the movements of the planets, the variations of the moon, and the course of the sun.
Having been placed then by Ser Piero in his childhood with Andrea Verrocchio, as we have said, to learn the art of the painter, that master was engaged on a picture the subject of which was San Giovanni baptizing Jesus Christ; in this Leonardo painted an angel holding some vestments; and although he was but a youth, he completed that figure in such a manner, that the angel of Leonardo was much better than the portion executed by his master, which caused the latter never to touch colours more,[1] so much was he displeased to find that a mere child could do more than himself.[2]
Leonardo received a commission to prepare the cartoon for the hangings of a door which was to be woven in silk and gold in Flanders, thence to be despatched to the king of Portugal; the subject was the sin of our first parents in Paradise: here the artist depicted a meadow in chiaro-scuro, the high lights being in white lead, displaying an immense variety of vegetation and numerous animals, respecting which it may be truly said, that for careful execution and fidelity to nature, they are such that there is no genius in the world, however God-like, which could produce similar objects with equal truth. In the fig-tree, for example, the foreshortening of the leaves, and the disposition of the branches are executed with so much care, that one finds it difficult to conceive how any man could have so much patience; there is besides a palm-tree, in which the roundness of the fan-like leaves is exhibited to such admirable perfection and with so much art, that nothing short of the genius and patience of Leonardo could have effected it: but the work for which the cartoon was prepared was never carried into execution, the drawing therefore remained in Florence, and is now in the fortunate house of the illustrious Ottaviano de’ Medici, to whom it was presented, no long time since, by the uncle of Leonardo.[3]
- ↑ The picture wherein Leonardo painted the Angel is now at Florence in the Academy of Fine Arts. The figures of Andrea are without doubt hard and dry, while the Angel of Leonardo is full of life and expression. —L. Schorn.
- ↑ See ante, p. 255.
- ↑ Of this cartoon no authentic account can now be obtained, it is believed to be lost.
