Court Life in Milan

Leonardo decided to leave Florence for Milan in 1482. During this time, the city was in the throes of political upheaval, with the powerful Medici family having been expelled just a few years prior. In contrast, Milan offered a more stable environment under the rule of Ludovico Sforza, the Duke of Milan.

Sforza was known for his patronage of the arts, and Leonardo saw a golden opportunity to secure his financial future and further his artistic career under Sforza's protection.

Beyond the promise of patronage, Milan also offered Leonardo a wealth of diverse work opportunities. The city was a thriving hub of commerce and innovation, with a particular emphasis on engineering and architecture.

Upon his arrival in Milan, Leonardo was welcomed into the Sforza court, a celebrated epicenter of Renaissance innovation and artistry under Ludovico Sforza.

Milan, during the time of the Sforza rule, was more than just a political stronghold; it was a burgeoning metropolis of commerce, intellect, and creativity.

Under Sforza, the court transformed into a beacon of cultural patronage, with an ambition of making Milan a paragon of Renaissance splendor. Artists, scientists, and scholars found a welcoming environment at this court. Among these were Luca Pacioli and Josquin des Prez.

Pacioli, a Franciscan friar, and mathematician, is often regarded as the 'father of accounting' due to his pioneering work codifying the double-entry bookkeeping system.

Josquin des Prez, on the other hand, was one of the most influential composers of the Renaissance. His innovative use of polyphony and deep emotional expression in music set new standards in the world of choral compositions.

At the Sforza court, Leonardo served as a court artist, engineer, and architect. This was a time when artists were not just painters or sculptors but were often expected to be multi-talented.

As an artist, he created portraits and religious works for the Duke and his court. As an engineer, he designed military and civil engineering projects, including plans for a canal to bypass the unnavigable sections of the river that ran through Milan. Finally, as an architect, he was involved in the design and construction of buildings and fortifications.

Leonardo was also responsible for organizing pageants and theatrical shows for the court due to his creativity and ingenuity.

The court provided him with opportunities to experiment and integrate various disciplines, leading to a holistic approach to art and science.

Among Leonardo da Vinci's most captivating and famous portraits from his Milanese period is 'Lady with an Ermine'.

Painted around 1489–1490, the artwork features Cecilia Gallerani, a young woman from the Milanese court who was the mistress of Ludovico Sforza, Duke of Milan. Cecilia was known to be Ludovico’s favorite and most admired companion.

Cecilia Gallerani is portrayed in a three-quarter pose, a perspective that was revolutionary at the time. Her gaze is gentle yet confident, exuding a sense of calm poise.

The ermine was an emblem used by Ludovico Sforza, who was sometimes called the 'White Ermine', and the presence of the ermine in the painting may allude to their intimate connection. The ermine, often associated with purity and honor due to its pristine white fur, might also symbolize the purity of Cecilia.

Leonardo's meticulous attention to detail is evident in the painting, from the softness of Gallerani's skin to the texture of the ermine. His use of sfumato is evident in the delicate rendering of the lady's features.

The painting currently resides in the National Museum in Krakow, Poland.

One of the most famous works from Leonardo's so-called First Milanese Period is the 'Virgin of The Rocks'.

This specific work's inception can be traced back to the Confraternity of the Immaculate Conception, a religious brotherhood in Milan. The confraternity had dedicated itself to venerating the belief in Mary's immaculate conception (the idea that Jesus was conceived by the Virgin Mary and God without original sin).

For their oratory in the Church of San Francesco Grande, they sought an artist of considerable talent to create an altarpiece that would resonate with their religious devotion and display the grandeur they envisioned.

Leonardo da Vinci was the chosen artist, a testament to his rising reputation.
In 1483, the contract for the Confraternity’s painting was formally drawn up, and Leonardo, along with his collaborator at the time, Evangelista, undertook the project.

The commission was specific about the intended depiction: the Virgin Mary and Christ Child with two prophets, possibly indicating David and Isaiah, set against a backdrop of rocks, which likely symbolized the Church's foundation on the rocky faith of St. Peter.

It was also to be adorned with decorative motifs of fruits and roots, showcasing the tree of life or the tree of knowledge.
In the painting that resulted from this commission, known as the 'Virgin of The Rocks', da Vinci depicts the Virgin Mary, John the Baptist as a child, the infant Jesus, and the archangel Uriel in a rocky, cavern-like setting, not typical for religious works.

Besides the symbolism outlined in the previous section, it is believed to represent an apocryphal legend, which means a story of uncertain origin not found in the Bible, where the infant John the Baptist, while in hiding in Egypt, is protected by the archangel.

The painting reflects Leonardo's passion for nature, given the detail of the landscape behind the biblical characters, and is notable as a spectacular example of Leonardo's innovative use of chiaroscuro, a technique he mastered during his time in Milan, widely explored by artists at Ludovico Sforza’s court.

The painting's intricate composition and emotional depth also reflect the court's interest in narrative complexity and human psychology. The figures in the work are not just static representations but instead embody a spectrum of emotions and psychological nuances.

As often happened in the world of art commissions, the relationship between patron and artist became strained in the completion of the 'Virgin of the Rocks'.

The details of the disagreement are not entirely clear, but it seems that the confraternity was dissatisfied, possibly with deviations from the original stipulations or over the financial valuation of the work, leading to disagreements over payment.

By 1503, despite the painting being mostly complete, it had still not been installed in its intended location. This tension resulted in Leonardo and his workshop creating a second version of the painting.

Although quite similar in composition, the two versions differ in their depiction of the figures. The earlier version, now in the Louvre in Paris, features the figures more closely grouped together, with the angel pointing at the infant John the Baptist. This engenders a sense of intimacy and connection among the figures.

In contrast, the later version, now in the National Gallery in London, features the figures more spread out, with the angel looking outwards at the viewer. This creates a more open dynamic among the figures.

This episode of the 'Virgin of the Rocks' offers a window into the complex relationships between artists and their patrons during the Renaissance, highlighting the challenges of merging artistic interpretation with the precise demands of those commissioning the work.

Despite this, the 'Virgin of The Rocks' was a crucial stepping stone toward Leonardo's more ambitious future projects in Milan, helping to cement Leonardo's reputation as a master painter.

It resulted in grander commissions from Ludovico Sforza and others, such as 'The Last Supper' - one of Leonardo's greatest masterpieces, which we will move onto in the following tile.