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Leonardo da Vinci

1452 AD — 1519 AD

Artist and observer whose notebooks connect looking, drawing and inquiry into nature. These archive passages come from a 1906 English selection of his notes, not a continuous philosophical book composed by Leonardo.

Author and source reference ↗
▷ Play this voiceSearch within this voice ↗Place in time ↗timenaturelifedeathknowledgelovewisdomwork
Works identified in the source

Life and writing

Leonardo da Vinci lived from 1452 to 1519. Drawing was central to his investigation of the visible world: observations of bodies, movement and natural forms could become studies for art as well as records of inquiry. His surviving notes and drawings show a practice in which looking closely and asking how something works often belonged to the same activity.

The Metropolitan Museum of Art — Leonardo da Vinci 1452–1519 ↗ Metropolitan Museum essay: lifetime, observation and drawing as investigation

The notebooks preserve working material rather than a single finished argument, including inquiries into different subjects. Thoughts on Art and Life arranges selected passages in a later English edition, translated by Maurice Baring and edited by Lewis Einstein. Reading each complete numbered selection with its section title helps distinguish reflections on knowledge from practical instructions or a historical scientific claim.

Victoria and Albert Museum — Leonardo’s notebooks ↗Project Gutenberg — Thoughts on Art and Life, PG 29904 ↗ V&A notebooks overview; checked 1906 selection and original editorial reading guidance

Reading this voice

Begin with a passage about knowledge or observation, then explore the Life, Art and Science sections of the same source edition. A memorable image is not evidence that a historical scientific claim is correct. The 1906 selection and translation postdate Leonardo’s life; its unit numbers belong to that edition. The archive’s approximate 1486 coordinate is his lifetime midpoint, not a date attached to the words.

Subjects to explore

Editorial reading connections, distinct from the archive’s word matching.

A work to read

Begin with these archive passages

Editorial starting points from this author’s existing entries.

Profile sources and editorial status

Original agent-assisted editorial profile, checked 2026-10-04. No human review is recorded. Life dates are recorded to the year; they do not date individual quotations.

Archive entries

08c. 1486 AD
Experience never errs; it is only your judgements that err, ye who look to her for effects which our experiments cannot produce. Because given a principle, that which ensues from it is necessarily the true consequence of that principle, unless it be impeded. Should there, however, be any obstacle, the effect which should ensue from the aforesaid principle will participate in the impediment as much or as little as the impediment is operative in regard to the aforesaid principle.
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12c. 1486 AD
And if thou sayest that sight impedes the security and subtlety of mental meditation, by reason of which we penetrate into divine knowledge, and that this impediment drove a philosopher to deprive himself of his sight, I answer that the eye, as lord of the senses, performs its duty in being an impediment to the confusion and lies of that which is not science but discourse, by which with much noise and gesticulation argument is constantly conducted; and hearing should do the same, feeling, as it does, the offence more keenly, because it seeks after harmony which devolves on all the senses. And if this philosopher deprived himself of his sight to get rid of the obstacle to his discourses, consider that his discourses and his brain were a party to the act, because the whole was madness. Now could he not have closed his eyes when this frenzy came upon him, and have kept them closed until the frenzy consumed itself? But the man was mad, the discourse insane, and egregious the folly of destroying his eye-sight.
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22c. 1486 AD
Although human ingenuity may devise various inventions which, by the help of various instruments, answer to one and the same purpose, yet will it never discover any inventions more beautiful, more simple or more practical than those of nature, because in her inventions there is nothing lacking and nothing superfluous; and she makes use of no counterpoise when she constructs the limbs of animals in such a way as to correspond to the motion of their bodies, but she puts into them the soul of the body. This is not the proper place for this discourse, which belongs rather to the subject of the composition of animated bodies; and the rest of the definition of the soul I leave to the minds of the friars, the fathers of the people, who know all secrets by inspiration. I leave the sacred books alone, because they are the supreme truth.
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