Painting Mona Lisa. Jeanne Kalogridis

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СКАЧАТЬ the massive painting Primavera, soon to be a wedding gift from Lorenzo to his cousin.

      Sandro eyed Leonardo’s sketch with sly humour. ‘So. Trying to steal my job, I see.’

      He was referring to the recently painted mural on a façade near the Palazzo della Signoria, partially visible behind the scaffolding now that the crowd was beginning to thin. He had received a commission from Lorenzo in those terrible days following Giuliano’s death: to depict each of the executed Pazzi conspirators as they dangled from the rope. The life-sized images duly inspired the terror they were meant to provoke. There was Francesco de’ Pazzi, entirely naked, his wounded thigh encrusted with blood; there, too, was Salviati in his archbishop’s robes. The two dead men were shown facing the viewer – effective, though not an accurate depiction. Like Botticelli, Leonardo had been in the Piazza della Signoria at the moment Francesco – dragged from his bed – had been pushed from the uppermost arched window of the Palazzo, hung from the building itself for all to see. A moment later, Salviati had followed and, at the instant of his death, had turned toward his fellow conspirator and – whether in a violent, involuntary spasm, or in a final moment of rage – had sunk his teeth deep into Francesco de’ Pazzi’s shoulder. It was a bizarre image, one so troubling that even Leonardo, overwhelmed by emotion, failed to record it in his notebook. Paintings of other executed men, including Messer Iacopo, were partially completed, but one murderer had been altogether missing: Baroncelli. Botticelli had probably taken notes himself this morning, intending to finish the mural. But at the sight of Leonardo’s sketch, he shrugged.

      ‘No matter,’ he said breezily. ‘Being rich enough to dress like a lord prior, I can certainly let a pauper like yourself finish up the task. I have far greater things to accomplish.’

      Leonardo, dressed in a knee-length artisan’s tunic of cheap used linen, and a dull grey wool mantle, slipped his sketch under one arm and bowed, low and sweeping, in an exaggerated show of gratitude.

      ‘You are too kind, my lord.’ He rose. ‘Now go. You are a hired hack, and I am a true artist, with much to accomplish before the rains come.’

      He and Sandro parted with smiles and a brief embrace, and Leonardo returned at once to studying the crowd. He was always happy to see Sandro, but the interruption annoyed him. Too much was at stake; he reached absently into the pouch on his belt, and fingered a gold medallion the size of a large florin. On the front, in bas relief, was the title ‘Public Mourning’. Beneath, Baroncelli raised his long knife above his head while Giuliano looked up at the blade with surprise. Behind Baroncelli stood Francesco de’ Pazzi, his dagger at the ready. Leonardo had provided the sketch, rendering the scene with as much accuracy as possible, although for the viewer’s sake, Giuliano was depicted as facing Baroncelli. Verrochio had made the cast from Leonardo’s drawing.

      Two days after the murder, Leonardo had dispatched a letter to Lorenzo de’ Medici.

       My lord Lorenzo, I need to speak privately with you concerning a matter of the utmost importance.

      No reply was forthcoming: Lorenzo, overcome with grief, hid in the Medici palazzo, which had become a fortress surrounded by scores of armed men. He received no visitors; letters requesting his opinion or his favour piled up unanswered.

      After a week without a reply, Leonardo borrowed a gold florin and went to the door of the Medici stronghold. He bribed one of the guards there to deliver a second letter straightaway, while he stood waiting in the loggia watching the hard rain pound the cobblestone streets.

       My lord Lorenzo, I come neither seeking favour nor speaking of business. I have critical information concerning the death of your brother, for your ears alone.

      Several minutes later he was admitted after being thoroughly checked for weapons – ridiculous, since he had never owned one nor had any idea of how to wield one.

      Pale and lifeless in an unadorned black tunic, Lorenzo, his neck still bandaged, received Leonardo in his study, surrounded by artwork of astonishing beauty. He gazed up at Leonardo with eyes clouded by guilt and grief – yet could not hide his interest in hearing what the artist had to say.

      On the morning of the twenty-sixth of April, Leonardo had stood several rows from the altar in the cathedral of Santa Maria del Fiore. He’d had questions for Lorenzo about a joint commission he and his former teacher Andrea Verrochio had received to sculpt a bust of Giuliano, and hoped to catch il Magnifico after the service. Leonardo only attended Mass when he had business to conduct; he found the natural world far more awe-inspiring than a manmade cathedral. He was on very good terms with the Medici. Over the past few years, he had stayed for months at a time in Lorenzo’s house as one of the many artists in the family’s employ.

      To Leonardo’s surprise that morning in the Duomo, Giuliano had arrived, late, dishevelled, and escorted by Francesco de’ Pazzi and his employee.

      Leonardo found men and women equally beautiful, equally worthy of his love, but he lived an unrequited life by choice. An artist could not allow the storms of love to interrupt his work. He avoided women most of all, for the demands of a wife and children would make his studies – of art, of the world and its inhabitants – impossible. He did not want to become as his master Verrochio was – wasting his talent, taking on any work, whether it be the construction of masks for Carnivale, or the gilding of a lady’s slippers, to feed his hungry family. There was never any time to experiment, to observe, to improve his skills.

      Ser Antonio, Leonardo’s grandfather, had first explained this concept to him. Antonio had loved his grandson deeply, ignoring the fact that he was the illegitimate get of a servant girl. As Leonardo grew, only his grandfather noted the boy’s talent, and had given him a book of paper and charcoal. When Leonardo was seven years old, he had been sitting in the cool grass with a silverpoint stylus and a rough panel of wood, studying how the wind rippled through the leaves of an olive orchard. Ser Antonio – ever busy, straight-shouldered and sharp-eyed despite his eighty-eight years – had paused to stand beside him, and look with him at the glittering trees.

      Quite suddenly and unprompted, he said, Pay no attention to custom, my boy. I had half your talent – yes, I was good at drawing, and eager, like you, to understand how the natural world works – but I listened to my father. Before I came to the farm, I was apprenticed to him as a notary.

       That is what we are – a family of notaries. One sired me, and so I sired one myself – your father. What have we given the world? Contracts and bills of exchange, and signatures on documents which will turn to dust.

       I did not give up my dreams altogether; even as I learned about the profession, I drew in secret. I stared at birds and rivers, and wondered how they worked. But then I met your grandmother Lucia and fell in love. It was the worst thing ever to happen, for I abandoned art and science and married her. Then there were children, and no time to look at trees. Lucia found my scribblings and cast them into the fire.

       But God has given us you – you with your amazing mind and eyes and hands. You have a duty not to abandon them.

       Promise me you will not make my mistake; promise me you will never let your heart carry you away.

      Young Leonardo had promised.

      But when he became a protégé of the Medici and a member of their inner circle, he had been drawn, physically and emotionally, to Lorenzo’s younger brother. Giuliano was infinitely lovable. It was not simply the man’s striking appearance – Leonardo was himself far more attractive, often called ‘beautiful’ by his friends – but rather the pure goodness of his spirit.

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