Feinberg L.J. The Young Leonardo: Art and Life in Fifteenth-Century Florence
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Bibliography with Endnotes 197
fig. 15. The sumptuary laws of 1472 stipulated that new brides could
wear no more than two brooches, one for the head and one for
the shoulder; and, after three years, the woman could wear only
one brooch. Alternatively, it was long ago proposed that the New
York portrait represents Credi’s recently widowed sister-in-law, who
was named Ginevra di Giovanni di Niccol
`
o (see Federico Zeri, Italian
Paintings. A Catalogue of the Collection of the Metropolitan Museum of Art.
Florentine School, New York, 1971,p.154). Although this is possible,
we do not know whether that particular Ginevra, married to Credi’s
brother Carlo, was so young when she was widowed. Furthermore,
it is hard to explain why the artist would first paint a face very similar
to that of Ginevra de’ Benci and subsequently revise it to resemble
his sitter. One should also take into account that Ginevra was a fairly
common name in the Renaissance. A useful history of the Lady-and-
Unicorn theme, with illustrations of paintings and prints, is provided
by Margaret B. Freemen, The Unicorn Tapestries,NewYork,1976,
pp. 33–65. Sources of Leonardo quotations: “And if you, poet...”
Ash. II, 19 recto; “hearing is less noble than sight–” Ash. II, 19 verso;
“Takethecaseofthepoet...”Ash.II.19 recto.
xvii. For various portraits of Amerigo Vespucci, see Luciano Formisano et
al., Amerigo Vespucci. La vita e i viaggi,Prato,1991,pp.204–19.For
Leonardo’s rebuses, see Augusto Marinoni, I rebus di Leonardo da
Vinci. Raccolti e interpreti, Florence, 1954; Kenneth Clark and Carlo
Pedretti, The Drawings of Leonardo da Vinci in the Collection of Her
Majesty the Queen at Windsor Castle, London and New York, 1969,
nos. 12693–99,pp.175–77; and Larry J. Feinberg, “Visual Puns and
Variable Perception: Leonardo’s Madonna of the Yarnwinder,” Apollo,
vol. CLX, August 2003,pp.38–41. A singer, Leonardo seems to
have owned a copy of Guido da Arezzo’s Micrologus de disciplina artis
musicae (c. 1025), which introduced the sol-fa musical system. Source
of Leonardo quotation: “O moro, io moro – ” Madrid II, 141 recto.
xviii. For various views of the Bust of the Young Christ and commentary, see
Martin Kemp, “Christo fanciullo” in ALV, vol. IV, 1991,pp.171–
76,
figs. 2–8,a
nd11.
Assigning a date to the Young Christ is quite difficult in light of the lack
of comparative material and our utter ignorance of Leonardo’s development
as a sculptor. However, given the piece’s residual connections to Verrocchio
and, in certain respects, to a few of Leonardo’s drawings, such as the Saint
John the Baptist, one may tentatively place it in the second half of the 1470s.
In profile, the bust has the sharp features associated more with Leonardo’s
early profile studies of c. 1478–80 and preliminary sketches for his Adoration
of the Magi (1481) than with his later drawings and paintings of heads. We
must also consider the fact that polychrome, terracotta busts, still popular
in Florence in the third quarter of the fifteenth century, had largely gone
198 Bibliography with Endnotes
out of fashion by the time Leonardo returned home from Milan in 1500.
By then, when busts were fabricated from terracotta (rarely), they were
most often painted to look like bronze. Sources of Leonardo quotations: “I
obey thee, OLord...”ForsterIII.29 recto;“Fortuneispowerless...”W.
12349 verso; “Falsehood is so utterly vile . . . ” Turin 12 recto; “The Lord
is the Light . . . ” Codice Atlantico 543 recto; “The Creator does not make
anything . . . ” Codice Atlantico 19020 recto; “Rejoice that the Creator . . . ”
Codice Atlantico 19022 verso; “How did the waters . . . ” Codice Atlantico
419 recto.
xix. For a recent attribution of the Madonna Litta to Leonardo, see Tatiana
Kustodieva, Leonardo: La Madonna Litta dall’Ermitage di San Pietroburgo,
Rome, 2003.
xx. It was not unusual for a man of Leonardo’s age to receive such paternal
support; the Capponi and Ruccelai families had unmarried adult sons,
some twenty-nine and thirty years old, living with them in the later
fifteenth century – see Francis William Kent, Household and Lineage in
Renaissance Florence: The Family Life of the Capponi, Ginori, and Rucellai,
Princeton, 1977,pp.27–29. The names and gifts of the Magi tended
to vary from time to time and from place to place. In Renaissance Flo-
rence, the oldest magus was typically identified as Melchior, who offered
gold; Balthazar as middle-aged and swarthy (rarely black) with a jar of
frankincense; and Caspar as the young magus who carried myrrh. This
is how they were described in the popular, thirteenth-century Laude,
or Hymns of Praise, of Frate Jacopone da Todi, republished in Florence
in 1490. Occasionally, Balthazar was considered to be the bearer of
myrrh, as in Pseudo-Bede the Venerable’s eighth- or ninth-century
text, Collectanea; his portrayal of the Magi was also widely dissemi-
nated for centuries in hymns. If, familiar with this alternate tradition,
Leonardo intended Balthazar, shown kneeling before the Christ Child,
to be understood as holding myrrh, it might explain Saint Joseph’s sullen
expression. An exotic resin used in embalming, myrrh came to sym-
bolize impending death; after the Crucifixion, the priest Nicodemus
prepared Christ’s body with a mixture of myrrh and aloes ( John 19:39).
See Fusco and Corti (Lorenzo de’ Medici,pp.35–39) for the two bronze
horse heads in Lorenzo’s possession, one of which was, perhaps, not
antique, but a Renaissance copy. From Vasari (deVere, vol. I, p. 688),
we know that Verrocchio also copied horses from antique sculpture.
Source of Leonardo quotation: “Every smallest detail . . . ” W. 19115
recto.
xxi. Leonardo admitted that some of his chariot designs were useless, because
their scythe-like weapons could injure friend and foe alike, and the
enemy could easily spook the horses (MS B 10 recto). For Filip-
pino Lippi’s substitute Adoration of the Magi, see Patrizia Zambrano
and Jonathan Katz Nelson, Filippino Lippi,Milan,2004,pp.469–79,
no. 52,pp.594–96. Perhaps looking at the same (lost) antique relief,
Bibliography with Endnotes 199
Filippino, in late drawings preserved in the Uffizi (no. 169F) and
formerly in the F. Koenigs collection (Haarlem), drew similar com-
positions with procession, altar, and classical architecture.
xxii. Carmen Bambach suggested that the Allegory with Fortune drawing
could refer to Lorenzo de’ Medici – see Leonardo da Vinci. Master
Draftsman,no.31,pp.331–32.ForFortuna in Lorenzo’s poetry, see,
for example, Poesie del Magnifico Lorenzo de’ Medici,pp.12–13 and 19–
20 (canzoni I and III) and pp. 18 and 23 (sonnets XXV and XXIX).
For Botticelli’s Primavera and Pallas and the Centaur,seeLightbown,
Botticelli, vol. I, pp. 69–89; vol. II, B39,pp.51–53,andB43,pp.57–
60. For the Vasari reference to the troncon tagliato, see Vasari-Milanesi,
vol. 8,p.118.
xxiii. For an illustration of Castagno’s Last Supper, see Andres, Hunisak,
and Turner, Art of Florence, vol. I, pp. 670–71,pl.379. For Vasari,
Leonardo’s countless studies of drapery had paid off; he lavished
praise particularly on the tablecloth of the Last Supper.
For an explanation of stylus and stylus marks, see note for section xiv.
Source of Leonardo quotation: “figures must be done . . . ” Codice Atlantico
139 recto.
Logically, Leonardo believed that blood, like water, responded to gravity
and flowed down through the body from the crown of the head (MS A 56
verso).
xxiv. For Rossellino’s Empoli Saint Sebastian, see Eric C. Apfelstadt, “A
New Context and a New Chronology for Antonio Rossellino’s
Statue of St. Sebastian at Empoli,” in Verrocchio and Late Quattrocento
Italian Sculpture, eds. Steven Bute, Alan Phipps Darr, and Fiorella
Superbi Gioffredi, Florence, 1992,pp.
189–203.
I prefer to call the
subject of the Pollaiuoli painting the “Shooting of St. Sebastian”
rather than the traditional “Martyrdom of St. Sebastian” for reasons
of accuracy; according to legend, Sebastian survived the ordeal with
the archers and only died later, after he was beaten (and thrown into
the Roman sewer). For Lorenzo’s antique Marsyas sculptures and his
Apollo and Marsyas gem, which reflects the pose of the lost, “seated
Marsyas,” see Fusco and Corti, Lorenzo de’ Medici,pp.39–41,andp.
126,fig.128.Forthefigura serpentinata, see John Shearman, Manner-
ism, Harmondsworth, 1967,pp.81–91. Leonardo explored the limits
of this figural type in his lost painting of Leda and the Swan, known
from surviving drawings.
xxv. For Lippi’s Saint Jerome in the Badia, see Zambrano and Katz, Fil-
ippino Lippi,pp.254–57 (ill.), and no. 38,pp.355–56. For Vasari’s
demarcation of the three periods of art, see Vasari–deVere, vol. I,
pp. 300–4, and vol. II, pp. 773 and 775. The manuscript illuminated
by Francesco d’Antonio del Cherico is catalogued in Ames-Lewis,
Library of Piero de’ Medici,no.4,p.238,figs.102–3.
200 Bibliography with Endnotes
For the Pollaiuolo practice of drawing a model from both front and
rear, see also Antonio’s pen-and-ink Study of a Nude Man from Three Angles
(Louvre,inv.no.1486), reproduced in Wright, Pollaiuolo,asfig.119, and his
engraving of the Battle of Nude Men.
Sources of Leonardo quotation: Evil flees away – MS H 18 recto; “After
these [artists] came Giotto . . . ” Codice Atlantico 387 recto.
xxvi. In the later fifteenth century, a number of works for domestic con-
sumption, such as birth trays and other birth-related, painted objects,
were produced for the open market, with only a few the products
of special commissions. The findings of the infrared examination of
the London version of the Virgin of the Rocks are published in Luke
Syson and Rachel Billinge, “Leonardo’s Use of Underdrawing in the
‘Virgin of the Rocks’ in the National Gallery and ‘St. Jerome’ in
the Vatican,” Burlington Magazine, vol. CXLVII, 2005,pp.450–64.
In her book, Mary Magdalen (London, 1993), Susan Haskins offers
an interesting history of perceptions and images of the Magdalene in
the Renaissance and through the centuries, including the dulcis amica
dei. For the Castiglione “quote” of Giuliano de’ Medici, see Baldesar
Castiglione, The Book of the Courtier, ed., Daniel Javitch, New York
and London, 2002, (bk. 3, 138), p. 176. Sources of Leonardo quota-
tions: “it is better to make landscapes when the sun is covered . . . ”
MS G 19 verso; “you should make your portrait . . . ” Ash. II, 20
recto; “But see now the foolish folk! . . . ” Ash. II, 25 recto.
xxvii. For Vasari’s comments about the bitter truths of life in Florence,
see Vasari–de Vere, vol. I, p. 733. Sources of Leonardo quotations:
“With a constant joyous longing ...”B.L.156 verso; “Most illustri-
ous Lord . . . ” Codice Atlantico 1082 recto.
xxviii. Sources of Leonardo quotations: “bath of the Duchess” MS I 28verso;
“let him expect disaster ...” MS H 119 verso; “My Lord knowing
the mind . . . ” Codice Atlantico 915 verso; “Oh slave to human
misery...”W.12698 recto; “Decipimur votis ...”MSLcover.
Although Leonardo’s Latin inscription would have to date to 1502 or
later (possibly several years later), the drawings contained within Manuscript
L range in execution from c. 1497 to 1502. Scholars have sometimes misread
the Latin on the MS L cover as “mos Deridet” rather than “mors Deridet” –
that is, “habit derides” rather than, correctly, as “Death derides.” Leonardo
may have learned Celtis’s verses secondhand, through his connections to the
French court; the cynical lines were the motto of the well-traveled Erard
de la Marck, whom French king Louis XII appointed as prince-bishop of
Li
`
ege in 1506.
Celtis’s lines remained popular in Belgium. In 1546, Susato of
Antwerp used them in a motet.
Index
Alberti, Leon Battista, 9, 13, 20, 83
I libri della famiglia, 9, 13, 53
Albiera di Giovanni Amadori, 5
Antonio di Ser Piero, grandfather of
Leonardo, 6, 89
Aristotle, 9, 45, 59, 61, 89, 155
ethics, 15
Bacchiacca, Francesco, 177
Baroncelli, Bernardo di Bandino, 100–104
Bembo, Bernardo, 105
Benci, Ginevra de’, 105–112, 143
Boltraffio, Giovanni Antonio, 125
Madonna Litta, 125
Botticelli, Sandro, 19, 40, 57, 79, 99–100,
143, 146, 162
Brunelleschi, Filippo, 17
Caprotti, Gian Giacomo, called Il Salai, 60
Castagno, Andrea del, 52, 103, 153
Castiglione, Baldessare, 176
Caterina, mother of Leonardo, 5, 89
Cherico, Francesco d’Antonio del, 167
Cicero, 15
courtesan pictures, 177–178
Credi, Lorenzo di, 67, 73, 77
, 82, 86
Madonna
of the Pomegranate, 82
Portrait of a Lady, 109
Virgin and Child with Saints John and
Donato (Madonna di Piazza), 28, 67,
74
Donatello, 68
David, 17
Saint John, 68
Saint Mary Magdalene, 169
emeralds and semiprecious stones, 80–82
Ficino, Marsilio, 15, 21, 56, 105, 142, 176
Fior di Virt
`
u, 9, 65, 112, 115, 156
Flemish painting, 20, 34, 79, 178
Flora, the goddess, 178
Freud, Sigmund, 65
Leonardo’s “vulture dream,” 65
Gallerani, Cecilia, 115
Ghirlandaio, Domenico, 19, 153
Giotto, 166
Gozzoli, Benozzo, 18
Procession of the Magi, 18
Jerome, Saint, 164–167
jousts, 14, 28, 55–58, 104, 137, 146
La Piagnona, 26
Lady and Unicorn theme, 111
–112
Landino
, Cristoforo, 20, 105
Leonardo, 5
allegories, 56–57, 145–147
birth, 5
boyhood, 5–8, 29–30
contrast of youth and old age, 89
drawings, 36
Adam and Eve, tapestry cartoon, 30
Adoration of the Magi, 139
Adoration of the Shepherds, 151
Allegory with Fame and Fortune, 148
Allegory with Fortune, Death, Envy,
and Ingratitude, 145
Bernardo di Bandino Baroncelli
Hanging, 100
Bust of a Warrior, 47–52
Compositional Study for the
Background of the Adoration of the
Magi, 136
John the Baptist Pointing, 67
Lady with a Unicorn, 111
military devices, 40
Nativity, 151
Nursing Madonna in Profile, 125
Nutcracker Man, 47
201
202 Index
Leonardo (cont.)
Phyllis Astride Aristotle, 59
presumed Self-Portrait, 63
Saint Sebastian, 159–162, 182
sheet of rebuses, 116
St. Jerome, 181
Studies for a Last Supper, 152
Studies for the Adoration of the Magi,
134
Studies for the Virgin of the Rocks,
171
Studies of Mary Magdalene, 173–178
Studies of Catapults and Crossbows, 139
Study of a Dog, 30
Study of a Female Head, 77
View of the Arno River Valley, 36, 43
Virgin and Child with a Cat, 87, 90–97
Virgin and Christ Child with St. John
the Baptist, 151
Virgin of Humility, 151
education, 8–11
half-brother Antonio, 22, 79, 87
half-brother Giuliomo, 87
homosexuality, 59–62, 65, 74, 186
illegitimacy, 5, 22–23
interest in cardiovascular system, 155
inventions, 41–42
jokes and riddles, 64
in Milan, 180, 185–187
military devices, 139, 181
movement of water, 37,
39, 41–42
paintings, 30
Ador
ation of the Magi, 89, 129–138, 163,
183
Altarpiece for the Palazzo della Signoria,
97, 142
Annunciation, 75, 110
Benois Madonna, 83–88, 94
Head of Medusa, 30
Last Supper, 28, 89, 135, 152, 183
Madonna of the Yarnwinder, 117–119
Mona Lisa, 113, 127, 173
Monster on a Shield, 7, 29
Portrait of Cecilia Gallerani (Lady with an
Ermine), 113
Portrait of Ginevra de’ Benci, 105–112
Saint Jerome, 163–169, 171
Tobias and the Angel, 33
Virgin and Child with a Carnation, 79,
87
Virgin of the Rocks, 151, 171–173
paragone, 107
personality, 59–64
reversed, mirror-image writing, 10, 145,
146
sculpture, 121
Bust of the Young Christ, 121–124
Sforza monument,
182
T
reatise on Painting, 99, 136, 172
in Verrocchio workshop, 22, 27–30, 33,
59, 67, 73, 82, 122
vision and optics, 34, 80–82, 83–86, 130
visual puns and rebuses, 108, 115–119
Lippi, Filippino, 142, 163
Lippi, Fra Filippo, 13, 17, 40, 142, 173
Adoration of the Christ, 17
Adoration of the Christ Child, 71–72
Luini, Bernardino, 178
Magdalene, Saint Mary, 174
Marsyas, 162
Martini, Francesco di Giorgio, 39, 139
Masaccio, 167
Medici, Cosimo de’, called Il Vecchio
(the Elder), 8, 13–16, 17–18, 162
Medici, Giuliano de’, 55–58, 100, 149
Medici, Lorenzo de’, called Il Magnifico
(the Magnificent), 18, 30, 39, 65, 79,
80, 100, 102–104, 105, 131, 137, 139,
145, 162, 176, 180
Medici,
Piero de’, called Il Gottoso
(the Gouty), 18
Melzi, Francesco, 61, 178
Profile Study of Leonardo, 61
Monna Lucia, grandmother of Leonardo, 6,
89
Neoplatonists, 20, 56, 142, 175
Pazzi family, 13, 100–104, 145
Perugino, 73, 142
Petrarch, 105, 112, 174
Piero di Cosimo, 176
plague, 26, 81, 140, 159–162
Plato, 9, 56, 83–84, 137
Platonic Academy, 20, 92, 106
Pliny the Elder, Natural History, 22, 80
Podest
`
a
(Bargello), 22, 26, 103
Poliziano, Angelo, 20, 57
Pollaiuolo, Antonio, 19, 27, 34, 168
Battle of Nudes, 36
Hercules and the Hydra, 69
Shooting of Saint Sebastian, 70, 132
Tobias and the Angel, 34
Pollaiuolo, Piero, 19, 34
Annunciation, 37
Shooting of Saint Sebastian, 70
Tobias and the Angel, 34
Pontormo, Jacopo, 177
Pulci, Luca, 56
Puligo, Domenico, 177
Rizzoli, Giovanni Pietro, called
Giampietrino, 178
Robertet, Florimond, 118
Rossellino, Antonio, 27, 161
Index 203
Sebastian, Saint, 159–162
Ser Piero di Antonio, father of Leonardo,
5, 21–22, 29, 75, 97, 142, 174
notarial career, 5, 22, 75, 105, 129,
163
Sforza, Galeazzo Maria, 28, 180, 185
Sforza, Ludovico, 115, 119, 180–183,
185–187
Tornabuoni, Lucrezia, 19, 71
Tosini, Michele, 177
Uccello, Paolo, 20
Vasari, Giorgio, 28, 29, 72, 73, 75, 78, 113,
123, 167, 179–180
Verrocchio, Andrea del, 18, 47, 57, 60, 73,
82, 92, 102, 125, 162,
179
dra
wings, 55
Design for a Standard, 55
paintings, 34
Baptism of Christ, 28, 68
Tobias and the Angel, 33–37
Virgin and Child with Saints John and
Donato (Madonna della Piazza), 28
repair of antique Marsyas, 162
sculpture, 47
Bartolomeo Colleoni, 50
Boy with a Dolphin, 92
Christ and Saint Thomas, 121
Crucifixion, 121
Darius relief, 47
David, 121
Equestrian Statue of Colleoni, 179
Lady with a Small Bouquet of Flowers,
110
lavamano, 27, 51
Sleeping Youth, 56
tombs for Cosimo, Piero, and Giovanni
de’ Medici, 18, 27, 76
workshop, 26
Vespucci, Amerigo, 113
Vespucci, Simonetta, 57, 113
Voragine, Jacobus da, 9
Legenda aurea (Golden Legend), 9, 118, 164,
174