Literary and Philosophical Fragments

PREFACE

In 1506 Alessandro Amadori, Leonardo’s uncle, took to heart the desire of the Marchioness d’Este, and secured a promise from his nephew for the completion of a small, soft, and sweet painting: “And he has completely promised me he will shortly begin the work to satisfy your ladyship’s desire, to whose grace he much recommends himself.” Original Italian: "Et lui al tutto me ha promesso comincerà in breve l’ opera per satisfare al desiderio di V. S., alla cui gratia assai si raccomanda." Isabella replied with a few discouraged lines; then she fell silent forever. Time passed, and Leonardo did nothing, forgetful of both his promise and his brush. As if to compensate for Leonardo’s stubbornness, his pupil Salai, in those very days, showed a “great desire to do something gallant for the Marchioness.” Salai, born Gian Giacomo Caprotti, was Leonardo’s favorite pupil and frequent model, though he was often described by the master as "a glutton, a thief, and stubborn." His offer was not accepted.*

Meanwhile, the Battle of Anghiari, which he had begun to draw with such care and enthusiasm, was abandoned at the first stages, in the same way as the preparatory drawing of Adam and Eve, the Head of Medusa, and the Adoration of the Magi, “as happened in almost all his affairs.” Leonardo was famous for his "non-finito" (unfinished) works, often losing interest in a project once he had solved the technical or artistic challenges it presented.

• LUZIO, The Tutors of Isabella d’Este. Ancona, Morelli, 1887. Original title: "I precettori d’ Isabella d’ Este."