HKB
presence of the great forces of life, he perceives his condition as in childhood and seeks to disavow his despair through a regressive revival of the protecting forces of childhood.
It does not seem that Leonardo's life disproves this conception of religious belief. Accusations charging him with irreligiousness, which in those times was equivalent to renouncing Christianity, were brought against him already in his lifetime, and were clearly described in the first biography given by Vasari.[70] In the second edition of his Vite (1568) Vasari left out this observation. In view of the extraordinary sensitiveness of his age in matters of religion it is perfectly comprehensible to us why Leonardo refrained from directly expressing his position to Christianity in his notes. As investigator he did not permit himself to be misled by the account of the creation of the holy scriptures; for instance, he disputed the possibility of a universal flood, and in geology he was as unscrupulous in calculating with hundred thousands of years as modern investigators.
Among his "prophecies" one finds some things that would perforce offend the sensitive feelings of a religious Christian, e.g. Praying to the images of Saints, reads as follows:[71]
"People talk to people who perceive nothing, who have open eyes and see nothing; they shall talk to them and receive no answer; they shall adore those who have ears and hear nothing; they shall burn lamps for those who do not see."
Or: Concerning mourning on Good Friday (p. 297):
"In all parts of Europe great peoples will bewail the death of one man who died in the Orient."
It was asserted of Leonardo's art that he took away the last remnant of religious attachment from the holy figures and put them into human form in order to depict in them great and beautiful human feelings. Muther praises him for having overcome the feeling of decadence, and for having returned to man the right of sensuality and pleasurable enjoyment. The notices which show Leonardo absorbed in fathoming the great riddles of nature do not lack any expressions of admiration for the creator, the last cause of all these wonderful secrets, but nothing indicates that he wished to hold any personal relation to this divine force. The sentences which contain the deep wisdom of his last years breathe the resignation of the man who subjects himself to the laws of nature and expects no alleviation from the kindness or grace of God. There is hardly any doubt that Leonardo had vanquished dogmatic as well as personal religion, and through his work of investigation he had withdrawn far from the world aspect of the religious Christian.
From our views mentioned before in the development of the infantile psychic life, it becomes clear that also Leonardo's first investigations in childhood occupied themselves with the problems of sexuality. But he himself betrays it to us through a transparent veil, in that he connects his impulse to investigate with the vulture phantasy, and in emphasizing the problem of the flight of the bird as one whose elaboration devolved upon him through special concatenations of fate. A very obscure as well as a prophetically sounding passage in his notes dealing with the flight of the bird demonstrates in the nicest way with how much affective interest he clung to the wish that he himself should be able to imitate, the art of flying: "The human bird shall take his first flight, filling the world with amazement, all writings with his fame, and bringing eternal glory to the nest whence he sprang." He probably hoped that he himself would sometimes be able to fly, and we know from the wish fulfilling dreams of people what bliss one expects from the fulfillment of this hope.