THE ARMAND HAMMER CENTER FOR LEONARDO STUDIES AT UCLA DEPARTMENT OF ART HISTORY University of California, Los Angeles, California 90024-1615 Heapguanrers aNb Merrie Facies: ‘THE ARMAND HAMMER MUSEUM OF ART AND CULTURAL CENTER 10889 Wilshire Boulevard, Los Angeles, California 90024 Pes Scie oar ke ise tah ie ue ACHADEMIA - LEONARDI - VINCI (The ‘ALV Journal’) Eprroniat. Orrices, Lisrary AND Ancitves: VILLA DI CASTEL VITONI SOPRA VINCI Via Sambarontana 79-81, $1035 Lamporecchio (Pistoia), Italy Telephone 0573-82146 Propuction Orrices: __. GIUNTI PUBLISHING GROUP. Via Vincenzo Gioberti 34, sotat Firenze, Italy Telephone 055-6704s1. Telex 571438. Telefax 055-268312.Ne ACHADEMIA LEONARDI VINCI Journal of Leonardo Studies & Bibliography of Vinciana Edited by CARLO PEDRETTI Volume II, 1989 GIUNTI ( (92a)ACHADEMIA LEONARDI VINCI (ALV Journal) A GIUNTI PERIODICAL PUBLICATION kel Teibunate di Firenze N. Editor in Chief CARLO PEDRETTI Assistant to the Editor Parnizia SeMPLIciNt FIORENZOLL Editorial Staff Franco Baxsini Antuony R. Brien.ey Janet E, ARMSTRONG Davie Mazzanri ADRIANA RicurT Cantorta Ferrari Leutt GLosia Fosst Special Editorial Consultants: Gino Corrt (Paleography and Archives) Francesco P. Dr Teoporo (Classical and Medieval Sources) Paoto Gattuzzi (History of Science) Mauro GueRsint aNp Joyce PELLERANo LupMeR (Bibliography and Library Science) Gronce Hersey (History of Architecture) Jack Wasserman (Hagiography and Iconography Promotion Guonta Fosst, Manco Morcanmt aND RossaNa PEDRETT Rights and Permissions: Rosexro BorsaNt Art Director Franco Buusrn Photographic Archive: Production Coordinator Production Manager: Unpenro Sraracit ANDREA RISALIP PreRO CARRARES Ilustrations and Color Se Electronic Photocomposition and Page Make Up: Forourto Toscana sR, FIRENZE LLEADERCOMP SRL, FIRENZE Paper (Canmiere MacNast Dt Pescta (text) (Cantizne DEL GARDA, TRENTO (ILLUSTRATIONS) Maxcetto Lact, Grarica Sve, FIReNze (TEx: TiwocRAFIA BERTELLI SNC, FIRENZE (ILLUSTRATION: Binding: Lecaronia Rica, Firenze Administration and Subscriptions ALY Journat / Grunti PusLisiine Grour Via Vincenzo Gtonenmi 34, sort Firenze, ITALY Grunt Disraimution Seavice 1Nc 1355 ISTH SraEET-SuITE 2908, Fort Lee, New Jersey 07024 TetePHONE: (201) 985-0497. TELEX: 3792179. Corvaicitr © 1989 Tue Recents oF nite Univenstry of Cauironwta ‘xo Guu Punuisinsc Gnove, FLomsNcr, Iraty ISSN no. 0394-8501 Desicn ny Canto Pronernt Punerep ms IratyCONTENTS Note of the Publisher Editorial 7 Abbreviations 8 I. Leonardo Studies rr [ A Procm to Sculpture CARLO PEDRETTI 4" Nuove proposte per Leonardo scultore ALESSANDRO PARRONCHI 40 Amadeo, Bramante and Leonardo and the tiburio of Milan Cathedral RICHARD SCHOFIELD 68 Gasparo Visconti's Pasitea and the Sala delle Asse DAWSON KIANG ror A Florentine ‘Last Supper’ Sketch: a Question of Gesture JACK WASSER- MAN 110 Appendix: Civitali ARTURO BASSI 13 II. Bibliography and Documents The ‘Last Supper’. A Cine-montage Breakdown CONSTANTINE C PEPINASHVILI. Translated from the Russian by HERBERT MARSHALL 17 “Stupenda e dannosa maraviglia’ FRANCESCO P. DI TEODORO ar The mock Sepulchre [C.P.] 27 Leonardo as a Sculptor. A Bibliography [C.P.] BI The forgotten Bogus [C.P.] 47 Gleanings: 1. Other Versions of the ‘Madonna of the Cherries’ [A.P.] 2. The ‘Madonna del Granduca’ (A.P.] 3. Granacci [A.P.] 4. The “Bergeret Drawing’ [P.J.] s. The Royal St. John {C.P.] 6. ‘Giovanni Lombardo’ [CP] {CP} 8. ‘Sta still’ [CP] 150 7. ‘Libro ottavo delle acque Il. Events (Lectures, Colloquia, Exhibitions, Auctions, &c.) The Formation of American Collections of Drawings by Leonardo and His Circle PATRICIA TRUTTY-COOHILL 159 Appendix: The Gardner Drawing [P. T.-C] 164 Leonardo at the Stidel Museum [C.P.] 166 L’eterno viandante PAOLO NICCOLO ROSSI 168 A Chronicle of Events, 1988 169 Bibliotheca Leonardiana’” MAURO GUERRINI 7% Previews: Leonardo's Deluge: The Film The Turin Exhibition Two Angels from the Del Maino Workshop [LUISA COGLIATI ARANO] Drapery Studies at the Louvre The Vatican St. Jerome A Catalogue of Leonardo's Paintings A Leonardo “Task Force’ in Chile 176 ABOUT THE AUTHORS 180 is]Previews J N ADDITION to information on forth- ‘coming events, as explained in Volume I, p. nents of haat proses, either in the making. or jus Sioned including, dwetaion, exhibitions fod of couse publesions Anthe ALY Jorma normally ppeatsin Ocobe, Bea tle place inthe las ont of the year Stay galify for ntc in the presen section, a Care pont being the exibition of drapery Stes the Louvre, which scheduled vo open in Novenber 19. Leonarpo’s Deuce. THE FILM The well-known series of Leonardo's Deluge drawings at Windsor has provided the theme for an experimental fifteen-minute film in the *Pro- gram for Art on Film’ sponsored by the Metro- politan Museum of Art, New York, and The J Paul Getty Trust, Los Angeles. Queen Elizabeth II has granted special permission to use the Leonardo drawings in her possession. The pro- ject has been entrusted to film-maker Mark Whitney with Carlo Pedretti as screen writer and with the cooperation of the Armand Hammer Center for Leonardo Studies at UCLA. The narration is by Anjelica Huston. The music is by Tan Underwood. The innovative aspect of the film is represented by a bold animation approach to Leonardo's drawings. Three kinds of high technologies have been employed to set Leonar- do's visions in motion, (1) Flow Field Animation ‘of motifs in Leonardo drawings, by Optomystic Inc., Los Angeles, (2) Image Enhancement and Sequential Animation of drawings, by Jet Pro- pulsion Laboratory, Digital Image Animation Lab, Pasadena, California, and (3) Experiments in the Physics of Fluid Dynamics, by the National Center for Super Computing Applications, Uni- versity of Illinois, Urbana, Illinois. A scientific project in close cooperation with flim techs ierwandiog of the laws of Quid. dpramicy thyemic unfolding of scroll and twirl mots in the movement of war aad king on te prisely underlined by the crescendo effect the rey exclusively on high technology forts visual Gppeal Ie is above all a statement about th Plilosophy of painter fally aware of the powers approach Nature with scientific humility and xity and tion to de- emotional trepidation as the cor beauty of her works — from cre struction — become the object of his relentless The film includes footage of the Tuscan cd side that Leonardo roamed as a child in Vinci a fitting prelude to his later fascination with the generative forces of nature and man’s sustained efforts to rival her The narration is made up entirely of Leonardo's ‘own words, occasionally edited for immediacy act, $0 as to enhance their evocative quality. Th is effectively conveying Leonardo's own musing as symbolized by the mysterious ‘Pointing La- dy’, a drawing from the time of the Deluge series also kept in the Royal Collection at Windsor tle Leonardo's Deluge is presented as a tribute to Sergei M. Eisenstein, the famous Soviet movie of dramatic i voice of Anjelica Huston director, whose life, work and teaching consistently inspired by Leonardo. It would be tenouigh to quote his bold statement: ‘Ifit had not been for Leonardo, Marx, Lenin, Freud and cinema, I would probably have been another Oscar Wilde’. But for a more pertinent quote ‘one must turn to his book on the theory of film making, The Film Sense, published in New York in 1942. After an account of his technique of montage 25. shown by such classic films of his as the Battleship g2q) and October (1928), he comes to script’, which Potemkin speak of a ‘remarkable shootin, ‘was not written as a finished work of literature, but simply as a note of a great master in which he attempted to put down on paper for his own. benefit his visualization of The Deluge “The “Shooting-Script” to which I refer’, says Eisenstein, ‘is Leonardo da Vinci's notes On the [176]Representation of The Delug I choose this particular example because in it the audio sual picture of The Deluge is presented with an tunusual clarity, Such an accomplishment of sound and picture co-ordination is remarkable ‘oming from any painter, even Leonardo’ He then quotes the whole Leonardo page in the Windsor collection and adds: has been considered as an unsurpassed piece of landscape and the representation of tlemental struggles. None the les the description is fnot a chaos, but is executed in accordance with features that are characteristic rather ofthe ‘tempo- ral’ than of the “spatial” arts. Without appraising in detail che structure of chs extraordinary ‘shoot ing-scripe, we must point, however, to the fact that the description follows a quite definite move Hence the conclusion: Leonardo's excedingly sequential description fall- fils the task not of merely listing the details, but f atining the trajectory of the Future movement the attention over the surfce of the painting. Here we see a brilliant example of how, in the apparent stati simultaneous “co-existence’ of details in an mobile picture, there has yet been applied, cxactly the same montage solution, there is exactly he same ordered succession in the juxtaposition of etals, a in those aes that include che time factor. For a full account of Eisenstein's assessment of Leonardo's Deluge as an exemplary shooting article by Herbert Marshall i ALV Journ Tue Turin EXHtsrrion An exhibition ‘Da Leonardo a Rembrandt. Di- segni della Biblioteca Reale di Torino’ is planned for the Spring of 1990 in celebration of the newly organized facilites of the Royal Library in Turin. Thi Banco di San Paolo in Turin, with the participation of the Office Piedmont Region, and with the supervision of the Director of the Royal Library, Dr. Giovanna Giacobello Bernard. An international committee d by d project is sponsor Cultural of the Administration of the fof experts chaired by Professor Gianni Carlo Sciolla of the Univesity of Turin, has already met a first selection of a hundred and thirty drawings. The catalogue will have two editions, English and Italian. The Armand Hammer Cen- ter for Leonardo Studies at UCLA is participa for ting with the contribution of its Director, Carlo Pedrett, who has been entrusted with the Leo- nardo section of the exhibition The occasion is made to coincide with the publi h the publication of the facsimile edition of the complete Leonardo hold~ ings of the Royal Library. Two ANGELS FROM THE Det Maino Worxstor 4 the mond volume of the ALY Jai ichromed ‘wooden sculptures which 1 do not hesitate to atibute othe Del Maino workshop, which was carved for. Francesco Grande in Milan and which was disassembled a¢ the end of the cightesnth century when its central pices, Leonard's ign ofthe Rock and De Pedi: wo flanking sogcls were sold to Lord Hamden aad taken fo England, Comparsble altars fom the sume workshop, dating fom the second decade Morbegno (cL. Cogla Arano, ‘La scar in Duomo Cone, Nila, 1973 The newly discovered suipsrs, 4 pac of knecing angels serving as candleholdrs (66cm high, wih a base of 6X cm, show the same haracter and style a6 the individel Sgotes terms of policromy as i+ the case with th typi intensity of the ted, They are atbuted to Giovanni Angelo Del Maino by P. Venturol “Imervend sul pasto. Un gruppo igen ato lls lees in Tome tra, une 18, Leonardo's influence is evident in the facial expressions and in de weatment of the circular folds of the sleeves. The drapery is chy decorated witha brocade design om the Breast andthe fos ofthe gown ae deeply cut vo revel the postion ofthe Figs undementh The implied movement of the buy is projected into the curve ofthe cormaco- pirlte Candleholders. The Del Maino work- rep it Known to have patipated i arehiect- falprojece a8 well, such as Bramant's San Sato and tis a the time ofthe anna for che Vin’ f the Bods. A contextual stad of this Wwerkshop, as just undertaken, may help to Necrsn’whetber the newly discovered pieces fe acety and therefore under Leonardo's Sires influence, sometime inthe 14s. The bases secre to have been acd at a ater date Fueuly inthe nineteenth century {hia Costa Axsvo} 17