1,721,049 research outputs found
La ricerca dell’armonia. Rappresentazioni anatomiche nel Rinascimento Serie: Istituto e Museo di Storia della Scienza di Firenze, Biblioteca di Nuncius
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Leonardo nella Roma di Leone X (c. 1513-16): gli studi anatomici, la vita, l’arte. XLIII Lettura Vinciana
No full textA Copy of Sacrobosco’s Sphaera in Mirror Script Attributed to Matteo Zaccolini.
No full textThe essay presents an anonymous manuscript containing a 17th century Italian translation of the Sphaera, the medieval cosmological treatise by Johannes de Sacrobosco. The manuscript is written in mirror writing, from right to left and this, together with other evidences, suggests an attribution of the manuscript to Matteo Zaccolini (1574-1630), author of treatises on perspective and colors of relevant scientific interest and painter, who, according to coeval sources, had become so proficient in reading Leonardo da Vinci’s manuscripts as to adopt Leonardo’s mirror script in his own texts. The manuscript would be the only known autograph by Zaccolini, being his treatises on colors and perspective copies made on behalf of Cassiano del Pozzo in the 17th century. These treatises have never been published and his work is only known to Leonardo da Vinci’s scholars and to the art historians. This essay aims therefore also to let the science historians know about Zaccolini, a typical representative of the interaction between theory and practice in 17th century optical and, more generally, mathematical sciences. The study includes the fortune of Leonardo’s scientific manuscripts and the link between optical studies and the enduring fortune of Sacrobosco’s Sphaera
De figura umana. Fisiognomica, anatomia e arte in Leonardo
No full textIl libro studia la connessione in Leonardo tra fisiognomica, anatomia e arte come parte di una generale ricerca sulla forma e sulla rappresentazione del corpo umano. La ricerca di Leonardo viene inquadrata cronologicamente: dagli inizi a Firenze ai periodi chiave del Cenacolo e della Battaglia d'Anghiari. L'analisi contestualizza la connessione oggetto di indagine sullo sfondo della teoria artistica rinascimentale e considera i possibili autori classici e medievali di fisiognomica e anatomia utilizzati da Leonardo. Viene indagato il non facile costituirsi di una iconografia fisiognomica che, a differenza della iconografia anatomica, era prima del tutto assente.The book studies the connection in Leonardo between physiognomy, anatomy and art as part of a general research into the form and representation of the human body. Leonardo's research is examined chronologically: from his beginnings in Florence to the key periods of the Last Supper and the Battle of Anghiari. The analysis contextualises the connection under investigation against the background of Renaissance artistic theory and considers the possible classical and medieval authors of physiognomy and anatomy used by Leonardo. The not easy establishment of a physiognomic iconography, which, unlike anatomical iconography, was previously completely absent, is investigated
La copia di Weimar del Codice Leicester di Leonardo: approcci creativi allo studio di Leonardo da Bossi a Goethe
Full text linkUna delle copie manoscritte del Codice Leicester di Leonardo catalizzò, all’inizio del XIX secolo, l’interesse di un artista, Giuseppe Bossi, di uno scienziato, Giambattista Venturi e di un poeta-scienziato, Johann Wolfgang Goethe. Il loro interesse fu certamente e prima di tutto di tipo storico, ma le forme in cui si concretizzò il loro studio furono differenti da ciò che sarà la più tarda e moderna Leonardo scholarship, assumendo anche la forma di una libera appropriazione creativa di un autore del passato. Una dimensione che lo storicismo contemporaneo aborrisce, ma che, proprio per questo, ci attira e che vale la pena di capire meglio, come una forma di approccio al passato a noi non più consentita.At the beginning of the 19th Century one copy of the manuscript of Leonardo’s Codex Leicester catalyzed the interest of the artist Giuseppe Bossi, the scientist Giambattista Venturi and the poet-scientist Johann Wolfgang Goethe. Their interest was first of all historical, but their studies were very different from the more modern ‘Leonardo scholarship’, to the point of becoming a free creative appropriation of Leonardo’s text. A method that contemporary historicism does not approve, but that’s just for this reason, attracts us and that it’s important understanding and knowing better because it is a form of approach no longer allowed to use
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