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aged representatives of the female sex which we would not translate for the world- -"Le vecchie si debbono figurare ardite e pronte, con rabbiosi movimenti, a guisa di furie infernale!"

movement when a man wants to look at his own heels; how the joints of a finger are larger when bent than when straight; how we can neither ascend nor descend, nor walk on level ground, without raising the heel of the hindermost foot; how a man walking goes quicker with his head than with his feet; and even how the machinery that keeps the nose in the centre of the face is varied in eight dif-ling and delicate gradations of light and ferent ways.

In no work by the master, in any form, is it more distinctly seen that the first great passion of the mind was observation indulged to an extent that, like his art, no amount of precision could satisfy it; and that the second was a no less imperative desire to inculcate on others what he had himself observed; the one ever impelling him to learn, the other to teach. Occasionally, in contrast to (and relief from) such over-precise rules, which, in the effort at more and more clearness, end by confusing the reader, there occurs a paragraph of larger import; such as

What will most interest the analyzer of Leonardo's own art, in this work, are the indications of what are known to be his favourite excellences the close model

shade by which he aimed at the utmost roundness and relief. Throughout the numerous paragraphs on the treatment of lights and shadows will be found warnings against "ombre terminate," or shadows with distinct terminations; urging the student to that observation of the lesser shades and lesser lights by which the extremes of both can be united without line or edge "a uso di fumo” — iɑ the manner of smoke -a precept which gave rise to a word of his invention, still in the painter's vocabulary, and without which it would be difficult to define Leonardo's own mode of execution, viz., sfumato." We see also his distaste to all exaggerated muscular markings A painter should never imitate another, or he will be called the nephew, and not the son, prompted perhaps by the sight of Miof Nature. For since Nature gives things in chael Angelo's school - which he defines endless profusion, he should rather have re-as "looking more like a sack of walnuts course to her than go second-hand to those who have learnt from her.*

Or we fall in with a hit against some parsimonious fellow-artist-perhaps his

old fellow-scholar, Perugino: —

The painter who mistrusts not himself will learn little. If his work be above his judgment, he will never improve; if his judgment be above his work (and this was too much his own case), he will never cease to improve; se l'avarizia non l' impedisce.†

One paragraph also shows a grudge against a portion of his fellow-creatures among the lower classes of Italy, who, it must be confessed, are to this day not always gentle or picturesque. Dwelling on the distinctions in action and movement proper to children and to young women, to old men and old women: how children should be represented with quick, oblique movements when seated, but straight and timid when standing: young women with modest action, the knees closed, the arms gathered together, the head inclined forward, and rather on one side old men with bent knees, and slow and heavy step; he adds directions for the characteristic portrayal of the

⚫ Cap. xxiv.

↑ Cap. xli.

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than a human figure;" while in his directions for the "beauty of faces,"† he says, "do not make muscles with sharp definitions, but let the soft light terminate insensibly in sweet and pleasing shadows, whence proceed grace and beauty." A certain feeling also against the school of colour-grapes which were somewhat sour to him- may be suspected, as opposed to the roundness he ever aimed at. He designates it as calculated to gain the applause of the vulgar, "who desire nothing more than beauty of colour, not understanding that of relief."

But the "Trattato della Pittura," while implying studies far beyond its own special scope, gives no adequate measure of the mind which embraced in its observation the phenomena equally of earth, air, fire, and water. For such imperfect estimate of the genius of Leonardo as can now be formed-and however fragmentary the evidence, it can only gain in appreciation by the advance of sciencewe must look to those collections of memoranda, alternately written and drawn, which under the name of "books"

Cap. Ixiii.

Cap. cxci.
* Cap. cclxxvii.

he bequeathed to his friend Francesco these manuscripts have been shuffled, it Melzi, present at his death. The orig- must be an enthusiast of singular leisure inal amount of these "remains" no one and patience that would devote himself can tell, for no inventory of them exists. to them. Even when assisted by the They were brought back to Italy by pencil, "which speaks the tongue of Melzi, who survived his friend till 1570, every land," the ideas remain, many of after which his descendants, sinking with them, enigmatical. their country's degradation, tossed them Next to the volume printed by the into the garret of that Villa Vapri, on the Italian government, most information is walls of which Leonardo's mark, in the derived from the essay on "The Science form of the colossal "Madonna and and Literature of Leonardo da Vinci," by Child," still remains. It is impossible to Mr. C. C. Black, of the South Kensingtrace the hands through which these ton Museum, which forms part of Mrs. MSS. have passed, the mutilations they Heaton's work. This is by far the most have suffered, or the amount that has popular and comprehensive view yet been lost. One volume belonged to Am-given of the multiform sides of one who brogio Ficino, a remote scion of the Leo- has bequeathed to posterity so much of nardo school, who died in 1608, leaving it his mind and so little of his life. It to Vespino, a still more degenerate de- would be difficult to compile a list even scendant of the great master. One was of the subjects which occupied a mind to in the possession of Cardinal Federigo which the readily-applied commonplace Borromeo; a third belonged to Carlo of "before his time" renders no justice; Emmanuele of Savoy, and is supposed to and which, a hundred years before Bacon, have perished in one of the fires that led the way to those experimental princiconsumed the royal library at Turin. ples "the only method," in his own Some found their way to Charles I.'s col-words, "to be observed in the study of lection a volume was obtained by the phenomena of nature." The discov"Consul Smith" of Venice — but the eries of Leonardo da Vinci, in the langreater number, amounting to thirteen guage of Mr. Hallam, "are rather such volumes, gravitated eventually by a natu- as to strike us with preternatural aweral process to the Ambrogian Library, more like the revelations of physical whence they were carried off by the truths vouchsafed to a single mind, than French commissioners, too well informed the superstructure of its reasoning upon to overlook their great importance. Ow- any preceding and established basis." ing, as we have said, to the negligence of Beginning with his art, there was the the Austrian government, one only vol- study of anatomy, never before so thorume, the "Codice Atlantico" —it is true oughly mastered and exemplified; to the by far the most important — was restored accuracy of which, as evidenced by his to its former place in the Ambrogian drawings, we have the tribute of our own Library; the twelve others still remain-great anatomist, John Hunter.* Coning in Paris, and not readily shown by nected with his engineering labours was the French, lest too much attention his mastery of mathematical and geometshould be called to their unjust posses-rical laws; connected with his geometry, sion.* M. Clément, on this account per- his knowledge of perspective, to which haps, omits to dwell on them, though he appertains his suggestion of the camera describes the large volume purchased obscura, clearly described in the "Tratsome years ago from Signor Vallardi by tato," and falsely attributed to his junior, the Louvre. Other smaller collections Albert Dürer. From perspective to the exist in the Vatican, in the Casa Trivulzi, laws regulating light the way was immeMilan, and in the British Museum. No diate, the words perspective and optics one, however, can be said to have thor-being then convertible terms. And here oughly explored these endless sibylline leaves. And, considering the age of the writing, its strange contractions and orthography, its wearisome left-handed character, and the disorder into which

According to the "Saggio delle Opere di Leonardo" the twelve volumes in Paris have been gravely mutilated in order to enrich the two volumes in the

collection of Lord Ashburnham. The treasures belonging to that nobleman are so little known, that we have no proof as to whether this assertion be true.

the ingenious little instrument of our day, the stereoscope, did not escape his foresight. Though not its actual inventor, he indubitably preceded our own Wheatstone in the recognition of its principle. For, noticing that slight diversity of the two images of every object presented simultaneously to both eyes, by which we obtain the solidity and relief of actual

• See Hunter's Lectures, published 1784.

nature, of the rationale of which he gives such periodical catastrophes could be a geometrical illustration, he confesses averted. To ensure the safe application that a picture, however elaborate, cannot of that science of hydraulics which was possibly and, in the interest of art, we his especial forte and delight, the princimay add fortunately present the same ples of hydrostatics were the indispensable effect of reality. Continuing in the same step. In all things, accordingly, beginline of cognate phenomena, he suggests ning with the beginning, we find him a method of measuring light, which, two searching and defining the laws applicacenturies later, appeared as a French dis-ble to fluids in a state of rest - capillary covery - he wrote a treatise on lights and attraction and equality of pressure-the shadows-pointed the way to the burn-action of the syphon-the bore of the ing-glass, and more than the way to the telescope; for a drawing of this instrument appears in the "Codice Atlantico." Thence he is found diverging to the still mysterious field of acoustics-to the vibrations of tones, the velocity of sound, and the construction of certain musical instruments; to the laws which govern force, motion, and gravitation, with a thorough working-out of the principles of the lever and of the pendulum, and a clearly indicated apprehension of the rotation of the earth;-to the actions of weight, pressure, and attrition; to the density of the atmosphere, and the first construction of the barometer, under the design for which are his words, "Modo di vedere quando si guasta il tempo;" to an improvement in the compass, since in to the idea of marine vessels propelled by wheels against the current; so working his way to the great practical area of mechanics, which he calls "the paradise of the mathematical sciences."

common use;

since established Artesian well, and that emptying of ditches and conducting of water professed in his letter to the duke. The prominence of the business of war, continually entailed by the treachery of the wretched potentates who eventually degraded the fairest peninsula on this earth, is of course conspicuous in these notes and memoranda. Competent judges have borne witness that Leonardo's profession of improved powers of destruction was no empty boast. Living on the debatable ground between ancient and modern modes of warfare-between the catapult and the cannon - he gave new forms and increased forces to each. Sketches still remain which show that the greater destructiveness and further range of what we now know as the mitrailleuse, and conical projectiles, were anticipated in his brain. Nay, even the use of steam as applied to a monstrous form of cannon, finds its place as a seed dropped by a mind which stands like one in the centre of a circle, towards whom all main lines of Indeed, it is superfluous for his reputa- modern knowledge-astronomy, geolotion to credit him any longer with the for- gy, chemistry, mechanics, natural history, mation of the Martesana Canal- called and even botany, converge. And yet a "il Naviglio". one of the stock tales mind, in curious respects, not disconwhich have been repeated ad nauseam. nected with its own period; attracted at This work, like the grand “Spedale," and one time, doubtless in youth, by the other undertakings of utility and beauty chimera of perpetual motion, flying men, at Milan, was owing not to Ludovico il aerial chariots, winged ships; ideas, Moro, but to the far nobler ruler, his with others not less baseless, which surfather, Francesco Sforza, and is known to vive in his writings, and with them his have been completed before Leonardo's own recognition of their absurdity, being arrival in Milan.* There is proof, how- marked here and there with a marginal ever, that Leonardo invented new lock-"falso," or "non è desso." And yet not gates, and repaired the canal. The in- abandoned till, pursuing his own experivestigation of the forces, for good or for mental system, he had sifted the more evil, of moving bodies of water-rivers and torrents is the duty to which every great Italian engineer may be said, by the character of his native land, to be especially called. In the inundation of the Po in 1493, by which the convent refec- True also to himself in the things he tory of S. Maria delle Grazie was sub-forebore to look into. No sign in these merged, the thoughts of the painter must great repertories of original thought of have pondered on the methods by which any interest in metaphysics, theology, or the philosophy of the schoolmen. Like Galileo after him, following no fruitless

Tiraboschi, p. 1701.

from the less practical plan; as in the construction of a flying-machine, in which he had fixed on the wing of the bat as better fitted for imitation than that of the bird.

department. The man of all work for this world, and therefore of incomparably more work than the world then could use. With practical purposes in all his researches, seeing, observing, noticing everything the fall of the wave-the motion of the bird the duration of the echo-the veins of the leaf- the bones of extinct animals the scintillations of the stars the conditions of the moon the connection of motion with heat- and these last two in terms which Nasmyth himself might have employed. And inventing every thing; for, in happy relief to his destructive ingenuities, his pages teem with every form of mercantile and even humblest domestic utility. For instance, designs for more than thirty kinds of mills-one even of a treadmill, a marvel of perspective and beauty of line; windlasses, cranes, machines for wiredrawing, plate-rolling, file-cutting; saws, drills, looms, instruments for flattening and dressing cloth; a surgical probea universal joint-a spring to close doors cowls for smoky chimneys - the artist's so-called camp-stool- a roastingjack (still in use in Italy) moved by the draught of hot air; and finally, last but not least, among the many things moved by wheels, the common wheelbarrow. Practical, too, in all things, even in such schemes as that of lifting the Baptistery of Florence on to a higher level, or moving mountains from one plain to another, which, if feasible at all, could only be by such means as he suggests. A man, appointed not so much to work in his own person as to be the universal supplier and prompter of work for the intellectual and brute forces of others; who called himself humbly "the disciple of practice;" but whom we may rather denominate as the priest and prophet of the laws and forces of nature.

inquiry into first causes; seeking noth- he lived, because the arts were the only ing that he might not hope to prove. form of his activity then generally in de"What is that," he says, "that does not mand. The skilled labourer in every give itself to human comprehension, and, if it did, would not exist? It is the Infinite, which, if it could so give itself, would be done and ended." No sign either, as far as these repertories have been explored, of any interest in the world then around him. Columbus was only ten years older than he - Savonarola exactly his own age. States were falling-foes were invading; but to judge from these records such men and such facts existed not. Even the great painters contemporary with him have left no mark in these writings, as far as hitherto known, unless in the hints we have indicated. Nor is there the slightest appearance that the higher demands of our nature were even repressed in him. No enthusiasm is seen to warp his judgment - no dreams of philanthropy to swell and agitate his heart no love of woman to kindle unrest. Ever seeking to solve all mechanical problems, he was neutral in presence of all moral truths. With intellect thus predominant, passion, impetuosity, and imprudence were foreign to him. Words dropped here and there further show the inner man. "Flee from storms." "The painter should be solitary if thou art alone thou art all thine own." "Patience against injustice is as a garment against the cold; if the cold increases put on additional garments." Such discretion as this does not seem to have altogether shielded him from the suspicions of the Church, though possibly from the wiles of the female sex; for the paltry mind of Vasari imputes to him "ideas so heretical, that he did not conform to any religion, thinking it peradventure far better to be a philosopher than a Christian." This passage, however, was withdrawn after the first edition. Leonardo, also, in his "Trattato" speaks of himself as charged with two great offences-"working at my art on feast-days, and investigating the works of God," and gives the clue to his accusers Farisei, ciò vuol dir santi Frati." One sentence also implies that he had been imprisoned: "When I made the Lord God an Infant, you imprisoned me." Let us pause a moment to recall the multiplied facets of this brilliant genius; receiving and giving light in all directions — surpassing in art, and yet, relatively, less artist than physiologist, engineer, mathematician. Or rather, chiefly artist to the generation in which

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Still, we linger over the course and character of Leonardo da Vinci with an absence of satisfaction painful to ourselves. Much of that which we feel to be wanting must be laid to the period to which he belonged. Who shall say how far every man participates in the good or evil in which he is appointed to move and live and have his being? Where independence of bearing and selfrespect were looked upon, as in Michael Angelo, as surliness and crotchets ; where he was most successful in life who could carry the darkest designs under the most

friendly aspect and manner; and he vious in his character. In his art he alone safe who refused (while pretending reaches trom the subtlest and sweetest it) credence to the most cordial assur- beauty to the most unnatural and hideous ances; where treachery and intrigue deformity; in his writings from the were the accepted statesmanship of the grandest generalities to the most puerile great, and flattery and insincerity the particulars; in his daily habits from the current coin of their subjects in such profoundest studies and application to a state of manners and morals those few (we are assured) the vainest extravagance who could rise above the social standard and ostentation; from the clearest methhad a twofold battle to fight the one ods of reasoning and closest accuracy of with themselves common to all men observation as regards cause and effect, the other with the weight of the custom to all the sure consequences of reckless around them. Such a warrior, it may expenditure, disorder, and social degrabe safely averred, Leonardo was not. dation-debts, fawnings, unpaid salary, He took things as he found them; nei- and humiliating beggings, even for ther lamenting (like Michael Angelo) that clothes; in his life from the illustrious they were no better, nor caring to reform philosopher who commands the wonder them. His transcendent genius was also and admiration of all enlightened ages, of that kind which brings most tempta- to the hireling who knew not the meantion to its possessor. The man of shining of the word patriot, who shifted with ing gifts, as distinguished from the man every wind of fortune, executed chefsof great qualities, has always a sphere, d'œuvre or invented toys, equally to flatand is always in request, for he amuses, ter the French invader or the Milanese even instructs — never, even tacitly, re- usurper; placed himself, like the merceproves. Still, it is difficult to reconcile nary troops of the time, at the disposal the contrast between this unceasingly of whomsoever happened to be in power, working and thinking being, and the no matter how obtained; and principally cowardly, heartless, and ignorant traitor served two of the most iniquitous princes and usurper, whose company flattered, of the age, Ludovico Sforza and Cæsar and whose patronage alternately fed and Borgia. starved him. The court of Ludovico Sforza was one of the most profligate and empty that existed even at a time when a Borgia occupied the papal throne: Leonardo was in both respects evidently the reverse. Even Vasari, who defamed Raphael, has no vicious gossip to tell of him; yet he contentedly breathed an atmosphere as uncongenial as unworthy of him. It must be taken into account that he was the first painter who lived in social equality with the great of the land, and for those who would live with them then on any terms, the debasing courtier element was inevitable. On the other hand, the fact that a tyrant like Ludovico il Moro surrounded himself with men of reputation for learning and arts has re-arches for the entry of Louis XII.; and ceived, as with Lorenzo de' Medici, far too favourable an interpretation. Such environment, which would now be considered a pure tribute to genius, was then rather a politic but contemptible device which answered many purposes; the amusement of the hour, the diversion of scrutinizing eyes, and the sure falsification of history.

There is evidence, however, that these habits of self-accommodation to successive rulers exceeded even the latitude then allowed. However elastic the bonds of allegiance, the great master changed sides too often. He had looked on indifferent at the usurpation of the throne of Milan, on the misery of the young Gian Galeazzo and his wife, and must be believed to have ignored the suspected dark sequel to that story. He had shown no reluctance to aid Ludovico in welcoming over the Alps those packs of French wolves under Charles VIII. who first overran the fair plains of Italy. On the fall of Ludovico, caught in the toils he had spread for others, he had built triumphal

on Louis' discomfiture and the restoration of the young Maximilian, son of Ludovico, in 1512, Leonardo had disposed himself to renew his relations with the Sforza family. It appears that on this occasion the court of Milan became, to use a familiar phrase, too hot for him, when, following his favourite maxim, "Flee from storms," he removed to Nevertheless, much of what we feel to Florence. There, having obtained the be defective in Leonardo must inexora-protection of the pusillanimous Julian bly be laid to himself. For no less de' Medici-son of Lorenzo the Magstrange and rare than the range of his nificent-he accompanied that prince intellectual gifts were the extremes ob- to Rome for the consecration of his