Leonardo Da Vinci Drawings of Sixty Polyhedrons - “De Divina Proportione” by Luca Pacioli -Codex Atlanticus

Location

Veneranda Biblioteca Ambrosiana

Year

1478 - 1519

Dimension

200 x 285 mm

category

Study

historical period

Renaissance

Price
As low as $0.00
Exhibit Artwork

Artwork Details

When Leonardo was working in Ludovico il Moro’s court in Milan, he met mathematician Luca Pacioli who was also at the service of the duke. The two share the common interest in geometry and mathematics, which led them to collaborate on the realization of several volumes of De Divina Proportione, written by Pacioli and illustrated by Leonardo. The publication contributed to growing interest in mathematics, often used in art and it was dedicated to Ludovico Il Moro, published in Venice in 1509. The book, as described by the author himself, was intended for all the admirers of art, mathematics, philosophy and music, from the perspective based on the calculation. The work’s purpose was to unveil the secret of the harmony of things and it was completed with Leonardo’s drawings of sixty regular and semi-regular solids to illustrate Pacioli’s explanations on his text. Leonardo drew them first as simple models and then as solids with faces which he called hollow solids and full solids. With colors and by using chiaroscuro the Tuscan master managed to give three-dimensionality to the polygons. The works in question are illustrations of regular polyhedrons. There is a colored uniform polyhedron hanging from a fluttering ribbon and a plate reading “YCOCEDRON ABSCISVS VACVVS” and on the right there is Roman numeral XXIIII in red. This type of polyhedron has a pentagon and two regular hexagons in each vertex. The other drawing is a star icosahedron of twenty pyramid faces with a triangular base. This one as well is hanging from a ribbon and its plate reads “YCOCEDRON ELEVA TVS SOLIDVS”, on the left there is Roman numeral XXV in red. The drawings bear witness to the strong interest that came towards the study of geometry and mathematics during the 15th century and especially in the Renaissance era. In fact, during the early Renaissance these sciences seemed to conform well to the humanist and neo-platonic world concept, but above all they represented the man as the result of perfect proportions and precise mathematical calculations. The reality was harmony and the art itself to represent the world and man by using geometry and mathematical calculation, especially for the perspective, which was essential to obtain the correct and simple harmony of all the things so sought after in that historical moment, thriving with knowledge.

Artist Details

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Leonardo was born in Anchiano in 1452. He was an illegitimate son of notary Ser Piero di Vinci who brought him to Florence in 1469 to give him artistic education.

In 1472 he enrolled to the Compagnia dei Pittori and attended Andrea del Verrocchio’s workshop, participating also in the anatomical research with Antonio and Piero Pollaiolo.

In 1482 Leonardo moved to Milan to serve Ludovico il Moro. He introduced himself as a musician, painter, sculptor, engineer and architect. He painted several works in the court of Moro, among them the Lady with an Ermine and worked on the equestrian monument for Francesco Sforza.

He was a set designer for various court celebrations and studied hydraulic and military engineering. He also devoted himself to physical and natural sciences, as shown in many of his drawings. His most famous work of this period was the Last Supper in Santa Maria delle Grazie (1495 – 1498) where he experimented with tempera on plaster technique instead of the traditional fresco. This resulted in poor state of conservation, which Vasari already mentions in the mid-16th century.

Ludovico il Moro was defeated by the French in 1500 and Leonardo set off to Venice with his friend, mathematician Luca Pacioli and his student Salai. Then he went to Mantua as a guest of Isabella d’Este and painted her portrait. In the same year he returned to Florence, where he painted Madonna and Child with St. Anne (Louvre, cartoon at the National Gallery of London) and the cartoon for the Battle of Anghiari (1504-1505) for the Salone dei Cinquecento in Palazzo Vecchio.

He was commissioned by the Gonfaloniere of the Florentine Republic, Pier Soderini, who had also commissioned Michelangelo, who was working with the Battle of Cascina. Leonardo experimented with ancient encaustic technique, which turned out to be unsuccessful. Therefore, the project was not completed and today only some drawings have remained of the lost cartoon, such as the Tavola Doria.

Leonardo traveled to Urbino, Pesaro, Rimini and Cesenatico where he continued to study hydraulics, cartography and fortifications, but in 1505 he returned to Milan. He made several trips between Lombardy, Florence and Rome and continued his science research, but he was never commissioned by the Vatican, which favored the works of Raphael and Michelangelo.

Disappointed Leonardo left Italy in 1517 to take refuge in the castle of Cloux, near Ambroise in France, under the protection of Francis I, who gave him an annual pension. He brought numerous paintings with him, like Mona Lisa, which he painted in Florence in 1503. In France he continued his anatomical and scientific studies of which he left many drawings.

Leonardo died in 1519.

Location Details

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Pinacoteca Ambrosiana was established in 1618 by cardinal Federico Borromeo, when he donated his art collection to the Ambrosiana library, which was founded by him as well in 1607. The building was named after the patron saint of Milan, St. Ambrose.

It was the first museum in the world to be open to the public. The history of the Pinacoteca and the library goes hand in hand, as this was also the first library to be open to the public. The book collection includes prestigious volumes, among them Petrarch’s Virgil with illuminated manuscript by Simone Martini and Da Vinci’s Codex Atlanticus, donated in 1637 by Galeazzo Arconati.

In fact, cardinal’s plan was to display art with its symbology and evocative power to serve Christian values reaffirmed by the Council of Trent (1545-1563), which were threatened by the diffusion of the Protestant reformation.

The academy was added in 1637 and transferred to Brera in 1776. It was supposed to be an artistic school of painting, sculpture and architecture which would allow the students to learn from the great models of the history.

The building was designed by architect Fabio Mangone (1587-1629) and it is located in the city center. The space is expanded over 1500 square meters and divided into twenty-two rooms. The cardinal illustrated the works and the objects himself in his book in Latin, Museum (1625), which still today represents the main nucleus of the Pinacoteca.

Through commissions and purchases Federico Borromeo’s collection grew with the paintings of Lombard and Tuscan schools, among them works by Raphael, Correggio and Bernardino Luini and casts from Leone Leoni’s workshop, arriving to a total of 3000 artworks of which 300 are exhibited.

There are great masterpieces such as the Portrait of a Musician by Leonardo Da Vinci (1480), Madonna del Padiglione by Botticelli (1495), the cartoon for the School of Athens by Raphael (before 1510), the Holy Family with St. Anne and Young St. John by Bernardino Luini (1530) and the Rest on the Flight into Egypt by Jacopo Bassano (1547).

A great part of the collection is dedicated to landscape and to still life, because the Cardinal saw the nature as an important tool raising the human mind into the Divine. For this reason, Federico collected Caravaggio’s Basket of Fruit and the miniature paintings by Jan Brueghel and Paul Brill.

After the cardinal’s death the collection was enriched with the donations of the artworks from 15th and 16th centuries, such as the frescoes by Bramantino and Antonio Canova and Bertel Thorvaldsen’s marble self-portraits. Museo Settala, one of the first museums in Italy, founded by canonical Manfredo Settala (1600-1680), was joined to Pinacoteca Ambrosiana in 1751. The museum is a sort of science history museum with a variety of curiosities of all time.

During the period of growth, the museum required some structural and architectural changes as well, including the expansion of the exhibition halls between 1928 and 1931, which were decorated with 13th century miniature motifs of Ambrosian codes, and between 1932 and 1938 a new series of restorations was implemented under the guidance of Ambrogio Annoni. The renowned readjustment in 1963 was curated by architect Luigi Caccia Dominioni and the museum excursus was concluded with the current reorganization between 1990 and 1997.