File:Leonardo da Vinci, artist, thinker and man of science; (1898) (14759375086).jpg

Identifier: leonardodavincia02mn (find matches)
Title: Leonardo da Vinci, artist, thinker and man of science;
Year: 1898 (1890s)
Authors: Müntz, Eugène, 1845-1902
Subjects: Leonardo, da Vinci, 1452-1519
Publisher: London : W. Heinemann New York, C. Scribner's sons
Contributing Library: University of California Libraries
Digitizing Sponsor: Internet Archive

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is com-positions, intensity of colour does duty (ov intensity of sentiment. Ihemost attractive of hi? pictures—the ^Irchaugels vietorions over Satan,in the Brera Museum—demonstrates the inadequacy of Leonardosimmediate pupils, whenever they were called upon for dramatic expres-sion. Their capabilities were confined to idyllic subjects ; yet Leonardo 1 Die Galerie Borglicsc und Dona Danifti, )i. 202-206.—/(/. Die Gâterie vonMihichen, p. 114.—Frimmcl, Kleine Galerie Studien, vol. ii., p. 22.—Archivio storico delFArte, Î890, p. 358.—Frizzoni, Zeitschrift für bildende Kunst, vol. -xvii., p. 122.—A Madonna and Child, in Mr. A. Hallam-Murrays collection, was engraved in the Magazine of Art, 1894, p. 148.—Bode, Gazette des Beaux Arts, 1889, vol. i., p. 500. ^ Erniia;^e impérial. Catalogue de la Galerie des Tableaux. Les F.eoles d'Italie et d'Espagne en 1637. ( 1891.) Ventiiri, Archivio storico deIP Arte, 1898, p. 415. 1*rimnicl, Kleine Galerie Studien,vol. ii., )). 221-224.
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238 LEONARDO DA VINCI himself, in the Last Supper and the Baltic of Attghiari, had shown the originality and power with which he could treat mental struggle and physical effort. Cesare da Sesto was also an occasional imitator of Leonardo. He oscillates between him and Raphael, except, indeed, when—as in his brilliant Madonna in the Brera (no. 265)—he makes an excursion into the style of Peruzzi or Correggio. The horses in one of his studies for his Adoration of the Magi, now in the Accademia at Venice, are a flagrant imitation of Leonardo.^ The two most brilliant disciples of the leader of the Milanese school, Antonio Bazzi, surnamed Il Sodoma, and Bernardino Luini, may never, possibly, have had the good fortune to listento Iiis counsels. I will give no fresh description in this place of the gifts of these two incomparable artists, nor of those of their successor, Gaudenzio Ferrari : my readers will allow me to refer them to the third volume of my Histoire de l'Art pendant la Renaissance, in w

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