ليونارڊو ڊي ونچي

لیونارڊو دا ونچي Leonardo da Vinci
لیونارڊو جو پورٽريٽ تخليق: فرانسيسڪو ميلزي
پيدائش	لیوناردو دي سر پِيئرو دا وِنچي اپريل 15 1452(1452-04-15) ونسي، فلورنس جي جمهوريا (موجوده اٽلي)
وفات	مئي 2, 1519 (عمر 67 سال) اَمبوائي، فرانس
شھرت جو ڪارڻ	فن ۽ سائنس جا مختلف شعبا
مشھور ڪم	* مونا ليزا (پينٽنگ) دا لاسٽ سپر (پينٽنگ) دا وٽروويئن مين (پينٽنگ) ليڊي وڌ اين ارمائن (پينٽنگ)
اسٽائل	هاءِ ريناسنس
سڃاڻپ نشان

ليوناردو دي سر پِيئرو دا وِنچي (انگريزي: Leonardo da Vinci، اطالوي: Leonardo di ser Piero da Vinci) نشاۃ ثانيہ جو ھڪ اسڪالر، سائنسدان، رياضي دان، انجنيئر، موجد، مصّور، مجسمہ ساز، معمار، ماھر نباتيات، موسيقار ۽ ليکڪ ھو. ليوناردو هاء ريناسنس جو عظيم ھمہ دان (Polymath) ۽ "ريناسنس جي شخصيت" سمجھيو ويندو آھي. اُنجو "ختم نه ٿيڻ وارو تجسس" ۽ "اِختراع جو تخيل" خوب سراھيو ويندو آھي.

ونسي ۾، يا ان جي ويجهو، هڪ ڪامياب نوٽري ۽ هڪ هيٺين طبقي جي عورت جي شاديءَ کان ٻاهر پيدا ٿيو، هن فلورنس ۾ اطالوي مصور ۽ مجسمه ساز اينڊريا ڊيل ويروچيو کان تعليم حاصل ڪئي. هن شهر ۾ پنهنجي ڪيريئر شروع ڪيو، پر پوء گهڻو وقت ميلان ۾ ليوڊوويڪو فورزا جي خدمت ۾ گذاريو. بعد ۾، هن فلورنس ۽ ميلان ۾ ٻيهر ۽ گڏوگڏ مختصر طور تي روم ۾ ڪم ڪيو، سڀني تقليد ڪندڙن ۽ شاگردن جي وڏي پيروي کي راغب ڪيو. فرانسس اول جي دعوت تي، هن پنهنجا آخري ٽي سال فرانس ۾ گذاريا، جتي 1519ع ۾ وفات ڪيائين.

سندس وفات کان پوءِ اڄ تائين ڪو اهڙو دور نه آيو آهي، جتي سندس حاصلات، مختلف مفادن، ذاتي زندگيءَ ۽ تجرباتي سوچن ۾ دلچسپي ۽ تعريف، کيس ثقافت ۾ بار بار نالو ۽ موضوع نہ بڻايو هجي. ليونارڊو مغربي آرٽ جي تاريخ ۾ سڀ کان وڏي مصور جي حيثيت سان سڃاتو وڃي ٿو ۽ اڪثر ڪري اعلي ريناسنس جي باني طور سڃاتو وڃي ٿو. ڪيترن ئي گم ٿيل ڪمن ۽ 25 کان گهٽ منسوب ٿيل وڏن ڪمن جي باوجود؛ جنهن ۾ ڪيترائي نامڪمل ڪم شامل آهن، هن مغربي ڪينن ۾ ڪجهه سڀ کان وڌيڪ اثرائتو پينٽنگس ٺاهيون. "مونا ليزا" سندس مشهور ڪم آهي ۽ دنيا جي سڀ کان مشهور انفرادي مصوري آهي. "آخري ماني" (The Last Supper) هر وقت جي سڀ کان وڌيڪ پيش ڪيل مذهبي مصوري آهي ۽ هن جي "ويٽروين مين" ڊرائنگ کي پڻ ثقافتي آئڪون طور سمجهيو ويندو آهي. سال 2017ع ۾، "سلويٽر مونڊي" جيڪا مڪمل طور تي يا جزوي طور ليونارڊو سان منسوب ڪيو ويو، نيلام ۾ 450.3 ملين آمريڪي ڊالرن ۾ وڪرو ٿيو ۽ عوامي نيلام ۾ وڪرو ٿيل سڀ کان مهانگي پينٽنگ لاءِ هڪ نئون رڪارڊ قائم ڪيو.

هن جي ٽيڪنيڪي ذهانت لاءِ معزز، هن هڪ فلائنگ مشين، هڪ قسم جي هٿياربند ويڙهاڪ گاڏي، مرڪوز شمسي توانائي، هڪ تناسب مشين جيڪا جمع ڪرڻ واري مشين ۾ استعمال ٿي سگهي ٿي ۽ ٻيڙين لاء ڊبل هل (Hull) جو تصور ڏنو. نسبتاً ٿورڙا سندس ڊيزائن، تعمير ڪيا ويا يا اڃا به ممڪن هئا ته سندس زندگيءَ ۾ تعمير ٿي سگھجن، جيئن ته ڌاتن جو ڪم ۽ انجنيئرنگ ڏانهن جديد سائنسي طريقا، ريناسنس جي دور ۾ پنهنجي ننڍپڻ ۾ هئا. تنهن هوندي به، هن جي ڪجهه ننڍڙن ايجادون، جهڙوڪ هڪ خودڪار بوبن وائنڊر ۽ تار جي کينچل طاقت جي جاچ لاء هڪ مشين، پيداوار جي دنيا ۾، اڻ ڄاڻائي ۾ داخل ٿيون. هن اناٽومي، سول انجنيئرنگ، ارضيات، بصريات، هائڊروڊائنامڪس ۽ ٽرائيبلوجي ۾ ڪافي دريافتون ڪيون، پر هن پنهنجي نتيجن کي شايع نه ڪيو ۽ انهن جو ايندڙ سائنس تي ڪو به سڌو اثر نه هو.

ليونارڊو ونچي جو صحيح نالو ليونارڊو دي سر پيرو دا ونسي (ليونارڊو، ونسي جي سي�� پيرو جو پٽ) هو،^{[1] [2]} 15 اپريل، 1452ع تي فلورنس کان 20 ميل پري، ونسي جي ٽسڪن ٽڪريءَ واري شهر ۾، يا ان جي ويجهو ڄائو.^[3][4] هن جو جنم شاديءَ کان ٻاهر، پيرو دا ونسي (1426-1504)،^[5] فلورنٽائن جو قانوني نوٽاري ۽ ڪيٽرينا ڊي ميو لپي (1434-1494)، ^[6] جيڪي هيٺين طبقي جي هڪ عورت هئي،^[7] کان ٿيو. اهو غير يقيني رهي ٿو جتي ليونارڊو ڄائو هو؛ روايتي اڪائونٽ، هڪ مقامي زباني روايت مان جيڪو مورخ، ايمانوئيل ريپيٽي طرفان رڪارڊ ڪيو ويو آهي،^[8] اهو آهي ته هو انچيانو (Anchiano)، هڪ ٻهراڙيء ڳوٺ، جيڪو غير قانوني ڄمڻ لاء ڪافي رازداري پيش ڪري سگهندو هو، ۾ پيدا ٿيو هو. اهو به ممڪن آهي ته هو فلورنس جي هڪ گهر، جيڪو سير پيئرو جو هوندو، ۾ ڄميو.^[9] ليونارڊو جي والدين ٻنهي، انهن جي ڄمڻ کان هڪ سال پوء الڳ الڳ شادي ڪئي. ڪيٽرينا؛ جيڪو بعد ۾ ليونارڊو جي نوٽس ۾ صرف "ڪيٽرينا" يا "ڪيٽيلينا" جي طور تي ظاهر ٿئي ٿي، عام طور تي ڪيٽيرينا بوٽي ڊيل ويڪا جي نالي سان سڃاڻي وڃي ٿي،^[8]جنهن مقامي ڪاريگر انتونيو دي پيرو بوٽي ڊيل ويڪا سان شادي ڪئي،^[6] سير پيرو البيرا ايماڊور سان، ه�� سال گذرڻ کانپوء شادي ڪئي ۽ سال 1464ع ۾ هن جي موت کان پوء، ٻيون ٽي شاديون ڪيون.^{[8] [10]} سڀني شادين مان، ليونارڊو کي آخرڪار 16 اڌ ڀائر هئا (جن مان 11 ننڍپڻ ۾ موت کان بچي ويا) جيڪي هن کان تمام ننڍا هئا (آخري ڄائو هو جڏهن ليونارڊو جي عمر 46 سالن جي هئي) ۽ جن سان هن جو تمام گهٽ رابطو هو.^[11]

Very little is known about Leonardo's childhood and much is shrouded in myth, partially because of his biography in the frequently apocryphal Lives of the Most Excellent Painters, Sculptors, and Architects (1550) by 16th-century art historian Giorgio Vasari.^[12][13] Tax records indicate that by at least 1457 he lived in the household of his paternal grandfather, Antonio da Vinci,^[3] but it is possible that he spent the years before then in the care of his mother in Vinci, either Anchiano or Campo Zeppi in the parish of San Pantaleone.^[14][15] He is thought to have been close to his uncle, Francesco da Vinci,^[16] but his father was probably in Florence most of the time.^[3] Ser Piero, who was the descendant of a long line of notaries, established an official residence in Florence by at least 1469 and had a successful career.^[3] Despite his family history, Leonardo only received a basic and informal education in (vernacular) writing, reading, and mathematics; possibly because his artistic talents were recognised early, so his family decided to focus their attention there.^[3]

Later in life, Leonardo recorded his earliest memory, now in the Codex Atlanticus.^[17] While writing on the flight of birds, he recalled as an infant when a kite came to his cradle and opened his mouth with its tail; commentators still debate whether the anecdote was an actual memory or a fantasy.^[18]

In the mid-1460s, Leonardo's family moved to Florence, which at the time was the centre of Christian Humanist thought and culture.^[19] Around the age of 14,^[20] he became a garzone (studio boy) in the workshop of Andrea del Verrocchio, who was the leading Florentine painter and sculptor of his time.^[19] This was about the time of the death of Verrocchio's master, the great sculptor Donatello.^{[lower-alpha 1]} Leonardo became an apprentice by the age of 17 and remained in training for seven years.^[22] Other famous painters apprenticed in the workshop or associated with it include Ghirlandaio, Perugino, Botticelli, and Lorenzo di Credi.^[23][24] Leonardo was exposed to both theoretical training and a wide range of technical skills,^[25] including drafting, chemistry, metallurgy, metal working, plaster casting, leather working, mechanics, and woodwork, as well as the artistic skills of drawing, painting, sculpting, and modelling.^{[26][lower-alpha 2]}

Leonardo was a contemporary of Botticelli, Ghirlandaio and Perugino, who were all slightly older than he was.^[27] He would have met them at the workshop of Verrocchio or at the Platonic Academy of the Medici.^[23] Florence was ornamented by the works of artists such as Donatello's contemporaries Masaccio, whose figurative frescoes were imbued with realism and emotion, and Ghiberti, whose Gates of Paradise, gleaming with gold leaf, displayed the art of combining complex figure compositions with detailed architectural backgrounds. Piero della Francesca had made a detailed study of perspective,^[28] and was the first painter to make a scientific study of light. These studies and Leon Battista Alberti's treatise De pictura were to have a profound effect on younger artists and in particular on Leonardo's own observations and artworks.^[21][29]

Much of the painting in Verrocchio's workshop was done by his assistants. According to Vasari, Leonardo collaborated with Verrocchio on his The Baptism of Christ (ت. 1472–1475), painting the young angel holding Jesus's robe with skill so far superior to his master's that Verrocchio purportedly put down his brush and never painted again^{[‡ 1]} (the latter claim probably being apocryphal).^[30] The new technique of oil paint was applied to areas of the mostly tempera work, including the landscape, the rocks seen through the brown mountain stream, and much of Jesus's figure, indicating Leonardo's hand.^[31] Additionally, Leonardo may have been a model for two works by Verrocchio: the bronze statue of David in the Bargello and the archangel Raphael in Tobias and the Angel.^[30]

Vasari tells a story of Leonardo as a very young man: a local peasant made himself a round buckler shield and requested that Ser Piero have it painted for him. Leonardo, inspired by the story of Medusa, responded with a painting of a monster spitting fire that was so terrifying that his father bought a different shield to give to the peasant and sold Leonardo's to a Florentine art dealer for 100 ducats, who in turn sold it to the Duke of Milan.^{[‡ 2]}

By 1472, at the age of 20, Leonardo qualified as a master in the Guild of Saint Luke, the guild of artists and doctors of medicine,^{[lower-alpha 3]} but even after his father set him up in his own workshop, his attachment to Verrocchio was such that he continued to collaborate and live with him.^[23][32] Leonardo's earliest known dated work is a 1473 pen-and-ink drawing of the Arno valley (see below).^{[24][33][lower-alpha 4]} According to Vasari, the young Leonardo was the first to suggest making the Arno river a navigable channel between Florence and Pisa.^[34]

In January 1478, Leonardo received an independent commission to paint an altarpiece for the Chapel of Saint Bernard in the Palazzo Vecchio,^[35] an indication of his independence from Verrocchio's studio. An anonymous early biographer, known as Anonimo Gaddiano, claims that in 1480 Leonardo was living with the Medici and often worked in the garden of the Piazza San Marco, Florence, where a Neoplatonic academy of artists, poets and philosophers organised by the Medici met.^{[30][lower-alpha 5]} In March 1481, he received a commission from the monks of San Donato in Scopeto for The Adoration of the Magi.^[36] Neither of these initial commissions were completed, being abandoned when Leonardo went to offer his services to Duke of Milan Ludovico Sforza. Leonardo wrote Sforza a letter which described the diverse things that he could achieve in the fields of engineering and weapon design, and mentioned that he could paint.^[24][37] He brought with him a silver string instrument – either a lute or lyre – in the form of a horse's head.^[37]

With Alberti, Leonardo visited the home of the Medici and through them came to know the older Humanist philosophers of whom Marsiglio Ficino, proponent of Neoplatonism; Cristoforo Landino, writer of commentaries on Classical writings, and John Argyropoulos, teacher of Greek and translator of Aristotle were the foremost. Also associated with the Platonic Academy of the Medici was Leonardo's contemporary, the brilliant young poet and philosopher Pico della Mirandola.^[27][29][38] In 1482, Leonardo was sent as an ambassador by Lorenzo de' Medici to Ludovico il Moro, who ruled Milan between 1479 and 1499.^[27][30]

• 
  Madonna of the Carnation, ت. 1472–1478, Alte Pinakothek, Munich
• 
  Landscape of the Arno Valley (1473)
• 
  Ginevra de' Benci, ت. 1474–1480, National Gallery of Art, Washington D.C.
• 
  Benois Madonna, ت. 1478–1481, Hermitage, Saint Petersburg
• 
  Sketch of the hanging of Bernardo Bandini Baroncelli, 1479

Leonardo worked in Milan from 1482 until 1499. He was commissioned to paint the Virgin of the Rocks for the Confraternity of the Immaculate Conception and The Last Supper for the monastery of Santa Maria delle Grazie.^[39] In the spring of 1485, Leonardo travelled to Hungary (on behalf of Sforza) to meet king Matthias Corvinus, and was commissioned by him to paint a Madonna.^[40] In 1490 he was called as a consultant, together with Francesco di Giorgio Martini, for the building site of the cathedral of Pavia^[41][42] and was struck by the equestrian statue of Regisole, of which he left a sketch.^[43] Leonardo was employed on many other projects for Sforza, such as preparation of floats and pageants for special occasions; a drawing of, and wooden model for, a competition to design the cupola for Milan Cathedral;^[44] and a model for a huge equestrian monument to Ludovico's predecessor Francesco Sforza. This would have surpassed in size the only two large equestrian statues of the Renaissance, Donatello's Gattamelata in Padua and Verrocchio's Bartolomeo Colleoni in Venice, and became known as the Gran Cavallo.^[24] Leonardo completed a model for the horse and made detailed plans for its casting,^[24] but in November 1494, Ludovico gave the metal to his brother-in-law to be used for a cannon to defend the city from Charles VIII of France.^[24]

Contemporary correspondence records that Leonardo and his assistants were commissioned by the Duke of Milan to paint the Sala delle Asse in the Sforza Castle, ت. 1498.^[45] The project became a trompe-l'œil decoration that made the great hall appear to be a pergola created by the interwoven limbs of sixteen mulberry trees,^[46] whose canopy included an intricate labyrinth of leaves and knots on the ceiling.^[47]سانچو:Clear left

• 
  Head of a Woman, ت. 1483–1485, Royal Library of Turin
• 
  Portrait of a Musician, ت. 1483–1487, Pinacoteca Ambrosiana, Milan
• 
  The Vitruvian Man (ت. 1485) Accademia, Venice
• 
  Leonardo's horse in silverpoint, ت. 1488^[48]
• 
  La Belle Ferronnière, ت. 1490–1498
• 
  Detail of 1902 restoration, trompe-l'œil painting (1498)

When Ludovico Sforza was overthrown by France in 1500, Leonardo fled Milan for Venice, accompanied by his assistant Salaì and friend, the mathematician Luca Pacioli.^[49] In Venice, Leonardo was employed as a military architect and engineer, devising methods to defend the city from naval attack.^[23] On his return to Florence in 1500, he and his household were guests of the Servite monks at the monastery of Santissima Annunziata and were provided with a workshop where, according to Vasari, Leonardo created the cartoon of The Virgin and Child with Saint Anne and Saint John the Baptist, a work that won such admiration that "men [and] women, young and old" flocked to see it "as if they were going to a solemn festival."^{[‡ 3][lower-alpha 6]}

In Cesena in 1502, Leonardo entered the service of Cesare Borgia, the son of Pope Alexander VI, acting as a military architect and engineer and travelling throughout Italy with his patron.^[49] Leonardo created a map of Cesare Borgia's stronghold, a town plan of Imola in order to win his patronage. Upon seeing it, Cesare hired Leonardo as his chief military engineer and architect. Later in the year, Leonardo produced another map for his patron, one of Chiana Valley, Tuscany, so as to give his patron a better overlay of the land and greater strategic position. He created this map in conjunction with his other project of constructing a dam from the sea to Florence, in order to allow a supply of water to sustain the canal during all seasons.

Leonardo had left Borgia's service and returned to Florence by early 1503,^[51] where he rejoined the Guild of Saint Luke on 18 October of that year. By this same month, Leonardo had begun working on a portrait of Lisa del Giocondo, the model for the Mona Lisa,^[52][53] which he would continue working on until his twilight years. In January 1504, he was part of a committee formed to recommend where Michelangelo's statue of David should be placed.^[54] He then spent two years in Florence designing and painting a mural of The Battle of Anghiari for the Signoria,^[49] with Michelangelo designing its companion piece, The Battle of Cascina.^{[lower-alpha 7]}

In 1506, Leonardo was summoned to Milan by Charles II d'Amboise, the acting French governor of the city.^[57] There, Leonardo took on another pupil, Count Francesco Melzi, the son of a Lombard aristocrat, who is considered to have been his favourite student.^[23] The Council of Florence wished Leonardo to return promptly to finish The Battle of Anghiari, but he was given leave at the behest of Louis XII, who considered commissioning the artist to make some portraits.^[57] Leonardo may have commenced a project for an equestrian figure of d'Amboise;^[58] a wax model survives and, if genuine, is the only extant example of Leonardo's sculpture. Leonardo was otherwise free to pursue his scientific interests.^[57] Many of Leonardo's most prominent pupils either knew or worked with him in Milan,^[23] including Bernardino Luini, Giovanni Antonio Boltraffio, and Marco d'Oggiono. In 1507, Leonardo was in Florence sorting out a dispute with his brothers over the estate of his father, who had died in 1504.

• 
  The Virgin and Child with Saint Anne, ت. 1501–1519, Louvre, Paris
• 
  Leonardo's map of Imola, created for Cesare Borgia, 1502
• 
  Study for The Battle of Anghiari (now lost), ت. 1503, Museum of Fine Arts, Budapest
• 
  La Scapigliata, ت. 1506–1508 (unfinished), Galleria Nazionale di Parma, Parma
• 
  Study for Leda and the Swan (now lost), ت. 1506–1508, Chatsworth House, England

By 1508, Leonardo was back in Milan, living in his own house in Porta Orientale in the parish of Santa Babila.^[59]

In 1512, Leonardo was working on plans for an equestrian monument for Gian Giacomo Trivulzio, but this was prevented by an invasion of a confederation of Swiss, Spanish and Venetian forces, which drove the French from Milan. Leonardo stayed in the city, spending several months in 1513 at the Medici's Vaprio d'Adda villa.^[60]

In March 1513, Lorenzo de' Medici's son Giovanni assumed the papacy (as Leo X); Leonardo went to Rome that September, where he was received by the pope's brother Giuliano.^[60] From September 1513 to 1516, Leonardo spent much of his time living in the Belvedere Courtyard in the Apostolic Palace, where Michelangelo and Raphael were both active.^[59] Leonardo was given an allowance of 33 ducats a month and, according to Vasari, decorated a lizard with scales dipped in quicksilver.^[62] The pope gave him a painting commission of unknown subject matter, but cancelled it when the artist set about developing a new kind of varnish.^{[62][lower-alpha 8]} Leonardo became ill, in what may have been the first of multiple strokes leading to his death.^[62] He practised botany in the Vatican Gardens, and was commissioned to make plans for the Pope's proposed draining of the Pontine Marshes.^[63] He also dissected cadavers, making notes for a treatise on vocal cords;^[64] these he gave to an official in hopes of regaining the Pope's favour, but he was unsuccessful.^[62]

In October 1515, King Francis I of France recaptured Milan.^{[36][lower-alpha 9]} On 21 March 1516 Antonio Maria Pallavicini, the French ambassador to the Holy See, received a letter sent from Lyon a week previously by the royal advisor Guillaume Gouffier, seigneur de Bonnivet, containing the French king's instructions to assist Leonardo in his relocation to France and to inform the artist that the King was eagerly awaiting his arrival. Pallavicini was also asked to reassure Leonardo that he would be well received at court, both by the King and by his mother, Louise of Savoy.^[66] Leonardo entered Francis's service later that year, and was given the use of the manor house Clos Lucé near the King's residence at the royal Château d'Amboise. He was frequently visited by Francis, and drew plans for an immense castle town the King intended to erect at Romorantin. He also made a mechanical lion, which during a pageant walked towards the King and – upon being struck by a wand – opened its chest to reveal a cluster of lilies.^{[67][‡ 3][lower-alpha 10]}

Leonardo was accompanied during this time by his friend and apprentice Francesco Melzi, and was supported by a pension totalling 10,000 scudi.^[59] At some point, Melzi drew a portrait of Leonardo; the only others known from his lifetime were a sketch by an unknown assistant on the back of one of Leonardo's studies (ت. 1517)^[69] and a drawing by Giovanni Ambrogio Figino depicting an elderly Leonardo with his right arm wrapped in clothing.^{[70][lower-alpha 11]} The latter, in addition to the record of an October 1517 visit by Louis d'Aragon,^{[lower-alpha 12]} confirms an account of Leonardo's right hand being paralytic when he was 65,^[73] which may indicate why he left works such as the Mona Lisa unfinished.^[71][74][75] He continued to work at some capacity until eventually becoming ill and bedridden for several months.^[73]

Leonardo died at Clos Lucé on 2 May 1519 at the age of 67, possibly of a stroke.^[76][75][77] Francis I had become a close friend. Vasari describes Leonardo as lamenting on his deathbed, full of repentance, that "he had offended against God and men by failing to practice his art as he should have done."^[78] Vasari states that in his last days, Leonardo sent for a priest to make his confession and to receive the Holy Sacrament.^{[‡ 4]} Vasari also records that the King held Leonardo's head in his arms as he died, although this story may be legend rather than fact.^{[lower-alpha 13][lower-alpha 14]} In accordance with his will, sixty beggars carrying tapers followed Leonardo's casket.^{[38][lower-alpha 15]} Melzi was the principal heir and executor, receiving, as well as money, Leonardo's paintings, tools, library and personal effects. Leonardo's other long-time pupil and companion, Salaì, and his servant Baptista de Vilanis, each received half of Leonardo's vineyards.^[80] His brothers received land, and his serving woman received a fur-lined cloak. On 12 August 1519, Leonardo's remains were interred in the Collegiate Church of Saint Florentin at the Château d'Amboise.^[81]

Some 20 years after Leonardo's death, Francis was reported by the goldsmith and sculptor Benvenuto Cellini as saying: "There had never been another man born in the world who knew as much as Leonardo, not so much about painting, sculpture and architecture, as that he was a very great philosopher."^[82]

Salaì, or Il Salaino ("The Little Unclean One", i.e., the devil), entered Leonardo's household in 1490 as an assistant. After only a year, Leonardo made a list of his misdemeanours, calling him "a thief, a liar, stubborn, and a glutton," after he had made off with money and valuables on at least five occasions and spent a fortune on clothes.^[83] Nevertheless, Leonardo treated him with great indulgence, and he remained in Leonardo's household for the next thirty years.^[84] Salaì executed a number of paintings under the name of Andrea Salaì, but although Vasari claims that Leonardo "taught him many things about painting,"^{[‡ 3]} his work is generally considered to be of less artistic merit than others among Leonardo's pupils, such as Marco d'Oggiono and Boltraffio.

At the time of his death in 1524, Salaì owned a painting referred to as Joconda in a posthumous inventory of his belongings; it was assessed at 505 lire, an exceptionally high valuation for a small panel portrait.^[85]

Although he had no formal academic training,^[86] many historians and scholars regard Leonardo as the prime exemplar of the "Universal Genius" or "Renaissance Man", an individual of "unquenchable curiosity" and "feverishly inventive imagination."^[87] He is widely considered one of the most diversely talented individuals ever to have lived.^[88] According to art historian Helen Gardner, the scope and depth of his interests were without precedent in recorded history, and "his mind and personality seem to us superhuman, while the man himself mysterious and remote."^[87] Scholars interpret his view of the world as being based in logic, though the empirical methods he used were unorthodox for his time.^[89]

Leonardo's fame within his own lifetime was such that the King of France carried him away like a trophy, and was claimed to have supported him in his old age and held him in his arms as he died. Interest in Leonardo and his work has never diminished. Crowds still queue to see his best-known artworks, T-shirts still bear his most famous drawing, and writers continue to hail him as a genius while speculating about his private life, as well as about what one so intelligent actually believed in.^[24]

The continued admiration that Leonardo commanded from painters, critics and historians is reflected in many other written tributes. Baldassare Castiglione, author of Il Cortegiano (The Courtier), wrote in 1528: "...Another of the greatest painters in this world looks down on this art in which he is unequalled..."^[90] while the biographer known as "Anonimo Gaddiano" wrote, ت. 1540: "His genius was so rare and universal that it can be said that nature worked a miracle on his behalf..."^[91] Vasari, in his Lives of the Artists (1568), opens his chapter on Leonardo:^{[‡ 5]}

In the normal course of events many men and women are born with remarkable talents; but occasionally, in a way that transcends nature, a single person is marvellously endowed by Heaven with beauty, grace and talent in such abundance that he leaves other men far behind, all his actions seem inspired and indeed everything he does clearly comes from God rather than from human skill. Everyone acknowledged that this was true of Leonardo da Vinci, an artist of outstanding physical beauty, who displayed infinite grace in everything that he did and who cultivated his genius so brilliantly that all problems he studied he solved with ease.

The 19th century brought a particular admiration for Leonardo's genius, causing Henry Fuseli to write in 1801: "Such was the dawn of modern art, when Leonardo da Vinci broke forth with a splendour that distanced former excellence: made up of all the elements that constitute the essence of genius..."^[92] This is echoed by A. E. Rio who wrote in 1861: "He towered above all other artists through the strength and the nobility of his talents."^[93]

By the 19th century, the scope of Leonardo's notebooks was known, as well as his paintings. Hippolyte Taine wrote in 1866: "There may not be in the world an example of another genius so universal, so incapable of fulfilment, so full of yearning for the infinite, so naturally refined, so far ahead of his own century and the following centuries."^[94]

Art historian Bernard Berenson wrote in 1896:

Leonardo is the one artist of whom it may be said with perfect literalness: Nothing that he touched but turned into a thing of eternal beauty. Whether it be the cross section of a skull, the structure of a weed, or a study of muscles, he, with his feeling for line and for light and shade, forever transmuted it into life-communicating values.^[95]

The interest in Leonardo's genius has continued unabated; experts study and translate his writings, analyse his paintings using scientific techniques, argue over attributions and search for works which have been recorded but never found.^[96] Liana Bortolon, writing in 1967, said:

Because of the multiplicity of interests that spurred him to pursue every field of knowledge...Leonardo can be considered, quite rightly, to have been the universal genius par excellence, and with all the disquieting overtones inherent in that term. Man is as uncomfortable today, faced with a genius, as he was in the 16th century. Five centuries have passed, yet we still view Leonardo with awe.^[23]

The Elmer Belt Library of Vinciana is a special collection at the University of California, Los Angeles.^[97]

Twenty-first-century author Walter Isaacson based much of his biography of Leonardo^[98] on thousands of notebook entries, studying the personal notes, sketches, budget notations, and musings of the man whom he considers the greatest of innovators. Isaacson was surprised to discover a "fun, joyous" side of Leonardo in addition to his limitless curiosity and creative genius.^[99]

On the 500th anniversary of Leonardo's death, the Louvre in Paris arranged for the largest ever single exhibit of his work, called Leonardo, between November 2019 and February 2020. The exhibit includes over 100 paintings, drawings and notebooks. Eleven of the paintings that Leonardo completed in his lifetime were included. Five of these are owned by the Louvre, but the Mona Lisa was not included because it is in such great demand among general visitors to the Louvre; it remains on display in its gallery. Vitruvian Man, however, is on display following a legal battle with its owner, the Gallerie dell'Accademia in Venice. Salvator Mundi^{[lower-alpha 16]} was also not included because its Saudi owner did not agree to lease the work.^[102][103]

The Mona Lisa, considered Leonardo's magnum opus, is often regarded as the most famous portrait ever made.^[16][104] The Last Supper is the most reproduced religious painting of all time,^[87] and Leonardo's Vitruvian Man drawing is also considered a cultural icon.^[105]

More than a decade of analysis of Leonardo's genetic genealogy, conducted by Alessandro Vezzosi and Agnese Sabato, came to a conclusion in mid-2021. It was determined that the artist has 14 living male relatives. The work could also help determine the authenticity of remains thought to belong to Leonardo.^[106]

While Leonardo was certainly buried in the collegiate church of Saint Florentin at the Château d'Amboise in 12 August 1519, the current location of his remains is unclear.^[107][108] Much of Château d'Amboise was damaged during the French Revolution, leading to the church's demolition in 1802.^[107] Some of the graves were destroyed in the process, scattering the bones interred there and thereby leaving the whereabouts of Leonardo's remains subject to dispute; a gardener may have even buried some in the corner of the courtyard.^[107]

In 1863, fine-arts inspector general Arsène Houssaye received an imperial commission to excavate the site and discovered a partially complete skeleton with a bronze ring on one finger, white hair, and stone fragments bearing the inscriptions "EO", "AR", "DUS", and "VINC" – interpreted as forming "Leonardus Vinci".^{[81][107][109]} The skull's eight teeth correspond to someone of approximately the appropriate age, and a silver shield found near the bones depicts a beardless Francis I, corresponding to the king's appearance during Leonardo's time in France.^[109]

Houssaye postulated that the unusually large skull was an indicator of Leonardo's intelligence; author Charles Nicholl describes this as a "dubious phrenological deduction".^[107] At the same time, Houssaye noted some issues with his observations, including that the feet were turned toward the high altar, a practice generally reserved for laymen, and that the skeleton of 1.73 ميٽر (5.7 ft) seemed too short.^{[109][حوالي ۾ موجود ناهي(See discussion.)]} Art historian Mary Margaret Heaton wrote in 1874 that the height would be appropriate for Leonardo.^[110] The skull was allegedly presented to Napoleon III before being returned to the Château d'Amboise, where they were re-interred in the chapel of Saint Hubert in 1874.^[109][111] A plaque above the tomb states that its contents are only presumed to be those of Leonardo.^[108]

It has since been theorised that the folding of the skeleton's right arm over the head may correspond to the paralysis of Leonardo's right hand.^{[70][76][109]} In 2016, it was announced that DNA tests would be conducted to determine whether the attribution is correct.^[111] The DNA of the remains will be compared to that of samples collected from Leonardo's work and his half-brother Domenico's descendants;^[111] it may also be sequenced.^[112]

In 2019, documents were published revealing that Houssaye had kept the ring and a lock of hair. In 1925, his great-grandson sold these to an American collector. Sixty years later, another American acquired them, leading to their being displayed at the Leonardo Museum in Vinci beginning on 2 May 2019, the 500th anniversary of the artist's death.^[81][113]

• گئليلو گئليلي
• مائيڪل اينجلو

• Universal Leonardo, a database of Leonardo's life and works maintained by Martin Kemp and Marina Wallace
• Leonardo da Vinci on the National Gallery website

ڪم

• Biblioteca Leonardiana, online bibliography (in Italian)
• e-Leo: Archivio digitale di storia della tecnica e della scienza, archive of drawings, notes and manuscripts
• Complete text and images of Richter's translation of the Notebooks
• The Notebooks of Leonardo da Vinci

باب لاڳاپيل موضوعن تائين رسائي	Anatomy باب Architecture باب Astronomy باب Biography باب Earth Sciences باب Engineering باب History of science باب Italy باب Literature باب Mathematics باب Music باب Painting باب Science باب Stars باب Technology باب The arts باب Visual arts باب
Find out more on Wikipedia's ٻيا منصوبا	ميڊيا from ڪامنز خبرون from وڪي خبرون نصابي ڪتاب from وڪي ڪتاب وڪي قول from وڪي قول وڪي وسيلا from وڪي وسيلا

1. ↑ The humanist influence of Donatello's David can be seen in Leonardo's late paintings, particularly John the Baptist.^[21][19]
2. ↑ The "diverse arts" and technical skills of Medieval and Renaissance workshops are described in detail in the 12th-century text On Divers Arts by Theophilus Presbyter and in the early 15th-century text Il Libro Dell'arte O Trattato Della Pittui by Cennino Cennini.
3. ↑ That Leonardo joined the guild by this time is deduced from the record of payment made to the Compagnia di San Luca in the company's register, Libro Rosso A, 1472–1520, Accademia di Belle Arti.^[30]
4. ↑ On the back he wrote: "I, staying with Anthony, am happy," possibly in reference to his father.
5. ↑ Leonardo later wrote in the margin of a journal, "The Medici made me and the Medici destroyed me."^[23]
6. ↑ In 2005, the studio was rediscovered during the restoration of part of a building occupied for 100 years by the Department of Military Geography.^[50]
7. ↑ Both works are lost. The entire composition of Michelangelo's painting is known from a copy by Aristotole da Sangallo, 1542.^[55] Leonardo's painting is known only from preparatory sketches and several copies of the centre section, of which the best known, and probably least accurate, is by Peter Paul Rubens.^[56]
8. ↑ Pope Leo X is quoted as saying, "This man will never accomplish anything! He thinks of the end before the beginning!"^[62]
9. ↑ There is no documentary basis for the frequently made claim that Leonardo was present at the meeting between Francis I and Leo X, which took place in Bologna from 11 to 14 December 1516.^[65]
10. ↑ It is unknown for what occasion the mechanical lion was made, but it is believed to have greeted the King at his entry into Lyon and perhaps was used for the peace talks between the French king and Pope Leo X in Bologna. A conjectural recreation of the lion has been made and is on display in the Museum of Bologna.^[68]
11. ↑ Identified via its similarity to Leonardo's presumed self-portrait.^[71]
12. ↑ "... Messer Lunardo Vinci [ايس آئي سي] ... an old graybeard of more than 70 years ... showed His Excellency three pictures ... from whom, since he was then subject to a certain paralysis of the right hand, one could not expect any more good work."^[72]
13. ↑ This scene is portrayed in romantic paintings by Ingres, Ménageot and other French artists, as well as Angelica Kauffman.
14. ↑ ^{14.0 14.1} On the day of Leonardo's death, a royal edict was issued by the King at Saint-Germain-en-Laye, a two-day journey from Clos Lucé. This has been taken as evidence that King Francis cannot have been present at Leonardo's deathbed, but the edict was not signed by the King.^[79]
15. ↑ Each of the sixty paupers were to have been awarded in accord with Leonardo's will.^[38]
16. ↑ Salvator Mundi, a painting by Leonardo depicting Jesus holding an orb, sold for a world record US$450.3 million at a Christie's auction in New York, 15 November 2017.^[100] The highest known sale price for any artwork was previously US$300 million, for Willem de Kooning's Interchange, which was sold privately in September 2015.^[101] The highest price previously paid for a work of art at auction was for Pablo Picasso's Les Femmes d'Alger, which sold for US$179.4 million in May 2015 at Christie's New York.^[101]

1. ↑ Vasari 1991, p. 287
2. ↑ Vasari 1991, pp. 287–289
3. ↑ ^{3.0 3.1 3.2} Vasari 1991, p. 293
4. ↑ Vasari 1991, p. 297
5. ↑ Vasari 1965, p. 255

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