File:Leonardo da Vinci, artist, thinker and man of science (1898) (14784587695).jpg

Identifier: leonardodavincia01mn (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: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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sh. Thepainting is firm rather than fused, but the firmness is fat andluscious. Leonardo has worked a miracle, and painted a portraitwhile creating a type. The admirably modelled head combines certaindefects—a turned-up nose, slightly atrophied—with beauties thatdisarm criticism ; a tender, almost voluptuous mouth, a long veiled 1 According to the CtcetOfie (Burckhardt), this is a portrait of the young Gian GaleazzoSforza, II Moros nephew, the lawful ruler of Milan. But besides the fact that theapparent age of the sitter does not agree with that of the young Duke, the face shows notrace of resemblance to the refined and fragile Gian Galeazzo, as known to us byCaradossos exquisite little medal. Signor MoreUi attributes the male portrait in theAmbrosiana to the anonymous painter of the Virgin of the .Rocks in the National Galleryof London. (Die Galerie Borghese, p. 235.) I confess that my connoisseurship doesnot go so far. XIIIPortrait of a Vomii^ Princess. (thk \mbro;iana, mii.an.)
Text Appearing After Image:
ird by Odny-Gros Pans (I r^i.c FEMALE PORTRAIT IN THE AMBROSIANA 209 glance. The costume, a red dress, simple yet elegant, makes anexquisite harmony with the chestnut hair, which is drawn down inbandeaux along the cheek, and fastened under a pearl-embroiderednet. The arm-hole of the slashed sleeve is embroidered with aninterlaced pattern, finished off on the shoulder by a jewelled ornamentof two large cut gems, and a hanging pear-shaped pearl. From a rowof large pearls round the throat hangs a similar pendant, attached to ashort gold chain. The whole work breathes an air of youth, of grace,and of freshness that only Leonardo could have suggested. SignorMorelli ascribes this picture to Ambrogio de Predis,^ whereas Dr.Bode, while insisting on Leonardos authorship, proves that the youngwoman represented was not, as has been asserted, Bianca MariaSforza, wife of the Em-peror Maximilian. For-tunately, Dr. Bodes argu-ments in favour of theauthenticity of the workare irrefutable. Thelearned

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