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Updated: May 15, 2025
Once I remember seeing him next to the Bishop's wife; I've got a little sketch of that duet somewhere... Well, he was simply magnificent, a born ruler; what a splendid condottiere he would have made, in gold armor, with a griffin grinning on his casque! You remember those drawings of Leonardo's, where the knight's face and the outline of his helmet combine in one monstrous saurian profile?
The Leonardo hands were delicate, long of finger, expressive and full of life; the hair was wavy, fluffy, sun-glossed, and it seemed as if you could stroke it, and it would give off magnetic sparks; but Leonardo's best feature was the eye the large, full-orbed eye that looked down so that you really never saw the eye, only the lid, and the long lashes upon which a tear might glisten.
In Leonardo's "Last Supper," the convergence of the perspective lines and the lines formed by the groups of Apostles is a case of evolution. The different types of unification are, of course, not exclusive.
Leonardo's advice for the painting of a battle-piece is excellent if it is understood in the sense in which it was meant, "everything is what it is and not another thing," as Bishop Butler put it. Be sure and make your battle a battle indeed. It is time we should realise that what the great artists wrote about art is likely to be as sensible as are the works they created.
You may note a like pathetic power in drawings of a young man seated in a stooping posture, his face in his hands, as in sorrow; of a slave sitting in an uneasy inclined posture, in some brief interval of rest; of a small Madonna and Child, peeping sideways in half-reassured terror, as a mighty griffin with batlike wings, one of Leonardo's finest inventions, descends suddenly from the air to snatch up a lion wandering near them.
This period of time was passed in various domestic amusements, in observing the sports and games of the natives, their habits, and studying their nationalities for the slaves in Don Leonardo's barracoons represented a score of different tribes, each characteristic of its origin. Mrs.
Quicker than thought, quicker than the lightning's flash, fifty monkish habits disappeared, and fifty knights in splendid armor stood revealed! fifty falchions gleamed in air above the men-at-arms, and brighter, fiercer than them all, flamed Excalibur aloft, and cleaving downward struck the brutal Leonardo's weapon from his grasp! "A Luigi to the rescue! Whoop!" "A Leonardo! 'tare an ouns!"
But there was one thing more which lay still nearer to Lodovico's heart. Leonardo's great wall-painting for the convent refectory was well-nigh completed.
And instead of envying art, he bids her rejoice that this living image of so beautiful a form will be handed down to future ages, and give thanks to Lodovico's wisdom and Leonardo's genius for having preserved this fair face to be the joy and wonder of posterity.
La Gioconda is, in the truest sense, Leonardo's masterpiece, the revealing instance of his mode of thought and work. In suggestiveness, only the Melancholia of Duerer is comparable to it; and no crude symbolism disturbs the effect of its subdued and graceful mystery.
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