Lost Drawing by Leonardo da Vinci Reveals the Secrets of His Ideal Horse!

On June 9th, during the conference “The Ideal Horse of Leonardo da Vinci,” held at the European Parliament in Rome, a drawing of a horse attributed to the genius of Leonardo da Vinci was presented. The artwork belongs to a private French collection and is estimated to be from the late 15th to early 16th century, thanks to a Carbon 14 analysis and the wonderful discovery, by paper expert Stefano Fortunati, of identical paper in the Ginori archives in Florence. The double-sided drawing (45.3 × 27.5 cm) was made in sanguine, with a composition compatible with the minerals found in Lombardy.

This is the horse with perfect proportions, which corresponds to Leonardo’s search for an “ideal horse” for the equestrian monument in memory of Francesco Sforza (whose purpose is still unknown, despite some attempts at reconstruction). Beyond its undeniable beauty, this drawing was executed with incredible geometric precision. On the back of the drawing is a study of a horse, with real proportions similar to studies from the Windsor collection.

The ideal horse of Leonardo da Vinci: technical analysis

Each part of Leonardo’s ideal horse drawing is inserted into golden rectangles. As explained by specialist Annalisa Di Maria, a member of the board of directors of the UNESCO Center in Florence and one of the greatest experts on Leonardo da Vinci, “With Professor Jean-Charles Pomerol, who has presided over the University of Pierre and Marie Curie and the CNRS in Paris and is one of the greatest mathematicians, we meticulously analyzed Leonardo’s drawing. Through a thorough scientific study conducted on the artwork, research has revealed that the entire drawing was elaborated based on the golden ratio and with great complexity. Leonardo was passionate about geometry and one of the most illustrious representatives of neoplatonism, in search of divine perfection. Mathematics were his main tools. This magnificent horse highlights his genius.”

The golden ratio: giving shape to perfection

The inscription of the drawing within the golden rectangles gives the subject sublime harmony. The master’s hand is not only visible in the geometric perfection of the drawing, but also in its incomparable style. The precise hand, the practically divine technique, the play of light and shadow, and the hatching that give a sense of movement and expressiveness to the subject are all characteristics already present in other drawings by the Florentine master, especially those related to the study of the human body. The same stylistic technique can be found in works such as the study of a dog and a nude man (early 16th century) from the Windsor collection, as well as in horse studies preserved at the Royal Library of Turin.

Leonardo was fascinated by horses and considered them equal to humans. As a result, Leonardo da Vinci’s ideal horse draws inspiration from human proportions, where man and science had a considerable place during the Renaissance. Over the years, the master made several horse studies, filling various notebooks with his drawings. Giorgio Vasari in his “Lives” and Giovanni Paolo Lomazzo in his “Treatise on the Art of Painting” referred to Leonardo’s horse studies and drawings. Unfortunately, many have been lost to this day. Throughout his life, Leonardo succeeded several times in “giving shape to perfection.” With this drawing, the master once again shares his unparalleled artistic technique and approaches the divine. This drawing is a very important imprint of the hand of the genius, which, over 500 years after his death, continues to awe the world with his masterpieces.

An Analysis of the Authenticity of the Ideal Horse

It is imperative to address some critical aspects regarding the Ideal Horse drawing attributed to Leonardo da Vinci.

Firstly, the provenance of the drawing lacks any substantial evidence supporting its authenticity. The claim that the drawing was in the collection of the Duke of Urbino, Federico II della Rovere, remains unfounded without concrete documentation. Secondly, the drawing’s style, composition, and technique do not adhere to Leonardo’s signature mannerisms. The execution of the Ideal Horse appears inconsistent with the level of refinement and precision characteristic of Leonardo’s oeuvre. Thirdly, the lack of comparisons with other undisputed works by Leonardo weakens the argument for attribution. A comprehensive analysis of the drawing must involve a comparison with Leonardo’s extant works to identify common elements and techniques. Lastly, the use of forensic methods, such as Carbon-14 dating, cannot solely authenticate the work as it fails to account for factors like artist imitation or forgery. Therefore, a multifaceted approach involving connoisseurship and technical analysis is necessary to evaluate the Ideal Horse drawing’s authenticity.

In conclusion, while the Ideal Horse drawing may hold merit as a work of art in itself, it falls short of meeting the stringent criteria required for attributing it to Leonardo da Vinci. Until further convincing evidence surfaces, we should exercise caution in accepting the Ideal Horse drawing as a genuine work by Leonardo da Vinci.