Leonardo, also written with the left-hand, in the possession of N. N., a painter of Milan; they treat of painting, of design generally, and of colouring. This artist came to see me in Florence no long time since; he then had an intention of publishing this work, and took it with him to Rome, there to give this purpose effect, but what was the end of the matter I do not know.[1]
But to return to the labours of Leonardo. During his time the King of France came to Milan, whereupon he (Leonardo) was entreated to prepare something very extraordinary for his reception. He therefore constructed a lion, and this figure, after having made a few steps, opened its breast, which was discovered to be entirely filled full of lilies. While in Milan, Leonardo took the Milanese Salai for his disciple; this was a youth of singular grace and beauty of person, with curled and waving hair, a feature of personal beauty by which Leonardo was always greatly pleased. This Salai he instructed in various matters relating to art, and certain works still in Milan, and said to be by Salai, were retouched by Leonardo himself.[2]
Having returned to Florence,[3] he found that the Servite Monks had commissioned Filippino to paint the altar-piece for the principal chapel in their church of the Nunziata, when he declared that he would himself very willingly have undertaken such a work. This being repeated to Filippino, he, like the amiable man that he was, withdrew himself at once, when the Monks gave the picture to Leonardo. And
- ↑ This is the well-known Treatise on Painting which first appeared in Paris in 1651, under the title of Trattato della Pittura di Leonardo da Vinci. Later editions have appeared; among them one from a copy in the library of the Vatican, published at Rome in 1807. That of Florence (1792) is also greatly valued, and the work is still considered among the best guides and counsellors of the painter.—Schorn.
- ↑ Andrea Salai, or Salaino, was the disciple and servant of Leoncirdo, in whose testament he is mentioned under the latter designation only. — Schorn.
- ↑ After Ludovico il Moro had been deprived of the Duchy; when Leonarth) returned to Florence with the mathematician, Fra Luca Pacciolo, for whose treatise De divina proportione he had made the drawings.—Gaye, in the Kunsiblatt for 1886.
declared his admiration of their extraordinary exactitude, and has cited them in the introduction to his Course of Lectures published in London in 1784.
