He returned to Florence, where he found that the Servite Friars had entrusted to Filippino the painting of the panel for the high altar of the Nunziata; whereupon Leonardo said that he would willingly have done such a work. Filippino, having heard this, like the amiable fellow that he was, retired from the undertaking; and the friars, to the end that Leonardo might paint it, took him into their house, meeting the expenses both of himself and of all his household; and thus he kept them in expectation for a long time, but never began anything. In the end, he made a cartoon containing a Madonna and a S. Anne, with a Christ, which not only caused all the craftsmen to marvel, but, when it was finished, men and women, young and old, continued for two days to flock for a sight of it to the room where it was, as if to a solemn festival, in order to gaze at the marvels of Leonardo, which caused all those people to be amazed; for in the face of that Madonna was seen whatever of the simple and the beautiful can by simplicity and beauty confer grace on a picture of the Mother of Christ, since he wished to show that modesty and that humility which are looked for in an image of the Virgin, supremely content with gladness at seeing the beauty of her Son, whom she was holding with tenderness in her lap, while with most chastened gaze she was looking down at S. John, as a little boy, who was playing with a lamb; not without a smile from S. Anne, who, overflowing with joy, was beholding her earthly progeny become divine ideas truly worthy of the brain and genius of Leonardo. This cartoon, as will be told below, afterwards went to France. He made a portrait of Ginevra d' Amerigo Benci, a very beautiful work; and abandoned the work for the friars, who restored it to Filippino; but he, also, failed to finish it, having been overtaken by death.
Leonardo undertook to execute, for Francesco del Giocondo, the portrait of Monna Lisa, his wife; and after toiling over it for four years, he left it unfinished; and the work is now in the collection of King Francis of France, at Fontainebleau. In this head, whoever wished to see how closely art could imitate nature, was able to comprehend it with ease; for in it were counterfeited all the minutenesses that with subtlety are able to be painted, seeing that the eyes had that lustre and watery sheen which are always seen in life, and around them were all those rosy and pearly tints, as well as the lashes, which cannot be represented without the greatest subtlety. The eyebrows, through his having shown the manner in which the hairs spring from the flesh, here more close and here more scanty, and curve according to the pores of the skin, could not be more natural. The nose, with its beautiful nostrils, rosy and tender, appeared to be alive. The mouth, with its opening, and with its ends united by the red of the lips to the flesh tints of the face, seemed, in truth, to be not colors but flesh. In the pit of the throat, if one gazed upon it intently, could be seen the beating of the pulse. And, indeed, it may be said that it was painted in such a manner as to make every valiant craftsman, be he who he may, tremble and lose heart. He made use, also, of this device: Monna Lisa being very beautiful, he always employed, while he was painting her portrait, persons to play or sing, and jesters, who might make her remain merry, in order to take away that melancholy which painters are often wont to give to the portraits that they paint. And in this work of Leonardo's there was a smile so pleasing, that it was a thing more divine than human to behold; and it was held to be something marvellous, since the reality was not more alive.
By reason, then, of the excellence of the works of this most divine craftsman, his fame had so increased that all persons who took delight in art nay, the whole city of Florence desired that he should leave them some memorial, and it was being proposed everywhere that he should be commissioned to execute some great and notable work, whereby the commonwealth might be honored and adorned by the great genius, grace and judgment that were seen in the works of Leonardo. And it was decided between the Gonfalonier and the chief citizens, the Great Council Chamber having been newly built the architecture of which had been contrived with the judgment and counsel of Giuliano da San Gallo, Simone Pollaiuoli, called II Cronaca, Michelagnolo Buonarroti, and Baccio D'Agnolo, as will be related with more detail in the proper places and having been finished in great haste, it was ordained by public decree that Leonardo should be given some beautiful work to paint ; and so the said hall was allotted to him by Piero Soderini, then Gon- falonier of Justice. Whereupon Leonardo, determining to execute this work, began a cartoon in the Sala del Papa, an apartment in S. Maria Novella, representing the story of Niccolo Piccinino, Captain of Duke Filippo of Milan; wherein he designed a group of horsemen who were fighting for a standard, a work that was held to be very excellent and of great mastery, by reason of the marvellous ideas that he had in composing that battle; seeing that in it rage, fury, and revenge are perceived as much in the men as in the horses, among which two with the forelegs interlocked are fighting no less fiercely with their teeth than those who are riding them do in fighting for that standard, which has been grasped by a soldier, who seeks by the strength of his shoulders, as he spurs his horse to flight, having turned his body backwards and seized the staff of the standard, to wrest it by force from the hands of four others, of whom two are defending it, each with one hand, and, raising their swords in the other, are trying to sever the staff; while an old soldier in a red cap, crying out, grips the staff with one hand, and, raising a scimitar with the other, furiously aims a blow in order to cut off both the hands of those who, gnashing their teeth in the struggle, are striving in attitudes of the utmost fierceness to defend their banner; besides which, on the ground, between the legs of the horses, there are two figures in fore- shortening that are fighting together, and the one on the ground has over him a soldier who has raised his arm as high as possible, that thus with greater force he may plunge a dagger into his throat, in order to end his life; while the other, struggling with his legs and arms, is doing what he can to escape death.
It is not possible to describe the invention that Leonardo showed in the garments of the soldiers, all varied by him in different ways, and likewise in the helmet crests and other ornaments; not to mention the incredible mastery that he displayed in the forms and lineaments of the horses, which Leonardo, with their fiery spirit, muscles, and shapely beauty, drew better than any other master. It is said that, in order to draw that cartoon, he made a most ingenious stage, which was raised by contracting it and lowered by expanding. And conceiving the wish to colour on the wall in oils, he made a composition of so gross an admixture, to act as a binder on the wall, that, going on to paint in the said hall, it began to peel off in such a manner that in a short time he abandoned it, seeing it spoiling.
Leonardo had very great spirit, and in his every action was most generous. It is said that, going to the bank for the allowance that he used to draw every month from Piero Soderini, the cashier wanted to give him certain paper packets of pence; but he would not take them, saying in answer, "I am no penny-painter." Having been blamed for cheating Piero Soderini, there began to be murmurings against him; wherefore Leonardo so wrought upon his friends, that he got the money together and took it to Piero to repay him; but he would not accept it.
He went to Rome with Duke Giuliano de' Medici, at the election of Pope Leo, who spent much of his time on philosophical studies, and particularly on alchemy; where, forming a paste of a certain kind of wax, as he walked he shaped animals very thin and full of wind, and, by blowing into them, made them fly through the air, but when the wind ceased they fell to the ground. On the back of a most bizarre lizard, found by the vine-dresser of the Belvedere, he fixed, with a mixture of quicksilver, wings composed of scales stripped from other lizards, which, as it walked, quivered with the motion; and having given it eyes, horns, and beard, taming it, and keeping it in a box, he made all his friends, to whom he showed it, fly for fear. He used often to have the guts of a wether completely freed of their fat and cleaned, and thus made so fine that they could have been held in the palm of the hand; and having placed a pair of blacksmith's bellows in another room, he fixed to them one end of these, and, blowing into them, filled the room, which was very large, so that whoever was in it was obliged to retreat into a corner; showing how, transparent and full of wind, from taking up little space at the beginning they had come to occupy much, and likening them to virtue. He made an infinite number of such follies, and gave his attention to mirrors; and he tried the strangest methods in seeking out oils for painting, and varnish for preserving works when painted.
He made at this time, for Messer Baldassarre Turini da Pescia, who was Datary to Pope Leo, a little picture of the Madonna with the Child in her arms, with infinite diligence and art; but whether through the fault of whoever primed the panel with gesso, or because of his innumerable and capricious mixtures of grounds and colors, it is now much spoilt. And in another small picture he made a portrait of a little boy, which is beautiful and graceful to a marvel ; and both of them are now at Pescia, in the hands of Messer Giuliano Turini. It is related that, a work having been allotted to him by the Pope, he straightway began to distil oils and herbs, in order to make the varnish; at which Pope Leo said : " Alas ! this man will never do anything, for he begins by thinking of the end of the work, before the beginning."
There was very great disdain between Michelagnolo Buonarroti and him, on account of which Michelagnolo departed from Florence, with the excuse of Duke Giuliano, having been summoned by the Pope to the competition for the fa$ade of S. Lorenzo. Leonardo, understanding this, departed and went into France, where the King, having had works by his hand, bore him great affection; and he desired that he should color the cartoon of S. Anne, but Leonardo, according to his custom, put him off for a long time with words.
Finally, having grown old, he remained ill many months, and, feeling himself near to death, asked to have himself diligently informed of the teaching of the Catholic faith, and of the good way and holy Christian religion; and then, with many moans, he confessed and was penitent; and although he could not raise himself well on his feet, supporting himself on the arms of his friends and servants, he was pleased to take devoutly the most holy Sacrament, out of his bed. The King, who was wont often and lovingly to visit him, then came into the room; wherefore he, out of reverence, having raised himself to sit upon the bed, giving him an account of his sickness and the circumstances of it, showed withal how much he had offended God and mankind in not having worked at his art as he should have done. Thereupon he was seized by a paroxysm, the messenger of death; for which reason the King having risen and having taken his head, in order to assist him and show him favor, to the end that he might alleviate his pain, his spirit, which was divine, knowing that it could not have any greater honor, expired in the arms of the King, in the seventy-fifth year of his age.
The loss of Leonardo grieved beyond measure all those who had known him, since there was never any one who did so much honor to painting. With the splendor of his aspect, which was very beautiful, he made serene every broken spirit: and with his words he turned to yea, or nay, every obdurate intention. By his physical force he could restrain any outburst of rage: and with his right hand he twisted the iron ring of a doorbell, or a horse-shoe, as if it were lead. With his liberality he would assemble together and support his every friend, poor or rich, if only he had intellect and worth. He adorned and honored, in every action, no matter what mean and bare dwelling; wherefore, in truth, Florence received a very great gift in the birth of Leonardo, and an incalculable loss in his death. In the art of painting, he added to the manner of colouring in oils a certain obscurity, whereby the moderns have given great force and relief to their figures. And in statuary, he proved his worth in the three figures of bronze that are over the door of S. Giovanni, on the side towards the north, executed by Giovan Francesco Rustici, but contrived with the advice of Leonardo; which are the most beautiful pieces of casting, the best designed, and the most perfect that have as yet been seen in modern days. By Leonardo we have the anatomy of the horse, and that of man even more complete. And so, on account of all his qualities, so many and so divine, although he worked much more by words than by deeds, his name and fame can never be extinguished wherefore it was thus said in his praise by Messer Giovan Battista Strozzi:
Vince costui pur solo Tutti altri; e vince Fidia e vince Apelle E tutto il lor vittorioso stuolo.
A disciple of Leonardo was Giovan Antonio Boltraffio of Milan, a person of great skill and understanding, who, in the year 1500, painted with much diligence, for the Church of the Misericordia, without Bologna, a panel in oils containing Our Lady with the Child in her arms, S. John the Baptist, S. Sebastian naked, and the patron who caused it to be executed, portrayed from the life, on his knees a truly beautiful work, on which he wrote his name, calling himself a disciple of Leonardo. He has made other works, both at Milan and elsewhere; but it must be enough here to have named this, which is the best. Another (of his disciples) was Marco Oggioni, who painted, in S. Maria della Pace, the Passing of Our Lady and the Marriage of Cana in Galilee.
*"Two accurate literal translations of the same original must often coincide; and in dealing with this beautiful Life, the translator has had to take the risk either of seeming to copy the almost perfect rendering of Mr. H. P. Home, or of introducing unsatisfactory variants for mere variety's sake. Having rejected the latter course, he feels doubly bound to record once more his deep obligation to Mr. Home's example." [Gaston C. DeVere, original translator and editor]