0:00:07 > 0:00:12The year 1515 was a dangerous one for Leonardo da Vinci.
0:00:14 > 0:00:16Caught up in Vatican intrigue,
0:00:16 > 0:00:20he was betrayed by spies within his own camp
0:00:20 > 0:00:22who denounced him as a sorcerer.
0:00:24 > 0:00:30'He's not only dissecting the bodies of the dead, but even that of a woman with child.
0:00:30 > 0:00:37- 'There is no limit to the investigations of the Florentine.' - Fetch Leonardo da Vinci.
0:00:37 > 0:00:42Not for the first time, Leonardo the rebel and rule breaker,
0:00:42 > 0:00:47was out of step with the times in which he lived.
0:00:47 > 0:00:52This is the story of Leonardo da Vinci,
0:00:52 > 0:00:56the man who set out to learn everything
0:00:56 > 0:00:58and to read the mind of God.
0:01:07 > 0:01:14The painter's mind should be like a mirror, reflecting everything in the natural world around him.
0:01:14 > 0:01:17He must even be a second nature,
0:01:17 > 0:01:19a universal master.
0:01:19 > 0:01:25I will do things no-one in the past has dared to do.
0:01:25 > 0:01:31I will think new thoughts, bring new things into being.
0:01:36 > 0:01:42Even 500 years ago, Leonardo was seen as a miraculous figure.
0:01:42 > 0:01:45His first biographer, Vasari, writes,
0:01:45 > 0:01:51"Occasionally, heaven sends us someone who is not only human, but divine,
0:01:51 > 0:01:58"so that through his mind and the excellence of his intellect, we may reach to heaven."
0:02:38 > 0:02:44People have asked me over and over, is this the greatest genius ever?
0:02:44 > 0:02:47I say, yes, that he is.
0:02:47 > 0:02:50"What about Newton, Einstein?"
0:02:50 > 0:02:55It's easy to point out that Newton's genius lay in one particular area,
0:02:55 > 0:02:59that Einstein's genius was in a particular area.
0:02:59 > 0:03:03But there's nobody like Leonardo.
0:03:03 > 0:03:07Think of every area to which he turned his attention
0:03:07 > 0:03:14and how every one was so beautifully created,
0:03:14 > 0:03:18constructed and conceived of.
0:03:18 > 0:03:23That has to be the furthest reach, I believe,
0:03:23 > 0:03:26that man's mind has ever attained.
0:03:32 > 0:03:38In 1498, Leonardo had completed his monumental painting of the Last Supper.
0:03:38 > 0:03:44But his brilliant career at the Milan court was cut short as the French invaded.
0:03:44 > 0:03:47His patron, the Duke of Milan, was imprisoned
0:03:47 > 0:03:52and Leonardo's most ambitious work, the great clay horse statue,
0:03:52 > 0:03:55was destroyed by the French troops.
0:03:55 > 0:03:58Forced to flee,
0:03:58 > 0:04:04Leonardo now travelled through the war-torn countryside in search of work.
0:04:05 > 0:04:12This is how the wheel of fortune turns. Those briefly at the top are flung again to the bottom.
0:04:12 > 0:04:17The Duke has lost his estates, his fortunes, his freedom.
0:04:17 > 0:04:23But you know what they say - he turns not back who is bound to a star.
0:04:23 > 0:04:27Leonardo needed a safe haven
0:04:27 > 0:04:32and so he travelled eastwards from Milan to the Adriatic coast.
0:04:32 > 0:04:37Throughout his life, Leonardo had been searching for a patron
0:04:37 > 0:04:44who would allow him to develop his extraordinary, even visionary ideas. But he needed money.
0:04:52 > 0:04:59And where better to find money than here - in 1500, one of the richest cities on earth, Venice.
0:05:01 > 0:05:06Its vast wealth was based on commerce.
0:05:06 > 0:05:11It was in a prime position on the trade route importing opulent goods from the Orient.
0:05:11 > 0:05:16So it was a confident city, not easily intimidated.
0:05:18 > 0:05:21But it was also a city in crisis.
0:05:21 > 0:05:29The Turks were in the midst of an epic expansion, and their giant fleet lay in Venice harbour.
0:05:29 > 0:05:34Having already made inroads into Venice's great empire,
0:05:34 > 0:05:38the Turkish warships were now striking at its very heart.
0:05:40 > 0:05:46For Leonardo, this was the perfect opportunity to find a buyer for an unusual secret weapon.
0:05:46 > 0:05:53So he came here to the Council of Venice, not as a painter, but as an inventor.
0:05:55 > 0:06:01The Venetian councillors were the real power behind the ruler, the doge.
0:06:01 > 0:06:06Their authority was absolute. They had the power of life and death.
0:06:06 > 0:06:11Leonardo's scheme must have seemed the most bizarre they'd ever heard.
0:06:11 > 0:06:16You live in a city of water and that water is your greatest asset.
0:06:16 > 0:06:22It is my opinion that the Italians will not defeat the Turks fighting them in a conventional manner,
0:06:22 > 0:06:29but with these designs, you can create a new kind of army - an underwater army.
0:06:29 > 0:06:35Men as agile as fish, with armour adapted to underwater travel
0:06:35 > 0:06:40and with a constant supply of fresh air, such as this.
0:06:40 > 0:06:45These designs allow your army to approach the enemy from underwater
0:06:45 > 0:06:52to drill great holes in the ships, sinking the ships, and thus the battle is won with minimal losses.
0:06:56 > 0:07:00I'm always fearful of describing my methods.
0:07:00 > 0:07:05Men will rush to make the ocean floor yet another field of battle.
0:07:05 > 0:07:08So why go to the Council?
0:07:08 > 0:07:11The Turkish fleet lies just off the Venetian coast.
0:07:11 > 0:07:13What is one to do?
0:07:13 > 0:07:16And will they try so bold a scheme?
0:07:16 > 0:07:22I doubt it. They'll probably think I am quite mad.
0:07:22 > 0:07:28There is no doubt that Leonardo's idea of a crack squad of underwater divers
0:07:28 > 0:07:32was far-fetched and full of practical problems.
0:07:32 > 0:07:36But if had been tried, might it just have worked?
0:07:36 > 0:07:41Could he have mastered underwater diving hundreds of years before anyone else?
0:07:41 > 0:07:44We decided to find out.
0:07:44 > 0:07:49The diving suit is being stitched together using traditional methods and materials.
0:07:49 > 0:07:55Pigskin leather has been treated with fish oil to make it water-resistant.
0:07:55 > 0:07:58The water just beads right off.
0:07:58 > 0:08:03Our suit was designed by Scott Castle, a former counter-terrorist officer,
0:08:03 > 0:08:07and world-record holder for the longest dive.
0:08:07 > 0:08:12It'll be worn by Jackie Cousins, who dives with giant squid for pleasure.
0:08:12 > 0:08:18We could make the whole suit out of this if it has good waterproof qualities.
0:08:18 > 0:08:25A reinforced helmet has to be made to prevent the mask squeezing and bruising Jackie's face
0:08:25 > 0:08:29as the water pressure increases the deeper she goes.
0:08:29 > 0:08:34The hood will need glass lenses - a material Leonardo would have had easy access to.
0:08:34 > 0:08:39Venice was the world capital of glass production in 1500.
0:08:40 > 0:08:47Leonardo's plan was to make the long snorkel from hollow pieces of bamboo.
0:08:47 > 0:08:51Above the surface of the water emerges the mouth of a tube
0:08:51 > 0:08:54by which the diver draws breath,
0:08:54 > 0:08:58supported on wine skins or pieces of cork.
0:08:58 > 0:09:04The lengths of bamboo are joined together with a pigskin sheath.
0:09:04 > 0:09:08But had Leonardo considered the effects of water pressure?
0:09:08 > 0:09:13As I inhale, which simulates the outside water pressure...
0:09:13 > 0:09:19It just collapses. I'm going to suffocate. Yeah, well, not me!
0:09:19 > 0:09:24The drawing shows Leonardo knew enough about water pressure
0:09:24 > 0:09:29to put a spring inside the sheath to stop it collapsing.
0:09:29 > 0:09:36But could his grasp of physics in the 1500s enable him to design an underwater breathing apparatus?
0:09:40 > 0:09:42Go ahead and you plug it...
0:09:42 > 0:09:49Right, so it's keeping it open and giving it flexibility as well. Exactly.
0:09:49 > 0:09:51So it didn't fully collapse,
0:09:51 > 0:09:58which means that perhaps Leonardo had more knowledge of water pressure than we thought.
0:10:01 > 0:10:08We decided to try out the suit in the safety of a swimming pool before bringing it to Venice.
0:10:15 > 0:10:21A cork float holds the bamboo snorkel out of the water.
0:10:32 > 0:10:35But a snorkel device such as this
0:10:35 > 0:10:41won't allow Jackie to go very deep before the water pressure makes breathing uncomfortable.
0:10:44 > 0:10:48That was completely amazing!
0:10:48 > 0:10:50I was really enjoying that.
0:10:50 > 0:10:54It was good until you get to a certain level
0:10:54 > 0:11:00and then suddenly it's really hard and you're really struggling.
0:11:00 > 0:11:03The pain in your chest is here.
0:11:03 > 0:11:05It starts to get really hard.
0:11:05 > 0:11:12But just moving up a couple of inches makes all the difference and you breathe really easily.
0:11:12 > 0:11:20But with the diver only able to go down a few feet before breathing became difficult,
0:11:20 > 0:11:25Leonardo's plan to walk along the sea bed would have been impossible.
0:11:25 > 0:11:29Or had he concealed his solution?
0:11:30 > 0:11:37Leonardo's scribbled instructions for all his devices are chaotic and fragmentary.
0:11:37 > 0:11:41Perhaps they are also deliberately misleading.
0:11:41 > 0:11:48In his notebooks, Leonardo writes that it would be dangerous if this design got into the wrong hands.
0:11:48 > 0:11:54Was that level of secrecy something that was familiar at that time?
0:11:54 > 0:12:00There are two ways of looking at the secrecy. One is what we call intellectual property.
0:12:00 > 0:12:03There's not much point
0:12:03 > 0:12:08in selling your services for a lot of money if your secrets leak out.
0:12:08 > 0:12:16And the other is a moral one - do you want everybody to know this device that can cause such havoc?
0:12:16 > 0:12:23I have been asked many times to describe my methods for remaining underwater
0:12:23 > 0:12:25without sustenance.
0:12:25 > 0:12:33But I refuse on account of the evil nature of man who could practise assassination on the sea bottom.
0:12:33 > 0:12:39Scott and Jackie are going to test the diving suit in the Venetian lagoon,
0:12:39 > 0:12:44where Leonardo intended it to be used 500 years ago.
0:12:45 > 0:12:50We know the concept as he sketched it is limited and dangerous.
0:12:50 > 0:12:55So Scott has to work out what Leonardo didn't tell us.
0:12:56 > 0:13:01The cork float is way too complex to just be a cork float.
0:13:01 > 0:13:03There has to be more to it.
0:13:03 > 0:13:06As I looked at the sketch,
0:13:06 > 0:13:12I started to realise that Leonardo put some stuff on the drawing that wasn't correct.
0:13:12 > 0:13:16He was trying to hide something and I'll tell you what I got.
0:13:16 > 0:13:20These holes up on the top,
0:13:20 > 0:13:24I don't think they were up here. I think they were down low.
0:13:24 > 0:13:28If they were low, there'd be a massive air chamber inside.
0:13:28 > 0:13:32The diver still used it as a snorkel,
0:13:32 > 0:13:36but they can also grab it and pull it down.
0:13:36 > 0:13:41Eventually, gas always goes > to the least amount of pressure.
0:13:41 > 0:13:45So it turns into a compressed-air diving system.
0:13:45 > 0:13:48Jackie now feels more confident as she takes the plunge.
0:13:48 > 0:13:52It's very snug round the hips!
0:13:52 > 0:13:54You lifted me right up!
0:13:54 > 0:14:01If Scott is right, this could make it possible for her to walk across the sea bed.
0:14:01 > 0:14:03So all I have to do
0:14:03 > 0:14:10is pull these ropes down to get fresh new air into the hood.
0:14:10 > 0:14:15I was looking through some other pieces of paper here. He had bellows here.
0:14:15 > 0:14:18There's a flexible hose coming off.
0:14:18 > 0:14:21So if we were to use the bellows,
0:14:21 > 0:14:24you're giving compressed air to a diver.
0:14:32 > 0:14:37So Jackie makes the dive into the depths of the Venetian lagoon.
0:14:39 > 0:14:45But can she fulfil Leonardo's dream of walking along the sea bed?
0:15:04 > 0:15:08The diving suit is a triumph.
0:15:08 > 0:15:14Jackie is able to walk along the sea bed, just as Leonardo described.
0:15:18 > 0:15:20An underwater army.
0:15:21 > 0:15:26Men as agile as fish, with armour adapted to underwater travel
0:15:26 > 0:15:30and with a constant supply of fresh air such as this.
0:15:34 > 0:15:38Even today, there's a touch of James Bond about Leonardo's plan.
0:15:38 > 0:15:42So heaven knows what the Venetian worthies would have made of it.
0:15:42 > 0:15:46They must have considered him a little over the top.
0:15:48 > 0:15:54In any case, his revolutionary plans were never needed. Attacked elsewhere in their empire,
0:15:54 > 0:15:59the Turkish fleet turned round and sailed away without a fight.
0:16:01 > 0:16:08And as for Leonardo, the Venetians sent him away without a single ducat for his pains.
0:16:14 > 0:16:17But alongside the diving suit,
0:16:17 > 0:16:23are hundreds of eclectic ideas which seem to stand outside their time - catapults,
0:16:23 > 0:16:27printing presses, spring-driven motors and windmills.
0:16:29 > 0:16:33Artillery designs more 19th-century than 15th.
0:16:33 > 0:16:40His deadly-looking finned missiles look more like the high-explosive shells of modern times.
0:16:44 > 0:16:49They give us a fascinating insight into his daily life and thoughts.
0:16:49 > 0:16:54Alongside the inventions and drawings are shopping lists,
0:16:54 > 0:17:00notes of the costs of his household, detailing his permanent cash-flow problems.
0:17:00 > 0:17:07His need to earn a living meant he often had to keep very strange company indeed.
0:17:11 > 0:17:16Leonardo frequently mentions his horror of war and man's inhumanity to man,
0:17:16 > 0:17:21but his ambition now brought him, in the winter of 1502,
0:17:21 > 0:17:27to the door of one of the most brutal and bloodthirsty tyrants ever known.
0:17:27 > 0:17:33As the rulers of the various Italian states were engaged in a battle for power,
0:17:33 > 0:17:40Cesare Borgia had threatened them all with his growing ambition and military cunning.
0:17:40 > 0:17:43Leonardo was very pragmatic.
0:17:43 > 0:17:46Leonardo wanted to be free to be Leonardo
0:17:46 > 0:17:49and for that he needed money.
0:17:49 > 0:17:52So he took commissions he didn't really want.
0:17:52 > 0:17:55Often, he wouldn't finish them.
0:17:55 > 0:17:59He got involved with some pretty bad people.
0:17:59 > 0:18:05The worst was Cesare Borgia, who was an absolute monster.
0:18:07 > 0:18:13He was the most hated, the most feared and the most envied man of his day.
0:18:13 > 0:18:16Cesare Borgia famously murdered his brother,
0:18:16 > 0:18:18had incest with his sister
0:18:18 > 0:18:22and he'd poison or garrotte his dinner guests.
0:18:24 > 0:18:29Not bad, is it? The perfect place for a cosy dinner party.
0:18:33 > 0:18:37The situation, on paper, looks alarming, I must admit.
0:18:37 > 0:18:43Famously reclusive, Borgia even allowed Leonardo into his rooms
0:18:43 > 0:18:48and the drawings which Leonardo made suggest a close relationship.
0:18:48 > 0:18:56Borgia, I think, is an interesting character, because, I think, he's very much like Leonardo.
0:18:56 > 0:18:59I think that he's a charismatic figure.
0:18:59 > 0:19:02He's very ambitious.
0:19:02 > 0:19:05Leonardo is fascinated by that.
0:19:06 > 0:19:09My men fear me, da Vinci,
0:19:09 > 0:19:11but they also love me.
0:19:12 > 0:19:17And yet how many of them know me...
0:19:21 > 0:19:25..know really what kind of man I am?
0:19:29 > 0:19:35- What do you think?- He smiles, but I've come to realise that with men like that,
0:19:35 > 0:19:41- it's bad when they're hostile and worse when they're friendly. - So why do we stay?
0:19:44 > 0:19:50We...we stay because we have to eat. You especially have to eat.
0:19:54 > 0:19:58It was a critical moment in Borgia's brilliant career.
0:19:58 > 0:20:02His land and his life were under threat.
0:20:02 > 0:20:06Del Michelotto is to be despatched to raise 1,000 infantry,
0:20:06 > 0:20:09to take a message to Ugo de Mancardo.
0:20:09 > 0:20:14He was desperate for all the military ingenuity he could buy.
0:20:14 > 0:20:20Characteristically, at exactly the right moment, Leonardo produced a trump card.
0:20:20 > 0:20:28It was probably the most effective weapon any military commander could hope for...
0:20:28 > 0:20:33a map - the first detailed and accurate plan of Immola, Borgia's stronghold.
0:20:33 > 0:20:36'You show any person...'
0:20:36 > 0:20:41in the late 15th century a map - it's a strange, magical object.
0:20:41 > 0:20:46"Look, here is your territory!" That's stunning for people.
0:20:46 > 0:20:49It's remarkable.
0:20:51 > 0:20:56Whoever owns this map owns the city itself.
0:20:56 > 0:20:59It's as if you could fly,
0:20:59 > 0:21:03as if you could fly above the city like a hawk!
0:21:04 > 0:21:08How have you done it?
0:21:08 > 0:21:14I paced out all the greater distances, my lord, precisely, so as to be accurate...
0:21:16 > 0:21:20With none of the instruments to measure this maze of streets,
0:21:20 > 0:21:23it must have been a daunting task.
0:21:27 > 0:21:31He paced every single field, every single street.
0:21:31 > 0:21:38He measured everything and really pushed forward ideas of surveying, how you survey land.
0:21:40 > 0:21:44We never see that level of precision, that level of detail,
0:21:44 > 0:21:50but also that level of beauty in mapmaking for many, many years after that.
0:21:56 > 0:22:00Borgia had appointed Leonardo his chief engineer.
0:22:00 > 0:22:04He gave him a unique level of power and his personal protection.
0:22:06 > 0:22:10Leonardo would now undertake epic projects of civil engineering.
0:22:10 > 0:22:16The draining of huge tracts of land, the fortification of towns.
0:22:16 > 0:22:20He was even planning to reroute the River Arno.
0:22:20 > 0:22:27WOMAN: It gives him a freedom to order people about, to say, "Move that river here!
0:22:27 > 0:22:33"Let's do it this way!" because he's got a single mind to work with.
0:22:33 > 0:22:40We may say Cesare Borgia's was a twisted mind, but, for Leonardo, he was a guy who could get things done.
0:22:41 > 0:22:44But he was still Cesare Borgia.
0:22:44 > 0:22:47What happened next isn't clear.
0:22:47 > 0:22:53Leonardo may have become close friends with one of Borgia's lieutenants Vitellozzo,
0:22:53 > 0:22:57who'd fallen foul of his unpredictable lord.
0:22:57 > 0:23:01Vitellozzo excuses himself. Apparently,
0:23:01 > 0:23:06if I were to agree to see him personally, he could justify himself absolutely
0:23:06 > 0:23:13and make me understand that past actions were not meant to offend me.
0:23:15 > 0:23:21So Vitellozzo was invited to dinner and told he would be made very welcome.
0:23:36 > 0:23:39Leonardo went back to Florence two months later.
0:23:39 > 0:23:46Whether his friend's death had persuaded him to leave Borgia's service we just don't know,
0:23:46 > 0:23:49but it must've seemed an appropriate time to go home.
0:23:49 > 0:23:55As always, he was looking for the big commission that would bring him fame and fortune.
0:23:55 > 0:24:01The monastery of Santa Annunziata had commissioned him to paint a Virgin and child with St Anne.
0:24:01 > 0:24:06His original drawing, or cartoon, for the painting is now lost,
0:24:06 > 0:24:13but this version of it, done a year or so later, gives an idea of its strength and beauty.
0:24:18 > 0:24:24The cartoon was even put on public display and drew large crowds to view it.
0:24:24 > 0:24:27It was said, "as if to a sacred festival."
0:24:33 > 0:24:37Leonardo's private obsessions and researches go on.
0:24:37 > 0:24:41His biographer, Vasari, describes one of his habits.
0:24:41 > 0:24:46Another bird. The stallholder will think you're mad.
0:24:46 > 0:24:51Oh, no, no. He's been paid what he asked for the birds.
0:24:51 > 0:24:55A bird should be able to do what its nature dictates...
0:24:55 > 0:24:57which is to fly.
0:24:57 > 0:25:02So should a man if he has a mind to take wing.
0:25:06 > 0:25:13Once you have tasted flight, you will forever walk the world with your eyes turned skyward.
0:25:13 > 0:25:17For there you have been and there you will always long to return.
0:25:30 > 0:25:35The feeling is all that Leonardo ever imagined.
0:25:37 > 0:25:41But could he possibly have achieved it with any of his designs?
0:25:41 > 0:25:45There are pages packed with research and ideas.
0:25:45 > 0:25:50This must have been his most absorbing passion.
0:25:50 > 0:25:57- Did he believe it was possible? - He was of a generation of artists who were interested in fame
0:25:57 > 0:26:02and he said, "This will bring fame to the nest from which it was born."
0:26:02 > 0:26:08And the age-old human quest to get ourselves up there is just amazing.
0:26:08 > 0:26:13If he could have achieved that - he has no worries about fame now! -
0:26:13 > 0:26:17then his fame would have been assured.
0:26:18 > 0:26:22Leonardo envisaged a number of designs for flight
0:26:22 > 0:26:28including an ornithopter - a machine powered by man flapping great wings like a bird.
0:26:30 > 0:26:34This, as a flapping mechanism, is simply not going to work
0:26:34 > 0:26:42and Leonardo began to realise the power-to-weight ratio... You couldn't get up by doing that.
0:26:42 > 0:26:47Another of Leonardo's concepts is said to have inspired Sikorsky
0:26:47 > 0:26:50to lead the world in helicopter design
0:26:50 > 0:26:57and it seems Leonardo did have a fantasy of one day trying out these machines for himself.
0:26:57 > 0:27:01But perhaps the most achievable at the time was this intriguing design
0:27:01 > 0:27:05for what is apparently the world's first controlled glider.
0:27:05 > 0:27:09This is unusual in that it's a kind of abstract design.
0:27:09 > 0:27:12Now you have to ask where this came from.
0:27:12 > 0:27:19I think he'd looked at leaves and the sort of seeds that are aerodynamic.
0:27:19 > 0:27:25And at one point there's a sheet in which he looks at a rectangular piece of paper descending like this.
0:27:25 > 0:27:30He realised that these shapes themselves had certain qualities.
0:27:31 > 0:27:36We found two brave experts willing to build and try out the design.
0:27:36 > 0:27:41- Is there still risk in man-powered flight?- There is phenomenal risk.
0:27:41 > 0:27:46Medieval flying machines - it's got to be dangerous.
0:27:46 > 0:27:48We'll be careful!
0:27:48 > 0:27:53Most of the pioneers of flight injured or killed themselves
0:27:53 > 0:27:57- because it is so dangerous.- Well, good luck!- Thank you very much!
0:28:00 > 0:28:05But even Leonardo was well aware his inventions could be lethal.
0:28:08 > 0:28:15Note. Make trial of action machine over water, so if you fall, you do not do any harm.
0:28:19 > 0:28:24Simon begins by constructing a model based on Leonardo's plans.
0:28:24 > 0:28:29The man places his feet at "M" and chest at "B".
0:28:29 > 0:28:32The wind, blowing along line "H",
0:28:32 > 0:28:36may lift "H" more than is deemed convenient.
0:28:36 > 0:28:39In this case, the man should pull string "S".
0:28:41 > 0:28:47Simon's wondering just how good was Leonardo's understanding of aerodynamics.
0:28:48 > 0:28:53The first step is to test the model in a wind tunnel.
0:28:58 > 0:29:05We're looking for evidence of lift as the oncoming air collides with the glider.
0:29:05 > 0:29:12It looks encouraging as a vortex spirals upwards from the wings - a phenomenon Leonardo was aware of.
0:29:12 > 0:29:19The bird will rise on high by means of a circular movement in the shape of a screw.
0:29:23 > 0:29:27By now, Simon was convinced the glider had a chance.
0:29:28 > 0:29:32So he went on to build a full-size version.
0:29:32 > 0:29:37He's making the framework out of bamboo, which he steams into shape.
0:29:42 > 0:29:46For the sail, he's chosen a man-made cloth.
0:29:46 > 0:29:52This is less likely to be ripped during testing than the silk or linen Leonardo might have used.
0:29:52 > 0:29:55The big day has arrived.
0:29:55 > 0:30:00It couldn't be more perfect - warm Tuscan sunshine and a light wind.
0:30:00 > 0:30:03The mood is buoyant as I join the team.
0:30:03 > 0:30:10- Are the teeth chattering?! - No, I'm not really nervous. I'm hopeful rather than nervous.
0:30:10 > 0:30:16I'd like it to fly and I'd like to...well, at least live MY dream,
0:30:16 > 0:30:20which is to fly a machine that was designed 500 years ago.
0:30:20 > 0:30:221, 2, 3...
0:30:22 > 0:30:27It's a dangerous business testing flying machines.
0:30:27 > 0:30:31If he crashes from 10 metres above ground, he risks serious injury.
0:30:31 > 0:30:35It's known in the trade as the Dead Man's Curve.
0:30:35 > 0:30:38- It wasn't much of a flight!- No.
0:30:38 > 0:30:42- Oh, dear!- Fortunately, nothing broken. We can try again!
0:30:55 > 0:30:56Bugger!
0:30:56 > 0:30:59I crashed it again!
0:30:59 > 0:31:05The glider was definitely unstable, so we went back to Leonardo's notes for inspiration.
0:31:05 > 0:31:08Look at how birds fly...
0:31:10 > 0:31:15..how they use both their wings and their tail
0:31:15 > 0:31:18to stop them falling.
0:31:18 > 0:31:21'If Leonardo had got as far...'
0:31:21 > 0:31:25as testing this and found that it was unstable,
0:31:25 > 0:31:29it would be natural for him to say, "Let's have a tail on it."
0:31:29 > 0:31:32Would the tail make the crucial difference?
0:31:32 > 0:31:39It was now all or bust. Robbie's raised the stakes. He's going to fly off a much steeper hill.
0:31:39 > 0:31:43It'll give him more chance of getting airborne,
0:31:43 > 0:31:47but if he crashes, the consequences will be grave.
0:31:48 > 0:31:50..2, 3!
0:31:53 > 0:31:56CHEERING
0:32:18 > 0:32:21Well done, Simon!
0:32:21 > 0:32:23Well done, Robbie!
0:32:27 > 0:32:33'It's the first time a Leonardo flying machine has successfully taken to the air - a triumph!'
0:32:33 > 0:32:36Well done, guys. That was amazing!
0:32:42 > 0:32:48His return to Florence in the early 1500s wasn't the overwhelming triumph he'd hoped for,
0:32:48 > 0:32:56although his famed cartoon of the Virgin and child with St Anne would turn into a beautiful painting,
0:32:56 > 0:32:59a dreamlike image of maternal love.
0:33:05 > 0:33:13And in 1503, he began work on a portrait that would one day become the world's most famous painting,
0:33:13 > 0:33:15the Mona Lisa.
0:33:15 > 0:33:21He would rework it obsessively for the rest of his life, taking it with him wherever he went.
0:33:23 > 0:33:30Now, as he began to re-establish himself, a new talent appeared on the scene.
0:33:30 > 0:33:36In 1499, a marvellous sculpture by an up-and-coming young artist had been unveiled in Rome.
0:33:36 > 0:33:41The Pieta was immediately hailed as a work of genius.
0:33:41 > 0:33:45Its maker would become Leonardo's lifelong rival.
0:33:45 > 0:33:48He was 24 years of age
0:33:48 > 0:33:52and his name was Michelangelo Buonarotti.
0:33:52 > 0:33:56There was rivalry and enmity.
0:33:56 > 0:33:59They could not have been more different.
0:33:59 > 0:34:05I look around the painter's studio. I speak of the very best painters, of course.
0:34:05 > 0:34:09His home is clean and filled with works of art.
0:34:09 > 0:34:15There is no noise, no hammering, only the most pleasurable of pursuits and agreeable of friends.
0:34:15 > 0:34:20Leonardo was elegant, well-behaved, a courtly man.
0:34:20 > 0:34:25Interested in everything, with a shrug of the shoulders at failures.
0:34:25 > 0:34:31Michelangelo - this extraordinary zealot in both religion and art.
0:34:31 > 0:34:34A deeply-troubled, deeply-driven figure.
0:34:34 > 0:34:41The sculptor, on the other hand, hacks away at his marble like a mechanic, with brute force,
0:34:41 > 0:34:44his face plastered with filth.
0:34:44 > 0:34:47RONA GOFFEN: Michelangelo was a slob.
0:34:47 > 0:34:54He bathed infrequently, had terrible manners, was cantankerous and grouchy and nasty and sarcastic.
0:34:56 > 0:35:01He's also known to have worn these dogskin leggings,
0:35:01 > 0:35:04which he never removed. And at the end of each winter,
0:35:04 > 0:35:10he'd peel them away, taking his flesh with them, because they'd grown into his skin.
0:35:10 > 0:35:17The sweat mingles with the dust. It all turns to mud. He has a very filthy house because of that.
0:35:17 > 0:35:20He looks like a baker at work!
0:35:22 > 0:35:29No real painter thinks of sculpture as anything less than painting. They're from the same source!
0:35:29 > 0:35:32They're both divinely inspired!
0:35:32 > 0:35:36But even if Leonardo thought sculpture the lesser art,
0:35:36 > 0:35:42he wasn't going to turn down the biggest commission of the times - a statue of David, the giant slayer.
0:35:45 > 0:35:50The city of Florence had got hold of a vast slab of marble
0:35:50 > 0:35:54and Leonardo waited patiently to be awarded the commission.
0:35:54 > 0:35:57But Michelangelo had got there first.
0:35:57 > 0:36:03There are two artists who could design a monument good enough to honour this proud city.
0:36:03 > 0:36:09At least, two artists who could start the work. But only one has proved he can finish it.
0:36:09 > 0:36:14So you must ask yourself - do you want the monument finished
0:36:14 > 0:36:20or are you prepared to let the marble lie undisturbed for the next ten years?
0:36:20 > 0:36:25Michelangelo won the commission and laboured at it for three years.
0:36:26 > 0:36:28It was a triumph.
0:36:28 > 0:36:33So, round one to Michelangelo, but then Leonardo makes his move.
0:36:33 > 0:36:39Michelangelo wants the statue out here, in front of the town hall, where it'll really get noticed.
0:36:39 > 0:36:43A committee is formed to decide where it should go
0:36:43 > 0:36:47and a variety of prominent locations are considered.
0:36:47 > 0:36:54However, who should be sitting on the committee charged with this decision but Leonardo da Vinci,
0:36:54 > 0:37:00who thoughtfully suggested that the statue should be placed over there, out of the way.
0:37:00 > 0:37:03He was, of course, over-ruled.
0:37:06 > 0:37:12And Michelangelo's David was given pride of place right in the heart of the city
0:37:12 > 0:37:19where he stands, in Michelangelo's words, "proudly in the blaze of the piazza".
0:37:21 > 0:37:25David was to become the most famous statue in the world,
0:37:25 > 0:37:30but his creator would never forgive Leonardo for the slight.
0:37:30 > 0:37:36By 1504, the relationship between Leonardo and Michelangelo had declined to the extent
0:37:36 > 0:37:40that they could hardly pass in the street without grimacing.
0:37:41 > 0:37:46We actually have an account of one famous public squabble
0:37:46 > 0:37:50left by a friend of Leonardo's who'd witnessed it.
0:37:50 > 0:37:52Here comes Michelangelo. Ask him!
0:37:52 > 0:37:59- Explain Dante's love for pagan gods.- YOU explain, horse modeller! You've an answer for everything.
0:37:59 > 0:38:05'Michelangelo was not only a poet but also he was famous for his knowledge of Dante...'
0:38:05 > 0:38:11and it was natural to say, as Leonardo did, "Michelangelo will explain it."
0:38:11 > 0:38:13Michelangelo took umbrage at this.
0:38:13 > 0:38:19You've an answer for everything, except how to cast a statue in bronze.
0:38:19 > 0:38:23Will you ever finish ANYTHING ever again?
0:38:23 > 0:38:27'This was a rotten thing to say. It was very rude, very offensive
0:38:27 > 0:38:32'and Leonardo was red in the face. He was blushing with embarrassment.'
0:38:32 > 0:38:36And soon, they really did have something to fight about.
0:38:36 > 0:38:43The new powerbrokers in Florence invited Leonardo to paint a battle scene 60ft across in this building,
0:38:43 > 0:38:45the town hall.
0:38:49 > 0:38:52But there's a twist.
0:38:52 > 0:39:00They then asked Michelangelo to paint another battle scene alongside it in the very same room.
0:39:03 > 0:39:11As if this wasn't enough, the man who set up this battle of battles was the infamous Machiavelli,
0:39:11 > 0:39:13the godfather of political spin.
0:39:13 > 0:39:20He was Cesare Borgia's right-hand man and, supposedly, Leonardo's friend.
0:39:23 > 0:39:28Leonardo worked feverishly, determined to achieve spectacular effects,
0:39:28 > 0:39:36to prove something. He immersed himself in all the detail of battle and the psychology of men at war.
0:39:36 > 0:39:41How to capture the hell of war, Salai?
0:39:42 > 0:39:46Smoke mingling with the dust-laden air.
0:39:47 > 0:39:50Arrows flying in every direction.
0:39:52 > 0:39:55The conquerors bearing down on you,
0:39:55 > 0:39:58their hair streaming in the wind.
0:40:00 > 0:40:08Some of them shouting, some of them with teeth apart, their eyes brimming with terror.
0:40:08 > 0:40:16Show the fallen corpses covered with mud. Others in a death agony, fists clenched, limbs distorted.
0:40:16 > 0:40:21Show men fallen in a heap on top of a dying horse
0:40:21 > 0:40:28and see there is no part of the ground that is not trampled and stained with blood.
0:40:32 > 0:40:36While Michelangelo is in his studio doing one drawing,
0:40:36 > 0:40:44Leonardo's actually, for once, getting a move on! He's made the cartoon, got the scaffolding up
0:40:44 > 0:40:48and he's doing the fresco.
0:40:48 > 0:40:53- But things began to go very wrong. - CLAP OF THUNDER
0:40:53 > 0:40:57On Friday, at the 13th hour,
0:40:57 > 0:41:02I had just picked up my brush when the great storm began.
0:41:02 > 0:41:05The church bells rang the alarm.
0:41:05 > 0:41:10Day was transformed into night as the rain poured down - water everywhere.
0:41:10 > 0:41:14The cartoon began to come apart piece by piece.
0:41:16 > 0:41:20It was a bad omen and there was worse to come.
0:41:20 > 0:41:27Leonardo's great Battle Of Anghiari should be here and Michelangelo's battle scene alongside,
0:41:27 > 0:41:30but Leonardo decided to experiment.
0:41:30 > 0:41:34He made a fatal decision to use oil on plaster.
0:41:34 > 0:41:39We believe it's because he got a bad consignment of linseed oil.
0:41:39 > 0:41:42This is the great tragedy of the career,
0:41:42 > 0:41:46because he's pushing the limits of what he can do as an artist
0:41:46 > 0:41:51and what he can do with paint further and further.
0:41:51 > 0:41:55And the result, of course, is the materials just aren't up to it.
0:41:55 > 0:42:02The painting he'd begun soon started to run and seemed to be melting off the wall.
0:42:02 > 0:42:06In desperation, they lit fires under the fresco
0:42:06 > 0:42:11in an attempt to set the paint and save the painting.
0:42:11 > 0:42:13But it was too late.
0:42:17 > 0:42:23So if you think the Battle Of Anghiari doesn't live up to Leonardo's grand plan,
0:42:23 > 0:42:26you'd be absolutely right.
0:42:26 > 0:42:32It isn't even his. The picture that's here today is by Leonardo's biographer, Vasari...
0:42:32 > 0:42:36a far better writer than he was a painter.
0:42:36 > 0:42:38But he leaves an intriguing clue.
0:42:38 > 0:42:42In one corner, he's written "cerca trova".
0:42:42 > 0:42:45"Seek and ye shall find."
0:42:45 > 0:42:52Some people believe that somewhere in this room there are fragments of Leonardo's long-lost masterpiece.
0:42:58 > 0:43:02Michelangelo, by the way, never finished his fresco, either.
0:43:02 > 0:43:07He completed the cartoon for it, but he was called back to Rome.
0:43:07 > 0:43:12So ended this strange battle of the giants - the battle that never was.
0:43:20 > 0:43:24Leonardo would never be awarded a major commission again.
0:43:24 > 0:43:29Now, left behind in Florence and with time on his hands,
0:43:29 > 0:43:35he immersed himself once again in his life's other great project - his work as a scientist.
0:43:35 > 0:43:42Over the next decade, he ranged across anatomy, geology, botany, medicine, geometry.
0:43:42 > 0:43:48Apparently trying to master them all, learning and absorbing everything and drawing it.
0:43:48 > 0:43:52And yet he had a reputation as a flake.
0:43:52 > 0:43:55Well, his reputation as a flake was
0:43:55 > 0:43:58that it's almost a surgical mind.
0:43:58 > 0:44:04What's in front of you, it's the most important thing in the world.
0:44:04 > 0:44:10Then when it's over, it's over and the next thing becomes the most important thing in the world.
0:44:10 > 0:44:15It's a free-associating mind. "Here is work that fascinates me.
0:44:15 > 0:44:22"I will work with it till it stops fascinating me, I'll stop and go to another thing that fascinates me."
0:44:22 > 0:44:26So over short periods of time, you don't get much done,
0:44:26 > 0:44:30but over a long period of time, you get a great deal done.
0:44:33 > 0:44:39Now he would turn his attention to a whole new area of investigation.
0:44:39 > 0:44:42And again, it would require him to break the rules.
0:44:51 > 0:44:55It was at this hospital at the Santa Maria Nuova monastery
0:44:55 > 0:45:01in the early 1500s that Leonardo took the first steps towards a ground-breaking discovery,
0:45:01 > 0:45:06a discovery medical research would only catch up with in the mid 20thC.
0:45:12 > 0:45:18When he started studying anatomy, it was only so he could understand muscle and movement, and so on.
0:45:18 > 0:45:24But he soon became intrigued by what went on below the muscle layers
0:45:24 > 0:45:30and, in fact, became the very first person to dissect the organs of the body.
0:45:30 > 0:45:37At this time, anatomical dissections were occasionally allowed by the Church.
0:45:37 > 0:45:42The bodies of convicted criminals were dissected by surgeons
0:45:42 > 0:45:46who were watched by artists and students.
0:45:48 > 0:45:50Given the conditions of the time,
0:45:50 > 0:45:56few would have been willing to do the gruesome work Leonardo now carried out.
0:45:57 > 0:46:00I want to go home. It's freezing!
0:46:01 > 0:46:03Come here.
0:46:03 > 0:46:11- 'What was the atmosphere like in the dissecting room?- Oh, it was dreadful in the dissecting room.
0:46:11 > 0:46:14'There was no way of preserving bodies at the time.
0:46:14 > 0:46:19'Within 48 hours, there was a tremendous stench,
0:46:19 > 0:46:22'pieces of the body were decaying.
0:46:25 > 0:46:30'The most important instrument that one had was one's bare hands
0:46:30 > 0:46:35'with long fingernails that were used to do a lot of the dissectomy.'
0:46:38 > 0:46:42Why must we spend our night in the company of corpses?!
0:46:42 > 0:46:43Yeah, well...
0:46:43 > 0:46:49most men can't make the journey they need to take to find out the truth.
0:46:50 > 0:46:57The stench of death turns their great stomachs and they're sickened by the blackened organs.
0:46:57 > 0:47:04But if you want to follow where the light of truth leads, you have to get through all this.
0:47:06 > 0:47:09The bodies come back and haunt me in my sleep.
0:47:12 > 0:47:19His dissections were convincing him more and more that man is a wonderful piece of machinery.
0:47:19 > 0:47:24He conceived of the bones of the arms and of the legs as levers.
0:47:24 > 0:47:30And lines of force, namely the muscles, worked on the levers.
0:47:30 > 0:47:35So he could demonstrate exactly how you turned your arm
0:47:35 > 0:47:38and why you were able to turn your arm.
0:47:38 > 0:47:44This led him to his most audacious conclusion - that he could create an automated machine
0:47:44 > 0:47:47with a life of its own.
0:47:47 > 0:47:52Leonardo married his fascination for anatomy with his passion for mechanics
0:47:52 > 0:47:56to create the world's first humanoid robot.
0:47:56 > 0:48:03We've asked NASA engineer Mark Rossheim to see if he can bring Leonardo's scheme to life.
0:48:03 > 0:48:07These are drawings of Leonardo's robot knight. These are fragments.
0:48:07 > 0:48:10- This is the torso...- Yes.
0:48:10 > 0:48:14..the shoulder. Here is a detail of the arm.
0:48:14 > 0:48:18This is a cable-operated system with pulleys.
0:48:18 > 0:48:24They transfer the motion from the cables into a rotary motion for an elbow or an arm.
0:48:24 > 0:48:27You've done a virtual model.
0:48:27 > 0:48:32Yes, we've done a virtual-reality reconstruction of the robot knight.
0:48:32 > 0:48:37We've taken Leonardo's anatomical drawings and translated them into mechanics.
0:48:37 > 0:48:45He left these really interesting drawings showing how the forces moved in the human joints.
0:48:45 > 0:48:49He would substitute cords. They're called cord diagrams.
0:48:49 > 0:48:53By looking at those, I was able to plot the paths of force.
0:48:53 > 0:48:57We were eventually able to construct joints and actual levers,
0:48:57 > 0:49:02so you get the impression of muscles moving, of flexing,
0:49:02 > 0:49:04just like a bodybuilder.
0:49:04 > 0:49:11We've done a virtual-reality, uh...animation of the machine
0:49:11 > 0:49:16and here you see the pulleys of the cable system operating the visor.
0:49:16 > 0:49:20It's going down in the body. This is what allows the robot to stand up.
0:49:20 > 0:49:28And so understanding how the human body works mechanically and how it can create gestures
0:49:28 > 0:49:31is just a foundation principle of his art.
0:49:36 > 0:49:43There's a famous line where he says, "Nature doesn't use counterweights." Nature doesn't build animals,
0:49:43 > 0:49:48or humans, like grandfather clocks. His tools were very limited.
0:49:48 > 0:49:52He had to use winches and cables and pulleys.
0:49:53 > 0:49:56Take a bow, robot!
0:50:01 > 0:50:05At the time, the robot was designed as a stunning party piece.
0:50:05 > 0:50:11It would probably have been set up in a grotto as a climax to a court entertainment,
0:50:11 > 0:50:14so a patron could impress guests.
0:50:14 > 0:50:18Leonardo was kind of a special effects master of his day.
0:50:18 > 0:50:23It would have had kind of a Stephen Spielberg effect.
0:50:27 > 0:50:30THEY LAUGH
0:50:46 > 0:50:48I love it!
0:50:50 > 0:50:53Well done! ..Well done!
0:51:00 > 0:51:07His anatomy told him something of what he wanted to know about this marvellous machine, the human body.
0:51:07 > 0:51:12But he wanted to discover where man's soul might be found,
0:51:12 > 0:51:17the sensus communalis, the seat of reason and imagination.
0:51:17 > 0:51:20He wanted to read the mind of God.
0:51:29 > 0:51:33There was a new Pope in Rome - Leo X.
0:51:33 > 0:51:40The Vatican was summoning major artists from all the Italian states to create great new works.
0:51:40 > 0:51:44Michelangelo was already firmly ensconced here as a favourite.
0:51:44 > 0:51:51But if Leonardo expected to be greeted as a hero of this new age, he was to be disappointed.
0:51:55 > 0:51:59This is not the time to have him at the Vatican,
0:51:59 > 0:52:03this painter who never finishes anything he starts.
0:52:03 > 0:52:07He has asked for an assistant. Choose him well.
0:52:09 > 0:52:15Leonardo was provided with a studio, but, it seems, no serious work
0:52:15 > 0:52:20and the German assistants he was given appear to have been spies.
0:52:20 > 0:52:27He describes the wickedness of a German deceiver who spreads rumours about him throughout the Vatican
0:52:27 > 0:52:31and his insistence on continuing his studies in anatomy
0:52:31 > 0:52:36were giving his enemies plenty of grounds for suspicion.
0:52:36 > 0:52:43He is in and out of the hospital. I fear he is dissecting also good Christian people.
0:52:45 > 0:52:50The old man told me he's lived for over 100 years
0:52:50 > 0:52:56and that he's had no bodily ailments, apart from weakness.
0:53:00 > 0:53:05And then, with nothing apparently amiss...
0:53:09 > 0:53:12..he died the sweetest death.
0:53:19 > 0:53:22'He looked at the man's vessels...'
0:53:22 > 0:53:25Hold this here!
0:53:25 > 0:53:31..and realised that the inner part was obstructed. It was like shale inside of a pipe.
0:53:31 > 0:53:38And he reasoned that that's why old people die slowly, why their extremities shrivel,
0:53:38 > 0:53:41because the blood isn't getting to them.
0:53:41 > 0:53:48At about the same time, by coincidence, he dissected the body of a two-year-old boy.
0:53:48 > 0:53:54And, not to his surprise, found that those arteries were straight and soft
0:53:54 > 0:53:57and nothing was obstructing them.
0:53:57 > 0:54:01So he said, "That's the reason people die of old age.
0:54:01 > 0:54:05"The arteries are becoming closed off and obstructed."
0:54:05 > 0:54:11He discovered, in the early 16th century, hardening of the arteries, arteriosclerosis.
0:54:13 > 0:54:16'Then he said, "But why does this happen?
0:54:16 > 0:54:20' "Something happens over time." '
0:54:20 > 0:54:25Then he lit on it. He said, "There's too much nutrition in the blood.
0:54:25 > 0:54:31"There's something in the blood that precipitates out, that comes out of the blood
0:54:31 > 0:54:35"and deposits itself on the inside of the arteries."
0:54:35 > 0:54:41Except for the word "cholesterol", he had made a 20th-century discovery!
0:54:47 > 0:54:51Given the controversial nature of Leonardo's work,
0:54:51 > 0:54:55his enemies had no trouble finding evidence to condemn him.
0:54:55 > 0:54:57The drawings were proof enough,
0:54:57 > 0:55:04but his mirror writing even suggested witchcraft to those out to denounce him.
0:55:04 > 0:55:08He's not only dissecting the bodies of the dead.
0:55:09 > 0:55:13He then that of a woman with child.
0:55:13 > 0:55:16Then this - writing which can only be read with a mirror.
0:55:16 > 0:55:20You think this is to conceal the true nature of his work?
0:55:21 > 0:55:24We are fearful of necromancy.
0:55:24 > 0:55:28There is no limit to the investigations of the Florentine.
0:55:29 > 0:55:32Fetch Leonardo da Vinci.
0:55:42 > 0:55:45His Holiness requires your presence.
0:55:55 > 0:55:57Your Holiness.
0:55:57 > 0:56:04You have been accused of witchcraft and necromancy. You spend your nights with the dead.
0:56:04 > 0:56:08I will not tolerate the Vatican being used as a charnel house.
0:56:08 > 0:56:14Leonardo da Vinci, you will not continue your unholy practice.
0:56:14 > 0:56:19You will not bring shame upon the Vatican or on the name of God.
0:56:19 > 0:56:24He had by now completed an incredible amount of work
0:56:24 > 0:56:26which he describes with pride.
0:56:26 > 0:56:31120 chapters composed by me will give judgment
0:56:31 > 0:56:37in which I've been impeded neither by avarice nor by negligence, but only by time.
0:56:37 > 0:56:39Farewell.
0:56:42 > 0:56:47Tragically, even his anatomy would be another heroic failure,
0:56:47 > 0:56:55lying undiscovered for centuries while the rest of the world caught up with Leonardo da Vinci.
0:56:55 > 0:57:01His contribution has no significance because it was lost. It affected nobody and nothing.
0:57:01 > 0:57:08When it was rediscovered, his contribution in anatomy, all of these things had been identified.
0:57:13 > 0:57:17Around this time, he wrote in his notebooks...
0:57:17 > 0:57:21Tell me, have I done anything of worth?
0:57:21 > 0:57:25Tell me if anything was ever done.
0:57:27 > 0:57:31But unknowingly, he'd already provided the world with his legacy.
0:57:31 > 0:57:37He took her with him as he left Rome. She accompanied him for the next 15 years
0:57:37 > 0:57:41and she was beside him when he died.
0:57:41 > 0:57:45And after much of the world had forgotten him,
0:57:45 > 0:57:49it would be the Mona Lisa who'd cause him to be rediscovered.
0:57:49 > 0:57:56She would carry his name through the centuries to a new audience for whom curiosity was not a crime
0:57:56 > 0:58:00and where free thinking was applauded.
0:58:00 > 0:58:04It would be her inexplicable smile
0:58:04 > 0:58:10which would hint at the mysteries Leonardo had uncovered in his search for everything.
0:58:24 > 0:58:29Subtitles by Graeme Dibble & Alison Semeonoff - BBC Broadcast, 2003