L
eonardo’s
Insects
Gene Kritsky and Daniel Mader
F
or 500 years,
Leonardo da
Vinci (14521519) (Fig. 1) has been
considered the quintessential Italian renaissance
scientist-cum-artist. Beyond
his painting of such masterpieces
as the Mona Lisa (1503-1505) and
The Last Supper (1495-1498), he is
legendary for his fascinating manuscripts and codices that contain both
written and drawn observations of the
™‘”Ž†Ǥ‹–Š‹–Š‡‘†‹…‡•ǡƒŽ‘‰™‹–ŠŠ‹•
drawings, is his written Treatise on Painting,
of which an edition was published in Paris in
1651 (McCurdy 1939). However, it is his drawings
that demonstrate exquisite visual problem solving—whether
it applied to preliminary preparations for painting and sculpture,
observations of nature, or sketches for planned inventions. These
countless sketches include many subjects: the observation of the
movements of water and wind, weaponry concepts, physics, botany,
music, irrigation systems, architecture, studies for portraits and
sculptures, details of human anatomical dissections, a plan for an
underwater diving system, optics, mathematics, astronomy, observations of animals in movement, landscapes, and insects (da Vinci
ͳͻͷ͸ȌǤ‡–…Š‡•”‡Žƒ–‡†–‘‡‘ƒ”†‘ǯ•‹–‡”‡•–‹ϐŽ‹‰Š–ƒ”‡‡•’‡…‹ƒŽŽ›
evident. These drawings include his observations of birds and insects, and famously, his concept plans for a helicopter-like vehicle.
Over the years, there have been many exhibits of the sketches and
models made from them.
Leonardo’s own words provide a clue as to why he explored such a
broad range of interests: “The acquisition of any knowledge is always
of use to the intellect, because it may thus drive out useless things
and retain the good. For nothing can be loved or hated unless it is
ϐ‹”•–—†‡”•–‘‘†dzȋ…—”†›ͳͻ͵ͻȌǤ
Fig. 1. Self-portrait of Leonado da Vinci late in life (background).
178
178
Leonardo was born in Vinci, Italy, not far from Florence, in 1452.
Š‹• ‹• …‘ϐ‹”‡† ‹ ƒ †‘…—‡– †‹•…‘˜‡”‡† ‹ ͳͻ͵ͻǡ ™”‹––‡ „›
Leonardo’s grandfather Antonio da Vinci. Although the infant Leonardo was baptized, it is clear that his early life was not easy. He was
the illegitimate son of notary Piero Fruosino di Antonio da Vinci,
grandson of Antonio da Vinci. His mother, whose only known name
is Caterina, married Antonio di Piero buti del Vacca da Vinci a few
months later. Five more half-brothers and sisters to Leonardo were
born on his mother’s side. On his father’s side, through four stepmothers, Leonardo had 13 more half-brothers and sisters (Vezzosi
1997). It is suggested that Leonardo’s illegitimate birth excluded him
from formal study, which (along with his left-handedness) encouraged a social detachment (Hartt 1987).
‹–Šƒˆ‘”ƒŽ‡†—…ƒ–‹‘‘—–‘ˆŠ‹•”‡ƒ…Šǡ‡‘ƒ”†‘Ž‡ƒ”‡†„‘–Š
from his family and by direct contact with rural nature and the peasant culture related to the land his grandfather owned and worked on
himself and with Francesco, Ser Piero’s younger brother. It is suggested that Francesco was closest to Leonardo, as his father and his
wife spent most of their time in Florence. It is with Francesco, who
enjoyed and explored nature, that the young Leonardo would have
American
AmericanEntomologist
Entomologist •• Fall 2010
learned an appreciation of the natural world, observed insects, and
gained his developed sense of curiosity (Bramly 1991). Similarly,
Lucia di ser Piero di Zoso, Leonardo’s paternal grandmother, came
from a family of notaries and potters and is credited with encouraging Leonardo’s interest in art (Vezzosi 1997).
Leonardo’s father had many notary clients in Florence, including
the powerful Medici family. In 1468, Leonardo, as an apprentice,
entered the workshop of a friend: the Florentine sculptor Andrea del
Verrocchio (c. 1436-88) (Vasari 1568). Although belonging to the
Compagnia di San Luca artists’ guild since 1472, Leonardo remained
in Verrochio’s workshop for several more years. Here, Leonardo
perfected his artistic skills and powers of observation as he worked
in the same workshop as other famous quattrocento painters, including Sandro Botticelli (1445-1510) and Domenico Ghirlandaio
(1449-94), among others. Leonardo is credited for compositional,
lighting, and sculptural innovations in several of the works coming
from Verrochio’s studio, especially The Baptism of Christ (1470)
(Vezzosi 1997). Leonardo is especially recognized for developing
sfumatoȄƒ•‘›ƒ–‘•’Š‡”‹…‡ơ‡…–Ȅ‹”‡†‡”‹‰•—„–Ž‡˜ƒŽ—‡
‡ơ‡…–•‹’ƒ‹–‹‰ǤŠ‹••–›Ž‹•–‹…‡ơ‡…–ϐ‹†•ƒ…—Ž‹ƒ–‹‘‹–Š‡
Mona Lisa (Farago 2008).
Leonardo’s mature fullness of talents began to be recognized after
meeting Ludovico Sforza, Duke of Milan, who had Leonardo move
to Milan by 1482 to work for him. It is suggested that Leonardo
the musician, with a silver harp that he designed in the shape of a
horse’s head, fascinated the duke (Pater 1873). A perceived snub
may also have contributed to Leonardo’s decision to leave Florence
ˆ‘”‹ŽƒǤ‘””‡ƒ•‘••–‹ŽŽ—‘™ǡŠ‡™ƒ•Ž‡ˆ–‘ơ–Š‡•‡Ž‡…–Ž‹•–‘ˆ
Pope Sixtus IV, who invited a group of the best Florentine painters
to come to Rome, an omission that likely contributed to Leonardo’s
interest in leaving Florence (Vezzosi 1997).
Increasingly, Leonardo presented himself as an inventor, scientist,
–Š‡ƒ–”‹…ƒŽ†‡•‹‰‡”ǡ…‹˜‹ŽȀ‹Ž‹–ƒ”›‡‰‹‡‡”ǡƒ†ϐ‹ƒŽŽ›ƒ•ƒƒ”–‹•–Ǥ
Some believe this priority developed as his interest in science and
observation of nature increased. He worked for Ludovico Sforza in
Milan for nearly 20 years, leaving in 1499. It was here, among many
commissions, that Leonardo painted both the Louvre and National
Gallery versions of Virgin of the Rocks (1483-1485), and where Leonardo experimented with oil fresco on the Last Supper in the refectory
of Santa Maria delle Grazie (1495-1498). It was also in Milan that
Leonardo famously sketched and made a well known full-size 24’
model of what would have been the largest equestrian sculpture
ever built—the so-called Gran Cavallo (colossal horse). Leonardo also
designed a bronze casting process for this unprecedented project.
ˆ‘”–—ƒ–‡Ž›–Š‡‰”‘™‹‰‹Ž‹–ƒ”›…‘ϐŽ‹…–„‡–™‡‡—†‘˜‹…‘ˆ‘”œƒ
and the invading French King Louis XII prevented Leonardo from
procuring the necessary casting bronze needed. (Hartt 1987).
In 1499, Leonardo left Milan and was caught up in war and
politics. In 1500, he worked as a military engineer in Venice, then
in 1502-03 worked in same capacity for the infamous son of Pope
Alexander VI, Condottieri Cesare Borgia. At this time, he explored
cartography, with his Map of Imola and Physical Map of Tuscany,
Emilia, and Romagna. In 1503, Leonardo returned to Florence as his
sponsor Cesare Borgia left for Spain. It is at this time that the Mona
Lisa (1503-1505) was painted, along with the commission for the
Battle of Anghiari (1503-1506) in Florence. Leonardo returned to
Milan in 1506, and returned to Florence in 1507 to work out estate
problems with his family. He journeyed to Milan once again in 1508,
and to Rome in 1513, where he lived in the Belvedere, working for
American Entomologist • Volume 56, Number 3
Pope Leo X. After King Francis I conquered Milan in 1515, he met
with Pope Leo X, also meeting Leonardo. This began the last chapter
of Leonardo’s career. In 1516, Leonardo left with King Francis I to
live at the Château de Cloux very near the king’s chateau at Amboise,
France. After many commissions and much drawing and journaling,
‡‘ƒ”†‘†‹‡†‹„‘‹•‡‘ʹƒ›ͳͷͳͻȋƒ••‡”ƒͳͻͺͶȌǤ
The superb observation, animation, variety, and comprehensiveness of Leonardo’s drawings are the focus of this paper. Traditionally,
ϐ‹‹•Š‡†ƒ”–Ȅ‘–‡š’Ž‘”ƒ–‘”›†”ƒ™‹‰•Ȅ‰‡‡”ƒŽŽ›”‡…‡‹˜‡†‹–‡”‡•–
and an audience. Artists’ drawings, manuscripts, and journals, by
†‡ϐ‹‹–‹‘ǡ™‡”‡‘–”‡ƒŽŽ›‹–‡†‡†ˆ‘”’—„Ž‹…ƒ’’”‡…‹ƒ–‹‘ǡ„—–†—”ing the late 19th century, the qualities of freshness, immediacy, and
informality of artist drawings began to be appreciated by the public
™‹–Š‹–Š‡…‘–‡š–‘ˆƒ‘”‡‹ˆ‘”ƒŽƒ”–ǤŠ‡ϐ‹‰—”ƒ–‹˜‡‰‡•–—”‡
sketches of Honoré Daumier, and later French Impressionism, with
its technical informality and concern with spontaneous expression,
contributed to this modern interest in drawing.
Leonardo da Vinci’s quest to understand the natural world
through his own eyes, and not through a controlling spiritual, his–‘”‹…ƒŽǡ‘”…—Ž–—”ƒŽϐ‹Ž–‡”ǡŽ‡†Š‹–‘•Šƒ”’‡Š‹•”‡ƒ•‘‹‰ƒ†•‹ŽŽ•
of perception through the study and sketching of nature’s smallest
creatures. In a sense, the study of insects and their articulation can
be seen to validate Leonardo’s perception of the minute world. Observations of the microcosm of insectan existence enabled Leonardo
to freely apply visual and engineering lessons from their tiny world to
his larger understanding of the interrelatedness of nature and man.
Leonardo must have especially valued insects and their microscopic
kinesiology, as he valued living engineering in small packages. He is
“—‘–‡†ƒ••ƒ›‹‰ǡDz–Š‡•ƒŽŽ‡•–ˆ‡Ž‹‡‹•ƒƒ•–‡”’‹‡…‡Ǩdzȋ‡–”‘’‘Ž‹–ƒ
Museum of Art 2005).
Three insect drawings by Leonardo are well known, and there
are assertions that he drew several images of insects in his studies
‘ϐŽ‹‰Š–ǡ„—–ƒ…‘’Ž‡–‡Ž‹•–‹‰‘ˆŠ‹•‹•‡…–‹ŽŽ—•–”ƒ–‹‘•Šƒ•„‡‡
†‹ˆϐ‹…—Ž––‘…‘’Ž‡–‡Ǥ‘”–—ƒ–‡Ž›ǡƒ›Ž‹„”ƒ”‹‡•ƒ†—•‡—•ƒ”‡
making their Leonardo manuscripts available on-line, which has
permitted a more thorough survey of his drawings. Our survey has
increased the number of Leonardo insect drawings to sixteen, not
including an additional two images that are not obviously insectan,
but have been considered to relate to insects by others.
Leonardo’s insects fall into three categories. First are the true
insect studies, which are rare but carefully drawn. The second and
largest category includes insects that Leonardo drew as part of his
ƒƒŽ›•‹•‘ˆϐŽ‹‰Š–Ǥƒ›‘ˆ–Š‡•‡ƒ”‡”‘—‰Š•‡–…Š‡•ǡ„—–‘‡‹•†‡–ƒ‹Ž‡†
in outline. Finally, Leonardo used insects in his pictograms, which are
considered by some to illustrate the artist’s sense of humor.
The study drawings (Fig. 2) are at the Biblioteca Reale in Turin,
Italy, and they recently were exhibited at the Birmingham Museum
of Art. The two insects were drawn separately, but have since been
cut from the original paper and glued to a 129 x 111 mm sheet. The
drawing at the top of the sheet, executed in pen and ink, is thought
to have been produced around 1480 and is of a longhorned beetle
(Cerambycidae) drawn from a realistic anterior perspective (O’Grody
2008). The segmentation and natural curve of the beetle’s antennae
are clearly detailed, as are the characteristic lobed tarsal segments
and the short, powerful mandibles. Hatching lines create shading,
giving the beetle’s body a sense of volume and indicating the shadow
it casts on the substrate. Two partially erased legs are still visible
in front of the middle pair, most likely a correction to his drawing to
make it appear more natural.
179
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done in a style that is consistent with work Leonardo produced
between 1503 and 1505 (Fig. 2). The straight edge at the bottom of
the drawing is believed to be the right-hand margin of the paper on
™Š‹…Š‡‘ƒ”†‘†”‡™–Š‡‹•‡…–Ǣ‹ˆ•‘ǡ–Š‡†”ƒ‰‘ϐŽ›™ƒ•‘”‹‰‹ƒŽŽ›
drawn so that the body was nearly horizontal (O’Grody 2008). The
shape of the wings and relatively short, robust abdomen suggest that
–Š‡†”ƒ‰‘ϐŽ›ƒ›„‡ƒŽ‹„‡ŽŽ—Ž‹†Ǥ”‘••ǦŠƒ–…Š‹‰•Šƒ†‡•–Š‡…‘–‘—”•
‘ˆ–Š‡†”ƒ‰‘ϐŽ›ǯ•ƒ„†‘‡ǡƒ†ƒ††‹–‹‘ƒŽ•Šƒ†‹‰‰‹˜‡•ƒ•‡•‡‘ˆ
luminosity to the large eyes. Leonardo’s keen skills of observation
ƒ”‡”‡ϐŽ‡…–‡†‹–Š‡…ƒ”‡ˆ—Ž’Žƒ…‡‡–‘ˆ–Š‡’–‡”‘•–‹‰ƒƒ†–Š‡
insect’s characteristically angled legs. The body is drawn from above
180
in a three-quarter view while the wings are fully displayed in a single
plane—a somewhat awkward pose that suggests that Leonardo may
Šƒ˜‡†”ƒ™–Š‡†”ƒ‰‘ϐŽ›ˆ”‘ƒ†‡ƒ†•’‡…‹‡Ǥ
Š‡†‡–ƒ‹Ž•‹–Š‡•‡–™‘‹ƒ‰‡•ƒ”‡•—…Š–Šƒ––Š‡›…ƒ„‡‹†‡–‹ϐ‹‡†
–‘ˆƒ‹Ž›ȋƒ†’‘••‹„Ž›‰‡—•ǡ‹–Š‡…ƒ•‡‘ˆ–Š‡†”ƒ‰‘ϐŽ›Ȍǡƒ†™‡
Šƒ˜‡–Š‡”‡ˆ‘”‡…Žƒ••‹ϐ‹‡†–Š‡ƒ••–—†›†”ƒ™‹‰•Ǥ‡‘ƒ”†‘ǯ••–—†ies included other arthropod subjects, as shown in his crab studies
from the Codex Arundel (Fig. 3). The studies show a greater level
‘ˆ†‡–ƒ‹Žƒ†”‡’”‡•‡–ƒ‰”‡ƒ–‡”‹˜‡•–‡–‘ˆ–‹‡ƒ†‡ơ‘”––Šƒ
Leonardo’s simpler sketches.
Š‡‹•‡…–•–Šƒ–‡‘ƒ”†‘†”‡™ƒ•’ƒ”–‘ˆŠ‹••–—†›‘ˆϐŽ‹‰Š–…‘•‹•–
of quick, gestural sketches, rudimentary in comparison to the study
American Entomologist • Fall 2010
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drawings. The best known drawings from this collection are found
in the Bibliothèque de l’Institut de France in Paris on page 100v in a
collection of pages known as Manuscript B. This manuscript is the
earliest known Leonardo manuscript, dating between 1487–1490
ȋ‡†”‡––‹ʹͲͲͷȌǤŠ‡’ƒ‰‡‹…Ž—†‡•†”ƒ™‹‰•‘ˆƒ†”ƒ‰‘ϐŽ›ǡƒϐŽ›‹‰
ϐ‹•Šǡƒ†ƒ„ƒ–ǤŠ‹•‰”‘—’‹‰‹•–Š‘—‰Š––‘‹ŽŽ—•–”ƒ–‡–Š‡˜ƒ”‹‘—•
™‹‰•‘ˆϐŽ›‹‰ƒ‹ƒŽ•ǡƒ†–Š‡‹”•‡Ž‡…–‹‘”‡ϐŽ‡…–•‡‘ƒ”†‘ǯ•—•‡
‘ˆ ”‹•–‘–Ž‡ǯ• …Žƒ••‹ϐ‹…ƒ–‹‘ ȋƒ—”‡œƒ ʹͲͲ͸ȌǤ Š‡ †”ƒ‰‘ϐŽ› ȋ‹‰Ǥ
4) is shown from above, with the wings in outline and the legs and
abdominal segments also represented. Just above and to the right
‘ˆ–Š‡†”ƒ‰‘ϐŽ›‹•ƒ…—”•‘”›Ž‹‡†”ƒ™‹‰‘ˆƒ„—––‡”ϐŽ›ǡ™Š‹…Š‘•–
closely resembles a pierid (Fig. 5). Its inclusion may be related to
Leonardo’s interest in the overlapping of the fore and hind wings,
ƒ†–Š‡‹”ˆ—…–‹‘ƒ•ƒ•‹‰Ž‡ϐŽ›‹‰•—”ˆƒ…‡Ǥ
Manuscript G, which is also in the Bibliothèque de l’Institut de
France, includes several insect sketches, all drawn to aid in Leonar†‘ǯ•‹˜‡•–‹‰ƒ–‹‘•‘ˆϐŽ‹‰Š–ǤŠ‹•ƒ—•…”‹’–™ƒ•’”‘†—…‡†ˆ”‘
1510–1511, when Leonardo was living in Milan (Pedretti 2005).
Š‡ϐ‹”•–•‡–…Šȋ‹‰Ǥ͸Ȍ‹•ˆ‘—†‘’ƒ‰‡͸Ͷ˜ƒ†‹•ƒ–Š”‡‡Ǧ“—ƒ”–‡”
˜‹‡™‘ˆƒ†”ƒ‰‘ϐŽ›ȋƒƒ‰Ž‡•‹‹Žƒ”–‘–Š‡‘”‡†‡–ƒ‹Ž‡††”ƒ‰‘ϐŽ›
study) with the four wings labeled. The text that accompanies this
†”ƒ™‹‰”‡ˆ‡”•–‘–Š‡DzϐŽ‹‰Š–‘ˆ–Š‡ˆ‘—”–Š•’‡…‹‡•‘ˆ‘–Š•ǡ‡ƒ–‡”•‘ˆ
–Š‡™‹‰‡†ƒ–•Ǥdz‘‡–‡š–•”‡ˆ‡”–‘–Š‹•†”ƒ™‹‰ƒ•”‡’”‡•‡–‹‰
an adult antlion (Laurenza 2004), but the robust thorax and lack of
antennae are more consistent with odonate features. Additionally,
the term Leonardo —•‡†ˆ‘”–Š‹•‹•‡…–‹•Dz‡–Ǧ™‹‰ǡdz‘”‡ˆ‘”ƒŽŽ›
known as the Neuroptera. During Leonardo’s time, the “net-winged
‹•‡…–•dz‹…Ž—†‡†–Š‡†”ƒ‰‘ϐŽ‹‡•ǡƒ›ϐŽ‹‡•ǡŽƒ…‡™‹‰•ǡƒ–Ž‹‘•ǡ†‘„•‘ϐŽ‹‡•ǡƒ†ƒŽ†‡”ϐŽ‹‡•ȋƒ‡‰‡”ͳͺͷͻȌǤ–‹•‘”‡’”‘„ƒ„Ž‡–Šƒ–ǡ‹Š‹•
American Entomologist • Volume 56, Number 3
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written comments, Leonardo was describing the predatory nature
‘ˆ†”ƒ‰‘ϐŽ‹‡•ǤŠƒ–‹–‡”‡•–‡†Š‹‘•–™ƒ•–Š‡†”ƒ‰‘ϐŽ›ǯ•—•‡‘ˆ
ˆ‘—”•‡’ƒ”ƒ–‡™‹‰•†—”‹‰ϐŽ‹‰Š–Ǥ
The next page of Manuscript G, 65r, includes a rough sketch of
ƒ„—––‡”ϐŽ›‘”‘–Šȋ‹‰Ǥ͹ȌǤŠ‘—‰Š‹–‹••‹‹Žƒ”–‘Š‹•‡ƒ”Ž‹‡”„—––‡”ϐŽ›†”ƒ™‹‰ǡŠ‡”‡Š‡…ƒ”‡ˆ—ŽŽ›†‡Ž‹‡ƒ–‡†–Š‡‘˜‡”Žƒ’‘ˆ–Š‡ˆ‘”‡
and hind wings.
‡‘ƒ”†‘…‘–‹—‡•Š‹•‡šƒ‹ƒ–‹‘‘ˆ‹•‡…–ϐŽ‹‰Š–‘’ƒ‰‡ͻʹ”
™‹–Šƒ†‡•…”‹’–‹‘‘ˆ–Š‡ϐŽ‹‰Š–‘ˆϐŽ‹‡•Ǥ–Š‡ƒ”‰‹‘ˆ–Š‹•’ƒ‰‡ǡ
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wings indicates their range of movement. The next illustration (Fig. 9)
ƒŽ•‘•Š‘™•™Šƒ–ƒ–ϐ‹”•–•‡‡•–‘„‡ƒˆ‘—”Ǧ™‹‰‡†‹•‡…–Ǥ‘™‡˜‡”ǡ‹–
ƒŽ•‘”‡’”‡•‡–•ƒϐŽ›™‹–Š–Š‡™‹‰••Š‘™‹–™‘’‘•‹–‹‘•ǡ™Š‹…Šƒ”‡
†‹ơ‡”‡–‹ƒ–‡†„›–Š‡—•‡‘ˆŠƒ–…Š‹‰–‘‹†‹…ƒ–‡–Š‡Ž‘™‡”‡†™‹‰•Ǥ
–Š‡Ž‘™‡””‹‰Š–ƒ”‰‹‹•ƒŽƒ„‡Ž‡†ǡ†‹ƒ‰”ƒƒ–‹…•‡–…Š‘ˆ–Š‡ϐŽ›
•Š‘™‹‰‡‘ƒ”†‘ǯ•ƒƒŽ›•‹•‘ˆ–Š‡ϐŽ›ǯ•™‹‰’‘•‹–‹‘ȋ‹‰ǤͳͲȌǤ
The practical fruits of Leonardo’s work on insects can be seen in
the Codex Atlanticus, which was produced between 1480 and 1485
(Pedretti 2005). On page 1051v, there is a large, cursory outline
†”ƒ™‹‰‘ˆƒ†”ƒ‰‘ϐŽ›™‹–Š™‘”†•™”‹––‡‘˜‡”–Š‡™‹‰•ȋ‹‰ǤͳͳȌǤ
–”ƒ•Žƒ–‹‘‘ˆ‡‘ƒ”†‘ǯ•™”‹–‹‰”‡ƒ†•ǡDzŠ‡‡–Ǧ™‹‰ϐŽ‹‡•™‹–Š
four wings and when the front ones are raised, the rear ones are
Ž‘™‡”‡†Ǥ—–‡ƒ…Š’ƒ‹”—•–‹‹–•‡Žˆ„‡•—ˆϐ‹…‹‡––‘•—•–ƒ‹–Š‡ˆ—ŽŽ
™‡‹‰Š–Ǥdz‘–Š‡Ž‡ˆ–‘ˆ–Š‡™‹‰•ƒ†…‘‡…–‡†–‘–Š‡™‹–ŠƒŽ‹‡ǡ
‡‘ƒ”†‘™”‘–‡ǡDzŠ‡‘‡‰‘‡•—’–Š‡‘–Š‡”‰‘‡•†‘™Ǥdz‡‘ardo surmised that the wings pushed down on the air, and that was
necessary to keep the insect aloft (Laurenza 2004).
Along the far left margin of this page is a faint sketch of an insect
(Fig. 12), and written along the margin next to this drawing is “To see
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Leonardo includes three insects: two drawings that clearly represent
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a beetle. However, the text states that the insect is le Musca or Le
MoscaȄƒϐŽ›Ǥ Šƒ–ƒ’’‡ƒ”–‘„‡‡Ž›–”ƒƒ”‡ƒ…–—ƒŽŽ›–Š‡ϐŽ›ǯ•™‹‰•
shown in a raised position, and a line between the raised and lowered
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the two insects is a sketch showing a mechanical device designed by
‡‘ƒ”†‘–‘‡…Šƒ‹…ƒŽŽ›’”‘†—…‡ˆ‘—”Ǧ™‹‰‡†ϐŽ‹‰Š–ȋ‹‰Ǥͳ͵ȌǤThis
‹•‹…‘–”ƒ•––‘ƒ•‹‹Žƒ”‡…Šƒ‹•–Šƒ–‹‹…•„‹”†ϐŽ‹‰Š–ȋƒ—renza, D. 2006). Leonardo was clearly dealing with the problems of
ˆ‘—”Ǧ™‹‰‡†˜‡”•—•–™‘Ǧ™‹‰‡†ϐŽ‹‰Š–‹–Š‡•‡†”ƒ™‹‰•Ǥ
Š‡ ϐ‹ƒŽ …ƒ–‡‰‘”› ‘ˆ ‡‘ƒ”†‘ǯ• ‹•‡…– †”ƒ™‹‰• …‘•‹•–• ‘ˆ
very loose, simple sketches that were part of a series of pictograms,
and they show a more playful side of Leonardo’s thinking. These
pictograms, created from 1487–1490 and now in the collection of
–Š‡‘›ƒŽ‹„”ƒ”›ƒ–‹†•‘”ƒ•–Ž‡ǡ™‡”‡’—œœŽ‡•‘””‡„—•‡•Ǥ
them, Leonardo converted images into phrases to convey meaning
through the pictures alone (da Vinci 1956). Leonardo used ants and
ƒ™ƒ•’‘”„‡‡ȋ‹‰ǤͳͶȌǡƒ’‘••‹„Ž‡ϐŽ›ȋ‹‰ǤͳͷȌƒ†ƒ…‹…ƒ†ƒȋ‹‰Ǥͳ͸Ȍ
on page RL 12692r. On the reverse, an ant (Fig. 17) appears in one
of his picture-only rebuses.
There are two other Leonardo drawings that may contain insectan
‹ƒ‰‡”›ǡ„—––Š‹•‹•‘–…‡”–ƒ‹Ǥ–Š‡ˆϐ‹œ‹‘Ž‹‘‹•ƒ•ƒŽŽ•‡–…Š
of a two-winged animal ringed with circles. Laurenza (2004) suggested that this may be an insect, but the other animal drawing on
–Š‡’ƒ‰‡‹•–Šƒ–‘ˆƒ„‹”†™‹–Šƒ„”‘ƒ†–ƒ‹ŽǤŠ‡•ƒŽŽDz‹•‡…–dz•Š‘™•
a shape similar to the bird’s tail at the trailing edge, suggesting that
it too might be avian.
The collections of the Biblioteca Reale in Turin, Italy include
‡‘ƒ”†‘ǯ• •‡–…Š ‘ˆ ƒ ϐ‹‰—”‡ •‹––‹‰ „› ƒ ϐ‹”‡ ȋ‹‰Ǥ ͳͺȌǤ ‘˜‡”‹‰
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American Entomologist • Volume 56, Number 3
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Atlanticus, where he mentioned that the moth is attracted to the light
and is thus an allegory of the human quest for knowledge (O’Grody
2008). It could be argued that the circles represent embers that are
ϐŽ‘ƒ–‹‰ƒ„‘˜‡–Š‡ϐ‹”‡ǡƒ†–Šƒ––Š‡Š—ƒϐ‹‰—”‡•–ƒ”‹‰ƒ––Š‡ϐ‹”‡
is, like the moth, attracted to the light.
Leonardo’s insects illustrate how he used his artistic skills as a tool
of analysis, and how his quick, dynamic gesture drawings served as
a medium of thought. By drawing upon his own uniquely developed
power of observation rather than merely following the conventions of
the art world of his day, Leonardo not only created prodigious works
of art, but used his skill to further his own discovery and interpretation of the natural world, solving problems and gaining insights as
they presented themselves through his sketches.
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183
Literature cited
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Acknowledgements
‡–Šƒ‡”ƒŒ‡•–›—‡‡Ž‹œƒ„‡–Šˆ‘”Š‡”‹†’‡”‹••‹‘
to reproduce Leonardo’s insect drawings from the Royal Library at
‹†•‘”ƒ•–Ž‡Ǥ‡ƒŽ•‘–Šƒ‹…Šƒ‡ŽŽƒ„—†‡ˆ‘”Š‹•Š‡Ž’™‹–Š
the translation of Leonardo’s writings, Melanie Parker for her help
during the Birmingham Museum of Art’s exhibition of Leonardo’s
Turin drawings, Carol Anelli for her review, and Jessee Smith for her
many valuable improvements to the manuscript.
Bramly, Serge. 1991. Leonardo: Discovering the Life of Leonardo da Vinci.
Edward Burlingame Books, New York.
da Vinci, Leonardo. 1956. Leonardo da Vinci. Reynal, New York.
Farago, Claire. 2008. Leonardo da Vinci and the Ethics of Style. Manchester
University Press, Manchester UK.
Hartt, Frederich. 1987. A History of Italian Renaissance Art. Harry N.
Abrams, New York.
Jaeger, B. 1859. The Life of North American insects. Harper and Brothers,
New York.
Laurenza, D. 2004. ‡‘ƒ”†‘‘ϐŽ‹‰Š–Ǥ‘Š•‘’‹•‹˜‡”•‹–›”‡••ǡ
Baltimore, MD.
Laurenza, D. 2006. Leonardo’s machines. David and Charles, Cincinnati, OH.
McCurdy, Edward. 1939. The Mind of Leonardo Da Vinci. Dodd, Mead &
Company.
Metropolitan Museum of Art. 2005. Catnip: artful felines from the Metropolitan Museum of Art. Chronicle Books, LLC San Francisco.
O’Grody, J. A. 2008. Leonardo da Vinci; drawings from the Biblioteca Reale
in Turin. Birmingham Museum of Art, Birmingham, AL.
Pater, Walter. 1873. The Renaissance. The Modern Library, New York.
Pedretti, C. 2005. Leonardo da Vinci; the complete works. David and
Charles, Cincinnati, OH.
Vasari, Giorgio. 1568. Lives of the Artists. Penguin Classics, trans. George
Bull 1965.
Vezzosi, Alessandro. 1997. Leonardo da Vinci: The Mind of the Renaissance. Discoveries, Harry N. Abrams, New York.
Wasserman, Jack. 1984. Leonardo da Vinci. Abrams, New York.
Gene Kritsky is a Professor of Biology at the College of Mount St. Joseph
and adjunct curator of entomology at the Cincinnati Museum Center. Daniel
Mader is a Professor of Art History at the College of Mount St. Joseph in
Cincinnati, Ohio.
THE
DRAGONFLY'S EYE
People in the mountains,
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talking, serious,
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ankle deep in water.
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keep the world twisting around
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or intuition in instants,
and in an instant the work at hand,
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Bennett Huffman
184
American Entomologist • Fall 2010