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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 The Baptism of Christ (detail) sg oil painting

Painting ID::  7844

X 
 

Leonardo Da Vinci
The Baptism of Christ (detail) sg
1472-75 Oil on wood Galleria degli Uffizi, Florence
   
   
     

 

 

Leonardo Da Vinci Annunciation  sgt66 oil painting

Painting ID::  7845

X 
 

Leonardo Da Vinci
Annunciation sgt66
1472-75 Tempera on wood, 98 x 217 cm Galleria degli Uffizi, Florence
   
   
     

 

 

Leonardo Da Vinci Annunciation (detail) dg oil painting

Painting ID::  7846

X 
 

Leonardo Da Vinci
Annunciation (detail) dg
1472-75 Oil and tempera on wood Galleria degli Uffizi, Florence
   
   
     

 

 

Leonardo Da Vinci Annunciation (detail) sg77 oil painting

Painting ID::  7847

X 
 

Leonardo Da Vinci
Annunciation (detail) sg77
1472-75 Oil and tempera on wood Galleria degli Uffizi, Florence
   
   
     

 

 

Leonardo Da Vinci Annunciation (detail) dfe oil painting

Painting ID::  7848

X 
 

Leonardo Da Vinci
Annunciation (detail) dfe
1472-75 Oil and tempera on wood Galleria degli Uffizi, Florence
   
   
     

 

 

Leonardo Da Vinci Annunciation (detail) st oil painting

Painting ID::  7849

X 
 

Leonardo Da Vinci
Annunciation (detail) st
1472-75 Oil and tempera on wood Galleria degli Uffizi, Florence
   
   
     

 

 

Leonardo Da Vinci Madonna and Child with a Pomegranate et oil painting

Painting ID::  7850

X 
 

Leonardo Da Vinci
Madonna and Child with a Pomegranate et
1472-76 Oil on panel, 15,7 x 12,8 cm National Gallery of Art, Washington
   
   
     

 

 

Leonardo Da Vinci Portrait of Ginevra de' Benci sg oil painting

Painting ID::  7851

X 
 

Leonardo Da Vinci
Portrait of Ginevra de' Benci sg
1474-46 Oil on wood, 38,8 x 36,7 cm National Gallery of Art, Washington
   
   
     

 

 

Leonardo Da Vinci Reverse side of the portrait of Ginevra de' Benci sg oil painting

Painting ID::  7852

X 
 

Leonardo Da Vinci
Reverse side of the portrait of Ginevra de' Benci sg
1474-46 Oil on wood, 38,8 x 36,7 cm National Gallery of Art, Washington
   
   
     

 

 

Leonardo Da Vinci Madonna with a Flower (Madonna Benois) g oil painting

Painting ID::  7853

X 
 

Leonardo Da Vinci
Madonna with a Flower (Madonna Benois) g
c. 1478 Oil on canvas transferred from wood, 50 x 32 cm The Hermitage, St. Petersburg
   
   
     

 

 

Leonardo Da Vinci The Madonna of the Carnation  g oil painting

Painting ID::  7854

X 
 

Leonardo Da Vinci
The Madonna of the Carnation g
1478-80 Oil on panel, 62 x 47,5 cm Alte Pinakothek, Munich
   
   
     

 

 

Leonardo Da Vinci The Madonna of the Carnation (detail) sg oil painting

Painting ID::  7855

X 
 

Leonardo Da Vinci
The Madonna of the Carnation (detail) sg
1478-80 Oil on panel Alte Pinakothek, Munich
   
   
     

 

 

Leonardo Da Vinci The Madonna of the Carnation (detail) dg oil painting

Painting ID::  7856

X 
 

Leonardo Da Vinci
The Madonna of the Carnation (detail) dg
1478-80 Oil on panel, width of detail: 25 cm Alte Pinakothek, Munich
   
   
     

 

 

Leonardo Da Vinci Annunciation (detail)  fg47 oil painting

Painting ID::  7857

X 
 

Leonardo Da Vinci
Annunciation (detail) fg47
1478-82 Oil on panel Mus??e du Louvre, Paris
   
   
     

 

 

Leonardo Da Vinci Annunciation (detail) ey79 oil painting

Painting ID::  7858

X 
 

Leonardo Da Vinci
Annunciation (detail) ey79
1478-82 Oil on panel Mus??e du Louvre, Paris
   
   
     

 

 

Leonardo Da Vinci St Jerome sgyu oil painting

Painting ID::  7859

X 
 

Leonardo Da Vinci
St Jerome sgyu
c. 1480 Oil on panel, 103 x 75 cm Pinacoteca Vaticana, Vatican, Rome
   
   
     

 

 

Leonardo Da Vinci Portrait of a Musician dey oil painting

Painting ID::  7860

X 
 

Leonardo Da Vinci
Portrait of a Musician dey
1490 Oil on panel, 43 x 31 cm Pinacoteca Ambrosiana, Milan
   
   
     

 

 

Leonardo Da Vinci La belle Ferronire dg oil painting

Painting ID::  7861

X 
 

Leonardo Da Vinci
La belle Ferronire dg
c. 1490 Oil on panel, 63 x 45 cm Muse du Louvre, Paris
   
   
     

 

 

Leonardo Da Vinci Madonna Litta ey oil painting

Painting ID::  7862

X 
 

Leonardo Da Vinci
Madonna Litta ey
c. 1490-91 Tempera on canvas, transferred from panel, 42 x 33 cm The Hermitage, St. Petersburg
   
   
     

 

 

Leonardo Da Vinci Madonna Litta (detail sdg oil painting

Painting ID::  7863

X 
 

Leonardo Da Vinci
Madonna Litta (detail sdg
c. 1490-91 Tempera on canvas, transferred from panel The Hermitage, St. Petersburg
   
   
     

 

  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.