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Vezzosi A. Sabato A. the New Genealogical Tree of the Da Vinci
HUMAN EVOLUTION Vol. 36 - n. 1-2 (1-90) - 2021 Vezzosi A. The New Genealogical Tree of the Da Vinci Leonardo scholar, art historian Family for Leonardo’s DNA. Founder of Museo Ideale Leonardo Da Vinci Ancestors and descendants in direct male Via IV Novembre 2 line down to the present XXI generation* 50059 Vinci (FI), Italy This research demonstrates in a documented manner the con- E-mail: [email protected] tinuity in the direct male line, from father to son, of the Da Vinci family starting with Michele (XIV century) to fourteen Sabato A. living descendants through twenty-one generations and four Historian, writer different branches, which from the XV generation (Tommaso), President of Associazione in turn generate other line branches. Such results are eagerly Leonardo Da Vinci Heritage awaited from an historical viewpoint, with the correction of the E-mail: leonardodavinciheritage@ previous Da Vinci trees (especially Uzielli, 1872, and Smiraglia gmail.com Scognamiglio, 1900) which reached down to and hinted at the XVI generation (with several errors and omissions), and an up- DOI: 10.14673/HE2021121077 date on the living. Like the surname, male heredity connects the history of regis- try records with biological history along separate lineages. Be- KEY WORDS: Leonardo Da Vinci, cause of this, the present genealogy, which spans almost seven Da Vinci new genealogy, ancestors, hundred years, can be used to verify, by means of the most living descendants, XXI generations, innovative technologies of molecular biology, the unbroken Domenico di ser Piero, Y chromosome, transmission of the Y chromosome (through the living descend- Florence, Bottinaccio (Montespertoli), ants and ancient tombs, even if with some small variations due burials, Da Vinci family tomb in Vinci, to time) with a view to confirming the recovery of Leonardo’s Santa Croce church in Vinci, Ground Y marker. -
THE NOTEBOOKS of LEONARDO DA VINCI, COMPLETE *** This
THE NOTEBOOKS OF LEONARDO DA VINCI, COMPLETE *** This eBook was produced by Charles Aldarondo and the Distributed Proofreaders team. The Notebooks of Leonardo Da Vinci Volume 1 Translated by Jean Paul Richter 1888 PREFACE. A singular fatality has ruled the destiny of nearly all the most famous of Leonardo da Vinci's works. Two of the three most important were never completed, obstacles having arisen during his life-time, which obliged him to leave them unfinished; namely the Sforza Monument and the Wall-painting of the Battle of Anghiari, while the third--the picture of the Last Supper at Milan--has suffered irremediable injury from decay and the repeated restorations to which it was recklessly subjected during the XVIIth and XVIIIth centuries. Nevertheless, no other picture of the Renaissance has become so wellknown and popular through copies of every description. Vasari says, and rightly, in his Life of Leonardo, "that he laboured much more by his word than in fact or by deed", and the biographer evidently had in his mind the numerous works in Manuscript which have been preserved to this day. To us, now, it seems almost inexplicable that these valuable and interesting original texts should have remained so long unpublished, and indeed forgotten. It is certain that during the XVIth and XVIIth centuries their exceptional value was highly appreciated. This is proved not merely by the prices which they commanded, but also by the exceptional interest which has been attached to the change of ownership of merely a few pages of Manuscript. That, notwithstanding this eagerness to possess the Manuscripts, their contents remained a mystery, can only be accounted for by the many and great difficulties attending the task of deciphering them. -
Illustrated Biographies Of
RAPHI ES OF T HE GREAT ART IST Illustrations (in all over ONE T HOUS nd x r bou e t a, red bop. ml La ! J a mi, 46 . (k m am: 38. 6d . ) ea at in Wm“ alu m . 23 . a nd 28. E m . w m . Sr M A T o m B . Two Vols. in m o. B E. Mu m] . one. « o S ABLE. 8 ’ s BROCK M M ' ‘ in T w ' am . c . Rr r r 34 A . M A . QJfi By . P m P m . R URNER m M SL v m find s. T . By Cos o ONKBOO By Hm ”BA ! m u r m u m By A usrm Doosou . Two Vols. in m mum) w m W . m . B J one. 0 m y . B M Roam M , om , B- A Co mm, B SA . “ rm om ° B T wo V ls ia W o r d BOLLAND: BUI S Y o e 1 n . 4 mm m m G. m . 8m m“ , mm “ m m“ m m . B”“ A e " F. m am . By ' Sw a n s. W ou r n BA . m an na B . - J M cox vm “ a rmm m; m at wa g?15 W 3“ and orks. By mon o. By m Two Vols. in m m . n m . on . one 3 Gd By ! , 3 D on na. m um and m oan . By Two Vols. in one 3. 64 . W , 3 . ou nt" BA . M , w u ss Du w n n. -
The Lost Manuscripts of Leonardo Da Vinci
THE LOST MANUSCRIPTS OF LEONARDO DA VINCI A history of Leonardo da Vinci’s manuscripts and a calculation of how many remain lost by RICHARD SHAW POOLER Submitted in accordance with the requirements for the degree of DOCTOR OF LITERATURE AND PHILOSOPHY in the subject of ART HISTORY at the UNIVERSITY OF SOUTH AFRICA Promoter: Prof Bernadette Van Haute -------------------------------------- OCTOBER 2014 DECLARATION I declare that THE LOST MANUSCRIPTS OF LEONARDO DA VINCI is my own work and that all the sources that I have used or quoted have been indicated or acknowledged by means of complete references. ……………………………. Richard Shaw Pooler Date ………………………….. Title: THE LOST MANUSCRIPTS OF LEONARDO DA VINCI A history of Leonardo da Vinci’s manuscripts and a calculation of how many remain lost Summary: This thesis investigates the history of Leonardo da Vinci’s manuscripts, explains the recovery of some of those that were lost, and calculates what proportion of his work remains lost. It does this by researching the following four main topics: the compilation of his manuscripts; the dispersal and loss of his manuscripts; the recovery and reconstruction of some manuscripts; and an estimate of what remains lost. Most of Leonardo’s manuscripts were written in the last thirty years of his life. The first part of this thesis traces which manuscripts were written and when. After his death, his manuscripts dispersed and it is not known how many were lost. The next section details the dispersal. Recovery of some manuscripts took place followed by further dispersal and loss. Part of the recovery was due to key collectors such as Pompeo Leoni. -
A Multidisciplinary Study of the Tongerlo Last Supper 0722
A Multidisciplinary Study of the Tongerlo Last Supper and its attribution to Leonardo da Vinci’s Second Milanese studio Jean-Pierre Isbouts, Fielding Graduate University, Santa Barbara, CA, and Christopher Brown, Brown Discoveries, LLC, North Carolina This article presents the findings from a two-year study of the Last Supper canvas in the Abbey of Tongerlo, Belgium, including a detailed review of its provenance as well as a digital analysis and multispectral study conducted by the Belgian company IMEC in the Spring of 2019. The design of the study is a composite multidisciplinary approach, with traditional connoisseurship and literary research being augmented by scientific examination, using new digital processing and multispectral imaging techniques. The article argues that based on the available evidence, the Tongerlo Last Supper was produced in Leonardo’s Milanese workshop between 1507 and 1509, as a collaborative project involving the Leonardeschi Giampietrino, Andrea Solario and Marco d’Oggiono under Leonardo’s supervision. Furthermore, the infrared spectography scans suggest that the face of John in the painting may have been painted by Leonardo himself. The study was funded by IMEC Belgium; Fielding Graduate University of Santa Barbara, CA; Brown Discoveries, LLC of North Carolina, and conducted with the gracious permission of the Premonstratensian Abbey of Tongerlo, Belgium. Key words: Leonardo da Vinci (1452-1519); Last Supper; Technical Art History; Multispectral Imaging; the art of the Leonardeschi. Fig. 1. Studio of Leonardo da Vinci, Last Supper (after Leonardo), known as the Tongerlo copy, 1507-1509. Introduction For the last 450 years, the Tongerlo canvas of the Last Supper has been quietly occupying a wall in a chapel on the grounds of the Premonstratensian Abbey of Tongerlo near Westerlo, about an hour’s drive from the Belgian city of Antwerp. -
The Fading Evidence of Reality: Leonardo and the End
Institute of Advanced Insights Study TheThe FadingFading EvidenceEvidence ofof Reality:Reality: LeonardoLeonardo andand thethe EndEnd Carlo Vecce Volume 10 2017 Number 10 ISSN 1756-2074 Institute of Advanced Study Insights About Insights Insights captures the ideas and work-in-progress of the Fellows of the Institute of Advanced Study at Durham University. Up to twenty distinguished and ‘fast-track’ Fellows reside at the IAS in any academic year. They are world-class scholars who come to Durham to participate in a variety of events around a core inter-disciplinary theme, which changes from year to year. Each theme inspires a new series of Insights, and these are listed in the inside back cover of each issue. These short papers take the form of thought experiments, summaries of research findings, theoretical statements, original reviews, and occasionally more fully worked treatises. Every fellow who visits the IAS is asked to write for this series. The Directors of the IAS – Veronica Strang, Rob Barton, Nicholas Saul and Chris Greenwell – also invite submissions from others involved in the themes, events and activities of the IAS. Insights is edited for the IAS by Nicholas Saul. Previous editors of Insights were Professor Susan Smith (2006–2009), Professor Michael O’Neill (2009–2012) and Professor Barbara Graziosi (2012–2015). About the Institute of Advanced Study The Institute of Advanced Study, launched in October 2006 to commemorate Durham University’s 175th Anniversary, is a flagship project reaffirming the value of ideas and the public role of universities. The Institute aims to cultivate new thinking on ideas that might change the world, through unconstrained dialogue between the disciplines as well as interaction between scholars, intellectuals and public figures of world standing from a variety of backgrounds and countries. -
The Other Side of Kenneth Clark's Leonardo Da Vinci: an Account of His Development As
nun .u... unnu- u: V1"Vthlfil!»ltlvva‘-~,.,.i.I. ' ‘1VY‘V .u _. mm mm , S 36 A; 70 a 0 llll \ll‘llll ”\llll lillil 3 1293 00692 65 LIBRARY Michigan State University This is to certify that the thesis entitled The Other Side of Kenneth Clark's Leonardo da Vinci: An Account of His Development as an Artist; An Analysis of His Approach to Art History presented by ‘ Katherine Sydney Dutton has been accepted towards fulfillment l p of the requirements for Master of Arts degree in History of Art weir wt Major professor Date Si ”1/567 0.7639 MS U is an Affirmative Action/Equal Opportunity Institution PLACE IN RETURN BOX to remove this checkout from your record. TO AVOID FINES return on or bdore due due. DATE DUE DATE DUE DATE DUE MSU Is An Aflirmdlve Action/Equal Opportunity Imam emails-9.1 THE OTHER SIDE OF KENNETH CLARK'S LEONARDO DA VINQI: AN ACCOUNT OF HIS DEVELOPMENT as AN ARTIST: AN ANALYSIS OF HIS APPROACH TO ART HISTORY BY Katherine Sydney Dutton A.THESIS Submitted to Michigan State University , in partial fulfillment of the requirements for the degree of MASTER OF ARTS Department of Art 1989 Gool9%\ ABSTRACT THE OTHER SIDE OF KENNETH CLARK'S LEONARDO DA VINQI: AN ACCOUNT QF HIS DEVELOPMENT AS AN ARTIST: AN ANALYSIS OF HIS APPROACH TO ART HISTORY BY Katherine Sydney Dutton In this analysis of Kenneth Clark's practice of the history of art as found in his 1939 edition of Leonardo da Vinci: An Analysis of His Development as an.Artist, the issue of Clark's undogmatic approach to the subject of Leonardo will be investigated. -
Leonardo Da Vinci the Flights of the Mind
CHARLES NICHOLL Leonardo da Vinci The Flights of the Mind I ., ALLEN LANE an imprint of PENGUIN BOOKS Contents Author's Note Xlll Introduction: The Cooling of the Soup I j PART ONE Childhood: 1452-1466 Birth 17 The da Vinci 21 Caterina 26 'My first memory ... ' 30 At the Mill "- 37 Speaking with Animals 42 The 'Madonna of the Snow' 47 Education 53 PART TWO Apprenticeship: 1466-1477 The City 61 Renaissance Men 68 Andrea's Bottega 72 Learning the Trade 77 Spectaculars 90 On the Lantern 94 First Paintings 98 The Dragon I04 Ginevra I07 The Saltarelli Affair Iq 'Companions in Pistoia' 124 IX CONTENTS PART THREE Independence: 1477-1482 Leonardo's Studio 13 1 The Hanged Man 13 8 Zoroastro 141 The Technologist 145 'Poets in a Hurry' 151 The Musician 155 St Jerome and the Lion 160 The Gardens of the Medici 165 The Adoration 168 Leaving 176 J PART FOUR New Horizons: 1482-1490 Milan 185 Expatriates and Artists 193 The Virgin of the Rocks 196 Ways of Escape 201 The First Notebooks 209 Tall Tales, Small Puzzles 216 Architectural Projects 222 The Moor's Mistress 226 The Milanese Studio 23 2 The Anatomist 240 The Sforza Horse 24 8 At the Carte Vecchia 251 PART FIVE At Court: 1490-1499 Theatricals 257 'Of shadow and light' 264 Little Devil 269 Hunting Bears 276 Casting the Horse 280 x CONTENTS , 'Caterina came ... 28 5 Echoes of War 288 The Making of the Last Supper 29 2 The 'Academy' 30 3 Leonardo's Garden 31 2 'Sell what you cannot take . -
Leonardo's Analogical (Re)Search
• Everything comes from everything, and everything is made out ofeverything, and everything retums into everything: Leonardo's analogical (re)search Aliki Economides School of Architecture, McGiII University, Montreal • March 2002 Athesis submitled to the Faculty of Graduate Studies and Research in partial fulfilment of the requirements of the degree of Master of Architecture. © Aliki Economides, 2002 National Library Bibliothèque nationale 1+1 of Canada du Canada Acquisitions and Acquisisitons et Bibliographie Services services bibliographiques 395 Wellington Street 395, rue Wellington Ottawa ON K1A DN4 Ottawa ON K1A DN4 Canada Canada Your file Votre référence ISBN: 0-612-85910-X Our file Notre référence ISBN: 0-612-85910-X The author has granted a non L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts from it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou aturement reproduits sans son permission. autorisation. Canada • Table of Contents Acknowledgements i Preface iii Selected Chronology vii List of Abbreviations viii Introduction to a Body of Research 1 Intentions of the author· Hermeneutics and the challenges of interpretation • Ars sine scientia nihil est • Theoria as Praxis· The centrality of analogy in Leonardo's work • The Renaissance world-view • Aristotelian influences • The four potenze of nature· Leonardo's sources • Why the cube should not be designated to the earth • The nature of Leonardo's (re)search. -
The Heart of Leonardo Da Vinci
The Heart of Leonardo Francis C. Wells The Heart of Leonardo Foreword by HRH Prince Charles, The Prince of Wales Francis C. Wells Department of Cardio-Thoracic Surgery Papworth Hospital NHS Foundation Trust Cambridge United Kingdom ISBN 978-1-4471-4530-1 ISBN 978-1-4471-4531-8 (eBook) DOI 10.1007/978-1-4471-4531-8 Springer London Heidelberg New York Dordrecht Library of Congress Control Number: 2013937956 © Springer-Verlag London 2013 This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, speci fi cally the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on micro fi lms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. Exempted from this legal reservation are brief excerpts in connection with reviews or scholarly analysis or material supplied speci fi cally for the purpose of being entered and executed on a computer system, for exclusive use by the purchaser of the work. Duplication of this publication or parts thereof is permitted only under the provisions of the Copyright Law of the Publisher’s location, in its current version, and permission for use must always be obtained from Springer. Permissions for use may be obtained through RightsLink at the Copyright Clearance Center. Violations are liable to prosecution under the respective Copyright Law. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a speci fi c statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. -
Sir William Osler's Leonardo Da Vinci Collection: Flight, Anatomy and Art
SIR WILLIAM OSLER’S LEONARDO DA VINCI COLLECTION: FLIGHT, ANATOMY AND ART ROLANDO F. DEL MAESTRO SIR WILLIAM OSLER’S LEONARDO DA VINCI COLLECTION: FLIGHT, ANATOMY AND ART ROLANDO F. DEL MAESTRO Contents 4 Preface 5 Acknowledgements 6 Forward 10 Chapter One The Life of Leonardo da Vinci Largita da Dio (Gift from God) Section 1-6 References 30 Chapter Two Sir William Osler and Leonardo da Vinci: Lives of Engagement Creativity: A Restlessness Teaching: The Essence Libraries: The Foundation of Knowledge 40 Chapter Three Sir William Osler’s Leonardo da Vinci Collection: Flight, Anatomy and Art Section 1-19 Living Libraries: Personal, Unique, and Always Evolving Leonardo da Vinci and Flight Codex on The Flight of Birds The Macrocosm, Microcosm and Anatomical Dissection Leonardo's Life and Art 140 Epilogue: The Phoenix after the Fire 152 Facsimiles, Transcriptions, Translations and Catalogues 153 Selected Bibliography 154 Limited Print: Copy Number and Author Signature All Rights Reserved. DW Medical Consulting 2007 Inc. Published by DW Medical Consulting 2007 Inc. 17 Red Pine Crescent, Tiverton, Ontario, N0G 2T0. © 2019 DW Medical Consulting 2007 Inc. ISBN 978-1-9990803-0-3 Printed by M&T Publishing Group 1074 Dearness Drive, London ON. Canada Preface Acknowledgements ir William Osler is one of the most he extended this method to the careful First, I would like to thank my wife, Pam Del with Mike Spry were particularly helpful in the studied medical men of the modern era. arrangement of the library that was destined Maestro, who critically assessed, edited and photography of special items from my collec- SScholars have examined his contribu- for the McGill Medical Faculty. -
THE SALA DELLE ASSE in the SFORZA CASTLE in MILAN By
THE SALA DELLE ASSE IN THE SFORZA CASTLE IN MILAN by Patrizia Costa B.S. Industrial Administration and Italian, Carnegie Mellon University, 1989 M.A. History of Art, University of Pittsburgh, 1993 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2006 This dissertation was presented By Patrizia Costa It was defended on February 10, 2006 and approved by Ann Sutherland Harris, Professor of Italian Baroque Art Henry Clay Frick Department of the History of Art and Architecture David Wilkins, Professor Emeritus of Italian Renaissance Art Henry Clay Frick Department of the History of Art and Architecture H. Anne Weis, Associate Professor of Ancient Greek and Roman Art Henry Clay Frick Department of the History of Art and Architecture Kathleen Wren Christian, Assistant Professor of Italian Renaissance Art Henry Clay Frick Department of the History of Art and Architecture Francesca Savoia, Associate Professor of Italian Languages and Literature Department of French and Italian Languages and Literature Dennis Looney, Associate Professor of Italian Languages and Literatures Department of French and Italian Languages and Literature ii Copyright © by Patrizia Costa 2006 iii This dissertation is dedicated to my children Edoardo and Gianmarco studio sapientia crescit iv THE SALA DELLE ASSE IN THE SFORZA CASTLE IN MILAN Patrizia Costa, PhD University of Pittsburgh, 2006 This dissertation deals with two periods in the history of a room in the Sforza Castle known as the Sala delle Asse: the fifteenth‐century, when Ludovico Sforza (1452‐ 1508) commissioned Leonardo da Vinci (1452‐1519) to paint it and the late‐nineteenth‐ to‐early‐twentieth century when the Sala was re‐discovered and subjected to a major restoration by the Italian architectural historian Luca Beltrami (1854‐1933).