Have you noticed the tiny coloured stripes on the resistors in the interiors of electronic gadgets? These coloured stripes known as the Electronic Color Code indicate the resistor’s resistance value. To a layman, the band system might seem strange, but to a serious hobbyist or to a professional in electricity and electronics the bands help to know the values of the resistors easily.
The colour code system was developed in the 1920s by the Radio Manufacturers Association (an organization now known as the Electronic Industries Alliance). This system of colour-coded bands has prevailed for the better part of a century now and will likely continue to do so.
In the above standard 4-band resistor the colour and order of the bands serve to indicate the significant figures of the resistor’s value (the first two bands), as well as the decimal multiplier (the third band), and the tolerance of the resistor (the fourth band).
In the above standard 5-band resistor the first three bands show the resistor’s value, the fourth band indicates the decimal multiplier and the fifth band the tolerance of the resistor.
Now with the advent of tiny surface-mount resistors that are often hardly bigger than a grain of rice, has led to an increase in alpha-numeric coding in lieu of the banding method.
Due to the political instability in Milan, Leonardo left for Rome accompanied by Melzi and Salai on September 24, 1513.
Giuliano di Lorenzo de’ Medici, was an Italian nobleman, the third son of Lorenzo the Magnificent. One of his elder brothers Giovanni de‘ Medici was now Pope Leo X. Appointed Gonfaloniere of the Holy Church, Giuliano had heard much of Leonardo. Meeting Leonardo for the first time, Giuliano welcomed him with open arms like two friends meeting after years of separation. He gave Leonardo lodgings in Fort Belvedere, with a studio and several rooms for his companions.
Giuliano and Leonardo became close friends. They discovered in each other the same interests – love of mathematics, mechanics, and nature, and they shared similar thoughts and feelings. Guiliano’s protection gave security to Leonardo and new impetus to carry on with his interests.
Like his father, Giuliano too was a friend and protector of many artists in Florence and Rome. He immediately commissioned two paintings, a Leda and a portrait of a Florentine woman.
In the Vatican Leonardo enjoyed a period of tranquility with a decent salary and no major obligations. He drew maps, studied ancient Roman monuments, started a project for a large residence for the Medici in Florence. He conducted experiments in human flight. From big models Leonardo went on to create tiny ones. He experimented with gliding flights and the curvature of the wings by modelling miniature birds in thin wax.
In Rome, Leonardo found an old acquaintance, Donato Bramante, the Italian architect, who introduced Renaissance architecture to Milan and the High Renaissance style to Rome. He also found the Pope’s favourite, Raphael, the Italian painter and architect of the High Renaissance holding court like a prince.
There was no formal scientific research in the Middle Ages. Unable to suppress the writings of the ancient Greeks, the Roman Catholic Church allowed the teaching of ancient Greek science as long as it did not conflict with the Holy Bible and its own teachings. The scholars had to accept the observations of nature passed down from Aristotle and other ancient Greeks. The Church would not permit free inquiry. It imprisoned, tortured, and executed truth-seekers. Leonardo was a truth-seeker, and this fact would not endear him to the Roman Catholic Church. In fact, Pope Leo X prohibited Leonardo from performing dissections and autopsies. Thus, ended Leonardo’s study of the human body.
Giuliano de‘ Medici died prematurely on March 17, 1516 (aged 37), and Leonardo felt that he had no friends in Rome to protect him, not even the Pope.
King Francis I of France, a patron of the arts, had earlier invited Leonardo to Amboise. So, Leonardo left Italy to spend the last three years of his life in France accompanied by Melzi and Salai. King Francis provided him the Château du Clos Lucé, then called Château de Cloux, as a place to stay and work.
The king treated Leonardo as a member of the nobility and not as an employee of the royal house. He arranged an annuity of 700 gold scudi to be paid to the elderly artist, to relieve him of any shadow of worry about money. In exchange the young King asked only friendship. The King often went to Cloux to visit Leonardo or sent a carriage to bring the aged artist to his castle.
In the autumn of 1516, Leonardo was not yet 65, but looked much older like an ancient prophet. From 1517, onwards Leonardo’s health started deteriorating. Even when his right arm was paralyzed, he still worked with his left hand. He made sketches for urban projects, drainage of rivers and even decorated for the holiday palace. He even conceived the idea of prefabricated houses.
The French greeted Melzi as an “Italian gentleman living with master Leonardo,” but accepted the 36-years-old Salaì, only as a “servant”. A dejected Salaì parted from Leonardo and left France in 1518. In reality, he understood that the young Melzi had taken his place in the heart of the Maestro.
Melzi remained in France with his master until Leonardo’s death at the Château du Clos Lucé on May 2, 1519. According to a legend, King Francis I was at his side when he died, cradling Leonardo’s head in his arms
Upon Leonardo’s death, Melzi inherited the artistic and scientific works, manuscripts, and collections of Leonardo. Melzi then wrote a letter to inform Leonardo’s brothers. In this letter he described Leonardo’s love for him. He described his master’s feeling towards him as “sviscerato e ardentissimo amore” meaning “passionate and ardent love”.
Returning to Italy, Melzi played the role of a guardian of Leonardo’s notebooks. He prepared Leonardo’s writings for publication in the manner directed by his erstwhile master.
Melzi married, and fathered a son, Orazio. When Orazio died on his estate in Vaprio d’Adda, his heirs sold the collection of Leonardo’s works.
It is commonly believed that Leonardo bequeathed to Salaì several paintings including the Mona Lisa. Salaì owned Mona Lisa until his death in 1525. In his will the Mona Lisa was assessed at 505 lire, an exceptionally high valuation for a small panel portrait at that time. Through his estate, many works, including the Mona Lisa, passed into the possession of Francis I of France.
Salaì returned to Milan to work on Leonardo’s vineyard, where his father worked before, and which his erstwhile master had passed on to him through his will.
On June 14, 1523, at the age of 43, Salaì married Bianca Coldiroli d’Annono.
Salaì died in 1524 as a result of a wound received from a crossbow in a duel. He was buried in Milan on March 10, 1524.
Among all his pupils Leonardo da Vinci had a long-lasting relationship with Gian Giacomo and Francesco Melzi apprenticed to him as children.
Salaì – “The Devil”
On July 22, 1490, Leonardo was in Oreno looking for the perfect horse for the equestrian monument in honor of Francesco Sforza. There he met the 10-year-old Gian Giacomo Caprotti da Oreno, born in 1480, by chance. The 38-year-old Tuscan genius charmed by the beauty of the boy adopted him. The boy was born in 1480 to Pietro di Giovanni, a tenant of Leonardo’s vineyard near the Porta Vercellina, Milan.
Leonardo nicknamed the boy as Salaì or il Salaìno meaning “The Devil” (lit. “The little unclean one”). Salaì lived up to his nickname. On at least five occasions, Giacomo had run off with Leonardo’s money and valuables. He spent a fortune on apparel, including 24 pairs of footwear. Leonardo had made a list of his recalcitrant ways calling him “a thief, a liar, stubborn, and a glutton”.
Despite Salaì ‘s thievery and dereliction, he remained Leonardo’s servant, and assistant for more than 28 years. Some writers believe that Leonard had a taste for “rough trade” and his relationship with Salaì, his “kept boy”, was anything but typical of a father and a son. Vasari describes Salaì as “a graceful and beautiful youth with curly hair, in which Leonardo greatly delighted.”
In 1563, Gian Paolo Lamazzo in his Libro dei Sogni, included a fictional dialogue between a questioner and Leonardo on “l’amore masculino“.
The questioner asks Leonardo of his relations with Salaì: “Did you play the game from behind which the Florentines love so much?”
Leonardo replies: “And how many times! Keep in mind that he was a beautiful young man, especially at about fifteen.”
Some researchers presume that Salaì was the model for Leonardo’s “St. John the Baptist,“an oil painting on walnut wood. Some consider it to be Leonardo’s final painting between 1513 to 1516.
The piece depicts St. John the Baptist in solitude. St. John dressed in pelts has long curly hair. He smiles in an enigmatic manner, reminiscent of Leonardo’s famous Mona Lisa. He holds a reed cross in his left hand. His right hand points up toward the heaven suggesting the importance of salvation through baptism represented by John the Baptist. Another painter might have added the cross and wool skins at a later date.
Salaì trained as an artist under Leonardo. He became a capable, but not an impressive painter. He created several paintings under the name of Andrea Salaì. His work includes the Monna Vanna, a nude version of the Mona Lisa which might have been based on a lost nude by Leonardo.
Some drawings among the works of Leonardo and his pupils make reference to Salaì’s sexuality. There is a lewd drawing modelled on Leonardo’s painting “St. John the Baptist,” called “The Angel Incarnate.” It depicts a young nude man with an erect phallus. The figure appears to be in the likeness of Salaì. The face of the figure is closer to Salaì’s copy of Leonardo’s painting than to the original John the Baptist in the Louvre. Salaì himself may have drawn them.
Included in a folio of Leonardo, is a page of drawings by a hand other than Leonardo’s. One of them is a crude sketch depicting an anus and identified as “Salaì’s bum,” pursued by a horde of penises on two legs. The page on which this sketch appears is the same page that contains the depiction of a bicycle. None of the drawings on this page is by Leonardo. The page was not seen until a restoration of the volume in the 1960s. Several pages went missing and were later returned. Some suggest that the drawings are by a pupil of Leonardo, perhaps by Salaì.
We might have had more examples of pornographic drawings by Leonardo and his pupils if a 16th century priest had not destroyed the bulk of those erotic sketches.
Count Francesco Melzi
In 1506, during his second stay in Milan, Leonardo took into his household the 15-year-old Count Francesco Melzi as a pupil. Unlike Salaì, Melzi hailed from a Milanese noble family. Vasari says that Melzi “at the time of Leonardo was a very beautiful and very much loved young man.“
As an adult, Melzi became secretary and main assistant of Leonardo.
As a painter, Melzi worked closely with and for Leonardo. Some paintings attributed to Leonardo during the nineteenth century are today ascribed to Melzi.
In 1482, Leonardo da Vinci sent the following letter to Ludovico Maria Sforza, the Duke of Milan, Leonardo. He claimed that he could create all sorts of machines both for the protection of a city and for siege:
“Most Illustrious Lord: Having now sufficiently seen and considered the proofs of all those who count themselves masters and inventors in the instruments of war, and finding that their invention and use does not differ in any respect from those in common practice, I am emboldened… to put myself in communication with your Excellency, in order to acquaint you with my secrets. I can construct bridges which are very light and strong and very portable with which to pursue and defeat an enemy… I can also make a kind of cannon, which is light and easy of transport, with which to hurl small stones like hail… I can noiselessly construct to any prescribed point subterranean passages — either straight or winding — passing if necessary under trenches or a river… I can make armored wagons carrying artillery, which can break through the most serried ranks of the enemy. In time of peace, I believe I can give you as complete satisfaction as anyone else in the construction of buildings, both public and private, and in conducting water from one place to another. I can execute sculpture in bronze, marble or clay. Also, in painting, I can do as much as anyone, whoever he may be. If any of the aforesaid things should seem impossible or impractical to anyone, I offer myself as ready to make a trial of them in your park or in whatever place shall please your Excellency, to whom I commend myself with all possible humility.”
Leonardo’s letter earned him a commission from Ludovico Sforza to design an equestrian statue as part of a monument to his father Francesco I Sforza who died in 1466. It was an immense undertaking, intended to be the largest equestrian statue in the world.
Leonardo travelled to Milan and stayed with the de Predis brothers – Giovanni Ambrogio de Predis and Evangelista de Predis. Ambrogio was also a painter. Evangelista was a gilder and assisted painters in preparing the colours.
Ludovico Sforza employed Leonardo from 1482 to 1499. As a court artist, he also organized elaborate festivals.
In 1482, Leonardo started the seemingly impossible task of creating a rearing horse over three metres high. Such a task had never been undertaken before. He did extensive preparatory work. He made numerous small sketches of horses to help illustrate his notes about the complex procedures for moulding and casting the sculpture.
In 1483, Leonardo da Vinci and Ambrogio de Predis were commissioned to execute the famous Madonna of the Rocks. Two versions of the painting exist—one in the Louvre (1483 – c. 1486), another in the National Gallery, London (1483 – 1508).
On April 25, 1483, Prior Bartolomeo Scorlione and the Confraternity of the Immaculate Conception approached Leonardo. They wanted him and the Predis brothers to create the painted panels for the altarpiece in the church of San Francesco Maggiore in Milan. The contract referred to Leonardo as “Master”.
On April 25, 1483, Prior Bartolomeo Scorlione and the Confraternity of the Immaculate Conception approached Leonardo. They wanted him and the Predis brothers to create the painted panels for the altarpiece in the church of San Francesco Maggiore in Milan. The contract referred to Leonardo as “Master”.
Because of the scale of works commissioned, at the court of Ludovico Sforza was large Leonardo had assistants and pupils in his studio to assist him. Leonardo’s pupils at that time were Marco d’Oggiono, Giovanni Antonio Boltraffio, Ambrogio de Predis, Bernardino de’ Conti, Francesco Napoletano, and Andrea Solario.
Leonardo’s fresco of the Last Supper was an incredible piece of painting. Even before its completion word spread about it by the visitors to the church. It was completed by 1498. Leonardo’s experimental technique used for this work was a disaster. It left the mural as a sad ruin with peeling paint by 1517. Subsequent deterioration and the repeated restorations obliterated details and individual figures. Even then, the Last Supper still retains some of the authority which made it the most celebrated painting of its time.
Severe plagues in 1484 and 1485 drew Leonardo’s attention to problems of town planning.
By 1493, after many stoppages, Leonardo made a full-sized clay model of a horse for preparing the moulds for casting. Tons of bronze were needed to complete the horse.
On October 22, 1494, when the throne of Milan fell, Ludovico assumed the ducal title and received the ducal crown from the Milanese nobles.
In 1494, the new king of Naples, Alfonso, allied himself with Pope Alexander VI, posing a threat to Milan. Ludovico decided to fend him off using France, then ruled by the powerful Charles VIII, as his ally. He permitted the French troops to pass through Milan so they might attack Naples. However, Charles’s ambition was not satisfied with Naples, and he subsequently laid claim to Milan itself. Regretting his decision, Ludovico allied with the Holy Roman Emperor, Maximilian I. Unfortunately, his decision backfired and the Italian Wars broke out.
Ludovico made weapons from 80 tons of bronze originally intended for Leonardo da Vinci’s equestrian statue of his father.
In 1495, Ludovico managed to defeat the French at the Battle of Fornovo.
King Louis XII of France had a hereditary claim to Milan. His paternal grandmother Valentina Visconti was the daughter of Giangaleazzo Visconti, the first Duke of Milan. Hence, in 1498, he descended upon Milan. King Louis was successful in driving out Ludovico from Milan. Ludovico managed to escape the French armies and, in 1499, sought help from Maximilian.
When the French took Milan in 1499, the French archers used Leonardo’s clay horse for target practice. After the fall of Ludovico Sforza, Leonardo left Milan. He returned to Florence in 1500, after brief sojourns in Mantua and Venice.
In February 1500, Ludovico returned with an army of Swiss mercenaries and re-entered Milan. Two months later, Louis XII laid siege to the city of Novara, where Ludovico was based. The French army also had Swiss mercenaries. In April 1500, the Swiss mercenaries hired by Ludovico chose to leave Novara as they did not want to fight their compatriots. They handed Ludovico over to the French. Deprived of all the amenities of life, Ludovico spent his last years in the underground dungeon at Loches, where he died on May 17, 1508.
In 1508, Leonardo returned to Milan and stayed there for the second time. During this time he had relationships with other Milanese artists along with his original pupils. Giovanni Antonio Bazzi (Il Sodoma), Giovanni Francesco Rustici, Giampietrino, Cesare da Sesto and young Francesco Melzi were his pupils. Such artists as Bernardino Lanino, Cesare Magni, Martino Piazza da Lodi and Bernardino Luini are also regarded as members of the circle of Leonardo.
Many writers have emphasized that Leonardo took only handsome boys and youths as his pupils. He was kind and considerate towards them. He cared for them and nursed them himself when they were ill.
As he selected his pupils on account of their beauty rather than their talent, none of them — Cesare da Sesto, Giovanni Antonio Boltraffio, Andrea Salaino (Salaì), Francesco Melzi and the others — ever became a prominent artist. Most of them could not make themselves independent of their master. They disappeared after Leonardo’s death without leaving any significant painting to the world of art.
Other painters such as Bernardino Luini and Giovanni Bazzi (Il Sodoma), who by their creations earned the right to call themselves his pupils, were probably not known to Leonardo “personally”.
Leonardo da Vinci was well-loved by his contemporaries. Early biographers described him as a man with great personal appeal, kindness, and generosity. Vasari wrote:
“Leonardo’s disposition was so lovable that he commanded everyone’s affection. He was a sparkling conversationalist… In appearance he was striking and handsome, and his magnificent presence brought comfort to the most troubled soul; he was so persuasive that he could bend other people to his will. He was physically so strong that he could withstand violence and with his right hand, he could bend the ring of an iron door knocker or a horseshoe as if they were lead. He was so generous that he fed all his friends, rich or poor… Through his birth, Florence received a very great gift, and through his death, it sustained an incalculable loss.”
Speculation about Leonardo’s sexuality began during his lifetime and has continued since then.
Leonardo tried his best to keep his private life secret. Some of his writings are in code. He left hundreds of pages of writing, but little of it is personal. One of the few references Leonardo made to sexuality in his notebooks states:
“The act of procreation and anything that has any relation to it is so disgusting that human beings would soon die out if there were no pretty faces and sensuous dispositions.”
Researchers have extrapolated and interpreted the above statement to ascertain his sexual inclination. Other than this statement, none of his writings indicate that he had any romantic interest or any intimate sexual relationship with any person – female or male. It is true that he surrounded himself with handsome young men throughout his life. Yet, Giorgio Vasari, the 16th-century biographer of Renaissance painters, has not made any reference to Leonardo’s sexuality whatsoever.
Like other contemporary Florentine painters, Leonardo often used graceful young men to pose for his paintings. His art reflects an admiration for beauty in males. Some art critics have noted homoerotic elements in his portrait of St. John the Baptist.
There is a controversy with Leonardo’s Last Supper: “Is the male apostle seated on the right of Jesus an effeminate youth, or a woman?”
In April 1995, the Scientific American reported that a computer analysis established that the mysterious woman portrayed in Mona Lisa might in fact be a self-portrait of Leonardo himself.
In the 20th century, some biographers made explicit reference to a probability that Leonardo was homosexual. A few others asserted that Leonardo was celibate for much of his life.
The only available historical document on the sexual life of Leonardo is an accusation of sodomy made against him in 1476. At that time he was an apprentice in the workshop of Verrocchio.
In the 15th century, Florence was famous not only for art, but also for its active community of gay men. Homosexuality was widespread and tolerated. In fact, the word Florenzer (Florentine) was a slang for a homosexual in Germany. Sodomy was then a serious offence, carrying the death penalty, but difficult to prove. So, the punishment for the offence was seldom imposed. The usual penalty for the first offence was a small fine.
At that time, it was a common practice to denounce a person in an anonymous letter. In 1432, the Podesta (chief magistrate) set up the Office of the Night to eradicate “the abominable sin of homosexuality.” The Office of the Night installed wooden boxes called tamburos in the courtyards of the Palazzo della Signoria, the town hall of Florence. Accusations of misdeeds and crimes such as theft, the practice of magic, exploitation and stealing, etc., ended up in the tamburos along with vilifications due to jealousy, resentment and revenge put in them. The officials then sorted them out. During its 70 years of persecution, the Office of the Night officially charged over 15,000 men for sodomy.
Jacopo d’Andrea Saltarelli, born 1459, was an apprentice goldsmith and a male prostitute. He is sometimes described in modern literature as an artist’s model. According to the court records there were several charges of male prostitution against him.
In April 1476, an unknown person placed a letter in a tamburo at Palazzo della Signoria, accusing 17-year-old Saltarelli of male prostitution. Of the four men listed, as patronizing him, one was Leonardo di Ser Piero da Vinci.
On April 9, 1476, Leonardo, along with four other defendants, appeared before the officials of the Office of the Night. The accuser’s letter reads:
“I hereby inform Your Official Lords that it is a true thing that Jacopo Saltarelli, blood brother of Giovanni Saltarelli… pursues many miseries and keeps company with persons who share in such evil practices… I will hereby list some of them: Bartolomeo di Pasquino, goldsmith, lives at Vacchereccia, Leonardo di Ser Piero da Vinci, stays with Andrea del Verrocchio, Bacino the doublet-maker, lives at Ono San Michele… Leonardo Tornabuoni, known as Teri, dresses in black.”
After the hearing, the court dismissed the charges against them cum conditioneutretamburentur, that is, subject to being re-examined.
Then on June 7, 1476, Leonardo was once again the arrested and jailed for the same accusation. His father refused his pleas for help. The charges were again dismissed because the accusations did not meet the legal requirement for prosecution. Such accusations could be made secretly, but not anonymously. All accusations of sodomy had to be signed, but in this case it was not. Also, the family of Leonardo Tornabuoni, associated with Lorenzo de‘ Medici, exerted its influence to secure the dismissal. After serving two months in prison, the authorities released Leonardo.
Though declared not guilty, Leonardo felt no gladness, only desolation. From that date until 1478 there is no record of his work or even of his whereabouts. In 1478, Leonardo left Verrocchio’s studio. He left behind him the companionship of his fellow apprentices. He Wanted to get away from certain persons and from the city.
Leonardo went to Vinci, where his father had bought a farm some years before. Leonardo’s curiosity about natural life became a need to observe the phenomena of nature. He started studying nature which he declared was essential for a good painter. He resumed his study of landscapes. He analysed the objects of his study in detail, breaking down reality into the tiniest details.
Leonardo’s curiosity about natural life became a need to observe the phenomena of nature. He started studying nature which he declared was essential for a good painter. He resumed his study of landscapes. He made detailed analysis, breaking down reality into the tiniest details.
Two months later, after the sentence of not guilty became definitive, Leonardo wrote:
“When I made God a cherub, you put me in prison. Now, if I make him a grown man, you will do me even worse“.
It is a significant testimony to Leonardo’s resentment at being misunderstood.
Leonardo da Vinci is one of the greatest painters of all time. He is perhaps the most diversely talented person ever to have lived. Leonardo was a polymath, painter, sculptor, architect, musician, mathematician, engineer, inventor, anatomist, geologist, cartographer, botanist, and writer. His genius epitomized the Renaissance humanist ideal. Leonardo was the archetype of the Renaissance Man.
In 1550, the 16th-century Italian painter and architect Giorgio Vasari published “Le Vite de’ più eccellenti pittori, scultori, e architettori da Cimabue insino a’ tempi nostri” (“The Lives of the Most Excellent Painters, Sculptors, and Architects, from Cimabue to Our Times”). The title is often abridged to the Vite or the Lives. This work is considered perhaps the most famous, and even today the most-read work of the older literature of art. It was the first important book on the history of art.
In his work, Vasari described Leonardo as having qualities that “transcended nature” and being “marvellously endowed with beauty, grace and talent in abundance”.
Leonardo was born on April 15, 1452, in Vinci. It is a Tuscan hill town in the lower valley of the Arno River in the territory of the Medici-ruled Republic of Florence. He was born out-of-wedlock to the wealthy Messer Piero Fruosino di Antonio da Vinci, a Florentine legal notary. His mother Caterina was a peasant. Though she nursed him as a baby, he never knew her because she soon got married to a craftsman in the region. Leonardo’s full birth name was “Lionardo di ser Piero da Vinci“, meaning “Leonardo, (son) of (Mes)ser Piero from Vinci”. The inclusion of the title “ser” indicates that Leonardo’s father was a gentleman.
Not much is known about Leonardo’s early life. He spent his first five years in the hamlet of Anchiano in the home of his mother. Then, from 1457, he lived in the household of his father, in the small town of Vinci. He received an informal education in Latin, geometry and mathematics. His lack of formal education encouraged him to develop the faculties that made him great.
According to Vasari, a local peasant requested young Leonardo to paint his round shield. Leonardo painted a terrifying monster spitting fire. It looked too good and Leonardo sold it to a Florentine art dealer, who in turn sold it to the Duke of Milan. Having made a profit, Leonardo bought a shield decorated with a heart pierced by an arrow and gave it to the peasant.
Leonardo began his artistic life, in 1466, at the age of fourteen. His father, Ser Piero, noticed his son’s extraordinary artistic talents. He showed some of Leonardo’s drawings to his friend, sculptor-painter Andrea di Cione, known as Verrocchio, whose workshop was “one of the finest in Florence”. Verrocchio accepted Leonardo for an apprenticeship. Other famous painters apprenticed or associated with the workshop include Domenico Ghirlandaio, Perugino, Botticelli, and Lorenzo di Credi. They were all a bit older than Leonardo.
The artists during the Renaissance period occupied quite a humble status in the social hierarchy. They were just artisans like any other craftsmen such as tailors or saddle makers. Verrocchio’s employees did most of the work on the paintings in his workshop. The master would paint the main figures in a picture and the apprentices would draw the secondary figures and fill in the details.
According to Vasari, Leonardo collaborated with Verrocchio on his The Baptism of Christ. Botticelli painted the angel with clasped hands. Leonardo painted the other angel holding Jesus’ robe in a manner that was far superior. When Verrocchio saw the figure of the angel that Leonardo had painted he put down his brush and never painted again.
Tempera, also known as egg tempera, is a permanent, fast-drying paint medium. It consisted of colour pigments mixed with a water-soluble glutinous binder medium, such as egg yolk or some other size. Egg tempera was the primary method of painting until that time. Afterwards, the invention of oil paint superseded it.
On close examination, the painting reveals the new technique of oil paint has been used to paint or touch-up over the tempera. The landscape, the rocks that can be seen through the brown mountain stream, and much of the figure of Jesus bear witness to the hand of Leonardo.
The Medici family commissioned Verrocchio to create the statue of “David and Goliath“. According to a popular legend, the model for the statue was Leonardo da Vinci, a young artist from Verrocchio’s studio. The placement of Goliath’s head has been the subject of debate. Some historians say that the head should be placed between David’s feet while others claim that it belongs to the right. However, the statue has been exhibited using both placements.
In the 15th century, Italy was a violent place to live in. It was a turbulent age of wars and revolutions with tremendous upheavals in society. Florence was a bustling city of 40,000 inhabitants. It had a boisterous populace where rival merchant dynasties fought each other for power. During his lifetime, Leonardo was valued as an engineer.
According to many Renaissance authors Leonardo “may be the most universally recognized left-handed artist of all time”. This fact manifests in most of his drawing and his written works. Some say that he wrote in mirror image in his notebooks because he was left-handed. Some writers have accused him of trying to protect his works, which claim seems to be false. Early Italian art connoisseurs were divided in their opinion as to whether Leonardo also drew with his right hand. More recently, most Anglo-American art historians have discounted the suggestions that Leonardo was ambidextrous.
Giorgio Vasari, in the enlarged edition of “The Lives” (1568), introduced his chapter on Leonardo da Vinci with the following words:
“In the normal course of events many men and women are born with remarkable talents; but occasionally, in a way that transcends nature, a single person is marvellously endowed by Heaven with beauty, grace and talent in such abundance that he leaves other men far behind, all his actions seem inspired and indeed everything he does clearly comes from God rather than from human skill. Everyone acknowledged that this was true of Leonardo da Vinci, an artist of outstanding physical beauty, who displayed infinite grace in everything that he did and who cultivated his genius so brilliantly that all problems he studied he solved with ease.”
On our way from Ellicott City, MD to North Brunswick, NJ we whisked down through the Fort McHenry Tunnel, a 7,200-foot-long, four-tube, 8-lane, bi-directional tunnel that carries Interstate I-95 traffic underneath the Baltimore Harbor, in Maryland. The tunnel crosses the Patapsco River, just south of Fort McHenry and connects the Locust Point and Canton areas of Baltimore City. The tunnel named for the nearby Fort McHenry, inspired Francis Scott Key to write anthem “The Star-Spangled Banner.“
The Fort McHenry Tunnel, the largest underwater highway tunnel, as well as the widest vehicular tunnel ever built by the immersed-tube method, opened on Saturday, November 23, 1985.
The following is an excerpt from “I-95 Drivers Get Remedy for Harbor Headache – Baltimore’s Fort McHenry Tunnel’s Debut Today is Expected to Ease Bottlenecks“, that appeared in The Washington Post, November 23, 1985.
“The new Baltimore is a nice place to live, but you would not want to visit – not if you are inching through the grimy Harbor Tunnel, that is. For interstate travelers, the dread begins miles away as they steel themselves for the maddening Harbor Tunnel bottleneck that often forms miles outside of Baltimore. But all that’s about to change. Travelers on I-95 who scarcely glimpse Baltimore’s restored town houses, its sparkling Inner Harbor or the growing downtown skyline will soon see a new side of the city as they whisk through its gleaming new Fort McHenry Tunnel. The new eight-lane tunnel – a massive $750 million engineering project 5 years in the making – will open today after a 3:00 PM ribbon cutting, lengthy ceremonies and special motorcades, just in time for the Thanksgiving travel crush. Dozens of state and federal dignitaries are expected to be on hand for the opening ceremonies today to claim credit for the largest underwater road project in the history of the Interstate highway system, one that came in under budget and almost on time.”
The Fort McHenry Tunnel, is a vital link in I-95, the East Coast’s most important interstate route, Interstate 95, between Maine and Florida. At the time of its opening it was the most expensive underwater tunnel project in the United States, but that figure has since been surpassed by the Big Dig project in Boston. Soon after, the nearby Baltimore Harbor Tunnel, a pair of two-lane road tunnels, southeast of downtown Baltimore, Maryland, and Interstate 895, opened to traffic in 1957, were closed for extensive repairs.
The Fort McHenry Tunnel has 8 lanes in 4 tubes and is 1.5 miles (2.4 km) with operating speed of variable up to 55 miles per hour (89 km/h). Each tunnel is 26 feet (7.9 m) wide with a tunnel clearance of 12.5 feet (3.8 m). The lowest elevation is at 107 feet (33 m) below harbor water surface.
Fort McHenry Tunnel – Project Plans
Howard P. Foley Co. of Baltimore, was awarded the $47 million contract for mechanical and electrical equipment. It involved the installation of a 48 9-foot-diameter ventilation fans to move up to 6.7 million cubic feet of fresh air per minute into the tunnel and to exhaust fume-laden air out of the tunnel. 24 installed in the west ventilation building and 24 in the east ventilation building. In each ventilation building, 12 of the fans are for supply and 12 are for exhaust. Each ventilation building is equivalent to a small power substation for converting the voltage of the power coming into the tunnel complex.
Since the entire tunnel has continuous signal, lighting and surveillance systems, the tunnel complex has a very large system of electrical systems, with many hundreds of miles of wiring.
Firefighting equipment is stationed throughout the tunnel, with water mains serving the hydrants. The tunnel has 28 pumps with a total capacity of 44,000 gallons per minute.
The first 300 yards of each inbound portal simulates daylight with high intensity lighting and white pavement. This arrangement eliminates the “dark hole” effect that were on older tunnels and provides enough transition for the eyes of motorists to adjust from daylight to the lighting level inside the tunnel.
The I-95 construction through the City of Baltimore received 90% federal-aid funding from the U.S. Highway Trust Fund, for design, right-of-way and construction, with the remaining 10% coming from state funds.
Even in late-1970s, the state’s 10% share of the projected cost of the Fort McHenry Tunnel project was high. So, the state of Maryland and the City of Baltimore requested the Federal Highway Administration (FHWA) fund the whole 100% of the project’s cost.
The state of Maryland and the City of Baltimore requested the Federal Highway Administration (FHWA) to fund the whole 100% of the project’s cost. They also wanted tolls to be collected via a toll plaza built immediately east of the tunnel, at a cost of $27 million, to pay off the 10% share in installments.
The Tollgates in the 24 lanes at Fort McHenry Tunnel Toll Plaza collect a $2 toll from both directions of I-95. All lanes are E-ZPass compatible and allow commuters the ease of paying their tolls electronically. Some lanes are set aside for E-ZPass users only. This plaza is administered by the Maryland Transportation Authority.
Vital Facts about Fort McHenry Tunnel
1.5 miles (2.4 km)
Freeway, built to Interstate highway standards
Water body crossed
Baltimore Harbor and shipping channel
Total number of lanes
Number of tubes
Number of lanes per tube
Roadway width per tube
26 feet (7.9 m) from curb to curb
Roadway vertical clearance
Variable up to 55 mph
Electronic tolling plus cash lanes, toll plaza in Canton
$2 for 2-axle vehicle, commuter discounts available
Asphalt (bituminous concrete)
Administrative agency for design, right-of-way and construction
Interstate Division for Baltimore City (IDBC)
Owner since opening
Maryland Transportation Authority (MdTA)
Design Prime Consultant
Sverdrup & Parcel and Parsons, Quade, Brinckerhoff & Douglas (joint venture)
Initial estimate of cost total for design, right-of-way and construction
Agency public bid contracting, 11 construction contracts
May 7, 1980
Trench Tunnel Prime Contractor
West Approach Prime Contractor
Lane Construction Corporation
East Approach Prime Contractor
S. J. Groves & Sons Co.
Mechanical and Electrical Prime Contractor
Howard P. Foley Co.
Facility target date for completion
Final cost total for design, right-of-way and construction
100% Interstate highway federal-aid, with 10% to be repaid by state from toll revenue
Facility opened to traffic
November 23, 1985
Traffic Volumes as of December 2005
Average about 118,000 vehicles per day, 9% large trucks