simple biography of leonardo da vinci

Leonardo da Vinci

• Occupation: Artist, Inventor, Scientist
• Born: April 15, 1452 in Vinci, Italy
• Died: May 2, 1519 in Amboise, Kingdom of France
• Famous works: Mona Lisa, The Last Supper, The Vitruvian Man
• Style/Period: High Renaissance

• The term Renaissance Man means someone who is good at everything. Leonardo is considered to be the ultimate Renaissance man.
• Some people claim he invented the bicycle.
• He was very logical and used a process like the scientific method when investigating a subject.
• His Vitruvian man is on the Italian Euro coin.
• Only around 15 of his paintings are still around.
• The Mona Lisa is also called "La Giaconda" meaning the laughing one.
• Unlike some artists, Leonardo was very famous for his paintings while he was still alive. It's only recently that we've realized what a great scientist and inventor he was.
• Listen to a recorded reading of this page:

Leonardo da Vinci

Leonardo da Vinci was a Renaissance artist and engineer, known for paintings like "The Last Supper" and "Mona Lisa,” and for inventions like a flying machine.

(1452-1519)

Who Was Leonardo da Vinci?

Leonardo da Vinci was a Renaissance painter, sculptor, architect, inventor, military engineer and draftsman — the epitome of a true Renaissance man. Gifted with a curious mind and a brilliant intellect, da Vinci studied the laws of science and nature, which greatly informed his work. His drawings, paintings and other works have influenced countless artists and engineers over the centuries.

Da Vinci was born in a farmhouse outside the village of Anchiano in Tuscany, Italy (about 18 miles west of Florence) on April 15, 1452.

Born out of wedlock to respected Florentine notary Ser Piero and a young peasant woman named Caterina, da Vinci was raised by his father and his stepmother.

At the age of five, he moved to his father’s estate in nearby Vinci (the town from which his surname derives), where he lived with his uncle and grandparents.

Young da Vinci received little formal education beyond basic reading, writing and mathematics instruction, but his artistic talents were evident from an early age.

Around the age of 14, da Vinci began a lengthy apprenticeship with the noted artist Andrea del Verrocchio in Florence. He learned a wide breadth of technical skills including metalworking, leather arts, carpentry, drawing, painting and sculpting.

His earliest known dated work — a pen-and-ink drawing of a landscape in the Arno valley — was sketched in 1473.

Early Works

At the age of 20, da Vinci qualified for membership as a master artist in Florence’s Guild of Saint Luke and established his own workshop. However, he continued to collaborate with del Verrocchio for an additional five years.

It is thought that del Verrocchio completed his “Baptism of Christ” around 1475 with the help of his student, who painted part of the background and the young angel holding the robe of Jesus.

According to Lives of the Most Excellent Painters, Sculptors and Architects , written around 1550 by artist Giorgio Vasari, del Verrocchio was so humbled by the superior talent of his pupil that he never picked up a paintbrush again. (Most scholars, however, dismiss Vasari’s account as apocryphal.)

In 1478, after leaving del Verrocchio’s studio, da Vinci received his first independent commission for an altarpiece to reside in a chapel inside Florence’s Palazzo Vecchio.

Three years later the Augustinian monks of Florence’s San Donato a Scopeto tasked him to paint “Adoration of the Magi.” The young artist, however, would leave the city and abandon both commissions without ever completing them.

Was Leonardo da Vinci Gay?

Many historians believe that da Vinci was a homosexual: Florentine court records from 1476 show that da Vinci and four other young men were charged with sodomy, a crime punishable by exile or death.

After no witnesses showed up to testify against 24-year-old da Vinci, the charges were dropped, but his whereabouts went entirely undocumented for the following two years.

Several other famous Florentine artists were also known to have been homosexual, including Michelangelo , Donatello and Sandro Botticelli . Indeed, homosexuality was such a fact of artistic life in Renaissance Florence that the word "florenzer" became German slang for “gay.”

Leonardo da Vinci: Paintings

Although da Vinci is known for his artistic abilities, fewer than two dozen paintings attributed to him exist. One reason is that his interests were so varied that he wasn’t a prolific painter. Da Vinci’s most famous works include the “Vitruvian Man,” “The Last Supper” and the “ Mona Lisa .”

Vitruvian Man

Art and science intersected perfectly in da Vinci’s sketch of “Vitruvian Man,” drawn in 1490, which depicted a nude male figure in two superimposed positions with his arms and legs apart inside both a square and a circle.

The now-famous sketch represents da Vinci's study of proportion and symmetry, as well as his desire to relate man to the natural world.

The Last Supper

Around 1495, Ludovico Sforza, then the Duke of Milan, commissioned da Vinci to paint “The Last Supper” on the back wall of the dining hall inside the monastery of Milan’s Santa Maria delle Grazie.

The masterpiece, which took approximately three years to complete, captures the drama of the moment when Jesus informs the Twelve Apostles gathered for Passover dinner that one of them would soon betray him. The range of facial expressions and the body language of the figures around the table bring the masterful composition to life.

The decision by da Vinci to paint with tempera and oil on dried plaster instead of painting a fresco on fresh plaster led to the quick deterioration and flaking of “The Last Supper.” Although an improper restoration caused further damage to the mural, it has now been stabilized using modern conservation techniques.

In 1503, da Vinci started working on what would become his most well-known painting — and arguably the most famous painting in the world —the “Mona Lisa.” The privately commissioned work is characterized by the enigmatic smile of the woman in the half-portrait, which derives from da Vinci’s sfumato technique.

Adding to the allure of the “Mona Lisa” is the mystery surrounding the identity of the subject. Princess Isabella of Naples, an unnamed courtesan and da Vinci’s own mother have all been put forth as potential sitters for the masterpiece. It has even been speculated that the subject wasn’t a female at all but da Vinci’s longtime apprentice Salai dressed in women’s clothing.

Based on accounts from an early biographer, however, the "Mona Lisa" is a picture of Lisa del Giocondo, the wife of a wealthy Florentine silk merchant. The painting’s original Italian name — “La Gioconda” — supports the theory, but it’s far from certain. Some art historians believe the merchant commissioned the portrait to celebrate the pending birth of the couple’s next child, which means the subject could have been pregnant at the time of the painting.

If the Giocondo family did indeed commission the painting, they never received it. For da Vinci, the "Mona Lisa" was forever a work in progress, as it was his attempt at perfection, and he never parted with the painting. Today, the "Mona Lisa" hangs in the Louvre Museum in Paris, France, secured behind bulletproof glass and regarded as a priceless national treasure seen by millions of visitors each year.

Battle of Anghiari

In 1503, da Vinci also started work on the "Battle of Anghiari," a mural commissioned for the council hall in the Palazzo Vecchio that was to be twice as large as "The Last Supper."

He abandoned the "Battle of Anghiari" project after two years when the mural began to deteriorate before he had a chance to finish it.

In 1482, Florentine ruler Lorenzo de' Medici commissioned da Vinci to create a silver lyre and bring it as a peace gesture to Ludovico Sforza. After doing so, da Vinci lobbied Ludovico for a job and sent the future Duke of Milan a letter that barely mentioned his considerable talents as an artist and instead touted his more marketable skills as a military engineer.

Using his inventive mind, da Vinci sketched war machines such as a war chariot with scythe blades mounted on the sides, an armored tank propelled by two men cranking a shaft and even an enormous crossbow that required a small army of men to operate.

The letter worked, and Ludovico brought da Vinci to Milan for a tenure that would last 17 years. During his time in Milan, da Vinci was commissioned to work on numerous artistic projects as well, including “The Last Supper.”

Da Vinci’s ability to be employed by the Sforza clan as an architecture and military engineering advisor as well as a painter and sculptor spoke to da Vinci’s keen intellect and curiosity about a wide variety of subjects.

Flying Machine

Always a man ahead of his time, da Vinci appeared to prophesy the future with his sketches of devices that resemble a modern-day bicycle and a type of helicopter.

Perhaps his most well-known invention is a flying machine, which is based on the physiology of a bat. These and other explorations into the mechanics of flight are found in da Vinci's Codex on the Flight of Birds, a study of avian aeronautics, which he began in 1505.

Like many leaders of Renaissance humanism, da Vinci did not see a divide between science and art. He viewed the two as intertwined disciplines rather than separate ones. He believed studying science made him a better artist.

In 1502 and 1503, da Vinci also briefly worked in Florence as a military engineer for Cesare Borgia, the illegitimate son of Pope Alexander VI and commander of the papal army. He traveled outside of Florence to survey military construction projects and sketch city plans and topographical maps.

He designed plans, possibly with noted diplomat Niccolò Machiavelli , to divert the Arno River away from rival Pisa in order to deny its wartime enemy access to the sea.

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Da Vinci’s Study of Anatomy and Science

Da Vinci thought sight was humankind’s most important sense and eyes the most important organ, and he stressed the importance of saper vedere, or “knowing how to see.” He believed in the accumulation of direct knowledge and facts through observation.

“A good painter has two chief objects to paint — man and the intention of his soul,” da Vinci wrote. “The former is easy, the latter hard, for it must be expressed by gestures and the movement of the limbs.”

To more accurately depict those gestures and movements, da Vinci began to study anatomy seriously and dissect human and animal bodies during the 1480s. His drawings of a fetus in utero, the heart and vascular system, sex organs and other bone and muscular structures are some of the first on human record.

In addition to his anatomical investigations, da Vinci studied botany, geology, zoology, hydraulics, aeronautics and physics. He sketched his observations on loose sheets of papers and pads that he tucked inside his belt.

Da Vinci placed the papers in notebooks and arranged them around four broad themes—painting, architecture, mechanics and human anatomy. He filled dozens of notebooks with finely drawn illustrations and scientific observations.

Ludovico Sforza also tasked da Vinci with sculpting a 16-foot-tall bronze equestrian statue of his father and founder of the family dynasty, Francesco Sforza. With the help of apprentices and students in his workshop, da Vinci worked on the project on and off for more than a dozen years.

Da Vinci sculpted a life-size clay model of the statue, but the project was put on hold when war with France required bronze to be used for casting cannons, not sculptures. After French forces overran Milan in 1499 — and shot the clay model to pieces — da Vinci fled the city along with the duke and the Sforza family.

Ironically, Gian Giacomo Trivulzio, who led the French forces that conquered Ludovico in 1499, followed in his foe’s footsteps and commissioned da Vinci to sculpt a grand equestrian statue, one that could be mounted on his tomb. After years of work and numerous sketches by da Vinci, Trivulzio decided to scale back the size of the statue, which was ultimately never finished.

Final Years

Da Vinci returned to Milan in 1506 to work for the very French rulers who had overtaken the city seven years earlier and forced him to flee.

Among the students who joined his studio was young Milanese aristocrat Francesco Melzi, who would become da Vinci’s closest companion for the rest of his life. He did little painting during his second stint in Milan, however, and most of his time was instead dedicated to scientific studies.

Amid political strife and the temporary expulsion of the French from Milan, da Vinci left the city and moved to Rome in 1513 along with Salai, Melzi and two studio assistants. Giuliano de’ Medici, brother of newly installed Pope Leo X and son of his former patron, gave da Vinci a monthly stipend along with a suite of rooms at his residence inside the Vatican.

His new patron, however, also gave da Vinci little work. Lacking large commissions, he devoted most of his time in Rome to mathematical studies and scientific exploration.

After being present at a 1515 meeting between France’s King Francis I and Pope Leo X in Bologna, the new French monarch offered da Vinci the title “Premier Painter and Engineer and Architect to the King.”

Along with Melzi, da Vinci departed for France, never to return. He lived in the Chateau de Cloux (now Clos Luce) near the king’s summer palace along the Loire River in Amboise. As in Rome, da Vinci did little painting during his time in France. One of his last commissioned works was a mechanical lion that could walk and open its chest to reveal a bouquet of lilies.

How Did Leonardo da Vinci Die?

Da Vinci died of a probable stroke on May 2, 1519, at the age of 67. He continued work on his scientific studies until his death; his assistant, Melzi, became the principal heir and executor of his estate. The “Mona Lisa” was bequeathed to Salai.

For centuries after his death, thousands of pages from his private journals with notes, drawings, observations and scientific theories have surfaced and provided a fuller measure of the true "Renaissance man."

Book and Movie

Although much has been written about da Vinci over the years, Walter Isaacson explored new territory with an acclaimed 2017 biography, Leonardo da Vinci , which offers up details on what drove the artist's creations and inventions.

The buzz surrounding the book carried into 2018, with the announcement that it had been optioned for a big-screen adaptation starring Leonardo DiCaprio .

Salvator Mundi

In 2017, the art world was sent buzzing with the news that the da Vinci painting "Salvator Mundi" had been sold at a Christie's auction to an undisclosed buyer for a whopping $450.3 million. That amount dwarfed the previous record for an art work sold at an auction, the $179.4 million paid for “Women of Algiers" by Pablo Picasso in 2015.

The sales figure was stunning in part because of the damaged condition of the oil-on-panel, which features Jesus Christ with his right hand raised in blessing and his left holding a crystal orb, and because not all experts believe it was rendered by da Vinci.

However, Christie's had launched what one dealer called a "brilliant marketing campaign," which promoted the work as "the holy grail of our business" and "the last da Vinci." Prior to the sale, it was the only known painting by the old master still in a private collection.

The Saudi Embassy stated that Prince Bader bin Abdullah bin Mohammed bin Farhan al-Saud of Saudi Arabia had acted as an agent for the ministry of culture of Abu Dhabi, in the United Arab Emirates. Around that time, the newly-opened Louvre Abu Dhabi announced that the record-breaking artwork would be exhibited in its collection.

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QUICK FACTS

• Name: Leonardo da Vinci
• Birth Year: 1452
• Birth date: April 15, 1452
• Birth City: Vinci
• Birth Country: Italy
• Gender: Male
• Best Known For: Leonardo da Vinci was a Renaissance artist and engineer, known for paintings like "The Last Supper" and "Mona Lisa,” and for inventions like a flying machine.
• Science and Medicine
• Writing and Publishing
• Architecture
• Technology and Engineering
• Astrological Sign: Aries
• Nacionalities
• Interesting Facts
• Leonardo da Vinci was born out of wedlock to a respected Florentine notary and a young peasant woman.
• Da Vinci used tempera and oil on dried plaster to paint "The Last Supper," which led to its quick deterioration and flaking.
• For da Vinci, the "Mona Lisa" was forever a work in progress, as it was his attempt at perfection, and he never parted with the painting.
• Death Year: 1519
• Death date: May 2, 1519
• Death City: Amboise
• Death Country: France

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CITATION INFORMATION

• Article Title: Leonardo da Vinci Biography
• Author: Biography.com Editors
• Website Name: The Biography.com website
• Url: https://www.biography.com/artists/leonardo-da-vincii
• Access Date:
• Publisher: A&E; Television Networks
• Last Updated: August 28, 2019
• Original Published Date: April 3, 2014
• Iron rusts from disuse, stagnant water loses its purity and in cold weather becomes frozen; even so does inaction sap the vigor of the mind.
• Nothing is hidden beneath the sun.
• Obstacles cannot bend me. Every obstacle yields to effort.
• We make our life by the death of others.
• Necessity is the mistress and guardian of nature.
• One ought not to desire the impossible.
• He who neglects to punish evil sanctions the doing thereof.
• Darkness is the absence of light. Shadow is the diminution of light.
• The painter who draws by practice and judgment of the eye without the use of reason, is like the mirror that reproduces within itself all the objects which are set opposite to it without knowledge of the same.
• He who does not value life does not deserve it.
• Simplicity is the ultimate sophistication.
• Nothing strengthens authority so much as silence.

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Leonardo da Vinci

By: History.com Editors

Updated: July 13, 2022 | Original: December 2, 2009

Leonardo da Vinci was a painter, engineer, architect, inventor, and student of all things scientific. His natural genius crossed so many disciplines that he epitomized the term “ Renaissance man.” Today he remains best known for two of his paintings, " Mona Lisa " and "The Last Supper." Largely self-educated, he filled dozens of secret notebooks with inventions, observations and theories about pursuits from aeronautics to human anatomy. His combination of intellect and imagination allowed him to create, at least on paper, such inventions as the bicycle, the helicopter and an airplane based on the physiology and flying ability of a bat.

When Was Leonardo da Vinci Born?

Da Vinci was born in Anchiano, Tuscany (now Italy), in 1452, close to the town of Vinci that provided the surname we associate with him today. In his own time he was known just as Leonardo or as “Il Florentine,” since he lived near Florence—and was famed as an artist, inventor and thinker.

Did you know? Leonardo da Vinci’s father, an attorney and notary, and his peasant mother were never married to one another, and Leonardo was the only child they had together. With other partners, they had a total of 17 other children, da Vinci’s half-siblings.

Da Vinci’s parents weren’t married, and his mother, Caterina, a peasant, wed another man while da Vinci was very young and began a new family. Beginning around age 5, he lived on the estate in Vinci that belonged to the family of his father, Ser Peiro, an attorney and notary. Da Vinci’s uncle, who had a particular appreciation for nature that da Vinci grew to share, also helped raise him.

Early Career

Da Vinci received no formal education beyond basic reading, writing and math, but his father appreciated his artistic talent and apprenticed him at around age 15 to the noted sculptor and painter Andrea del Verrocchio of Florence. For about a decade, da Vinci refined his painting and sculpting techniques and trained in mechanical arts.

When he was 20, in 1472, the painters’ guild of Florence offered da Vinci membership, but he remained with Verrocchio until he became an independent master in 1478. Around 1482, he began to paint his first commissioned work, The Adoration of the Magi, for Florence’s San Donato, a Scopeto monastery.

However, da Vinci never completed that piece, because shortly thereafter he relocated to Milan to work for the ruling Sforza clan, serving as an engineer, painter, architect, designer of court festivals and, most notably, a sculptor.

The family asked da Vinci to create a magnificent 16-foot-tall equestrian statue, in bronze, to honor dynasty founder Francesco Sforza. Da Vinci worked on the project on and off for 12 years, and in 1493 a clay model was ready to display. Imminent war, however, meant repurposing the bronze earmarked for the sculpture into cannons, and the clay model was destroyed in the conflict after the ruling Sforza duke fell from power in 1499.

'The Last Supper' 

Although relatively few of da Vinci’s paintings and sculptures survive—in part because his total output was quite small—two of his extant works are among the world’s most well-known and admired paintings.

The first is da Vinci’s “The Last Supper,” painted during his time in Milan, from about 1495 to 1498. A tempera and oil mural on plaster, “The Last Supper” was created for the refectory of the city’s Monastery of Santa Maria delle Grazie. Also known as “The Cenacle,” this work measures about 15 by 29 feet and is the artist’s only surviving fresco. It depicts the Passover dinner during which Jesus Christ addresses the Apostles and says, “One of you shall betray me.”

One of the painting’s stellar features is each Apostle’s distinct emotive expression and body language. Its composition, in which Jesus is centered among yet isolated from the Apostles, has influenced generations of painters.

'Mona Lisa'

When Milan was invaded by the French in 1499 and the Sforza family fled, da Vinci escaped as well, possibly first to Venice and then to Florence. There, he painted a series of portraits that included “La Gioconda,” a 21-by-31-inch work that’s best known today as “Mona Lisa.” Painted between approximately 1503 and 1506, the woman depicted—especially because of her mysterious slight smile—has been the subject of speculation for centuries.

In the past she was often thought to be Mona Lisa Gherardini, a courtesan, but current scholarship indicates that she was Lisa del Giocondo, wife of Florentine merchant Francisco del Giocondo. Today, the portrait—the only da Vinci portrait from this period that survives—is housed at the Louvre Museum in Paris, France, where it attracts millions of visitors each year.

Around 1506, da Vinci returned to Milan, along with a group of his students and disciples, including young aristocrat Francesco Melzi, who would be Leonardo’s closest companion until the artist’s death. Ironically, the victor over the Duke Ludovico Sforza, Gian Giacomo Trivulzio, commissioned da Vinci to sculpt his grand equestrian-statue tomb. It, too, was never completed (this time because Trivulzio scaled back his plan). Da Vinci spent seven years in Milan, followed by three more in Rome after Milan once again became inhospitable because of political strife.

Inventions and Philosophy 

Da Vinci’s interests ranged far beyond fine art. He studied nature, mechanics, anatomy, physics, architecture, weaponry and more, often creating accurate, workable designs for machines like the bicycle, helicopter, submarine and military tank that would not come to fruition for centuries. He was, wrote Sigmund Freud, “like a man who awoke too early in the darkness, while the others were all still asleep.”

Several themes could be said to unite da Vinci’s eclectic interests. Most notably, he believed that sight was mankind’s most important sense and that “saper vedere” (“knowing how to see”) was crucial to living all aspects of life fully. He saw science and art as complementary rather than distinct disciplines, and thought that ideas formulated in one realm could—and should—inform the other.

Probably because of his abundance of diverse interests, da Vinci failed to complete a significant number of his paintings and projects. He spent a great deal of time immersing himself in nature, testing scientific laws, dissecting bodies (human and animal) and thinking and writing about his observations. 

Da Vinci’s Notebooks

At some point in the early 1490s, da Vinci began filling notebooks related to four broad themes—painting, architecture, mechanics and human anatomy—creating thousands of pages of neatly drawn illustrations and densely penned commentary, some of which (thanks to left-handed “mirror script”) was indecipherable to others.

The notebooks—often referred to as da Vinci’s manuscripts and “codices”—are housed today in museum collections after having been scattered after his death. The Codex Atlanticus, for instance, includes a plan for a 65-foot mechanical bat, essentially a flying machine based on the physiology of the bat and on the principles of aeronautics and physics.

Other notebooks contained da Vinci’s anatomical studies of the human skeleton, muscles, brain, and digestive and reproductive systems, which brought new understanding of the human body to a wider audience. However, because they weren’t published in the 1500s, da Vinci’s notebooks had little influence on scientific advancement in the Renaissance period.

How Did Leonardo da Vinci Die?

Da Vinci left Italy for good in 1516, when French ruler Francis I generously offered him the title of “Premier Painter and Engineer and Architect to the King,” which afforded him the opportunity to paint and draw at his leisure while living in a country manor house, the Château of Cloux, near Amboise in France.

Although accompanied by Melzi, to whom he would leave his estate, the bitter tone in drafts of some of his correspondence from this period indicate that da Vinci’s final years may not have been very happy ones. (Melzi would go on to marry and have a son, whose heirs, upon his death, sold da Vinci’s estate.)

Da Vinci died at Cloux (now Clos-Lucé) in 1519 at age 67. He was buried nearby in the palace church of Saint-Florentin. The French Revolution nearly obliterated the church, and its remains were completely demolished in the early 1800s, making it impossible to identify da Vinci’s exact gravesite.

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Leonardo da Vinci

Leonardo da Vinci (1452-1519) was an Italian Renaissance artist, architect, engineer, and scientist. He is renowned for his ability to observe and capture nature, scientific phenomena, and human emotions in all media . Leonardo’s innovative masterpieces demonstrate a mastery of light, perspective, and overall effect. His most-loved works include the Mona Lisa portrait and The Last Supper mural.

Considered one of the greatest minds in history, Leonardo's approach to acquiring knowledge on everything from anatomy to mechanics involved understanding both the theory and practice of any given subject. In short, by combining the skills of the artisan with those of the scholar, Leonardo's vision demonstrated the benefits of a completely new approach to understanding the present world and just how to best create new and marvellous things for a future one.

Leonardo was born on 15 April 1452 CE, the illegitimate son of a lawyer from the town of Vinci near Florence. A gifted child, especially in music and drawing, c. 1464 CE the young Leonardo was sent off to pursue a career as an artist and study as an apprentice in the workshop of Andrea del Verrocchio (c. 1435-1488 CE). Other notable future artists then at the workshop included Sandro Botticelli (1445-1510 CE) and Pietro Perugino (c. 1450-1523 CE). Here Leonardo would have learnt to master sketching and painting techniques, as well as the latest trends like the use of classicising ornamental detail in paintings. One of the young Leonardo's first contributions to Renaissance art may have been the kneeling angel in Verrocchio's Baptism of Christ painting (c. 1470 CE, Uffizi, Florence). Completing his apprenticeship in 1472 CE, Leonardo became a paid assistant to Verrocchio and was registered as a master in the painter's guild of Florence.

Other skills Leonardo perfected early on in his career included chiaroscuro (the contrasting use of light and shade) and sfumato (the transition of lighter into darker colours). The former technique is especially evident in his c. 1503 CE coloured charcoal illustration Virgin and Child with St. Anne (National Gallery, London) and its c. 1505 painted version (Louvre, Paris ). The technique of sfumato is well-illustrated in Leonardo's c. 1483 CE oil on panel painting Virgin of the Rocks (Louvre). Leonardo was also an innovator, though. His c. 1472 CE The Annunciation (Uffizi) illustrates the artist followed some Renaissance trends, for example, the classical details of Mary's book rest, but also ignored others such as his obvious rejection of symmetry in the background trees.

Paolo Giovio, Bishop of Nocera, art historian and contemporary of Leonardo's, gives in his mini-biography the following summary of the artist's personality:

He had a character which was very amiable, impressive and generous, and he had the most beautiful appearance. He was a splendid critic and inventor of all things elegant and delightful, especially in theatrical displays. He sang to his own accompaniment on the lyre , and he was on excellent footing with all the princes of his time. (Woods, 269)

Notes & Sketches

Leonardo was far from being restricted to art and his interests were wide indeed, encompassing just about all the physical world. He studied architecture , engineering, geometry, perspective, mechanics, and hydraulics to satisfy himself just how things worked and why they appeared as they do to the human eye. The natural world was not neglected with studies in anatomy, botany, zoology, and geology. Leonardo kept notebooks throughout his life in which he recorded the results of his investigations and his ideas for new inventions. Machines the artist conjured up include cranes, paddlewheel boats, tanks, cannons, apparatus to breathe underwater, and even flying contraptions. The only element many of these designs lacked was an internal combustion engine, not to be invented, of course, until centuries later. The notes in these books are often interspersed with sketches, many being miniature masterpieces in themselves. Perhaps the most famous of all these sketches is the Vitruvian Man drawing (see below).

In addition, Leonardo wrote down his thoughts on painting and his observation of effects seen in nature he considered useful to the artist. As the man himself said, "a painter is not admirable unless he is universal", although he was appreciative that mastery of any subject takes time and noted that impatience was the mother of stupidity (Hale, 183). These notes and treatises were no doubt useful in Leonardo's role as a tutor to young artists in his own workshop. A curiosity of them is that many are written as mirror script , that is in the reverse direction of normal handwriting.

Besides stacks of notebooks, Leonardo built up an impressive personal library which, by 1503 CE, contained 116 books covering such subjects as medieval and Renaissance medicine , religion , and mathematics. The collection included such seminal works as Natural History by Pliny, Geography by Ptolemy I and On Warfare by Roberto Valturio. Leonardo was interested in languages, too, particularly Latin, which he attempted to teach himself in order to read medieval manuscripts in their original form; long lists of Latin words can be found in his notebooks.

Leonardo's versatility is further illustrated in his employment by Ludovico Sforza (1452-1508 CE), the Duke of Milan. Leonardo had moved to the city in 1482 CE and he acted as the principal Sforza military and naval engineer, on the one hand, and master painter and sculptor, on the other. Leonardo also produced ingenious automata for Ludovico's festivals and these included moving planets with their namesake gods inside. The master turned his hand to a massive bronze equestrian statue of Francesco Sforza (1401-1466 CE), founder of that dynasty, but the project never got beyond the terracotta model stage - by no means the only work Leonardo never finished. Sketches survive showing the general form and Leonardo attempting to work out just how to make and transport the massive pieces of bronze for final assembly.

Leonardo painted Ludovico Sforza's mistress Cecilia Gallerani in his The Lady with an Ermine c. 1490 CE (National Museum Krakow, Poland). His greatest work in the 17 years he spent in Milan, though, was The Last Supper mural (see below). It was in this period, specifically the 1490s CE, that Leonardo pioneered the new medium of red chalk drawings on treated paper. The many surviving examples of these drawings include a famous self-portrait which shows the artist aged and long-bearded. The sketch is now in the Biblioteca Reale of Turin.

Further Travels & France

Leonardo visited Venice in 1500 CE. Around this time he painted his erotic version of the Leda and the Swan story from Greek mythology which is now lost, although sketches survive. In 1502 CE Leonardo worked in Rome where he was commissioned by the statesman Cesare Borgia (1475-1507 CE) to sort out the city's canals. He also mapped the city and surrounding regions, as well as planning improvements to harbours. One of his most celebrated maps is that of Imola which, made in 1502 CE, shows every structure from above on a precise scale, the first such map to be made. By 1503 CE Leonardo was back in Florence to work on proposals for a battle scene mural in the city's Council Hall. Leonardo's now lost 'cartoon' for the work showed the 1449 CE Battle of Anghiari between the armies of Florence and Milan. The early years of the 16th century CE also saw Leonardo complete a painting he had probably been working on sporadically, the Mona Lisa portrait (see below).

In 1517 CE Leonardo moved on to France, where his skills were appreciated by Francis I of France (r. 1515-1547 CE), a great patron of Renaissance artists and architects. Leonardo, specifically invited by the French king, may have been involved in the initial design stage for Francis' Chateau de Chambord on the Loire River, built from 1519 to 1547 CE. The chateau's ingenious double spiral staircase is frequently credited to Leonardo even if firm evidence is lacking.

Leonardo's final work of art was his c. 1515 CE painting St. John the Baptist (Louvre), although he seems to have focussed more on scientific enquiry in the latter stages of his life. Leonardo died at his French home, Chateau Cloux (aka Clos Lucé), on 2 May 1519 CE and he was entombed within the Chapel of Saint Hubert just next to the Chateau d'Amboise.

Reputation & Legacy

The sheer diversity of work left by Leonardo has astounded historians and critics ever since his death . As the Renaissance historian Jacob Burckhardt (1818-1887 CE) famously stated, "the colossal outlines of Leonardo's nature can never be more than dimly and distantly conceived" (104). Leonardo's artistic works were influential on fellow Renaissance artists because of their mastery of composition and light, the contrapposto posture of his figures (i.e. the asymmetry between the upper and lower body), and the sheer invention and variety of their compositions.

However, it is also true to say that some elements of Leonardo's works were so subtle and skilled that few artists had any hope of imitating them. Then, just as today, much of his art was greatly admired but not wholly understood by everyone. Nevertheless, those who could see did see. The master's work for the Battle of Anghiari, several copies of which were made, was influential on such gifted artists as Raphael (1483-1520 CE) who greatly admired the writhing mass of humanity seemingly captured at a moment frozen in time. This is but one example of the master's influence, just one product of what the mathematician and artists' frequent collaborator Luca Pacioli (c. 1447-1517 CE) already called "the divine left hand" (Campbell, 387). Leonardo's fame even reached as far as Constantinople where the Sultan of the Ottoman Empire Bayezid II (r. 1481-1512 CE) invited him, without success, to his court.

Leonardo's notebooks, not published until after 1570 CE, were influential both for their theories on painting and his diagrams on perspective but also on the pursuit of knowledge in general. Simply the way that Leonardo illustrated certain subjects (from an embryo to a cathedral), with his use of cross-section, perspective, scaled precision, and repeating the subject but from different viewpoints, would all influence draughtsmanship in architecture and the creation of diagrams in science ever after. Above all, Leonardo had shown that practice and theory could not and should not be separated. The great master demonstrated in his own person that a full knowledge of any subject required a combination of the skills of the artisan, the flair and imagination of the artist, and the meticulous research and reasoning of a scholar. Consequently, the approaches to a great many subjects, but especially art, architecture, engineering, and science, were fundamentally changed forever.

Masterpieces

The Mona Lisa ( La Gioconda in Italian) is an oil on wood panel portrait of an unidentified woman made by Leonardo between c. 1503 and 1506 CE. It measures 98 x 53 centimetres (38 x 21 inches), a relatively small size that often surprises modern viewers used to seeing this iconic image in larger reprints. The painting, rather than merely capturing the physical features of the sitter, attempts to capture the very mood and thoughts of the subject at a specific moment in time, what Leonardo called "the motions of the mind" (Campbell, 257). Other effects include the use of aerial perspective such as the recession of colour into the furthest background of a watery-looking landscape and the difference in gradation of colour from the top to the bottom of the painting.

The casual posture of the lady and the position of her hands forms, with the head as the top point, the classic triangle shape that many Renaissance artists were experimenting with in their paintings. Light and dark colours are used expertly to emphasise the oval face and soft hands of the lady while the contours of these combine convex and concave lines which create an illusion of supple movement. Finally, the three-quarter view of the lady creates another suggestion of movement as she seems to have just that moment turned to regard the viewer. That Leonardo is exclusively interested in presenting a view of a living-breathing individual in intimate contact with the viewer is further evidenced by the lack of any identifying title and the total lack of jewellery or other symbols of wealth which were typical of portraits up to that point. The work was immediately influential, inspiring artists like the young Raphael in his own portrait painting such as Maddalena Strozzi and Baldassare Castiglione . Leonardo must have been pleased with the Mona Lisa as he never parted with it during his lifetime and the picture is today one of the star attractions in the Louvre museum in Paris.

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The Last Supper

The Last Supper ( Il Cenacolo in Italian) is a depiction of the final meal of Jesus Christ and his apostles which Leonardo painted on the wall of the refectory of Santa Maria delle Grazie, a residence of the Dominican order in Milan. This was a traditional subject to decorate monastic refectories, and the work was very likely commissioned by Ludovico Sforza, whose arms appear at the top of the mural. The work was completed c. 1498 CE. The triumph of the mural is the variation in emotional reactions displayed by each of the apostles as they hear that one of them will soon betray Jesus .

Like any great work of art, The Last Supper has been subjected to all manner of interpretations. Some, for example, have seen Mary Magdalene in the figure who is intended to be the youthful St. John the Evangelist, sitting to the left of Jesus. Despite the intense interest in the peripheral figures and their meaning, the star of the scene is, of course, Jesus, who, presented as a central triangular form, is further brought to the viewer's attention by the precise perspective of the background which leads the eye irresistibly to the picture's very centre. The triangular motif is further repeated by the marked division in colour of Jesus's clothing and Leonardo organising the apostles into four distinct groups, each forming an approximate triangle with their collective bodies. Finally, amongst all the action and bustle of the gesticulating apostles, Jesus, with both hands on the table, is a vision of immobility, a calm and knowing centre in a storm of outrage and incomprehension.

The work was immediately and hugely influential thanks to an engraving of it made by Marcantonio Raimondi (1480-1534 CE) which was distributed far and wide to interested artists. Unfortunately, things went wrong within a decade after completion when the paintwork began to crumble away. This was because Leonardo had experimented with using oil paints and tempera on plaster in an undocumented technique instead of the familiar and much longer-lasting true fresco method. This dubious experimentation has challenged restorers of The Last Supper ever since. The mural also suffered in more recent times. First, a doorway was inexplicably made in the wall which intrudes into the bottom of the mural. Then, during the Second World War , the building was fire-bombed. Fortunately, the mural had been protected by a wall of sandbags and survived the bombing but it was exposed to the weather until adequate building repairs were made. A comprehensive restoration programme was conducted in the early 21st century CE, and it can be visited by the public, although numbers are limited and pre-booking is obligatory.

Vitruvian Man

Although not a finished work of art (or ever intended to be), Leonardo's pen and ink on paper sketch known as the Vitruvian Man has become so famous that it is one of the images most associated with his name. Measuring 34 x 25 centimetres (13.5 x 10 inches), it was drawn c. 1492 CE and is now in the Academia Gallery in Venice. The name of the work derives from Vitruvius (c. 90 - c. 20 BCE), the Roman architect who famously wrote De Architectura ( On Architecture ), an influential treatise which combines the history of ancient architecture and engineering with the author's personal experience and advice on the subject.

Vitruvius' work was popular during the Renaissance when artists were re-examining the classical world for ideas and inspiration. In one particular passage, Vitruvius recommends that correct architectural proportions should be derived from a study of the proportions of the human body. The passage describes a human body within a circle and a square. Several Renaissance artists and architects, attracted by the idea that there was some mysterious and perhaps even divine relationship between mathematics, the human body, and beauty, attempted to draw what Vitruvius had only described in words. Leonardo's Vitruvian Man is one such attempt. The man's naval is the centre of the circle and his fingertips and feet touch its circumference. A second male figure, superimposed on the other, is set within a square. The sketch is perhaps a metaphor for humanity's position at the centre of an ordered universe, and as such it has become a defining symbol of the Renaissance and the ongoing enquiry into the exact relation between religion, science, and art.

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Bibliography

• Anderson, Christy. Renaissance Architecture. Oxford University Press, 2013.
• Burckhardt, Jacob. The Civilization of the Renaissance in Italy. Sagwan Press, 2015.
• Campbell, Gordon. The Oxford Illustrated History of the Renaissance. Oxford University Press, 2019.
• Hale, J.R. (ed). The Thames & Hudson Dictionary of the Italian Renaissance by J. R. Hale. Thames & Hudson, 2020.
• Paoletti, John T. & Radke, Gary M. Art in Renaissance Italy. Pearson, 2011.
• Rundle, David. The Hutchinson Encyclopedia of the Renaissance. Hodder Arnold, 2000.
• Welch, Evelyn. Art in Renaissance Italy. Oxford University Press, 2001.
• Woods, Kim W. Making Renaissance Art. Yale University Press, 2007.
• Wyatt, Michael. The Cambridge Companion to the Italian Renaissance. Cambridge University Press, 2014.

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Biography of Leonardo da Vinci, Inventor and Artist of the Renaissance

Victor Ovies Arenas / Getty Images

• Art History
• Architecture
• M.A., Anthropology, University of Iowa
• B.Ed., Illinois State University

Leonardo da Vinci (April 15, 1452–May 2, 1519) was an artist, humanist, scientist, philosopher, inventor, and naturalist during the Italian Renaissance . His genius, says his biographer Walter Isaacson, was his ability to marry observation with imagination and to apply that imagination to intellect and its universal nature.

Fast Facts: Leonardo da Vinci

• Known For : Renaissance-era painter, inventor, naturalist, philosopher, and writer
• Born : April 15, 1452 in Vinci in Tuscany, Italy
• Parents : Piero da Vinci and Caterina Lippi
• Died : May 2, 1519 in Cloux, France
• Education : Formal training limited to "abacus school" in commercial math, an apprenticeship at the workshop of Andrea del Verrocchio; otherwise self-taught

Leonardo da Vinci was born in the village of Vinci in Tuscany, Italy, on April 15, 1452, the only child of Piero da Vinci, a notary and eventually chancellor of Florence, and Caterina Lippi, an unmarried peasant girl. He is properly known as "Leonardo" rather than "da Vinci," although that is a common form of his name today. Da Vinci means "from Vinci" and most people of the day who required a last name were given it based on their place of residence.

Leonardo was illegitimate, which, according to biographer Isaacson, may well have assisted his skill and education. He was not required to go to formal school, and he passed his youth in experimentation and exploration, keeping careful notes in a series of journals that have survived. Piero was a well-to-do man, descended from at least two generations of important notaries, and he settled in the town of Florence. He married Albierra, the daughter of another notary, within eight months of Leonardo's birth. Leonardo was raised in the da Vinci family home by his grandfather Antonio and his wife, along with Francesco, Piero's youngest brother only 15 years older than his nephew, Leonardo himself.

Florence (1467–1482)

In 1464, Albierra died in childbirth—she had no other children, and Piero brought Leonardo to live with him in Florence . There, Leonardo was exposed to the architecture and writings of the artists Filippo Brunelleschi (1377–1446) and Leon Battista Alberti (1404–1472); and it was there that his father got him an apprenticeship to the artist and engineer Andrea del Verrocchio. Verrocchio's workshop was part art studio and part art shop, and Leonardo was exposed to a rigorous training program that included painting, sculpture, pottery, and metalworking. He learned the beauty of geometry and the mathematical harmony that art can leverage. He also learned chiarroscuro and developed the sfumato technique for which he would become famous.

When his apprenticeship ended in 1472, Leonardo registered in the Florentine painter's confraternity, the Compagnia di San Luca. Many of the works he did in Verocchio's workshop were often completed by several of the students and/or the teacher, and it is clear that by the end of his tenure, Leonardo had surpassed his master.

Verocchio's workshop was sponsored by the duke of Florence, Lorenzo de' Medici  (1469–1492), also known as Lorenzo the Magnificent. Some of the works painted by Leonardo in his 20s include the "Annunciation" and the "Adoration of the Magi," and the portrait of "Ginevra di Benci."

Milan (1482–1499)

When Leonardo turned 30, he was sent by Lorenzo on a diplomatic mission to bring a lute in the shape of a horse's head that he himself had crafted to be given to Ludovico Sforza, the powerful duke of Milan. With him was Atalante Migliorotti (1466–1532), the first of his long-term companions who acted as a friend, assistant, secretary, and romantic partner.

When Leonardo arrived in Milan, he sent a letter to Ludovico, a letter that was more or less a job application, laying out in detail the type of job he envisioned being useful to the duke: military and civil engineering. Instead, Leonardo ended up an impresario, producing elaborate pageants for the royal court such as the "Masque of the Planets." He designed scenery and costumes and developed fantastic mechanical elements for the plays that would fly, descend, or animate for the audience. In this role, he was part court jester: he sang and played the lute, told stories and fables, played pranks. His friends described him as gentle and entertaining, handsome, precise, and generous, a valued and beloved companion.

The Genius in the Notebook

It was also during this period that Leonardo began keeping regular notebooks. More than 7,200 single pages exist today, estimated to be one-quarter of his total output. They are filled with expressions of sheer genius: flights of fancy, precognitive sketches of impossible technologies (scuba gear, flying machines, helicopters); careful, analytical anatomical studies of dissections he performed on humans and animals; and visual puns. In his notebooks and his canvases, he played with shadow and light, perspective, motion, and color. His drawings of humans at the time are fascinating: an old warrior with a nutcracker nose and an enormous chin; grotesquely old men and women; and a thin, muscular, curly-haired androgynous figure, the opposite avatar of the old warrior who would provide centuries of delight and speculation for art historians.

Of course, he painted while he was in Milan: portraits included several of Ludovico's mistresses, "The Lady with the Ermine and La Belle Ferronnière," and religious works such as "Virgin of the Rocks" and the astonishing "Last Supper." He also made the famous drawing "Vitruvian Man," the best of numerous attempts of the day to illustrate what the Roman architect Vitrivius (c. 80–15 BCE) meant when he said the layout of a temple should reflect the proportions of a human body. Leonardo ditched most of Vitrivius' measurements and calculated his own ideal of perfection.

In 1489, Leonardo finally earned the job he had wanted in 1482: he received an official court appointment, complete with rooms (albeit not at Ludovico's castle). His first commission was to make an immense sculpture of the duke of Milan's father Francesco sitting on a horse. He made the model of clay and worked for years planning the casting, but never completed the bronze sculpture. In July 1490, he met the second companion of his life, Gian Giacomo Caprotti da Oreno, known as Salai (1480–1524).

By 1499, the duke of Milan was running out of money and no longer consistently paying Leonardo, and when Louis XII of France (1462–1515) invaded Milan, Ludovico fled the city. Leonardo stayed in Milan briefly—the French knew him and protected his studio from the mobs—but when he heard rumors that Ludovico was planning to return, he fled home to Florence.

Italy and France (1500–1519)

When Leonardo returned to Florence, he found the city still shaken from the after-effects of the brief and bloody rule of Savonarola (1452–1498), who in 1497 had led the "Bonfire of the Vanities"—the priest and his followers collected and burned thousands of objects such as artworks, books, cosmetics, dresses, mirrors, and musical instruments as forms of evil temptations. In 1498, Savonarola was hanged and burned in the public square. Leonardo was a different man when he returned: he dressed like a dandy, spending almost as much on clothing as he did on books. His first patron was the notorious military ruler Cesare Borgia (1475–1507), who conquered Florence in 1502: Borgia gave Leonardo a passport to travel wherever he needed, as his personal engineer and innovator.

The job only lasted about eight months, but during that time Leonardo built a bridge supporting a garrison of troops out of a pile of lumber and nothing more. He also perfected the art of maps, drawing villages as they would be seen from the air, accurate, detailed birds-eye views of cities measured with a compass. He also established a friendship with Niccolo Machiavelli (1469–1527), who would base his classic "The Prince" on Borgia. By 1503, though, Borgia was running amok, requiring mass executions in the towns he occupied. At first, Leonardo seemed oblivious, but when Machiavelli left, so did Leonardo: back to Florence.

In Florence, Leonardo and Machiavelli worked on an astonishing project: they planted to divert the Arno river from Pisa to Florence. The project got started, but the engineer changed the specs and it was a spectacular failure. Leonardo and Machiavelli also worked on a way to drain the Piombino Marshes: the movement and force of water was a fascination for Leonardo throughout his life, but the marsh project was also not completed.

Michelangelo

Artistically, Florence had a huge drawback: Leonardo had acquired a nemesis, Michelangelo . Twenty years younger, Michelangelo was a pious Christian convulsed by agony over his nature. The two artists' communication devolved into a bitter feud. The two men were each commissioned to do battle scenes: hung in separate galleries, the paintings were depictions of frenzied faces, monstrous armor, and mad horses. Isaacson suggests that the upshot of the war of the battle scene was useful to both artists because they were now both luminaries, rather than interchangeable parts.

From 1506–1516, Leonardo wandered back and forth between Rome and Milan; another one of his patrons was the Medici Pope Leo X (1475–1521). In 1506, Leonardo adopted Francesco Melzi, the 14-year-old son of a friend and civil engineer, as his heir. Between 1510 and 1511, Leonardo worked with anatomy professor Marcantonio della Torre, whose students dissected humans while Leonardo made 240 meticulous drawings and wrote 13,000 words of description—and probably more, but those are what survived. The professor died of the plague, ending the project before it could be published.

And of course, he painted. His masterpieces during this period in his life include the "Mona Lisa" ("La Gioconda"); "The Virgin and Child with St. Anne," and a series of images of Salai as St. John the Baptist and Bacchus.

In 1516, Francis I of France commissioned Leonardo for another astounding, impossible task : design a town and palace complex for the royal court at Romorantin. Francis, arguably one of the best patrons Leonardo ever had, gave him the Chateau de Cloux (now the Clos Luce). Leonardo was by now an old man, but he was still productive—he made 16 drawings over the next three years, even if the city project was not completed—but he was visibly ill and had likely suffered a stroke. He died on May 2, 1519, at the Chateau.

• Clark, Kenneth and Martin Kemp. "Leonardo da Vinci: Revised Edition." London, Penguin Books, 1989.
• Isaacson, Walter. "Leonardo Da Vinci." New York: Simon & Schuster, 2017. 
• Farago, Claire. "Biography and Early Art Criticism of Leonardo da Vinci." New York: Garland Publishing, 1999.
• Nicholl, Charles. "Leonardo da Vinci: Flights of the Mind." London, Penguin Books, 2005.
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• Leonardo, Michelangelo & Raphael: Art of the Italian High Renaissance
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• Definition of Sfumato: Art History Glossary
• Is Mary Magdalene in Da Vinci's 'The Last Supper?'
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• Salvator Mundi: The Newly Attributed Leonardo da Vinci Painting

Leonardo da Vinci

Italian Painter, Designer, Sculptor, Inventor, Scientist, Architect, and Engineer

Summary of Leonardo da Vinci

Only a select number of figures in the pantheon of art history can match the level of fame accorded Leonardo da Vinci. The very personification of the "Renaissance man", Leonardo searched for new knowledge within the burgeoning fields of the humanities and the sciences. One of the so-called "holy trinity" (with Michelangelo and Raphael ) of the Italian High Renaissance , Leonardo remains best known today as the painter of some of the world's greatest masterpieces, and for a series of notebooks and drawings that confirm his reputation as the most accomplished polymath of his time.

Accomplishments

• While his yearning for new knowledge that saw him excel in many fields within the humanities and sciences, Leonardo has achieved most acclaim as a painter. He has gained world-wide fame for his enigmatic portrait, the Mona Lisa , the religious fresco, The Last Supper , and his Vitruvian Man , a mathematically precise anatomical drawing. These priceless works are amongst the most known images of all time.
• Leonardo surpassed the naturalistic techniques of Early Renaissance masters through his meticulous attention to detail and through the introduction of new methods. The most influential of these was his signature sfumato effect in which he blended shades of color to blur - or to "smoke" - the outlines of figures, facial features, and objects. Sfumato achieved such realistic effects it contributed significantly to the birth of the era referred to now as the High Renaissance .
• Leonardo's intellectual curiosity and imagination produced many ideas and inventions that were described in his vast collection of notebooks. These contain scientific diagrams (predicting future inventions such as the parachute, the helicopter, and the military tank), anatomical and botanical sketches and drawings, and his philosophy on painting. As the art historian E. H. Gombrich put it, "the more one reads these pages, the less one can understand how one human being could have excelled in all these different fields of research and made important contributions to all of them".
• Leonardo produced several ambitious architectural designs. In Milan, he designed an ingenious 32-mile waterway linking Milan and Lake Como. He is also credited with the design of the spectacular double-helix central staircase (two spirals winding around a glass column, allowing guests to acknowledge each other without physically passing). Through his ability to combine his creative vision with more practical problem-solving skills, Leonardo helped establish architectural principles that have passed down through the centuries.

The Life of Leonardo da Vinci

Leonardo stated that "Painting is poetry that is seen rather than felt", and as if to push home his point, he invented sfumato , an application of subtle colored glazes that were able to convey atmosphere and subtle shifts in moods and feelings in the human body and face.

Important Art by Leonardo da Vinci

Ginevra de' Benci

Painted while still in his early 20s, Ginevra de' Benci is one of Leonardo's earliest known works. It gives us the first example of his signature portraiture technique whereby he abandoned the conventional "half face" profile pose in favor of a three-quarter pose. Through the three-quarter rotation of his sitter, Leonardo gives us a fuller facial portrait that places the personality of the subject above their status. It was a humanistic technique that would define his future portraits, including such works as the Mona Lisa . Indeed, Leonardo is thought to be the first Italian to represent his sitter in such a way and it would become a convention of High Renaissance portraiture. There is also a strong suggestion (traces of fingerprints on the painting's surface) that Leonardo used his fingers to delicately shade Ginerva's flesh tones. As the National Gallery of Art in Washington (NGAW) states, "The planes of her face subtly modeled, she may have 'come to life' before viewers in a fashion more vivid than any other painting they had seen before", and adds that, "One of Leonardo's contemporaries wrote that he 'painted Ginevra d'Amerigo Benci with such perfection that it seemed to be not a portrait but Ginevra herself'". Ginevra de' Benci was 16 years old and from an affluent family. She was well-educated and had earned a reputation as a fine poet and conversationalist. Her milk-white complexion is flawless, and her blank expression is difficult to read. But as NGAW explains, "Young women of the time were expected to comport themselves with dignity and modesty. Virtue was prized and guarded, and a girl's beauty was thought to be a sign of goodness. Portraitists were expected to enhance - as needed - a woman's attractiveness according to the period's standards of beauty". It is likely that Leonardo was commissioned to paint Ginerva's portrait on the occasion of her betrothal (thought to be to a man named Luigi Niccolini). But as the NGAW states, the painting also "reflects a cultural phenomenon of the Italian Renaissance period - platonic love affairs between well-mannered gentlemen and ladies. Such affairs, often conducted from afar, focused on effusive literary expressions that displayed the courtier's and lady's sophistication". Indeed, Ginevra is known to have had many admirers, including Bernardo Bembo, the Venetian ambassador to Florence, and Lorenzo de'Medici, who both composed poems in her honor. The painting is also of significance for its reverse side which carries an emblem in the form of a wreath of laurel and palm encircled with a sprig of juniper, and a scroll featuring the phrase "Virtutem Forma Decorat" ("beauty adorns virtue"). The NGAW states that "The central juniper, ginepro in Italian, a cognate of Ginevra's name and thus her symbol, also represents chastity. The palm stands for moral virtue, while the laurel indicated artistic or literary inclinations".

Oil on canvas - National Gallery of Art in Washington, D.C.

Virgin of the Rocks

This painting presents the Madonna, with infant versions of Christ and John the Baptist, and the archangel Gabriel. Like other Renaissance artists, Leonardo was interested in presenting proverbial religious narratives in a more naturalistic way. Here Leonardo's animate quartet sits amidst a mystical landscape that demonstrates his mathematical approach to picture perspective. Complementing the intimate group in the foreground, the scenery of desolate rocks and still water lends the narrative a dreamlike quality, infusing the scene at once with a sense of the heavenly and the human (a blurring, in other words, of the spiritual with the material). The composition utilizes a pyramidal arrangement common amongst High Renaissance artists, while Leonardo's perfection of anatomical movement and fluidity elevates the figures with a sense of naturalistic motion. Their gestures and glances, too, create a dynamic human interaction that was highly innovative. Leonardo's sfumato style, meanwhile, is present in the way colors and outlines blend into a soft smokiness. This technique brings a heightened intensity and more realistic depth-of-field. The painting is also an early example of the use of oil pigment, which was relatively new to Italy, and made the artist better able to capture such intricate details.

Oil on wood transferred to canvas - Musée du Louvre, Paris

Lady with an Ermine

The Duke of Milan, Ludovico Sforza, commissioned this portrait. In it, Leonardo depicts Sforza's sixteen-year-old mistress Cecilia Gallerani (Sforza being in his late thirties). She peers to the right, as if her attention has been caught by something just outside the picture frame. She bears a look of poise and knowing that is exceptional for a young lady of such tender years. The slightly coy smile seems to suggest her confidence in her position at the Court, and the knowledge of the power of her innate beauty. She holds an ermine, bearer of the fur that was used in Sforza's coat of arms. The ermine was a symbol of purity, and its inclusion was likely representative of Cecilia's fidelity to the Duke. Leonardo's genius in this work is evident in the way he captured the complexity of his sitter's psychology. Indeed, her three-quarter pose and gesture were unconventional for portraiture of the time. Leonardo's scientific study of the human body, and its movements and expressions, meanwhile, allowed him to represent the subtle human undertones that intrigue the viewer and invite them into the intimate mental world of the subject. As art critic Sam Leith put it, "Give the painting a really good, close look and you'll see she really does have the very breath of life in her...just distracted by a noise, caught in a living moment...". In 2014, Pascal Cotte, a French scientist, completed a three-year investigation of the painting in which Cotte discovered that it was completed in three distinct stages. Cotte discovered that Leonardo's first version was a simple portrait (with no animal). The second included a small grey ermine. In the third, the animal is transformed into a large white ermine. Commenting on Cotte's research, historian Lorenza Munoz-Aloñso writes, "The duke, who was da Vinci's patron and champion for eighteen years, was nicknamed 'the white ermine'. The progression in the painting might indicate a growing desire from the couple to affirm their relationship in a more public manner. The transformation of the ermine - from small and dark to muscular and white - could also indicate the duke's wish for a more flattering 'portrait' [of his mistress]". It is also widely believed that the ermine was included to conceal the secret pregnancy of Cecilia who later gave birth to Sforza's son - Cesare.

Oil on wood panel - Czartoryski Museum, Krakow, Poland

The Vitruvian Man

In the accompanying text to the drawing, Leonardo describes his intention to study the proportions of man as described by the first-century BC Roman architect Vitruvius (after whom the drawing was named) in his treatise De Architectura ( On Architecture , published as Ten Books on Architecture ). Vitruvius used his own studies of well-proportioned man to influence his design of temples, believing that symmetry was crucial to classical architecture. Leonardo used Vitruvius as a starting point for inspiration in his own anatomical studies and further perfected his measurements, correcting over half of Vitruvius's original calculations. The idea of relative proportion has influenced Renaissance architecture (and beyond) as a concept for creating harmony between the earthly and divine in churches, as well as the temporal in palaces and palatial residences. Ultimately, The Vitruvian Man is a mathematical study of the human body highlighting the nature of balance which proportion and symmetry lend us, an understanding that would inform all of Leonardo's output in art and architecture. It also underlines the goals of Renaissance Humanism which placed man in relation to nature, and as a link between the earthly (square) and the divine (circle). It also demonstrates, of course, the artist's thorough understanding of science and mathematics, and his excellence in draftsmanship. The image is truly iconic and has been referenced through several fine art sources. These include William Blake's, Glad Day (aka The Dance of Albion) (c.1794), Enzo Plazzotta's Homage to Leonardo (aka. Vitruvian Man ) (1984) - an outdoor statue in central London, and Andrew Leicester's giant robot-like Tin Man (2001) sculpture placed in the engineering faculty courtyard at the University of Minnesota. It has also provided a point of reference within popular graphic culture with the online comic book resource (Comiclist) displaying some twenty three comic-book covers - including issues of Spiderman, Wonder Woman and Ironman - that self-consciously align these superheroes with Leonardo's drawing. The drawing has even featured in an episode of The Simpsons (season 10) in which Homer Simpson is chased by the Vitruvian Man in a dream where he is attacked by famous artworks that have come to life.

Pen and ink on paper - Accademia, Venice, Italy

The Last Supper

The Duke of Milan, Ludovico Sforza, commissioned The Last Supper for the dining hall of the Convent of Santa Maria della Grazie. It tells the famous biblical story of the last meal Jesus shared with his disciples before his crucifixion, and specifically, the moment after he has told them that one of their own would betray him. Each of the apostles is individually rendered with different expressions of consternation and disbelief as Judas stands in the shadows clutching the purse containing silver he received for his betrayal (Leonardo was given permission to bring a criminal to his studio from prison to model as Judas). Jesus occupies the center frame, reaching for bread and a glass of wine referring to the Eucharist. Behind him, seen through the windows, lays an idealized landscape, perhaps alluding to heavenly paradise, and the three windows possibly denote the holy trinity. The intricate detail, coupled with the use of one point perspective, placing Jesus at the crux of the pictorial space, and from which all other elements emanate, was to herald in a new direction in High Renaissance art. Furthermore, the use of the vanishing point technique complimented the painting's position and setting, allowing for the artwork to mesh into the space as if it were a natural extension of the nuns' dining area. The art historian E. H. Gombrich said of the finished painting: "There was nothing in this work that resembled older representations of the same theme. In these traditional versions, the apostles were seen sitting quietly at the table in a row - only Judas being segregated from the rest - while Christ was calmly dispensing the Sacrament. There was drama in it, and excitement. Leonardo, like Giotto before him, had gone back to the text of the Scriptures, and had striven to visualize what it must have been like when Christ said, 'Verily I say unto you, that one of you will betray me'". Because the water-based paints typically used for frescos of this type were not conducive to Leonardo's sfumato technique, he opted instead for oil-based paints. However, the oil-on-plaster combination would prove disastrous as, even before the artist's death, the paint had begun to flake from the wall (a situation not helped by the steam and smoke emanating from the monastery's kitchens). Today, little of Leonardo's original paintwork remains with the last restoration, finished in 1999, lasting some twenty-one years. The art historian Khyati Rajvanshi describes how the fresco now sits in a strict temperature-controlled environment. Rajvanshi adds that "The management board allows just 1,300 people to visit the Last Supper each day" giving each person a maximum of fifteen minutes to enjoy the masterpiece (and not leave too much dust to cause it further harm).

Fresco - Convent of Sta. Maria delle Grazie, Milan, Italy

The Virgin and Child with St. Anne and St. John the Baptist

This preliminary drawing shows the Virgin seated next to her mother, St. Anne, while holding the baby Jesus, and with the baby St. John the Baptist looking on. Mary's eyes peer down at her child who points to the heavens as he delivers a benediction. The piece is very large in size, consisting of eight papers glued together. Also known as the Burlington House Cartoon , it is presumed to be a sketch in planning for a painting, although the painting either no longer exists, or was never created. Leonardo often used a "cartoon" such as this as a stencil which he placed on the intended painting surface. Once fixed in place, a pin would be used to create an outline that would then guide the artist's brush. Because this piece is impeccably preserved, it is assumed that it was never put to use for this purpose. The drawing is notable in that it reflects Leonardo's search for perfection, even in planning for a painting. His acuity with anatomy is present in the realistic ways the figures' bodies are shown in various gestures of interaction with each other. Genuine tenderness is conveyed in the faces of the women and St. John as they reflect upon the focal point of Christ. The attention to detail for what was a preparatory drawing, underlines the artist's painstaking approach to producing art. Leonardo's cartoons are so technically perfect that they are regarded as highly as his finished masterpieces. Many were admired and shown both at the Court and in public exhibitions during his life and after.

Charcoal and chalk drawing on paper - The National Gallery, London

Salvatore Mundi

King Louis XVII of France is said to have commissioned Salvator Mundi after his conquest of Milan in 1499. The painting is a portrait of Jesus in the role of savior of the world and master of the cosmos. His right hand is raised with two fingers extended as he gives divine benediction. His left hand holds a crystalline sphere, representing the heavens. This is an unusual portrait in that it shows Christ, in very humanist fashion, as a man in contemporary Renaissance dress, gazing directly out at the viewer. It is also a half-length portrait, which was a radical departure from full-length portraits of the time. Jesus's "closeness" to us lends the visage an intense intimacy. The painting is representative of the mastery of Leonardo's signature techniques. The softness of the gaze, acquired through sfumato , lends a spiritual quality, inviting veneration from the viewer, while Jesus's face encompasses an emotion and expressiveness defined by the artist's acuity with anatomical correctness. The darkness from which he emerges contrasts with the light that seems to emanate from Jesus's exposed upper chest. Thus, the painting still (in spite of his humanist outer shell) presents Christ as an awe-inspiring "bringer of light". Salvator Mundi was unaccounted for between 1763 and 1900 when it was bought by one Sir Charles Robinson as a work by Bernardino Luini. It later sold at Sotheby's, London, in 1958 for £45 ($125). The painting, which was badly damaged, was then bought by an independent U.S. auction house in 2005. Having undergone extensive restoration, it reemerged in the early 2000s when it was confirmed as a work by Leonardo (though some experts still questioned it attribution). The painting was sold at auction at Christies New York in 2017 for $450 million a new record for an artwork at that time.

Oil on wood panel - Louvre, Abu Dhabi

The Mona Lisa , also known as La Gioconda , is said to be a portrait of Lisa Gherardini, the wife of a Florentine merchant named Francesco del Gioconda. The half-length portrayal shows the sitter, seated on a chair with one arm resting on the chair and one hand resting on her arm. The use of sfumato creates a sense of soft calmness, which emanates from her being, and infuses the background. There has been much speculation as to its origin of location, yet it is more widely construed that it is imaginary, a composition born in Leonardo's mind (that could also allude to our admittance into Mona Lisa's dreamlike interior world). But it is of course Mona Lisa's enigmatic expression that transfixes the viewer and the eternal mystery of what's lying behind that iconic smile. Portraits of the time focused on presenting the outward appearance of the sitter, the personality of the subject only hinted at through symbolic objects, clothing, or gestures. Yet Leonardo desired to capture more than mere likeness. He wanted to show something of her soul, which he accomplished by placing emphasis on her peculiar and unconventional smile. As Gombrich observed, "We see that Leonardo has used the means of his ' sfumato ' with the utmost deliberation. Everyone who has ever tried to draw or scribble a face knows that what we call its expression rests mainly on two features: the corners of the mouth, and the corners of the eyes. Now it is precisely these parts which Leonardo has left deliberately indistinct, by letting them merge into a soft shadow. That is why we are never quite certain in what mood Mona Lisa is really looking at us. Her expression always seems just to elude us". Leonardo's painting is probably the most famous single painting in history. It has inspired many artists. Raphael drew upon it for a drawing in 1504, while countless writers have written about her, including the 19 th century French poet Theophile Gautier who called her "the sphinx who smiles so mysteriously." She has been the subject of many popular songs (most famously, perhaps, Mona Lisa, by Nat "King" Cole), and has been parodied in art, from the 1883 caricaturist's Eugene Bataille's, Mona Lisa smoking a pipe , to the 1919 Marcel Duchamp readymade showing her with a mustache and beard. In 1954, Salvador Dalí created his Self-portrait as Mona Lisa and in 1963 Andy Warhol included her in his seminal silkscreen output Mona Lisa "Thirty are better than one" . Her image has also been reproduced endlessly on postcards, calendars, posters, and all manner of other commercial products.

Oil on wood panel - Musée du Louvre, Paris

Biography of Leonardo da Vinci

Childhood and education.

Leonardo di ser Piero da Vinci, widely considered one of the most gifted and inventive men in history, was born in 1452 in a village near the town of Vinci, Tuscany.

The illegitimate son of Piero Fruosino di Antonio da Vinci, a Florentine notary and landlord, and Caterina, a peasant girl (who later married an artisan), Leonardo was brought up on the family estate in Anchiano by his paternal grandfather. His father married a sixteen-year old girl, Albiera, with whom Leonardo was close, but who died at an early age. Leonardo was the oldest of twelve siblings but was never treated as the illegitimate son. Like his siblings, Leonardo received a basic education in reading, writing and arithmetic, but he did not show his great passion for learning until adult life.

Early Training and Work

At the age of fourteen, Leonardo moved to Florence where he began an apprenticeship at the renowned workshop of Andrea del Verrocchio, an artist who himself had been a student of the Early Renaissance master Donatello . It is a matter of record that Leonardo also visited the nearby workshop of Antonio Pollaiuolo. Verrocchio was an important artist in the court of the Medici, a family noted equally for its political power and its generous patronage of the arts. Indeed, Florence attracted many talented young artists, including Domenico Ghirlandaio , Pietro Perugino, and Lorenzo di Credi and it is indicative of his father's civic standing that Leonardo was able to take up his apprenticeship in such a prestigious workshop.

Although Leonardo gained only a basic grasp of Latin and Greek, Florentine artists of this period were compelled to the study the humanities as a way of more fully understanding man's place in the modern world, and Leonardo's curious and skeptical mind was nurtured under Verrocchio's mentorship (as art historian E. H. Gombrich wrote, "At a time when the learned men at the universities relied on the authority of the admired ancient writers, Leonardo, the painter, would never accept what he read without checking it with his own eyes").

Leonardo's name would become closely associated with the intellectual movement/philosophy known as Renaissance Humanism . It promoted a return to the values and ideals of the classical world but also laid emphasis on what it was to "be human". Great focus was placed on "higher" education and the promotion of "civic virtue" in the belief that by reaching one's full potential - which the Renaissance artist achieved by becoming learned in aesthetic beauty, ethics, logic, and scientific and mathematical principles - one could advance civilization. Leonardo would more than measure up to the title of "renaissance man" through his passionate interest in the disciplines of art, anatomy, architecture, geometry, chemistry, and engineering.

In 1472, after six years of apprenticeship, Leonardo became a member of the Guild of St. Luke, a Florentine group of artists and medical doctors. Although his father had set him up with a workshop of his own, Leonardo - now regarded by many of his peers, according to Gombrich, "as a strange and rather uncanny being" - continued to work with Verrocchio as an assistant for a further four or five years.

Customary to the times, the output of Verrocchio's workshop would have given rise to collaborative efforts between master and apprentice. Two pictures accredited to Verrocchio, The Baptism of Christ (1475) and The Annunciation (1472-75), are seen by art historians, such as the Renaissance chronicler, Giorgio Vasari , to evidence Leonardo's lighter brush strokes when compared with Verrocchio's heavier hand.

In 1476, Leonardo was accused of sodomy with three other men. Homosexuality was illegal and punishable, not only by imprisonment, but also by public humiliation and even death. Leonardo was acquitted through lack of corroborative evidence, which has been attributed to the fact that his friends/lovers came from powerful Florentine families. Perhaps because of the stigma and chastisement, Leonardo kept a low profile over the next few years, with little or no record of his activities during this time.

Leonardo's earliest commissions came in 1481 from the monastery of San Donato a Scopeto for a panel painting of the Adoration of the Magi (unfinished), and an altar painting for the St. Bernard Chapel in the Palazzo della Signoria (never begun). However, Leonardo stopped work on the commissions to move to Milan after accepting an offer from the city's Duke to join his court. He was listed in the royal register as pictor et ingeniarius ducalis ("painter and engineer of the duke").

There is some speculation as to why the move to Milan was so appealing to the artist when his Florentine career was in the ascendency. It may have been that his decision was to put the earlier sexual scandal behind him. While that may have been a contributory factor, it seems more likely that what the historian Ludwig Heinrich Heydenreich called Leonard's "gracious but reserved personality and elegant bearing" was a better fit for the austere Milanese Court. As Heydenreich writes, "It may have been that the rather sophisticate spirit of Neoplatonism prevailing in the Florence of the Medici went against the grain of Leonardo's experience-oriented mind and that the more strict, academic atmosphere of Milan attracted him. Moreover, he was no doubt enticed by Duke Ludovico Sforza's brilliant court and the meaningful projects awaiting him there".

Mature Period

Leonardo worked in Milan between 1482 and 1499. Between 1483-86, he worked on the The Virgin of the Rocks , an altarpiece commissioned by the Confraternity of the Immaculate Conception. For reasons that are unknown, Leonardo entered into a decade-long legal dispute with the Confraternity (leading Leonardo to paint a second version of the work in 1508). In 1485, he undertook a diplomatic mission to Hungary on behalf of the Duke. He met with the influential Hungarian King, Matthias Corvinus, and worked on preparations for court festivals. While in Hungary he also worked on engineering and architectural plans, including for the dome of the cathedral in Milan.

While in Milan, Leonardo spent a great deal of time observing human anatomy. He closely studied the way in which human bodies moved, the way they were built and proportioned, how they interacted in social engagement and communication, and their habits of gesture and expression. This was a time-consuming and painstaking undertaking that helps explain perhaps why there are so few paintings dating from this period - just six in total, with suggestion of a further three commissions either now lost or never commenced - yet an extraordinarily large library of drawings. These are now testament to Leonardo's mastery of observation and his ability to convey human emotion.

It was during this period that he experimented with new and different painting techniques. One of the practices Leonardo is most famous for is his ability to create a "smoky" effect, which was coined sfumato . Through his deep knowledge of glazes and brushstrokes, he developed the technique, which allowed for edges of color and outline to flow into each other to emphasize the soft modulation of flesh or fabric, as well as the remarkable translucence of hard surfaces such as crystal or the tactility of hair. The intimate authenticity that resulted in his figures and subjects seemed to mirror reality in ways that had not been seen hitherto. A good example of this is his depiction of an orb in the painting Salvatore Mundi (1490-1500). It was during this period that Leonardo produced his great fresco masterpiece - what Gombrich called "one of the great miracles wrought by human genius" - The Last Supper (1495-98). It was painted on the dining hall wall of the convent of Santa Maria delle Grazie in Milan.

As an antidote to the beauty of his great masterpieces, Leonardo produced a series of drawings of deformed faces and bodies, perhaps the most famous of which are A Bald Fat Man with a Broken Nose (1485-90), and Grotesque Head of an old Woman (1489-90). The art historian Martin Kemp writes that Leonardo sometimes "followed ugly people around and drew them [in the belief] that the beautiful needed the grotesque [...] like light and shade". The art historian Jonathan Jones said of the former, meanwhile, that Leonardo's "repeated doodles of the same archetypal ugly visage [was] sometimes called his 'nutcracker' profile [...] This looks like a real man, and a fairly scary one: a street character, a violent, massive bald guy with a broken nose. And what makes it seem most real is that it is drawn quickly yet decisively, as in a sketch from life".

For his last unfinished project before leaving Milan, Leonardo was commissioned to cast a five-meter-high equestrian bronze sculpture - called Gran Cavallo - commemorating Francesco Sforza, the founder of the Sforza dynasty. In 1493, a clay model of the intended sculpture was displayed during the wedding of Emperor Maximilian to Bianca Maria Sforza, emphasizing the importance of the anticipated work. Unfortunately, the project was never finished and the conquering French Army, who had seized Milan in 1499, ended up using Leonardo's model for target practice. It is believed that the bronze reserved to cast the clay sculpture had been repurposed for cannon casting in what proved to be the unsuccessful defense of Milan against Charles VIII in the war with France.

Following the French invasion of Milan, and the overthrow of Duke Sforza in 1499, Leonardo left for Venice accompanied by his childhood friend and future assistant, Salai. In Venice, Leonardo was employed as a military engineer where his main commission was to design naval defense systems for the city under threat of a Turkish military incursion. Leonardo returned to Florence in 1500, where he received a warm and enthusiastic welcome. He lived as a guest of the Servite monks at the monastery of Santissima Annunziata. Leonardo was employed as a senior architectural advisor for a committee working on a damaged foundation at the church of San Francesco al Monte, but he devoted most of his time to studying mathematics.

In 1502, Leonardo secured service in the Court of Cesare Borgia, an important member of an influential family, as well as son of Pope Alexander VI, and commander of the papal army. He was employed as a "senior military architect and general engineer" and accompanied Borgia on his travels throughout Italy. His duties included making maps to aid with military defense, as well as designs for the construction of a dam to ensure an uninterrupted supply of water to the canals from the River Arno. During the diversion of the river project, he met Niccolò Machiavelli, who was a noted scribe and political observer for Florence. It has been said that Leonardo introduced Machiavelli to the concepts of applied science, and that he had a great influence on the man who would go on to be called the Father of Modern Political Science.

Leonardo returned for a second time to Florence in the spring of 1503 and was enthusiastically welcomed into the Guild of St. Luke. He worked on landscape sketches for a canal that would bypass the "choppy" Arno River and connect Florence directly with the sea. As Heydenreich notes, "The project, considered time and again in subsequent centuries, was never carried out, but centuries later the express highway from Florence to the sea was built over the exact route Leonardo chose for his canal". His return to Florence also spurred one of the most productive periods of painting for the artist including preliminary work on his Virgin and Child with Saint Anne (1503-19), the mural Battle of Anghiari (1503-05) (which was left unfinished and later copied by the artist Peter Paul Rubens ), and what was destined to become the world's most famous portrait, the Mona Lisa (1503-19). Of the latter, Gombrich wrote: "What strikes us first is the amazing degree to which Lisa looks alive. She really seems to look at us and to have a mind of her own. Like a living being, she seems to change before our eyes and to look a little different every time we come back to her [...] That great observer of nature knew more about the way we use our eyes than anybody who had ever lived before him".

In 1508, Leonardo returned to Milan where he remained for the next five years enjoying the generous patronage of Charles d'Amboise, the French Governor of Milan, and King Louis XII (of France). He was engaged in architectural projects, with notable commissions such as work on a Villa for Charles, bridge building, a project to create a waterway to link Milan with Lake Como, and preparatory sketches for an oratory for the church of Santa Maria alla Fontana.

Leonardo ran a successful studio which included his former Milanese pupils, de' Conti and Salai, and new recruits, Cesare da Sesto, Giampetrino, Bernardino Luini, and a young aristocrat named Francesco Meizi. Although he created little as a painter, Leonardo did undertake a second aborted sculptural commission from the military commander, Gian Giacomo Trivulzio. The preparatory sketches for the equestrian sculpture have survived, but the Trivulzio scrapped the project in favor of a more modest design.

Leonardo's second Milan period is best known for his scientific activities. He collaborated with the renowned anatomist, Marcantonio della Torre, which led to Leonardo's precise drawings of the human body and his excursions in comparative anatomy (differences between species) and the related field of physiology. Meanwhile, his manuscripts of this time included mathematic, mechanical, geological, optical, and botanical studies. He created plans for his famous flying machine, and also devised military weapons such as an early example of the machine gun and a large crossbow. Gombrich suggested that there were two reasons that Leonardo "never published his writings, and that very few can even have known of their existence." The first was because "he was left-handed and had taken to writing from right to left so that his notes can only be read in a mirror". The second relates to the possibility that Leonardo "was afraid of divulging his discoveries [such as his observation the 'the sun does not move'] for fear that his opinions would be found heretical".

It was also during the second Milan period that Leonardo and Francesco Melzi, his favorite pupil, became close companions and remained so until Leonardo's death. It may be reasonably surmised that at this point in his life, Leonardo was finally able to live discreetly as a gay man, his accomplishments and acclaim providing a safe shelter from the kind of traumatic and punitive stigmatization he experienced in his earlier years in Florence.

Late Period

In 1513, after the temporary expulsion of the French from Milan, the sixty-year-old Leonardo relocated, taking Salai and Melzi with him, to Rome where he spent the next three years. He was given a generous stipend and residence in the Vatican by the Giuliano de' Medici, the brother of Leo X, the new pope. It was a depressing time for Leonardo, however, who struggled to secure any meaningful commissions. As Heydenreich writes, Leonardo arrived in Rome "at a time of great artistic activity: Donato Bramante was building St. Peter's, Raphael was painting the last rooms of the pope's new apartments, Michelangelo was struggling to complete the tomb of Pope Julius II, and many younger artists, such as Timoteo Viti and Sodoma, were also active".

Heydenreich refers to "drafts of embittered letters" which confirmed Leonardo's disquiet and unhappiness which restricted his activities largely to "mathematical studies and technical experiments or surveyed ancient monuments as he strolled through the city". However, Leonardo did produce a "magnificently executed map of the Pontine Marshes" and drawings for a planned Florentine residence for the Medici (who had returned to power in 1512).

While in Rome he also made the acquaintance of King François I of France who offered Leonardo the permanent position of "first painter, architect and engineer to the King" at the French Royal Court. François is credited with doing more than any other individual to promote Renaissance art and architecture in France and Leonardo, having accepted the King's invitation, lived out the last three years of his life (with Melzi) at a small, but palatial, residence at Clos Lucé, close to the king's residence at Château d'Amboise. Leonardo brought with him a large cache of paintings and drawings, most of which stayed in France after his death (and which are now housed in Le Louvre as part of the world's largest single collection of Leonardo's art).

Leonardo did little painting in France, although his last painting, St John the Baptist (1513), was most likely made during this time. He worked on landscape plans for the palace gardens but all new work was abruptly halted following a region-wide outbreak of malaria. Leonardo found time to edit his scientific papers and to prepare his treatise on painting, including his Visions of the End of the World series which included his many cataclysmic storm drawings, known as the Deluges .

During these years, Leonardo and King François formed a close friendship - Vasari wrote that "The King ... was accustomed frequently and affectionately to visit him" - and, although he died shortly before construction began in earnest, it is likely that Leonardo designed the now famous double-helix staircase (two concentric spirals wind separately around a central column, allowing guests to pass without meeting while still being able to see one another through windows placed in a central column) of the Chateau de Chambord, a lavish Renaissance Chateau, commissioned by François (and which took 28 years to complete). Leonardo died on May 2, 1519 at Clos Lucé, naming Melzi as principal beneficiary of his estate.

It is down to Melzi's efforts that Leonardo's notebooks and drawings were saved. After Leonardo's death, Melzi returned to Milan where he was visited by Vasari. Referring to Melzi as his "much beloved" pupil, Vasari wrote that "he holds them [the notebooks] dear, and keeps such papers together as if they were relics". Leonardo's vineyards (sixteen rows) in Milan, a gift to Leonardo from Sforza in 1482 (confiscated during the French invasion but returned to Leonardo's ownership at a later unknown date) were divided between Salai and a former servant. (The vineyards remain an ongoing concern and a Leonardo Museum to this day.)

The reverence with which Leonardo was regarded is epitomized by the apocryphal story of François I's attendance at his death. Vasari described Leonardo as having "breathed [his] last in the arms of the king". Their legendary friendship inspired the 1818 painting by Ingres , François I Receives the Last Breaths of Leonardo da Vinci , in which Leonardo is shown as dying in the arms of the King.

Leonardo was originally interred in the chapel of St Florentin at the Chateau d'Amboise in the Loire Valley, but the building was destroyed during the French revolution. Although it is believed that he was reburied in the smaller chapel of St Hubert, Amboise, the exact location remains unconfirmed.

The Legacy of Leonardo da Vinci

Leonardo's list of achievements is extensive. As a defining figure of the High Renaissance, he helped usher in a new dawning in Western art and civilization. Amongst his most influential techniques were his pioneering use of vanishing points, the soft clouding effect in his signature sfumato method, his profound understanding of the dynamics between light and dark in chiaroscuro , and the enigmatic facial expressions of his figures that created a mesmerizing and realistic quality. One can add to his paintings, his inventions, his precise anatomical and topographical drawings, as well as hydraulic and mechanical designs and his architectural achievements.

It is hard to encapsulate the achievements of an artist who, in the words of art historian Martin Kemp, had "got such a grip on people's imagination - whether they're engineers, medics, fans of art, or whatever". Nevertheless, Kemp gives us a good insight into Leonardo's genius through his account of the "spine tingling" privilege of studying the Mona Lisa on an easel (the painting having been temporarily released from its bulletproof glass casing). Kemp had been worried that the painting might have lost something of its uniqueness because of its excessive fame and overexposure. He need not have worried. "There is a sense of something happening between the picture and yourself", he said, and while acknowledging that his assessment "sounds entirely pretentious [...] it does happen". Kemp argued indeed, that when in the presence of the original work, "The picture becomes a kind-of living thing", and that any attempt to offer an analysis of Mona Lisa's aura was, in the end, a somewhat futile exercise.

Influences and Connections

Useful Resources on Leonardo da Vinci

• Leonardo's Legacy: How Da Vinci Reimagined the World By Shelley Frisch & Stefan Klein
• Leonardo Da Vinci: The Biography Our Pick By Walter Isaacson
• Leonardo da Vinci By Kenneth Clark and Martin Kemp
• The Young Leonardo: Art and Life in Fifteenth Century Florence By Larry J. Feinburg
• Leonardo Our Pick By Marten Kemp
• Leonardo da Vinci Rediscovered Our Pick By Carmen C. Bambach
• The Shadow Drawing: How Science Taught Leonardo How to Paint By Francesca Fiorani
• Leonardo da Vinci: The 100 Milestones By Martin Kemp
• Leonardo da Vinci: Anatomist Our Pick By Martin Clayton and Ron Philo
• The Story of Art By E. H. Gombrich
• Leonardo da Vinci By Ludwig Heinrich Heydenreich
• The Story of Modern Art By Norbert Lynton
• Illuminations By Walter Benjamin
• Leonardo's Notebook from 1508: Fully Digitized Our Pick Available online from the British Library
• Leonardo's Notebooks: Writing and Art of the Great Master By H. Anna Suh
• The Da Vinci Notebooks By Leonardo da Vinci
• Leonardo's Anatomical Drawings By Leonardo da Vinci
• Leonardo Da Vinci: Complete Paintings and Drawings By Johannes Nathan & Frank Zollner
• Leonardo da Vinci: The Complete Works By Simona Cremante
• Leonardo da Vinci: The Marvelous Works of Nature and Man By Martin Kemp
• Leonardo da Vinci: Complete Paintings (Revised) Our Pick By Pietro C. Marani
• The Last Leonardo: The Secret Lives of the World's Most Expensive Painting By Ben Lewis
• Leonardo da Vinci: The Complete Works
• Leonardo da Vinci: Paintings, Drawings, Quotes, Biography
• The lusts of Leonardo da Vinci By Jonathan Jones / The Guardian / Oct 19, 2011
• Leonardo da Vinci: The Biography by Walter Isaacson review - unparalleled creative genius By Blake Morrison / The Guardian / Dec 16, 2017
• The Secret Lives of Leonardo da Vinci By Claudia Roth Pierpont / The New Yorker / Oct 16, 2017
• What made Leonardo da Vinci a genius By Simon Worrall / November 4, 2017
• Psychology - The Smile of the "Mona Lisa" By Gustav Kobbé / The Lotus Magazine / November 1916
• Anatomy and Leonardo da Vinci Our Pick By Antony Merlin Jose / Yale Journal of Biology and Medicine / 2001
• Leonardo da Vinci and Fluid Mechanics By Ivan Marusic and Susan Broomhall / Annual Review of Fluid Mechanics / 2021
• Who was Leonardo da Vinci and what can we learn from him? By Nicola Davis / The Guardian / April 22, 2019
• The Mind of Leonardo Da Vinci Our Pick By Jonathan Pevsner / Scientific American / May 2, 2019
• 5 Surprising Things We Learned About Leonardo da Vinci From Historian Martin Kemp's New Online Masterclass By Menachem Wecker / Artnet / November 25, 2022
• The marvellous ugly mugs By Jonathan Jones / The Guardian / December 4, 2002
• Behind the Art: What hidden messages does Leonardo da Vinci's The Last Supper hold? By Khyati Rajvanshi / The Indian Express
• Secrets of Leonardo's 'Lady with an Ermine' Finally Revealed By Lorenza Munoz-Aloñso / Artnet
• Ginevra de' Benci National Gallery of Art in Washington, D.C.
• Leonardo da Vinci: Painter at the Court of Milan at National Gallery London
• Christie's: The Last Leonardo da Vinci - Salvator Mundi
• Smarthistory: Leonardo, The Mona Lisa - in the Renaissance and today Our Pick
• The Telegraph: Mystery of Leonardo Da Vinci's two Virgins
• Smarthistory: The Last Supper Our Pick
• Smithsonian Channel: Does 'The Last Supper' Really Have a Hidden Meaning?
• The Guardian: Leonardo da Vinci - An artist who deserves every bit of his fame
• Leonardo da Vinci: Renaissance Artist & Inventor | Mini Bio Our Pick
• Interesting Engineering: Leonardo da Vinci's brilliant mind Our Pick
• NBC News Learn: Leonardo Da Vinci, Renaissance Man
• History Documentary BBC: Leonardo DaVinci, behind a Genius Our Pick
• The Da Vinci Code 2003 Novel by Dan Brown
• The Da Vinci Code 2006 Film
• The Romance of Leonardo da Vinci 1900 Novel by Dimitri Mérejkowski / A fictionalized account of da Vinci's life
• The Secret Supper 2004 Novel by Javier Sierra / This fictional thriller revolves around da Vinci's painting The Last Supper
• Chiaroscuro: The Private Lives of Leonardo da Vinci 2005 Graphic Novel by Pat McGreal and David Rawson / Da Vinci's life and possible homosexual relationship with the young artist Salai are narrated in this comic book series
• Mr. Peabody and Sherman 2014 Film / In this animated children's film, da Vinci, his painting The Mona Lisa, and his flying machine, are central to the plot
• My Favorite Martian S03E28 1966 TV Program / In this episode, main character Martin calls on da Vinci to help fix his spaceship, and da Vinci is upset to learn that many of his inventions have been credited to other people throughout history
• Assassin's Creed: Brotherhood 2010 Video Game / In this game, da Vinci is a significant supporting character, outlining missions for players

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Content compiled and written by Zaid S Sethi

Edited and revised, with Summary and Accomplishments added by Kimberly Nichols

Da Vinci — The Renaissance Man

The inventor. the scientist. the artist..

The illegitimate son of a 25-year-old notary, Ser Piero, and a peasant girl, Caterina, Leonardo was born on April 15, 1452, in Vinci, Italy, just outside Florence. His father took custody of him shortly after his birth.

Growing up in his father's Vinci home, Leonardo had access to scholarly texts owned by family and friends. He was also exposed to Vinci's longstanding painting tradition, and when he was about 15 his father apprenticed him to the renowned workshop of Andrea del Verrochio in Florence. Even as an apprentice, Leonardo demonstrated his great talent. Indeed, his genius seems to appear in a number of pieces produced by the Verrocchio's workshop from the period 1470 to 1475. For example, one of Leonardo's first big breaks was to paint an angel in Verrochio's "Baptism of Christ," and Leonardo was so much better than his master's that Verrochio allegedly resolved never to paint again. Leonardo stayed in the Verrocchio workshop until 1477.

Seeking to make a living, and new challenges, he entered the service of the Duke of Milan in 1482, abandoning his first commission in Florence, "The Adoration of the Magi". He spent 17 years in Milan, leaving only after Duke Ludovico Sforza's fall from power in 1499. It was during these years that Leonardo reached new heights of scientific and artistic achievement.

The Duke kept Leonardo busy painting and sculpting and designing elaborate court festivals, but he also had Leonardo design weapons, buildings, and machinery. From 1485 to 1490, Leonardo produced studies on many subjects, including nature, flying machines, geometry, mechanics, municipal construction, canals and architecture (designing everything from churches to fortresses). His studies from this period contain designs for advanced weapons, including a tank and other war vehicles, various combat devices, and even submarines. Also during this period, Leonardo produced his first anatomical studies. His Milan workshop was abuzz with apprentices and students.

Unfortunately, Leonardo's interests were so broad, and he was so often compelled by new subjects, that he usually left projects unfinished. As a result, he only completing about six works in these 17 years, including "The Last Supper" and "The Virgin on the Rocks," leaving dozens of paintings and projects unfinished or unrealized (see "Big Horse" in sidebar). He spent most of his time studying science, either by going out into nature and observing things or by locking himself away in his workshop cutting up bodies or pondering universal truths.

Between 1490 and 1495 he developed his habit of recording his studies in meticulously illustrated notebooks. His work covered four main themes: painting, architecture, the elements of mechanics, and human anatomy. These studies and sketches were collected into various codices and manuscripts, which are now collected by museums and individuals (Bill Gates once paid $30 million for the Codex Leicester!).

Back to Milan — after Ludovico Sforza's fall from power in 1499 — Leonardo searched for a new patron. Over the next 16 years, Leonardo worked and traveled throughout Italy for a number of employers, including the infamous Cesare Borgia. He traveled for a year with Borgia's army as a military engineer and even met Niccolo Machiavelli, author of "The Prince." Leonardo designed a bridge to span the "golden horn" in Constantinople during this period and received a commission, with the help of Machiavelli, to paint the "Battle of Anghiari."

About 1503, Leonardo reportedly began work on the "Mona Lisa." From 1513 to 1516, he worked in Rome, maintaining a workshop and undertaking a variety of projects for the Pope. He continued his studies of human anatomy and physiology, but the Pope forbade him from dissecting cadavers, limiting his progress.

Following the death of his patron Giuliano de' Medici in March of 1516, he was offered the title of Premier Painter and Engineer and Architect of the King by Francis I in France. His last and perhaps most generous patron, Francis I provided Leonardo with a stipend and manor house near the royal chateau at Amboise.

Although suffering from a paralysis of the right hand, Leonardo (who wrote with his left-handed) was still able to draw and teach. He produced studies for the Virgin Mary from "The Virgin and Child with St. Anne", studies of cats, horses, dragons, St. George, anatomical studies, studies on the nature of water, drawings of the Deluge, and of various machines.

Leonardo died on May 2, 1519 in Cloux, France. Legend has it that King Francis was at his side when he died, cradling Leonardo's head in his arms.

Heilbrunn Timeline of Art History Essays

Leonardo da vinci (1452–1519).

A Bear Walking

• Leonardo da Vinci

The Head of a Woman in Profile Facing Left

Giovanni Antonio Boltraffio

The Head of the Virgin in Three-Quarter View Facing Right

Allegory on the Fidelity of the Lizard (recto); Design for a Stage Setting (verso)

The Head of a Grotesque Man in Profile Facing Right

After Leonardo da Vinci

Head of a Man in Profile Facing to the Left

Compositional Sketches for the Virgin Adoring the Christ Child, with and without the Infant St. John the Baptist; Diagram of a Perspectival Projection (recto); Slight Doodles (verso)

Studies for Hercules Holding a Club Seen in Frontal View, Male Nude Unsheathing a Sword, and the Movements of Water (Recto); Study for Hercules Holding a Club Seen in Rear View (Verso)

Carmen Bambach Department of Drawings and Prints, The Metropolitan Museum of Art

October 2002

Leonardo da Vinci (1452–1519) is one of the most intriguing personalities in the history of Western art. Trained in Florence as a painter and sculptor in the workshop of Andrea del Verrocchio (1435–1488), Leonardo is also celebrated for his scientific contributions. His curiosity and insatiable hunger for knowledge never left him. He was constantly observing, experimenting, and inventing, and drawing was, for him, a tool for recording his investigation of nature. Although completed works by Leonardo are few, he left a large body of drawings (almost 2,500) that record his ideas, most still gathered into notebooks. He was principally active in Florence (1472–ca. 1482, 1500–1508) and Milan (ca. 1482–99, 1508–13), but spent the last years of his life in Rome (1513–16) and France (1516/17–1519), where he died. His genius as an artist and inventor continues to inspire artists and scientists alike centuries after his death.

Drawings Outside of Italy, Leonardo’s work can be studied most readily in drawings. He recorded his constant flow of ideas for paintings on paper. In his Studies for the Nativity ( 17.142.1 ), he studied different poses and gestures of the mother and her infant , probably in preparation for the main panel in his famous altarpiece known as the Virgin of the Rocks (Musée du Louvre, Paris). Similarly, in a sheet of designs for a stage setting ( 17.142.2 ), prepared for a staging of a masque (or musical comedy) in Milan in 1496, he made notes on the actors’ positions on stage alongside his sketches, translating images and ideas from his imagination onto paper. Leonardo also drew what he observed from the world around him, including human anatomy , animal and plant life, the motion of water, and the flight of birds. He also investigated the mechanisms of machines used in his day, inventing many devices like a modern-day engineer. His drawing techniques range from rather rapid pen sketches, in The   Head of a Man in Profile Facing to The Left ( 10.45.1) , to carefully finished drawings in red and black chalks, as in The   Head of the Virgin ( 51.90 ). These works also demonstrate his fascination with physiognomy, and contrasts between youth and old age, beauty and ugliness.

The Last Supper (ca. 1492/94–1498) Leonardo’s Last Supper , on the end wall of the refectory of Santa Maria delle Grazie in Milan, is one of the most renowned paintings of the High Renaissance. Recently restored, The Last Supper had already begun to flake during the artist’s lifetime due to his failed attempt to paint on the walls in layers (not unlike the technique of tempera on panel), rather than in a true fresco technique . Even in its current state, it is a masterpiece of dramatic narrative and subtle pictorial illusionism.

Leonardo chose to capture the moment just after Christ tells his apostles that one of them will betray him, and at the institution of the Eucharist. The effect of his statement causes a visible response, in the form of a wave of emotion among the apostles. These reactions are quite specific to each apostle, expressing what Leonardo called the “motions of the mind.” Despite the dramatic reaction of the apostles, Leonardo imposes a sense of order on the scene. Christ’s head is at the center of the composition, framed by a halo-like architectural opening. His head is also the vanishing point toward which all lines of the perspectival projection of the architectural setting converge. The apostles are arranged around him in four groups of three united by their posture and gesture. Judas, who was traditionally placed on the opposite side of the table, is here set apart from the other apostles by his shadowed face.

Mona Lisa (ca. 1503–6 and later) Leonardo may also be credited with the most famous portrait of all time, that of Lisa, wife of Francesco del Giocondo, and known as the Mona Lisa (Musée du Louvre, Paris). An aura of mystery surrounds this painting, which is veiled in a soft light, creating an atmosphere of enchantment. There are no hard lines or contours here (a technique of painting known as sfumato— fumo in Italian means “smoke”), only seamless transitions between light and dark. Perhaps the most striking feature of the painting is the sitter’s ambiguous half smile. She looks directly at the viewer, but her arms, torso, and head each twist subtly in a different direction, conveying an arrested sense of movement. Leonardo explores the possibilities of oil paint in the soft folds of the drapery, texture of skin, and contrasting light and dark (chiaroscuro). The deeply receding background, with its winding rivers and rock formations, is an example of Leonardo’s personal view of the natural world: one in which everything is liquid, in flux, and filled with movement and energy.

Bambach, Carmen. “Leonardo da Vinci (1452–1519).” In Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/leon/hd_leon.htm (October 2002)

Further Reading

Bambach, Carmen C., ed. Leonardo da Vinci, Master Draftsman . Exhibition catalogue.. New Haven: Yale University Press, 2003.

Additional Essays by Carmen Bambach

• Bambach, Carmen. “ Anatomy in the Renaissance .” (October 2002)
• Bambach, Carmen. “ Renaissance Drawings: Material and Function .” (October 2002)

Related Essays

• Anatomy in the Renaissance
• Architecture in Renaissance Italy
• Portraiture in Renaissance and Baroque Europe
• The Rediscovery of Classical Antiquity
• Renaissance Drawings: Material and Function
• Antonello da Messina (ca. 1430–1479)
• Arms and Armor in Renaissance Europe
• The Crucifixion and Passion of Christ in Italian Painting
• Drawing in the Middle Ages
• Dutch and Flemish Artists in Rome, 1500–1600
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• Unfinished Works in European Art, ca. 1500–1900
• Venetian Color and Florentine Design

List of Rulers

• List of Rulers of Europe
• Central Europe (including Germany), 1400–1600 A.D.
• Florence and Central Italy, 1400–1600 A.D.
• France, 1400–1600 A.D.
• Rome and Southern Italy, 1400–1600 A.D.
• Venice and Northern Italy, 1400–1600 A.D.
• 15th Century A.D.
• Biblical Scene
• Central Italy
• High Renaissance
• The Last Supper
• Madonna and Child
• New Testament
• Religious Art
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• Scientific Instrument
• Virgin Mary
• Wall Painting

Artist or Maker

• Boltraffio, Giovanni Antonio
• Parmigianino

Leonardo da Vinci

This painter, inventor, and all-around supergenius rocked Renaissance Italy. Check out the timeline below to learn about the life of this legend.

Leonardo da Vinci is born in Vinci, Italy . (Get it? Da Vinci? From Vinci?) As a child, outdoorsy Leo loves hanging out in nature .

Teenaged Leonardo moves to Florence, Italy, where he takes painting lessons. Using a technique called tempera, the artist mixes color pigments with water and egg yolk to make paint.

The genius starts scribbling down some 20,000 pages of ideas. (Can you say writer’s cramp?) He spells words backward and reverses each letter so his notes only look normal when reflected in a mirror. “Mirror writing” might have helped protect his ideas from snoops.

Leonardo sketches designs of a flying machine . His blueprints make him the first known person to seriously study ways for humans to take flight.

Asked by the Duke of Milan to paint a mural for a dining room, Leonardo creates “The Last Supper.” People love the piece and Leonardo rockets to superstardom.

Leonardo starts work on the “Mona Lisa,” a painting famous for its eyes that seem to follow viewers wherever they move. Creepy !

Asked to be the King of France’s official painter, Leonardo goes to, um, France, where he stays for the rest of his life.

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14 Facts About Leonardo da Vinci’s Incredible Life

“Portrait of Leonardo da Vinci” attributed to Francesco Melzi, 1515-1517. (Photo: Public domain via Wikipedia )

From the  Mona Lisa   to the Vitruvian Man , so much of Leonardo da Vinci ‘s artwork is iconic. The original Renaissance Man, Leonardo was not only a painter, but also a scientist, musician, engineer, and mathematician. Many of his scientific musings and theories were later discovered to have a basis in fact and his paintings have made an indelible mark on art history.

Together with Michelangelo and Raphael , Leonardo is considered one of the pillars of the Italian Renaissance . Born in 1452, his career began when this great period of art was heating up, and he continued to keep up with his younger colleagues throughout his career.

So what do we know about the life of this great thinker? Where did his thirst for knowledge come from and where would it take him? As one can imagine, his love of learning and his creative mind led him in many different directions. Let's take a look at some interesting facts about Leonardo da Vinci's life in order to get a better understanding of his incredible mind.

14 Facts About the Original Renaissance Man, Leonardo da Vinci

“Virgin of the Rocks” by Leonardo da Vinci, between 1483 and 1486. (Photo: Public domain via Wikipedia )

He had no real last name

Though often referred to simply as “da Vinci,” the reality is that Leonardo did not have a last name, at least not as we think of it in the modern sense. Da Vinci literally translates to “of Vinci,” which is his hometown. This was common at the time. During Leonardo’s lifetime, hereditary surnames become more popular with the upper class but wouldn’t be common practice until the mid-16th century. That’s why you’ll still find that most museums and academic books simply refer to him as Leonardo.

He was an illegitimate child

Leonardo was born out of wedlock to Ser Piero, a wealthy Florentine notary, and a young peasant named Caterina. Leonardo’s mother married an artisan shortly after his birth.

Leonardo was treated as the legitimate son of Ser Piero and grew up on his family’s estate. He also had 12 half-siblings from his father, who were far younger than him and with whom he had little contact.

He didn’t have a formal education

For all of his genius, it might be surprising to know that Leonardo didn’t receive much formal education. He learned the basics of reading, writing, and arithmetic, but much of his deep learning came later in life.

For instance, Latin, which was the language of academics at the time, was something he largely taught himself. And advanced mathematics, a topic he was passionate about, only entered his life in his 30s when he started devoting himself to the subject.

He was left-handed

There are some studies that suggest left-handed people are more creative; and, if true, that is certainly the case with Leonardo. The Renaissance man is one of the most famous artists that is confirmed to have had a dominant left hand. Recent historians believe that Leonardo may have even been ambidextrous.

“Study of Two Warriors' Heads for the Battle of Anghiari” by Leonardo da Vinci, 1504-1505. (Photo: Public domain via Wikipedia )

He didn't paint that much

Though Leonardo is considered one of the greatest artists of all time , his artistic output was relatively small. In fact, there are only about 17 surviving works that can be definitively attributed to him.

Part of this was due to his busy mind. Occupied with scientific research and engineering matters, he often went through long stretches where he wasn’t accepting commissions or painting much.

Some of his famous works, like The Battle of Anghiari and Leda are known only through preparatory sketches or copies made by other painters after having been lost, destroyed, or deteriorated over time. However, his unparalleled reputation speaks to the power of his artistry. Even with so few complete paintings, it’s impossible to deny his influence on artists of his own day and for generations to come.

He started apprenticing at 15

As was typical at the time, Leonardo began his artistic training as a teenager. Thanks to his father’s good reputation, he was able to enter into the studio of respected artist Andrea del Verrocchio at age 15.

It was here that he would not only learn the basics of painting and sculpture, but also engineering and technical arts. This included things like chemistry, drafting, metallurgy, and metalworking. At the same time, he also worked in the workshop of Antonio Pollaiuolo, as it was located just next store.

At 20 he was accepted into Florence’s painter’s guild but continued to spend the next five years under the tutelage of Verrocchio before branching out on his own.

Notebook study of a Fetus by Leonardo da Vinci, c. 1510-1513. (Photo: Public domain via Wikipedia )

He was fascinated by the human body

Leonardo’s thirst for knowledge also extended to the human body. Not content to study what was already out there, he deepened his knowledge by performing as many as 30 human dissections at hospitals in Milan, Florence, and Rome.

His passion for anatomy grew so much, that it became its own area of study for the artist, independent of how it influenced his artistic work. From early on, he was not only interested in the structure of anatomy, but also started physiological research. His drawings that show how the brain, heart, and lungs function as the core of the body are still known as a great achievement in science. In fact, his anatomical drawings helped lay the basis for modern scientific illustration.

He was an animal-lover and possibly a vegetarian

Many sources—including Leonardo's notebooks and the writing of his contemporaries—have described Leonardo's passion for animals and wildlife. Moreover, he challenged the morality of consuming animals in his writing. Altogether, this evidence strongly suggests that he was a vegetarian.

Renaissance art historian Giorgio Vasari recounted a story of Leonardo, in which the young artist would purchase birds for sale so that he could set them free.

He was great at music, too

According to Vasari, Leonardo's talents also extended into the musical sphere. Not only was he described as an accomplished singer, but he was also talented on the lyre and wrote musical compositions in his notebooks. He even created a silver lyre that was shaped like a horse's head—an item that was later gifted to Ludovico Sforza, Duke of Milan.

Bill Gates owns his notebook

With such a great appetite for knowledge, it should come as no surprise that he was a prolific writer. Many of Leonardo’s notebooks are in prominent institutions like the British Library and the Victoria & Albert Museum, but one, in particular, is in the hands of a modern genius.

Leonardo’s Codex Hammer , also called the Codex Leicester , was purchased by Microsoft co-founder Bill Gates in 1994 for $30.8 million.

The 72-page notebook was written between 1506 and 1510. It contains a number of scientific musings on everything from the reasons why the sky is blue to the luminosity of the Moon to how the movement of water works and how fossils originated.

Studies of Horses by Leonardo da Vinci, c. 1490. (Photo: Public domain via Wikipedia )

He wrote backwards

As a left-hander and frequent writer, Leonardo filled his notebooks with a mirror script—which is a mirror image of normal text. It is theorized that this approach was probably faster for him, as he could write from right to left. In addition, he created a variety of symbols that he inserted within his notes. These strategies also disguised the content of his writing at first glance.

His greatest work was ruined by war

Leonardo is well-known for iconic artwork like the Mona Lisa and The Last Supper , but, unfortunately for us, his greatest work was never fully realized.

In 1482, Leonardo left Florence for Milan, apparently lured there by a commission for an enormous equestrian statue honoring Francesco Sforza. When completed, it would have been larger than the other two equestrian statues of the Renaissance done by Donatello and Leonardo’s old mentor Verrocchio.

It would have been over 16 feet tall and was commissioned by Sforza’s son, who was the Duke of Milan. Leonardo toiled for 17 years on the project, which was given the nickname Gran Cavallo (Great Horse). The long timeline wasn’t unusual for Leonardo, given his pursuit of other interests.

After 12 years, in 1493, a clay model of the sculpture was put on display and Leonardo worked on detailed plans to cast it in bronze. Unfortunately, the metal that was to be used for the sculpture was instead designated for cannons, as the threat of French invasion was imminent. In fact, the Duke was overthrown in 1499 and the clay model was ruined as French troops invaded the city, robbing us of what would have been one of the great monuments of the Renaissance.

He worked as a military architect and engineer

A few years after the end of the equestrian sculpture, Leonardo entered into an agreement with the notorious Cesare Borgia. Son of Pope Alexander VI, he was commander in chief of the papal army and known for the ruthless way he maintained control and tried to dominate different Italian states.

Leonardo spent 10 months as a “senior military architect and general engineer.” As such, he traveled around Borgia’s different territories to survey them. He also created many city plans and topographic maps, which foreshadow modern cartography.

He spent his later years in France

When Leonardo was 60 years old he was forced to leave Milan due to political upheaval. This led him to Rome, where he was hosted by Giuliano de’Medici, brother of the Pope. While Leonardo was hoping to find work in Rome, he was simply given a stipend and left to his own devices while other artists like Raphael and Michelangelo were hard at work on commissions for the Pope.

This frustrated Leonardo greatly and so, five years later, he gladly accepted an offer by the king of France to come work for him. He left Italy at age 65 in 1516 and never looked back. While he didn’t do much painting while in France, he spent a lot of time working on his scientific projects. He died just a few years after arriving in France and was buried in the Collegiate Church of Saint Florentin at the Château d'Amboise. Unfortunately, the church was damaged during the French Revolution, which led to its demolition in 1802. As some of the graves were also destroyed, this has made it difficult for historians to know where his remains are.

This article has been edited and updated.

Related articles :.

Leonardo Da Vinci’s To-Do List Proves He’s a True Renaissance Man

All 1,119 Pages of Leonardo Da Vinci’s “Codex Atlanticus” Now Available Online

View Leonardo Da Vinci’s Notebooks Online and Go Inside the Mind of a Genius

Secret Drawings Have Been Discovered Underneath a Priceless Leonardo da Vinci Painting

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Leonardo Da Vinci

About Leonardo Da Vinci

Leonardo da Vinci, synonymous with brilliance and innovation, is a towering figure in human history. Born during the Italian Renaissance, a period of remarkable cultural, artistic, and scientific rebirth, da Vinci’s life and work encapsulate the spirit of intellectual curiosity and creativity that defined the era.

In this exploration of Leonardo da Vinci’s life and legacy, we delve into the enigmatic persona of the man behind some of the most celebrated artworks and scientific discoveries in history. From his humble beginnings in Vinci, Italy, to his groundbreaking contributions to art, science, and engineering, da Vinci’s journey offers profound insights into the boundless potential of the human mind.

As we embark on this journey through the life and times of Leonardo da Vinci, we unravel the layers of his genius, exploring his artistic mastery, scientific inquiry, and enduring influence on future generations. Explore the rich tapestry of Leonardo da Vinci’s legacy and learn about the life and times of one of the greatest polymaths in history.

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Early Life and Education

Leonardo da Vinci’s formative years laid the foundation for his extraordinary intellect and diverse talents. During the Renaissance , a society rich with opportunities raised him, marked by the revival of classical education, scientific breakthroughs, and inventive creativity. In 1452, he was born in the hill town of Vinci in Tuscany.

• Birth and Childhood in Vinci: Leonardo’s upbringing in Vinci, nestled amid the picturesque landscapes of Italy, nurtured his burgeoning curiosity and creativity. Leonardo’s early years remain shrouded in mystery, as his father, Ser Piero, a notary, and his mother, Caterina, raised him with little information available about this period. Still, his birthright as an illegitimate child granted him access to a world of unconventional opportunities.
• Apprenticeship in Florence: At age fifteen, Leonardo embarked on a transformative journey to Florence, the epicenter of Renaissance art and culture. Under the tutelage of the renowned artist Andrea del Verrocchio, Leonardo honed his skills as a painter, sculptor, and architect. His apprenticeship exposed him to a vibrant artistic milieu, where he collaborated with fellow luminaries such as Sandro Botticelli and Pietro Perugino.
• Diverse Interests and Curiosity: Leonardo’s insatiable curiosity extended far beyond the confines of traditional artistic pursuits. Renowned for his voracious appetite for knowledge, he delved into various disciplines, including anatomy, engineering, mathematics, and botany. His boundless imagination and keen observational skills fueled his quest for understanding the complexities of the natural world, laying the groundwork for his groundbreaking contributions to science and innovation.

Artistic Mastery

Leonardo da Vinci’s artistic mastery transcends mere technique, encompassing a profound understanding of human anatomy, perspective, light, and shadow. His works epitomize the ideals of the Renaissance, characterized by a revival of classical art forms and meticulous attention to detail.

• The Renaissance Artistic Scene: The Renaissance marked a cultural rebirth in Europe, with a renewed interest in classical art and humanism. Artists aimed to capture the intricacy and beauty of the natural world with depth and realism never seen before. Da Vinci became a visionary artist in this environment, pushing the limits of technical mastery and artistic expression.
• Mona Lisa: A Timeless Enigma: The enigmatic Mona Lisa is among da Vinci’s most famous works. She is renowned for her enigmatic smile and haunting gaze. This masterwork, painted between 1503 and 1506, is a prime example of da Vinci’s mastery of the sfumato technique, which produces delicate color and tone transitions that give the picture an ethereal air. The Mona Lisa continues to captivate viewers worldwide, sparking endless speculation and interpretation.
• The Last Supper: A Masterpiece in Jeopardy: Another iconic work by da Vinci is The Last Supper, a monumental fresco depicting the biblical scene of Christ’s final meal with his disciples. Da Vinci completed the artwork between 1495 and 1498, showcasing his mastery of perspective, composition, and narrative. Despite facing challenges such as aging and degradation, he demonstrated his remarkable skill and creativity. The Last Supper remains a testament to da Vinci’s artistic genius, albeit in a fragile state.
• Other Notable Artworks: Besides the Mona Lisa and The Last Supper, da Vinci’s oeuvre includes many drawings, sketches, and paintings that reflect his diverse interests and creative vision. From his anatomical studies in The Vitruvian Man to his dynamic depictions of motion in The Study of the Deluge, da Vinci’s artworks inspire awe and admiration centuries after their creation.

Scientific Inquiry and Innovation

Beyond the realm of painting, Leonardo da Vinci’s unquenchable curiosity and unwavering quest for knowledge allowed him to make ground-breaking contributions to several scientific fields. His interdisciplinary approach to inquiry and innovation laid the foundation for modern science and engineering. Here are seven key points that highlight da Vinci’s scientific endeavors:

• Anatomical Studies: Da Vinci meticulously dissected human cadavers, producing detailed anatomical drawings that revolutionized the understanding of human anatomy. His anatomical sketches, such as the Vitruvian Man, demonstrate his keen observational skills and accuracy.
• Engineering and Inventions: Da Vinci’s fascination with mechanics and engineering led him to conceptualize and design numerous inventions, ranging from flying machines and armored vehicles to hydraulic systems and bridges. While many of his inventions remained unrealized during his lifetime, they foreshadowed future technological advancements.
• Natural Philosophy: Da Vinci’s observations of natural phenomena, such as the movement of water, the flight of birds, and the formation of clouds, informed his scientific inquiries into physics, meteorology, and geology. His notebooks are replete with sketches and writings exploring the laws of nature.
• Optics and Perspective: Da Vinci’s studies of optics and perspective revolutionized the representation of space and depth in art. His experiments with light and shadow and his exploration of linear perspective laid the groundwork for modern theories of visual perception.
• Geological Studies: Da Vinci’s interest in geology led him to investigate the Earth’s surface and the processes that shape it. He made geological observations during his travels, documenting erosion, sedimentation, and fossilization phenomena.
• Mathematical Investigations: Da Vinci’s mathematical inquiries encompassed geometry, proportion, and numerical patterns. His geometric sketches and mathematical diagrams reveal his fascination with mathematical principles and their applications in art and architecture.
• Hydraulics and Water Dynamics: Da Vinci’s studies of water dynamics and hydraulic systems contributed to engineering and urban planning advancements. His designs for canals, waterwheels, and aqueducts demonstrate his practical understanding of fluid mechanics.
• Botanical Studies: Da Vinci’s botanical studies involved the meticulous observation and classification of plant species. His drawings of flowers, trees, and plant anatomy showcase his meticulousness and scientific accuracy in documenting the natural world.

The Codices: A Treasure Trove of Ideas

Leonardo da Vinci’s notebooks, commonly called the Codices, are a testament to his insatiable curiosity and boundless creativity. These meticulously crafted volumes contain a wealth of ideas, observations, and inventions spanning a wide range of subjects, providing invaluable insights into da Vinci’s genius:

• The Codex Leicester : Named after Thomas Coke, the Earl of Leicester, who acquired it in the 18th century, this codex focuses primarily on scientific observations and inquiries. It contains a detailed documentation of Da Vinci’s thoughts on astronomy, geology, hydrodynamics, and the nature of water.
• The Codex Atlanticus : One of the most extensive compilations of Leonardo da Vinci’s writings and illustrations, the Codex Atlanticus has more than 1,000 pages. This codex thoroughly examines Leonardo da Vinci’s diverse mind, with chapters on botany, engineering, anatomy, mathematics, and other subjects.
• Insights into da Vinci’s Mind : The uncensored ideas, observations, and sketches of Leonardo da Vinci are found in the Codices, offering a unique window into the inner workings of his creative process. From doodles and diagrams to detailed explanations and calculations, these notebooks reveal the depth of da Vinci’s intellectual curiosity and relentless pursuit of knowledge.
• Cross-disciplinary Connections : The seamless integration of different fields of study sets da Vinci’s Codices apart. In these volumes, we see da Vinci’s interdisciplinary approach to problem-solving as he draws connections between art, science, engineering, and anatomy, laying the groundwork for future advancements in each domain.
• Innovative Designs and Inventions : The Codices are replete with da Vinci’s visionary designs for machines, gadgets, and devices far ahead of their time. From flying machines and armored tanks to hydraulic pumps and architectural plans, da Vinci’s inventions foreshadowed the technological marvels of the modern era.
• Legacy and Preservation : Despite the passage of centuries, da Vinci’s Codices inspire scholars, artists, and innovators worldwide. Through meticulous preservation efforts and digitization projects, these invaluable manuscripts ensure that da Vinci’s legacy endures for future generations to explore and admire.

Notable Artworks

Leonardo da Vinci defined his artistic legacy through masterpieces that showcased his unparalleled skill, innovation, and creativity. Here are some of the most notable artworks he created:

• Mona Lisa : With its mysterious smile and captivating stare, the Mona Lisa—possibly the most famous painting in the world—never fails to enthrall spectators. Da Vinci painted this portrait of Lisa Gherardini between 1503 and 1506, celebrating its exquisite detail, subtle use of color, and unparalleled realism.
• The Last Supper : One of da Vinci’s most famous pieces, The Last Supper, is kept in Milan’s Convent of Santa Maria delle Grazie gallery. Between 1495 and 1498, Leonardo da Vinci painted a monumental fresco that depicts the moment Jesus shares his last meal with his disciples, capturing the drama and emotion of the biblical narrative with breathtaking precision.
• Vitruvian Man : This iconic drawing, created circa 1490, epitomizes da Vinci’s fascination with human anatomy and proportion. Drawing from the works of the Roman architect Vitruvius, the Vitruvian Man represents the idealized proportions of the human form. Within a circle and a square, it embodies da Vinci’s belief in the interconnectedness of art and science.
• Lady with an Ermine : Painted around 1490, Lady with an Ermine is a portrait of Cecilia Gallerani, a young woman in the court of Ludovico Sforza, Duke of Milan. This intimate portrayal captures its subject’s grace and elegance, while the ermine’s inclusion symbolizes purity and virtue.
• The Baptism of Christ : Created in collaboration with his master, Andrea del Verrocchio, The Baptism of Christ is a testament to da Vinci’s early talent and technical skill. Around 1475, Leonardo da Vinci completed this painting, portraying John the Baptist’s baptism of Jesus; the legend is that he painted the angel kneeling on the left.
• Saint John the Baptist : Painted in the early 16th century, Saint John the Baptist is a striking portrait of the biblical figure known for its haunting expression and intricate details. This painting exemplifies da Vinci’s mastery of light and shadow and their ability to convey psychological depth.
• Ginevra de’ Benci : Completed around 1474, Ginevra de’ Benci is a portrait of a young Florentine woman, notable for its delicate rendering and subtle symbolism. Art historians believe that the juniper sprig in the background represents fidelity, while the Latin inscription on the reverse of the painting praises the virtues of its subject.

Notable Recognitions and Awards

Legacy and Influence

Leonardo da Vinci’s legacy extends far beyond the boundaries of his lifetime, permeating nearly every aspect of human culture and innovation. His unparalleled contributions to art, science, and invention have left an indelible mark on the world, inspiring generations of thinkers, creators, and visionaries:

• Impact on Art and Aesthetics : Da Vinci’s artistic innovations, including his mastery of perspective, chiaroscuro, and sfumato, revolutionized how artists approached composition, technique, and representation. His works continue to serve as touchstones of artistic excellence and beauty, influencing countless painters, sculptors, and creators worldwide.
• Advancements in Science and Engineering : Da Vinci’s scientific inquiries and engineering designs laid the groundwork for numerous advancements in fields ranging from anatomy and physics to architecture and transportation. His pioneering studies of anatomy, fluid dynamics, and mechanical engineering paved the way for future discoveries and technological breakthroughs.
• Interdisciplinary Approach to Knowledge : Da Vinci’s holistic approach to learning, which bridged the gap between art and science, has inspired a new generation of interdisciplinary thinkers and innovators. His willingness to explore diverse subjects and draw connections between seemingly unrelated fields is a model for creative problem-solving and intellectual curiosity.
• Cultural Icon and Symbol of Genius : Da Vinci’s name has become synonymous with genius, creativity, and innovation, transcending cultural and geographical boundaries. Numerous allusions to him in popular culture, from books and movies to advertisements and technology , maintain his iconic stature and solidify his place in humanity’s collective consciousness.
• Continued Inspiration in the Modern World : The timeless relevance of da Vinci’s ideas and insights resonates in the modern world, as scientists, artists, and inventors draw inspiration from his work to tackle contemporary challenges and push the boundaries of human knowledge and creativity.
• Preservation of his Legacy : Efforts to preserve and study da Vinci’s works, including his Codices and artworks, ensure that his legacy endures for future generations. Museums, libraries, and academic institutions worldwide play a vital role in safeguarding da Vinci’s cultural heritage and promoting scholarly inquiry into his life and achievements.
• Eternal Enigma and Source of Wonder : Despite centuries of study, da Vinci remains a source of fascination and intrigue. His life and work are shrouded in mystery and speculation. The timeless charm of his creations, the mysterious smile of the Mona Lisa, and the mysterious notes of his Codices all arouse the imagination and invite countless interpretations.

Controversies and Debates

Leonardo da Vinci’s life and work, shrouded in myth and mystery, have been the subject of numerous controversies and debates, ranging from questions of authorship to allegations of heresy. These controversies continue to fuel scholarly inquiry and public fascination, shedding light on the complexities of da Vinci’s legacy:

• Allegations of Heresy and Controversial Beliefs : Da Vinci’s unorthodox beliefs and unconventional lifestyle led to speculation and accusations of heresy. His association with esoteric societies and his unorthodox views on religion and morality have sparked debate among historians and scholars.
• Disputes Over Attribution and Authenticity : The sheer volume and diversity of da Vinci’s works have led to ongoing disputes over attribution and authenticity. Scholars continue to scrutinize paintings, drawings, and manuscripts attributed to da Vinci, seeking to separate genuine works from copies or imitations.
• Challenges to da Vinci’s Reputation : Despite his enduring legacy, da Vinci faced criticism and skepticism during his lifetime and in subsequent centuries. Some contemporaries dismissed his ideas as fanciful or impractical, while others questioned his character and motives.
• The Mystery of Unfinished Works : Da Vinci’s prolific output included numerous unfinished projects at his death. The enigmatic sketches and incomplete paintings left behind have fueled speculation about what might have been had he realized his full vision.
• Debates Over Interpretation and Meaning : Art historians and academics still debate da Vinci’s masterpieces because of their symbolism and hidden meanings, especially in The Last Supper and the Mona Lisa. Interpretations range from religious allegory to personal symbolism, reflecting the elusive nature of da Vinci’s genius.
• Controversies Surrounding Restoration Efforts : Attempts to preserve and restore da Vinci’s artworks, such as The Last Supper, have stirred controversy and debate. Questions regarding using modern techniques and preserving historical integrity highlight the delicate balance between conservation and interpretation.
• Ethical Considerations in Scientific Studies : Though groundbreaking in their time, Da Vinci’s anatomical studies raise ethical questions regarding the source of his cadavers and the propriety of his methods. Debates over the ethical implications of his scientific inquiries continue to resonate in contemporary bioethics and medical research discussions.
• Cultural Appropriation and Representation : Da Vinci’s fascination with diverse cultures and peoples, as reflected in his drawings and studies, has prompted discussions about cultural appropriation and representation. Critics question the ethical implications of da Vinci’s depictions of non-Western subjects and cultures.

Personal Life

Beyond his prodigious talents as an artist, scientist, and inventor, Leonardo da Vinci’s life reveals a complex and enigmatic individual shaped by his upbringing, relationships, and personal experiences. Here are some key aspects of da Vinci’s personal life:

• Early Years in Vinci : On April 15, 1452, Leonardo di Ser Piero da Vinci arrived on earth in Vinci, a small Italian hamlet near Florence. The infant was notary Ser Piero da Vinci’s illegitimate offspring, Caterina, a peasant who received a basic education and early exposure to art and literature.
• Apprenticeship in Florence : In his youth, da Vinci apprenticed under the renowned artist Andrea del Verrocchio in Florence. During this time, he honed his painting skills and learned the techniques of perspective, anatomy, and composition that would later define his artistic style.
• Life in Milan : In 1482, da Vinci moved to Milan, where he served as a court artist and engineer for Duke Ludovico Sforza. He produced some of his most celebrated works, including The Last Supper, and engaged in various scientific and engineering projects there.
• Relationships and Friendships : While da Vinci’s relationships are not well-documented, he is known to have formed friendships with prominent figures of his time, including the mathematician Luca Pacioli and the polymath Isabella d’Este, Marchioness of Mantua. He also maintained a correspondence with fellow artists, scholars, and patrons throughout his life.
• Allegations of Homosexuality : Some historians speculate that da Vinci may have been homosexual or bisexual based on his close relationships with young male apprentices and his lack of documented romantic involvement with women. However, conclusive evidence regarding his sexual orientation remains elusive.
• Later Years in France : In his later years, da Vinci spent time in France under the patronage of King Francis I. He lived in the Château du Clos Lucé near the royal residence at Amboise, where he worked on various projects until his death.
• Legacy and Posthumous Fame : After he died in 1519, da Vinci’s fame experienced exponential growth despite his accomplishments during his lifetime. Various collectors scattered and preserved his notebooks, contributing to his posthumous reputation as a Renaissance polymath and one of history’s greatest geniuses.

Death of Leonardo da Vinci

The passing of Leonardo da Vinci marked the end of an era for the Renaissance and the loss of one of history’s most brilliant minds. Here are the key details surrounding his death:

• Final Years in France : In his later years, Leonardo da Vinci found refuge in France under the patronage of King Francis I. He resided in the Château du Clos Lucé near Amboise, where he continued to work on various projects, including scientific studies and artistic commissions.
• Illness and Decline : As he approached old age, da Vinci’s health deteriorated. He suffered from various ailments, including paralysis in his right hand, which limited his ability to paint and write. Despite his physical limitations, he remained intellectually active and engaged in scholarly pursuits.
• Date of Death : Leonardo da Vinci died on May 2, 1519, at 67, in Amboise, France. His death marked the end of a remarkable life characterized by unparalleled creativity, innovation, and intellectual curiosity.
• Legacy and Impact : Da Vinci’s death reverberated throughout Europe’s cultural and intellectual landscape, leaving behind a legacy that would endure for centuries. His contributions to art, science, and invention had already secured his place as one of history’s greatest polymaths, and his passing only solidified his reputation as a visionary thinker and creative genius.
• Burial and Final Resting Place : Initially, they buried Da Vinci in the Chapel of Saint-Florentin at the Château d’Amboise. However, over time, the exact location of his grave became lost, and no one definitively identified his remains despite efforts to locate his burial site, leaving the mystery surrounding his final resting place unsolved.
• Posthumous Fame and Recognition : Leonardo da Vinci’s fame and influence grew in the centuries following his death. His artworks became the subject of admiration and study, his scientific discoveries inspired new generations of thinkers, and his inventions laid the groundwork for technological advancements that would shape the modern world.

Leonardo da Vinci’s indelible mark on history is undeniable. His multifaceted genius transcended conventional boundaries, leaving an enduring legacy that inspires and captivates. From his revolutionary artworks to his pioneering scientific inquiries and inventive designs, da Vinci’s influence reverberates through the centuries, serving as a testament to the boundless potential of human creativity and intellect.

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History Hit Story of England: Making of a Nation

• Early Modern

10 of Leonardo da Vinci’s Most Important Inventions

Jon Bauckham

26 jan 2021.

It’s something of an understatement to say that Leonardo da Vinci (1452–1519) was a ‘genius’.

As well as being responsible for world-famous paintings such as the Mona Lisa and The Last Supper , the Renaissance man was also a highly talented anatomist, zoologist, geologist, mathematician and military engineer (to name but a few), whose insatiable curiosity about the world around him knew no bounds.

During the course of his life – from his early days in Florence, right through to his final years in France – the polymath sketched out ideas and recorded scientific investigations on thousands of sheets of paper, gathered today in volumes known as codices.

In this article we delve into Leonardo’s notes and pick out 10 of his most impressive inventions and feats of engineering – some of which foreshadow innovations of more recent times.

1. Ornithopters

Among his numerous scientific interests, Leonardo harboured a particular obsession with flight. By studying the anatomy of birds, he hoped to build a machine that would one day allow humans to join them in the skies.

Towards the end of his life, the polymath gathered his thoughts on the topic in a text known as the Codice sul volo degli uccelli (‘Codex on the Flight of Birds’), written around 1505–06.

However, concepts for so-called flying machines were sketched throughout Leonardo’s career. Typically, the contraptions he drew were ‘ornithopters’, with membrane-covered wings designed to flap up and down.

Whether lying horizontally or standing in an upright position, the pilot would have operated the machines using pedals and levers – very much relying on their physical strength to get off the ground and stay airborne.

Detail from one of Leonardo da Vinci’s many flying machine designs, c1485. The drawing appears in a collection of sketches and notes known as Manuscript B , held by the Institut de France in Paris (Image Credit: Public Domain ).

2. Helical air screw

Another notable flying machine design (pictured below) can be found in a collection of Leonardo’s papers known today as Manuscript B . Sketched during the 1480s, the device – sometimes dubbed the ‘helical air screw’ – bears more than a passing resemblance to a modern helicopter.

Instead of individual rotor blades, however, Leonardo’s invention features a single, screw-shaped blade, designed to ‘bore’ into the air and allow the machine to ascend vertically.

Unfortunately, none of Leonardo’s flying machines would have actually worked. Not only would the materials have been too heavy, but human muscle power alone simply isn’t sufficient for such devices to take flight.

A modern-day model of Leonardo’s helical air screw, which predates the invention of the helicopter by more than 400 years (Image Credit: Citron / CC-BY-SA-3.0)

3. Parachute

As well as building machines that would enable humans to soar up into the clouds, Leonardo was also interested in creating devices that would allow people to descend from great heights.

In a drawing found in the Codex Atlanticus , Leonardo depicts a contraption resembling a parachute, constructed from reinforced cloth and wooden poles. Designed to be “12 arms wide and 12 tall”, the device, Leonardo writes, would enable a man to leap off a tall structure “without hurting himself”.

A miniature version of Leonardo’s pyramid-shaped parachute, which was successfully tested by a British skydiver in 2000. The original design is found in the Codex Atlanticus in Milan (Image Credit: Nevit Dilmen / CC).

In June 2000, a British skydiver named Adrian Nicholas constructed his own replica of Leonardo’s ‘parachute’, which he tested by jumping out of a hot-air balloon positioned 10,000 feet above the province of Mpumalanga in South Africa.

Although he deployed a conventional parachute shortly before landing, Nicholas sailed towards earth strapped to Leonardo’s device for a total of five minutes, reporting a surprisingly smooth descent.

4. Self-supporting bridge

Leonardo was employed by a number of powerful patrons throughout his life, including Ludovico Sforza, Duke of Milan, and Cesare Borgia , son of Pope Alexander VI.

Of the numerous contraptions Leonardo invented for his patrons, one of the simplest – but most effective – is a portable wooden bridge that appears in the Codex Atlanticus .

A modern incarnation of Leonardo’s self-supporting bridge, constructed in Denmark. The simple structure was designed to be erected in a matter of minutes, making it ideal for military use (Image Credit: Cntrading / CC).

Designed to help armies cross bodies of water, the bridge is made up of several notched wooden poles, erected without the need for any screws or other fastenings.

As demonstrated by modern replicas (like that pictured above), the pressure created by the interlocking beams keeps the whole structure firmly in place.

5. Giant crossbow

A more famous military invention, sketched c1490, is also found in the Codex Atlanticus .

Commonly dubbed the ‘giant crossbow’, the ludicrously large contraption (as demonstrated by the size of the man in the drawing, below) was designed to launch projectiles such as boulders.

While there is no evidence to suggest a working prototype was ever built, Leonardo believed that the sheer sight of such weapons would strike fear into the hearts of the enemy.

Leonardo’s ‘giant crossbow’, accompanied by notes written in his characteristic mirror-writing script. The weapon – although never built – was deliberately designed to be intimidating (Image Credit: Public Domain ).

Overall, the crossbow was one of a number of siege weapons that Leonardo drew after studying the works of an earlier military engineer named Roberto Valturio, who published a treatise named De re militari (‘On the Military Arts’) in 1472.

Other such contraptions are depicted on the same sheet as the crossbow, improving on Valturio’s designs.

6. Armoured fighting vehicle

Alongside his so-called ‘helicopter’ and ‘parachute’, Leonardo designed several other contraptions that foreshadow innovations of more recent times.

Among them is the armoured car that appears in the Codex Arundel (below), which has often been likened to a modern tank.

Conceived in c1487, the conical vehicle is depicted with cannons around its full circumference, allowing it to attack from 360 degrees.

Crucially, the soldiers inside the tank would have been protected from enemy fire thanks to metal plates reinforcing its wooden shell.

Leonardo’s sketch of a fighting vehicle or ‘tank’, which appears among the pages of the Codex Arundel at the British Library (Image Credit: Public Domain ).

Unusually for a man of his engineering ability, the gears in Leonardo’s supporting drawings are configured in such a way that renders the vehicle immobile.

This may have been a genuine mistake, but some historians have posited that Leonardo incorporated the error on purpose, just in case in his notes were ever stolen and someone else tried to copy the design.

7. Equestrian sculpture

Although ostensibly employed by Ludovico Sforza as a military engineer, Leonardo also pledged that he would build a huge equestrian monument as a memorial to the duke’s late father, Francesco.

In order to create the sculpture – intended to be 24 feet high – Leonardo carefully studied the anatomy of horses, and undertook calculations to work out how much bronze would be needed.

Most crucially of all, Leonardo also came up with innovative new methods for the casting process, which involved designing complex machinery to construct the moulds required.

An early study for Leonardo’s equestrian monument for the Duke of Milan, dated c1490. He later simplified the design, realising that it would be too complicated to make a reality (Image Credit: Public Domain ).

Unfortunately, the scheme was put on hold following the outbreak of the Italian Wars in the 1490s, and Milan’s bronze supplies were diverted to make weapons instead.

Then, when French troops entered Milan in 1499 and Sforza was overthrown, the project was abandoned for good. According to one story, the invading soldiers used Leonardo’s massive clay model of the sculpture for target practice.

8. Diving suits

Following the invasion of Milan, Leonardo fled the city state and spent a brief stint in Venice.

As his temporary new home was also under threat from foreign powers (this time by the Ottoman empire), the polymath again offered his services as a military engineer.

In the  Codex Arundel , Leonardo depicts designs for diving suits made from leather, complete with glass goggles and cane tubing.

In theory, the suits would have allowed Venetian soldiers to walk on the seabed and sabotage enemy ships from below – their breathing made possible by air tanks floating on the water’s surface.

One of Leonardo’s designs for underwater breathing apparatus (found in the Codex Arundel ), alongside a modern museum exhibit showing how the mask would have fit over the diver’s head (Image Credit: Public Domain / Public Domain ).

9. The ‘robot’

As well as flying machines, bridges and weapons, Leonardo also made contraptions designed purely for entertainment.

Around 1495, he drew up plans for a mechanical knight – an armour-clad ‘robot’ that could sit up, move its head, and even wave a sword in its hands.

Having immersed himself in the study of anatomy, Leonardo knew how to make the knight’s complex system of gears and pulleys emulate the movements of the human body as closely as possible.

While a complete drawing of the knight doesn’t survive, American robotics expert Mark Rosheim managed to construct a successful working replica in 2002 using Leonardo’s notes.

A miniature model of Leonardo’s mechanical knight and its inner workings on display in Berlin. Fragments of the original design were not discovered until the 1950s (Image Credit: Public Domain ).

10. Mechanical lion

Another impressive automaton was conceived towards the end of Leonardo’s life, when – under the employ of Giuliano de’ Medici (brother of Pope Leo X) – he built a mechanical lion as a diplomatic gift for King Francis I of France.

According to contemporary reports, the beast could walk, move its head, and open its chest to reveal fleurs-de-lys .

As it happens, Leonardo entered the king’s service in 1516. He was given his own house in the Loire Valley, where he died three years later, aged 67.

Leonardo was buried in Amboise inside a small chapel located within the grounds of the royal castle – a relatively modest final resting place for one of the greatest minds the world has ever seen.

A drawing of the castle at Amboise, France – the town where Leonardo spent the final years of his life. The sketch is attributed to his assistant, Francesco Melzi (Image Credit: Public Domain ).

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Leonardo da Vinci Timeline

April 15, 1452.

May 2, 1519