Ambrosiana

LEONARDO DA VINCI AND GUIDO DA VIGEVANO
ANATOMY IN FIGURES

The exhibition compares the method of graphical representation of two geniuses of the past, through the reproduction of the masterpiece by Guido da Vigevano Anathomia designata per figuras (1345) and Leonardo da Vinci’s revolutionary anatomical visualization by means of a selection from his numerous anatomical drawings.

Five sculptures were drawn with the traditional wax technique from Leonardo’s anatomical drawings. The exhibition is completed by the wooden model of Guido’s wind-propelled cart, designed as a war machine but which can also be considered the first auto-mobile in history.

The exhibition, curated by Paola Salvi, made possible by the city of Vigevano (owner of the exhibition itself), with the patronage of the Lombardy Region, the Academy of Fine Arts of Brera in Milan, the University of Pavia, supported by the National Committee for the celebrations 500 years since Leonardo da Vinci’s death and organized with the OverArt Association, closes the program of exhibitions proposed by the Veneranda Biblioteca Ambrosiana to enhance its heritage of Leonardo’s works, among the most important in the world.
It presents the reproduction of the 18 figures (in 16 plates) of the Anothomia treatise designated for figuras (1345) by Guido da Vigevano, alongside a series of reproductions of anatomical drawings by Leonardo da Vinci, made between 1480 and 1517 approximately. From some of these drawings, which belong to Leonardo’s vast anatomical repertoire, preserved in the collections of Queen Elizabeth II of England in Windsor Castle, five sculptures have been obtained, conceived by Paola Salvi and made by Moreno Vezzoli, with the traditional technique of waxwork.

“We wanted to focus on artistic beauty – says Paola Salvi – since Leonardo practiced the dissection to know the inside of the human body, presumably with the assistance of a “surgeon”, as was customary at the time, but with the intent to overcome it by bringing the knowledge acquired back to the life of the body in action”.
“His drawings – continues Paola Salvi – follow the anatomical fidelity of the living body, exceed in graphic refinement every “macabre” aspect and testify not only to the reality of the anatomical representation, but also the theories of his time, the same theories that Leonardo visualizes where experience does not allow him to verify and possibly refuse them”.
The exhibition itinerary is enhanced, thanks to the collaboration with Carlo E. Rottenbacher, professor of the Department of Industrial Engineering and Information Researcher at the Department of Structural Mechanics of the University of Pavia, with the reconstruction in scale of Guido da Vigevano’s “wind-propelled cart”, a wooden model deriving from the drawing reatured in the Texaurus Regis Francie (1335), a manuscript which presents remarkable mechanical and visualization solutions for its time.

<p>On the: Guido da Vigevano, Drawinng of the wind-propelled cart from <em>Texaurus regis Francie acquisitionis terre sancte de ultramare, nec non sanitas corporis eius et vita ipsius prolungationis ac etiam cum custodia propter venenum</em>, c. 1375, Yale nel Center for British Arts; on the right: the model of the wind-propelled cart by Guido da Vigevano designed by Carlo Rottenbacher.</p>

On the: Guido da Vigevano, Drawinng of the wind-propelled cart from Texaurus regis Francie acquisitionis terre sancte de ultramare, nec non sanitas corporis eius et vita ipsius prolungationis ac etiam cum custodia propter venenum, c. 1375, Yale nel Center for British Arts; on the right: the model of the wind-propelled cart by Guido da Vigevano designed by Carlo Rottenbacher.

The analogy between Guido and Leonardo da Vinci, often proposed on the grounds of similar “genius”, has a deeper and greater substantial motivation than being merely the admiration for men capable of mastering dissimilar branches of knowledge and practices, for example anatomy and engineering, disciplines which our own culture, essentially and necessarily specialist, considers as being widely different.
The exhibition continues ideally in the Sala Federiciana of the Pinacoteca Ambrosiana where the exhibition Leonardo da Vinci and his legacy is on show until March 1: the artists and techniques, curated by Benedetta Spadaccini, which presents some original Leonardo drawings of the Veneranda Biblioteca Ambrosiana, including anatomical studies of legs and the famous presentation letter to Ludovico il Moro, that are linked to the anatomy and the design of war machines.

<p>Ceroplastica, busto con braccio alzato; ideazione Paola Salvi, realizzazione Moreno Vezzoli</p>

Ceroplastica, busto con braccio alzato; ideazione Paola Salvi, realizzazione Moreno Vezzoli

WHAT’S ON

PINACOTECA: <BR> OPENING HOURS FROM SEPTEMBER 1

Pinacoteca

PINACOTECA: OPENING HOURS FROM SEPTEMBER 1

Opening hours and access rules from September 1

25/09/2020
NEWS
OCTOBER 2020: <br>READING ROOM OPENING HOURS

Ambrosiana

OCTOBER 2020: READING ROOM OPENING HOURS

Opening hours and access rules for the month of October

15/09/2020
NEWS
AUTOGRAPH WRITINGS BY FAMOUS WOMEN FROM THE AMBROSIANA COLLECTIONS

Ambrosiana

AUTOGRAPH WRITINGS BY FAMOUS WOMEN FROM THE AMBROSIANA COLLECTIONS

The exhibition shows a series of autograph documents of prominent women kept in the Ambrosiana.

30/05/2020-11/10/2020
Exhibition
ANATOMY FROM THE MIDDLE AGES TO LEONARDO DA VINCI

Ambrosiana

ANATOMY FROM THE MIDDLE AGES TO LEONARDO DA VINCI

The exhibition presents a selection of volumes that trace the history of medical studies from the beginning of the millennium to the time when Leonardo da Vinci was active, together with seven sheets of the Atlantic Code of anatomical subject.

30/05/2020-11/10/2020
Exhibition

ONLINE COLLECTION

(158 online artworks)

Atlantic Codex (Codex Atlanticus), f. 1069 recto, Leonardo da Vinci (1452-1519)
Atlantic Codex (Codex Atlanticus), f. 307 verso, Leonardo da Vinci (1452-1519)
Apse of San Satiro and View of the Duomo, Giovanni Migliara (1785-1837)
Man in Armour, Tiziano Vecellio (1480-1576)
Atlantic Codex (Codex Atlanticus), f. 663 recto, Leonardo da Vinci (1452-1519)
Naturalis Historia, Plinio il Vecchio (23-79 dC)
Nautilus shell, Sconosciuto
Portrait of Peter Leopold of Habsburg-Lorraine (later Leopold II), Anton Raphael Mengs (1728-1779)
The Madonna and Child with Saint John the Evangelist and Saint John the Baptist, Marco d’Oggiono (1470-1525)
Portrait of a Musician, Leonardo da Vinci (1452-1519)
Male portrait, Hans Muelich (1516-1573)
The Last Supper, Andrea Bianchi detto il Vespino (attivo 1612-1640)
Head of Christ the Redeemer, Gian Giacomo Caprotti detto Salai (1480-1524)
The Ambrosian Virgil of Francesco Petrarca, NA
Saint John the Baptist, Gian Giacomo Caprotti
Atlantic Codex (Codex Atlanticus) f. 199 verso, Leonardo da Vinci (1452-1519)
The Magdalen and the Angel, Giulio Cesare Procaccini (1574-1625)
Atlantic Codex (Codex Atlanticus), f. 719 recto, Leonardo da Vinci (1452-1519)
Mary Magdalene Penitent, Guido Reni (1575-1642)
The Adoration of the Magi, Maestro del Santo Sangue (XVI secolo)
The Arco della Pace in Milan, Giovanni Migliara (1785-1837)
The Annunciation, Gerolamo Mazzola Bedoli (1500-1569)
Seascape, Paul Bril (1554-1626)
The Wedding of Peleus and Thetis, Ambito di Francesco Albani (1578-1660)
The Assumption of the Virgin, Giovanni Agostino da Lodi (1467-1524 circa)
Atlantic Codex (Codex Atlanticus), f. 4 recto, Leonardo da Vinci (1452-1519)
The Kiss, Francesco Hayez (1791-1882)
The Presentation of Christ in the Temple, Pietro Antonio Magatti (1691-1767)
Christ Crowned with Thorns, Bernardino Luini (1480-1532)
Flowers and Roses, Gaetano Previati (1852-1920)
Judith and Holofernes, Giuseppe Vermiglio (1585-1635)
Mary Magdalene, Tiziano Vecellio (1480-1576)
Allegory of Fire, Jan Brueghel il Vecchio “Dei Velluti” (1568-1625)
Portrait of Giuseppina Negroni Prati Morosini, Francesco Hayez (1791-1882)
Atlantic Codex (Codex Atlanticus) f. 851 recto, Leonardo da Vinci (1452-1519)
Atlantic Codex (Codex Atlanticus), f. 21 recto, Leonardo da Vinci (1452-1519)
The Placing of Christ in the Sepulchre, Tiziano Vecellio (1480-1576)
Atlantic Codex (Codex Atlanticus), f. 33 recto, Leonardo da Vinci (1452-1519)
Atlantic Codex (Codex Atlanticus), f. 5 recto, Leonardo da Vinci (1452-1519)
Portrait of Manfredo Settala, Daniele Crespi (1600-1630) attribuito a
Washerwomen at the Canal, Emilio Gola (1851-1923)
Atlantic Codex (Codex Atlanticus), f. 12 recto, Leonardo da Vinci (1452-1519)
Atlantic Codex (Codex Atlanticus), f. 873 recto, Leonardo da Vinci (1452-1519)
Christ Resurrected, Marco Basaiti (1470-1530)
Self Portrait, Bertel Thorvaldsen (1770-1844)
Atlantic Codex (Codex Atlanticus), f. 29 recto, Leonardo da Vinci (1452-1519)
Atlantic Codex (Codex Atlanticus), f. 858 recto, Leonardo da Vinci (1452-1519)
The Madonna of the Pavilion, Sandro Botticelli (Alessandro di Mariano Filipepi detto) (1444 o 1445-1510)
Kids and Lambs, Francesco Londonio (1723-1783)
Codice Atlantico (Codex Atlanticus), f. 104 recto, Leonardo da Vinci (1452-1519)
Allegorical Female Figure, Giovanni Serodine (1600-1631)
Horse’s head (Copy from the equestrian monument to Marcus Aurelius on the Capitol in Rome), NA
Atlantic Codex (Codex Atlanticus), f. 26 verso, Leonardo da Vinci (1452-1519)
Winter Landscape with Skaters, Hendrick Avercamp (1585-1634)
The Adoration, Bartolomeo Suardi detto il Bramantino (1465-1530)
Mouse with Roses, Jan Brueghel il Vecchio “Dei Velluti” (1568-1625)
Maternity, Mosè Bianchi (1840-1904)
Atlantic Codex (Codex Atlanticus), f. 139 recto, Leonardo da Vinci (1452-1519)
llias picta, NA
Atlantic Codex (Codex Atlanticus), f. 909 verso, Leonardo da Vinci (1452-1519)
The Adoration with Saint Roch, Gian Pietro Rizzoli detto Giampietrino (1508-1549)
Pietà (copy from Michelangelo), Leone Leoni
Portrait of a Young Girl with a Dove, Natale Schiavoni (1777-1858)
Atlantic Codex (Codex Atlanticus), f. 71 recto, Leonardo da Vinci (1452-1519)
Atlantic Codex (Codex Atlanticus), f. 149 recto, Leonardo da Vinci (1452-1519)
Atlantic Codex (Codex Atlanticus), f. 845 recto, Leonardo da Vinci (1452-1519)
Clock with astrolabe, Sconosciuto
Atlantic Codex (Codex Atlanticus), f. 844 recto, Leonardo da Vinci (1452-1519)
Saint Michael the Archangel, Giulio Cesare Procaccini (1574-1625)
Atlantic Codex (Codex Atlanticus), f. 1006 verso, Leonardo da Vinci (1452-1519)
The Martyrdom of Saint Peter of Verona, Alessandro Bonvicino detto Moretto (1490-1554)
Libro d’Ore Borromeo, Cristoforo de Predis (1440-1486)
Atlantic Codex (Codex Atlanticus), f. 117 recto, Leonardo da Vinci (1452-1519)
Lesenes and trophies, Agostino Busti detto il Bambaia (1483-1548)
Atlantic Codex (Codex Atlanticus), f. 3 recto, Leonardo da Vinci (1452-1519)
Crib, Federico Barocci o Baroccio detto il Fiori (1535-1612) (replica di)
Still Life with Musical Instruments, Evaristo Baschenis (1617-1677)
The Adoration of the Magi, Pier Francesco Mazzucchelli detto il Morazzone (1571-1626)
The Madonna Nursing the Child by the Fountain, Bernaert van Orley (1488-1541)
De divina proportione, Luca Pacioli (1445 circa – 1517)
Portrait of a Young Man, Giorgione (Giorgio da Castelfranco copia da) (1478 circa-1510)
Portrait of Alessandro Negroni Prati Morosini, Francesco Hayez (1791-1882)
The Virgin of the Rocks, Andrea Bianchi detto il Vespino (attivo 1612-1640)
Napoleon Bonaparte’s gloves, NA
The Damned Soul, Anonimo lombardo (XVII secolo)
Diana the Huntress, Joachim Friess (XVI-XVII secolo)
The Martyrdom of Saint Sebastian, Antonio Badile (1518-1560)
Moses and the Brazen Serpent, Cesare Ligari (1716-1770)
Armillary sphere, Giannello Torriani
Codice Atlantico (Codex Atlanticus), f. 1 recto, Leonardo da Vinci (1452-1519)
The Holy Family, Carlo Francesco Nuvolone (1608-1662)
Susanna at her Bath, Carlo Francesco Nuvolone (1608-1662)
Cup with Turbo marmoratus shell, Christoph Lencker (1556 circa-1613)
Atlantic Codex (Codex Atlanticus) f. 710 recto, Leonardo da Vinci (1452-1519)
The Madonna and Child with a Worshipper, Bernardino Betti detto il Pinturicchio (1454-1513)
Still Life with Fruit, Isaac Soreau (1604-1638)
The Adoration of the Magi, Andrea Schiavone (1510-1563)
Laocoon (copy of the Vatican original), Leone Leoni
Landscape with Saint John the Baptist, Paul Bril (1554-1626)
The Dormition of the Virgin, Anonimo ferrarese (XV secolo)
Atlantic Codex (Codex Atlanticus), f. 49 recto, Leonardo da Vinci (1452-1519)
View of the Interior of the Duomo, Giovanni Migliara (1785-1837)
Display case with the hair of Lucrezia Borgia, Alfredo Ravasco
The Holy Family with Sain John, Tobias and the Archangel Raphael, Bonifacio Veronese (1487-1553)
Portrait of a Lady, Giovanni Ambrogio De Predis (1455-1508)
Burse, Artista dell’Italia centrale
Portrait of Giovanni Battista Morosini, Francesco Hayez (1791-1882)
Jael and Sisera, Giuseppe Vermiglio (1585-1635)
The Presentation of Christ in the Temple, Giandomenico Tiepolo (1727-1804)
Portrait of Paolo Morigia, Fede Galizia (1578-1630)
Portrait of a Young Man, Vittore Ghislandi detto Frà Galgario (1655-1743)
Original Sin, Jan II Brueghel il Giovane (1601-1678)
Portico in Ruins, Giovanni Migliara (1785-1837)
Adam and Eve in the Garden of Eden, Jan II Brueghel il Giovane (1601-1678)
The Blessed Soul, Anonimo lombardo (XVII secolo)
Ceremonial saddle and stirrups. Detail of the wooden horse of Troy, Arte armaiola milanese
Atlantic Codex (Codex Atlanticus), f. 860 recto, Leonardo da Vinci (1452-1519)
The infant Jesus with a Lamb, Bernardino Luini (1480-1532)
Portrait of Napoleon King of Italy, Andrea Appiani (1754-1817)
Dantesque window, Giuseppe Bertini (1825-1898)
The School of Athens, Raffaello Sanzio (1483-1520)
Atlantic Codex (Codex Atlanticus), f. 145 recto, Leonardo da Vinci (1452-1519)
The Madonna Enthroned with Saint Ambrose and Saint Michael, Bartolomeo Suardi detto il Bramantino (1465-1530)
Flowers in a Vase, Jan Brueghel il Vecchio “Dei Velluti” (1568-1625)
Still Life with Fruit, Isaac Soreau (1604-1638)
Atlantic Codex (Codex Atlanticus), f. 272 verso, Leonardo da Vinci (1452-1519)
Two daggers with sheaths (eared sfondagiaco daggers), Armorari milanesi
Portrait of Saint Charles Borromeo, Giovanni Ambrogio Figino (1548-1608)
Latin astrolabe, Anonymous
The Holy Family with Saint John the Baptist, Ubertini Francesco detto Bachiacca (1494-1557)
A Soul in Purgatory, Anonimo lombardo (XVII secolo)
Sacra Conversazione, Ambrogio da Fossano detto il Bergognone (1453-1523)
Noctes Atticae, Aulo Gellio
Christ on the Way to Calvary, Giovanni Busi detto Cariani (1480-1547)
The Rest on the Flight into Egypt, Jacopo da Ponte detto il Bassano (1510-1592)
Orrery, Sconosciuto
Atlantic Codex (Codex Atlanticus), f. 1058 verso, Leonardo da Vinci (1452-1519)
The Madonna and Child with Saint Peter and Saint Jerome, Cesare Magni (1511-1534)
Portrait of Emilia Morosini Zeltner, Francesco Hayez (1791-1882)
Self Portrait, Antonio Canova (1757-1822)
Octagonal casket, Bottega degli Embriachi (XIV-XV secolo)
The Holy Family with Saints Anne and John, Bernardino Luini (1480-1532)
Atlantic Codex (Codex Atlanticus), f. 116 recto, Leonardo da Vinci (1452-1519)
Allegory of Water, Jan Brueghel il Vecchio “Dei Velluti” (1568-1625)
Atlantic Codex (Codex Atlanticus), f. 72 recto, Leonardo da Vinci (1452-1519)
Figured casket, Scultore lombardo
Vase of Flowers with Jewel, Coins and Shells, Jan Brueghel il Vecchio “Dei Velluti” (1568-1625)
Atlantic Codex (Codex Atlanticus), f. 812 recto, Leonardo da Vinci (1452-1519)
Locked out of school, Emilio Longoni (1859-1932)
Plato, Giovanni Antonio Piatti (1447-1480)
Basket of fruit, Michelangelo Merisi da Caravaggio (1571-1610)
Portrait of Bernardino da Lesmo, Bartolomeo Veneto (1502-1530)
Adoration of the Magi, Tiziano Vecellio (1480-1576)
Portrait of a Pilgrim, Monogrammista HL (XVI secolo)
The Triumph of David, Lucas Hugenszoon detto Luca di Leida (1494-1533)
Mercury and Argus, Anonimo genovese (XVII secolo)
Portrait of a Gentleman (Michel de l’Hospital), Giovan Battista Moroni (1520-1578)
Atlantic Codex (Codex Atlanticus), f. 455 recto, Leonardo da Vinci (1452-1519)