1 00:00:05,620 --> 00:00:13,870 I include here not your typical image to display or discuss mechanics with, 2 00:00:13,870 --> 00:00:23,770 but for Leonardo certainly was how he understood the movements of animals and and of people was very much mechanical problem for him and, 3 00:00:23,890 --> 00:00:28,210 and for his and for his associates and indeed much later in his career. 4 00:00:28,840 --> 00:00:35,320 Around 1510, he said The Book of the Science of Mechanics, which we were discussing outside just moments ago, 5 00:00:36,040 --> 00:00:46,209 must proceed the book of Useful Inventions, where he sort of places a book that he that he refers to as the book of mechanics, now known as the Codex. 6 00:00:46,210 --> 00:00:55,900 Madrid won a book of presentation drawings that discuss principles of mechanics, principles of statics, 7 00:00:55,900 --> 00:01:02,200 which is the science of weights and principles of of dynamics, which is the science of, of, of movement. 8 00:01:02,680 --> 00:01:09,819 And in this case, what, what I'll talk about is how that then worked with the rest of his work and how how 9 00:01:09,820 --> 00:01:13,930 he considered the mechanical principles underlying a lot of things in nature, 10 00:01:14,650 --> 00:01:18,820 including, for example, notes on the vascular system that you see here, 11 00:01:18,820 --> 00:01:26,830 along with notes on staircases that he, of course, as we know with Leonardo, like to relate the problems of both of them, 12 00:01:26,830 --> 00:01:34,930 how things work in the body as well as in architecture and the microcosm, the macrocosm, for example. 13 00:01:35,200 --> 00:01:42,240 And in this case, right next to the vascular study, he notes that as with Ptolemy's cosmograph here, 14 00:01:42,650 --> 00:01:52,150 he he recommends that his that his books on anatomy and his other books be organised according to told according to an organisational system of four, 15 00:01:52,150 --> 00:01:57,820 4 to 8 parts, just like Ptolemy had done with this cosmograph here and indeed early on in his 16 00:01:57,820 --> 00:02:01,690 career when he started making these notes and presentation drawings just like this, 17 00:02:01,690 --> 00:02:09,790 this brachial, brachial plexus drawing of 1490, he started looking at structural problems and proportional issues with structure. 18 00:02:10,240 --> 00:02:12,940 And you see that here with the with the study on the left. 19 00:02:13,180 --> 00:02:18,459 And then later in 1506, he's then looking at what the brachial plexus really looks like, as you can see here. 20 00:02:18,460 --> 00:02:24,340 And I've included a little diagram of, of, of, of how we see those in medical illustrations today. 21 00:02:25,420 --> 00:02:31,749 But that gets that shows you how he sort of sees the body in mechanical and proportional terms and geometrical terms as well. 22 00:02:31,750 --> 00:02:38,470 And this is one of the drawings planned for the exhibition of the brachial plexus, a proportional arrangement as well here, 23 00:02:38,770 --> 00:02:49,360 an analysis with along with the a wing design, a glider wing design down below, and another type of wing design just above that. 24 00:02:50,300 --> 00:02:55,130 Also his heart studies to include another discussion happening with the exhibition. 25 00:02:56,540 --> 00:03:09,229 Drawing examples is that he, unusually for his time, came up with experiments to prove it, to show how the tricuspid valve system worked. 26 00:03:09,230 --> 00:03:24,710 This this three semi lunar valve system how it closes he proposed was with was with vortices that would sort of enter this area here in the heart. 27 00:03:25,040 --> 00:03:27,229 And so he said to produce this kind of thing, 28 00:03:27,230 --> 00:03:35,809 make a plaster mould that would be blown with thin glass inside them, break it from the head to foot at a end. 29 00:03:35,810 --> 00:03:39,830 He's putting an up right if right here to describe. 30 00:03:40,590 --> 00:03:46,850 Well, you can see at the top and here is describing then how to produce an experiment that shows that the 31 00:03:46,850 --> 00:03:53,329 vortices inside this of this object operate just like the vortices inside the heart that operate. 32 00:03:53,330 --> 00:03:58,040 Therefore, the that close the the trust tricuspid valve. 33 00:03:58,370 --> 00:04:04,249 So on the left, you can see how this really works in in medical practice, 34 00:04:04,250 --> 00:04:13,340 how one sees this with a scan and then on the right, a study with a blown glass at Caltech in 2005 or 2004. 35 00:04:13,340 --> 00:04:20,600 I recall where they were showing the vortices as well. Previously it was thought the tricuspid valve was closed with pressure, but it's not. 36 00:04:20,600 --> 00:04:25,070 It's closed with the help of these vortices moving instead of just pressure from above. 37 00:04:26,240 --> 00:04:31,760 So that said about anatomical studies and how that contributed to his understanding of the 38 00:04:31,760 --> 00:04:36,290 mechanics of the heart and the body and rather sophisticated approaches to mechanics. 39 00:04:36,860 --> 00:04:42,200 What do we know about his works in general and how that how those works sort of relate to the mechanical studies? 40 00:04:42,200 --> 00:04:48,469 First of all, we know that he produced 6000 notes and drawings of an estimated 18,000 or more. 41 00:04:48,470 --> 00:04:56,420 I mean, this is these these are the only ones that survive the 6000 notes and drawings and and of the paintings he's known to produce 42 00:04:56,420 --> 00:05:03,889 less than a couple of dozen that that he had a major part in and then maybe 25 that he designed or had contributions to. 43 00:05:03,890 --> 00:05:05,540 And so this is the full list of those. 44 00:05:05,990 --> 00:05:14,840 But but those won't be the primary discussion today at the moment Book of Mechanics the the Codex Madrid one here on the left 45 00:05:15,260 --> 00:05:23,839 and the book on painting are two finished books that he had done that Luca Pacioli referred to in 1498 and and his student, 46 00:05:23,840 --> 00:05:28,969 Francesco Maltz, he made a copy of the treatise on painting that now survives in the printed version that you see here. 47 00:05:28,970 --> 00:05:39,290 The original is lost, actually. So what did he do for this book on on mechanics, one he studied of springs and fuse mechanisms for clocks, 48 00:05:39,290 --> 00:05:43,640 for example, how to regulate the force of the spring as it as it unwinds. 49 00:05:44,240 --> 00:05:49,580 And this is the type of fusion mechanism at the bottom of the page here on the left and right, in the centre of the page. 50 00:05:49,580 --> 00:06:00,830 Right, that that that regulates the even movement of the power of the spring as it as it loses its power, as it unwinds. 51 00:06:01,970 --> 00:06:08,120 The later in his career, he would still work with springs in this case for a flintlock mechanism for which there's no precedent. 52 00:06:08,120 --> 00:06:14,029 We don't think he invented the flintlock mechanism, but but this is rather impressive and there is no precedent for it. 53 00:06:14,030 --> 00:06:26,689 We don't know how how if he is the originator of this of this design, but his real reason for going to Milan in 1483 and then getting the job in 1489, 54 00:06:26,690 --> 00:06:30,220 eventually four, with Ludovico Sforzo, who's pictured here, is on the left. 55 00:06:30,260 --> 00:06:34,219 On the right was to work on was was initially as a musician. 56 00:06:34,220 --> 00:06:41,270 So even though known as a painter, he he went as a musician and would later help with festivals and make things like this. 57 00:06:41,270 --> 00:06:47,960 This is a lyric the braccio in a dragon head form that he designed for for festivals. 58 00:06:48,380 --> 00:06:57,560 This is this there is good there are good suggestions that this is perhaps a portrait of Leonardo as Orpheus 59 00:06:57,560 --> 00:07:07,070 playing a lyric the braccio in 1505 by Marcantonio Raimondi and and he also designed programmable machines. 60 00:07:07,070 --> 00:07:10,040 This was quite clever before his time as well, 61 00:07:10,040 --> 00:07:19,609 where he where one can program these cards right here on the machine to to operate the drum, the drum beats as as it moves along. 62 00:07:19,610 --> 00:07:26,509 The other here is a type of piano or Clive a chord which one can carry around at the festival, 63 00:07:26,510 --> 00:07:30,589 walk around with it playing the stabbed chord that we need more of those I think. 64 00:07:30,590 --> 00:07:33,799 But but what if you want to say that's before its time. 65 00:07:33,800 --> 00:07:37,530 That's that's a fair argument I think. Whereas I normally don't say that's a fair. 66 00:07:37,970 --> 00:07:47,629 But so this is a stage set for Orpheus here where Orpheus as as the mountain opens up, the underworld opens up. 67 00:07:47,630 --> 00:07:51,660 As that happens, as you can see on the dial. I'm on the right or on the left here. 68 00:07:52,560 --> 00:07:56,310 Orpheus comes into the underworld. He's there to, of course, rescue his wife. 69 00:07:56,730 --> 00:08:00,710 And and. And we see the underworld open up like this. 70 00:08:00,720 --> 00:08:07,410 It would have had candles inside it like that. And the home of the general for the for the forces in Milan. 71 00:08:07,410 --> 00:08:09,930 In fact, he must have been rather nervous about that, 72 00:08:10,320 --> 00:08:19,320 but rather ingenious theatrical work that he had to do for Ludovica Sforza, what he was hired to do in 1489. 73 00:08:19,500 --> 00:08:23,580 The full time job that he received was to do this was to make a giant horse. 74 00:08:24,000 --> 00:08:30,600 This is a copy or an example of one in 1996, I believe was finally finished. 75 00:08:31,560 --> 00:08:35,910 That was never finished, however, because the bronze had to be shipped away in 1493. 76 00:08:36,240 --> 00:08:39,389 But he did. He made impressive designs for the horse. 77 00:08:39,390 --> 00:08:44,880 And to give you an example of some of the type, some of the engineering work he had to do for the for the project. 78 00:08:45,570 --> 00:08:53,100 This is a short video at the Museo Galileo that shows the structure of the upper the apparatus 79 00:08:53,550 --> 00:09:05,280 that's required to hold the tesserae in place while one puts the wax figure into a mould. 80 00:09:06,250 --> 00:09:12,700 And lowers that that mould with of wax figure into the ground as this is made to do. 81 00:09:13,390 --> 00:09:16,600 And you can see that it's operated with a winch on the right. 82 00:09:17,560 --> 00:09:30,220 And can lower this very large horse into the ground where where then molten bronze would be poured into into the mould and the wax then melted away. 83 00:09:30,790 --> 00:09:39,399 And you would have the horse molten wax, the molten you would have the bronze horse then to pull out after it's. 84 00:09:39,400 --> 00:09:42,980 After it's. Sufficiently cooled. 85 00:09:44,120 --> 00:09:45,019 It didn't happen, 86 00:09:45,020 --> 00:09:54,620 but it was planned in such a way that he included studies of how to work with difficult combinations of compound pulleys, for example. 87 00:09:55,840 --> 00:10:00,160 So that gives you an example of how how well thought out the program was. 88 00:10:00,430 --> 00:10:09,810 Another example is this water clock that he had done and had to calculate the diameters of the each vessel for for each vessel that would fill up. 89 00:10:09,820 --> 00:10:12,430 This is 24. There were 24 vessels. 90 00:10:12,430 --> 00:10:21,009 And he would calculate with the rule of three how to how the each developed vessel would be, what would fill and then drop and then operate. 91 00:10:21,010 --> 00:10:23,830 This Jack Smart here to hit the bell every hour. 92 00:10:24,850 --> 00:10:31,150 The other another device here is a perpetual water pump, theoretically perpetual, because it doesn't manage the friction properly. 93 00:10:31,510 --> 00:10:35,050 But as you can see here, it has two buckets of water. 94 00:10:35,080 --> 00:10:38,560 As one fills, it drops and pushes the piston down this way. 95 00:10:38,860 --> 00:10:42,129 And then that pushes water up here to fill up this other bucket. 96 00:10:42,130 --> 00:10:46,120 And in the process happens on the other side. Rather clever device. 97 00:10:47,530 --> 00:10:53,720 Generally, though, his ideas are perpetual motion or rather theoretical, and he puts them in these little tiny notebooks. 98 00:10:53,800 --> 00:11:00,070 I wanted to bring one end to show you that and have that for the living book outside as well, the Living Library. 99 00:11:00,340 --> 00:11:08,169 But these tiny notes, I think people don't realise when they see an image how big the text is for one thing, but this is just an idea for him. 100 00:11:08,170 --> 00:11:12,819 And then he formalised that in his book on mechanics with larger text. 101 00:11:12,820 --> 00:11:20,470 Easier to read all of it from from with the left hand, starting at the right hand of the page and going left, however. 102 00:11:22,530 --> 00:11:27,540 And so programmable automatic cart is something he study fairly early on. 103 00:11:27,790 --> 00:11:36,510 There was there was some fascination in the early 19th, early 20th century with this kind of vehicle that people wanted to see it built. 104 00:11:37,200 --> 00:11:44,980 But what's what's really clever is it's programmable. These cams here, depending on where you put them, determine how to how to steer the car. 105 00:11:45,000 --> 00:11:51,390 So it's it's governed with with with springs in here that help to steer it. 106 00:11:51,830 --> 00:11:55,799 What it helped to propel it forward. But then it steers. So let's see. 107 00:11:55,800 --> 00:11:58,830 We have other examples here. Flying machines, for example. 108 00:11:58,830 --> 00:12:01,080 This is a cart. I'm sorry? A kite. 109 00:12:01,470 --> 00:12:09,990 That that you then operate across a river and then you land on the other side with these air filled wine bags on the other side of the river. 110 00:12:11,100 --> 00:12:17,400 So if you if you dare if you dare want to use that kite so other types of gliders and flapping machines he considered 111 00:12:18,000 --> 00:12:24,569 that were that were perhaps for short trips you know not necessarily for for long flights even though he would say, 112 00:12:24,570 --> 00:12:32,070 you know, that you could jump off of a of a of a tower to test the flying machine so that he did he did mention that that's an option. 113 00:12:32,430 --> 00:12:38,280 Other mechanical devices these are automata in the 16th century that that would be that would follow 114 00:12:38,550 --> 00:12:43,350 sort of follow on from these kinds of ways of thinking about automatic devices like flying machines. 115 00:12:43,980 --> 00:12:50,160 The same goes for the giant crossbow and military engineering project that you see here. 116 00:12:50,490 --> 00:12:55,870 Giant, giant catapults that he that he thought about. This was the standard way of designing things at the time. 117 00:12:55,890 --> 00:13:04,410 This is Francesco to George Martini. And and what Leonardo had done had improved the the accuracy of the design process by breaking it 118 00:13:04,410 --> 00:13:10,320 down into three part proportions and then making the length and width proportional to one another. 119 00:13:10,590 --> 00:13:14,669 So he made numerous studies to make that work for for the giant crossbow study. 120 00:13:14,670 --> 00:13:19,200 These are metal stylus marks on the on the page. If I darken the page that's what it looks like now. 121 00:13:19,800 --> 00:13:28,230 And and then a you'd used Euclidean proportional theories for determining how the ratios should work. 122 00:13:28,770 --> 00:13:39,030 So this was built actually by 18 factual television and this is a video of how they they tried to get it to machine will operate. 123 00:13:40,040 --> 00:13:44,220 Watch out for ten. Anyone seen this? 124 00:13:45,670 --> 00:13:48,670 This time, it's closer to Leonardo's original design. 125 00:13:49,210 --> 00:13:58,620 But will that make a difference? They use the modern style of our armature or from the first shot. 126 00:13:58,720 --> 00:14:01,840 They only draw the boat back a quarter of its potential distance. 127 00:14:02,110 --> 00:14:05,860 To work it in gently because of the huge forces involved. 128 00:14:06,280 --> 00:14:12,340 It could be lethal if the boat shatters. So it's not Leonardo's armature design. 129 00:14:12,520 --> 00:14:22,350 Exactly. The boat is working well, so they decide to do it next night. 130 00:14:22,360 --> 00:14:27,440 So they've done this again and they've then used my I had since that time I'd produced a book on this. 131 00:14:27,460 --> 00:14:31,330 In fact, I was encouraged by it and factual for whom I had done the study initially. 132 00:14:31,600 --> 00:14:36,159 And then I and then now that now my studies for the crossbow are used for this 133 00:14:36,160 --> 00:14:40,389 where the where the chassis is is a little different than what I recommended. 134 00:14:40,390 --> 00:14:44,650 But the armature is fairly sophisticated and one can see that from from above here. 135 00:14:45,520 --> 00:14:45,879 Still, 136 00:14:45,880 --> 00:14:54,090 it doesn't necessarily have the power that it's supposed to have the quality of out of the skin and then keep giving evidence and you keep doing that. 137 00:14:54,100 --> 00:15:01,720 I'll get back to reality. But that's when you have to run some on the Tea Party or maybe elites out of business and training and development. 138 00:15:01,920 --> 00:15:08,709 My solo picked up an engineer. Money's going to seduce their person up to the machine of Lumumba's inevitable to give 139 00:15:08,710 --> 00:15:13,000 in to their reality when the basically cyclamate the probability they run the ship. 140 00:15:13,000 --> 00:15:16,150 Zack 1% for Phantom. 141 00:15:16,240 --> 00:15:19,750 Very nice. Anyway, it works. And then the. 142 00:15:19,780 --> 00:15:25,300 I mean, it doesn't work. See my line of design, but, but, you know, it's a better design to some extent than the other one. 143 00:15:26,170 --> 00:15:31,510 The The Last Supper is another one I'd talk about, but but I won't talk about it in depth right now. 144 00:15:31,930 --> 00:15:36,810 What the main thing that I would mention about it is that the mechanics of human emotion are then and get 145 00:15:36,820 --> 00:15:44,440 addressed by Leonardo in this where he addresses with the perspective focussed on Christ's right temple. 146 00:15:45,010 --> 00:15:51,339 He he focuses the the vanishing point at to the centre of the room and it expands 147 00:15:51,340 --> 00:15:55,570 to the rest of the room by virtue of of extending from his sort of mind, 148 00:15:56,140 --> 00:16:05,320 which Leonardo theory theorised about the centre of the brain being the census communists of the common sense where the soul is also located. 149 00:16:05,800 --> 00:16:11,379 And so Leonardo was looking at at the time the way in which the Spirit of the Lord 150 00:16:11,380 --> 00:16:15,400 filled the whole world is this as this was produced for the sports accord as well, 151 00:16:15,670 --> 00:16:20,860 and, and the mechanics of, of of of the spirit of nature and, 152 00:16:21,040 --> 00:16:29,079 and of the room being engaged with also using Euclid as a as a source at the bottom of this page for looking at the 153 00:16:29,080 --> 00:16:35,050 organisation of the painting and the emotional expressions of the figures and the and the tragedy of the event, 154 00:16:35,410 --> 00:16:44,680 the organisation of it reflects back on in fact Masaccio's Trinity and the organisation of that in in perfect balanced form. 155 00:16:45,460 --> 00:16:55,000 And it also reflects and then Rafael would reflect back on it for his designs for the Stanza Della signature of the the School of Athens, 156 00:16:55,000 --> 00:17:06,100 for example, where you see in the background Brunelleschi's plan for St Peter's that Rafael has appropriately added in to the design. 157 00:17:06,550 --> 00:17:10,090 And so proportions of music are also engaged in this. 158 00:17:10,360 --> 00:17:13,149 And if you extrude the painting, if you bring it out of it, 159 00:17:13,150 --> 00:17:19,900 you can see that the proportions of the tapestries are disproportionate in perspectival form, but in musical proportions. 160 00:17:19,900 --> 00:17:23,770 An octave, a fifth and a fourth are recreated in in the in the tapestries. 161 00:17:24,130 --> 00:17:32,680 So this is something that that sort of develops a musical expression of the painting, also addressing Christ's engagement and so forth. 162 00:17:33,490 --> 00:17:37,690 Should we look to paintings like the Mona Lisa for mechanical issues as well? 163 00:17:38,230 --> 00:17:41,620 If we look at how the Mona Lisa is to reflect the nature behind her in the 164 00:17:41,620 --> 00:17:46,630 activities of of the of the moving water and the actions of nature behind her, 165 00:17:46,870 --> 00:17:55,450 certainly she is she's a reflection of the mechanics of nature herself, as she's a sort of Mother Nature figure in her own right in this context. 166 00:17:55,930 --> 00:18:02,050 So Leonardo is is is connecting her to the nature behind her through the folds on her garments. 167 00:18:02,350 --> 00:18:08,200 So you see the undulating movements of the car, squirrel folds that that add to that energy. 168 00:18:08,590 --> 00:18:17,200 So to conclude, I would say that that as we look at how he organises his series of books on human human 169 00:18:17,200 --> 00:18:23,230 nature and and and anatomy and mechanics and painting and various other subjects, 170 00:18:24,400 --> 00:18:32,890 he also organises all of that so that the book of mechanics precedes those of his universe books on useful inventions, 171 00:18:33,580 --> 00:18:38,500 and and that that underlies a lot of what his work is about for him. 172 00:18:39,280 --> 00:18:39,670 Thank you.