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Updated: June 21, 2025
The second work, De Motu Animalium, deals with the mechanical action of the limbs of birds and animals and with a theory of the action of the internal organs. A section of the first part of this work, called De Volatu, is a study of bird flight; it is quite independent of Da Vinci's earlier work, which had been forgotten and remained unnoticed until near on the beginning of practical flight.
It gave her light, and which he held more precious it gave her shadow. Soon he detected in her a wonderful reticence. She was like a woman of Leonardo da Vinci's, whom we love not so much for herself as for the things that she will not tell us, The things are assuredly not of this life; no woman of Leonardo's could have anything so vulgar as a "story." She did develop most wonderfully day by day.
It is, however, in the theories which he put forward that da Vinci's investigations are of greatest interest; these prove him a patient as well as a keen student of the principles of flight, and show that his manifold activities did not prevent him from devoting some lengthy periods to observations of bird flight.
As well as I can remember, it may be five or six feet square, and I suppose would accommodate twelve persons, though not if they reclined in the Roman fashion, nor if they sat as they do in Leonardo da Vinci's picture. It would be very delightful to believe in this table.
It was but a trifling error also that robbed the generations of one of man's divinest pictures. Three hundred years ago the monks made tight and strong the roof above the room where was Da Vinci's "Last Supper." A thousand tiles were fastened down and all save one were perfect. The one hid a secret hole.
In Da Vinci's "Last Supper" the mere animal act of taking food plays no part; the mind is occupied with higher and more significant things. A suggestion of wine or of fruit in a painting may be agreeable, but from a suggestion of the kitchen and the cook we turn away.
The parlor was very depressingly papered, but on its walls I had the exalted company of his Majesty the King, their Royal Highnesses the Prince and Princess of Wales, the late Premier, the Marquis of Salisbury, and, for no assignable reason except a general fitness for high society, the twelve Apostles in Da Vinci's Last Supper, together with an appropriate view of York Minster.
Above all, it was at the Milanese court, under the stimulating influence of the Moro, that Leonardo da Vinci's finest work was done. As a man, Lodovico Sforza is profoundly interesting.
This air of interior knowledge, of the perception of that which is hidden from the uninitiated, is a common mark of all refinement, aesthetic as well as moral. In studying the face of Leonardo da Vinci's 'Mona Lisa, for instance, one will find that it is this interior insight that explains the so-called "cryptic smile."
The striped shades were drawn down to the sills. But he could see the yellowed print of Da Vinci's "Last Supper" the one he had bought at Milan hanging on the panel above the empty hearth. There was the sand-shaker on his maple desk. That old lithograph of the two kittens over beside the bureau was crooked. He must remember to straighten it. The wall-paper was getting dingy. He stretched himself.
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