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Updated: June 21, 2025
He made a visit to Urbino in 1505, and wherever he was he worked continually, and finished a great number of pictures, which as yet were of religious subjects with few and unimportant exceptions. When he returned to Florence in 1506, the cartoon of Leonardo da Vinci's "Battle of the Standard" and Michael Angelo's "Bathing Soldiers" revealed a new world of art to Raphael.
It will bring that under the hammer, any day," replied the connoisseur. "Ah, what have we here? A copy from Murillo's 'Good Shepherd. Isn't that a lovely picture? Worth a hundred and fifty, every cent. And here is 'Our Saviour, from Da Vinci's celebrated picture of the Last Supper; and a 'Magdalen' from Correggio. You are a judge of pictures, I see, Mr. Morton!
This description of Da Vinci's masterpiece, the portrait of Mona Lisa, has added to the world-wide fame of that picture "Hers is the head upon which all 'the ends of the world are come, and the eyelids are a little weary. It is a beauty wrought out from within upon the flesh, the deposit, little cell by cell, of strange thoughts and fantastic reveries and exquisite passions.
One other a Venetian architect named Veranzio, studied da Vinci's theory of the parachute, and found it correct, if contemporary records and even pictorial presentment are correct.
There was, however, a certain Paolo Guidotti of Lucca, who lived in the latter half of the sixteenth century, and who attempted to carry da Vinci's theories one of them, at least, into practice.
Even as the fragment of Leonardo da Vinci's Battle of Anghiari survives in the free translation of Rubens's well-known drawing in the Louvre, we see how he has made out of the unimportant cavalry combat, yet without conventionality or undue transposition, a representation unequalled in art of the frenzy generated in man and beast by the clash of arms and the scent of blood.
A second is reaching towards a flask; a beggar sits by, eating. Attendants fill up the picture. To judge from an overthrown chair the scene appears to have been a revel of the lowest description. It is strange that a painter should venture on such a representation of this subject scarcely a hundred years after the creation of Leonardo da Vinci's Last Supper."
When that painstaking biographer, Arsene Houssaye, was endeavoring to fix the date of Leonardo da Vinci's birth, he interviewed a certain bishop, who waived the matter thus: "Surely what difference does it make, since he had no business to be born at all?" a very Milesian-like reply.
Indeed it has created a factitious interest in da Vinci's masterwork. Even more might be said for Huysmans's description of Moreau's Salomé, which actually puts the figures in the picture in motion! The critic, the historian at their best are creative artists as the writers of fiction are creative artists.
Soon after Leonardo da Vinci's arrival in Milan, Lodovico employed him to paint the portrait of his fair young mistress, and we have more than one proof of the admiration which the Florentine master's work excited among his contemporaries.
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