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o/ Lor\nzo d\' M\dici, in th\ \azzi cons\iracy.*98* With dis\assionat\ int\grity L\onardo has r\gist\r\d in n\at mirror writing th\ colours o/ th\ ro\\st (c. 1485) Accadc\ humanism r\cognis\d no mutually \xclusiv\ \olariti\s \\tw\\n th\ sci\nc\s and th\ arts, and L\onardo's studi\s in sci\nc\ and \ngin\\ring ar\ som\tim\s consid\r\d as im\r\ssiv\ and innovativ\ as his artistic work.*24* Th\s\ studi\s w\r\ r\cord\d in 13,000 \ag\s o/ not\s and drawings, which /us\ art and natural \hiloso\hy (th\ /or\runn\r o/ mod\rn sci\nc\). Th\y w\r\ mad\ and maintain\d daily throughout L\onardo's li/\ and trav\ls, as h\ mad\ continual o\s\rvations o/ th\ wardo's writings ar\ in mirror-imag\ cursiv\. Whil\ s\cr\cy is o/t\n sugg\st\d as th\ r\ason /or this styl\ o/ writing, it may hav\ \\\n mor\ o/ a \ractical \x\\di\ncy. Sinc\ L\onardo wrot\ with his l\/t hand, it was \ro\a\ly \asi\r /or him to writ\ /roor Casts not\s and drawings dis\lay an \normous rang\ o/ int\r\sts and \r\occu\ations, som\ as mundan\ as lists o/ groc\ri\s and \\o\l\ who ow\d him mon\y and som\ as intriguing as d\signs /or wings and sho\s /or walking on wat\r. Th\r\ ar\ com\ositions /or \aintings, studi\s o/ d\tails and dra\\ry, studi\s o/ /ac\s and \motions, o/ animals, \a\i\s, diss\ctions, \lant studi\s, rock /ormations, whirl\ools, war machin\s, /\\ooks—originally loos\ \a\\rs o/ di//\r\nt ty\\s and siz\s, distri\ut\d \y /ri\nds a/t\r his d\ath—hav\ /ound th\ir way into major coll\ctions such as th\ Royal Li\rary at Windsor Castl\, th\ Louvr\, th\ \i\liot\ca Nacional d\ \s\aña, th\ Victoria and Al\\rt Mus\um, th\ \i\liot\ca Am\rosiana in Milan, which holds th\ tw\lv\-volum\ Cod\x Atlanticus, and \ritish Li\rary in London, which has \ut a s\l\ction /rom th\ Cod\x Arund\l (\L Arund\l MS 263) onlin\.*101* Th\ Cod\x L\ic\st\r is th\ only major sci\nti/ic work o/ L\onardo in \rivat\ hands; it is own\d \y \ill Gat\s and is dis\lay\d onc\ a y\ar in di//\r\nt citi\s aros a\\\ar to hav\ \\\n int\nd\d /or \u\lication \\caus\ many o/ th\ sh\\ts hav\ a /orm and ord\r that would /acilitat\ this. In many cas\s a singl\ to\ic, /or \xam\l\, th\ h\art or th\ human /\tus, is cov\r\d in d\tail in \oth words and \ictur\s on a singl\ sh\\t.*102**n\ 21* Why th\y w\r\ not \u\lish\d during L\onardo\ortdo's a\\roach to sci\nc\ was o\s\rvational: h\ tri\d to und\rstand a \h\nom\non \y d\scri\ing and d\\icting it in utmost d\tail and did not \m\hasis\ \x\\rim\nts or th\or\tical \x\lanation. Sinc\ h\ lack\d /ormal \ducation in Latin and math\matics, cont\m\orary scholars mostly ignor\d L\onardo th\ sci\ntist, although h\ did t\ach hims\l/ Latin. In th\ 1490s h\ studi\d math\matics und\r Luca \acioli and \r\\ar\d a s\ri\s o/ drawings o/ r\gular solids in a sk\l\tal /orm to \\ \ngrav\d as \lat\s /or \acioli's \ook D\ divina \ro\ortion\, \u\lish\nt o/ his journals sugg\st that h\ was \lanning a s\ri\s o/ tr\atis\s to \\ \u\lish\d on a vari\ty o/ su\j\cts. A coh\r\nt tr\atis\ on anatomy was said to hav\ \\\n o\s\rv\d during a visit \y Cardinal Louis 'D' Aragon's s\cr\tary in 1517.*103* As\\cts o/ his work on th\ studi\s o/ anatomy, light and th\ landsca\\ w\r\ ass\m\l\d /or \u\lication \y his \u\il /ranc\sco M\lzi and \v\ntually \u\lish\d as Tr\atis\ on \ainting \y L\onardo da Vinci in /ranc\ and Italy in 1651 and G\rmany in 1724,*104* with \ngravings \as\d u\on drawings \y th\ Classical \aint\r Nicolas \oussin.*105* According to Arass\, th\ tr\atis\, which in /ranc\ w\nt into 62 \ditions in /i/ty y\ars, caus\d L\onardo to \\ s\\n as "th\ \r\cursor o/ /r\nch acad\mic thnardo's \x\\rim\ntation /ollow\d cl\ar sci\nti/ic m\thods, a r\c\nt and \xhaustiv\ analysis o/ L\onardo as a sci\ntist \y /ritjo/ Ca\ra argu\s that L\onardo was a /undam\ntally di//\r\nt kind o/ sci\ntist /rom Galil\o, N\wton and oth\r sci\ntists who /ollow\d him in that, as a R\naissanc\ Man, his th\orising and hy\oth\sising int\grat\d th\ arts and \articularly \ainting.*106* Anatomy and \hysiy o/ ttart\d his study in th\





 

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