Leonora D'Orco: A Historical RomanceJames, G. P. R. (George Payne Rainsford)
History
Leonora D'Orco: A Historical Romance
James, G. P. R. (George Payne Rainsford)
Italy -- History -- 1492-1559 -- Fiction
Leonardo da Vinci did not seem to love her; her beauty was not of the
style that pleased him, and when asked to paint her portrait he
declined, alleging that he had undertaken more than he could
accomplish already. His portrait of Leonora made more progress in a
week than any work he had ever undertaken. The head was finished, the
limbs and the drapery sketched out; but when he had arrived at about
the tenth sitting, he requested to have easel and picture both brought
down to the citadel, where a large room was assigned to him. It
fatigued him, he said, to go to the villa every day; and, having
finished the face and head, the few more sittings which were required
could be given him there whenever he found it necessary to ask them.
Leonora willingly consented to come at his call; and for several days
he worked diligently for nearly twelve hours a day, shut up in the
hall where he painted, or in a small room adjoining, where he kept the
implements of his art.
It was on Tuesday, the 19th of September, early in the morning, that
Leonora received a brief note from the great painter, loosely
translatable as follows:
"Most beautiful and excellent Lady,--Though to your perfections my
picture owes an excellence which the painter could never have given
from his mere mind, yet there are wants which time and observation
have enabled me to detect. Come to me, then, if it be possible, at
four this evening, and enable me to supply those graces which had
previously escaped me. Be as beautiful as possible, and, for that
object, as gay. Might I commend to you the depth of two fingers
breadths of that fine old Pulciano wine before you come? It heightened
your colour, I saw, when last you tasted it; and I want a little more
of the red in the cheek."
Leonora was punctual to the appointment, and Leonardo, meeting her at
the door of the hall, led her round by the back of the picture to the
small room I have mentioned, saying, "You must not see it now till it
is finished." Then, seating her in a large arm-chair, he stood and
gazed at her for a moment, saying, laughingly, "You must be content to
be stared at, for I wish to take down every shade of expression in the
note-book of my mind, and write it out upon the picture in the other
room." After a few minutes, changing her attitude once or twice, and
changing her hair to suit his fancy, he went out into the hall, and
engaged himself upon the picture.
Public-domain text, read in full here on John Shaqi.
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