Fritjof Capra (38 page)

1
. See Jacob Burckhardt,
The Civilization of the Renaissance in Italy
, original German edition published in 1860, Modern Library, New York, 2002.

2
. See Bramly (1991), p. 100.

3
.
Trattato
, chapter 79.

4
. See Robert Richards,
The Romantic Conception of Life
, University of Chicago Press, 2002.

5
. See Fritjof Capra,
Uncommon Wisdom
, Simon & Schuster, New York, 1988, p. 71.

6
.
Trattato
, chapter 42.

7
. Ibid., chapter 33.

8
. Ibid., chapter 13.

9
. Kemp (1981), p. 161.

10
.
Trattato
, chapter 68.

11
. Anatomical Studies, folio 50v.

12
. See Fritjof Capra,
The Hidden Connections
, Doubleday, New York, 2002, p. 119.

13
. See Penny Sparke,
Design and Culture in the Twentieth Century
, Allen & Unwin, London, 1986.

14
. Codex Atlanticus, folio 323r.

15
.
Trattato
, chapter 23.

16
. Clark (1989), p. 63.

17
. See Arasse (1998), p. 274.

18
. Quoted by Arasse (1998), p. 275.

19
. Anatomical Studies, folio 139v.

20
. Arasse (1998), p. 202.

21
. Ibid., p. 283.

22
. Kemp (1981), p. 56.

23
. Arasse (1998), p. 284.

24
. See Capra (2002), pp. 13–14 and p. 116.

25
. See Claire Farago, “How Leonardo Da Vinci’s Editors Organized His
Treatise on Painting
and How Leonardo Would Have Done It Differently,” in Lyle Massey, ed.,
The Treatise on Perspective: Published and Unpublished
, National Gallery of Art, Washington, distributed by Yale University Press, 2003.

26
. See Claire Farago,
Leonardo da Vinci’s Paragone: A Critical Interpretation with a New Edition of the Text in the Codex Urbinas
, E. J. Brill, Leiden, 1992.

27
.
Trattato
, chapters 14, 19.

28
. Ibid., chapter 29.

29
. Ibid., chapters 38, 41.

30
. See Bram Kempers,
Painting, Power and Patronage
, Allen Lane, London, 1992; Steptoe (1998), p. 255.

31
. See Arasse (1998), p. 293.

32
. See Introduction.

33
. Clark (1989), p. 167.

34
. Kemp (1981), p. 97.

35
.
Trattato
, chapter 412.

36
. Clark (1989), p. 129. In the history of Italian art, the fifteenth century is known as the quattrocento (four hundred), the sixteenth century is called the cinquecento (five hundred), and so on.

37
.
Trattato
, chapter 124.

38
. See Introduction.

39
. See Chapter 8.

40
. These notes are in Manuscripts C and Ashburnham II.

41
. Kemp (1981), p. 98.

42
. See Bramly (1991), pp. 101–2.

43
. Ibid., p. 106.

44
. See Kemp (1981), pp. 94–96.

45
. See Ann Pizzorusso, “Leonardo’s Geology: The Authenticity of the Virgin of the Rocks,”
Leonardo
, vol. 29, no. 3, pp. 197–200, MIT Press, 1996.

46
. See William Emboden,
Leonardo da Vinci on Plants and Gardens
, Dioscorides Press, Portland, Ore., 1987, p. 125.

47
.
Trattato
, chapter 38.

48
. Bramly (1991), p. 228.

49
. This Roman equestrian statue of the Gothic king Odoacer no longer exists. It was destroyed in the eighteenth century; see Bramly (1991), p. 232.

50
. Codex Atlanticus, folio 399r.

51
. This treatise, mentioned by Vasari and by Lomazzo, has been lost.

52
. Kemp (1981), p. 205.

53
. Codex Madrid II, folio 157v.

54
. See Bramly (1991), pp. 234–35.

55
. Codex Atlanticus, folio 914ar.

56
. Bramly (1991), p. 250.

57
. See Chapter 2.

58
. I am grateful to ecodesigner Magdalena E. Corvin for illuminating discussions and correspondence on the nature of design.

59
. See Bramly (1991), p. 232.

60
. See Clark (1989), p. 139.

61
. See Bramly (1991), p. 219.

62
. Codex Atlanticus, folio 21r.

63
. See Bramly (1991), p. 272.

64
. See Pierre Sergescu, “Léonard de Vinci et les mathématiques,” cited in Arasse (1998), p. 65.

65
. See Kemp (1981), p. 88.

66
. See Paolo Galluzzi,
Renaissance Engineers
, Giunti, Florence, 1996, p. 187.

67
. Clark (1989), p. 110.

68
. Ludwig H. Heydenreich, “Leonardo and Bramante: Genius in Architecture,” in C. D. O’Malley, ed.,
Leonardo’s Legacy: An International Symposium
, University of California Press, Berkeley and Los Angeles, 1969; Carlo Pedretti,
Leonardo, Architect
, Rizzoli, New York, 1985.

69
. See Pedretti (1985) for a full account of Leonardo’s architectural work; see also Jean Guillaume, “Léonard et l’architecture,” in Paolo Galluzzi and Jean Guillaume, eds.,
Léonard de Vinci: ingénieur et architecte
, Musée des Beaux-Arts de Montréal, 1987.

70
. Arasse (1998), p. 173.

71
. Heydenreich (1969).

72
. Arasse (1998), pp. 179–80. Mannerism is a style of art and architecture developed in the late sixteenth century and characterized by spatial incongruity and elegant, elongated figures.

73
. Kemp (1981), p. 110.

74
. See, for example, White (2000), p. 124.

75
. Codex Atlanticus, folio 730r.

76
. See Guillaume (1987); see also Arasse (1998), pp. 165–68.

77
. Anatomical Studies, folio 97r.

78
. Emboden (1987).

79
. Ms. B, folio 38r.

80
. Codex Atlanticus, folio 184v.

81
. Ms. B, folio 16r; see also Guillaume (1987).

82
. Nuland (2000), p. 53.

83
. See Bramly (1991), pp. 402–3.

84
. See International Healthy Cities Foundation, www.healthycities.org.

85
. Arasse (1998), p. 152.

86
. Ibid., p. 233.

87
. Ibid., pp. 239–40.

88
. See Kate Steinitz, “Le dessin de Léonard de Vinci pour la représentation de la Danaé de Baldassare Taccone,” in Jean Jacquot, ed.,
Le Lieu théâtral à la Renaissance
, Paris, 1968.

89
. See Arasse (1998), p. 239.

90
. See Bramly (1991), p. 301.

91
. See Kemp (1981), p. 182., for a detailed description of the vaulted architecture and Leonardo’s matching design.

92
. See Arasse (1998), p. 138.

93
. Quoted in Fritjof Capra,
The Turning Point
, Simon & Schuster, New York, 1982, p. 68.

         
CHAPTER
3         

1
. See, e.g., Ludwig H. Heydenreich,
Leonardo da Vinci
, 2 vols., Macmillan, New York, 1954; Clark (1989); Bramly (1991).

2
. “Ser” was the traditional title of a notary.

3
. Codex Atlanticus, folio 888r.

4
. See Arasse (1998), pp. 108–9.

5
. Ibid., p. 39.

6
. Codex Atlanticus, folio 327v.

7
. See Chapter 4.

8
. See Bramly (1991), p. 53.

9
. See Arasse (1998), p. 502 n. 71.

10
. Vasari probably exaggerated when he called Verrocchio “a close friend” of Ser Piero, but it is quite likely that the notary knew the artist, since many of his clients were patrons of the arts.

11
. Bramly (1991), pp. 65–66.

12
. Ibid., pp. 67–69.

13
. Domenico Laurenza, “Leonardo: La scienza trasfigurata in arte,”
Le Scienze
, Rome, maggio 2004a, p. 6.

14
. See Arasse (1998), p. 54.

15
. See Bramly (1991), pp. 71–72; Carlo Pedretti,
Leonardo: The Machines
, Giunti, Florence, 1999, p. 16.

16
. See Laurenza (2004a), p. 7.

17
. Ms. G, folio 84v.

18
. See Jane Roberts, “The Life of Leonardo,” in Martin Kemp and Jane Roberts, eds.,
Leonardo da Vinci: Artist, Scientist, Inventor
, Catalogue of Exhibition at Hayward Gallery, Yale University Press, 1989.

19
. See Keele (1983), p. 9.

20
. See Domenico Laurenza,
Leonardo on Flight
, Giunti, Florence, 2004b, p. 16.

21
. See Keele (1983), p. 9.

22
. See Martin Kemp,
Leonardo
, Oxford University Press, 2004, pp. 13–14.

23
. See Bramly (1991), p. 144.

24
. Clark (1989), p. 59.

25
. See Bramly (1991), p. 156.

26
. Ibid., p. 91.

27
. Ibid., p. 157; see also White (2000), p. 83.

28
. See White (2000), p. 81.

29
. See Pedretti (1999), p. 16.

30
. See Keele (1983), pp. 9–11.

31
. See Arasse (1998), pp. 350–61.

32
. Clark (1989), pp. 74–75.

33
. See Chapter 1.

34
. See Clark (1989), p. 78.

35
. Roberts (1989).

36
. Arasse (1998), p. 361.

37
. Anonimo Gaddiano (1542).

38
. Ludovico’s official title was Duke of Milan and, like other powerful rulers of the Renaissance, he was often referred to as a prince.

39
. See Pedretti (1999), p. 32.

40
. See Bramly (1991), p. 158.

41
. See Chapter 1.

42
. Codex Atlanticus, folio 1082r.

43
. See Clark (1989), p. 85.

44
. Keele (1983), p. 11.

45
. See Bramly (1991), pp. 183–84.

46
. See Chapter 2.

47
. See Kemp (1981), pp. 93–94.

48
. For the comparison of the two paintings, based on the analysis of Leonardo’s geology, see Pizzorusso (1996); for the corresponding botanical analysis, see Emboden (1987), p. 125.

49
. Clark (1989), p. 93.

50
. See Chapter 2.

51
. Laurenza (2004a), p. 23.

52
. See Arasse (1998), p. 43.

53
. See Keele (1983), p. 20.

54
. See Laurenza (2004a), p. 24.

55
. Codex Atlanticus, folio 888r.

56
. See Arasse (1998), p. 37.

57
. See Emboden (1987), p. 21; Kemp (2004), pp. 165–66.

58
. Clark (1989), p. 129.

59
. See Chapter 9.

60
. Laurenza (2004a), p. 27.

61
. See Guillaume (1987).

62
. See Chapter 2.

63
. See Bramly (1991), p. 192.

64
. See Heydenreich (1969).

65
. See Arasse (1998), p. 397.

66
. See Chapter 2.

67
. See White (2000), pp. 127–28.

         
CHAPTER
4