Cincinnati daily press. [volume] (Cincinnati [Ohio]) 1860-1862, 1861-01-14
-rhe wopderfal Aeauirctnents Of Leonardo
IA VtucT ."H H.

The w On0erIuh ACautEeultnNa VI hVN"NANN
da vincI.
Some DAYS ago we published an article re-
spectiup the versatility Of Leonardo do Vincii
and now add another from the same source
Architect, sculptor, or painter, poet Or
musician, Whichever path OF art allured nlm,
Leonardo had but 10 exercise his Wall and ne
was equal 10 the occasion Kugler con-
siders that Hthe center Of all the various
mowers of this great man was his love for
nlestic artn We do not agree with, him.
The utility principle Of the mechanical arts
had a stronger attraction for him. His was
dramatically a mathematical, constructive
and inventive mind. This predileetion not
only diverted him from plastic art but wnen
occupied with it and painting, by seducing
him into experiments upon vehicles, the
nrect;ce of new and untried methods, and
overmuch attention to his preparations,
needlessly consumed his time, and hindered
the development of his imagination, though
his genius was capable of equal exertion at
the same time in the greatest efforts OF prac-
tical science and creative art when necessity
prompted. The canal Of MOrtesana, which
brings the waters of the AIDA across the ar
duous mountain passes of the Yaltellina and
through the territory Of the Chiayenna for
more than 200 miles, was achieved while ne
was painting his "Last Supper" The con-
struction Of canals, Notifications, bridges,
machinery, the tunneling and removing OF
mountains, cleansing and deepening OF har-
bors, raising of ponderous weights, swim
ming and flying machines, compasses, ny
| drometers;i fine, whatever favored scieree
| ard material civilization, he earnestly de-
| voted his attention to.
When matter of practical Importance failed
| him, he devised curious and ingenious toys
| or amused himself in making flying figures
/ IasnrtOt 1tznrd foi
| which, by the aid of quicksilver, he adapted
| wings, that when the reptile moved hal
motion and appeared real. Adding horns
a beard, and ghoul-like eyes, he made its en-
| tire aspect so frightful that whea his visitor
| unexpectedly came upon it they fled in alarm
| His owa letter to Duke Ludevico recon
mendinp himself dwells with complacen
emphasis upon the secrets" he has discov
cred in mechanics his ability as civil an
military engineer and architect; and add
almost parenthetically, furthermore, ca
execute works in sculpture, marble, bronzl
or telracotts. In painting, also, can d
what may be done as well as any other, B
he who it may;'-a bold self-estimate of
man of thirty. The letter was written i
1883, the year of Raphaers birth, and befoI
Michel Angelo had become known as an Al
tist but it was justified by the quality an
results of his genius. .tf
The result of his studies he incorporate
into manuscript, Treatise on Painting, whic
has since been published inseveral Europea
languages, in various illustrated edition
being still used as text book. The eight
chapter gives a key to his method.
painter must be universal. He must stud
all be sees; that is TO say, consider it a
tentively, and by serious reflection seek
find the cause of that which he sees but
should only take that which is the best an
most perfect for his work. Thus, as mirrt
reflects all objects with their particulI
+ colors and characters, the imagination Of
painter accustomed to reflect will represent
him without difficulty all that is most bea
tiful in nature.n