FILOSOFIA DO RENASCIMENTO - LEONARDO DA VINCI - Prof. Lúcia Helena Galvão de Nova Acrópole

Those who already know, already have a certain notion that we celebrate this World Philosophy Day every year, the third week of mid-November. This whole week will be of celebrations. And this year our tonic is the 500th anniversary of Leonardo da Vinci. Recently, when we talk about a school of philosophy, we will not talk only about the life of Leonardo, or his works, but also about some reflections that base an idea that seems very interesting to me. That the Renaissance is not something situated in a time-space. Renaissance is an atemporal phenomenon. It is always necessary to

be reborn. I remember a philosopher who was asked if he feared death. He said he did not fear it, because every night he died, and every day he woke up renewed. That is, he suffered a rebirth every day. By his willingness to face the new, the unknown, by his willingness to grow. This is interesting, right? Death and I are intimate. When it comes in a definitive character, it will not surprise me at all, because we are old acquaintances. So a little of this idea that we are going to discuss, of course, that is entrenched in

the life of Leonardo da Vinci, because he is the prototype of the Renaissance man, as we all know, and we can learn a little, maybe take as a reference, some postures of a man who came to have such a deep love for knowledge, as he. In such a way that there was no other interest, it is practically as if you were to announce the loves of Leonardo da Vinci, and the first ten places were for knowledge. Because there was almost nothing that disputed with that. He, his whole life, sought only that, above fame, above recognition.

Yes, he struggled hard for survival, this is a necessity. But even when he did things that were not exactly what he would like to be doing, we are there in a very hard time, very difficult, Renaissance, the artists, we will see, lived as servants of nobles, who were not always very kind, and sometimes not always very honest. And all the great men we knew in that period had to go through that. So even when he was working, for example, for Cesar Bode, who knows a little about this story, knows who Cesar Bode was. Still, he

maintained his initiative in the sense of doing his research about the anatomy of the human body, about botany, about everything you can imagine. Leonardo da Vinci has already spoken a lot about all the research he developed, about all the inventions. One of the most poetic things I think, which is exactly the time he lived with Cesar Bode, was one day when he decided to research why we see the blue sky. That is, even that did not escape his curiosity. And from so much research, he discovered that it was a phenomenon of light, it was an

optical phenomenon. That is, what passed in front of his eyes was subject to his curiosity, an active curiosity, which did not lie in front of any closed door. Today, it is considered that there are batteries of scientists from the most different areas who opinion about this, and he is considered, without a shadow of doubt, the greatest scientist in history. You will say, but there was a Newton, there was an Einstein, none of them as universalist as Leonardo. There was no area in front of which he stood. And without a shadow of doubt, today considered not

only the prototype of the man of the Renaissance, but the prototype in general, the latus sensus of the man who loves and seeks knowledge. See, in philosophy, love is wisdom. I think Leonardo da Vinci is one of the men who most have to teach us talking about this. So let's get to know a little of this friend of ours and philosophize about his ideas. Leonardo da Vinci and the philosophy of the Renaissance. Everyone knows a lot about this dualism, which is one of the most commented elements within the studies of the Renaissance. What we did

from the basic levels of our school. We studied all that, we had to memorize all that. It's curious because I think, and I'm not going to give big pedagogical tips, but I think if a lot of children got together and made them fall in love with the genius of Leonardo da Vinci, then teaching their story would be easier. But we don't work much with this aspect of emotions, of emotional connection with knowledge, before putting the information. Let's go straight to the informative. Which is funny, referring to Leonardo da Vinci. That his own education came like

this. It came out of love, it came out of passion, much more than a conventional training. I think everyone knows very well that Leonardo da Vinci was a bastard son. He was the son of a peasant. His father, who was a peasant, only 15 years old, was a peasant, and gave birth to his son. Therefore, being a bastard son, he could not, for example, go through a conventional training, learn Latin, learn Greek. And all the books of the time were written in Latin and Greek. This will change exactly from the Renaissance, where some of the

Italian languages start to be, some documents begin to be written in them. It's a long story to tell. But without knowing Latin and Greek, you didn't just read books. There was no way. And he didn't learn Latin and Greek. This is something I find interesting. Because one day I saw a specialist talking about this, he said, look, here between us, I think it's better that Leonardo didn't read, didn't learn in a school environment of the time, in a conventional training environment, because it was such a limited environment, that maybe he had stolen your imagination. I

think this is interesting, right? But is it that our education doesn't keep doing the same thing? I thought it was curious. Did he never see anything like it in another place? I think that maybe it hasn't changed so much. And then we got to a curiousity about the discussion that exists today about our education model. Tolia, at the time of Leonardo da Vinci, how interesting, only at that time. It's been a long time, many centuries. But anyway, this boy, Leonardo da Vinci, he has this creativity, Leonardo da Vinci, in the original language, has this creativity

brought from Bersu. Stimulated by the circumstances, by the environment of the Renaissance. But he is a man who brings an impetus, of apprentice, which is one of the most beautiful things to see. A man who, since his most tender childhood, burns with love for knowledge. A little with this search for Leonardo, with these dreams that we are going to talk about. Renaissance, then, is closely linked to the idea of humanism. Understand this, well, by high, without going into much detail. But it is an important detail to review. We went through an age totally theocentric. Only

God was spoken of, the center was God. And man was the unhappy, miserable being who lived in God's favor. He was an absolutely incapacitated being, a sinner, a destitute of any beauty. When the Renaissance comes, man returns to be the center of the discussion. This is what we know, this is what we study. But, look closely, the Renaissance is not a total rupture with the Middle Ages. There is no rupture in the sense of losing faith in God, of losing religiosity. All these great thinkers and artists of the Renaissance, in general, were all Catholics, they

were all theists. Leonardo himself. He said that the tonic of his paintings is all Christian. So, humanism develops looking up, looking at the sacred, looking at the divine. And this form of humanism makes the focus blossom on the virtues of man, on beauty, justice, goodness. It is not a coincidence that the Renaissance was so idealistic, had such high dreams, because humanism is born tied to the idea of the divine. And there is a certain historical threshold where there was all that study we did there, in our school levels, of the persecution of the Inquisition, that

at a certain moment, after the Protestant Reformation, comes the Counter-Reformation, and the protection that the Church gave to Renaissance artists, in the time of Leonardo was like this, ceases to exist. They begin to be persecuted and there is a whole drama that we know in school banks. So, at a certain moment, we go through a great classical rationalism, an Illuminism, where reason was on the side of science, and emotions were restricted to the religious world and other elements that emerged. And it continued that way. It was a division of territories, almost a treaty of knowledge

tordesilhas. So, down here, science and humanity take care of reason. Up here, religions take care of emotion. And this continues to our days. Notice what a curious thing, because, first of all, what happened from the Renaissance? Our humanism is no longer oriented towards a search for the divine. It becomes a focus on man, with all his imperfections, with all his selfishness. So, humanism, to derive to individualism in the pejorative sense, to walk away in selfishness, where only the human being thinks in the good of man, in detriment of nature, in detriment of humanity as a

whole, does not cost much. Some centuries, and this brilliant Renaissance humanism became the selfishness of the modern and contemporary age. And, moreover, science abandons emotions. And emotions are a vacuum that, over time, will be occupied by political passions, by sectarian passions, by the way we live until today. So, notice that we are still, let's say, living the sequels of the post-Renaissance. If we could have preserved this Renaissance spirit, where man was the center, but the complete man, the full man, the Vitruvian man, who touches heaven and earth, who touches the four corners of the world.

If it were still this spirit, maybe we wouldn't have all the problems we have. If we hadn't banned, any kind of emotional, intuitive vision, maybe we wouldn't have this vacuum, where emotions began to be captured by passions, sometimes very sectarian, very violent, and that generate all kinds of dissension within society. Anyway, if love was still linked to knowledge, that would be wonderful. The Renaissance had this profile, of course, concentrated in the hands of a few of these artists who awakened humanity from the Black Age. But fantastic the intensity with which it emerged, fantastic the number

of brilliant names that lived there. They make an idea. I am impressed when I read this story again. In the studio where Leonardo da Vinci worked, Botticelli also worked. Then, when he goes there, in the corner, to the Vatican, at one time he meets who? Rafael Sanz and Michelangelo. The three were in the Vatican for a long time. And the little girl with Ludovico Sforza in the corner meets Machiavelli. That is, if you slipped into the sea, you would fall at the door of Shakespeare's house. Imagine what a historical moment! I know that there is

always a great difficulty in recognizing the greatness of our contemporaries. I know that for you to recognize the greatness of someone, it sometimes needs to be almost as great as he is. But still doing this is a great consideration. I am quite reluctant to believe that there are Shakespeare and Leonardo da Vinci loose to the four corners of the world today. We turn a lot to know how, know-how, not to know why, nor to know where. This vital curiosity, without limits, which has as final search to understand oneself and qualify human life. Please let me

know, because I would like to know. This is the kind of thesis that I would like someone to contradict and prove that I am wrong. To prove that I am wrong, I would have to show where Leonardo da Vinci and Michelangelo and Shakespeare are. I would love to be contested in this thesis. Just as a basic information of biography, we know that he was born in Tuscany, on the banks of the Arno River. He is the son of a 15-year-old who was perhaps a slave brought from another country, which was very common at the time.

He lives with his mother until he is two years old, when she marries again. He then gives her to his father's family. He will be raised by his grandfather and uncle. After the death of his grandfather, he goes to his father's house. Shortly after, his father takes him to Florence. This is basically the story we know. There are some very interesting details of Leonardo da Vinci's life that are narrated. They are narrated by a citizen called Giorgio Vasari. Have you heard of him? He is the first art historian known in the history of humanity. He

was almost a contemporary. Vasari, when he is eight years old, Leonardo da Vinci dies. He makes a book called The Life of the Illustrated Artists of the Renaissance. He tells that he has a love of envy. He was a contemporary. He already knew who was good in the Renaissance. He had a good sense and a rough criterion. He talks a lot about Leonardo. He has an exceptional love and admiration. He will tell facts that I do not know how much we can consider as historical. How much we can consider as the fruit of Vasari's admiration.

He says that Leonardo told that the first memory he has of his childhood, was of a baby in a cradle. He remembers that he was in his cradle, still in his mother's house, and a crow came and landed on the cradle. It opened his lips with its tail and hit his lips several times with its tail. Then it flew away. I think this story is so interesting because it tells and recounts as a true story. Everyone knows that it is not difficult to decode this kind of symbolism, but it is associated with mysteries, with the

unknown. In the Christian history itself, when the crow is released and it does not return, it is said that in the case of Noah's Ark, it does not return because it does not seek the physical earth, the metaphysical earth, the spiritual earth. There are crows in the Neuzodim, crows filled with the stories of all the sages. I do not know to what extent it really happened, or if it would have been an invention to express what first opened its lips. Love is a mystery, love is the unknown. Another thing that he tells, a little older,

is that he would have discovered the opening of a cave. He would have been a little scared and would have said that he was perfectly divided between the fear of being there and a huge curiosity to know what could be inside. That is, if he had one more year of life, curiosity would have won. A little more, if he had four years, if he had five years, I think curiosity would have won. In your life, curiosity has always won. This wise curiosity, that not only asks, but goes there and sees, discovers, builds and applies your

own life. This would have been an interesting time, because he was born in Columbus, arrived in America, everything was happening in this historical time. I'm not saying that you will enter a time machine and go to this historical time, because it was very ugly. People died in an absurd way, all the time. The Italian cities of the Renaissance, do not think that they were free republics of great artists. There were great artists, but they were dominated by bloodthirsty lords. People were murdered for anything. They were killed for the land without law. I think it's very

funny, I don't know if you've already discovered it. I'll tell you something interesting. There is a manual there, of etiquette to Leonardo da Vinci's table. I have this book. At the time he worked in Milan for Ludovico Sforza. And for Ludovico he did everything, including organizing his parties and banquets. The etiquette rules of Leonardo were more or less the following. It is forbidden to kill people at my Lord's table. But if you kill, avoid the blood to spill on the table. And warn the priest immediately to let the next in line enter. And things of

this nature. It is forbidden to steal food from the plate of the other guests at my Lord's table. That thing was very civilized. I don't know if you know, but even the cook, he cooked for Ludovico Sforza, he was a great cook. He was a great cook. And he was a great cook. Everything Leonardo da Vinci did, he did with perfection. He was a musician, a singer, a cook. Everything was done with perfection. Universal man. The idea of the microcosm of Plato. Although he did not have the opportunity to read Plato, but he lived very

early, he was taken by his father, from 9 to 10 years old, he was taken to Florence. Florence at that time was the time of the Medici, but specifically of the Magnificat, Lourenço de Médici. And then there was a Platonic school, the Platonic Academy of Caredi, where Plato was studied. Then the translation of the Republic was made, then the translation of a large part of the Hermetic Corpus, Egyptian, by Marsilio Fittino. Then it was also done by Marsilio Fittino, the translation of a large part of the Zend-Avesta of Zoroastero. It was not a joke, because

the intellectual medium that circulated the House of the Medici was brilliant. Although, I do not know why, Cargas d'água, Lourenço de Médici did not like Leonardo very much, he was never his patron, but he walked around there several times. He came to know, he even narrates in one of his many manuscripts, having met Marsilio Fittino, for example. And this was a time when Plato was very interested in the universalism, in the Greek humanism. So this element is interesting, because Plato talks about this idea of man as a microcosm, the miniature of the universe. And if

you are the miniature of the universe, you have a great chance to know the universe by knowing yourself. Hence the phrase that was mentioned at the beginning, man knows you, you will know the universe and the gods. Leonardo da Vinci had this conception in a very practical way. He said this, easy thing is to make yourself universal. It is the simplest thing in the world. Do you know how to become universal? Write down the recipe, it's simple. Every thing that appears in front of you, you ask yourself why? And go after the answer. And do

not stop running until you get to the answer. And as soon as you find the answer, you copy and imitate. So as soon as he discovered how something worked and created an invention that worked just like that. You will see that exactly like this, botanical research, for example, was what led him to build the propeller. He was the helicopter's foreman. The research of human body drying that he did his entire life made him build a prototype of a robot with gears in the joints, similar to the human body's muscles. Did you find anything? He built

several from that model. That is, everything that is in front of your eyes serves for you to know and improve yourself and the world. There are no limits. He was really a great curious. It is said that when he was wrapping up the story a little, because there are certain moments that are great in his life, and as we do not necessarily have to follow a chronology, when he was with Papa, he was at the same time as Michelangelo and Raphael. But Michelangelo and Raphael fought for attention and fought for receiving some order from the

Pope. Do you know what Leonardo did? Nothing at all. He locked himself in his chambers and was going to dry the corpse. They are doing the Pope's court. I don't need three, I already have two. I'm going to do the same thing. And he did so much that he stayed two years through a convent that caught bandits, people who had been executed, and people who had been put into dissection. He stayed two years doing that. He did nothing for the Pope. Nothing. He didn't ask. But it wasn't for him to ask. He had to run

after and make himself noticed. Do you think he did that? Did you do it? Neither did he. That is, he spent his two years doing what he was interested in, happy with the life that the Pope didn't remember and didn't even want to exist. He wasn't a very conventional character. Michelangelo didn't like him, among other things, for that. He seemed cold and indifferent. In fact, he had a greater interest in knowledge than in prestige. He always had. He ran after when he was in the midst of starving. Then you see Leonardo of Assam running. It

is a sign that he and those who depended on him were in a critical situation. And he spent his whole life in a critical situation. That is not something new when you are dealing with people. Many of them went through that. Well, the easiest thing is to be universal. Just have a vivid curiosity about the universe. As if it were the manifestation of God himself. See through, find the essence that is behind all things. Twelve years your father takes you to Florence. Something interesting that we understand. We will talk about it in a moment. Florence

is an extremely creative and artistic city. It is a city that is very well known and is very well known. It is a city that is very well known and is very well known. It is a true cultural metropolis of that time. However, the artist was not what we understand as an artist today. Soon we will explain what Florence is and what kind of opportunities an artist had. And your father takes him because being a bastard son, the professions that were endowed with greater prestige were not reserved for him. So he takes you to the

Verrocchio atelier which was a personal friend of Piero da Vinci and asks for something for your father. He takes some drawings that he made. It is very interesting because it seems that at the age of 7 or 8 years old he draws a snake on a shield that impresses the father a lot. He takes it to Verrocchio and says look at the drawings of my son. And gets a spot for him there at the atelier. But at first with a mere craftsman who used to do a series of things and not with painting. He will

become a direct disciple of Verrocchio at the age of 17. This change was very important. He begins to receive knowledge and instructions of painting. At the age of 22, that is, five years after becoming a disciple of Verrocchio, he was already one of the most conceptual artists of Florence. Without doing much for it. It was already. Renaissance and return to nature. Leonardo, when he arrives in Florence, you will realize that there is a lot of work and there was an old soul. Someone who already had certain presuppositions in life and a lot of individuality to

sustain them. Because he was a strange little boy. He had a huge love for nature. He did not eat meat. Leonardo da Vinci was vegetarian throughout his life. He still had a very exquisite habit. Because he almost had no money. When he received his money he always reserved a part and did this all his life to buy birds in the fairies and to feed them. He had a real passion for seeing birds flying. One of his dreams was to make humans fly. And he does a lot of projects for that. And besides everything else, he

was a canot, which was not a well-seen thing. Normally in schools, it was forced if children wrote with their right hand. He wrote from back to front. He already had everything to be weird. It is a habit that he keeps until the end of his life. Some speculate that he could do this in a way to cryptograph his work. But the fact is that no one convinces him to stop doing any of these things. He had a very strong individuality. He knew very well who he was and where he wanted to go. He often played

the role of a nobleman's servant. Because there were not many alternatives. But he always reserved his space for his own research, for his own inner life, for his own dreams. It is very interesting for you to observe what it gives a man to measure himself by the opinion of those who are of his time. When he leaves the Vatican after two years without doing anything at all, and the opinion is that he was a failed artist, because he had not presented his works to the Pope, he asks himself, would I have done anything useful in

my life? He was Leonardo da Vinci, you saw? Would I have done anything useful in my life? By the opinion of his contemporaries? No! Isn't it curious for those who like to ask for the opinion of their contemporaries? So much so, you will see that this is a cruel thing from this point of view for humanity. If Leonardo da Vinci's writings had always been valued, science would have had an extraordinary time. Only one discovers Leonardo da Vinci's projects when science had already reached the point of developing by itself everything he pronounced. His work is so

devalued that it is hidden in a corner. And when it is rediscovered, science had already reached that point. So the public opinion about who has or does not have value, historically, does not stand much in her favor. It is important to take this into consideration, which is not only in his case. In general, 70% of the genes, there is statistics on this, 70, that is, 7 in every 10 genes, in history, were not recognized by their contemporaries. Some centuries later. So, renaissance around nature means that all nature is seen as a work of the Creator.

Before it was only the creator's work. Now the creatures are traces of the Creator himself. All nature justifies itself and is valued again in the Renaissance, including human nature. Look at the Le Roque atelier. This is something I wanted you to understand. Everything was done in these ateliers. In Florence, there was a huge amount of ateliers. But don't think you're going to go in there to find some artists looking at works. There were people, there were carpenters making wooden works, there were men melting metals to make utility objects, of all kinds. It was basically an

artisan workshop of all kinds. In this environment, there was one or another sculpting, painting, even the plastic arts were considered minor arts. So it looked like a large workshop of workers, artisans, of very simple things. And for a long time he worked more in these peripheral arts than in painting and sculpture. Look, this is one of his first drawings, the Valley of the Weapon, where he was born. And he writes in his codex that he perceived behind nature that the winds, the lakes, the rivers, were like circulatory systems of a great cycle. This divination of

nature, the perception of nature as the body of God itself, which there was no before. You have to remember the triangulation of the Middle Ages, where there was God, the man and nature created to use the fruit of man. Nature was not divine. Nature was present in things. And for the Renaissance, yes. He saw nature as entirely endowed with the signs of the Creator. Creator and creature as one thing. Of course, this conception he did not express verbally, because he was not a writer, he was a painter. But this is expressed in all his works.

This care of wanting to reproduce these little corners of nature that we usually do not see. These mysteries of nature that the observer's eye has seen through the mirror. And he does that. These works are all very enigmatic and full of secrets that only through his eyes we can perceive. That it was for Plato the function of the artist. To be a pontiff through the eyes of an artist you gave the steps of nature. From craftsman to genius. This is a movie that I like a lot. I don't know if you've seen it. The Captain's

Journey Tornado. Very well built on studies in the Middle Ages. Do you know what an artist was? A bank robber. A rough worker. Here it was a theater company. Who lived like this. Introducing himself for a little food. And the craftsmen, the plastic artists in general, were not better than that. Than theater artists. Who had a little more reputation were writers. But look there, workers, servants, employees, to provide some pleasure to the great lords, to the great bourgeois, those who had some requirement. The Renaissance will provide the artist's birth with a special status. The artist

who approaches the nobles, the artist who immortalizes himself. This did not exist until then. The artist was a rough craftsman. It was never more than that during these thousand years of the Middle Ages. It was never more considerable than that. So much so that you will realize that it is difficult to identify, even if the medieval painting is very flat, limited, but there are some illuminations of great quantity, of great quality. It is difficult to identify who did it. It is relevant. The artist was not considered as a special being. The artist as a genius

is an invention of the Renaissance. Thanks to the geniuses who emerged. It seems that there was a great meeting of geniuses and they said, in the Renaissance era, they will all be like this, in the same elevator, many geniuses lived there. When Leonardo da Vinci arrives, we were already in the 480s, the 580s, the Renaissance came from the 14th century. The Tretento. There was Giotto there. There were great writers. The Renaissance came in Italy since the 14th century. Platonism and hermeticism. One of the elements that is interesting that we can observe, even though Leonardo has

never been very well accepted within the Platonic school of Caredi, quickly says that the magnificent Lorenzo sends Leonardo to Milan, to the house of Ludovico Sforza, as a gift, along with a lyre. Do you know that Lorenzo de' Medici sends Leonardo as a musician to Milan? Leonardo had a great interest in Milan. Leonardo had made a silver lyre with a horse's head. That's why he didn't like his voice. He said, go there, I'll send you a letter of introduction as a gift to keep a good relationship with Ludovico Sforza. He was like a musician. It's

very funny the letter he makes by introducing himself to Ludovico Sforza, Duke of Milan. I know how to do military things, I know how to build, I know the hydraulic, blah, blah, blah. I know how to paint. If I need to, I also paint. It's very funny. This letter really exists. That's how he wrote it. Look how interesting. Although he is not a frequent of the Platonic Academy of Caredi, when Rafael Sanzio paints his famous painting School of Athens, when he paints Plato, he uses Leonardo's face. Isn't that funny? Maybe in that context of the

Renaissance there was no one who embodied so much boldness, the ability to approach the sacred on Earth as Leonardo. Although he didn't have a very direct contact with the Platonic work. That is, this is Plato, from Rafael's Academy. And he used Leonardo's face. You know that in the Renaissance they had this habit, many of the characters, the characters involved in the works, the good were noble. And the bad, the artists sometimes went out in the middle of the street looking for someone whose face could inspire him to the bad. But the good were all noble

faces. But, Rafael, instead of putting Plato's face, which was more esteemed in that time, put Leonardo's face. Because maybe there would be a understanding of Leonardo's greatness. Even if it wasn't Rafael, who was very close to his relationship cycles. So Platonism and hermeticism were atonic. Platonism and hermeticism are nothing but summarizing, thinking reasonably both as I know, than a search to recover God's attributes in the manifested world. So that through the things of the world that are outside and within man, he can approach God. So you realize that this spirit is the essence of the

Renaissance. And the idea is perfect works, divine works, works that bring man closer to the maximum of his possibilities. Everyone sought this. Each one wanted a greater perfection than the other. A learning and a perfection that led them to the apex of what human nature could lead. Everyone wanted to take flight towards the divine. There was also a historical influence here in the Renaissance. Yes, there was. But it was predominantly Platonic. I don't know if you've heard about this. At the time when there is an embassy that comes from Byzantium to try to unite, unite

again the two Catholic churches, the Orthodox and the Western Christian, comes with them a citizen called George Gemistus Platon, who was nothing more than a citizen who had nothing to do with the history of the Comitiva, because he was not a Christian. But who comes to Florence, meets Cosme of Nétis and inspires him to form a Neoplatonic school. The Platonic school of Caret. So the environment was very Platonic. It was the search for the plan of ideas. It is interesting because when Raphael talks about this painting, he shows Plato pointing up. It was exactly the

constant search for the plan of ideas, the spiritual plan. But this is one of the most common gestures that we have in Leonardo's paintings. What there are of people pointing up in Leonardo's paintings, is very common. Always with that enigmatic air, remember John the Baptist? And pointing up, as if he said Do you think I'm beautiful? You don't know who I inspired. You don't know what the gorilla is. You don't know where my beauty comes from. And you know, people, that this John the Baptist, who scandalized at the time, because all John the Baptist was

portrayed as a medieval, a nomad from the desert, a beautiful, wonderful, young, beautiful Baptist. People didn't know why. But there were crowds who gathered to see this painting. It was a tourist tour at that time. It is impressive how easily this painting of John the Baptist was executed. First as an heretic counselor, but then it caused a charm, and notice the charm, at a time when people were almost in their entirety illiterate. The few who dominated the Latin world, who were the great artists and the men linked to the mercenaries of the Mephis, still the

simple and simple crowds made almost a caravan to see this painting. That is, they perceived something symbolically expressed. This text is very interesting, which is in a set of documents by John the Baptist called The Atlantic Code, which is more than a thousand pages. Written by Leonardo. He has few works, but he has 15 fully recognized. With the discutables, with the drawings, he has 5,000 pages written. Most of them in the library of Castel Winsor in England. I don't know how they got there, but they are there. He wrote many things, including many phrases that

were inspiring to him. He wrote, Observe in the spots of the mountains, in the ashes of the fire, in the clouds, you will find wonderful inventions. That is, to see beauty and mystery in these simple everyday things that we step on without any knowledge. It is no wonder that the alchemists of the Middle Ages, when they said they were looking for the Philosopher's Stone, which was what transmuted all things in the world, they said that those who seek wisdom see beauty in the smallest things. Hold yourself against a stone, because the Philosopher's Stone is in

the simplest areas, where men usually step and ignore. Leonardo da Vinci did not ignore the Philosopher's Stone. A stone, there are many drawings of him portraying a stone, a small plant. Everything for him was endowed with mystery, and he was a genius. So, botanical geologist, anatomist, engineer, is very close to what he was. You know, for example, that he was the first to project solar energy plates. There are things like that that we can not understand. He makes a sketch of what would be a calculator, like a whole mechanism of gears. He even makes a

sketch, as I said, of a robot that, through the handle of the beaters, the animal would raise, raise his arms, simulating human joints. And look at the things that we are born with. From divers to war tanks, to flying machines, of all kinds of people. We know it was not easy, it was well before the list of interests. Without ever having attended any formal education. Painting is a mental thing. It is a mental thing. Is that interesting? For those who know my work on the internet, you must have seen me talking about Kaibara and the

Egyptian. The universe is mental. Plato also thought so. Everything comes from the plan of ideas. And with this phrase we see that Leonardo also thought so. That is, it was not simply the observation of the world, but it was the inspiration that came from within. He said, I take the faces of the world, but the messages are mine. It is the Atlantic Code. Do you know it? People say, this is a gossip of Leonardo, which is funny. When he was under the command of Ludovico Sforza, painting the Last Supper, I think he spends a year

practically stopped with painting. He was always like that, he would touch something, and it would be three days gone. It was because he was a long time with painting almost stopped. I'm doing the painting, but he says, you're not even there, you're walking around the whole city of Milan to see a face so bad, so full of evil, as Judas. As long as I don't find it, I can't paint, I didn't see it. I have to see this human possibility. Then he still plays. If I don't want to borrow these your deniers to look at

his face to see if they are the Jews, exclude Ludovico, who was well-known, and die of sin. Who are they? A year for a face, a face to paint together. He needed this possibility to be palpable in human nature. The content is mine, but the face has to be taken from the mother. So, as Plato always tells himself, this is our John the Baptist that we are talking about. Young, enigmatic, you realize that this smile that only Leonardo knows how to do, is the same as that of Mona Lisa? The same! But there is something

that I can't tell you at all. It is this smile. I have a mystery that you will die without knowing. It is pointing up. Come from there, go there and you will discover. It is a challenge to elevate the human conscience. Holy Mass, which is destroyed, very quickly, because, besides all, Leonardo wanted to invent techniques of difference. And many of them were not correct. Things came out destroying at a tremendous speed. Saint Ceu, for example, invented painting in dry plaster, while wet plaster was normally painted in wet plaster. It is said that, with less than

ten years, the painting was already destroyed, very destroyed, and had to be remodeled, reconstituted, I don't know how many times. Not always in a very happy way. But, anyway, look there. The same gesture. Here you have the Archangel pointing to the boy Jesus who is there. That one is the Virgin of the Roses. That is, the same thing, pointing to the Divine. Now the Divine is in this plane. But look at his face. If you don't have that challenge of Gioconda in all faces. Don't tell me he did this expression by chance. If there is

one thing he didn't do by chance, it was the human face. He, at 21, the error that he sent everyone to stop painting the face and he painted. All the faces of all the paintings in his atelier. It is no wonder that Verrocchio, who was not Verrocchio, his name was Andrea Sione, do you know what he called Verrocchio? It means the true eye. He who looks and knows. And when he looks, Leonardo de Silla let the citizen paint all the faces. He understands the human soul like no one. He was 21. So, the same enigmatic

face, I'm pointing to the Divine. Have you seen? I'm showing you something very special. Have you seen? The face is always that enigmatic. Some of his protectors, as I told you, Leonardo had this capacity. He hated war, he hated violence. So much that he didn't eat meat and would go out letting the birds fly. But sometimes he had to make war machines and work for terrible lords, like Cesar Mordia himself and Ludovico Sforza, who was not a great choice to survive. It's sad to see that many of his drawings that exist out there, in the

corners, have accounts of how he would buy food in that meat. How he would feed his two or three children who were always hungry. In the corners, he had an account of how he would survive. That is, a painting here, a great invention of technology here to survive the meat. It was a month-to-month struggle, his whole life. He lived until he was 67 years old. So he worked for some figures. Ludovico Sforza was a tyrant and a murderer. Cesar Mordia, I'm not going to talk about Cesar Mordia. I'm not even going to send you researchers

because it's not worth it. He was a bandit. He killed his own brother, among many other things of the genre. Charles d'Angloise, when France dominates Milan, he even beats Ludovico Sforza. Bernard David spoke about this. The wheel of life. One hour up, another hour down. Ludovico Sforza, the great, almighty lord, is destitute of everything and goes to French prisons. He says, only I who do not desire things will not suffer to lose them. This is pure oriental philosophy. Only I who do not desire anything but knowledge will not suffer to lose things. So Charles d'Angloise,

later French governor of Milan, he is also one of the protectors of Leonardo. Francis I, the king of France, is where he dies. He dies, because I think this is the invention of the Bazaar, but they say he dies in the arms of King Francis I. Giovanni de Médici, Pope Leon X, who was the son of the Médici, the family of the Médici, is the Pope from the time he was in the Vatican for two years. He did not like him at all. And as I told you, a very strong gossip, Michelangelo could not stand

him. They were two geniuses so disparate. It is impressive, because two geniuses, but they never made an effort to try to understand each other, maybe because they were not looking for it. Michelangelo was a very tortured genius, he was a very choleric person. Leonardo was the opposite of all this. He did not want to waste time with anything. He wanted to live in peace. He wanted to focus on his work. But he was aware that time was short. He had not yet known all the mysteries he wanted. He could not even give the course of

time administration to Leonardo, because he made an agenda every day. He already knew. Every day he had to do a lot of topics, the things he had to discover. Can you imagine what the topics of an agenda are? I will, I don't know, clean the house, I will cook. No, I will research the movement of the language of the lagartos. This worries me a lot. It's there written. I will research the way of flight of such and such a passage. That is, every time his curiosity hit something, he wrote it down. I will not die

without understanding how it works. This is important for me. Gallery of works, just as a curiosity, because we don't have all the works here, but so that you can perceive a little of his spirit. Quickly, when he enters the Verrocchio, at 21 years old, the Verrocchio's assistants ask him to help complete the painting. Because in general, the atelier was like this, the master would make the main figure and the disciples would finish. So, that painting there is from Verrocchio, the baptism of Christ. He made Christ. He asked his assistants to do the rest. This is

well known, right? That little angel that is down there, right in front, was made by Leonardo. And everyone was kind of shocked, because, besides all, he did not use the painting in tempera. Do you know what tempera was? It was a suffering thing to be painted at that time. It was a paint made with egg yolk, vinegar and water. It was a very difficult painting, because it dried very quickly and did not have a strong color. Leonardo heard that the Flamengo painters were using oil paint. He takes more or less the recipe of how it

is and uses oil paint. He not only paints the angel, which had a very strong color, but also paints the Christ and gives some oil paint finishes. Today, when you do the study of the painting, for centuries it was thought that he had painted an angel. Today it is known that he was retouching the whole painting. Because tempera with a little oil here and a little oil there, he was moving the whole painting. He was very daring. And this painting must have improved well. From then on, the painting was painted and the artist painted it.

From then on, it is said that Verrocchio painted all the faces. We realize that there is no longer that negative aspect of sadness that there is in Christ, in Saint John the Baptist, in the angel behind. The angel in front, the angel of Leonardo, is pure glory, pure beauty, pure splendor. It is as if he put light in everything he does. One of his great curiosities was how the human eye worked. He is the first to do it. He is the first to talk how the human eye internally projects the image, sends it to the

brain, that is, how we see it. One of his characteristics is these luminous faces that seem to be just fallen from the sky. Everything is very luminous and beautiful. There are no sad, decadent, suffering figures. This is something that is absent in Leonardo's painting. And full of symbolism. He uses symbolism and insinuations in his paintings to fantasize. This painting of Ginebra of Venice, you know that behind it he has a crown of zimbras written, beauty, ornament, virtue. He wanted to suggest that Ginebra was a very pure young woman. So he puts this zimbr, which in

Italian was ginebra, and was a symbol of purity, behind her. He wanted to make her the same name as her, a symbol of purity. Beauty, ornament, virtue. He is very expert and likes to put exchange of messages encrypted within his work. Even there, when you see the announcement of Leonardo, almost all of his paintings were in the fields of virtue. He put his own conceptions. Normally the virgin receives the prostration announcement in a humiliated posture. Notice that the angel comes and marks with his finger the part of the Bible that she was reading, to continue

later. You were interrupting me, boy. Then I will continue from where I was. And with the other hand, elegantly, she greets him. But she does not stop. She marks the place of the Bible where she was reading. She has a high posture before the divine. The human being for Leonardo is not a miserable and sinful being. It is a beautiful being, with a divine nature in the world. Therefore, the whole human being is luminous for him. No one is humiliated, no one is rancid. This faith in the man we so long for is very present

in Leonardo's spirit. The Virgin of the Rocks, with the angel pointing. The lady with the little arm. She was a lover of Ludovico Sforza, Cecilia Gallerani. But once again, she had a symbol, because the little arm was the symbol of purity. She was so pure that he wanted to put a symbol that reaffirmed that. And says that Cecilia is surprised in front of this portrait. It seemed that he had taken what she had of the most intimate and pure. Because she was no longer so pure. She was a girl, but she was a lover of

Ludovico. The Last Supper, that we know that even today, with all the restaurations, is a ghost, a shadow of what it was. But this Last Supper is a curious thing, because he wanted to portray the moment when Jesus Christ announced that someone would betray him. He wanted to imagine, according to the personality of each apostle, the face and the body reaction that each one would have at that moment. He makes almost a study of personalities. This name has never been given, but it is a bit of psychology. And he goes looking for people similar to

him on the street. With that temperament, with that way of taking the face of these people to embody the apostles. None of them is passive, standing, looking forward. The pose of the one taking the photo. They are alive, they are moving, and each one of them reacting according to what they did, according to the scriptures. So this is a great thing. And a huge time dedicated to this psychological study of faces to compose all these apostles. When he forces Jesus to look, he says, there will never be a last supper like this. And it's true,

there never was. So John the Baptist, the Virgin and the girl with Santana, and Mona Lisa. Mona Lisa is a painting that you know he painted for ten years. And carried with him throughout his life. All the places he went, he took Mona Lisa under his arm. He dies with Mona Lisa wrapped around his side, he took her to all places. Mona Lisa was more than a painting, it was a conception that Leonardo had. Very interesting, very beautiful and very philosophical. The technique of the blur created by him comes from an observation that he does

verbally in the scriptures. There is no separation between human beings. When I look at you, I'm not seeing lines. I'm seeing a zone where one person is diluting and another begins. There are no lines that separate things. The lines are imaginations of the human head. I don't want to create lines if nature didn't create them. You will see that this within oriental philosophy, within Tibetan tradition, for example, is the heresy of separatism. Things are seen by us as separated. When in fact they are continuous. Where being touches being. So what is dark air, as they

call it, which is the dark light, it dilutes beings. Mona Lisa does not arise from the bottom. The colors change, they will be accentuated and from a landscape a being appears from the bottom. From nothing. Things are like that. They are apparitions, densifications of the bottom. They don't have a real separation from each other. They are continuous. Everything we observe in nature is continuous, it is the body of God. And when you realize it, it is very interesting that the horizon on one side of Mona Lisa and the other is uneven. Do you think he

made a mistake? Leonardo da Vinci? He is so committed to the construction of a perfect human being, exactly as nature does, that he places the landscape at the bottom of the beginning to the end and in ascension. As if you had a lower world and there a higher world. What does he mean? He dilutes separatism and generates a higher world. The landscape is higher than the sky. Leonardo da Vinci made a mistake. Leonardo da Vinci was very wrong. He was distracted. He was not wrong. But not. This for him was not just a painting, it

was a conception of the world he had. He took with him to all places. The human being is not separated. Things are not separated. They are continuous and all together they make up the body of God. Perfect, beautiful, a reflection on the earth of the body of God. This is a philosophical conception that the idea of ​​unity is one of the strongest and exactly in the tradition that at that time was being recovered, which was Platonism. The search for unity. For Plato, the good is unity. I already told you about the Atlantic Codex. Just so

we have one more idea. BBC recently did something. I think someone must have done it before. It is a recurring idea. They invested a lot in it. It is a relatively recent thing. They built all these things. The helicopter, the Delta, the war tank. And in the place where Leonardo lived, they put that Delta to fly. They put the scaphandre walking under the sea. When he arrives in Venice, because Venice was to be attacked by the Ottoman Turks. Do you know what his idea is? They made scaphandres and sent men under the lake to dig

the shells of the Turkish Nazis. Just look at him like this. He's crazy. Put it away. What happened? BBC went there and saw the scaphandres and put the people in the bottom of the lake. And it didn't work. They still say they would have given if they had tried. The way he conceived it would give. He thinks in detail. They use materials from the time. They do everything. Everything worked. They put an army, the engineering part of an army, if I'm not mistaken, in the United States to create that blessed tank of guiar. And it

works. Everything works. Funny, right? They say it's an aerodynamic conception, a concept of gas temperatures to be able to sustain themselves in the air. These are very modern concepts. It's a very modern concept. When he dissects bodies, he discovers that the elderly have their arteries narrower, thinner than the young ones. He says there is some element in the blood that accumulates in these arteries until it prevents them. What is that? Cholesterol. He diagnoses in 1500 and a little arteriosclerosis. Do you believe it? Yes. If someone asks you who diagnosed it, you already know. This is

very interesting. Architectural projects, blah, blah, blah, blah. It's a lot. It's an exatlantic code. There, in the middle, he decides to draw the head of an angel. Then a wonderful angel appears in the middle of a lot of business. Another thing that is said about him is that he was very beautiful. People say it's not possible. He was an exceptional musician. He was an exceptional singer. And young. He says Verrocchio was inspired by him to draw his angels. And this David Verrocchio says he was inspired by Leonardo. As soon as he arrived at his hotel,

a young man full of golden boxes. He says he was beautiful. Vasari says that about him. He was so uncommon and multifaceted that nature seems to have produced a miracle in him. Not only in the beauty of his person, but in many other things. He is a master of his own. He dominated completely. Notice that it is a fundamental element. The connection we have with knowledge is merely utilitarian. When I give my course of study techniques, I talk about this. I think it is the most important thing for a good student. To have knowledge as

a goal in itself and not as a means to obtain something else. I call this intrinsic value. Why do I want knowledge? I want to pass a public exam and get a good job. Or I will pass a bachelor's degree and get a good course. If I could get this job or this university course without this knowledge gap, so much better. If there was this possibility, so much better. Knowledge is a gap that if it could be removed from the path, so much better. Who can imagine a human being without knowledge? Knowledge was the end.

There was nothing after. Neither the love of the Pope nor the great Lords of the Earth. Knowledge was the end. It is interesting that Freud dedicated some years to study, I don't know how he did it, Leonardo's psyche. It was discussed a lot that he did not build a family dedicated only to his work. He said, stop with dubious interpretations. What Leonardo had was such a great capacity to focus on his ideals and his work that he practically forgot about the material world. His needs in this plane were very reduced. It is not that he

hid something or had a dark and obscure life. He simply is such a palpable thing for us that we do not believe. His physical needs were very reduced even though he put them in his physical needs. He knew the mystery of things. He was such an interesting creature that sometimes he was interested in a painting. You know that he was one of the artists who most spread things in the middle of the complete path that has already happened. The Pope did not like him because of this. He was that citizen, that painter who spreads everything

in the middle. He wanted to discover a mystery and he did not care about that painting. He wanted to do something else. He wanted to look for other techniques and other mysteries. His great desire that the historical moment he lived in did not allow was to paint plants, birds, corpses, nobody would buy it and they would be scandalized. So he hid everything and put it in his collages, in his pages, in his private collections. But he loved knowledge itself and not what comes after. This is a good student who has the spirit to learn this.

Knowledge is not a means to another thing. It is the end itself. We came here to build ourselves and from this construction transform the world. It is not what comes after. It is what allows you to grow. It is what allows you to bring out of your powers the knowledge of the past. It is because of the knowledge itself. The intrinsic value of knowledge is worth it, regardless of what comes after. If you doubt that there was a man like that, it is here. And this is good so that we do not doubt the human

consciousness and human possibilities. We live in a historical moment where we look to the abyss of human possibilities. We look a lot, almost every day. We do not look at the tower of the world. We look at the worst things that can happen to a human being and lose faith in himself. Believing in humanity is difficult to grow. There is no chance to believe. Figures like Leonardo are interesting because we can recover the faith of the human condition. If a man is able to expand so much his learning possibilities, within each human being there is

this same seed and this same possibility. We must measure by works, as the biblical tradition says, by our works we will know each other. To measure by works, forget it. No one will compare Leonardo. At the level of his development in all fields. The king, this was Francis I of France, where he dies, the king was a great admirer of his, the king said, do not believe that a man was never born who knew as much as Leonardo. And not only in the fields but also in architecture, because he was also a great philosopher. There

is his death, which he portrays as he had died on the king's lap. Your head would be on the king's lap. But he dies in 1519, just 67 years old. At that time it was a good longevity. In this context. I put a Renaissance like him, who was a writer, a little bit temporary. He was born after him and dies in 1600. He is the philosopher Jordan in the group. But he expresses well this knowledge of Leonardo. When understanding the union with God as a whole, our skin will fill with love for all things. This

is the connection, the point that makes all the creations of Leonardo always be like that. Always be qualified. I tell a story in the room, a silly story, but I would like to leave it to you that seems, by the whims of memorization, that the silly stories, we forget. There goes a silly story. Imagine that I had here a four-legged table and on top of it a statue. And this statue was firmly tied to a thick nylon thread that would hold it up, not a hook. I decide to cut the legs of this statue. I

cut one leg, it shakes. The statue would probably fall if I hadn't held it up. Imagine that I can cut the four legs of this table. This statue will not fall. Its support point is up there. It only moves on this table. Can you see the symbolism of this silly example? We are on top of a table with some points that support us. Life doesn't even cut one leg. We lose our job. Many people have already died. Or, besides losing their job, they end their emotional relationship. They hardly survive. They live on foot. Do you

believe that there were men whose lives came and cut their four legs and they remained on foot? Leonardo was arrested, was sentenced to death, was beaten, had to leave the city to avoid being arrested with his lord, to not be killed by Cesar Borgia and many other situations. He went through the needs of all kinds. He remained on foot and faithful to his dream. He never left, even when he was in the most complex situations, to stop in the middle of the road and draw nature, observe and ask questions. He kept it for later. I

will not die without answering this question. He never stopped seeking wisdom, even in the most difficult situations. These are men whose sustenance is above. It is a little what Giordano Bruno puts here. And from this focus, illuminates all things of the world. Also the Taoism of Lao Tse, which has nothing to do with this historical context, but has a very beautiful phrase. It says that the Taoism of Lao Tse says that the shadows were born in the world because men became olfacts. It is as if the light passed through us and our internal obstructions cast

a shadow in the world. Leonardo's things were not all very luminous. He saw everything very luminous. Exactly because he did not waste time obstructing himself with transitory things. His search was for great things, perfect things, true things, eternal things. A hierarchy of priorities, where the great, the eternal, the true, is the apex of all searches. If we stopped to look at the list of things desired by the current man, in general, we would only have small things linked to survival. This is one of the things that does not make us universal, but local, limited, small,

slaves of survival. There is a passage from a book by an Indian epic called Ramayana, that at the end of this book there is a phrase that says, speaks of the god Rama, who is a sacred character for India, and says Ask Rama for anything you want, but be careful, do not ask for very little. Is it interesting a recommendation like that? For India, Rama is an avatar of Vishnu, a very divine being. Therefore, it is not possible for you to arrive to a being of this grandeur with an apartment with another room. You ask

Rama for eternity, you ask Rama for values, you ask Rama for your transmutation from iron man to gold man. And the little that Leonardo da Vinci did in front of life, he never asked for little. If he were an Indian, he would not have the risk of offending Rama. He never asked for very little, he just wanted perfection. He just wanted wisdom, he just wanted beauty. He lived in a miserable situation from the point of view of material. He was humiliated by the prepotent lords who did not reach his feet in grandeur. And he never

gave up. And he grew to the last breath. I brought you some phrases from him, that portrays exactly this spirit of humility that he allowed to go so far. Little knowledge makes people feel proud. Little knowledge. Much knowledge makes them feel humble. It is so that the 100-grain thorns raise the head to heaven, while the full ones lower them to the earth, your mother. That is, the thorns that are loaded, they curve to the earth. The empty ones are erect, they are vain, they are petulant. That is, the more a man has, the more simple

and humble he will be. Which is actually a maxim of many places in history that say the same thing. The more intellectual, the more vain he is. The wiser, the wiser he is. The more humble he is. He dies like this, an extremely faithful man to what he thought. This one I find very funny, it's interesting. See what a spirit, what knowledge of human nature, where even those who hated him were the last. And a lot, he says. Hatred reveals a lot that remains hidden from love. Remember this and do not despise the censorship of

enemies. The censorship remains hidden for those who love you, but those who hate you, come. So listen to what they are saying because there are some things that you will only see through their eyes. Who loves you will not raise this veil, who hates you, raises it. So listen, it is a good opportunity of self-knowledge, a rise of what the disaffected think of you. There is no time for hatred or rejections, everything is learned, and difficult for the common man. Everything for him is learning. May your work be perfect so that even after your death

it remains. Improve yourself in everything, deliver, every day of your life deliver. Leave the best of you printed in the days of your life. So that they are not included by time and can be useful and can add value to history, to humanity, to those who succeed you. Which is exactly what we are talking about here, 500 years later. Knowledge makes the soul young and reduces the bitterness of life. It collects wisdom, stores softness for tomorrow. Life has a physical cycle that is decadent, physical energy decays. It has a metaphysical cycle that is ascending. The

energy of wisdom increases as we learn, as we improve ourselves. And one replaces the other sometimes with advantage. So you see, sometimes one is an advanced person who has a disposition, a spirit that a young man does not have. By the amount of maturity and wisdom that was stored. You will not see any of the elders of history who were great suffering from discouragement or abatement. They were energetic, workers and always, always, always added to their dreams. That is, metaphysical energy replaces the physical with advantages. But when it does not exist, life becomes a gangor,

only descendant, without a compensation vector. Lack of the search for wisdom makes life a path of descent, a path of decay. Your pride and goal consist in imposing your work on something that resembles a miracle. This will always be his ambition. How can I introduce in this something that causes an impact, that changes the lives of the people who see it? A holy being. An exposition of all human profiles before the miracle of Christ. May all your work be a message, a kind of miracle. Bring something unprecedented, add value, make a difference. With a life

tone like this, even if he was not the genius he is, he would not be a common man. Even if his talents were not so many, if he were a person with medium talents, with a life tone like this, he would be far above the mind. This is a philosophy that gives a propulsion to life. Look at the way. Love is the son of understanding. Love is both more vehement, the more the exact understanding. Understand that? That is, the search for knowledge is also a search for better love. That's what he said. It reminds me

a lot of Plato. Certify yourself. This is Cicero. A phrase from Plato that says, what we love is to grow as human beings. Cicero said, certify yourself that you are the sum factor of the lives of the people who participate. It is a act of love, to grow. The best thing we can do for those we love, is to grow as human beings. Love and understanding go together. Otherwise you live passions, you live needs. But true love is complex and goes hand in hand with understanding. Learning is the only thing that the mind never gets

tired, never is afraid and never regrets. People say, that was for Leonardo, who was a genius. Because for me it is tiring to study, to learn. The lack of love is the learning. The lack of motivation makes things more wonderful and exaustive. Ah, but I don't have this ability at all. I don't have the exercises of this ability. Everything we don't exercise requires an over-effort, when we do it sporadically. If I don't exercise my legs when walking, it will be terribly tiring. But it is an attribute of the human being to walk. If I don't

exercise my ability to understand, it becomes heavy and exaustive when exercising. But it is an attribute of the human being to understand. Just as you don't get tired of breathing, you don't get tired of seeing the world, of opening your eyes in the morning, because it is a human attribute, you shouldn't get tired of understanding. You just don't exercise. There is a lack of mental, emotional and even spiritual muscle. Because it is an attribute that should not overload us and nothing much the opposite. Knowledge relieves us from many fears. Knowledge gives us wings if we

are going to take the black caress seriously. The noblest of pleasures is the jubilation of those who understand. At this time of the championship you already realized that you are not the only one who is going to learn. The learner was happy with every little hint of wisdom he found in the world. Happy with every little trace of God he found in the world. And finally, this phrase that I think is beautiful. Once you have experienced flying, you will walk the earth with your eyes facing the sky. For there you were and there you will

wish to return. Is he saying that he was not only from the physical flight because he was obsessed with being able to fly physically. But I think it's more than that. He lived flying. He says that when for some conjuncture of life he was forced to land, he was in the world but always aspiring to fly again. The ideal for him, he said, was that I had stability, that the material things could, the minimums could be provided to me so that I would not have to step on the world ever again. And that was the

moment that history did not allow. And you know, nature has its reasons. Maybe Leonardo da Vinci would fly the way he wanted and not land to tell us what he saw up there. So, from time to time, it may have been good that he landed. But when he was in the world, he missed his world and knew how to find it through all the things he saw here. He was a man. As Helena Blavatsky said in a beautiful phrase, love the mysteries and make yourself a son. And he was certainly a son. He was five

years old looking at the door of a cave and saying, what will be there? What if I entered? With my lips open for a body, the one that calls the physical world. This is very romantic, very beautiful, very inspiring. But it is important to know that Leonardo da Vinci existed within the human condition, which is exactly our condition. So the possibility of Leonardo da Vinci exists within us. That is why Platon said, always take a hero of esteem to remind you of how great you can be. The fact that Leonardo da Vinci has never existed

is because he is of the same nature. When someone asks, well, do dogs know how to swim? Even if you have never seen that dog, you say, well, I met a dog, I had dogs all my life and they swam very well. This gives me a presumption of what this animal can do. It has the possibility to do. I met a man, this gives me a presumption of what any human being can do. Both in the direction of heaven and in the direction of the earth. Remember that. We are of the same nature created by

Vinci. And this exists, it has been measured within us. Reclaim self-confidence. Love knowledge. Have an tireless need to understand life through all its small traces. Do not walk overlooking life in the worst sense, in fantasy, and not in the attentive observation of everything it offers you. Leonardo da Vinci is a seed within us. Always be remembered. If it were only a man who lived in the 15th and 16th centuries, it would make a lot of sense. But the possibility of Leonardo da Vinci will arise in the future, whenever there is a human being seeking himself

and loving knowledge.