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Artsmarts • • Author: Natalya Azarenko
Talking about the personal life ofthe most famous artist inthe world islike walking onthin ice. Heleft nodocumentary evidence ofhis love affairs; noone really heard anything about his relations with women. There were persistent rumours about Leonardo daVinci's relationships with men during his lifetime, and later they only grew stronger. For more than aquarter ofacentury, the artist took care ofhis student, known under the nickname Salai, but what were their relationship like inreality— noone would assert with absolute certainty. Weonly could try toimagine their story, based onthe surviving information, including that ofLeonardo’s authorship.
Unbearable boy
Inhis manuscripts, daVinci sometimes resorted toanintricate method ofwriting with amirror— the notes made inthis way could not beread without the same device. Hedid this incases when itwas about things especially important tohim.
And one ofthese records read: "Giacomo came tolive with meonthe day ofSt. Mary Magdalene, 22 July 1490".
Gian Giacomo Caprotti daOreno was the full name ofdaVinci’s new student. Hewas aten-year-old boy atthe time ofhis admission tothe artist’s studio. Heoriginated from Oreno, asmall settlement near Milan. Nothing isknown about his parents, except that inthe documents, his father was called "the son ofthe last master Giovanni". This means that Giacomo’s grandfather had acertain status and could bealandowner.
Salai in the fantasy costume
Leonardo da Vinci
1500
Atthat time inItaly, sending such young boys asapprentices toartists and representatives ofother craft professions, towhich painters belonged during the Renaissance, was afairly common custom. They did all the work they could inthe house and studio, and received their food and shelter aspayment. Ifsuch anerrand boy showed the ability todraw, later hereceived lessons incraftsmanship from his teacher and could become apainter himself. For example, itwas the case with Pietro Perugino, who asayoung man entered the studio ofone ofthe artists inPerugia.
Itwas understood that the new inhabitant ofdaVinci’s studio would also obey his master ineverything and carry out all orders. But itturned out that from the very beginning hetook aspecial position inthe studio, testing the painter’s patience with his pranks. Leonardo’s patience seemed truly endless: despite the fact that Leonardo’s manuscripts are full ofGiacomo’s daring antics, the boy not only kept living with him, but also enjoyed the privileges ofluxurious clothes that daVinci ordered for him.
Profile Salai
Leonardo da Vinci
1500
Less than aday later, hedemonstrated his main talents: stealing and lying. "On the second day, Iordered two shirts, apair ofpants and ajacket tobetailored for him," complained Leonardo inaletter tothe boy’s father. "And when Iput the money aside topay for these things, hestole the money from mywallet, and Icouldn’t get him toconfess, although Iwas firmly convinced ofit." This did not prevent the artist from inviting the guilty servant the next day toaccompany him atadinner with his architect friend. The miracle did not happen: the little rantipole did things there: "And this Giacomo had supper astwo and caused trouble asfour, ashebroke three decanters, poured wine," daVinci wrote inthe same letter and added aremark onmargins: "Thief, liar, stubborn, glutton."
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Little Devil
Convinced ofhis impunity, Giacomo commited more and more daring offenses. After awhile, another student lost several silver coins and asilver drawing pin inLeonardo’s studio. During the search, the loss was found inGiacomo’s chest. And six months later, Leonardo received anorder tomake sketches ofcostumes for afestive tournament tocoincide with the wedding ofLudovico Sforza. The boy was with him during the fitting and took advantage ofthe moment when the participants took off their clothes. "Giacomo got tothe wallet ofone ofthem, which was lying onthe bed with all the other clothes, and pulled out the money hefound init," wrote Leonardo. "Just asimilar case, when Master Agostino diPavia gave meTurkish leather for apair ofshoes inthe same house, this Giacomo stole itfrom meamonth later and sold itto ashoemaker for 20 soldi, for which, ashehimself confessed tome, hebought anise sweets".
The Penitent Magdalene
Jan Giacomo Caprotti da Oreno (Salaí)
1520, 65×51cm
Itisno wonder that for his tricks the young man eventually received the appropriate nickname, Salai, diminutive— Salaino. InTuscan dialect, itmeans demon orimp and isfirst mentioned inapayment document authored bydaVinci, dated January 1494.
Perhaps heborrowed this name from the character ofthe Morgante knightly poem bythe Italian Luigi Pulci, abook that was kept inthe artist’s library.
What held daVinci back from getting rid ofthe dodgy rascal once and for all? Perhaps the answer isinthe testimony ofVasari, who noted that Salai was "very attractive for his charm and beauty, had beautiful curly hair that curled inrings and was very liked byLeonardo". The artist generally paid alot ofattention tothe aesthetics ofappearance. Heregularly visited the barber, took care ofhis hairstyle and even dyed his hair when grey began toappear. The Florentine author Anonimo Gaddiano described the artist’s appearance asfollows: "A pleasant gentleman, well-built, graceful, attractive inappearance. Hewore apink cape that reached tohis knees, whereas they wore long robes inthat era. Hehad abeautiful, curly, well-styled hair that fell tothe middle ofhis chest."
The heads of old and young men
Leonardo da Vinci
1495, 20.8×15cm
Presumably, inthis drawing, daVinci portrayed himself asadecrepit old man next toSalai full ofyouth.
DaVinci never spared money todress uphis student like afavourite toy. One ofthe artist’s notes describes the necessary materials tosew aluxurious cloak ofsilver brocade with green velvet trim for the young man. Leonardo’s expenses onclothes for Salai inthe first year ofhis stay inthe studio were approximately the amount that aservant received onaverage per year. This money was used tobuy twenty-four pairs ofshoes, four trousers, six shirts, three jackets, alinen camisole, acoat and ahat. Later manuscripts indicate that daVinci forked out for achain for his favourite, asword and even atrip toafortune-teller. And another time hegave Salai three gold ducats just because heasked tobuy him pink patterned stockings. Aweek later, heallowed him 21 cubits oflinen for ashirt worth more than ten lire, which amounted toasix-month salary ofservants atthat time. The maintenance ofasimple apprentice cost the artist much.
A riddle, wrapped in a mystery
Aswealready mentioned, reliable information about the personal life ofLeonardo daVinci has not been preserved. Hehimself never wrote about his love affairs, despite the habit ofrather meticulously reporting even the smallest details ofhis daily routine inhis manuscripts. Perhaps this was due tothe fact that his heartfelt affection could lead toserious accusations atthe time. And inthe life ofthe artist there was already asimilar precedent.
Lady with an ermine. Cecilia Gallerani
Leonardo da Vinci
1480-th, 54.8×40.3cm
The heroine ofthis portrait, according tomost researchers, was the mistress ofLudovico Sforza, the only woman suspected ofhaving arelationship with daVinci: because ofadraft ofaletter supposedly addressed toher. Itbegan with the address: "My beloved goddess…". But due tothe lack ofother evidence, this version isconsidered unlikely.
Inthe 15th century, sexual relationship between men inFlorence became sowidespread that the slang term for homosexuals was even introduced inGerman, "Florenzer", which means aFlorentine. Over time, the rulers ofthe city began totake measures tosuppress this "fashion", creating special committees and imposing severe punishments, including burning atthe stake. Fortunately, itrarely came tothis: the sentence was mostly limited toafine, but for repeated violation people could beimprisoned instocks outside the prison building.
Disguised in the image of the prisoner
Leonardo da Vinci
1517, 18.2×12.7cm
Inaddition, boxes known as "holes oftruth" were installed onthe streets ofFlorence. Residents ofthe city could anonymously leave letters with astory about violators ofvarious laws and regulations. And in1476, insuch abox, aletter was found accusing Leonardo daVinci inrelationship with the seventeen-year-old Jacopo Saltarelli. And although another similar accusation, inLatin, appeared acouple ofmonths later, the artist was not convicted. Neither the authors ofthe denunciations, nor any witnesses appeared atthe court session, and anonymous denunciations were not enough topass the verdict.
However, everyone remembered this case, and itcould become the reason that daVinci was afraid tomention his personal life inhis manuscripts. Although this did not prevent some researchers from confidently asserting about his homosexual orientation, and the founder ofpsychoanalysis, Sigmund Freud was among them. Inmany ways, such interpretations were facilitated bysome ofthe artist’s statements. Hewrote: "The act ofchildbirth and everything that has anything todowith itisso disgusting that people would soon die out ifthere were nobeautiful faces and sensual inclinations." And more: "Intellectual passion displaces sensuality… Whoever does not curb lustful desires, puts himself onthe same level with beasts."
The anatomy of the genital organs of men and sexual intercourse in the context
Leonardo da Vinci
1492, 27.3×20.2cm
Although the last entry can beinterpreted not only asanattempt tosuppress the impulses condemned bythe environment, but also asacomplete refusal ofdaVinci from any kind ofsexual relations inprinciple. Therefore, some researchers ofhis biography preferred toconclude that the artist remained celibate throughout his life. Ifthey are right, then his heartfelt affection for the young apprentice was exclusively platonic and based onthe aesthetic pleasure ofseeing agolden-haired imp with the appearance ofanangel.
Leonardo da Vinci. Mona Lisa (La Gioconda), 1501
Leonardo da Vinci. Saint John the Baptist, 1513
There isnot asingle documented portrait ofSalai, but the characters insome ofdaVinci’s paintings are suspected ofbeing painted from his thieving student. And not only men: even LaGioconda was included inthis list. Among the male characters, the similarity with him isattributed toJohn the Baptist, the apostles Philip and Matthew from the The Last Supper fresco.
Leonardo da Vinci. Matthew the Apostle, The Last Supper (detail), 1498
Leonardo da Vinci. Philip the Apostle, study for The Last Supper, c. 1495
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Life without Salai
DaVinci’s parting with his life partner after almost three decades was asmysterious astheir relationship. The artist did not say asingle word inhis notes what happened between them, after which Salai left his house forever. Only one thing isknown: when in1519 Leonardo got concerned with making awill, Giacomo was nolonger with him. Although this did not stop daVinci from mentioning him inthis document, incontrast tothe manuscripts, inwhich hewould never write asingle line about his golden-haired apprentice.
John The Baptist
Jan Giacomo Caprotti da Oreno (Salaí)
XVIcentury, 73×51cm
Salai iscredited with apainting depicting St. John the Baptist— inthe same pose asinDa Vinci’s painting, but even more effeminate and playful.
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The artist spent his last years inthe company ofhis new favourite, Francesco Melzi. Hewas the son ofaMilanese aristocrat, whom daVinci often visited inhis estate near Milan. The boy was good-mannered, had abrilliant education and apenchant for drawing. Hewas captivated bythe intellect and artistic talent ofLeonardo, and his father sent 15-year-old Francesco tohis idol’s studio asanapprentice. The young man admired the genius and remained loyal tohim until his death. And daVinci was fascinated byhis youth: "Melzi's smile makes meforget about everything inthe world," hewrote.
1Flora
Francesco Melzi
1520, 76×63cm
Inasense, the new student was the complete opposite ofSalai. Hehad the gift ofadiplomat and helped the artist maintain relationships with influential people, asthey were sometimes threatened bydaVinci’s tempestuous disposition. Despite the 41-year age difference, they had atruly trusting relationship, asmentioned byLeonardo inhis notes. Heentrusted Francesco with the task oforganizing his manuscripts: hehad toclassify, rewrite them cleanly and prepare them for printing. The result ofthis titanic work was the famous Atlantic Code, amanuscript consisting of1,119 pages. Melzi surrounded the artist with touching care and was his loyal companion for 11 years until daVinci’s last breath.
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A portrait of Leonardo
Francesco Melzi
1517, 27.5×19cm
According tohis will, Leonardo divided the most valuable things hehad, "his own garden located outside the walls ofMilan", between Salai and another servant, Battista deVillanis. InAugust 1497, hereceived apiece ofland with asmall house and avineyard from his patron Ludovico Sforza, presumably asafee for painting The Last Supper. Owning his own land was animportant indicator ofstatus atthe time, especially that the site was located next tothe estates ofthe Milanese nobility. Salai built ahouse onhis site, and on14 June 1523, hebrought his new wife Bianca Caldiroli there. Animportant factor inthe matter ofSalai’s marriage could beanimpressive dowry of1,700 lire. But hedid not enjoy his newfound home, family, and sudden wealth for long.
On15 January 1534, Gian Giacomo Caprotti daOreno died atthe age of44 wounded byagunshot.
Main illustration: kulturologia.ru
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- a love story in paintings
- artists of the renaissance
- leonardeschi
- leonardo da vinci
- leonardo student
- renaissance
- renaissance artists
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