Leonardo da Vinci’s Mental Models:
Secrets of the World’s Most Famous Polymath (Learning how to Learn Book 26)
By Peter Hollins, narrated by russell newton."The painter has the universe in his mind and hands."
Leonardo da Vinci Leonardo da Vinci is universally recognized as a genius
painter,
polymath,
and the world’s first and truest Renaissance man.
But who was he really?
Beyond the abundant myths and conjecture about his life,
da Vinci was a man who was defined by nothing if not his insatiable curiosity.
He was not just a painter but an inventor,
scientist,
artisan,
draughtsman,
philosopher,
botanist,
sculptor,
musician,
and nature-lover.
In fact,
so diverse were his talents and interests that part of his appeal must lie in
the fact that we sense in da Vinci something that transcends superficial
categories and speaks to something more subtle and profound.
In this book,
we’ll be exploring the mind of arguably one of the greatest thinkers and
creators of all time.
His works are well known,
and his biography has been told and retold countless times.
Here,
however,
we will look not at what he thought,
but how he thought ...and perhaps glean some small insight to why.
Da Vinci’s life course has proved so fascinating that it’s held our
continued interest for more than five hundred years,
with modern scholars returning to his work again and again to find fresh
insight into our modern-day problems.
Whether you are a scientist,
an artist,
a little of both,
or neither,
you will hopefully find something in these pages to inspire you.
By carefully studying the attitude and life philosophy of a man who was
obsessed with learning,
we can imbue our own lives with a little of that same passion and fire.
Da Vinci demonstrated thinking that was broad as well as deep,
flexible,
and inquisitive,
three dimensional and multisensory.
He was self-directed and prolific,
but also extremely meticulous in his organization.
But the man was also an enigma,
and historians continue to puzzle over some of his less well-understood
tendencies and methods.
In the chapters that follow,
we’ll take da Vinci for our model and try to recreate some of his
characteristics in our own lives,
whether that’s the ability to think holistically,
to blur boundaries,
or to cultivate the humility to continually subject yourself to a higher
authority - not wealth or fame,
but the deeper mysteries of the universe itself.
First of all,
a little more about the man who inspired this book.
Born the twenty-fourth of April in 1452,
in the small Tuscan town of Vinci,
Florence,
the young genius had fairly humble beginnings.
He was the son of rich legal notary Messer Piero Fruosino di Antonio da Vinci
and a poor orphaned servant girl,
Caterina di Meo Lippi.
He was christened "Leonardo di ser Piero da Vinci," and his full name meant
"Leonardo,
son of Messer Piero from Vinci."
The title "ser" showed that his father was considered a gentleman.
His parents were unmarried,
and his conception possibly occurred while his father was engaged to someone
else,
so Leonardo’s position in the family was somewhat contentious.
He lived with his mother till he was five,
and then with his father,
who had by then married a sixteen-year-old girl named Albiera.
Altogether his father produced twelve more children and married four times,
leaving Leonardo and his seven brothers to fight over his father’s estate
after his death.
The illegitimacy of his birth meant that Leonardo was officially recognized as
da Vinci’s son but received little attention,
which resulted in a very informal education.
He learned the rudiments of reading,
writing,
and arithmetic,
but much of his learning occurred through his own efforts of observation and
exploring the new ideas emerging in the Florentine milieu.
At the age of fourteen,
his father’s connections allowed Leonardo to secure an apprenticeship under
master painter Andrea del Verrocchio,
who himself had studied under the sculptor Donatello.
Leonardo worked hard and eventually became a paid employee,
gradually embedding himself in the emerging Renaissance art scene that included
Botticelli,
Ghirlandaio,
Michaelangelo (a later rival),
Masaccio,
and Perugino.
Da Vinci helped his master paint The Baptism of Christ,
and legend has it that when Verrocchio saw the beauty of the angel Leonardo had
created,
he never painted again.
At the time,
the ultra-powerful and influential Medici family controlled much of the city,
and in 1481,
da Vinci was commissioned by Lorenzo de' Medici (known as "Lorenzo the
Magnificent")
to paint an altarpiece for the church of San Donato.
This work was never actually completed,
however—a theme we will explore in a later chapter!
From that point on,
da Vinci was employed by Ludovico Sforza,
where he produced some of his most famous works,
including the Virgin of the Rocks and The Last Supper.
He also painted pieces for a wide variety of notable people,
including King Louis Xii of France.
Leonardo was just sixty-seven when he died,
reportedly full of repentance and mourning.
Astonishingly,
he is reported to have said,
“I have offended God and mankind because my work did not reach the quality it
should have."
In his will he requested that sixty beggars bearing candles follow his casket
during the funeral rites,
and he was buried at the Chapel of Saint-Hubert in France.
Da Vinci’s pupil and heir Francesco Melzi inherited everything da Vinci
owned,
including his tools,
artworks,
money,
and countless books and notebooks.
Da Vinci was celebrated during his lifetime and celebrated afterward.
Georgio Vasari,
an art historian and author of Lives of the Most Eminent Painters,
Sculptors,
and Architects,
said of da Vinci - "The loss of Leonardo was mourned out of measure by all who
had known him,
for there was none who had done such honor to painting.
The splendor of his great beauty could calm the saddest soul,
and his words could move the most obdurate mind.
His great strength could restrain the most violent fury,
and he could bend an iron knocker or a horseshoe as if it were lead.
He was liberal to his friends,
rich and poor,
if they had talent and worth;
and indeed as Florence had the greatest of gifts in his birth,
so she suffered an infinite loss in his death." How To Use This Book.
Though it’s obvious the kind and extent of talents the creator bestowed on da
Vinci,
what talents have been given to you?
What burning questions have been placed at the center of your being so that all
your curiosity points forever toward that true north?
Whether you believe in God or not,
what kind of life would you have to have lived in order for you to say on your
deathbed,
“I have pleased God and mankind because my work reached the quality it should
have”?
Now,
these may be lofty questions to begin with,
especially if you’ve only picked up this book in an effort to improve your
memory or learn a little self-discipline.
Our patron of learning and Renaissance mentor,
da Vinci,
however,
was a man of excellence.
His first challenge to us is to become clear on our purpose and our higher
mission,
and to strive for a certain transcendence—even if we are only beginning with
small things.
Perhaps you are an aspiring painter or an artist yourself,
or perhaps you’re an entrepreneur who is looking for a jolt of creative
thinking and some inspiration for looking outside the box.
Perhaps you are a student following a formal educational path,
or maybe,
like da Vinci himself,
you have graduated from the “school of life” and are now interested in ways
to become a more refined original thinker.
Maybe you’re a poet,
a philosopher,
a tinkerer,
a content creator,
an athlete,
a business owner,
a parent,
or an inventor.
Maybe you want to learn a new language,
write a novel,
or just live a more creative,
authentic life outside of convention.
Whoever you are and however you answer the above three questions,
there is something in these chapters to inspire and encourage you.
All that’s required (for this book and for life in general)
is an open mind,
a willingness to experiment,
and the courage to challenge yourself to take responsibility for your own
intellectual development.
Oh,
and lots and lots of notebooks!
Chapter 1 .- From Apprentice To Master.
Find Your Mentor.
“We are like dwarves perched on the shoulders of giants,
and thus we are able to see more and farther than the latter.
And this is not at all because of the acuteness of our sight or the stature of
our body,
but because we are carried aloft and elevated by the magnitude of the
giants.” Bernard Of Chartres.
When you think of Leonardo da Vinci,
how do you imagine him?
Perhaps it’s easy to envision da Vinci as he was at the end of his career,
once he was already well-known and accomplished.
Perhaps it’s easy to imagine that the young Leonardo always somehow knew that
he was destined for greatness,
and simply advanced to this famed endpoint as though it were a matter of fate.
In reality,
he started out pretty much like everyone starts.
In other words,
it even took da Vinci himself time to become da Vinci!
Even though we today know him as a masterful painter and a million other
things,
the man himself began as an apprentice to the artists and great thinkers he
admired and considered his most esteemed teachers.
That’s why we’ll begin our book at the most appropriate place - the
beginning,
when da Vinci was merely an apprentice.
During the Renaissance period,
it was customary to apprentice talented young individuals under a master who
would guide and tutor their learning.
When he was just fourteen years old,
da Vinci became an apprentice to Andrea del Verrocchio,
at the time a respected master artist.
This was lucky for the boy,
and securing such a prestigious opportunity was due mostly to his father’s
standing in the community.
The artist–apprentice relationship was a serious and highly codified
contract;
typically,
it required extreme diligence and honesty from the apprentice,
and involved mundane tasks like grinding paint pigments,
priming paint panels,
and preparing the studio.
The master was deferred to in all things and trusted to tailor his teaching to
his pupil’s aptitude and temperament,
advancing his study as and when he saw fit.
As da Vinci honed his skills,
he would have gradually taken on more complex responsibilities,
learning at Verrocchio’s feet and potentially assisting him with paintings.
Over the six years of his apprenticeship,
da Vinci's skills grew,
and he evolved into a paid collaborator for Verrocchio.
During the Renaissance,
it was common for assistants to help with commissions,
with specific stipulations in the contract designating the apprentice's and
master's responsibilities.
This was artistic and moral training,
but it also was an inculcation into a highly rarified industry.
Initially,
the young apprentice would have received nothing but room and board for his
tireless work,
but eventually,
by around 1473,
da Vinci was likely paid to help Verrocchio create the background of paintings.
In 1472,
da Vinci presented his masterpiece,
the Annunciation,
to the Florence painters' guild.
The term "masterpiece" originated in the Middle Ages when apprentices had to
submit exemplary work for approval by their guild.
The concept reflects the early roots of the modern concept of a thesis
submitted for a master’s degree at a university.
Successful submission demonstrated adequate mastery,
leading to the apprentice's promotion to master status and authorization to
train others.
Da Vinci joined the guild in 1472,
marking an official recognition of his mastery.
While da Vinci continued working with Verrocchio for another four years,
he eventually embarked on his own artistic journey,
and the rest,
as they say,
is history.
Da Vinci certainly went on to create his own unique style and become a master
in his own right.
But he first began not by exploring his own expression,
but by imitating the work of his much more accomplished teacher.
It was very common,
for example,
for students and apprentices’ work to be almost indistinguishable from their
masters.
While this may seem a little odd for modern sensibilities,
it was taken as a given in da Vinci’s time that one couldn’t develop
one’s own unique talents and contribution unless one had first learned how to
properly reproduce and emulate the works that had come before.
The first step in our journey to mastery,
then,
is not to explore our own goals,
desires,
and perspectives more deeply,
but to seek out a mentor.
Willingly submitting to the program set for us by a more accomplished and
(hopefully)
wiser teacher is not just about ensuring we put ourselves through the right
curriculum.
It’s also about learning to cultivate the humble,
curious,
and diligent mindset required of real mastery—the kind of mastery that was
prevalent during that period in history that most reliably produced geniuses.
Of course,
today the educational landscape is not structured the way it was hundreds of
years ago,
and attitudes have changed considerably.
That said,
it is always possible to recreate that special master–student relationship
and find mentoring that will genuinely help you thrive.
First,
it’s worth understanding that there are three distinct modes or steps in a
healthy apprenticeship - Deep Observation (The Passive Mode).
In this phase,
individuals entering a new environment or career are advised to observe and
absorb the rules,
procedures,
and social dynamics.
The emphasis is on understanding the explicit and implicit rules governing
success in the given field.
Picasso,
a painter who also received something of a classical training,
is known to have said,
“Learn the rules like a pro so you can break them like an artist."
During this period,
the apprentice is encouraged to mute their colors,
avoid seeking attention,
and focus on learning by careful observation.
To the student who only desires quick and easy results,
ostentation,
and novelty,
this part of learning may seem boring and unglamorous.
You are,
however,
doing so much more than merely imitating your master.
You are paying deep attention to the stated rules of your craft,
the underlying work culture,
and the power relationships within the industry you’re working in.
It’s a way to pay respects to the traditions of your chosen field of inquiry,
but also a time of hard work and investment—back then,
breaking the rules was considered a privilege you had to earn!
Skills Acquisition (The Practice Mode).
Once the initial observation phase is completed,
the apprentice moves to the active acquisition of skills.
The apprenticeship system of the Middle Ages involved hands-on learning through
imitation and repetition,
but it also rested heavily on the relationship between the young learner and
the master.
Lessons were not just about the mere mechanics of the craft,
but about the broader social,
historical,
cultural,
religious,
and metaphysical context of that art,
and the many duties that came with it.
In other words,
one was not merely developing as a superficial artisan,
but as a whole person with a comprehensive worldview and set of moral
imperatives that accompanied their art.
Unlike many modern and purely academic institutions,
apprenticeship was a learning process that heavily emphasized tacit knowledge,
i.e.,
a feeling for the skill that is hard to express in words but only demonstrated
through action.
Experimentation (The Active Mode).
This last phase involves transitioning to an even more active mode of
experimentation and applying acquired skills.
The apprentice is encouraged to take on more responsibility,
initiate projects,
and expose themselves to criticisms from peers or the public.
They are beginning to stand on their own two feet,
but gradually.
The purpose is to gauge progress,
identify knowledge gaps,
and develop the ability to handle criticism constructively.
How long each of the above phases lasts will depend on you,
your current skill level,
the thing you are trying to master,
your chosen mentor,
your goals,
and much more.
A good mentor,
however,
will be able to pay close attention to your progress and regulate your advance
so that you are always progressing in a diligent but appropriately challenging
way.
Questions To Ask.
The right mentor for you may not be a wizened old person with a beard and a
serious hat.
In fact,
the best tutors and mentors may take all sorts of unexpected forms.
Whether they are institutional mentors within academic or professional
settings,
or elective mentors found in all sorts of other interesting places,
these guiding figures can contribute significantly to your personal and
intellectual development—if you choose them wisely,
that is.
To find mentors,
explore various avenues that cater to your preferences and interests.
Start by exploring online mentorship networks like "Find a Mentor," which
connects professionals seeking guidance with experienced mentors.
Attend professional networking events,
where business leaders often seek new contacts and partnerships. Join fitness
classes or groups or engage in volunteer events through platforms like
Volunteer Match,
which can connect you with like-minded professionals,
especially those who have retired and are looking to give back.
Industry-specific meetups,
conferences,
and tradeshows are excellent for finding mentors tailored to your field.
Another alternative is to leverage social media platforms,
such as Twitter and LinkedIn,
to identify potential mentors based on keyword searches and engagement levels.
Lastly,
don't underestimate the possibility of meeting mentors in any public location,
from public transportation to restaurants and bars.
Word of mouth can be almost magical in its ability to connect you to the right
people.
Put out the word and seek recommendations.
As the Sufi mystics like to say,
“When the student is ready,
the teacher appears."
Once you’ve found a potential mentor,
ask yourself the following questions - Do they truly command their own subject?
It goes without saying,
but a mentor should genuinely possess superior knowledge in the subject
compared to the mentee.
Evaluation of the mentor's expertise involves assessing academic or artistic
contributions,
publications,
and ongoing work.
But the mentor's competence,
rather than fame,
should guide the selection process.
This means that,
depending on the subject,
their credentials and education may not matter as much as their plainly
evidenced skill.
Be clear on your own goals and priorities,
and identify a person who has demonstrated the competence you wish to develop
in yourself.
Too many people get drawn into coaches and gurus whose only skill is arguably
self-marketing.
When the noise and bluster is removed,
there may be very little in the way of genuine skill to recommend such a person.
If you are an absolute beginner,
it may be okay to select someone who is merely more skilled than yourself,
but if possible,
look for someone who truly excels in the area,
rather than someone who is merely adequate.
Can they get the most out of their students?
A good mentor maximizes the potential of students and collaborators by
understanding their intellectual and character traits.
Remember that possessing a skill and knowing how to teach are two different
things!
Genuine mentoring involves pushing individuals to set and achieve ambitious
goals,
rather than just providing comfort and validation.
The mentor–student relationship should focus on leaving the mentee with new
insights after each interaction.
You may be tempted to go with someone “nice” or who you get on well with,
but focus instead on that person who will push you when you need to be pushed.
Are they able to respond well to competition from their students?
This is something few of us consider.
While collaboration is essential,
competition exists in mentor–mentee relationships.
Healthy competition between generations is beneficial,
but destructive competition,
especially using social power,
is cautioned against.
External recognition can establish the mentee as an equal,
not just a subordinate.
How might your chosen mentor react to that?
Do they have the maturity,
wisdom,
and grace to fully encourage your learning,
wherever it may go?
Unfortunately,
some teachers are a little too fond of the elevated position they have above
their pupils and wish to maintain it forever;
a teacher who genuinely wants their student to reach their full potential,
without feeling threatened,
is worth their weight in gold.
Are they open to approaches and attitudes other than their own?
Mentors should pass on accumulated knowledge but encourage diverse approaches,
styles,
and methodologies.
Even a highly respected and esteemed teacher only possesses their single
perspective and should actively encourage their student to learn widely,
rather than subscribing to their own methods exclusively.
The mentor's cultural background should be embraced,
but mentees should also explore new frontiers of knowledge and avoid hindering
progress.
As you can see,
a good mentor should possess both technical and relational abilities—they
need to be able to manage and contain your learning in a way that prioritizes
your unique growth,
without their own limitations and blind spots jeopardizing the process.
Have any of their students become more accomplished professionals than them?
This last question sets up quite a high bar,
but it’s possibly the most important on this list.
Be curious about where ex-students of your master have ended up.
A successful mentor should produce alumni who surpass them (at least some of
the time),
indicating the effectiveness of the mentor–student relationship.
“Poor is the pupil who does not surpass his master,” said da Vinci,
and indeed he did surpass his first master,
Andrea del Verrocchio.
Entering the great artist’s studio as a mere errand boy in 1466,
he exceeded him less than ten years later.
Says biographer Vasari in his book Lives of the Most Eminent Painters,
Sculptors,
and Architects - “He was placed,
then,
as has been said,
in his boyhood,
at the instance of Ser Piero,
to learn art with Andrea del Verrocchio,
who was making a panel-picture of S. John baptizing Christ,
when Leonardo painted an angel who was holding some garments;
and although he was but a lad,
Leonardo executed it in such a manner that his angel was much better than the
figures of Andrea;
which was the reason that Andrea would never again touch color,
in disdain that a child should know more than he."
Even to the untrained eye,
the differences in the figure of Christ and the angel are apparent .-
Verrocchio’s rendering of the hair is flat and lifeless compared to the
almost supernatural way that the young da Vinci infused the angel’s hair with
glowing light.
Biographer Walter Isaacson later added,
“Afterward Verrocchio never completed any new painting on his own.
More to the point,
a comparison between the parts of The Baptism of Christ that Leonardo painted
with those done by Verrocchio shows why the older artist would have been ready
to defer."
Watch out for teachers who can only produce students who are copies of
themselves and who never quite advance beyond their own level.
Beware,
also,
of mentors who break ties with students the moment they surpass them.
Ideally,
a mentor’s previous students should all become part of their extended network
and continue to maintain a collaborative spirit long after training is over.
It’s a red flag if a tutor only trains those capable of becoming tutors
themselves—an accomplished student should be able to achieve more than
nominal success in the very same arena as his teacher!
The World Is Your Classroom.
“Genius is not only a what or a who,
it is a where.
It is grounded in a place every single time."
Eric Weiner.
A mentor is someone who can guide and shape your learning;
by that definition,
however,
our environment itself can be considered a kind of mentor,
in that it also influences the kind of people we can become and the sorts of
things we can know.
Here,
“the environment” refers not just to the room you practice your craft in or
the café you sometimes take a book to.
It includes your entire socio-cultural milieu,
your historical period,
your social network,
and your family.
Rather than imagining that a genius is a rare and perfectly individual
phenomenon springing up from nowhere,
we can see it instead as a kind of flower that blooms on a much larger tree.
Leonardo da Vinci was similarly a kind of flower that grew on a very specific
tree that was rooted in a specific time and place.
During his initial years in Florence,
Leonardo assisted Verrocchio on various projects,
but as he matured,
he eventually established his own studio in the city.
His active involvement in the artistic community led to his membership in the
garden of San Marcos,
where he enjoyed the patronage of Lorenzo de Medici and completed a commission
for the San Donato Scopeto church.
Despite his successes in Florence,
Leonardo’s life took a significant turn when he decided to leave for Milan.
The move was prompted by two key factors - the opportunity to work under the
patronage of Ludovico Sforza,
the new Duke of Milan,
and allegations of sodomy,
which forced him to depart Florence.
This transition marked a turning point in Leonardo’s career,
as he blossomed into a legendary figure in Milan,
producing masterpieces that would define the Renaissance era.
Moreover,
in the competitive environment of Renaissance Florence,
Leonardo found himself in a notable rivalry with Michelangelo.
The intense competition between these two iconic artists,
marked by mutual disdain,
played a crucial role in pushing them to achieve artistic excellence.
This rivalry,
while characterized by personal animosity,
reflected a broader historical pattern where competitors often turned into
collaborators,
contributing to the rich artistic tapestry of the time.
Eric Weiner. discusses the central question he faced when writing his book The
Geography of Genius .- How to Define Genius.
He presents his unconventional definition,
asserting that genius is essentially a social consensus—it is someone who
society collectively agrees is a genius.
Weiner emphasizes that the common debate about whether genius is innate (born)
or developed (made)
oversimplifies the concept.
He leans toward the idea that genius is grown,
rejecting the notion that it’s solely a result of genetics.
While he acknowledges the importance of hard work in developing geniuses,
he argues that it doesn’t fully explain the phenomenon of “genius
clusters” in certain places and times.
To support his argument,
Weiner cites examples such as Mozart,
who exhibited prodigious talent at a young age.
Despite this early display of brilliance,
Weiner suggests that genetics plays only a small role in the overall genius
puzzle.
Instead,
he posits that specifically the environment and cultural context of certain
locations like Renaissance Florence,
classical Athens,
or contemporary Silicon Valley (where fifty percent of startups are created by
people who are foreign born)
contribute significantly to the concentration of geniuses in those areas.
Crucially,
the ideal environment is not necessarily one of ease,
wealth,
or abundance.
To the contrary,
Weiner claims that,
“One of the biggest misperceptions about places of genius,
I’m discovering,
is that they are akin to paradise.
They are not.
Paradise is antithetical to genius.
Paradise makes no demands,
and creative genius takes root through meeting demands in new and imaginative
ways.
‘The Athenians matured because they were challenged on all fronts,’ said
Nietzsche,
in a variation of his famous ‘what doesn’t kill you will make you
stronger’ line."
In other words,
it was productive rivalry,
and not easy fame and unquestioning support,
that spurred da Vinci on to greatness.
In an interview Paul Solman concluded that for Eric Weiner.,
the final ingredients of genius seem pretty clear - a rich city with bustle,
competition,
cooperation,
and,
above all,
openness to the new,
the foreign.
This may pose something of a mindset shift for those looking to develop their
potential .- The project of genius is not a purely individualistic and private
one,
but rather something like a co-creation that emerges from something bigger.
Now,
the Renaissance is over (and not everyone agrees that it was a golden age!),
but there is a lot we can take from our understanding of the period when it
comes to creating our own optimal learning environments.
Cultivate A Diverse And Open Environment.
Look for places that embrace diversity and openness to new ideas.
Genius often thrives in cosmopolitan and culturally rich environments.
Cities like ancient Athens and Vienna,
which welcomed foreigners and immigrants,
provided a melting pot of ideas and perspectives.
Seek communities where people from different backgrounds and disciplines can
interact,
fostering a culture of collaboration,
competition,
and exchanging ideas.
This can be rather difficult in the modern world,
where polarization,
extremism,
and intolerance of anything outside the dominant ideology abounds.
As you look for this kind of environment,
realize that you are also able to actively cultivate it yourself.
Try to buck the trend of seeking only those who are already like yourself,
and instead prioritize fruitful communication and interaction over agreement.
Prioritize Competition And Cooperation.
Consider environments that strike a balance between healthy competition and
cooperation.
Genius clusters,
such as Renaissance Florence,
were competitive spaces where individuals like Leonardo da Vinci and
Michelangelo pushed each other to excel.
There was also cooperation and the sharing of ideas,
however.
Look for places that encourage both friendly competition and a collaborative
spirit,
creating an atmosphere that challenges individuals to reach their full
potential.
There is much to say on this point,
but it comes down to a wholesome spirit of collaboration that emerges out of
struggle and opposition.
The attitude will be your own as much as it is others’.
The masters of old envisioned their work as their ultimate source and goal.
A fellow artist may be your competition,
but they were ultimately laboring under the same universal masters of truth and
beauty and were therefore always due a certain degree of respect and fellowship.
Try to seek out and genuinely consider critique and feedback.
Realize that even your enemies are your teachers,
since they can help you evolve to standards of excellence far higher than a
well-meaning friend might.
Embrace Interdisciplinarity And Innovation.
Choose settings that encourage interdisciplinary thinking and innovation.
The “Renaissance man” was not a specialist,
but a fully developed and rounded human being.
Even today,
a “classical” education has hints of the earlier model that considered a
compete education to be one that included languages,
civics,
physical training,
music,
philosophy,
mathematics,
natural sciences,
oration,
and more.
Weiner believes that “today we have pigeonholed ourselves so much,
that it's hard to break out.
It's hard for a biologist to write about physics.
It's hard for an art historian to talk about aeronautical engineering."
This definitely wasn’t the case in da Vinci’s era.
On an individual level,
what we call genius often emerges when individuals cross boundaries and
investigate ideas that span a variety of fields.
It is a relatively modern tendency to break down knowledge into subjects whose
experts are unintelligible to one another;
the Renaissance thinkers excelled because they did not see the world divided up
in this way,
and sought theories and innovations that were more holistic and total.
Seek places that break down silos,
allowing for the exchange of ideas between different disciplines.
The Viennese coffee houses,
for example,
were so-called “third places” that facilitated conversations between people
with diverse viewpoints (fueled,
no doubt,
by rather a lot of caffeine!).
Find environments that promote the mixing of ideas and perspectives,
fostering a dynamic and innovative atmosphere.
Be Curious about Outsiders ...Or Be One Yourself Weiner says,
“Someone who is fully invested in the status quo is not going to be a genius.
They're not going to rock the boat.
They're almost always outsiders.
But I want to say they're not fully outsiders.
They're what I call insider-outsiders."
It makes sense that if you are curious in the new,
the different,
and the progressive,
the best people to consult are those who are able to view the dominant culture
from the outside,
i.e.,
with enough distance to gain a different insight on what is taken for granted.
Try to meet with people who are “originals” and genuinely countercultural,
or else find ways to explore that otherness in yourself.
The people we encounter,
the conversations we have,
and the narratives we immerse ourselves in have immense power to either limit
or expand our own perception.
Be mindful of the people you interact with,
the media you consume,
the build environment you engage with,
and the social narratives you’re enmeshed with.
The name of the game is not diversity for its own sake,
but fruitful conversation—even if that means sparks fly!
Weiner explains,
“Almost all of these genius clusters throughout history have been cities.
And Athens wasn't a huge city,
but it was very dense,
there were lots of interactions,
and it was an urban life that we might recognize today,
people trading and gossiping and getting together for these drunken symposia
where they would recite poetry and drink wine."
But you don’t have to literally move to a big city (or get drunk on wine)
to achieve similar results.
Today the internet allows us access to people from all over the world.
This requires extra discernment but can be an effective way to build networks
that exceed those that were ever possible in the past.
Depending on your goals and what you’re trying to learn,
ask yourself where the physical epicenter of your craft/industry/field is.
Who are the key players,
and where are they?
If genius is a collaborative effort,
then it makes sense to think about not just your literal environment but your
social environment too.
Your mentor or teacher,
for example,
may help you make those important connections,
but perhaps even more importantly,
knowing the right people can allow you to start taking in some of the zeitgeist
of your chosen field.
Connect with other students,
teachers who aren’t your own,
and also any important “nodes” in the social network.
Weiner makes a direct comparison with fashion;
there are fashions in intellectual circles,
in industry,
in tech,
in art,
in the hard sciences,
in journalism,
everywhere.
Likewise,
there are people who are trendsetters and key players;
in your field,
who are they?
Now,
this vision of genius may seem a little discouraging.
In many ways it directly contradicts the “lone genius” archetype so
prevalent in modern mythology in the West.
You’re probably well acquainted with this story by now,
as it’s been played out so heavily in popular media - the genius,
we are told,
is someone who comes into the world with his intelligence and talent already
fully installed.
They achieve with ease and in complete isolation,
mostly to impress and intimidate others.
Their success is merely a question of them being recognized and rewarded,
a process that is inevitable and requires little effort on the part of the
genius.
The modern-day genius,
in other words,
is a solitary superstar,
a kind of celebrity.
The story may in fact be the complete opposite of this.
If we take the Renaissance era as our model,
the many geniuses produced during this era were part of clusters and groups and
networks,
all mutually sharing and cross-pollinating ideas,
competing,
collaborating,
and sometimes outright battling one another.
Their genius is one they cultivated slowly,
bit by bit,
as a product of social engagement and fruitful dialogue.
Their path was complicated but virtuous.
The classical genius,
then,
is a hero in the more traditional sense—a flower blooming on the tree,
but one that would nevertheless not have existed without the tree.
Once you have found a suitable mentor (or mentors)
to guide you on your path,
pay some attention to your overall social and cultural environment.
Think about your goals when it comes to the skill you’re trying to develop,
and ask about the kind of context that will be most supportive.
If you cannot physically be in the ideal location,
how can you access certain networks,
information,
or groups in other ways?
If you’ve found the right mentor,
this is precisely the kind of thing they can help you with.
Another thing to try is to identify both your rivals and your
collaborators—they may be the same people!
Are there other “apprentices” who are on the same path as you?
Further along,
perhaps?
Identify them and figure out how you might start to engage them.
You might find yourself spurred on by entering competitions appropriate to your
level,
or joining groups where you can be assured of lively back-and-forth and plenty
of encouragement to do better!
Become A Renaissance Reader.
“Reading maketh a full man;
conference a ready man;
and writing an exact man."
Francis Bacon.
Your goal may be to become a language virtuoso,
a better musician,
a more adept painter,
a free-thinking author or creative,
a builder,
an artisan,
a crafting genius,
a poet,
or a master of the physical form,
whether that’s expressed in dance,
martial arts,
or feats of physical endurance.
No matter what you’re trying to accomplish,
however,
one thing is clear .- Reading will help you do it better.
Yes,
even the martial arts!
Leonardo da Vinci was famous for his painting,
but he was also extremely accomplished as a scientist,
sculptor,
draughtsman,
inventor,
architect,
and general theorist.
He is widely considered the world’s first true “Renaissance man” and the
standard for what we now consider a polymath—a person considered to have
knowledge that widely spans many different areas.
The word polymath comes to us from the Greek πολυμαθής or polymathēs,
with “poly” meaning much or many and “mathēs” meaning learning.
It's not at all a coincidence that every individual who is considered a
polymath is also a person known to be an avid—even obsessive—reader of the
written word.
In fact,
it’s hard to imagine a person “having learned much” without access to
books.
Da Vinci’s thirst for knowledge led him to build a substantial collection of
books.
He benefited from the very recent invention of printing in Germany,
coincidentally sharing the same age as the printing press—another hint about
the nature of the “genius clusters” that so fascinated Weiner.
In da Vinci’s time,
however,
many books were still hand-copied and astonishingly precious.
But da Vinci didn’t only consume the written word;
he produced it,
too.
When he passed away at the age of sixty-seven,
he left behind an extensive legacy of over six thousand pages of notebooks.
These notebooks contained a wealth of content,
including anatomical studies,
military inventions,
sketches of nature,
and notes derived from the books he’d accessed in various libraries.
This gives us a hint not only of the size of his love for books,
but of his character.
This was not a man who “collected” books for their own sake,
admiring the aesthetics of a well-coordinated bookshelf or reading the
Renaissance version of the bestseller list just because it was popular.
Rather,
books were instrumental.
They served a very specific purpose in the life of the polymath.
Being a Renaissance reader involved a different approach to reading compared to
modern readers.
During the Renaissance,
the printing press revolutionized book production,
making books more affordable and accessible.
This accessibility,
however,
comes with a downside,
as the sheer volume of available books creates a certain "noise" in the
literary world.
In contrast to the modern reader,
who faces an overwhelming abundance of choices,
a Renaissance reader like Leonardo had a more limited selection ...but what he
had access to was almost always of exceptional quality.
Fewer people were literate,
and the barrier to entry for publishing a work was extremely high.
No book was published unless it demonstrably added to what came before.
This meant that although books were costly and relatively scarce,
they were of an entirely different quality.
The world of mass paperback printing and high volume but disposable
entertainment reading was many decades to come.
Instead,
a reader could expect to encounter material that was serious,
rich,
rarified,
and intended for audiences who possessed the patience,
education,
and intellectual sophistication to make real use of what they found in those
pages.
To illustrate this point nicely,
consider that da Vinci considered himself a “man without learning” and
strived continually to learn new languages,
filling his library with dictionaries and grammar books to better access the
knowledge he felt he lacked.
Standards,
in other words,
were sky-high.
Books would have been read slowly,
carefully,
and patiently,
and often re-read again and again.
Diligent students were expected to know Latin and maybe a little Greek,
and learning in a completely different language was par for the course.
Well-formed and elegant handwriting was non-negotiable,
and students of all kinds were expected to have exceptional memories and recite
vast tracts of text by heart—an achievement almost unimaginable to modern man.
Reading was not a passive activity,
but an extension of what was seen as the ultimate learning format -
conversation.
The student was thus always in dialogue with the material that they read and
would actively engage by taking notes,
writing rebuttals,
and composing letters and other responses (the author may indeed be known in
their social circle).
Da Vinci’s biographer Walter Isaacson explained how books and notebooks
became a kind of external brain and a way to process and shape certain paths of
learning.
The young Leonardo would watch wild birds for hours on end,
but then he would sit down and recreate what he had seen and learned on the
pages of his notebook,
sketching out the designs of their wings,
allowing that architecture to settle into his brain and develop into new ideas.
In fact,
he sketched his famous Vitruvian Man in this co-creative manner .- He studied
the works of the famous Vitruvius,
who was an ancient Roman architect and civil engineer,
and then designed a kind of pictorial response,
both expressing his understanding of the work but simultaneously expanding it.
Books,
then,
were a powerful technology that enabled the educated man to converse,
as it were,
with people from different times and places so that new ideas and
understandings could be generated,
then shared again.
On da Vinci’s bookshelf you might have found hand-drawn maps from famous
cartographers and explorers,
a printing of Aesop’s Fables,
The Divine Comedy (in Italian,
of course),
Ovid’s Metamorphoses,
richly illustrated anatomy and medical texts,
a few Latin dictionaries,
a book by Benedetto de l’Abaco,
who instituted the use of Arabic numerals,
many mathematical treatises,
illuminated religious manuscripts (both original and copied),
and many major and minor works on botany,
hydraulics,
mechanics,
and cosmology.
If you wanted to emulate the great polymaths of old,
there is surely a lesson here .- Strive to have a bookshelf that makes you hard
to categorize!
With da Vinci as our model,
how can we go about planning our own self-education on those well-traveled
paths of the printed word?
First and most importantly,
this style of reading is not so much a what as it is a how.
The reading is a means to an end—what matters is the active and curious
engagement of knowledge and its mechanisms;
it just so happens that reading and writing are one of the most effective tools
we have for this kind of intellectual activity.
Let’s take a look at some ways to embody the Renaissance approach to our own
reading - Design Your Reading Environment.
Reading is a lifelong activity.
It should play a permanent and central role in your life,
whatever your chosen disciplines and subjects.
That means that it should be built into your daily routine along with
everything else you do almost automatically.
Depending on your resources,
consider investing in a proper desk,
a suitable light source,
and other accessories that enhance your focus and comfort during reading
sessions.
The more your reading space inspires and welcomes you,
the more at home you’ll feel there.
Can you include easy access to pens,
paper,
notebooks,
and other items to help you engage with your material?
Depending on your subject,
you might like to invest in a few pieces of stationery to help you stay
organized,
such as shelves,
files,
folders,
highlighters,
corkboards,
sticky notes,
and so on.
Classical paintings from this era show lush studios and drawing rooms that were
as much works of art as they were practical learning spaces.
A common practice was to place a skull on the desk—a memento mori—or other
religious items or decorative knickknacks from far-off places to denote
prestige or bring some beauty,
mysticism,
or inspiration to the space.
You can follow suit by decorating your space in a way that reaffirms your own
goals and intentions,
as well as motivates you to keep pushing onward.
Some simple ideas include beautiful pictures and paintings,
trophies and certificates,
“vision boards,” photos of loved ones,
moving quotes and poetry,
or symbolic ornaments that speak to your purpose.
Actively Engage With The Text.
Now on to the actual reading.
Renaissance readers actively engaged with texts by having a pen in hand.
Reading was a part of thinking—it was something you absorbed,
digested,
processed,
and responded to.
Men of learning from this period,
da Vinci included,
marked up texts to fully comprehend meanings and implications.
It was as though the author were right there in the room with them,
delivering a lecture they fully intended the audience to stop and ask them
questions about.
Take notes,
underline key passages,
and interact with the text while reading.
Consider keeping a commonplace book or learning notebook to collect and
organize important information for future reference.
For da Vinci,
this was a multimedia affair and contained snippets of verse,
drawings,
designs for inventions,
and more.
For the modern reader,
you can keep your questions,
objections,
and responses either in a notebook or typed up on a computer.
We will be looking more at exactly how to take effective notes in a later
chapter,
but the most effective method will always be the one you devise for yourself,
since it will fit your life,
your goals,
and your needs perfectly.
Have Both A Practical And An Intellectual Goal.
Much later on,
as literacy rates climbed and reading became more popular,
things like novels abounded and more and more ordinary people had access to
material of all kinds,
not just heavyweight academic manuscripts.
It became possible to read simply for entertainment or even distraction.
During the Renaissance era,
this attitude would have seemed absurd.
Instead,
reading was done with a purpose.
Every intellectual effort was aimed at some definite practical or intellectual
goals—usually a mix of both,
and only the extremely idle elite would attempt an education merely as an
ornament to courtly life and not truly intended to be put to use.
Today,
the sheer volume of information out there means that no human being can process
it within a single lifetime;
this means that you are necessarily limited and must choose.
Goals are a way to focus and prioritize.
They help you chart a route through the noise and distraction.
If you understand why you are reading before you even pick up a book,
your attention will be more alive and targeted than if you had read with no
special aim in particular.
Whether it's for academic,
professional,
or personal reasons,
read with the intention of using the knowledge gained.
Go in with unanswered questions,
and let your curiosity bring the words to life for you.
Some Additional Things To Try -
Actively consider how the material can be applied or incorporated into your own
work and thinking.
It may apply to a completely different area than the one you’re investigating.
Make a note,
make connections,
and follow up later.
Write your questions in the margins as you read.
Alternatively,
pause now and then to digest what you’ve read and guess what will be said
next.
This way you are teaching yourself to not just read,
but “think along with” the author.
You will gain so much more insight this way.
Similarly,
express your disagreement or concerns in the margins,
too.
Have you read a counterargument to this one?
Where?
Weigh it all up.
Get into the habit of skimming and scanning before you read in depth.
Look at the titles and subtitles,
labels or diagrams,
graphs,
and so on.
Try to understand a piece in the broadest terms first,
then dig in,
summarizing each section and even paragraph for its main point.
Read bibliographies.
Follow references made by authors you like to see who they are reading.
It’s not going to recreate Renaissance Europe,
but it’s a surprisingly effective way to enter into certain ideological
networks where you can really begin to grasp more wide-reaching themes.
Summary -
• Leonardo da Vinci was a Renaissance-era polymath,
painter,
inventor,
scientist,
artisan,
draughtsman,
philosopher,
botanist,
sculptor,
and musician.
By studying his life and philosophy,
we can imbue our own lives with a little of his famous curiosity.
•The first step is to secure an appropriate mentor.
Born to humble beginnings,
da Vinci was self-taught and apprenticed himself at the age of fourteen to a
master painter who tutored him.
He was diligent and deferred to him in all things,
understanding the importance of consistent practice and training.
•Follow the correct mentoring process,
beginning with deep observation (passive mode),
then skills acquisition (practice mode),
and finally experimentation (active mode).
•A good mentor should be a genuine expert in their field,
know how to get the most from their students,
and not be threatened if the student surpasses them.
They should be able to demonstrate open-mindedness to approaches other than
their own and be able to point to past students who have excelled.
•Be mindful of your environment,
which is also a kind of tutor,
influencing the character and development of your thought.
Seek a diverse and open environment where bustle,
competition,
cooperation,
newness,
and difference are the norm.
Be welcoming to outsiders and outsider thought,
embracing interdisciplinarity with others unlike yourself.
Find ways to collaborate and connect.
•To be a Renaissance reader,
develop a consistent habit of both reading and note-taking.
Build daily routines based in a well-crafted learning environment,
and actively engage with the text,
continually comparing it against your goals and intentions.
Read widely,
diligently,
and strategically ...and do it every single day.
This has been
Leonardo da Vinci’s Mental Models:
Secrets of the World’s Most Famous Polymath (Learning how to Learn Book 26)
By Peter Hollins, narrated by russell newton.