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List of works by Leonardo da Vinci
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The Last Supper is Leonardo da Vinci's most famous work of religious art and his only surviving mural.
Leonardo da Vinci (baptised Leonardo di ser Piero da Vinci) ( pronunciation (help·info)), (April 15, 1452 – May 2, 1519) was one of the leading artists of the High Renaissance. Fifteen works are generally attributed either in whole or in large part to him. Most are paintings on panel, with the remainder a mural, a large drawing on paper, and two works in the early stages of preparation. The authorship of several paintings traditionally attributed to Leonardo being disputed. Two major works are known only as copies. Works are regularly attributed to Leonardo with varying degrees of credibility. None of Leonardo's paintings are signed. The attributions here draw on the opinions of various scholars.[1]
The small number of surviving paintings is due in part to Leonardo's frequently disastrous experimentation with new techniques, and his chronic procrastination. Nevertheless, these few works together with his notebooks, which contain drawings, scientific diagrams, and his thoughts on the nature of painting, comprise a contribution to later generations of artists rivalled only by that of his contemporary, Michelangelo.

Contents
[hide]
1 Major extant works
2 Disputed attributions
3 Lost works
4 Some recent attributions
5 Manuscripts
6 References
7 External links
Major extant works[edit]
Image
(sort by size of the original)
Details
(sort by title)
Attribution status and notes
Dating
(sort by earliest)
7004212660000000000♠
Annunciation
The Annunciation
Oil and tempera on poplar panel
98 × 217 cm
Florence, Uffizi
7000200000000000000♠
Generally accepted
Generally thought to be the earliest extant work by Leonardo. The work was traditionally attributed to Verrocchio until 1869. It is now almost universally attributed to Leonardo. Attribution proposed by Liphart, accepted by Bode, Lubke, Muller-Walde, Berenson, Clark, Goldscheider and others.[1]
7000100000000000000♠
c. 1473–4 (Kemp 2011)
c. 1472–6 (Syson 2011)
c. 1473–5 (Zöllner 2011)
c. 1472–5, probably 1473–4 (Marani 2000)
7004267270000000000♠
Baptism of Christ
The Baptism of Christ
Oil and tempera on poplar panel
177 × 151 cm
Florence, Uffizi
7000400000000000000♠
Verrocchio and Leonardo
Painted by Andrea del Verrocchio, with the angel on the left-hand side by Leonardo.[2] It is generally considered that Leonardo also painted much of the background landscape and the torso of Christ. One of Leonardo's earliest extant works. Vasari's statement that the angel on the left is by Leonardo is confirmed by studies by Bode, Seidlitz and Guthman, and accepted by McCurdy, Wasserman and others.[1]
7000400000000000000♠
c. 1476 (Kemp 2011)
c. 1470–2 and c. 1475
(Zöllner 2011)
c. 1469–72 by Verrocchio, then resumed by Leonardo perhaps mid-1470s (Covi 2005, p. 186)
probably 1475–8 (Marani 2000)
7003294500000000000♠
Madonna of the Carnation
Madonna of the Carnation
Tempera (?) and oil on poplar panel
62 × 47.5 cm
Munich, Alte Pinakothek
7000400000000000000♠
Generally accepted
It is generally accepted as a Leonardo, but has some overpainting possibly by a Flemish artist.[1]
7000300000000000000♠
c. 1475–6 (Kemp 2011)
c. 1477–8 (Syson 2011)
c. 1472–8 (?) (Zöllner 2011)
between 1473 and 1478
(Marani 2000)
7003142400000000000♠
Ginevra de' Benci
Ginevra de' Benci
Oil and tempera on poplar panel
38.8 × 36.7 cm, 15.3 × 14.4 in
Washington, D.C., National Gallery of Art
7000300000000000000♠
Generally accepted
The work was proposed as a Leonardo by Waagen in 1866, and supported by Bode. Early 20th-century scholars were vociferous in their disagreement, but most current critics accept both the authorship and the identity of the sitter.[1]
7000200000000000000♠
c. 1476–8 (Kemp 2011)
c. 1474 / 1478 (Syson 2011)
c. 1478–80 (Zöllner 2011)
c. 1474 / 1475–6 (Marani 2000)
7003163400000000000♠
Benois Madonna
Benois Madonna
Oil on wood panel, transferred to canvas
49.5 × 33 cm
St Petersburg, Hermitage
7000400000000000000♠
Generally accepted
Most critics believe that it coincides with a Madonna mentioned by Leonardo in 1478.[1]
7000500000000000000♠
c. 1479–80 (Kemp 2011)
c. 1481 onwards (Syson 2011)
c. 1478–80 (Zöllner 2011)
probably after March 1481 (Marani 2000)
7004600000000000000♠
Adoration of the Magi
The Adoration of the Magi (unfinished)
Oil (underpainting) on wood panel
240 × 250 cm, 96 × 97 in
Florence, Uffizi
7000100000000000000♠
Universally accepted
7000600000000000000♠
c. 1479–81 (Kemp 2011)
c. 1480–2 (Syson 2011)
1481/2 (Zöllner 2011)
1481 (Marani 2000)
7003772500000000000♠
S. Jerome in the Wilderness
St. Jerome in the Wilderness (unfinished)
Tempera and oil on walnut panel
103 × 75 cm, 41 × 30 in
Vatican Museums
7000100000000000000♠
Universally accepted
7000700000000000000♠
c. 1480–2 (Kemp 2011)
c. 1488–90 (Syson 2011)
c. 1480–2 (Zöllner 2011)
probably c. 1480 (Marani 2000)
7003138600000000000♠
Madonna Litta
Madonna Litta
Tempera (and oil?) on poplar panel
42 × 33 cm
St Petersburg, Hermitage
7000700000000000000♠
Leonardo and another artist?[a]
7000800000000000000♠
c. 1481–97 (Kemp 2011)
c. 1491–5 (Syson 2011)
c. 1490 (Zöllner 2011)
not in checklist of Marani 2000
7004242780000000000♠
Virgin of the Rocks
Virgin of the Rocks
(Louvre version)
Oil on wood panel, transferred to canvas
199 × 122 cm, 78.3 × 48.0 in
Paris, Louvre
7000100000000000000♠
Universally accepted
Considered by most historians to be the earlier of the two versions.
7000900000000000000♠
1483–c. 1490 (Kemp 2011)
1483–c. 1485 (Syson 2011)
1483–1484/5 (Zöllner 2011)
between 1483 and 1486
(Marani 2000)
7003144000000000000♠
Portrait of a Musician
Portrait of a Musician (unfinished)
Tempera and oil on walnut (?) panel
45 × 32 cm
Milan, Pinacoteca Ambrosiana
7000600000000000000♠
Generally accepted[b]
7001100000000000000♠
c. 1485 (Kemp 2011)
c. 1486–7 (Syson 2011)
c. 1485 (Zöllner 2011)
probably c. 1485 (Marani 2000)
7003210600000000000♠
Lady with an Ermine
Lady with an Ermine
Oil on walnut panel
54 × 39 cm
Kraków, National Museum
7000300000000000000♠
Generally accepted
First published as a Leonardo in 1889 and subject to wide disagreement, but now generally accepted. The attribution of the "Ginevra de' Benci" has supported the attribution of this painting.[1] The subject has been identified as Cecilia Gallerani.[3]
7001110000000000000♠
c. 1490 (Kemp 2011)
c. 1489–90 (Syson 2011)
1489/1490 (Zöllner 2011)
1489–90 (Marani 2000)
7004227400000000000♠
Virgin of the Rocks
Virgin of the Rocks
(London version)
Oil on parqueted poplar panel
189.5 × 120 cm, 74.6 × 47.25 in
London, National Gallery
7000400000000000000♠
Generally accepted
Generally accepted as postdating the version in the Louvre, with collaboration of Ambrogio de Predis' and perhaps others.[1] Some consider the work of Leonardo's workshop under his direction. The date is not universally agreed.
7001120000000000000♠
c. 1495–1508 (Kemp 2011)
c. 1491/2–9 and 1506–8
(Syson 2011)
c. 1495–9 and 1506–8
(Zöllner 2011)
1491 / 1494, finished by 1508 (Marani 2000)
7005404800000000000♠
Last Supper
The Last Supper
Tempera on gesso, pitch and mastic
460 × 880 cm, 181 × 346 in
Milan, Convent of Santa Maria delle Grazie
7000100000000000000♠
Universally accepted
On 9 February 1498 Luca Pacioli described the mural as being complete.[4]
7001130000000000000♠
c. 1495–8 (Kemp 2011)
1492–7/8 (Syson 2011)
c. 1495–8 (Zöllner 2011)
between 1494 and 1498
(Marani 2000)
7003272800000000000♠
Belle ferronnière
La belle ferronnière
Oil on walnut panel
62 × 44 cm
Paris, Louvre
7000600000000000000♠
Generally accepted
7001140000000000000♠
c. 1496–7 (Kemp 2011)
c. 1493–4 (Syson 2011)
c. 1496–7 (Zöllner 2011)
c. 1490–5 or 1495–6
(Marani 2000)
7005500000000000000♠
Sala delle Asse
Sala delle Asse
Tempera on plaster
Milan, Castello Sforzesco
7000100000000000000♠
Universally accepted
Two fragments of Leonardo’s decorative scheme for this room were rediscovered in the late 19th century; they were covered over as they were thought not to be by his hand and were rediscovered again in 1954.[4]
7001150000000000000♠
c. 1498–9 (Kemp 2011)
c. 1498 (Syson 2011)
c. 1498–9 (Zöllner 2011)
c. 1497–8 (Marani 2000)
7004149100000000000♠
Virgin and Child with St Anne and St John the Baptist
The Virgin and Child with St Anne and St John the Baptist
Charcoal, black and white chalk on tinted paper, mounted on canvas
142 × 105 cm, 55.7 × 41.2 in
London, National Gallery
7000100000000000000♠
Universally accepted
7001160000000000000♠
c. 1499–1500 (Syson 2011)
1499–1500 or c. 1508 (?) (Zöllner 2011)
c. 1506–8 (Chapman & Faietti 2010)
c. 1508 (Kemp 2006)
Italian scholars: c. 1501–5; Pedretti and Anglo-Saxon scholars: 1506–8, but Wassermann: 1499
(Marani 2000)
7003289800000000000♠
Portrait of Isabella d'Este
Portrait of Isabella d'Este
Black and red chalk, yellow pastel chalk on paper
63 × 46 cm
Paris, Louvre
7000100000000000000♠
Universally accepted
7001170000000000000♠
c. 1499–1500 (Syson 2011)
December 1499 – March 1500 (?) (Zöllner 2011)
end of 1499 / early 1500
(Marani 2000)
7003179952000000000♠
Madonna of the Yarnwinder
The Madonna of the Yarnwinder
(The Buccleuch Madonna)
Oil on walnut panel
48.9 × 36.8 cm
Edinburgh, Scottish National Gallery (on long-term loan from the Buccleuch collection)
Leonardo and another artist?[c]
Leonardo was documented as working on a painting of this subject in Florence in 1501; it appears to have been delivered to its patron in 1507. This and the Lansdowne Madonna are the most likely candidates for being that work, but neither is considered to be wholly autograph. Scientific examination has revealed "strikingly complex and similar" underdrawings in both versions, suggesting that Leonardo was involved in the making of both.[5]
The use of walnut wood suggests the earlier terminus post quem of 1499, as Leonardo's Milanese paintings are on this support.[6]
7001180000000000000♠
c. 1501–7 (Kemp 2011)
c. 1499 onwards (Syson 2011)
1501–7 (Zöllner 2011)
no date in Marani 2000
7003182728000000000♠
Madonna of the Yarnwinder
The Madonna of the Yarnwinder (The Lansdowne Madonna)
Oil on wood panel (transferred to canvas and later re-laid on panel)
50.2 × 36.4 cm
United States, private collection
Underdrawing by Leonardo?[d]
7001180000000000000♠
c. 1501–7 (Kemp 2011)
c. 1501–7 (?) (Zöllner 2011)
no date in Marani 2000
7004188160000000000♠
Virgin and Child with St. Anne
The Virgin and Child with St. Anne
Oil on wood panel
168 × 112 cm, 66.1 × 44.1 in
Paris, Louvre
7000100000000000000♠
Universally accepted
7001190000000000000♠
c. 1508–17 (Kemp 2011)
c. 1501 onwards (Syson 2011)
c. 1510–3 (Marani 2000)
7003407000000000000♠
Mona Lisa
Mona Lisa
Oil on cottonwood (poplar) panel
76.8 × 53.0 cm, 30.2 × 20.9 in
Paris, Louvre
7000100000000000000♠
Universally accepted
7001200000000000000♠
c. 1503–16 (Kemp 2011)
c. 1502 onwards (Syson 2011)
1503–6 and later (1510?) (Zöllner 2011)
probably begun c. 1503–4, finished by 1513–4
(Marani 2000)
7002518000000000000♠
Head of a Woman
Head of a Woman
(La Scapigliata)
Earth, amber and white lead on wood panel
24.7 × 21 cm
Parma, Galleria Nazionale
7000100000000000000♠
Generally accepted[e]
7001200000000000000♠
c. 1508 (Marani 2000)
not in checklist of Kemp 2011 or Zöllner 2011
7003393300000000000♠
St. John the Baptist
St. John the Baptist
Oil on walnut panel
69 × 57 cm, 27.2 × 22.4 in
Paris, Louvre
7000400000000000000♠
Generally accepted
The "Anonimo Gaddiano" wrote that Leonardo painted a St. John. This is generally considered Leonardo's last masterpiece.[1]
7001210000000000000♠
c. 1508–16 (Kemp 2011)
c. 1508–16 (Zöllner 2011)
c. 1508 (Marani 2000)
Disputed attributions[edit]
Image
Details
Notes
Dating
Tobias and the Angel
Egg tempera on poplar
83.6 × 66 cm
London, National Gallery
A painting by Verrocchio while Leonardo was in his workshop. Martin Kemp suggests that Leonardo may have painted some part of this work, most likely the fish. David Alan Brown, of the National Gallery in Washington, attributes the painting of the dog to him as well.
c. 1473 (Kemp 2011)
no date in Marani 2000, but accepted by him
7002201000000000000♠
7000300000000000000♠
The Dreyfus Madonna
Oil on panel
15.7 × 12.8 cm, 6.13 × 5 in
Washington, D.C., National Gallery of Art
7000700000000000000♠
Previously attributed to Verrocchio or Lorenzo di Credi. The anatomy of the Christ Child is so poor as to discourage firm attribution by most critics while some believe that it is a work of Leonardo's youth. This attribution was made by Suida in 1929. Other art historians such as Shearman and Morelli attribute the work to Verrocchio.[1] Daniel Arasse discusses this painting as a youthful work in Leonardo da Vinci, (1997).[7]
probably c. 1469
(Marani 2000)
7004203550000000000♠
7001220000000000000♠
Bacchus
Oil on walnut panel transferred to canvas
177 × 115 cm
Paris, Louvre
7000700000000000000♠
Disputed
Generally considered to be a workshop copy of a drawing.[1]
c. 1513–16 (Kemp 2011)
c. 1510–5, later repainted and altered (Marani 2000)
The Holy Infants Embracing
Several versions in private collections.
c. 1486–1490
Portrait of a Lady in Profile
Milan, Pinacoteca Ambrosiana
Generally attributed to Ambrogio de Predis. The face is thought to show the hand of Leonardo.[8]
c. 1493–5
Portrait of a Young Fiancée
(La Bella Principessa)
Bodycolour (pastel) on vellum
33 × 22 cm
Switzerland, Private collection
Identified as a Leonardo by Martin Kemp on stylistic grounds, and confirmed using the evidence of a fingerprint.[9] Other experts have not agreed with this attribution. As of 2010 the methods used to analyse the fingerprint have come into question.[10] The presence of holes in the page shows it was once part of the Sforziade a manuscript kept in Warsaw, this fact points to its originality.
7003297824000000000♠
Salvator Mundi
Salvator Mundi
Oil on wood panel
45.4 cm × 65.6 cm, 25.8 in × 17.9 in
New York City, private collection
7000400000000000000♠
Accepted by some scholars[11]
Previously presumed to be the a later copy of a lost painting. Since its recent cleaning, it has gained acceptance as Leonardo's original. Pentimenti (changes to the composition) were found in the thumb of Christ's right hand and elsewhere and are indicators of the paintings status as an "original".[12]
7001180000000000000♠
c. 1504–7 (Kemp 2011)
c. 1499 onwards (Syson 2011)
c. 1495–7? (Marani 2000, when thought lost
Portrait of a man in red chalk
Red chalk on Paper
33.3 cm × 21.6 cm (13.1 in × 8.5 in)
Biblioteca Reale, Turin
Accepted by some scholars, but not universally accepted.[13][14]
Lucan Portrait of Leonardo da Vinci
tempera grassa on poplar
40 cm × 60 cm
Museo delle Antiche Genti di Lucania, Vaglio Basilicata
A painting discovered in 2008 near Naples, maybe the original self-portrait of Leonardo da Vinci, is actually under deep restoration in order to obtain further proofs of the authenticity. It has been validated by scholars like Peter Hohenstatt (University of Parma), Alessandro Tomei (University of Chieti-Pescara), Jan Royt (University of Prague), David Bershad (University of Calgary) and Orest Kormashov (University of Tallinn). The Carbon-14 analysis, the chemical analysis of the painting used and the "pentimento" sketches found under the painting may suggest the autography of the painting. The resemblance with the Uffizi 17th century copy of the "Self portrait of Leonardo da Vinci" is striking.
c. 1505-1510
Lost works[edit]
Details
Notes
Image
Dragon shield
A juvenile work described by Giorgio Vasari, who said it was sold by Ser Piero da Vinci to merchants, who then sold it on to the Duke of Milan.[15]
Adam and Eve
Watercolour cartoon for a tapestry
Described in great detail by Vasari and the "Anonimo Gaddiano". Painted for the King of Portugal, it was in the collection of Ottaviano de' Medici in Vasari's lifetime. The composition might have inspired a drawing by Francesco di Giorgio Martini in the Christ Church Picture Gallery, Oxford.[15]
Medusa
Oil on panel
A juvenile work described by Vasari.
San Bernardo Altarpiece
Oil on panel
A commission for the chapel in Palazzo della Signoria, Florence, allocated to Leonardo on 10 January 1478 but never completed.[15] The commission had originally been given to Piero del Pollaiolo on 24 December 1477; its reallocation might have been arranged by Leonardo's father, who was a notary to the Signoria. After Leonardo's failure to fulfill the commission it was given to Domenico Ghirlandaio on 20 May 1483, but he did not complete the work either. It is sometimes mistakenly said that a Virgin and Child with Saints in the Uffizi by Filippino Lippi was the work finally delivered to the chapel, but this was painted for the Sala dei Dugento (council hall) of the palace.[16]
The Battle of Anghiari
Commissioned 4 May 1504
Peter Paul Rubens, copy of Leonardo's The Battle of Anghiari (pictured). Black chalk, pen and ink heightened with lead white, over-painted with watercolour, 54.2 x 63.7 cm. Musée du Louvre
The remains of Leonardo's fresco may have been discovered in the Hall of the Five Hundred (Salone dei Cinquecento) in the Palazzo Vecchio, Florence.
Leda and the Swan
c. 1504–8[15]
Recorded by Cassiano dal Pozzo as being at Château de Fontainebleau in 1625
There are nine known copies of the painting, including:
Cesare da Sesto, Leda and the Swan (pictured). Oil on wood, 69.5 x 73.7 cm. Wilton House, Wiltshire, United Kingdom
Anonymous, possibly Il Sodoma, Leda and the Swan. Tempera on wood, 115 x 86 cm. Galleria Borghese, Rome, Italy
Francesco Melzi, Leda and the Swan. Uffizi, Florence, Italy
Anonymous, possibly Fernando Yáñez de la Almedina, Leda and the Swan. Oil on panel, 51 5/8 x 30 inches (131.1 x 76.2 cm). Philadelphia Museum of Art, USA (previously at John G. Johnson Collection, 1917)
Giampietrino, Leda and the Swan, from the collection of the Marquis of Hastings
Giampietrino, Venus and Cupid, private collection, Milan
Venus and Cupid, 16th century, Oil on panel, New Orleans Museum of Art, USA
Angel of the Annunciation
c. 1510–3[15]
The painting is described by Vasari. A drawing survives among studies for the Battle of Anghiari (see below). The drawing at right, known as The Incarnate Angel is a satirical copy, perhaps by Salaì, in the Kunstmuseum Basel.[17] There are some extant copies of the subject by Leonardeschi, including:
Workshop of Leonardo da Vinci? Angel of the Annunciation, c. 1505–13? Oil on canvas (transferred from panel), 66 × 47.3 cm, Hermitage, St. Petersburg.[18]
Workshop of Leonardo da Vinci? St John the Baptist, c. 1508–13? Panel, 71 × 52 cm, Kunstmuseum Basel.[19]
Workshop of Leonardo da Vinci? St John the Baptist, c. 1508–13? Oil on panel, 75 × 53.4 cm, Ashmolean Museum, Oxford.[20]
Baccio Bandinelli. Annunciate Angel. Sketch after Leonardo da Vinci.
Some recent attributions[edit]
Image
Details
Attribution status
Madonna and Child with St Joseph or Adoration of the Christ Child
Tempera on panel
Diameter 87 cm
Rome, Galleria Borghese
Previously attributed to Fra Bartolomeo. After recent cleaning, the Borghese Gallery sought attribution as a work of Leonardo's youth, based on the presence of a fingerprint similar to one that appears in The Lady with the Ermine. Result of investigation not available.[21]
Mary Magdalene
Switzerland, private collection
Recently attributed as a Leonardo by Carlo Pedretti. Previously regarded as the work of Giampietrino who painted a number of similar Magdalenes.[22] Carlo Pedretti's attribution of this painting is not accepted by other scholars, e.g. Carlo Bertelli, (former director of the Brera Art Gallery in Milan), who said this painting is not by Leonardo and that the subject could be a Lucretia with the knife removed.[23]
Virgin of the Rocks Cheramy
Virgin of the Rocks Cheramy
Oil on wood panel, transferred to canvas.
154,5 × 122 cm;
Switzerland, Private Collection, formerly Paris, Chéramy Collection
Generally attributed to Giampetrino. Recently attributed to Leonardo and workshop by Professor Carlo Pedretti. Mentioned by Jean-Auguste-Dominique Ingres in 1845 and by Pierre Puvis de Chavannes, who were both convinced that it was a Leonardo original.
c. 1495–7 (PEDRETTI)
c. 1495–7 (MARANI 1991)
Christ Carrying the Cross
c. 1500
Oil on poplar
San Francisco, private collection
Previously attributed by Sotheby's to Gian Francesco Maineri.[24][25] Attributed to Leonardo by its present owner.[24] Attribution based on the similarity of the tormentors of Christ to drawings made by Rubens of the Battle of Anghiari. According to Forbes Magazine, Leonardo expert Carlo Pedretti said that he knew of three similar paintings and that "All four paintings, he believed, were likely the work of Leonardo's studio assistants and perhaps even the master himself."[24]
Lucan Portrait of Leonardo
Vaglio Basilicata, Museo delle Antiche Genti di Lucania
Discovered in 2008 in a private collection and identified as a self-portrait by Peter Hohenstatt and others. A date in the late 15th or 16th century has been confirmed by scientific testing. Fingerprints match those found on the Lady with the Ermine. Alternately attributed to Cristofano dell'Altissimo.[26]
Isleworth Mona Lisa
Switzerland, private collection
Its proponents claim that this is the earlier of two versions of the Mona Lisa, painted for Francesco del Giocondo (husband of Lisa) in 1503, and that the Louvre version was painted for Giuliano de' Medici in 1517.[27]
Horse and Rider
c. 1508
Private collection, London
Recently discovered[28] fragmentary wax statuette in a private collection in London, formerly in the Sangiorgi Collection in Rome, said to have come from the Melzi estate at Vaprio d’Adda. Attributed as “by Leonardo himself” by Professor Carlo Pedretti, in 1985.[29][30]
c. 1506–8 (PEDRETTI 1985)
c. 1506–8 (MOFFATT 2005)
c. 1508–11 (SOLARI 2016)
Manuscripts[edit]
Image
Title
Dates
Pages
Notes
Location
Codex Atlanticus
1478–1519 1,119 12 volumes, collated by the sculptor Pompeo Leoni. Milan, Pinacoteca Ambrosiana
Codex Windsor
1478–1518 153 Windsor, Royal Collection
Codex Arundel
1480–1518 283 London, British Library
Codex Trivulzianus
c. 1487–90 55 (originally 62) Milan, Biblioteca Trivulziana, Castello Sforzesco
Codex Forster
1487–1505 354 Five pocket notebooks bound into three volumes, here listed in chronological order.
I.2 (Milan, c. 1487–90): Discusses hydraulic engineering, the moving and raising of water and perpetual motion.
III (Milan, c. 1490–3: Notes on geometry, weights and hydraulics interspersed with sketches of horses’ legs, what might be designs for ball costumes and a description of the anatomy of the human head.
II.1 (Milan, c. 1495): Notes on the theory of proportions and other miscellaneous material.
II.2 (Milan, 1495–7): Notes on the theory of weights, traction, stresses and balances.
I.1 (Florence, 1505): Notes on the measurement of solid bodies and on topology.[31]
London, Victoria and Albert Museum
Paris Manuscript B Folio 80r. A flying machine.
Paris Manuscripts
1488–1505 more than 2500
12 volumes labeled from "A" to "M", here listed in chronological order.
B (1488–90; 84 folios): Notebook including designs for flying machines (including the “helicopter”), a submarine, centrally-planned churches and war machines.[32]
C (1490−1; 28 folios. One section missing.) Treatise on light and shade; also discusses flow of water and percussion.[33]
A (c. 1492): Fragment of a larger MS which included the Codex Ashburnham II. Subjects covered include painting, perspective, water and mechanics.[34]
H (1493–4; 142 folios): Three pocket notebooks bound together. Discusses Euclidean geometry and the design of drawing materials.[35]
M (late 1490s–1500; 48 folios): A pocket notebook on geometry, ballistics and botany.[36]
L (1497–1502; 94 folios): A notebook on military engineering, used by Leonardo when he was in the employ of Cesare Borgia.[37]
K (1503–8; 128 folios): Three pocket notebooks, mainly on geometry.[38]
I (1497–1505; 139 folios): Two pocket notebooks with notes on geometry, architecture, Latin, perspective and proportions for painters.[39]
D (1508–9; 10 folios with 20 drawings): Discusses theories of vision.[40]
F (1508–13; 96 folios): Discusses water, optics, geology and astronomy.[41]
E (1513–4; originally 96 folios): Discusses weights and the effects of gravity, an invention for draining the Pontine Marshes, geometry, painting and the flight of birds.[42]
G (1510–5; 93 folios): Primarily discusses botany.[43]
Paris, Bibliothèque de l’Institut de France
Codex Madrid
1490s–1504 Two volumes, rediscovered in 1966.
I (1490s): Mainly concerned with the science of mechanisms.[44]
II (1503–4): Miscellaneous drawings, including maps of the Arno relating to the project to divert its course and notes and drawings relating to the casting of the Sforza monument.[45]
Madrid, Biblioteca Nacional de España
Folio 93v. Designs for a centrally planned church
Codex Ashburnham
c. 1492 Two volumes, taken out of Paris Manuscripts A and B and sold to the Earl of Ashburnham, who returned them to Paris in 1890. Paris, Bibliothèque de l’Institut de France
Codex on the Flight of Birds
dated 1505 18 Originally part of Paris Manuscript B; probably stolen by Count Guglielmo Libri in around 1840–7.[46] Turin, Biblioteca Reale
Codex Leicester
1506–1510 72 United States, private collection
Codex Urbinas
c. 1530 An anthology of writings by Leonardo compiled after his death by his pupil Francesco Melzi. An abridged version was published in 1651 as a treatise on painting (Trattato della Pittura).[47] Vatican City, Biblioteca Apostolica Vaticana
References[edit]
Sources for attribution status
Jump up ^ Madonna Litta: Leonardo da Vinci with Giovanni Antonio Boltraffio (Kemp 2011, p. 254); Leonardo da Vinci (Syson 2011); Boltraffio (?) after a design by Leonardo (Zöllner 2011, p. 227)
Jump up ^ Portrait of a Musician: Leonardo da Vinci (Kemp 2011, p. 254); Giovanni Antonio Boltraffio (?) and Leonardo (?) (Zöllner 2011, p. 225)
Jump up ^ Buccleuch Madonna: Leonardo da Vinci and an anonymous 16th-century painter (Syson 2011, p. 294); Workshop of Leonardo after a design by Leonardo (Zöllner 2011, p. 239)
Jump up ^ Lansdowne Madonna: Salaì after a design by Leonardo (Zöllner 2011, p. 238)
Jump up ^ La Scapigliata: Follower of Leonardo (Syson 2011, p. 198, n. 9); “ascribed today to Leonardo” (Marani 2000, p. 140)
Citations
^ Jump up to: a b c d e f g h i j k della Chiesa, Angela Ottino (1967). The Complete Paintings of Leonardo da Vinci. Penguin. ISBN 0-14-008649-8.
Jump up ^ Giorgio Vasari, Lives of the Artists, 1568; this edition Penguin Classics, trans. George Bull 1965, ISBN 0-14-044164-6
Jump up ^ M. Kemp, entry for The Lady with an Ermine in the exhibition Circa 1492: Art in the Age of Exploration (Washington-New Haven-London) pp 271f, states "the identification of the sitter in this painting as Cecilia Gallerani is reasonably secure;" Janice Shell and Grazioso Sironi, "Cecilia Gallerani: Leonardo's Lady with an Ermine" Artibus et Historiae 13 No. 25 (1992:47-66) discuss the career of this identification since it was first suggested in 1900.
^ Jump up to: a b Marani 2000, p. 339
Jump up ^ Kemp 2011, 253
Jump up ^ Syson 2011, 294
Jump up ^ Arasse, Daniel (1997). Leonardo da Vinci. Konecky & Konecky. ISBN 1-56852-198-7.
Jump up ^ Kemp, Martin (2004). Leonardo. Oxford: Oxford University Press. p. 251. The work does not appear in Kemp 2011.
Jump up ^ Adams, James (October 13, 2005). "Montreal art expert identifies da Vinci drawing". The Globe and Mail. Retrieved 2009-10-14.
Jump up ^ "The Mark of a Masterpiece" by David Grann, The New Yorker, vol. LXXXVI, no. 20, July 12 & 19, 2010, ISSN 0028-792X
Jump up ^ For a partial list of scholars who accept the attribution, see Bailey, Martin (31 October 2011). "Leonardo's Saviour of the World rediscovered in New York". The Art Newspaper. Retrieved 21 February 2012.
Jump up ^ Syson 2011, 302
Jump up ^ Scaramella, A. D. "Artwork Analysis self Portrait in Red Chalk by Leonardo Da Vinci". Finearts.com. Helium Inc. Retrieved 16 November 2014.
Jump up ^ "Emergency Treatment for Leonardo da Vinci’s Self-Portrait". news.universityproducts.com. Archival Products. Retrieved 16 November 2014.
^ Jump up to: a b c d e Marani 2000, p. 431
Jump up ^ Rubin & Wright 1999, pp. 84 and 118, n. 25
Jump up ^ Shearman, John (1992). "Only Connect...: Art and the Spectator in the Italian Renaissance". Oxford: Oxford University Press: 33.
Jump up ^ Delieuvin 2012, cat. 80
Jump up ^ Delieuvin 2012, cat. 81
Jump up ^ "St John the Baptist". Your Paintings. BBC. Retrieved 15 July 2013.
Jump up ^ Arie, Sophie (16 February 2005). "Fingerprint puts Leonardo in the frame". The Guardian. Retrieved 2007-09-27.
Jump up ^ "A lost Leonardo? Top art historian says maybe". Universal Leonardo. Retrieved 2007-09-27.
Jump up ^ Bertelli, Carlo (November 19, 2005). "Due allievi non fanno un Leonardo" (in Italian). Il Corriere della Sera. Retrieved 2007-09-27.
^ Jump up to: a b c Stephane Fitch DaVinci's Fingerprints, 12.22.03 accessed 7 July 2009. Martin Kemp, the expert on Leonardo's fingerprints, had not examined the painting when the article was written.
Jump up ^ A similar image, without the tormentors, is in the Hermitage Museum, St Petersburg. [1]
Jump up ^ Self-portrait of Leonardo, Surrentum Online, accessed 2010-11-06
Jump up ^ "‘Early Mona Lisa’ painting claim disputed". BBC News. 27 September 2012. Retrieved 26 January 2013.
Jump up ^ "‘Horse and Rider’ Discovered Leonardo Da Vinci Sculpture". Huffington Post. 14 August 2012. Retrieved 16 January 2014.
Jump up ^ "Remarkable 500-year-old Leonardo Da Vinci casting of horse and rider unveiled after original was lost for centuries". Daily Mail News. 29 August 2012. Retrieved 16 January 2014.
Jump up ^ "Leonardo da Vinci's ‘Horse and Rider’". BBC News. 28 August 2012. Retrieved 16 January 2014.
Jump up ^ "The Forster Codices: Leonardo da Vinci’s Notebooks at the V&A". Victoria and Albert Museum. Retrieved 4 November 2012.
Jump up ^ "Paris Manuscript B". Universal Leonardo. University of the Arts, London. Retrieved 3 November 2012.
Jump up ^ "Paris Manuscript C". Universal Leonardo. University of the Arts, London. Retrieved 3 November 2012.
Jump up ^ "Paris Manuscript A". Universal Leonardo. University of the Arts, London. Retrieved 3 November 2012.
Jump up ^ "Paris Manuscript H". Universal Leonardo. University of the Arts, London. Retrieved 3 November 2012.
Jump up ^ "Paris Manuscript M". Universal Leonardo. University of the Arts, London. Retrieved 3 November 2012.
Jump up ^ "Paris Manuscript L". Universal Leonardo. University of the Arts, London. Retrieved 3 November 2012.
Jump up ^ "Paris Manuscript K". Universal Leonardo. University of the Arts, London. Retrieved 3 November 2012.
Jump up ^ "Paris Manuscript I". Universal Leonardo. University of the Arts, London. Retrieved 3 November 2012.
Jump up ^ "Paris Manuscript D". Universal Leonardo. University of the Arts, London. Retrieved 3 November 2012.
Jump up ^ "Paris Manuscript F". Universal Leonardo. University of the Arts, London. Retrieved 3 November 2012.
Jump up ^ "Paris Manuscript E". Universal Leonardo. University of the Arts, London. Retrieved 3 November 2012.
Jump up ^ "Paris Manuscript G". Universal Leonardo. University of the Arts, London. Retrieved 3 November 2012.
Jump up ^ "Codex Madrid I". Universal Leonardo. University of the Arts, London. Retrieved 3 November 2012.
Jump up ^ "Codex Madrid II". Universal Leonardo. University of the Arts, London. Retrieved 3 November 2012.
Jump up ^ Bambach 2003, p. 723
Jump up ^ "Codex Urbinas and lost Libro A". Universal Leonardo. University of the Arts, London. Retrieved 12 April 2012.
Bibliography
Bambach, Carmen C., ed. (2003). "Leonardo da Vinci: Master Draftsman". New Haven and London: Yale University Press.
Chapman, Hugo; Faietti, Marzia (2010). "Fra Angelico to Leonardo: Italian Renaissance Drawings". London: British Museum Press. ISBN 978-0-7141-2667-8.
Covi, Dario A. (2005). "Andrea del Verrocchio: Life and Work". Arte e archeologia: Studi e documenti (27). Florence: Leo S. Olschki Editore.
Delieuvin, Vincent, ed. (2012). Saint Anne: Leonardo da Vinci’s Ultimate Masterpiece. Milan: Officina Libraria.
Kemp, Martin (2006). "Leonardo da Vinci: The Marvellous Works of Nature and Man". Oxford: Oxford University Press. ISBN 978-0-1992-0778-7.
Kemp, Martin (2011). "Leonardo: Revised edition". Oxford: Oxford University Press.
Marani, Pietro C. (2000). "Leonardo da Vinci: The Complete Paintings". New York: Harry N. Abrams, Inc.
Rubin, Patricia Lee; Wright, Alison (1999). "Renaissance Florence: The Art of the 1470s". London: National Gallery Publications.
Syson, Luke; Larry Keith; Arturo Galansino; Antoni Mazzotta; Scott Nethersole; Per Rumberg (2011). "Leonardo da Vinci: Painter at the Court of Milan". London: National Gallery.
Zöllner, Frank (2011). "Leonardo da Vinci: The Complete Paintings and Drawings". 1. Cologne: Taschen.
External links[edit]
Leonardo da Vinci and the Virgin of the Rocks, A different point of view
Web Gallery of Leonardo Paintings
Drawings of Leonardo da Vinci
Leda and the Swan copies by Leonardaschi
Leonardo da Vinci, Master Draftsman, exhibition catalog fully online as PDF from The Metropolitan Museum of Art
Leonardo da Vinci: anatomical drawings from the Royal Library, Windsor Castle, exhibition catalog fully online as PDF from The Metropolitan Museum of Art
The Codex Arundel on the British Library's Digitised Manuscripts Website
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A Short Walk in the Hindu Kush
From Wikipedia, the free encyclopedia
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A Short Walk in the Hindu Kush
First edition
Author
Eric Newby
Illustrator
Photographs by Newby
Country
United Kingdom
Language
English
Subject
Mountaineering
Publisher
Secker and Warburg
Publication date
1958
Pages
253 pp.
ISBN
0-330-24227-X
A Short Walk in the Hindu Kush is a 1958 book by the English travel writer Eric Newby. It is an autobiographical account of his adventures in the Hindu Kush, around the Nuristan mountains of Afghanistan, ostensibly to make the first mountaineering ascent of Mir Samir. Critics have found it comic, intensely English, and understated. It has sold over 500,000 copies in paperback.[1]
The action in the book moves from Newby's life in the fashion business in London to Afghanistan. On the way Newby describes his very brief training in mountaineering in North Wales, a stop in Istanbul, and a nearly-disastrous drive across Turkey and Persia. They are driven out to the Panjshir Valley, where they begin their walk, with many small hardships described in a humorous narrative, supported by genuine history of Nuristan and brief descriptions of the rare moments of beauty along the way. Disagreements with Newby's Persian-speaking companion Hugh Carless, and odd phrases in an antique grammar book, are exploited to comic effect.
The book has been reprinted many times, in at least 16 English versions and in Spanish, Chinese and German editions. While some critics, and Newby himself, have considered Newby's Love and War in the Apennines a better book, A Short Walk was the book that made him well-known, and critics agree that it is both understated and very funny in an old-school British way.
Contents
[hide]
1 Background
2 The book
2.1 Publication
2.2 Illustrations and maps
2.3 Preface
2.4 Structure
3 Reception
4 Legacy
5 Notes
6 References
6.1 Edition
7 External links
Background[edit]
In 1956 at the age of 36, Eric Newby ended his London career in fashion[2] and decided impulsively to travel to a remote corner of Afghanistan where no Englishman had ventured for 60 years.[3]
He sent a telegraph to his friend the diplomat Hugh Carless, then due to take up his position as First Secretary in Tehran later that year, requesting he accompany him on an expedition to Northern Afghanistan.[4] They were poorly prepared and inexperienced, but Newby and Carless vowed to attempt Mir Samir, a glacial and then unclimbed[5] 20,000 foot peak in the Hindu Kush.[6]
The book[edit]
Publication[edit]
A Short Walk was first published in 1958 by Secker and Warburg. It has been reprinted many times since in both Britain and the USA. The book has been translated into Spanish (1997), Chinese (1998), French (2002), German (2005), Swedish (2008), and Croatian (2016).[7][8]
Illustrations and maps[edit]
Sketch map of Nuristan with places mentioned in the book
The book was illustrated with monochrome photographs taken by Newby or Carless.[9] There are two hand-drawn maps. The "Map to illustrate a journey in Nuristan by Eric Newby and Hugh Carless in 1956", shows an area of 75 x 55 miles covering the Panjshir valley to the Northwest, and Nuristan and the Pushal valley to the Southeast; it has a small inset of Central Asia showing the area's location to the Northeast of Kabul. The other map, "Nuristan", covers a larger area of about 185 x 140 miles, showing Kabul and Jalalabad to the South, and Chitral and the Pakistan region of Kohistan to the East.[10]
Preface[edit]
A two-page preface by the novelist Evelyn Waugh recommends the book, remarking on its "idiomatic, uncalculated manner", and that the "beguiling narrative" is "intensely English". He hopes that Newby is not the last of a "whimsical tradition". He explains that Newby is not the other English writer of the same name and confesses (or pretends) that he began to read it thinking that it was the other man's work. He sketches out the "deliciously funny" account of Newby selling women's clothes, and the "call of the wild" (he admits it is an absurdly trite phrase) that led him to the Hindu Kush. Waugh ends by advising the "dear reader" to "fall to and enjoy this characteristic artifact."[11]
Structure[edit]
The book is narrated in the first person by Newby. Newby begins with an anecdotal description of his frustration with life in the fashion business in London, and how he came to leave it. He tells how he and his friend Hugh Carless receive brief training in mountaineering technique, on boulders and small cliffs in North Wales. The inn's waitresses are expert climbers; they take Newby and Carless up a difficult climbing route, Ivy Sepulchre[a] on Dinas Cromlech. Newby drives to Istanbul with his wife, Wanda. Meeting Carless, they drive across Turkey to Persia (present day Iran). They brake to an emergency stop on the road, just short of a dying nomad, and with difficulty convince the police they did not cause the death.
Wanda returns home and the men cross Persia and Afghanistan, driving 5,000 miles (8,000 km) in a month, through Herat to Kandahar and Kabul. There are comic touches, as when "The proprietor Abdul, a broken-toothed demon of a man, conceived a violent passion for Hugh."[13] Newby and Carless try to acclimatise to the altitude with a practice walk. They visit the Foreign Ministry, hire an Afghan cook, and buy a "very short" list of supplies. Newby describes the geography of Nuristan "walled in on every side by the most formidable mountains" and a little history, with the legend of descent from Alexander the Great, the British imperial adventures, and pre-war German expeditions.[14] They are driven out from Kabul to the Panjshir valley by a servant from the Embassy. They stay in a tall mud house in a place with mulberry trees, vines and willows by a river. Hugh puts the dinner guests to sleep with a complicated story "about an anaconda killing a horse".[15]
Boys on donkey, Afghanistan
Newby and Carless take on three "very small" horses and their horse-drivers. The cook has to return to Kabul. Despite having horses, they decide to carry 40 pound (20 kg) packs "to toughen ourselves up".[16] Walking in the heat causes the local people to insult them, and makes their drivers angry, which does not make negotiating their pay any easier. Trying to find their feet, they push themselves hard, and get upset stomachs and blisters. They find a man "with his skull smashed to pulp"; the head driver suggests they should leave the place immediately. Two lammergeiers, carrion feeders, circle overhead.[17] Newby describes how he and Carless become tired of each other's company, and of the food they have brought. They come to a ruinous summer pasture village, and eat local food: boiled milk, the yellow crust that forms on cream, and fresh bread. They catch sight of their goal, Mir Samir in the Hindu Kush mountains. They find tracks of ibex and wolf. One of their drivers catches a snowcock by running after it.
Newby and Carless arrive at the West wall of the mountain, wondering what they have let themselves in for. They walk up the glacier wearing new crampons, probing for crevasses with their ice-axes. They cross the bergschrund and climb a little on rock. Carless suggests abseiling 200 feet (60 m) to the next glacier, a place where they would have been trapped. Wisely, they return to their base camp and try again the next morning, again finding their way blocked. They wish the climbing waitresses from Wales were with them.
Fat-tailed sheep in Afghanistan
They find an injured boy dressed in a goatskin to draw the poison from his wounds. Newby has to eat the tail of a fat-tailed sheep. They are escorted up the Chamar valley by a greedy albino. Newby tries to learn a little of the Bashguli language from a 1901 Indian Staff Corps grammar, which contains an absurd selection of phrases; the book exploits some of these to comic effect.[18] The next day they attempt to climb the East ridge in hot weather. The rock is gritty with sharp flakes of mica. They pretend to be Damon Runyon characters to cheer themselves up.[19] They get better at roped climbing and reach 18,000 feet before returning for the night, assuring themselves they could succeed if they start earlier and try a different route.
They pass a bitterly cold night below a cliff where rocks continually fall; there is a thunderstorm. They eat pea soup, tinned apple pudding, and jam straight from the tin, and try to sleep. The next day they try to ascend a 70 degree ice slope, reaching the ridge after five hours, not the two they had estimated. At 19,100 feet they have a tremendous view of the Hindu Kush, the Anjuman Pass, Tirich Mir, and the mountains that border Pakistan. Choughs croak above them. They are only 700 feet below the summit, but four hours away, so once again they turn back,[20] They return to camp at 9 p.m. after climbing for 17 hours.
Carless makes an impressive speech in Persian to convince the drivers to continue into Nuristan. They climb an indistinct track to the pass. They descend into Nuristan: it grows hot. Men run to meet them: they are told they are the first Europeans ever to cross the pass – Newby does not believe this – and are given ice-cold milk to drink. They make camp in a loop of the river to reduce the risk of being murdered in the night. They are visited by two evil-looking men with an ancient Martini-Henry rifle, riding a horse. In the morning they try out the Bashguli grammar on a man; he understands, but speaks a different dialect. Their guide does not let them camp in a grove of mulberry trees full of girls and young women, but chooses a dirty place under a cliff. They undress to wash in the river, discovering how thin they have become.[21] An audience gathers to watch them get up and cook. They reach Pushal,[22] where the headman gives them apricots and tells tales of the old days. They admire the antique rifles of many kinds that the men have.[23] A mullah forbids them to go to a funeral where a bullock is to be slaughtered, in a holiday atmosphere. Instead, they sit under a walnut tree beside a river, with kingfishers, butterflies, hummingbird hawkmoths, and a woodpecker drilling.[24] Newby shakes hands with two lepers. They all have dysentery. Newby negotiates the price of a complete male Nuristani costume.
Irrigating by hand in Afghanistan
Walking down from the village of Lustagam they pass hand-made irrigation canals of hollowed-out halved tree trunks on stone pillars. They are shown a rock, the Sang Neveshteh, with an inscription in Kufic script, supposedly recording the Emperor Timur Leng's visit in 1398 A.D.[25] The country becomes lusher, with both ordinary mulberries and the king mulberry, plums, sloes and soft apples. They cross a wooded country with watermills, wild raspberries and buttercups.[26] They climb back through rougher country to Gadval, a village on a cliff, with picturesque privies over the streams. At Lake Mundul a mullah swims the horse with Newby's camera and all their film and other possessions across the river. The headman shows a scar inflicted on him in deep snow by a black bear.
Newby and Carless climb 2,000 feet out of the valley to reach Arayu village. At Warna they rest by a waterfall with mulberry trees. They walk on, Newby dreaming of cool drinks and hot baths. They struggle on over a high cold pass. The last village of Nuristan, Achagaur, is peopled by Rajputs who claim to come from Arabia. They reach the top of the Arayu pass[27] and cheerfully descend on the far side. They meet the explorer and author of Arabian Sands, Wilfred Thesiger, who is disgusted by their air-beds and calls them "a pair of pansies".[28][29]
Reception[edit]
Critics such as the travel writer Alexander Frater have noted that while the book is held in extremely high esteem,[b] and is enjoyably comic,[30][31] it is not nearly as well-written as his later autobiographical book, Love and War in the Apennines (1971), a judgement in which Newby concurred.[29][32][33][34] The travel writer John Pilkington stated that the book had been an early inspiration in his life, and wrote of Newby that "He had an understated, self-deprecating sense of humour which was very British – perfect travel writing."[35] Michael Shapiro, interviewing Newby for Travelers' Tales, called the book "a classic piece of old-school British exploration, and established Newby's trademark self-deprecating wry humor"[36] and included it in WorldHum's list of favourite travel books.[37] Boyd Tonkin, writing in The Independent, called the book a "classic trek", and commented that while it is told light-heartedly, Newby, despite his comic gift, always retained his "capacity for wonderment".[38]
Newby meets the explorer and travel writer Wilfred Thesiger, at the end of the book. Painting by Anthony Devas, 1944
Kari Herbert noted in The Guardian's list of travel writer's favourite travel books that she inherited her father, the English polar explorer Wally Herbert's "well-loved copy" of Newby's book. "Like Newby, I was in a soulless job, desperate for change and adventure. Reading A Short Walk was a revelation. The superbly crafted, eccentric and evocative story of his Afghan travels was like a call to arms."[34] Outside magazine includes A Short Walk among its "25 essential books for the well-read explorer",[39] while Salon.com has the book in its list of "top 10 travel books of the [20th] century".[40] The Daily Telegraph too enjoyed the English humour of the book, including it in a list of favourite travel books, and describing Newby and Carless's meeting with the explorer Wilfred Thesiger as a "hilarious segment". It quotes "We started to blow up our air-beds. 'God, you must be a couple of pansies,' said Thesiger."[41] The Swedish journalist and travel writer Tomas Löfström (sv) noted that the meeting with Thesiger represented, in Newby's exaggerated account, a collision between two generations of travel writers who travelled, wrote, and related to strangers quite differently.[42]
Margalit Fox, writing Newby's obituary in the New York Times, noted that the trip was the one that made him famous, and states that "As in all his work, the narrative was marked by genial self-effacement and overwhelming understatement." She cites a 1959 review in the same publication by William O. Douglas, later a Supreme Court judge, who called the book "a chatty, humorous and perceptive account", adding that "Even the unsanitary hotel accommodations, the infected drinking water, the unpalatable food, the inevitable dysentery are lively, amusing, laughable episodes."[43]
The American novelist Rick Skwiot enjoyed the "blithely confident Brit's" narrative style, finding echoes of its concept, structure and humour in Bill Bryson's A Walk in the Woods. Skwiot notes the hazards of the journey as crevasses, precipices, thieves, bears, disease, thirst, hunger. "Somehow they blunder on toward their whimsical destination", he remarks, the "seductive and tickling narrative" told with "understatement, self-effacement, savage wit, honed irony, and unrelenting honesty." The reader is drawn in "by his endearingly flawed humanity."[44]
In Varieties of Nostalgia in Contemporary Travel Writing, Patrick Holland and Graham Huggan observed that "travel writing, like travel itself, is generated by nostalgia". But the "anachronistic gentleman" can only exist, they note, quoting Simon Raven, "in circumstances that are manifestly contrived or unreal". The resulting "atmosphere of enhanced affectation is exploited to maximum comic effect" in books like A Short Walk, which they called "an acclaimed post-Byronic escapade in which gentlemanly theatrics come to assume the proportions of full-blown farce."[45]
The essayist and professor of English Samuel Pickering called A Short Walk and his later book Slowly Down the Ganges "vastly entertaining", reminiscent of earlier British travellers like Robert Byron (The Road to Oxiana, 1937), but also "episodic, each day cluttered with odd occurrences that are striking because they occur in exotic lands". Pickering noted that Newby's combination of whimsy with close observation fitted in to the British travel writing tradition. In his view, Newby's writing has aged, but like old wine, it goes down smoothly, and remains invigorating.[46]
Legacy[edit]
The Austrian alpinist Adolf Diemberger wrote in a 1966 report that in mountaineering terms Newby and Carless's reconnaissance of the Central Hindu Kush was a "negligible effort", admitting however that they "almost climbed it".[47] The climb was more warmly described in the same year as "The first serious attempt at mountaineering in that country [the Afghan Hindu Kush]" by the Polish mountaineer Boleslaw Chwascinski.[5]
In January 2012, an expedition under the auspices of the British Mountaineering Council, citing the "popular adventure book", attempted the first winter ascent of Mir Samir, but it was cut short by an equipment theft and "very deep snow conditions and route finding difficulties".[48]
Notes[edit]
Jump up ^ This is one of the routes pioneered by Peter Harding.[12]
Jump up ^ Frater wrote that the book had "become the literary equivalent of a listed building", but that he far preferred Love and War.[29]
References[edit]
Jump up ^ Anon (2002). "Hugh Michael Carless, CMG" (PDF). British Diplomatic Oral History Programme, Churchill College, Cambridge. p. 9. Retrieved 4 April 2013.
Jump up ^ Newby, 1974. p. 17.
Jump up ^ Newby, 1974. p. 22.
Jump up ^ "Obituaries – Hugh Carless". The Telegraph. 21 December 2011.
^ Jump up to: a b Chwascinski, Boleslaw (1966). "The Exploration of the Hindu Kush" (PDF). Alpine Journal: 199–214.
Jump up ^ Newby, 1974. pp. 22–23.
Jump up ^ Good Reads editions
Jump up ^ "ti:a short walk in the hindu kush au:eric newby". WorldCat. Retrieved 20 February 2018.
Jump up ^ Newby, 1974. between pp. 128–129.
Jump up ^ Newby, 1974. After p. 248.
Jump up ^ Newby, 1974. pp. 11–12.
Jump up ^ Perrin, Jim (19 December 2007). "Peter Harding Rock-climbing pioneer whose exploits defined the postwar sport". The Guardian. Retrieved 2013-05-17.
Jump up ^ Newby, 1974. pp. 59–60.
Jump up ^ Newby, 1974. p. 84.
Jump up ^ Newby, 1974. p. 106.
Jump up ^ Newby, 1974. p. 110.
Jump up ^ Newby, 1974. p. 129.
Jump up ^ Newby, 1974. p. 166.
Jump up ^ Newby, 1974. p. 169.
Jump up ^ Newby, 1974. p. 181.
Jump up ^ Newby, 1974. pp. 207–208.
Jump up ^ Newby, 1974. p. 212.
Jump up ^ Newby, 1974. p. 216.
Jump up ^ Newby, 1974. p. 219.
Jump up ^ Newby, 1974. p. 227.
Jump up ^ Newby, 1974. p. 230.
Jump up ^ Newby, 1974. p. 244.
Jump up ^ Newby, 1974. p. 248.
^ Jump up to: a b c Frater, Alexander (29 October 2006). "Eric Newby | 'I remember the hum of excitement he created'". The Guardian. Retrieved 20 February 2018.
Jump up ^ Gutcher, Lianne (5 February 2017). "Following Eric Newby's footsteps in the Hindu Kush". Wanderlust Travel Magazine. Retrieved 20 February 2018.
Jump up ^ Waldmann, Greg (1 July 2016). "From the Archives: Summer Reading 2015 – Cool Reads". Open Letters Monthly | An Arts and Literature Review. Retrieved 20 February 2018.
Jump up ^ George, Edward Mace (23 October 2006). "Idiosyncratic travel writer from another age, and author of the classic A Short Walk in the Hindu Kush". The Guardian. Retrieved 2 April 2013.
Jump up ^ Anon (24 October 2012). "Review of A Short Walk in the Hindu Kush by Eric Newby" (PDF). Anmore Ladies' Book Club (Gentlemen Welcome). Archived (PDF) from the original on 4 March 2016. Retrieved 4 April 2013.
^ Jump up to: a b Herbert, Kari; Gimlette, John; et al. (16 September 2011). "My favourite travel book, by the world's greatest travel writers". The Guardian. Retrieved 4 April 2013.
Jump up ^ "John waxes lyrical about Balkan venture". Southern Reporter. 19 November 2015. Archived from the original on 16 February 2018. Retrieved 16 February 2018.
Jump up ^ Shapiro, Michael (2004). "Eric Newby: Through Love and War". Travelers' Tales. Archived from the original on 13 March 2013. Retrieved 4 April 2013.
Jump up ^ Shapiro, Michael (15 May 2006). "No. 17: 'A Short Walk in the Hindu Kush' by Eric Newby". WorldHum. Retrieved 20 February 2018.
Jump up ^ Tonkin, Boyd (5 November 2010). "A Short Walk in the Hindu Kush, By Eric Newby". The Independent. Retrieved 20 February 2018.
Jump up ^ Wieners, Brad & "the editors" (1 January 2003). "The 25 (Essential) Books for the Well-Read Explorer". Outside magazine. Archived from the original on 30 May 2013. Retrieved 4 April 2013.
Jump up ^ George, Don (19 May 1999). "The top 10 travel books of the century". Salon.com. Retrieved 20 February 2018.
Jump up ^ Anon. "The 20 best travel books of all time". The Telegraph. Retrieved 4 April 2013.
Jump up ^ Löfström, Tomas (17 June 2013). "Världens lockelse" [The attraction of the World] (in Swedish). Österlens Bokcafé. Retrieved 21 February 2018. ”Möten med det främmande. Reseskildringens skiftande former”, published as Världens lockelse in HVL/Karavan 3/99 (theme travel literature; first issue under the name Karavan)
Jump up ^ Fox, Margalit (24 October 2006). "Eric Newby, 86, Acclaimed British Travel Writer, Dies". New York Times. Retrieved 4 April 2013.
Jump up ^ "A Short Walk in the Hindu Kush, by Eric Newby". Rick Skwiot. Archived from the original on 16 February 2018. Retrieved 4 April 2013.
Jump up ^ Holland, Patrick; Huggan, Graham (2004). "Varieties of Nostalgia in Contemporary Travel Writing". In Hooper, Glenn; Youngs, Tim. Perspectives on Travel Writing. Ashgate Publishing. pp. 139–152.
Jump up ^ Pickering, Sam (2007). "Eric Newby and the Literature of Travel". The Sewanee Review. 115 (3): 479–483. JSTOR 40211623.
Jump up ^ Diemberger, Adolf (1966). Translated by Merrick, Hugh. "Development of Mountaineering in the Hindu Kush". Himalayan Journal. 27.
Jump up ^ Bingham, James; Brooksbank, Quentin; Wynne, Mark (2012). "A Short Winter in the Hindu Kush" (PDF). British Mountaineering Council. Retrieved 23 April 2013.
Edition[edit]
Newby, Eric (1974). A Short Walk in the Hindu Kush. Pan. ISBN 0-330-24227-X.
External links[edit]
2002 Interview with Hugh Carless
Pitt Rivers Museum: Wilfred Thesiger's photograph Summit of Mir Samir
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