Civil Engineers

"His art took, thus, its guidance in realism, its purpose in spirituality. The search for truth and the desire for beauty were the twin ideals he strove to attain. The keenness of this pursuit saved him from the blemish of egoism which aloofness from his surroundings would otherwise have forced upon him. For his character presented the anomaly, peculiar to the Renaissance, of a lofty idealism coupled in action with irresponsibility of duty. He stood on a higher plane, his attitude toward life recognizing no claims on the part of his fellowmen. In his desire to surpass himself, fostered by this isolation of spirit and spurred on by the eager wish to attain universal knowledge, he has been compared to Faust; but the likeness is only half correct. He was not blind to the limitations which encompassed him, his very genius making him realize their bounds. Of the ancients he said that in attempting to define the nature of the soul, they sought the impossible. He wrote elsewhere, "It is the infinite alone that cannot be attained, for if it could it would become finite.""

"He was like a man who awoke too early in the darkness, while the others were all still asleep."

"Much as Leonardo da Vinci and other Renaissance artists used the revelations of human anatomy to help them depict the body more accurately and compellingly, so, too, many contemporary artists may create new forms of representation in response to revelations about how the brain works."

"Incredibly endowed both physically and mentally, he achieved greatness as a linguist, botanist, zoologist, anatomist, geologist, musician, sculptor, painter, architect, inventor, and engineer. Leonardo made quite a point of distrusting the knowledge that scholars professed so dogmatically. These men of book learning he described as strutting about puffed up and pompous, adorned not by their own labors but by the labors of others whose work they merely repeated... they did not deal with the real world."

"Leonardo did believe in the combination of theory and practice."

"Reading Leonardo one finds many statements suggesting that he was a learned mathematician and a profound philosopher who worked on the level of a professional mathematician. ...To pass beyond observation and experience there was for him only one trustworthy road through deceptions and mirages—mathematics. ...On the basis of such pronouncements, no doubt, Leonardo is often credited with being a greater mathematician than he actually was. When one examines Leonardo's notebooks one realizes how little he knew of mathematics and that his approach was empirical and intuitive."

"What thinker has ever possessed the cosmic vision so insistently? He sought to establish the essential unity of structure of all living things, the earth an organism with veins and arteries, the body of a man a type of that of the world."

"I sometimes dwell on the fact that there's one thing that time and humankind will not be able to take away from me, leaving me rich, richer than Croesus: the bliss that I derive from a Heine poem, from a Beethoven sonata or a DaVinci painting."

"The more the manuscripts of Leonardo are studied, the more one begins to see him not so much as a transcendent artist, but primarily as a man of science, whose skills and commissions as an artist and engineer enabled him to support his fascination with nature."

"Leonardo da Vinci commented, "By the ancients man has been called the world in miniature; and certainly this name is well bestowed because, inasmuch as man is composed of earth, water, air, and fire his body resembles that of the earth.""

"When that which loves is united to the thing beloved it can rest there; when the burden is laid down it finds rest there. There will be eternal fame also for the inhabitants of that town, constructed and enlarged by him."

"When the thing taken into union is perfectly adapted to that which receives it, the result is delight and pleasure and satisfaction."

"The lover is moved by the beloved object as the senses are by sensual objects; and they unite and become one and the same thing. The work is the first thing born of this union; if the thing loved is base the lover becomes base."

"It is ill to praise, and worse to reprimand in matters that you do not understand."

"It is bad if you praise, and worse if you reprove a thing, I mean, if you do not understand the matter well."

"He who walks straight rarely falls."

"Wherever good fortune enters, envy lays siege to the place and attacks it; and when it departs, sorrow and repentance remain behind."

"Threats alone are the weapons of the threatened man."

"Just as courage imperils life, fear protects it."

"Fear arises sooner than anything else."

"We are deceived by promises and time disappoints us..."

"Envy wounds with false accusations, that is with detraction, a thing which scares virtue."

"To speak well of a base man is much the same as speaking ill of a good man."

"Patience serves us against insults precisely as clothes do against the cold. For if you multiply your garments as the cold increases, that cold cannot hurt you; in the same way increase your patience under great offences, and they cannot hurt your feelings."

"Things severed shall be united and shall acquire of themselves such virtue that they shall restore to men their lost memory:—That is the papyrus sheets, which are formed out of several strips and preserve the memory of the thoughts and deeds of men."

"Feathers shall raise men towards the heaven even as they do the birds:—That is by the letters written by their quills."

"Happy will be those who give ear to the words of the dead:—The reading of good works and the observing of their precepts."

"Surely when a man is painting a picture he ought not refuse to hear any man's opinion... Since men are able to form a true judgement as to the works of nature, how much more does it behoove us to admit that they are able to judge our faults. Therefore you should be desirous of hearing patiently the opinions of others, and consider and reflect carefully whether or no he who censures you has reason for his censure; and correct your work if you find that he is right, but if not, then let it seem that you have not understood him, or, in case he is a man whom you esteem, show him by argument why it is that he is mistaken."

"Painting embraces and contains within itself all the things which nature produces or which results from the fortuitous actions of men... he is but a poor master who makes only a single figure well."

"You know that in an atmosphere of uniform density the most distant things seen through it, such as the mountains, in consequence of the great quantity of atmosphere which is between your eye and them, will appear blue. Therfore you should make the building... wall which is more distant less defined and bluer. ...five times as far away make five times as blue."

"When you wish to see whether the general effect of your picture corresponds with that of the object represented after nature, take a mirror and set it so that it reflects the actual thing, and then compare the reflection with your picture, and consider carefully whether the subject of the two images is in conformity with both, studying especially the mirror. The mirror ought to be taken as a guide... you see the picture made upon one plane showing things which appear in relief, and the mirror upon one plane does the same. The picture is on one single surface, and the mirror is the same. ...if you but know well how to compose your picture it will also seem a natural thing seen in a great mirror."

"If you wish to thoroughly accustom yourself to correct and good positions for your fingers, fasten a frame or a loom divided into squares by threads between your eye and the nude figure which you are representing, and then make the same squares upon the paper where you wish to draw the said nude but very faintly. You should then put a pellet of wax on a part of the network to serve as a mark which as you look at your model should always cover the pit of the throat, or if he should have turned his back make it cover one of the vertebrae of the neck. ...The squares you draw may be as much smaller than those of the network in proportion as you wish your figure to be less than life size..."

"Take a piece of glass of the size of a half sheet of royal folio paper, and fix it... between your eye and the object you wish to portray. Then move it away until your eye is two-thirds of a braccio away from the piece of glass, and fasten your head by means of an instrument in such a way as to prevent any movement of it whatsoever. Then close or cover up one eye, and with a brush or a piece of red chalk finely ground mark out on the glass what is visible beyond it; afterwards, copy it by tracing on paper from the glass, then prick it out upon paper of a better quality and paint it if you so desire, paying special attention to the aerial perspective."

"When you have drawn the same thing so many times that it seems that you know it by heart try to do it without the model; but having a tracing made of the model upon a thin piece of smooth glass and lay this upon the drawing you have made without the model. ...where you find that you have erred bear it in mind in order not to make the mistake again. ...if you cannot procure smooth glass to make a tracing... take a piece of very fine parchment well oiled and then dried, and when you have used it for for one drawing you can wipe this out with a sponge and do a second."

"I give the degrees of things seen by the eye as the musician does of the sounds heard by the ear."

"Whenever you make a figure of a man or of some graceful animal remember to avoid making it seem wooden; that is it should move with counterpoise and balance in such a way as not to seem a block of wood."

"Painting is concerned with all the ten attributes of sight, namely darkness and brightness, substance and colour, form and place, remoteness and nearness, movement and rest; and it is with these attributes that this my small book will be woven, recalling to the painter by what rules and in what way he ought by his art to imitate all things that are the work of nature and the adornment of the world."

"Impetus is a power of the mover applied in a movable thing which causes the movable thing to move after it is separated from its mover."

"No impetus created by any movement whatever can be immediately consumed, but if it finds an object which has a great resistance it consumes itself in a reflex movement."

"The properties of the air are such that it may become condensed or rarefied."

"That part of the air which is nearest to the wing which presses on it, will have the greatest density."

"It is always the under side of the branches of any plant that show themselves to the wind which strikes it, and one leans against the other."

"The function which the wing performs against the air when the air is motionless is the same as that of the air moved against the wings when these are without motion."

"The air which is struck with most swiftness by the movable thing is compressed to the greatest degree in itself."

"Swimming upon water teaches men how birds do upon the air."

"You will perhaps say that the sinews and muscles of a bird are incomparably more powerful than those of a man... But the reply to this is that such great strength gives it a reserve of power beyond what it ordinarily uses..."

"If you take as your pattern the wings of feathered birds, these are more powerful in structure of bone and sinew because they are penetrable, that is to say the feathers are separated from one another and the air passes through them. But the bat is aided by its membrane, which binds the whole together and is not penetrated by the air."

"Remember that your bird should have no other model than the bat, because its membranes serve as an armour or rather as a means of building together the pieces of its armour, that is the framework of the wings."

"Every body that is moved continues to move so long as the impression of the force of its mover is retained in it, therefore the movement of this wing with violence... will come to move the whole bird with it until the impetus of the moved air has been consumed."

"A bird makes the same use of wings and tail in the air as a swimmer does of his arms and legs in the water."