Leonardo’s genius reached far beyond artistic matters, although that is the main source of his reputation today. He considered himself much more than an artist; his aspirations were loftier. Although Leonardo never received the classical training of the truly educated classes, he acquired expertise in a number of fields thought to be suitable for intellectuals.
Among these was architecture, considered a much nobler pursuit than painting, a mere artisanal craft. Renaissance architects placed great emphasis on classical proportions. Leonardo’s preoccupations, highlighted in the “Architecture and Planning” chapter, ranged beyond these formal considerations to the gritty details of engineering such as arch stability and weight-bearing capacity.
In contrast, the “Sculpture and Metalwork” chapter deals with the minutiae of smelting and casting. Leonardo denounced sculptures as “less intellectual than painting.” Consisting largely of his sketches for a sculpture commission that he never completed, this chapter shows that, despite the low regard in which he held such pursuits, he was nevertheless well versed in the demanding technical aspects of metal casting.
The “Inventions” chapter features Leonardo’s most wildly creative ideas. Rope-making machines, weapons, flying contraptions—all were fair game for his restless imagination. Of course, some of his whimsies, which surely seemed like the ravings of a madman to his contemporaries, came to pass: he described parachutes, flying machines, and armored cars.
And finally, the “Practical Advice” and “Philosophy, Aphorisms, and Miscellaneous Writings” chapters show Leonardo’s more didactic, reflective side. His musings wander from the proper training for young painters to allegories of various vices and virtues. They remind us that, in addition to his skills as an artist, scientist, and inventor, Leonardo had an extraordinary capacity to appreciate the human condition.