Leonardo da Vinci, the Author of the following Treatise, was the natural son of Pietro da Vinci, a notary of Vinci, in Tuscany[i1], a village situated in the valley of Arno, a little below Florence, and was born in the year 1452[i2].

Having discovered, when a child, a strong inclination and talent for painting, of which he had given proofs by several little drawings and sketches; his father one day accidentally took up some of them, and was induced to shew them to his friend Andrea Verocchio, a painter of some reputation in Florence, who was also a chaser, an architect, a sculptor, and goldsmith, for his advice, as to the propriety of bringing up his son to the profession of painting, and the probability of his becoming eminent in the art. The answer of Verocchio was such as to confirm him in that resolution; and Leonardo, to fit him for that purpose, was accordingly placed under the tuition of Verocchio[i3].

As Verocchio combined in himself a perfect knowledge of the arts of chasing and sculpture, and was a deep proficient in architecture, Leonardo had in this situation the means and opportunity of acquiring a variety of information, which though perhaps not immediately connected with the art to which his principal attention was to be directed, might, with the assistance of such a mind as Leonardo’s, be rendered subsidiary to his grand object, tend to promote his knowledge of the theory, and facilitate his practice of the profession for which he was intended. Accordingly we find that he had the good sense to avail himself of these advantages, and that under Verocchio he made great progress, and attracted his master’s friendship and confidence, by the talents he discovered, the sweetness of his manners, and the vivacity of his disposition[i4]. Of his proficiency in painting, the following instance is recorded; and the skill he afterwards manifested in other branches of science, on various occasions, evidently demonstrated how solicitous he had been for knowledge of all kinds, and how careful in his youth to lay a good foundation. Verocchio had undertaken for the religious of Vallombrosa, without Florence, a picture of our Saviour’s Baptism by St. John, and consigned to Leonardo the office of putting in from the original drawing, the figure of an angel holding up the drapery; but, unfortunately for Verocchio, Leonardo succeeded so well, that, despairing of ever equalling the work of his scholar, Verocchio in disgust abandoned his pencil for ever, confining himself in future solely to the practice of sculpture[i5].

On this success Leonardo became sensible that he no longer stood in need of an instructor; and therefore quitting Verocchio, he now began to work and study for himself. Many of his performances of this period are still, or were lately to be seen at Florence; and besides these, the following have been also mentioned: A cartoon of Adam and Eve in the Garden, which he did for the King of Portugal[i6]. This is highly commended for the exquisite gracefulness of the two principal figures, the beauty of the landscape, and the incredible exactitude of the shrubs and fruit. At the instance of his father, he made a painting for one of his old neighbours at Vinci[i7]; it consisted wholly of such animals as have naturally an hatred to each other, joined artfully together in a variety of attitudes. Some authors have said that this painting was a shield[i8], and have related the following particulars respecting it.

One of Pietro’s neighbours meeting him one day at Florence, told him he had been making a shield, and would be glad of his assistance to get it painted; Pietro undertook this office, and applied to his son to make good the promise. When the shield was brought to Leonardo, he found it so ill made, that he was obliged to get a turner to smooth it; and when that was done, he began to consider with what subject he should paint it. For this purpose he got together, in his apartment, a collection of live animals, such as lizards, crickets, serpents, silk-worms, locusts, bats, and other creatures of that kind, from the multitude of which, variously adapted to each other, he formed an horrible and terrific animal, emitting fire and poison from his jaws, flames from his eyes, and smoke from his nostrils; and with so great earnestness did Leonardo apply to this, that though in his apartment the stench of the animals that from time to time died there, was so strong as to be scarcely tolerable, he, through his love to the art, entirely disregarded it. The work being finished, Leonardo told his father he might now see it; and the father one morning coming to his apartment for that purpose, Leonardo, before he admitted him, placed the shield so as to receive from the window its full and proper light, and then opened the door. Not knowing what he was to expect, and little imagining that what he saw was not the creatures themselves, but a mere painted representation of them, the father, on entering and beholding the shield, was at first staggered and shocked; which the son perceiving, told him he might now send the shield to his friend, as, from the effect which the sight of it had then produced, he found he had attained the object at which he aimed. Pietro, however, had too much sagacity not to see that this was by much too great a curiosity for a mere countryman, who would never be sensible of its value; he therefore privately bought for his friend an ordinary shield, rudely painted with the device of an heart with an arrow through it, and sold this for an hundred ducats to some merchants at Florence, by whom it was again sold for three hundred to the Duke of Milan[i9].

He afterwards painted a picture of the Virgin Mary, and by her side a vessel of water, in which were flowers: in this he so contrived it, as that the light reflected from the flowers threw a pale redness on the water. This picture was at one time in the possession of Pope Clement the Seventh[i10].

For his friend Antonio Segni he also made a design, representing Neptune in his car, drawn by sea-horses, and attended by tritons and sea-gods; the heavens overspread with clouds, which were driven in all directions by the violence of the winds; the waves appeared to be rolling, and the whole ocean seemed in an uproar[i11]. This drawing was afterwards given by Fabio the son of Antonio Segni, to Giovanni Gaddi, a great collector of drawings, with this epigram:

In English thus:

To these must be added the following: A painting representing two horsemen engaged in fight, and struggling to tear a flag from each other: rage and fury are in this admirably expressed in the countenances of the two combatants; their air appears wild, and the drapery is thrown into an unusual though agreeable disorder. A Medusa’s head, and a picture of the Adoration of the Magi[i14]. In this last there are some fine heads, but both this and the Medusa’s head are said by Du Fresne to have been evidently unfinished.

The mind of Leonardo was however too active and capacious to be contented solely with the practical part of his art; nor could it submit to receive as principles, conclusions, though confirmed by experience, without first tracing them to their source, and investigating their causes, and the several circumstances on which they depended. For this purpose he determined to engage in a deep examination into the theory of his art; and the better to effect his intention, he resolved to call in to his aid the assistance of all such other branches of science as could in any degree promote this grand object.

Vasari has related[i15], that at a very early age he had, in the short time of a few months only that he applied to it, obtained a deep knowledge of arithmetic; and says, that in literature in general, he would have made great attainments, if he had not been too versatile to apply long to one subject. In music, he adds, he had made some progress; that he then determined to learn to play on the lyre; and that having an uncommonly fine voice, and an extraordinary promptitude of thought and expression, he became a celebrated improvisatore: but that his attention to these did not induce him to neglect painting and modelling in which last art he was so great a proficient, that in his youth he modelled in clay some heads of women laughing, and also some boys’ heads, which appeared to have come from the hand of a master. In architecture, he made many plans and designs for buildings, and, while he was yet young, proposed conveying the river Arno into the canal at Pisa[i16]. Of his skill in poetry the reader may judge from the following sonnet preserved by Lomazzo[i17], the only one now existing of his composition; and for the translation with which it is accompanied we are indebted to a lady.

The course of study which Leonardo had thus undertaken, would, in its most limited extent by any one who should attempt it at this time, be found perhaps almost more than could be successfully accomplished; but yet his curiosity and unbounded thirst for information, induced him rather to enlarge than contract his plan. Accordingly we find, that to the study of geometry, sculpture, anatomy, he added those of architecture, mechanics, optics, hydrostatics, astronomy, and Nature in general, in all her operations[i18]; and the result of his observations and experiments, which were intended not only for present use, but as the basis and foundation of future discoveries, he determined, as he proceeded, to commit to writing. At what time he began these his collections, of which we shall have occasion to speak more particularly hereafter, is no where mentioned; but it is with certainty known, that by the month of April 1490, he had already completely filled two folio volumes[i19].

Notwithstanding Leonardo’s propensity and application to study, he was not inattentive to the graces of external accomplishments; he was very skilful in the management of an horse, rode gracefully, and when he afterwards arrived to a state of affluence, took particular pleasure in appearing in public well mounted and handsomely accoutred. He possessed great dexterity in the use of arms: for mien and grace he might contend with any gentleman of his time: his person was remarkably handsome, his behaviour so perfectly polite, and his conversation so charming, that his company was coveted by all who knew him; but the avocations to which this last circumstance subjected him, are one reason why so many of his works remain unfinished [i20].

With such advantages of mind and body as these, it was no wonder that his reputation should spread itself, as we find it soon did, over all Italy. The painting of the shield before mentioned, had already, as has been noticed, come into the possession of the Duke of Milan; and the subsequent accounts which he had from time to time heard of Leonardo’s abilities and talents, induced Lodovic Sforza, surnamed the Moor, then Duke of Milan, about, or a little before the year 1489[i21], to invite him to his court, and to settle on him a pension of five hundred crowns, a considerable sum at that time [i22].

Various are the reasons assigned for this invitation: Vasari[i23] attributes it to his skill in music, a science of which the Duke is said to have been fond; others have ascribed it to a design which the Duke entertained of erecting a brazen statue to the memory of his father [i24]; but others conceive it originated from the circumstance, that the Duke had not long before established at Milan an academy for the study of painting, sculpture, and architecture, and was desirous that Leonardo should take the conduct and direction of it[i25]. The second was, however, we find, the true motive; and we are further informed, that the invitation was accepted by Leonardo, that he went to Milan, and was already there in 1489 [i26].

Among the collections of Leonardo still existing in manuscript, is a copy of a memorial presented by him to the Duke about 1490, of which Venturi has given an abridgment [i27]. In it he offers to make for the Duke military bridges, which should be at the same time light and very solid, and to teach him the method of placing and defending them with security. When the object is to take any place, he can, he says, empty the ditch of its water; he knows, he adds, the art of constructing a subterraneous gallery under the ditches themselves, and of carrying it to the very spot that shall be wanted. If the fort is not built on a rock, he undertakes to throw it down, and mentions that he has new contrivances for bombarding machines, ordnance, and mortars, some adapted to throw hail shot, fire, and smoke, among the enemy; and for all other machines proper for a siege, and for war, either by sea or land, according to circumstances. In peace also, he says he can be useful in what concerns the erection of buildings, conducting of water-courses, sculpture in bronze or marble, and painting; and remarks, that at the same time that he may be pursuing any of the above objects, the equestrian statue to the memory of the Duke’s father, and his illustrious family, may still be going on. If any one doubts the possibility of what he proposes, he offers to prove it by experiment, and ocular demonstration.

From this memorial it seems clear, that the casting of the bronze statue was his principal object; painting is only mentioned incidentally, and no notice is taken of the direction or management of the academy for painting, sculpture, and architecture; it is probable, therefore, that at this time there was no such intention, though it is certainly true, that he was afterwards placed at the head of it, and that he banished from it the barbarous style of architecture which till then had prevailed in it, and introduced in its stead a more pure and classical taste. Whatever was the fact with respect to the academy, it is however well known that the statue was cast in bronze, finished, and put up at Milan, but afterwards demolished by the French when they took possession of that place [i28] after the defeat of Lodovic Sforza.

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

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

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

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

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

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

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

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

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

[Pg xxxvii]

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

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

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

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

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

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

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

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

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

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

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

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

This Will bears date, and appears to have been executed on the 23d of April 1518. He however survived the making of it more than a year; and on the 23d of April 1519[i73], the day twelvemonth on which it had been originally made, he, though it does not appear for what reason, re-executed it; and the next day added a codicil, by which he gave to his servant, Gio. Battista de Villanis, the right which had been granted him in return for his labours on the canal of Martesana, of exacting a certain portion of all the wood transported on the Ticino[i74].

All this interval of time between the making and re-execution of his will, and indeed the whole period from his arrival in France, he seems to have been struggling under an incurable illness. The King frequently during its continuance honoured him with visits; and it has been said, that in one of these Leonardo exerting himself beyond his strength, to shew his sense of this prince’s condescension, was seized with a fainting fit, and that the King stooping forward to support him, Leonardo expired in his arms, on the 2d of May 1519[i75]. Venturi has taken some pains to disprove this fact, by shewing[i76], that though in the interval between the years 1516 and 1519, the French court passed eleven months at different times at Amboise; yet on the 1st of May 1519, it was certainly not here, but at St. Germains. History, however, when incorrect, is more frequently a mixture of true and false, than a total fabrication of falsehood; and it is therefore not impossible, or improbable, that the King might shew such an act of kindness in some of his visits when he was resident at Amboise, and that Leonardo might recover from that fit, and not die till some time after; at which latter time the Court and the King might be absent at St. Germains. This is surely a more rational supposition than to imagine such a fact could have been invented without any foundation for it whatever.

It is impossible within the limits that can here be allowed, to do any thing like justice to the merits of this extraordinary man: all that can in this place be effected is to give the principal facts respecting him; and this is all, therefore, that has been attempted. A sufficient account, however, at least for the present purpose, it is presumed has been given above of the Author, and the productions of his pencil, and it now remains therefore only to speak of those of his pen.

With what view the Author engaged in this arduous course of study, how eager he was in the pursuit of knowledge, how anxious to avail himself of the best means of obtaining complete information on every subject to which he applied, and how careful to minute down whatever he procured that could be useful, have been already shewn in the course of the foregoing narrative; but in order to prevent the necessity of interrupting there the succession of events, it has been reserved for this place to describe the contents and extent of his collections, and to give a brief idea of the branches to which they relate.

On inquiry then we learn, that Leonardo’s productions of this kind consist of fourteen manuscript volumes, large and small, now in the library of the National Institute at Paris, whither they have been some few years since removed from the Ambrosian library at Milan; and of one folio volume in manuscript also, in the possession of his Majesty the King of Great Britain. Of those at Paris, J. B. Venturi, Professor of Natural Philosophy at Modena, and of the Institute of Bologna, &c. who was permitted to inspect them, says[i77], that “they contain speculations in those branches of natural philosophy nearest allied to geometry; that they are first sketches and occasional notes, the Author always intending afterwards to compose from them complete treatises.” He adds further, “that they are written backwards from right to left, in the manner of the oriental writers, probably with intention that the curious should not rob him of his discoveries. The spirit of geometry guided him throughout, whether it were in the art of analysing a subject in the connexion of the discourse, or the care of always generalizing his ideas. As to natural philosophy, he never was satisfied on any proposition if he had not proved it by experiment.” From the extracts given from these manuscripts by Venturi himself, and which he has ranged under the different heads mentioned in the note[i78], the contents of these volumes appear to be extremely miscellaneous; and it is evident, as Venturi has marked by references where each extract is to be found in the original, that from the great distance at which passages on the same subject are placed from each other, they must have been entered without any regard to method or arrangement of any kind whatever.

The volume in the possession of his Britannic Majesty is described as consisting “of a variety of elegant heads, some of which are drawn with red and black chalks on blue or red paper, others with a metal pencil on a tinted paper; a few of them are washed and heightened with white, and many are on common paper. The subjects of these drawings are miscellaneous, as portraits, caricatures, single figures, tilting, horses, and other animals; botany, optics, perspective, gunnery, hydraulics, mechanics, and a great number of anatomical subjects, which are drawn with a more spirited pen, and illustrated with a variety of manuscript notes. This volume contains what is of more importance, the very characteristic head of Leonardo, as it was sketched by himself, and now engraved by that eminent artist Mr. Bartolozzi[i79].” Specimens from this volume have been published some years since by Mr. Dalton, and more recently and accurately by Mr. Chamberlaine; and though it must be confessed, that the former are extremely ill drawn, and betray the grossest ignorance of the effect which light and shadow were intended to produce, yet some of the subjects which the volume contains may be ascertained by them; and among them is also a fac simile of a page of the original manuscript, which proves this, like the other volumes, to be in Italian, and written backwards. The latter is a very beautiful work, and is calculated to give an accurate idea of Leonardo’s talents as a draughtsman [i80]. From these two publications it appears, that this volume also is of a very miscellaneous nature, and that it consists of manuscript entries, interspersed with finished drawings of heads and figures, and slight sketches of mechanical engines and anatomical subjects, some of which are intermixed with the writing itself.

It has been already seen, that these volumes were originally given by the will of Leonardo to Francisco Melzi; and their subsequent history we are enabled to state on the authority of John Ambrose Mazenta, through whose hands they passed. Du Fresne, in the life prefixed to the edition which he published in Italian, of Leonardo da Vinci’s Treatise on Painting, has, in a very loose way, and without citing any authority, given their history; but Venturi has inserted[i81] a translation into French, from the original manuscript memoir of Mazenta; and from him a version of it into English is here given, with the addition of Venturi’s notes, rendered also into English.

“It is near fifty years [i82] since there fell into my hands thirteen volumes of Leonardo da Vinci in folio and quarto, written backwards. Accident brought them to me in the following manner: I was residing at Pisa, for the purpose of studying the law, in the family of Aldus Manutius the younger, a great lover of books. A person named Lelio Gavardi, of Asola, Prevost of S. Zeno, at Pavia, a very near relation of Aldus, came to our house; he had been a teacher of the belles lettres in the family of the Melzi of Milan, called de Vavero, to distinguish them from other families of the same name in that city. He had, at their country house at Vavero, met with several drawings, instruments, and books of Leonardo. Francisco Melzi [i83] approached nearer than any one to the manner of De Vinci; he worked little, because he was rich; his pictures are very much finished, they are often confounded with those of his master. At his death he left the works of Leonardo in his house at Vavero, to his sons, who having tastes and pursuits of a different kind, neglected these treasures, and soon dispersed them; Lelio Gavardi possessed himself of as many of them as he pleased; he carried thirteen volumes to Florence, in hopes of receiving for them a good price from the Grand Duke Francis, who was eager after works of this sort; and the rather as Leonardo was in great reputation in his own country. But this prince died [i84] as soon as Gavardi was arrived at Florence. He then went to Pisa, to the house of Manutius. I could not approve his proceeding; it was scandalous. My studies being finished, I had occasion to return to Milan. He gave me the volumes of Vinci, desiring me to return them to the Melzi: I acquitted myself faithfully of my commission; I carried them all back to Horatio, the chief of the family of Melzi, who was surprised at my being willing to give myself this trouble. He made me a present of these books, telling me he had still many drawings by the same author, long neglected in the garrets of his house in the country. Thus these books became my property, and afterwards they belonged to my brothers[i85]. These latter having made too much parade of this acquisition, and the ease with which I was brought to it, excited the envy of other amateurs, who beset Horatio, and obtained from him some drawings, some figures, some anatomical pieces, and other valuable remains of the cabinet of Leonardo. One of these spungers for the works of Leonardo, was Pompeo Aretin, son of the Cavalier Leoni, formerly a disciple of Bonaroti, and who was about Philip II. King of Spain, for whom he did all the bronzes which are at the Escurial. Pompeo engaged himself to procure for Melzi an employment to the senate of Milan, if he succeeded in recovering the thirteen books, wishing to offer them to King Philip, a lover of such curiosities. Flattered with this hope, Melzi went to my brother’s house: he besought him on his knees to restore him his present; he was a fellow-collegian, a friend, a benefactor: seven volumes were returned to him [i86]. Of the six others which remained to the Mazenta family, one was presented to Cardinal Frederic Borromeo, for the Ambrosian library [i87]. My brother gave a second to Ambrose Figini, a celebrated painter of his time, who left it to his heir Hercole Bianchi, with the rest of his cabinet. Urged by the Duke of Savoy, I procured for him a third; and in conclusion, my brother having died at a distance from Milan [i88], the three remaining volumes came also into the hands of Pompeo Aretin; he re-assembled also others of them, he separated the leaves of them to form a thick volume[i89], which passed to his heir Polidoro Calchi, and was afterwards sold to Galeazzo Arconati. This gentleman keeps it now in his rich library; he has refused it to the Duke of Savoy, and to other princes who were desirous of it.”

In addition to this memoir, Venturi notices[i90], that Howard Earl of Arundel made ineffectual efforts to obtain this large volume, and offered for it as far as 60,000 francs, in the name of the King of England. Arconati would never part with it; he bought eleven other books of Da Vinci, which came also, according to appearance, from Leoni; in 1637 he made a gift of them all to the Ambrosian library[i91], which already was in possession of the volume E, from Mazenta, and received afterwards the volume K from Horatio Archinto, in 1674[i92].

Venturi says, this is the history of all the manuscripts of Vinci that are come into France; they are in number fourteen, because the volume B contains an appendix of eighteen leaves, which may be separated, and considered as the fourteenth volume[i93].

In the printed catalogue of the library of Turin, one does not see noticed the manuscript which Mazenta gave to the Duke of Savoy: it has then disappeared. Might it not be that which an Englishman got copied by Francis Ducci, library-keeper at Florence, and a copy of which is still remaining in the same city [i94]?

The Trivulce family at Milan, according to Venturi[i95], possess also a manuscript of Vinci, which is in great part only a vocabulary.

Of the volume in the possession of his Britannic Majesty, the following account is given in the life of Leonardo, prefixed to that number already published from it by Mr. Chamberlaine: “It was one of the three volumes which became the property of Pompeo Leoni, that is now in his Majesty’s cabinet. It is rather probable than certain, that this great curiosity was acquired for King Charles I. by the Earl of Arundel, when he went Ambassador to the Emperor Ferdinand II. in 1636, as may indeed be inferred from an instructive inscription over the place where the volumes are kept, which sets forth, that James King of England offered three thousand pistoles for one of the volumes of Leonardo’s works. And some documents in the Ambrosian library give colour to this conjecture. This volume was happily preserved during the civil wars of the last century among other specimens of the fine arts, which the munificence of Charles I. had amassed with a diligence equal to his taste. And it was discovered soon after his present Majesty’s accession in the same cabinet where Queen Caroline found the fine portraits of the court of Henry VIII. by Hans Holbein, which the King’s liberality permitted me lately to lay before the public. On the cover of this volume is written, in gold letters, what ascertains its descent; Disegni di Leonardo da Vinci, restaurati da Pompeo Leoni.”

Although no part of the collections of Leonardo was arranged and prepared by himself, or others under his direction, for publication, some extracts have been made from his writings, and given to the world as separate tracts. The best known, and indeed the principal of these, is the following Treatise on Painting, of which there will be occasion to say more presently; but besides this, Edward Cooper, a London bookseller, about the year 1720, published a fragment of a Treatise by Leonardo da Vinci, on the Motions of the Human Body, and the Manner of drawing Figures, according to geometrical Rules. It contains but ten plates in folio, including the title-page, and was evidently extracted from some of the volumes of his collections, as it consists of slight sketches and verbal descriptions both in Italian and English, to explain such of them as needed it.

Mr. Dalton, as has been before noticed, several years since published some engravings from the volume in our King’s collection, but they are so badly done as to be of no value. Mr. Chamberlaine therefore, in 1796, took up the intention afresh, and in that year his first number came out, which is all that has yet appeared.

Of the Treatise on Painting, Venturi[i96] gives the following particulars: “The Treatise on Painting which we have of Vinci is only a compilation of different fragments extracted from his manuscripts. It was in the Barberini library at Rome, in 1630[i97]: the Cav. del Pozzo obtained a copy from it, and Poussin designed the figures of it in 1640[i98]. This copy, and another derived from the same source, in the possession of Thevenot, served as the basis for the edition published in 1651, by Raphael du FrÊne. The manuscript of Pozzo, with the figures of Poussin, is actually at Paris, in the valuable collection of books of Chardin [i99]. It is from this that I have taken the relation of Mazenta; it is at the end of the manuscript under this title: “Some Notices of the Works of Leonardo da Vinci at Milan, and of his Books, by J. Ambrose Mazenta of Milan, of the Congregation of the Priests Regular of St. Paul, called the Barnabites.” Mazenta does not announce himself as the author of the compilation; he may however be so; it may also happen, that the compilation was made by the heir himself of Vinci, Francisco Melzo. Vasari, about 1567, says [i100], that a painter of Milan had the manuscripts of Vinci, which were written backwards; that this painter came to him, and afterwards went to Rome, with intention to get them printed, but that he did not know what was the result. However it may be, Du FrÊne confesses that this compilation is imperfect in many respects, and ill arranged. It is so, because the compiler has not seized the methodical spirit of Vinci, and that there are mixed with it some pieces which belong to other tracts; besides, one has not seen where many other chapters have been neglected which ought to make part of it. For example, the comparison of painting with sculpture, which has been announced as a separate treatise of the same author, is nothing more than a chapter belonging to the Treatise on Painting, A. 105. All this will be complete, and put in order, in the Treatise on Optics[i101]. In the mean time, however, the following are the different editions of this compilation, such as it is at present:

“Trattato della Pittura di Leonardo da Vinci, nuovamente dato in Luce, con la Vita dell’ Autore da Raphaele du FrÊne, Parigi 1651, in fol.; reprinted at Naples in 1733, in folio; at Bologna, in 1786, in folio; at Florence, in 1792, in 4to. This last edition has been given from a copy in the hand-writing of Stephano della Bella.

“——Translated into French by Roland Freart de Chambray, Paris 1651, fol. reprinted ibid. 1716, in 12mo, and 1796, in 8vo.

“——Translated into German, in 4to. Nuremberg 1786, Weigel.

“——Translated into Greek by Panagiotto, manuscript in the Nani library at Venice.

“Another manuscript copy of this compilation was in the possession of P. Orlandi, from whence it passed into the library of Smith[i102].

“Cellini, in a discourse published by Morelli, says[i103], that he possessed a copy of a book of De Vinci on Perspective, which he communicated to Serlio, and that this latter published from it all that he could comprehend. Might not this be the tract which Gori announces to be in the library of the Academy of Cortona[i104]?”

The reputation in which the Treatise on Painting ought to be held, is not now for the first time to be settled; its merit has been acknowledged by the best judges, though at that time it laboured under great disadvantage from the want of a proper arrangement. In the present publication that objection is removed, and the attempt has been favourable to the work itself, as it has shewn it, by bringing together the several chapters that related to each other, to be a much more complete and connected treatise than was before supposed. Notwithstanding however the fair estimation in which it has always stood, and which is no more than its due, one person has been found hardy enough to endeavour, though unsuccessfully, to lessen its credit: a circumstance which it would not have been worth while to notice, if it had not been intimated to us, that there are still some persons in France who side with the objector, which, as he was a Frenchman, and Leonardo an Italian, may perhaps be ascribed, in some measure at least, to the desire which in several instances that people have lately shewn of claiming on behalf of their countrymen, a preference over others, to which they are not entitled. Abraham Bosse, of the city of Tours, an engraver in copper, who lived in the last century, is the person here alluded to; and it may not be impertinent in this place to state some of the motives by which he was induced to such a conduct. At the time when this Treatise first made its appearance in France, as well in Italian as in French, Bosse appears to have been resident at Paris, and was a member of the Academy of Painting, where he gave the first lessons on perspective, and, with the assistance of Mons. Desargues, published from time to time several tracts on geometry and perspective, the manner of designing, and the art of engraving, some of which at least are described in the title-page, as printed at Paris for the author[i105]. This man, in his lectures, having, it is said, attacked some of the pictures painted by Le Brun, the then Director of the Academy, had been very deservedly removed from his situation, and forced to quit the Academy, for endeavouring to lessen that authority, which for the instruction and improvement of students it was necessary the Director should possess, and attempting thus to render fruitless the precepts which his situation required him to deliver. As this Treatise of Leonardo had in the translation been adopted by Le Brun, who fully saw its value, and introduced it into the Academy for the advantage of the students, by which means the sale of Bosse’s work might be, and probably was, affected; Bosse, at the end of a Treatise on Geometry and Perspective, taught in the Royal Academy of Painting and Sculpture, published by him in octavo in 1665, has inserted a paper with this title, which in the original is given in French, but we have preferred translating it: “What follows is for those who shall have the curiosity to be acquainted with a part of the procedings of Mons. Desargues, and myself, against some of our antagonists, and part of their skill; together with some remarks made on the contents of several chapters of a Treatise attributed to Leonardo de Vinci, translated from Italian into French by[Pg lxviii] Mons. Freart Sieur de Chambray, from a manuscript taken from that which is in the library of the illustrious, virtuous, and curious Mons. le Chevalier Du Puis at Rome.”

After the explanation of his motives above given, it is not wonderful to find him asserting, that this Treatise of Leonardo was in a number of circumstances inferior to his own; nor to observe, that in a list of some of the chapters which he has there given, we should be frequently told by him that they are false, absurd, ridiculous, confused, trifling, weak, and, in short, every thing but good. It is true that the estimation of Leonardo da Vinci was in France too high for him to attack without risking his own character for judgment and taste, and he has therefore found it necessary for his purpose insidiously to suggest that these chapters were interpolations; but of this he has produced no proof, which, had it been the fact, might have been easily obtained, by only getting some friend to consult Leonardo’s manuscript collections in the Ambrosian library. That he would have taken this step if he had expected any success from it, may fairly be inferred from the circumstance of his writing to Poussin at Rome, apparently in hopes of inducing him to say something to the disadvantage of the work; and his omitting to make this inquiry after the enmity he has shewn against the book, fully justifies an opinion that he forbore to inquire, because he was conscious that such an investigation would have terminated in vindicating his adversaries from his aspersions, and have furnished evidence of their fidelity and accuracy.

What the letter which he wrote to Poussin contained, he has not informed us; but he has given us, as he says, Poussin’s answer[i106], in which are some passages relating to this Treatise, of which we here give a translation: “As to what concerns the book of Leonard Vinci, it is true that I have designed the human figures which are in that which Mons. le Chevalier du Puis has; but all the others, whether geometrical or otherwise, are of one man, named Gli Alberti, the very same who has drawn the plants which are in the book of subterraneous Rome; and the awkward landscapes which are behind some of the little human figures of the copy which Mons. du Chambray has caused to be printed, have been added to it by one Errard, without my knowing any thing of it.

“All that is good in this book may be written on one sheet of paper, in a large character, and those who believe that I approve all that is in it, do not know me; I who profess never to give sanction to things of my profession which I know to be ill done and ill said.”

Whoever recollects the difference in the course of study pursued and recommended by Leonardo (that of Nature), from that observed by Poussin (that of the antique), and remembers also the different fortunes of Le Brun and Poussin, that the one was at the head of his profession, enjoying all its honours and emoluments, while the other, though conscious of his own great powers, was toiling for a daily subsistence in comparative obscurity, may easily conceive why the latter could not approve a work which so strongly inculcates the adopting Nature as the guide throughout; and which was at the same time patronized by one whom he could not but consider as his more fortunate rival. It may however be truly affirmed, that even the talents of Poussin, great as they certainly were, and his knowledge and correctness in drawing, would have been abundantly improved by an attention to the rules laid down in this Treatise, and that the study of Nature would have freed his pictures from that resemblance to statues which his figures frequently have, and bestowed on them the soft and fleshy appearance for which Leonardo was so remarkable; while a minute investigation of Leonardo’s system of colouring would have produced perhaps in him as fortunate a change as we have seen it did in the case of Raphael.

Though Bosse tells us [i107], that he had seen in the hands of Mons. Felibien, a manuscript copy of this Tract on Painting, which he said he had taken from the same original mentioned before, for the purpose of translating it into French; and that on Bosse’s pointing out to him some of these errors, and informing him that Mons. de Chambray was far advanced in his translation, he abandoned his design, and assigned to the Sieur de Chambray the privilege he had obtained for it; we have no intention here to enumerate or answer Bosse’s objections, merely because such an undertaking would greatly exceed the limits which can here be allowed us. Most of them will be found captious and splenetic, and, together with the majority of the rest, might be fully refuted by a deduction of facts; it is however sufficient on the present occasion to say, that wherever opportunity has been afforded of tracing the means by which Leonardo procured his materials for any great composition, he is found to have exactly pursued the path which he recommends to others [i108]; and for the success of his precepts, and what may be effected by them, we need only appeal to his own example.

To this enumeration of the productions of Leonardo’s pen, and in contradiction to the fact already asserted, that no part of his collections was ever arranged or prepared for publication by himself, it is probable we may be told we should add tracts on Motion; on the Equilibrium of bodies; on the nature, equilibrium, and motion of Water; on Anatomy; on the Anatomy of an horse; on Perspective; and on Light and Shadow: which are either mentioned by himself in the Treatise on Painting, or ascribed to him by others. But as to these, there is great reason for supposing, that, though they might be intended, they were never actually drawn up into form. Certain it is, that no such have been ever given to the world, as those before noticed are the only treatises of this author that have yet appeared in print; and even they have already been shewn to be no more than extracts from the immense mass of his collections of such passages as related to the subjects on which they profess to give intelligence. If any tracts therefore in his name, on any of the above topics, are any where existing [Pg lxxiii] in manuscript, and in obscurity, it is probable they are only similar selections. And indeed it will be found on inspection, that his collections consist of a multitude of entries made at different times, without method, order, or arrangement of any kind, so as to form an immense chaos of intelligence, which he, like many other voluminous collectors, intended at some future time to digest and arrange, but unfortunately postponed this task so long, that he did not live to carry that intention into effect. Under these circumstances, should it happen, as perhaps it may, that any volume of the whole is confined exclusively to any one branch of science, such as hydrostatics for instance, it was not the consequence of a designed plan, but only arose from this accident, that he had then made that branch the object of his pursuit, and for a time laid aside the rest. In proof of this assertion it may be observed, that the very treatise of light and shadow above mentioned, is described as in the Ambrosian library at Milan, and as a folio volume covered with red velvet, presented by Signior Mazzenta to Cardinal Borromeo[i109]; from all which circumstances it is evidently proved to be one of the volumes now existing in France [i110], which were inspected and described by Venturi in the tract so often cited in the course of this life.

Although the principal of Leonardo’s productions have been already mentioned, it has been thought proper, for the satisfaction of the curious, here to subjoin a catalogue of such of them as have come to our knowledge; distinguishing in it such as were only drawings, from such as were finished pictures, and noticing also which of them have been engraven, and by whom.