1 00:00:01,654 --> 00:00:03,087 Announcer: Major funding 2 00:00:03,087 --> 00:00:04,587 for "Leonardo da Vinci" was provided by 3 00:00:04,587 --> 00:00:07,487 the Better Angels Society and its members: 4 00:00:07,487 --> 00:00:10,654 the Paul and Saundra Montrone family, 5 00:00:10,654 --> 00:00:12,654 Stephen A. Schwarzman, 6 00:00:12,654 --> 00:00:17,287 Diane and Hal Brierley, Carol and Ned Spieker, 7 00:00:17,287 --> 00:00:20,121 and these additional members. 8 00:00:23,154 --> 00:00:26,321 Funding was also provided by Gilbert S. Omenn 9 00:00:26,321 --> 00:00:28,154 and Martha Darling, 10 00:00:28,154 --> 00:00:30,854 the Alfred P. Sloan Foundation, 11 00:00:30,854 --> 00:00:34,421 the Robert and Mercedes Eichholz Foundation, 12 00:00:34,421 --> 00:00:37,287 the Corporation for Public Broadcasting 13 00:00:37,287 --> 00:00:40,754 and by contributions to your PBS station 14 00:00:40,754 --> 00:00:43,021 from viewers like you. 15 00:00:43,021 --> 00:00:44,154 Thank you. 16 00:00:46,087 --> 00:00:48,554 Announcer: Can looking back push us forward? 17 00:00:48,554 --> 00:00:50,454 Man: Ladies and gentlemen, 18 00:00:50,454 --> 00:00:52,454 Miss Billie Holiday. 19 00:00:52,454 --> 00:00:54,621 ♪ 20 00:00:54,621 --> 00:00:57,921 Will our voice be heard through time? 21 00:00:57,921 --> 00:01:00,721 Can our past inspire our future? 22 00:01:00,721 --> 00:01:02,721 ...act of concern... 23 00:01:02,721 --> 00:01:05,821 ♪ 24 00:01:05,821 --> 00:01:08,921 Bank of America supports filmmakers like Ken Burns, 25 00:01:08,921 --> 00:01:11,821 whose narratives illuminate new perspectives. 26 00:01:11,821 --> 00:01:13,387 What would you like the power to do? 27 00:01:13,387 --> 00:01:14,387 Bank of America. 28 00:01:16,654 --> 00:01:25,187 ♪ 29 00:01:25,187 --> 00:01:27,154 Man as Leonardo: A good painter must depict 30 00:01:27,154 --> 00:01:29,487 two principal things-- 31 00:01:29,487 --> 00:01:32,154 namely, the person, 32 00:01:32,154 --> 00:01:34,687 and the intentions of their mind. 33 00:01:34,687 --> 00:01:36,621 ♪ 34 00:01:36,621 --> 00:01:42,221 The first is easy, the second difficult. 35 00:01:42,221 --> 00:01:47,354 ♪ 36 00:01:47,354 --> 00:01:49,421 [Thunder] 37 00:01:49,421 --> 00:01:52,621 ♪ 38 00:01:52,621 --> 00:01:55,921 Man: The modernity of Leonardo is that he understands 39 00:01:55,921 --> 00:02:00,421 that knowledge and imagination are intimately related. 40 00:02:00,421 --> 00:02:02,754 ♪ 41 00:02:02,754 --> 00:02:06,087 Man as Leonardo: Which nerve causes the eye to move 42 00:02:06,087 --> 00:02:09,554 so that the motion of one eye moves the other... 43 00:02:09,554 --> 00:02:11,387 ♪ 44 00:02:11,387 --> 00:02:14,987 on closing the eyelids, 45 00:02:14,987 --> 00:02:18,187 on opening the eyes, 46 00:02:18,187 --> 00:02:22,087 on expressing wonder? 47 00:02:22,087 --> 00:02:26,321 Man: There is a delightful, unbridled joy 48 00:02:26,321 --> 00:02:28,854 of curiosity in him. 49 00:02:28,854 --> 00:02:30,521 ♪ 50 00:02:30,521 --> 00:02:33,387 His duty is to the question. 51 00:02:33,387 --> 00:02:35,587 ♪ 52 00:02:35,587 --> 00:02:40,121 His duty is to the thirst for knowledge. 53 00:02:40,121 --> 00:02:42,121 ♪ 54 00:02:42,121 --> 00:02:43,887 Basically, he says, 55 00:02:43,887 --> 00:02:48,687 "The thing that was given to me by the universe 56 00:02:48,687 --> 00:02:52,654 "was the chance to question it, 57 00:02:52,654 --> 00:02:54,687 and that is my divine duty." 58 00:02:54,687 --> 00:03:08,354 ♪ 59 00:03:10,187 --> 00:03:13,154 Man, speaking French: 60 00:04:06,854 --> 00:04:08,721 ♪ 61 00:04:08,721 --> 00:04:14,154 Narrator: He began few paintings and finished even fewer... 62 00:04:14,154 --> 00:04:17,254 but more than 500 years after his death, 63 00:04:17,254 --> 00:04:19,054 those he left behind 64 00:04:19,054 --> 00:04:24,021 are among the most revered works of art of all time. 65 00:04:24,021 --> 00:04:26,854 A draftsman of incomparable talent, 66 00:04:26,854 --> 00:04:30,654 he sketched everything-- people and landscapes, 67 00:04:30,654 --> 00:04:35,921 flora and fauna, machines both real and imagined, 68 00:04:35,921 --> 00:04:40,421 equations, fables, and allegories. 69 00:04:40,421 --> 00:04:44,387 Painting on wood panels made from walnut or poplar trees, 70 00:04:44,387 --> 00:04:48,154 he devised new ways to portray how men and women 71 00:04:48,154 --> 00:04:50,621 convey their deepest emotions-- 72 00:04:50,621 --> 00:04:53,454 "movements of the mind," he called it-- 73 00:04:53,454 --> 00:04:55,887 and elevated painting from a craft 74 00:04:55,887 --> 00:04:59,454 to an intellectual pursuit. 75 00:04:59,454 --> 00:05:02,454 He read Greek and Roman philosophers 76 00:05:02,454 --> 00:05:05,121 but frequently questioned their wisdom. 77 00:05:05,121 --> 00:05:09,054 Real knowledge, he believed, was found in nature 78 00:05:09,054 --> 00:05:15,087 and best gained through observation and experience. 79 00:05:15,087 --> 00:05:18,554 He studied fossils and water dynamics, 80 00:05:18,554 --> 00:05:20,421 dissected cadavers 81 00:05:20,421 --> 00:05:25,187 and mapped the circulatory system and the human brain. 82 00:05:25,187 --> 00:05:28,121 He attempted to solve the ancient geometric problem 83 00:05:28,121 --> 00:05:30,354 of squaring the circle, 84 00:05:30,354 --> 00:05:34,054 and he staged experiments on the nature of falling objects 85 00:05:34,054 --> 00:05:38,887 more than a century before Galileo and Newton. 86 00:05:38,887 --> 00:05:41,721 To him, everything-- 87 00:05:41,721 --> 00:05:46,587 geology, physics, anatomy, mathematics, art-- 88 00:05:46,587 --> 00:05:50,654 was inextricably linked. 89 00:05:50,654 --> 00:05:53,121 Writing backwards in a mirror script, 90 00:05:53,121 --> 00:05:56,954 he began treatises on a vast array of subjects, 91 00:05:56,954 --> 00:06:01,487 combining image and text to communicate profound insights 92 00:06:01,487 --> 00:06:06,421 that were, in some cases, centuries ahead of their time, 93 00:06:06,421 --> 00:06:09,021 but he left most of them incomplete 94 00:06:09,021 --> 00:06:12,654 and published none in his lifetime. 95 00:06:12,654 --> 00:06:15,554 A singular genius, he filled his notebooks 96 00:06:15,554 --> 00:06:20,121 with calculations and questions, theories and innovations, 97 00:06:20,121 --> 00:06:24,687 revealing a mind of infinite curiosity. 98 00:06:24,687 --> 00:06:27,687 In an age of astonishing artistic advances 99 00:06:27,687 --> 00:06:30,487 and a newfound reverence for humanity, 100 00:06:30,487 --> 00:06:33,187 Leonardo da Vinci made his way, he said, 101 00:06:33,187 --> 00:06:37,087 as a "disscepolo della sperientia," 102 00:06:37,087 --> 00:06:40,021 a disciple of experience. 103 00:06:41,654 --> 00:06:43,454 ♪ 104 00:06:43,454 --> 00:06:45,454 [Man exhales] 105 00:06:45,454 --> 00:06:48,387 ♪ 106 00:06:48,387 --> 00:06:52,521 Man as Leonardo: Here forms... 107 00:06:52,521 --> 00:06:55,521 here colors... 108 00:06:55,521 --> 00:06:58,854 here the character of every part of the universe 109 00:06:58,854 --> 00:07:01,987 is concentrated to a point... 110 00:07:01,987 --> 00:07:03,887 [Heartbeat] 111 00:07:03,887 --> 00:07:08,354 and that point is so marvelous a thing. 112 00:07:08,354 --> 00:07:10,454 [Crying] 113 00:07:11,721 --> 00:07:13,554 Man: If there's a golden thread 114 00:07:13,554 --> 00:07:15,154 that runs through all of Leonardo's work, 115 00:07:15,154 --> 00:07:20,254 I think it's an attempt to crack the code of organic form. 116 00:07:20,254 --> 00:07:23,921 He's persuaded that there are profound likenesses, 117 00:07:23,921 --> 00:07:26,354 profound equivalences to be found 118 00:07:26,354 --> 00:07:28,487 in the movement of the stars, 119 00:07:28,487 --> 00:07:31,754 and in the behavior of an ant hill. 120 00:07:31,754 --> 00:07:34,521 That, more than anything else, is what obsessed Leonardo 121 00:07:34,521 --> 00:07:37,354 and what gives his work a kind of unity. 122 00:07:37,354 --> 00:07:40,254 ♪ 123 00:07:40,254 --> 00:07:43,454 Man as Leonardo: These indeed are miracles. 124 00:07:43,454 --> 00:07:47,287 In so small a space, the universe can be reproduced 125 00:07:47,287 --> 00:07:51,387 and rearranged in its whole expanse. 126 00:07:51,387 --> 00:07:53,554 [Birds squawk] 127 00:07:53,554 --> 00:08:12,287 ♪ 128 00:08:12,287 --> 00:08:14,987 Narrator: In the spring of 1452, 129 00:08:14,987 --> 00:08:18,354 in a tiny village tucked among the Tuscan hills, 130 00:08:18,354 --> 00:08:21,687 a prosperous, 80-year-old farmer and landowner 131 00:08:21,687 --> 00:08:26,021 named Antonio da Vinci made a note in his ledger. 132 00:08:26,021 --> 00:08:28,221 ♪ 133 00:08:28,221 --> 00:08:30,621 "There was born to me a grandson-- 134 00:08:30,621 --> 00:08:35,321 "the son of Ser Piero, my son-- on the 15th day of April, 135 00:08:35,321 --> 00:08:40,121 a Saturday, at the third hour of the night." 136 00:08:40,121 --> 00:08:44,087 Ser Piero was a successful notary in his mid-20s 137 00:08:44,087 --> 00:08:46,454 who lived and worked in Florence 138 00:08:46,454 --> 00:08:51,021 but returned at times to his ancestral village of Vinci. 139 00:08:51,021 --> 00:08:53,587 Little is known about the baby's mother 140 00:08:53,587 --> 00:08:56,621 other than her name--Caterina. 141 00:08:56,621 --> 00:08:59,487 Though his parents were from different social classes 142 00:08:59,487 --> 00:09:01,287 and did not marry, 143 00:09:01,287 --> 00:09:05,187 the arrival of their son was cause for celebration. 144 00:09:05,187 --> 00:09:09,054 The day after his birth, the boy was baptized 145 00:09:09,054 --> 00:09:12,554 at the Church of Santa Croce in the center of town. 146 00:09:12,554 --> 00:09:14,487 ♪ 147 00:09:14,487 --> 00:09:18,421 They called him Leonardo. 148 00:09:18,421 --> 00:09:21,254 Man, speaking Italian: 149 00:09:54,987 --> 00:09:57,054 Narrator: Soon after Leonardo's birth, 150 00:09:57,054 --> 00:09:59,721 Ser Piero returned to Florence. 151 00:09:59,721 --> 00:10:02,487 Within a year, his father would be married 152 00:10:02,487 --> 00:10:04,687 to a bourgeois Florentine woman, 153 00:10:04,687 --> 00:10:10,521 Caterina to a kiln worker and farmer who lived near Vinci. 154 00:10:10,521 --> 00:10:14,021 The father in the case of Leonardo's early childhood 155 00:10:14,021 --> 00:10:15,854 is an absent figure, 156 00:10:15,854 --> 00:10:20,554 and he probably spent more time with his mother Caterina. 157 00:10:20,554 --> 00:10:23,054 She was probably a serving girl, 158 00:10:23,054 --> 00:10:25,287 a contadina, a peasant woman. 159 00:10:25,287 --> 00:10:27,287 ♪ 160 00:10:27,287 --> 00:10:29,354 Narrator: At times, the boy lived 161 00:10:29,354 --> 00:10:32,687 with his paternal grandparents Antonio and Lucia 162 00:10:32,687 --> 00:10:37,021 and their son Francesco, Leonardo's uncle. 163 00:10:37,021 --> 00:10:41,021 Vinci, a village of fewer than 100 families, 164 00:10:41,021 --> 00:10:43,721 was made up of a medieval castle, 165 00:10:43,721 --> 00:10:46,787 a church, and a modest cluster of homes 166 00:10:46,787 --> 00:10:51,187 that gave way to vineyards and olive groves. 167 00:10:51,187 --> 00:10:54,754 Locals harvested medicinal herbs from Vinci's hillsides 168 00:10:54,754 --> 00:10:57,254 to supply the pharmacies of Florence 169 00:10:57,254 --> 00:10:59,821 and diverted a small mountain stream 170 00:10:59,821 --> 00:11:02,954 to power the town's olive press. 171 00:11:02,954 --> 00:11:08,721 ♪ 172 00:11:08,721 --> 00:11:13,787 As a boy, Leonardo was enamored of his natural surroundings, 173 00:11:13,787 --> 00:11:17,054 exploring his grandfather's orchards and wheat fields 174 00:11:17,054 --> 00:11:20,587 and the hills, valleys, and woodlands beyond. 175 00:11:20,587 --> 00:11:23,387 He also grew close to his uncle Francesco, 176 00:11:23,387 --> 00:11:27,587 who loved the leisurely pace of country life. 177 00:11:27,587 --> 00:11:29,287 [Speaking French] 178 00:11:42,221 --> 00:11:44,954 Narrator: Because he was born out of wedlock, 179 00:11:44,954 --> 00:11:48,687 Leonardo was limited in what education he could receive 180 00:11:48,687 --> 00:11:52,454 and, eventually, which professions he could pursue. 181 00:11:52,454 --> 00:11:54,954 Woman: The education he got was the kind of education, 182 00:11:54,954 --> 00:11:57,787 we think, that merchants' sons got 183 00:11:57,787 --> 00:11:59,754 where you get practical mathematics 184 00:11:59,754 --> 00:12:03,621 and you learn how to gauge how much oil is in a barrel. 185 00:12:03,621 --> 00:12:05,254 [Speaking French] 186 00:12:30,654 --> 00:12:33,587 Narrator: In time, Leonardo would regard 187 00:12:33,587 --> 00:12:38,854 his lack of a formal education as among his greatest strengths. 188 00:12:38,854 --> 00:12:40,754 [Birds chirp] 189 00:12:40,754 --> 00:12:44,154 [Thunder] 190 00:12:44,154 --> 00:12:45,687 ♪ 191 00:12:45,687 --> 00:12:48,854 [Animal howls] 192 00:12:48,854 --> 00:12:51,021 Man as Leonardo: Having wandered some distance 193 00:12:51,021 --> 00:12:53,121 among dark rocks, 194 00:12:53,121 --> 00:12:56,287 I came to the entrance of a vast cavern... 195 00:12:56,287 --> 00:12:58,854 ♪ 196 00:12:58,854 --> 00:13:01,187 and after some time there, 197 00:13:01,187 --> 00:13:05,921 two contrary emotions arose in me: 198 00:13:05,921 --> 00:13:10,954 fear and desire-- 199 00:13:10,954 --> 00:13:15,354 fear of the sinister, dark cavern, 200 00:13:15,354 --> 00:13:19,721 desire to see whether it contained something wonderous. 201 00:13:19,721 --> 00:13:24,887 ♪ 202 00:13:24,887 --> 00:13:28,187 Nicholl: The Renaissance is an enlightenment, 203 00:13:28,187 --> 00:13:30,921 a rebirth of classical learning, 204 00:13:30,921 --> 00:13:33,254 but it's also a time of tremendous change 205 00:13:33,254 --> 00:13:35,554 and, therefore, uncertainty. 206 00:13:35,554 --> 00:13:38,521 Everything's up for grabs, 207 00:13:38,521 --> 00:13:42,087 and I think the keynote of the time is uncertainty. 208 00:13:42,087 --> 00:13:44,521 With every question comes a doubt, 209 00:13:44,521 --> 00:13:47,087 and I think the story of Leonardo's about looking 210 00:13:47,087 --> 00:13:52,087 into the dark cave is a very Renaissance viewpoint. 211 00:13:52,087 --> 00:13:54,054 ♪ 212 00:13:54,054 --> 00:13:56,954 Narrator: As Europe emerged from a devastating pandemic 213 00:13:56,954 --> 00:14:00,454 that had ravaged the continent in the mid-1300s, 214 00:14:00,454 --> 00:14:03,321 the city-states that crowded the Italian peninsula 215 00:14:03,321 --> 00:14:05,687 established maritime trade routes 216 00:14:05,687 --> 00:14:08,787 to Constantinople and North Africa, 217 00:14:08,787 --> 00:14:12,687 giving rise to a wealthy class of merchants and bankers 218 00:14:12,687 --> 00:14:15,021 and accelerating an exchange of knowledge 219 00:14:15,021 --> 00:14:18,487 that helped ignite the cultural explosion 220 00:14:18,487 --> 00:14:22,821 that would come to be known as the Renaissance. 221 00:14:22,821 --> 00:14:27,354 Woman: It started in the more mature part of the Middle Ages, 222 00:14:27,354 --> 00:14:31,321 but the big change occurs with what is called humanism. 223 00:14:31,321 --> 00:14:33,921 Humanism's really the beginning of the Renaissance, 224 00:14:33,921 --> 00:14:36,921 and it happens because scholars like Petrarch and others 225 00:14:36,921 --> 00:14:40,587 for the first time don't look at the texts of the past 226 00:14:40,587 --> 00:14:42,921 and try to Christianize them. 227 00:14:42,921 --> 00:14:45,221 Before, it was always to take the knowledge 228 00:14:45,221 --> 00:14:48,221 and try to fit the Christian doctrine. 229 00:14:48,221 --> 00:14:50,487 Instead, now they see a need 230 00:14:50,487 --> 00:14:53,654 for what they are within the historical context. 231 00:14:53,654 --> 00:14:57,487 It's a secular approach. It was not there before. 232 00:14:57,487 --> 00:15:00,654 That's what sparks the Renaissance. 233 00:15:00,654 --> 00:15:02,587 Narrator: The Renaissance reached 234 00:15:02,587 --> 00:15:06,821 its most profound expression in the city-state of Florence 235 00:15:06,821 --> 00:15:09,921 with a blossoming of art and architecture 236 00:15:09,921 --> 00:15:15,521 informed by mathematics and science and classical ideals. 237 00:15:15,521 --> 00:15:19,087 Man, speaking French: 238 00:15:34,021 --> 00:15:36,454 Del Toro: It's celebrating not only empirical, 239 00:15:36,454 --> 00:15:40,021 but physical sensation 240 00:15:40,021 --> 00:15:42,787 and why does it happen, where does it come from, 241 00:15:42,787 --> 00:15:45,054 how do we belong in the world. 242 00:15:45,054 --> 00:15:50,887 There is a re-centering of the world into man. 243 00:15:50,887 --> 00:15:52,721 ♪ 244 00:15:52,721 --> 00:15:54,687 Narrator: Florence was first established 245 00:15:54,687 --> 00:15:59,887 on the banks of the Arno River by Julius Caesar in 59 B.C. 246 00:15:59,887 --> 00:16:03,054 Since the Middle Ages, it had been the seat of power 247 00:16:03,054 --> 00:16:05,121 of the Republic of Florence, 248 00:16:05,121 --> 00:16:09,721 a city-state that controlled a large swath of Tuscany. 249 00:16:09,721 --> 00:16:12,621 Its government, a council made up of members 250 00:16:12,621 --> 00:16:15,921 of the leading trade guilds called the Signoria, 251 00:16:15,921 --> 00:16:20,354 was a source of great pride for the city's inhabitants, 252 00:16:20,354 --> 00:16:24,754 but in reality, Florence functioned as an oligarchy 253 00:16:24,754 --> 00:16:28,121 in which the richest families controlled the levers of power 254 00:16:28,121 --> 00:16:31,221 from behind the scenes. 255 00:16:31,221 --> 00:16:33,187 Cosimo de' Medici, 256 00:16:33,187 --> 00:16:36,454 the politically astute head of a powerful banking family, 257 00:16:36,454 --> 00:16:41,754 had become Florence's de facto ruler in 1434. 258 00:16:41,754 --> 00:16:46,521 His clever diplomatic maneuvers had led to a 1454 treaty 259 00:16:46,521 --> 00:16:49,754 among the kingdoms, republics, and dukedoms 260 00:16:49,754 --> 00:16:52,087 that divided the Italian peninsula, 261 00:16:52,087 --> 00:16:54,721 ushering in a delicate peace 262 00:16:54,721 --> 00:16:58,587 for the first time in half a century. 263 00:16:58,587 --> 00:17:02,554 Cosimo was also a generous patron of the arts. 264 00:17:02,554 --> 00:17:05,987 Man: Increasingly, artists who previously would've sought 265 00:17:05,987 --> 00:17:08,487 to work for the cathedral, to work for the city, 266 00:17:08,487 --> 00:17:11,887 to work for one of the guilds want to work for the Medici 267 00:17:11,887 --> 00:17:17,387 because working for the Medici is not only a good fee, 268 00:17:17,387 --> 00:17:20,154 it also guarantees recognition 269 00:17:20,154 --> 00:17:24,787 in a new world of art appreciation. 270 00:17:24,787 --> 00:17:26,287 [Weaving shuttle rattles] 271 00:17:26,287 --> 00:17:27,721 Narrator: Florence had long been home 272 00:17:27,721 --> 00:17:29,821 to a flourishing garment industry 273 00:17:29,821 --> 00:17:34,854 with its silk and wool weavers, leather tanners, and furriers. 274 00:17:34,854 --> 00:17:36,621 [Chipping] 275 00:17:36,621 --> 00:17:39,987 As the arts grew, workshops that produced paintings, 276 00:17:39,987 --> 00:17:43,287 sculptures, jewelry, and metalworks 277 00:17:43,287 --> 00:17:45,754 expanded and prospered. 278 00:17:45,754 --> 00:17:48,354 [Pounding] 279 00:17:48,354 --> 00:17:51,187 Nicholl: The Italian word for a studio is "bottega," 280 00:17:51,187 --> 00:17:54,154 and that means a shop or, more precisely in this context, 281 00:17:54,154 --> 00:17:55,787 a workshop-- 282 00:17:55,787 --> 00:18:00,387 a noisy, communal, collective space. 283 00:18:00,387 --> 00:18:02,721 Different people are working on different things. 284 00:18:02,721 --> 00:18:04,754 [Hammering and clanging] 285 00:18:04,754 --> 00:18:07,287 There's hammers and tongs 286 00:18:07,287 --> 00:18:10,287 and fires that heat up metal 287 00:18:10,287 --> 00:18:13,521 and a lot of smells of solvents. 288 00:18:13,521 --> 00:18:16,154 You might also hear, of course, the clucking of chickens 289 00:18:16,154 --> 00:18:21,254 because one of the major paints that were used was egg tempera. 290 00:18:24,754 --> 00:18:29,087 Narrator: Sometime in the 1460s, Leonardo, now an adolescent, 291 00:18:29,087 --> 00:18:32,921 made the long day's ride from Vinci to Florence, 292 00:18:32,921 --> 00:18:35,121 where his father secured him an apprenticeship 293 00:18:35,121 --> 00:18:38,221 in the workshop of Andrea del Verrocchio. 294 00:18:38,221 --> 00:18:41,687 A talented sculptor, painter, and goldsmith, 295 00:18:41,687 --> 00:18:43,521 Verrocchio had trained 296 00:18:43,521 --> 00:18:46,687 many of Florence's most celebrated artists. 297 00:18:46,687 --> 00:18:49,854 Man: I think he recognized very quickly that young Leonardo 298 00:18:49,854 --> 00:18:51,754 was going to be sort of the cream 299 00:18:51,754 --> 00:18:53,587 of these young apprentices, 300 00:18:53,587 --> 00:18:56,254 someone that he could outsource some of the work to, 301 00:18:56,254 --> 00:19:00,321 and someone he could train up to be an extremely good sculptor, 302 00:19:00,321 --> 00:19:04,487 painter, jewelry designer, whatever he wanted to be. 303 00:19:05,987 --> 00:19:09,687 Narrator: In the late 1460s, Verrocchio received a commission 304 00:19:09,687 --> 00:19:13,587 from the Medici family to cast a bronze statue of David, 305 00:19:13,587 --> 00:19:18,121 the Biblical shepherd boy who had slayed the giant Goliath. 306 00:19:18,121 --> 00:19:20,954 Leonardo--whose contemporaries described him 307 00:19:20,954 --> 00:19:23,821 as a beautiful, curly-haired youth-- 308 00:19:23,821 --> 00:19:25,854 may have been his model. 309 00:19:27,021 --> 00:19:30,387 Delieuvin, speaking French: 310 00:20:02,054 --> 00:20:04,421 ♪ 311 00:20:04,421 --> 00:20:07,954 Bramly, speaking French: 312 00:20:29,421 --> 00:20:32,221 Woman, speaking Italian: 313 00:21:14,654 --> 00:21:16,854 ♪ 314 00:21:16,854 --> 00:21:21,587 Narrator: As an apprentice, Leonardo prepared wood panels, 315 00:21:21,587 --> 00:21:23,654 ground pigments for paint, 316 00:21:23,654 --> 00:21:27,854 and made models in clay and terracotta. 317 00:21:27,854 --> 00:21:31,154 He also learned to draw, a skill that artists viewed 318 00:21:31,154 --> 00:21:35,154 as the foundation for all other artistic endeavors. 319 00:21:35,154 --> 00:21:37,987 Man: Drawing is the key to almost everything. 320 00:21:37,987 --> 00:21:39,921 If you can't really draw it well, 321 00:21:39,921 --> 00:21:41,554 you're never gonna be able to paint it well. 322 00:21:41,554 --> 00:21:44,987 Leonardo said, one should find for oneself 323 00:21:44,987 --> 00:21:48,687 a really good master, copy their work 324 00:21:48,687 --> 00:21:52,554 because it will train your hand to good form. 325 00:21:52,554 --> 00:21:55,621 Gopnik: He drew with astounding acuity. 326 00:21:55,621 --> 00:21:58,554 If there's one thing that makes Leonardo's drawings 327 00:21:58,554 --> 00:22:01,454 distinct from the beautiful drawings 328 00:22:01,454 --> 00:22:03,187 of someone like his master Verrocchio, 329 00:22:03,187 --> 00:22:05,887 Leonardo adds a note of movement 330 00:22:05,887 --> 00:22:09,354 and internal agitation to drawings. 331 00:22:09,354 --> 00:22:13,387 Everything is dissolved into the world of movement. 332 00:22:14,721 --> 00:22:19,554 Man: Leonardo does a lot of studies of draperies and cloths, 333 00:22:19,554 --> 00:22:21,154 and what it shows is, 334 00:22:21,154 --> 00:22:25,487 he understands how light hits a curving object, 335 00:22:25,487 --> 00:22:27,287 how shadows are formed... 336 00:22:27,287 --> 00:22:28,787 ♪ 337 00:22:28,787 --> 00:22:32,954 how depth is conveyed in a drawing. 338 00:22:32,954 --> 00:22:37,387 The drapery studies give a sense of light, of depth, 339 00:22:37,387 --> 00:22:38,921 but also of motion. 340 00:22:38,921 --> 00:22:40,887 ♪ 341 00:22:40,887 --> 00:22:42,654 Man as Leonardo: The painter will produce 342 00:22:42,654 --> 00:22:44,654 pictures of small merit if he makes 343 00:22:44,654 --> 00:22:48,754 other artists' work his standard, 344 00:22:48,754 --> 00:22:51,121 but if he studies from natural objects, 345 00:22:51,121 --> 00:22:54,521 he will bear good fruit. 346 00:22:54,521 --> 00:22:57,121 Narrator: In the summer of 1473, 347 00:22:57,121 --> 00:22:59,954 Leonardo made a small, high-angle drawing 348 00:22:59,954 --> 00:23:02,187 of the Arno River Valley. 349 00:23:02,187 --> 00:23:05,287 ♪ 350 00:23:05,287 --> 00:23:08,021 Bramly, speaking French: 351 00:23:46,821 --> 00:23:49,321 ♪ 352 00:23:49,321 --> 00:23:53,221 Borgo, speaking Italian: 353 00:24:00,354 --> 00:24:02,654 ♪ 354 00:24:06,921 --> 00:24:09,754 ♪ 355 00:24:20,287 --> 00:24:22,021 ♪ 356 00:24:48,787 --> 00:24:56,654 ♪ 357 00:24:56,654 --> 00:25:00,421 [Church bell clanging] 358 00:25:05,054 --> 00:25:11,054 ♪ 359 00:25:11,054 --> 00:25:13,654 King: One of the remarkable things about Florence 360 00:25:13,654 --> 00:25:16,754 is that there was a succession of geniuses 361 00:25:16,754 --> 00:25:22,821 decade after decade after decade in the 1400s. 362 00:25:22,821 --> 00:25:25,321 When Leonardo came to Florence in the 1460s, 363 00:25:25,321 --> 00:25:28,187 he could look back at the previous 50 years 364 00:25:28,187 --> 00:25:31,821 and see great public works of art, 365 00:25:31,821 --> 00:25:33,887 things that you could see for free. 366 00:25:33,887 --> 00:25:35,454 You could walk through the streets of Florence 367 00:25:35,454 --> 00:25:37,321 and see this. 368 00:25:37,321 --> 00:25:41,954 He wants to take his place in the pantheon of great artists 369 00:25:41,954 --> 00:25:46,087 like Alberti, Ghiberti, and Brunelleschi. 370 00:25:46,087 --> 00:25:48,287 Narrator: Filippo Brunelleschi 371 00:25:48,287 --> 00:25:51,587 was the city's most celebrated architect. 372 00:25:51,587 --> 00:25:55,154 In 1418, he had entered a public competition 373 00:25:55,154 --> 00:25:58,754 to engineer a dome for the city's central cathedral, 374 00:25:58,754 --> 00:26:00,721 Santa Maria del Fiore, 375 00:26:00,721 --> 00:26:04,221 which had been under construction since 1296. 376 00:26:04,221 --> 00:26:05,787 ♪ 377 00:26:05,787 --> 00:26:08,221 At 143 feet in diameter, 378 00:26:08,221 --> 00:26:11,454 the long-planned dome was intended to be wider 379 00:26:11,454 --> 00:26:14,721 than that of Rome's celebrated Pantheon, 380 00:26:14,721 --> 00:26:16,954 still the world's largest 381 00:26:16,954 --> 00:26:19,521 1,300 years after its completion. 382 00:26:19,521 --> 00:26:21,387 ♪ 383 00:26:21,387 --> 00:26:23,821 Few believed it could ever be built, 384 00:26:23,821 --> 00:26:26,921 but Brunelleschi was undeterred. 385 00:26:26,921 --> 00:26:30,154 It took 18 years, but the structure of the dome 386 00:26:30,154 --> 00:26:34,154 was finally completed in 1436, 387 00:26:34,154 --> 00:26:37,554 16 years before Leonardo was born. 388 00:26:37,554 --> 00:26:40,487 ♪ 389 00:26:40,487 --> 00:26:44,154 Three decades later, Verrocchio won a contract 390 00:26:44,154 --> 00:26:48,154 to construct and install a monumental copper sphere 391 00:26:48,154 --> 00:26:52,521 8 feet in diameter and weighing more than 4,000 pounds 392 00:26:52,521 --> 00:26:57,221 to complete the lantern atop Brunelleschi's dome. 393 00:26:57,221 --> 00:27:00,687 King: And Leonardo da Vinci was 19 years old at that point, 394 00:27:00,687 --> 00:27:02,287 and he'd been with Verrocchio 395 00:27:02,287 --> 00:27:06,221 for at least a couple of years learning his trade. 396 00:27:06,221 --> 00:27:09,587 He would've seen up close and personal 397 00:27:09,587 --> 00:27:12,721 everything that Brunelleschi had achieved. 398 00:27:12,721 --> 00:27:16,054 Leonardo da Vinci says, "I want to do the impossible. 399 00:27:16,054 --> 00:27:19,254 I want to create miracles," because he's inspired 400 00:27:19,254 --> 00:27:23,921 by these miraculous works of art which have come before him. 401 00:27:26,487 --> 00:27:29,454 [Bell tolls] Narrator: In the early 1470s, 402 00:27:29,454 --> 00:27:33,287 Verrocchio received a commission from the Church of San Salvi 403 00:27:33,287 --> 00:27:36,054 to paint a Baptism of Christ. 404 00:27:36,054 --> 00:27:38,254 The master assigned sections of the work 405 00:27:38,254 --> 00:27:43,154 to his talented apprentice, including the Messiah's feet, 406 00:27:43,154 --> 00:27:48,387 parts of the landscape, and one of the two angels. 407 00:27:48,387 --> 00:27:51,054 While Verrocchio had painted in tempera 408 00:27:51,054 --> 00:27:54,321 and used white highlights to produce contours, 409 00:27:54,321 --> 00:27:57,054 Leonardo worked in oil, 410 00:27:57,054 --> 00:28:00,087 applying imperceptibly thin layers of color 411 00:28:00,087 --> 00:28:02,287 to develop light and shadow 412 00:28:02,287 --> 00:28:05,521 and create the illusion of 3-dimensionality. 413 00:28:07,321 --> 00:28:09,087 Isaacson: Verrocchio's paintings and sculptures 414 00:28:09,087 --> 00:28:11,454 both had a bit of a sense of motion, 415 00:28:11,454 --> 00:28:14,154 and Leonardo builds on that 416 00:28:14,154 --> 00:28:17,287 and does it even better than Verrocchio did, 417 00:28:17,287 --> 00:28:20,021 and it's a first sign that Leonardo's beginning 418 00:28:20,021 --> 00:28:24,654 to surpass Verrocchio as a painter of motion and emotion. 419 00:28:24,654 --> 00:28:29,221 ♪ 420 00:28:29,221 --> 00:28:31,721 Man as Leonardo: The art of perspective is such 421 00:28:31,721 --> 00:28:35,054 that it makes what is flat appear in relief 422 00:28:35,054 --> 00:28:37,687 and what is in relief appear flat. 423 00:28:37,687 --> 00:28:39,821 ♪ 424 00:28:39,821 --> 00:28:42,387 Verdon: Part of Leonardo's heritage 425 00:28:42,387 --> 00:28:45,621 was the revolutionary invention 426 00:28:45,621 --> 00:28:48,854 of single-point linear perspective, 427 00:28:48,854 --> 00:28:55,687 so a young man learning art in Florence in the 1460s, 428 00:28:55,687 --> 00:28:57,954 as Leonardo would have done, 429 00:28:57,954 --> 00:29:02,987 he understood that he had to be a complete master of that. 430 00:29:02,987 --> 00:29:05,887 Narrator: Single-point linear perspective, 431 00:29:05,887 --> 00:29:08,187 a method of bringing the illusion of depth 432 00:29:08,187 --> 00:29:10,254 to a two-dimensional work, 433 00:29:10,254 --> 00:29:12,921 had been devised by Brunelleschi, 434 00:29:12,921 --> 00:29:16,487 but it was the architect Leon Battista Alberti 435 00:29:16,487 --> 00:29:18,754 who had enshrined it for Renaissance artists 436 00:29:18,754 --> 00:29:22,087 in his treatise "Della Pittura." 437 00:29:22,087 --> 00:29:25,721 Man: Perspective was very important to the painters. 438 00:29:25,721 --> 00:29:28,187 That's basically how things recede into space 439 00:29:28,187 --> 00:29:32,421 and the vanishing point that parallel lines seem to go to. 440 00:29:32,421 --> 00:29:35,787 Musicians had mathematical theories of harmony, 441 00:29:35,787 --> 00:29:38,087 and perspective was rather like that for painters. 442 00:29:38,087 --> 00:29:40,021 They had a theory, 443 00:29:40,021 --> 00:29:42,154 so he began to develop an interest 444 00:29:42,154 --> 00:29:45,954 not just in the mathematics of organizing space in pictures, 445 00:29:45,954 --> 00:29:49,487 but also in how the eye works and how slippery it is. 446 00:29:49,487 --> 00:29:52,121 He's the first of the theorists in painting 447 00:29:52,121 --> 00:29:55,954 who realizes that the business of seeing is very complicated. 448 00:29:55,954 --> 00:29:58,121 ♪ 449 00:29:58,121 --> 00:30:01,121 Man as Leonardo: All objects transmit their image to the eye 450 00:30:01,121 --> 00:30:04,521 by a pyramid of lines 451 00:30:04,521 --> 00:30:07,821 which start from the edges of an object's surface 452 00:30:07,821 --> 00:30:13,854 and, converging from a distance, meet in a single point... 453 00:30:13,854 --> 00:30:18,354 and I will show that this point is situated in the eye, 454 00:30:18,354 --> 00:30:21,921 which is the universal judge of all objects. 455 00:30:21,921 --> 00:30:25,821 ♪ 456 00:30:25,821 --> 00:30:29,421 Narrator: In 1472, at the age of 20, 457 00:30:29,421 --> 00:30:32,554 Leonardo joined a painter's guild whose members 458 00:30:32,554 --> 00:30:35,787 were among the most talented artists in Florence-- 459 00:30:35,787 --> 00:30:39,787 Filippino Lippi, Domenico Ghirlandaio, 460 00:30:39,787 --> 00:30:44,621 Pietro Perugino, and Sandro Botticelli. 461 00:30:44,621 --> 00:30:48,221 Though Leonardo remained a part of Verrocchio's workshop, 462 00:30:48,221 --> 00:30:53,087 he was now a dipintore, a professional painter, 463 00:30:53,087 --> 00:30:55,554 able to receive his own commissions. 464 00:30:55,554 --> 00:30:57,554 ♪ 465 00:30:57,554 --> 00:31:00,754 Florentine artists were frequently hired by churches 466 00:31:00,754 --> 00:31:03,121 and the city's wealthiest families 467 00:31:03,121 --> 00:31:06,454 to paint the Bible's most popular subjects-- 468 00:31:06,454 --> 00:31:08,621 the Madonna and Child, 469 00:31:08,621 --> 00:31:11,321 the Adoration of the Magi, 470 00:31:11,321 --> 00:31:14,221 the Crucifixion. 471 00:31:14,221 --> 00:31:19,487 Another frequently depicted scene was the Annunciation, 472 00:31:19,487 --> 00:31:21,921 the moment in which the angel Gabriel 473 00:31:21,921 --> 00:31:25,321 descends from heaven to proclaim to the Virgin Mary 474 00:31:25,321 --> 00:31:28,921 that she will give birth to the Son of God. 475 00:31:28,921 --> 00:31:31,254 It would be the focus of one of Leonardo's 476 00:31:31,254 --> 00:31:34,787 first independent works. 477 00:31:34,787 --> 00:31:37,254 ♪ 478 00:31:37,254 --> 00:31:40,921 Though he borrowed freely in technique from Verrocchio, 479 00:31:40,921 --> 00:31:42,854 Leonardo's "Annunciation" 480 00:31:42,854 --> 00:31:46,621 revealed his grasp of perspective, 481 00:31:46,621 --> 00:31:49,821 his deftness with light and shadow, 482 00:31:49,821 --> 00:31:53,321 and his devotion to nature. 483 00:31:53,321 --> 00:31:55,654 Vecce, speaking Italian: 484 00:32:01,187 --> 00:32:11,521 ♪ 485 00:32:56,654 --> 00:32:59,187 Gopnik: He's one of those people who lives in his own head. 486 00:32:59,187 --> 00:33:01,321 We meet those people in life, 487 00:33:01,321 --> 00:33:04,454 and we recognize that they live on a planet other than our own. 488 00:33:04,454 --> 00:33:06,154 ♪ 489 00:33:06,154 --> 00:33:08,321 There are very, very few times in history 490 00:33:08,321 --> 00:33:10,454 when what you did when you had that kind 491 00:33:10,454 --> 00:33:15,354 of restless, inquiring, creative mind was to paint pictures. 492 00:33:15,354 --> 00:33:18,121 Renaissance Italy was perhaps the only place and time 493 00:33:18,121 --> 00:33:20,587 when that was so, and we're blessed that it was. 494 00:33:20,587 --> 00:33:26,754 ♪ 495 00:33:29,187 --> 00:33:34,021 ♪ 496 00:33:34,021 --> 00:33:36,554 Narrator: Leonardo received another commission-- 497 00:33:36,554 --> 00:33:41,254 to paint a portrait of the young poet Ginevra de' Benci, 498 00:33:41,254 --> 00:33:44,487 the daughter of a wealthy, well-connected banking family 499 00:33:44,487 --> 00:33:48,554 who had occasional dealings with Leonardo's father. 500 00:33:48,554 --> 00:33:51,221 To look at the "Ginevra de' Benci" 501 00:33:51,221 --> 00:33:54,187 is probably one of the great ways to understand 502 00:33:54,187 --> 00:33:57,554 Leonardo's early painting technique. 503 00:33:57,554 --> 00:34:02,887 It is a very deliberated, very protracted process. 504 00:34:02,887 --> 00:34:07,987 The painting is done on a very thin poplar wood panel, 505 00:34:07,987 --> 00:34:12,821 and it has a priming that is gesso. 506 00:34:12,821 --> 00:34:16,587 Leonardo began by doing the cartoon, 507 00:34:16,587 --> 00:34:19,087 a full-scale drawing on paper. 508 00:34:19,087 --> 00:34:21,154 ♪ 509 00:34:21,154 --> 00:34:23,821 He pricked the outlines 510 00:34:23,821 --> 00:34:27,087 and rubbed with a pouncing bag 511 00:34:27,087 --> 00:34:29,821 while the panel was underneath, 512 00:34:29,821 --> 00:34:32,454 a technique we call spolvero. 513 00:34:32,454 --> 00:34:36,121 ♪ 514 00:34:36,121 --> 00:34:41,354 The oil medium, it's basically linseed oil and pigments. 515 00:34:41,354 --> 00:34:43,021 ♪ 516 00:34:43,021 --> 00:34:47,021 He applied in the thinnest veils 517 00:34:47,021 --> 00:34:51,454 what we call the glazes, or the velature in Italian. 518 00:34:51,454 --> 00:34:53,721 ♪ 519 00:34:53,721 --> 00:34:57,121 Layer by infinitesimal layer, 520 00:34:57,121 --> 00:35:00,354 he's able to calibrate the tonal transitions 521 00:35:00,354 --> 00:35:05,421 that permit him to explore the sfumato technique 522 00:35:05,421 --> 00:35:09,354 where you blend the gradations in such a way 523 00:35:09,354 --> 00:35:11,621 that they seem to be the manner of smoke. 524 00:35:11,621 --> 00:35:14,221 ♪ 525 00:35:14,221 --> 00:35:17,354 Narrator: In a playful reference to Ginevra's name, 526 00:35:17,354 --> 00:35:20,654 Leonardo surrounded her with juniper branches, 527 00:35:20,654 --> 00:35:23,754 ginepro in Italian. 528 00:35:23,754 --> 00:35:26,121 Borgo, speaking Italian: 529 00:36:36,087 --> 00:36:37,687 ♪ 530 00:36:37,687 --> 00:36:41,821 Bambach: We can already see how intensely Leonardo believes 531 00:36:41,821 --> 00:36:45,121 that the motions of the mind, the motions of the soul-- 532 00:36:45,121 --> 00:36:49,021 so the moti dell'animo, e moti dell'anima-- 533 00:36:49,021 --> 00:36:55,187 show through this almost inscrutable gaze that she holds, 534 00:36:55,187 --> 00:36:57,654 and there is a connectivity with the viewer 535 00:36:57,654 --> 00:37:00,421 that gives it this tremendous power. 536 00:37:00,421 --> 00:37:07,921 ♪ 537 00:37:11,487 --> 00:37:13,387 [Bats screeching] 538 00:37:13,387 --> 00:37:16,754 [Church bell ringing] 539 00:37:16,754 --> 00:37:23,054 ♪ 540 00:37:23,054 --> 00:37:25,721 Narrator: In April of 1476, 541 00:37:25,721 --> 00:37:28,987 Florentine authorities received an anonymous note 542 00:37:28,987 --> 00:37:32,821 accusing 17-year-old Jacopo Saltarelli 543 00:37:32,821 --> 00:37:36,187 of sodomy and prostitution. 544 00:37:36,187 --> 00:37:39,887 The accuser listed 4 men as Saltarelli's lovers 545 00:37:39,887 --> 00:37:44,887 or customers, including 24-year-old Leonardo. 546 00:37:44,887 --> 00:37:46,654 ♪ 547 00:37:46,654 --> 00:37:49,987 Nicholl: Theoretically, it's a crime. 548 00:37:49,987 --> 00:37:54,854 Theoretically, it's punishable by death, 549 00:37:54,854 --> 00:37:57,721 so Leonardo might well have been arrested. 550 00:37:57,721 --> 00:38:01,387 He might well have spent time in the holding cells. 551 00:38:01,387 --> 00:38:03,654 Narrator: But among the accused was a son 552 00:38:03,654 --> 00:38:07,821 of the Tornabuoni family, a powerful Florentine clan 553 00:38:07,821 --> 00:38:12,154 with enough connections to have the charges dropped. 554 00:38:12,154 --> 00:38:16,121 Two months later, the 4 men were absolved. 555 00:38:16,121 --> 00:38:20,021 No further prosecution was pursued against them. 556 00:38:22,787 --> 00:38:25,787 Homosexuality, though condemned by the church, 557 00:38:25,787 --> 00:38:29,721 was widely tolerated in 15th-century Florence, 558 00:38:29,721 --> 00:38:32,254 where a number of notable artists and poets 559 00:38:32,254 --> 00:38:34,687 were publicly known to be gay. 560 00:38:34,687 --> 00:38:36,387 ♪ 561 00:38:36,387 --> 00:38:38,887 Bramly, speaking French: 562 00:39:05,721 --> 00:39:07,521 ♪ 563 00:39:07,521 --> 00:39:10,154 Narrator: Leonardo wrote nothing about his sexuality 564 00:39:10,154 --> 00:39:13,687 or the allegation, but just a few years later, 565 00:39:13,687 --> 00:39:17,621 he would draw a device for removing bars from windows 566 00:39:17,621 --> 00:39:21,221 and another for opening a prison cell. 567 00:39:21,221 --> 00:39:25,054 They were some of his first mechanical inventions. 568 00:39:27,787 --> 00:39:34,754 ♪ 569 00:39:34,754 --> 00:39:37,754 Man as Leonardo: Painting is born of nature, 570 00:39:37,754 --> 00:39:41,421 or, rather, it is the grandchild of nature... 571 00:39:41,421 --> 00:39:43,487 [Birds chirping] 572 00:39:43,487 --> 00:39:46,487 ♪ 573 00:39:46,487 --> 00:39:50,987 for all visible things are produced by nature, 574 00:39:50,987 --> 00:39:55,287 and these, her creations, have given birth to painting... 575 00:39:55,287 --> 00:39:57,187 ♪ 576 00:39:57,187 --> 00:40:00,021 so we may justly call it 577 00:40:00,021 --> 00:40:04,387 the grandchild of nature and related to God. 578 00:40:04,387 --> 00:40:06,521 ♪ 579 00:40:06,521 --> 00:40:09,321 Man: Nature is God. 580 00:40:09,321 --> 00:40:11,454 Nature is perfection. 581 00:40:11,454 --> 00:40:13,221 ♪ 582 00:40:13,221 --> 00:40:16,121 Nature is proportion. 583 00:40:16,121 --> 00:40:20,954 Nature is the entity which obtains every effect 584 00:40:20,954 --> 00:40:26,487 with the shortest and direct way that is possible. 585 00:40:26,487 --> 00:40:30,521 The best a scientist or a painter can do 586 00:40:30,521 --> 00:40:32,821 is imitate nature. 587 00:40:32,821 --> 00:40:34,854 ♪ 588 00:40:34,854 --> 00:40:37,021 Kemp: He has an amazing sense 589 00:40:37,021 --> 00:40:39,154 that nature is a perfect invention, 590 00:40:39,154 --> 00:40:41,921 that there is nothing superfluous and nothing lacking. 591 00:40:41,921 --> 00:40:44,021 Nature does nothing in vain. 592 00:40:44,021 --> 00:40:45,854 [Horse snorts] 593 00:40:45,854 --> 00:40:49,287 If the bone is that shape, then it must do something. 594 00:40:49,287 --> 00:40:54,187 Every small aspect of that form must have a function. 595 00:40:54,187 --> 00:40:56,187 [Bat screeches] 596 00:40:56,187 --> 00:40:59,121 He does claim that the human being can take things 597 00:40:59,121 --> 00:41:01,921 from nature and put them together in a different way 598 00:41:01,921 --> 00:41:05,121 and that you can invent things that nature didn't invent, 599 00:41:05,121 --> 00:41:08,421 so you could act as a second nature in the world. 600 00:41:08,421 --> 00:41:12,021 ♪ 601 00:41:12,021 --> 00:41:14,121 Narrator: In the late 1470s, 602 00:41:14,121 --> 00:41:16,554 Leonardo finally left Verrocchio's studio 603 00:41:16,554 --> 00:41:19,121 and opened one of his own 604 00:41:19,121 --> 00:41:22,887 with his own apprentices and assistants. 605 00:41:22,887 --> 00:41:27,154 Between commissions, he devised and drew machines 606 00:41:27,154 --> 00:41:29,554 for an array of purposes. 607 00:41:29,554 --> 00:41:31,421 Some were inspired by the designs 608 00:41:31,421 --> 00:41:34,854 of classical inventors or Renaissance engineers, 609 00:41:34,854 --> 00:41:40,021 and all were informed by his close observations of nature-- 610 00:41:40,021 --> 00:41:42,887 the spirals in a snail's shell, 611 00:41:42,887 --> 00:41:45,921 the eddies of water in a surging stream, 612 00:41:45,921 --> 00:41:50,654 and the swirls of wind induced by a thunderstorm. 613 00:41:50,654 --> 00:41:53,187 He drew an Archimedes screw, 614 00:41:53,187 --> 00:41:57,321 an ancient device created to force water to flow upwards, 615 00:41:57,321 --> 00:41:59,687 and sketched construction machines, 616 00:41:59,687 --> 00:42:02,187 a mill for processing grain, 617 00:42:02,187 --> 00:42:07,621 and a human flying contraption featuring batlike wings. 618 00:42:07,621 --> 00:42:09,454 For Leonardo, 619 00:42:09,454 --> 00:42:13,421 building the machines often seemed beside the point. 620 00:42:13,421 --> 00:42:17,554 Galluzzi: What is beauty for Leonardo is proportion 621 00:42:17,554 --> 00:42:19,954 and harmony among its parts 622 00:42:19,954 --> 00:42:23,521 and is a balance between light and shade, 623 00:42:23,521 --> 00:42:28,121 is organization of all the inner parts in a way 624 00:42:28,121 --> 00:42:33,821 that provide an immediate perception of coherence. 625 00:42:33,821 --> 00:42:38,054 This is why I like to call these drawings portraits. 626 00:42:38,054 --> 00:42:40,821 He takes the same care in making them 627 00:42:40,821 --> 00:42:45,354 as he puts into portraying one of his famous ladies. 628 00:42:48,587 --> 00:42:53,087 Narrator: In March of 1481, an order of Augustinian friars 629 00:42:53,087 --> 00:42:56,221 hired Leonardo to paint a massive altarpiece 630 00:42:56,221 --> 00:42:59,654 for the Monastery of San Donato a Scopeto 631 00:42:59,654 --> 00:43:03,087 located just outside the city's walls. 632 00:43:03,087 --> 00:43:05,687 His father, who did legal work for the monks, 633 00:43:05,687 --> 00:43:08,887 helped broker the contract. 634 00:43:08,887 --> 00:43:12,321 He was to depict another frequently painted Bible scene 635 00:43:12,321 --> 00:43:15,187 known as the Adoration of the Magi 636 00:43:15,187 --> 00:43:18,221 in which 3 kings visit the newborn Jesus 637 00:43:18,221 --> 00:43:21,354 and recognize Him as the Messiah. 638 00:43:21,354 --> 00:43:25,187 Verdon: There's little evidence that he was personally 639 00:43:25,187 --> 00:43:27,821 a very religious person. 640 00:43:27,821 --> 00:43:30,887 It's evident that he knew the stories. 641 00:43:30,887 --> 00:43:34,821 That was his bread and butter as an artist. 642 00:43:34,821 --> 00:43:38,454 Even when he is dealing with nonreligious subjects-- 643 00:43:38,454 --> 00:43:41,521 rocks or water or trees-- 644 00:43:41,521 --> 00:43:44,987 I think he brings that sense that all things 645 00:43:44,987 --> 00:43:50,521 are part of this astounding system that God has made. 646 00:43:50,521 --> 00:43:54,154 He never simply bows to conventional religious ideas 647 00:43:54,154 --> 00:43:57,821 and makes himself the illustrator of the catechism. 648 00:43:57,821 --> 00:43:59,954 He's always looking for something more. 649 00:43:59,954 --> 00:44:02,421 ♪ 650 00:44:02,421 --> 00:44:04,087 Narrator: For the dozens of figures 651 00:44:04,087 --> 00:44:06,054 who would populate his painting, 652 00:44:06,054 --> 00:44:09,287 Leonardo sat in the piazzas of Florence 653 00:44:09,287 --> 00:44:12,154 quietly observing and sketching. 654 00:44:12,154 --> 00:44:14,154 ♪ 655 00:44:14,154 --> 00:44:16,121 Man as Leonardo: You must wander around 656 00:44:16,121 --> 00:44:20,321 and constantly as you go, observe, note, 657 00:44:20,321 --> 00:44:23,821 and consider the circumstances and behavior of men 658 00:44:23,821 --> 00:44:27,221 as they talk, quarrel, 659 00:44:27,221 --> 00:44:29,321 laugh, or fight together... 660 00:44:29,321 --> 00:44:31,621 ♪ 661 00:44:31,621 --> 00:44:35,554 and make brief sketches of them in a notebook, 662 00:44:35,554 --> 00:44:39,954 for the forms and movements of bodies are so infinite 663 00:44:39,954 --> 00:44:43,121 that the memory is incapable of retaining them... 664 00:44:43,121 --> 00:44:45,787 ♪ 665 00:44:45,787 --> 00:44:49,521 so keep these sketches as your guides and masters. 666 00:44:49,521 --> 00:44:52,354 ♪ 667 00:44:52,354 --> 00:44:55,421 Narrator: In one preparatory drawing for his "Adoration," 668 00:44:55,421 --> 00:44:58,187 Leonardo used dozens of perspective lines 669 00:44:58,187 --> 00:45:01,354 to create an intricate, 3-dimensional setting 670 00:45:01,354 --> 00:45:04,754 which he then populated with animals and figures. 671 00:45:04,754 --> 00:45:06,821 ♪ 672 00:45:06,821 --> 00:45:10,887 On an 8-foot-wide poplar panel coated with gesso, 673 00:45:10,887 --> 00:45:15,121 Leonardo sketched and resketched an underdrawing by hand 674 00:45:15,121 --> 00:45:18,121 using black chalk or charcoal. 675 00:45:18,121 --> 00:45:26,187 ♪ 676 00:45:26,187 --> 00:45:28,887 On top of this, he began to rough out the figures 677 00:45:28,887 --> 00:45:31,721 in black, brown, and blue pigments 678 00:45:31,721 --> 00:45:34,387 which he applied by brush. 679 00:45:34,387 --> 00:45:42,487 ♪ 680 00:45:42,487 --> 00:45:46,087 Next, he added a thin coat of white paint. 681 00:45:46,087 --> 00:45:47,921 ♪ 682 00:45:47,921 --> 00:45:51,787 Using layers of diluted black and brown glazes, 683 00:45:51,787 --> 00:45:54,587 Leonardo masterfully developed contrasting areas 684 00:45:54,587 --> 00:45:58,254 of light and shadow that eventually would give the scene 685 00:45:58,254 --> 00:46:00,754 dimension and depth, 686 00:46:00,754 --> 00:46:03,987 a technique known as chiaroscuro. 687 00:46:03,987 --> 00:46:08,454 ♪ 688 00:46:08,454 --> 00:46:12,787 Soon, a riveting scene featuring the Virgin and Child, 689 00:46:12,787 --> 00:46:15,754 3 kings kneeling in homage, 690 00:46:15,754 --> 00:46:18,221 a throng of astonished eyewitnesses, 691 00:46:18,221 --> 00:46:20,187 ancient ruins, 692 00:46:20,187 --> 00:46:23,087 and horses and soldiers in a distant battle 693 00:46:23,087 --> 00:46:25,754 began to emerge. 694 00:46:25,754 --> 00:46:31,187 It was unlike any Adoration ever painted. 695 00:46:31,187 --> 00:46:33,721 Delieuvin, speaking French: 696 00:46:46,087 --> 00:46:53,154 ♪ 697 00:46:53,154 --> 00:46:57,987 Verdon: When the star stops and the kings see 698 00:46:57,987 --> 00:47:01,621 Mary and the Christ child, they are full of great joy. 699 00:47:01,621 --> 00:47:09,621 ♪ 700 00:47:09,621 --> 00:47:11,454 They feel joy, but there are many people-- 701 00:47:11,454 --> 00:47:13,287 there are 3 kings, 702 00:47:13,287 --> 00:47:15,487 and then there are all the members of the entourage-- 703 00:47:15,487 --> 00:47:21,021 and people do not all respond in exactly the same way. 704 00:47:21,021 --> 00:47:23,954 ♪ 705 00:47:23,954 --> 00:47:27,121 Delieuvin, speaking French: 706 00:47:30,621 --> 00:47:33,754 ♪ 707 00:47:33,754 --> 00:47:35,687 Verdon: So he's really looking at it in a way 708 00:47:35,687 --> 00:47:37,654 that no one had ever done before, 709 00:47:37,654 --> 00:47:41,287 no one had ever done before, and that is simply astounding. 710 00:47:42,487 --> 00:47:44,987 Borgo, speaking Italian: 711 00:48:28,654 --> 00:48:30,321 Narrator: Among the bystanders 712 00:48:30,321 --> 00:48:32,487 in the painting's lower right corner, 713 00:48:32,487 --> 00:48:35,254 Leonardo painted a male figure, 714 00:48:35,254 --> 00:48:37,254 likely a self-portrait, 715 00:48:37,254 --> 00:48:40,587 who gazes away from the scene's dramatic center... 716 00:48:40,587 --> 00:48:43,621 ♪ 717 00:48:43,621 --> 00:48:45,521 but less than a year after beginning 718 00:48:45,521 --> 00:48:50,221 his "Adoration of the Magi," Leonardo abandoned the work. 719 00:48:50,221 --> 00:48:54,787 "So grand was his vision," wrote Giovanni Paolo Lomazzo, 720 00:48:54,787 --> 00:48:57,454 one of Leonardo's early biographers, 721 00:48:57,454 --> 00:48:59,187 that "he saw errors 722 00:48:59,187 --> 00:49:02,187 even in things that others called miracles." 723 00:49:02,187 --> 00:49:04,021 ♪ 724 00:49:04,021 --> 00:49:06,054 Gopnik: You can feel this sort of dissatisfaction. 725 00:49:06,054 --> 00:49:10,687 He wants to not only capture the snapshot of that scene, 726 00:49:10,687 --> 00:49:12,687 but he wants to ask himself, 727 00:49:12,687 --> 00:49:14,521 "How would everyone have behaved? 728 00:49:14,521 --> 00:49:16,754 "How would the camels and the animals and the Magi-- 729 00:49:16,754 --> 00:49:20,587 how would everyone have behaved at that moment?" 730 00:49:20,587 --> 00:49:22,421 He ends up with a lot of unfinished work 731 00:49:22,421 --> 00:49:24,087 because the questions he's setting himself 732 00:49:24,087 --> 00:49:27,154 are not questions that you can answer easily. 733 00:49:27,154 --> 00:49:35,287 ♪ 734 00:49:36,787 --> 00:49:38,587 [Droplets splashing] 735 00:49:38,587 --> 00:49:40,221 Man as Leonardo: We do not lack ways 736 00:49:40,221 --> 00:49:43,254 of passing our miserable days. 737 00:49:43,254 --> 00:49:46,887 Still, we do not want to spend them in vain, 738 00:49:46,887 --> 00:49:48,921 drawing no praise, 739 00:49:48,921 --> 00:49:51,187 and leaving no memory of ourselves 740 00:49:51,187 --> 00:49:54,254 in the minds of mortals. 741 00:49:54,254 --> 00:49:57,787 Isaacson: We can see in Leonardo a despair, 742 00:49:57,787 --> 00:49:59,554 and a gloom happening. 743 00:49:59,554 --> 00:50:02,354 He hasn't finished the "Adoration of the Magi," 744 00:50:02,354 --> 00:50:04,587 and he keeps jotting in his notebook... 745 00:50:04,587 --> 00:50:07,021 Man as Leonardo: Dimmi. Dimmi. Dimmi se mai fu fatto cosa... 746 00:50:07,021 --> 00:50:08,421 Isaacson: "Tell me. Tell me. 747 00:50:08,421 --> 00:50:11,054 Tell me if anything ever gets done." 748 00:50:11,054 --> 00:50:14,087 Bramly, speaking French: 749 00:50:31,621 --> 00:50:34,554 Narrator: "Tell me, Leonardo, why such anguish?" 750 00:50:34,554 --> 00:50:37,921 wrote a friend on a sheet of Leonardo's paper. 751 00:50:37,921 --> 00:50:43,887 "Where will I settle?" Leonardo asked himself on the same page. 752 00:50:43,887 --> 00:50:47,321 Isaacson: It was time for Leonardo to move on. He knew it. 753 00:50:47,321 --> 00:50:51,287 He needed to seek new horizons, and he gets an opportunity 754 00:50:51,287 --> 00:50:53,721 when there is a delegation 755 00:50:53,721 --> 00:50:56,254 that's sent from Florence to Milan. 756 00:50:56,254 --> 00:51:00,154 It's almost cultural diplomacy because the people in Florence 757 00:51:00,154 --> 00:51:02,821 are trying to appeal to the Duke of Milan 758 00:51:02,821 --> 00:51:07,121 by sending great architects and artists and painters. 759 00:51:07,121 --> 00:51:10,587 Narrator: The delegation likely traveled on horseback, 760 00:51:10,587 --> 00:51:13,087 first climbing the Apennine Mountains, 761 00:51:13,087 --> 00:51:15,587 then riding up the Po River Valley 762 00:51:15,587 --> 00:51:18,187 before reaching the plains of Lombardy, 763 00:51:18,187 --> 00:51:21,121 where Milan, a city of 80,000 people 764 00:51:21,121 --> 00:51:24,021 surrounded by 3 miles of medieval walls, 765 00:51:24,021 --> 00:51:26,654 rose up before the Alps. 766 00:51:26,654 --> 00:51:29,554 Unlike Florence, a republic whose officials 767 00:51:29,554 --> 00:51:31,787 were elected from the leading guilds, 768 00:51:31,787 --> 00:51:34,687 Milan was a city-state ruled for 2 centuries 769 00:51:34,687 --> 00:51:39,721 by merciless strongmen who went by the title of Duke. 770 00:51:39,721 --> 00:51:43,854 Ludovico Sforza, though not officially Milan's duke, 771 00:51:43,854 --> 00:51:48,687 had sidelined his nephew in 1480 and kept control 772 00:51:48,687 --> 00:51:51,987 through brute force and cunning statecraft, 773 00:51:51,987 --> 00:51:54,954 which he used to navigate the ever-shifting alliances 774 00:51:54,954 --> 00:51:58,854 of Italy's duchies, kingdoms, republics, 775 00:51:58,854 --> 00:52:01,087 and the Papal States. 776 00:52:01,087 --> 00:52:04,054 King: Any prince, any government had to be wary 777 00:52:04,054 --> 00:52:06,721 of all the neighbors, all the other people in Italy 778 00:52:06,721 --> 00:52:10,754 because there was a kind of tense balance, 779 00:52:10,754 --> 00:52:14,221 a kind of equipoise between and among these states. 780 00:52:14,221 --> 00:52:19,087 Ludovico was very much a spider at the center of this web 781 00:52:19,087 --> 00:52:21,687 which would tremble whenever someone else 782 00:52:21,687 --> 00:52:24,054 began to move on the peninsula, 783 00:52:24,054 --> 00:52:27,221 brilliant figure in many ways, politically astute, 784 00:52:27,221 --> 00:52:30,654 extremely deceitful and unscrupulous, 785 00:52:30,654 --> 00:52:35,654 and by the 1480s, probably militarily 786 00:52:35,654 --> 00:52:39,554 the most powerful person on the Italian Peninsula. 787 00:52:39,554 --> 00:52:42,587 Narrator: Known as Il Moro, the Moor, 788 00:52:42,587 --> 00:52:45,087 in part for his dark complexion, 789 00:52:45,087 --> 00:52:47,521 Sforza had cultivated a court 790 00:52:47,521 --> 00:52:50,621 that was among the most sophisticated in all of Europe. 791 00:52:50,621 --> 00:52:52,221 ♪ 792 00:52:52,221 --> 00:52:55,521 He kept his palace populated with engineers and poets, 793 00:52:55,521 --> 00:52:58,821 doctors, artists, and mathematicians 794 00:52:58,821 --> 00:53:02,087 whom he commissioned to design and build churches 795 00:53:02,087 --> 00:53:05,221 and fortifications, create works of art, 796 00:53:05,221 --> 00:53:07,954 and collaborate on plans for the elaborate pageants 797 00:53:07,954 --> 00:53:09,787 he was fond of staging. 798 00:53:09,787 --> 00:53:12,087 ♪ 799 00:53:12,087 --> 00:53:13,921 Verdon: One of the things that surprises us 800 00:53:13,921 --> 00:53:16,454 about Leonardo's choice to go and live in Milan is that 801 00:53:16,454 --> 00:53:19,087 he went from a city which had always prized 802 00:53:19,087 --> 00:53:25,654 its political liberty to a Soviet-type situation. 803 00:53:25,654 --> 00:53:29,687 He needs the leisure to be able to work his ideas out 804 00:53:29,687 --> 00:53:32,421 in a creative way without the immediate market pressure 805 00:53:32,421 --> 00:53:35,254 of producing a work. 806 00:53:35,254 --> 00:53:37,954 Man as Leonardo: Most illustrious Lord, 807 00:53:37,954 --> 00:53:41,521 I shall endeavor to explain myself to Your Excellency, 808 00:53:41,521 --> 00:53:44,587 showing Your Lordship my secrets. 809 00:53:44,587 --> 00:53:48,187 Narrator: Leonardo dictated a letter addressed to the duke 810 00:53:48,187 --> 00:53:50,687 proclaiming his skill as an engineer 811 00:53:50,687 --> 00:53:54,487 and enumerating his ideas for military devices. 812 00:53:54,487 --> 00:53:57,654 Man as Leonardo: I have designs for extremely light 813 00:53:57,654 --> 00:54:02,187 and strong bridges, suitable to be most easily carried, 814 00:54:02,187 --> 00:54:05,221 and with them, you may pursue the enemy 815 00:54:05,221 --> 00:54:08,054 and flee at any time. 816 00:54:08,054 --> 00:54:11,787 I have methods for destroying every stronghold 817 00:54:11,787 --> 00:54:15,321 or other fortress, even if it were built on rock. 818 00:54:15,321 --> 00:54:16,787 [Horse neighs] 819 00:54:16,787 --> 00:54:20,554 I will make safe and unassailable covered chariots 820 00:54:20,554 --> 00:54:23,421 which, entering among the enemy with their artillery, 821 00:54:23,421 --> 00:54:28,987 can withstand any attack, even by large groups of warriors. 822 00:54:28,987 --> 00:54:32,521 Should bombardment operations fail, 823 00:54:32,521 --> 00:54:37,187 I would contrive catapults, mangonels, trebuchets, 824 00:54:37,187 --> 00:54:42,221 and other admirably efficient machines not in common use. 825 00:54:42,221 --> 00:54:46,121 Bramly, speaking French: 826 00:55:06,887 --> 00:55:09,721 Narrator: There is no evidence Leonardo ever received 827 00:55:09,721 --> 00:55:13,621 a reply to his letter or even sent it. 828 00:55:13,621 --> 00:55:17,687 With no prospect of a job as Sforza's military engineer, 829 00:55:17,687 --> 00:55:21,521 he needed to find other paying work. 830 00:55:21,521 --> 00:55:23,787 Eventually, he formed a partnership 831 00:55:23,787 --> 00:55:27,587 with brothers Ambrogio and Evangelista de Predis, 832 00:55:27,587 --> 00:55:31,287 who operated a successful local studio. 833 00:55:31,287 --> 00:55:34,454 Together, the 3 artists secured a commission 834 00:55:34,454 --> 00:55:36,787 to paint an altarpiece for the chapel 835 00:55:36,787 --> 00:55:41,721 of the Confraternity of the Immaculate Conception. 836 00:55:41,721 --> 00:55:45,721 The contract-- dated April 25, 1483-- 837 00:55:45,721 --> 00:55:49,554 specified that the altarpiece should include an image 838 00:55:49,554 --> 00:55:54,887 of the Virgin and Child, flanked by two smaller side panels. 839 00:55:54,887 --> 00:55:58,354 Leonardo was to paint the central panel. 840 00:56:00,187 --> 00:56:03,954 Verdon: Mary, of course, was the most common subject 841 00:56:03,954 --> 00:56:06,687 in medieval and Renaissance art. 842 00:56:06,687 --> 00:56:09,754 ♪ 843 00:56:09,754 --> 00:56:13,254 Here, Mary is Leonardo's focus. 844 00:56:13,254 --> 00:56:16,587 ♪ 845 00:56:16,587 --> 00:56:18,887 Mary's right hand, 846 00:56:18,887 --> 00:56:22,354 which is on the back of John the Baptist, 847 00:56:22,354 --> 00:56:24,821 is very tense. 848 00:56:24,821 --> 00:56:27,321 The fingers are pressing into John's back, 849 00:56:27,321 --> 00:56:29,721 but the thumb is over his shoulder, 850 00:56:29,721 --> 00:56:32,521 and what she's doing is holding him back. 851 00:56:32,521 --> 00:56:36,021 Mary, in the popular theology that Leonardo 852 00:56:36,021 --> 00:56:37,854 and everyone at the time knew, 853 00:56:37,854 --> 00:56:40,987 already understood her son must one day die, 854 00:56:40,987 --> 00:56:44,687 and here, he shows her preventing the prophet 855 00:56:44,687 --> 00:56:48,887 of her own son's future death from drawing near to Christ. 856 00:56:48,887 --> 00:56:53,787 Christ, the child at her left, accepts this future death. 857 00:56:53,787 --> 00:56:55,887 Indeed, He's turned to John the Baptist, 858 00:56:55,887 --> 00:56:58,554 and He's blessing him. 859 00:56:58,554 --> 00:57:03,187 She's lowering her left hand toward His head, 860 00:57:03,187 --> 00:57:07,921 but her hand can never reach her child's head 861 00:57:07,921 --> 00:57:10,387 because there's a figure, an angel, 862 00:57:10,387 --> 00:57:12,387 kneeling behind her son, 863 00:57:12,387 --> 00:57:18,521 and the angel is pointing toward John the Baptist. 864 00:57:18,521 --> 00:57:21,421 Mary, as human mother, 865 00:57:21,421 --> 00:57:25,354 knows her son must die but cannot accept that, 866 00:57:25,354 --> 00:57:28,321 and so God sends His angel to prevent 867 00:57:28,321 --> 00:57:32,487 Mary's instinctive, natural, maternal instinct 868 00:57:32,487 --> 00:57:37,287 from avoiding the future Passion. 869 00:57:37,287 --> 00:57:39,621 It is absolutely 870 00:57:39,621 --> 00:57:45,387 the most complex Madonna image of the entire Renaissance. 871 00:57:45,387 --> 00:57:47,554 ♪ 872 00:57:47,554 --> 00:57:52,587 Its complexity lies in a probing effort 873 00:57:52,587 --> 00:57:57,354 to understand a deep mystery, which is how, 874 00:57:57,354 --> 00:58:02,187 in a woman prepared from all eternity to bear the Son of God, 875 00:58:02,187 --> 00:58:05,954 humanity still fully expresses itself. 876 00:58:05,954 --> 00:58:14,554 ♪ 877 00:58:14,554 --> 00:58:17,987 Narrator: After a disagreement with the monks over money, 878 00:58:17,987 --> 00:58:21,621 Leonardo and his partners withheld the painting. 879 00:58:21,621 --> 00:58:25,921 Their dispute would go unresolved for decades. 880 00:58:25,921 --> 00:58:29,621 Bambach: Leonardo will do what Leonardo does, 881 00:58:29,621 --> 00:58:32,221 pretty much disregarding 882 00:58:32,221 --> 00:58:34,921 what the expectations of the patrons are, 883 00:58:34,921 --> 00:58:38,654 and the patrons learned through their enormous frustrations-- 884 00:58:38,654 --> 00:58:43,987 and they would get quite angry-- that this was who Leonardo was. 885 00:58:43,987 --> 00:58:47,187 Narrator: Leonardo soon formed his own studio in Milan, 886 00:58:47,187 --> 00:58:50,454 where he collaborated on portraits and religious works 887 00:58:50,454 --> 00:58:53,354 with assistants and other accomplished masters 888 00:58:53,354 --> 00:58:57,421 and offered instruction to eager apprentices. 889 00:58:57,421 --> 00:58:59,687 He started but abandoned a painting 890 00:58:59,687 --> 00:59:04,054 of the 4th-century theologian and ascetic Saint Jerome. 891 00:59:04,054 --> 00:59:07,554 He got further with a portrait of a musician, 892 00:59:07,554 --> 00:59:10,054 likely Atalante Migliorotti, 893 00:59:10,054 --> 00:59:14,121 who had traveled with him to Milan, 894 00:59:14,121 --> 00:59:16,787 and Leonardo finally began to get commissions 895 00:59:16,787 --> 00:59:19,554 from Ludovico Sforza. 896 00:59:19,554 --> 00:59:23,487 Among them was a portrait of Cecilia Gallerani, 897 00:59:23,487 --> 00:59:25,687 the well-educated teenage daughter 898 00:59:25,687 --> 00:59:29,621 of a Milanese civil servant who had caught Il Moro's eye 899 00:59:29,621 --> 00:59:33,487 and soon after was living in a suite of rooms in his castle. 900 00:59:33,487 --> 00:59:35,721 ♪ 901 00:59:35,721 --> 00:59:38,187 Kemp: What Leonardo has done is to tell a mini-narrative 902 00:59:38,187 --> 00:59:40,487 in this image. 903 00:59:40,487 --> 00:59:43,321 She is holding the ermine, 904 00:59:43,321 --> 00:59:46,754 this animal which is symbolic of purity because the ermine 905 00:59:46,754 --> 00:59:50,321 was said to prefer to die rather than get dirty, 906 00:59:50,321 --> 00:59:54,921 and she is turning away from us, 907 00:59:54,921 --> 00:59:57,587 looking, and smiling slightly, 908 00:59:57,587 --> 01:00:01,187 so we must imagine the duke is over there. 909 01:00:01,187 --> 01:00:04,754 We're looking at her. She is looking at the duke. 910 01:00:04,754 --> 01:00:08,521 She is given status by this unseen presence, 911 01:00:08,521 --> 01:00:11,854 which is just spectacularly remarkable, given the fact 912 01:00:11,854 --> 01:00:15,554 that portraits didn't have narratives in them. 913 01:00:15,554 --> 01:00:18,221 Isaacson: The way her wrist is cocked 914 01:00:18,221 --> 01:00:21,721 protectively around the ermine, 915 01:00:21,721 --> 01:00:26,487 the way the eyes of the ermine and the eyes of the lady 916 01:00:26,487 --> 01:00:29,521 are both glancing in the same direction, 917 01:00:29,521 --> 01:00:32,721 and the way the light glints off of her eyes 918 01:00:32,721 --> 01:00:35,954 and off the white ermine, 919 01:00:35,954 --> 01:00:40,721 it's Leonardo at his best, showing a scene in motion. 920 01:00:40,721 --> 01:00:43,254 The greatest task of the painter 921 01:00:43,254 --> 01:00:47,754 is to paint the figure and the intentions of the mind. 922 01:00:47,754 --> 01:00:53,321 He says, "Where there is no life, make it alive." 923 01:00:53,321 --> 01:00:55,054 ♪ 924 01:00:55,054 --> 01:00:58,087 Speaking Italian: 925 01:01:51,287 --> 01:01:56,821 ♪ 926 01:01:59,387 --> 01:02:02,021 Narrator: Leonardo moved into a spacious studio 927 01:02:02,021 --> 01:02:05,021 and living quarters at the Corte Vecchia, 928 01:02:05,021 --> 01:02:09,387 a former palace adjacent to Milan's colossal cathedral. 929 01:02:09,387 --> 01:02:12,221 In the new workshop, which he would refer to 930 01:02:12,221 --> 01:02:15,587 as "la mia fabrica," my factory, 931 01:02:15,587 --> 01:02:20,021 Leonardo would paint portraits, draw futuristic machines, 932 01:02:20,021 --> 01:02:24,154 and make meticulous observations in dozens of notebooks. 933 01:02:24,154 --> 01:02:25,854 [Dog barks] 934 01:02:25,854 --> 01:02:29,021 Borgo, speaking Italian: 935 01:02:46,187 --> 01:02:50,321 Nicholl: I think we get close to a key quality of Leonardo 936 01:02:50,321 --> 01:02:52,287 in the notebooks. 937 01:02:52,287 --> 01:02:55,654 It's not just that Leonardo knew an awful lot. 938 01:02:55,654 --> 01:02:58,187 It's that he found out an awful lot. 939 01:02:58,187 --> 01:03:01,421 Man as Leonardo: What light and shadow are? 940 01:03:01,421 --> 01:03:03,587 What outlines are seen in trees? 941 01:03:03,587 --> 01:03:06,454 What rules should be given to boys learning to paint? 942 01:03:06,454 --> 01:03:09,554 Nicholl: The way he found out was by asking questions... 943 01:03:09,554 --> 01:03:12,721 Man as Leonardo: Why the sun appears larger when setting 944 01:03:12,721 --> 01:03:14,921 than at noon when it is nearer to us? 945 01:03:14,921 --> 01:03:17,587 Nicholl: and indeed the interrogative mode 946 01:03:17,587 --> 01:03:20,887 is quite often present in the notebooks. 947 01:03:20,887 --> 01:03:23,221 Man as Leonardo: [Speaking Italian] 948 01:03:25,521 --> 01:03:27,187 Nicholl: Why is that happening? 949 01:03:27,187 --> 01:03:29,321 Man as Leonardo: [Speaking Italian] 950 01:03:29,321 --> 01:03:30,887 Nicholl: How does it happen? 951 01:03:30,887 --> 01:03:32,887 Man as Leonardo: [Speaking Italian] 952 01:03:32,887 --> 01:03:36,154 Nicholl: What is the quality of that thing or person or emotion? 953 01:03:36,154 --> 01:03:38,087 Man as Leonardo: [Speaking Italian] 954 01:03:38,087 --> 01:03:40,654 Nicholl: He's posing questions and looking for answers. 955 01:03:40,654 --> 01:03:43,687 Man as Leonardo: [Speaking Italian] 956 01:03:44,954 --> 01:03:47,721 Del Toro: The beauty of what he does is that 957 01:03:47,721 --> 01:03:51,954 he is carrying a catalog of notions 958 01:03:51,954 --> 01:03:56,187 that are organized almost like a stream of consciousness. 959 01:03:56,187 --> 01:03:59,754 Man as Leonardo: [Speaking Italian] 960 01:04:00,821 --> 01:04:03,421 Del Toro: His knowledge knows no boundaries. 961 01:04:03,421 --> 01:04:04,854 [Splash] 962 01:04:05,987 --> 01:04:07,821 [Lion roars] 963 01:04:07,821 --> 01:04:10,654 The way we absorb the world is all at once, 964 01:04:10,654 --> 01:04:15,121 and that's the simultaneous, gluttonous impact 965 01:04:15,121 --> 01:04:18,154 that you get from his notebooks. 966 01:04:18,154 --> 01:04:22,821 He has to be there, and he has to render it right away. 967 01:04:22,821 --> 01:04:24,954 Man as Leonardo: Define first 968 01:04:24,954 --> 01:04:27,754 what is meant by height and depth, 969 01:04:27,754 --> 01:04:30,354 also how the elements are situated... 970 01:04:30,354 --> 01:04:32,287 Narrator: In one notebook, he designed a city 971 01:04:32,287 --> 01:04:35,887 built on two levels to improve sanitation; 972 01:04:35,887 --> 01:04:38,787 sketched castle and church architecture, 973 01:04:38,787 --> 01:04:42,654 including a study for the dome of Milan's cathedral; 974 01:04:42,654 --> 01:04:45,421 and invented weapons of war. 975 01:04:45,421 --> 01:04:48,387 ♪ 976 01:04:48,387 --> 01:04:51,587 Leonardo also drew fantastical flying machines. 977 01:04:51,587 --> 01:04:53,687 ♪ 978 01:04:53,687 --> 01:04:56,321 Vecce, speaking Italian: 979 01:05:43,787 --> 01:05:48,021 Narrator: He wasn't the first to imagine conquering the skies. 980 01:05:48,021 --> 01:05:51,954 Daedalus, a mythic craftsman of ancient Greece, 981 01:05:51,954 --> 01:05:54,754 had fashioned wings for himself and his son Icarus 982 01:05:54,754 --> 01:05:58,654 in an effort to escape their captors on the isle of Crete. 983 01:05:58,654 --> 01:06:00,654 ♪ 984 01:06:00,654 --> 01:06:05,287 Aspiring aviators in China, Iran, Scotland, and elsewhere 985 01:06:05,287 --> 01:06:10,387 had designed machines and made ill-fated attempts at flight. 986 01:06:10,387 --> 01:06:11,987 ♪ 987 01:06:11,987 --> 01:06:14,087 Man as Leonardo: Remember that your flying machine 988 01:06:14,087 --> 01:06:17,154 must imitate the bat 989 01:06:17,154 --> 01:06:18,787 because the web, 990 01:06:18,787 --> 01:06:21,054 being connected to the structure, 991 01:06:21,054 --> 01:06:24,521 gives strength to the wings. 992 01:06:24,521 --> 01:06:27,854 Narrator: Many of Leonardo's designs were ornithopters, 993 01:06:27,854 --> 01:06:31,221 machines that relied on the human-powered flapping of wings 994 01:06:31,221 --> 01:06:34,087 to achieve flight. 995 01:06:34,087 --> 01:06:38,954 His wings would be constructed of cane, rope, and fine linen, 996 01:06:38,954 --> 01:06:41,787 the lightest materials he could find. 997 01:06:41,787 --> 01:06:45,454 Pilots would use pulleys and cords to coordinate movement 998 01:06:45,454 --> 01:06:49,887 and pedals and cranks to supply power. 999 01:06:49,887 --> 01:06:53,421 Man as Leonardo: A man with large enough wings 1000 01:06:53,421 --> 01:06:57,887 duly connected might overcome the resistance of the air 1001 01:06:57,887 --> 01:07:02,287 and succeed in conquering it and rising above it. 1002 01:07:02,287 --> 01:07:04,154 ♪ 1003 01:07:04,154 --> 01:07:06,021 Man: In order to achieve lift, 1004 01:07:06,021 --> 01:07:07,887 he needed to create, basically, 1005 01:07:07,887 --> 01:07:10,387 a deflection of the air. 1006 01:07:10,387 --> 01:07:14,387 We are flying because we are able to redirect the airflow 1007 01:07:14,387 --> 01:07:16,787 from horizontal to downward. 1008 01:07:16,787 --> 01:07:20,121 And Newton's law says that if you deflect it downward, 1009 01:07:20,121 --> 01:07:23,121 the reaction to it is, it pushes you up, 1010 01:07:23,121 --> 01:07:25,387 and he basically understood that 1011 01:07:25,387 --> 01:07:27,621 without being able to explain it. 1012 01:07:27,621 --> 01:07:29,521 ♪ 1013 01:07:29,521 --> 01:07:32,921 Narrator: Though ingenious and of singular artistic beauty, 1014 01:07:32,921 --> 01:07:36,487 his flying machines could not have flown. 1015 01:07:36,487 --> 01:07:39,087 The materials of his day were too heavy 1016 01:07:39,087 --> 01:07:41,987 and human musculature too weak. 1017 01:07:41,987 --> 01:07:43,787 ♪ 1018 01:07:43,787 --> 01:07:47,287 Man as Leonardo: The dragonfly flies with 4 wings, 1019 01:07:47,287 --> 01:07:49,454 and when the front wings are raised, 1020 01:07:49,454 --> 01:07:52,754 the back wings are lowered, 1021 01:07:52,754 --> 01:07:55,687 but each pair needs to be sufficient of itself 1022 01:07:55,687 --> 01:07:57,487 to bear the full weight. 1023 01:07:57,487 --> 01:08:00,854 ♪ 1024 01:08:00,854 --> 01:08:02,587 Narrator: In the years ahead, 1025 01:08:02,587 --> 01:08:04,721 Leonardo would fill his notebooks with drawings 1026 01:08:04,721 --> 01:08:08,387 of a multitude of other mechanical devices-- 1027 01:08:08,387 --> 01:08:11,254 hydraulic screws, hoists, 1028 01:08:11,254 --> 01:08:13,954 a perpetual motion machine, clocks-- 1029 01:08:13,954 --> 01:08:19,121 and their component parts-- springs, gears, ball bearings. 1030 01:08:19,121 --> 01:08:23,687 Many of his designs were utilitarian, some theoretical, 1031 01:08:23,687 --> 01:08:26,954 but all were devised with great consideration 1032 01:08:26,954 --> 01:08:28,854 for the properties of physics, 1033 01:08:28,854 --> 01:08:31,987 such as friction, inertia, and gravity. 1034 01:08:31,987 --> 01:08:34,887 [Pottery shatters] 1035 01:08:34,887 --> 01:08:38,754 Del Toro: There's a great little phrase Kubrick said, 1036 01:08:38,754 --> 01:08:40,687 and I'll paraphrase him. 1037 01:08:40,687 --> 01:08:43,187 The lesson in the Icarus myth 1038 01:08:43,187 --> 01:08:46,287 is not that we shouldn't fly that high. 1039 01:08:46,287 --> 01:08:48,687 We just need to build better wings, you know, 1040 01:08:48,687 --> 01:08:52,987 and I think Leonardo wants to build better wings-- 1041 01:08:52,987 --> 01:08:58,087 from irrigation to circulatory systems 1042 01:08:58,087 --> 01:09:01,487 to machines of war, everything. 1043 01:09:01,487 --> 01:09:03,154 ♪ 1044 01:09:03,154 --> 01:09:05,921 Galluzzi: One of the greatest invention by Leonardo 1045 01:09:05,921 --> 01:09:08,321 is not the submarine or the airplane. 1046 01:09:08,321 --> 01:09:10,187 They would not have worked, 1047 01:09:10,187 --> 01:09:14,121 and I'm sure he was absolutely aware of that. 1048 01:09:14,121 --> 01:09:20,121 It's the way in which he used drawings to explain machines. 1049 01:09:20,121 --> 01:09:23,621 These drawings are spectacular as drawings. 1050 01:09:23,621 --> 01:09:27,687 ♪ 1051 01:09:27,687 --> 01:09:33,254 He's able, for the first time, to portray a complex machine 1052 01:09:33,254 --> 01:09:38,454 with one drawing in a way that you can understand perfectly 1053 01:09:38,454 --> 01:09:41,787 even its interior parts. 1054 01:09:41,787 --> 01:09:44,154 He was making exploded views 1055 01:09:44,154 --> 01:09:46,654 aside the general view of the machine, 1056 01:09:46,654 --> 01:09:50,221 and that was unsurpassed for many, many generations. 1057 01:09:50,221 --> 01:09:59,154 ♪ 1058 01:09:59,154 --> 01:10:03,321 Woman: One of my favorite things is a little musical pun he does 1059 01:10:03,321 --> 01:10:07,354 where he takes Do Re Mi Fa Sol La Ti Do 1060 01:10:07,354 --> 01:10:09,154 and arranges those 1061 01:10:09,154 --> 01:10:12,854 into Italian words that make a sentence, 1062 01:10:12,854 --> 01:10:15,954 but they're also, of course, notes, so you can sing it, 1063 01:10:15,954 --> 01:10:19,687 and what is being sung is, 1064 01:10:19,687 --> 01:10:22,854 "Love alone makes me remember. 1065 01:10:22,854 --> 01:10:27,121 Love alone makes me alert," 1066 01:10:27,121 --> 01:10:29,187 and there's a little, stray comment 1067 01:10:29,187 --> 01:10:31,421 on the back of one of the sheets of paper-- 1068 01:10:31,421 --> 01:10:33,821 "If there is no love, what then?" 1069 01:10:33,821 --> 01:10:35,787 ♪ 1070 01:10:35,787 --> 01:10:37,821 Man as Leonardo: Giacomo came to live with me 1071 01:10:37,821 --> 01:10:41,421 on the Feast of Saint Mary Magdalene, 1490. 1072 01:10:41,421 --> 01:10:43,421 ♪ 1073 01:10:43,421 --> 01:10:46,887 Narrator: In the summer of 1490, Giacomo Caprotti, 1074 01:10:46,887 --> 01:10:49,421 a 10-year-old from a nearby village, 1075 01:10:49,421 --> 01:10:51,787 joined Leonardo's household. 1076 01:10:51,787 --> 01:10:53,587 ♪ 1077 01:10:53,587 --> 01:10:56,054 Caprotti's father had agreed to pay room and board 1078 01:10:56,054 --> 01:10:59,254 while his son learned painting from the master. 1079 01:10:59,254 --> 01:11:02,554 In time, the boy would show modest talent, 1080 01:11:02,554 --> 01:11:06,487 but at first, he ran errands, modeled for Leonardo, 1081 01:11:06,487 --> 01:11:08,521 and caused trouble. 1082 01:11:08,521 --> 01:11:11,821 Nicholl: He's immediately noted as a mischief maker, 1083 01:11:11,821 --> 01:11:13,654 a disruptive figure, 1084 01:11:13,654 --> 01:11:17,187 and indeed, the name that is given to him, Salai, 1085 01:11:17,187 --> 01:11:20,187 it means little demon, little devil, 1086 01:11:20,187 --> 01:11:22,087 and the first thing we learn about him 1087 01:11:22,087 --> 01:11:24,887 is a long notation in Leonardo's-- 1088 01:11:24,887 --> 01:11:28,387 one of Leonardo's notebooks, one of the longest 1089 01:11:28,387 --> 01:11:30,654 continuous pieces of writing about another person 1090 01:11:30,654 --> 01:11:33,087 that Leonardo ever put down on paper, 1091 01:11:33,087 --> 01:11:35,987 and it's a list of Salai's misdeeds. 1092 01:11:35,987 --> 01:11:38,154 Man as Leonardo: The second day, 1093 01:11:38,154 --> 01:11:43,021 I had two shirts cut for him, a pair of hose, and a jerkin, 1094 01:11:43,021 --> 01:11:46,487 and when I put aside some money to pay for these things, 1095 01:11:46,487 --> 01:11:49,387 he stole the money out of the purse, 1096 01:11:49,387 --> 01:11:52,154 and I could never get him to confess, 1097 01:11:52,154 --> 01:11:56,187 though I was quite certain of the fact. 1098 01:11:56,187 --> 01:11:59,154 Again, on April 2, 1099 01:11:59,154 --> 01:12:04,087 Gian Antonio left a silver point on a drawing he had made, 1100 01:12:04,087 --> 01:12:06,887 and Giacomo stole it. 1101 01:12:06,887 --> 01:12:08,621 Narrator: "Thief..." Man as Leonardo: Ladro... 1102 01:12:08,621 --> 01:12:10,387 Narrator: "liar..." Man as Leonardo: bugiardo... 1103 01:12:10,387 --> 01:12:12,054 Narrator: "obstinate..." Man as Leonardo: ostinato... 1104 01:12:12,054 --> 01:12:13,487 Narrator: "greedy"... Man as Leonardo: ghiotto. 1105 01:12:13,487 --> 01:12:15,887 Narrator: Leonardo wrote in the margin. 1106 01:12:15,887 --> 01:12:18,754 Nicholl: Throughout it runs this wonderful sort of twinkle 1107 01:12:18,754 --> 01:12:21,054 of fondness from the maestro 1108 01:12:21,054 --> 01:12:25,887 as he lists these misdeeds of the urchin Salai, 1109 01:12:25,887 --> 01:12:28,587 and this fondness for this mischievous 1110 01:12:28,587 --> 01:12:31,487 but rather attractive and charismatic young lad 1111 01:12:31,487 --> 01:12:33,121 carries on, really, 1112 01:12:33,121 --> 01:12:36,521 throughout the next 30 years of companionship. 1113 01:12:36,521 --> 01:12:38,854 Salai is a apprentice, 1114 01:12:38,854 --> 01:12:43,454 then assistant, then companion-- 1115 01:12:43,454 --> 01:12:45,954 one might almost certainly say lover-- 1116 01:12:45,954 --> 01:12:51,354 and finally sort of indispensable 1117 01:12:51,354 --> 01:12:54,087 sort of partner of Leonardo's life. 1118 01:12:54,087 --> 01:12:55,454 ♪ 1119 01:12:55,454 --> 01:12:57,754 He has a very particular look 1120 01:12:57,754 --> 01:13:00,187 which becomes the sort of trademark, almost, 1121 01:13:00,187 --> 01:13:05,254 of Leonardo's presentation of the beautiful male face-- 1122 01:13:05,254 --> 01:13:07,121 or, indeed, androgynous face-- 1123 01:13:07,121 --> 01:13:11,854 because his angels often feature the look of Salai. 1124 01:13:11,854 --> 01:13:17,987 Man as Leonardo: Salai, I want to rest, so no more wars. 1125 01:13:17,987 --> 01:13:22,487 No more war. I surrender. 1126 01:13:22,487 --> 01:13:25,087 Zimmerman: There's a contemporary reference to Salai. 1127 01:13:25,087 --> 01:13:27,987 Someone says, "Our Leonardo stopped by the other day 1128 01:13:27,987 --> 01:13:31,654 with the insufferable Salai," 1129 01:13:31,654 --> 01:13:34,687 and yet something's being satisfied. 1130 01:13:34,687 --> 01:13:37,654 He was with him for the rest of his life, 1131 01:13:37,654 --> 01:13:40,987 and I think you sort of can't argue with that. 1132 01:13:40,987 --> 01:13:42,754 ♪ 1133 01:13:42,754 --> 01:13:46,021 Man as Leonardo: Pleasure and Pain appear as twins 1134 01:13:46,021 --> 01:13:49,187 since there is never one without the other. 1135 01:13:49,187 --> 01:13:53,821 They stand back to back as though they were attached. 1136 01:13:53,821 --> 01:13:57,621 If you take Pleasure, know that behind him 1137 01:13:57,621 --> 01:14:02,321 is one who will deal you Tribulation and Repentance, 1138 01:14:02,321 --> 01:14:05,987 and they exist as opposites in the same body 1139 01:14:05,987 --> 01:14:08,721 because they have the same basis, 1140 01:14:08,721 --> 01:14:12,121 and the various forms of evil pleasure 1141 01:14:12,121 --> 01:14:14,754 are the origin of pain. 1142 01:14:16,221 --> 01:14:18,221 Bramly, speaking French: 1143 01:14:43,321 --> 01:14:45,787 Speaking Italian: 1144 01:15:23,521 --> 01:15:29,187 ♪ 1145 01:15:29,187 --> 01:15:31,854 [Hooves clopping] 1146 01:15:31,854 --> 01:15:34,321 Narrator: In January of 1490, 1147 01:15:34,321 --> 01:15:37,987 Ludovico Sforza hosted a lavish celebration to honor 1148 01:15:37,987 --> 01:15:42,021 the marriage of his nephew to the Princess of Naples. 1149 01:15:42,021 --> 01:15:44,721 The evening featured a sumptuous feast 1150 01:15:44,721 --> 01:15:48,054 and an elaborate pageant, "Il Paradiso," 1151 01:15:48,054 --> 01:15:52,487 with costumed actors, music, and dancing. 1152 01:15:52,487 --> 01:15:55,987 Near midnight, a curtain was drawn to reveal 1153 01:15:55,987 --> 01:15:59,954 a giant half-egg, the top edge arrayed 1154 01:15:59,954 --> 01:16:02,454 with the twelve signs of the zodiac 1155 01:16:02,454 --> 01:16:05,787 and the inside gilded with gold. 1156 01:16:05,787 --> 01:16:10,287 The 7 known celestial bodies were represented by actors. 1157 01:16:10,287 --> 01:16:14,854 Candles served as stars. 1158 01:16:14,854 --> 01:16:18,321 The performance culminated with the gods descending from heaven 1159 01:16:18,321 --> 01:16:22,487 to proclaim the bride's many virtues. 1160 01:16:22,487 --> 01:16:24,754 Leonardo had decorated the hall 1161 01:16:24,754 --> 01:16:27,887 and designed all the costumes and sets. 1162 01:16:27,887 --> 01:16:30,221 ♪ 1163 01:16:30,221 --> 01:16:35,221 He had finally found a niche on Sforza's court. 1164 01:16:35,221 --> 01:16:38,187 In time, Il Moro would appoint him 1165 01:16:38,187 --> 01:16:41,387 an official engineer and painter. 1166 01:16:41,387 --> 01:16:44,087 Kemp: He became a guru of the court. 1167 01:16:44,087 --> 01:16:47,521 He had a stipend. He was a stipendiato. 1168 01:16:47,521 --> 01:16:50,787 It gave him space. It also gave him an area 1169 01:16:50,787 --> 01:16:52,454 where there were musicians, 1170 01:16:52,454 --> 01:16:54,421 and he himself was an accomplished musician. 1171 01:16:54,421 --> 01:16:56,821 There were poets. There were historians. 1172 01:16:56,821 --> 01:16:59,021 There were people doing natural philosophy. 1173 01:16:59,021 --> 01:17:00,787 There were engineers. 1174 01:17:00,787 --> 01:17:02,721 He was a very gracious man by all accounts, 1175 01:17:02,721 --> 01:17:04,354 rather charming. 1176 01:17:04,354 --> 01:17:06,921 The courts suited him quite well. 1177 01:17:06,921 --> 01:17:09,454 King: He was someone who loved the humorous 1178 01:17:09,454 --> 01:17:13,254 and loved the grotesque, loved practical jokes. 1179 01:17:13,254 --> 01:17:15,721 ♪ 1180 01:17:15,721 --> 01:17:17,721 We might not think of Leonardo da Vinci 1181 01:17:17,721 --> 01:17:20,954 as having a sense of humor, but he did. 1182 01:17:20,954 --> 01:17:23,787 Man as Leonardo: It was asked of a painter why, 1183 01:17:23,787 --> 01:17:26,421 since he painted such beautiful figures, 1184 01:17:26,421 --> 01:17:31,154 his children were so ugly, to which the painter replied 1185 01:17:31,154 --> 01:17:36,887 that he made his pictures by day and his children by night. 1186 01:17:36,887 --> 01:17:40,721 ♪ 1187 01:17:40,721 --> 01:17:43,487 Bambach: Leonardo also cultivates a huge network 1188 01:17:43,487 --> 01:17:47,521 of intellectual friends and craftsmen, 1189 01:17:47,521 --> 01:17:51,454 and his ambitions to write treatises really emerges. 1190 01:17:51,454 --> 01:17:54,021 [Bell tolling] In Milan, there was an interest 1191 01:17:54,021 --> 01:17:57,287 in more Aristotelian ways of thinking, 1192 01:17:57,287 --> 01:18:00,121 which are much more based on empiricism, 1193 01:18:00,121 --> 01:18:03,187 empirical observation. 1194 01:18:03,187 --> 01:18:06,287 Leonardo was able to befriend all these people 1195 01:18:06,287 --> 01:18:08,454 who translated treatises 1196 01:18:08,454 --> 01:18:12,154 that probably enhanced his education, 1197 01:18:12,154 --> 01:18:16,987 and he kind of got his sea legs as an author. 1198 01:18:16,987 --> 01:18:18,854 [Thunder] Verdon: Plato said, 1199 01:18:18,854 --> 01:18:21,154 "You have to start with the great ideas." 1200 01:18:21,154 --> 01:18:24,321 Aristotle said, "No. You have to start with the hard facts, 1201 01:18:24,321 --> 01:18:27,654 "like rocks and dirt and plants. 1202 01:18:27,654 --> 01:18:30,987 "In analyzing them, you will come to the larger ideas 1203 01:18:30,987 --> 01:18:33,254 that allow you to construct a system," 1204 01:18:33,254 --> 01:18:35,487 and I think that corresponded much more closely 1205 01:18:35,487 --> 01:18:39,487 to Leonardo's own curiosity about the natural world, 1206 01:18:39,487 --> 01:18:43,187 and, in a sense, shaped it. 1207 01:18:43,187 --> 01:18:46,287 Narrator: Determined to become a writer and intellectual, 1208 01:18:46,287 --> 01:18:49,987 Leonardo acquired more and more books. 1209 01:18:49,987 --> 01:18:53,654 The German craftsman Johannes Guttenberg 1210 01:18:53,654 --> 01:18:56,787 had invented the printing press in 1452, 1211 01:18:56,787 --> 01:18:58,721 the year Leonardo was born. 1212 01:18:58,721 --> 01:19:00,854 ♪ 1213 01:19:00,854 --> 01:19:03,921 Within two decades, Venice had established itself 1214 01:19:03,921 --> 01:19:06,087 as a center for publishing, 1215 01:19:06,087 --> 01:19:09,421 and Milan and Florence each had their own print shops. 1216 01:19:09,421 --> 01:19:11,887 ♪ 1217 01:19:11,887 --> 01:19:15,687 King: Leonardo was an inveterate and omnivorous reader, 1218 01:19:15,687 --> 01:19:19,454 and if he couldn't buy a book, he would borrow it. 1219 01:19:19,454 --> 01:19:21,454 He's not just looking at the natural world-- 1220 01:19:21,454 --> 01:19:24,254 he's certainly doing that--but he's also looking at the best 1221 01:19:24,254 --> 01:19:28,487 that has been thought and said by his predecessors. 1222 01:19:28,487 --> 01:19:30,687 Man as Leonardo: Try to obtain the Vitolone, 1223 01:19:30,687 --> 01:19:33,254 which is in the library of Pavia. 1224 01:19:33,254 --> 01:19:35,254 Ask Benedetto Portinari 1225 01:19:35,254 --> 01:19:38,121 how people go on the ice in Flanders. 1226 01:19:38,121 --> 01:19:41,354 Ask Maestro Antonio how mortars are placed on bastions 1227 01:19:41,354 --> 01:19:43,421 by day or by night. 1228 01:19:43,421 --> 01:19:47,887 Get the Friar at Brera to show you "De ponderibus." 1229 01:19:47,887 --> 01:19:50,021 Narrator: Leonardo also frequently quoted 1230 01:19:50,021 --> 01:19:52,421 "The Divine Comedy," the epic poem 1231 01:19:52,421 --> 01:19:56,554 by Dante Alighieri, Florence's most famous writer... 1232 01:19:56,554 --> 01:19:58,321 ♪ 1233 01:19:58,321 --> 01:20:00,554 and he tried to master Latin, 1234 01:20:00,554 --> 01:20:03,054 long the language of European scholars, 1235 01:20:03,054 --> 01:20:05,421 filling page after page of his notebooks 1236 01:20:05,421 --> 01:20:09,821 with vocabulary words written in his mirror script. 1237 01:20:09,821 --> 01:20:10,854 ♪ 1238 01:20:10,854 --> 01:20:13,421 Vecce, speaking Italian: 1239 01:20:27,187 --> 01:20:35,421 ♪ 1240 01:20:35,421 --> 01:20:37,854 Man as Leonardo: Not being a literary man, 1241 01:20:37,854 --> 01:20:40,454 certain presumptuous people will think 1242 01:20:40,454 --> 01:20:43,954 that they may reasonably criticize me, 1243 01:20:43,954 --> 01:20:47,054 alleging that I am a man without letters. 1244 01:20:47,054 --> 01:20:49,454 Foolish men. 1245 01:20:49,454 --> 01:20:52,187 They do not know that my subjects 1246 01:20:52,187 --> 01:20:54,587 are to be dealt with by experience 1247 01:20:54,587 --> 01:20:59,221 rather than by words and experience 1248 01:20:59,221 --> 01:21:04,087 has been the master of those who wrote well. 1249 01:21:04,087 --> 01:21:08,621 Therefore, I shall cite my master in all cases. 1250 01:21:08,621 --> 01:21:10,921 ♪ 1251 01:21:10,921 --> 01:21:15,287 Galluzzi: He says that I am "uomo sanza lettere." 1252 01:21:15,287 --> 01:21:18,254 "I am a man who has no traditional knowledge," 1253 01:21:18,254 --> 01:21:20,187 and is a kind of admission, 1254 01:21:20,187 --> 01:21:23,487 which is, in fact, an expression of proudness. 1255 01:21:23,487 --> 01:21:26,654 "I've learned not from libraries, not from books, 1256 01:21:26,654 --> 01:21:29,121 "but from the observation of nature. 1257 01:21:29,121 --> 01:21:32,254 "Nature is the real teacher. 1258 01:21:32,254 --> 01:21:35,787 I am a disciple of nature." 1259 01:21:35,787 --> 01:21:38,221 Many expressions in his notebooks 1260 01:21:38,221 --> 01:21:42,054 express this frustration for not being considered 1261 01:21:42,054 --> 01:21:45,787 as an intellectual, we would say today, as a scholar. 1262 01:21:45,787 --> 01:21:48,954 At the same time, this was tempered 1263 01:21:48,954 --> 01:21:53,621 by the self-confidence of knowing much more 1264 01:21:53,621 --> 01:21:58,254 than those people, being able to perform things 1265 01:21:58,254 --> 01:22:01,121 that the others not even could conceive. 1266 01:22:01,121 --> 01:22:04,787 ♪ 1267 01:22:04,787 --> 01:22:06,821 Narrator: Meanwhile, Leonardo had embarked 1268 01:22:06,821 --> 01:22:10,787 on another ambitious project-- a series of books 1269 01:22:10,787 --> 01:22:13,854 that, together, would present his core beliefs 1270 01:22:13,854 --> 01:22:17,021 on the art and science of painting. 1271 01:22:17,021 --> 01:22:23,121 ♪ 1272 01:22:23,121 --> 01:22:26,787 Man as Leonardo: Light is the chaser away of darkness. 1273 01:22:26,787 --> 01:22:29,287 ♪ 1274 01:22:29,287 --> 01:22:34,854 Shade is the obstruction of light, 1275 01:22:34,854 --> 01:22:38,721 and the eye can best distinguish the forms of objects 1276 01:22:38,721 --> 01:22:45,087 when it is placed between the shaded and illuminated parts. 1277 01:22:45,087 --> 01:22:47,721 Narrator: Using candles to illuminate spheres 1278 01:22:47,721 --> 01:22:50,754 and cylinders, he observed how light, 1279 01:22:50,754 --> 01:22:53,354 when cast on curved surfaces, 1280 01:22:53,354 --> 01:22:57,021 created shadows of varying intensity and length. 1281 01:22:57,021 --> 01:22:58,754 ♪ 1282 01:22:58,754 --> 01:23:01,621 Delieuvin, speaking French: 1283 01:23:14,754 --> 01:23:18,654 Man as Leonardo: The edges of shadows darken by degrees, 1284 01:23:18,654 --> 01:23:21,487 and anyone ignorant of this fact 1285 01:23:21,487 --> 01:23:25,587 will paint things with no relief, 1286 01:23:25,587 --> 01:23:29,221 and relief is the heart and soul of painting. 1287 01:23:29,221 --> 01:23:37,421 ♪ 1288 01:23:37,421 --> 01:23:39,787 [Man exhales] 1289 01:23:39,787 --> 01:23:42,187 Narrator: Like his old master Verrocchio, 1290 01:23:42,187 --> 01:23:45,721 Leonardo believed that a deep knowledge of human anatomy 1291 01:23:45,721 --> 01:23:50,521 was essential to depicting the human form, 1292 01:23:50,521 --> 01:23:53,454 but he and his contemporaries were still dependent 1293 01:23:53,454 --> 01:23:56,121 on the medical teachings of ancient physicians 1294 01:23:56,121 --> 01:23:59,521 and philosophers whose centuries-old theories 1295 01:23:59,521 --> 01:24:02,354 had mostly gone unchallenged. 1296 01:24:02,354 --> 01:24:04,854 Existing anatomical illustrations, 1297 01:24:04,854 --> 01:24:07,087 which had been informed by those theories, 1298 01:24:07,087 --> 01:24:11,787 were inaccurate and inadequate. 1299 01:24:11,787 --> 01:24:14,521 Man as Leonardo: A painter who learns about the nature 1300 01:24:14,521 --> 01:24:18,921 of tendons, muscles, and sinews will know just how many 1301 01:24:18,921 --> 01:24:23,021 and which tendons cause the movement of a limb 1302 01:24:23,021 --> 01:24:29,154 or which muscle bulges and causes that tendon to contract. 1303 01:24:29,154 --> 01:24:32,321 Narrator: Leonardo drew muscles, bones, and organs 1304 01:24:32,321 --> 01:24:35,287 and experimented with different techniques-- 1305 01:24:35,287 --> 01:24:38,187 cross sections and transparency. 1306 01:24:38,187 --> 01:24:40,787 ♪ 1307 01:24:40,787 --> 01:24:42,521 Speaking Italian: 1308 01:25:11,854 --> 01:25:14,621 Narrator: Now he obtained a skull 1309 01:25:14,621 --> 01:25:19,021 and set out to map it in a series of drawings. 1310 01:25:19,021 --> 01:25:21,454 Kemp: He sectioned it horizontally and vertically. 1311 01:25:21,454 --> 01:25:23,121 You think, "Well, that's obvious," 1312 01:25:23,121 --> 01:25:24,754 but it wasn't obvious. 1313 01:25:24,754 --> 01:25:26,387 Nobody did that. 1314 01:25:26,387 --> 01:25:28,354 There were no anatomical drawings in earlier books 1315 01:25:28,354 --> 01:25:31,021 with sections of the skull, and he's looking at the skull 1316 01:25:31,021 --> 01:25:34,021 empirically for its features, what it looks like, 1317 01:25:34,021 --> 01:25:36,387 and wonderful, delicate drawings 1318 01:25:36,387 --> 01:25:39,921 which are just awesome in terms of technique, 1319 01:25:39,921 --> 01:25:42,887 and you think, "Well, he's doing the anatomy of the skull," 1320 01:25:42,887 --> 01:25:44,854 but what he's really looking for 1321 01:25:44,854 --> 01:25:47,421 is where the center of the brain is. 1322 01:25:47,421 --> 01:25:49,487 He talks about the pole of the cranium 1323 01:25:49,487 --> 01:25:53,054 and that the point where all these proportional systems cross 1324 01:25:53,054 --> 01:25:56,187 is where the senses all go 1325 01:25:56,187 --> 01:25:59,254 into this central clearinghouse, as it were. 1326 01:25:59,254 --> 01:26:02,754 Those skull studies, which look like descriptive anatomy, 1327 01:26:02,754 --> 01:26:04,887 are actually devoted to understanding 1328 01:26:04,887 --> 01:26:06,954 the workings of the brain. 1329 01:26:06,954 --> 01:26:09,221 ♪ 1330 01:26:09,221 --> 01:26:11,987 Man as Leonardo: What sneezing is, 1331 01:26:11,987 --> 01:26:14,887 what yawning is, 1332 01:26:14,887 --> 01:26:17,287 sweating, 1333 01:26:17,287 --> 01:26:19,587 fatigue, 1334 01:26:19,587 --> 01:26:21,454 hunger, 1335 01:26:21,454 --> 01:26:23,221 sleepiness, 1336 01:26:23,221 --> 01:26:25,054 thirst, 1337 01:26:25,054 --> 01:26:27,654 lust. 1338 01:26:27,654 --> 01:26:30,654 Narrator: Aristotle had believed that sensory impressions 1339 01:26:30,654 --> 01:26:33,454 converged in a brain cavity, 1340 01:26:33,454 --> 01:26:36,887 where they were processed, interpreted, and stored. 1341 01:26:36,887 --> 01:26:40,754 He called it the Sensus Communis. 1342 01:26:40,754 --> 01:26:43,187 Man as Leonardo: The soul seems to be located 1343 01:26:43,187 --> 01:26:45,787 in the site of reason, 1344 01:26:45,787 --> 01:26:48,154 and the site of reason seems to be 1345 01:26:48,154 --> 01:26:51,121 where all the senses converge. 1346 01:26:51,121 --> 01:26:54,821 This is called the senso comune, 1347 01:26:54,821 --> 01:26:58,254 and the soul is not all throughout 1348 01:26:58,254 --> 01:27:02,554 and in every part of the body, as many previously believed, 1349 01:27:02,554 --> 01:27:06,087 because if it were, it would not be necessary to have 1350 01:27:06,087 --> 01:27:11,054 the instruments of the senses converge in a single location. 1351 01:27:11,054 --> 01:27:14,254 Narrator: To Leonardo, the transmission of information 1352 01:27:14,254 --> 01:27:17,421 from the eye, which he called the window of the soul, 1353 01:27:17,421 --> 01:27:22,254 to the brain and nervous system and the reaction that followed-- 1354 01:27:22,254 --> 01:27:26,554 joy, fear, concern, surprise-- 1355 01:27:26,554 --> 01:27:29,987 was the essence of the human experience. 1356 01:27:29,987 --> 01:27:34,354 Artists, he believed, should understand this phenomenon 1357 01:27:34,354 --> 01:27:38,854 and the science behind it to effectively portray emotion, 1358 01:27:38,854 --> 01:27:44,287 reveal character, and tell riveting stories. 1359 01:27:44,287 --> 01:27:47,387 Speaking Italian: 1360 01:28:19,554 --> 01:28:22,621 Narrator: Leonardo saw proportion in the natural world 1361 01:28:22,621 --> 01:28:26,754 as evidence of nature's matchless gift for design. 1362 01:28:26,754 --> 01:28:32,121 Using male models, he began a meticulous study. 1363 01:28:32,121 --> 01:28:35,221 Man as Leonardo: On the changing measurements of the human body 1364 01:28:35,221 --> 01:28:39,254 through the movements of the limbs from different views, 1365 01:28:39,254 --> 01:28:43,987 the measurements of the human body vary in each limb 1366 01:28:43,987 --> 01:28:48,787 according to how much it is bent and from different views 1367 01:28:48,787 --> 01:28:54,654 so that they grow or diminish to a varying extent on one side 1368 01:28:54,654 --> 01:28:58,387 while they grow or diminish on the opposite side. 1369 01:28:58,387 --> 01:29:02,721 ♪ 1370 01:29:02,721 --> 01:29:06,354 Narrator: Seeking inspiration, Leonardo studied a treatise 1371 01:29:06,354 --> 01:29:10,854 by Vitruvius, a Roman architect of the 1st century B.C., 1372 01:29:10,854 --> 01:29:13,721 who wrote about the symmetry between the human body 1373 01:29:13,721 --> 01:29:16,021 and a skillfully designed temple 1374 01:29:16,021 --> 01:29:19,854 and carefully measured the proportions of what he described 1375 01:29:19,854 --> 01:29:22,821 as a "well-shaped man." 1376 01:29:22,821 --> 01:29:25,421 Rossellini: And this was classical belief 1377 01:29:25,421 --> 01:29:29,521 that the symmetry and proportion of the human body 1378 01:29:29,521 --> 01:29:34,821 reflected as in a microcosm the greater harmony of the world. 1379 01:29:34,821 --> 01:29:38,187 Narrator: "Just as the human body yields a circular outline, 1380 01:29:38,187 --> 01:29:42,354 so too a square figure may be found from it," 1381 01:29:42,354 --> 01:29:45,387 wrote Vitruvius. 1382 01:29:45,387 --> 01:29:48,121 Borgo, speaking Italian: 1383 01:30:07,021 --> 01:30:10,054 Man as Leonardo: The space between the parting of the lips 1384 01:30:10,054 --> 01:30:14,854 and the base of the nose is 1/7 of the face. 1385 01:30:14,854 --> 01:30:17,954 Leonardo's very, very scientific about it. 1386 01:30:17,954 --> 01:30:19,787 Man as Leonardo: The space from the mouth 1387 01:30:19,787 --> 01:30:21,787 to the bottom of the chin is 1/4 of the face... 1388 01:30:21,787 --> 01:30:23,921 Isaacson: He does all sorts of measurements-- 1389 01:30:23,921 --> 01:30:25,421 Man as Leonardo: in equal... 1390 01:30:25,421 --> 01:30:26,754 Isaacson: from the forehead to the nose... 1391 01:30:26,754 --> 01:30:28,287 Man as Leonardo: of the mouth... 1392 01:30:28,287 --> 01:30:29,921 Isaacson: to the chin to the navel 1393 01:30:29,921 --> 01:30:31,754 to the genitals of all of his assistants 1394 01:30:31,754 --> 01:30:34,587 so he gets all the proportions exactly right, 1395 01:30:34,587 --> 01:30:37,621 the way Vitruvius had suggested. 1396 01:30:37,621 --> 01:30:39,987 Man as Leonardo: The distance from the top of the nose, 1397 01:30:39,987 --> 01:30:42,987 where the eyebrows begin, to the bottom of the chin 1398 01:30:42,987 --> 01:30:46,421 is 2/3 of the face. 1399 01:30:46,421 --> 01:30:50,421 Borgo, speaking Italian: 1400 01:31:03,021 --> 01:31:06,887 Del Toro: Leonardo is interested in the human proportion, 1401 01:31:06,887 --> 01:31:12,021 and he thinks that's divine enough to be represented. 1402 01:31:12,021 --> 01:31:15,087 He says, "There is enough poetry 1403 01:31:15,087 --> 01:31:18,954 "and enough cosmos and enough infinite 1404 01:31:18,954 --> 01:31:23,754 "in another human being or a rock and a waterfall 1405 01:31:23,754 --> 01:31:26,454 or a half-smile." 1406 01:31:26,454 --> 01:31:40,454 ♪ 1407 01:31:42,421 --> 01:31:47,787 Man as Leonardo: Caterina came on the 16th day of July 1493. 1408 01:31:48,887 --> 01:31:51,854 Bramly, speaking French: 1409 01:32:06,721 --> 01:32:09,387 Narrator: Since leaving Vinci decades earlier, 1410 01:32:09,387 --> 01:32:12,387 Leonardo had rarely made any note of his mother, 1411 01:32:12,387 --> 01:32:18,721 who, by 1493, was in her mid-60s and widowed. 1412 01:32:18,721 --> 01:32:21,987 Bramly, speaking French: 1413 01:32:40,721 --> 01:32:44,254 Narrator: One year later, on a page of his notebook, 1414 01:32:44,254 --> 01:32:47,654 he recorded the costs of burying her. 1415 01:32:47,654 --> 01:32:50,254 Man as Leonardo: For the bier, 8 soldi; 1416 01:32:50,254 --> 01:32:53,921 a pall over the bier, 12 soldi; 1417 01:32:53,921 --> 01:32:57,687 for bearing and placing the cross, 4 soldi; 1418 01:32:57,687 --> 01:33:02,587 for 4 priests and 4 clerics, 20 soldi; 1419 01:33:02,587 --> 01:33:06,387 for the gravediggers, 16 soldi; 1420 01:33:06,387 --> 01:33:09,521 sugar and candles, 12 soldi. 1421 01:33:09,521 --> 01:33:12,687 ♪ 1422 01:33:12,687 --> 01:33:16,154 Every evil leaves pain in our memory 1423 01:33:16,154 --> 01:33:19,154 except the supreme evil, death, 1424 01:33:19,154 --> 01:33:23,554 which destroys this memory along with our life. 1425 01:33:23,554 --> 01:33:27,754 ♪ 1426 01:33:27,754 --> 01:33:30,354 Narrator: In November of 1493, 1427 01:33:30,354 --> 01:33:33,221 Ludovico Sforza hosted a celebration 1428 01:33:33,221 --> 01:33:37,821 for his niece Bianca, who was marrying the king of Germany. 1429 01:33:37,821 --> 01:33:41,354 On display for the occasion was a colossal 20-foot-high 1430 01:33:41,354 --> 01:33:44,421 clay horse sculpted by Leonardo, 1431 01:33:44,421 --> 01:33:47,054 the model for part of a bronze monument 1432 01:33:47,054 --> 01:33:50,021 honoring Il Moro's father. 1433 01:33:50,021 --> 01:33:52,654 "I am certain that neither Greece nor Rome," 1434 01:33:52,654 --> 01:33:54,487 one astonished witness said, 1435 01:33:54,487 --> 01:33:58,187 "ever saw anything more massive." 1436 01:33:58,187 --> 01:33:59,854 [Horse neighs] 1437 01:33:59,854 --> 01:34:03,854 The artist had studied live horses obsessively, 1438 01:34:03,854 --> 01:34:07,421 measuring their proportions and drawing their features 1439 01:34:07,421 --> 01:34:09,421 in his notebooks. 1440 01:34:17,521 --> 01:34:20,787 I think he was better at horses than anyone has ever been. 1441 01:34:22,287 --> 01:34:23,754 [Horse snorts] 1442 01:34:23,754 --> 01:34:25,387 He has the horse rearing... 1443 01:34:25,387 --> 01:34:26,954 [Horse neighs] 1444 01:34:26,954 --> 01:34:28,854 and then he has the neck and the head turned 1445 01:34:28,854 --> 01:34:32,587 in 3 different ways, and there's so much motion. 1446 01:34:32,587 --> 01:34:34,454 ♪ 1447 01:34:34,454 --> 01:34:36,221 You see all the different possibilities. 1448 01:34:36,221 --> 01:34:39,921 You see how accurate he is with all of them, too. 1449 01:34:39,921 --> 01:34:42,021 Narrator: Rather than cast the massive statue 1450 01:34:42,021 --> 01:34:45,187 in the tried and tested way, divided into pieces, 1451 01:34:45,187 --> 01:34:49,354 Leonardo planned to create one giant mold. 1452 01:34:49,354 --> 01:34:51,421 ♪ 1453 01:34:51,421 --> 01:34:53,087 Man as Leonardo: When you shall have made 1454 01:34:53,087 --> 01:34:54,887 the mold upon the horse, 1455 01:34:54,887 --> 01:34:58,554 you must make the thickness of the metal in clay. 1456 01:34:58,554 --> 01:35:00,954 Dry it in layers. 1457 01:35:00,954 --> 01:35:03,454 Make the outside mold of plaster 1458 01:35:03,454 --> 01:35:08,154 to save time in drying and the expense in wood. 1459 01:35:08,154 --> 01:35:11,354 And with this plaster, enclose the irons 1460 01:35:11,354 --> 01:35:16,354 both outside and inside to a thickness of two fingers. 1461 01:35:16,354 --> 01:35:18,221 Make terra cotta. 1462 01:35:18,221 --> 01:35:20,554 ♪ 1463 01:35:20,554 --> 01:35:23,154 Narrator: He planned to build a lattice metal frame 1464 01:35:23,154 --> 01:35:26,387 to secure the mold before lowering it upside-down 1465 01:35:26,387 --> 01:35:31,654 into a pit using a pulley machine of his own design. 1466 01:35:31,654 --> 01:35:35,287 Finally, he would pour molten bronze through holes 1467 01:35:35,287 --> 01:35:38,387 spread across the mold, using furnaces arrayed 1468 01:35:38,387 --> 01:35:42,821 around the pit to cool the metal evenly. 1469 01:35:42,821 --> 01:35:48,654 Ludovico Sforza gave him the 75 tons of bronze he needed, 1470 01:35:48,654 --> 01:35:51,321 but in the fall of 1494, 1471 01:35:51,321 --> 01:35:53,954 before Leonardo could put it to use, 1472 01:35:53,954 --> 01:35:56,121 Sforza confiscated it all. 1473 01:35:56,121 --> 01:35:57,654 [Swords clanging] 1474 01:35:57,654 --> 01:36:01,654 The French King Charles VIII had ordered his troops south 1475 01:36:01,654 --> 01:36:03,987 to conquer the Kingdom of Naples, 1476 01:36:03,987 --> 01:36:08,487 setting the entire Italian peninsula on edge. 1477 01:36:08,487 --> 01:36:10,921 To preserve his control over Milan, 1478 01:36:10,921 --> 01:36:14,554 Il Moro quickly aligned himself with Charles. 1479 01:36:14,554 --> 01:36:17,254 At the same time, he sent the valuable metal 1480 01:36:17,254 --> 01:36:19,754 to his father-in-law, the Duke of Ferrara, 1481 01:36:19,754 --> 01:36:21,921 who feared a French invasion 1482 01:36:21,921 --> 01:36:26,221 and planned to make cannons with Leonardo's bronze. 1483 01:36:26,221 --> 01:36:29,421 King: He couldn't have been human if he wasn't disappointed 1484 01:36:29,421 --> 01:36:31,587 at losing this commission 1485 01:36:31,587 --> 01:36:34,854 which, had he been able to bring it to fruition, 1486 01:36:34,854 --> 01:36:37,654 it really would've made his reputation. 1487 01:36:37,654 --> 01:36:40,387 It would've been his work of fame. 1488 01:36:40,387 --> 01:36:42,821 Narrator: Ludovico Sforza would soon assign 1489 01:36:42,821 --> 01:36:45,354 a new project to Leonardo-- 1490 01:36:45,354 --> 01:36:49,521 a painting Leonardo believed few would ever see. 1491 01:36:49,521 --> 01:36:55,054 In the early 1490s, Il Moro had chosen a monastery 1492 01:36:55,054 --> 01:36:58,654 to serve as a mausoleum for his family. 1493 01:36:58,654 --> 01:37:01,487 Home to an order of Dominican friars, 1494 01:37:01,487 --> 01:37:04,121 the site featured a cloistered garden, 1495 01:37:04,121 --> 01:37:06,321 quarters for the monks, 1496 01:37:06,321 --> 01:37:09,154 a sacristy, and the recently completed 1497 01:37:09,154 --> 01:37:13,121 Church of Santa Maria delle Grazie. 1498 01:37:13,121 --> 01:37:16,454 To adorn the south wall of the refectory, 1499 01:37:16,454 --> 01:37:21,521 Sforza commissioned a fresco of the crucifixion of Jesus Christ. 1500 01:37:21,521 --> 01:37:25,187 For the north end, Leonardo was to paint a scene 1501 01:37:25,187 --> 01:37:29,687 suitable for the monks who dined there in silent contemplation-- 1502 01:37:29,687 --> 01:37:32,854 the final meal Christ shared with his apostles 1503 01:37:32,854 --> 01:37:36,821 before he was crucified-- the Last Supper. 1504 01:37:38,587 --> 01:37:41,321 It would be his most ambitious painting to date, 1505 01:37:41,321 --> 01:37:44,521 featuring multiple figures engaged in a complex, 1506 01:37:44,521 --> 01:37:47,954 dynamic narrative on a physical scale much larger 1507 01:37:47,954 --> 01:37:50,187 than any of his previous works, 1508 01:37:50,187 --> 01:37:55,654 including the abandoned "Adoration of the Magi." 1509 01:37:55,654 --> 01:37:57,254 It's a difficult subject for painters 1510 01:37:57,254 --> 01:37:59,987 because it's a long, thin, wide picture, 1511 01:37:59,987 --> 01:38:02,721 which is slightly difficult to organize, 1512 01:38:02,721 --> 01:38:07,421 and you want some drama, or Leonardo wanted drama in it. 1513 01:38:07,421 --> 01:38:10,387 King: For the most part, Last Supper paintings 1514 01:38:10,387 --> 01:38:12,954 would be very sedate scenes. 1515 01:38:12,954 --> 01:38:15,487 If you look at these paintings, Christ and the apostles 1516 01:38:15,487 --> 01:38:19,421 ranged across the table mostly in silence, 1517 01:38:19,421 --> 01:38:23,021 eating, maybe one or two talking together, 1518 01:38:23,021 --> 01:38:26,154 and they're very placid scenes. 1519 01:38:26,154 --> 01:38:29,721 Borgo, speaking Italian: 1520 01:38:49,121 --> 01:38:50,821 Narrator: He bought a Bible, 1521 01:38:50,821 --> 01:38:53,487 a widely read Italian-language edition 1522 01:38:53,487 --> 01:38:57,387 that had been translated from Latin two decades earlier. 1523 01:38:57,387 --> 01:38:59,321 The Gospels-- 1524 01:38:59,321 --> 01:39:03,721 the books attributed to Matthew, Mark, Luke, and John-- 1525 01:39:03,721 --> 01:39:06,621 offered varied but similar accounts of the evening 1526 01:39:06,621 --> 01:39:10,287 on which Jesus gathered His 12 apostles 1527 01:39:10,287 --> 01:39:14,987 and during dinner staggered them with a declaration-- 1528 01:39:14,987 --> 01:39:18,554 "He that dippeth his hand with me in the dish, 1529 01:39:18,554 --> 01:39:21,287 the same shall betray me." 1530 01:39:21,287 --> 01:39:24,821 King: It's an incredibly emotional moment, 1531 01:39:24,821 --> 01:39:28,287 where we have this charismatic religious leader 1532 01:39:28,287 --> 01:39:30,787 with his band of brothers, 1533 01:39:30,787 --> 01:39:33,154 and they're meeting in an occupied city 1534 01:39:33,154 --> 01:39:35,221 whose authorities are plotting against them, 1535 01:39:35,221 --> 01:39:37,387 and, of course, sitting in their midst is a traitor, 1536 01:39:37,387 --> 01:39:39,621 the one who's going to betray the leader, 1537 01:39:39,621 --> 01:39:41,554 and I think Leonardo was probably electrified 1538 01:39:41,554 --> 01:39:43,987 by this story, and he was going to tell it 1539 01:39:43,987 --> 01:39:47,187 in a very dramatic, theatrical way, 1540 01:39:47,187 --> 01:39:51,121 a way in which no artist previously had thought about, 1541 01:39:51,121 --> 01:39:54,054 let alone attempted. 1542 01:39:54,054 --> 01:39:57,587 Narrator: Leonardo began exploring how the disciples, 1543 01:39:57,587 --> 01:40:01,387 roiled by Christ's words, would twist their limbs, 1544 01:40:01,387 --> 01:40:05,554 wring their hands, and distort their faces. 1545 01:40:05,554 --> 01:40:08,787 Man as Leonardo: One who was drinking and has left the glass 1546 01:40:08,787 --> 01:40:13,321 where it was and turned his head towards the speaker; 1547 01:40:13,321 --> 01:40:17,287 another, weaving the fingers of his hands together, 1548 01:40:17,287 --> 01:40:20,454 turns, frowning to his companion. 1549 01:40:20,454 --> 01:40:23,087 Kemp: For Leonardo, he had to understand 1550 01:40:23,087 --> 01:40:27,387 how the body worked as a responsive machine. 1551 01:40:27,387 --> 01:40:30,854 What happens when Christ says, "One of you will betray me," 1552 01:40:30,854 --> 01:40:33,854 with the brain and the nervous impulses and so on? 1553 01:40:33,854 --> 01:40:35,621 ♪ 1554 01:40:35,621 --> 01:40:38,254 He would see if he was looking, say, at a disciple 1555 01:40:38,254 --> 01:40:40,287 who reacts to Christ's pronouncement 1556 01:40:40,287 --> 01:40:42,254 by, say, throwing out their arms, 1557 01:40:42,254 --> 01:40:45,054 that figure is expressing il concetto dell'anima, 1558 01:40:45,054 --> 01:40:48,354 the purpose of the mind, purpose of the soul. 1559 01:40:48,354 --> 01:40:51,087 It's a way of expressing character 1560 01:40:51,087 --> 01:40:52,754 and expressing emotion. 1561 01:40:52,754 --> 01:40:55,521 ♪ 1562 01:40:55,521 --> 01:40:57,187 [Door opens] 1563 01:40:57,187 --> 01:40:59,854 Narrator: Leonardo erected scaffolding along the north end 1564 01:40:59,854 --> 01:41:02,987 of the refectory and began his mural... 1565 01:41:02,987 --> 01:41:04,621 ♪ 1566 01:41:04,621 --> 01:41:07,854 first by coating the wall with a layer of plaster, 1567 01:41:07,854 --> 01:41:09,954 then a binding agent, 1568 01:41:09,954 --> 01:41:13,354 and on top of that, a primer of lead white. 1569 01:41:13,354 --> 01:41:15,487 ♪ 1570 01:41:15,487 --> 01:41:18,354 He pounded nails into the plaster for reference 1571 01:41:18,354 --> 01:41:21,387 and used a ruler to draw construction lines 1572 01:41:21,387 --> 01:41:24,287 and a stylus to etch grids. 1573 01:41:24,287 --> 01:41:26,487 ♪ 1574 01:41:26,487 --> 01:41:28,287 Using the incisions, 1575 01:41:28,287 --> 01:41:31,287 he laid out the scene's ceiling and walls, 1576 01:41:31,287 --> 01:41:34,687 constructing a space with realistic scale and depth 1577 01:41:34,687 --> 01:41:36,554 and geometric harmony. 1578 01:41:36,554 --> 01:41:38,687 ♪ 1579 01:41:38,687 --> 01:41:42,287 One nail hole at the very center would serve as the point 1580 01:41:42,287 --> 01:41:46,154 at which all perspective lines would converge. 1581 01:41:46,154 --> 01:41:47,887 ♪ 1582 01:41:47,887 --> 01:41:51,154 It was where he would paint the face of Christ. 1583 01:41:51,154 --> 01:41:56,987 ♪ 1584 01:41:56,987 --> 01:42:00,121 Man as Leonardo: Filippo, Simone, 1585 01:42:00,121 --> 01:42:04,954 Matteo, Tome, Jacopo maggiore... 1586 01:42:04,954 --> 01:42:08,054 Narrator: He made sketches in chalk and used a brush 1587 01:42:08,054 --> 01:42:11,254 to paint outlines directly atop the plaster. 1588 01:42:11,254 --> 01:42:14,187 ♪ 1589 01:42:14,187 --> 01:42:16,187 Man as Leonardo: Pietro, 1590 01:42:16,187 --> 01:42:19,854 Andrea, Bartolomeo. 1591 01:42:19,854 --> 01:42:23,354 ♪ 1592 01:42:23,354 --> 01:42:25,687 Marshall: The moment you lay down the first mark 1593 01:42:25,687 --> 01:42:29,221 or first line, you're engaged in a process 1594 01:42:29,221 --> 01:42:33,187 of evaluating every next step and understanding whether or not 1595 01:42:33,187 --> 01:42:36,087 you have to make some major changes or some minor changes. 1596 01:42:36,087 --> 01:42:38,654 This is what's going on all the way through the process. 1597 01:42:38,654 --> 01:42:42,021 Narrator: Rather than follow the traditional technique 1598 01:42:42,021 --> 01:42:45,321 for fresco in which pigments ground in water are painted 1599 01:42:45,321 --> 01:42:49,854 on wet plaster and bind to the wall in a matter of hours, 1600 01:42:49,854 --> 01:42:52,987 Leonardo used a mixture of oil and tempera 1601 01:42:52,987 --> 01:42:56,154 that he'd concocted himself. 1602 01:42:56,154 --> 01:43:00,287 Bambach: This allowed him the luxury of painting 1603 01:43:00,287 --> 01:43:05,387 during a long process of time so he was not limited 1604 01:43:05,387 --> 01:43:10,721 to 8 hours a day and just one part of the design, 1605 01:43:10,721 --> 01:43:14,687 and it also, very importantly, allowed him to create 1606 01:43:14,687 --> 01:43:18,487 the transitions of tone and the transitions of light 1607 01:43:18,487 --> 01:43:23,687 because you could not get the effect of light with fresco. 1608 01:43:23,687 --> 01:43:26,454 ♪ 1609 01:43:26,454 --> 01:43:29,654 Narrator: In layer upon layer, he applied the pigments 1610 01:43:29,654 --> 01:43:34,187 that would, over time, bring the scene to life, 1611 01:43:34,187 --> 01:43:36,754 often disregarding his initial outlines 1612 01:43:36,754 --> 01:43:39,654 as the contours of his design evolved. 1613 01:43:39,654 --> 01:43:42,487 ♪ 1614 01:43:42,487 --> 01:43:46,254 For Christ's garments, he used vermillion, 1615 01:43:46,254 --> 01:43:50,821 a pigment made from a brick-red mineral called cinnabar, 1616 01:43:50,821 --> 01:43:55,021 and ultramarine, created by crushing lapis lazuli, 1617 01:43:55,021 --> 01:43:58,587 a costly but brilliant blue metamorphic rock 1618 01:43:58,587 --> 01:44:01,487 that could only be found in Afghanistan. 1619 01:44:01,487 --> 01:44:03,387 ♪ 1620 01:44:03,387 --> 01:44:06,387 "Often, he would not put down his brush from first light 1621 01:44:06,387 --> 01:44:09,654 until nightfall, forgetting to eat and drink," 1622 01:44:09,654 --> 01:44:12,021 wrote the novelist Matteo Bandello, 1623 01:44:12,021 --> 01:44:16,087 who, as a boy, had watched as Leonardo toiled on the mural. 1624 01:44:16,087 --> 01:44:19,221 ♪ 1625 01:44:19,221 --> 01:44:23,154 On other days, he added little to the wall. 1626 01:44:23,154 --> 01:44:25,521 ♪ 1627 01:44:25,521 --> 01:44:28,687 [Birds chirping] 1628 01:44:28,687 --> 01:44:31,787 Meanwhile, Sforza had grown impatient 1629 01:44:31,787 --> 01:44:34,954 with Leonardo's unhurried pace 1630 01:44:34,954 --> 01:44:38,387 and directed his secretary to draft a revised agreement 1631 01:44:38,387 --> 01:44:41,321 that would impose a deadline on the artist. 1632 01:44:41,321 --> 01:44:44,387 ♪ 1633 01:44:44,387 --> 01:44:47,821 Within months, Leonardo was finished. 1634 01:44:47,821 --> 01:45:04,221 ♪ 1635 01:45:04,221 --> 01:45:07,754 The mural rose 15 feet from bottom to top 1636 01:45:07,754 --> 01:45:12,054 and spanned 29 feet across the refectory's north wall. 1637 01:45:12,054 --> 01:45:15,021 ♪ 1638 01:45:15,021 --> 01:45:18,721 It showcased his gift for blending tones and colors, 1639 01:45:18,721 --> 01:45:23,321 his mastery of light and shadow, and his command of geometry, 1640 01:45:23,321 --> 01:45:25,987 which he wielded with great precision 1641 01:45:25,987 --> 01:45:29,254 to bring harmony to a moment of chaos. 1642 01:45:29,254 --> 01:45:50,554 ♪ 1643 01:45:50,554 --> 01:45:52,821 Kemp: It's often said he's portraying a moment, 1644 01:45:52,821 --> 01:45:56,754 that it's like a kind of flash photograph of what's going on. 1645 01:45:56,754 --> 01:45:59,721 It is in a way, but it's more complicated than that 1646 01:45:59,721 --> 01:46:02,187 because if you look in the picture, the main thing 1647 01:46:02,187 --> 01:46:04,387 is that Christ's saying is, "One of you will betray me." 1648 01:46:04,387 --> 01:46:08,187 Verdon: And they're all saying, "Is it I?" "Is it I?" "Is it I?" 1649 01:46:08,187 --> 01:46:10,954 And this central figure, 1650 01:46:10,954 --> 01:46:14,487 totally focused on what's going to happen the next day 1651 01:46:14,487 --> 01:46:16,954 and on the sign that he's giving of the offering 1652 01:46:16,954 --> 01:46:21,687 of His body and blood, He gazes down in deep sadness. 1653 01:46:21,687 --> 01:46:24,287 He doesn't look at the apostles. 1654 01:46:24,287 --> 01:46:26,921 Kemp: And all the disciples react in a particular way 1655 01:46:26,921 --> 01:46:30,621 apart from Judas, who's rigid and his tendons on his neck 1656 01:46:30,621 --> 01:46:34,287 stick out because he's aware of what's going to happen. 1657 01:46:34,287 --> 01:46:37,621 ♪ 1658 01:46:37,621 --> 01:46:40,687 The announcement of betrayal then ripples out. 1659 01:46:40,687 --> 01:46:47,121 ♪ 1660 01:46:47,121 --> 01:46:49,487 Delieuvin, speaking French: 1661 01:46:51,821 --> 01:46:59,254 ♪ 1662 01:47:11,687 --> 01:47:15,054 ♪ 1663 01:47:15,054 --> 01:47:17,287 King: This was the heart of the painting for him 1664 01:47:17,287 --> 01:47:20,354 because it allowed him to show gesture and action 1665 01:47:20,354 --> 01:47:24,854 and facial expression, the motions of the mind. 1666 01:47:24,854 --> 01:47:29,554 All of this 3, 4 seconds that happens at this table 1667 01:47:29,554 --> 01:47:33,421 is unfolding before our eyes in this single image, 1668 01:47:33,421 --> 01:47:35,954 and the brilliance of him being able to bring this off 1669 01:47:35,954 --> 01:47:38,021 is truly astounding. 1670 01:47:38,021 --> 01:47:40,921 ♪ 1671 01:47:40,921 --> 01:47:43,787 Narrator: Leonardo da Vinci had magnificently rendered 1672 01:47:43,787 --> 01:47:47,787 the gestures, both subtle and dramatic, that testified 1673 01:47:47,787 --> 01:47:52,154 to the psychological states of his subjects, 1674 01:47:52,154 --> 01:47:55,121 and he had resoundingly answered the question 1675 01:47:55,121 --> 01:47:58,154 that he had asked himself many times before-- 1676 01:48:00,154 --> 01:48:03,521 "Tell me if anything was ever done." 1677 01:48:03,521 --> 01:48:09,587 ♪ 1678 01:48:09,587 --> 01:48:11,321 Bambach: For him, painting 1679 01:48:11,321 --> 01:48:16,921 was an entire philosophical meditation. 1680 01:48:16,921 --> 01:48:22,487 It is so much a process of thinking, of engaging, 1681 01:48:22,487 --> 01:48:29,287 of feeling that was essential in his creative process, 1682 01:48:29,287 --> 01:48:33,921 and, really, this is part of the reason that this painting 1683 01:48:33,921 --> 01:48:39,821 has that transformative, transcendental aspect to it. 1684 01:48:39,821 --> 01:48:41,387 ♪ 1685 01:48:41,387 --> 01:48:43,654 When we go as viewers and look at it, 1686 01:48:43,654 --> 01:48:46,287 we all fall into the same reverie. 1687 01:48:46,287 --> 01:49:00,954 ♪ 1688 01:49:00,954 --> 01:49:05,154 Narrator: The artist now turned his attention to other projects. 1689 01:49:05,154 --> 01:49:08,654 He provided illustrations for "De divina proportione," 1690 01:49:08,654 --> 01:49:13,287 a book on mathematics by his friend Luca Pacioli. 1691 01:49:13,287 --> 01:49:15,721 He painted another mural for Sforza-- 1692 01:49:15,721 --> 01:49:18,554 a canopy of tangled tree branches knit together 1693 01:49:18,554 --> 01:49:22,021 by a golden rope for the vaulted ceiling of a tower 1694 01:49:22,021 --> 01:49:25,021 in the Duke's castle, 1695 01:49:25,021 --> 01:49:27,721 but in early 1499, 1696 01:49:27,721 --> 01:49:31,687 Louis XII, who had recently succeeded his cousin Charles 1697 01:49:31,687 --> 01:49:35,154 as King of France, began mustering his troops 1698 01:49:35,154 --> 01:49:38,521 for another invasion of the Italian peninsula. 1699 01:49:38,521 --> 01:49:44,254 This time, the French planned to depose Sforza. 1700 01:49:44,254 --> 01:49:48,187 Bramly, speaking French: 1701 01:50:08,554 --> 01:50:11,221 Narrator: Il Moro fled to Innsbruck. 1702 01:50:11,221 --> 01:50:14,921 The French took Milan without a fight. 1703 01:50:14,921 --> 01:50:18,521 Bramly, speaking French: 1704 01:50:31,787 --> 01:50:33,221 ♪ 1705 01:50:33,221 --> 01:50:35,554 Narrator: Louis XII arrived that fall 1706 01:50:35,554 --> 01:50:38,687 and visited the refectory. 1707 01:50:38,687 --> 01:50:41,954 When he saw the beauty of Leonardo's "Last Supper," 1708 01:50:41,954 --> 01:50:45,354 he decided that he wanted to take it back to France, 1709 01:50:45,354 --> 01:50:52,387 but his engineers could find no way to safely remove the mural. 1710 01:50:52,387 --> 01:50:54,887 After 18 years in Milan, 1711 01:50:54,887 --> 01:50:59,754 Leonardo decided it was time for him to move on. 1712 01:50:59,754 --> 01:51:03,387 He was 47 years old. 1713 01:51:03,387 --> 01:51:06,987 His best-known painting remained out of sight 1714 01:51:06,987 --> 01:51:11,054 in a monastery's dining hall. 1715 01:51:11,054 --> 01:51:12,687 [Thunder] 1716 01:51:12,687 --> 01:51:17,021 ♪ 1717 01:51:17,021 --> 01:51:19,521 Bambach: Leonardo was tremendously ambitious, 1718 01:51:19,521 --> 01:51:21,654 intellectually ambitious. 1719 01:51:21,654 --> 01:51:24,621 He had no concern for being 1720 01:51:24,621 --> 01:51:28,021 a successful professional painter 1721 01:51:28,021 --> 01:51:31,821 and to be admired, adored for that. 1722 01:51:31,821 --> 01:51:36,287 He wants to be admired for his intellect. 1723 01:51:36,287 --> 01:51:38,354 ♪ 1724 01:51:38,354 --> 01:51:40,387 Narrator: Eager to find a patron who would support 1725 01:51:40,387 --> 01:51:43,654 his artistic and scientific curiosity, 1726 01:51:43,654 --> 01:51:46,321 Leonardo headed east toward Venice 1727 01:51:46,321 --> 01:51:50,587 with his friend Luca Pacioli. 1728 01:51:50,587 --> 01:51:54,221 Although he had no commissions on the horizon, 1729 01:51:54,221 --> 01:51:58,354 Leonardo da Vinci's greatest work was yet to come. 1730 01:51:58,354 --> 01:52:05,587 ♪ 1731 01:52:07,354 --> 01:52:08,787 Announcer: Major funding 1732 01:52:08,787 --> 01:52:10,287 for "Leonardo da Vinci" was provided by 1733 01:52:10,287 --> 01:52:13,187 the Better Angels Society and its members: 1734 01:52:13,187 --> 01:52:16,354 the Paul and Saundra Montrone family, 1735 01:52:16,354 --> 01:52:18,354 Stephen A. Schwarzman, 1736 01:52:18,354 --> 01:52:22,987 Diane and Hal Brierley, Carol and Ned Spieker, 1737 01:52:22,987 --> 01:52:25,821 and these additional members. 1738 01:52:28,854 --> 01:52:32,021 Funding was also provided by Gilbert S. Omenn 1739 01:52:32,021 --> 01:52:33,854 and Martha Darling, 1740 01:52:33,854 --> 01:52:36,554 the Alfred P. Sloan Foundation, 1741 01:52:36,554 --> 01:52:40,121 the Robert and Mercedes Eichholz Foundation, 1742 01:52:40,121 --> 01:52:42,987 the Corporation for Public Broadcasting 1743 01:52:42,987 --> 01:52:46,454 and by contributions to your PBS station 1744 01:52:46,454 --> 01:52:48,721 from viewers like you. 1745 01:52:48,721 --> 01:52:49,854 Thank you. 1746 01:52:51,787 --> 01:52:54,254 Announcer: Can looking back push us forward? 1747 01:52:54,254 --> 01:52:56,154 Man: Ladies and gentlemen, 1748 01:52:56,154 --> 01:52:58,154 Miss Billie Holiday. 1749 01:52:58,154 --> 01:53:00,387 ♪ 1750 01:53:00,387 --> 01:53:03,687 Will our voice be heard through time? 1751 01:53:03,687 --> 01:53:06,421 Can our past inspire our future? 1752 01:53:06,421 --> 01:53:08,421 ...act of concern... 1753 01:53:08,421 --> 01:53:11,521 ♪ 1754 01:53:11,521 --> 01:53:14,621 Bank of America supports filmmakers like Ken Burns, 1755 01:53:14,621 --> 01:53:17,521 whose narratives illuminate new perspectives. 1756 01:53:17,521 --> 01:53:19,087 What would you like the power to do? 1757 01:53:19,087 --> 01:53:20,087 Bank of America. 1758 01:53:21,087 --> 01:54:29,687 ♪ 1759 01:54:29,687 --> 01:54:31,654 Timothy Verdon: Normally it's something 1760 01:54:31,654 --> 01:54:33,621 that an artist cannot capture. 1761 01:54:33,621 --> 01:54:35,821 And yet Leonardo does. 1762 01:54:35,821 --> 01:54:37,587 Announcer: Next time... 1763 01:54:37,587 --> 01:54:39,054 Adam Gopnik: The first stirrings 1764 01:54:39,054 --> 01:54:42,021 of the Scientific Revolution was just being felt. 1765 01:54:42,021 --> 01:54:43,887 Charles Nicholl: He was always interested. 1766 01:54:43,887 --> 01:54:45,721 He was always wanting to know. 1767 01:54:45,721 --> 01:54:47,587 Carmen Bambach: We really do see 1768 01:54:47,587 --> 01:54:50,787 all of Leonardo's scientific knowledge 1769 01:54:50,787 --> 01:54:52,487 in the painting. 1770 01:54:52,487 --> 01:54:54,954 Martin Kemp: He's taken this straightforward subject 1771 01:54:54,954 --> 01:54:56,521 and turned it into something wonderful. 1772 01:54:56,521 --> 01:54:57,787 Announcer: Don't miss 1773 01:54:57,787 --> 01:54:58,987 the conclusion of "Leonardo da Vinci." 1774 01:55:01,287 --> 01:55:03,621 Scan this QR code with your smart device 1775 01:55:03,621 --> 01:55:06,421 to explore more of the story of Leonardo da Vinci, 1776 01:55:06,421 --> 01:55:09,454 including interactives on his life and works, 1777 01:55:09,454 --> 01:55:12,421 classroom materials, and more. 1778 01:55:12,421 --> 01:55:16,187 The "Leonardo da Vinci" DVD and Blu-ray, 1779 01:55:16,187 --> 01:55:19,354 as well as the soundtrack on CD or vinyl, 1780 01:55:19,354 --> 01:55:22,154 are available online and in stores. 1781 01:55:22,154 --> 01:55:25,487 This series is also available with PBS Passport 1782 01:55:25,487 --> 01:55:27,954 and on Amazon Prime Video. 1783 01:55:27,954 --> 01:55:30,221 ♪ 1784 01:55:32,187 --> 01:56:05,921 ♪