This panel, with Mannerist characteristics that are so evident that it was long attributed to Parmigianino, has a wealth of symbolic references and classical elements. The scene is set in front of a vaguely classical temple, indicating that the Virgin has believed in the angelic annunciation and has thus become the temple of the Word and the new Ark of the Covenant. Also the figure of the archangel Gabriel has a classical look, almost as though he were Mercury, the messenger of the gods. An open book on Mary’s kneeler – a book of hours, it seems, for it contains rubrics to indicate the correct order of the prayers – bears two biblical quotations (Is 7:14 and Mc 1:34;38) referring to the mystery of the Incarnation.
On show until September 15, 2019, the exhibition deals with the Master's last years of activity, through a selection of 23 drawings from the Codex Atlanticus, dating from Leonardo's French stay, at the court of Francis I
The exhibition presents 12 + 1 precious works, dedicated to the Last Supper by Leonardo da Vinci, conceived by Giulio Manfredi, one of the most internationally appreciated creative talents.
