Leonardo and the Last Supper (56 page)

36
See Larry J. Feinberg, “Visual Puns and Variable Perception: Leonardo’s
Madonna of the Yarnwinder
,”
Apollo
(August 2004): 38. For examples of Leonardo’s rebuses, see Pedretti,
Commentary
, vol. 1, 388–94.

37
Commines,
Memoirs
, 228.

38
Ibid., 193.

39
Ibid.

40
Quoted in Cartwright,
Beatrice d’Este
, 271.

41
Commines,
Memoirs
, 198.

42
Quoted in Cartwright,
Beatrice d’Este
, 272–73.

43
Commines,
Memoirs
, 201.

44
Quoted in Cartwright,
Beatrice d’Este
, 284.

45
Commines,
Memoirs
, 214.

46
Ibid., 216.

47
Guicciardini,
The History of Italy
, 105.

Chapter 7

1
Palomino, quoted in Mary Philadelphia Merrifield,
The Art of Fresco Painting as Practised by the Old Italian and Spanish Masters
(London: Charles Gilpin, 1846), 70.

2
E. H. Ramsden, ed.,
The Letters of Michelangelo
, vol. 1 (Stanford: Stanford University Press, 1963), §208. Barna’s fate is recorded in Giorgio Vasari,
Lives of the Most Eminent Painters, Sculptors and Architects
, 10 vols., vol. 2, trans. Gaston du C. de Vere (London: Philip Lee Warner, 1912–15), 5.

3
Giorgio Vasari,
Lives of the Artists
, 268.

4
Quoted in Merrifield,
The Art of Fresco Painting
, 53.

5
Pedretti,
Commentary
, vol. 1, 21.

6
Pinin Brambilla Barcilon, “The Restoration,” in
Leonardo
: “
The Last Supper
,” trans. Harlow Tighe (Chicago: University of Chicago Press, 2001), 409.

7
Quoted in Merrifield,
The Art of Fresco Painting
, 53.

8
Quoted in ibid., 71.

9
Quoted in ibid., 55.

10
Quoted in ibid., 113.

11
On these fingerprints, see David Bull, “Two Portraits by Leonardo:
Ginevra de’ Benci
and the
Lady with an Ermine
,”
Artibus et Historiae
13 (1992): 70 and 81.

12
Richter, ed.,
The Literary Works
, vol. 1, §634.

13
See Charles Lock Eastlake,
Materials for a History of Oil Painting
(London: Longman, Brown, Green, and Longmans, 1847), 185. The account of Hubert’s relics is found on pp. 191–92. For Vasari on the invention of oil painting, see Maclehose, ed.,
Vasari on Technique
, 226.

14
Christopher Kleinhenz, ed.,
Medieval Italy: An Encyclopedia
, vol. 2 (New York: Routledge, 2004), 834.

15
Eastlake,
Materials
, 46.

16
Quoted in Eastlake,
Materials
, 213.

17
Vasari,
Lives of the Most Eminent Painters, Sculptors and Architects
, trans. Gaston du C. de Vere, vol. 3, 104.

18
See Joseph Archer Crowe and Giovanni Battista Cavalcaselle,
The Early Flemish Painters: Notices of their Lives and Works
(London: John Murray, 1857), 211–12.

19
Leon Battista Alberti,
On the Art of Building in Ten Books
, trans. Joseph Rykwert, Neil Leach, and Robert Tavernor (Cambridge, MA: MIT Press, 1991), 177.

20
See Ladislao Reti, “Two Unpublished Manuscripts of Leonardo da Vinci in the Biblioteca Nacional of Madrid, Part II,”
The Burlington Magazine
110 (February 1968), 81.

21
Vasari is the main source for information on these works. While Vasari is not always reliable, John R. Spencer has written that he was obviously familiar enough with Castagno’s paintings in Santa Maria Nuova to describe them in some detail. See Spencer,
Andrea del Castagno and His Patrons
(Durham, NC: Duke University Press, 1991), 81–84. Furthermore, the ledger for Santa Maria Nuova records payments made to Veneziano for linseed oil. See Hellmut Wohl, “Domenico Veneziano Studies: The Sant’ Egidio and Parenti Documents,”
The Burlington Magazine
113 (November 1971): 636. Wohl is skeptical, however, about whether these payments verify Vasari’s story.

22
Howard Saalman, “Paolo Uccello at San Miniato,”
The Burlington Magazine
106 (December 1964): doc. 7, 563.

23
Barcilon, “The Restoration,” 416. Carlo Vecce describes this technique of mixing tempera and oil as “revolutionary”: see Vecce,
Leonardo
(Rome: Salerno Editrice, 1998), 154.

24
Barcilon, “The Restoration,” 411.

25
Mauro Matteini and Arcangelo Moles, “A Preliminary Investigation of the Unusual Technique of Leonardo’s Mural
The Last Supper
,”
Studies in Conservation
24, no. 3 (August 1979): 125–33. See also Barcilon, “The Restoration,” 336 and 412.

26
Morris Hicky Morgan, trans.,
Ten Books on Architecture
(Cambridge, MA: Harvard University Press, 1914), 246.

27
See John F. Moffitt, “Painters ‘Born Under Saturn’: The Physiological Explanation,”
Art History
11 (1988): 195–216; and Piers Britton, “‘
Mio malinchonico, o vero...mio pazzo
’: Michelangelo, Vasari, and the Problem of Artists’ Melancholy in Sixteenth-Century Italy,”
Sixteenth Century Journal
34 (Fall 2003): 653–75.

28
Ibid., 13.

29
Barcilon, “The Restoration,” 412.

30
Ibid., 416.

31
Ibid., 416.

32
Quoted in Merrifield,
The Art of Fresco Painting
, 49.

33
Richter, ed.,
The Literary Works
, vol. 1, §264.

34
Ibid., vol. 1, §280.

35
Chevreul’s 1839 work,
De la loi du contraste simultané des couleurs
, was expanded by Charles Blanc in 1867. The theories were then popularized by the American physicist Ogden Rood, whose 1879 treatise
Modern Chromatics
was translated into French in 1881. Neither Chevreul nor his followers appear to have been aware of Leonardo’s writings.

36
Richter, ed.,
The Literary Works
, vol. 1, §265.

37
Hamlin Garland, “Impressionism,” in Charles Harrison, Paul Wood, and Jason Gaiger, eds.,
Art in Theory, 1815–1900: An Anthology of Changing Ideas
(Oxford: Blackwell, 1998), 930.

38
Richter, ed.,
The Literary Works
, vol. 1, §626.

39
Ibid., vol. 2, §1540.

40
John Gage,
Color and Culture: Practice and Meaning from Antiquity to Abstraction
(Berkeley and Los Angeles: University of California Press, 1999), 131.

41
Richter, ed.,
The Literary Works
, vol. 1, §§621, 622, 626, and 627. For Leonardo’s purchases from San Giusto alle Mura, see Villata, ed.,
Documenti
, 14.

42
Quoted in Marani, “Leonardo’s
Last Supper
,” 61, n 1.

43
Ascanio Condivi,
The Life of Michelangelo
, 2nd ed., trans. Alice Sedgwick Wohl, ed. Hellmut Wohl (University Park: Pennsylvania State University Press, 1999), 58. For Michelangelo’s assistants, see William E. Wallace, “Michelangelo’s Assistants in the Sistine Chapel,”
Gazette des Beaux-Arts
11 (December 1987): 203–16.

44
Quoted in Michael Baxandall,
Painting and Experience in Fifteenth-Century Italy
(Oxford: Oxford University Press, 1972), 23.

45
Richter, ed.,
The Literary Works
, vol. 2, §§1466 and 1467.

46
Luke Syson et al.,
Leonardo da Vinci: Painter at the Court of Milan
(London: National Gallery, 2011), 278.

Chapter 8

1
Commines,
Memoirs
, 227.

2
Quoted in Cartwright,
Beatrice d’Este
, 219.

3
David Nicolle,
Fornovo 1495: France’s Bloody Fighting Retreat
(Oxford: Osprey, 1996), 80.

4
Commines,
Memoirs
, 234.

5
Ibid., 242.

6
Ibid., 244.

7
Cartwright,
Beatrice d’Este
, 279.

8
Quoted in Pedretti,
Commentary
, vol. 1, 55–56.

9
See Pedretti,
Commentary
, vol. 1, 174. On Leonardo’s textile machines, see Kenneth G. Ponting, ed.,
Leonardo da Vinci: Drawings of Textile Machines
(Bradford-on-Avon: Moonraker Press and Pasold Research Fund Ltd., 1979).

10
Vasari tells the story of this commission in his life of Cronaca, not in his life of Leonardo: see “Life of Simone, called Il Cronaca,” in Giorgio Vasari,
Lives of the Most Eminent Painters, Sculptors and Architects
, 10 vols., vol. 4, trans. Gaston du C. de Vere (London: Philip Lee Warner, 1912–15), 270. Vecce suggests that Leonardo may have been called by Savonarola as a consultant: see
Leonardo
, 152.

11
Quoted in Vecce,
Leonardo
, 208.

12
Quoted in Lauro Martines,
Scourge and Fire: Savonarola and Renaissance Florence
(London: Jonathan Cape, 2006), 126.

13
Luca Landucci,
A Florentine Diary from 1450 to 1516
, trans. Alice de Rosen Jarvis (London: J. H. Dent, 1927). 89.

14
Quoted in Pastor,
History of the Popes
, vol. 5, 481.

15
Anne Borelli and Maria C. Pastore Passaro, eds.,
Selected Writings of Girolamo Savonarola: Religion and Politics, 1490–1498
(New Haven: Yale University Press, 2006), 220.

16
Landucci,
A Florentine Diary
, 101. See also John M. Najemy,
A History of Florence, 1200–1575
(Oxford: Blackwell, 2006), 395–96. For Savonarola’s attack on classical learning, see Vincent Cronin,
The Florentine Renaissance
(London: Collins, 1967), 272–73.