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La Gioconda compie 500 anni.

What the Mona Lisa or Mona Lisa is one of the most famous faces of history. This year, the portrait of Mona Lisa takes 500 years.: Leonardo began in 1503 and worked there until 1506, though not the genius of Leonardo's thought never completed. This is an important day in the life of Leonardo left Florence for Milan and was the first assignments in France, bringing with him until 1513 and perhaps beyond, constantly disappointed with the outcome.

Much has been written about the Mona Lisa to the myth. However, by two of the most respected scholars of Leonardo, Carlo Pedretti and Peter C. Marani, we learn that the myth of the Mona Lisa is recent. The picture was initially kept in the royal apartments Fontainebleau, then go to the Petite Galerie du Roi at Versailles and then again in the bedroom of Napoleon. For a short time was in the Louvre and then move on, in 1801, in the bedroom of Josephine. Only after Napoleon's coronation in 1804, the painting returned to the Louvre and beginning the season of the myth.
Théophile Gautier connected the grace of the figure of Leonardo to the cult of the eternal feminine and the superiority of women theorized by Goethe in 1831, in particular the myth of the "femme fatale". Romantic scholars began to propagate the myth of Leonardo as a universal man with almost supernatural powers. As you can see, history repeats itself, if we think Free shot of Da Vinci Code and its rivals.

But who is this woman? Here is another conundrum that has sparked all sorts of fantasies. Documents discovered in the nineties
confirm Vasari's narrative: "He took Leonardo to do for Francesco del Giocondo, the portrait of Mona Lisa his wife, and four years penatovi, left imperfect." The identification of the Mona Lisa with the wife of Florentine merchant in the middle of social ascent, is the simplest and the most credible.
However, before 1991, ie before the discovery of these documents, identifying many hypotheses were advanced:

- Adolfo Venturi (1925) proposed to recognize the Mona Lisa Duchess di Francavilla Costanza d’Avalos
- Pedretti, aveva proposto (1957) di identificare la dama con Pacifica Brandano
- Tanaka (1977) proponeva Isabella d’Este.
- Altri una certa signora Gualanda.
- Qualcuno perfino la madre di Leonardo.
- Recentemente si è voluto vedere il ritratto di Bianca Sforza.

Ma l’identificazione ha un’importanza relativa nella ritrattistica leonardesca. Per comprendere la mens del maestro in questo genere (di intento sempre moralizzante) basta guardare il ritratto di Ginevra Benci alla National Gallery di Washington (che contrariamente alla Gioconda ha un aria tristissima). La giovane donna si staglia sullo sfondo di un ginepro, allusivo al nome ma anche virtue. And on the back of the panel reads: Virtutem decorat form (beauty adorns virtue). What needed to bring out a lady in the sixteenth century, more than beauty, was the morality, nobility, purity, devotion ... in a word, virtue. Now, Leonardo did not finish the painting of the Mona Lisa, as is evident from a few details. From 1503 until his death he continued to work with exasperating slowness and dissatisfaction, as shown by X-ray, showing a basic shape somewhat different. The artist went short, transforming the picture of Lisa in an ideal portrait. And this key must be interpreted in the strange landscape in the background, as interpreted by Pedretti's plane on the way the landscapes of Leonardo composed horizons and furniture from several points of observation, as in a film sequence. This opens new possibilities of interpretation.
But in the meantime, happy birthday, whoever you are.

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Il quarto volume del Codice Atlantico: tanto da leggere!


Here we are finally talking about the fourth volume of the Atlantic Codex . I apologize for the delay, but unfortunately yesterday I could not go on sale to purchase the volume, so 'also the review has been postponed to today.
To resume the "royalties" as used in describing the other volumes we can say that this fourth volume rightfully belongs to the family of those densely annotated, where the text clearly prevails in the drawings. A volume, therefore, curious and voracious readers. This feature gives you the opportunity to try their hand at reading the handwriting of Leonardo (as suggested a few days ago by Alberto).

The peculiarity of the writing of Leonardo da Vinci is to be written from right to left, called mirror writing or left-handed handwriting , and therefore can be deciphered only by means of a mirror.
An understanding of this writing the outset, take into account the culture of the time. In the handwriting of Leonardo is surely the expression of the search for aesthetically perfect gesture without, however, slavish repetition of a calligraphic style.

His writing has rhythm and movement and a remarkable sense of space and form. The alternation of dissimilar forms in a harmonic context indicates the continued creative production again in collaboration with the intelligence to realize the insights. The instintualità instinctuality and a strong blend and while the contradictions in the emotional content with the way the operational and dynamic personality.



It was once believed that the particularity of his handwriting was just the trick mirror of a brilliant man eager to make his confidential written and in particular the Codici.
Oggi, invece, recenti studi (in proposito vedere Corsera, 22/11/98) propendono per la tesi che Leonardo fosse affetto da un problema della lettura e scrittura noto come " dislessia " che si traduce in una difficoltà nel tradurre in suono (quindi nel pronunciare la parola corretta) un simbolo grafico (la parola scritta). I dislessici confondono le lettere, le omettono, le scrivono alla rovescia o le mettono nell'ordine sbagliato. Leonardo da Vinci presentava una delle caratteristiche della dislessia, quella cioè di considerare la parola scritta come "un insieme" , una "figura", che lui riproduceva in maniera "speculare" con una inversione dello spazio grafico ma con un gesto fisiologicamente naturale per un mancino

To return to our fourth volume is certainly an opportunity to experiment and Trocchia hand with these concepts and theories (which I think really fascinating). Specifically
specific volume offers a wide variety of notes: notes and architectural plans, maritime studies for rides; studies on the laws that govern the motion and the equilibrium of the balance; studies to divert and channel the water courses, study painting; calculations and geometrical studies and more.


This book is really a small encyclopedia: the topics touch on various themes and the whole is enriched by the ubiquitous and spoiegato notes. About the transcripts of the notes I wanted to add that they often give information not only about the content written, even about the state of conservation of the page, the material, of how the page was divided and used to allow us to really "touch" the original sheets.

Finally I want to offer one of the most fascinating among the illustrations in this volume.


This beautiful table lamp is located in the lower left corner of the sheet 217 r . Since the note that explains (on page 165) is particularly significant to carry you:

The glass tube containing the flame is in turn contained in a sphere filled with water that acts like a lens, is increasing, according to Leonardo, the splendor. Alongside another lamp without water.

As usual sengnalo a link for those who wish more information about the publication on the newsstands with Il Sole 24 Ore and Republic.

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Il 2-06-2006 visita gratuita al Cenacolo di Leonardo


inaugurated for the good morning you point out that tomorrow, June 2, 2006, for the 60th anniversary of Republic Day visit to Last Supper by Leonardo da Vinci, in Milan at the convent of Santa Maria of Grace, will be (almost) free: from 8.45 to 18.45 with reservations required (1.50 euro) telefonando allo 02/89421146.
Per ulteriori info potete consultare anche il sito web dedicato al Cenacolo vinciano.


Leonardo da Vinci dipinse "L'Ultima Cena", nel refettorio di Santa Maria delle Grazie, su commissione di Ludovico il Moro, fra il 1495 e il 1498. La scena ritrae Gesù fra i dodici apostoli nel momento in cui annuncia che sarà tradito da uno di loro. Il cenacolo fu dipinto con la tecnica della tempera forte. Ha subito ben 7 restauri, di cui l'ultimo si è concluso nel 1999, riportando alla luce l'autenticità dell'opera.
La tutela del capolavoro leonardesco richiede condizioni ambientali ottimali, ottenute attraverso il trattamento dell’aria, and special procedures for access by visitors, in groups of 25 admitted every 15 minutes.