Appendix I: Notable Personages

Villard de Honnecourt (thirteenth century?) –– Livre de portraiture (ca. 1230) Petrus Peregrinus of Maricourt (thirteenth century?) –– Epistola Petri Peregrini de Maricourt ad Sygerum de Foucaucourt, militem, de magnete (Letter of Peter Peregrinus of Maricourt to Sygerus of Foucaucourt, Soldier, on the Magnet) (1269) Guido da Vigevano, (Pavia, ca. 1280–, after 1349) –– Texaurus regis Francie (1335) –– Liber notabilium illustrissimi principis Philippi septimi, Francorum regis, a libris Galieni per me Guidonem de Papia, medicum suprascripti regis atque consortis eius inclite Iohanne regine, extractus, anno Domini 1345 (1345) Giovanni Dondi dell’Orologio (Chioggia, ca. 1330–Abbiategrasso, 1388) –– Completion of the astronomical clock Astrarium (1364) –– Tractatus astrarii (fourteenth century) Konrad Kyeser (1366–after 1405) –– Bellifortis (ca. 1405) (, 1377–1446) –– Cupola (Dome) of Duomo of Florence (1420–1436) Anonymous of the Hussite Wars –– Manuscript of the Anonymous of the Hussite Wars (after 1472) Mariano Daniello di Jacopo (Taccola) (Siena, 1381–ca. 1458) –– De Ingeneis (ca. 1419–1450) –– De Machinis (1449)

© Springer International Publishing AG, part of Springer Nature 2019 343 P. Innocenzi, The Innovators Behind Leonardo, https://doi.org/10.1007/978-3-319-90449-8 344 Appendix I: Notable Personages

–– Copy of De Machinis from Paolo Santini (colored manuscript version, second half of the fifteenth century) Ms. Lat 7239, Bibliothèque Nationale, Paris. Giovanni Fontana (, 1395?–after 1454) –– Bellicorum instrumentorum liber (ca. 1430) –– Nova compositio horologi 1418) –– De horologio aqueo (ca. 1417) Leon Battista Alberti (Genoa, 1404–, 1472) –– Ludi mathematici (1448) –– De re aedificatoria (1450) Roberto Valturio (Rimini, 1405–1475) –– De re militari (1472) printed version in –– De re militari (1483) printed version in Italian (Borgo Sansepolcro, ca. 1416/1417–Borgo Sansepolcro, 1492) –– De prospectiva pingendi (ca. 1460–1480) –– De quinque corporibus regularibus (ca. 1472 and 1475) –– Trattato d'abaco (ca. 1450) Giovanni Giocondo da (Fra Giocondo) (Verona, ca. 1433–Romea, 1515) –– Inlays of Santa Maria in Organo in Verona (1520) Francesco di Giorgio Martini (Siena, 1439–1501) –– Codicetto (drawings of ) (Biblioteca Apostolica Vaticana, Rome) Codex Urb. Lat. 1757 –– Opusculum (British Museum, London) Codex 187.b.21 (drawings without text, machines and fortresses, ca. 1476) –– Trattato di architettura civile e militare (I version). (1479–1484) Codex Ahsburnham 361, Biblioteca Laurenziana; Codex Saluzziano 148, Biblioteca Reale of Turin –– Trattato di architettura civile e militare (II version). (1485–1492) Codex Senese S.IV.4, Biblioteca Comunale di Siena; Codex Magliabechiano II.1.141, parte 1. Biblioteca Nazionale di Firenze –– Traduzione Vitruviana (Biblioteca Nazionale di Firenze) Codex Magliabechiano II.I.141, parte 2 Anonymous (after Mariano di Jacopo (Taccola) and Francesco di Giorgio) –– Drawings of machines. Late fifteenth century. Ms Palatino 767. Biblioteca Nazionale Centrale, Florence Appendix I: Notable Personages 345

–– Drawings of machines. End of fifteenth century. Codex S.IV.5. Biblioteca Comunale, Siena –– Book of machines (Anonymous Sienese Engineer) Late fifteenth century. Ms Additional 34113. British Library London (Florence, ca. 14431516) –– Sienese sketchbook (Taccuini Sienesi) (–1516) –– Codex Barberini (post 1464–ante 1516). (Borgo Sansepolcro, ca. 1445–Rome, 1517) –– (1509) –– Translation into Latin of the Elements of Euclid (1509) –– De Ludo Scachorum (manuscript, in Italian ca. 1500) –– De Viribus quantitatis (ca. 1500) –– Summa de arithmetica, geometria, proportioni e proportionalità (1494) Philipp Mönch (?) –– Kriegsbuch (1496) Lorenzo della Volpaia (Florence, 1446–1512) –– The realization of the Orologio dei Pianeti (Clock of the planets) 1510 Bonaccorso Ghiberti (Florence, 1451–1516) –– Zibaldone (ca. 1500) Leonardo (Vinci, 1452–Amboise, 1519) –– (different topics: , , architecture, 1480–1518) (Biblioteca Ambrosiana, , ) –– (different topics: geometry, warfare, architecture, mechan- ics of machines, botany, zoology, 1480–1518) (British Library, London, UK) –– Codex Ashburnham (assorted drawings, 1489–1492) (Institut de , Paris) –– Windsor folios (drawings of different subjects: anatomy, maps, studies of human figures, 1478–1518) (Royal Library at Windsor Castle, UK) –– Codex Forster I (1490–1505), Codex Forster II (1495–1497), Codex Forster III (geometry, , hydraulic, 1490–1496) (Library of Victoria and Albert Museum, London, UK) –– Codex I (mechanics, 1490–1496) (Biblioteca Nacional, Madrid, Spain) –– II (geometry, 1503–1505) (Biblioteca Nacional, Madrid, Spain) 346 Appendix I: Notable Personages

–– (architecture, religious themes, exercises, 1487–1490) (Biblioteca Trivulziana, , Milan, Italy) –– Codex on the Flight of Birds (study of the flight of birds, 1505) (Biblioteca Reale, Turin, Italy) –– (hydraulics and movement of water, 1505) (former Hammer Codex) (Bill Gates, Seattle, Washington, USA) –– Manuscripts of France A-M (various topics: optics, geometry, warfare, hydraulics, 1492–1516) (Institute de France) –– Trattato della pittura (Compiled by using 18 manu- scripts of Leonardo; only six of them have been identified, A, E, F, G, L, Trivulziano and a Windsor folio) Giovanni Battista della Valle (Venafro, ca. 1470–1550) –– Il Vallo (The Book of Captains) 1521. Cesare Cesariano (Milan, 1475–1543) –– Translation into Italian of Vitruvio’s De Architectura (1521) Vannuccio Biringuccio (Siena, ca. 1480–ca. 1539) –– Pirotechnia (1534–1535), published posthumous in Venice, 1540 Damiano Zambèlli (fra Damiano da Bergamo) (Zogno (Bergamo) ca. 1490– 1549) –– Inlays of the Basilica di San Domenico in Bologna (1549) Jamnitzer Wenzel (Wien, 1508–1585) –– Perspectiva Corporum Regularium (1568) Giorgio Vasari (Arezzo, 1511–Florence, 1574) –– Le vite de’ più eccellenti pittori, scultori e architettori (1550) Daniele Barbaro (Venice, 1514–Venice, 1570) –– Della Perspettiva di Monsignor Daniel Barbaro, Eletto Patriarca d'Aquileia. Opera molto utile a Pittori, a scultori & ad Architetti (printed in Venice 1569). Carlo Urbino (Crema, ca. 1510/20–Crema, after 1585) –– Codex Huygens (mid-sixteenth century) Agostino Ramelli (Ponte Tresa, 1531–1608) –– Le diverse et artificiose del Capitano Agostino Ramelli Dal Ponte Della Tresia. (in French and Italian) 1588 Paris. Jacques Besson (Colombière (Briançon) ca. 1540–England, 1573) –– Theatrum instrumentorum (1571–1572) Appendix I: Notable Personages 347

Fausto Veranzio (Sebenico, 1551–Venice, 1617) –– Machinae novae (printed in Venice 1606) Vittorio Zonca (Padova, 1568–1602) –– Novo teatro di machine et edificii. Per varie et sicure operationi con le loro figure tagliate in rame e la dichiaratione et dimostratione di ciascuna (printed in 1607, posthumous) Giovanni Branca (Sant'Angelo in Lizzola, 1571–Loreto 1645) –– Le machine: volume nuovo et di molto artificio da fare effetti maraviglio si tanto spirituali quanto di animale operatione arichito di bellissime figure con le dichiarationi a ciascuna di esse in lingua volgare et latina (1629) Lorenzo Sirigatti (after 1554–1625) –– La pratica di prospettiva del cavaliere Lorenzo Sirigatti (printed in Venice, 1596) Giovanni Alfonso Borelli (1608 Naples–1679 Rome) –– De Motu Animalium (On the Movements of Animals) 1680, posthumous  Appendix II: A Short Biography of

15 April 1452 Leonardo was born in Anchiano, close to the Tuscan town of Vinci, which was at that time part of the Republic of Florence, ruled by the Medici family. He was the first son of Messer Piero Fruosino di Antonio da Vinci, a wealthy gentleman working as a legal notary in Florence, and a peasant woman named Caterina di Meo Lippi, a 15-years-old orphane. Because of their difference in social status, Piero da Vinci decided to take the child without marrying Caterina and found a suitable husband for Leonardo’s mother. Leonardo’s grandfather carefully recorded his birth in the family diary: “nacque un mio nipote, figliolo di ser Piero mio figliolo a dì 15 aprile in sabato a ore 3 di notte” (A grandson of mine, son of my son Piero, was born on April 15, Saturday, 3 hours into the night). In modern terms with the introduction of the Gregorian calendar in October 1582, this would be 23 April around 9.30 pm. Leonardo spent most of his childhood with his paternal grandfather, Antonio, also a legal notary, and his uncle Francesco. The two men provided for his education. 1464: To Florence At the age of 12, Leonardo moved to Florence to live with his father. 1466–1476: Apprentice at Verrocchio’s Workshop At the age of 14, Leonardo joined the workshop of Andrea di Cione (known as Verrocchio), one of the most famous artists in Florence. During his appren- ticeship, Leonardo produced his first known painting, the face of an angel appearing in Verrocchio’s Battesimo di Cristo (Baptism of Christ). Leonardo’s first dated work (1473) is an ink drawing of the Arno valley.

© Springer International Publishing AG, part of Springer Nature 2019 349 P. Innocenzi, The Innovators Behind Leonardo, https://doi.org/10.1007/978-3-319-90449-8 350 Appendix II: A Short Biography of Leonardo da Vinci

1472: Member of Compagnia dei pittori (Painters’ guild) At the age of twenty, Leonardo was accepted as a member of Florence’s guild of painters. However, he likely did not leave Verrocchio’s workshop before 1477. 1482–1499: First Milanese Period (age 30–47) This first Milanese period was one of the most fruitful in Leonardo’s life. In Milan, he found a stimulating and exciting intellectual environment where he could dedicate himself to his myriad artistic and scientific activities. In 1496, Leonardo met the Mathematician Luca Pacioli, who would become one of his closest friends. Ludovico il Moro commissioned a bronze equestrian monument from Leonardo to be dedicated to Francesco Sforza. Leonardo devoted enormous effort to solving the many problems related to its fabrication, but before he could cast the bronze to fashion the statue, Milan was invaded by King Charles VIII of France. Suddenly, bronze became a key resource that was instead needed to produce cannons for the defense of the city. 1500: A Year of Travels When the city of Milan was conquered by the French army, Leonardo and his friend Luca Pacioli traveled to Mantua on the invitation of Isabella D’Este. After a short stay, Leonardo moved to the in March of 1500, where he worked on a defense system to protect the city from the Turkish threat. After Venice, he visited Rome and Tivoli and in April 1501 found himself once again in Florence, many years after his initial departure. 1502: Working for Cesare Borgia On 18 August 1502, Leonardo was appointed “Architecto et Ingegnero Generale” (architect and general engineer) by Cesare Borgia (Il Valentino), captain general of the Papal Army and son of Alexander VI. Leonardo visited several cities in Central Italy, including Imola, Rimini, Pesaro, Cesena, Urbino, and Porto Cesenatico. 1503–1505: Florence Once More Leonardo returned to Florence and joined the painters’ confraternity, Compagnia di San Luca, (18 October 1503). He was paid for his hydraulic projects by the Signoria of Florence and opened a workshop in Santa Maria Novella to prepare Battaglia di Anghiari (Battle of Anghiari), a great fresco for the Salone dei Cinquecento in Palazzo Vecchio, which celebrated the victory of Florence against Milan in 1440. Leonardo likely started work on the portrait of in 1503. During this second stay in Florence, he once more turned his attention to studies of flight, culminating in theCodice sul volo degli uccelli (Codex on the Flight of Birds), which he wrote in 1505. Appendix II: A Short Biography of Leonardo da Vinci 351

1504: Father’s Death Leonardo’s father died on 9 July 1504, an event he painstakingly recorded in his diary: “Addi’ 9 di luglio 1504 a ore 7 mori’ Piero da Vinci notaio al palagio del potesta’, mio padre a ore 7. Era d’eta’ d’anni 80. Lascio’ 10 figlioli maschi e due femmine” (On 9 July 1504 at 7 am, Piero da Vinci, legal notary at the palace of city administration and my father, passed away. He was 80 years old. He left 10 sons and 2 daughters). His father, however, did not name him as an heir, and Leonardo pursued legal action to obtain his part of the inheritance, though without success. 1506–1513: Second Milanese Period (age 54–61) Charles d’Amboise, later the governor of Milan, wrote a letter to the Signoria to request the return of Leonardo to Milan. In early September, he moved to Milan with Salaì, Lorenzo, and Il Fanfoia. For a while, he traveled back and forth between Florence and Milan, finally settling in Milan in 1508. In September 1507, he met Francesco Melzi, the beloved pupil to whom Leonardo left the precious legacy of his manuscripts. 1511–1512: Retreat to Melzi’s Villa In December 1511, Swiss soldiers invaded the city of Milan. Leonardo fled to the Villa of his pupil Francesco Melzi in Vaprio d‘Adda. He returned to Milan in March only to leave again in September of 1513, this time headed to Rome. 1513–1516: Rome On 24 September 1513, Leonardo left Milan again with pupils Francesco Melzi and Salaì, moving to Rome to be part of the household of Giuliano de’ Medici (brother of Pope Leo X). Leonardo set up a workshop in the Belvedere, a wing of the Vatican Palace, and was inscribed in the Roman confraternity of San Giovanni dei Fiorentini. 1516–1519: Final Years—France In 1516, Leonardo was invited to France by King Francis I. He moved into the manor house Clos Lucé near the royal Castle of Amboise as peintre du Roi (royal painter). There, he spent the last 3 years of his life with his pupils Federico Melzi and Salaì and the servant Battista. 2 May 1519 Leonardo died at Clos Lucé on 2 May 1519, at the age of 67. He was buried in the chapel of Saint-Florentine in the Castle of Amboise, which was unfor- tunately destroyed in 1802. Some stone fragments found during an excava- tion of the site with the inscription “EO [...] DUS VINC” have led to the supposition that the partial skeleton and large skull found at the site are in fact Leonardo’s remains. They were reinterred in another chapel of the Castle of Amboise dedicated to Saint-Hubert.