The death of Leonardo caused great sorrow to all who had known him, nor was there ever an artist who did more honour to the art of painting. The radiance of his countenance, which was splendidly beautiful, brought cheerfulness to the heart of the most melancholy, and the power of his word could move the most obstinate to say, “No,” or “Yes,” as he desired; he possessed so great a degree of physical strength, that he was capable of restraining the most impetuous violence, and was able to bend one of the iron rings used for the knockers of doors, or a horse-shoe, as if it were lead: with the generous liberality of his nature, he extended shelter and hospitality to every friend, rich or poor, provided only that he were distinguished by talent or excellence; the poorest and most insignificant abode was rendered beautiful and honourable by his works; and as the city of Florence received a great gift in the birth of Leonardo, so did it suffer a more than grievous loss at his death. To the art of painting in oil this master contributed the discovery of a certain mode of deepening the shadows, whereby the later artists have been enabled to give great force and relief to their figures. His abilities in statuary were proved by three figures in bronze, which are over the north door of San Giovanni; they were cast by Gio Francesco Rustici, but conducted under the advice of Leonardo, and are, without doubt, the most beautiful castings that have been seen in these later days, whether for design or finish.[1]
We are indebted to Leonardo for a work on the anatomy of the horse, and for another much more valuable, on that of man;[2] wherefore, for the many admirable qualities with which he was so richly endowed, although he laboured much more by his word than in fact and by deed, his name and fame can never be extinguished.[3] For all these things
- ↑ They are still in their place. Two of them will be found in Cicognara. -—2 tav. 72.
- ↑ His drawings of the anatomy of the horse are said to be lost. Of those relating to the human anatomy many are preserved.—Schorn.
- ↑ Vasari does not make mention of Leonardo’s talents in architecture, nor of his skill as an engineer. For details respecting these and other matters the reader is referred to Amoretti, Memorie Storiche, &c.; Lomazzo, Traiiato deW Arte della Pittura; Passavant, Waagen, and others. The English reader will also find an excellent compendium of the life of Leonardo, with some interesting details and useful references, in Bryan,
