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Leonardo Da Vinci
Italian High Renaissance Painter and Inventor, 1452-1519 Italian High Renaissance Painter and Inventor, 1452-1519 Florentine Renaissance man, genius, artist in all media, architect, military engineer. Possibly the most brilliantly creative man in European history, he advertised himself, first of all, as a military engineer. In a famous letter dated about 1481 to Ludovico Sforza, of which a copy survives in the Codice Atlantico in Milan, Leonardo asks for employment in that capacity. He had plans for bridges, very light and strong, and plans for destroying those of the enemy. He knew how to cut off water to besieged fortifications, and how to construct bridges, mantlets, scaling ladders, and other instruments. He designed cannon, very convenient and easy of transport, designed to fire small stones, almost in the manner of hail??grape- or case-shot (see ammunition, artillery). He offered cannon of very beautiful and useful shapes, quite different from those in common use and, where it is not possible to employ cannon ?? catapults, mangonels and trabocchi and other engines of wonderful efficacy not in general use. And he said he made armoured cars, safe and unassailable, which will enter the serried ranks of the enemy with their artillery ?? and behind them the infantry will be able to follow quite unharmed, and without any opposition. He also offered to design ships which can resist the fire of all the heaviest cannon, and powder and smoke. The large number of surviving drawings and notes on military art show that Leonardo claims were not without foundation, although most date from after the Sforza letter. Most of the drawings, including giant crossbows (see bows), appear to be improvements on existing machines rather than new inventions. One exception is the drawing of a tank dating from 1485-8 now in the British Museum??a flattened cone, propelled from inside by crankshafts, firing guns. Another design in the British Museum, for a machine with scythes revolving in the horizontal plane, dismembering bodies as it goes, is gruesomely fanciful. Most of the other drawings are in the Codice Atlantico in Milan but some are in the Royal Libraries at Windsor and Turin, in Venice, or the Louvre and the École des Beaux Arts in Paris. Two ingenious machines for continuously firing arrows, machine-gun style, powered by a treadmill are shown in the Codice Atlantico. A number of other sketches of bridges, water pumps, and canals could be for military or civil purposes: dual use technology. Leonardo lived at a time when the first artillery fortifications were appearing and the Codice Atlantico contains sketches of ingenious fortifications combining bastions, round towers, and truncated cones. Models constructed from the drawings and photographed in Calvi works reveal forts which would have looked strikingly modern in the 19th century, and might even feature in science fiction films today. On 18 August 1502 Cesare Borgia appointed Leonardo as his Military Engineer General, although no known building by Leonardo exists. Leonardo was also fascinated by flight. Thirteen pages with drawings for man-powered aeroplanes survive and there is one design for a helicoidal helicopter. Leonardo later realized the inadequacy of the power a man could generate and turned his attention to aerofoils. Had his enormous abilities been concentrated on one thing, he might have invented the modern glider.

 

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Leonardo Da Vinci Virgin of the Rocks oil painting

Painting ID::  33469

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Leonardo Da Vinci
Virgin of the Rocks
mk86 c.1483 Oil on wood Transferred to canvas 199x122cm Paris,Musee National du Louvre
   
   
     

 

 

Leonardo Da Vinci Virgin of the Rocks oil painting

Painting ID::  33470

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Leonardo Da Vinci
Virgin of the Rocks
mk86 completed c.1506 Oil on wood 190x120cm London,National Gallery
   
   
     

 

 

Leonardo Da Vinci The Virgin and St Anne oil painting

Painting ID::  33471

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Leonardo Da Vinci
The Virgin and St Anne
mk86 c.1508 Oil on wood 168x130cm Paris,Musee National du Louvre
   
   
     

 

 

Leonardo Da Vinci The Last Supper oil painting

Painting ID::  34472

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Leonardo Da Vinci
The Last Supper
mk93 1495-98 Fresco,Approx 29x15ft Santa Maria delle Grazie Milan
   
   
     

 

 

Leonardo Da Vinci Power and ortraits oil painting

Painting ID::  34678

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Leonardo Da Vinci
Power and ortraits
mk94
   
   
     

 

 

Leonardo Da Vinci The Annunciation oil painting

Painting ID::  34679

X 
 

Leonardo Da Vinci
The Annunciation
mk96 104x217cm
   
   
     

 

 

Leonardo Da Vinci Self Portrait oil painting

Painting ID::  38428

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Leonardo Da Vinci
Self Portrait
mk137 ca.1512 Rotel on paper 33.3x21.3cm Biblioteca real, Turin
   
   
     

 

 

Leonardo Da Vinci The madonna with the Children oil painting

Painting ID::  38429

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Leonardo Da Vinci
The madonna with the Children
mk137 1475-1478 oil on linen of wood ubertragen 49.5x33cm Eremitage, St Peter castle
   
   
     

 

 

Leonardo Da Vinci Leonardo there Vinci and Andrea del Verrocchio, madonna with the child and angels oil painting

Painting ID::  38432

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Leonardo Da Vinci
Leonardo there Vinci and Andrea del Verrocchio, madonna with the child and angels
mk137 ca. 1470 Tempera on wood chalkboard 96.5x70.5cm The nationally Gallery London
   
   
     

 

 

Leonardo Da Vinci Jacopo Bellini oil painting

Painting ID::  38433

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Leonardo Da Vinci
Jacopo Bellini
mk137 that of Leonello d' Este madonna of the humility admired ca. 1440 oils on wood chalkboard 60x40cm muse you Louvre, Paris
   
   
     

 

 

Leonardo Da Vinci Madonna with the carnation oil painting

Painting ID::  38434

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Leonardo Da Vinci
Madonna with the carnation
mk137 ca. 1470 oils Pinakothek Munchen old on wood chalkboard 62x47.5cm
   
   
     

 

 

Leonardo Da Vinci The Verkundigung oil painting

Painting ID::  38439

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Leonardo Da Vinci
The Verkundigung
mk137 1472-1475 oils on wood chalkboard 98x217cm Galleria degli Uffizi, Florence
   
   
     

 

 

Leonardo Da Vinci Profile of an old man oil painting

Painting ID::  38446

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Leonardo Da Vinci
Profile of an old man
mk137 ca.1485-1490 feather and ink 7.8x5.6cm Biblioteca Ambrosiana, Milan
   
   
     

 

 

Leonardo Da Vinci Profile of an old man oil painting

Painting ID::  38447

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Leonardo Da Vinci
Profile of an old man
mk137 ca. 1480 feathers and ink 7.2x5.5cm Biblioteca Ambrosiana, Milan
   
   
     

 

 

Leonardo Da Vinci Study of an old man oil painting

Painting ID::  38448

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Leonardo Da Vinci
Study of an old man
mk137 ca. 1505 Rotel 9.4x6cm muses you Louvre, Paris
   
   
     

 

 

Leonardo Da Vinci Buste one frontal to seeing man and head of a Lowen oil painting

Painting ID::  38449

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Leonardo Da Vinci
Buste one frontal to seeing man and head of a Lowen
mk137 ca.1505-1510 Rotel and Weibhohungen on paper 18.3x13.6cm Royal Library, Windsor Castle.
   
   
     

 

 

Leonardo Da Vinci Aurelio Luini attributed, profile of an old man oil painting

Painting ID::  38450

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Leonardo Da Vinci
Aurelio Luini attributed, profile of an old man
mk137 16.Jahrhundert. Feather metal stiff and ink 13x10.2cm Biblioteca real, Turin
   
   
     

 

 

Leonardo Da Vinci Master of the Pala Sforzesca, profile of an old man oil painting

Painting ID::  38451

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Leonardo Da Vinci
Master of the Pala Sforzesca, profile of an old man
mk137 ca. 1495 silver stiff on paper 15x11.5cm Galleria degli Uffizi, Florence
   
   
     

 

 

Leonardo Da Vinci Profile of an old man oil painting

Painting ID::  38453

X 
 

Leonardo Da Vinci
Profile of an old man
mk137 ca.1510 black chalk and Rotel 22.2x16cm Royal Library, Windsor Castle
   
   
     

 

 

Leonardo Da Vinci Profile one with book leaves gekroten of old man oil painting

Painting ID::  38454

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Leonardo Da Vinci
Profile one with book leaves gekroten of old man
mk137 ca.1506-1508 feather and ink, Rotel on paper 16.8x12.5cm Biblioteca real, Turin
   
   
     

 

       Prev    1  2  3  4  5  6  7  8  9  10     Next

 

Leonardo Da Vinci
Italian High Renaissance Painter and Inventor, 1452-1519 Italian High Renaissance Painter and Inventor, 1452-1519 Florentine Renaissance man, genius, artist in all media, architect, military engineer. Possibly the most brilliantly creative man in European history, he advertised himself, first of all, as a military engineer. In a famous letter dated about 1481 to Ludovico Sforza, of which a copy survives in the Codice Atlantico in Milan, Leonardo asks for employment in that capacity. He had plans for bridges, very light and strong, and plans for destroying those of the enemy. He knew how to cut off water to besieged fortifications, and how to construct bridges, mantlets, scaling ladders, and other instruments. He designed cannon, very convenient and easy of transport, designed to fire small stones, almost in the manner of hail??grape- or case-shot (see ammunition, artillery). He offered cannon of very beautiful and useful shapes, quite different from those in common use and, where it is not possible to employ cannon ?? catapults, mangonels and trabocchi and other engines of wonderful efficacy not in general use. And he said he made armoured cars, safe and unassailable, which will enter the serried ranks of the enemy with their artillery ?? and behind them the infantry will be able to follow quite unharmed, and without any opposition. He also offered to design ships which can resist the fire of all the heaviest cannon, and powder and smoke. The large number of surviving drawings and notes on military art show that Leonardo claims were not without foundation, although most date from after the Sforza letter. Most of the drawings, including giant crossbows (see bows), appear to be improvements on existing machines rather than new inventions. One exception is the drawing of a tank dating from 1485-8 now in the British Museum??a flattened cone, propelled from inside by crankshafts, firing guns. Another design in the British Museum, for a machine with scythes revolving in the horizontal plane, dismembering bodies as it goes, is gruesomely fanciful. Most of the other drawings are in the Codice Atlantico in Milan but some are in the Royal Libraries at Windsor and Turin, in Venice, or the Louvre and the École des Beaux Arts in Paris. Two ingenious machines for continuously firing arrows, machine-gun style, powered by a treadmill are shown in the Codice Atlantico. A number of other sketches of bridges, water pumps, and canals could be for military or civil purposes: dual use technology. Leonardo lived at a time when the first artillery fortifications were appearing and the Codice Atlantico contains sketches of ingenious fortifications combining bastions, round towers, and truncated cones. Models constructed from the drawings and photographed in Calvi works reveal forts which would have looked strikingly modern in the 19th century, and might even feature in science fiction films today. On 18 August 1502 Cesare Borgia appointed Leonardo as his Military Engineer General, although no known building by Leonardo exists. Leonardo was also fascinated by flight. Thirteen pages with drawings for man-powered aeroplanes survive and there is one design for a helicoidal helicopter. Leonardo later realized the inadequacy of the power a man could generate and turned his attention to aerofoils. Had his enormous abilities been concentrated on one thing, he might have invented the modern glider.