Excerpt from Leonardo Da Vinci: The Artist and the Man When we proceed to treat Leonardo as an artist, disregarding his activities in other spheres, we do so with a vivid sense Of the limitations thus imposed upon the great subject, Leonardo da Vinci. Leonardo's painting and sculpture formed, in fact, only a part of his creative work, a fragment of that great soul's almost universal range of activity. Moreover, much that he has produced or has attempted to produce in these domains is now inaccessible to the investigator. ...
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Excerpt from Leonardo Da Vinci: The Artist and the Man When we proceed to treat Leonardo as an artist, disregarding his activities in other spheres, we do so with a vivid sense Of the limitations thus imposed upon the great subject, Leonardo da Vinci. Leonardo's painting and sculpture formed, in fact, only a part of his creative work, a fragment of that great soul's almost universal range of activity. Moreover, much that he has produced or has attempted to produce in these domains is now inaccessible to the investigator. Many of the paintings and sculptures which he planned were never executed, owing to external as well as internal causes; others were left half-finished; while Of those actually consummated, no small por tion has met with adverse fortune at the hands of time. Several of Leonardo's most important juvenile works mentioned by ancient authors seem to have entirely disappeared; the work Of his manhood, the Last Supper, is hardly more than a shadow of what it once was, and the vast monumental composition of his ripe age, the Battle of the Standard, which indeed was only to a small extent executed in colour, is now known solely by preparatory studies and partial copies. The proud equestrian statue, which would doubtless have marked the culminating point within this domain of art had it ever assumed definitive form, survives only in drawings and free imitations. Of the vast architectural projects for central churches and mausoleums, as well as for palaces and even cities, not a single one was carried out. Thus in studying Leonardo as an artist, we are often obliged to have resort to suggestions and reminiscences, preparatory studies and imitations, rather than to complete, original works of the master himself. The chief duty Of the historian of art thus in many cases consists of a study of the preparatory drawings (and of the imita tions), which may together serve to enlighten us as to the appearance and nature of the lost or unfinished work. It cannot be denied that this involves a regrettable limitation and a formidable Obstacle to the popularization of Leonardo's works; the limitation is, however. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at ... This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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