The Notebooks of Leonardo Da Vinci. Complete

Having many times rejoiced with you by letters over your prosperous fortunes, I know now that, as a friend you will be sad with me over the miserable state in which I find myself; and this is, that during the last few days I have been in so much trouble, fear, peril and loss, besides the miseries of the people here, that we have been envious of the dead; and certainly I do not believe that since the elements by their separation reduced the vast chaos to order, they have ever combined their force and fury to do so much mischief to man. As far as regards us here, what we have seen and gone through is such that I could not imagine that things could ever rise to such an amount of mischief, as we experienced in the space of ten hours. In the first place we were assailed and attacked by the violence and fury of the winds [*10]; to this was added the falling of great mountains of snow which filled up all this valley, thus destroying a great part of our city [Footnote 11: Della nostra citta (Leonardo first wrote di questa citta). From this we may infer that he had at some time lived in the place in question wherever it might be.]. And not content with this the tempest sent a sudden flood of water to submerge all the low part of this city [*12]; added to which there came a sudden rain, or rather a ruinous torrent and flood of water, sand, mud, and stones, entangled with roots, and stems and fragments of various trees; and every kind of thing flying through the air fell upon us; finally a great fire broke out, not brought by the wind, but carried as it would seem, by ten thousand devils, which completely burnt up all this neighbourhood and it has not yet ceased. And those few who remain unhurt are in such dejection and such terror that they hardly have courage to speak to each other, as if they were stunned. Having abandoned all our business, we stay here together in the ruins of some churches, men and women mingled together, small and great [Footnote 17: Certe ruine di chiese. Either of Armenian churches or of Mosques, which it was not unusual to speak of as churches.

Maschi e femmini insieme unite, implies an infringement of the usually strict rule of the separation of the sexes.], just like herds of goats. The neighbours out of pity succoured us with victuals, and they had previously been our enemies. And if

[Footnote 18: I vicini, nostri nimici. The town must then have stood quite close to the frontier of the country. Compare 1336. L. 7. vicini ai nostri confini. Dr. M. JORDAN has already published lines 4-13 (see Das Malerbuch, Leipzig, 1873, p. 90:—his reading differs from mine) under the title of "Description of a landscape near Lake Como". We do in fact find, among other loose sheets in the Codex Atlanticus, certain texts referring to valleys of the Alps (see Nos. 1030, 1031 and note p. 237) and in the arrangement of the loose sheets, of which the Codex Atlanticus has been formed, these happen to be placed close to this text. The compiler stuck both on the same folio sheet; and if this is not the reason for Dr. JORDAN'S choosing such a title (Description &c.) I cannot imagine what it can have been. It is, at any rate, a merely hypothetical statement. The designation of the population of the country round a city as "the enemy" (nemici) is hardly appropriate to Italy in the time of Leonardo.] it had not been for certain people who succoured us with victuals, all would have died of hunger. Now you see the state we are in. And all these evils are as nothing compared with those which are promised to us shortly.

I know that as a friend you will grieve for my misfortunes, as I, in former letters have shown my joy at your prosperity …

[Footnote: 1337. On comparing this commencement of a letter l. 1-2 with that in l. 3 and 4 of No. 1336 it is quite evident that both refer to the same event. (Compare also No. 1337 l. 10-l2 and 17 with No. 1336 l. 23, 24 and 32.) But the text No. 1336, including the fragment l. 3-4, was obviously written later than the draft here reproduced. The Diodario is not directly addressed—the person addressed indeed is not known—and it seems to me highly probable that it was written to some other patron and friend whose name and position are not mentioned.]

Notes about events observed abroad (1338-1339).

1338

BOOK 43. OF THE MOVEMENT OF AIR ENCLOSED IN WATER.

I have seen motions of the air so furious that they have carried, mixed up in their course, the largest trees of the forest and whole roofs of great palaces, and I have seen the same fury bore a hole with a whirling movement digging out a gravel pit, and carrying gravel, sand and water more than half a mile through the air.

[Footnote: The first sixteen lines of this passage which treat of the subject as indicated on the title line have no place in this connexion and have been omitted.]

*[Footnote 2: Ho veduto movimenti &c. Nothing of the kind happened in Italy during Leonardo's lifetime, and it is therefore extremely probable that this refers to the natural phenomena which are so fully described in the foregoing passage. (Compare too, No. 1021.) There can be no doubt that the descriptions of the Deluge in the Libro di Pittura (Vol. I, No. 607-611), and that of the fall of a mountain No. 610, l. 17-30 were written from the vivid impressions derived from personal experience. Compare also Pl. XXXIV-XL.]

1339

Like a whirling wind which rushes down a sandy and hollow valley, and which, in its hasty course, drives to its centre every thing that opposes its furious course …

No otherwise does the Northern blast whirl round in its tempestuous progress …

**[Footnote: It may be inferred from the character of the writing, which is in the style of the note in facsimile Vol. I, p. 297, that this passage was written between 1470 and 1480. As the figure 6 at the end of the text indicates, it was continued on another page, but I have searched in vain for it. The reverse of this leaf is coloured red for drawing in silver point, but has not been used for that purpose but for writing on, and at about the same date. The passages are given as Nos. 1217, 1218, 1219, 1162 and No. 994 (see note page 218). The text given above is obviously not a fragment of a letter, but a record of some personal experience. No. 1379 also seems to refer to Leonardo's journeys in Southern Italy.]

Nor does the tempestuous sea bellow so loud, when the Northern blast dashes it, with its foaming waves between Scylla and Charybdis; nor Stromboli, nor Mount Etna, when their sulphurous flames, having been forcibly confined, rend, and burst open the mountain, fulminating stones and earth through the air together with the flames they vomit.

Nor when the inflamed caverns of Mount Etna **[Footnote 13: Mongibello is a name commonly given in Sicily to Mount Etna (from Djebel, Arab.=mountain). Fr. FERRARA, Descrizione dell' Etna con la storia delle *eruzioni (Palermo, 1818, p. 88) tells us, on the authority of the Cronaca del Monastero Benedettino di Licordia of an eruption of the Volcano with a great flow of lava on Sept. 21, 1447. The next records of the mountain are from the years 1533 and 1536. A. Percy neither does mention any eruptions of Etna during the years to which this note must probably refer Memoire des tremblements de terre de la peninsule italique, Vol. XXII des Memoires couronnees et Memoires des savants etrangers. Academie Royal de Belgique).

A literal interpretation of the passage would not, however, indicate an allusion to any great eruption; particularly in the connection with Stromboli, where the periodical outbreaks in very short intervals are very striking to any observer, especially at night time, when passing the island on the way from Naples to Messina.], rejecting the ill-restained element vomit it forth, back to its own region, driving furiously before it every obstacle that comes in the way of its impetuous rage …

Unable to resist my eager desire and wanting to see the great … of the various and strange shapes made by formative nature, and having wandered some distance among gloomy rocks, I came to the entrance of a great cavern, in front of which I stood some time, astonished and unaware of such a thing. Bending my back into an arch I rested my left hand on my knee and held my right hand over my down-cast and contracted eye brows: often bending first one way and then the other, to see whether I could discover anything inside, and this being forbidden by the deep darkness within, and after having remained there some time, two contrary emotions arose in me, fear and desire—fear of the threatening dark cavern, desire to see whether there were any marvellous thing within it …

Drafts of Letters to Lodovico il Moro (1340-1345).

1340

Most illustrious Lord, Having now sufficiently considered the specimens of all those who proclaim themselves skilled contrivers of instruments of war, and that the invention and operation of the said instruments are nothing different to those in common use: I shall endeavour, without prejudice to any one else, to explain myself to your Excellency showing your Lordship my secrets, and then offering them to your best pleasure and approbation to work with effect at opportune moments as well as all those things which, in part, shall be briefly noted below.

[Footnote: The numerous corrections, the alterations in the figures (l. 18) and the absence of any signature prove that this is merely the rough draft of a letter to Lodovico il Moro. It is one of the very few manuscripts which are written from left to right—see the facsimile of the beginning as here reproduced. This is probably the final sketch of a document the clean of which copy was written in the usual manner. Leonardo no doubt very rarely wrote so, and this is probably the reason of the conspicuous dissimilarity in the handwriting, when he did. (Compare Pl. XXXVIII.) It is noteworthy too that here the orthography and abbreviations are also exceptional. But such superficial peculiarities are not enough to stamp the document as altogether spurious. It is neither a forgery nor the production of any artist but Leonardo himself. As to this point the contents leave us no doubt as to its authenticity, particularly l. 32 (see No. 719, where this passage is repeated). But whether the fragment, as we here see it, was written from Leonardo's dictation—a theory favoured by the orthography, the erasures and corrections—or whether it may be a copy made for or by Melzi or Mazenta is comparatively unimportant. There are in the Codex Atlanticus a few other documents not written by Leonardo himself, but the notes in his own hand found on the reverse pages of these leaves amply prove that they were certainly in Leonardo's possession. This mark of ownership is wanting to the text in question, but the compilers of the Codex Atlanticus, at any rate, accepted it as a genuine document.

With regard to the probable date of this projected letter see Vol. II, p. 3.]

1) I have a sort of extremely light and strong bridges, adapted to be most easily carried, and with them you may pursue, and at any time flee from the enemy; and others, secure and indestructible by fire and battle, easy and convenient to lift and place. Also methods of burning and destroying those of the enemy.

2) I know how, when a place is besieged, to take the water out of the trenches, and make endless variety of bridges, and covered ways and ladders, and other machines pertaining to such expeditions.

3) Item. If, by reason of the height of the banks, or the strength of the place and its position, it is impossible, when besieging a place, to avail oneself of the plan of bombardment, I have methods for destroying every rock or other fortress, even if it were founded on a rock, &c.

4) Again I have kinds of mortars; most convenient and easy to carry; and with these can fling small stones almost resembling a storm; and with the smoke of these causing great terror to the enemy, to his great detriment and confusion.

9) [8]* And when the fight should be at sea I have kinds of many machines most efficient for offence and defence; and vessels which will resist the attack of the largest guns and powder and fumes.

5) Item.* I have means by secret and tortuous mines and ways, made without noise to reach a designated [spot], even if it were needed to pass under a trench or a river.

6) Item. I will make covered chariots, safe and unattackable which, entering among the enemy with their artillery, there is no body of men so great but they would break them. And behind these, infantry could follow quite unhurt and without any hindrance.

7) Item. In case of need I will make big guns, mortars and light ordnance of fine and useful forms, out of the common type.

8) Where the operation of bombardment should fail, I would contrive catapults, mangonels, trabocchi and other machines of marvellous efficacy and not in common use. And in short, according to the variety of cases, I can contrive various and endless means of offence and defence.

10) In time of peace I believe I can give perfect satisfaction and to the equal of any other in architecture and the composition of buildings public and private; and in guiding water from one place to another.

Item: I can carry out sculpture in marble, bronze or clay, and also in painting whatever may be done, and as well as any other, be he whom he may.

[32] Again, the bronze horse may be taken in hand, which is to be to the immortal glory and eternal honour of the prince your father of happy memory, and of the illustrious house of Sforza.

And if any one of the above-named things seem to any one to be impossible or not feasible, I am most ready to make the experiment in your park, or in whatever place may please your Excellency—to whom I commend myself with the utmost humility &c.

1341

To my illustrious Lord, Lodovico, Duke of Bari, Leonardo da Vinci of Florence— Leonardo.

[Footnote: Evidently a note of the superscription of a letter to the Duke, and written, like the foregoing from left to right. The manuscript containing it is of the year 1493. Lodovico was not proclaimed and styled Duke of Milan till September 1494. The Dukedom of Bari belonged to the Sforza family till 1499.]

1342

You would like to see a model which will prove useful to you and to me, also it will be of use to those who will be the cause of our usefulness.

[Footnote: 1342. 1343. These two notes occur in the same not very voluminous MS. as the former one and it is possible that they are fragments of the same letter. By the Modello, the equestrian statue is probably meant, particularly as the model of this statue was publicly exhibited in this very year, 1493, on tne occasion of the marriage of the Emperor Maximilian with Bianca Maria Sforza.]

1343

There are here, my Lord, many gentlemen who will undertake this expense among them, if they are allowed to enjoy the use of admission to the waters, the mills, and the passage of vessels and when it is sold to them the price will be repaid to them by the canal of Martesana.

1344

I am greatly vexed to be in necessity, but I still more regret that this should be the cause of the hindrance of my wish which is always disposed to obey your Excellency.

Perhaps your Excellency did not give further orders to Messer Gualtieri, believing that I had money enough.

I am greatly annoyed that you should have found me in necessity, and that my having to earn my living should have hindered me …

[12] It vexes me greatly that having to earn my living has forced me to interrupt the work and to attend to small matters, instead of following up the work which your Lordship entrusted to me. But I hope in a short time to have earned so much that I may carry it out quietly to the satisfaction of your Excellency, to whom I commend myself; and if your Lordship thought that I had money, your Lordship was deceived. I had to feed 6 men for 56 months, and have had 50 ducats.

1345

And if any other comission is given me by any … of the reward of my service. Because I am not [able] to be … things assigned because meanwhile they have … to them … … which they well may settle rather than I … not my art which I wish to change and … given some clothing if I dare a sum …

[Footnote: The paper on which this is written is torn down the middle; about half of each line remains.]

My Lord, I knowing your Excellency's mind to be occupied … to remind your Lordship of my small matters and the arts put to silence that my silence might be the cause of making your Lordship scorn … my life in your service. I hold myself ever in readiness to obey …

[Footnote 11: See No. 723, where this passage is repeated.] Of the horse I will say nothing because I know the times [are bad] to your Lordship how I had still to receive two years' salary of the … with the two skilled workmen who are constantly in my pay and at my cost that at last I found myself advanced the said sum about 15 lire … works of fame by which I could show to those who shall see it that I have been everywhere, but I do not know where I could bestow my work [more] …

[Footnote 17: See No. 1344 l. 12.] I, having been working to gain my living …

I not having been informed what it is, I find myself …

[Footnote 19: In April, 1498, Leonardo was engaged in painting the Saletta Nigra of the Castello at Milan. (See G. MONGERI, l'Arte in Milano, 1872, p. 417.)] remember the commission to paint the rooms

…

I conveyed to your Lordship only requesting you …

Draft of letter to be sent to Piacenza (1346. 1347).

1346

Magnificent Commissioners of Buildings I, understanding that your Magnificencies have made up your minds to make certain great works in bronze, will remind you of certain things: first that you should not be so hasty or so quick to give the commission, lest by this haste it should become impossible to select a good model and a good master; and some man of small merit may be chosen, who by his insufficiency may cause you to

**[Footnote: **1346. 1347. Piacenza belonged to Milan. The Lord spoken of in this letter, is no doubt Lodovico il Moro. One may infer from the concluding sentence (No. 1346, l. 33. 34 and No. 1347), that Leonardo, who no doubt compiled this letter, did not forward it to Piacenza himself, but gave it to some influential patron, under whose name and signature a copy of it was sent to the Commission.] be abused by your descendants, judging that this age was but ill supplied with men of good counsel and with good masters; seeing that other cities, and chiefly the city of the Florentines, has been as it were in these very days, endowed with beautiful and grand works in bronze; among which are the doors of their Baptistery. And this town of Florence, like Piacenza, is a place of intercourse, through which many foreigners pass; who, seeing that the works are fine and of good quality, carry away a good impression, and will say that that city is well filled with worthy inhabitants, seeing the works which bear witness to their opinion; and on the other hand, I say seeing so much metal expended and so badly wrought, it were less shame to the city if the doors had been of plain wood; because, the material, costing so little, would not seem to merit any great outlay of skill…

Now the principal parts which are sought for in cities are their cathedrals, and of these the first things which strike the eye are the doors, by which one passes into these churches.

Beware, gentlemen of the Commission, lest too great speed in your determination, and so much haste to expedite the entrusting of so great a work as that which I hear you have ordered, be the cause that that which was intended for the honour of God and of men should be turned to great dishonour of your judgments, and of your city, which, being a place of mark, is the resort and gathering-place of innumerable foreigners. And this dishonour would result if by your lack of diligence you were to put your trust in some vaunter, who by his tricks or by favour shown to him here should obtain such work from you, by which lasting and very great shame would result to him and to you. Thus I cannot help being angry when I consider what men those are who have conferred with you as wishing to undertake this great work without thinking of their sufficiency for it, not to say more. This one is a potter, that one a maker of cuirasses, this one is a bell-founder, another a bell ringer, and one is even a bombardier; and among them one in his Lordship's service, who boasted that he was the gossip of Messer Ambrosio Ferrere [Footnote 26: Messer Ambrogio Ferrere was Farmer of the Customs under the Duke. Piacenza at that time belonged to Milan.], who has some power and who has made him some promises; and if this were not enough he would mount on horseback, and go to his Lord and obtain such letters that you could never refuse [to give] him the work. But consider where masters of real talent and fit for such work are brought when they have to compete with such men as these. Open your eyes and look carefully lest your money should be spent in buying your own disgrace. I can declare to you that from that place you will procure none but average works of inferior and coarse masters. There is no capable man,—[33] and you may believe me,—except Leonardo the Florentine, who is making the equestrian statue in bronze of the Duke Francesco and who has no need to bring himself into notice, because he has work for all his life time; and I doubt, whether being so great a work, he will ever finish it [34].

The miserable painstakers … with what hope may they expect a reward of their merit?

1347

There is one whom his Lordship invited from Florence to do this work and who is a worthy master, but with so very much business he will never finish it; and you may imagine that a difference there is to be seen between a beautiful object and an ugly one. Quote Pliny.

Letter to the Cardinal Ippolito d' Este.

1348

Most Illustrious and most Reverend Lord. The Lord Ippolito, Cardinal of Este at Ferrare.

Most Illustrious and most Reverend Lord.

I arrived from Milan but a few days since and finding that my elder brother refuses to

**[Footnote: This letter addressed to the Cardinal Ippolito d'Este is here given from Marchese G. CAMPORI'S publication: _Nuovi documenti per la Vita di Leonardo da Vinci. Atti e Memorie delle R. R. Deputazioni di Storia patria per la provincie modenesi e par- menesi, Vol. III. It is the only text throughout this work which I have not myself examined and copied from the original. The learned discoverer of this letter—the only letter from Leonardo hitherto known as having been sent—adds these interesting remarks: Codesto Cardinale nato ad Ercole I. nel 1470, arcivescovo di Strigonia a sette anni, poi d'Agra, aveva conseguito nel 1497 la pingue ed ambita cattedra di Milano, la dove avra conosciuto il Vinci, sebbene il poco amore ch'ei professava alle arti lasci credere che le proteste di servitu di Leonardo piu che a gratitudine per favori ricevuti e per opere a lui allogate, accennino a speranza per un favore che si aspetta. Notabile e ancora in questo prezioso documento la ripetuta signatura del grande artista 'che si scrive Vincio e Vincius, non da Vinci come si tiene comunemente, sebbene l'una e l'altra possano valere a significare cosi il casato come il paese; restando a sapere se il nome del paese di Vinci fosse assunto a cognome della famiglia di Leonardo nel qual supposto piu propriamento avrebbe a chiamarsi Leonardo Vinci, o Vincio (latinamente Vincius) com'egli stesso amo segnarsi in questa lettera, e come scrissero parecchi contenporanei di lui, il Casio, il Cesariano, Geoffrey Tory, il Gaurico, il Bandello, Raffaelle Maffei, il Paciolo. Per ultimo non lascero d'avvertire come la lettera del Vinci e assai ben conservata, di nitida e larga scrittura in forma pienemente corrispondente a quella dei suoi manoscritti, vergata all'uso comune da sinistra a destra, anziche contrariamente come fu suo costume; ma indubbiamente autentica e fornita della menzione e del suggello che fresca ancora conserva l'impronta di una testa di profilo da un picciolo antico cammeo. (Compare No. 1368, note.)]