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"He may be said to have been the first to illustrate the art of sculpture among the moderns."

"Donatello made his figures in such a way that in the room where he worked they did not look half as well as when they were put in their places."

"As Henry Moore carved or modelled his sculpture every day, he strove to surpass Donatello and failed, but woke the next morning elated for another try."

Summary of Donatello

Donatello would become known as the most important sculptor to resuscitate classical sculpture from its tomb in antiquity, through an invigorated style that departed from the Gothic period's flat iconography. He broke ground by introducing new aesthetics in line with the time's flourishing move toward Renaissance Humanism - a movement that emphasized a departure from medieval scholasticism and favored deep immersion into the humanities, resulting in art that no longer focused solely on the secular realm of religion but explored man's place in the natural world. Donatello's signature lifelike and highly emotional works would place him as one of the most influential artists in 15 th century Italy, and an early forefather to the Italian Renaissance.

Accomplishments

Donatello's work was highly influenced by the revival of interest in the sciences, mathematics, and architecture that was taking place in Florence. This included the use of one point perspective to create a new kind of bas-relief for architectural works and a precise anatomical correctness for his figures.

The figure was a central point of mastery for the artist, and he was in fact the first to reintroduce the nude sculpture. With the addition of realistic proportion, emotionality, and expression to his subjects whether they be mythic, historical, or everyday people, he created works that conveyed a genuine reality over the idealized imagery of before.

Donatello was a prolific master of many mediums including stone, bronze, wood, stucco, clay, and wax. He was the first to illustrate the art of sculpture among the modern artists. His versatility and ingenuity would lay a foundation for many future sculptors looking to discover new possibilities in materiality.

Biography of Donatello

Fiercely exclaiming "Speak, damn you, speak!" as he sculpted, Donatello created The Prophet Habakkuk (1423-25). Celebrated for its radical realism, the Early Renaissance masterpiece also prefigured later movements.

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"He may be said to have been the first to illustrate the art of sculpture among the moderns." "Donatello made his figures in such a way that in the room where he worked they did not look half as well as when they were put in their places."

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Donato di Niccolo di Betto Bardi (1386 - 1466), known as Donatello, was one of the greatest Florentine sculptors, and a leading figure of the early Renaissance.

He was extremely versatile, working in stone, metal, wood, terracotta and bronze. He was an innovator in many ways, and pioneered the use of the single vanishing- point perspective system in relief sculpture (see for example 'The Feast of Herod' for the Siena Font).

His earliest works include the marble Saint John and Saint George. His bronze David was the first nude since Antiquity. He created powerful emotional reliefs for the S. Lorenzo pulpits.

Donatello was a major influence on painters such as Masaccio as well as sculptors. Because he worked in Padua he also greatly influenced Mantegna and other artists who were trained there.

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He was extremely versatile, working in stone, metal, wood, terracotta and bronze. He was an innovator in many ways, and pioneered the use of the single vanishing- point perspective system in relief sculpture (see for example 'The Feast of Herod' for the Siena Font).

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Raphael, Italian in full Raffaello Sanzio or Raffaello Santi, (born April 6, 1483, Urbino, Duchy of Urbino [Italy]-died April 6, 1520, Rome, Papal States [Italy]), master painter and architect of the Italian High Renaissance. Raphael is best known for his Madonnas and for his large figure compositions in the Vatican. His work is admired for its clarity of form and ease of composition and for its visual achievement of the Neoplatonic ideal of human grandeur.

Why is Raphael so important?

What is Raphael famous for?

What was Raphael's family like?

How was Raphael educated?

How did Raphael die?

Early years at Urbino

Raphael was the son of Giovanni Santi and Magia di Battista Ciarla; his mother died in 1491. His father was, according to the 16th-century artist and biographer Giorgio Vasari, a painter "of no great merit." He was, however, a man of culture who was in constant contact with the advanced artistic ideas current at the court of Urbino. He gave his son his first instruction in painting, and, before his death in 1494, when Raphael was 11, he had introduced the boy to humanistic philosophy at the court.

Urbino had become a centre of culture during the rule of Duke Federico da Montefeltro, who encouraged the arts and attracted the visits of men of outstanding talent, including Donato Bramante, Piero della Francesca, and Leon Battista Alberti, to his court. Although Raphael would be influenced by major artists in Florence and Rome, Urbino constituted the basis for all his subsequent learning. Furthermore, the cultural vitality of the city probably stimulated the exceptional precociousness of the young artist, who, even at the beginning of the 16th century, when he was scarcely 17 years old, already displayed an extraordinary talent.

Apprenticeship at Perugia

The date of Raphael's arrival in Perugia is not known, but several scholars place it in 1495. The first record of Raphael's activity as a painter is found there in a document of December 10, 1500, declaring that the young painter, by then called a "master," was commissioned to help paint an altarpiece to be completed by September 13, 1502. It is clear from this that Raphael had already given proof of his mastery, so much so that between 1501 and 1503 he received a rather important commission-to paint the Coronation of the Virgin for the Oddi Chapel in the church of San Francesco, Perugia. The great Umbrian master Pietro Perugino was executing the frescoes in the Collegio del Cambio at Perugia between 1498 and 1500, enabling Raphael, as a member of his workshop, to acquire extensive professional knowledge.

In addition to this practical instruction, Perugino's calmly exquisite style also influenced Raphael. The Giving of the Keys to St. Peter, painted in 1481-82 by Perugino for the Sistine Chapel of the Vatican palace, inspired Raphael's first major work, The Marriage of the Virgin (1504). Perugino's influence is seen in the emphasis on perspectives, in the graded relationships between the figures and the architecture, and in the lyrical sweetness of the figures. Nevertheless, even in this early painting, it is clear that Raphael's sensibility was different from his teacher's. The disposition of the figures is less rigidly related to the architecture, and the disposition of each figure in relation to the others is more informal and animated. The sweetness of the figures and the gentle relation between them surpasses anything in Perugino's work.

Three small paintings done by Raphael shortly after The Marriage of the Virgin- Vision of a Knight, Three Graces, and St. Michael -are masterful examples of narrative painting, showing, as well as youthful freshness, a maturing ability to control the elements of his own style. Although he had learned much from Perugino, Raphael by late 1504 needed other models to work from; it is clear that his desire for knowledge was driving him to look beyond Perugia.

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Raphael | Biography, Artworks, Paintings, Accomplishments, Death, & Facts

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Raphael, master painter and architect of the Italian High Renaissance, best known for his Madonnas and for his large figure compositions in the Vatican. His work is admired for its clarity of form and ease of composition and for its visual achievement of the Neoplatonic ideal of human grandeur.

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For centuries Raphael has been recognised as the supreme High Renaissance painter, more versatile than Michelangelo and more prolific than their older contemporary Leonardo. Though he died at 37, Raphael's example as a paragon of classicism dominated the academic tradition of European painting until the mid-19th century.

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Essay by Dr. Tamara Smithers
Michelangelo Buonarotti-the Italian Renaissance painter, sculptor, architect, and poet-was called "Il Divino" (The Divine One) by his contemporaries because they perceived his artworks to be otherworldly. His art was in high demand, and thought to have terribilità, poorly translated as "terribleness" and better described as powerfulness. He was mythologized by followers, emulated by artists, celebrated by humanists, and patronized by a total of nine popes. As commemorations, over one hundred portraits of him were created during the sixteenth century alone, far more than any other artist at the time. Despite three biographies written about the artist during his own lifetime, we know the most about the sometimes-generous and often-humorous perfectionist through his letters. Not only do we have more primary sources on Michelangelo than any other historical artist, he is one of the most written-about artists of all time. In today's terms, Michelangelo was a workaholic homebody whose cats missed him when he was away. He did not like to debate art, waste time, or show his work before he was ready. Despite a few mid-career collaborations, Michelangelo was careful and guarded, never running a typical workshop, locking his studio, and burning drawings. He also complained a lot, and, at times, could be overconfident, curt, and blunt, once resulting in a punch in the nose.

Better late than never

Although he became an artistic superstar, Michelangelo's start was different from most artists of his time. His initial success can be credited to his family's connections to the powerful, noble Florentine family, the Medici. In the early 1490s, he learned carving under the tutelage of a student of Donatello, Bertoldo di Giovanni, at the Medici sculpture garden. Upon entering the workshop of the painter Domenico Ghirlandaio, Michelangelo began his official professional training at the age of thirteen, several years later than usual (and unlike typical apprentices who had to pay to study under a master, Michelangelo was paid, perhaps due to his family's relations to the Medici or his innate talent). However, he desired to sculpt instead, stating that he drank in his love of stone carving from his wet nurse, who came from a family of simple pastoral stonecutters.[1] To emphasize this aspect of himself for the first few decades of his career, he signed his letters "Michelangelo Sculptor." Also important to his formative years was the dissection of cadavers to learn anatomy. The challenging conditions-after hours by candlelight and without refrigeration-called to only the most dedicated artists.

At twenty-three years old, Michelangelo accepted his first large-scale public project: to carve two full-scale figures within one piece of stone, a very difficult task. St. Peter's , commissioned for the tomb of Cardinal Bilhères de Lagraulas, initiated his rise to fame. The pressure was on: the contract stated that the sculpture was to be the most beautiful work in Rome. After six months at the quarries to find the perfect marble, Michelangelo began carving the Pietà. When the sculpture was put on display in Old St. Peter's Basilica (before the rebuilding initiated by Pope Julius II), pilgrims questioned who had made such a beautiful work. As the story goes, the sculptor overheard a group incorrectly attribute the work to another sculptor. Michelangelo snuck back in late that night with a lantern, hammer, and chisel to carve his name on the Virgin's sash. It is the only work he ever signed, and he later regretted this act of excessive pride.

Already famous

Soon after, Michelangelo received an important commission in Florence. A figure of was desired for up high on an outside buttress of the . He was tasked to re-use a nearly twenty-foot tall piece of marble nicknamed "The White Giant" that another artist had attempted but failed to carve forty years prior. Michelangelo stepped up to the challenge, completing the colossal statue in two years. In the end, the sculpture was placed outside the Palazzo Signoria.

The success of David led to a large-scale civic commission inside the palazzo to paint a battle scene for the Florentine government, the Battle of Cascina. This arrangement placed him in direct competition with Leonardo, who was already at work on the Battle of Anghiari on the opposite wall. While neither painting was ever finished, copies of both survive. Michelangelo's cartoon (a full-scale preparatory drawing for the fresco), served as a sort of art school for younger artists who came to copy his figures. His drawings from this period are some of his most superbly rendered figures, with a distinct cross-hatching chiaroscuro technique. Disegno, or drawing, was considered both a manual pursuit and an intellectual endeavor and was the most important part of his practice. Sketching from the male nude was central to his art making.

In his next major fresco project, the ceiling of the Sistine Chapel commissioned by Pope Julius II, the main narrative represents nine stories of the Book of Genesis, such as the Creation of Adam. Michelangelo's bulky, muscular figures were inspired by the ancient , which he witnessed being unearthed in Rome in 1506. The study for the Libyan Sibyl is an exquisite preparatory drawing from this time, revealing his use of a male model for a female figure.

Michelangelo began painting the ceiling with the traditional method of using cartoons to transfer the design onto the wet plaster, but he became so proficient towards the end, he worked freehand. He also claimed to work without assistants (despite evidence otherwise), and preferred to keep his work private until finished. One story relays that he threw planks at Pope Julius II from the scaffolding, mistaking him for a spy![2]

The ceiling took Michelangelo over four years to paint. Initially, he did not want the commission, claiming that painting was not his art. He wrote a satirical poem about his personal struggle paired with a caricature of himself standing to paint: "With my beard towards heaven... I am bent like a Syrian bow...."[3]

Mid-Career but not middle of the pack

Michelangelo was initially called to Rome in 1505 to carve the tomb of Julius II intended for the center of New St. Peter's Basilica, soon to be under construction. If fully realized, the monument would have contained over forty life-size figures, impossible for Michelangelo to ever have finished. The memorial was finally erected, in a reduced form in 1545, as a wall tomb in S. Pietro in Vincoli in Rome.

The monumental intended for an upper corner, is now featured as the main figure. Two series of figures were never placed in the final arrangement: two bound " slaves" in the Louvre Museum in Paris and four struggling "captives" in the Accademia Museum in Florence. The Captives, likely carved in the 1520s, are bulky, block-like, and rough, where one can see the artist's cross-hatching marks made with the gradina, a multi-toothed chisel. His preferred tool, the cane, a dog-toothed chisel, left distinct groove lines on the surface of the marble. Because of the roughness, these, and other sculptures, have been labeled non-finito, or unfinished, a topic much debated in scholarship.

Michelangelo traveled back and forth from Rome and Florence during the late 1510s and 20s. In Florence, he worked for Julius' successor, Pope Leo X de' Medici, on the façade of the family's church, San Lorenzo, which was never completed. It was here, though, where he honed his entrepreneurial skills, managing hundreds of workers under his direction. Michelangelo continued Medici employment under Pope Clement VII, designing the Laurentian Library and the New Sacristy.

In 1527, during a period of political turmoil, the Florentine Republic took back control from the Medici. Two years later, the city came under siege by troops of Holy Roman Empire and the Medici were reinstalled. Despite his longtime connections to the family, Michelangelo, a republican at heart, left Florence forever in 1534.

Late life in the Eternal City

Michelangelo's second fresco in the Sistine Chapel in Rome, the Last Judgment, was commissioned by Pope Paul III and was painted between 1535 and 1541. It also functioned as a study tool for artists. Giorgio Vasari, the sixteenth-century artist and biographer, claimed that artists no longer needed to study live models from nature since every conceivable human position was represented in Michelangelo's fresco. To accomplish this, Michelangelo positioned tiny wax models to help develop the complex, large-scale composition. Reliance on Michelangelo's contorted figures by later artists resulted in a sense of artificiality, a prized characteristic of Mannerism. The artist was constantly developing new working practices. For example, in order to extend working hours, Michelangelo made a headlamp with a special wax candle so he could paint into the late hours of the night, often forgetting to eat. Long days proved dangerous though, and he took a bad fall off the scaffolding, nearly breaking his leg.

Michelangelo became a Roman citizen in 1537, and it was here that he established his legacy as an architect. During the last two decades of his long life, Michelangelo focused on architectural commissions, sculpting only for himself. His major projects included renovating the Capitoline Hill and overseeing the construction of St. Peter's (without pay for not only the salvation of his soul but also to retain complete creative control). As a devout Christian, Michelangelo made pilgrimage to all of Rome's seven martyr churches during his old age. As he aged, he became more and more stubborn, riding his horse in the rain, for example. Owning horses was seen as an aristocratic endeavor, a status the artist became increasingly concerned with over the years. In his 1553 biography by Ascanio Condivi written with the artist's consultation, Michelangelo emphasized his family's nobility as a descendent of the counts of Canossa.

The artist never had children (he claimed his artworks were his children), or even proper students. Instead, he sought to groom his nephew Lionardo as the sole Buonarotti heir. Michelangelo also established many great friendships such as that with Vittoria Colonna, whom he gifted a devotional Pietà drawing. He turned to this theme for his own tomb memorial, now known as the Florentine Pietà. Michelangelo attempted to carve four figures out of one marble block, a nearly impossible task. This act was in direct competition with the famed ancient Laocoön, which, despite legend, was discovered by the artist to have been made of several pieces of stone. Here, Mary holds the dead Christ with Mary Magdalene on the left and Nicodemus behind them, figures who each witnessed the death of Christ. Michelangelo carved his self-portrait in the face of Nicodemus, placing himself over Christ in a last wish for salvation. In the end, this image did not adorn his tomb. However, he continued to carve almost daily up until his death in 1564; an onlooker described the eighty-something year old's blows with a hammer as incredible.

The Florentine Art Academy, founded under the leadership of Vasari a year before Michelangelo died, erected the largest funerary memorial for an artist to date, naming him the father of the arts. Artists throughout the ages-from Caravaggio to Bernini, to Reynolds to Rodin, to Picasso to Hockney-looked to the art of Michelangelo as the founder of a forceful, new figural style. Michelangelo elevated the status of the artist more than any other artist of his time. He valued artistic freedom and personal expression, making art his way. Only with this in mind, can his creative vision and legend truly be appreciated.
Notes:

1. Giorgio Vasari, Lives of the Most Eminent Painters, Sculptors and Architects, vol. IX, translated by Gaston du C. de Vere (New York: Alfred A. Knopf, 1912, p. 4-5).

2. Ibid, p. 25.

3. James Saslow, trans. The Poetry of Michelangelo (New Haven: Yale University Press, 1991), p. 70.

Additional resources:
Vasari's Lives of the Most Eminent Painters, Sculptors and Architects in English translation at Project Gutenberg

Second edition of Vasari's Lives of the Most Eminent Painters, Sculptors and Architects in Italian at Archive.org

Virtual tour of the Sistine Chapel

Michelangelo's design for the Tomb of Pope Julius II della Rovere at the Metropolitan Museum of Art
See more pictures of the Medici Chapel (New Sacristy)
, The Faun in the Garden: Michelangelo and the Poetic Origins of Italian Renaissance Art (University Park: Pennsylvania State University Press, 1994)

Marcia B. Hall, ed. Michelangelo's 'Last Judgment' (Cambridge: Cambridge University Press, 2004).

Lisa Pon, "Michelangelo's : Sixteenth-Century Books by Vasari, Condivi, and Others." The Sixteenth Century Journal 27 (1997): 1015-1037.

Pina Ragionieri and Gary M. Radke, Michelangelo: The Man and the Myth , exhibition catalogue. Translated by Christian and Silvia DuPont (Syracuse, NY: University of Pennsylvania Press, 2008)

Giorgio Vasari, Lives of the Most Eminent Painters, Sculptors, and Architects . 10 vols. Translated by Gaston du C. De Vere ( New York: Alfred A. Knopf, 1912)

, Lives of the Artists . 2. vols. Translated by George Bull (London: Penguin, 1965)

, Michelangelo: The Artist, the Man and His Times (Cambridge: Cambridge University Press, 2010)

, Michelangelo: The Complete Sculpture, Painting, Architecture (New York: Universe, 2009)

, ed. Michelangelo, Selected Scholarship in English : Life and Early Works . 5 vols. (New York: Garland Publishing, 1995)

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Essay by Dr. Tamara Smithers Michelangelo Buonarotti-the Italian Renaissance painter, sculptor, architect, and poet-was called "Il Divino" (The Divine One) by his contemporaries because they perceived his artworks to be otherworldly. His art was in high demand, and thought to have terribilità, poorly translated as "terribleness" and better described as powerfulness.

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Michelangelo di Lodovico Buonarroti Simoni, known simply as Michelangelo, was an Italian sculptor, painter, architect and poet of the High Renaissance born in the Republic of Florence, who exerted an unparalleled influence on the development of Western art. His artistic versatility was of such a high order that he is often considered a contender for the title of the archetypal Renaissance man, along with his rival and elder contemporary, Leonardo da Vinci. Several scholars have described Michelangelo as the greatest artist of his age and even as the greatest artist of all time.
A number of Michelangelo's works of painting, sculpture, and architecture rank among the most famous in existence. His output in these fields was prodigious; given the sheer volume of surviving correspondence, sketches, and reminiscences, he is the best-documented artist of the 16th century. He sculpted two of his best-known works, the Pietà and David, before the age of thirty.

"The true work of art is but a shadow of the divine perfection."

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Michelangelo di Lodovico Buonarroti Simoni, known simply as Michelangelo, was an Italian sculptor, painter, architect and poet of the High Renaissance born...

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A True Master of His Craft

Leonardo is known for his dramatic and expressive artwork and is famous for masterpieces such as The Mona Lisa, The Last Supper, and The Annunciation.

Through His Eyes

Renaissance Paintings
Leonardo da Vinci trained as a painter during the Renaissance and became a true master of the craft.

During the Renaissance, European artists began to study nature more closely with the goal of painting realistic images of the world. These artists learned to create lifelike people and animals, and they became skilled at creating the illusion of depth and distance on flat walls and canvases by using the techniques of linear perspective.

Da Vinci's powers of observation and skill as an illustrator enabled him to notice and recreate the effects he saw in nature, adding a special liveliness to his portraits. Fueled by curiosity, Leonardo constantly tried to explain what he saw. Because he wrote down and sketched so many of his observations in his notebooks, we know that he was among the very first to take a scientific approach towards understanding how our world works and how we see it.
Browse His Paintings >

Realism through Observation
Leonardo recognized that one way to paint scenes realistically was to observe with great care how animals, people, and landscapes really looked. He was also careful to notice the differences in how an object looked when it was close by or farther away, and when it was seen in bright light or in dim light. He wrote detailed notes on his observations and made sketches of the things he saw in his notebooks throughout his life.

Open Window Perspective
"Perspective is nothing else than seeing a place or objects behind a plane of glass, quite transparent, on the surface of which the objects behind the glass are to be drawn." - Leonardo da Vinci

During the Renaissance in Italy, architects and artists investigated the question of how to draw three dimensional objects on flat surfaces. They began to think of a painting as an "open window" through which the viewer sees the painted world. They also developed a system of mathematical rules, known as linear perspective, to help painters achieve their goal of realism. Leonardo learned the rules of perspective and practiced using the window as a device for drawing perspective correctly while he was an apprentice in Andrea del Verrocchio's studio.

The Golden Ratio
Da Vinci created the illustrations for "De Divina Proportione" (On the Divine Proportion), a book about mathematics written by Luca Pacioli around 1498 and first published in 1509. The book was about mathematical proportions, such as the golden ratio it is named for, and their applications to art and architecture. Da Vinci's use of the golden ratio is evident in some of his own works, even before his collaboration with Pacioli.

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Renaissance Paintings Leonardo da Vinci trained as a painter during the Renaissance and became a true master of the craft. During the Renaissance, European artists began to study nature more closely with the goal of painting realistic images of the world.

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Court records of 1476 show that Leonardo and three other young men were charged with sodomy, and acquitted. From that date until 1478 there is no record of his work or even of his whereabouts, although it is assumed that Leonardo had his own workshop in Florence between 1476 and 1481. He was commissioned to paint an altarpiece in 1478 for the Chapel of St Bernard and The Adoration of the Magi in 1481 for the Monks of San Donato a Scopeto.

In 1482 Leonardo helped secure peace between Lorenzo de' Medici and Ludovico il Moro, Duke of Milan. Leonardo wrote a letter to Ludovico, describing his engineering and painting skill. He created a silver lyre in the shape of a horse's head, with which he was sent to Milan.

Leonardo continued work in Milan between 1482 and 1499. He was commissioned to paint the Virgin of the Rocks for the Confraternity of the Immaculate Conception, and The Last Supper for the monastery of Santa Maria delle Grazie. While living in Milan between 1493 and 1495 Leonardo listed a woman called Caterina among his dependents in his taxation documents. When she died in 1495, her list of funeral expenditure suggests that she was his mother.

His work for Ludovico included floats and pageants for special occasions, designs for a dome for Milan Cathedral and a model for a huge equestrian monument to Francesco Sforza, Ludovico's predecessor. Leonardo modelled a huge horse in clay, which became known as the "Gran Cavallo", and surpassed in size the two large equestrian statues of the Renaissance. Seventy tons of bronze were set aside for casting it. The monument remained unfinished for several years, which was not unusual for Leonardo. In 1492 the model was completed, and Leonardo was making detailed plans for its casting. Michelangelo rudely implied that Leonardo was unable to cast it. In November 1494 Ludovico gave the bronze to be used for cannons to defend the city from invasion by Charles VIII.

At the start of the Second Italian War in 1499, the invading French troops used the life-size clay model for the "Gran Cavallo" for target practice. With Ludovico Sforza overthrown, Leonardo, with his assistant Salai and friend, the mathematician Luca Pacioli, fled Milan for Venice, where he was employed as a military architect and engineer, devising methods to defend the city from naval attack.

On his return to Florence in 1500, he and his household were guests of the Servite monks at the monastery of Santissima Annunziata and were provided with a workshop where, according to Vasari, Leonardo created the cartoon of The Virgin and Child with St. Anne and St. John the Baptist, a work that won such admiration that "men and women, young and old" flocked to see it "as if they were attending a great festival". In 1502 Leonardo entered the service of Cesare Borgia, the son of Pope Alexander VI, acting as a military architect and engineer and travelling throughout Italy with his patron. He returned to Florence where he rejoined the Guild of St Luke on 18 October 1503, and spent two years designing and painting a great mural of The Battle of Anghiari for the Signoria, with Michelangelo designing its companion piece, The Battle of Cascina. In Florence in 1504, he was part of a committee formed to relocate, against the artist's will, Michelangelo's statue of David.

In 1506 he returned to Milan. Many of Leonardo's most prominent pupils or followers in painting either knew or worked with him in Milan, including Bernardino Luini, Giovanni Antonio Boltraffio and Marco D'Oggione. However, he did not stay in Milan for long because his father had died in 1504, and in 1507 he was back in Florence trying to sort out problems with his brothers over his father's estate. By 1508 he was back in Milan, living in his own house in Porta Orientale in the parish of Santa Babila.

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Leonardo Da Vinci Biography With All Details | leonardoda-vinci.org

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Observing Leonardo Da Vinci biography. From early years to education, personal life and style development. All about the superb artist | leonardoda-vinci.org