The monument was made by sculptor Pietro Magni starting in 1858; due to Milan's transition from the Lombardo-Venetian Kingdom to the Kingdom of Sardinia first and then to the Kingdom of Italy, funding for its construction had problems and delays. After its inauguration it received much negative criticism because of the choice of the place where it was placed and because it was considered a legacy of the Austrian administration.
History
An early project
In 1834, references are found to a "noble and highly cultured fellow citizen of ours" from Milan who intended to create a bronze monument to Leonardo at his own expense.[1] The anonymous person had also obtained permission from the Austrian government to place the monument in Brera's courtyard,[2] decorating the access to the double staircase. Monuments to Cesare Beccaria and Giuseppe Parini were also being prepared for the Richinian staircase at the time.
But the most sumptuous monument for which models are now being made, to be cast in bronze, will be that of the great Leonardo da Vinci, which is being erected by one of our most generous gentlemen at his own expense, not only a lover of fine arts, but professing sculpture for pleasure himself. He did not want the design to be seen or judged until the work was finished, promising to have it completed in three years. Thus all was accepted by the Superiority, who alone will have presented the design to it, and he was granted permission for its placement, in that space of a platform, which divides the two staircases on the ground floor and thus comes to remain in front of the great doorway, in the middle of the facade, so that its view will also be revealed from the street. It is known, however, concerning the design, that it is large and copious in figures, by descriptions interpellated by some, and that it will be very expensive.
The granite base was to have been about 2 meters with bronze figures about 3 meters high, depicting the personification of Immortality in the act of handing a laurel wreath to Leonardo, intent on deep meditations on his books. A bas-relief on the base would have reproduced the Last Supper.[1] However, this project was not completed.
The 1857 competition
Pietro Magni
In 1856, among the competitions of the Academy of Fine Arts in Milan, the design of a monument to Leonardo in the form of a fountain to be placed in the courtyard of Brera was requested.
A rich honorary monument to Leonardo da Vinci, composed of marble and bronze, serving at the same time as a source of drinking water, to be placed in the Brera palace facing the main gate, and set where the present trumpet stands. The project may be both in drawing and in relief. The drawing will be of the precise measurement of 0.54 meters by 0.81 meters; the model will be 1.08 meters high, and it will be marked how much there is of marble and how much of bronze. Prize = A gold medal of the intrinsic value of twenty sequins.[4]
On Feb. 8, 1857, Emperor Franz Joseph determined that a proper monument should be erected in Piazza San Fedele with a marble statue 3.60 meters high.[5] A new program was therefore established on Oct. 1, 1857, with a deadline of Oct. 31, 1858.[6]
On December 22, 1858, the commission unanimously decided to choose the "Think in marble" model submitted by sculptor Pietro Magni; however, it was also pointed out that it would require an expenditure greater than the 60,000 Austrian liras stipulated in the call for proposals.[7] It was also decided that the monument would be destined for Piazza della Scala.[8]
Construction
Original sketch of the monumentThe revised design, as it appeared in 1864
Magni set to work, but the outcome of the Second War of Independence forced him to turn first to Urbano Rattazzi, then minister of the interior, and then to Cavour, president of the Council of Ministers.[9] In fact, the government believed that it had no obligation to Magni since the competition had not been approved by the authorities and the amount of expenditure planned for his work was greater than that established by the competition. However, Cavour instructed Massimo d'Azeglio, governor of Milan, to examine the situation in the sculptor's studio and make a decision.[10]
D'Azeglio not only confirmed the design but also suggested essential changes that increased the cost of the monument.
And it was especially following V. E.'s wise observations and suggestions that the thought arose to detach from the monument the said 4 statues of the pupils and to place them on separate pedestals around the monument, thus obtaining a much more homogeneous eurhythmic line. Moreover, having substituted for the primitive model with a round base, the other with an octangular base of pure Bramante style with the addition of the various ornaments, and with the introduction of 4 large bronze bas-reliefs representing scenes from the life and works of the great artist, it was achieved, as the E. V. had also very appropriately suggested, that the monument be given all that majesty and grandeur that was required of it, both because of the importance of the subject and because of the size of the square for which it is intended.
—Pietro Magni to Massimo d'Azeglio, June 20, 1860[11]
Magni left for Bologna as standard-bearer of the National Guard and on his return in 1861 found Giuseppe Pasolini as the new governor; in order to try to obtain confirmation of the commission to build the monument, he thus contacted the Academy, d'Azeglio (who had retired from politics), Governor Pasolini, the mayor of Milan Antonio Beretta and the president of the Council of Ministers Bettino Ricasoli.[12]
A value of about 100,000 liras (corresponding to the 60,000 Austrian liras of the competition plus another 47,000 Italian liras) was estimated for the monument's construction.[13] In 1862 the authorities requested changes to the project to reduce the expense to 90,200 liras, and the City of Milan pledged a contribution of 20,000 liras.[14]
Magni carried on with the monument by incurring expenses for materials; by 1867, however, he had received no payments and the ministerial file had made no progress. He then decided to take advantage of the inauguration of the gallery alongside the Piazza della Scala, scheduled for September 15; he placed a model of the monument at his own expense for the entire month of September, hoping that the authorities, seeing it, would finally allow the work to be completed.[15]
In 1868 he was informed that the government intended to award him only the original amount of the competition, which amounted to about 52,000 Italian liras; even counting the 20,000 for which the municipality of Milan had pledged, he would suffer a net loss of at least 15,000 liras for out-of-pocket expenses.[16]
As a last hope, in 1879 Magni wrote to Filippo Antonio Gualterio, minister of the Royal Household, to try to get the sovereign to intervene, but to no avail.[17] At the same time he was presented with a warning from the Royal State Property Office because he was late in paying rent for the premises he used for his studio; in early 1870 all his models and all his works were seized for auction.[18] Giovanni Battista Brambilla bought them all to return them to the sculptor.[19]
Seeing the impossibility of obtaining what was owed, Magni in August 1870 presented a writ of judicial warning to the Ministry of Public Education.[20] Finally, with the contract signed on March 23, 1871, he managed to obtain a total of 72,000 liras.[21] The amount was less than that allocated for other monuments, such as the one for Carlo Albero in Turin (700,000 liras) or the one for Cavour in Milan (more than 100,000 liras).[21]
According to Ettore Verga, the general hostility toward the monument's construction was not due to the sculptor Magni, but to the monument's origin itself.[22] It was Elia Lombardini, head of the office of public constructions under the Austrian government, who proposed its construction, and it was Lombardini himself who tried to get it accepted after the Unification of Italy by presenting Leonardo as the "true creator of hydraulic science."[23][24]
Inauguration
Inauguration of the monument
The monument was unveiled on September 4, 1872 in the presence of Prince Umberto to coincide with the opening in Milan of the first congress of engineers and architects.[25] The National Exhibition of Fine Arts was also underway.
On September 4, the solemn unveiling of the monument to Leonardo da Vinci took place in Milan, erected on the square of the La Scala theater, which presented a marvelous spectacle on that day. In the middle stood the monument all veiled by curtains, with red and white flagpoles around it. In the wide space between it and the theater an elegant white and gold pavilion had been erected, adorned with white and blue draperies and baskets of flowers. The windows and balconies of the houses surrounding the square were adorned with flags and tapestries. The ceremony was very simple and beautiful. At three o'clock in the afternoon Prince Umberto, the mayor, the aldermen, all the members of the Artistic Congress and the members of the Italian Engineers and Architects Congress with other guests went to take their places in the pavilion. The canvases covering the monument then fell, and it suddenly appeared in all its splendor, amid the thunderous applause of the crowded people, and the harmonies of the music of the National band. After the mayor's speech, the minutes were read by which the monument was handed over to the city of Milan, and, after the handover, the band resumed playing the royal march, the guests moved around the monument, followed by the flags of the workers' guilds, and with that the ceremony ended.[26]
In the evening, celebrations were also held in the Cathedral Square with flares. An electric light was projected from a window of the Teatro alla Scala, illuminating the monument in various colors.[27]
In the depictions made on the occasion of the inauguration, the four pedestals with the statues of the students were no longer separate (as planned in earlier versions), but joined to the central octagonal base.
Description
Click on the image to open the SVG file and have an interactive three-dimensional view.
The monument consists of five statues placed on a plinth of pink granite from Baveno, 7.08 meters high.[28] The central body of the plinth has an octagonal shape with unequal sides. Its center is placed in axis with the Vittorio Emanuele II Gallery.
In the center is a 4.40-meter-high marble statue of Leonardo da Vinci.[28] He is portrayed in a pensive pose with his hands clasped to his chest. The name "LEONARDO" is engraved on the front at the foot of the statue; on the back, on the other hand, it says "PIETRO MAGNI FECE."
At a lower level, four pedestals protrude from the short sides of the octagonal plinth on which the other four marble sculptures, 2.60 meters high, stand. They represent four of Leonardo's pupils: Giovanni Antonio Boltraffio, Marco d'Oggiono, Cesare da Sesto, and Gian Giacomo Caprotti (under the name Andrea Salaino).
Leonardo da Vinci
Giovanni Angelo Boltraffio
Marco d'Oggiono
Cesare da Sesto
Andrea Salaino
On the major sides of the octagonal plinth, four marble bas-reliefs depict four aspects of Leonardo's life in Milan: Leonardo the painter, who is painting the Last Supper in the Convent attached to the Chiesa delle Grazie; Leonardo the sculptor, who is modeling the equestrian statue of Francesco Sforza; Leonardo the architect and strategist, who is directing the fortifications of Duke Valentino's castles in Romagna; and Leonardo the plumber, who is attending to the pipeline work for the irrigation of Lombardy.[29]
Leonardo the painter
Leonardo the sculptor
Leonardo the architect and strategist
Leonardo the plumber
Below the bas-reliefs, between the pedestals, is a four-part inscription dictated by Professor Gilberto Govi and engraved in gilded bronze[30] with the dedication:
AL RINNOVATORE DELLE ARTI E DELLE SCIENZE NATO IN VINCI DI VALDARNO NEL MCCCCLII MORTO IN CLOUX PRESSO AMBOISE NEL MDXIX LUNGAMENTE OSPITE INVIDIATO IN MILANO, DOVE EBBE AMICI, DISCEPOLI, GLORIA IL GIORNO IV DI SETTEMBRE DEL MDCCCLXXII QUESTO MONUMENTO FU POSTO
"TO THE RENOVATOR OF THE ARTS AND SCIENCES BORN IN VINCI DI VALDARNO IN THE MCCCCLII DIED IN CLOUX NEAR AMBOISE IN THE MDXIX LONG AN ENVIED GUEST IN MILAN, WHERE HE HAD FRIENDS, DISCIPLES, GLORY ON THE FOURTH DAY OF SEPTEMBER OF MDCCCLXXII THIS MONUMENT WAS PLACED."
Criticism
Giuseppe Rovani
There were varying degrees of negative criticism of the monument, which was not considered Magni's best work;[31] some would have liked Francesco Melzi among the student statues,[32] while others would have preferred to replace them with personifications of mechanics, music, geometry, and philosophy.[33] The pose of the figures, likened to puppets "with their hands hanging down - like hands of lead," was also criticized.[34]
In Piazza della Scala, hands were laid on the foundations of the monument to Vinci. I would have loved to see it placed in the small courtyard of Brera, not in front of an opera house like a singer or music master. The model we saw on the spot, if it is not modified and altered from scratch, was indeed ugly! Magni, who can neither read nor write, made himself famous with his Reading Girl, which he later repeated many dozens of times. A monument to Leonardo required bronze and granite and an artist who understood his art a little better.
The monument's nickname "un litro in quattro" ("one liter in four"), popular in the late 19th century, was due to the resemblance of the monument's five statues to a wine bottle with four glasses around it. Several sources of the time attribute the creation of this nickname to Giuseppe Rovani.[37]
In September 1872, the latter's monument to Leonardo Da Vinci was inaugurated in Piazza della Scala. Everyone knows that Leonardo's statue stands tall in the center. On the four sides of the lower level stand four of his most valiant pupils. The artist heard all kinds of things about his work. Rovani had not yet opened his mouth, and Magni was goading him to speak. Finally, on a certain evening, sitting with four friends at the dinner table of some tavern I no longer know, the artist of the chisel returned to the assault against the artist of the pen so that he would once and for all blurt out. Rovani pleads somewhat, then grabs the liter of wine that towered before them, and places it right in the middle, between the four drinkers, including himself, exclaiming:
— Your monument is here: it's a liter in four!
The laughter went through the roof. But Pietro Magni did not quite cope with the banter. He remembered it and still regretted it many years later.[38]
Interventions
The wrapped monument in November 1970
On May 18, 1919, on the occasion of the celebration of the fourth centenary of Leonardo's death, a bronze crown decorated with Vincian knots was added to the foot of the plinth.[39][40]
nel iv centenario di gloria il 2 maggio 1919 inaugurandosi nel nome di LEONARDO i lavori del porto di milano il comune pose
"in the iv centenary of glory on May 2, 1919 it was inaugurated in the name of LEONARDO the works of the port of milan were conducted by the municipality"
Wrapped monument
In November 1970, as part of the demonstrations to celebrate 10 years of the Nouveau Réalisme movement, Christo and Jeanne-Claude were commissioned by the City of Milan to create a performance. On November 24, the monument to Victor Emmanuel II was wrapped with tarps and tied with red rope; however, due to protests, it was decided to remove the covering the next day. On the same days, the monument to Leonardo da Vinci was also wrapped; on the night of Nov. 28, some young people (apparently neo-fascists) set fire to the tarpaulin, which was removed by firefighters who responded to the scene.[41][42]
Milan Cathedral, or Metropolitan Cathedral-Basilica of the Nativity of Saint Mary, is the cathedral church of Milan, Lombardy, Italy. Dedicated to the Nativity of St. Mary, it is the seat of the Archbishop of Milan, currently Archbishop Mario Delpini.
Pietro Magni was an Italian sculptor. Born in Milan, he studied at that city's Accademia di Belle Arti di Brera before moving to the workshop of Abbondio Sangiorgio. Later in his career he became influenced by Tuscan sculptor Lorenzo Bartolini, whose work he first encountered in 1837. He traveled to study in Rome, joining Giuseppe Garibaldi in 1849. He is best known for his Girl Reading, first carved in 1856; today the original may be seen in Galleria d'Arte Moderna, Milan, while copies exist in numerous other museum collections, e.g. in Palácio Nacional da Ajuda, Lisbon. Among Magni's other works are a public monument to Leonardo da Vinci on Piazza della Scala and several marble sculpture groups; he also executed statues for the Milan Cathedral in the 1860s.
Leonardo's Horse is a project for a bronze sculpture that was commissioned from Leonardo da Vinci in 1482 by the Duke of Milan Ludovico il Moro, but never completed. It was intended to be the largest equestrian statue in the world, a monument to the duke's father Francesco Sforza. Leonardo did extensive preparatory work for it but produced only a large clay model, which was later destroyed.
Costantino Corti (1823/1824–1873) was a Milanese sculptor who exhibited at Brera and in Florence, London, and Paris. Corti was most noted for his colossal statue Lucifer. He also produced statues commemorating Federico Borromeo, Conrad of Swabia, and the astronomer Giuseppe Piazzi.
Having been ruled by several countries over the centuries, Milanese culture is eclectic and borrows elements from many other countries, including Austria, Spain and France. Similarities between these places and Milan can be noticed through the language, architecture, cuisine and general culture of these countries.
Francesco Messina was an Italian sculptor of the 20th century.
Piazza della Scala is a pedestrian central square of Milan, Italy, connected to the main square of Milan, Piazza del Duomo, by the Galleria Vittorio Emanuele II passage. It is named after the renowned Teatro alla Scala opera house, which occupies the north-western side of the square; the building actually includes both the opera house and the Museo Teatrale alla Scala, dedicated to the history of La Scala and opera in general. On the opposite side to "La Scala", to the south-east, is the facade of Palazzo Marino, Milan's city hall. Another relevant building on the square, on the north-eastern side, is the Palazzo della Banca Commerciale Italiana. The south-western side of the square has the entry to the Galleria Vittorio Emanuele as well as Palazzo Beltrami. Most of the architecture of the square is due to architect Luca Beltrami, who designed the eponymous palace, the facade of Palazzo Marino, and the Banca Commerciale Italiana building. The centre of the square is marked by the monument of Leonardo da Vinci by sculptor Pietro Magni (1872).
The Zone 1 of Milan, since 2016 officially Municipality 1 of Milan, is one of the 9 administrative divisions of Milan, Italy.
The Palazzo Brentani is a monumental Neoclassical palace, located on Via Manzoni #6, in the centre of Milan, region of Lombardy, Italy. Both this palace and the adjacent Palazzo Anguissola have sober academic facades, designed by Luigi Canonica in 1829.
The Leonardeschi were the large group of artists who worked in the studio of, or under the influence of, Leonardo da Vinci. They were artists of Italian Renaissance painting, although his influence extended to many countries within Europe.
Cherubino Cornienti was an Italian painter, active in a Romantic style mainly in Northern Italy.
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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 Sala delle Asse, is a large room in the Castello Sforzesco in Milan, the location of a painting in tempera on plaster by Leonardo da Vinci, dating from about 1498. Its walls and vaulted ceiling are decorated with "intertwining plants with fruits and monochromes of roots and rocks" and a canopy created by sixteen trees.
The following outline is provided as an overview of and topical guide to Milan:
Leonardo3 is an interactive museum and exhibition center at Galleria Vittorio Emanuele II, Piazza della Scala, Milano, Italy. The museum was inaugurated in 2013, and is devoted to Italy’s notable personality Leonardo da Vinci, who is portrayed both as an artist and inventor.
The Da Vinci family is an Italian family from Vinci, Tuscany.
San Giovanni in Conca was a church in the center of Milan, northern Italy, dedicated to Saint John the Evangelist. It had a Paleochristian origin and went through a renovation in Romanesque style. In the 13th century, it became part of the private compound of the Visconti house and transformed into the private chapel of Bernabò Visconti and his wife Regina Della Scala, Lord and Lady of Milan. After their deaths, it housed their burial site. In the 19th and 20th centuries, it was downsized and finally demolished. Only the crypt and part of the apse have been preserved and are today visible in Piazza Missori. Fragments of the frescoes decorating the walls and the burial monuments of Bernabò and his wife have been preserved and transferred to the Sforza Castle Civic Museums.
Mino Giacomo Borghi. "Note storiche riguardanti l'Archivio dell'Accademia di Belle Arti di Brera". Rendiconti. Classe di Lettere e Scienze Morali e Storiche. 79.
Giosuè Carducci (1938). Edizione nazionale delle opere. Lettere. Vol.7.
Francesco P. Di Teodoro (1993). "Francesco Uzielli, II: Il Codice Atlantico". Achademia Leonardi Vinci. 6: 161–171.
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