DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.48088#0470
LIONARDO DA VINCI. 53
plaster modelling of form and delicate gradation of light (in the manipulation of which Correggio
was the most accomplished master) with tender beauty, a gentle expression often bordering on
melancholy and enthusiasm, and with pleasing and graceful motion. Only occasionally in some
sketches and studies are there signs that the powerful nature of the Master could revel in
deformity. In his finished works, the influence of passion in expression and movement, and the
representation of power and strength are almost entirely absent, it is impossible to divine how
much of his own force Rubens may have added to the pathos and wildness of the original in
his copy of the Anghiari knights. In Lionardo, art appears in its perfection as the purified,
mild, and inspiring production of all enthusiastic mind, and a restless, unsatisfied life, he repre-
sents the mould which is broken away to permit a full view of the immortal beauty to which
it has given birth. His outward circumstances were brilliant, with the exception of a few passing
reverses. The salary he received in France was more than sufficient to maintain him in comfort,
and during his declining years he was free from debt.
On the 23rd of April, 1518, the aged Lionardo, feeling the approach of death, drew up his
will, which is still in existence, and is dated from Cloux near Amboise. After ordering a large
number of masses for himself, and arranging for a solemn and gorgeous funeral, he appointed
the Milanese nobleman, Francesco da Melzi, then twenty-eight years old, as the sole heir and
executor of his last testament. Melzi was to receive his books, instruments, and his Manuscripts,
which filled fifteen volumes. Most of these are now in the Ambrosian Library at Milan, and
some in the Institut de France “at Paris.” He divided his vineyard between his faithful servant
Battista de Villanis, and Andrea Salaino who has been already mentioned, who was famed for
his beauty, he is called “servitore” or servant. Villani also inherited the privilege of the use
of the canal water. Lionardos’ brother received a capital of 400 scudi deposited in a Florentine
bank. A servant maid and other poor people were also mentioned in the will. Melzi, with
expressions of the most touching affection, shared his inheritance with the Florentine relations
of Lionardo, who departed this life at the Castle of Cloux, attended by all the consolations of
the Church. Though endowed with the most wonderful gifts, his life was full of disappointments
and blasted hopes, and he rarely attained his exalted ideal.
Let us part from his venerable form with the quotation of two monumental records which
throw a clear and pleasing light on his mind and character.
The first is a Sonnet, the only poem written by himself, which has been preserved, and its
wise reflections are most characteristic of his manner of thought and feeling.—It bears tokens of
bitter self-irony, and closes with an expression of bad, yet submissive resignation. The following
is a modified translation, after Riemer.
“Let all thy power be subject to thy will,
“For will unserved by power is counted vain,
“And he alone to wisdom can attain,
“Who when he cannot, never says he will.
“This is the source of all our joy and ill,
“To know when we should will, and when refrain,
“And he alone can act, who can restrain,
“His wish, to a true knowledge of his skill.
“We dare not will all we have power to gain,
“That oft seems sweet which better proves to be,
“Oft has despair been followed by delight.
Art Treasures
14
plaster modelling of form and delicate gradation of light (in the manipulation of which Correggio
was the most accomplished master) with tender beauty, a gentle expression often bordering on
melancholy and enthusiasm, and with pleasing and graceful motion. Only occasionally in some
sketches and studies are there signs that the powerful nature of the Master could revel in
deformity. In his finished works, the influence of passion in expression and movement, and the
representation of power and strength are almost entirely absent, it is impossible to divine how
much of his own force Rubens may have added to the pathos and wildness of the original in
his copy of the Anghiari knights. In Lionardo, art appears in its perfection as the purified,
mild, and inspiring production of all enthusiastic mind, and a restless, unsatisfied life, he repre-
sents the mould which is broken away to permit a full view of the immortal beauty to which
it has given birth. His outward circumstances were brilliant, with the exception of a few passing
reverses. The salary he received in France was more than sufficient to maintain him in comfort,
and during his declining years he was free from debt.
On the 23rd of April, 1518, the aged Lionardo, feeling the approach of death, drew up his
will, which is still in existence, and is dated from Cloux near Amboise. After ordering a large
number of masses for himself, and arranging for a solemn and gorgeous funeral, he appointed
the Milanese nobleman, Francesco da Melzi, then twenty-eight years old, as the sole heir and
executor of his last testament. Melzi was to receive his books, instruments, and his Manuscripts,
which filled fifteen volumes. Most of these are now in the Ambrosian Library at Milan, and
some in the Institut de France “at Paris.” He divided his vineyard between his faithful servant
Battista de Villanis, and Andrea Salaino who has been already mentioned, who was famed for
his beauty, he is called “servitore” or servant. Villani also inherited the privilege of the use
of the canal water. Lionardos’ brother received a capital of 400 scudi deposited in a Florentine
bank. A servant maid and other poor people were also mentioned in the will. Melzi, with
expressions of the most touching affection, shared his inheritance with the Florentine relations
of Lionardo, who departed this life at the Castle of Cloux, attended by all the consolations of
the Church. Though endowed with the most wonderful gifts, his life was full of disappointments
and blasted hopes, and he rarely attained his exalted ideal.
Let us part from his venerable form with the quotation of two monumental records which
throw a clear and pleasing light on his mind and character.
The first is a Sonnet, the only poem written by himself, which has been preserved, and its
wise reflections are most characteristic of his manner of thought and feeling.—It bears tokens of
bitter self-irony, and closes with an expression of bad, yet submissive resignation. The following
is a modified translation, after Riemer.
“Let all thy power be subject to thy will,
“For will unserved by power is counted vain,
“And he alone to wisdom can attain,
“Who when he cannot, never says he will.
“This is the source of all our joy and ill,
“To know when we should will, and when refrain,
“And he alone can act, who can restrain,
“His wish, to a true knowledge of his skill.
“We dare not will all we have power to gain,
“That oft seems sweet which better proves to be,
“Oft has despair been followed by delight.
Art Treasures
14