Codex Atlanticus | |
---|---|
Biblioteca Ambrosiana | |
Type | Codex |
Date | 1478–1519 |
Language(s) | Italian |
Author(s) | Leonardo da Vinci |
Compiled by | Pompeo Leoni |
Contents | 1,119 paper leaves (2,238 pages); 12 volumes |
Previously kept | Leonardo da Vinci → Francesco Melzi → Orazio Melzi → Pompeo Leoni → Biblioteca Ambrosiana → Institut de France → Biblioteca Ambrosiana |
Browsable online archive |
The Codex Atlanticus (Atlantic Codex) is a 12-volume, bound set of drawings and writings (in Italian) by Leonardo da Vinci, the largest single set. Its name indicates the large paper used to preserve original Leonardo notebook pages, which was used for atlases. It comprises 1,119 leaves dating from 1478 to 1519, the contents covering a great variety of subjects, from flight to weaponry to musical instruments and from mathematics to botany. This codex was gathered in the late 16th century by the sculptor Pompeo Leoni, who dismembered some of Leonardo's notebooks in its formation. It is now in the Biblioteca Ambrosiana in Milan.
The Codex Atlanticus is the largest single collection of drawings and writings (in Italian) by polymath Leonardo da Vinci, containing 1,119 paper leaves (2,238 pages) [lower-alpha 1] arranged into 12 leather-bound volumes. [1] Its size and scope has led art historian Carlo Pedretti to recognize it as the most important of Leonardo's manuscripts. [2] The pages are in various sizes, "from folded sheets to minute fragments." [3] They range from 1478 to 1519 and cover Leonardo's entire professional career through Florence, Milan, Rome, and Amboise. [4]
The codex contains drawings and writings on a diverse range of subjects, including studies and sketches for paintings, works on mechanics, hydraulics, mathematics, astronomy as well as philosophical meditations and fables. It also has many inventions such as parachutes, war machineries and hydraulic pumps. [4]
Leonardo composed the 1,119 leaves later collected in the Codex Atlanticus from 1478 to 1519. [5] His notebooks—originally loose papers of different types and sizes, were largely entrusted to his pupil and heir Francesco Melzi after the master's death. [6] These were to be published, a task of overwhelming difficulty because of its scope and Leonardo's idiosyncratic writing. [7] After Melzi's death in 1570, the collection passed to his son, the lawyer Orazio, who initially took little interest in the journals. [6] In 1587, a Melzi household tutor named Lelio Gavardi took 13 of the manuscripts to Florence, intending to offer them to the grand duke of Tuscany. However, following Francesco I de' Medici's untimely death, Gavardi took them to Pisa to give to his relative Aldus Manutius the Younger; there, Giovanni Magenta reproached Gavardi for having taken the manuscripts illicitly and returned them to Orazio. Having many more such works in his possession, Orazio gifted the 13 volumes to Magenta. News spread of these lost works of Leonardo's, and Orazio retrieved seven of the 13 manuscripts, which he then gave to Pompeo Leoni for publication in two volumes; one of these was the Codex Atlanticus. [8] Leoni dismembered some of Leonardo's notebooks in the formation of the codex, gathering the original leaves into 1,222 pages. [5]
When Napoleon conquered Milan in 1796, he seized about a dozen Leonardo manuscripts including the Codex and sent them to Paris, saying that "all men of genius ... are French, whatever the country which has given them birth." The manuscript was returned to Milan at the end of the Napoleonic Wars, but the other manuscripts remain in the Paris Institut de France. [5]
The codex was restored and rebound by the Basilian monks working in the Laboratory for the Restoration of Ancient Books and Manuscripts of the Exarchic Greek Abbey of St. Mary of Grottaferrata from 1968 to 1972. [9]
In April 2006, Carmen Bambach of the Metropolitan Museum of Art in New York City discovered an extensive invasion of molds of various colors, including black, red, and purple, along with swelling of pages. [1] [10] Monsignor Gianfranco Ravasi—then the head of the Ambrosian Library, now head of the Pontifical Council for Culture at the Vatican—alerted the Italian conservation institute, the Opificio delle Pietre Dure, in Florence. In October 2008, it was determined that the colors found on the pages were not the product of mold, but were instead caused by mercury salts added to protect the Codex from mold. [11] Moreover, the staining appears to be not on the codex but on later cartonage. [12] Later in April 2006, the Codex Atlanticus was publicly displayed in Tokyo, Japan until August, for an exhibition with the Leonardo3 Museum: "The Virtual Codex Atlanticus". [13]
In 2019, an interactive website has been launched that allows exploration of the Codex Atlanticus in its entirety and to organize its 1,119 pages by subject, year and page number. 12 drawings of the Codex Atlanticus were on display at the Martin Luther King Jr. Memorial Library in Washington, D.C. from June 21,2023 until August 20 2023. [14]
Leonardo di ser Piero da Vinci was an Italian polymath of the High Renaissance who was active as a painter, draughtsman, engineer, scientist, theorist, sculptor, and architect. While his fame initially rested on his achievements as a painter, he has also become known for his notebooks, in which he made drawings and notes on a variety of subjects, including anatomy, astronomy, botany, cartography, painting, and palaeontology. Leonardo is widely regarded to have been a genius who epitomised the Renaissance humanist ideal, and his collective works comprise a contribution to later generations of artists matched only by that of his younger contemporary Michelangelo.
The Codex Leicester is a collection of scientific writings by Leonardo da Vinci. The codex is named after Thomas Coke, Earl of Leicester, who purchased it in 1717. The codex provides an insight into the mind of the Renaissance artist, scientist and thinker, as well as an exceptional illustration of the link between art and science and the creativity of the scientific process.
The Biblioteca Ambrosiana is a historic library in Milan, Italy, also housing the Pinacoteca Ambrosiana, the Ambrosian art gallery. Named after Ambrose, the patron saint of Milan, it was founded in 1609 by Cardinal Federico Borromeo, whose agents scoured Western Europe and even Greece and Syria for books and manuscripts. Some major acquisitions of complete libraries were the manuscripts of the Benedictine monastery of Bobbio (1606) and the library of the Paduan Vincenzo Pinelli, whose more than 800 manuscripts filled 70 cases when they were sent to Milan and included the famous Iliad, the Ilias Picta.
Francesco Melzi, or Francesco de Melzi (1491–1567), was an Italian painter born into a family of the Milanese nobility in Lombardy. He became a pupil of Leonardo da Vinci and remained as his closest professional assistant throughout his career. After da Vinci's death he became the literary executor of all da Vinci's papers, editing them into a manuscript on painting he published as Trattato della Pittura [Treatise on Painting] or a compilation entitled the Codex Urbinas.
The Portrait of a Musician is an unfinished painting by the Italian Renaissance artist Leonardo da Vinci, dated to c. 1483–1487. Produced while Leonardo was in Milan, the work is painted in oils, and perhaps tempera, on a small panel of walnut wood. It is his only known male portrait painting, and the identity of its sitter has been closely debated among scholars.
The Virgin and Child with Saint Anne and Saint John the Baptist, sometimes called the Burlington House Cartoon, is a drawing by Leonardo da Vinci. The drawing is in charcoal and black and white chalk, on eight sheets of paper that are glued together. Because of its large size and format the drawing is presumed to be a cartoon for a painting. No painting by Leonardo exists that is based directly on this cartoon, although the drawing may have been in preparation for a now lost or unexecuted painting commissioned by Louis XII. The drawing is the only extant larger-scale drawing by the artist.
Saint John the Baptist is a High Renaissance oil painting on walnut wood by Leonardo da Vinci. Likely to have been completed between 1513 and 1516, it is believed to be his final painting. Its original size was 69 by 57 centimetres.
Giovanni Magenta was an Italian architect. He designed the cathedral of San Pietro at Bologna (1605). It was later modified by Alfonso Torreggiani (1765). He designed the church of San Salvatore in Bologna (1605–1623) and San Paolo.
Leonardo da Vinci (1452–1519) was an Italian polymath, regarded as the epitome of the "Renaissance Man", displaying skills in numerous diverse areas of study. While most famous for his paintings such as the Mona Lisa and the Last Supper, Leonardo is also renowned in the fields of civil engineering, chemistry, geology, geometry, hydrodynamics, mathematics, mechanical engineering, optics, physics, pyrotechnics, and zoology.
Pompei Leoni was an Italian sculptor and medalist who was born in Milan in the early 1530s and died in Madrid in October 1608.
Divina proportione, later also called De divina proportione is a book on mathematics written by Luca Pacioli and illustrated by Leonardo da Vinci, completed by February 9th, 1498 in Milan and first printed in 1509. Its subject was mathematical proportions and their applications to geometry, to visual art through perspective, and to architecture. The clarity of the written material and Leonardo's excellent diagrams helped the book to achieve an impact beyond mathematical circles, popularizing contemporary geometric concepts and images.
A Treatise on Painting is a collection of Leonardo da Vinci's writings entered in his notebooks under the general heading "On Painting". The manuscripts were begun in Milan while Leonardo was under the service of Ludovico Sforza and gathered together by his heir Francesco Melzi. An abridged version of the treatise was first published in France in 1651. After Melzi's manuscript was rediscovered in the Vatican Library, the treatise was published in its modern form in 1817.
Codex Arundel is a bound collection of pages of notes written by Leonardo da Vinci and dating mostly from between 1480 and 1518. The codex contains a number of treatises on a variety of subjects, including mechanics and geometry. The name of the codex came from the Earl of Arundel, who acquired it in Spain in the 1630s. It forms part of the British Library Arundel Manuscripts.
Casa degli Omenoni is a historic palace of Milan, northern Italy, located in the eponymous street of Via degli Omenoni. It was designed by sculptor Leone Leoni for himself; he both lived and worked there. It owes its name to the eight atlantes decorating its facade, termed "omenoni", which were sculpted by Antonio Abondio, most probably on a design by Leoni. Lions are a recurring theme of its decorations; in particular, a large relief placed under the cornice depicts two lions tearing a satyr into pieces. The overall style of the palace and the decorations have been noted to include several references to the art of Michelangelo. The internal courtyard, modified in 1929 by Piero Portaluppi, has a colonnade with metopes and triglyphs.
Gian Giacomo Caprotti da Oreno, better known as Salaì was an Italian artist and pupil of Leonardo da Vinci from 1490 to 1518. Salaì entered Leonardo's household at the age of ten. He created paintings under the name of Andrea Salaì. He was described as one of Leonardo's students and lifelong companion and servant and was the model for Leonardo's St. John the Baptist, Bacchus and Angelo incarnato.
The Madrid Codices I–II, are two manuscripts by Leonardo da Vinci which were discovered in the Biblioteca Nacional de España in Madrid in 1965 by Dr. Jules Piccus, Language Professor at the University of Massachusetts. The Madrid Codices I was finished during 1490 and 1499, and II from 1503 to 1505.
Carlo Vecce is Professor of Italian Literature in the University of Naples "L'Orientale", he taught also in the University of Pavia, the D'Annunzio University of Chieti–Pescara and the University of Macerata. Abroad he was visiting professor at Paris 3 (2001) and University of California Los Angeles (UCLA) (2009).
Horse and Rider is a beeswax sculpture depicting a rider on a horse. The history of the sculpture is unknown before the 20th century. The work has been attributed to Leonardo da Vinci by the Italian art historian Carlo Pedretti, though most historians have ignored or denied the attribution. A number of casts have been made, using a mold taken from the wax original.
The Codex Windsor is a collection of manuscript sheets with artistic drawings and anatomical studies by the Italian Renaissance artist Leonardo da Vinci.