city, including Sandro Botticelli and Do-
menico Ghirlandaio. From Verrocchio he
learned the craft of painting, the science
of perspective, and techniques of depicting
the human form in motion. Da Vinci col-
laborated with Verrocchio on theBaptism
of Christ, produced in about 1475, in
which Leonardo painted the background
landscape and an angel. By one tradition,
Verrocchio was so astonished at the beauty
and composition of these elements that he
gave up painting for the rest of his life.
During his time in Florence, Leonardo also
painted theAnnunciationand a portrait of
Ginevra de Benci. In these works, he was
striving for a new style of painting that
went beyond the conventions of the early
Renaissance. Leonardo gave the figures
softer contours by thesfumatotechnique,
in which he blended colors and used light
and shadow to give his works dramatic in-
tensity.
Leonardo established his own studio
in Florence, and in 1481 was commis-
sioned to paint an altarpiece, theAdora-
tion of the Magi. This work has become an
important study for art historians, as it
was left unfinished. In 1482 Leonardo ac-
cepted a position as a court painter and
architect for Ludovico Sforza, the Duke of
Milan. For the duke he designed artillery,
fortifications, and military equipment; he
collaborated with Donato Bramante on the
design of churches, public buildings, and
streets. While in Milan Leonardo was also
commissioned to paint theMadonna of
the Rocks, which sets the biblical family of
Jesus in a scene of natural wilderness. TheSketches of war machines by Leonardo da Vinci. At the top is a chariot fitted with scythes
for striking nearby enemies. At bottom are diagrams of an armored vehicle outfitted with
firearms, hundreds of years before the first actual tank was built. DEAGOSOTINI/GETTYIMAGES.
Leonardo da Vinci