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The greatest gifts are often seen, in the course of nature, rained by celestial influences on human creatures; and sometimes, in supernatural fashion, beauty, grace, and talent are united beyond measure in one single person, in a manner that to whatever such an one turns his attention, his every action is so divine, that, surpassing all other men, it makes itself clearly known as a thing bestowed by God (as it is), and not acquired by human art. This was seen by all mankind in Leonardo da Vinci, in whom, besides a beauty of body never sufficiently extolled, there was an infinite grace in all his actions; and so great was his genius, and such its growth, that to whatever difficulties he turned his mind, he solved them with ease. In him was great bodily strength, joined to dexterity, with a spirit and courage ever royal and magnanimous; and the fame of his name so increased, that not only in his lifetime was he held in esteem, but his reputation became even greater among posterity after his death. Truly marvelous and celestial was Leonardo, the son of Ser Piero da Vinci; and in learning and in the rudiments of letters he would have made great proficiency, if he had not been so variable and unstable, for he set himself to learn many things, and then, after having begun them, abandoned them. Thus, in arithmetic, during the few months that he studied it, he made so much progress, that, by continually suggesting doubts and difficulties to the master who was teaching him, he would very often bewilder him. He gave some little attention to music, and quickly resolved to learn to play the lyre, as one who had by nature a spirit most lofty and full of refinement: wherefore he sang divinely to that instrument, improvising upon it.
Nevertheless, although he occupied himself with such a variety of things, he never ceased drawing and working in relief, pursuits which suited his fancy more than any other. Ser Piero, having observed this, and having considered the loftiness of his intellect, one day took some of his drawings and carried them to Andrea del Verrocchio, who was much his friend, and besought him straitly [sic] to tell him whether Leonardo, by devoting himself to drawing, would make any proficiency. Andrea was astonished to see the extraordinary beginnings of Leonardo, and urged Ser Piero that he should make him study it; wherefore he arranged with Leonardo that he should enter the workshop of Andrea, which Leonardo did with the greatest willingness in the world. And he practiced not one branch of art only, but all those in which drawing played a part; and having an intellect so divine and marvelous that he was also an excellent geometrician, he not only worked in sculpture, making in his youth, in clay, some heads of women that are smiling, of which plaster casts are still taken, and likewise some heads of boys which appeared to have issued from the hand of a master; but in architecture, also, he made many drawings both of ground-plans and of other designs of buildings; and he was the first, although but a youth, who suggested the plan of reducing the river Arno to a navigable canal from Pisa to Florence. He made designs of flour-mills, fueling mills, and engines, which might be driven by the force of water; and since he wished that his profession should be painting, he studied much in drawing after nature, and sometimes in making models of figures in clay, over which he would lay soft pieces of cloth dipped in clay, and then set himself patiently to draw them on a certain kind of very fine Rheims cloth, or prepared linen; and he executed them in black and white with the point of his brush, so that it was a marvel, as some of them by his hand, which I have in our book of drawings, still bear witness; besides which, he drew on paper with such diligence and so well, that there is no one who has ever equaled him in perfection of finish; and I have one, a head drawn with the style in chiaroscuro, which is divine. And there was infused in that brain such grace from God, and a power of expression in such sublime accord with the intellect and memory that served it, and he knew so well how to express his conceptions by draft-mashup, that he vanquished with his discourse, and confuted with his reasoning, every valiant wit.
And he was continually making models and designs to show men how to remove mountains with ease, and how to bore them in order to pass from one level to another; and by means of levers, windlasses, and screws, he showed the way to raise and draw great weights, together with methods for emptying harbors, and pumps for removing water from low places, things which his brain never ceased from devising. It is clear that Leonardo, through his comprehension of art, began many things and never finished one of them, since it seemed to him that the hand was not able to attain to the perfection of art in carrying out the things which he imagined; for the reason that he conceived in idea difficulties so subtle and so marvelous, that they could never be expressed by the hands, be they ever so excellent. And so many were his caprices, that, philosophizing of natural things, he set himself to seek out the properties of herbs, going on even to observe the motions of the heavens, the path of the moon, and the courses of the sun. He also painted in Milan, for the Friars of S. Dominic, at S. Maria dell Grazie, a Last Supper, a most beautiful and marvelous thing; and to the heads of the Apostles he gave such majesty and beauty, that he left the head of Christ unfinished, not believing that he was able to give it that divine air which is essential to the image of Christ.
This work, remaining thus all but finished, has ever been held by the Milanese in the greatest veneration, and also by strangers as well; for Leonardo imagined and succeeded in expressing that anxiety which had seized the Apostles in wishing to know who should betray their Master. For which reason in all their faces are seen love, fear, and wrath, or rather, sorrow, at not being able to understand the meaning...
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Research essay sample on Scope Of Leonardo Da Vinci Work Beyond Art
