Image from page 22 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/n22/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/n22/mode/1up ) to see this illustration in context in a browseable online version of this book....Text Appearing Before Image:.rchitecturetends 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, posteritas. So far as the canon of human proportion was concerned, Leonardodeferred, more perhaps than was reasonable, to the laws laid downby Vitruvius.- The latter, he says, declares that the measure-ments of the human body are thus correlated : four fingers makeone palm, four palms one foot, six palms one cubit, and four cubits..Text Appearing After Image:.STUDY FOK THE EQUESTRIAN STATUE OF FK. SFOKZA. (Windsor Library.) 1 Bossi, Dclle Opinmii dc Leonardo da Vinci, p. 14-15. 2 Richter, vol. i., p, 1S2, no. 343. 6 LEONARDO DA VINCI or twenty-four palms the total stature of man. If you sepa-rate your legs far enough to diminish your height by one-fourteenth,and stretch your arms outwards and upwards until your two middlefingers touch a line drawn horizontally across your poll, then yourextremities will touch a circle of which your navel is the centre,and the space enclosed between your legs will be an equilateraltriangle. The attention Leonardo gave to the nude should also, I think, beascribed to his study of the antique. Every now and again, especially in his sketches for the Ado-ration of the Magi (vol. i., p. 67), he drew figures quite undraped,so that he might the better observe their structure and the play oftheir movements. In Leonardos method of rendering the human figure we also findanalogies with the antique. Excluding portraits.