Upon his death, in 1519, Leonardo da Vinci He left more than just paintings and frescoes that crown him as one of the great references of Renaissance painting. Just as (or even more) important to understanding the depth of his genius are his personal notebooks, full of notesillustrations, graphics… come from his own handwriting and sprinkled with his characteristic mirror writing. By chance of history, in the 16th century this bibliographical treasure suffered a ‘act of editorial vandalism’ that has conditioned the way we understand Leonardo.
Until now.
An unfortunate legacy. The name of Francesco Melzi Maybe it doesn’t tell you much. And it’s normal. Melzi was an Italian painter of the 16th century whose memory has been eclipsed for posterity by geniuses of the stature of Michelangelo, Raphael Sanzio and Leonardo Da Vinci, of whom he was a disciple. However, Melzi does stand out for something, a role that has conditioned our way of understanding the author of ‘La Mona Lisa’: upon Leonardo’s death, Melzi became his executor, responsible for looking after his manuscripts.
That enormous legacy made up of hundreds and hundreds of manuscript sheets ended up in the hands of Pompeo Leoni (1533-1608), a sculptor from Arezzo, in Tuscany, who one day decided to dismember Leonardo’s notebooks. The result was disastrous, although to be honest Leoni’s objective was not to destroy the notebooks, but to ‘reorganize’ them following an arbitrary criterion.
And what was the result? Basically Leoni dedicated himself to separating, classifying and putting together sheets of Leonardo’s notebooks and loose pages in a whimsical way. Based on what he considered best. The result was that many of the annotations that Da Vinci had recorded in the same set of manuscripts between the mid-1470s and his death in 1519 were divided into two different codices.
In one, the largest, Leoni included all material (drawings and writings) of a technical or scientific nature. The second, smaller codex was reserved for material that in his opinion had an artistic and figurative character.
From Italy to England. Leoni’s ‘attack’ did not end there. At the beginning of the 17th century his son-in-law, Polidoro Calchi, decided to get rid of the material he had inherited from the sculptor, which caused Da Vinci’s old notebooks to end up scattered around the world, separated by hundreds of kilometers.
The first codex, that of technical annotations, today known as Codex Atlanticusended up in the hands of Count Galeazzo Arconati, who in turn donated it in 1637 to the Veneranda Biblioteca Ambrosiana. The second codex traveled even further. Around 1620 he ended up in England and half a century later was integrated in the Royal Collection at Windsor.
Righted the wrong. More than four centuries later that capricious dismemberment of Da Vinci’s annotations has been amended at last. At least in part. A few days ago the Italian embassy in the United Kingdom, the Ministry of Culture and representatives of the Galileo Museum, the Veneranda Biblioteca Ambrosiana and the Royal Collection Trust presented in London a new tool named ‘Leonardotheka 2.0’.
The name gives a clue to its approach: it is nothing more nor less than an immense ‘library’ digital of Da Vinci’s legacy, a resource that allows many of the manuscripts of the Renaissance genius to be consulted in an accessible and agile way. The Galileo Museum slide that from now on, whoever wishes will be able to explore the material by accessing the archives independently or with cross searches, in addition to “the results of more than 200 years of research” on Da Vinci’s career and work.
3,500 pages. Beyond that advantage, what is really important about Leonardotheka 2.0. is that, as remember The authorities of Florence have gathered around 3,500 manuscript pages by Leonardo that in some cases had been separated since the end of the 16th century. It is a virtual union, not a physical one, but it is still a milestone and helps to right the mistake made centuries ago by Pompeo Leoni.
In total, the digital library brings together the 1,119 folios of the Codex Atlanticus and 550 pages from the Royal Collection of Windsor. Some sources specify that it is about one third of Da Vinci’s entire surviving legacy, which also includes the codices preserved in Madrid.
Is it that important? Regardless of what it may mean for researchers, Leonardotheka 2.0 is important for several reasons. The main one is that it has allowed us, in words of the Galileo Museum, “reconstruct the original state of Leonardo’s manuscript legacy before Leoni’s disastrous intervention” in the 16th century. And that is not a minor detail. Although the separation between art and science might make sense to Leoni, the truth is that goes against of the Renaissance mentality that Leonardo embodied.
“It offers a new perspective on his thinking, vision and working methods,” they underline from Florence. “The platform highlights the connection between scientific studies and the figurative drawings of the Tuscan genius.”
Beyond Leonardo. “This project not only helps to recover the complexity of Leonardo’s work in its original form, but also contributes to the new interpretation, in development for several years, of this crucial period in European history. Using digital tools designed to analyze the original texts, Leonardotheka 2.0 will make this challenge possible,” highlights Michele Ciliberto, from the National Institute of Renaissance Studies.
Filling gaps. The second reason why the project is so important is that it has allowed us to recover pieces that had been damaged when the notebooks were dismembered in the 16th century. To be more precise, those responsible for the Leonardotheka they assure who have been able to “reconstruct” 50 manuscripts “thanks to the insertion of fragments preserved in Windsor within the pages of Codex Atlanticus, restoring their original context.”
One of the reconstructions carried out by the experts has made it possible to “reconcile” the drawing of a horse preserved in the British collection with a note on an equestrian monument preserved in the Codex Atlanticus. “The restored folio probably ‘photographs’ the moment when Leonardo conceived the horse sketch intended for the ambitious, but never completed, equestrian monument dedicated to Francesco Sforza,” duck the Florentine Government.
What is this 2.0? What the authorities have just presented is Leonardotheka 2.0. That last tagline is important because it reminds us that the platform is not exactly new. The idea was announced in 2017 and after years of work it culminated in a first version launched in the spring 2023although at that time its collection was nourished by high-resolution images and transcriptions of the Codex Atlanticus.
Now its new version allows us to go one step further, enrich the base with the material preserved in the United Kingdom and (above all) correct a historical error that has marked our vision of Da Vinci since the end of the 16th century.
Images | Wikipedia 1, 2 and 3
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