LITMIR.BIZ

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far as he has been able to do this and the spirit of his country is reflected in his work, in so far as he has represented what is best therein and most enduring, he will have achieved greatness. Not that this is always, or even often, a conscious expression. It is unfair reading to search for deep thought in the work of either painter or poet. Neither art offers the best medium to convey the abstractions of the mind, since each has its own method of expression, independent of pure reason. But painter and poet, in the degree they attain greatness, express more than themselves. Ariosto, intent only to amuse, reflects with playful wit and skepticism the splendid luxury and joy of living in Renaissance court life. The care with which he chiselled each line proves that his real seriousness and conscience lay in his artistic purpose. Without Ariosto's wit, Paolo Veronese depicted a similar side in painting, though his Venetian birthright made him celebrate the glory of the Republic. Poet and painter alike expressed far more than either could know. If such a test be applied to the artists of the Renaissance, each in turn will respond to it, – just as the weakness of the later Bolognese as a school is that, beyond a certain technical merit, they meant and represented so little. But the noblest painters, – Michelangelo and Raphael, Titian and Leonardo, – in addition to possessing the solid grasp of technical mastery, reflected some aspect of their nation's life and civilization. In Michelangelo was realized the grandeur of Italy struggling vainly against crushing oppression. He expressed that which was highest in it, reflecting the loftiest side of its idealism mingled with deep pessimism in his survey over life; for, wrapped in austerity, he saw mankind in heroic terms of sadness. Raphael, on the other hand, found only beautiful sweetness everywhere. The tragedies of life failed to touch the young painter, who blotted from view all struggle and sorrow, and, in spite of the misery which had befallen his nation, could still rejoice in the sensuous beauty of the world. There was another side to the Renaissance, dependent neither on beauty nor heroic grandeur, yet sharing in both through qualities of its own. Titian, who painted the living man of action, the man of parts, susceptible alike to the appreciation of ideal beauty and heroic impulse, but guided withal by expediency, reflected this more practical aspect of life. In his portraiture he expressed the statecraft for which Italians found opportunity beyond the Alps, since in Italy it was denied them; and Titian found even Venice too narrow for the scope of his art.

      But before Titian, before Raphael, before Michelangelo, Leonardo reflected the rationalism and the mystery, the subtlety and the philosophical speculation, of the age. To find in his work only the individual thought of genius would be to mistake, perhaps, its most important side; for the expression of his mind, both by its brilliancy and its limitations, is typical of the spirit of his time. The Italian Renaissance was reflected in him as rarely a period has been expressed in the life-work of a single man. He represented its union of practice and theory, of thought placed in the service of action. He summed up its different aspects in his own individuality. Intellectually, he represented its many-sidedness attained through penetration of thought, and a keenness of observation, profiting from experience, extended into every sphere. As an artist he possessed a vigour of imagination from which sprang his power of creating beauty. But, in spite of his practical nature, he remained a dreamer in an age which had in it more of stern reality than of golden dreams. His very limitations, his excess of individualism, his want of long-continued concentration, his lack of patriotism, his feeling of the superiority of art to nationality, are all characteristic of Renaissance Italy.

      The union in Leonardo of reality to mystery has often been shared by genius in other fields. His own peculiar greatness sprang from expressing in art the apparent contradiction of attaining the world of mystery through force of reality. Like Hamlet, it was the union of the real with the unreal which appealed to him, of the world as he saw it and the world as he imagined it to be. It was but another expression of the eternal ideal of truth and beauty.

L. E.American Embassy London, 1906

      I

      THOUGHTS ON LIFE

* **

      Of the Works of Leonardo

      Begun at Florence in the house of Piero di Braccio Martelli, on the 22d day of March, 1508; and this is to be a collection without order, taken from many papers which I have copied here, hoping to arrange them later, each in its place, according to the various subjects treated. And I think that before I shall have finished this work, it will be necessary for me to repeat the same thing many times over; so, O reader, blame me not, because the subjects are many, and memory cannot retain them and say: This I will not write because I have already written it; and if I did not wish to fall into this error it would be necessary, every time that I wished to copy something, in order not to repeat myself, to read over all the preceding matter, all the more so since the intervals are long between one time of writing and another.

      His Thirst after Knowledge

2

      Not louder does the tempestuous sea bellow when the north wind strikes its foaming waves between Scylla and Charybdis; nor Stromboli nor Mount Etna when the sulphurous flames, shattering and bursting open the great mountain with violence, hurl stones and earth through the air with the flame it vomits; nor when the fiery caverns of Mount Etna, spitting forth the element which it cannot restrain, hurl it back to the place whence it issued, driving furiously before it any obstacle in the way of its vehement fury … so I, urged by my great desire and longing to see the blending of strange and various shapes made by creating nature, wandered for some time among the dark rocks, and came to the entrance of a great cave, in front of which I long stood in astonishment and ignorance of such a thing. I bent my back into an arch and rested my left hand on my knee, and with my right hand shaded my downcast eyes and contracted eyebrows. I bent down first on one side and then on the other to see whether I could perceive anything, but the thick darkness rendered this impossible; and after having remained there some time, two things arose within me, fear and desire, – fear of the dark and threatening cave, desire to see whether there were anything marvellous within.

3

      I discover for man the origin of the first and perhaps of the second cause of his being.

      Leonardo's Studies

4

      Recognizing as I do that I cannot make use of subject matter which is useful and delightful, since my predecessors have exhausted the useful and necessary themes, I shall do as the man who by reason of his poverty arrives last at the fair, and cannot do otherwise than purchase what has already been seen by others and not accepted, but rejected by them as being of little value. I shall place this despised and rejected merchandise, which remains over after many have bought, on my poor pack, and I shall go and distribute it, not in the big cities, but in the poor towns, and take such reward as my goods deserve.

      Vain Knowledge

5

      All knowledge which ends in words will die as quickly as it came to life, with the exception of the written word: which is its mechanical part.

6

      Avoid studies the result of which will die together with him who studied.

      Value of Knowledge

7

      The intellect will always profit by the acquisition of any knowledge whatsoever, for thus what is useless will be expelled from it, and what is fruitful will remain. It is impossible either to hate or to love a thing without first acquiring knowledge of it.

8

      Men of worth naturally desire knowledge.

9

      It is ordained that to the ambitious, who derive no satisfaction from the gifts of life and the beauty of the world, life shall be a cause of suffering, and they shall possess neither the profit nor the beauty of the world.

      On his Contemners

10

      I know that many will say that this work is useless, and these are they of whom Demetrius said recked no more of the breath which made the words proceed from their mouth, than of the wind which proceeded from their body, – men who seek solely after riches and bodily satisfaction, men entirely denuded of that wisdom which is the food and verily the wealth of the soul; because insomuch as the soul is of greater value than the body, so much greater are the riches of the soul than those of the body. And often when I see one of these take this

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