Image from page 21 of "Leonardo da Vinci, artist, thinker and man of science;" (1898)
Identifier: leonardodavincia02mn.Title: Leonardo da Vinci, artist, thinker and man of science; ( ...internetarchivebookimages/tags/bookidleonardodavincia02mn ) .Year: 1898 ( ...internetarchivebookimages/tags/bookyear1898 ) (1890s ( ...internetarchivebookimages/tags/bookdecade1890 ) ).Authors: Müntz, Eugène, 1845-1902 ( ...internetarchivebookimages/tags/bookauthorM__ntz__Eug__ne__1845_1902 ) .Subjects: Leonardo, da Vinci, 1452-1519 ( ...internetarchivebookimages/tags/booksubjectLeonardo__da_Vinci__1452_1519 ) .Publisher: London : W. Heinemann ( ...internetarchivebookimages/tags/bookpublisherLondon___W__Heinemann ) New York, C. Scribner's sons ( ...internetarchivebookimages/tags/bookpublisher_New_York__C__Scribner_s_sons ) .Contributing Library: University of California Libraries ( ...internetarchivebookimages/tags/bookcontributorUniversity_of_California_Libraries ) .Digitizing Sponsor: Internet Archive ( ...internetarchivebookimages/tags/booksponsorInternet_Archive ) ...View Book Page: Book Viewer ( stream/leonardodavincia02mn/leonardodavincia02mn#page/n21/mode/1up ) .About This Book: Catalog Entry ( details/leonardodavincia02mn ) .View All Images: All Images From Book ( ...internetarchivebookimages/tags/bookidleonardodavincia02mn ) ..Click here to view book online ( stream/leonardodavincia02mn/leonardodavincia02mn#page/n21/mode/1up ) to see this illustration in context in a browseable online version of this book....Text Appearing Before Image:.y definite assertion : Suppose that an artisthad to choose betweencopying antique modelsor those of modern times,he should choose the an-tique for imitation in pref-erence to the modern. ^ Let us consider firstthe branch of art whichis, as it were, the parentand frame of the rest,imposing upon them its own laws of arrangement, of symmetry, and even of illumination; I mean, of course, architecture. What was the attitude of Leonardo towards it ? The answer is easy. He admitted the ancient orders only, except that he would allow their occasional combination with the Byzantine cupola. He accepted with no less eagerness the authority of Vitruvius, to which, indeed, he was con- stantly referring.^ Many of his designs reproduce, or at least recall, Greek and Roman monuments, especially the mausoleum of Halicarnassus ; one of his ideas for the base Limitatione delle cose antiche c piu laudabilc clic quella dellc moderne.(Richter, vol. ii., p. 434.) 2 Richter, vol. ii., pp. 429, 442, 452, 453...Text Appearing After Image:.STUDY OF A HORSE. (FROM DR. RICHTER S WORK.) (Windsor Library.) LEONARDO AND THE ANTIQUE s of the Sforza statue was taken from the castle of St. Angelo atRome. From these premises Hows a series of deductifjiis of great import-ance, as the reader will readily understand. The mere fact that Leonardo accepted Roman f(;rms in architecturetends to prove that he admired classic methods in the provision ofarchitectural settings andin the arrangement offigures in that setting.The principles of group-ing which he followedin the Sforza statue, inhis Last Supper, in hisSaint Anne, are in noway inconsistent withthose of antique models. When Leonardolamented that he wasunable to equal the an-cients in symmetry, hewas, perhaps, thinking oftheir mastery of thescience of composition.One of his own con-temporaries, a certain Platino Piatta, places the following declaration in his mouth : — Mirator veterum discipulusque memorDefuit una mihi symmetria prisca, peregiQuod potui ; veniam da mihi, posteri.
Drawings by Leonardo Da Vinci.