Painting illustrated in three diallogues containing some choice observations upon the art together with the lives of the most eminent painters from Cimabue to the time of Raphael and Michael Angelo : with an explanation of the difficult terms.

The LIFE of LEONARDO DA VINCI, A Florentine Painter, and Sculptor.

IT may be seen by Leonardo Da Vinci, as much as by any other Example, that the Coe∣lestial Influences do sometimes so Unite in one Subject, as to make all that's performed by that Person, to seem almost Divine, and not

acquired by any Humane Industry: And in∣deed, the admirable Beauty of Leonardo's Bo∣dy, the infinite Graces of his Mind, and the exquisite Penitration with which in all Sci∣ences and Arts, he attained to the most dif∣ficult part of them with ease, do show that he had from above, most extraordinary Gifts. The strength of his Mind was always accom∣panied with a Dexterity, which alone would have made its Way through the World; and he had besides, a Greatness and Magnanimity in him, more befitting a Prince than a pri∣vate Man. All which made him not only Beloved and Esteemed in his Life time, but highly Renowned and Honoured after his Death to all Posterity.

He was Son of Piero da Vinci, and in the first beginning of his Education, shewed so strong an Inclination to all sorts of Learning, that had he constantly pursued any one, he must have have been a Prodigie in that kind, but he was so various, that that did very much hinder his Excelling. At his first learning

to cast Account, he used to puzzle his Master with Questions about Arithmatick, and that in a few Months after he had first applyed him∣self to it. He next gave himself to Musick, and particularly to play upon the Lute, in which he grew so Excellent, which he would play Extempore, things that would Charm all that heard him; and yet though he was so variously addicted, he still followed De∣signing, and making of things in Relievo, as two Arts, that above all others did please his Fancy, and fix his Application. His Father taking more particular notice of this last In∣clination, took one day some of his Designs, and carrying them to Andrea del Verochio, a fa∣mous Painter, and his intimate Friend, de∣sired him to tell him Ingeniously, whether his Son Leonardo was ever like to succeed in that Way?

Andrea was astonished at the sight of such bold Beginning, and exhorted his Father to give him all sort of Encouragement in that Way: Upon which, his Father ordered him

to go constantly to Andrea's Painting-House, there to Improve himself. Leonardo obeyed with joy, and not content with Designing alone, he Exercised himself in all those Arts which are any ways depending upon it, or useful to a Painter, or Statuary, such as Geo∣metry, Architecture, Perspective, &c. in all which he attained to a great perfection. He was be∣sides, the first that had thoughts of putting the River of Arno into a Chanel from Pisa to Florence, Inventing all sorts of Mills, and o∣ther Machines, useful for so great a Design. But because his chief profession was Painting, he spent much time in Drawing by the Life, and often likewise in making Models of Earth, and then Clothing them with fine Linnen wet, with the greatest patience in the World: He would Draw them upon Silk, or fine Linnen, in Black and White, with the point of his Pencil, that it was a most admi∣rable thing to see them; some of which I have in my Book of Designs. What he did upon Paper, was with so much diligence and

delicacy, that no Man ever came near him. I have a Head of his in Chiaro Scuro, which is Divine, and shows with what singular strength he Conceived, and with what ad∣mirable Dexterity he executed his Thoughts with the Pencil. When he was weary of Painting, or Statuary, he used to busie him∣self in finding out Ways how to Level Mountains with ease, or make Passages through them, from one Valley to another; as also by Leavers, Strings, Pulleys, to raise great Weights, and by other Machines to drain the Water from low places; so that his Brains were perpetually employed, and of all these Things he made Designs, many of which I have seen. And in them, he was so Curious, as sometimes to Draw the whole Lying, or Coiling of a Cable, or other Ropes, so as you might see the Winding of it from one end to the other; there is one of these in a Print, and in the middle are these Words, Leonardo Vinci Academia.

He was so extream diverting in Conversa∣tion, that he drew every Body after him; and having, as we may say in comparison of others, Wrought but very little, yet he Li∣ved Splendidly, having always many Ser∣vants, and Horses; for which last, he had a great Passion, and used to Draw them by the Life. He loved all sorts of Animals indeed, and would often buy Birds alive out of their Cages, only to let them go, and restore to them their lost Liberty. So great was his na∣tive Bounty, and the sweetness of his Tem∣per; in a word, no Man in his Time, ever acted with so much Readiness, Vivacity, and Grace, which gave a particular Character to all that he did; though in his Art he begun many Things, but hardly Finished any, ha∣ving conceived them with so much Perfecti∣on, that his Hand afterwards, could not fol∣low the Idaea of his Mind.

After having Worked some time with An∣drea del Verocchio, his Master employed him in a piece of his Undertaking, of the Story of

Saint John's Baptizing of our Saviour Christ, and in it Leonardo drew an Angel, that held some Clothes of our Saviour, which he Fi∣nished so well, that he put down all the other Figures of Andrea, in so much, that scarce any thing but Leonardo's Angel, was taken no∣tice of. This so angered his Master, to be out-done by his own Schollar, and a Young Man, that he never more would handle a Pencil, or Colours.

There being a very rich Tent of Gold and Silk of Tapistry Work to be made in Flanders, for the King of Portugal; the Undertakers agreed with Leonardo, to make the Cartoon. The Story being that of Adam and Eve, when they eat the forbidden Fruit in Paradise. There he Drew in Charo Scuro, a delicious Mea∣dow of Plants and Flowers, full of variety of Animals, done with so much diligence and patience, and so Natural, that none but so divine a Genius, could ever do the like. A∣mongst the rest there is a Fig-Tree, which be∣sides the admirable shortnings of its Leaves

and Branches, is painted with such Care, that it would astonish any one to consider, how 'twas possible for a Man to do a Thing with so much patience. There is likewise a Palm-Tree, which has its Branches so Lively, and their Situation, and exact Simmetry so ex∣pressed, that none but Leonardo's Genius, could ever compass it. The Cartoon being finished, was left upon his Hands, the Tapistry Work not being gone on with, as was first designed; and it is at this time in the House of Saint Octaviano de Medici, it being presented to him not long ago, by Leonardo's Uncle.

One day, his Father, Ser Piero da Vinci, be∣ing at his Country House, was desired by one of his Tenents, to get him a Buckler painted, which he had made out of a Figg-Tree, cut down in the Ground; Ser Piero took the Buck∣ler, and the fellow being very useful to him, in Fishing, Fowling, and other Country Sports, he carried it to his Son, and desired him to Draw something or another upon it. Leonardo seeing the Buckler ill shaped and

crooked, streightned it and Polished it, and then having carefully plaistered it over, he began to consider what he should Draw there, that might Fright any one at first sight, like Medusas Shield. To this end, he got toge∣ther in a Room, where no Body came but himself, a Collection of Serpents, Lizards, Crickets, Butterflies, Grashoppers, and such like Animals; from the assemblage of all which, strangely put together, he made up an Animal most horrible to look too, who seemed to poyson the Air with his Breath; for he placed him in a kind of a dark Grotto, sending Fire out of his Mouth, and Smoke out of his Nostrils, in so strange a manner, that it would fright any one to see it. He took so much pains about it, that the stink of those dead Creatures was intollerable in the Room, though not at all perceived by Leonardo, so attentive he was upon his Work. The thing being finished, he told his Father, that he might have the Buckler when he pleased. One Morning then, Ser Pierc, his

Father, came and knocked at the Door, and desired the Buckler: Leonardo opened the Door, but desired him to stay a little: So return∣ing into the Room, and having placed the Buckler in an obscure Light, upon his Pain∣ting Desk, he called in his Father; who not expecting any such thing, was of a sudden struck with the Apparition of such a Mon∣ster, and retired two or three steps back. Leo∣nardo stopped him, and said, This Work I see will answer its end, take it and carry it to whom you have promised it. The thing ap∣peared wonderful to his Father, who was extreamly pleased with it, and having secret∣ly bought another Buckler, which he caused to be Painted with some ordinary Invention, he kept Leonardo's, and gave the other to his Servant, who took it so kindly, that he ser∣ved him faithfully ever after.

Some Months after, Ser Piero, sold Leonar∣do's Buckler secretly in Florence, to some for∣reign Merchants, for the Sum of a Hundred Ducats, who sold it to the Duke of Milan for Three hundred.

Leonardo made likewise a most delicate Ma∣donna, which Pope Clement the 7th. used to keep in his Chamber; and amongst other Orna∣ments, of it, he had drawn a Glass full of Water, with Flowers in it, where besides the lovelyness of the Flowers, he had counter∣feited drops of Water upon them, as delicate as the Natural ones. He made also for Anto∣nio Segni, his Intimate friend, a Neptune up∣on a Stormy Sea, carried in his Chair, drawn by Sea Horses, with Whales, and other Sea Monsters about him, and the Heads of some Sea Gods, most delicately designed; and this Piece was by Fabio Segni, Son to Antonio, given to Messer Gioranni Gaddi, with this Epygram,

Pinxit Virgilius Neptune▪ pinxit Homerus, Dum Maris undisoni per vada flectit equos, Mente quidem vates illum conspexit uterque, Vincius ast Oculis jureque vincit eos.

He took a fancy once to draw in Oyl, a Head of a Medusa, with the strangest dress of Ser∣pents

and Snakes, that 'tis possible to Ima∣gine: But it being a Work that required great time to Finish it, it had the fate of ma∣ny of his Things, and remained Imperfect; but as it is, it holds its place amongst the chiefest Raritys of our Duke Cosimo; as also that of an Angel, who holding one of his Arms in the Air, shows a shortning from the Shoulder to the Elbow; that is most Ma∣sterly and strong. For Leonardo sought chief∣ly to give a great Relievo to his Things, and for that Reason, made his Grounds and Sha∣dows as dark as possibly he could, seeking out the strongest Blacks of all kinds; so that his Manner seemed almost a Night, rather than a Shadow made by the Light of the Day.

When ever he saw any one of an odd Phisi∣ognomy, either with strange Hair, or Beard, he would have followed him a whole Day till he had so got the Idea of him; that being come Home, he would Draw him as like, as if he sat to him. And of this sort, there are many Heads, both of Men and Women;

many of which, I have in my Book of De∣signs: And amongst the rest, the Head of Americo Vespuci, designed with a Coal, and is the Head of a fine Old Man. There is like∣wise, that of Scaramuccia, Captain of the Gypsies. He begun likewise, the Story of the Adoration of the Three Kings, where there are very good Heads; it remains Imperfect, in the House of Signor Amerigo Benci.

It happened, that Lodovico Forta, being made Duke of Milan, in the Year 1494. and he being a Prince that delighted extreamly in Musick, Leonardo was sent for, to play upon the Lute before him. He was received with great Honour by the Duke, and there in his Presence, he overcame all the Musitians that were come from all parts to play before him. The Instrument he plaid upon, being like∣wise the Work of his own Hands, and fra∣med in the shape of a Horses Head, the best part of it of Silver; but so shaped, that it yielded a sweeter and lowder Sound, than the ordinary Lutes. The Duke having reli∣shed

his Conversation, and found him most extreamly Agreeable, and of so ready a Wit, that amongst other things, he was the best maker of Extempore Verses, of any of his Time, was pleased with him beyond Mea∣sure.

The first Work he did for the Duke in Painting, was a Nativity of our Saviour; which the Duke presented to the Emperor.

Then he undertook the Story of the last Supper, in the Convent of the Dominicans, called, Sancta Maria delle Gratie, in Milan: In it he gave so much Majesty and Gravity to the Heads of the Apostles, that he was for∣ced to leave our Saviour's Unfinished; not being able to attain to the Expression of that divine Greatness, which ought to be in the Image of the Son of God. But one thing most Admirable was by him performed in this Piece, which was to express in the Coun∣tenance of the Apostles, that Concern and Trouble which they were in, to know which of them it was that should betray our Savi∣our:

And one may discern in their different Looks, Love, Fear, and Anger, which were the Passions naturally rising in their Breasts, upon the doubt raised in them by our Savi∣our's Words: And on the other side, in Jadas's Countenance, there appears so much False∣ness, Hatred, and Treachery, that it is won∣derful. The whole Work besides, is in all its parts, a Masterpiece of Incredible diligence; for the very Cloth of the Table, is done with such Exactness, that Linnen it self, shows not better nor finer.

'Tis said, that while Leonardo was Painting this piece, the Prior of the Convent used to be very troublesome to him, in pressing him too Indiscreetly, to make an end of it. For it seemed very strange to him, to see Leonardo come sometimes, and be half a day together, doing nothing but look upon his Work, in the posture of a Man in a Rapture; whereas he thought the Work might have gone on all that while, as well as digging the Garden, or any other Labour used to do. And find∣ing

Leonardo minded but little what he said to him, he made his Complaints to the Duke, and that with so much heat, that the Duke sent for Leonardo; and very Gently and Dis∣creetly, put him in mind what the Prior's Importunity had so often Solicited for in vain. Leonardo knowing the Duke to be a Man of Judgment, and capable of hearing a Rational Account, was content to Discourse with him about his Art (which he never had done with the Prior.) And told him, that without doubt, his Highness could not but understand, that Men of a great and ex∣traordinary Genius in many Professions, but particularly in his, did take more pains while they were Conceiving their Idaeas, than while they were Executing of them: And that so it was with him, for he had yet two Heads to Finish, the one of our Saviour, for the Model of which, he had none upon Earth, nor could hardly Imagine any that should represent all that Beauty, Divine Graces, which were to appear in Divinity

Incarnated. The other of Judas, which gave him likewise great Trouble, it being hard for him to create in his Mind, a Form that should express the Face of one, who after so many favours received from his Lord and Creator, should yet have so wicked a mind as to Betray him. But that for this last, he would endeavour to find some ill looked fel∣low or another; and that however, when all things failed, he could take the Prior's face, who had disturbed him so Impertinently. The Duke extreamly pleased with his Hu∣mour, fell a Laughing heartily, and told him, He was in the right. And the Jest be∣ing come to the Prior's Ears, he was glad to let Leonardo alone, and mind the other Affairs of his Convent. And Leonardo on his side, fini∣shed Judas's Head so, as it appears, the Picture of Treachery it self; but for our Saviours, it remains to this day Imperfect.

The Excellency of this Piece, struck the King of France with so much Admiration, when he had taken Milan, that he resolved to

have it Transported into France; and sending for the ablest Ingeneers, he promised them a noble Reward, and bid them spare for no Cost, that should be necessary to that Effect. But it being painted upon a Stone Wall, the thing was thought Impracticable by any Ma∣chine, or Contrivance whatsoever; and so Milan remained in possession of this Noble piece of Work.

Leonardo Drew likewise in the same Refe∣ctory, the Pictures of the said Lodovico, Duke of Milan, and Maximilian, his Eldest Son, and of Francis the Second Son, who were since, both of them, Dukes of that place; and in∣deed, they are most admirable Things.

Amongst other Projects, which Leonardo's Working Head put the Duke upon: One was to make a Horse of Bronse, of prodigious Big∣ness, and upon it, to place the Dukes Statue, of the same Mettle. And accordingly he be∣gun it, but by reason of its Vastness, found such difficulty in Casting it, that it remained Unfinished. And some do Imagine, that his

first design was never to bring it to Perfecti∣on, as they say, he used to do with most of his Undertakings. But I think that they wrong him, and that the Reason of his frequent Interruptions, and not Finishing what he had begun, proceeded more from the unlimitted greatness of his Mind, which conceived things above Humane perform∣ance, than from any unsteadiness of his Re∣solutions in the pursuance of them: And in∣deed, they that have seen the Model of Clay, made by him for this Statue, do own, that there could be nothing more Great and Glo∣rious. It remained to be seen, till Francis the 1st. took Milan, and then among other dis∣orders committed in the City, the Souldiers broke it all to pieces.

He applyed himself amongst other things, to a most particular Knowledg of the Anatomy of Humane Bodies, being helped in this Stu∣dy, by Marc-Antonio de la Torre, an Excellent Phisitian, and professor of Philosophy in Padoua: Who likewise made admirable use of

the Hand of Leonardo, having got him to De∣sign a whole Book of Anatomy in Red Chalk. And there he first Drew all the Bones and Joynts, then added the Tendons and Muscles, having also made for each a particular Dis∣course, in Letters written upside-down, with his Left Hand, so as they cannot be Read any otherwise, but by a Glass. A great part of these papers about Anatomy, do remain in the Hands of Francisco da Melzo, a Gentle∣man of Milan, who in Leonardo's time, was a most delicate Youth, and was much beloved by him; he keeps them as Sacred as Relicks, as he does Leonardo's Picture likewise.

There are yet in a Milaness Painter's hands, some Writings of Leonardo, which Treat of Painting, and of the Way of Designing and Co∣louring; but Written as the rest, in Chara∣cters made with his Left Hand, upside-down. This Painter came, not long ago, to Florence to see me, being desirous to print this Work of Leonardo's, and afterwards he went upon this design to Rome; but I have had no account how the thing succeeded.

But to return to Leonardo: In his Time, the King of France came to Milan, where Leo∣nardo for his Reception, being desired to do something Extraordinary, made a great Lion, which by Springs, Walked of its self a good many paces to meet the King, and then opening his Breast, shewed it full of Flower-de-Luces.

Having during his stay at Milan, made some Schollars, amongst whom, was Salai, whom he chose for his Beauty, and Taught him many Secrets of the Art, he returned to Florence; there he found that Philippino, a famous Painter of that place, had underta∣ken the Picture for the Great Altar of the Nuntiata, in the Convent of the Frati de Servi; whereupon he declared, that he would willing∣ly do such a piece too: which Phillippino hearing, and being a very Gentile Man, yielded his place to Leonardo. And the Monks desired Leonardo, that he might the better attend the Work, to Lodg in their Convent, where they Entertained him with his Family. He

was a great while with them, before he could be prevailed with to Work a stroke, but at last he made a Cartoon, and in it a Madonna, a Saint Ann, and Christ; all which Figures be∣ing Finished, raised so much Admiration in the whole City, that during the time of two or three days, there was a continual Proces∣sion of Men and Women, to go and see them; every one returning astonished, at the Mar∣vellous Skill of Leonardo.

For in the Madonna's Face, there was all that Beautiful Innocence, that might become a Virgin Mother of Christ; who having her Child in her Lap, showed an humble Joy, for the Felicity she enjoyed in so Lovely an Infant, whom while she regarded with Ten∣derness, a little Saint John Baptist, who was playing with a Lamb, drew the Looks of his Mother Saint Ann, who with a Smile, ex∣pressed the joy of her Heart, to see she had at last a Son, that was in his Infancy, a Com∣panion to the Saviour of the World. But the Cartoon being made, Leonardo forsook the Work,

and the Monks entertained Philippino again, who died likewise, before he could Finish his; and then the Cartoon was sent into France.

Leonardo likewise undertook the Picture of Mona Lisa, Wife to Francesco Giocondo, and ha∣ving Worked upon it four Years together, left it nevertheless Unfinished. It is now in the King of France▪ his Pallace in Fontain∣bleau; whoever had a mind to see how well Art could imitate Nature, might have been satisfied in looking upon this Head, for there were all the Minutest Things represented to a Miracle. The Eyes had that Brightness and Water, that is naturally in them; and the Hairs of the Eyebrows, which are ex∣tream hard to do, was so exactly painted, that one might see the Artist had made them to rise from the Flesh, just as they do through the Pores; sometimes thicker, and sometimes thinner. The Nose had all those little pits, which we see in plump fresh Faces; and the Mouth was represented with

all its finishings; the Rose Colour of the Lips ending by little and little, and uniting with the Flesh Colour of the Cheeks and Chin: The Neck was so strong and lively, that through its delicate Whiteness, one would think, one saw the Veins, and beat∣ing of the Arteries. In a word, this Piece was finished at a Rate, to make any Artist afraid of ever attempting any thing like it. 'Tis said besides, That he never made this lovely Lady sit for her Picture, but he had al∣ways some Body to Sing, or play upon some Instrument, with some Buffoons to make Sport, and keep her in good Humour, that the Picture might have nothing of that Pen∣siveness, which very often spoils the Painters whole Design; and accordingly this had an Air of Joy and Pleasantness, that rejoyced every one that saw it.

The Excellency of this, and other Works of this Noble Artist, made the whole City at last, desirous to have some Considerable Piece of his doing, which might Adorn the Pub∣lick,

and preserve the Memory of so great a Genius. Therefore the Great Council-Hall being newly Rebuilt, and the Architecture of it having been ordered by the Three fa∣mous Architects of those Days, Giulian of Saint Gallo, Simon Pollaivoli, called Chronaca, and Michel Angelo Buonarotti. It was by publick Decree of the Council, Ordered, that Leonardo Da Vinci should Paint it. Whereupon Piero Soderini, the then Gonfalaniero di Sustitia, agreed with him about it.

Leonardo having chosen for his Painting-Room, a Hall of Sancta Maria Novella, called, La Sala del Papa, begun a Cartoon there, and in it the Story of Niccolo Pinccinino, General to Philip, Duke of Milan; there amongst o∣ther things, he Drew a Troop of Horse, that Attacked a Foot Company, and put them to the Rout; where you might see the Rage and Fury of the Combatants in their Faces, and all their Actions: As also in the Horses themselves, two of which Rising an end, had fastned upon the Pikes, and Foot Soldiers,

one of which endeavouring with his Back, to shove off a Horse that presses upon him, lays hold of the Ensign, to get it out of the Hands of two others, who having each of them their Swords drawn in one Hand, and their other upon the Ensign, try to de∣fend it, against that first; and another Old Soldier in a Red Cap, who seems to threaten with a back blow, to cut off the Hands of those two, who had laid hold of the Ensign's Staff, and who with the fiercest Aptitude imaginable, try to keep their hold. There is besides, underneath the Horses Feet, two Figures shortned, who being closed, and one upon another, do all that is possible, the one with his Arm raised on high, and a Dagger in it, threatning present Death; and the other striving with his Arms and Legs, to avoid it. Great also is the Variety of dress, in which he has put his Figures with diffe∣rent Helmets, and other Arms; but chiefly his Mastery is great in the forms and Co∣lours of his Horses, which Leonardo always

made more Beautiful and Musculous, than any other Painter. The only Fault of this piece was, that thinking to Work in Oyl upon the Wall, he made so gross a Mixture for his first Couch, that his Colours began to sink in, which made him forsake the Work in that place.

Leonardo was of a very great Soul, and most Generous in all his Actions, not capable of suffering himself to be lessened, as appeared. When going once, as he used to do every Month, to receive his Allowance from the State, at the House of the Gonfaloniero Piero Soderini; the Treasurer would have made him take some of it in Rowls of Brass Far∣things, and other such Money, which he re∣fused: Telling the Treasurer, who took it ill, That he was no Farthing Painter. And when afterwards, Piero Soderini himself, let fall some Words, as if Leonardo had not dealt well with the State in his Bargain; he hear∣ing of it, got together by the means of his Friends, all the Money he had ever received

from the Publick, and carried it to Soderini, who nevertheless, refused to accept it.

At the Creation of Pope Leo, the 10th. he went to Rome with Duke Julian, of Medici, who was very much delighted with all Phi∣losophical Entertainments, particularly those of Chimistry; in which kind, Leonardo like∣wise had many fancyful Experiments. Such as to make a thin Composition of Wax, out of which he made little Animals, into which Blowing, they flew through the Air, as long as the Wind within them lasted.

Among other Capricious Amusements of his own Art, he bestowed the pains to fit Wings to a live Lizard, found in the Gar∣den of Belvedere, by the Gardener: The Wings were made of the Scales of other Li∣zards, mingled with Quick-silver, which made a strange Glittering and Shaking when the Lizard moved; then having made him Horns, and a Beard, he kept him Tame in a Box, and used to fright his Friends, with showing him of a sudden.

He used often likewise, to take Sheeps Guts, and cleanse them to that Thinness, that they would lie in the palm of his Hand: In another Room hard by his, he had placed a pair of Smiths Bellows, which putting into one end of the Sheeps Gut, he would blow them up to that Bigness, that they who were in the same Room, would be fained to get up into a Corner, the Guts appearing as Tran∣sparent as Glass. And this Leonardo used to say, was the best Emblem of Virtue, which while hid, lies in a little Room, but being once blow∣ed up by Fame, would fill the whole World. He had a Hundred of these Tricks. He busied himself in the Knowledg of Perspective, and Looking Glasses: He endeavoured likewise, by Mixtures and Distillings, to find out the best Oyls and Varnish, to preserve Pictures after they were made, but in that he often succeed∣ed ill; as he did particularly in a Picture of a Madonna, with her Child in her Arms, upon which he had bestowed infinite pains, to pre∣sent it to Signor Baldassari Turini, Datary to

Leo the Tenth; it is now much spoiled.

'Tis said, that being at Rome, and having undertaken a Piece for the Pope, he began pre∣sently to fall a Distilling of Herbs and Oyls for the Vernish: Which being told to Leo the Tenth, he cried out, alas, This Man will do nothing, for he begins at the wrong end.

There was a great Fewd between him and Mi∣chel Angelo Bonarti, in so much that Michel An∣gelo left Florence upon it, and went to Rome; and Leonardo then also went to France, where he was extreamly well received by the King, who had divers things of his Doing, and amongst the rest, the Cartoon of the Saint Anna, which he much desired might be Coloured by him. Leo∣nardo, according to his Custom, amused the King with promises a great while, till at last he fell Sick, and after many Months Indisposi∣tion, finding Death to draw near, he desired to be Informed of the Duties of a Good Chri∣stian; after which, with much show of Re∣pentance for his Sins, he would needs rise out of his Bed to receive the Eucharist; and

while he was in that attempt, the King, who often used to visit him, came in: Whereup∣on straining to shew his Respect to the King, he was taken with a fainting Fit, the fore∣runner of Death. In which, the King him∣self held his Head, while he Expired in the Arms of so Great a Prince, as the best time and place to give up a Soul so Divine as his was.

The Loss of Leonardo, was sensibly Regret∣ted by all that knew him, no Artist ever ha∣ving Honoured a Profession more than he did the Art of Painting. He added to the man∣ner of Colouring in Oyl, which was found out before his Time, a certain Darkness of Shadows, from whence the Moderns have learned to give great Relievo to their Figures. We have of him likewise, a most perfect Ana∣tomy of Men and Horses. He would have Excelled in Statuary likewise, if he had plea∣sed, for the Three fine Statues made by Fran∣cesco Rustici, and placed upon the Gate of Saint John's Church, are of Leonardo's Ordering, and

as good for Design and Casting, as any Mo∣dern ones we have.

He had for Disciple, Givoan Antonio Boltraffio, a Milaness, a Person very understanding in the Art, who in the Year 1500. Painted in the Church of the Misericordia at Bologna, a piece in Oyl; where was our Lady, with her Son in her Arms, Saint John Baptist, and Saint Sebastian, naked, and he that Caused it to be made, Drawn after the Life, upon his Knees. In it he Writ his Name, and added to it, Disciple of Leonardo Da Vinci; it is a fine Piece.

Marco Vgioni, was likewise his Schollar, who in Sancta Maria della Pace, Drew the Death of the Virgin Mary, and the Wedding of Cana in Galilee.