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Downloaded from
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[mysterious captivating music]
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Official YIFY movies site:
YTS.MX
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[narrator]
Let us take you on a journey.
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A journey into the life
of an extraordinary man.
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Talking about Leonardo da Vinci
means confronting a mystery.
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We know a lot about his work.
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We know a lot about his life.
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But the mystery remains.
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How could a single person,
a single mind,
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have imagined and achieved
so many different things?
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What makes Leonardo
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the top of the bright guys
of the Renaissance,
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compared to Raffaello,
to Michelangelo,
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to many other
remarkable figures,
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is that
he was not simply an artist.
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In Leonardo,
everything was interrelated:
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science, painting, all the arts,
let's say like that.
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Probably, for him painting was
the top of his activities.
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Leonardo invented himself.
That's clear already
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in his letter
to Ludovico il Moro.
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He's saying things
that he cannot yet do,
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but he will learn to do,
in order to fulfil the promise.
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[narrator] To share
the full extent of his work,
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we need an approach,
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an imaginary space.
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An immense gallery
that would allow us to travel,
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to see,
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to make everything he studied
concrete.
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The works
and machines he imagined,
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and sometimes designed.
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To begin our journey
of discovery
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into such a unique mind,
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we have to understand,
and to reconstruct the path
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of the child, the apprentice,
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and the man who would develop
work methods
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that would lead
into astonishing universality.
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[birds chirping]
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Our first destination
is the village of Vinci,
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located in Tuscany, in Italy,
where Leonardo was born.
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-[birds singing]
-[insects chirping]
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-[stream flowing]
-[bird cooing]
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-[mysterious music]
-[engine revs]
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[birds shrieking]
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Leonardo arrives in Florence
as a teenager,
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coming from a small village,
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a ''nowhere place''
we would say today, at the time.
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But he was the natural son
of a notary, with a housing,
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pretty beautiful housing
in Florence,
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and excellent relations
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with the powerful authorities
of Florence.
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So, he was not coming
from nothing.
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Plus,
he was absolutely impressed,
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as everybody would have been,
coming to the...
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possibly wealthiest city
in the planet at that moment.
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[bells toll]
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A city which was weak,
on military grounds,
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because it was a small city,
with no army.
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But very powerful on economy.
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Florence has been a city
of intense building activity
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since the eleventh century.
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And so, we must try to imagine
the moment when
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the young Leonardo arrived
in this thriving
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and extremely modern
and ambitious city,
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from a much more sleepy place.
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Nonetheless,
he would have found a city
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that was an open chantier,
an open work site,
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with churches, palaces rising.
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And so,
he would have seen Florence
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as a place
that was always in activity,
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always changing,
always getting bigger,
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more beautiful, more modern.
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He would have absorbed
the Florentine passion
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for modernity and excellence.
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He was certainly impressed
by the beauty of the buildings,
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by the richness
of the collections
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of the private families.
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And also, and not the least,
by the workshop
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in which he was taught to work.
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Verrochio's workshop
is generally portrayed in movies
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as a very elegant place,
where people are using brushes,
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and painting or sculpturing
in a very elegant way.
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Verrochio's workshop
was a new scene,
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it was something where you had
hammers, you had tools.
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He was building sculptures.
He was creating gunpowder.
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He was having furnaces
to cast bronze and other things.
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So, the impact
must have been very strong,
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and certainly, it must have been
an enormous surprise.
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[spade clanks]
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[loud hammering]
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[tools pounding]
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[soft dramatic music]
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The ball
atop the lantern of the dome
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would be more than 110 meters
from the ground.
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It was very heavy.
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We don't know the exact weight
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because it was struck
with lightning,
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and fell in 1600.
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We do know that the large ball
exactly reproducing the shape,
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that was made to replace it,
weighs 6000 kilos.
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Six thousand kilos
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is a great deal
to lift 110 meters.
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We believe
that Verrochio's original ball
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was much heavier.
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[priests chanting]
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And so,
you are talking about a problem
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that is positively...
mind-boggling.
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One cannot imagine how to do it.
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Bear in mind that the ball
is at the center
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of a dome
that has a 43-meter diameter.
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So, the great crane
that has to be put in place
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to lift the ball up,
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has to have an arm that extends
at least 25 meters.
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Half the width of the dome.
And then, beyond that,
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to allow the ball to be lifted
from the ground,
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without actually
touching the dome.
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And it's almost unbelievable
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that they could have constructed
scaffolding, and the crane
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in those dimensions.
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How they did it? We do not know.
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That they did it, we know.
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[narrator] Like all apprentices,
Leonardo started very modestly
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at Verrocchio's workshop.
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Then, he became a workman:
a better position.
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And as such,
he started participating more
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in the activities
of the workshop.
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During all that time,
he drew from nature
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whenever he could.
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Like all the students,
he made draperies,
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and learned to work with light
and reflections
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in order to give volume
to his drawings.
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When he did those paintings,
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imagine, he was only
in his early twenties.
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And 500 years on,
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you can still admire
those paintings.
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We know the studies of draperies
were very important and relevant
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for the activity of the artist
at the time.
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Especially, they were
a kind of exercise.
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They were studying,
probably all together,
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drawing and painting
from reality.
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Studying real draperies.
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These kind of drawing studies,
then, will eventually be useful
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for paintings,
but also for sculpture.
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Unfortunately, we don't have
surely any sculpture
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attributed to Leonardo.
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This is a big problem
because we know that Leonardo
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was also a sculptor.
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[mellow music]
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The Madonna with Child
is a terracotta sculpture,
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and the style of this statue
is really unique.
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And the only possible candidate
is the young Leonardo da Vinci
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in the studio of Verrocchio.
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[gentle classical music]
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[Dramatic strings playing]
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[narrator] Why did he abandon
his paintings?
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Including a large format
that seemed very promising,
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and for which
he had done many studies:
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perspective, characters,
composition.
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What's more,
if you look closely,
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you can see
some of his future masterpieces:
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Saint Anne.
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Saint John the Baptist.
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The Battle of Anghiari.
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Some of the expressions
inThe Last Supper.
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The Equestrian Monument.
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So, why did he abandon it?
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Why did he leave?
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[strings crescendo]
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In The Virgin of the Rocks,
Leonardo shows us Mary who,
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on the one hand,
tries to protect her son.
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Her left hand descends
as if to protect her son.
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Her right hand
tries to restrain,
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to hold back
little John the Baptist
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because he is the prophet
of her son's future death.
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Her left hand
can never fully descend
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because there is the finger
of an angel
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pointing back
to John the Baptist.
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Leonardo is exploring
a psychodrama
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in the mind of this woman.
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He knows that,
in religious terms,
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she is the servant of God,
and she accepts God's will.
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But he says, in human terms,
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it must have been
terribly difficult for her
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to accept her son's death.
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And so, he shows her
trying to prevent
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God's will from happening.
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But, ultimately,
he has to allow it to happen.
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[birds shrieking]
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It is in Milan that he emerges
as his own man,
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as a fully acclaimed artist.
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But it is also in Milan that,
at a certain point,
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we see Leonardo
trying to learn Latin.
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His notes,
where he's trying to memorize
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the form of Latin verbs,
are moving
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because this brilliant man,
this spontaneous genius,
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does not have the most simple
and basic credential
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of intellectual life
of the period.
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00:23:53,432 --> 00:23:57,677
Someone who could not speak
and read Latin, was simply out.
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[dramatic music]
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[narrator] Leonardo
wanted to seduce.
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He wanted to convince.
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00:25:32,669 --> 00:25:34,740
And his best weapon
was his pencil.
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He knew that an engineer
would be more highly respected
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than an artist.
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00:25:40,055 --> 00:25:42,782
And so, he designed
machines for the Duke.
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00:25:43,300 --> 00:25:45,544
Starting with military machines.
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00:26:59,203 --> 00:27:02,759
Leonardo was particularly
interested in civil engineering.
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The machines useful
for everyday life.
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His winch, for example.
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00:27:07,936 --> 00:27:09,282
It is designed with a ratchet
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to prevent human effort
from being wasted.
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This was the first drawing
in exploded view,
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00:27:15,150 --> 00:27:17,739
something that would later
become a reference.
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00:27:18,809 --> 00:27:21,260
He also designed machines
for the theater.
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00:27:21,985 --> 00:27:25,816
This automobile, for instance,
would be useless in the street,
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but could produce
magical effects on the stage.
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[narrator] There were
floating machines as well,
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00:28:05,028 --> 00:28:07,962
like this pedal-activated
paddle-wheel boat,
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00:28:08,100 --> 00:28:10,240
that leaves
the user's hands free.
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00:28:11,966 --> 00:28:13,692
And finally, later on,
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00:28:14,002 --> 00:28:16,453
he also pursued
herculean projects,
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00:28:16,591 --> 00:28:19,732
like this giant excavator
for digging canals.
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00:28:22,839 --> 00:28:26,808
The Duke was intending
to make a new Milan,
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00:28:26,981 --> 00:28:28,396
a new modern city.
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And he was very ambitious,
Ludovico Sforza.
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And so, there was ground
for Leonardo
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to taste the possibility
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of getting approval
by the patron,
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proposing something that was
responding to his ambitions.
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And so,
he made this fantastic idea
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00:28:47,829 --> 00:28:52,800
of a clean city where water
was removing all the rubbish.
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00:28:52,903 --> 00:28:56,010
Where all the buildings
were connected to one another.
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00:28:56,113 --> 00:28:58,909
Where carriages
and horses could have
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00:28:59,013 --> 00:29:01,498
their independent roads,
and so on.
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This is a beautiful project
which introduced a new vision.
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[people chattering indistinctly]
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[classical music]
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Christ has just said:
''One of you will betray me.''
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And as the apostles remonstrate
and gesticulate
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and ask what he means,
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he then begins
to institute the Eucharist.
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One hand reaches
to a cup of wine,
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another to the bread,
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and on his face
you see a deep sadness.
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You see the sadness
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00:30:13,087 --> 00:30:15,296
because he is thinking
of his future death.
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In that same room,
the dining hall
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of the Dominicans
in Santa Maria delle Grazie,
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00:30:20,266 --> 00:30:24,684
on the opposite wall,
there is a crucifixion scene.
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If Leonardo's Christ
lifted his eyes,
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he would see himself
the next day on the cross.
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00:30:30,069 --> 00:30:33,176
And so, Leonardo is trying
to capture the moment
253
00:30:33,279 --> 00:30:35,557
when he has said:
''One of you will betray me.''
254
00:30:35,661 --> 00:30:38,767
And then, he gives them
the great sign, the gift,
255
00:30:38,975 --> 00:30:41,494
that he's willing to die:
''This bread is my body,
256
00:30:41,598 --> 00:30:43,324
this wine is my blood.''
257
00:30:46,603 --> 00:30:50,572
The impact
of the new works by Leonardo
258
00:30:50,710 --> 00:30:53,679
at the time was probably
something incredible,
259
00:30:53,782 --> 00:30:59,374
because for the first time ever,
the figures painted were living.
260
00:31:00,168 --> 00:31:04,897
The Last Supperin Milan,
in this fresco,
261
00:31:05,001 --> 00:31:06,623
unfortunately very damaged,
262
00:31:07,520 --> 00:31:11,386
we know that Leonardo was able
to give life to these figures.
263
00:31:11,490 --> 00:31:16,702
To...
show the internal psychology.
264
00:31:17,392 --> 00:31:19,636
[bells toll]
265
00:31:24,054 --> 00:31:26,022
There is no evidence
that Leonardo
266
00:31:26,125 --> 00:31:28,714
was a personally devout person.
267
00:31:29,266 --> 00:31:31,959
On the other hand,
he was a man of his time,
268
00:31:32,062 --> 00:31:35,548
and would have had
great religious information.
269
00:31:36,135 --> 00:31:38,206
As an artist,
he had to use that.
270
00:31:38,448 --> 00:31:44,661
And it was really his passionate
interest in human nature,
271
00:31:44,764 --> 00:31:48,182
his scientific interest
in the body and, above all,
272
00:31:48,285 --> 00:31:51,530
in what he calls
the moti della mente,
273
00:31:51,633 --> 00:31:54,843
the movements of the mind,
the emotions,
274
00:31:54,947 --> 00:31:56,638
the movements of the spirit,
275
00:31:57,053 --> 00:31:58,813
that allowed him to become
276
00:31:58,917 --> 00:32:02,058
the great interpreter
of Christian art that we know,
277
00:32:02,610 --> 00:32:07,235
because Christianity believes
that God became man.
278
00:32:07,684 --> 00:32:11,412
And so, in the measure
in which an artist can penetrate
279
00:32:11,515 --> 00:32:15,174
the depths
of the human mind and spirit
280
00:32:15,278 --> 00:32:19,765
and system of choices,
that artist becomes
281
00:32:19,868 --> 00:32:23,493
a potential interpreter
of Christianity.
282
00:32:23,596 --> 00:32:26,082
And Leonardo certainly succeeded
in doing that.
283
00:32:26,185 --> 00:32:28,429
-[bells toll]
-[pigeons flap]
284
00:32:45,377 --> 00:32:47,448
Leonardo is mainly known
as a painter,
285
00:32:47,551 --> 00:32:49,312
but we know
that he was a sculptor,
286
00:32:49,415 --> 00:32:51,486
and if we think about
his Milanese period,
287
00:32:51,659 --> 00:32:55,421
we know that
about a decade of this time
288
00:32:55,525 --> 00:32:58,562
was completely dedicated
to the sculpture of the horse.
289
00:33:31,802 --> 00:33:35,668
It took many hours of work
designing the shape.
290
00:33:36,117 --> 00:33:37,532
Then finding the system
291
00:33:37,636 --> 00:33:42,158
to arrive at the only casting
process for the whole structure.
292
00:33:42,261 --> 00:33:43,607
Huge structure.
293
00:33:43,814 --> 00:33:47,611
You need 40 tons of metal
to fill that.
294
00:33:48,060 --> 00:33:50,062
The problem is
it's many aspects.
295
00:33:50,166 --> 00:33:52,064
The first one
is the size of the horse,
296
00:33:52,168 --> 00:33:53,410
it's an unheard size.
297
00:33:53,686 --> 00:33:55,723
Seven meters high,
just the horse.
298
00:33:56,206 --> 00:33:58,036
And the amount of material
299
00:33:58,139 --> 00:34:02,040
that you need to get
for the casting process.
300
00:34:07,493 --> 00:34:10,772
The third one is the machines
that you have to elaborate.
301
00:34:10,876 --> 00:34:15,431
Nothing existed before
to move such a heavy object
302
00:34:15,536 --> 00:34:19,540
from the place where is prepared
to the casting pit.
303
00:34:19,918 --> 00:34:24,821
And making all the accessories
necessary to produce this work.
304
00:34:25,166 --> 00:34:28,790
It took years
to go ahead in that direction.
305
00:34:43,632 --> 00:34:47,464
Leonardo, luckily,
has recorded in his manuscripts
306
00:34:47,670 --> 00:34:52,366
many of the data on which
we base our conclusions.
307
00:34:53,056 --> 00:34:56,679
So there we find the drawings
of the machines he's considered.
308
00:34:56,818 --> 00:35:00,822
We find remarks about the alloy
that he has intended to use.
309
00:35:01,133 --> 00:35:03,653
We find the tales
on the casting of the head
310
00:35:03,756 --> 00:35:06,863
and the legs, separated
from the rest of the body.
311
00:35:06,966 --> 00:35:10,142
We have plenty of information,
which is precious information,
312
00:35:10,246 --> 00:35:11,454
and beautiful information
313
00:35:11,557 --> 00:35:14,940
because the red chalk drawings
are spectacular.
314
00:35:15,630 --> 00:35:18,599
And when he arrived
not far from being close
315
00:35:18,702 --> 00:35:20,428
to producing the horse,
316
00:35:20,532 --> 00:35:24,708
a French army arrived in Milan
and put an end to the duchy
317
00:35:24,812 --> 00:35:28,229
of the Sforza domination
on the city.
318
00:38:49,396 --> 00:38:52,571
[dramatic music]
319
00:38:55,056 --> 00:38:59,440
The tradition in portraying
or imagining men flying
320
00:38:59,751 --> 00:39:02,443
is based on no mechanism at all.
321
00:39:02,650 --> 00:39:06,344
It's wax wings,
or things like that.
322
00:39:06,827 --> 00:39:09,450
Leonardo introduced
a revolution in the field.
323
00:39:09,554 --> 00:39:11,487
He tries to create a machine.
324
00:39:11,866 --> 00:39:16,284
That is,
conceiving precise tools
325
00:39:16,388 --> 00:39:20,012
to transmit and empower
the force of the man,
326
00:39:20,288 --> 00:39:26,087
and to emulate the mechanics
of the birds flying.
327
00:39:26,640 --> 00:39:28,745
So it's quite a revolution.
328
00:39:28,849 --> 00:39:31,196
There was
nothing similar before.
329
00:39:31,679 --> 00:39:34,130
This is what is new
in his imagination.
330
00:39:34,544 --> 00:39:36,546
A mechanical system to fly.
331
00:39:41,655 --> 00:39:43,173
[wings flapping]
332
00:39:44,105 --> 00:39:47,592
[narrator] Leonardo quickly
comprehended aerial dynamic lift
333
00:39:47,695 --> 00:39:51,043
and using a machine,
he tested our resistance.
334
00:39:56,911 --> 00:40:00,501
He studied the flight of birds,
especially that of bats,
335
00:40:00,605 --> 00:40:02,917
which are, like us, mammals.
336
00:40:03,021 --> 00:40:07,232
And if bats can fly, humans
should also be able to fly.
337
00:40:11,961 --> 00:40:13,963
Leonardo, therefore,
pursued the idea
338
00:40:14,066 --> 00:40:17,000
of a machine that flies
by beating it's wings.
339
00:40:22,972 --> 00:40:25,112
But he soon understood
that the materials:
340
00:40:25,215 --> 00:40:28,736
wood, metal, rope, fabric,
341
00:40:29,012 --> 00:40:31,877
were too heavy
for human strength alone.
342
00:40:32,913 --> 00:40:36,123
So he turned his attention
to a sort of glider.
343
00:41:21,789 --> 00:41:25,034
Obviously, the limit
of the planes by Leonardo
344
00:41:25,137 --> 00:41:26,035
is the materials.
345
00:41:26,138 --> 00:41:28,416
He didn't have
the light materials
346
00:41:28,520 --> 00:41:29,901
that we can have today.
347
00:41:31,143 --> 00:41:35,631
Inevitably,
his flying gliders were heavy.
348
00:41:35,976 --> 00:41:39,255
Possibly too heavy
to produce some output.
349
00:43:29,814 --> 00:43:32,713
In a way, Leonardo was going
in the direction of God.
350
00:43:32,817 --> 00:43:35,026
So to understand
the secret of nature.
351
00:43:35,233 --> 00:43:38,270
And we can feel it when we are
in front of his paintings.
352
00:43:38,477 --> 00:43:42,827
And the perfection that Leonardo
wanted to give to his creations.
353
00:43:43,655 --> 00:43:46,554
It's quite evident if we are
in front of The Mona Lisa.
354
00:43:46,658 --> 00:43:48,211
When we see the landscape.
355
00:43:48,315 --> 00:43:49,627
When we see this...
356
00:43:49,799 --> 00:43:53,700
inner psychology
of the sitter, and so on.
357
00:43:53,803 --> 00:43:55,943
Everything is interrelated
in Leonardo.
358
00:43:56,047 --> 00:43:58,636
And probably
the acting of painting
359
00:43:58,739 --> 00:44:01,190
is the pinnacle of his activity.
360
00:44:17,620 --> 00:44:19,795
[gentle guitar playing]
361
00:49:57,166 --> 00:49:59,548
[narrator] When he died,
five centuries ago,
362
00:49:59,651 --> 00:50:01,999
on May 2nd, 1519,
363
00:50:02,516 --> 00:50:06,382
Leonardo da Vinci left behind
the exemplar image of a man
364
00:50:06,486 --> 00:50:09,420
who was not only able to free
himself from his condition,
365
00:50:09,558 --> 00:50:12,388
and shine forever
in the pantheon of the arts,
366
00:50:12,699 --> 00:50:15,253
but also,
that of a tireless researcher,
367
00:50:15,357 --> 00:50:17,566
who wanted
to understand everything.
368
00:50:17,669 --> 00:50:21,052
And who said: ''It is simple
to become universal.''
369
00:50:22,122 --> 00:50:25,263
It is said thatThe Mona Lisa
is the most famous painting
370
00:50:25,367 --> 00:50:26,678
in the history of art.
371
00:50:27,403 --> 00:50:30,372
Perhaps, the very symbol
of painting itself.
372
00:50:30,613 --> 00:50:33,133
We now understand
a little bit why.
373
00:50:33,651 --> 00:50:35,998
In this painting,
Leonardo didn't limit himself
374
00:50:36,102 --> 00:50:37,620
to creating a portrait.
375
00:50:38,725 --> 00:50:40,899
He wanted,
with a mysterious smile,
376
00:50:41,245 --> 00:50:42,867
and a twilight landscape,
377
00:50:43,454 --> 00:50:47,768
to express the wonder and fear
he felt before creation.
378
00:50:48,528 --> 00:50:50,185
The Mona Lisa is smiling,
379
00:50:50,771 --> 00:50:53,429
and behind her
is a tragic background.
380
00:50:54,396 --> 00:50:56,605
But she smiles
despite the tragedy.
381
00:50:56,777 --> 00:51:00,126
And that was Leonardo's vision
of the mystery of life.
382
00:51:00,367 --> 00:51:04,785
Terrifying. Unfathomable.
And yet, a source of wonder.
383
00:51:06,132 --> 00:51:07,616
The Mona Lisa,
384
00:51:08,272 --> 00:51:10,170
likeJohn the Baptist,
385
00:51:10,895 --> 00:51:12,138
likeSaint Anne,
386
00:51:12,724 --> 00:51:16,211
conveys everything
that Leonardo wanted to express.
387
00:51:17,039 --> 00:51:20,146
And that wonder is now ours.
30515
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