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Fire destroys falsehood,—that is to say, sophistry,—and rehabilitates truth, scattering the darkness. Fire must be represented as the consumer of all sophistry and the revealer of truth, because it is light and scatters darkness which conceals all essences. Fire destroys all sophistry,—that is to say, deceit,—and preserves truth alone, which is gold. Truth cannot be concealed in the end, dissimulation is of no avail. Dissimulation is frustrated before so great a judge. Falsehood puts on a mask. There is nothing hidden under the sun. Fire must represent truth because it destroys all sophistry and lies, and the mask is for sophistry and lies, which conceal truth.

Fire destroys falsehood,—that is to say, sophistry,—and rehabilitates truth, scattering the darkness. Fire must be represented as the consumer of all sophistry and the revealer of truth, because it is light and scatters darkness which conceals all essences. Fire destroys all sophistry,—that is to say, deceit,—and preserves truth alone, which is gold. Truth cannot be concealed in the end, dissimulation is of no avail. Dissimulation is frustrated before so great a judge. Falsehood puts on a mask. There is nothing hidden under the sun. Fire must represent truth because it destroys all sophistry and lies, and the mask is for sophistry and lies, which conceal truth.

Approximate author period: c. 1486 AD · medieval

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Attribution & collection notes
Author or tradition
Leonardo da Vinci
Attribution: attributed
Country attributed
Not established
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Historical period
Approximate author period: c. 1486 AD · medieval
author lifetime midpoint (1452–1519); not quotation composition date
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Recorded source
Thoughts on Art and Life (1906 English edition) (1906 AD)

Thoughts on Life, complete printed unit 112; Maurice Baring translation; Boston: The Merrymount Press,1906

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Leonardo da Vinci: Drawn portrait

Represented by the complete source-numbered selections in Thoughts on Art and Life, Maurice Baring’s1906English translation, edited by Lewis Einstein. The catalogue records1452–1519; the historical collection is a selection from notebooks, not a continuous book composed by Leonardo or independent authentication of every attributed passage.

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