| *'''Danny Wallace:''' ''How far would you go to defend your people? This is probably what Leonidas, the legendary king of Sparta, asked himself one September morning in 480 BC. The Battle of Thermopylae was underway, and, overwhelmed by the Persians, the Greek army was in disarray. Heading up his troops of 300 valiant Spartans, Leonidas decided to fight until the death. Gazing out over the battlefield, he took stock. 300 Spartans against tens of thousands of Persians. This heroic sacrifice earned Leonidas a place in history, and much more besides. Passed down over generations, the tale of this battle has turned the king of Sparta into a legend, sometimes to outlandish effect.<br><br>You're listening to ''Echoes of History: Behind the Legends'', the podcast that tells you the true stories of some of history's most legendary heroes. As the ''Assassin's Creed'' franchise turns 15, travel back through 2,500 years of history to meet the men and women whose destiny lead them to greatness. Uncover their stories and bring their legends back to life. Episode one, Leonidas.<br><br>The year is 480 BC. The Greek [[Sanctuary of Delphi]] is home to a [[Temple of Apollo, Delphi|temple]] to [[Apollo]], where Spartans are jostling to see the [[Pythia]], the temple's [[Pythia (480 BCE)|priestess]] who has a foreboding prophecy to share...''<br><br>"O dwellers in Sparta of the wide spaces;<br>Either your famed, great town must be sacked by [[Perseus]]' sons,<br>Or, if that be not, the whole land of Lacedaemon<br>Shall mourn the death of a king."<ref>Herodotus. ''[https://www.perseus.tufts.edu/hopper/text?doc=Perseus:text:1999.01.0126 The Histories]'', VII.220. Translated by {{Wiki|A. D. Godley}}. {{Wiki|Cambridge, Massachusetts|Cambridge}}, MA: {{Wiki|Harvard University Press}}, 1920. ''Penelope Digital Library'', {{Wiki|Tufts University}}. Retrieved on 15 January 2024.</ref><br><br>''The Spartans have travelled to Delphi for a reason. Trouble is afoot. The Persian king [[Xerxes I of Persia|Xerxes]] has now made it clear that he plans to [[Greco-Persian Wars|invade]] the whole of Greece. The tyrant is readying himself to lead his endless army through the {{Wiki|Dardanelles|Hellespont}}, a narrow strait in today's northwestern [[Turkey]] that separates the Greek and Persian Empires. Standing his way, thirty-odd Greek cities have rallied together around Sparta, forming the {{Wiki|Hellenic League}}. King Leonidas' city boasts unparalleled military prestige, and the great man himself has been tasked with leading the Greek coalition into battle against the Persians. Paradoxically, the life of the legendary Leonidas is little known. Most Greek historians filled their writing with anecdotes that paint a portrait of an idealized king: Leonidas, the accomplished warlord; Leonidas, the great leader of men; Leonidas, the epitome of Spartan values—devoted to his city, valiant in battle, self-sacrificing. It isn't always easy to unpick fact from fiction. But, there are a handful of things we do know for certain about Leonidas' life.<br><br>As the third son of King {{Wiki|Anaxandridas II}}, he wasn't destined to succeed his father. His older half-brother {{Wiki|Cleomenes I|Cleomenes}} took to the throne, becoming king of Sparta in 520 BC. At the time, 20-year-old Leonidas had just finished his ''[[agoge]]'', an extensive military training program designed to produce devout citizens and disciplined fighters. All male {{Wiki|Spartiate|Spartan citizens}} were required to complete this program, with the exception of legitimate heirs to the throne. Despite his [[Agiad dynasty|royal ancestry]], Leonidas was thus accustomed to acute physical training from childhood, and suffered the whippings dealt out to him by his elders to correct his errors and toughen up his body without complaint. This demanding apprenticeship included fights with other young men, as well as races wearing {{Wiki|Panoply|full military gear}} and weaponry, designed to prepare them for battle. Ultimately, the Fates conspired to make Leonidas king of Sparta. Political machinations prompted the downfall of Cleomenes, who took his own life in 488 BC, leaving no male heir behind him. {{Wiki|Dorieus}}, his second brother, had died twenty years previously in a campaign to conquer [[Sicily]].<ref>Herodotus. ''The Histories'', VII.205</ref> As a result, Leonidas' time to rule had come. The fact that he had completed his ''agoge'' training was unusual for a king, and undoubtedly imbued him with a special aura and appeal in the eyes of Sparta's citizen-soldiers. Although no mention is made of his prowess in specific battles, Herodotus reports that Leonidas was "the most respected of the Greek generals".<ref>Herodotus. ''The Histories'', VII.204</ref><br><br>Back to 480 BC. Busy leading the Greek cities' resistance, Leonidas suddenly finds himself at the center of a morbid prophecy: die in battle, or see Sparta fall to the Persians. Yet today, historians all agree, that this presage was a complete fabrication, a legend that was made up well after the events it foreshadowed, the Battle of Thermopylae. The ''[[Hot Gates of Thermopylai|thermopylae]]'', meaning "[[wikt:Θερμοπύλαι|hot gates]]" in Greek, refer to a narrow, coastal passage between {{Wiki|Malian Gulf|sea}} and {{Wiki|Kallidromo|mountain}} in eastern Greece. Arriving from the north, with plans to march south to [[Athens]], Xerxes' infantry had no choice but to pass through it. Named after and known for its hot [[sulfur]] springs, the site has remained immortalized in history as the stage of the heroic sacrifice undertaken by Leonidas and his Spartans. In fact, the dark prophecy constitutes the first legendary element of a story that was partially true but tinged with myth in order to turn the battle into the stuff of {{Wiki|Epic (genre)|epics}}. After all, a legend as admirable as the story of Leonidas and his 300 men would require more than just death on the battlefield.<br><br>For the sacrifice to attain its fascinating appeal after all these years, the soldiers would have to be aware of their imminent death and decide to accept their fate without fear, all in the name of a higher cause. Leading the Greek troops, 60-year-old Leonidas played a decisive role in the strategies rolled out to beat back the invaders. The Greeks were faced with an insurmountable problem: the Persians drastically outnumbered them. While the figures offed up by Herodotus, over 2 million men—I mean, come on—are pure fantasy, modern scholars believe that at least 200, 000 Persian soldiers crossed the Hellespont in September 480 BC as a mere few thousand Greeks looked on. Leonidas' decision to take on the Persian army at a narrower spot, the Thermopylae, was therefore most likely a strategic one, a choice that turned his army's weakness into a strength. It as also a way to put a renowned Spartan war tactic to work, the [[hoplite]] {{Wiki|phalanx}}. Teamwork was central to this compact formation. {{Wiki|Dory (spear)|Long spears}} in hand, protected by their {{Wiki|Aspis|shields}}, and armored to the gills, the Spartans were able to withstand the swarms of foot soldiers—greater in number but less well-equipped—for lengthy periods of time.<ref>Herodotus. ''The Histories'', VII.211</ref> Leonidas proved his worth as a war leader, taking major decisions and boosting morale. He remained on the battlefield until the bitter end, unlike the Persian king Xerxes, who watched the battle unfold from a distance<ref name="Herodotus VII.212">Herodotus. ''The Histories'', VII.212</ref>—like a coward.<br><br>Four days went by, without the slightest breakthrough. Xerxes had not choice but to acknowledge the fact that the Greeks would neither surrender nor retreat as he had hoped they would.<ref>Herodotus. ''The Histories'', VII.210</ref> The Persian king sent across a messenger asking the Greeks to lay down their arms. Leonidas replied instantly, "{{Wiki|Molon labe|Come and get them}}."<ref>[[Plutarch]]. ''[https://www.perseus.tufts.edu/hopper/text?doc=Perseus:text:2008.01.0197 Moralia – Apophthegmata Laconica]'', 51.11. Translated by Frank Cole Babbit. Cambridge, MA: Harvard University Press, London, 1920. ''Penelope Digital Library'', Tufts University. Retrieved on 15 January 2024.</ref> Xerxes decided to attack, but watched on as his 5,000 [[archer]]s were thwarted, their [[arrow]]s raining down to shatter against the Greek shields.<ref>Herodotus. ''The Histories'', VII.226</ref> Over two days, waves of Persian soldiers collided against the Greek phalanxes that blocked the pass without ever faltering. Tens of thousands of Xerxes' men fell, including some of his elite warriors known as the [[Immortals]]<ref>Herodotus. ''The Histories'', VII.210–212</ref>—which was probably over-selling things a bit. If you're going to call yourself an Immortal, you better be immortal! His salvation ultimately arrived in the form of one man, [[Ephialtes of Trachis|Ephialtes]].<ref>Herodotus. ''The Histories'', VII.213</ref><br><br>This Greek soldier betrayed his side, revealing the existence of another passage to the Persian king: a [[Cave of Kratos|mountain path]] that circumvented the Thermopylae. Problem solved. An unexpected chance to outsmart the Greeks. The next day, in the early hours of the morning, a detachment of Persian foot-soldiers set off to follow Ephialtes' directions.<ref>Herodotus. ''The Histories'', VII.215</ref> Leonidas' scouts sounded the alarm, and the Spartan king immediately called a war council.<ref>Herodotus. ''The Histories'', VII.219</ref> Most of the Greek cities voted to retreat, but Leonidas decided to stay with his men nevertheless, releasing those Greeks who wished to leave and saving about 3,000 lives in the process. It fell to the king and his famous 300 soldiers to defend the passage. But, the legend often skips over one key detail: they ''weren't'' alone. There's a plot twist! A little over a thousand soldiers from other Greek cities chose to stay behind with the Spartans,<ref>Herodotus. ''The Histories'', VII.217–218, 222</ref> with a total of 1,400 men fighting on. So, {{Wiki|300 (film)|that film}} really should have been called "300...plus a load of others".<br><br>Legend has turned this battle into a noble sacrifice, in which the Greeks gave themselves up to the death they'd been told would come, buoyed by the ''faintest'' glimmer of hope that they ''might'' delay the inevitable invasion by a couple of days. It comes as no surprise that the Greek texts, all written long after the battle, focus heavily on this notion of sacrifice. The Battle of Thermopylae was a defeat, after all, and needed to be gilded in some way—we all exaggerate our stories, don't we? And so, Herodotus recounts how Leonidas, despite his age, fell on the final day of fighting,<ref name="Herodotus VII.224">Herodotus. ''The Histories'', VII.224</ref> a selfless hero who fought with ardor to the very last. The historian also recounts how, after his death, his men had to fight for his body, which had been seized by the Persians, who were bent on defiling it.<ref>Herodotus. ''The Histories'', VII.225</ref><br><br>The legend of Leonidas is the tale of absolute self-sacrifice, but, the Spartan king's strategy wasn't as suicidal as it may first appear. By using the terrain to their advantage, and tapping into extraordinary courage, the Greeks risked their lives and managed to whittle down the Persian army. Today's leading military historians even believe that, had the Greeks been able to hold out for an extra few days, the Persians would have experienced some ''serious'' logistical problems. An army that large locked in place for such a long time would indeed have struggled with supplies and would've been forced to retreat or scatter. Who knows? If Ephialtes hadn't betrayed his own, perhaps the Greeks might have won. All we know for sure is that this tragic end secured the Battle of Thermopylae's place in history, and turned Leonidas into a legend.<br><br>Forty years after the battle, his remains were retrieved and returned to Sparta. A tomb to the hero-king was raised in the heart of the city,<ref name="Herodotus VII.224"/> and it wasn't long before Leonidas had his very own {{Wiki|Greek hero cult|cult}}. Every year, an athletics competition for Spartans was held in honor of the fallen king, and Leonidas went on to be immortalized in paintings, films—played by {{Wiki|Gerard Butler}} in the movie ''300''—and video games. In ''[[Assassin's Creed: Odyssey]]'', players become a [[Kassandra|descendant]] of the king of Sparta and bear his iconic [[Spear of Leonidas|broken spear]]. Through the ages, Leonidas has survived as a shining example of sacrifice and selfless devotion to one's country, and is much better known than his cousin and successor, {{Wiki|Pausanias the Regent}},<ref>Herodotus. ''The Histories'', XI.10</ref> who [[Battle of Plataia|defeated]] the Persian infantry just a year after the Battle of Thermopylae. Which just goes to show, sometimes the vanquished can overshadow the victorious. Thanks for listening to ''Echoes of History: Behind the Legends'', a Ubisoft podcast produced by Paradiso Media.'' | | *'''Danny Wallace:''' ''How far would you go to defend your people? This is probably what Leonidas, the legendary king of Sparta, asked himself one September morning in 480 BC. The Battle of Thermopylae was underway, and, overwhelmed by the Persians, the Greek army was in disarray. Heading up his troops of 300 valiant Spartans, Leonidas decided to fight until the death. Gazing out over the battlefield, he took stock. 300 Spartans against tens of thousands of Persians. This heroic sacrifice earned Leonidas a place in history, and much more besides. Passed down over generations, the tale of this battle has turned the king of Sparta into a legend, sometimes to outlandish effect.<br><br>You're listening to ''Echoes of History: Behind the Legends'', the podcast that tells you the true stories of some of history's most legendary heroes. As the ''Assassin's Creed'' franchise turns 15, travel back through 2,500 years of history to meet the men and women whose destiny lead them to greatness. Uncover their stories and bring their legends back to life. Episode one, Leonidas.<br><br>The year is 480 BC. The Greek [[Sanctuary of Delphi]] is home to a [[Temple of Apollo, Delphi|temple]] to [[Apollo]], where Spartans are jostling to see the [[Pythia]], the temple's [[Pythia (480 BCE)|priestess]] who has a foreboding prophecy to share...''<br><br>"O dwellers in Sparta of the wide spaces;<br>Either your famed, great town must be sacked by [[Perseus]]' sons,<br>Or, if that be not, the whole land of Lacedaemon<br>Shall mourn the death of a king."<ref>Herodotus. ''[https://www.perseus.tufts.edu/hopper/text?doc=Perseus:text:1999.01.0126 The Histories]'', VII.220. Translated by {{Wiki|A. D. Godley}}. {{Wiki|Cambridge, Massachusetts|Cambridge}}, MA: {{Wiki|Harvard University Press}}, 1920. ''Penelope Digital Library'', {{Wiki|Tufts University}}. Retrieved on 15 January 2024.</ref><br><br>''The Spartans have travelled to Delphi for a reason. Trouble is afoot. The Persian king [[Xerxes I of Persia|Xerxes]] has now made it clear that he plans to [[Greco-Persian Wars|invade]] the whole of Greece. The tyrant is readying himself to lead his endless army through the {{Wiki|Dardanelles|Hellespont}}, a narrow strait in today's northwestern [[Turkey]] that separates the Greek and Persian Empires. Standing his way, thirty-odd Greek cities have rallied together around Sparta, forming the {{Wiki|Hellenic League}}. King Leonidas' city boasts unparalleled military prestige, and the great man himself has been tasked with leading the Greek coalition into battle against the Persians. Paradoxically, the life of the legendary Leonidas is little known. Most Greek historians filled their writing with anecdotes that paint a portrait of an idealized king: Leonidas, the accomplished warlord; Leonidas, the great leader of men; Leonidas, the epitome of Spartan values—devoted to his city, valiant in battle, self-sacrificing. It isn't always easy to unpick fact from fiction. But, there are a handful of things we do know for certain about Leonidas' life.<br><br>As the third son of King {{Wiki|Anaxandridas II}}, he wasn't destined to succeed his father. His older half-brother {{Wiki|Cleomenes I|Cleomenes}} took to the throne, becoming king of Sparta in 520 BC. At the time, 20-year-old Leonidas had just finished his ''[[agoge]]'', an extensive military training program designed to produce devout citizens and disciplined fighters. All male {{Wiki|Spartiate|Spartan citizens}} were required to complete this program, with the exception of legitimate heirs to the throne. Despite his [[Agiad dynasty|royal ancestry]], Leonidas was thus accustomed to acute physical training from childhood, and suffered the whippings dealt out to him by his elders to correct his errors and toughen up his body without complaint. This demanding apprenticeship included fights with other young men, as well as races wearing {{Wiki|Panoply|full military gear}} and weaponry, designed to prepare them for battle. Ultimately, the Fates conspired to make Leonidas king of Sparta. Political machinations prompted the downfall of Cleomenes, who took his own life in 488 BC, leaving no male heir behind him. {{Wiki|Dorieus}}, his second brother, had died twenty years previously in a campaign to conquer [[Sicily]].<ref>Herodotus. ''The Histories'', VII.205</ref> As a result, Leonidas' time to rule had come. The fact that he had completed his ''agoge'' training was unusual for a king, and undoubtedly imbued him with a special aura and appeal in the eyes of Sparta's citizen-soldiers. Although no mention is made of his prowess in specific battles, Herodotus reports that Leonidas was "the most respected of the Greek generals".<ref>Herodotus. ''The Histories'', VII.204</ref><br><br>Back to 480 BC. Busy leading the Greek cities' resistance, Leonidas suddenly finds himself at the center of a morbid prophecy: die in battle, or see Sparta fall to the Persians. Yet today, historians all agree, that this presage was a complete fabrication, a legend that was made up well after the events it foreshadowed, the Battle of Thermopylae. The ''[[Hot Gates of Thermopylai|thermopylae]]'', meaning "[[wikt:Θερμοπύλαι|hot gates]]" in Greek, refer to a narrow, coastal passage between {{Wiki|Malian Gulf|sea}} and {{Wiki|Kallidromo|mountain}} in eastern Greece. Arriving from the north, with plans to march south to [[Athens]], Xerxes' infantry had no choice but to pass through it. Named after and known for its hot [[sulfur]] springs, the site has remained immortalized in history as the stage of the heroic sacrifice undertaken by Leonidas and his Spartans. In fact, the dark prophecy constitutes the first legendary element of a story that was partially true but tinged with myth in order to turn the battle into the stuff of {{Wiki|Epic (genre)|epics}}. After all, a legend as admirable as the story of Leonidas and his 300 men would require more than just death on the battlefield.<br><br>For the sacrifice to attain its fascinating appeal after all these years, the soldiers would have to be aware of their imminent death and decide to accept their fate without fear, all in the name of a higher cause. Leading the Greek troops, 60-year-old Leonidas played a decisive role in the strategies rolled out to beat back the invaders. The Greeks were faced with an insurmountable problem: the Persians drastically outnumbered them. While the figures offed up by Herodotus, over 2 million men—I mean, come on—are pure fantasy, modern scholars believe that at least 200, 000 Persian soldiers crossed the Hellespont in September 480 BC as a mere few thousand Greeks looked on. Leonidas' decision to take on the Persian army at a narrower spot, the Thermopylae, was therefore most likely a strategic one, a choice that turned his army's weakness into a strength. It as also a way to put a renowned Spartan war tactic to work, the [[hoplite]] {{Wiki|phalanx}}. Teamwork was central to this compact formation. {{Wiki|Dory (spear)|Long spears}} in hand, protected by their {{Wiki|Aspis|shields}}, and armored to the gills, the Spartans were able to withstand the swarms of foot soldiers—greater in number but less well-equipped—for lengthy periods of time.<ref>Herodotus. ''The Histories'', VII.211</ref> Leonidas proved his worth as a war leader, taking major decisions and boosting morale. He remained on the battlefield until the bitter end, unlike the Persian king Xerxes, who watched the battle unfold from a distance<ref name="Herodotus VII.212">Herodotus. ''The Histories'', VII.212</ref>—like a coward.<br><br>Four days went by, without the slightest breakthrough. Xerxes had not choice but to acknowledge the fact that the Greeks would neither surrender nor retreat as he had hoped they would.<ref>Herodotus. ''The Histories'', VII.210</ref> The Persian king sent across a messenger asking the Greeks to lay down their arms. Leonidas replied instantly, "{{Wiki|Molon labe|Come and get them}}."<ref>[[Plutarch]]. ''[https://www.perseus.tufts.edu/hopper/text?doc=Perseus:text:2008.01.0197 Moralia – Apophthegmata Laconica]'', 51.11. Translated by Frank Cole Babbitt. Cambridge, MA: Harvard University Press, London, 1920. ''Penelope Digital Library'', Tufts University. Retrieved on 15 January 2024.</ref> Xerxes decided to attack, but watched on as his 5,000 [[archer]]s were thwarted, their [[arrow]]s raining down to shatter against the Greek shields.<ref>Herodotus. ''The Histories'', VII.226</ref> Over two days, waves of Persian soldiers collided against the Greek phalanxes that blocked the pass without ever faltering. Tens of thousands of Xerxes' men fell, including some of his elite warriors known as the [[Immortals]]<ref>Herodotus. ''The Histories'', VII.210–212</ref>—which was probably over-selling things a bit. If you're going to call yourself an Immortal, you better be immortal! His salvation ultimately arrived in the form of one man, [[Ephialtes of Trachis|Ephialtes]].<ref>Herodotus. ''The Histories'', VII.213</ref><br><br>This Greek soldier betrayed his side, revealing the existence of another passage to the Persian king: a [[Cave of Kratos|mountain path]] that circumvented the Thermopylae. Problem solved. An unexpected chance to outsmart the Greeks. The next day, in the early hours of the morning, a detachment of Persian foot-soldiers set off to follow Ephialtes' directions.<ref>Herodotus. ''The Histories'', VII.215</ref> Leonidas' scouts sounded the alarm, and the Spartan king immediately called a war council.<ref>Herodotus. ''The Histories'', VII.219</ref> Most of the Greek cities voted to retreat, but Leonidas decided to stay with his men nevertheless, releasing those Greeks who wished to leave and saving about 3,000 lives in the process. It fell to the king and his famous 300 soldiers to defend the passage. But, the legend often skips over one key detail: they ''weren't'' alone. There's a plot twist! A little over a thousand soldiers from other Greek cities chose to stay behind with the Spartans,<ref>Herodotus. ''The Histories'', VII.217–218, 222</ref> with a total of 1,400 men fighting on. So, {{Wiki|300 (film)|that film}} really should have been called "300...plus a load of others".<br><br>Legend has turned this battle into a noble sacrifice, in which the Greeks gave themselves up to the death they'd been told would come, buoyed by the ''faintest'' glimmer of hope that they ''might'' delay the inevitable invasion by a couple of days. It comes as no surprise that the Greek texts, all written long after the battle, focus heavily on this notion of sacrifice. The Battle of Thermopylae was a defeat, after all, and needed to be gilded in some way—we all exaggerate our stories, don't we? And so, Herodotus recounts how Leonidas, despite his age, fell on the final day of fighting,<ref name="Herodotus VII.224">Herodotus. ''The Histories'', VII.224</ref> a selfless hero who fought with ardor to the very last. The historian also recounts how, after his death, his men had to fight for his body, which had been seized by the Persians, who were bent on defiling it.<ref>Herodotus. ''The Histories'', VII.225</ref><br><br>The legend of Leonidas is the tale of absolute self-sacrifice, but, the Spartan king's strategy wasn't as suicidal as it may first appear. By using the terrain to their advantage, and tapping into extraordinary courage, the Greeks risked their lives and managed to whittle down the Persian army. Today's leading military historians even believe that, had the Greeks been able to hold out for an extra few days, the Persians would have experienced some ''serious'' logistical problems. An army that large locked in place for such a long time would indeed have struggled with supplies and would've been forced to retreat or scatter. Who knows? If Ephialtes hadn't betrayed his own, perhaps the Greeks might have won. All we know for sure is that this tragic end secured the Battle of Thermopylae's place in history, and turned Leonidas into a legend.<br><br>Forty years after the battle, his remains were retrieved and returned to Sparta. A tomb to the hero-king was raised in the heart of the city,<ref name="Herodotus VII.224"/> and it wasn't long before Leonidas had his very own {{Wiki|Greek hero cult|cult}}. Every year, an athletics competition for Spartans was held in honor of the fallen king, and Leonidas went on to be immortalized in paintings, films—played by {{Wiki|Gerard Butler}} in the movie ''300''—and video games. In ''[[Assassin's Creed: Odyssey]]'', players become a [[Kassandra|descendant]] of the king of Sparta and bear his iconic [[Spear of Leonidas|broken spear]]. Through the ages, Leonidas has survived as a shining example of sacrifice and selfless devotion to one's country, and is much better known than his cousin and successor, {{Wiki|Pausanias the Regent}},<ref>Herodotus. ''The Histories'', XI.10</ref> who [[Battle of Plataia|defeated]] the Persian infantry just a year after the Battle of Thermopylae. Which just goes to show, sometimes the vanquished can overshadow the victorious. Thanks for listening to ''Echoes of History: Behind the Legends'', a Ubisoft podcast produced by Paradiso Media.'' |
| *'''Danny Wallace:''' "Not only in his lifetime was Leonardo da Vinci held in esteem, but his reputation became even greater among posterity after his death," ''wrote {{Wiki|Giorgio Vasari|Vasari}}, the first art historian, in 1550.<ref>Vasari, Giorgio. ''[[wikisource:it:Le vite de' più eccellenti pittori, scultori e architettori (1568)|Le vite de' piu eccellenti pittori, scultori, et architettori, scritte et di nuovo Ampliate da M. Giorgio Vasari Pittore et Architetto Aretino, co' ritratti loro et con le nuove vite dal 1550 insino al 1567]]''. Florence, {{Wiki|Giunti (printers)|Giunti}}, 1568. 2nd ed, vol. 2. "Vita di Lionardo da Vinci Pittore e Scultore Fiorentino". pg. 2. Retrieved on 3 March 2024. "La forza in lui fu molta e congiunta con la destrezza, l'animo e 'l valore, sempre regio e magnanimo. E la fama del suo nome tanto s'allargò, che non solo nel suo tempo fu tenuto in pregio, ma pervenne ancora molto più ne' posteri dopo la morte sua."</ref><ref>Vasari, Giorgio. ''{{Wiki|Lives of the Most Excellent Painters, Sculptors, and Architects}}''. London, {{Wiki|Macmillan Publishers|Macmillan and Co. Ltd.}} & [https://www.medici.co.uk/ The Medici Society, Ltd.], 1913. [https://www.gutenberg.org/files/28420/28420-h/28420-h.htm Vol. 4]. Translated by Gaston du C. De Vere. "Life of Leonardo da Vinci Painter and Sculptor of Florence". pg. 89. Retrieved on 3 March 2024. "In him was great bodily strength, joined to dexterity, with a spirit and courage ever royal and magnanimous; and the fame of his name so increased, that not only in his lifetime was he held in esteem, but his reputation became even greater among posterity after his death."</ref> More than ''five centuries'' after his death, the genius still inspires the same admiration. And even now, he's breaking records: in 2017, ''{{Wiki|Salvator Mundi (Leonardo)|Salvator Mundi}}'', a painting attributed to him—though that ''is'' disputed—was sold for $450 million.<ref>{{Cite web|url=https://www.reuters.com/article/us-art-auction-da-vinci-abudhabi/abu-dhabi-to-acquire-leonardo-da-vincis-salvator-mundi-christies-idUSKBN1E22IN/|title=Abu Dhabi to acquire Leonardo da Vinci's 'Salvator Mundi': Christie's|archiveurl=https://web.archive.org/web/20171208235650/https://www.reuters.com/article/us-art-auction-da-vinci-abudhabi/abu-dhabi-to-acquire-leonardo-da-vincis-salvator-mundi-christies-idUSKBN1E22IN/|archivedate=8 December 2017|author=Bayoumy, Yara|date=8 December 2017|publisher=''{{Wiki|Reuters}}''|accessdate=3 March 2024}}</ref><ref>{{Youtube|video=3orkmMlSpmI|text=Leonardo da Vinci's 'Salvator Mundi' <nowiki>|</nowiki> 2017 World Auction Record <nowiki>|</nowiki> Christie's|channel=christies|channelname=Christie's}}</ref> And in 2019, the [[Louvre]] dedicated a ''major'' exhibition to him<ref>{{Cite web|url=https://www.louvre.fr/en/what-s-on/exhibitions/leonardo-da-vinci|title=Leonardo da Vinci|archiveurl=https://web.archive.org/web/20210413201603/https://www.louvre.fr/en/what-s-on/exhibitions/leonardo-da-vinci|archivedate=13 April 2021|author=Louvre|date=24 October 2019|publisher=''Louvre''|accessdate=3 March 2024}}</ref> which attracted more than a ''million'' visitors in four months.<ref>{{Cite web|url=https://presse.louvre.fr/1-1-million-visitors-for-leonardo-da-vincibr-a-new-record-for-an-exhibitionnbspat-the-louvre/|title=1.1 million visitors for "Leonardo da Vinci": A new record for an exhibition at the Louvre|archiveurl=https://web.archive.org/web/20200715183448/https://presse.louvre.fr/1-1-million-visitors-for-leonardo-da-vincibr-a-new-record-for-an-exhibitionnbspat-the-louvre/|archivedate=15 July 2020|author=Louvre|date=25 February 2020|publisher=''Louvre''|accessdate=3 March 2024}}</ref> Bringing together his greatest paintings and ''many'' drawings, the museum celebrated an ''exceptional'' mind with ''limitless'' curiosity. Da Vinci explored many areas of knowledge, including {{Wiki|Perspective (graphical)|perspective}}, geometry, astronomy, architecture, and engineering. Each era has created its own legend about Leonardo: from the 16th century onwards, he was celebrated as a painter; in the 19th, the discovery of his {{Wiki|Category:Codices by Leonardo da Vinci|forgotten manuscripts}} made him famous as an engineer. More recently, some people have tried to ''tarnish'' this image, pointing out the gaps in Leonardo da Vinci's knowledge and claiming him a fraud. Despite these sometimes legitimate criticisms, the myth of the "universal man" capable of inventing the future has taken hold—he ''did'' design [[Flying Machine]]s and [[tank]]s, after all. However, nothing predisposed the young boy, born in 1552 in the [[Tuscany|Tuscan]] countryside, to such glory.<br><br>You're listening to ''Echoes of History: Behind the Legends'', the podcast that tells you the true stories of some of history's most legendary heroes. As the ''Assassin's Creed'' franchise turns 15, travel back through 2,500 years of history to meet the men and women whose destiny lead them to greatness. Uncover their stories and bring their legends back to life. Episode ten, Leonardo da Vinci.<br><br>Born in {{Wiki|Vinci, Tuscany|Vinci}}, a small town halfway between [[Pisa]] and Florence, Leonardo was the son of Piero da Vinci, a {{Wiki|Civil law notary|notary}}, and a woman named Caterina, about whom we know almost nothing. Leonardo didn't follow in his father's footsteps—attending university was ''out of the question'' as he born out of wedlock. Surrounded by his grandparents' love, he was self-taught. He ''devoured'' [[Ovid]]'s ''[[Metamorphoses]]'' and spent most of his time contemplating nature. This appreciation of the beauty of landscapes and animals, combined with a particularly ''keen'' sense of observation, gave rise to his unmatched drawing skills. A [[commons:Category:Codex on the Flight of Birds|bird in flight]], the anatomy of a bee,<ref>Kritsky, Gene and Daniel Mader (1 July 2010). "Leonardo's Insects", ''{{Wiki|Entomological Society of America|American Entomologist}}'', '''56'''(3). Fall 2010. [[Oxford]], {{Wiki|Oxford University Press}}. pg. 178–184. https://doi.org/10.1093/ae/56.3.178. Retrieved on 3 March 2024.</ref> from an early age, Leonardo ''filled'' his small notebooks with sketches.<br><br>In 1466, the young man moved to Florence. His father got him an apprenticeship with [[Andrea del Verrocchio]] at one of the most prestigious workshops in the city. In this ''[[wikt:bottega|bottega]]'', the master and his pupils ''excelled'' in a wide range of crafts, from painting and sculpture to goldsmithing, cabinetmaking, and metalworking. Alongside his talented fellow students—including [[Pietro Perugino|Perugino]] and [[Sandro Botticelli|Botticelli]]—Leonardo observed, exchanged, and accumulated impressive skills. And the city was a ''constant'' work in progress; he was ''fascinated'' by the building site for the dome of the [[Cattedrale di Santa Maria del Fiore|Cathedral of Santa Maria del Fiore]]. Engineers had designed special cranes to position the building materials with ''great'' precision nearly 100 meters above the ground. Young Leonardo was responsonble for making the {{Wiki|Gilding|gilt}} [[copper]] bowl topping the dome. As it was made of several pieces, he had to climb to the top of the Duomo to assemble and solder it using a mirror to reflect the sun's light.<br><br>During his time in Florence, Leonardo da Vinci established himself as an independant artist. In 1473, he painted ''[[Annunciation]]'', an early work with ''some'' inaccuracies, but ''already'' showing incredible technical skill and originality. However, when he set up his own [[Bottega di Leonardo|workshop]] five years later at the age of 26, he ''struggled'' to stand out from the ''fierce'' competition. The [[House of Medici|Medici]] court remained inaccessible; without {{Wiki|Italian Renaissance painting|classical training}}, Leonardo ''did not'' have the ''vital'' cultural background to ''shine'' among the elite. In 1482, he seized the opportunity to spread his wings. The next chapter of his story would be played out in [[Milan]].<br><br>When [[Lorenzo de' Medici]] sent him to the court of [[Ludovico Sforza]] to stage a musical, Leonardo made a bold move: he offered his services to the nobleman. In {{Wiki|Personal life of Leonardo da Vinci#Résumé|his letter}} to Sforza, the artist boasts, oddly enough, of his talents as a ''military'' engineer. He claims to be able to design [[war machine]]s; cannons; and'' "covered vehicles, safe and unassailable, which will penetrate the enemy and their artillery, and there is no host of armed men so great that they would not break through it."<ref>da Vinci, Leonardo. ''[[wikisource:The Notebooks of Leonardo Da Vinci|The Notebooks of Leonardo Da Vinci]]''. Translated by {{Wiki|Jean Paul Richter}}. 1888. Vol. 2. "XXI. Letters. Personal Records. Dated Notes". Retrieved on 3 March 2024. "6) Item. I will make covered chariots, safe and unattackable which, entering among the enemy with their artillery, there is no body of men so great but they would break them. And behind these, infantry could follow quite unhurt and without any hindrance."</ref> ''By doing so, he created his own myth. It's true that Leonardo had drawn many military technical drawings, but they were merely sketches designed by borrowing extensively from contemporary engineers, and often unworkable. Except, that Leonardo surpassed ''all'' his predecessors in ''one'' area: technical drawings where the accuracy of his line worked ''wonders''. In an exploded view of an object, be broke it down, describing ''each part'' in detail. He had a perfect understanding of perspective. Leonardo may have taken and compiled the ideas of his predecessors, but in doing so, he surpassed them. Sforza was ''not so easily'' won over, and the so-called "engineer" had to wait until 1489 to ''properly'' gain entry to {{Wiki|Castello Sforzesco}}.<br><br>In the Milanese court, Leonardo gained a reputation for organizing celebrations, a key tool in political communication—and I suppose just fun! To celebrate the wedding of {{Wiki|Isabella of Aragon, Duchess of Milan|Isabella of Aragon}} and {{Wiki|Gian Galeazzo Sforza}} in 1490 during the famous ''{{Wiki|it:Festa del Paradiso|Festa del Paradiso}}'', he staged a ''marvelous'' {{Wiki|operetta}}, ''Il Paradiso'', using complex machinery and special effects. A ''gigantic'' golden sphere spun among the costumed dancers and musicians. Glowing stars, and the seven planets known of at the time, were revealed through openings in the sphere.<ref>{{Wiki|it:Pietro Fanfani|Fanfani, Pietro}}. ''[https://archive.org/details/rimebernardo02belluoft/rimebernardo02belluoft/page/n7/mode/2up Le Rime di Bernardo Bellincioni, riscontrate sui manoscritti]''. {{Wiki|Bologna}}: Presso Gaetano Romagnoli, 1878. Vol. II. pg. 208. Retrieved on 3 March 2024. "Festa ossia rappresentazione chiamata Paradiso, che fece fare il Signore Ludovico in laude délia duchessa di Milano, e così chiamasi, perchè vi era fabbricato con il grande ingegno ed arte di maestro Leonardo Vinci fiorentino il Paradiso, con tutti li sette pianeti che girovano, e li pianeti erano rappresentati da uomini nella forma ed abiti che si descrivono dai poeti, e tutti parlano in Iode délia prefata duchessa Isabella."</ref><ref>{{Wiki|Eugène Müntz|Müntz, Eugène}}. ''[https://archive.org/details/leonardodavincia01munt/mode/2up Leonardo da Vinci: Artist, Thinker, and Man of Science]''. London: {{Wiki|William Heinemann}}; New York: {{Wiki|Charles Scribner's Sons}}, 1898. Vol. I. "Chapter IV". pg. 107. Retrieved on 3 March 2024. "In 1489, on the occasion of the marriage of Gian Galeazzo Sforza, the latter collaborated with the poet {{Wiki|Bernardo Bellincioni|Bellincioni}}, in the construction of a theatrical machine, which they christened "Il Paradiso." It was a colossal orrery, in which the planets, represented by actors of flesh and blood, revolved round the princess by means of an ingenious mechanism, and sang her praises."</ref> Between 1495 and 1498, Leonardo, who ''hadn't'' abandoned painting, produced one of his masterpieces, ''{{Wiki|The Last Supper (Leonardo)|The Last Supper}}'', which hung in the {{Wiki|refectory}} of the Dominican convent of {{Wiki|Santa Maria delle Grazie, Milan|Santa Maria delle Grazie}}. In 1499, when Louis XII, the king of France, chased the Sforza family from Milan, he was ''blown away'' by this ''gorgeous'' {{Wiki|fresco}}. He even thought of taking it back with him to ''France''<ref>Vasari, Giorgio. ''Le vite de' piu eccellenti pittori, scultori, et architettori, scritte et di nuovo Ampliate da M. Giorgio Vasari Pittore et Architetto Aretino, co' ritratti loro et con le nuove vite dal 1550 insino al 1567''. "Vita di Lionardo da Vinci Pittore e Scultore Fiorentino". pg. 6–7. Retrieved on 3 March 2024. "La nobiltà di questa pittura, sì per il componimento, sì per essere finita con una incomparabile diligenza, fece venir voglia al re di Francia, di condurla nel regno: onde tentò per ogni via, se ci fussi stato architetti, che con travate di legnami e di ferri, l’avessino potuta armar di maniera, che ella si fosse condotta salva, senza considerare a spesa, che vi si fusse potuta fare, tanto la desiderava."</ref><ref>Vasari, Giorgio. ''Lives of the Most Excellent Painters, Sculptors, and Architects''. "Life of Leonardo da Vinci Painter and Sculptor of Florence". pg. 97. Retrieved on 3 March 2024. "The nobility of this picture, both because of its design, and from its having been wrought with an incomparable diligence, awoke a desire in the King of France to transport it into his kingdom; wherefore he tried by all possible means to discover whether there were architects who, with cross-stays of wood and iron, might have been able to make it so secure that it might be transported safely; without considering any expense that might have been involved thereby, so much did he desire it."</ref>—which was a bit cheeky!<br><br>During the turbulent [[Italian Wars]], Leonardo became a sort of travelling military engineer, moving from town to town. He'd amassed ''real'' skills during this time in Milan, working with the ''best'' gunsmiths, observing cannon production in the arsenals, and increasing his knowledge of the art of war. While in Venice in 1500, he tried, but failed, to convince the {{Wiki|Venetian Senate|Senate}} to carry out ''major'' fortification works. In 1502,he was 50 years old and entered the service of Cesare Borgia, who had just captured [[Urbino]]. At his side, Leonardo travelled his territory as his chief military engineer. He designed war machines, strengthened fortresses, and drew maps. His {{Wiki|File:Leonardo da Vinci - Plan of Imola - Google Art Project.jpg|map}} of {{Wiki|Imola}}, which he created in 1502, ''revolutionized'' cartography. His design offered the ''first'' view of the town from above. But Cesare Borgia's rise came to an end in 1503, when he was imprisoned by his rivals. Leonardo then returned to Florence.<br><br>This was where he started the portrait of [[Lisa del Giocondo]]. It was never delivered to the wealthy silk merchant who commissioned it. Little did he know he was married to the most famous model of all time.<ref>Vasari, Giorgio. ''Le vite de' piu eccellenti pittori, scultori, et architettori, scritte et di nuovo Ampliate da M. Giorgio Vasari Pittore et Architetto Aretino, co' ritratti loro et con le nuove vite dal 1550 insino al 1567''. "Vita di Lionardo da Vinci Pittore e Scultore Fiorentino". pg. 8. Retrieved on 3 March 2024. "Prese Lionardo a fare per Francesco del Giocondo il ritratto di Monna Lisa sua moglie, e quattro anni penatovi lo lasciò imperfetto, la quale opera oggi è appresso il re Francesco di Francia in Fontanableò."</ref><ref>Vasari, Giorgio. ''Lives of the Most Excellent Painters, Sculptors, and Architects''. "Life of Leonardo da Vinci Painter and Sculptor of Florence". pg. 100. Retrieved on 3 March 2024. "Leonardo undertook to execute, for Francesco del Giocondo, the portrait of Monna Lisa, his wife; and after toiling over it for four years, he left it unfinished; and the work is now in the collection of King Francis of France, at Fontainebleau."</ref> Leonardo never finished the ''{{Wiki|Mona Lisa}}'' until 1515 because he was involved in a ''massive'' project. In 1503, [[Piero Soderini]], the new statesman of Florence, commissioned him to make a ''monumental'' {{Wiki|The Battle of Anghiari (Leonardo)|fresco}} of the [[Battle of Anghiari]], celebrating the {{Wiki|Anghiari|Tuscan city}}'s triumph over Milan in 1440.<ref>Vasari, Giorgio. ''Le vite de' piu eccellenti pittori, scultori, et architettori, scritte et di nuovo Ampliate da M. Giorgio Vasari Pittore et Architetto Aretino, co' ritratti loro et con le nuove vite dal 1550 insino al 1567''. "Vita di Lionardo da Vinci Pittore e Scultore Fiorentino". pg. 8. Retrieved on 3 March 2024. "E tra il gonfalonieri et i cittadini grandi si praticò che essendosi fatta di nuovo la gran sala del consiglio [...] La quale finita, con grande prestezza fu per decreto publico ordinato, che a Lionardo fussi dato a dipignere qualche opera bella; e così da Piero Soderini, gonfaloniere allora di giustizia, gli fu allogata la detta sala. Per il che volendola condurre Lionardo, cominciò un cartone alla sala del papa, luogo in S. Maria Novella, dentrovi la storia di Niccolò Piccinino, capitano del duca Filippo di Milano."</ref><ref>Vasari, Giorgio. ''Lives of the Most Excellent Painters, Sculptors, and Architects''. "Life of Leonardo da Vinci Painter and Sculptor of Florence". pg. 101–102. Retrieved on 3 March 2024. "And it was decided between the Gonfalonier and the chief citizens, the Great Council Chamber having been newly built [...] and having been finished in great haste, it was ordained by public decree that Leonardo should be given some beautiful work to paint; and so the said hall was allotted to him by Piero Soderini, then Gonfalonier of Justice. Whereupon Leonardo, determining to execute this work, began a cartoon in the Sala del Papa, an apartment in S. Maria Novella, representing the story of Niccolò Piccinino, Captain of Duke Filippo of Milan."</ref> The painter experimented with ''new'' techniques involving wax and resin for the project. But the experiment was a ''catastrophic'' failure; the colors ran down the wall. In 1506, Leonardo ''abandoned'' the work for good<ref>Vasari, Giorgio. ''Le vite de' piu eccellenti pittori, scultori, et architettori, scritte et di nuovo Ampliate da M. Giorgio Vasari Pittore et Architetto Aretino, co' ritratti loro et con le nuove vite dal 1550 insino al 1567''. "Vita di Lionardo da Vinci Pittore e Scultore Fiorentino". pg. 9. Retrieved on 3 March 2024. "Et imaginandosi di volere a olio colorire in muro, fece una composizione d’una mistura sì grossa, per lo incollato del muro, che continuando a dipignere in detta sala, cominciò a colare, di maniera che in breve tempo abbandonò quella, vedendola guastare."</ref><ref>Vasari, Giorgio. ''Lives of the Most Excellent Painters, Sculptors, and Architects''. "Life of Leonardo da Vinci Painter and Sculptor of Florence". pg. 102. Retrieved on 3 March 2024. "And conceiving the wish to color on the wall in oils, he made a composition of so gross an admixture, to act as a binder on the wall, that, going on to paint in the said hall, it began to peel off in such a manner that in a short time he abandoned it, seeing it spoiling."</ref>—still, a lovely way of painting a wall.<br><br>Alongside painting, the inventor tried to uncover the secrets of flight, because, why not? This ''long-standing'' obsession can be seen in ''many'' drawings in the {{Wiki|Codex on the Flight of Birds}} in 1505. In the game ''[[Assassin's Creed II]]'', Ezio Auditore [[Infrequent Flier|uses]] a prototype Flying Machine, designed by his friend Leonardo, to enter the [[Palazzo Ducale di Venezia|Doge's palace]] in Venice, where the Templar Knights are threatening to kill the Doge. The device used by the hero is an {{Wiki|ornithopter}} with articulated wings. Leonardo ''really'' did design such a machine, aiming to imitate the shape and flapping of the wings of a bird of prey, but it would never have worked due to the lack of a sufficiently powerful engine. The scientist did not invent the plane—far from it. On the other hand, he is ''unquestionably'' a precursor of ''{{Wiki|Biomimetics|biomimicry}}'', technical innovation ''inspired'' by nature. Careful observation of birds in flight had enabled him to isolate the principle of {{Wiki|Lift (force)|lift}}—so, those long, lazy afternoons as a teenager staring at nature ''really'' weren't wasted.<br><br>In 1506, Leonardo returned to Milan, now governed by the French. He became the ''key'' organizer of celebrations in the small court that formed around the {{Wiki|Marshal of France}}, {{Wiki|Charles II d'Amboise|Charles d'Amboise}}. In 1509, he was tasked with staging the victory celebrations of Louis XII, who returned to the city a hero after his [[War of the League of Cambrai|victory]] over the Venetians. After a few years in Rome, where he was the protégée of {{Wiki|Giuliano de' Medici, Dule of Nemours|Giuliano de' Medici}},<ref>Vasari, Giorgio. ''Le vite de' piu eccellenti pittori, scultori, et architettori, scritte et di nuovo Ampliate da M. Giorgio Vasari Pittore et Architetto Aretino, co' ritratti loro et con le nuove vite dal 1550 insino al 1567''. "Vita di Lionardo da Vinci Pittore e Scultore Fiorentino". pg. 8. Retrieved on 3 March 2024. "Andò a Roma col duca Giuliano de' Medici nella creazione di papa Leone, che attendeva molto a cose filosofiche e massimamente alla alchimia."</ref><ref>Vasari, Giorgio. ''Lives of the Most Excellent Painters, Sculptors, and Architects''. "Life of Leonardo da Vinci Painter and Sculptor of Florence". pg. 99. Retrieved on 3 March 2024. "He [Leonardo] went to Rome with Duke Giuliano de' Medici, at the election of Pope Leo, who spent much of his time on philosophical studies, and particularly on alchemy."</ref> Leonardo accepted an invitation from [[Francis I of France|Francis I]] in 1516.<ref>Vasari, Giorgio. ''Le vite de' piu eccellenti pittori, scultori, et architettori, scritte et di nuovo Ampliate da M. Giorgio Vasari Pittore et Architetto Aretino, co' ritratti loro et con le nuove vite dal 1550 insino al 1567''. "Vita di Lionardo da Vinci Pittore e Scultore Fiorentino". pg. 8. Retrieved on 3 March 2024. "Lionardo intendendo ciò partì, et andò in Francia, dove il re avendo avuto opere sue, gli era molto affezzionato."</ref><ref>Vasari, Giorgio. ''Lives of the Most Excellent Painters, Sculptors, and Architects''. "Life of Leonardo da Vinci Painter and Sculptor of Florence". pg. 103. Retrieved on 3 March 2024. "Leonardo, understanding this [disdain from Michelangelo], departed and went into France, where the King, having had works by his hand, bore him great affection."</ref> The King of France admired him and wanted him by his side on the banks of the River [[Loire]]. ''"More than my crown, you will be the jewel of my kingdom,"''{{Cite|3 March 2024}} promised the king—which was very friendly, though, a little creepy.<br><br>After a ''grueling'' journey, an aging Leonardo moved into the ''{{Wiki|Clos Lucé|Manoir du Cloux}}'', a manor house given to him by the monarch just a few hundred meters from ''his own'' residence, the {{Wiki|Château d'Amboise}}. The scientist brought his books and precious manuscripts with him, as well as some of his best works, including the ''Mona Lisa''. The young Francis I was at the ''height'' of his glory following his {{Wiki|Battle of Marignano|victory}} over [[Charles V, Holy Roman Emperor|Charles V]] at {{Wiki|Melegnano}}. He gave him a pension of 1,000 [[Écu|crowns]] and named him the King's first painter, engineer, and architect. For the King of France, Leonardo ''once again'' became a great orchestrator of court festivities. In April 1515, he built his mechanical [[lion]]<ref>{{Cite web|url=https://iicparigi.esteri.it/it/gli_eventi/calendario/le-lion-mecanique-de-leonard-de/|title=Il Leone meccanico di Leonardo Da Vinci|archiveurl=https://web.archive.org/web/20230604232955/https://iicparigi.esteri.it/it/gli_eventi/calendario/le-lion-mecanique-de-leonard-de/|archivedate=4 June 2023|author={{Wiki|it:Istituto italiano di cultura di Parigi|Istituto italiano di cultura di Parigi}}|date=12 September 2019|publisher=''Istituto italiano di cultura di Parigi''|accessdate=3 March 2024|language=Italian}}</ref> for the baptism of the {{Wiki|Dauphin of France|Dauphin}}, {{Wiki|Francis III, Duke of Britanny|Francis}}. When the king touched the mechanical animal, a secret hatch swung open on its chest releasing ''lilies'', in reference to the fleur-de-lis, the symbol of French royalty.<ref>Vasari, Giorgio. ''Le vite de' piu eccellenti pittori, scultori, et architettori, scritte et di nuovo Ampliate da M. Giorgio Vasari Pittore et Architetto Aretino, co' ritratti loro et con le nuove vite dal 1550 insino al 1567''. "Vita di Lionardo da Vinci Pittore e Scultore Fiorentino". pg. 8. Retrieved on 3 March 2024. "E per tornare alle opere di Lionardo, venne al suo tempo in Milano il re di Francia, onde pregato Lionardo di far qualche cosa bizzarra, fece un lione, che caminò parecchi passi, poi s'aperse il petto e mostrò tutto pien di gigli."</ref><ref>Vasari, Giorgio. ''Lives of the Most Excellent Painters, Sculptors, and Architects''. "Life of Leonardo da Vinci Painter and Sculptor of Florence". pg. 99. Retrieved on 3 March 2024. "And to return to the works of Leonardo; there came to Milan, in his time, the King of France, wherefore Leonardo being asked to devise some bizarre thing, made a lion which walked several steps and then opened its breast, and showed it full of lilies."</ref><ref>{{Youtube|video=jlBMWf-429I|text=Leonardo3 Museum - Leone meccanico/Mechanical Lion|channel=leonardo3museum|channelname=Leonardo3 Museum and Exhibitions}}</ref><br><br>It was one of the Italian genius' ''last'' magical creations. Much weakened, Leonardo died on the 2nd of May 1519 at the age of 67. During his lifetime, he skillfully created his own myth, and after his death, the legend continued. In a famous painting by {{Wiki|Jean-Auguste-Dominique Ingres}}, ''{{Wiki|The Death of Leonardo da Vinci}}'', painted in 1819 for the 300th anniversary of his death, the old man takes his last breath in the arms of the King of France, who embraces him like a son.<ref>Vasari, Giorgio. ''Le vite de' piu eccellenti pittori, scultori, et architettori, scritte et di nuovo Ampliate da M. Giorgio Vasari Pittore et Architetto Aretino, co' ritratti loro et con le nuove vite dal 1550 insino al 1567''. "Vita di Lionardo da Vinci Pittore e Scultore Fiorentino". pg. 8. Retrieved on 3 March 2024. "Sopragiunseli il re che spesso et amorevolmente lo soleva visitare; per il che egli per riverenza rizzatosi a sedere sul letto, contando il mal suo e gli accidenti di quello mostrava tuttavia quanto avea offeso Dio e gli uomini del mondo, non avendo operato nell'arte come si conveniva. Onde gli venne un parossismo messaggero della morte. Per la qual cosa rizzatosi il re e presoli la testa per aiutarlo e porgerli favore, acciò che il male lo allegerisse, lo spirito suo, che divinissimo era, conoscendo non potere avere maggiore onore, spirò in braccio a quel re nella età sua d'anni 75."</ref><ref>Vasari, Giorgio. ''Lives of the Most Excellent Painters, Sculptors, and Architects''. "Life of Leonardo da Vinci Painter and Sculptor of Florence". pg. 104. Retrieved on 3 March 2024. "The King, who was wont often and lovingly to visit him, then came into the room; wherefore he, out of reverence, having raised himself to sit upon the bed, giving him an account of his sickness and the circumstances of it, showed withal how much he had offended God and mankind in not having worked at his art as he should have done. Thereupon he was seized by a paroxysm, the messenger of death; for which reason the King having risen and having taken his head, in order to assist him and show him favor, to the end that he might alleviate his pain, his spirit, which was divine, knowing that it could not have any greater honor, expired in the arms of the King, in the seventy-fifth year of his age."</ref> It's pure ''fiction'', as Francis I was in ''{{Wiki|Saint-Germain-en-Laye}}'' at the time of Leonardo's death, but it reflects Leonardo's place in our imagination. With his ''unforgettable'' pieces that ''revolutionized'' painting, and drawings that sometimes feel like he has ''seen'' the future, Leonardo da Vinci embodied the creative power of human genius. His career, with its sometimes circuitous path, failures, and many borrowings from the discoveries of others, reminds us that arts and science are first and foremost ''collective'' adventures. He may have been a genius, but Leonardo da Vinci was just one cog in the great machine we call progress. Thanks for listening to ''Echoes of History: Behind the Legends'', a Ubisoft podcast produced by Paradiso Media.'' | | *'''Danny Wallace:''' "Not only in his lifetime was Leonardo da Vinci held in esteem, but his reputation became even greater among posterity after his death," ''wrote {{Wiki|Giorgio Vasari|Vasari}}, the first art historian, in 1550.<ref>Vasari, Giorgio. ''[[wikisource:it:Le vite de' più eccellenti pittori, scultori e architettori (1568)|Le vite de' piu eccellenti pittori, scultori, et architettori, scritte et di nuovo Ampliate da M. Giorgio Vasari Pittore et Architetto Aretino, co' ritratti loro et con le nuove vite dal 1550 insino al 1567]]''. Florence, {{Wiki|Giunti (printers)|Giunti}}, 1568. 2nd ed, vol. 2. "Vita di Lionardo da Vinci Pittore e Scultore Fiorentino". pg. 2. Retrieved on 3 March 2024. "La forza in lui fu molta e congiunta con la destrezza, l'animo e 'l valore, sempre regio e magnanimo. E la fama del suo nome tanto s'allargò, che non solo nel suo tempo fu tenuto in pregio, ma pervenne ancora molto più ne' posteri dopo la morte sua."</ref><ref>Vasari, Giorgio. ''{{Wiki|Lives of the Most Excellent Painters, Sculptors, and Architects}}''. London, {{Wiki|Macmillan Publishers|Macmillan and Co. Ltd.}} & [https://www.medici.co.uk/ The Medici Society, Ltd.], 1913. [https://www.gutenberg.org/files/28420/28420-h/28420-h.htm Vol. 4]. Translated by Gaston du C. De Vere. "Life of Leonardo da Vinci Painter and Sculptor of Florence". pg. 89. Retrieved on 3 March 2024. "In him was great bodily strength, joined to dexterity, with a spirit and courage ever royal and magnanimous; and the fame of his name so increased, that not only in his lifetime was he held in esteem, but his reputation became even greater among posterity after his death."</ref> More than ''five centuries'' after his death, the genius still inspires the same admiration. And even now, he's breaking records: in 2017, ''{{Wiki|Salvator Mundi (Leonardo)|Salvator Mundi}}'', a painting attributed to him—though that ''is'' disputed—was sold for $450 million.<ref>{{Cite web|url=https://www.reuters.com/article/us-art-auction-da-vinci-abudhabi/abu-dhabi-to-acquire-leonardo-da-vincis-salvator-mundi-christies-idUSKBN1E22IN/|title=Abu Dhabi to acquire Leonardo da Vinci's 'Salvator Mundi': Christie's|archiveurl=https://web.archive.org/web/20171208235650/https://www.reuters.com/article/us-art-auction-da-vinci-abudhabi/abu-dhabi-to-acquire-leonardo-da-vincis-salvator-mundi-christies-idUSKBN1E22IN/|archivedate=8 December 2017|author=Bayoumy, Yara|date=8 December 2017|publisher=''{{Wiki|Reuters}}''|accessdate=3 March 2024}}</ref><ref>{{Youtube|video=3orkmMlSpmI|text=Leonardo da Vinci's 'Salvator Mundi' <nowiki>|</nowiki> 2017 World Auction Record <nowiki>|</nowiki> Christie's|channel=christies|channelname=Christie's}}</ref> And in 2019, the [[Louvre]] dedicated a ''major'' exhibition to him<ref>{{Cite web|url=https://www.louvre.fr/en/what-s-on/exhibitions/leonardo-da-vinci|title=Leonardo da Vinci|archiveurl=https://web.archive.org/web/20210413201603/https://www.louvre.fr/en/what-s-on/exhibitions/leonardo-da-vinci|archivedate=13 April 2021|author=Louvre|date=24 October 2019|publisher=''Louvre''|accessdate=3 March 2024}}</ref> which attracted more than a ''million'' visitors in four months.<ref>{{Cite web|url=https://presse.louvre.fr/1-1-million-visitors-for-leonardo-da-vincibr-a-new-record-for-an-exhibitionnbspat-the-louvre/|title=1.1 million visitors for "Leonardo da Vinci": A new record for an exhibition at the Louvre|archiveurl=https://web.archive.org/web/20200715183448/https://presse.louvre.fr/1-1-million-visitors-for-leonardo-da-vincibr-a-new-record-for-an-exhibitionnbspat-the-louvre/|archivedate=15 July 2020|author=Louvre|date=25 February 2020|publisher=''Louvre''|accessdate=3 March 2024}}</ref> Bringing together his greatest paintings and ''many'' drawings, the museum celebrated an ''exceptional'' mind with ''limitless'' curiosity. Da Vinci explored many areas of knowledge, including {{Wiki|Perspective (graphical)|perspective}}, geometry, astronomy, architecture, and engineering. Each era has created its own legend about Leonardo: from the 16th century onwards, he was celebrated as a painter; in the 19th, the discovery of his {{Wiki|Category:Codices by Leonardo da Vinci|forgotten manuscripts}} made him famous as an engineer. More recently, some people have tried to ''tarnish'' this image, pointing out the gaps in Leonardo da Vinci's knowledge and claiming him a fraud. Despite these sometimes legitimate criticisms, the myth of the "universal man" capable of inventing the future has taken hold—he ''did'' design [[Flying Machine]]s and [[tank]]s, after all. However, nothing predisposed the young boy, born in 1552 in the [[Tuscany|Tuscan]] countryside, to such glory.<br><br>You're listening to ''Echoes of History: Behind the Legends'', the podcast that tells you the true stories of some of history's most legendary heroes. As the ''Assassin's Creed'' franchise turns 15, travel back through 2,500 years of history to meet the men and women whose destiny lead them to greatness. Uncover their stories and bring their legends back to life. Episode ten, Leonardo da Vinci.<br><br>Born in {{Wiki|Vinci, Tuscany|Vinci}}, a small town halfway between [[Pisa]] and Florence, Leonardo was the son of Piero da Vinci, a {{Wiki|Civil law notary|notary}}, and a woman named Caterina, about whom we know almost nothing. Leonardo didn't follow in his father's footsteps—attending university was ''out of the question'' as he born out of wedlock. Surrounded by his grandparents' love, he was self-taught. He ''devoured'' [[Ovid]]'s ''[[Metamorphoses]]'' and spent most of his time contemplating nature. This appreciation of the beauty of landscapes and animals, combined with a particularly ''keen'' sense of observation, gave rise to his unmatched drawing skills. A [[commons:Category:Codex on the Flight of Birds|bird in flight]], the anatomy of a bee,<ref>Kritsky, Gene and Daniel Mader (1 July 2010). "Leonardo's Insects", ''{{Wiki|Entomological Society of America|American Entomologist}}'', '''56'''(3). Fall 2010. [[Oxford]], {{Wiki|Oxford University Press}}. pg. 178–184. https://doi.org/10.1093/ae/56.3.178. Retrieved on 3 March 2024.</ref> from an early age, Leonardo ''filled'' his small notebooks with sketches.<br><br>In 1466, the young man moved to Florence. His father got him an apprenticeship with [[Andrea del Verrocchio]] at one of the most prestigious workshops in the city. In this ''[[wikt:bottega|bottega]]'', the master and his pupils ''excelled'' in a wide range of crafts, from painting and sculpture to goldsmithing, cabinetmaking, and metalworking. Alongside his talented fellow students—including [[Pietro Perugino|Perugino]] and [[Sandro Botticelli|Botticelli]]—Leonardo observed, exchanged, and accumulated impressive skills. And the city was a ''constant'' work in progress; he was ''fascinated'' by the building site for the dome of the [[Cattedrale di Santa Maria del Fiore|Cathedral of Santa Maria del Fiore]]. Engineers had designed special cranes to position the building materials with ''great'' precision nearly 100 meters above the ground. Young Leonardo was responsonble for making the {{Wiki|Gilding|gilt}} [[copper]] bowl topping the dome. As it was made of several pieces, he had to climb to the top of the Duomo to assemble and solder it using a mirror to reflect the sun's light.<br><br>During his time in Florence, Leonardo da Vinci established himself as an independant artist. In 1473, he painted ''[[Annunciation]]'', an early work with ''some'' inaccuracies, but ''already'' showing incredible technical skill and originality. However, when he set up his own [[Bottega di Leonardo|workshop]] five years later at the age of 26, he ''struggled'' to stand out from the ''fierce'' competition. The [[House of Medici|Medici]] court remained inaccessible; without {{Wiki|Italian Renaissance painting|classical training}}, Leonardo ''did not'' have the ''vital'' cultural background to ''shine'' among the elite. In 1482, he seized the opportunity to spread his wings. The next chapter of his story would be played out in [[Milan]].<br><br>When [[Lorenzo de' Medici]] sent him to the court of [[Ludovico Sforza]] to stage a musical, Leonardo made a bold move: he offered his services to the nobleman. In {{Wiki|Personal life of Leonardo da Vinci#Résumé|his letter}} to Sforza, the artist boasts, oddly enough, of his talents as a ''military'' engineer. He claims to be able to design [[war machine]]s; cannons; and'' "covered vehicles, safe and unassailable, which will penetrate the enemy and their artillery, and there is no host of armed men so great that they would not break through it."<ref>da Vinci, Leonardo. ''[[wikisource:The Notebooks of Leonardo Da Vinci|The Notebooks of Leonardo Da Vinci]]''. Translated by {{Wiki|Jean Paul Richter}}. 1888. Vol. 2. "XXI. Letters. Personal Records. Dated Notes". Retrieved on 3 March 2024. "6) Item. I will make covered chariots, safe and unattackable which, entering among the enemy with their artillery, there is no body of men so great but they would break them. And behind these, infantry could follow quite unhurt and without any hindrance."</ref> ''By doing so, he created his own myth. It's true that Leonardo had drawn many military technical drawings, but they were merely sketches designed by borrowing extensively from contemporary engineers, and often unworkable. Except, that Leonardo surpassed ''all'' his predecessors in ''one'' area: technical drawings where the accuracy of his line worked ''wonders''. In an exploded view of an object, be broke it down, describing ''each part'' in detail. He had a perfect understanding of perspective. Leonardo may have taken and compiled the ideas of his predecessors, but in doing so, he surpassed them. Sforza was ''not so easily'' won over, and the so-called "engineer" had to wait until 1489 to ''properly'' gain entry to {{Wiki|Castello Sforzesco}}.<br><br>In the Milanese court, Leonardo gained a reputation for organizing celebrations, a key tool in political communication—and I suppose just fun! To celebrate the wedding of {{Wiki|Isabella of Aragon, Duchess of Milan|Isabella of Aragon}} and {{Wiki|Gian Galeazzo Sforza}} in 1490 during the famous ''{{Wiki|it:Festa del Paradiso|Festa del Paradiso}}'', he staged a ''marvelous'' {{Wiki|operetta}}, ''Il Paradiso'', using complex machinery and special effects. A ''gigantic'' golden sphere spun among the costumed dancers and musicians. Glowing stars, and the seven planets known of at the time, were revealed through openings in the sphere.<ref>{{Wiki|it:Pietro Fanfani|Fanfani, Pietro}}. ''[https://archive.org/details/rimebernardo02belluoft/rimebernardo02belluoft/page/n7/mode/2up Le Rime di Bernardo Bellincioni, riscontrate sui manoscritti]''. {{Wiki|Bologna}}: Presso Gaetano Romagnoli, 1878. Vol. II. pg. 208. Retrieved on 3 March 2024. "Festa ossia rappresentazione chiamata Paradiso, che fece fare il Signore Ludovico in laude délia duchessa di Milano, e così chiamasi, perchè vi era fabbricato con il grande ingegno ed arte di maestro Leonardo Vinci fiorentino il Paradiso, con tutti li sette pianeti che girovano, e li pianeti erano rappresentati da uomini nella forma ed abiti che si descrivono dai poeti, e tutti parlano in Iode délia prefata duchessa Isabella."</ref><ref>{{Wiki|Eugène Müntz|Müntz, Eugène}}. ''[https://archive.org/details/leonardodavincia01munt/mode/page/n11/2up Leonardo da Vinci: Artist, Thinker, and Man of Science]''. London: {{Wiki|William Heinemann}}; New York: {{Wiki|Charles Scribner's Sons}}, 1898. Vol. I. "Chapter IV". pg. 107. Retrieved on 3 March 2024. "In 1489, on the occasion of the marriage of Gian Galeazzo Sforza, the latter collaborated with the poet {{Wiki|Bernardo Bellincioni|Bellincioni}}, in the construction of a theatrical machine, which they christened "Il Paradiso." It was a colossal orrery, in which the planets, represented by actors of flesh and blood, revolved round the princess by means of an ingenious mechanism, and sang her praises."</ref> Between 1495 and 1498, Leonardo, who ''hadn't'' abandoned painting, produced one of his masterpieces, ''{{Wiki|The Last Supper (Leonardo)|The Last Supper}}'', which hung in the {{Wiki|refectory}} of the Dominican convent of {{Wiki|Santa Maria delle Grazie, Milan|Santa Maria delle Grazie}}. In 1499, when Louis XII, the king of France, chased the Sforza family from Milan, he was ''blown away'' by this ''gorgeous'' {{Wiki|fresco}}. He even thought of taking it back with him to ''France''<ref>Vasari, Giorgio. ''Le vite de' piu eccellenti pittori, scultori, et architettori, scritte et di nuovo Ampliate da M. Giorgio Vasari Pittore et Architetto Aretino, co' ritratti loro et con le nuove vite dal 1550 insino al 1567''. "Vita di Lionardo da Vinci Pittore e Scultore Fiorentino". pg. 6–7. Retrieved on 3 March 2024. "La nobiltà di questa pittura, sì per il componimento, sì per essere finita con una incomparabile diligenza, fece venir voglia al re di Francia, di condurla nel regno: onde tentò per ogni via, se ci fussi stato architetti, che con travate di legnami e di ferri, l’avessino potuta armar di maniera, che ella si fosse condotta salva, senza considerare a spesa, che vi si fusse potuta fare, tanto la desiderava."</ref><ref>Vasari, Giorgio. ''Lives of the Most Excellent Painters, Sculptors, and Architects''. "Life of Leonardo da Vinci Painter and Sculptor of Florence". pg. 97. Retrieved on 3 March 2024. "The nobility of this picture, both because of its design, and from its having been wrought with an incomparable diligence, awoke a desire in the King of France to transport it into his kingdom; wherefore he tried by all possible means to discover whether there were architects who, with cross-stays of wood and iron, might have been able to make it so secure that it might be transported safely; without considering any expense that might have been involved thereby, so much did he desire it."</ref>—which was a bit cheeky!<br><br>During the turbulent [[Italian Wars]], Leonardo became a sort of travelling military engineer, moving from town to town. He'd amassed ''real'' skills during this time in Milan, working with the ''best'' gunsmiths, observing cannon production in the arsenals, and increasing his knowledge of the art of war. While in Venice in 1500, he tried, but failed, to convince the {{Wiki|Venetian Senate|Senate}} to carry out ''major'' fortification works. In 1502,he was 50 years old and entered the service of Cesare Borgia, who had just captured [[Urbino]]. At his side, Leonardo travelled his territory as his chief military engineer. He designed war machines, strengthened fortresses, and drew maps. His {{Wiki|File:Leonardo da Vinci - Plan of Imola - Google Art Project.jpg|map}} of {{Wiki|Imola}}, which he created in 1502, ''revolutionized'' cartography. His design offered the ''first'' view of the town from above. But Cesare Borgia's rise came to an end in 1503, when he was imprisoned by his rivals. Leonardo then returned to Florence.<br><br>This was where he started the portrait of [[Lisa del Giocondo]]. It was never delivered to the wealthy silk merchant who commissioned it. Little did he know he was married to the most famous model of all time.<ref>Vasari, Giorgio. ''Le vite de' piu eccellenti pittori, scultori, et architettori, scritte et di nuovo Ampliate da M. Giorgio Vasari Pittore et Architetto Aretino, co' ritratti loro et con le nuove vite dal 1550 insino al 1567''. "Vita di Lionardo da Vinci Pittore e Scultore Fiorentino". pg. 8. Retrieved on 3 March 2024. "Prese Lionardo a fare per Francesco del Giocondo il ritratto di Monna Lisa sua moglie, e quattro anni penatovi lo lasciò imperfetto, la quale opera oggi è appresso il re Francesco di Francia in Fontanableò."</ref><ref>Vasari, Giorgio. ''Lives of the Most Excellent Painters, Sculptors, and Architects''. "Life of Leonardo da Vinci Painter and Sculptor of Florence". pg. 100. Retrieved on 3 March 2024. "Leonardo undertook to execute, for Francesco del Giocondo, the portrait of Monna Lisa, his wife; and after toiling over it for four years, he left it unfinished; and the work is now in the collection of King Francis of France, at Fontainebleau."</ref> Leonardo never finished the ''{{Wiki|Mona Lisa}}'' until 1515 because he was involved in a ''massive'' project. In 1503, [[Piero Soderini]], the new statesman of Florence, commissioned him to make a ''monumental'' {{Wiki|The Battle of Anghiari (Leonardo)|fresco}} of the [[Battle of Anghiari]], celebrating the {{Wiki|Anghiari|Tuscan city}}'s triumph over Milan in 1440.<ref>Vasari, Giorgio. ''Le vite de' piu eccellenti pittori, scultori, et architettori, scritte et di nuovo Ampliate da M. Giorgio Vasari Pittore et Architetto Aretino, co' ritratti loro et con le nuove vite dal 1550 insino al 1567''. "Vita di Lionardo da Vinci Pittore e Scultore Fiorentino". pg. 8. Retrieved on 3 March 2024. "E tra il gonfalonieri et i cittadini grandi si praticò che essendosi fatta di nuovo la gran sala del consiglio [...] La quale finita, con grande prestezza fu per decreto publico ordinato, che a Lionardo fussi dato a dipignere qualche opera bella; e così da Piero Soderini, gonfaloniere allora di giustizia, gli fu allogata la detta sala. Per il che volendola condurre Lionardo, cominciò un cartone alla sala del papa, luogo in S. Maria Novella, dentrovi la storia di Niccolò Piccinino, capitano del duca Filippo di Milano."</ref><ref>Vasari, Giorgio. ''Lives of the Most Excellent Painters, Sculptors, and Architects''. "Life of Leonardo da Vinci Painter and Sculptor of Florence". pg. 101–102. Retrieved on 3 March 2024. "And it was decided between the Gonfalonier and the chief citizens, the Great Council Chamber having been newly built [...] and having been finished in great haste, it was ordained by public decree that Leonardo should be given some beautiful work to paint; and so the said hall was allotted to him by Piero Soderini, then Gonfalonier of Justice. Whereupon Leonardo, determining to execute this work, began a cartoon in the Sala del Papa, an apartment in S. Maria Novella, representing the story of Niccolò Piccinino, Captain of Duke Filippo of Milan."</ref> The painter experimented with ''new'' techniques involving wax and resin for the project. But the experiment was a ''catastrophic'' failure; the colors ran down the wall. In 1506, Leonardo ''abandoned'' the work for good<ref>Vasari, Giorgio. ''Le vite de' piu eccellenti pittori, scultori, et architettori, scritte et di nuovo Ampliate da M. Giorgio Vasari Pittore et Architetto Aretino, co' ritratti loro et con le nuove vite dal 1550 insino al 1567''. "Vita di Lionardo da Vinci Pittore e Scultore Fiorentino". pg. 9. Retrieved on 3 March 2024. "Et imaginandosi di volere a olio colorire in muro, fece una composizione d’una mistura sì grossa, per lo incollato del muro, che continuando a dipignere in detta sala, cominciò a colare, di maniera che in breve tempo abbandonò quella, vedendola guastare."</ref><ref>Vasari, Giorgio. ''Lives of the Most Excellent Painters, Sculptors, and Architects''. "Life of Leonardo da Vinci Painter and Sculptor of Florence". pg. 102. Retrieved on 3 March 2024. "And conceiving the wish to color on the wall in oils, he made a composition of so gross an admixture, to act as a binder on the wall, that, going on to paint in the said hall, it began to peel off in such a manner that in a short time he abandoned it, seeing it spoiling."</ref>—still, a lovely way of painting a wall.<br><br>Alongside painting, the inventor tried to uncover the secrets of flight, because, why not? This ''long-standing'' obsession can be seen in ''many'' drawings in the {{Wiki|Codex on the Flight of Birds}} in 1505. In the game ''[[Assassin's Creed II]]'', Ezio Auditore [[Infrequent Flier|uses]] a prototype Flying Machine, designed by his friend Leonardo, to enter the [[Palazzo Ducale di Venezia|Doge's palace]] in Venice, where the Templar Knights are threatening to kill the Doge. The device used by the hero is an {{Wiki|ornithopter}} with articulated wings. Leonardo ''really'' did design such a machine, aiming to imitate the shape and flapping of the wings of a bird of prey, but it would never have worked due to the lack of a sufficiently powerful engine. The scientist did not invent the plane—far from it. On the other hand, he is ''unquestionably'' a precursor of ''{{Wiki|Biomimetics|biomimicry}}'', technical innovation ''inspired'' by nature. Careful observation of birds in flight had enabled him to isolate the principle of {{Wiki|Lift (force)|lift}}—so, those long, lazy afternoons as a teenager staring at nature ''really'' weren't wasted.<br><br>In 1506, Leonardo returned to Milan, now governed by the French. He became the ''key'' organizer of celebrations in the small court that formed around the {{Wiki|Marshal of France}}, {{Wiki|Charles II d'Amboise|Charles d'Amboise}}. In 1509, he was tasked with staging the victory celebrations of Louis XII, who returned to the city a hero after his [[War of the League of Cambrai|victory]] over the Venetians. After a few years in Rome, where he was the protégée of {{Wiki|Giuliano de' Medici, Dule of Nemours|Giuliano de' Medici}},<ref>Vasari, Giorgio. ''Le vite de' piu eccellenti pittori, scultori, et architettori, scritte et di nuovo Ampliate da M. Giorgio Vasari Pittore et Architetto Aretino, co' ritratti loro et con le nuove vite dal 1550 insino al 1567''. "Vita di Lionardo da Vinci Pittore e Scultore Fiorentino". pg. 8. Retrieved on 3 March 2024. "Andò a Roma col duca Giuliano de' Medici nella creazione di papa Leone, che attendeva molto a cose filosofiche e massimamente alla alchimia."</ref><ref>Vasari, Giorgio. ''Lives of the Most Excellent Painters, Sculptors, and Architects''. "Life of Leonardo da Vinci Painter and Sculptor of Florence". pg. 99. Retrieved on 3 March 2024. "He [Leonardo] went to Rome with Duke Giuliano de' Medici, at the election of Pope Leo, who spent much of his time on philosophical studies, and particularly on alchemy."</ref> Leonardo accepted an invitation from [[Francis I of France|Francis I]] in 1516.<ref>Vasari, Giorgio. ''Le vite de' piu eccellenti pittori, scultori, et architettori, scritte et di nuovo Ampliate da M. Giorgio Vasari Pittore et Architetto Aretino, co' ritratti loro et con le nuove vite dal 1550 insino al 1567''. "Vita di Lionardo da Vinci Pittore e Scultore Fiorentino". pg. 8. Retrieved on 3 March 2024. "Lionardo intendendo ciò partì, et andò in Francia, dove il re avendo avuto opere sue, gli era molto affezzionato."</ref><ref>Vasari, Giorgio. ''Lives of the Most Excellent Painters, Sculptors, and Architects''. "Life of Leonardo da Vinci Painter and Sculptor of Florence". pg. 103. Retrieved on 3 March 2024. "Leonardo, understanding this [disdain from Michelangelo], departed and went into France, where the King, having had works by his hand, bore him great affection."</ref> The King of France admired him and wanted him by his side on the banks of the River [[Loire]]. ''"More than my crown, you will be the jewel of my kingdom,"''{{Cite|3 March 2024}} promised the king—which was very friendly, though, a little creepy.<br><br>After a ''grueling'' journey, an aging Leonardo moved into the ''{{Wiki|Clos Lucé|Manoir du Cloux}}'', a manor house given to him by the monarch just a few hundred meters from ''his own'' residence, the {{Wiki|Château d'Amboise}}. The scientist brought his books and precious manuscripts with him, as well as some of his best works, including the ''Mona Lisa''. The young Francis I was at the ''height'' of his glory following his {{Wiki|Battle of Marignano|victory}} over [[Charles V, Holy Roman Emperor|Charles V]] at {{Wiki|Melegnano}}. He gave him a pension of 1,000 [[Écu|crowns]] and named him the King's first painter, engineer, and architect. For the King of France, Leonardo ''once again'' became a great orchestrator of court festivities. In April 1515, he built his mechanical [[lion]]<ref>{{Cite web|url=https://iicparigi.esteri.it/it/gli_eventi/calendario/le-lion-mecanique-de-leonard-de/|title=Il Leone meccanico di Leonardo Da Vinci|archiveurl=https://web.archive.org/web/20230604232955/https://iicparigi.esteri.it/it/gli_eventi/calendario/le-lion-mecanique-de-leonard-de/|archivedate=4 June 2023|author={{Wiki|it:Istituto italiano di cultura di Parigi|Istituto italiano di cultura di Parigi}}|date=12 September 2019|publisher=''Istituto italiano di cultura di Parigi''|accessdate=3 March 2024|language=Italian}}</ref> for the baptism of the {{Wiki|Dauphin of France|Dauphin}}, {{Wiki|Francis III, Duke of Britanny|Francis}}. When the king touched the mechanical animal, a secret hatch swung open on its chest releasing ''lilies'', in reference to the fleur-de-lis, the symbol of French royalty.<ref>Vasari, Giorgio. ''Le vite de' piu eccellenti pittori, scultori, et architettori, scritte et di nuovo Ampliate da M. Giorgio Vasari Pittore et Architetto Aretino, co' ritratti loro et con le nuove vite dal 1550 insino al 1567''. "Vita di Lionardo da Vinci Pittore e Scultore Fiorentino". pg. 8. Retrieved on 3 March 2024. "E per tornare alle opere di Lionardo, venne al suo tempo in Milano il re di Francia, onde pregato Lionardo di far qualche cosa bizzarra, fece un lione, che caminò parecchi passi, poi s'aperse il petto e mostrò tutto pien di gigli."</ref><ref>Vasari, Giorgio. ''Lives of the Most Excellent Painters, Sculptors, and Architects''. "Life of Leonardo da Vinci Painter and Sculptor of Florence". pg. 99. Retrieved on 3 March 2024. "And to return to the works of Leonardo; there came to Milan, in his time, the King of France, wherefore Leonardo being asked to devise some bizarre thing, made a lion which walked several steps and then opened its breast, and showed it full of lilies."</ref><ref>{{Youtube|video=jlBMWf-429I|text=Leonardo3 Museum - Leone meccanico/Mechanical Lion|channel=leonardo3museum|channelname=Leonardo3 Museum and Exhibitions}}</ref><br><br>It was one of the Italian genius' ''last'' magical creations. Much weakened, Leonardo died on the 2nd of May 1519 at the age of 67. During his lifetime, he skillfully created his own myth, and after his death, the legend continued. In a famous painting by {{Wiki|Jean-Auguste-Dominique Ingres}}, ''{{Wiki|The Death of Leonardo da Vinci}}'', painted in 1819 for the 300th anniversary of his death, the old man takes his last breath in the arms of the King of France, who embraces him like a son.<ref>Vasari, Giorgio. ''Le vite de' piu eccellenti pittori, scultori, et architettori, scritte et di nuovo Ampliate da M. Giorgio Vasari Pittore et Architetto Aretino, co' ritratti loro et con le nuove vite dal 1550 insino al 1567''. "Vita di Lionardo da Vinci Pittore e Scultore Fiorentino". pg. 8. Retrieved on 3 March 2024. "Sopragiunseli il re che spesso et amorevolmente lo soleva visitare; per il che egli per riverenza rizzatosi a sedere sul letto, contando il mal suo e gli accidenti di quello mostrava tuttavia quanto avea offeso Dio e gli uomini del mondo, non avendo operato nell'arte come si conveniva. Onde gli venne un parossismo messaggero della morte. Per la qual cosa rizzatosi il re e presoli la testa per aiutarlo e porgerli favore, acciò che il male lo allegerisse, lo spirito suo, che divinissimo era, conoscendo non potere avere maggiore onore, spirò in braccio a quel re nella età sua d'anni 75."</ref><ref>Vasari, Giorgio. ''Lives of the Most Excellent Painters, Sculptors, and Architects''. "Life of Leonardo da Vinci Painter and Sculptor of Florence". pg. 104. Retrieved on 3 March 2024. "The King, who was wont often and lovingly to visit him, then came into the room; wherefore he, out of reverence, having raised himself to sit upon the bed, giving him an account of his sickness and the circumstances of it, showed withal how much he had offended God and mankind in not having worked at his art as he should have done. Thereupon he was seized by a paroxysm, the messenger of death; for which reason the King having risen and having taken his head, in order to assist him and show him favor, to the end that he might alleviate his pain, his spirit, which was divine, knowing that it could not have any greater honor, expired in the arms of the King, in the seventy-fifth year of his age."</ref> It's pure ''fiction'', as Francis I was in ''{{Wiki|Saint-Germain-en-Laye}}'' at the time of Leonardo's death, but it reflects Leonardo's place in our imagination. With his ''unforgettable'' pieces that ''revolutionized'' painting, and drawings that sometimes feel like he has ''seen'' the future, Leonardo da Vinci embodied the creative power of human genius. His career, with its sometimes circuitous path, failures, and many borrowings from the discoveries of others, reminds us that arts and science are first and foremost ''collective'' adventures. He may have been a genius, but Leonardo da Vinci was just one cog in the great machine we call progress. Thanks for listening to ''Echoes of History: Behind the Legends'', a Ubisoft podcast produced by Paradiso Media.'' |
