initial commit of ebook 7785HEADmain

5 files changed, 2512 insertions, 0 deletions

diff --git a/old/7ldvn10.txt b/old/7ldvn10.txt
new file mode 100644
index 0000000..0e399bd
--- /dev/null
+++ b/old/7ldvn10.txt
@@ -0,0 +1,1256 @@
+The Project Gutenberg EBook of Leonardo da Vinci, by Maurice W. Brockwell
+
+Copyright laws are changing all over the world. Be sure to check the
+copyright laws for your country before downloading or redistributing
+this or any other Project Gutenberg eBook.
+
+This header should be the first thing seen when viewing this Project
+Gutenberg file.  Please do not remove it.  Do not change or edit the
+header without written permission.
+
+Please read the "legal small print," and other information about the
+eBook and Project Gutenberg at the bottom of this file.  Included is
+important information about your specific rights and restrictions in
+how the file may be used.  You can also find out about how to make a
+donation to Project Gutenberg, and how to get involved.
+
+
+**Welcome To The World of Free Plain Vanilla Electronic Texts**
+
+**eBooks Readable By Both Humans and By Computers, Since 1971**
+
+*****These eBooks Were Prepared By Thousands of Volunteers!*****
+
+
+Title: Leonardo da Vinci
+
+Author: Maurice W. Brockwell
+
+Release Date: March, 2005 [EBook #7785]
+[Yes, we are more than one year ahead of schedule]
+[This file was first posted on May 16, 2003]
+
+Edition: 10
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THE PROJECT GUTENBERG EBOOK LEONARDO DA VINCI ***
+
+
+
+
+Produced by Juliet Sutherland, David Widger and the DP Team
+
+
+
+
+[Illustration: Plate 1-MONA LISA. Frontispiece
+
+In the Louvre. No. 1601. 2 ft 6 1 ins. By 1 ft. 9 ins. (0.77 x 0.53)]
+
+
+
+LEONARDO DA VINCI
+
+
+
+By MAURICE W. BROCKWELL
+
+
+
+Illustrated With Eight Reproductions in Colour
+
+[Illustration]
+
+
+"Leonardo," wrote an English critic as far back as 1721, "was a Man
+so happy in his genius, so consummate in his Profession, so
+accomplished in the Arts, so knowing in the Sciences, and withal, so
+much esteemed by the Age wherein he lived, his Works so highly
+applauded by the Ages which have succeeded, and his Name and Memory
+still preserved with so much Veneration by the present Age--that, if
+anything could equal the Merit of the Man, it must be the Success he
+met with. Moreover, 'tis not in Painting alone, but in Philosophy,
+too, that Leonardo surpassed all his Brethren of the 'Pencil.'"
+
+This admirable summary of the great Florentine painter's life's work
+still holds good to-day.
+
+
+
+
+CONTENTS
+
+His Birth
+His Early Training
+His Early Works
+First Visit to Milan
+In the East
+Back in Milan
+The Virgin of the Rocks
+The Last Supper
+The Court of Milan
+Leonardo Leaves Milan
+Mona Lisa
+Battle of Anghiari
+Again in Milan
+In Rome
+In France
+His Death
+His Art
+His Mind
+His Maxims
+His Spell
+His Descendants
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+Plate
+I. Mona Lisa
+  In the Louvre
+II. Annunciation
+  In the Uffizi Gallery, Florence
+III. Virgin of the Rocks
+  In the National Gallery, London
+IV. The Last Supper
+  In the Refectory of Santa Maria delle Grazie, Milan
+V. Copy of the Last Supper
+  In the Diploma Gallery, Burlington House
+VI. Head of Christ
+  In the Brera Gallery, Milan
+VII. Portrait (presumed) of Lucrezia Crivelli
+  In the Louvre
+VIII. Madonna, Infant Christ, and St Anne.
+  In the Louvre
+
+
+
+
+HIS BIRTH
+
+Leonardo Da Vinci, the many-sided genius of the Italian Renaissance,
+was born, as his name implies, at the little town of Vinci, which is
+about six miles from Empoli and twenty miles west of Florence. Vinci
+is still very inaccessible, and the only means of conveyance is the
+cart of a general carrier and postman, who sets out on his journey
+from Empoli at sunrise and sunset. Outside a house in the middle of
+the main street of Vinci to-day a modern and white-washed bust of the
+great artist is pointed to with much pride by the inhabitants.
+Leonardo's traditional birthplace on the outskirts of the town still
+exists, and serves now as the headquarters of a farmer and small wine
+exporter.
+
+Leonardo di Ser Piero d'Antonio di Ser Piero di Ser Guido da
+Vinci--for that was his full legal name--was the natural and
+first-born son of Ser Piero, a country notary, who, like his father,
+grandfather, and great-grandfather, followed that honourable
+vocation with distinction and success, and who subsequently--when
+Leonardo was a youth--was appointed notary to the Signoria of
+Florence. Leonardo's mother was one Caterina, who afterwards married
+Accabriga di Piero del Vaccha of Vinci.
+
+[Illustration: Plate II.--Annunciation
+
+In the Uffizi Gallery, Florence. No. 1288. 3 ft 3 ins. By 6 ft 11 ins.
+(0.99 x 2.18)
+
+Although this panel is included in the Uffizi Catalogue as being by
+Leonardo, it is in all probability by his master, Verrocchio.]
+
+The date of Leonardo's birth is not known with any certainty. His age
+is given as five in a taxation return made in 1457 by his grandfather
+Antonio, in whose house he was educated; it is therefore concluded
+that he was born in 1452. Leonardo's father Ser Piero, who afterwards
+married four times, had eleven children by his third and fourth wives.
+Is it unreasonable to suggest that Leonardo may have had these numbers
+in mind in 1496-1498 when he was painting in his famous "Last Supper"
+the figures of eleven Apostles and one outcast?
+
+However, Ser Piero seems to have legitimised his "love child" who very
+early showed promise of extraordinary talent and untiring energy.
+
+
+
+
+HIS EARLY TRAINING
+
+Practically nothing is known about Leonardo's boyhood, but Vasari
+informs us that Ser Piero, impressed with the remarkable character of
+his son's genius, took some of his drawings to Andrea del Verrocchio,
+an intimate friend, and begged him earnestly to express an opinion on
+them. Verrocchio was so astonished at the power they revealed that he
+advised Ser Piero to send Leonardo to study under him. Leonardo thus
+entered the studio of Andrea del Verrocchio about 1469-1470. In the
+workshop of that great Florentine sculptor, goldsmith, and artist he
+met other craftsmen, metal workers, and youthful painters, among whom
+was Botticelli, at that moment of his development a jovial
+_habitue_ of the Poetical Supper Club, who had not yet given any
+premonitions of becoming the poet, mystic, and visionary of later
+times. There also Leonardo came into contact with that unoriginal
+painter Lorenzo di Credi, his junior by seven years. He also, no
+doubt, met Perugino, whom Michelangelo called "that blockhead in art."
+The genius and versatility of the Vincian painter was, however, in no
+way dulled by intercourse with lesser artists than himself; on the
+contrary he vied with each in turn, and readily outstripped his fellow
+pupils. In 1472, at the age of twenty, he was admitted into the Guild
+of Florentine Painters.
+
+Unfortunately very few of Leonardo's paintings have come down to us.
+Indeed there do not exist a sufficient number of finished and
+absolutely authentic oil pictures from his own hand to afford
+illustrations for this short chronological sketch of his life's work.
+The few that do remain, however, are of so exquisite a quality--or
+were until they were "comforted" by the uninspired restorer--that we
+can unreservedly accept the enthusiastic records of tradition in
+respect of all his works. To rightly understand the essential
+characteristics of Leonardo's achievements it is necessary to
+regard him as a scientist quite as much as an artist, as a philosopher
+no less than a painter, and as a draughtsman rather than a colourist.
+There is hardly a branch of human learning to which he did not at
+one time or another give his eager attention, and he was engrossed in
+turn by the study of architecture--the foundation-stone of all true
+art--sculpture, mathematics, engineering and music. His versatility
+was unbounded, and we are apt to regret that this many-sided genius
+did not realise that it is by developing his power within certain
+limits that the great master is revealed. Leonardo may be described as
+the most Universal Genius of Christian times-perhaps of all time.
+
+[Illustration: PLATE III.-THE VIRGIN OF THE ROCKS
+
+In the National Gallery. No. 1093. 6 ft. 1 in. h. by 3 ft 9 1 in. w.
+(1.83 x 1.15)
+
+This picture was painted in Milan about 1495 by Ambrogio da Predis
+under the supervision and guidance of Leonardo da Vinci, the
+essential features of the composition being borrowed from the earlier
+"Vierge aux Rochers," now in the Louvre.]
+
+
+
+
+HIS EARLY WORKS
+
+To about the year 1472 belongs the small picture of the
+"Annunciation," now in the Louvre, which after being the subject of
+much contention among European critics has gradually won its way to
+general recognition as an early work by Leonardo himself. That it was
+painted in the studio of Verrocchio was always admitted, but it was
+long catalogued by the Louvre authorities under the name of Lorenzo di
+Credi. It is now, however, attributed to Leonardo (No. 1602 A). Such
+uncertainties as to attribution were common half a century ago when
+scientific art criticism was in its infancy.
+
+Another painting of the "Annunciation," which is now in the Uffizi
+Gallery (No. 1288) is still officially attributed to Leonardo. This
+small picture, which has been considerably repainted, and is perhaps
+by Andrea del Verrocchio, Leonardo's master, is the subject of Plate
+II.
+
+To January 1473 belongs Leonardo's earliest dated work, a pen-and-ink
+drawing--"A Wide View over a Plain," now in the Uffizi. The
+inscription together with the date in the top left-hand corner is
+reversed, and proves a remarkable characteristic of Leonardo's
+handwriting--viz., that he wrote from right to left; indeed, it has
+been suggested that he did this in order to make it difficult for any
+one else to read the words, which were frequently committed to paper
+by the aid of peculiar abbreviations.
+
+Leonardo continued to work in his master's studio till about 1477. On
+January 1st of the following year, 1478, he was commissioned to paint
+an altar-piece for the Chapel of St. Bernardo in the Palazzo Vecchio,
+and he was paid twenty-five florins on account. He, however, never
+carried out the work, and after waiting five years the Signoria
+transferred the commission to Domenico Ghirlandajo, who also failed to
+accomplish the task, which was ultimately, some seven years later,
+completed by Filippino Lippi. This panel of the "Madonna Enthroned,
+St. Victor, St. John Baptist, St. Bernard, and St. Zenobius," which is
+dated February 20, 1485, is now in the Uffizi.
+
+That Leonardo was by this time a facile draughtsman is evidenced by
+his vigorous pen-and-ink sketch--now in a private collection in
+Paris--of Bernardo Bandini, who in the Pazzi Conspiracy of April 1478
+stabbed Giuliano de' Medici to death in the Cathedral at Florence
+during High Mass. The drawing is dated December 29, 1479, the date of
+Bandini's public execution in Florence.
+
+In that year also, no doubt, was painted the early and, as might be
+expected, unfinished "St. Jerome in the Desert," now in the Vatican, the
+under-painting being in umber and _terraverte_. Its authenticity is
+vouched for not only by the internal evidence of the picture itself, but
+also by the similarity of treatment seen in a drawing in the Royal
+Library at Windsor. Cardinal Fesch, a princely collector in Rome in the
+early part of the nineteenth century, found part of the picture--the
+torso--being used as a box-cover in a shop in Rome. He long afterwards
+discovered in a shoemaker's shop a panel of the head which belonged to
+the torso. The jointed panel was eventually purchased by Pope Pius IX.,
+and added to the Vatican Collection.
+
+In March 1480 Leonardo was commissioned to paint an altar-piece for
+the monks of St. Donato at Scopeto, for which payment in advance was
+made to him. That he intended to carry out this contract seems most
+probable. He, however, never completed the picture, although it gave
+rise to the supremely beautiful cartoon of the "Adoration of the
+Magi," now in the Uffizi (No. 1252). As a matter of course it is
+unfinished, only the under-painting and the colouring of the figures
+in green on a brown ground having been executed. The rhythm of line,
+the variety of attitude, the profound feeling for landscape and an
+early application of chiaroscuro effect combine to render this one of
+his most characteristic productions.
+
+Vasari tells us that while Verrocchio was painting the "Baptism of
+Christ" he allowed Leonardo to paint in one of the attendant angels
+holding some vestments. This the pupil did so admirably that his
+remarkable genius clearly revealed itself, the angel which Leonardo
+painted being much better than the portion executed by his master.
+This "Baptism of Christ," which is now in the Accademia in Florence
+and is in a bad state of preservation, appears to have been a
+comparatively early work by Verrocchio, and to have been painted
+in 1480-1482, when Leonardo would be about thirty years of age.
+
+To about this period belongs the superb drawing of the "Warrior," now
+in the Malcolm Collection in the British Museum. This drawing may have
+been made while Leonardo still frequented the studio of Andrea del
+Verrocchio, who in 1479 was commissioned to execute the equestrian
+statue of Bartolommeo Colleoni, which was completed twenty years later
+and still adorns the Campo di San Giovanni e Paolo in Venice.
+
+
+
+
+FIRST VISIT TO MILAN
+
+
+About 1482 Leonardo entered the service of Ludovico Sforza, having
+first written to his future patron a full statement of his various
+abilities in the following terms:--
+
+"Having, most illustrious lord, seen and pondered over the experiments
+made by those who pass as masters in the art of inventing instruments
+of war, and having satisfied myself that they in no way differ from
+those in general use, I make so bold as to solicit, without prejudice
+to any one, an opportunity of informing your excellency of some of my
+own secrets."
+
+[Illustration: PLATE IV.-THE LAST SUPPER
+
+Refectory of St. Maria delle Grazie, Milan. About 13 feet
+8 ins. h. by 26 ft. 7 ins. w. (4.16 x 8.09)]
+
+He goes on to say that he can construct light bridges which can be
+transported, that he can make pontoons and scaling ladders, that he
+can construct cannon and mortars unlike those commonly used, as well
+as catapults and other engines of war; or if the fight should take
+place at sea that he can build engines which shall be suitable alike
+for defence as for attack, while in time of peace he can erect public
+and private buildings. Moreover, he urges that he can also execute
+sculpture in marble, bronze, or clay, and, with regard to painting,
+"can do as well as any one else, no matter who he may be." In
+conclusion, he offers to execute the proposed bronze equestrian statue
+of Francesco Sforza "which shall bring glory and never-ending honour
+to that illustrious house."
+
+It was about 1482, the probable date of Leonardo's migration from
+Florence to Milan, that he painted the "Vierge aux Rochers," now in
+the Louvre (No. 1599). It is an essentially Florentine picture, and
+although it has no pedigree earlier than 1625, when it was in the
+Royal Collection at Fontainebleau, it is undoubtedly much earlier and
+considerably more authentic than the "Virgin of the Rocks," now in the
+National Gallery (Plate III.).
+
+He certainly set to work about this time on the projected statue of
+Francesco Sforza, but probably then made very little progress with it.
+He may also in that year or the next have painted the lost portrait of
+Cecilia Gallerani, one of the mistresses of Ludovico Sforza. It has,
+however, been surmised that that lady's features are preserved to us
+in the "Lady with a Weasel," by Leonardo's pupil Boltraffio, which is
+now in the Czartoryski Collection at Cracow.
+
+
+
+
+IN THE EAST
+
+The absence of any record of Leonardo in Milan, or elsewhere in Italy,
+between 1483 and 1487 has led critics to the conclusion, based on
+documentary evidence of a somewhat complicated nature, that he spent
+those years in the service of the Sultan of Egypt, travelling in
+Armenia and the East as his engineer.
+
+
+
+BACK IN MILAN
+
+
+In 1487 he was again resident in Milan as general artificer--using
+that term in its widest sense--to Ludovico. Among his various
+activities at this period must be mentioned the designs he made for
+the cupola of the cathedral at Milan, and the scenery he constructed
+for "Il Paradiso," which was written by Bernardo Bellincioni on the
+occasion of the marriage of Gian Galeazzo with Isabella of Aragon.
+About 1489-1490 he began his celebrated "Treatise on Painting" and
+recommenced work on the colossal equestrian statue of Francesco
+Sforza, which was doubtless the greatest of all his achievements as a
+sculptor. It was, however, never cast in bronze, and was ruthlessly
+destroyed by the French bowmen in April 1500, on their occupation of
+Milan after the defeat of Ludovico at the battle of Novara. This is
+all the more regrettable as no single authentic piece of sculpture
+has come down to us from Leonardo's hand, and we can only judge of his
+power in this direction from his drawings, and the enthusiastic
+praise of his contemporaries.
+
+[Illustration: PLATE V.--COPY OF THE LAST SUPPER
+
+In the Diploma Gallery, Burlington House
+
+This copy is usually ascribed to Marco d'Oggiono, but some critics
+claim that it is by Gianpetrino. It is the same size as the original.]
+
+
+
+THE VIRGIN OF THE ROCKS
+
+
+The "Virgin of the Rocks" (Plate III.), now in the National Gallery,
+corresponds exactly with a painting by Leonardo which was described by
+Lomazzo about 1584 as being in the Chapel of the Conception in the
+Church of St. Francesco at Milan. This picture, the only _oeuvre_
+in this gallery with which Leonardo's name can be connected, was
+brought to England in 1777 by Gavin Hamilton, and sold by him to the
+Marquess of Lansdowne, who subsequently exchanged it for another
+picture in the Collection of the Earl of Suffolk at Charlton Park,
+Wiltshire, from whom it was eventually purchased by the National
+Gallery for L9000. Signor Emilio Motta, some fifteen years ago,
+unearthed in the State Archives of Milan a letter or memorial from
+Giovanni Ambrogio da Predis and Leonardo da Vinci to the Duke of
+Milan, praying him to intervene in a dispute, which had arisen between
+the petitioners and the Brotherhood of the Conception, with regard to
+the valuation of certain works of art furnished for the chapel of the
+Brotherhood in the church of St. Francesco. The only logical deduction
+which can be drawn from documentary evidence is that the "Vierge aux
+Rochers" in the Louvre is the picture, painted about 1482, which
+between 1491 and 1494 gave rise to the dispute, and that, when it was
+ultimately sold by the artists for the full price asked to some
+unknown buyer, the National Gallery version was executed for a
+smaller price mainly by Ambrogio da Predisunder the supervision, and
+with the help, of Leonardo to be placed in the Chapel of the
+Conception.
+
+The differences between the earlier, the more authentic, and the more
+characteristically Florentine "Vierge aux Rochers," in the Louvre, and
+the "Virgin of the Rocks," in the National Gallery, are that in the
+latter picture the hand of the angel, seated by the side of the Infant
+Christ, is raised and pointed in the direction of the little St. John
+the Baptist; that the St John has a reed cross and the three principal
+figures have gilt nimbi, which were, however, evidently added much
+later. In the National Gallery version the left hand of the Madonna,
+the Christ's right hand and arm, and the forehead of St. John the
+Baptist are freely restored, while a strip of the foreground right
+across the whole picture is ill painted and lacks accent. The head of
+the angel is, however, magnificently painted, and by Leonardo; the
+panel, taken as a whole, is exceedingly beautiful and full of charm
+and tenderness.
+
+
+
+
+THE LAST SUPPER
+
+Between 1496 and 1498 Leonardo painted his _chef d'oeuvre_, the
+"Last Supper," (Plate IV.) for the end wall of the Refectory of the
+Dominican Convent of S. Maria delle Grazie at Milan. It was originally
+executed in tempera on a badly prepared stucco ground and began to
+deteriorate a very few years after its completion. As early as 1556 it
+was half ruined. In 1652 the monks cut away a part of the fresco
+including the feet of the Christ to make a doorway. In 1726 one
+Michelangelo Belotti, an obscure Milanese painter, received L300 for
+the worthless labour he bestowed on restoring it. He seems to have
+employed some astringent restorative which revived the colours
+temporarily, and then left them in deeper eclipse than before. In 1770
+the fresco was again restored by Mazza. In 1796 Napoleon's cavalry,
+contrary to his express orders, turned the refectory into a stable,
+and pelted the heads of the figures with dirt. Subsequently the
+refectory was used to store hay, and at one time or another it has
+been flooded. In 1820 the fresco was again restored, and in 1854 this
+restoration was effaced. In October 1908 Professor Cavenaghi completed
+the delicate task of again restoring it, and has, in the opinion of
+experts, now preserved it from further injury. In addition, the
+devices of Ludovico and his Duchess and a considerable amount of
+floral decoration by Leonardo himself have been brought to light.
+
+Leonardo has succeeded in producing the effect of the _coup de
+theatre_ at the moment when Jesus said "One of you shall betray
+me." Instantly the various apostles realise that there is a traitor
+among their number, and show by their different gestures their
+different passions, and reveal their different temperaments. On the
+left of Christ is St. John who is overcome with grief and is
+interrogated by the impetuous Peter, near whom is seated Judas
+Iscariot who, while affecting the calm of innocence, is quite unable
+to conceal his inner feelings; he instinctively clasps the money-bag
+and in so doing upsets the salt-cellar.
+
+It will be remembered that the Prior of the Convent complained to
+Ludovico Sforza, Duke of Milan, that Leonardo was taking too long to
+paint the fresco and was causing the Convent considerable
+inconvenience. Leonardo had his revenge by threatening to paint the
+features of the impatient Prior into the face of  Judas Iscariot. The
+incident has been quaintly told in the following lines:--
+
+  "Padre Bandelli, then, complains of me
+  Because, forsooth, I have not drawn a line
+  Upon the Saviour's head; perhaps, then, he
+  Could without trouble paint that head divine.
+  But think, oh Signor Duca, what should be
+  The pure perfection of Our Saviour's face--
+  What sorrowing majesty, what noble grace,
+  At that dread moment when He brake the bread,
+  And those submissive words of pathos said:
+
+  "'By one among you I shall be betrayed,'--
+  And say if 'tis an easy task to find
+  Even among the best that walk this Earth,
+  The fitting type of that divinest worth,
+  That has its image solely in the mind.
+  Vainly my pencil struggles to express
+  The sorrowing grandeur of such holiness.
+  In patient thought, in ever-seeking prayer,
+  I strive to shape that glorious face within,
+  But the soul's mirror, dulled and dimmed by sin,
+  Reflects not yet the perfect image there.
+  Can the hand do before the soul has wrought;
+  Is not our art the servant of our thought?
+
+  "And Judas too, the basest face I see,
+  Will not contain his utter infamy;
+  Among the dregs and offal of mankind
+  Vainly I seek an utter wretch to find.
+  He who for thirty silver coins could sell
+  His Lord, must be the Devil's miracle.
+  Padre Bandelli thinks it easy is
+  To find the type of him who with a kiss
+  Betrayed his Lord. Well, what I can I'll do;
+  And if it please his reverence and you,
+  For Judas' face I'm willing to paint his."
+
+       *       *       *       *       *
+
+  "... I dare not paint
+  Till all is ordered and matured within,
+  Hand-work and head-work have an earthly taint,
+  But when the soul commands I shall begin;
+  On themes like these I should not dare to dwell
+  With our good Prior--they to him would be
+  Mere nonsense; he must touch and taste and see,
+  And facts, he says, are never mystical."
+
+[Illustration: PLATE VI.--THE HEAD OF CHRIST
+
+In the Brera Gallery, Milan. No. 280. 1 ft. 0-1/2 ins. by
+1 ft. 4 ins. (0.32 x 0.40)]
+
+The copy of the "Last Supper" (Plate V.) by Marco d'Oggiono, now in
+the Diploma Gallery at Burlington House, was made shortly after the
+original painting was completed. It gives but a faint echo of that
+sublime work "in which the ideal and the real were blended in perfect
+unity." This copy was long in the possession of the Carthusians in
+their Convent at Pavia, and, on the suppression of that Order and
+the sale of their effects in 1793, passed into the possession of a
+grocer at Milan. It was subsequently purchased for L600 by the Royal
+Academy on the advice of Sir Thomas Lawrence, who left no stone
+unturned to acquire also the original studies for the heads of the
+Apostles. Some of these in red and black chalk are now preserved
+in the Royal Library at Windsor, where there are in all 145 drawings
+by Leonardo.
+
+Several other old copies of the fresco exist, notably the one in the
+Louvre. Francis I. wished to remove the whole wall of the Refectory to
+Paris, but he was persuaded that that would be impossible; the
+Constable de Montmorency then had a copy made for the Chapel of the
+Chateau d'Ecouen, whence it ultimately passed to the Louvre.
+
+The singularly beautiful "Head of Christ" (Plate VI.), now in the
+Brera Gallery at Milan, is the original study for the head of the
+principal figure in the fresco painting of the "Last Supper." In
+spite of decay and restoration it expresses "the most elevated
+seriousness together with Divine Gentleness, pain on account of
+the faithlessness of His disciples, a full presentiment of His own
+death, and resignation to the will of His Father."
+
+
+
+THE COURT OF MILAN
+
+Ludovico, to whom Leonardo was now court-painter, had married Beatrice
+d'Este, in 1491, when she was only fifteen years of age. The young
+Duchess, who at one time owned as many as eighty-four splendid gowns,
+refused to wear a certain dress of woven gold, which her husband had
+given her, if Cecilia Gallerani, the Sappho of her day, continued to
+wear a very similar one, which presumably had been given to her by
+Ludovico. Having discarded Cecilia, who, as her tastes did not lie in
+the direction of the Convent, was married in 1491 to Count Ludovico
+Bergamini, the Duke in 1496 became enamoured of Lucrezia Crivelli, a
+lady-in-waiting to the Duchess Beatrice.
+
+Leonardo, as court painter, perhaps painted a portrait, now lost, of
+Lucrezia, whose features are more likely to be preserved to us in the
+portrait by Ambrogio da Predis, now in the Collection of the Earl of
+Roden, than in the quite unauthenticated portrait (Plate VII.), now in
+the Louvre (No. 1600).
+
+On January 2, 1497, Beatrice spent three hours in prayer in the church
+of St. Maria delle Grazie, and the same night gave birth to a
+stillborn child. In a few hours she passed away, and from that moment
+Ludovico was a changed man. He went daily to see her tomb, and was
+quite overcome with grief.
+
+In April 1498, Isabella d'Este, Beatrice's elder, more beautiful, and
+more graceful sister, "at the sound of whose name all the muses rise
+and do reverence" wrote to Cecilia Gallerani, or Bergamini, asking her
+to lend her the portrait which Leonardo had painted of her some
+fifteen years earlier, as she wished to compare it with a picture by
+Giovanni Bellini. Cecilia graciously lent the picture--now presumably
+lost--adding her regret that it no longer resembled her.
+
+
+
+LEONARDO LEAVES MILAN
+
+Among the last of Leonardo da Vinci's works in Milan towards the end
+of 1499 was, probably, the superb cartoon of "The Virgin and Child
+with St. Anne and St. John," now at Burlington House. Though little
+known to the general public, this large drawing on _carton_, or
+stiff paper, is one of the greatest of London's treasures, as it
+reveals the sweeping line of Leonardo's powerful draughtsmanship. It
+was in the Pompeo Leoni, Arconati, Casnedi, and Udney Collections
+before passing to the Royal Academy.
+
+In 1499 the stormy times in Milan foreboded the end of Ludovico's
+reign. In April of that year we read of his giving a vineyard to
+Leonardo; in September Ludovico had to leave Milan for the Tyrol to
+raise an army, and on the 14th of the same month the city was sold by
+Bernardino di Corte to the French, who occupied it from 1500 to 1512.
+Ludovico may well have had in mind the figure of the traitor in the
+"Last Supper" when he declared that "Since the days of Judas Iscariot
+there has never been so black a traitor as Bernardino di Corte." On
+October 6th Louis XII. entered the city. Before the end of the year
+Leonardo, realising the necessity for his speedy departure, sent six
+hundred gold florins by letter of exchange to Florence to be placed
+to his credit with the hospital of S. Maria Nuova.
+
+In the following year, Ludovico having been defeated at Novara,
+Leonardo was a homeless wanderer. He left Milan for Mantua, where he
+drew a portrait in chalk of Isabella d'Este, which is now in the
+Louvre. Leonardo eventually arrived in Florence about Easter 1500.
+After apparently working there in 1501 on a second Cartoon, similar in
+most respects to the one he had executed in Milan two years earlier,
+he travelled in Umbria, visiting Orvieto, Pesaro, Rimini, and other
+towns, acting as engineer and architect to Cesare Borgia, for whom he
+planned a navigable canal between Cesena and Porto Cese-natico.
+
+[Illustration: PLATE VII.-PORTRAIT (PRESUMED) OF LUCREZIA CRIVELLI
+
+In the Louvre. No. 1600 [483]. 2 ft by I ft 5 ins. (0.62 x 0.44)
+
+This picture, although officially attributed to Leonardo, is probably
+not by him, and almost certainly does not represent Lucrezia Crivelli.
+It was once known as a "Portrait of a Lady" and is still occasionally
+miscalled "La Belle Feronniere."]
+
+
+
+MONA LISA
+
+Early in 1503 he was back again in Florence, and set to work in
+earnest on the "Portrait of Mona Lisa" (Plate I.), now in the Louvre
+(No. 1601). Lisa di Anton Maria di Noldo Gherardini was the daughter
+of Antonio Gherardini. In 1495 she married Francesco di Bartolommeo de
+Zenobi del Giocondo. It is from the surname of her husband that she
+derives the name of "La Joconde," by which her portrait is officially
+known in the Louvre. Vasari is probably inaccurate in saying that
+Leonardo "loitered over it for four years, and finally left it
+unfinished." He may have begun it in the spring of 1501 and, probably
+owing to having taken service under Cesare Borgia in the following
+year, put it on one side, ultimately completing it after working on
+the "Battle of Anghiari" in 1504. Vasari's eulogy of this portrait may
+with advantage be quoted: "Whoever shall desire to see how far art can
+imitate nature may do so to perfection in this head, wherein every
+peculiarity that could be depicted by the utmost subtlety of the
+pencil has been faithfully reproduced. The eyes have the lustrous
+brightness and moisture which is seen in life, and around them are
+those pale, red, and slightly livid circles, also proper to nature.
+The nose, with its beautiful and delicately roseate nostrils, might be
+easily believed to be alive; the mouth, admirable in its outline, has
+the lips uniting the rose-tints of their colour with those of the
+face, in the utmost perfection, and the carnation of the cheek does
+not appear to be painted, but truly flesh and blood. He who looks
+earnestly at the pit of the throat cannot but believe that he sees the
+beating of the pulses. Mona Lisa was exceedingly beautiful, and while
+Leonardo was painting her portrait, he took the precaution of keeping
+some one constantly near her to sing or play on instruments, or to
+jest and otherwise amuse her."
+
+Leonardo painted this picture in the full maturity of his talent, and,
+although it is now little more than a monochrome owing to the free and
+merciless restoration to which it has been at times subjected, it must
+have created a wonderful impression on those who saw it in the early
+years of the sixteenth century. It is difficult for the unpractised
+eye to-day to form any idea of its original beauty. Leonardo has here
+painted this worldly-minded woman--her portrait is much more famous
+than she herself ever was--with a marvellous charm and suavity, a
+finesse of expression never reached before and hardly ever equalled
+since. Contrast the head of the Christ at Milan, Leonardo's conception
+of divinity expressed in perfect humanity, with the subtle and
+sphinx-like smile of this languorous creature.
+
+The landscape background, against which Mona Lisa is posed, recalls
+the severe, rather than exuberant, landscape and the dim vistas of
+mountain ranges seen in the neighbourhood of his own birthplace. The
+portrait was bought during the reign of Francis I. for a sum which is
+to-day equal to about L1800. Leonardo, by the way, does not seem to
+have been really affected by any individual affection for any woman,
+and, like Michelangelo and Raphael, never married.
+
+In January 4, 1504, Leonardo was one of the members of the Committee
+of Artists summoned to advise the Signoria as to the most suitable
+site for the erection of Michelangelo's statue of "David," which had
+recently been completed.
+
+
+
+
+BATTLE OF ANGHIARI
+
+In the following May he was commissioned by the Signoria to decorate
+one of the walls of the Council Hall of the Palazzo Vecchio. The
+subject he selected was the "Battle of Anghiari." Although he
+completed the cartoon, the only part of the composition which he
+eventually executed in colour was an incident in the foreground
+which dealt with the "Battle of the Standard." One of the many
+supposed copies of a study of this mural painting now hangs on the
+south-east staircase in the Victoria and Albert Museum. It depicts the
+Florentines under Cardinal Ludovico Mezzarota Scarampo fighting
+against the Milanese under Niccolo Piccinino, the General of Filippo
+Maria Visconti, on June 29, 1440.
+
+
+
+AGAIN IN MILAN
+
+Leonardo was back in Milan in May 1506 in the service of the French
+King, for whom he executed, apparently with the help of assistants,
+"the Madonna, the Infant Christ, and Saint Anne" (Plate VIII.). The
+composition of this oil-painting seems to have been built up on the
+second cartoon, which he had made some eight years earlier, and which
+was apparently taken to France in 1516 and ultimately lost.
+
+
+
+IN ROME
+
+From 1513-1515 he was in Rome, where Giovanni de' Medici had been
+elected Pope under the title of Leo X. He did not, however, work for
+the Pope, although he resided in the Vatican, his time being occupied
+in studying acoustics, anatomy, optics, geology, minerals,
+engineering, and geometry!
+
+
+
+IN FRANCE
+
+At last in 1516, three years before his death, Leonardo left his
+native land for France, where he received from Francis I. a princely
+income. His powers, however, had already begun to fail, and he
+produced very little in the country of his adoption. It is,
+nevertheless, only in the Louvre that his achievements as a painter
+can to-day be adequately studied.
+
+[Illustration: PLATE VIII.-MADONNA, INFANT CHRIST, AND ST. ANNE
+
+In the Louvre. No. 1508. 5 ft. 7 in. h. by 4 ft. 3 in. w. (1.70 x
+1.29)
+
+Painted between 1509 and 1516 with the help of assistants.]
+
+On October 10, 1516, when he was resident at the Manor House of Cloux
+near Amboise in Touraine with Francesco Melzi, his friend and
+assistant, he showed three of his pictures to the Cardinal of Aragon,
+but his right hand was now paralysed, and he could "no longer colour
+with that sweetness with which he was wont, although still able to
+make drawings and to teach others."
+
+It was no doubt in these closing years of his life that he drew the
+"Portrait of Himself" in red chalk, now at Turin, which is probably
+the only authentic portrait of him in existence.
+
+
+
+HIS DEATH
+
+On April 23, 1519--Easter Eve--exactly forty-five years before the
+birth of Shakespeare, Leonardo da Vinci made his will, and on May 2 of
+the same year he passed away.
+
+Vasari informs us that Leonardo, "having become old, lay sick for many
+months, and finding himself near death and being sustained in the arms
+of his servants and friends, devoutly received the Holy Sacrament. He
+was then seized with a paroxysm, the forerunner of death, when King
+Francis I., who was accustomed frequently and affectionately to visit
+him, rose and supported his head to give him such assistance and to do
+him such favour as he could in the hope of alleviating his sufferings.
+The spirit of Leonardo, which was most divine, conscious that he could
+attain to no greater honour, departed in the arms of the monarch,
+being at that time in the seventy-fifth year of his age." The not
+over-veracious chronicler, however, is here drawing largely upon his
+imagination. Leonardo was only sixty-seven years of age, and the King
+was in all probability on that date at St. Germain-en Laye!
+
+Thus died "Mr. Lionard de Vincy, the noble Milanese, painter,
+engineer, and architect to the King, State Mechanician" and "former
+Professor of Painting to the Duke of Milan."
+
+"May God Almighty grant him His eternal peace," wrote his friend and
+assistant Francesco Melzi. "Every one laments the loss of a man whose
+like Nature cannot produce a second time."
+
+
+
+HIS ART
+
+Leonardo, whose birth antedates that of Michelangelo and Raphael by
+twenty three and thirty-one years respectively, was thus in the
+forefront of the Florentine Renaissance, his life coinciding almost
+exactly with the best period of Tuscan painting.
+
+Leonardo was the first to investigate scientifically and to apply to
+art the laws of light and shade, though the preliminary investigations
+of Piero della Francesca deserve to be recorded.
+
+He observed with strict accuracy the subtleties of chiaroscuro--light
+and shade apart from colour; but, as one critic has pointed out, his
+gift of chiaroscuro cost the colour-life of many a noble picture.
+Leonardo was "a tonist, not a colourist," before whom the whole book
+of nature lay open.
+
+It was not instability of character but versatility of mind which
+caused him to undertake many things that having commenced he
+afterwards abandoned, and the probability is that as soon as he saw
+exactly how he could solve any difficulty which presented itself, he
+put on one side the merely perfunctory execution of such a task.
+
+In the Forster collection in the Victoria and Albert museum three of
+Leonardo's note-books with sketches are preserved, and it is stated
+that it was his practice to carry about with him, attached to his
+girdle, a little book for making sketches. They prove that he was
+left-handed and wrote from right to left.
+
+
+
+
+HIS MIND
+
+We can readily believe the statements of Benvenuto Cellini, the
+sixteenth-century Goldsmith, that Francis I. "did not believe
+that any other man had come into the world who had attained so great a
+knowledge as Leonardo, and that not only as sculptor, painter, and
+architect, for beyond that he was a profound philosopher." It was
+Cellini also who contended that "Leonardo da Vinci, Michelangelo, and
+Raphael are the Book of the World."
+
+Leonardo anticipated many eminent scientists and inventors in the
+methods of investigation which they adopted to solve the many problems
+with which their names are coupled. Among these may be cited
+Copernicus' theory of the earth's movement, Lamarck's classification
+of vertebrate and invertebrate animals, the laws of friction,
+the laws of combustion and respiration, the elevation of the
+continents, the laws of gravitation, the undulatory theory of light
+and heat, steam as a motive power in navigation, flying machines, the
+invention of the camera obscura, magnetic attraction, the use of the
+stone saw, the system of canalisation, breech loading cannon, the
+construction of fortifications, the circulation of the blood, the
+swimming belt, the wheelbarrow, the composition of explosives, the
+invention of paddle wheels, the smoke stack, the mincing machine! It
+is, therefore, easy to see why he called "Mechanics the Paradise
+of the Sciences."
+
+Leonardo was a SUPERMAN.
+
+
+
+
+HIS MAXIMS
+
+
+    The eye is the window of the soul.
+
+    Tears come from the heart and not from the brain.
+
+    The natural desire of good men is knowledge.
+
+    A beautiful body perishes, but a work of art dies not.
+
+    Every difficulty can be overcome by effort.
+
+    Time abides long enough for those who make use of it.
+
+    Miserable men, how often do you enslave yourselves
+    to gain money!
+
+
+
+
+HIS SPELL
+
+The influence of Leonardo was strongly felt in Milan, where he spent
+so many of the best years of his life and founded a School of
+painting. He was a close observer of the gradation and reflex of
+light, and was capable of giving to his discoveries a practical and
+aesthetic form. His strong personal character and the fascination of
+his genius enthralled his followers, who were satisfied to repeat his
+types, to perpetuate the "grey-hound eye," and to make use of his
+little devices. Among this group of painters may be mentioned
+Boltraffio, who perhaps painted the "Presumed Portrait of Lucrezia
+Crivelli" (Plate VII.), which is officially attributed in the Louvre
+to the great master himself.
+
+
+
+
+HIS DESCENDANTS
+
+
+Signor Uzielli has shown that one Tommaso da Vinci, a descendant of
+Domenico (one of Leonardo's brothers), was a few years ago a peasant
+at Bottinacio near Montespertoli, and had then in his possession the
+family papers, which now form part of the archives of the Accademia
+dei Lincei at Rome. It was proved also that Tommaso had given his
+eldest son "the glorious name of Leonardo."
+
+
+
+
+
+End of Project Gutenberg's Leonardo da Vinci, by Maurice W. Brockwell
+
+*** END OF THE PROJECT GUTENBERG EBOOK LEONARDO DA VINCI ***
+
+This file should be named 7ldvn10.txt or 7ldvn10.zip
+Corrected EDITIONS of our eBooks get a new NUMBER, 7ldvn11.txt
+VERSIONS based on separate sources get new LETTER, 7ldvn10a.txt
+
+Produced by Juliet Sutherland, David Widger and the DP Team
+
+Project Gutenberg eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the US
+unless a copyright notice is included.  Thus, we usually do not
+keep eBooks in compliance with any particular paper edition.
+
+We are now trying to release all our eBooks one year in advance
+of the official release dates, leaving time for better editing.
+Please be encouraged to tell us about any error or corrections,
+even years after the official publication date.
+
+Please note neither this listing nor its contents are final til
+midnight of the last day of the month of any such announcement.
+The official release date of all Project Gutenberg eBooks is at
+Midnight, Central Time, of the last day of the stated month.  A
+preliminary version may often be posted for suggestion, comment
+and editing by those who wish to do so.
+
+Most people start at our Web sites at:
+http://gutenberg.net or
+http://promo.net/pg
+
+These Web sites include award-winning information about Project
+Gutenberg, including how to donate, how to help produce our new
+eBooks, and how to subscribe to our email newsletter (free!).
+
+
+Those of you who want to download any eBook before announcement
+can get to them as follows, and just download by date.  This is
+also a good way to get them instantly upon announcement, as the
+indexes our cataloguers produce obviously take a while after an
+announcement goes out in the Project Gutenberg Newsletter.
+
+http://www.ibiblio.org/gutenberg/etext03 or
+ftp://ftp.ibiblio.org/pub/docs/books/gutenberg/etext03
+
+Or /etext02, 01, 00, 99, 98, 97, 96, 95, 94, 93, 92, 92, 91 or 90
+
+Just search by the first five letters of the filename you want,
+as it appears in our Newsletters.
+
+
+Information about Project Gutenberg (one page)
+
+We produce about two million dollars for each hour we work.  The
+time it takes us, a rather conservative estimate, is fifty hours
+to get any eBook selected, entered, proofread, edited, copyright
+searched and analyzed, the copyright letters written, etc.   Our
+projected audience is one hundred million readers.  If the value
+per text is nominally estimated at one dollar then we produce $2
+million dollars per hour in 2002 as we release over 100 new text
+files per month:  1240 more eBooks in 2001 for a total of 4000+
+We are already on our way to trying for 2000 more eBooks in 2002
+If they reach just 1-2% of the world's population then the total
+will reach over half a trillion eBooks given away by year's end.
+
+The Goal of Project Gutenberg is to Give Away 1 Trillion eBooks!
+This is ten thousand titles each to one hundred million readers,
+which is only about 4% of the present number of computer users.
+
+Here is the briefest record of our progress (* means estimated):
+
+eBooks Year Month
+
+    1  1971 July
+   10  1991 January
+  100  1994 January
+ 1000  1997 August
+ 1500  1998 October
+ 2000  1999 December
+ 2500  2000 December
+ 3000  2001 November
+ 4000  2001 October/November
+ 6000  2002 December*
+ 9000  2003 November*
+10000  2004 January*
+
+
+The Project Gutenberg Literary Archive Foundation has been created
+to secure a future for Project Gutenberg into the next millennium.
+
+We need your donations more than ever!
+
+As of February, 2002, contributions are being solicited from people
+and organizations in: Alabama, Alaska, Arkansas, Connecticut,
+Delaware, District of Columbia, Florida, Georgia, Hawaii, Illinois,
+Indiana, Iowa, Kansas, Kentucky, Louisiana, Maine, Massachusetts,
+Michigan, Mississippi, Missouri, Montana, Nebraska, Nevada, New
+Hampshire, New Jersey, New Mexico, New York, North Carolina, Ohio,
+Oklahoma, Oregon, Pennsylvania, Rhode Island, South Carolina, South
+Dakota, Tennessee, Texas, Utah, Vermont, Virginia, Washington, West
+Virginia, Wisconsin, and Wyoming.
+
+We have filed in all 50 states now, but these are the only ones
+that have responded.
+
+As the requirements for other states are met, additions to this list
+will be made and fund raising will begin in the additional states.
+Please feel free to ask to check the status of your state.
+
+In answer to various questions we have received on this:
+
+We are constantly working on finishing the paperwork to legally
+request donations in all 50 states.  If your state is not listed and
+you would like to know if we have added it since the list you have,
+just ask.
+
+While we cannot solicit donations from people in states where we are
+not yet registered, we know of no prohibition against accepting
+donations from donors in these states who approach us with an offer to
+donate.
+
+International donations are accepted, but we don't know ANYTHING about
+how to make them tax-deductible, or even if they CAN be made
+deductible, and don't have the staff to handle it even if there are
+ways.
+
+Donations by check or money order may be sent to:
+
+Project Gutenberg Literary Archive Foundation
+PMB 113
+1739 University Ave.
+Oxford, MS 38655-4109
+
+Contact us if you want to arrange for a wire transfer or payment
+method other than by check or money order.
+
+The Project Gutenberg Literary Archive Foundation has been approved by
+the US Internal Revenue Service as a 501(c)(3) organization with EIN
+[Employee Identification Number] 64-622154.  Donations are
+tax-deductible to the maximum extent permitted by law.  As fund-raising
+requirements for other states are met, additions to this list will be
+made and fund-raising will begin in the additional states.
+
+We need your donations more than ever!
+
+You can get up to date donation information online at:
+
+http://www.gutenberg.net/donation.html
+
+
+***
+
+If you can't reach Project Gutenberg,
+you can always email directly to:
+
+Michael S. Hart <hart@pobox.com>
+
+Prof. Hart will answer or forward your message.
+
+We would prefer to send you information by email.
+
+
+**The Legal Small Print**
+
+
+(Three Pages)
+
+***START**THE SMALL PRINT!**FOR PUBLIC DOMAIN EBOOKS**START***
+Why is this "Small Print!" statement here? You know: lawyers.
+They tell us you might sue us if there is something wrong with
+your copy of this eBook, even if you got it for free from
+someone other than us, and even if what's wrong is not our
+fault. So, among other things, this "Small Print!" statement
+disclaims most of our liability to you. It also tells you how
+you may distribute copies of this eBook if you want to.
+
+*BEFORE!* YOU USE OR READ THIS EBOOK
+By using or reading any part of this PROJECT GUTENBERG-tm
+eBook, you indicate that you understand, agree to and accept
+this "Small Print!" statement. If you do not, you can receive
+a refund of the money (if any) you paid for this eBook by
+sending a request within 30 days of receiving it to the person
+you got it from. If you received this eBook on a physical
+medium (such as a disk), you must return it with your request.
+
+ABOUT PROJECT GUTENBERG-TM EBOOKS
+This PROJECT GUTENBERG-tm eBook, like most PROJECT GUTENBERG-tm eBooks,
+is a "public domain" work distributed by Professor Michael S. Hart
+through the Project Gutenberg Association (the "Project").
+Among other things, this means that no one owns a United States copyright
+on or for this work, so the Project (and you!) can copy and
+distribute it in the United States without permission and
+without paying copyright royalties. Special rules, set forth
+below, apply if you wish to copy and distribute this eBook
+under the "PROJECT GUTENBERG" trademark.
+
+Please do not use the "PROJECT GUTENBERG" trademark to market
+any commercial products without permission.
+
+To create these eBooks, the Project expends considerable
+efforts to identify, transcribe and proofread public domain
+works. Despite these efforts, the Project's eBooks and any
+medium they may be on may contain "Defects". Among other
+things, Defects may take the form of incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other
+intellectual property infringement, a defective or damaged
+disk or other eBook medium, a computer virus, or computer
+codes that damage or cannot be read by your equipment.
+
+LIMITED WARRANTY; DISCLAIMER OF DAMAGES
+But for the "Right of Replacement or Refund" described below,
+[1] Michael Hart and the Foundation (and any other party you may
+receive this eBook from as a PROJECT GUTENBERG-tm eBook) disclaims
+all liability to you for damages, costs and expenses, including
+legal fees, and [2] YOU HAVE NO REMEDIES FOR NEGLIGENCE OR
+UNDER STRICT LIABILITY, OR FOR BREACH OF WARRANTY OR CONTRACT,
+INCLUDING BUT NOT LIMITED TO INDIRECT, CONSEQUENTIAL, PUNITIVE
+OR INCIDENTAL DAMAGES, EVEN IF YOU GIVE NOTICE OF THE
+POSSIBILITY OF SUCH DAMAGES.
+
+If you discover a Defect in this eBook within 90 days of
+receiving it, you can receive a refund of the money (if any)
+you paid for it by sending an explanatory note within that
+time to the person you received it from. If you received it
+on a physical medium, you must return it with your note, and
+such person may choose to alternatively give you a replacement
+copy. If you received it electronically, such person may
+choose to alternatively give you a second opportunity to
+receive it electronically.
+
+THIS EBOOK IS OTHERWISE PROVIDED TO YOU "AS-IS". NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, ARE MADE TO YOU AS
+TO THE EBOOK OR ANY MEDIUM IT MAY BE ON, INCLUDING BUT NOT
+LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A
+PARTICULAR PURPOSE.
+
+Some states do not allow disclaimers of implied warranties or
+the exclusion or limitation of consequential damages, so the
+above disclaimers and exclusions may not apply to you, and you
+may have other legal rights.
+
+INDEMNITY
+You will indemnify and hold Michael Hart, the Foundation,
+and its trustees and agents, and any volunteers associated
+with the production and distribution of Project Gutenberg-tm
+texts harmless, from all liability, cost and expense, including
+legal fees, that arise directly or indirectly from any of the
+following that you do or cause:  [1] distribution of this eBook,
+[2] alteration, modification, or addition to the eBook,
+or [3] any Defect.
+
+DISTRIBUTION UNDER "PROJECT GUTENBERG-tm"
+You may distribute copies of this eBook electronically, or by
+disk, book or any other medium if you either delete this
+"Small Print!" and all other references to Project Gutenberg,
+or:
+
+[1]  Only give exact copies of it.  Among other things, this
+     requires that you do not remove, alter or modify the
+     eBook or this "small print!" statement.  You may however,
+     if you wish, distribute this eBook in machine readable
+     binary, compressed, mark-up, or proprietary form,
+     including any form resulting from conversion by word
+     processing or hypertext software, but only so long as
+     *EITHER*:
+
+     [*]  The eBook, when displayed, is clearly readable, and
+          does *not* contain characters other than those
+          intended by the author of the work, although tilde
+          (~), asterisk (*) and underline (_) characters may
+          be used to convey punctuation intended by the
+          author, and additional characters may be used to
+          indicate hypertext links; OR
+
+     [*]  The eBook may be readily converted by the reader at
+          no expense into plain ASCII, EBCDIC or equivalent
+          form by the program that displays the eBook (as is
+          the case, for instance, with most word processors);
+          OR
+
+     [*]  You provide, or agree to also provide on request at
+          no additional cost, fee or expense, a copy of the
+          eBook in its original plain ASCII form (or in EBCDIC
+          or other equivalent proprietary form).
+
+[2]  Honor the eBook refund and replacement provisions of this
+     "Small Print!" statement.
+
+[3]  Pay a trademark license fee to the Foundation of 20% of the
+     gross profits you derive calculated using the method you
+     already use to calculate your applicable taxes.  If you
+     don't derive profits, no royalty is due.  Royalties are
+     payable to "Project Gutenberg Literary Archive Foundation"
+     the 60 days following each date you prepare (or were
+     legally required to prepare) your annual (or equivalent
+     periodic) tax return.  Please contact us beforehand to
+     let us know your plans and to work out the details.
+
+WHAT IF YOU *WANT* TO SEND MONEY EVEN IF YOU DON'T HAVE TO?
+Project Gutenberg is dedicated to increasing the number of
+public domain and licensed works that can be freely distributed
+in machine readable form.
+
+The Project gratefully accepts contributions of money, time,
+public domain materials, or royalty free copyright licenses.
+Money should be paid to the:
+"Project Gutenberg Literary Archive Foundation."
+
+If you are interested in contributing scanning equipment or
+software or other items, please contact Michael Hart at:
+hart@pobox.com
+
+[Portions of this eBook's header and trailer may be reprinted only
+when distributed free of all fees.  Copyright (C) 2001, 2002 by
+Michael S. Hart.  Project Gutenberg is a TradeMark and may not be
+used in any sales of Project Gutenberg eBooks or other materials be
+they hardware or software or any other related product without
+express permission.]
+
+*END THE SMALL PRINT! FOR PUBLIC DOMAIN EBOOKS*Ver.02/11/02*END*
+
diff --git a/old/7ldvn10.zip b/old/7ldvn10.zip
new file mode 100644
index 0000000..8bdd1e7
--- /dev/null
+++ b/old/7ldvn10.zip
diff --git a/old/8ldvn10.txt b/old/8ldvn10.txt
new file mode 100644
index 0000000..09cfa68
--- /dev/null
+++ b/old/8ldvn10.txt
@@ -0,0 +1,1256 @@
+The Project Gutenberg EBook of Leonardo da Vinci, by Maurice W. Brockwell
+
+Copyright laws are changing all over the world. Be sure to check the
+copyright laws for your country before downloading or redistributing
+this or any other Project Gutenberg eBook.
+
+This header should be the first thing seen when viewing this Project
+Gutenberg file.  Please do not remove it.  Do not change or edit the
+header without written permission.
+
+Please read the "legal small print," and other information about the
+eBook and Project Gutenberg at the bottom of this file.  Included is
+important information about your specific rights and restrictions in
+how the file may be used.  You can also find out about how to make a
+donation to Project Gutenberg, and how to get involved.
+
+
+**Welcome To The World of Free Plain Vanilla Electronic Texts**
+
+**eBooks Readable By Both Humans and By Computers, Since 1971**
+
+*****These eBooks Were Prepared By Thousands of Volunteers!*****
+
+
+Title: Leonardo da Vinci
+
+Author: Maurice W. Brockwell
+
+Release Date: March, 2005 [EBook #7785]
+[Yes, we are more than one year ahead of schedule]
+[This file was first posted on May 16, 2003]
+
+Edition: 10
+
+Language: English
+
+Character set encoding: iso-8859-1
+
+*** START OF THE PROJECT GUTENBERG EBOOK LEONARDO DA VINCI ***
+
+
+
+
+Produced by Juliet Sutherland, David Widger and the DP Team
+
+
+
+
+[Illustration: Plate 1—MONA LISA. Frontispiece
+
+In the Louvre. No. 1601. 2 ft 6 ½ ins. By 1 ft. 9 ins. (0.77 x 0.53)]
+
+
+
+LEONARDO DA VINCI
+
+
+
+By MAURICE W. BROCKWELL
+
+
+
+Illustrated With Eight Reproductions in Colour
+
+[Illustration]
+
+
+"Leonardo," wrote an English critic as far back as 1721, "was a Man
+so happy in his genius, so consummate in his Profession, so
+accomplished in the Arts, so knowing in the Sciences, and withal, so
+much esteemed by the Age wherein he lived, his Works so highly
+applauded by the Ages which have succeeded, and his Name and Memory
+still preserved with so much Veneration by the present Age--that, if
+anything could equal the Merit of the Man, it must be the Success he
+met with. Moreover, 'tis not in Painting alone, but in Philosophy,
+too, that Leonardo surpassed all his Brethren of the 'Pencil.'"
+
+This admirable summary of the great Florentine painter's life's work
+still holds good to-day.
+
+
+
+
+CONTENTS
+
+His Birth
+His Early Training
+His Early Works
+First Visit to Milan
+In the East
+Back in Milan
+The Virgin of the Rocks
+The Last Supper
+The Court of Milan
+Leonardo Leaves Milan
+Mona Lisa
+Battle of Anghiari
+Again in Milan
+In Rome
+In France
+His Death
+His Art
+His Mind
+His Maxims
+His Spell
+His Descendants
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+Plate
+I. Mona Lisa
+  In the Louvre
+II. Annunciation
+  In the Uffizi Gallery, Florence
+III. Virgin of the Rocks
+  In the National Gallery, London
+IV. The Last Supper
+  In the Refectory of Santa Maria delle Grazie, Milan
+V. Copy of the Last Supper
+  In the Diploma Gallery, Burlington House
+VI. Head of Christ
+  In the Brera Gallery, Milan
+VII. Portrait (presumed) of Lucrezia Crivelli
+  In the Louvre
+VIII. Madonna, Infant Christ, and St Anne.
+  In the Louvre
+
+
+
+
+HIS BIRTH
+
+Leonardo Da Vinci, the many-sided genius of the Italian Renaissance,
+was born, as his name implies, at the little town of Vinci, which is
+about six miles from Empoli and twenty miles west of Florence. Vinci
+is still very inaccessible, and the only means of conveyance is the
+cart of a general carrier and postman, who sets out on his journey
+from Empoli at sunrise and sunset. Outside a house in the middle of
+the main street of Vinci to-day a modern and white-washed bust of the
+great artist is pointed to with much pride by the inhabitants.
+Leonardo's traditional birthplace on the outskirts of the town still
+exists, and serves now as the headquarters of a farmer and small wine
+exporter.
+
+Leonardo di Ser Piero d'Antonio di Ser Piero di Ser Guido da
+Vinci--for that was his full legal name--was the natural and
+first-born son of Ser Piero, a country notary, who, like his father,
+grandfather, and great-grandfather, followed that honourable
+vocation with distinction and success, and who subsequently--when
+Leonardo was a youth--was appointed notary to the Signoria of
+Florence. Leonardo's mother was one Caterina, who afterwards married
+Accabriga di Piero del Vaccha of Vinci.
+
+[Illustration: Plate II.--Annunciation
+
+In the Uffizi Gallery, Florence. No. 1288. 3 ft 3 ins. By 6 ft 11 ins.
+(0.99 x 2.18)
+
+Although this panel is included in the Uffizi Catalogue as being by
+Leonardo, it is in all probability by his master, Verrocchio.]
+
+The date of Leonardo's birth is not known with any certainty. His age
+is given as five in a taxation return made in 1457 by his grandfather
+Antonio, in whose house he was educated; it is therefore concluded
+that he was born in 1452. Leonardo's father Ser Piero, who afterwards
+married four times, had eleven children by his third and fourth wives.
+Is it unreasonable to suggest that Leonardo may have had these numbers
+in mind in 1496-1498 when he was painting in his famous "Last Supper"
+the figures of eleven Apostles and one outcast?
+
+However, Ser Piero seems to have legitimised his "love child" who very
+early showed promise of extraordinary talent and untiring energy.
+
+
+
+
+HIS EARLY TRAINING
+
+Practically nothing is known about Leonardo's boyhood, but Vasari
+informs us that Ser Piero, impressed with the remarkable character of
+his son's genius, took some of his drawings to Andrea del Verrocchio,
+an intimate friend, and begged him earnestly to express an opinion on
+them. Verrocchio was so astonished at the power they revealed that he
+advised Ser Piero to send Leonardo to study under him. Leonardo thus
+entered the studio of Andrea del Verrocchio about 1469-1470. In the
+workshop of that great Florentine sculptor, goldsmith, and artist he
+met other craftsmen, metal workers, and youthful painters, among whom
+was Botticelli, at that moment of his development a jovial
+_habitué_ of the Poetical Supper Club, who had not yet given any
+premonitions of becoming the poet, mystic, and visionary of later
+times. There also Leonardo came into contact with that unoriginal
+painter Lorenzo di Credi, his junior by seven years. He also, no
+doubt, met Perugino, whom Michelangelo called "that blockhead in art."
+The genius and versatility of the Vincian painter was, however, in no
+way dulled by intercourse with lesser artists than himself; on the
+contrary he vied with each in turn, and readily outstripped his fellow
+pupils. In 1472, at the age of twenty, he was admitted into the Guild
+of Florentine Painters.
+
+Unfortunately very few of Leonardo's paintings have come down to us.
+Indeed there do not exist a sufficient number of finished and
+absolutely authentic oil pictures from his own hand to afford
+illustrations for this short chronological sketch of his life's work.
+The few that do remain, however, are of so exquisite a quality--or
+were until they were "comforted" by the uninspired restorer--that we
+can unreservedly accept the enthusiastic records of tradition in
+respect of all his works. To rightly understand the essential
+characteristics of Leonardo's achievements it is necessary to
+regard him as a scientist quite as much as an artist, as a philosopher
+no less than a painter, and as a draughtsman rather than a colourist.
+There is hardly a branch of human learning to which he did not at
+one time or another give his eager attention, and he was engrossed in
+turn by the study of architecture--the foundation-stone of all true
+art--sculpture, mathematics, engineering and music. His versatility
+was unbounded, and we are apt to regret that this many-sided genius
+did not realise that it is by developing his power within certain
+limits that the great master is revealed. Leonardo may be described as
+the most Universal Genius of Christian times-perhaps of all time.
+
+[Illustration: PLATE III.-THE VIRGIN OF THE ROCKS
+
+In the National Gallery. No. 1093. 6 ft. ½ in. h. by 3 ft 9 ½ in. w.
+(1.83 x 1.15)
+
+This picture was painted in Milan about 1495 by Ambrogio da Predis
+under the supervision and guidance of Leonardo da Vinci, the
+essential features of the composition being borrowed from the earlier
+"Vierge aux Rochers," now in the Louvre.]
+
+
+
+
+HIS EARLY WORKS
+
+To about the year 1472 belongs the small picture of the
+"Annunciation," now in the Louvre, which after being the subject of
+much contention among European critics has gradually won its way to
+general recognition as an early work by Leonardo himself. That it was
+painted in the studio of Verrocchio was always admitted, but it was
+long catalogued by the Louvre authorities under the name of Lorenzo di
+Credi. It is now, however, attributed to Leonardo (No. 1602 A). Such
+uncertainties as to attribution were common half a century ago when
+scientific art criticism was in its infancy.
+
+Another painting of the "Annunciation," which is now in the Uffizi
+Gallery (No. 1288) is still officially attributed to Leonardo. This
+small picture, which has been considerably repainted, and is perhaps
+by Andrea del Verrocchio, Leonardo's master, is the subject of Plate
+II.
+
+To January 1473 belongs Leonardo's earliest dated work, a pen-and-ink
+drawing--"A Wide View over a Plain," now in the Uffizi. The
+inscription together with the date in the top left-hand corner is
+reversed, and proves a remarkable characteristic of Leonardo's
+handwriting--viz., that he wrote from right to left; indeed, it has
+been suggested that he did this in order to make it difficult for any
+one else to read the words, which were frequently committed to paper
+by the aid of peculiar abbreviations.
+
+Leonardo continued to work in his master's studio till about 1477. On
+January 1st of the following year, 1478, he was commissioned to paint
+an altar-piece for the Chapel of St. Bernardo in the Palazzo Vecchio,
+and he was paid twenty-five florins on account. He, however, never
+carried out the work, and after waiting five years the Signoria
+transferred the commission to Domenico Ghirlandajo, who also failed to
+accomplish the task, which was ultimately, some seven years later,
+completed by Filippino Lippi. This panel of the "Madonna Enthroned,
+St. Victor, St. John Baptist, St. Bernard, and St. Zenobius," which is
+dated February 20, 1485, is now in the Uffizi.
+
+That Leonardo was by this time a facile draughtsman is evidenced by
+his vigorous pen-and-ink sketch--now in a private collection in
+Paris--of Bernardo Bandini, who in the Pazzi Conspiracy of April 1478
+stabbed Giuliano de' Medici to death in the Cathedral at Florence
+during High Mass. The drawing is dated December 29, 1479, the date of
+Bandini's public execution in Florence.
+
+In that year also, no doubt, was painted the early and, as might be
+expected, unfinished "St. Jerome in the Desert," now in the Vatican, the
+under-painting being in umber and _terraverte_. Its authenticity is
+vouched for not only by the internal evidence of the picture itself, but
+also by the similarity of treatment seen in a drawing in the Royal
+Library at Windsor. Cardinal Fesch, a princely collector in Rome in the
+early part of the nineteenth century, found part of the picture--the
+torso--being used as a box-cover in a shop in Rome. He long afterwards
+discovered in a shoemaker's shop a panel of the head which belonged to
+the torso. The jointed panel was eventually purchased by Pope Pius IX.,
+and added to the Vatican Collection.
+
+In March 1480 Leonardo was commissioned to paint an altar-piece for
+the monks of St. Donato at Scopeto, for which payment in advance was
+made to him. That he intended to carry out this contract seems most
+probable. He, however, never completed the picture, although it gave
+rise to the supremely beautiful cartoon of the "Adoration of the
+Magi," now in the Uffizi (No. 1252). As a matter of course it is
+unfinished, only the under-painting and the colouring of the figures
+in green on a brown ground having been executed. The rhythm of line,
+the variety of attitude, the profound feeling for landscape and an
+early application of chiaroscuro effect combine to render this one of
+his most characteristic productions.
+
+Vasari tells us that while Verrocchio was painting the "Baptism of
+Christ" he allowed Leonardo to paint in one of the attendant angels
+holding some vestments. This the pupil did so admirably that his
+remarkable genius clearly revealed itself, the angel which Leonardo
+painted being much better than the portion executed by his master.
+This "Baptism of Christ," which is now in the Accademia in Florence
+and is in a bad state of preservation, appears to have been a
+comparatively early work by Verrocchio, and to have been painted
+in 1480-1482, when Leonardo would be about thirty years of age.
+
+To about this period belongs the superb drawing of the "Warrior," now
+in the Malcolm Collection in the British Museum. This drawing may have
+been made while Leonardo still frequented the studio of Andrea del
+Verrocchio, who in 1479 was commissioned to execute the equestrian
+statue of Bartolommeo Colleoni, which was completed twenty years later
+and still adorns the Campo di San Giovanni e Paolo in Venice.
+
+
+
+
+FIRST VISIT TO MILAN
+
+
+About 1482 Leonardo entered the service of Ludovico Sforza, having
+first written to his future patron a full statement of his various
+abilities in the following terms:--
+
+"Having, most illustrious lord, seen and pondered over the experiments
+made by those who pass as masters in the art of inventing instruments
+of war, and having satisfied myself that they in no way differ from
+those in general use, I make so bold as to solicit, without prejudice
+to any one, an opportunity of informing your excellency of some of my
+own secrets."
+
+[Illustration: PLATE IV.-THE LAST SUPPER
+
+Refectory of St. Maria delle Grazie, Milan. About 13 feet
+8 ins. h. by 26 ft. 7 ins. w. (4.16 x 8.09)]
+
+He goes on to say that he can construct light bridges which can be
+transported, that he can make pontoons and scaling ladders, that he
+can construct cannon and mortars unlike those commonly used, as well
+as catapults and other engines of war; or if the fight should take
+place at sea that he can build engines which shall be suitable alike
+for defence as for attack, while in time of peace he can erect public
+and private buildings. Moreover, he urges that he can also execute
+sculpture in marble, bronze, or clay, and, with regard to painting,
+"can do as well as any one else, no matter who he may be." In
+conclusion, he offers to execute the proposed bronze equestrian statue
+of Francesco Sforza "which shall bring glory and never-ending honour
+to that illustrious house."
+
+It was about 1482, the probable date of Leonardo's migration from
+Florence to Milan, that he painted the "Vierge aux Rochers," now in
+the Louvre (No. 1599). It is an essentially Florentine picture, and
+although it has no pedigree earlier than 1625, when it was in the
+Royal Collection at Fontainebleau, it is undoubtedly much earlier and
+considerably more authentic than the "Virgin of the Rocks," now in the
+National Gallery (Plate III.).
+
+He certainly set to work about this time on the projected statue of
+Francesco Sforza, but probably then made very little progress with it.
+He may also in that year or the next have painted the lost portrait of
+Cecilia Gallerani, one of the mistresses of Ludovico Sforza. It has,
+however, been surmised that that lady's features are preserved to us
+in the "Lady with a Weasel," by Leonardo's pupil Boltraffio, which is
+now in the Czartoryski Collection at Cracow.
+
+
+
+
+IN THE EAST
+
+The absence of any record of Leonardo in Milan, or elsewhere in Italy,
+between 1483 and 1487 has led critics to the conclusion, based on
+documentary evidence of a somewhat complicated nature, that he spent
+those years in the service of the Sultan of Egypt, travelling in
+Armenia and the East as his engineer.
+
+
+
+BACK IN MILAN
+
+
+In 1487 he was again resident in Milan as general artificer--using
+that term in its widest sense--to Ludovico. Among his various
+activities at this period must be mentioned the designs he made for
+the cupola of the cathedral at Milan, and the scenery he constructed
+for "Il Paradiso," which was written by Bernardo Bellincioni on the
+occasion of the marriage of Gian Galeazzo with Isabella of Aragon.
+About 1489-1490 he began his celebrated "Treatise on Painting" and
+recommenced work on the colossal equestrian statue of Francesco
+Sforza, which was doubtless the greatest of all his achievements as a
+sculptor. It was, however, never cast in bronze, and was ruthlessly
+destroyed by the French bowmen in April 1500, on their occupation of
+Milan after the defeat of Ludovico at the battle of Novara. This is
+all the more regrettable as no single authentic piece of sculpture
+has come down to us from Leonardo's hand, and we can only judge of his
+power in this direction from his drawings, and the enthusiastic
+praise of his contemporaries.
+
+[Illustration: PLATE V.--COPY OF THE LAST SUPPER
+
+In the Diploma Gallery, Burlington House
+
+This copy is usually ascribed to Marco d'Oggiono, but some critics
+claim that it is by Gianpetrino. It is the same size as the original.]
+
+
+
+THE VIRGIN OF THE ROCKS
+
+
+The "Virgin of the Rocks" (Plate III.), now in the National Gallery,
+corresponds exactly with a painting by Leonardo which was described by
+Lomazzo about 1584 as being in the Chapel of the Conception in the
+Church of St. Francesco at Milan. This picture, the only _oeuvre_
+in this gallery with which Leonardo's name can be connected, was
+brought to England in 1777 by Gavin Hamilton, and sold by him to the
+Marquess of Lansdowne, who subsequently exchanged it for another
+picture in the Collection of the Earl of Suffolk at Charlton Park,
+Wiltshire, from whom it was eventually purchased by the National
+Gallery for £9000. Signor Emilio Motta, some fifteen years ago,
+unearthed in the State Archives of Milan a letter or memorial from
+Giovanni Ambrogio da Predis and Leonardo da Vinci to the Duke of
+Milan, praying him to intervene in a dispute, which had arisen between
+the petitioners and the Brotherhood of the Conception, with regard to
+the valuation of certain works of art furnished for the chapel of the
+Brotherhood in the church of St. Francesco. The only logical deduction
+which can be drawn from documentary evidence is that the "Vierge aux
+Rochers" in the Louvre is the picture, painted about 1482, which
+between 1491 and 1494 gave rise to the dispute, and that, when it was
+ultimately sold by the artists for the full price asked to some
+unknown buyer, the National Gallery version was executed for a
+smaller price mainly by Ambrogio da Predisunder the supervision, and
+with the help, of Leonardo to be placed in the Chapel of the
+Conception.
+
+The differences between the earlier, the more authentic, and the more
+characteristically Florentine "Vierge aux Rochers," in the Louvre, and
+the "Virgin of the Rocks," in the National Gallery, are that in the
+latter picture the hand of the angel, seated by the side of the Infant
+Christ, is raised and pointed in the direction of the little St. John
+the Baptist; that the St John has a reed cross and the three principal
+figures have gilt nimbi, which were, however, evidently added much
+later. In the National Gallery version the left hand of the Madonna,
+the Christ's right hand and arm, and the forehead of St. John the
+Baptist are freely restored, while a strip of the foreground right
+across the whole picture is ill painted and lacks accent. The head of
+the angel is, however, magnificently painted, and by Leonardo; the
+panel, taken as a whole, is exceedingly beautiful and full of charm
+and tenderness.
+
+
+
+
+THE LAST SUPPER
+
+Between 1496 and 1498 Leonardo painted his _chef d'oeuvre_, the
+"Last Supper," (Plate IV.) for the end wall of the Refectory of the
+Dominican Convent of S. Maria delle Grazie at Milan. It was originally
+executed in tempera on a badly prepared stucco ground and began to
+deteriorate a very few years after its completion. As early as 1556 it
+was half ruined. In 1652 the monks cut away a part of the fresco
+including the feet of the Christ to make a doorway. In 1726 one
+Michelangelo Belotti, an obscure Milanese painter, received £300 for
+the worthless labour he bestowed on restoring it. He seems to have
+employed some astringent restorative which revived the colours
+temporarily, and then left them in deeper eclipse than before. In 1770
+the fresco was again restored by Mazza. In 1796 Napoleon's cavalry,
+contrary to his express orders, turned the refectory into a stable,
+and pelted the heads of the figures with dirt. Subsequently the
+refectory was used to store hay, and at one time or another it has
+been flooded. In 1820 the fresco was again restored, and in 1854 this
+restoration was effaced. In October 1908 Professor Cavenaghi completed
+the delicate task of again restoring it, and has, in the opinion of
+experts, now preserved it from further injury. In addition, the
+devices of Ludovico and his Duchess and a considerable amount of
+floral decoration by Leonardo himself have been brought to light.
+
+Leonardo has succeeded in producing the effect of the _coup de
+théâtre_ at the moment when Jesus said "One of you shall betray
+me." Instantly the various apostles realise that there is a traitor
+among their number, and show by their different gestures their
+different passions, and reveal their different temperaments. On the
+left of Christ is St. John who is overcome with grief and is
+interrogated by the impetuous Peter, near whom is seated Judas
+Iscariot who, while affecting the calm of innocence, is quite unable
+to conceal his inner feelings; he instinctively clasps the money-bag
+and in so doing upsets the salt-cellar.
+
+It will be remembered that the Prior of the Convent complained to
+Ludovico Sforza, Duke of Milan, that Leonardo was taking too long to
+paint the fresco and was causing the Convent considerable
+inconvenience. Leonardo had his revenge by threatening to paint the
+features of the impatient Prior into the face of  Judas Iscariot. The
+incident has been quaintly told in the following lines:--
+
+  "Padre Bandelli, then, complains of me
+  Because, forsooth, I have not drawn a line
+  Upon the Saviour's head; perhaps, then, he
+  Could without trouble paint that head divine.
+  But think, oh Signor Duca, what should be
+  The pure perfection of Our Saviour's face--
+  What sorrowing majesty, what noble grace,
+  At that dread moment when He brake the bread,
+  And those submissive words of pathos said:
+
+  "'By one among you I shall be betrayed,'--
+  And say if 'tis an easy task to find
+  Even among the best that walk this Earth,
+  The fitting type of that divinest worth,
+  That has its image solely in the mind.
+  Vainly my pencil struggles to express
+  The sorrowing grandeur of such holiness.
+  In patient thought, in ever-seeking prayer,
+  I strive to shape that glorious face within,
+  But the soul's mirror, dulled and dimmed by sin,
+  Reflects not yet the perfect image there.
+  Can the hand do before the soul has wrought;
+  Is not our art the servant of our thought?
+
+  "And Judas too, the basest face I see,
+  Will not contain his utter infamy;
+  Among the dregs and offal of mankind
+  Vainly I seek an utter wretch to find.
+  He who for thirty silver coins could sell
+  His Lord, must be the Devil's miracle.
+  Padre Bandelli thinks it easy is
+  To find the type of him who with a kiss
+  Betrayed his Lord. Well, what I can I'll do;
+  And if it please his reverence and you,
+  For Judas' face I'm willing to paint his."
+
+       *       *       *       *       *
+
+  "... I dare not paint
+  Till all is ordered and matured within,
+  Hand-work and head-work have an earthly taint,
+  But when the soul commands I shall begin;
+  On themes like these I should not dare to dwell
+  With our good Prior--they to him would be
+  Mere nonsense; he must touch and taste and see,
+  And facts, he says, are never mystical."
+
+[Illustration: PLATE VI.--THE HEAD OF CHRIST
+
+In the Brera Gallery, Milan. No. 280. 1 ft. 0-1/2 ins. by
+1 ft. 4 ins. (0.32 x 0.40)]
+
+The copy of the "Last Supper" (Plate V.) by Marco d'Oggiono, now in
+the Diploma Gallery at Burlington House, was made shortly after the
+original painting was completed. It gives but a faint echo of that
+sublime work "in which the ideal and the real were blended in perfect
+unity." This copy was long in the possession of the Carthusians in
+their Convent at Pavia, and, on the suppression of that Order and
+the sale of their effects in 1793, passed into the possession of a
+grocer at Milan. It was subsequently purchased for £600 by the Royal
+Academy on the advice of Sir Thomas Lawrence, who left no stone
+unturned to acquire also the original studies for the heads of the
+Apostles. Some of these in red and black chalk are now preserved
+in the Royal Library at Windsor, where there are in all 145 drawings
+by Leonardo.
+
+Several other old copies of the fresco exist, notably the one in the
+Louvre. Francis I. wished to remove the whole wall of the Refectory to
+Paris, but he was persuaded that that would be impossible; the
+Constable de Montmorency then had a copy made for the Chapel of the
+Château d'Ecouen, whence it ultimately passed to the Louvre.
+
+The singularly beautiful "Head of Christ" (Plate VI.), now in the
+Brera Gallery at Milan, is the original study for the head of the
+principal figure in the fresco painting of the "Last Supper." In
+spite of decay and restoration it expresses "the most elevated
+seriousness together with Divine Gentleness, pain on account of
+the faithlessness of His disciples, a full presentiment of His own
+death, and resignation to the will of His Father."
+
+
+
+THE COURT OF MILAN
+
+Ludovico, to whom Leonardo was now court-painter, had married Beatrice
+d'Este, in 1491, when she was only fifteen years of age. The young
+Duchess, who at one time owned as many as eighty-four splendid gowns,
+refused to wear a certain dress of woven gold, which her husband had
+given her, if Cecilia Gallerani, the Sappho of her day, continued to
+wear a very similar one, which presumably had been given to her by
+Ludovico. Having discarded Cecilia, who, as her tastes did not lie in
+the direction of the Convent, was married in 1491 to Count Ludovico
+Bergamini, the Duke in 1496 became enamoured of Lucrezia Crivelli, a
+lady-in-waiting to the Duchess Beatrice.
+
+Leonardo, as court painter, perhaps painted a portrait, now lost, of
+Lucrezia, whose features are more likely to be preserved to us in the
+portrait by Ambrogio da Predis, now in the Collection of the Earl of
+Roden, than in the quite unauthenticated portrait (Plate VII.), now in
+the Louvre (No. 1600).
+
+On January 2, 1497, Beatrice spent three hours in prayer in the church
+of St. Maria delle Grazie, and the same night gave birth to a
+stillborn child. In a few hours she passed away, and from that moment
+Ludovico was a changed man. He went daily to see her tomb, and was
+quite overcome with grief.
+
+In April 1498, Isabella d'Este, Beatrice's elder, more beautiful, and
+more graceful sister, "at the sound of whose name all the muses rise
+and do reverence" wrote to Cecilia Gallerani, or Bergamini, asking her
+to lend her the portrait which Leonardo had painted of her some
+fifteen years earlier, as she wished to compare it with a picture by
+Giovanni Bellini. Cecilia graciously lent the picture--now presumably
+lost--adding her regret that it no longer resembled her.
+
+
+
+LEONARDO LEAVES MILAN
+
+Among the last of Leonardo da Vinci's works in Milan towards the end
+of 1499 was, probably, the superb cartoon of "The Virgin and Child
+with St. Anne and St. John," now at Burlington House. Though little
+known to the general public, this large drawing on _carton_, or
+stiff paper, is one of the greatest of London's treasures, as it
+reveals the sweeping line of Leonardo's powerful draughtsmanship. It
+was in the Pompeo Leoni, Arconati, Casnedi, and Udney Collections
+before passing to the Royal Academy.
+
+In 1499 the stormy times in Milan foreboded the end of Ludovico's
+reign. In April of that year we read of his giving a vineyard to
+Leonardo; in September Ludovico had to leave Milan for the Tyrol to
+raise an army, and on the 14th of the same month the city was sold by
+Bernardino di Corte to the French, who occupied it from 1500 to 1512.
+Ludovico may well have had in mind the figure of the traitor in the
+"Last Supper" when he declared that "Since the days of Judas Iscariot
+there has never been so black a traitor as Bernardino di Corte." On
+October 6th Louis XII. entered the city. Before the end of the year
+Leonardo, realising the necessity for his speedy departure, sent six
+hundred gold florins by letter of exchange to Florence to be placed
+to his credit with the hospital of S. Maria Nuova.
+
+In the following year, Ludovico having been defeated at Novara,
+Leonardo was a homeless wanderer. He left Milan for Mantua, where he
+drew a portrait in chalk of Isabella d'Este, which is now in the
+Louvre. Leonardo eventually arrived in Florence about Easter 1500.
+After apparently working there in 1501 on a second Cartoon, similar in
+most respects to the one he had executed in Milan two years earlier,
+he travelled in Umbria, visiting Orvieto, Pesaro, Rimini, and other
+towns, acting as engineer and architect to Cesare Borgia, for whom he
+planned a navigable canal between Cesena and Porto Cese-natico.
+
+[Illustration: PLATE VII.-PORTRAIT (PRESUMED) OF LUCREZIA CRIVELLI
+
+In the Louvre. No. 1600 [483]. 2 ft by I ft 5 ins. (0.62 x 0.44)
+
+This picture, although officially attributed to Leonardo, is probably
+not by him, and almost certainly does not represent Lucrezia Crivelli.
+It was once known as a "Portrait of a Lady" and is still occasionally
+miscalled "La Belle Féronnière."]
+
+
+
+MONA LISA
+
+Early in 1503 he was back again in Florence, and set to work in
+earnest on the "Portrait of Mona Lisa" (Plate I.), now in the Louvre
+(No. 1601). Lisa di Anton Maria di Noldo Gherardini was the daughter
+of Antonio Gherardini. In 1495 she married Francesco di Bartolommeo de
+Zenobi del Giocondo. It is from the surname of her husband that she
+derives the name of "La Joconde," by which her portrait is officially
+known in the Louvre. Vasari is probably inaccurate in saying that
+Leonardo "loitered over it for four years, and finally left it
+unfinished." He may have begun it in the spring of 1501 and, probably
+owing to having taken service under Cesare Borgia in the following
+year, put it on one side, ultimately completing it after working on
+the "Battle of Anghiari" in 1504. Vasari's eulogy of this portrait may
+with advantage be quoted: "Whoever shall desire to see how far art can
+imitate nature may do so to perfection in this head, wherein every
+peculiarity that could be depicted by the utmost subtlety of the
+pencil has been faithfully reproduced. The eyes have the lustrous
+brightness and moisture which is seen in life, and around them are
+those pale, red, and slightly livid circles, also proper to nature.
+The nose, with its beautiful and delicately roseate nostrils, might be
+easily believed to be alive; the mouth, admirable in its outline, has
+the lips uniting the rose-tints of their colour with those of the
+face, in the utmost perfection, and the carnation of the cheek does
+not appear to be painted, but truly flesh and blood. He who looks
+earnestly at the pit of the throat cannot but believe that he sees the
+beating of the pulses. Mona Lisa was exceedingly beautiful, and while
+Leonardo was painting her portrait, he took the precaution of keeping
+some one constantly near her to sing or play on instruments, or to
+jest and otherwise amuse her."
+
+Leonardo painted this picture in the full maturity of his talent, and,
+although it is now little more than a monochrome owing to the free and
+merciless restoration to which it has been at times subjected, it must
+have created a wonderful impression on those who saw it in the early
+years of the sixteenth century. It is difficult for the unpractised
+eye to-day to form any idea of its original beauty. Leonardo has here
+painted this worldly-minded woman--her portrait is much more famous
+than she herself ever was--with a marvellous charm and suavity, a
+finesse of expression never reached before and hardly ever equalled
+since. Contrast the head of the Christ at Milan, Leonardo's conception
+of divinity expressed in perfect humanity, with the subtle and
+sphinx-like smile of this languorous creature.
+
+The landscape background, against which Mona Lisa is posed, recalls
+the severe, rather than exuberant, landscape and the dim vistas of
+mountain ranges seen in the neighbourhood of his own birthplace. The
+portrait was bought during the reign of Francis I. for a sum which is
+to-day equal to about £1800. Leonardo, by the way, does not seem to
+have been really affected by any individual affection for any woman,
+and, like Michelangelo and Raphael, never married.
+
+In January 4, 1504, Leonardo was one of the members of the Committee
+of Artists summoned to advise the Signoria as to the most suitable
+site for the erection of Michelangelo's statue of "David," which had
+recently been completed.
+
+
+
+
+BATTLE OF ANGHIARI
+
+In the following May he was commissioned by the Signoria to decorate
+one of the walls of the Council Hall of the Palazzo Vecchio. The
+subject he selected was the "Battle of Anghiari." Although he
+completed the cartoon, the only part of the composition which he
+eventually executed in colour was an incident in the foreground
+which dealt with the "Battle of the Standard." One of the many
+supposed copies of a study of this mural painting now hangs on the
+south-east staircase in the Victoria and Albert Museum. It depicts the
+Florentines under Cardinal Ludovico Mezzarota Scarampo fighting
+against the Milanese under Niccolò Piccinino, the General of Filippo
+Maria Visconti, on June 29, 1440.
+
+
+
+AGAIN IN MILAN
+
+Leonardo was back in Milan in May 1506 in the service of the French
+King, for whom he executed, apparently with the help of assistants,
+"the Madonna, the Infant Christ, and Saint Anne" (Plate VIII.). The
+composition of this oil-painting seems to have been built up on the
+second cartoon, which he had made some eight years earlier, and which
+was apparently taken to France in 1516 and ultimately lost.
+
+
+
+IN ROME
+
+From 1513-1515 he was in Rome, where Giovanni de' Medici had been
+elected Pope under the title of Leo X. He did not, however, work for
+the Pope, although he resided in the Vatican, his time being occupied
+in studying acoustics, anatomy, optics, geology, minerals,
+engineering, and geometry!
+
+
+
+IN FRANCE
+
+At last in 1516, three years before his death, Leonardo left his
+native land for France, where he received from Francis I. a princely
+income. His powers, however, had already begun to fail, and he
+produced very little in the country of his adoption. It is,
+nevertheless, only in the Louvre that his achievements as a painter
+can to-day be adequately studied.
+
+[Illustration: PLATE VIII.-MADONNA, INFANT CHRIST, AND ST. ANNE
+
+In the Louvre. No. 1508. 5 ft. 7 in. h. by 4 ft. 3 in. w. (1.70 x
+1.29)
+
+Painted between 1509 and 1516 with the help of assistants.]
+
+On October 10, 1516, when he was resident at the Manor House of Cloux
+near Amboise in Touraine with Francesco Melzi, his friend and
+assistant, he showed three of his pictures to the Cardinal of Aragon,
+but his right hand was now paralysed, and he could "no longer colour
+with that sweetness with which he was wont, although still able to
+make drawings and to teach others."
+
+It was no doubt in these closing years of his life that he drew the
+"Portrait of Himself" in red chalk, now at Turin, which is probably
+the only authentic portrait of him in existence.
+
+
+
+HIS DEATH
+
+On April 23, 1519--Easter Eve--exactly forty-five years before the
+birth of Shakespeare, Leonardo da Vinci made his will, and on May 2 of
+the same year he passed away.
+
+Vasari informs us that Leonardo, "having become old, lay sick for many
+months, and finding himself near death and being sustained in the arms
+of his servants and friends, devoutly received the Holy Sacrament. He
+was then seized with a paroxysm, the forerunner of death, when King
+Francis I., who was accustomed frequently and affectionately to visit
+him, rose and supported his head to give him such assistance and to do
+him such favour as he could in the hope of alleviating his sufferings.
+The spirit of Leonardo, which was most divine, conscious that he could
+attain to no greater honour, departed in the arms of the monarch,
+being at that time in the seventy-fifth year of his age." The not
+over-veracious chronicler, however, is here drawing largely upon his
+imagination. Leonardo was only sixty-seven years of age, and the King
+was in all probability on that date at St. Germain-en Laye!
+
+Thus died "Mr. Lionard de Vincy, the noble Milanese, painter,
+engineer, and architect to the King, State Mechanician" and "former
+Professor of Painting to the Duke of Milan."
+
+"May God Almighty grant him His eternal peace," wrote his friend and
+assistant Francesco Melzi. "Every one laments the loss of a man whose
+like Nature cannot produce a second time."
+
+
+
+HIS ART
+
+Leonardo, whose birth antedates that of Michelangelo and Raphael by
+twenty three and thirty-one years respectively, was thus in the
+forefront of the Florentine Renaissance, his life coinciding almost
+exactly with the best period of Tuscan painting.
+
+Leonardo was the first to investigate scientifically and to apply to
+art the laws of light and shade, though the preliminary investigations
+of Piero della Francesca deserve to be recorded.
+
+He observed with strict accuracy the subtleties of chiaroscuro--light
+and shade apart from colour; but, as one critic has pointed out, his
+gift of chiaroscuro cost the colour-life of many a noble picture.
+Leonardo was "a tonist, not a colourist," before whom the whole book
+of nature lay open.
+
+It was not instability of character but versatility of mind which
+caused him to undertake many things that having commenced he
+afterwards abandoned, and the probability is that as soon as he saw
+exactly how he could solve any difficulty which presented itself, he
+put on one side the merely perfunctory execution of such a task.
+
+In the Forster collection in the Victoria and Albert museum three of
+Leonardo's note-books with sketches are preserved, and it is stated
+that it was his practice to carry about with him, attached to his
+girdle, a little book for making sketches. They prove that he was
+left-handed and wrote from right to left.
+
+
+
+
+HIS MIND
+
+We can readily believe the statements of Benvenuto Cellini, the
+sixteenth-century Goldsmith, that Francis I. "did not believe
+that any other man had come into the world who had attained so great a
+knowledge as Leonardo, and that not only as sculptor, painter, and
+architect, for beyond that he was a profound philosopher." It was
+Cellini also who contended that "Leonardo da Vinci, Michelangelo, and
+Raphael are the Book of the World."
+
+Leonardo anticipated many eminent scientists and inventors in the
+methods of investigation which they adopted to solve the many problems
+with which their names are coupled. Among these may be cited
+Copernicus' theory of the earth's movement, Lamarck's classification
+of vertebrate and invertebrate animals, the laws of friction,
+the laws of combustion and respiration, the elevation of the
+continents, the laws of gravitation, the undulatory theory of light
+and heat, steam as a motive power in navigation, flying machines, the
+invention of the camera obscura, magnetic attraction, the use of the
+stone saw, the system of canalisation, breech loading cannon, the
+construction of fortifications, the circulation of the blood, the
+swimming belt, the wheelbarrow, the composition of explosives, the
+invention of paddle wheels, the smoke stack, the mincing machine! It
+is, therefore, easy to see why he called "Mechanics the Paradise
+of the Sciences."
+
+Leonardo was a SUPERMAN.
+
+
+
+
+HIS MAXIMS
+
+
+    The eye is the window of the soul.
+
+    Tears come from the heart and not from the brain.
+
+    The natural desire of good men is knowledge.
+
+    A beautiful body perishes, but a work of art dies not.
+
+    Every difficulty can be overcome by effort.
+
+    Time abides long enough for those who make use of it.
+
+    Miserable men, how often do you enslave yourselves
+    to gain money!
+
+
+
+
+HIS SPELL
+
+The influence of Leonardo was strongly felt in Milan, where he spent
+so many of the best years of his life and founded a School of
+painting. He was a close observer of the gradation and reflex of
+light, and was capable of giving to his discoveries a practical and
+aesthetic form. His strong personal character and the fascination of
+his genius enthralled his followers, who were satisfied to repeat his
+types, to perpetuate the "grey-hound eye," and to make use of his
+little devices. Among this group of painters may be mentioned
+Boltraffio, who perhaps painted the "Presumed Portrait of Lucrezia
+Crivelli" (Plate VII.), which is officially attributed in the Louvre
+to the great master himself.
+
+
+
+
+HIS DESCENDANTS
+
+
+Signor Uzielli has shown that one Tommaso da Vinci, a descendant of
+Domenico (one of Leonardo's brothers), was a few years ago a peasant
+at Bottinacio near Montespertoli, and had then in his possession the
+family papers, which now form part of the archives of the Accademia
+dei Lincei at Rome. It was proved also that Tommaso had given his
+eldest son "the glorious name of Leonardo."
+
+
+
+
+
+End of Project Gutenberg's Leonardo da Vinci, by Maurice W. Brockwell
+
+*** END OF THE PROJECT GUTENBERG EBOOK LEONARDO DA VINCI ***
+
+This file should be named 8ldvn10.txt or 8ldvn10.zip
+Corrected EDITIONS of our eBooks get a new NUMBER, 8ldvn11.txt
+VERSIONS based on separate sources get new LETTER, 8ldvn10a.txt
+
+Produced by Juliet Sutherland, David Widger and the DP Team
+
+Project Gutenberg eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the US
+unless a copyright notice is included.  Thus, we usually do not
+keep eBooks in compliance with any particular paper edition.
+
+We are now trying to release all our eBooks one year in advance
+of the official release dates, leaving time for better editing.
+Please be encouraged to tell us about any error or corrections,
+even years after the official publication date.
+
+Please note neither this listing nor its contents are final til
+midnight of the last day of the month of any such announcement.
+The official release date of all Project Gutenberg eBooks is at
+Midnight, Central Time, of the last day of the stated month.  A
+preliminary version may often be posted for suggestion, comment
+and editing by those who wish to do so.
+
+Most people start at our Web sites at:
+http://gutenberg.net or
+http://promo.net/pg
+
+These Web sites include award-winning information about Project
+Gutenberg, including how to donate, how to help produce our new
+eBooks, and how to subscribe to our email newsletter (free!).
+
+
+Those of you who want to download any eBook before announcement
+can get to them as follows, and just download by date.  This is
+also a good way to get them instantly upon announcement, as the
+indexes our cataloguers produce obviously take a while after an
+announcement goes out in the Project Gutenberg Newsletter.
+
+http://www.ibiblio.org/gutenberg/etext03 or
+ftp://ftp.ibiblio.org/pub/docs/books/gutenberg/etext03
+
+Or /etext02, 01, 00, 99, 98, 97, 96, 95, 94, 93, 92, 92, 91 or 90
+
+Just search by the first five letters of the filename you want,
+as it appears in our Newsletters.
+
+
+Information about Project Gutenberg (one page)
+
+We produce about two million dollars for each hour we work.  The
+time it takes us, a rather conservative estimate, is fifty hours
+to get any eBook selected, entered, proofread, edited, copyright
+searched and analyzed, the copyright letters written, etc.   Our
+projected audience is one hundred million readers.  If the value
+per text is nominally estimated at one dollar then we produce $2
+million dollars per hour in 2002 as we release over 100 new text
+files per month:  1240 more eBooks in 2001 for a total of 4000+
+We are already on our way to trying for 2000 more eBooks in 2002
+If they reach just 1-2% of the world's population then the total
+will reach over half a trillion eBooks given away by year's end.
+
+The Goal of Project Gutenberg is to Give Away 1 Trillion eBooks!
+This is ten thousand titles each to one hundred million readers,
+which is only about 4% of the present number of computer users.
+
+Here is the briefest record of our progress (* means estimated):
+
+eBooks Year Month
+
+    1  1971 July
+   10  1991 January
+  100  1994 January
+ 1000  1997 August
+ 1500  1998 October
+ 2000  1999 December
+ 2500  2000 December
+ 3000  2001 November
+ 4000  2001 October/November
+ 6000  2002 December*
+ 9000  2003 November*
+10000  2004 January*
+
+
+The Project Gutenberg Literary Archive Foundation has been created
+to secure a future for Project Gutenberg into the next millennium.
+
+We need your donations more than ever!
+
+As of February, 2002, contributions are being solicited from people
+and organizations in: Alabama, Alaska, Arkansas, Connecticut,
+Delaware, District of Columbia, Florida, Georgia, Hawaii, Illinois,
+Indiana, Iowa, Kansas, Kentucky, Louisiana, Maine, Massachusetts,
+Michigan, Mississippi, Missouri, Montana, Nebraska, Nevada, New
+Hampshire, New Jersey, New Mexico, New York, North Carolina, Ohio,
+Oklahoma, Oregon, Pennsylvania, Rhode Island, South Carolina, South
+Dakota, Tennessee, Texas, Utah, Vermont, Virginia, Washington, West
+Virginia, Wisconsin, and Wyoming.
+
+We have filed in all 50 states now, but these are the only ones
+that have responded.
+
+As the requirements for other states are met, additions to this list
+will be made and fund raising will begin in the additional states.
+Please feel free to ask to check the status of your state.
+
+In answer to various questions we have received on this:
+
+We are constantly working on finishing the paperwork to legally
+request donations in all 50 states.  If your state is not listed and
+you would like to know if we have added it since the list you have,
+just ask.
+
+While we cannot solicit donations from people in states where we are
+not yet registered, we know of no prohibition against accepting
+donations from donors in these states who approach us with an offer to
+donate.
+
+International donations are accepted, but we don't know ANYTHING about
+how to make them tax-deductible, or even if they CAN be made
+deductible, and don't have the staff to handle it even if there are
+ways.
+
+Donations by check or money order may be sent to:
+
+Project Gutenberg Literary Archive Foundation
+PMB 113
+1739 University Ave.
+Oxford, MS 38655-4109
+
+Contact us if you want to arrange for a wire transfer or payment
+method other than by check or money order.
+
+The Project Gutenberg Literary Archive Foundation has been approved by
+the US Internal Revenue Service as a 501(c)(3) organization with EIN
+[Employee Identification Number] 64-622154.  Donations are
+tax-deductible to the maximum extent permitted by law.  As fund-raising
+requirements for other states are met, additions to this list will be
+made and fund-raising will begin in the additional states.
+
+We need your donations more than ever!
+
+You can get up to date donation information online at:
+
+http://www.gutenberg.net/donation.html
+
+
+***
+
+If you can't reach Project Gutenberg,
+you can always email directly to:
+
+Michael S. Hart <hart@pobox.com>
+
+Prof. Hart will answer or forward your message.
+
+We would prefer to send you information by email.
+
+
+**The Legal Small Print**
+
+
+(Three Pages)
+
+***START**THE SMALL PRINT!**FOR PUBLIC DOMAIN EBOOKS**START***
+Why is this "Small Print!" statement here? You know: lawyers.
+They tell us you might sue us if there is something wrong with
+your copy of this eBook, even if you got it for free from
+someone other than us, and even if what's wrong is not our
+fault. So, among other things, this "Small Print!" statement
+disclaims most of our liability to you. It also tells you how
+you may distribute copies of this eBook if you want to.
+
+*BEFORE!* YOU USE OR READ THIS EBOOK
+By using or reading any part of this PROJECT GUTENBERG-tm
+eBook, you indicate that you understand, agree to and accept
+this "Small Print!" statement. If you do not, you can receive
+a refund of the money (if any) you paid for this eBook by
+sending a request within 30 days of receiving it to the person
+you got it from. If you received this eBook on a physical
+medium (such as a disk), you must return it with your request.
+
+ABOUT PROJECT GUTENBERG-TM EBOOKS
+This PROJECT GUTENBERG-tm eBook, like most PROJECT GUTENBERG-tm eBooks,
+is a "public domain" work distributed by Professor Michael S. Hart
+through the Project Gutenberg Association (the "Project").
+Among other things, this means that no one owns a United States copyright
+on or for this work, so the Project (and you!) can copy and
+distribute it in the United States without permission and
+without paying copyright royalties. Special rules, set forth
+below, apply if you wish to copy and distribute this eBook
+under the "PROJECT GUTENBERG" trademark.
+
+Please do not use the "PROJECT GUTENBERG" trademark to market
+any commercial products without permission.
+
+To create these eBooks, the Project expends considerable
+efforts to identify, transcribe and proofread public domain
+works. Despite these efforts, the Project's eBooks and any
+medium they may be on may contain "Defects". Among other
+things, Defects may take the form of incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other
+intellectual property infringement, a defective or damaged
+disk or other eBook medium, a computer virus, or computer
+codes that damage or cannot be read by your equipment.
+
+LIMITED WARRANTY; DISCLAIMER OF DAMAGES
+But for the "Right of Replacement or Refund" described below,
+[1] Michael Hart and the Foundation (and any other party you may
+receive this eBook from as a PROJECT GUTENBERG-tm eBook) disclaims
+all liability to you for damages, costs and expenses, including
+legal fees, and [2] YOU HAVE NO REMEDIES FOR NEGLIGENCE OR
+UNDER STRICT LIABILITY, OR FOR BREACH OF WARRANTY OR CONTRACT,
+INCLUDING BUT NOT LIMITED TO INDIRECT, CONSEQUENTIAL, PUNITIVE
+OR INCIDENTAL DAMAGES, EVEN IF YOU GIVE NOTICE OF THE
+POSSIBILITY OF SUCH DAMAGES.
+
+If you discover a Defect in this eBook within 90 days of
+receiving it, you can receive a refund of the money (if any)
+you paid for it by sending an explanatory note within that
+time to the person you received it from. If you received it
+on a physical medium, you must return it with your note, and
+such person may choose to alternatively give you a replacement
+copy. If you received it electronically, such person may
+choose to alternatively give you a second opportunity to
+receive it electronically.
+
+THIS EBOOK IS OTHERWISE PROVIDED TO YOU "AS-IS". NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, ARE MADE TO YOU AS
+TO THE EBOOK OR ANY MEDIUM IT MAY BE ON, INCLUDING BUT NOT
+LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A
+PARTICULAR PURPOSE.
+
+Some states do not allow disclaimers of implied warranties or
+the exclusion or limitation of consequential damages, so the
+above disclaimers and exclusions may not apply to you, and you
+may have other legal rights.
+
+INDEMNITY
+You will indemnify and hold Michael Hart, the Foundation,
+and its trustees and agents, and any volunteers associated
+with the production and distribution of Project Gutenberg-tm
+texts harmless, from all liability, cost and expense, including
+legal fees, that arise directly or indirectly from any of the
+following that you do or cause:  [1] distribution of this eBook,
+[2] alteration, modification, or addition to the eBook,
+or [3] any Defect.
+
+DISTRIBUTION UNDER "PROJECT GUTENBERG-tm"
+You may distribute copies of this eBook electronically, or by
+disk, book or any other medium if you either delete this
+"Small Print!" and all other references to Project Gutenberg,
+or:
+
+[1]  Only give exact copies of it.  Among other things, this
+     requires that you do not remove, alter or modify the
+     eBook or this "small print!" statement.  You may however,
+     if you wish, distribute this eBook in machine readable
+     binary, compressed, mark-up, or proprietary form,
+     including any form resulting from conversion by word
+     processing or hypertext software, but only so long as
+     *EITHER*:
+
+     [*]  The eBook, when displayed, is clearly readable, and
+          does *not* contain characters other than those
+          intended by the author of the work, although tilde
+          (~), asterisk (*) and underline (_) characters may
+          be used to convey punctuation intended by the
+          author, and additional characters may be used to
+          indicate hypertext links; OR
+
+     [*]  The eBook may be readily converted by the reader at
+          no expense into plain ASCII, EBCDIC or equivalent
+          form by the program that displays the eBook (as is
+          the case, for instance, with most word processors);
+          OR
+
+     [*]  You provide, or agree to also provide on request at
+          no additional cost, fee or expense, a copy of the
+          eBook in its original plain ASCII form (or in EBCDIC
+          or other equivalent proprietary form).
+
+[2]  Honor the eBook refund and replacement provisions of this
+     "Small Print!" statement.
+
+[3]  Pay a trademark license fee to the Foundation of 20% of the
+     gross profits you derive calculated using the method you
+     already use to calculate your applicable taxes.  If you
+     don't derive profits, no royalty is due.  Royalties are
+     payable to "Project Gutenberg Literary Archive Foundation"
+     the 60 days following each date you prepare (or were
+     legally required to prepare) your annual (or equivalent
+     periodic) tax return.  Please contact us beforehand to
+     let us know your plans and to work out the details.
+
+WHAT IF YOU *WANT* TO SEND MONEY EVEN IF YOU DON'T HAVE TO?
+Project Gutenberg is dedicated to increasing the number of
+public domain and licensed works that can be freely distributed
+in machine readable form.
+
+The Project gratefully accepts contributions of money, time,
+public domain materials, or royalty free copyright licenses.
+Money should be paid to the:
+"Project Gutenberg Literary Archive Foundation."
+
+If you are interested in contributing scanning equipment or
+software or other items, please contact Michael Hart at:
+hart@pobox.com
+
+[Portions of this eBook's header and trailer may be reprinted only
+when distributed free of all fees.  Copyright (C) 2001, 2002 by
+Michael S. Hart.  Project Gutenberg is a TradeMark and may not be
+used in any sales of Project Gutenberg eBooks or other materials be
+they hardware or software or any other related product without
+express permission.]
+
+*END THE SMALL PRINT! FOR PUBLIC DOMAIN EBOOKS*Ver.02/11/02*END*
+
diff --git a/old/8ldvn10.zip b/old/8ldvn10.zip
new file mode 100644
index 0000000..cdeda31
--- /dev/null
+++ b/old/8ldvn10.zip
diff --git a/old/8ldvn10h.zip b/old/8ldvn10h.zip
new file mode 100644
index 0000000..d0f6473
--- /dev/null
+++ b/old/8ldvn10h.zip