Leonardo da Vinci: The Renaissance Genius Who Changed the World

What do we know about Leonardo da Vinci? Da Vinci is not a genius and at the same time a genius, but certainly not the genius you imagine him to be. It sounds confusing, I understand. A short example. In the late 15th century, Leonardo da Vinci paints the Last Supper, one of his major works. Hundreds of years later, encoded messages, hidden images, and other secrets are found within the fresco. Leonardo is not just a genius but also a mystery. Inspired by this, Dan Brown writes the famous book, The Da Vinci Code, and Hollywood makes a blockbuster

based on it. Secrets, codes, messages, ciphers. In reality, The Last Supper began to peel off the wall 20 years after it was painted. The genius faltered with the paints. The composition he invented poorly adhered to the surface. Mysterious secret messages in the fresco are exclusively for conspiracy theorists. The book The Da Vinci Code is a work of fiction. Interesting, captivating, but fiction. Don't get me wrong, this does not diminish Da Vinci's achievements. The Last Supper is undoubtedly a masterpiece. Today, I will talk about the life of an outsider, a gay man, an illegitimate child, a

craftsman without education whom descendants will call one of the greatest geniuses in the history of humanity. This is the biography of an artist, engineer, scientist, producer, designer, and finally, an ardent lover of pink clothing. Okay, let's start with an unexpected problem. You surely know this self-portrait of Da Vinci, or this portrait attributed to being painted by his student, or this one made many years after the artist's death. The images share an age, and although much is still unknown about Leonardo's life even today, one thing can be said for certain. Da Vinci did not come into

the world as a 60-year-old elder. He is not Benjamin Button. So, what did the young Leonardo look like? Most likely like this. This is a sketch made for one of the statues created by Leonardo's teacher. He probably used his student as a model. The image matches the rare recollections of those who knew the young Da Vinci. They described him as a handsome, athletic man with long, curly hair. But the most interesting detail of these recollections is Leonardo's outfit, a pink tunic down to the knees, and contemporaries were more surprised by the length rather than the

color, as most preferred floor length clothing. Da Vinci would keep the habit of being in style throughout his life, and clothes would be almost the main expense. Favorite colors, pink and red. At least this is evident from the records of purchases that exist in Da Vinci's diaries. By the way, threearters of the diaries are lost. However, the part that has survived and contemporaries memories are enough to dispel myths and understand Leonardo da Vinci was far from how he is commonly portrayed. For many children, being born out of wedlock would mean an unenviable future filled with

hardships and suffering. For Leonardo, it was a stroke of luck. As early as the beginning of the 14th century, his ancestors had settled in the Italian town of Vinci. For over a hundred years, almost all the men in the family had been notaries, including the 24year-old Pierro. He meets a woman named Katarina. After some time, a boy is born whom they name Leonardo. It is the year 1452. The boy had no chances of becoming anyone other than a notary. However, Katarina was the orphaned daughter of a farmer, while Pierro was already making a successful career

as a notary in Florence. Marriage between people with such different backgrounds was unlikely at that time. Thus, Leonardo became illegitimate. For mid- 15th century Italy, this did not make one a second rate person, but it often deprived one of privileges, primarily the opportunity to inherit the family business. In Leonardo's case, this was beneficial for both the family and the young offspring. His tendency to procrastinate and rapidly shift attention would have made Leonardo a terrible notary. 8 months after the birth of his son, Pier da Vinci married the daughter of a prominent Florentine shoemaker. He would

have a long life with several marriages and would become a father 11 more times. Pierro continued to communicate with Leonardo and could theoretically have officially recognized him as his son, but he never did. Leonardo's mother, Katarina, was found a suitable husband among local farmers, and in a short time they had four children of their own. Leonardo would spend his early childhood mostly in the town of Vinci at his grandfather's house. Okay, let's pause for a second. Do you know what Leonardo DiCaprio, the famous actor and the great artist Leonardo da Vinci have in common? They

are both named Leonardo. The mother of the future Hollywood star named her son after the famous artist. But most importantly, the surnames Da Vinci and DiCaprio share a common history of occurrence. In 15th to 16th century Italy, many people began to register their place of birth as a surname. Thus, the name Da Vinci was added to the names of both his father Pierro and Leonardo himself. Leonardo was illegitimate and therefore did not get into one of the prestigious schools that provided a full education. Instead, the boy received brief instruction in the basics of mathematics and

engaged in self-education for the most part. As a result, the future genius would learn Latin and write in it with mistakes in adulthood. But on the other hand, practice and experiments would become his main tools in understanding the world. At the age of 12, Leonardo left Vinci and moved to live with his biological father in Florence. Florence of that time was a boiling epicenter of commerce, technology, and most importantly, art. Constant celebrations, fashionable people walking the streets in short, big city life. Everything is governed by the famous Medi, specifically Lorenzo de Medici. For a large

number of artists, Lorenzo was a patron, or more simply, a person who generously gave commissions and money. There has never been a more ideal time and place in history to be born a bastard. Yes, you might not have had a good education, inheritance, or a family profession, but what you certainly did have was freedom. The freedom to do whatever you wanted with your life. At the very least, you could even become an artist. Leonardo was also fortunate to be born in Florence, where he lived during a period that would be the pinnacle of the Renaissance.

This was a time when superstars of visual arts thrived. Michelangelo, Raphael, Donatello, and of course, Leonardo da Vinci. All of these people whose names would later be given to the Teenage Mutant Ninja Turtles. After moving to Florence, Leonardo da Vinci continued his somewhat superficial education, mostly in the fundamentals of mathematics. The student was distinctly left-handed. Not that it was something to be frowned upon, but it definitely made him stand out among all the others. This characteristic would later manifest in his drawing technique and his unusual approach to writing. Around the beginning of his 30s, Leonardo

would begin to keep detailed journals. Mostly he would write about anatomy, engineering, physics, art, and very rarely about his personal life. The entries were written in reverse from right to left. So ideally, a mirror was needed to read them. This fact is often perceived as further evidence of Da Vinci's mysteriousness, as if he purposely encoded everything so no one could read it. And apparently, this is a myth. Let's start with the obvious. Why encrypt your conclusions in the 15th century that the sun doesn't revolve around the earth is understandable. Why encrypt information about apricots bought

at the market or recently acquired stockings is not clear. Stockings were normal men's clothing of that time. No need to be embarrassed. The main reason for the mirror writing technique is left-handedness. If you write left-handed from left to right, there is a risk that the ink will smear either with the sleeve or the palm. And paper was expensive. Even when Leonardo was already well off, he filled every free space on the page with some information. An Italian calligraphy book from the 15th century actually offers a tip for left-handers to make notes in mirror script. There

are other left-handed contemporaries of Da Vinci who wrote in exactly the same way. And finally, if you think that such a mirror technique is only available to geniuses, try it. I assure you, it's not as difficult as it seems. It's a matter of practice. The fact that Leonardo studied mostly mathematics in Florence might have meant that his father Pierro hoped for his son to become a notary. However, by that time it was already quite obvious. Leonardo da Vinci was much more interested in drawing than in legal work. There is a rather famous story about a

painted wooden shield which can be considered the first work of the future genius. Here's how it happened. A carpenter from Vinci asks Leonardo's father to take a wooden shield to Florence for painting. However, Pierro assigns this task to his son. Leonardo decides to paint either a fireb breathing dragon or the Gorgon Medusa. To achieve this, young Leonardo studies lizards, snakes, grasshoppers, and other real creatures. When Pierro receives the finished work, he is pleasantly shocked by his son's abilities. So much so that he keeps the shield for himself and buys a simpler replacement for the carpenter.

It is uncertain if the whole story about the shield is true, as it might just be a legend. However, one thing is known for sure. Studying the real world to create fantasies based on it is an approach that Leonardo carried throughout his life. Possibly due to Leonardo's inclination towards drawing, Pierro will abandon the idea of legitimizing his son and making him a notary. Instead, he introduces the teenager to his esteemed client, the renowned artist Verio. Veryio, one of the important figures of the Renaissance in the 15th century. He is essentially a craftsman and his workshop

is a production line under the supervision of the master students and assistants. churn out paintings with religious subjects. However, this very place effectively becomes a genuine school for many artists, including Buchelli and Leonardo da Vinci. Let's pause to clarify an important detail. Painting was not considered art, at least for most living in the 15th century. The logic was such. What is a product of the mind is art. What is made by hand is craft. Poetry is art. Sculpture is craft. Music is art, painting, you get the idea. This system had been established since ancient Greece

and satisfied everyone for a long time. Everything changed thanks to the Renaissance and in part due to Leonardo da Vinci. Artists of that time, primarily from Italy, elevated visual art to a new level. They studied anatomy, perspective, geometry, and physics with a single goal to faithfully transfer 3D reality onto a 2D canvas. A simple example. On the left, a typical 14th century Ferrericon painting. On the right, one of Da Vinci's first famous works. The difference is obvious whether you are an art expert or just someone with eyes. The painting on the right is the baptism

of Christ. To be precise, it's a work by Verio made with the participation of his student Leonardo da Vinci. By that time, the artist, slightly over 20, had spent nearly 5 years in the workshop. He was no longer just an intern, but a full-fledged worker living at the studio. This means Leonardo could not only fulfill routine orders, but also be the master's partner in his projects. This is what Da Vinci does so successfully that he surpasses his teacher. An example is the baptism of Christ. On the left are two angels that interest us the most

because one of them was painted by Da Vinci. And if you are viewing this on something larger than a phone screen, you can likely intuit it that the angel on the left belongs to Leonardo. His pose is much more lively and natural, as if he is in motion rather than a frozen statue. And if we are to believe the legend, the difference between the angels was so evident to contemporaries that Verio admitted himself defeated as a teacher and ultimately abandoned his brush. Whether this was actually the case is unknown. But what is indeed a fact

is that after the baptism of Christ, Verio essentially did not complete any independent work. At this point, Leonardo's story might resemble the typical rise of a talent to greatness if not for the prison. A week before his 24th birthday, Da Vinci was accused of sodomy. Allegedly, he and three other men were seen engaging in intimate relations with a young man by the name of Sultterelli. The accusations were anonymous, but an investigation began. Homosexual relations in Florence at that time were crimes, and every year several hundred people were sentenced to imprisonment, expulsion from the city, or

even death. But Leonardo was fortunate. Yes, he probably spent a day or two in jail, but it quickly became evident that the other accused were connected to the Medici clan. The case was hushed up, and the suspects were freed. Was Da Vinci guilty? Most likely. There is not a single mention that Leonardo ever had relationships with women while with men. On the contrary, with one of his partners, he would be together for more than 20 years. Sodomy in 15th century Florence was a crime. However, among local artists, it was a common occurrence. Bichelli was accused

of sodomy. Michelangelo Donatello and Chelini were gay. Leonardo did not exactly flaunt his personal life, but neither did he hide his orientation. Legal troubles did not interfere with Leonardo's work with Verio. He continued to study how nature was structured and how the human eye perceived it. This would give birth to Da Vinci's famous unique painting style. We are primarily interested in two Italian words, Kiaroskuro and Sumato. I'll explain simply. We see the world in three dimensions, but a canvas is a two-dimensional space. How in a painting do you make a human figure voluminous and separate

it from the background? Primarily through shadow and light. This is the essence of the Kiarasuro technique. Not only did Da Vinci use the Kiaruso technique, but he mastered it virtuously. Another signature of the genius is the so-called spumato or haziness. Objects lack distinct contours. Instead, there are smooth transitions of shadow and light. Thanks to this, people on the canvas appear alive rather than frozen statues. Da Vinci carried his signature sumato throughout his biography, starting with the angel in the baptism of Christ and ending with the Mona Lisa. Okay, I suspect some of you might be

thinking, "Dude, you said at the beginning that Leonardo wasn't such a genius, but so far everything seems exactly like that." A teenager enters the workshop as an apprentice and fairly quickly becomes an accomplished artist. Indeed, in his midenties, Leonardo manages to ride a wave of success and his works start to get noticed. However, this does not mean that everything produced by the young artist was flawless. A prominent example is the enunciation. The painting completed while still working with Verrochio has clear imperfections. The ungainainely arms of the Virgin Mary, the cumbersome pedestal and the garden backdrop

are distractions from the overall theme and so on. All this means only one thing. If da Vinci was indeed a genius, it is a status he achieved significantly later and was not born with initially. At the age of 24, Leonardo still worked and lived in the workshop of Verio, churning out religious paintings. By then, many of the master's students had already become independent artists. Why Da Vinci finally decided to set off on his own remains unknown. Perhaps it was triggered by accusations of sodomy that occurred a year prior. In any case, in the year 1477,

Leonardo opened his own workshop in Florence. From a business perspective, this would be a catastrophe. Over the 5 years his workshop existed, Leonardo received only three commissions. He never completed two of them. And the third he didn't even begin. In the history of art, there's a peculiar top list of unfinished masterpieces. And Leonardo's painting, Adoration of the Magi, rightfully deserves to top this list. Da Vinci received this commission from a monastery thanks to his father Pierro's connections. Adoration of the Magi is a well-known biblical subject. Many great artists have used it for their works. By

the time Da Vinci received the commission, he was already infamously known as an undisiplined artist. Promises were broken, deadlines were missed. So, Leonardo was forced to sign a very strict agreement. Following this, Dainci pressed the pedal of perfectionism to the floor. He made detailed sketches, calculated the perspective, and devised the background. In his opinion, no character's pose in the painting should repeat, and there are dozens of people depicted. Each of the figures experiences an emotion that must be expressed through their movement, hand placement, and facial expressions. Moreover, Da Vinci first sketched everything in outlines. He

believed in an anatomical approach where the body is drawn first and then clothed. Where to get all this information? Only through study, anatomy, geometry, geology, physics. Da Vinci sought to understand every detail of the surrounding world to transpose it onto the painting. Perfectionism perhaps made Da Vinci great. Perfectionism certainly hindered him from completing what he started. To this day he is credited with only 15 works. Not much for an artist who lived a long life. The adoration of the magi of course was not finished on time. The contract was terminated and Leonardo fell into debt.

The future genius borrowed money and judging by the records spent it on paint and a bottle of wine. At that moment, Da Vinci was clearly in a crisis and although he was considered a talented artist, his reputation spoiled everything and he received no commissions. His colleague Bichelli was swamped with work while Leonardo criticized his technique. Perhaps it was envy. Who knows? In any case, today the adoration of the magi hangs in the Ufitzy Gallery in Florence, and every visitor can see a young man on the side. It is believed to be a self-portrait of Leonardo.

Perhaps this is exactly how he looked in the year 1482 when he left his native Florence and moved to Milan. Dainci meets his 30th birthday in a new city and in a new capacity. Now he is not an artist but an engineer architect capable of designing practically everything from buildings to military weapons. This follows from a letter by Leonardo himself to the ruler of Milan, Ludovviko Zwartzer. In this resume, Da Vinci lists a long line of his engineering skills, only noting as the 11th point, I can also paint. It is difficult to say what influenced

such a turn in his career. Perhaps fatigue from painting, where despite his recognized talent, Leonardo had a string of unfinished works. Perhaps the desire to finally devote more time to science, which Leonardo began to study passionately back in Florence. Or it was a tactical trick. Milan, Venice, Florence, and other Italian cities at that time were separate states. Da Vinci surely knew that Schwartzer was a militarist and leader surrounded by opponents. Such a ruler needed a military engineer, not an artist. Ultimately, what does Da Vinci do in his first few years in Milan? A producer and

director. In a time without YouTube, Netflix and Tik Tok, people also needed something to entertain themselves with, especially if you are the nobility. Da Vinci organizes a theatrical performance at Schwartzer's court. And one might think that for a talented artist, this is a step down on the career ladder. But Leonardo has a different opinion. He conceives the plot, synography, music, and special effects with people flying on stage, dragons, and demons. Da Vinci started working on theatrical performances back in Florence, but would truly expand in Milan. Despite his mythical image as a mysterious genius, Leonardo is

in fact a person who loves festivals, celebrations, bright clothes, and humor. For example, he might go catch a lizard, attach a beard and wings to it, place it in a box, and then frighten his friends with it. So, Leonardo is also a prankster. Besides this, he looks excellent, possesses an athletic physique, can speak well, and also sings and plays music beautifully. In a word, organizing theatrical performances is the perfect job for a person with such characteristics. But the main thing in this work is that Leonardo fully employs his engineering skills. And now is the time

to dispel another myth. If you decide to travel to Rome, you will most likely land at Leonardo da Vinci airport. There stands a huge statue of the genius 12 m tall in bronze. But that is not what is interesting. In his hand, Da Vinci holds his model of a helicopter. That's what is interesting. There is an opinion that Leonardo was so much of a genius that he designed many modern technologies 500 years ago from tanks to helicopters. And this is not exactly a complete misconception, but far from the whole truth. The helicopter project from Da

Vinci's journals is a fact. However, it appears to have been made for one of the performances. This contraption cannot fly. The construction itself does not work. It is a design of wings for human flight. It is in the diaries of Da Vinci. A fact as a theatrical effect. It is brilliant. As a real invention, it does not work. And this is a typical story for engineering projects from the diaries of the genius. Some of them were created solely for performances. Another part was never realized by Leonardo in practice, only on paper. Okay, there are a

couple of exceptions, but more on that later. So, Leonardo is a successful producer in Milan. It is here that he will meet a young man named Salai. He is significantly younger than Leonardo. Salai will become the master's assistant, then a possible artist, but most importantly, Leonardo's partner, with whom he will spend almost 30 years of his life. In his diaries, Da Vinci will leave notes, even about the clothing he bought for Salai, and even brief mentions of their quarrels. It is after moving to Milan that Da Vinci begins to keep diaries on a regular basis.

About his personal life, he will rarely write. The main subject of his notes will be art and science. As you remember, Leonardo essentially did not have a full-fledged education, including a good knowledge of Latin, and most of the scientific works of that time were in this language, not in the familiar to Da Vinci Italian. But Leonardo does not despair. His source of knowledge becomes observations, experiments, and personal communication. Milan is a much more favorable city in this regard. Science received much more attention there than in Florence. A common myth about Da Vinci is the image

of a solitary creative genius. Yes, once Leonardo would write in his diary, only when you are alone, you completely belong to yourself. However, in reality, it was that kind of solitude known only to its possessor, not to those around. Da Vinci will have to have many friends, students, and business connections, as that will largely become the secret of his success. In the gatherings at the Schwartzer Court, there was always a place for architects, scientists, engineers, and artists. Leonardo was a frequent participant in these events. For him, and for many other figures of the Renaissance, this

peculiar intellectual pingpong between representatives of different branches of science and art was an important source of gaining knowledge. In the 1480s, the Vituvian man became a hot topic for discussion. Let's be honest, I am not the only one who has seen this image many times, yet never fully understood what this naked guy inscribed in a square is all about. Let's sort it out. Marcus Vituvius was an ancient Roman engineer and architect. He wrote a famous treatise on ancient architecture and the Renaissance is a rebirth of culture of antiquity. For Da Vinci and his peers, the

Vituvian concept of the relationship between the microcosm of man and the macrocosm of the planet was particularly close. In translation to modern terms, the human body is a world in miniature. Everything in the body is arranged and functions according to the same laws as the surrounding space. According to Vituvius, for example, a wellproportioned man can be used as a model for the design of a building. In his treatise, the exact proportions of that well-formed body are described. Many of Leonardo's friends begin to draw their versions of the Vituvian man, but Da Vinci's version becomes the

most famous. Firstly, it is better drawn. Secondly, Vuvius's concept would be a crucial theme in Leonardo's scientific and philosophical explorations. And thirdly, there is a hypothesis that this is a self-portrait of Da Vinci. If so, we can roughly understand what Leonardo looked like at 38 years old. And apparently, he looked fantastic. According to contemporaries recollections, Leonardo was an athletic man who enjoyed horseback riding and other physical activities. Besides this, Da Vinci was a vegetarian. Judging by his diaries, he was very fond of animals. The records of his purchases mention only fruits, vegetables, and fish. One

of the notes reads, "Went to the market, bought apricots and eels. Moreover, Leonardo does not work excessively. Creativity and intellectual work require time, not schedules." I don't know who the villain was that said an artist must be hungry, but Da Vinci clearly wouldn't have agreed. In his opinion, an artist should sit in a pleasant room in beautiful clothing and draw beautiful images. All these comforts become available to Leonardo when he receives a commission to create an impressive statue for Ludovvic. The year 1489, approximately the same time when Daraini draws the Vituvian man. According to the

plan, the statue should depict father on horseback. The father quickly ceases to worry Da Vinci and he focuses exclusively on the horse. And it wouldn't be Leonardo if he made just an ordinary horse. Unremarkable, not unique, just a horse completed on time. After all, one cannot simply not include perfectionism. First, Dainci goes to the stables, studying live horses, their poses, movements, and facial expressions. Then he moves on to deceased horses to understand the animals anatomy. Okay, the design is ready. Now it needs to be executed. The statue should be made of bronze and should be

enormous. But despite its size, Da Vinci wants to cast it in one piece, not in parts. To do this, one only needs to invent a new technology. 5 years pass, French troops advance on Milan, and all the bronze intended for the statue is used to manufacture cannons. The French will capture the city, but not this time. A bit later, and soldiers will use the giant horse model for archery practice. After all, Leonardo just wanted to create a good statue. Around this same time, Columbus and Vaspuchi are discovering America. The printing press is developing. Significant scientific

discoveries are being made. And of course, Da Vinci is involved in more than just the ill- fated horse sculpture. This period is one of the most productive in Leonardo's career as a scientist. When asked which discipline Leonardo prefers, he answers yes. Geometry, arithmetic, optics, engineering, mechanics, chemistry, anatomy. These are just a few of the fields Leonardo da Vinci delved into. Perhaps the most defining trait of Da Vinci was his curiosity. Whether this was due to a lack of formal education or an inherent quality is unknown. But what is certain is the vast array of questions

that fascinated Leonardo. From why the sky is blue to the anatomy of a woodpecker's tongue. You heard that right. Studying a woodpecker's tongue was just a typical day's plan as recorded in Leonardo's diary. We'll return to this. Luck plays a significant role in the making of a genius. For example, in the mid- 15th century, Johan Gutenberg invented printing in Germany. And towards the end of the century, one of his students established a printing press in Venice. This press used the Italian language familiar to Da Vinci rather than the vexing Latin. Thus, Leonardo gained access to

a vast array of scientific works. However, as is known, theory will not bear fruit without practice. Experiments and observations remained vital methods of learning for Da Vinci. In a time when everyone asked why, Leonardo asked why not. Da Vinci attempted to create a perpetual motion machine, studied physics, and even formulated something akin to the laws of mechanics 200 years before Newton did. In the end, Leonardo concluded that a perpetual motion machine was impossible. This was no tragedy. He moved on. Da Vinci developed several military projects, among them a gigantic 20 m crossbow or a tank

resembling a tortoise. According to Leonardo, it could house up to eight people inside. These inventions would remain merely concepts. The true passion of the genius lay in flying machines, initially as theatrical props, later as real projects. His diaries contain numerous concepts for flying machines, most resembling birds. Despite decades of exploration, Da Vinci never succeeded in creating a working model. While studying various disciplines, Leonardo quickly realized the necessity of mathematics. After all, mathematics is the language through which nature communicates its laws. Yet, this is the very language with which Dainci struggled. His biggest difficulty lay with

algebra and arithmetic. Even as a man in his 40s, he could make mistakes in elementary calculations and had challenges with roots and other algebraic elements. It's reassuring to know that there's something common between us and Leonardo da Vinci. I also struggled with square roots in school, never even heard of cubic ones. Unlike algebra, geometry was much closer to Da Vinci's heart as he understood the world through visual images. Leonardo spent many years working on various theories in this field. However, for mathematicians, these explorations held little interest. Perhaps Da Vinci's main contribution to this science was

the illustrations for the book of his friend Luca Pacioli, a renowned mathematician of the time. The work was primarily devoted to the most famous mathematical proportion, the golden ratio. A discipline whose influence on Da Vinci's work is difficult to overestimate is anatomy. Leonardo began studying anatomy in Florence initially simply to draw people better. However, in Milan, this hobby extended far beyond artistic necessity. Connections with medical scientists provided Leonardo access to research and even more importantly to the bodies of the deceased. Da Vinci would become the one to elevate the art of anatomical drawing to a

new height. His depictions were both scientifically accurate and artistically astonishing. Light, shadow, and his signature fumato all were executed by a great master. Leonardo was the first to accurately depict and describe the structure of teeth. So, if not for all his other achievements, Da Vinci could have held a significant place in the history of dentistry. Some of his theories in anatomy could have become scientific discoveries, yet they remained ideas on paper. However, although his study of anatomy did not inscribe Da Vinci into the history of science, it unquestionably brought him closer to answering the question

of how to convey a character's emotional state through their movement. The famous portraits lady with an Label Ferronier and Mona all entered history largely for one reason. Through the slightest details of posture and expression, the author conveyed the thoughts and inner state of the subject. To achieve this required not only the mastery in painting acquired over years of practice but also decades of studying anatomy. One important detail is the expression. A subtle smile is Da Vinci's hallmark. It can be seen in many of his works including the Mona Lisa. A small detail of expression which

seems simple enough for Jaime to depict. However, the average person cannot imagine how many years Da Vinci spent standing with a scalpel over the faces of the deceased, studying every muscle responsible for a smile. The perfectionism of Da Vinci can be noticed in the meticulous rendering of fabrics, hair, and an animal's fur. During this period, Da Vinci will create several other famous works. However, it is the lady with an modern portrait in history. Centuries later, the first work of painting where the artist managed to convey the internal emotions of the character, an undeniable success for

Leonardo, and not only because poets began dedicating poems to the painting and contemporaries noted its undoubted merit. Lady with an is Leonardo's first painting commission after 7 years living in Milan. Leonardo is great again. The year 1494, the ruler of Milan, Ludovvic Forza, decides to immortalize his name and create a moraleum for himself and his family. The chosen venue is not the largest, but a rather beautiful Milan church, Santa Maria Delegatier. However, this place will enter history not due to its architecture, but for another reason. It is there on one of the walls that Da

Vinci will paint the Last Supper. The enormous popularity of this work is also due to another person Dan Brown. In 2003 he wrote the famous book the Dainci Code and it is there the writer or rather the characters discuss the hidden signs in the fresco the last supper painted by Da Vinci precisely. Everyone has seen this fresco. Many are aware of its mysteries and only a few know its details. Well, let's increase the number of the latter. Leonardo receives a commission to paint a wall in the church of Santa Maria delegatier and chooses the well-known

biblical subject as the theme. Jesus informs the twel apostles that one of them is a traitor. Da Vinci intends to depict the apostles reaction to Christ's words. The work process is public. Firstly, the room where the fresco is painted is essentially a refactory for monks. Secondly, anyone can enter from the street and observe the genius at work. and often visitors find neither neither work nor the genius. There are fortunate days when Leonardo arrives early and works late into the night. There are unsuccessful days when Da Vinci stands in front of the fresco, silent, sometimes criticizing

his work, silent again, and after a couple of hours of self-reroach leaves. There are worse days when Leonardo comes to the church around lunchtime, makes a couple of brush strokes, puts down the brush, and leaves. The genius's procrastination becomes the subject of conversation between the prior of the church and Ludovvicer. Da Vinci defends himself explaining to Sporza that an artist works even at times when he is not brushing the canvas. Thoughts and images must be born in the mind before they can take the form of a painting. Likewise, Da Vinci threatened to depict the abbot

as Judas if he did not cease his complaints. This greatly amused Schwartzer and he decided not to pressure Leonardo, at least for a while. In the year 1497, Sporza's wife died. His patience waned and he forced Da Vinci to sign a strict contract. By that time, the work on the fresco had been going on for 3 years. Leonardo would need another year to finish, but in the end, the wait would be justified. The work would immediately be recognized by contemporaries as a masterpiece. Da Vinci received a bonus from Schwartzer in the form of a small

vineyard. A happy ending, right? Not quite. Within 20 years, the last supper began to peel off the wall. Who was to blame? A fresco needs to be painted quickly. A piece of the wall is covered with wet plaster, and while it dries, paint is applied to it. The artist has one day for this. As you understand, Leonardo did not like haste. He was accustomed to working with oil paints, which allowed him to paint a picture for years, applying the slightest strokes and making adjustments. All of Da Vinci's previous successes in painting were associated with this

approach. Therefore, for the Last Supper, he decided to use an experimental mix. He took temper, which was usually used for fresco, mixed it with oil paint, and applied it to a dry surface. This, of course, allowed him to work in his unhurried manner. but led to a sad result. Over the past 500 years, the Last Supper has undergone many restorations, none of which have been very successful. Today, in Santa Maria de Gratzier, you will see only a faint resemblance of what the fresco was immediately after the work was completed. But this is quite enough to

appreciate the scale of Dainci's genius. Although, who are we kidding? Given the world's situation, a picture on the internet is all that is available to us. Now, very briefly on why The Last Supper is a masterpiece. It's the characters and composition. Decades of studying anatomy and considerable experience working as a theatrical producer allowed Da Vinci to most accurately reflect each apostles reaction to the words of Jesus. Let's take this trio as an example. Judas leans back holding a bag of silver pieces in his hand. In doing so, he has spilled salt with his hand. His

actions, posture, and expression betray him as a traitor. Peter clutches a knife, ready to act. Leaning in, he whispers something to Jon. On the contrary, Jon is saddened and calm. He knows he is not guilty. It is John who is the central figure in the conspiracy theory on which the plot of the book The Da Vinci Code is based. Allegedly, this is not John but Mary Magdalene as he looks very much like a woman. However, depictions of characters lacking pronounced gender traits are one of the important features of Leonardo's work. Starting from the angel in

Verrochio's painting to the later portrait of the same John. The woman in the fresco is not the only enigmatic theory associated with the Last Supper. Listing and refuting them all would take more than an hour. However, none of these theories are taken seriously for one simple reason, insufficient facts. The symbols that Leonardo da Vinci did actually encode in the fresco relate to his skill and observance. For instance, the centrally seated Jesus is placed against a light background. Leonardo observed that objects positioned against a light background appear larger than those against a dark background. As you

remember, the depiction of depth and three-dimensional space is one of the main achievements of Renaissance artists, and the Last Supper is a prime example. The work on the fresco coincides with an important event in Leonardo's personal life. His mother, Katarina, arrives in Milan. Leonardo writes about this in his diary. A year later, his mother dies of malaria, and in Da Vinci's notes, there are only a few dry lines about funeral expenses. Notably, he spends less on the funeral than on purchasing clothing. What does this suggest? Possibly a lingering childhood resentment towards his mother. Perhaps she

herself did not wish for an elaborate funeral, being an ordinary peasant woman. About this and many other events in Leonardo's life, little to nothing is known. What is certain is the career deadlock Leonardo found himself in. It seemed that after the success of the Last Supper, fortunes should have been on the rise. However, it was quite the opposite. At that moment, he was comfortably settled in one of the Milan palaces. This was his home, his studio, where not only Leonardo worked, but also his students. to maintain the household commissions were needed. Yet the only art

that interested the principal patron Ludovvikosza at that time was the art of war. The city was being approached by the French, the same ones who had come a few years earlier. Da Vinci had no commissions. To make ends meet, he worked as an interior designer. Leonardo was almost 50, a recognized genius, yet he was decorating someone's quarters. But even this Daraini did not finish leaving amidst a scandal. His self-esteem was in good order. In search of work, he started sending resumes to potential patrons. These letters often concluded in a similar fashion. There is no better

candidate for this work than Leonardo from Florence. In Milan, he was often called precisely that. In the year 1499, the French entered the city. Da Vinci did not flee. This was not his style. He contemplated staying and forging connections with the new authorities, but after some time he eventually left. At the turn of the new century, he departed Milan, where he had spent 18 years to return once more to Florence. In the city well known to him, Dainci would celebrate his 50th birthday. For some, this age would signify the twilight of a career. But for

Da Vinci, the next six years spent in Florence would be the most productive of his life. He would continue his scientific inquiries and also commence work on several masterpieces, among them the Mona Lisa. In Florence, Da Vinci holds a star status, and it suits him well. In the slow streets of the city, walks an incredibly fashionable older man clad in a pink ensemble by the renowned Patnoff. Beside him, equally stylish, is a young man in his mid30s. This is Leonardo and his partner Salai. According to Da Vinci's journals, at that time his main expenses were

clothes and books. In Florence, Da Vinci established a workshop similar to that of his teacher Verio. Routine work such as commissioned religious paintings was done by Leonardo's apprentices. The master himself dedicated his time only to projects that interested him. In the year 1503, Francesco Deljioondo, a wealthy silk merchant, approached Leonardo. He wanted to commission a portrait of his wife Lisa, who was 24 years old at the time. Why Da Vinci agreed remains a mystery. At that time, he was engrossed in science and declined commissions even from far more influential patrons. Perhaps Leonardo's father, Pierro, who

had business connections with the client, facilitated the agreement. Perhaps Leonardo needed money as his bank account was nearly empty due to numerous rejections. Or perhaps the reason was the very enigmatic smile possessed by Lisa Deljokondo. For a long time, the identity of the woman in Da Vinci's painting was questioned. There were about a dozen theories, including suggestions that it might be a self-portrait of the artist himself or a depiction of his mother. All of this perfectly contributed to the image of a mysterious genius. Only by the mid200s were truly compelling pieces of evidence found, proving

that Mona Lisa is indeed the portrait of Lisa Del Gioondo. However, neither she nor her husband would receive the completed commission a year, 3 years, or even 10 years later. Da Vinci would take it with him, first to another city, then to another country. He continued to work on it for 16 years, up until his death. Undertaking individual commissions is a decent way for an artist to earn a living. However, to truly showcase one's talents, having a patron is crucial. A patron offers significant projects, does so regularly, and importantly pays generously. For Da Vinci in

Milan, that patron was Schwartzer. In Florence, the role was filled by Cheser Borgier. Technically, not quite in Florence. Here's the context. Chesure Boura would be an ideal character in the Game of Thrones universe. In a time when many rulers were notable for their cruelty and ruthlessness, Chesire Borgger was possibly the most brutal and the most ruthless. Murder, betrayal, execution, incest, and corruption. In a word, a bloody tyrant in power. He captured city after city and could easily have taken Florence. Nicolo Machaveli, the famous diplomat, was sent to negotiate with Bour, managing to strike a deal.

One theory suggests that one of the conditions of the agreement was Da Vinci himself. Perhaps Da Vinci's work for Bour was a diplomatic gesture, or perhaps it was the genius's personal initiative. Either way, Leonardo once again had the opportunity to prove himself as a military engineer. Da Vinci accompanies Boura on journeys from city to city, providing consultation and proposing ideas. However, despite his projects for tanks, giant crossbows, and diving suits, arguably Da Vinci's greatest military achievement would become this sheet of paper. In order to create a detailed map of the town of Imola, Leonardo uses

his scientific knowledge from various fields and constructs a special measuring device that rolls through the streets. In the centuries that follow, accurate maps will become an essential tool in conducting military campaigns. Da Vinci will serve Boura for 6 months and will leave him after another bloody act during which one of Leonardo's acquaintances is executed. This raises a logical question. Why did Da Vinci who on numerous occasions expressed negative sentiments towards war in his journals and was a vegetarian work for such cruel rulers like Schwarza and Borgger? Some might say it was pragmatism as this allowed

Da Vinci to gain access to ambitious projects. Freud might suggest it was to fulfill the father figure role. Who is truly correct? We may never know. Returning to Florence, Da Vinci undertakes a new engineering project. You are surely familiar with the Italian town of Pisa, the one with the leaning tower. At the beginning of the 16th century, the authorities of Florence wanted to take control of it, but their attempts failed. Then Leonardo proposed an idea. The idea, of course, was ambitious. Dainci had no other kind. Pisa is situated on the river Arno and thanks to

it has access to the sea allowing the town to receive resources. Da Vinci's idea was to alter the course of the river. This required digging a gigantic trench and to dig a gigantic trench, a gigantic apparatus had to be constructed. Need it be said that the project was unsuccessful? I think not. The inability to bring his ambitious ideas to life is perhaps Leonardo's greatest weakness. After coming up with a brilliant concept, he quickly lost interest in it. Furthermore, by that time, he had already embarked on a new major project which had all the potential to

become the most significant of his life. In the year 1504, perhaps the greatest art battle in history begins. Da Vinci versus Michelangelo. Both artists receive a commission to paint a wall in the same palace in Florence, literally opposite each other. But what truly makes this battle interesting is the context. Da Vinci and Michelangelo are different artists from different generations and different individuals. By that time, Leonardo is 51 years old and Michelangelo is 28. Da Vinci is a vibrant, fashionable, sociable man. Michelangelo is an unckempt, slouching, introverted young man who, despite this, is already considered a

genius and receives numerous commissions. Leonardo rarely criticized the work of other artists, but not in this case. In his opinion, the nudes executed by Michelangelo looked like bags of walnuts, overly sculpted, lacking fumato, plasticity, and all that da Vinci valued. Michelangelo did not argue much. He considered himself primarily a sculptor and applied this approach to his work on painting. The theme chosen for Leonardo's fresco was the battle of Ankiari, a significant event for the Florentines. Leonardo, already known for pushing his perfectionism to the extreme, likely found the open rivalry with the young star to be

overwhelming. He once again dissects dead horses, dissects dead humans, sketching both in his diaries. He experiments with paint once more, procrastinates again, and misses deadlines again. During the work on the fresco, Leonardo's father passes away. Although their relationship was far from perfect, it was often his father who brought clients to him. Clients whose commissions Leonardo often failed to complete. Sir Pierro da did not recognize Leonardo as his legitimate child despite having 10 other children, and did not leave him any inheritance. After his father's death, Leonardo continued to work on the battle of Angiari. Michelangelo was

painting another battle on the opposite wall. A few years later, this artistic faceoff would end strangely. Both artists abandoned their unfinished works, and neither would survive. Thus could the fresco of Michelangelo look, thus Dainci's fresco. Both of these images are merely copies executed by other artists who might have observed the geniuses at work. In the end, Michelangelo travels to Rome to paint the cyine chapel while Leonardo returns to Milan. Once again, he leaves the project unfinished despite a strict contract. This suggests that Da Vinci is unlikely to receive another significant commission. Leonardo becomes aware of

his mortality. Both parents are buried and he shares little with his siblings. His relations with Talai were never ideal, primarily due to the latter's complex personality. During this period, Da Vinci meets Franchesco Meltzy, who becomes not only his pupil, but also in essence an adopted son. Franchesco Melie will accompany Leonardo until the end of his life, become an artist, and eventually inherit a significant portion of Da Vinci's estate. In the year 1508, Leonardo is once again living in Milan and dedicates almost all of his time to science. Notably, there was an incident involving a centinarian

who simply died of old age. Da Vinci could not ignore this. In his journal, he meticulously sketches the muscles, veins, and partial portrait of the deceased. This marks the beginning of a new 5-year period of anatomical study, more precisely, an obsession with anatomy. Just imagine this scene. the 56-year-old genius, most likely in pink clothing, running from one hospital to another and dissecting corpses. Fortunately, by that point in history, the church no longer strongly opposed such operations, at least in such progressive cities as Milan and Florence. It is perhaps during this period that Da Vinci comes

closest to being remembered in history, not only as an artist, but also as a scientist. He is one of the first in history to describe certain aspects of brain structure, realizes that the heart is the center of the circulatory system and discovers new cardiac valves. Da Vinci intends to turn all of this into scientific treatises. Will he finish what he started? Of course not. Is it any wonder then that a typical page from the diary of a genius looks like this? a detailed sketch of the muscles of the hand, the muscles of the face, notes,

and at the bottom, the portrait of some random fellow who most likely had nothing to do with the aforementioned description. It is probable that Leonardo simply got distracted. Dainci is much more interested in concepts. Do you still recall the Vituvian man and the theory that our bodies are arranged in the same way as the world around us? Well, Leonardo constantly seeks analogies. He compares the movement of blood in the arteries to the movement of water in rivers, the structure of veins to the roots of trees, the motion of planets to the motion of muscles, and

so on. Closer to the end of his life, he realized he was mistaken. Most of these theories and analogies simply do not work. However, failures and the ability to acknowledge them are an integral part of genius. It is difficult to imagine the process of knowledge without hypotheses and theories. Yet the 16th century was a time when not all ideas elicited enthusiastic responses. Da Vinci's diaries contain radical thoughts. For instance, that the sun does not move or that a child in the womb is merely a part of the maternal organism and therefore cannot have its own

soul. However, Leonardo never attempted to offend the feelings of believers. He only sought to answer questions about the universe and humanity's place within it. Da Vinci believed in the divine origin of life but preferred to study the world through science and art rather than through the church's dogmas. In the year 1512, Da Vinci turned 60. There exist two contradictory portraits from that period. In both Da Vinci is depicted at the same age. The first portrait is by a disciple, the second by Leonardo himself. However, the individuals in these portraits appear to be separated by about

20 years. One possible explanation is that the pupil may have embellished his teacher, a kind of 16th century Photoshop master. In addition to this, there are accounts from people who met Da Vinci at the time and recalled that he looked significantly older than his age. It is possible he was aging prematurely, making the self-portrait much closer to the truth. Although it may also be that Da Vinci captured only his inner sense of self in the self-portrait rather than an actual reflection. A year after his 60th birthday, Da Vinci moves to Rome. Accompanying him are Salai,

Francesco Melzi, and other students. Leonardo finds a new patron, takes on rare commissions, but does not complete them. In his notes from that time, he complains about his students who either do poor work or leave to open their own workshops. From the moment Da Vinci began work on the Mona Lisa until his death, 16 years would pass, during which only a few works are attributed to this period, including St. John the Baptist. Indeed, the first thing that catches the eye is not the signature fumato, but the index finger. It appears regularly in Da Vinci's paintings.

The explanation is simple. The character thereby points towards the sky, that is something divine. Meanwhile, Leonardo completes the painting. in St. Anne with the Madonna and Child. The work began around the same time as the Mona Lisa. There is an opinion that this masterpiece is no less great, just not as popular. Whether this is true is a debatable question, but it is well documented that the level of detail, that is, the number of layers in this work, is no less than that of the Mona Lisa. The number of characters is greater and their movement is

more complex. Possibly during this period and earlier, Da Vinci created more masterpieces. But there is a problem. Leonardo, like many other artists of that time, did not sign his works. Moreover, in his journals, he almost never mentioned what he was working on at a specific moment in time. In Wikipedia articles about one or another masterpiece of the genius, one can often encounter the vague wording, a painting believed to be by Leonardo da Vinci. Behind this short phrase lies a vast unexplored territory for ordinary mortals called the art market. In the year 1900 in Britain, the

painting Salvatore Mundi was found. Its condition was not very good and the work itself seemed not to be a super masterpiece. The author was thought to be one of Da Vinci's pupils. In the middle of the century, it was sold for $100. Remember this figure. Another 50 years later in the new millennium, a theory emerged suggesting that the author was not a pupil but Leonardo himself. Experts were gathered, complex technical analyses were conducted and in the year 2013, Salvatore Mundi, already attributed to Leonardo da Vinci was purchased by a Russian billionaire who made his fortune

in the fertilizer industry. The transaction amount was $127 million. Yet another four years later, a Saudi prince acquired the work for $450 million. Salvatore Mundi became the most expensive artwork ever purchased at auction. What is the most important part of this story? Firstly, the production of fertilizers turns out to be a very profitable business. And secondly, some experts still consider the entire saga with the painting Salvatore Mundi to be the greatest fraud in art market history. Here's why. The attribution of a given painting is determined by experts and one of their criteria is attention, the

sixth sense, true story. Let's take Salvador Mundi. Some experts look at the painting and note the trademark fumato, the fabric detailing and the hair typical of Da Vinci. Another part of equally respected experts argues back. Leonardo would likely not have depicted the subject frontally. He preferred threequarters view and look at the sphere in the hand. Da Vinci who studied science could not have been unaware that a glass sphere distorts objects behind it. We should see the hand inverted. The first group of experts responds to this by saying, "Folks, a genius does this intentionally, portraying the

hand behind the sphere in contradiction to the laws of physics because he understood that otherwise this detail would distract the viewer. Who is right is not completely known. However, it is worth noting that the experts denying Da Vinci's authorship are in a significant minority. A painting whose authorship is beyond doubt is the Mona Lisa. Indeed, the immense popularity of the Mona Lisa is linked to its theft in the early last century. In summary, dozens of world masterpieces were once stolen and returned. But can they rival the Mona Lisa in renown? A rhetorical question. Look at

two paintings. The first Geneva debi which Leonardo painted back in Florence when he was about 25. A good work of a talented artist but the Mona is already the masterpiece of a genius. Between these two works are decades of studying optics, anatomy, geology and other disciplines. All the knowledge and experience that Da Vinci acquired over the years. Several centuries have not passed without a trace for the geocond. Her face probably lost its eyebrows as a result of one of the restorations. The colors have yellowed and faded. The blame lies with the genius's experiments with paints.

In the Praau Museum hangs a copy of the Geocond, likely painted by one of his students. Thanks to it, we can approximately imagine what the colors of the Mona Lisa looked like 500 years ago. By the way, the famous following gaze was not invented by Da Vinci. This technique where the character looks at the viewer from any angle was used even before Leonardo. However, today this effect is associated precisely with the geocond. The fact is the most important Mona Lisa is a kind of culmination of the artist's entire life. Decades of research, trial and error.

Perhaps this is why Leonardo never handed it over to the client, but constantly supplemented it. For Da Vinci, good enough was always not good enough. In the year 1515, Leonardo accepts an invitation from a new patron. It is King Francis I of France. Da Vinci leaves Italy for the first time in his life. Milan becomes his departure. Leonardo's new home is a small castle in France. King Francis I becomes the ideal patron that Da Vinci had awaited his entire life. Comfortable living conditions, a generous stipend, and most importantly, no deadlines. In return, the genius was

declared the king's chief engineer, artist, and architect. Leonardo spent his last years in his castle, occasionally receiving guests. Some of them noted clear signs of a stroke and the master's paralyzed hand. The logical conclusion is that he could not paint. However, it was his right hand that was paralyzed and Da Vinci was left-handed. Most likely, he continued to work until the end of his life. One of his last projects would be the concept of an entire city for King Francis. Da Vinci would not have time to complete the project. Once Leonardo wrote in his diary,

"As a well spent day brings a happy sleep, so a well-used life brings a happy death." He would die in May 1519 and be buried in the church of the Chatau Dumbois. In the 19th century, the church would be demolished and then another half ccentury later, the remains would be excavated and re-eried in another church. Presumably, the remains found belong to Leonardo da Vinci, but no one knows for certain. This mystery fits perfectly into the history of a man about whom much is still unknown. But what is known for sure is that Leonardo was a

genius. True, he did not become one immediately and was not so in everything. A long time ago, I heard the idea that artists and scientists actually seek answers to the same questions, but do so in different ways. Who we are, where we come from, and what our place in the universe is. As a rule, these artists and scientists are different people. But Leonardo combined both with varying degrees of success. Yet he did so nonetheless.