ABOUT LEONARDO DA VINCI

June 27th, 2011

“The heavens often rain down the richest gifts on human beings, naturally, but sometimes with lavish abundance bestow upon a single individual beauty, grace and ability, so that, whatever he does, every action is so divine that he distances all other men, and clearly displays how his genius is the gift of God and not an acquirement of human art. Men saw this in Leonardo da Vinci…” Vasari, Lives of the Painters…, 1550

Figure 1 “Leonardo da Vinci self portrait”

Leonardo da Vinci was born Apr 15, 1452, Anchiano, nearby Vinci, Republic of Florence [now in Italy]—died May 2, 1519, Cloux [now Clos-Lucé], France. He is an Italian painter, draftsman, sculptor, architect, and operative whose genius, maybe some-more than that of any alternative figure, succinct the Renaissance humanist ideal. His Last Supper (1495–98) (See Below at Figure 3 “Painting of Leonardo da Vinci “Supper””) and Mona Lisa (c. 1503–06) (See Below at Figure 2 “Painting of Leonardo da Vinci “Mona Lisa””) have been between the many at large renounced and successful paintings of the Renaissance. His notebooks exhibit a suggestion of systematic exploration and an automatic expertise that were centuries forward of their time.

Figure 2 “Painting of Leonardo da Vinci “Mona Lisa””

 

Figure 3 “Painting of Leonardo da Vinci “Supper””

Leonardo’s art and science are not separate, then, as was once believed, but belong to the same lifelong pursuit of knowledge. His paintings, drawings, and manuscripts show that he was foremost creative mind of his time. The most important works he done at Florence and Milan.

Continue with part of the work of Leonardo da Vinci architectural treatise was a major influence on generations of artists and architects.
“Vitruvian Man” (See Below at Figure 4 “Drawing of Leonardo da Vinci “Vitruvian Man”), created by Leonardo da Vinci around the year 1492, is based on the theories of the man after which the drawing takes its name, Vitruvius, who in De Architectura: The Planning of Temples (c. I BC) pointed that the planning of temples depends on symmetry, which must be based on the perfect proportions of the human body. Some authors feel there is no actual evidence that Da Vinci used the golden ratio in “Vitruvian Man”; however, Olmos (1991) observes otherwise through geometrical analysis. He also proposes “Leonardo da Vinci’s self portrait”, “Michelangelo’s David” (1501–1504), “Albrecht Durer’s Melencolia” and the classic violin design by the Masters of Cremona, as having similar regulator lines related to the golden ratio.

Figure 4 “Drawing of Leonardo da Vinci “Vitruvian Man””

Leonardo's notes contain many references to architecture, especially plans for cathedrals. His studies in this area commenced with the examination of various tools and instruments for building. This then progressed into an area never before studied, that of the varying strengths of pillars, beams, and arches.

Experts consider most of his studies on architecture were theoretical and Leonardo did not often face the practical problems caused by the act of construction. His notes on architecture are judged to be somewhat disappointing with titles like, "How to set up a framework for making decorations in the shape of a building." and "How to decorate a platform which has been erected for celebration." On the other hand, some sketches are particularly interesting as they are quite ambitious with enormous domes, chapels, four-way staircases, double spiral staircases, or multi-level thoroughfares for pedestrians and commercial traffic. All monuments that were never built and all plans destined never to be actioned.
In his architectural work Leonardo went so far as to present a plan for the "ideal city" to Ludovico il More. This would have required the total rebuilding of Milan and, not surprisingly, nothing more ever came of it. Little ever came of Leonardo's drawings and plans in the area of architecture. He may have worked with Ambrogio da Cortis and Bramante, in 1492, on rebuilding the Vigevano marketplace and may also have been involved in two or three other civil improvement projects. Other than this, we know he submitted a model for the central tower of the Milan Cathedral. It was rejected on May 10th, 1490, and though Leonardo was invited to resubmit something different, he never finished his second model.
Towards the end of his life Leonardo also worked on some sketches for the Queen Mother's castle at Romorantin. Again, these were never carried out.

Over all, Leonardo da Vinci is inspiration, example, teacher, great minded man for a lot of people all over history, because of this he done a big effect on the development of architectural and interior designs.

Lilija Deviatnikova

"Lily Design" 2011