him, but made abundance of anatomical drawings from Nature, many of which were afterwards collected into a volume by his scholar Francisco Melzi[i43].

Such perseverance and assiduity as Leonardo's, united as they were with such uncommon powers as his, had already formed many artists at that time of distinguished reputation, but who afterwards became still more famous, and might probably have rendered Milan the repository of some of the most valuable specimens of painting, and raised it to a rank little, if at all, inferior to that which Florence has since held with the admirers of the polite arts, had it not happened that by the disastrous termination of a contest between the Duke of Milan and the French, all hopes of further improvement were entirely cut off; and Milan, at one blow, lost all the advantages of which it was even then in possession. For about this time the troubles in Italy began to break in on Leonardo's quiet, and he found his patron, the Duke, engaged in a war with the French for the possession of his dukedom; which not only endangered the academy, but ultimately deprived him both of his dominions and his liberty; as the Duke was, in 1500, completely defeated, taken prisoner, and carried into France, where, in 1510, he died a prisoner in the castle of Loches[i44].

By this event of the Duke's defeat, and the consequent ruin of the Sforza family, all further progress in the canal of Martesana, of which much still remained to be done[i45], was put a stop to; the academy of architecture and painting was entirely broken up; the professors were turned adrift, and the arts banished from Milan, which at one time had promised to have been their refuge and principal feat[i46]. Italy in general was, it is true, a gainer by the dispersion of so many able and deeply instructed artists as issued from this school, though Milan suffered; for nothing could so much tend to the dissemination of knowledge as the mixing such men among others who needed that information in which these excelled. Among the number thus separated from each other, we find painters, carvers, architects, founders, and engravers in crystal and precious stones, and the names of the following have been given, as the principal: Cesare da Sesto, Andrea Salaino, Gio. Antonio Boltraffio, Bernardino Lovino, Bartolommeo della Porta, Lorenzo Lotto[i47]. To these has been added Gio. Paolo Lomazzo; but Della Valle, in a note in his edition of Vasari, vol. v. p. 34, says this last was a disciple of Gio. Battista della Cerva, and not of Leonardo. Du Fresne mentions besides the above, Francis Melzi, Mark Uggioni Gobbo, an extraordinary painter and carver; Annibal Fontana, a worker in marble and precious stones; and Bernazzano, an excellent painter of landscapes; but omits Della Porta, and Lorenzo Lotto.

In 1499, the year before Duke Lodovic's defeat, Leonardo being at Milan, was employed by the principal inhabitants to contrive an automaton for the entertainment of Lewis XII. King of France, who was expected shortly to make a public entry into that city. This Leonardo did, and it consisted of a machine representing a lion, whose inside was so well constructed of clockwork, that it marched out to meet the King, made a stand when it came before him, reared up on its hinder legs, and opening its breast, presented an escutcheon with fleurs de lis quartered on it[i48]. Lomazzo has said that this machine was made for the entry of Francis the First; but he is mistaken, that prince having never been at Milan till the year 1515[i49], at which time Leonardo was at Rome.

Compelled by the disorders of Lombardy, the misfortunes of his patron, and the ruin of the Sforza family, to quit Milan, Leonardo betook himself to Florence, and his inducements to this resolution seem to have been the residence there of the Medici family, the great patrons of arts, and the good taste of its principal inhabitants[i50], rather than its vicinity to the place of his birth; for which, under the circumstances that attended that event, it is not probable he could entertain much, if any predilection. The first work which he here undertook was a design for an altar-piece for the chapel of the college of the Annunciati. Its subject was, our Saviour, with his mother, St. Ann, and St. John; but though this drawing is said to have rendered Leonardo very popular among his countrymen, to so great a degree, that numbers of people went to see it, it does not appear that any picture was painted from it, nor that the undertaking ever proceeded farther than a sketch of a design, or rather, perhaps, a finished drawing. When Leonardo some years afterwards went into France[i51], Francis the First was desirous of having a picture from this drawing, and at his desire he then put it into colours; but whether even this last was a regular picture, or, which is more probable, only a coloured drawing, we are not informed.

The picture, however, on which he bestowed the most time and labour, and which therefore seems intended by him as the completest specimen of his skill, at least in the branch of portrait-painting, was that which he did of Mona Lisa, better known by the appellation of la Gioconda, a Florentine lady, the wife of Francisco del Giocondo. It was painted for her husband, afterwards purchased by Francis the First, and was till lately to be seen in the King of France's cabinet. Leonardo bestowed four entire years upon it, and after all is said to have left it unfinished[i52].

This has been so repeatedly said of the works of this painter, that we are here induced to inquire into the evidence of the fact. An artist who feels by experience, as every one must, how far short of the ideas of perfection he has formed in his own mind, his best performances always fall, will naturally be led to consider these as but very faint expressions of his own conceptions. Leonardo's disposition to think nothing effected while any thing remained to be done, and a mind like his, continually suggesting successive improvements, might therefore, and most probably did produce in him an opinion that his own most laboured pieces were far from being finished to that extent of beauty which he wished to give them; and these sentiments of them he might in all likelihood be frequently heard to declare. Comparing his productions, however, with those of other masters, they will be found, notwithstanding this assertion to the contrary, as eminent in this particular also, as for the more valuable qualities of composition, drawing, character, expression, and colouring.

About the same time with this of la Gioconda, he painted the portraits of a nobleman of Mantua, and of la Ginevra, a daughter of Americus Benci[i53], much celebrated for her beauty; and is said to have finished a picture of Flora some years since remaining at Paris[i54]; but this last Mariette discovered to be the work of Melzio, from the circumstance of finding, on a close inspection, the name of this last master written on it[i55].

In the year 1503, he was elected by the Florentines to paint their council-chamber. The subject he chose for this, was the battle against Attila[i56]; and he had already made some progress in his work, when, to his great mortification, he found his colours peel from the wall[i57].

With Leonardo was joined in this undertaking, Michael Angelo, who painted another side of the room, and who, then a young man of not more than twenty-nine, had risen to such reputation, as not to fear a competition with Leonardo, a man of near sixty[i58]. The productions of two such able masters placed in the same room, begun at the same time, and proceeding gradually step by step together, afforded, no doubt, occasion and opportunity to the admirers and critics in painting to compare and contrast with each other their respective excellencies and defects. Had these persons contented themselves simply with comparing and appreciating the merits of these masters according to justice and truth, it might perhaps have been advantageous to both, as directing their attention to the correction of errors; but as each artist had his admirers, each had also his enemies; the partisans of the one thinking they did not sufficiently value the merit of their favourite if they allowed any to his antagonist, or did not, on the contrary, endeavour to crush by detraction the too formidable reputation of his adversary. From this conduct was produced what might easily have been foreseen; they first became jealous rivals, and at length open and inveterate enemies[i59].

Leonardo's reputation, which had been for many years gradually increasing, was now so firmly established, that he appears to have been looked up to as being, what he really was, the reviver and restorer of the art of painting; and to such an height had the curiosity to view his works been excited, that Raphael, who was at that time young, and studying, thought it worth his while to make a journey to Florence in the month of October 1504[i60], on purpose to see them. Nor was his labour lost, or his time thrown away in so doing; for on first seeing the works of Leonardo's pencil, he was induced to abandon the dry and hard manner of his master Perugino's colouring, and to adopt in its stead the style of Leonardo[i61], to which circumstance is owing no small portion of that esteem in the art, to which Raphael afterwards very justly arrived.

His father having died in 1504[i62], he in consequence of that event became engaged with his half-brothers, the legitimate sons of Pietro da Vinci, in a law-suit for the recovery of a share of his father's property, which in a letter from Florence to the Governor of Milan, the date of which does not appear, he speaks of having almost brought to a conclusion[i63]. At Florence he continued from 1503 to 1507[i64], and in the course of that time painted, among other pictures of less note, a Virgin and Child, once in the hands of the Botti family; and a Baptist's head, formerly in those of Camillo Albizzi[i65]; but in 1508, and the succeeding year, he was at Milan, where he received a pension which had been granted him by Lewis XII.[i66]; and in the month of September 1513, he, in company with his scholar Francesco Melzi, quitted Milan[i67], and set out for Rome (which till that time he had never visited), encouraged perhaps to this resolution by the circumstance that his friend Cardinal John de Medicis, who was afterwards known by the assumed name of Leo X. had a few months before been advanced to the papacy[i68]. His known partiality to the arts, and the friendship which had subsisted between him and Leonardo, held out to the latter a well-founded expectation of employment for his pencil at Rome, and we find in this expectation he was not deceived; as, soon after his arrival, the Pope actually signified his intention of setting him to work. Upon this Leonardo began distilling oils for his colours, and preparing varnishes, which the Pope hearing, said pertly and ignorantly enough, that he could expect nothing from a man who thought of finishing his works before he had begun them[i69]. Had the Pope known, as he seems not to have done, that oil was the vehicle in which the colours were to have been worked, or been witness either to the almost annihilation of the colours in Leonardo's famous picture of the Last Supper, owing to the damp of the wall, or to the peeling of the colours from the wall in the council-chamber at Florence, he probably would have spared this ill-natured reflection. If it applied at all, it could only be to a very small part of the pursuit in which Leonardo was occupied, namely, preparing varnish; and if age were necessary to give the varnish strength, or it were the better for keeping, the answer was in an equal degree both silly and impertinent; and it is no wonder it should disgust such a mind as Leonardo's, or produce, as we find it did, such a breach between the Pope and him, that the intended pictures, whatever they might have been, were never begun.

Disgusted with his treatment at Rome, where the former antipathy between him and Michael Angelo was again revived by the partisans of each, he the next year quitted it; and accepting an invitation which had been made him by Francis the First, he proceeded into France[i70]. At the time of this journey he is said to have been seventy years old[i71], which cannot be correct, as he did not live to attain that age in the whole. Probably the singularity of his appearance (for in his latter years he permitted his beard to grow long), together with the effect which his intense application to study had produced in his constitution, might have given rise to an opinion that he was older than he really was; and indeed it seems pretty clear, that when he arrived in France he was nearly worn out in body, if not in mind, by the anxiety and application with which he had pursued his former studies and investigations.

Although the King's motive to this invitation, which seems to have been a wish to profit by the pencil of Leonardo, was completely disappointed by his ill state of health, which the fatigues of his journey and the change of the climate produced, so that on his arrival in France no hopes could be entertained by the King of enriching his collection with any pictures by Leonardo; yet the French people in general, and the King in particular, are expressly said to have been as favourable to him as those of Rome had been injurious, and he was received by the King in the most affectionate manner. It was however unfortunately too soon evident that these symptoms of decay were only the forerunners of a more fatal distemper under which for several months he languished, but which by degrees was increasing upon him. Of this he was sensible, and therefore in the beginning of the year 1518, he determined to make his will, to which he afterwards added one or more codicils. By these he first describes himself as Leonardo da Vinci, painter to the King, at present residing at the place called Cloux, near Amboise, and then desires to be buried in the church of St. Florentine at Amboise, and that his body should be accompanied from the said place of Cloux to the said church, by the college of the said church, and the chaplains of St. Dennis of Amboise, and the friars minor of the said place; and that before his body is carried to the said church, it should remain three days in the chamber in which he should die, or in some other; he further orders that three great masses and thirty lesser masses of St. Gregory, should be celebrated there, and a like service be performed in the church of St. Dennis, and in that of the said friars minor. He gives and bequeaths to Franco di Melzio, a gentleman of Milan, in return for his services, all and every the books which he the testator has at present, and other instruments and drawings respecting his art: To Baptista de Villanis, his servant, the moiety of the garden which he has without the walls of Milan; and the other moiety of the said garden to Salay his servant. He gives to the said Francesco Meltio the arrears of his pension, and the sum of money owing to him at present, and at the time of his death, by the treasurer M. Johan Sapin; and to the same person all and singular his clothes and vestments. He orders and wills, that the sum of four hundred crowns of the sum which he has in the hands of the chamberlain of Santa Maria Nuova, at Florence, should be given to his brethren residing at Florence, with the profit and emolument thereon. And lastly, he appoints the said Gia. Francesco de Meltio, whole and sole executor[i72].