Leonardo_in_Perspective

Renaissance or “rebirth” is the term used to describe the rediscovery and development of the classical Arts, philosophies and sciences of the ancient Greek and Roman civilisations. Application and development of those disciplines was a progressive but rapid movement away from medieval thinking. Florence from the 14th Century developed into the centre for trade and commerce; this generated vast wealth controlled by ruling elites. These elite provided patronage (Commissioning and funding) for the Arts, improving the prestige of their families and the city state itself. A declaration of war by Louis the X11 on the Sforza throne intended to extend the influence of France in Italy. During this conflict the effects of more modern cannon on traditional fortifications where know and were probably witnessed by him, this most of all led him to engage in a more scientific approach to design new defences. Geometrics designs of fortifications are shown in his writings and drawings post his departure from Milan. The state of Venice fearing threats to their security from Turkish expansionism requested his services to design defences and this would certainly have influenced his thinking about more effective defences. As Engineer and Architect for Cesare Borgia during campaigns to exert the churches authority throughout the city states of Italy, he travelled extensively through the northern and central of Italy, sketching specific military fortifications. [ Contemporaries of Leonardo on reading his (“draft” it is thought) letter to Duke Ludovico il Moro and the claims contained therein would have thought them somewhat fanciful. Whilst acknowledging his already well known artistic claims the remainder would be open to scrutiny, disbelief and scorn. In that period of Italy’s history, wars and battles where numerous so I assume that his contemporaries would have had first hand knowledge of the weaponry, military machines and tactics employed in warfare of that time, and even witnessed them in operation. As was the techniques of undermining and hydraulics for military operations, but Leonardo’s claims was that he could do them better and had solutions to counteract them. Claims for the casting in bronze of a monumental horse would have been accepted only if the reader was unaware of its proposed size; at that time it would have been considered impossible. It is unclear if any of his claims had been verified; only that he said they could be demonstrated. Leonardo’s experimentation with medium and techniques of applications, such as employing tempera and oil mix and then oils alone had varying success. Whilst enabling a wider use of colours and intensity for example the angel in “Verrocchio’s” The Baptism of Christ, The Annunciation and the portrait of Ginevra de Benci in The Last Supper though described as a masterpiece of expression, movement and composition, it is recorded as deteriorating as soon as it was painted. He appears never to have attempted this technique again. Perspective and the vanishing point are employed to stunning effect in The Last Supper and the preparatory work of the Adoration of the Magi seeming to draw one into them. Numerous preliminary sketches showing movement from differing angles were preparation for dimensional expression, groundbreaking for that time. His development and mastery of sfumato and playing with varying light effects when used in the portraits gives a sense of depth clearly shown in the Mona Lisa, along with the impression that the study is looking just past, or to something nearby whilst also displaying the idea that there is expression in the subjects demeanour, a technique not as developed by other artists of the period. This is also true of the Lady with an Ermine and La Belle Ferronniere where the subjects gaze appears intense and intelligent.