Thereby the representation of ideas acquired a dramatic value, being no longer as in the Middle Ages the immovable exposition of an unchangeable truth but the impa.s.sioned search for knowledge in all its branches, the moral life of humanity."

{8}

His decorations of the Camera de la Segnatura are probably among the greatest contributions to decorative art ever made. They are certainly among the most interesting. Only Michelangelo's wonderful decorations in the Sistine Chapel rival them and there are some critics who would concede the palm to Raphael. Here we have the index not only of his power to paint marvellously but also of his intellectual genius and his judgment of values in the history of literature and philosophy.

Such pictures as the "Disputa" and the "School of Athens" are real contributions to the history of human thought. Only a man who was himself of profound intellectuality on a plane of equality with the great intellectual geniuses whom he was painting could have conceived and completed these magnificent groups of the world's greatest men successfully. It has been well said that to appreciate properly the pictures of the Segnatura is of itself an education. To be able to take them in their full significance as essays in art and in the history of literature and philosophy is to have gone far on the road to culture. Raphael's achievement here is that of a great mind gifted with a wonderful power of comprehension as well as an almost unrivalled faculty of expression. No decorative pictures of the modern time, however great, can be placed beside them.

It has often been a source of wonder how Raphael was able to paint so appropriately the figures of Plato, Socrates, Aristotle and others in his great picture of the "School of Athens." Only the genius that gives men intuition, that enabled Shakespeare to portray wonderfully the character of the men of all times and the blind Homer to give us an enduring picture of man could have enabled him to do it. It was the time of the New Learning and the recently aroused interest in the cla.s.sics, but no mere acc.u.mulation of information would ever have made him capable of such a representation. As Gladstone once said of Homer, a whole encyclopaedia of information with regard to the Greeks of Homer's time would not have told us as much about them as Homer has given us. At the time when he did the painting Raphael was not much more than thirty and his life had been occupied with painting and not with the acc.u.mulation of erudition. Henry Strachey in {9} his sketch of Raphael calls attention to the fact that none of the great contemporary Italian humanists were in Rome at this time. Neither Bembo nor Bibbiena nor Castiglione were where they might be readily consulted, and it was only Raphael's genius insight that enabled him to accomplish so wonderfully the task he had been set. For while the subjects were probably chosen for him he had to work out the details for himself, and indeed these wonderful compositions show this very clearly.

[Ill.u.s.tration: Raphael, School of Athens]

Raphael revealed for us in the "Camera della Segnatura," as almost no one else has done, the att.i.tude of mind of his period with regard to the meaning of life. Years of scholarly devotion to the study of pagan antiquity and especially the great Greek philosophers and poets, as well as the remains of its sculpture, had awakened in men's minds a broader view of life and its significance than had been possible for centuries. Raphael has summed this up in the wonderful doc.u.ments that he has left in the Vatican and put on canvas what the great scholars of the time tried to express in words. The late Professor Kraus of Munich in his chapter on Medicean Rome in the second volume of the Cambridge modern History has told the story of this:

"The four pictures of the camera represent the aspirations of the soul of man in each of its faculties; the striving of all humanity towards G.o.d by means of aesthetic perception (Parna.s.sus), the explanation of reason in philosophical inquiry and all scientific research (the _School of Athens_), order in Church and State (_Gift of Ecclesiastical and Secular Laws_) and finally Theology. The whole may be summed up as a pictorial representation of Pico della Mirandola's celebrated phrase, _philosophia veritatem quaerit, theologia invenit, religio possidet;_ and it corresponds with what Marsilio says in his _Academy of n.o.ble Minds_ when he characterized our life's work as an ascent to the angels and to G.o.d."

Artists and poets and writers have vied with each other in saying strong words of high praise with regard to these decorations. The Blashfields in their "Italian Cities" have told the story of the limitations under which he worked, those of the room, lighted from two sides with two walls pierced by {10} windows, and then the fact that to a great extent probably his subjects were dictated, yet he must needs body them forth in concrete form and clearly. How well the young artist not only overcame these difficulties but out of the very difficulties created the most marvellous portions of his masterpieces the Blashfields have also told.

In one paragraph they have detailed the story of Raphael's a.s.sociations with the artists of Rome at that period. Because it gives some idea of the wealth of artistic genius existent in this time it concerns us deeply here. They say: "The Urbinate (Raphael) strong as he was, had felt the need of strengthening himself still further by acquiring the friendship of other artists, and creating a kind of little court. We are told that almost nightly at his table there met, Luca Signorelli, Pietro Perugino, Balda.s.sare Peruzzi, Giovanantonio Bazzi and Lorenzo Lotto. What an age! when a single supper party could furnish such an a.s.semblage of world-famous artists, who in turn, as they went from their quarters in the Borgo Vecchio, might meet Michelangelo returning from the Vatican with the contingent of Florentines, Bugiardini, Granacci, Aristotile da Sangallo, and l'Indaco, who were helping him in the Sistine Chapel."

So much has been said of the Camera della Segnatura that it is sometimes forgotten that there are other rooms at the Vatican decorated by Raphael, only less wonderful than this. If they existed anywhere else they would be prized very highly, and if they were by any other artist would place him among the great artists of all time.

The Camera del Incendio, so called because of the representation of "The Fire in the Borgo," has in this scene one of the most dramatic pictures ever painted. There are other great dramatic subjects finely treated here, as "The Oath of Leo III" and the "Coronation of Charlemagne." In this work Raphael was probably a.s.sisted to a noteworthy extent by pupils and a.s.sociates, yet all of it is stamped with his genius. There are in the Camera del Eliodoro such pictures as "Jacob's Dream," the "Sacrifice of Isaac" and the "Burning Bush,"

which show Raphael's wonderful power of composition and at the same time the readiness of genius which enabled him to turn from one subject to another, accomplishing {11} so much that one is astounded to think of how ideas must have crowded on him and yet how well all is done considering that the artist so often needs above all the element of time to perfect his work. Had Raphael been spared to the ordinary length of life or to such years as Michelangelo's four score and ten or t.i.tian's almost five score, what an abundance of his art there would be in the world.

One of Raphael's greatest works at Rome is comparatively little appreciated except by those whose attention has been particularly called to it. This was his making of the cartoons for the series of tapestries to be hung in the Sistine Chapel. These tapestries were to be manufactured in the Low Countries, but the Pope wanted the subjects that were to be represented to come from Raphael. Raphael consented to make the cartoons for them, though he knew that they would be cut into rolls some two inches wide to be handed over to the weavers. He had no idea that they would ever be exhibited except in the imperfect way in which tapestry can represent painting. Most artists of high rank would probably refuse such a commission. Certainly it seemed rather derogatory to his dignity as an artist to think that he should furnish only copies that were themselves to have no place among his collected works and prove at most a dubious addition to his fame. Under these circ.u.mstances it would not have been surprising if the composition and the manner of execution of the cartoons had been far below that of his works in painting and fresco.

He gave himself to the commission, however, whole-heartedly and executed a series of designs that are among the greatest compositions that have ever come from an artist's hand. These cartoons, after having been copied in tapestry, lay in the narrow rolls into which they had been slit in the tapestry factory in the Low Countries until, resurrected almost in our own time, they became the most precious treasures of the South Kensington Museum in London. Here they have been the favorite study of artists from all countries and have added laurels to Raphael's crown of artistic glory. He had the artist's true sense of joy in work and the artistic conscience to satisfy the canons of his own judgment and taste, even in a task that was to represent him only at second hand. Almost {12} never in history has the great artist consented thus to make himself subsidiary to the artisan, and that Raphael, the greatest of artists, should have done it shows the genuine spirit of true art as developed at this time.

Some of these cartoons, as "St. Paul Preaching to the Athenians," are considered among Raphael's greatest works. Raphael has well been called the greatest decorator who ever lived, yet he consented to add his mite to the decoration of the Sistine Chapel, in which Michelangelo's triumphant work stood out so grandly above, in order that the hangings on the walls might be worthy of that wonderful chapel that a great Pope had planned and had had the happy faculty of securing the greatest men of all time as collaborators in finishing.

Perhaps nothing shows the wonderful artistic power and influence of Raphael more than the fact that his compositions have dictated practically all the interpretation of Bible scenes for the after time.

Quite unconsciously men have adopted his way of looking at things. He did not costume Biblical characters in the clothes of his own time, but on the other hand, in spite of his wide knowledge as an archaeologist, he did not attempt to make his pictures true to the genuine life of the times and the costuming of the older period. The set of cartoons particularly ill.u.s.trate how well he visualized the scenes and yet the Apostles are dressed in garments that they never wore. As I write there is before me an engraving of Paul preaching to the Athenians. That Unknown G.o.d whom they had worshipped he is come to preach to them. It is a wonderful composition. Probably nothing has ever excelled it. There is probably not a single feature in it, however, that in any way represents what is true to history in the scene or the people. After his time for centuries his visualization satisfied people's minds, so much is genius able to impose itself on humanity.

The Sistine Madonna, the only picture of Raphael's painted on canvas, is usually considered to be the greatest religious painting that ever was executed and one of the most wonderful realizations of vivid poetic imagination that the world possesses. Everything in it is full of sublime suggestion. The majestic att.i.tude of the Madonna posed upon the clouds, her face of perfect beauty, her far-away gaze of rapt veneration {13} and absorption in her motherhood, but motherhood of the Divine, proclaim her a vision from Heaven. No more wonderful conception of the human mother of the Divinity has ever been reached and yet critics and artists are a unit in proclaiming that the Virgin Mother is surpa.s.sed in wondrous realization of profound imagination by the Divine Child Whom she holds so tenderly in her arms. He looks out into the world from those arms with solemn sacred eyes that somehow give the idea of His profound interest in all that He sees and of an all-embracing vision. Then there is the rugged, bearded Pope Sixtus gazing upward with rapt devotion and the graceful, beautiful Saint Barbara adequately representative of the modest virgins who all over the world, for all the time since the coming of Christ, modestly cast their eyes down before the Virgin Mother and her child. Below are the two exquisite boy angels, whose charming childish att.i.tudes of rapture have always roused so much interest.

It is said that these were the portraits of two little boys who came to gaze, boy fashion, curiously into the window of the studio while Raphael was painting. His transformation of the mischievous, inquisitive, supremely boyish faces into the look of angelic rapture is one of the triumphs of the picture that have always made it of the greatest interest. Painted originally for an Italian Church it is now the treasure of the gallery of Dresden, where it occupies a room by itself that is more like a shrine to which devout worshippers come from all over the world and in which as in some sacred place the visitor distinctly lowers his voice and walks on tiptoe. Nothing tells more of what the picture means than to watch the crowds that come from all over the world to see it and the way in which it is almost worshipped by those whose opinion is worth the most.

After the Sistine Madonna, unfortunately for art, Raphael's attention was drawn more and more from its special sphere of work as a painter and his time was taken up and his attention absorbed by the larger, wider pursuits of art director and archaeologist. This would not have been so sad perhaps only for the brevity of the life destined to be his. Had he lived to three score and ten the ten years devoted to these {14} phases of art work, as they may well be called, would probably have proved beneficial to his development. As it was we are likely to think of it as time wasted by a great genius painter. His art directorship proves the genius of the man. His workshop at Rome gradually took on the character of a school of art. In this designs were prepared not only for fres...o...b..t for mosaic work, for tapestry, for the carving of wood and stone and even for engraving and other phases of art. Vasari mentions fifty scholars who were employed as pupils and a.s.sistants in this workshop. In the meantime Raphael's interest in art history and his pa.s.sion for cla.s.sical art led him to dispatch artists to Naples and Athens, to make drawings of noteworthy antiquities that had been discovered. His manifold interests serve to show how broad were his own sympathies with everything artistic.

Towards the end of his life, though Raphael at thirty-five had no idea that death was impending, he devoted himself to the study of Roman antiquities and to the direction of the archaeological excavations which were then being carried on in Rome. He had conceived the design of reconstructing an entire plan of ancient Rome, based partly on the discoveries of the excavators and partly on the descriptions of cla.s.sical writers. For this he made numerous plans and sketches with his own hand, and though these have unfortunately perished, there is in the Library at Munich a copy of the report which he drew up on this subject. It is in the form of a Latin letter to Pope Leo X, showing how deeply the Pope was interested in the scheme and that very probably it was due to his urging that Raphael took it up. This letter has been declared a monument to the industry and the archaeological learning of the artist. Ordinarily in the modern time we are likely to think that the artist devotes himself to his painting and leaves to the professional scholar such work as this. We do not look for many-sidedness in the artist. Raphael, however, like Leonardo da Vinci and Michelangelo, evidently had a magnificent breadth of intellect that would have given the most precious fruits of the spirit in many lines besides painting, had he only lived to anything like the years of so many of his great contemporaries.

[Ill.u.s.tration: RAPHAEL, POETRY (MOSAIC, VATICAN)]

{15}

CHAPTER II

LEONARDO DA VINCI

When it was announced that the "Mona Lisa" had been stolen from the Louvre a thrill of solicitude that was almost dismay went through the civilized world. Its recovery has been a triumph. It is only a woman's portrait, herself of no importance, with what some might call a conventional landscape behind it, all on a comparatively small canvas, with its colors rather dimmed by time and by unfortunate surroundings during its somewhat over four hundred years of existence, yet it was looked upon as one of the most precious art treasures of the race.

Critics with a right to an opinion have often declared that it was probably the greatest portrait of a human being that had ever been painted. When we recall how magnificently Rembrandt portrayed the Dutch burghers of his time, with what marvellous expression Raphael painted some of the personages he knew and how wondrously Velasquez painted some of his contemporaries; the placing of Leonardo's "Mona Lisa" above them by good critics shows what a supreme place must be accorded to it in the history of art. Art critics have expressed themselves in almost unmeasured terms as to the significance of the expression on the face of the "Mona Lisa." They do not hesitate to proclaim that Leonardo painted the very soul and not merely the bodily features of a woman. Walter Pater in his "The Renaissance" has written an almost dithyrambic description of it that is well known and yet deserves to be quoted again if only to show how a really great critic can be carried away by a favorite work of art:--

"'La Gioconda' is, in the truest sense, Leonardo's masterpiece, the revealing instance of his mode of thought and work. In suggestiveness, only the 'Melancholia' of Durer is comparable to it; and no crude symbolism disturbs the effect of its subdued and graceful mystery. We all know the face {16} and hands of the figure, set in its marble chair, in that cirque of fantastic rocks, as in some faint light under sea. Perhaps of all ancient pictures time has chilled it least.

"The presence that thus rose so strangely beside the waters, is expressive of what in the ways of a thousand years man had come to desire. Here is the head upon which all 'the ends of the world are come,' and the eyelids are a little weary. It is a beauty wrought out from within upon the flesh, the deposit, little cell by cell, of strange thoughts and fantastic reveries and exquisite pa.s.sions. Set it for a moment beside one of those white Greek G.o.ddesses or beautiful women of antiquity, and how would they be troubled by this beauty, into which the soul with all its maladies has pa.s.sed? All the thoughts and experience of the world have etched and moulded there, in that which they have of power to refine and make expressive the outward form, the animalism of Greece, the l.u.s.t of Rome, the reverie of the middle age with its spiritual ambition and imaginative loves, the return of the Pagan world, the sins of the Borgias. She is older than the rocks among which she sits; like the vampire, she has been dead many times, and learned the secrets of the grave; and has been a diver in deep seas, and keeps their fallen day about her; and trafficked for strange webs with Eastern merchants; and, as Leda, was the mother of Helen of Troy, and, as Saint Anne, the mother of Mary; and all this has been to her but as the sound of lyres and flutes, and lives only in the delicacy with which it has moulded the changing lineaments, and tinged the eyelids and the hands."

While the "Mona Lisa" was undoubtedly the greatest of Leonardo's portraits, perhaps the best possible idea of Leonardo's power as an artist is to be found in the "Last Supper." Instead of making a placid group he has chosen the moment just after the Lord had said that one of the Twelve will betray Him and when all are asking "Is it I, Lord?"

He represents not only the individual shock but also the natural grouping that occurred as a consequence of the announcement There are four groups of three each, separate and with very distinct interest and yet they are so arranged as not to break the unity of the picture.

On the left side the outer three {17} are all intently gazing on the Lord while the external group on the other side are gazing away from Him, but their hands all point towards Him. The inner three on the right are talking directly to Him while the corresponding three on the left are occupied among themselves and yet evidently intent on Him.

There was probably never put together a more expressive set of faces.

Each one is eminently individual, and each one shows marvellously the character of the Apostle represented. It has been said that it is as if the painter had made a condensed biography of each one of them with his brush. All the special characteristics of the different Apostles that we know are here to be seen in their faces. He has painted the souls and characters of the men in the imaginary portraits that he makes.

There is an old tradition mentioned by Vasari, that charming gatherer of legends with regard to the old painters, that Leonardo, unable to satisfy himself with the head and face of Jesus, left it unfinished.

This would indeed have been a sad loss to art. Leonardo hesitated for long, wondering above all whether he should follow a model, but finally made his peace with tradition, accepted the type of head for the Lord that had been created by Giotto, and refining it still more succeeded in giving a look of mystic superhumanity to it that would evoke the idea of divinity. It is easy to see how much he borrowed but it is harder to realize how much he added, yet artists who have studied it have felt that here indeed was a triumph and that, as far as possible, Leonardo had represented the human face divine. He followed his model strictly in the case of the Apostles' heads and none knew better than he how to select models, but in the head of Christ he turns from the model and works out his design from ideals of the human face of which so many existed in his well-stored fancy. The face of Christ was left somewhat vague, trembling, undissolved like faces seen in cloud or in the fire. Leonardo himself once counselled his students to look for suggestions in curious cloud and fire shapes and even to study the vague forms that occur in imitation of human faces on cracked and stained surfaces of ruined walls, and some of his own devotion to this seems to have been of help to him in this marvellous face.

{18}

Much has been said about the head of Judas in this picture. According to Vasari, Leonardo fairly outdid himself on this face and head and he talks about "the force and truth with which the master has exhibited the imperious determination, hatred and treachery of Judas." According to another legend he had haunted the purlieus of Florence for months, searching for a head and face expressive enough in its malignity for his Judas. Possibly one might expect to find a human monster then in the Apostle traitor. In spite of Vasari's traditions, who here seems to have indulged his fancy for the sensational, Judas has a very interesting human face, rather weak than strong, but with redeeming qualities in it. After all it must not be forgotten that the face had to recall or at least not negative the fact that this man had been for three years in the company of the Lord, chosen as one of the Twelve, with possibilities of as great accomplishment for good as the others if he had not turned aside. Judas was not foreordained to be a traitor, but he made himself such. It was not his nature that compelled him to the crime, but his failure to control certain elemental pa.s.sions, above all the craving for money, that led him into it. Many a good man since has been led off the same way. We have the face of a man who might have been one of the honored Apostles. That he was not is his own fault. It is said that the same model was used by Leonardo for Peter and Judas. If so, surely it was a stroke of genius.

Peter too was weak. He even denied the Master, but had it in him to realize his weakness and repent. Peter's face is in the light, Judas'

face in the shadow of Leonardo's picture. If Leonardo had not given Judas the bag to carry, thrown his face out of the line of the Apostles near him who are in the light, and made him ominously upset the salt while reaching for a better quality of bread than that near him, it would have been rather difficult to pick him out from among the others.

One thing is absolutely true in this great work of art. All the faces of the Apostles, with the possible exception of John's, are rudely strong. The men who were to carry on the work of the Master and convert the world to Christianity were not effeminate in any sense, and above all they had been the rough {19} fishermen of Galilee. Their costumes are modernized, their beards are probably less unkempt than if they were really Judeans, but here is a group of men whose very strength of feature makes them striking.

As has been well said, Leonardo broke up the old formality and immobility of the earlier painters and brought life and action into the scene. For the first time the personages are deprived of their halos and there is nothing to make the group of men anything more than human beings deeply interested in a great purpose and disturbed to the depths of their beings by the suggestion from the Master Himself that now that purpose was to be thwarted by the treason of one of their number. This conception seems all the more natural when we recall that none of them had as yet been confirmed in grace, that one was to deny, another betray and all were to be hesitant and cowardly in a great moment of trial.

With all this of thought in Leonardo's picture it might be expected that all of his attention would be given to the faces and little to the composition itself and to the setting of the picture. The exact contrary is what happens. The composition is probably the most wonderful ever done. The room itself is so arranged that everything leads the eye toward the centre of the picture where the Master sits, while behind Him the middle one of three windows, with an arched cas.e.m.e.nt, frames Him apart from the Apostles. Through these three windows at the back can be seen one of the varied mountainous landscapes that Leonardo delighted in. The extent of the landscape which can be seen shows that the supper was held in an "upper room."

The bare beams of the ceiling in that coffered arrangement common in Italy, the walls ornamented with large panel s.p.a.ces filled in with a damasked pattern are all worked over with artistic completeness of detail. It is details of this kind one might expect the painter of the Last Supper to have overlooked in his intentness on the sublime moment and the characters. The tablecloth, moreover, is beautifully worked and the linen and the pattern of it and the folds are done with as meticulous care as one might expect from a _genre_ painter of tissues.

The gla.s.ses and table service are very carefully drawn and every detail was executed with {20} an artistic conscience and eye to perfection, even of trifles, that reveals the thoroughness and all-embracing skill of the artist.

The more one knows of Leonardo's power to paint detail and of his devoted study of nature, the less surprise is there at the traditions with regard to his head of Medusa. It was much for an artist to attempt to make a picture of this hideous head on which were the writhing serpents, the sight of which, according to tradition, turned beholders to stone, but he has succeeded in accomplishing a presentation of the horrible as far as it is possible. The writhing serpents are done with a devotion to detail and a lifelike naturalness that only a great observer of nature could have reached. Besides the serpents in all their varieties there are bats and lizards and vermin of many kinds in the picture, while the cloudy mephitic breath which can be seen issuing from the mouth completes the picture. The intense realism of these details of low animal life is a surprise at that period, but above all a surprise that it should have been done by a man who had such wonderful power of idealization when he wished to use it. It is this combination of qualities so opposite in themselves and often thought mutually exclusive that makes the never-ending surprise of Leonardo's genius. That the painter of the "Last Supper" and the charming "Madonna of the Rocks" should have also made this "Head of Medusa" is indeed difficult to understand, and yet not more than might be expected from one of the greatest of the artists of the Renaissance who is at the same time almost the world's most manifold genius.

[Ill.u.s.tration: LEONARDO DA VINCI, MADONNA OF THE ROCKS (LONDON)]

With all this of magnificent accomplishment in painting, which sets him on a pinnacle by himself in this great department of art, it might be thought that Leonardo's main claim to recognition was because of his painting. He himself, however, would have been the first to object to estimation of him on any such grounds. He probably scarcely considered himself to be a painter at all, or at least occupied himself with painting only in his leisure moments. He beat Michelangelo once in a compet.i.tion in sculpture, but doubtless thought less of himself as a sculptor than as a painter. He made what his generation declared to be the greatest equestrian statue {21} ever modelled and his generation knew what they meant by that, for they had before them two such triumphs of equestrian statuary as Donatello's "Gatamelata" and Verrocchio's "Colleoni." Just as in painting, when he wanted to do sculpture he could do it with a supreme perfection that is unrivalled. Strange as it may seem, Leonardo thought of himself as an engineer. He actually took on himself the contract for extending the ca.n.a.l system around Milan and accomplished it so well that his work still remains in use. During the course of this he invented the wheelbarrow, the movable derrick, the self-dumping derrick, various modes of moving rock, locks for ca.n.a.ls and a system for maintaining a navigable level of water in rivers which were usually nearly dry in the summer time.

Leonardo had the thorough appreciation of himself that genius is so likely to have and that in smaller men seems conceit. He knew that there was practically nothing to which he cared to turn his hand in which he could not work out original ideas. He was only in his middle twenties when he wrote the letter to Ludovico Sforza in which he tells his future patron very calmly all the things he might be expected to do if the Duke should have need of them.

"MOST ILl.u.s.tRIOUS LORD.--Having studied and estimated the works of the present inventors of warlike engines, I have found that in them there is nothing novel to distinguish them. I therefore force myself to address your Excellency that I may disclose to you the secrets of my art. 1. I have a method of bridges, very light and very strong; easy of transport and incombustible. 2. New means of destroying any fortress or castle (which hath not foundations hewn of solid rock) without the employment of bombards. 3. Of making mines and pa.s.sages, immediately and noiselessly, under ditches and streams. 4. I have designed irresistible protected chariots for the carrying of artillery against the enemy. 5. I can construct bombards, cannon, mortars, pa.s.savolanti; all new and very beautiful. 6. Likewise battering rams, machines for the casting of projectiles, and other astounding engines. 7. For sea combats I have contrivances both offensive and defensive; ships whose sides would repel stone and iron b.a.l.l.s, and explosives, unknown to any soul. 8. In {22} days of peace, I should hope to satisfy your Excellency in architecture, in the erection of public and private buildings, in the construction of ca.n.a.ls and aqueducts. I am acquainted with the arts of sculpture and painting, and can execute orders in marble, metal, clay or in painting with oil, as well as any artist. And I can undertake that equestrian statue cast in bronze, which shall eternally glorify the blessed memory of your lordship's father and of the ill.u.s.trious house of Sforza.

"And if any of the above seem extravagant or beyond the reach of possibility, I offer myself prepared to make experiment in your park; or in whatsoever place it may please your Excellency to appoint; to whose gracious attention I most humbly recommend myself."

Was there ever a more confident genius? There was never a man who fulfilled all his promises better.

What Leonardo was able to accomplish as an engineer can be seen in the ca.n.a.l some 200 miles in length still in existence by which he conducted the waters of the Adda over the arduous pa.s.ses of the Valtellina to the gates of Milan. In its own way and considering the conditions under which he had to work and the obstacles that he had to overcome, this was as great an engineering feat as the digging of the Panama Ca.n.a.l, certainly a much greater engineering project than the completion of the Suez Ca.n.a.l, though until Panama came to shroud the glory of that our generation was inclined to be rather proud of that achievement.