DOCSLIB.ORG

LEONARDO, POLITICS and ALLEGORIES Marco Versiero

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
LEONARDO, POLITICS and ALLEGORIES Marco Versiero LEONARDO, POLITICS AND ALLEGORIES Marco Versiero To cite this version: Marco Versiero. LEONARDO, POLITICS AND ALLEGORIES. De Agostini. 2010, Codex Atlanticus, 978-88-418-6391-6. halshs-01385250 HAL Id: halshs-01385250 https://halshs.archives-ouvertes.fr/halshs-01385250 Submitted on 21 Oct 2016 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Catalogo_Leonardo_04B@1000-1003 24-05-2010 11:45 Pagina 1 04 L’esposizione dei fogli del Codice Atlantico, The exhibition of folios from the Codex LEONARDO, LA POLITICA E LE ALLEGORIE l’incredibile raccolta di disegni Atlanticus, Leonardo da Vinci’s amazing LEONARDO, LA POLITICA di Leonardo da Vinci, vuole mettere collection of drawings, offers the public a disposizione del pubblico uno spaccato an authentic insight into the genius 04 E LE ALLEGORIE del genio del Maestro che, meglio of the great master. It was he, more than any DISEGNI DI LEONARDO DAL CODICE ATLANTICO di ogni altro, seppe intuire la connessione other, who perceived the interconnections fra le forze della natura e i benefici between the forces of nature and the benefits LEONARDO, POLITICS AND ALLEGORIES che l’umanità avrebbe potuto trarne. that humanity could draw from them. DRAWINGS BY LEONARDO FROM THE CODEX ATLANTICUS Leonardo, la politica e le allegorie Leonardo, Politics and Allegories is the fourth quarta esposizione dei fogli Leonardo, la politica e le allegorie, è la quarta di una serie di ventiquattro in a series of twenty-four exhibitions del , racconta il pensiero politico di Leonardo. Codice Atlantico mostre che, di qui al 2015, si svolgeranno which, until 2015, will be held in Milan Una panoramica ragionata ed esaustiva da cui emerge un Leonardo a Milano tra la Biblioteca Ambrosiana in both the Biblioteca Ambrosiana and the cosmopolita e tutt’altro che indifferente alla condizione umana. e la Sacrestia del Bramante Sacrestia del Bramante in Santa Maria delle Grazie. Al di là di ogni appartenenza ideologica del Maestro, in Santa Maria delle Grazie. Focusing on a different theme each time, emergono i tratti di un pensiero che – erede delle riscoperte dell’Umanesimo italiano – Divise per temi, le mostre esporranno the exhibitions will be displaying mette significativamente al centro del discorso antropologico e politico i 1.119 fogli del celebre Codice, oggetto, all the 1119 folios of the famous Codex, CON IL PATROCINIO DI anche il valore irrinunciabile della libertà, intesa come «dono principal di natura». nel corso del 2009, di un’impegnativa which was subjected to the delicate opera di sfascicolatura volta a renderne task of disassembly in 2009 , the fourth exhibition of folios Leonardo, Politics and Allegories possibile la visione integrale. so that it could be seen in its entirety. from the Codex Atlanticus, offers an insight into the political thoughts of Leonardo. LEONARDO, POLITICS AND ALLEGORIES This comprehensive, annotated overview reveals a cosmopolitan Leonardo who was anything but indifferent to the human condition. Quite apart from any ideological affiliation the great Master may have had, PARTNERS we see traces of thoughts that, drawing on the rediscoveries of Italian Humanism, place the fundamental value of freedom – the “greatest gift of nature” – ! at the heart of his anthropological and political ideas. U7851024 Euro 24,90 [email protected] 13-05-2010 20:07 Pagina 1 [email protected] 13-05-2010 20:07 Pagina 2 [email protected] 13-05-2010 20:07 Pagina 3 LEONARDO, LA POLITICA E LE ALLEGORIE DISEGNI DI LEONARDO DAL CODICE ATLANTICO LEONARDO, POLITICS AND ALLEGORIES DRAWINGS BY LEONARDO FROM THE CODEX ATLANTICUS [email protected] 13-05-2010 20:07 Pagina 4 [email protected] 13-05-2010 20:07 Pagina 5 LEONARDO, LA POLITICA 04E LE ALLEGORIE DISEGNI DI LEONARDO DAL CODICE ATLANTICO LEONARDO, POLITICS AND ALLEGORIES DRAWINGS BY LEONARDO FROM THE CODEX ATLANTICUS Marco Versiero [email protected] 19-05-2010 16:29 Pagina 6 Leonardo, la politica e le allegorie COMITATO PER L’ALLESTIMENTO DELLE MOSTRE Leonardo, Politics and Allegories EXHIBITION ADVISORY COMMITTEE Alberto Artioli, Soprintendente per i Beni Architettonici, Milano Disegni di Leonardo dal Codice Atlantico Sandrina Bandera, Soprintendente per i Beni Artistici Drawings by Leonardo from the Codex Atlanticus e Storici, Milano Sacrestia del Bramante nel complesso monumentale Armida Batori, Direttore Icpal, Roma delle Grazie, Milano, via Caradosso Monique Bosco von Allmen, Architetto Francesco Braschi, Dottore della Biblioteca Ambrosiana Biblioteca-Pinacoteca-Accademia Ambrosiana, Franco Buzzi, Prefetto della Veneranda Biblioteca Ambrosiana Milano, Piazza Pio XI, 2 Carlo Capponi, Responsabile dell’Ufficio per i Beni Culturali, 8 giugno - 6 settembre 2010 Diocesi di Milano Libero Corrieri, Soprintendenza per i Beni Architettonici, Milano IN COPERTINA / COVER Emanuela Daffra, Soprintendenza per i Beni Artistici Emblema della fenice (C.A. f. 593 v, particolare) e Storici, Milano Emblem of the phoenix (C.A. f. 593 v, detail) Ornella Foglieni, Soprintendente per i Beni Librari, Regione Lombardia Daniel Libeskind, Architetto, New York-Milano Pietro C. Marani, Curatore dei Disegni di Leonardo, Biblioteca Ambrosiana Marco Navoni, Direttore della Pinacoteca Ambrosiana Mariolina Olivari, Soprintendenza per i Beni Artistici COMITATO SCIENTIFICO / SCIENTIFIC COMMITTEE e Storici, Milano Collegio dei Dottori della Biblioteca Ambrosiana, Milano Luca Quartana, Restauratore di opere lignee Franco Buzzi, Prefetto della Veneranda Biblioteca Ambrosiana Alberto Rocca, Dottore della Biblioteca Ambrosiana Marco Navoni, Direttore della Pinacoteca Ambrosiana Giorgio Ricchebuono, Presidente della Fondazione Cardinale Federico Borromeo Giulio Bora, Capo Gabinetto Disegni Alberto Sempi, Studio di Architettura, Novara e Incisioni della Biblioteca Ambrosiana Attilio Terragni, Studio Cityedge (partner italiano architetto Maria Teresa Fiorio, Curatrice della Pinacoteca Ambrosiana Libeskind), Milano Pietro C. Marani, Curatore dei Disegni Domenico Venturelli, P. Paolo, Procuratore Generale di Leonardo presso la Biblioteca Ambrosiana della Provincia di San Domenico in Italia COORDINAMENTO SCIENTIFICO DELLE MOSTRE SCIENTIFIC COORDINATION OF THE EXHIBITIONS Pietro C. Marani, Curatore dei Disegni di Leonardo presso la Biblioteca Ambrosiana Professore Ordinario di Storia dell’Arte Moderna, Politecnico di Milano RESTAURO DEI FOGLI DEL CODICE ATLANTICO RESTORATION OF THE CODEX ATLANTICUS FOLIUS Commissione Nazionale Vinciana, Roma Icpal - Istituto centrale per il restauro e la conservazione del patrimonio archivistico e librario, Roma Anna Malipiero, Biblioteca Ambrosiana, Milano Suore Benedettine di Viboldone [email protected] 19-05-2010 16:29 Pagina 7 DIREZIONE ED ESECUZIONE DELLE OPERE CATALOGO / CATALOGUE EXECUTIVE DISPLAY COMMITTEE Testi: Marco Versiero Monique Bosco von Allmen, Architetto Istituto Geografico De Agostini Savino Corsari, Savogi S.r.l., Milano Development Manager: Roberto Besana Elena Fontana, Biblioteca Ambrosiana, Responsabile eventi e mostre Realizzazione Iniziative Speciali Mida Informatica e Metis Systems, Riproduzione digitale Direttore: Paolo Andreoni Luca Quartana, Restauratore di opere lignee Responsabile editoriale: Gioachino Gili Alberto Sempi, Studio di Architettura, Novara Coordinamento redazionale: Marco Torriani White Label S.r.l., Milano, Grafica e multimediale Coordinamento grafico, copertina, layout: Studio27 Zucchetti S.p.A., Impianti di sicurezza Traduzione: Simon Turner (introduzione), Barbara Mc Gilvray e Timothy Stroud (schede) ORGANIZZAZIONE / ORGANIZATION Immagini digitali del Codice Atlantico: Mida Informatica Fernanda Casiraghi, Michele Figlioli e Cecilia Farina with “Metis Systems” scanner Fondazione Cardinale Federico Borromeo Servizi Tecnici Prepress: Andrea Campo Stampa: A.G.S. All Graph System S.r.l. - Novara UFFICIO STAMPA / PRESS OFFICE Alberto Rocca, Dottore della Biblioteca Ambrosiana © Veneranda Biblioteca Ambrosiana, Milano - 2010 © Istituto Geografico De Agostini, Novara - 2010 RINGRAZIAMENTI / SPECIAL THANKS Si ringraziano in particolare il Comune di Milano (Assessorati alla Cultura e al Turismo), Expo 2015 S.p.A., Zucchetti S.p.A., UBI Banca, Carnelutti-Studio Legale Associato, Fondazione Cariplo e Fondazione Cardinale Federico Borromeo. [email protected] 13-05-2010 20:07 Pagina 8 [email protected] 19-05-2010 16:30 Pagina 9 Sommario / Contents 11 Presentazione / Foreword Franco Buzzi 13 Prefazione / Preface Pietro C. Marani 15 Introduzione / Introduction Marco Versiero 37 Opere / Works Marco Versiero 40 Il corpo vivente della città The Living Body of the City 76 Natura, tempo, uomo Nature, Time, and Man 86 Le parole della politica The Words of Politics 98 Macchine di vita e di morte Machines of Life and Death 108 Emblemi e allegorie Emblems and Allegories 130 Decorazioni simboliche Symbolic Decorations 140 Geometria concettuale Conceptual Geometry 156 Bibliografia essenziale / Essential bibliography
Load more

Recommended publications
  • 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.
    [Show full text]
  • By Leonardo Da Vinci
    European Scientific Journal May 2020 edition Vol.16, No.14 ISSN: 1857-7881 (Print) e - ISSN 1857-7431 Neuroanatomical interpretation of Peter Paul Rubens’s copy of ,,The Battle of Anghiari’’ by Leonardo da Vinci Grigol Keshelava, MD, PhD Department of Vascular Surgery, Caucasus Medical Center, Tbilisi, Georgia Doi:10.19044/esj.2020.v16n14p8 URL:http://dx.doi.org/10.19044/esj.2020.v16n14p8 Abstract The object of this research is a drawing by Peter Paul Rubens, a copy of ,,The Battle of Anghiari’’ performed by Leonardo da Vinci in 1503-1506. This work, dating from 1603, was based on an engraving of 1553 by Lorenzo Zacchia, which was taken from a cartoon by Leonardo da Vinci. The original fresco itself is lost. Since the individual details of the drawing matched the anatomical elements of the human brain we decided to perform an anatomical interpretation. With the help of the program Paint X we were able to move 23 elements of the drawing. The comparison revealed the similarity between the details of the obtained image and the anatomical elements of the brain. Our research shows that the Peter Paul Rubens’s copy of ,,The Battle of Anghiari’’ by Leonardo da Vinci is a harmonious mix of Art and Anatomy. We have established that the copy of the lost fresco, which was created six centuries ago, includes double content. By moving 23 details of the drawing in which the battle is depicted, an image is obtained. This image accurately describe the anatomical elements of the brain in the lateral view. Keywords: Leonardo da Vinci; brain anatomy; Battle of Anghiari Introduction Ancient medical practitioners had contradictory views about the significance of the brain.
    [Show full text]
  • News Release
    NEWS RELEASE FOURTH STREET AT CONSTITUTION AVENUE NW WASHINGTON DC 20565 737-4215/842-6353 ADVANCE FACT SHEET Exhibition: Leonardo's Horses; Studies of Horses and Other Animals by Leonardo da Vinci from the Royal Library at Windsor Castle Itinerary; National Gallery of Art February 24 - June 9, 1985 Museum of Fine Arts, Houston June 22 - October 13, 1985 The Fine Arts Museums of San Francisco November 9, 1985 - February 23, 1986 Background; This exhibition was announced on March 2, 1983 in conjunction with the visit of Her Majesty Queen Elizabeth II to the West Coast. Content; For the first time, a selection of fifty studies of horses and other animals relating to several of the artist's major projects are being lent by Her Majesty from the Royal Library at Windsor Castle for an American tour premiering at the National Gallery, Washington. These are among the most renowned animal studies in the world. Range; The drawings date from 1478 to around 1517, covering Leonardo's early days in Florence to later years in Milan and the last years in France. Subject; Most of the drawings selected for this exhibition focus on Leonardo's treatment and studies of horses. Several sheets also include sketches of donkeys, oxes, cats, dragons and other fanciful creatures. The horse studies are widely recognized as another instance of Leonardo's genius in his vast corpus of drawings of natural life, science and art. They reveal the very special relationship between man and horse, as well as intense study of the animal. Projects and Related Drawings; The drawings fall into seven chronological groups, several of which involved tremendously important projects that Leonardo worked on but which have not survived or were never completed, giving their preparatory studies an added significance.
    [Show full text]
  • Leonardo and the Whale
    Biology Faculty Publications Biology 6-17-2019 Leonardo and the Whale Kay Etheridge Gettysburg College Follow this and additional works at: https://cupola.gettysburg.edu/biofac Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, Biology Commons, Ecology and Evolutionary Biology Commons, and the Marine Biology Commons Share feedback about the accessibility of this item. Recommended Citation Etheridge, Kay. "Leonardo and the Whale." In Leonardo da Vinci – Nature and Architecture, edited by C. Moffat and S.Taglialagamba, 89-106. Leiden: Brill, 2019. This is the author's version of the work. This publication appears in Gettysburg College's institutional repository by permission of the copyright owner for personal use, not for redistribution. Cupola permanent link: https://cupola.gettysburg.edu/biofac/81 This open access book chapter is brought to you by The Cupola: Scholarship at Gettysburg College. It has been accepted for inclusion by an authorized administrator of The Cupola. For more information, please contact [email protected]. Leonardo and the Whale Abstract Around 1480, when he was 28 years old, Leonardo da Vinci recorded what may have been a seminal event in his life. In writing of his travels to view nature he recounted an experience in a cave in the Tuscan countryside: Having wandered for some distance among overhanging rocks, I can to the entrance of a great cavern... [and after some hesitation I entered] drawn by a desire to see whether there might be any marvelous thing within..." [excerpt] Keywords Leonardo da Vinci, fossils, whale Disciplines Ancient, Medieval, Renaissance and Baroque Art and Architecture | Biology | Ecology and Evolutionary Biology | Marine Biology Comments Please note that that this is pre-print version of the article and has not yet been peer-reviewed.
    [Show full text]
  • Codex Atlanticus
    Syracuse University SURFACE The Courier Libraries Summer 1974 Codex Atlanticus Carol Hanley Follow this and additional works at: https://surface.syr.edu/libassoc Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, and the History Commons Recommended Citation Hanley, Carol. "Codex Atlanticus." The Courier 11.3 (1974): 41-43. This Article is brought to you for free and open access by the Libraries at SURFACE. It has been accepted for inclusion in The Courier by an authorized administrator of SURFACE. For more information, please contact [email protected]. ChapterXlII. naUblithe beholdeth the woman who lo\'eth him fit' fit' acon the morrow the men arose, &1 the Sta­ eagle and his damed came to naUblithe; for B the other two dameelewmdeparted,and the William Morris, The Glittering Plain, p. 84. THE COURIER SYRACUSE UNIVERSITY LIBRARY ASSOCIATES VOLUME XI, NUMBER 3 Table of Contents SUMMER 1974 Page The William Morris Collection at Syracuse University 3 Thomas James Cobden-Sanderson: A Study Based on His Journals Elizabeth Mozley 21 From the Collector's Library: Swinburne in Miniature John S. Mayfield 39 Codex A tlanticus Carol Hanley 41 News of the Library and Library Associates 44 Codex At/anticus i"i) by Carol Hanley . ~~he gift of the Codex A t/anticus to the George Arents Research Library by the Class of 1912 and Chester Soling is a generous gesture of scholastic importance. Publishers are the Johnson Reprint Corporation, a subsidiary of Harcourt Brace Jovanovich and Centro Editoriale Giuinti, of Florence. The Codex is a collation of sections from many of Leonardo Da Vinci's notebooks, compiled by Pompeo Leoni, a sixteenth century sculptor who came to acquire them through the descendants of Leonardo's devoted disciple, Francesco Me1zi.
    [Show full text]
  • Newsletter Nov 2015
    Leonardo da Vinci Society Newsletter Editor: Matthew Landrus Issue 42, November 2015 Recent and forthcoming events did this affect the science of anatomy? This talk discusses the work of Leonardo da Vinci, The Annual General Meeting and Annual Vesalius and Fabricius and looks at how the Lecture 2016 nature of the new art inspired and shaped a new wave of research into the structure of the Professor Andrew Gregory (University College, human body and how such knowledge was London), will offer the Annual Lecture on Friday, transmitted in visual form. This ultimately 13 May at 6 pm. The lecture, entitled, ‘Art and led to a revolution in our under-standing of Anatomy in the 15th & 16th Centuries’ will be anatomy in the late 16th and early 17th centu- at the Kenneth Clark Lecture Theatre of the ries. Courtauld Institute of Art (Somerset House, The Strand). Before the lecture, at 5:30 pm, the annual Lectures and Conference Proceedings general meeting will address matters arising with the Society. Leonardo in Britain: Collections and Reception Venue: Birkbeck College, The National Gallery, The Warburg Institute, London Date: 25-27 May 2016 Organisers: Juliana Barone (Birkbeck, London) and Susanna Avery-Quash (National Gallery) Tickets: Available via the National Gallery’s website: http://www.nationalgallery.org.uk/whats- on/calendar/leonardo-in-britain-collections-and- reception With a focus on the reception of Leonardo in Britain, this conference will explore the important role and impact of Leonardo’s paintings and drawings in key British private and public collec- tions; and also look at the broader British context of the reception of his art and science by address- ing selected manuscripts and the first English editions of his Treatise on Painting, as well as historiographical approaches to Leonardo.
    [Show full text]
  • Freeing Leonardo Da Vinci's Fight for the Standard in the Hall of the Five
    International Journal of Social Science Studies Vol. 5, No. 10; October 2017 ISSN 2324-8033 E-ISSN 2324-8041 Published by Redfame Publishing URL: http://ijsss.redfame.com Freeing Leonardo da Vinci’s Fight for the Standard in the Hall of the Five Hundred at Florence’s Palazzo Vecchio Antonio Cassella1 1President of Research Autism LLC (FL) and Director of Imerisya (Instituto merideño de investigación de la inteligencia social y del autismo, Mérida, Venezuela). Correspondence: Antonio Cassella, 1270 N. Wickham Rd. 16-613, Melbourne, FL, 32935, USA. Received: August 17, 2017 Accepted: September 1, 2017 Available online: September 18, 2017 doi:10.11114/ijsss.v5i10.2657 URL: https://doi.org/10.11114/ijsss.v5i10.2657 Abstract In June 2017, the author wrote an article in the International Journal of Social Science Studies in which he hypothesized that the Hall of the Five Hundred at Florence’s Palazzo Vecchio has been protecting the central piece of Leonardo da Vinci’s mural Battle of Anghiari: The Fight for the Standard (La Lotta per lo Stendardo) under Giorgio Vasari’s painting Battle of Marciano for 512 years now. On the evening of August 10, 2017, the author read a veiled message left by Vasari: The vertical line that passes through the center of the Battle of Marciano also passes through the center of the Fight for the Standard. On the evening of August 15, the author read a second secret message left by Vasari: The bottom of Leonardo’s Battle of Anghiari aligns with the floor of the Hall of the Five Hundred.
    [Show full text]
  • Evidence That Leonardo Da Vinci Had Strabismus
    Confidential: Embargoed Until 11:00 am ET, October 18, 2018. Do Not Distribute Research JAMA Ophthalmology | Brief Report Evidence That Leonardo da Vinci Had Strabismus Christopher W. Tyler, PhD, DSc Supplemental content IMPORTANCE Strabismus is a binocular vision disorder characterized by the partial or complete inability to maintain eye alignment on the object that is the target of fixation, usually accompanied by suppression of the deviating eye and consequent 2-dimensional monocular vision. This cue has been used to infer the presence of strabismus in a substantial number of famous artists. OBJECTIVE To provide evidence that Leonardo da Vinci had strabismus. DESIGN, SETTING, AND PARTICIPANTS In exotropia, the divergent eye alignment is typically manifested as an outward shift in the locations of the pupils within the eyelid aperture. The condition was assessed by fitting circles and ellipses to the pupils, irises, and eyelid apertures images identified as portraits of Leonardo da Vinci and measuring their relative positions. MAIN OUTCOMES AND MEASURES Geometric angle of alignment of depicted eyes. RESULTS This study assesses 6 candidate images, including 2 sculptures, 2 oil paintings, and 2 drawings. The mean relative alignments of the pupils in the eyelid apertures (where divergence is indicated by negative numbers) showed estimates of −13.2° in David,−8.6° in Salvator Mundi,−9.1° in Young John the Baptist,−12.5° in Young Warrior, 5.9° in Vitruvian Man, and −8.3° in an elderly self-portrait. These findings are consistent with exotropia (t5 = 2.69; P = .04, 2-tailed). Author Affiliation: Division of Optometry and Vision Sciences, School of Health Sciences, City CONCLUSIONS AND RELEVANCE The weight of converging evidence leads to the suggestion University of London, London, that da Vinci had intermittent exotropia with the resulting ability to switch to monocular United Kingdom.
    [Show full text]
  • Decoding the Last Supper
    HOUSE OF TRUTH | TOTUUDEN TALO Decoding the Last Supper The Great Year and Men as Gods House of Truth | www.houseoftruth.education 21.6.2013 Table of Contents Introduction ....................................................................................................................................................... 2 The Last Supper and the Great Year .................................................................................................................. 3 36 engravings on the roof ............................................................................................................................. 4 Elements of the Last Supper .......................................................................................................................... 5 Hands of Christ .............................................................................................................................................. 6 The Lesser Conclusion ................................................................................................................................... 7 Men as Gods in the Last Supper ........................................................................................................................ 8 Roman trio of gods ........................................................................................................................................ 9 Evidence number 153 .................................................................................................................................
    [Show full text]
  • The Pathos of Function: Leonardo's Technical Drawings
    Originalveröffentlichung in: Schramm, Helmar (Hrsg.): Instruments in art and science: on the architectonics of cultural boundaries in the 17th century (Theatrum scientiarum : English edition ; 2), Berlin 2008, S. 78-105 FRANK FEHRENBACH The Pathos of Function: Leonardo's Technical Drawings r. A late pen and ink drawing by Leonardo da Vinci, now in Windsor Castle (W 12698 recto, ca. 1513), reverses ideas common in the Re­ naissance about the sometimes antagonistic relationship between nature and culture (fig. 1). In contrast to his almost contemporary "Deluge Se­ ries," the drawing does not show the worst case scenario of meteorolo­ gy, destroying the creations of man, but a flood of tools and instruments that fall on the surface of the earth. We identify, among other objects, pincers, hammers, nails, angles, glasses, rulers, rakes, bottles, bagpipes, ladders, clocks, plates, discs, and what is more, among the clouds, a lion. In contrast to a line on the top of the sheet ­ "Here Adam and here Eve" ­ which probably belonged to another sketch on the same sheet, later cut off,1 the legend of the actual drawing leaves no doubt about its pessimistic meaning: "O miseria umana, di quante cose per danari ti fai servo. ­ O human misery, to how many things are you enslaved just for the money." Related to the lion in the clouds, the sketch becomes a prod­ igy (cf. Peter Apian, Practica for 1532, Landshut 1531; fig. 2), perhaps alluding to the proverbial technophilia of the Florentines ­ city of the Marzocco ­ or a crypto­signature of Leone­Leonardo himself.2 But it is more reasonable, I believe, to interpret the lion as a reference to Pope Leo X, elected in 1513, a person who raised many hopes in Leonardo, which turned, however, into disappointment and complaints.
    [Show full text]
  • The Great Continuous Organ Brings Leonardo's Musical Gifts Back to Life
    LEONARDO DA VINCI June 24, 2019 | Press Release AS NEVER SEEN BEFORE Leonardo3 – Il Mondo di Leonardo | Pag. 1/6 The Great Continuous Organ Milan, 24 June 2019 - “The wind will thus be continuous”, wrote Leonardo da Vinci in 1504 in his accompanying description for the drawings of one brings Leonardo’s of his greatest musical inventions: the Great Continuous Organ. On the occasion of the 500th anniversary of Leonardo’s death, this instrument has musical gifts been brought back to life thanks to the Leonardo3 Research Center in Milan. The instrument wasplayed for the first time in history at a back to life presentation co-organized by the City of Milan in the Palazzina Liberty Dario Fo e Franca Rame. Says Councilor for Culture Filippo Del Corno: The Leonardo3 Research Center “The quincentenary of Leonardo’s death has sparked a surprising energy in the has collaborated with the City of city involving public and private institutions, associations and companies in Milan to present one of Leonardo’s the creation of a constantly evolving events calendar. Leonardo3’s initiative most revolutionary musical falls precisely within this virtuous participatory context, reminding us for the very first time with this fascinating new project of the extraordinary creative heritage inventions our city received because Leonardo lived and worked here.” “It’s a historical event”, says Massimiliano Lisa, President of Leonardo3. The Great Continuous Organ is the latest to join the collection of A totally new and perfectly functioning model of the Great Continuous Leonardo’s musical instruments Organ has joined the collection of musical instruments created by on display at The World of the Universal Genius and displayed in the historic Sale del Re in Piazza della Scala (at the Galleria entrance) as part of the show Leonardo3 – Leonardo show in Piazza della The World of Leonardo.
    [Show full text]
  • The Rediscovered Watermark in the Drawing Leda and the Swan by Raphael Kept at Windsor Castle
    arts Article The Rediscovered Watermark in the Drawing Leda and the Swan by Raphael Kept at Windsor Castle Claudio Calì Design Department, Politecnico di Milano, 20133 Milan, Italy; [email protected] Abstract: This article presents an in-depth study of Raphael’s drawing of Leda and the Swan (RCIN 912759), preserved at Windsor Castle. The research aims to make the paper’s physical properties accessible and extend the information on the watermark. The methodology follows an artistic– design-oriented approach. The data extraction process uses a back-lighting photographic technique combined with image post-processing operations. The work catalogues in scientific terms the complete paper mould lines of the Windsor sheet according to the International Standard of Paper Classification (IPH). Based on comparisons with a series of drawings by Leonardo da Vinci, the contribution suggests a chronological and provenance estimate of the paper used by Raphael. Keywords: Raphael; Leonardo da Vinci; Leda; design; paper-based watermark; digitisation; graphical representation; image-processing; art; preservation 1. Introduction The drawing Leda and the Swan in the Royal Collection at Windsor Castle, RCIN 912759, dated 1507, is one of Raphael’s best-known mythological studies and conceivably Citation: Calì, Claudio. 2021. The among the most remarkable portraits on paper dedicated to the figure of Leda. The Rediscovered Watermark in the examination of the drawing from life came about almost by chance. A research visit to Drawing Leda and the Swan by Windsor was made to analyse the paper supports of a series of drawings made by Leonardo Raphael Kept at Windsor Castle. Arts da Vinci.
    [Show full text]