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Cleopatra

 
Cleopatra VII ruled ancient Egypt as co-regent (first with her two younger brothers and then with her son) for almost three decades. She became the last in a dynasty of Macedonian rulers founded by Ptolemy, who served as general under Alexander the Great during his conquest of Egypt in 332 B.C. Well-educated and clever, Cleopatra could speak various languages and served as the dominant ruler in all three of her co-regencies. Her romantic liaisons and military alliances with the Roman leaders Julius Caesar and Mark Antony, as well as her supposed exotic beauty and powers of seduction, earned her an enduring place in history and popular myth
Since no contemporary accounts exist of Cleopatra’s life, it is difficult to piece together her biography with much certainty. Much of what is known about her life comes from the work of Greco-Roman scholars, particularly Plutarch. Born in 70 or 69 B.C., Cleopatra was a daughter of Ptolemy XII (Auletes). Her mother was believed to be Cleopatra V Tryphaena, the king’s wife (and possibly his half-sister). In 51 B.C., upon the apparently natural death of Auletes, the Egyptian throne passed to 18-year-old Cleopatra and her 10-year-old brother, Ptolemy XIII.
Soon after the siblings’ ascension to the throne, Ptolemy’s advisers acted against Cleopatra, who was forced to flee Egypt for Syria in 49 B.C. She raised an army of mercenaries and returned the following year to face her brother’s forces at Pelusium, on Egypt’s eastern border. Meanwhile, after allowing the Roman general Pompey to be murdered, Ptolemy XIII welcomed the arrival of Pompey’s rival, Julius Caesar, to Alexandria. In order to help her cause, Cleopatra sought Caesar’s support, reportedly smuggling herself into the royal palace to plead her case with him.
For his part, Caesar needed to fund his own return to power in Rome, and needed Egypt to repay the debts incurred by Auletes. After four months of war between Caesar’s outnumbered forces and those of Ptolemy XIII, Roman reinforcements arrived; Ptolemy was forced to flee Alexandria, and was believed to have drowned in the Nile River. Entering Alexandria as an unpopular conqueror, Caesar restored the throne to the equally unpopular Cleopatra and her younger brother Ptolemy XIV (then 13 years old). Caesar remained in Egypt with Cleopatra for a time, and around 47 B.C. she gave birth to a son, Ptolemy Caesar. He was believed to be Caesar’s child, and was known by the Egyptian people as Caesarion, or Little Caesar.
Sometime in 46-45 B.C., Cleopatra traveled with Ptolemy XIV and Caesarion to Rome to visit Caesar, who had returned earlier. After Caesar was murdered in March 44 B.C., Cleopatra went back to Egypt; Ptolemy XIV died soon after, and the three-year-old Caesarion was named co-regent with his mother, as Ptolemy XV. By this point, Cleopatra had strongly identified herself with the goddess Isis, the sister-wife of Osiris and mother of Horus. (This was consistent with the ancient Egyptian tradition of associating royalty with divinity in order to reinforce the position of kings and queens. Cleopatra III had also claimed to be associated with Isis, and Cleopatra VII was referred to as the “New Isis.”)
With her infant son as co-regent, Cleopatra’s hold on power in Egypt was more secure than it had ever been. Still, unreliable flooding of the Nile resulted in failing crops, leading to inflation and hunger. Meanwhile, a conflict was raging in Rome between a second triumvirate of Caesar’s allies (Mark Antony, Octavian and Lepidus) and his assassins, Brutus and Cassius. Both sides asked for Egyptian support, and after some stalling Cleopatra sent four Roman legions stationed in Egypt by Caesar to support the triumvirate. In 42 B.C., after defeating the forces of Brutus and Cassius in the battles of Philippi, Mark Antony and Octavian divided power in Rome.
Mark Antony soon summoned Cleopatra to the Cicilian city of Tarsus (south of modern Turkey) to explain the role she had played in the complicated aftermath of Caesar’s assassination. According to the story recorded by Plutarch (and later dramatized famously by William Shakespeare), Cleopatra sailed to Tarsus in an elaborate ship, dressed in the robes of Isis. Antony, who associated himself with the Greek deity Dionysus, was seduced by her charms. He agreed to protect Egypt and Cleopatra’s crown, pledging support for the removal of her younger sister and rival Arsinoe, then in exile. Cleopatra returned to Egypt, followed shortly thereafter by Antony, who left behind his third wife, Fulvia, and their children in Rome. He spent the winter of 41-40 B.C. in Alexandria, during which he and Cleopatra famously formed a drinking society called “The Inimitable Livers.” In 40 B.C., after Antony’s return to Rome, Cleopatra gave birth to twins, Alexander Helios (sun) and Cleopatra Selene (moon).
After Fulvia took ill and died, Antony was forced to prove his loyalty to Octavian by making a diplomatic marriage with Octavian’s half-sister Octavia. Egypt grew more prosperous under Cleopatra’s rule, and in 37 B.C. Antony again met with Cleopatra to obtain funds for his long-delayed military campaign against the kingdom of Parthia. In exchange, he agreed to return much of Egypt’s eastern empire, including Cyprus, Crete, Cyrenaica (Libya), Jericho and large portions of Syria and Lebanon. They again became lovers, and Cleopatra gave birth to another son, Ptolemy Philadelphos, in 36 B.C.
After a humiliating defeat in Parthia, Antony publicly rejected his wife Octavia’s efforts to rejoin him and instead returned to Egypt and Cleopatra. In a public celebration in 34 B.C. known as the “Donations of Alexandria,” Antony declared Caesarion as Caesar’s son and rightful heir (as opposed to his adopted son, Octavian) and awarded land to each of his children with Cleopatra. This began a war of propaganda between him and the furious Octavian, who claimed that Antony was entirely under Cleopatra’s control and would abandon Rome and found a new capital in Egypt. In late 32 B.C., the Roman Senate stripped Antony of all his titles, and Octavian declared war on Cleopatra.
On September 2, 31 B.C., Octavian’s forces soundly defeated those of Antony and Cleopatra in the Battle of Actium. Cleopatra’s ships deserted the battle and fled to Egypt, and Antony soon managed to break away and follow her with a few ships. With Alexandria under attack from Octavian’s forces, Antony heard a rumor that Cleopatra had committed suicide. He fell on his sword, and died just as news arrived that the rumor had been false.
On August 12, 30 B.C., after burying Antony and meeting with the victorious Octavian, Cleopatra closed herself in her chamber with two of her female servants. The means of her death is uncertain, but Plutarch and other writers advanced the theory that she used a poisonous snake known as the asp, a symbol of divine royalty. According to her wishes, Cleopatra’s body was buried with Antony’s, leaving Octavian (later Emperor Augustus I) to celebrate his conquest of Egypt and his consolidation of power in Rome.
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Leonardo Da Vinci

Leonardo da Vinci was a leading artist and intellectual of the Italian Renaissance who's known for his enduring works "The Last Supper" and "Mona Lisa."



Synopsis
     Born on April 15, 1452, in Vinci, Italy, Leonardo da Vinci was the epitome of a “Renaissance man.” Possessor of a curious mind and keen intellect, da Vinci studied the laws of science and nature, which greatly informed his work as a painter, sculptor, architect, inventor, military engineer and draftsman. His ideas and body of work—which includes "Virgin of the Rocks," "The Last Supper" and "Mona Lisa"—have influenced countless artists and made da Vinci a leading light of the Italian Renaissance.
Humble Beginnings
Leonardo da Vinci was born on April 15, 1452, in a farmhouse nestled amid the undulating hills of Tuscany outside the village of Anchiano in present-day Italy. Born out of wedlock to respected Florentine notary Ser Piero and a young peasant woman named Caterina, he was raised by his father and his stepmothers. At the age of five, he moved to his father’s family estate in nearby Vinci, the Tuscan town from which the surname associated with Leonardo derives, and lived with his uncle and grandparents.
Young Leonardo received little formal education beyond basic reading, writing and mathematics instruction, but his artistic talents were evident from an early age. Around the age of 14, da Vinci began a lengthy apprenticeship with the noted artist Andrea del Verrocchio in Florence. He learned a wide breadth of technical skills including metalworking, leather arts, carpentry, drawing, painting and sculpting. His earliest known dated work—a pen-and-ink drawing of a landscape in the Arno valley—was sketched in 1473.
At the age of 20, da Vinci qualified for membership as a master artist in Florence’s Guild of Saint Luke and established his own workshop. However, he continued to collaborate with his teacher for an additional five years. It is thought that Verrocchio completed his “Baptism of Christ” around 1475 with the help of his student, who painted part of the background and the young angel holding the robe of Jesus. According to Lives of the Most Excellent Painters, Sculptors and Architects, written around 1550 by artist Giorgio Vasari, Verrocchio was so humbled by the superior talent of his pupil that he never picked up a paintbrush again. Most scholars, however, dismiss Vasari’s account as apocryphal.
Florentine court records show that in 1476 da Vinci and four other young men were charged with sodomy, a crime punishable by exile or even death. Although da Vinci was acquitted, his whereabouts went entirely undocumented for the following two years.

“Renaissance Man” Emerges in Milan 

     After leaving Verrocchio’s studio, da Vinci received his first independent commission in 1478 for an altarpiece to reside in a chapel inside Florence’s Palazzo Vecchio. Three years later the Augustinian monks of Florence’s San Donato a Scopeto tasked him to paint “Adoration of the Magi.” The young artist, however, would leave the city and abandon both commissions without ever completing them.
In 1482, Florentine ruler Lorenzo de' Medici commissioned da Vinci to create a silver lyre and bring it as a peace gesture to Ludovico Sforza, who ruled Milan as its regent. After doing so, da Vinci lobbied Ludovico for a job and sent the future Duke of Milan a letter that barely mentioned his considerable talents as an artist and instead touted his more marketable skills as a military engineer. Using his inventive mind, da Vinci sketched war machines such as a war chariot with scythe blades mounted on the sides, an armored tank propelled by two men cranking a shaft and even an enormous crossbow that required a small army of men to operate. The letter worked, and Ludovico brought da Vinci to Milan for a tenure that would last 17 years.
His ability to be employed by the Sforza clan as an architecture and military engineering advisor as well as a painter and sculptor spoke to da Vinci’s keen intellect and curiosity about a wide variety of subjects. Like many leaders of Renaissance humanism, da Vinci did not see a divide between science and art. He viewed the two as intertwined disciplines rather than separate ones. He believed studying science made him a better artist.
Leonardo thought sight was humankind’s most important sense and eyes the most important organ. He stressed the importance of saper vedere, “knowing how to see.” He believed in the accumulation of direct knowledge and facts through observation.
“A good painter has two chief objects to paint—man and the intention of his soul,” da Vinci wrote. “The former is easy, the latter hard, for it must be expressed by gestures and the movement of the limbs.” To more accurately depict those gestures and movements, da Vinci began to seriously study anatomy and dissect human and animal bodies during the 1480s. His drawings of a fetus in utero, the heart and vascular system, sex organs and other bone and muscular structures are some of the first on human record.
In addition to his anatomical investigations, da Vinci studied botany, geology, zoology, hydraulics, aeronautics and physics. He sketched his observations on loose sheets of papers and pads that he tucked inside his belt. He placed the papers in notebooks and arranged them around four broad themes—painting, architecture, mechanics and human anatomy. He filled dozens of notebooks with finely drawn illustrations and scientific observations. His ideas were mainly theoretical explanations, laid out in exacting detail, but they were rarely experimental.
Art and science intersected perfectly in his sketch of “Vitruvian Man,” which depicted a male figure in two superimposed positions with his arms and legs apart inside both a square and a circle. A man ahead of his time, da Vinci appeared to prophesize the future with his sketches of machines resembling a bicycle, helicopter and a flying machine based on the physiology of a bat.

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'The Last Supper' and Other Works

     Leonardo was commissioned to work on numerous projects during his time in Milan. His painting of the “Virgin of the Rocks,” begun in 1483, demonstrated his pioneering use of chiaroscuro—a stark contrast between darkness and light that gave a three-dimensionality to his figures—and sfumato—a technique in which subtle gradations, rather than strict borders, infuse paintings with a softer, smoky aura.
Around 1495, Ludovico commissioned da Vinci to paint “The Last Supper” on the back wall of the dining hall inside the monastery of Milan’s Santa Maria delle Grazie. The masterpiece, which took approximately three years to complete, captures the drama of the moment when Jesus informs the Twelve Apostles gathered for Passover dinner that one of them would soon betray him. The range of facial expressions and the body language of the figures around the table bring the masterful composition to life. The decision by da Vinci to paint with tempera and oil on dried plaster instead of painting a fresco on fresh plaster led to the quick deterioration and flaking of “The Last Supper.” Although an improper restoration caused further damage to the mural, it has now been stabilized using modern conservation techniques.
In addition to having da Vinci assist him with pageants and designing a dome for Milan’s cathedral, the Duke of Milan tasked the artist with sculpting a 16-foot-tall bronze equestrian statue of his father and founder of the family dynasty, Francesco Sforza. With the help of apprentices and students in his workshop, da Vinci worked on the project on and off for more than a dozen years. Leonardo sculpted a life-size clay model of the statue, but the project was put on hold when war with France required bronze to be used for casting cannons, not sculptures. After French forces overran Milan in 1499—and shot the clay model to pieces—da Vinci fled the city along with the duke and the Sforza family.

Return to Florence and “Mona Lisa”

After brief stays in Mantua and Venice, da Vinci returned to Florence. In 1502 and 1503, he briefly worked as a military engineer for Cesare Borgia, the illegitimate son of Pope Alexander VI and commander of the papal army. He traveled outside of Florence to survey military construction projects and sketch city plans and topographical maps. He designed plans, possibly with noted diplomat Niccolò Machiavelli, to divert the Arno River away from rival Pisa in order to deny its wartime enemy access to the sea.
Upon his return to Florence in 1503, da Vinci started work on the “Battle of Anghiari,” a mural commissioned for the council hall in the Palazzo Vecchio that was to be twice as large as “The Last Supper.” However, he abandoned the project after two years when the mural began to deteriorate before he had a chance to finish it.
     At the same time he began the “Battle of Anghiari,” da Vinci started working in 1503 on what would become his most well known painting—and arguably the most famous painting in the world—the “Mona Lisa.” The privately commissioned work is characterized by the enigmatic smile of the woman in the half-portrait, which derives from da Vinci’s sfumato technique.
Adding to the allure of the “Mona Lisa” is the mystery surrounding the identity of the subject. Princess Isabella of Naples, an unnamed courtesan and da Vinci’s own mother have been put forth as potential sitters for the masterpiece. It has even been speculated that the subject wasn’t a female at all but da Vinci’s longtime apprentice Salai dressed in women’s clothing. Based on accounts from an early biographer, however, the "Mona Lisa" is a picture of Lisa del Giocondo, the wife of a wealthy Florentine silk merchant. The painting’s original Italian name—“La Gioconda”—supports the theory, but it’s far from certain. Some art historians believe the merchant commissioned the portrait to celebrate the pending birth of the couple’s next child, which means the subject could have been pregnant at the time of the painting.
If the Giocondo family did indeed commission the painting, they never received it. For da Vinci, the "Mona Lisa" was forever a work in progress, as it was his attempt at perfection. Leonardo never parted with the painting. Today, the "Mona Lisa" hangs in the Louvre Museum in Paris, France, secured behind bulletproof glass and regarded as a priceless national treasure seen by millions of visitors each year.


Final Years

     Leonardo returned to Milan in 1506 to work for the very French rulers who had overtaken the city seven years earlier and forced him to flee. Among the students who joined his studio was young Milanese aristocrat Francesco Melzi, who would become da Vinci’s closest companion for the rest of his life. He did little painting during his second stint in Milan, however, and most of his time was instead dedicated to scientific studies.
Ironically, Gian Giacomo Trivulzio, who had led the French forces who conquered Ludovico in 1499, followed in his foe’s footsteps and commissioned da Vinci to sculpt a grand equestrian statue, one that could be mounted on his tomb. After years of work and numerous sketches by da Vinci, Trivulzio decided to scale back the size of the statue, which was ultimately never finished.
Amid political strife and the temporary expulsion of the French from Milan, da Vinci left the city and moved to Rome in 1513 along with Salai, Melzi and two studio assistants. Giuliano de’ Medici, brother of newly installed Pope Leo X and son of his former patron, gave da Vinci a monthly stipend along with a suite of rooms at his residence inside the Vatican. His new patron, however, also gave da Vinci little work. Lacking large commissions, he devoted most of his time in Rome to mathematical studies and scientific exploration.
After being present at a 1515 meeting between France’s King Francis I and Pope Leo X in Bologna, the new French monarch offered da Vinci the title “Premier Painter and Engineer and Architect to the King.” Along with Melzi, the Tuscan native departed for France, never to return. He lived in the Chateau de Cloux (now Clos Luce) near the king’s summer palace along the Loire River in Amboise. As in Rome, da Vinci did little painting during his time in France. One of his last commissioned works was a mechanical lion that could walk and open its chest to reveal a bouquet of lilies. He continued work on his scientific studies until his death at the age of 67 on May 2, 1519. Da Vinci's assistant, Melzi, became the principal heir and executor of his estate. The “Mona Lisa” was bequeathed to Salai.
Although da Vinci is known for his artistic abilities, fewer than two-dozen paintings attributed to him exist. One reason is that his interests were so varied that he wasn’t a prolific painter. For centuries afterward, however, thousands of pages from his private journals with notes, drawings, observations and scientific theories have surfaced and provided a fuller measure of a true “Renaissance man.”
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