ABSTRACT
LEONARDO DA VINCI is one of the most famous men in history—as a man more famous than Michelangelo or Shakespeare or Mozart—because posterity has elected him the member for the Renaissance. Most great artists live in what they did, and by that we know them ; but what Leonardo did gets much of its life from what he was, or rather from what he is to us. Of all great men he is the most representative; we cannot think of him as a mere individual, eating and drinking, living and competing, on equal terms with other men. We see him magnified by his own legend from the first, with people standing aside to watch and whisper as he passed through the streets of Florence or Milan. “There he goes to paint the Last Supper,” they said to each other; and we think of it as already the most famous picture in the world before it was begun. Every one knew that he had the most famous picture in his brain, that he was born to paint it, to initiate the High Renaissance; from Giotto onwards all the painters had been preparing for that, Florence herself had been preparing for it. It makes no difference that for centuries it has been a shadow on the wall; it is still the most famous painting in the world because it is the masterpiece of Leonardo. There was a fate against the survival of his masterpieces, but he has survived them and they are remembered because of him. We accept him for himself, like the people of his own time, who, when he said he could perform impossibilities, believed him. To them he meant the new age which could do anything, and still to us he means the infinite capacities of man. He is the Adam awakened whom Michelangelo only painted; and, if he accomplished but little, we believe in him, as in mankind, for his promise. If he did not fulfil it, neither has mankind; but he believed that all things could be done and lived a great life in that faith.
