LD AND O NE TO DC OR RN

Figure 1. Portrait preserved in the Biblioteca Reale in Turin

Town Planner Architect Engineer Engineer
Leonardo Da Vinci - Town Planner, Architect, Engineer
Leonardo Da Vinci - Town Planner, Architect, Engineer ..........................
............... 2 The Renaissance .............................. ...............
.. .................................................. ..........................
........................ ........... 3 Renaissance architecture ................
................. .................................................. ...........
......... 4 Leonardo Da Vinci - Life ....................... ...................
............................... .................................. 5 first Flore
ntine period (1452-1482 )....... ...............................................
... ................ 5 first Milanese period (1482-1499) .......................
.. .................................................. .5 second Florentine perio
d (1499-1506) ........................................ SECOND PERIOD ...........
............... 6 MILANESE (1506-1513) ............... .........................
......................... ..... 6 ROMAN PERIOD (1513-1516 ).....................
................ .................................................. ...... 6 Fre
nch period (1516-1517 ).................................... ....................
.............................. .... ...........................................
7 Leonardo Painter .................................................. ..........
........................ 7 Codes ............. .................................
................. .................................................. ...........
................. 7 PRODUCTION ARCHITECTURAL - ENGINEERING OF LEONARDO .........
...... ............ ................................... 8 THE CHURCHES .........
......................................... ......................................
....... 8 WORKS OF ENGINEERING MILITARY ........................................
......... Galata Bridge ............................. 10 ................. .....
............................................. ..................................
........... 13 The Vitruvian Man ...............................................
... .................................................. 16 .......... THE CITY 'I
DEAL ................................... .......................................
........... the ship of Martesana ................................ 17 ..........
... .................................................. THE GEOGRAPHY OF LEONARDO
........................ 21 ..................... .............................
..................... ....................... 23 THE BRIDGE OF NORWEGIAN LEONARD
O ..................... .................................................. MORE
MINDS .......... 24 ...................................... .....................
............................. .......................... 26 Cesare Borgia - The
Duke Valentino ................. ...............................................
... ................. 26
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The Renaissance
The Renaissance was a logical development of that literary movement of the late
fourteenth and first half of the fifteenth century, known as humanism. Is common
ly regarded as the late Middle Ages and early modern cultural and scientific ren
ewal began in the fifteenth century in Italy, where one of the main centers was
Florence, and then spread throughout Europe in the early sixteenth century. Some
historians place the end of the Renaissance in 1527, when German and Spanish tr
oops sacked Rome. In art LEONARDO [cf. pg. 5], Raphael, Michelangelo was the uns
urpassed masters of that period. The artistic and literary fact was, however, ma
nifestations of a much broader view of life and the world in which moral and rel
igious ideals were interwoven with human ideals and literature. The Renaissance
saw the emergence of a new ideal of life and the flourishing of the humanities a
nd fine arts, with the end of a fragmented society of feudal agricultural econom
y based primarily on an intellectual and cultural life inspired by religious tho
ught . The decentralized political structure was transformed into a society domi
nated by political institutions controlled by capital, which favored an economy
of urban and secular patronage in art and literature. The Italian Renaissance wa
s, as already mentioned, essentially an urban phenomenon, a product of the riche
st Italian cities such as Naples, Rome, Florence, Ferrara, Milan and Venice. It
was the wealth of these cities due to the period of great economic expansion of
the twelfth and thirteenth centuries, to make possible the cultural achievements
of this era. The merchants who operated in these cities controlled the trade an
d financial flows across Europe and therefore favored flowering.€This contrasts
with the mercantile society was still tied to the rural traditions of medieval E
urope. The power of reason prevailed on faith and the dogmatic tradition was rep
laced experimental research: so you saw the birth of modern science. Renaissance
man of nature appears as a balance and harmony in art there were references rea
listic, sometimes a bit 'crude but reconciled poetry with a magic atmosphere tha
t recalls the legendary "golden age". The study of the ancients was to provide a
way of life and art. This mental attitude culminated in the cult of beauty and
search for purity of form. The Renaissance man felt he could forge their own his
tory, forcing the course of events, under the impulse of human passions and inte
rests, having relegated to the background and the divine power are limited by th
e concept of "luck" in part was the fatal concatenation of events, and partly in
scrutable divine manifestation. The man, in fact, had not created a system divor
ced from moral and religious presuppositions and then faced the conflict between
the discovery of their individuality and freedom, the essential laws of nature
and the divine. Thus emerged that need renewal and Christian morality that opene
d the way for the Reformation. The sunset of the Renaissance began with the poli
tical and economic decline in Italy, when you put out those creative forces that
gave force. With the unfortunate politics of the peninsula diminished faith in
human capacity, resurface the miraculous, the sense of insecurity, and political
thought fled. 3 02/23/2008
The Renaissance stands in history as a period that embraces the ideal of society
in which "Man is the center of the universe." (This is worthily represented by
the famous Vitruvian Man drawing) [cf. pg. 16]
The architecture in the Renaissance
Born in Italy and then spread all over Europe, the Renaissance style. The archit
ecture of the Renaissance originated in Florence in the early fifteenth century
in relation to the work of Florentine artists and intellectuals as Filippo Brune
lleschi and Leon Battista Alberti. Brunelleschi was commissioned to build the cu
pola of Florence Cathedral of Santa Maria del Fiore, the crown of a gothic-style
absolute ruler in the last centuries of the Middle Ages. The size, proportions,
the technical difficulties overcome, the setting of the yard el'accentramento t
he role of the architect make the dome one of those works that mark the transiti
on to a new age. The Renaissance architecture is characterized by the resumption
of orders and proportions of the classical world, particularly Figure 2. Photos
of the dome of the Roman and aversion to how Brunelleschi built shortly before
the Gothic. Among the cultural factors that affect this new address architecture
is the development of humanism and the consequent taste for classical architect
ure that results in the study of forms of beautiful old buildings, ie the Romans
. The style is no longer dependent on technical possibilities, as in the Gothic
period, but by aesthetic principles: • SYMMETRY (both in plan and elevation) • p
roportions • SYSTEM OF ORDERS (with the return of capitals, Doric, Ionic, Corint
hian, Tuscan and composite); It identifies beauty with absolute respect for thes
e principles, especially proscribe the pointed arch for the benefit of the arch.
The Renaissance architecture and medieval waiver of technical virtuosity; bans
as excessively bold vertical volumes, the relaxation of opening walls to light.
The architects of the Renaissance study the monuments of the classical age, lead
ing to use the ruler and compass to draw the team building plans, as in Roman ti
mes. During the Renaissance, however, they also think the new building types suc
h as suburban villa and the palace. A complex art with the systematic use of sym
metry and proportions requires a culture that is why it is modeled on the unique
architectural features of the classical age, "De Architectura of Vitruvius, wit
h the consequent production of treated make art more contemporary classical, and
Renaissance.
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That the figure of the medieval master mason is replaced by that of an artist wh
o incorporates, significantly, the greek name "architect." This concept, with in
novative features, was revived in the early nineteenth century and led to the bi
rth of Neo-Classicism.
Leonardo Da Vinci - Life
He was a famous painter,€inventor, engineer and architect of the Italian Renaiss
ance. In my study I will consider Leonardo Da Vinci just as an architect and eng
ineer.
First Florentine period (1452-1482)
April 15, 1452: Born in Vinci, near Florence. His father, Ser Piero da Vinci, wa
s a householder, or perhaps a notary and his mother a peasant girl named Caterin
a. Since Leonardo was born before the introduction of modern European surnames,
his full name was "Leonardo di ser Piero da Vinci. Can be considered an archetyp
e of the Renaissance man and has often been called a genius because of its excel
lence in all arts, for his scientific discoveries and technical inventions, whic
h are very ahead of his time. 1469: Leonardo with the help of his father, become
s an apprentice in the Florentine workshop of Andrea del Verrocchio, formerly fr
equented by artists such as Botticelli, Ghirlandaio, Perugino, etc ... 1472: Joi
n the guild of St. Luke the Florentine painters
First Milanese period (1482-1499)
1482-83: left Florence to go to Milan where he enters the service of Ludovico Sf
orza, Duke of Milan. The collaboration is attested by a letter where Leonardo of
fers his services and describes its plans for military bridges, instruments of s
iege artillery, machine excavation of tunnels, military ships as a last resort a
nd only hints at works of hydraulic architecture , painting and sculpture. In Mi
lan, Leonardo, as Duke's engineer, architectural design work, run some projects
for the Duomo and the city's urban Figure 3. The Last Supper (see ideal city). [
Cf. pg. 17] Of this period are also plans for the flooding of ditches of the cas
tle and the theory of proportions. 1483: He goes to Pavia with Francesco di Gior
gio Martini fabbricieri request of the Cathedral 1494: Study the resistance of d
ifferent types of arches 1495: Begins to paint the Last Supper (completed after
two years) 1498: The French, after 3 years of battles, manage to conquer Milan f
ell without a fight, overthrowing Sforza.
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Second Florentine period (1499-1506)
1499: Leonardo then, with his friend Luca Pacioli and inventor, left Milan for M
antua, moving after two months in Venice (1500) and then back to Florence. 1502:
In Florence, Leonardo entered the service of Cesare Borgia (also called "Duca V
alentino" and son of Pope Alexander VI) [cfr.pg.26] as a military engineer and a
rchitect. 1502: commissioned by Valentino, studied the structures of the canal p
ort of Cesenatico and, having done a careful survey, drew a series of improvemen
ts and modifications that were subsequently adopted, made a safe haven of the ha
rbor, including its strategic-military, as was demonstrated during the Napoleoni
c period. 1503: Draw topographic maps. [Cfr.pg.23] Figure 4. Bird's eye view of
1504: He painted the Mona Lisa. Channel-Port and the Village of the city 1506-8:
He studied the elements (water, air, fire) Romagna
MILANESE SECOND PERIOD (1506-1513)
1506: Charles d'Amboise, the French governor of Milan and the King Louis XIII, r
equire his presence in Milan. Here Leonardo meets Francesco Melzi, who became a
dear friend and companion until his death and later his heir. For the governor L
eonardo designed a suburban villa outside the eastern gate. Of this period are a
lso some drawings for the expansion of the Villa Melzi Vaprio d'Adda. 1510: He m
akes a variety of anatomical research, participates in numerous autopsies produc
ing a number of extremely detailed anatomical drawings, to contemporaries was no
t natural that a man could go to the morgues to dissect corpses and so their und
erstanding of the anatomy that the genius of Leonardo was watched with suspicion
.
Figure 5. Leonardo's anatomical drawing, depicting a human fetus
ROMAN PERIOD (1513-1516)
1513: He goes to Rome, hoping for protection of Leo X, the new pope, belonging t
o the Medici family. For three years Leonardo stayed in Rome, the Vatican host o
f Giuliano de Medici and stay in the Belvedere. At this time Leonardo was primar
ily concerned with scientific and mathematical studies 1515: Draw your own portr
ait
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French period (1516-1517)
1516: Leonardo entered the service of Francis I of France, who had managed to re
sume in Milan a year ago, charged with first painter, engineer and architect of
the King was given the use of the manor of Clos Luce, near the Amboise castle re
sidence of the King, together with a generous pension. King Leonardo and become
good friends. 1517: Process design for the building of Romorantin, royal residen
ce of Francis May 2, 1519: Dies at the age of 67 years, the castle of Cloux near
and Amboise in France. According to his wishes,€60 beggars followed his casket.
He is buried in the chapel of Saint-Hubert in the castle of Amboise, his ashes
will be scattered during the disturbances of the Huguenot wars. A month before h
is death had drawn up a will naming an executor Francesco Melzi, Leonardo left h
im all his books and drawings.
Figure 6. The Castle of Amboise
Leonardo Painter
The work of painter Leonardo is perhaps the best known of the life of the versat
ile genius, but this activity is probably smaller, only a few paintings by Leona
rdo arrived today (mainly for use by Leonardo of continuous innovations in color
and painting technique).
Codes
Very broad, however, was the scope of its speculative activities, which focuses
mainly on the relationship between the various arts and investigation of the cau
se of natural phenomena. Leonardo's approach to science was observational: tryin
g to understand the phenomena and describe and depict the smallest detail in a c
ombinatorial mixture of art and science. This type of investigation, pursued thr
ough many studies and drawings, now collected neatly divided into ten codes: • C
odex Arundel: in the British Museum in London; • Ashburnham CODE: preserved at t
he Institut de France in Paris; • ATLANTIC CODE: ( the largest code of Leonardo)
preserved in the Biblioteca Ambrosiana in Milan • CODE FORSTER: preserved at th
e Victoria and Albert Museum in London; • CODE OF THE INSTITUTE OF FRANCE: also
kept at the Institut de France in Paris; • Codex Leicester: also known as the Co
dex Hammer is preserved today in Seattle, in the private collection of Bill Gate
s • MADRID CODES: preserved in the National Library in Madrid • Trivulzio CODE:
kept in the library of the Castello Sforzesco in Milan • WINDSOR CODE: conserved
at the Royal Castle of Windsor, England; • CODE ON FLIGHT OF BIRDS: preserved a
t the Biblioteca Reale in Turin 7 02/23/2008
This huge mass of writings, certainly more significant of the Renaissance period
, immediately after Leonardo's death, many vicissitudes. Were Melzi's heirs afte
r his death in 1570, to start the dispersion of this vast material, even, having
no understanding of the importance, initially left the notebooks in an attic an
d then give them away or sell them cheaply to friends collectors. Major responsi
bilities of redistribution of the cards has the seventeenth-century sculptor Pom
peo Leoni, who with the intention to separate the artistic designs from technolo
gical and unify the scientific pages, the dismemberment of the original manuscri
pts, cutting and moving pages so 'to form two large Collection: Atlantic Code [c
f. pg. 7] and Windsor Collection [cf. pg. 7], which has about six hundred drawin
gs. Continuing with the same system Leoni together at least four cases. From 163
7 to 1796 of the manuscripts were kept in the Biblioteca Ambrosiana, stolen by N
apoleon on his arrival in Milan. In 1851 only part of the writings back in Milan
, and others remain in Paris and more in Spain, where some will be found until 1
966. Here's why the great dispersion of the writings of Leonardo.
ARCHITECTURAL PRODUCTION - ENGINEERING OF LEONARDO
CHURCHES
Attracted by classical forms, Leonardo developed sketches of churches with a cen
tral plan, which could be seen in architectural symmetry obtained with complex s
tructures apses, niches, arcades or tabernacles. Among the numerous sketches I'v
e chosen two that I find most interesting from the point of view, respectively,
by the proposed solutions and the processing model used by Leonardo.
A CHURCH PLANT Gemma probably drawn between 14871490. [Cfr.pg.5] The church is c
omposed, in plan, a regular octagon central overlooked, through narrow corridors
, eight identical chapels, each of which insists on a ' semicircular apse. It is
therefore a feasibility study on development of a plant by budding, ie radially
articulating elements similar shape but different size.
Figure 7. Leonardo's sketch depicting the Church Gemmated
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Centrally planned church or two levels: model of centrally planned church with f
our semicircular apses who insist on two orthogonal axes (horizontal and vertica
l) approximating the plant to a diagram of a Greek cross. There are also eight r
ound chapels of the same size and four blocks of stairs at the entrances. What m
akes this building is the development of environments on two superimposed levels
. The design and annotations are strongly inspired by the Church of Holy Sepulch
re in Milan [cfr.pg.5]€Leonardo visited several times and described in detail in
his notes. The paper, dated between 1478 and 1490, contains three drawings of t
he same church: top view of the whole, split side thereof, in a square with expl
anatory note with letters ab-c-d, respectively, indicating lantern above (cd) an
d below (ab). What makes this building is being lived both above and below. Leon
ardo fact in the note reads "This building is inhabited below and above, as the
Holy Sepulchre. E 'above as below unless the above has called the lantern and be
low the lantern has ab and when they enter the church below, and 10 steps when y
ou drop you in the mountains you climb above 20 ".
Figure 8. Leonardo's sketch depicting the Church at Two Levels
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THE WORKS OF MILITARY ENGINEERING
FORTRESS MOUNTAIN WITH TWO CINT DEFENCE: The design of the fort can be traced ba
ck to around 1507 [cfr.pg.6]. It follows from the known side, where Leonardo tel
ls of an incident really happened in that year and is attributed to a betrayal o
f military expenditure which did Simone Arrigoni, betrayed by a certain Jerome P
oggio, his captain. In the note, below, describes Leonardo widely innovations th
at will be taken, with particular reference to the increased ratio measure in pl
an and elevation with the introduction of thick curtain walls can absorb the blo
ws of firearms.
Figure 9. Leonardo's sketch depicting the Fortress Mountain
Another important innovation is the total absence of battlements. The crowning o
f the entire wall structure is indeed formed by a low parapet, with receding pro
file to deflect enemy fire. Here are obtained slots for batteries defensive. Ano
ther highlight is the slope of two square towers of the first round Curtain defe
nsive perimeter quest'accorgimento, implemented on non-defended by the barbican
towers outside, allows the shots flanking the defense along the walls and avoid
creating dead spots where the enemy is safe from the artillery shots defensively
. In this regard, in the note below so 'Leonardo writes: "Do not let the shoes o
f the towers above the corners of the fortresses that Siena retonda shape, so th
at, being such tower without machicolations, the enemy is not safe to cut, at wh
ich little is done in between the bomber, who Battana side there for two walls t
hat are joined to them ...". The tower model is a mountain fortress probably alr
eady existed, Leonardo reworked to better resist the increased strength of the o
ffensive new firearms, developed in the second half 'del'400. The barbican, prob
ably not in defense of an entry to the base of the castle, in the drawing indica
ted by the word "underground" consists of three towers slopes severely from whic
h develops a curtain wall with round top and Figure 10. Model of a mountain rock
outcrop with a central opening angle of about 125 degrees. The perimeter walls
double concentric defends the mighty central tower, perhaps dwelling of the lord
. 10 23 / 02/2008
CORNER ROCK WITH TRIPLE DEFENSE Radente design, probably made during his first s
tay in Milan Leonardo [cfr.pg.5], represents a corner of rock, with two corner f
ortifications. The first inside the perimeter, the second on a corner. The two b
uildings overlooking the moat without excavation proceeds, but with a retaining
wall and a significant carry-over of land. Especially interesting is the innovat
ive positioning of flanking defenses to the shootings, made by placing a row of
guns hanging on the rock, so you can hit any attackers who had Figure 10. Plasti
c display at the Museum of Science and Technology reached the top of the ditch.
Milano The objective of this structure is to organize a series of stages of shot
s Plain affecting the attackers at points where it 'difficult to advance: the ba
nk, the ditch, the curtain, the upper walkway.
Drawings on paper, with their captions, executed with pen and sepia ink, dated b
etween 1487 and 1490. The particular design shown here is at the bottom right is
a view in plan and perspective of the angular area of a fortress with a square
body of the building protruding; "flying fortress ditches and holes from the ban
k were .
Figure 11. Leonardo's sketch depicting the angle of rock
11
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RIVELLINI O triangular bastion The design of this lunette, probably inspired arc
hitecture already exists,€dates from the time when Leonardo was in Romagna to ov
ersee the military fortifications of Cesare Borgia [cfr.pg.26]. The period in wh
ich Leonardo worked for Duke is one of the most prolific genius from the enginee
ring point of view-map. In fact Leonardo traveled for almost a year, through the
territories conquered by the commander: making examinations and surveys, outlin
ing some of the plants of the city and topographic maps [cfr.pg.23] (a starting
point for modern cartography), building fortresses, making for the port of Cesen
atico, a shelter from the waves and building war machines. One example deals wit
h the fortress of Imola, damaged by the previous siege, and then he needs to be
strengthened. Leonardo is interested in the problem, starting with designing the
new interior of the fortress, eventually drawing the entire map of the city. Th
e model is an outpost, or barbican, the entry for the defense of a fortress.
The model, a triangular shape, having three small buildings on top of service, a
lso possesses a path used as a parade ground for the top row of cannons.
Figure 11. Plastic Rivellino
The paper, dated between 1501 and 1504, shows the pattern (inverted), executed i
n pen with sepia ink, a triangular bastion seen in plan and elevation. The desig
n, which seems to refer to existing architectural mode (probably the center of I
taly, Romagna and Lazio), has a strong bastion shoes, drum and corbels on arches
and battlements above. In the drawing, there is no reference to the entrance wi
th moat and drawbridge, which instead have been added in the model.
Figure 11. Leonardo's sketch depicting the Rivellino
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Galata Bridge
The design of the Galata Bridge, the reduced size (cm. 10 x 7), dated between 15
02 and 1503 [cfr.pg.6] is inserted in the manuscript "L", one of twelve "manuscr
ipts of France" [ cfr.pg.7] that Napoleon had transferred in 1795 from Milan to
Paris, where are still preserved. Shows a bridge runs in both plant in elevation
. "40 off arms, upper arms from the water 70 along arms 600, ie 400 and 200 abov
e the sea floor installation, faciendo himself back to himself"
Figure 11. Leonardo's sketch depicting the Galata Bridge
The bridge is then formed by a single span 240 feet long, with back ground of 60
meters, 23 meters wide and 40 water level. So a total length of 360 meters. The
design is complete sketch of tree-lined vessel that passes easily under the cen
tral span. The arched bridges, whose structure is such that vertical loads trans
late into actions that cause the supports pushed outward, often denote failure o
f foundations, located on the banks, with the consecutive failure of the entire
structure. To work around this Leonardo think of a double-headed support of the
bridge-shaped dovetail, to withstand the pressure better cross. Leonardo realize
s that doing so would strengthen it stand without rendering it excessive, then b
uilt, over the arch of the bridge, two other elements arc oblique served to rein
force the structure, but they were very thin at the center, so their weight is d
istributed on both sides . THE RESULT: A bridge of three arches combined. Leonar
do would have done to build this bridge? To build the Galata Bridge by Leonardo
and it should take: Distribute good weights; Knowing technical details of constr
uction: building a very strong foundation, and to this we must make very complic
ated calculations.
Figure 12. Artistic representation of the Galata Bridge (not by Leonardo)
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For this it is doubtful that Leonardo was a genius though, with antiquated techn
iques then available, could be capable. Analyzing the pattern can be observed th
at Leonardo, as elsewhere, has left us an image full of insights, as well as rou
gh and confused as to hinder the understanding thereof. In fact, while the appar
ent presence of two shoulders in the shape of the dovetail to better withstand t
he transverse forces, it is clear the position of the road indicated and not onl
y in lifting the plant, so as to assume the realization of the model retained Mu
seum of Science and Technology in Milan, the possibility of two viable ramp on t
he ends of the bridge.
Figure 13. Model of the Galata Bridge preserved in the Science Museum in Milan
Other scholars have instead interpreted the picture differently, identifying a s
ingle roadway supported the central span of the bridge structure and extended as
far back over her shoulder, to enhance stability.
Figure 14.€More realistic model of the Galata Bridge
It 'a huge bridge, so large that it was never built a well, the first of this si
ze was designed and built just over 50 years ago.
Figure 15. Analogy between the Galata Bridge and a modern bridge on piers
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HISTORICAL PERIOD: 1502-1503 [cfr.pg.6] time when Leonardo was in the service of
Cesare Borgia Romagna (Duke Valentino).
In 1502 the ambassadors of the Sultan Bayazid II of the Ottoman Empire were in R
ome in search of Italian engineers to replace the old bridge of boats on the Gol
den Horn in Constantinople, with a new more stable and lasting structure.
Figure 16. View of Istanbul: Bosphorus and Golden Horn
Leonardo was inspired to design, seen from a bridge at Castel del Rio in Romagna
, with a single span of 80 meters of 1499 by the architect Andrea Furrieri from
Imola.
The hypothesis of a Leonardo project to be proposed to the Sultan seems to be co
nfirmed in turkish translation of a letter, in which Leonardo offered its servic
es to the Ottoman sultan, bringing into play in case of failure for themselves.
Figure 17. The Galata Bridge was rebuilt after a fire today
15
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The Vitruvian Man
Leonardo's drawing, presumably dating from 1490 [cfr.pg.5], illustrates the cano
n of human proportions which Vitruvius, Roman architect of the first century BC,
 was at the center of his architectural theories, described in detail in the boo
k "De architectura". In the Renaissance, there was a rediscovery of the Treaty o
f Vitruvius, the only test of the classical architectural reached until the fift
eenth century, since it placed man at the center of the design as a measure of a
ll things. The ancient text was intended to demonstrate that human proportions a
re exactly inscribed in two perfect geometric figures such as circles and square
s, describing the man "to quadratum" man "to circulum. In Leonardo's drawing is
the novelty had superimposed the two pictures on the same sheet, carrying the si
multaneous perception of two different figures. The Vitruvian Man by Leonardo ca
n be understood as the result of a proposed anthropometry, in which the artist w
orked between 1487 and 1490 [cfr.pg.5] as Leonardo not only studies the proporti
ons dictated by Vitruvius, but compare with the experience of measuring human bo
dy made by himself. This results in the following proportions: The arm span is e
qual to the height of the entire body is halfway to the pubis, the arm to the wr
ist is 1 / 3 of entire body; Foot 1 / 7 (contrary to Vitruvius, which put him eq
ual to 1 / 6 of body height) head 1 / 8; The face and hand 1 / 9, Figure 18. The
Vitruvian Man, now preserved in the Gallerie dell'Accademia in Venice lip 1 / 1
2 the height of the face;
The design is a symbol of Leonardo, who influenced the Renaissance art and sculp
ture, as was virtually unknown until the early nineteenth century, but that was
the basis of modern art in recent centuries.
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THE CITY 'IDEAL
Figure 19. Model of the ideal city of Leonardo Da Vinci
Fre myths typically Renaissance, there is the ideal city. This is a perfect city
, orderly and rational, designed with the traditional canons of Renaissance arch
itecture, designed to show visually the power of man, the ideal city, however, f
inds it hard to translate into reality, imposing costs and long lead times make
settlement building from scratch a very sporadic phenomenon, by sectoral prefere
nce on existing urban fabric, limited to the reorganization of districts around
the palace of the prince. A city so full intellectual and theoretical, that retu
rns frequently in treatises of the period, by Leon Battista Alberti right up to
the great architects of the sixteenth century. The theme of the ideal city is al
so very beginning to deal with Leonardo in Milan around the year 1480 [cfr.pg.5]
. Unlike contemporary treatises, he seeks not so much a geometric organization o
f space as functional as giving solution to the problems of everyday life: • tra
ffic • The Provisioning; • The hygienic and sanitary requirements; These problem
s have a major role Leonardo's design. It is no coincidence that his studies for
the ideal city is confined in the aftermath of a serious outbreak of plague, wh
ich struck the capital in 1485-1486 Sforza (with sporadic events prottattasi unt
il 1490). In fact, Milan, medieval city, has a structure conducive to the spread
of infections: narrow, winding streets, high population density (especially in
neighborhoods poveeri);€Open sewers; Great spread of rats and pests around this
explosive situation the health, Leonardo think of a more urban open: • wide and
straight roads, with widespread use of porches, especially along routes overlook
ed by the elegant buildings; Figure 20. Leonardo's sketch depicting a canal
close to a mansion
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• Widespread presence of watercourses, to address this need, providing that the
city is located near a river from the course fast enough to avoid creating puddl
es that may pollute the air, (in the opinion of the writer Leonardo, in the abse
nce a river near Milan, think of the ships to make this work ripulizia) [cfr.pg.
21] Leonardo designed his ideal city available on three different levels: • LOWE
R LEVEL UNDERGROUND - Waterways [cfr.pg. 19] - Through closed basins and the riv
er water is piped up area through a network of channels through which you can pr
ovide the first urban cleaning ("... will often wash the convenience of city ...
") and the outflow of slurry, which is studied for a proper sewage system develo
ped at the basement. The issue of sanitation is essential, but the channels stil
l perform other important functions, such as to ensure communications and to fac
ilitate supply. The freight traffic in fact, at least in part, by water, which i
s organized so as to allow the unloading of food even within individual building
s, some of them are in fact equipped with storage basement, accessible directly
from external canal through a small dock. Leonardo also describes the legislatio
n to compel the owners of lots on the banks of the channels to help maintain the
same; • INTERMEDIATE LEVEL: - Roads - for traffic, vehicular and popular, and t
rade, for which must go carts and al'uso other burdens and convenience of the pe
ople "with mass-produced homes and wide track; • Upper level: - Walkways spaciou
s - is devoted to the movement of the upper classes, adorned with luxury homes a
nd gardens to stroll; These levels are connected by a network of passages and el
evated walkways that are separated from areas of heavy traffic. The city, theref
ore, on two levels above, was divided according to a strict separation between p
roductive activity and noble occupations, which is reflected in the very structu
re of the palace. The forms of buildings and architectural elements are defined
as a result of his studies on the proportions of the human body. [Cfr.pg.16] Leo
nardo's ideal city, however, presents a series of sketches (buildings and detail
s) entered into a common core evidenced by notes given by the teacher.
TOWER MILITARY four-storey square, where Leonardo separates the flow of people u
p and down stairs to devising a system of four flights independent of each other
.
Figure 21 depicts the sketch of Leonardo Tower Military
18
Figure 22 Detail of plastic: 23/02/2008 Tower Military
The design dates from 1487 - 1490 [cfr.pg.5] is executed in ink and cuttlefish w
ith the Technical Representative of the transparent body that highlights the fun
ction and use of ladders. As reported in the note below, the building is almost
certainly destined for military use, so its inclusion in the model of the ideal
city is intended purely visual and not exact location.
Figure 24. Detail of the model: mansion with porticoes
Figure 23. Leonardo's sketch depicting a mansion
Particularly roads that had to be nearly as wide as the height of the rebuilt ma
nsion here. The arcaded buildings were reserved for men "polite" while the stree
ts are available to trade and transport of goods. Spacious and airy were also th
e streets below the palace, intended for animal traffic and trade.
In the brief note at the top right, Leonardo explains that the streets below the
palace must be as wide as the height of the buildings here are designed porches
and fitted with large windows in all floors.
The detail of the model highlights the use of waterways within the city perfect.
The channels were designed to serve as communication routes between the city an
d the nearby river so that boats could load and transport from the city itself,
also by river reach the sea.
Figure 11. Detail of the model: Fairway
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The detail of the model reproduces the idea of Leonardo on the structure and org
anization of a stable for horses. This structure was considered important to ens
ure a suitable environment for animals that were used for military and civilians
, and whose role was important for the life of the city. Three arches determine
the distribution of the width into three equal parts. The first floor is divided
into three parts with walls that are based on the distribution of the arches be
low. To ensure the necessary exchange of air, the outer wall has arched openings
of considerable size.
Figure 26. Detail of the model: stables
On paper, dated between 1487 and 1490, [cfr.pg.5] shows the idea of a stable mod
el whose architectural elements are identified by letters (mKpnSR-f4-to-3456-b)
and subsequently described in 'extensive note to the drawing, where Leonardo pro
vides precise instructions on how to run a stall in order to ensure efficiency a
nd cleanliness.
Figure 27. Leonardo's sketch depicting a horse stable
The classicism that emerges from this approach the ideal city should not be surp
rised: we must not forget that Leonardo is still a man of his time [cfr.pg.3] an
d his city, with its elegant architecture, arcaded streets, palaces adorned with
penthouses and terraces, it is designed according to a gentile, common to all s
imilar projects at the time. Leonardo's ideal city was a completely innovative c
oncept, the first attempt to identify and organize the natural forces of a whole
region [cfr.pg.21] so as to serve human purposes. The Leonardo is not a real on
e, and it will be abandoned when, some years later, there will in practice the i
ssue of redevelopment of Milan.
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The ship of Martesana
SHIP: canal, navigable. E 'derived from a river and is also used for irrigation.
In 1457 Francesco Sforza entrusted by Bertola Novate Martesana the construction
of the waterway. In just 35 years, from 1439 to 1475 in the Milan area were bui
lt less than 90 miles of navigable canals presence of 25 locks. The development
of the system, however, did not stop only at this point, even with the "arrival
of Leonardo in 1482 [cfr.pg.5] was perfected Martesana and began to set up a new
system of canals that allowed the navigation from the Valtellina to Milan. Leon
ardo da Vinci, newly arrived in Milan, was commissioned by Ludovico il Moro to s
tudy a system to enable navigation from Lake Como to Milan. One solution to this
problem is traceable to "some internal drawings of the Atlantic Codex [cfr.pg.7
] where we assume a large dam on Figure 28. Approximate path of the waterway Mar
tesana River Adda at Tre Corni, where an outlet tunnel would allow boats passage
downstream of the rapids of the River. The dam would also serve to raise the le
vel of the river to feed a canal, depending on the level of "water, would functi
on only irrigated or navigable, from Brivio, would come up to Trezzo flowing par
allel Adda .
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The sketch describes the operation of a bridge channel that allows passing a str
eam through a large basin formed by a system of locks placed at a distance from
each other. The locks allow boats to pass a drop of water.
Figure 29. Sketch of Leonardo, from the Atlantic Codex [cfr.pg.7], depicting a c
anal bridge
The paper contains three drawings on the project of a canal and can be dated to
the years 1482 / 3 [cfr.pg.5], with reference to what is mentioned in the famous
letter to Ludovico il Moro in which Leonardo makes mention of his able "Conduce
r waters from one place to another. "
Figure 30. Model of the bridge channel
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THE GEOGRAPHY OF LEONARDO
Leonardo during his life, focuses mainly studied: the city, mountains and rivers
of Lombardy and Tuscany. In Lombardy explores especially the surrounding areas
of Lake Como, as Valtellina and Valsassina. -Suggests routes in Brescia and Berg
amo Alps between Lake Iseo and the valley, the Valtrompia, Val and Val Seriana B
rembana. In Tuscany, focuses particularly on the river Arno.
Figure 31. View of the province of Arezzo, held in Windsor Code
Produce spectacular floor plans and maps according to the aerial view. This repr
esentation halfway between the image and the plant, called representation "as th
e crow flies", is typical of Leonardo and remains a major innovation in mapping
introduced by the Florentine genius.€Sometimes the maps for the routes using a r
eference scale to indicate distances between places This attempt is considered t
he first step towards the development of modern cartography
Figure 31. View "bird's eye" of the Tyrrhenian coast, held in Windsor Code
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THE NORWEGIAN BRIDGE OF LEONARDO
The translation of the website reported, I developed the study in English on a b
ridge built in Norway, basatosi the design of the Galata Bridge. [Cfr.pg.13]
Figure 32. The Norwegian Leonardo Bridge
I found a modern project by Leonardo That Fascinated me. The original design is
a project of prominent bridge with a single span (about 700 foot = 240 meters) d
esigned for the Turkish Sultan of Istanbul. Should the bridge connect the Golden
Horn and the Bosphorous River, But It Was Never built. Technically speaking the
bridge is a great example of civil engineering about 300 years before the engin
eering principals contained in the Project Would Be a generally accepted. The ni
ce story about this bridge Is that a Norwegian painter, Vebjørn Sand, saw the dr
awing and the model of this bridge in an exhibition on da Vinci's work in 1996.
The Norwegian painter thought That Could Have Such a bridge in present use.
Figure 33. The Model of the Norwegian Leonardo Bridge
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The occasion Was the building of a Pedestrian Overpass on a highly motorway traf
fic. Vebjørn Sand collaborated with a professional team of engineers and archite
cts to create a "dream team" of experts on the history, design and structural As
pects of the Leonardo Bridge Project. The original Da Vinci's drawing WAS scaled
-down version and at 100 meters with a span and a total length of 135 meters. Th
e public administration who sponsored the project Decided to build the bridge in
a beautiful wood and Norwegian pine WAS chosen. The Norwegian Bridge WAS open t
o the public on October 31 2001 Almost 500 years after the original drawing. It
is open to foot and bicycle traffic. The Norwegian Leonardo Bridge Project Makes
History as the first of Leonardo's civil engineering designs to Be Constructed
for public use. The bridge joins the past to the present. For the artist, the br
idge is Also a beautiful metaphor: the meeting point of people, cultures and con
tinents. From this Vebjørn Sand's vision to build the bridge on Every Continent,
Including Also drawing on the cultural and Traditions Incorporating materials,
Unique To Each region. Vebjørn Sand is Now Taking into Consideration Different p
laces in the USA Where the town administration Have asked for a similar construc
tion.
34 figure. During the build of Bridge
Figure 35. The Norwegian Leonardo Bridge detail
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IN DEPTH
Cesare Borgia - The Duke Valentino
Cesare Borgia was born in Rome September 13, 1475, was an Italian Renaissance. H
istorians agree in identifying him important political experience: the lack of t
ime was, in the Romagna there was a situation of anarchy, Cesare Borgia by setti
ng up courts managed to restore order in the territory of its domain. For this r
eason, perhaps, his personality inspired Machiavelli to the figure of Il Princip
e. Daughter of Cardinal Rodrigo Borgia, the future Pope Alexander VI (1492-1503)
and Vannozza Cattanei was the second of four children: Joan, Caesar, Lucrezia a
nd Jofre. From birth was destined by his father to an ecclesiastical career, tha
nks to which the family had firmly taken foot in Italy. The Borgias fact, Catala
n origin, had arrived in Rome about thirty years Figure 36. A portrait of Cesare
Borgia, who is first in the retinue of Cardinal Alfons, Dad at the Accademia Ca
rrara in Bergamo with Calixtus III on charges of hunting and luck. Caesar, at se
venteen, August 31, 1492, was appointed archbishop of Valencia (but went to Spai
n and took the sacraments of the order), then Cardinal September 20, 1493, and g
overnor-general in 1495 and tied for Orvieto. Obtained the new post of commander
of the papal army, May 10, 1499, Caesar married Charlotte d'Albret, sister of t
he King of Navarre (northern region of Catalunya) and grandson of Louis XII, by
establishing an alliance with France - the future conquest of the Romagna - gett
ing the peerage of France and the duchy of Valentinois since then would have pro
vided his contemporaries and historians with a couple of nicknames: the Duke and
Valentino. Returning to Italy, the Duke begins the gradual conquest of the Roma
gna ended April 25, 1501, with the surrender of Faenza. In 1502 Cesare Borgia to
ok advantage of the collaboration of Leonardo Da Vinci [cfr.pg.5] as military ar
chitect and chief engineer. They traveled for ten months through the territories
conquered by the commander: making examinations and surveys,€outlining some of
the city maps and topographic maps [cfr.pg.23] (a starting point for modern cart
ography), building forts [cfr.pg.10], making the port of Cesenatico, a shelter f
rom the waves , building war machines. The fortress of Imola, damaged by the pre
vious siege, needed to be strengthened. Leonardo is interested in the problem, s
tarting with designing the new interior of the fortress, eventually drawing the
entire map of the city. It was the moment of highest power of the Duke, whose su
ccesses were now the nightmares come to other states in the Italian peninsula: V
enice watching the Italian Adriatic coast now seen almost exclusively papal doma
ins, Florence had to consider the possibility that the Valentino aims to conquer
, systematically, in Tuscany. Very likely possibility, since the plan provided f
or expansion of the Borgia, in fact, winning the Grand Duchy of Tuscany, Pope fa
ther began secret negotiations with the republic of Venice and France to prepare
the ground politically and militarily. But suddenly the Pope Alexander VI died
on 02/23/2008 18 26
August 1503 under mysterious circumstances. So Valentine in conflict with the Ca
rdinals met in conclave, they were provided with the Borgias, giving him a pass
just to get rid of him and elect the new pope. Caesar accepted and moved to Nemi
, then the new Pope Pius III, agreed to get him back to Rome, but was not well r
eceived by the Romans and fled to Castel S. Angel. The new pontiff in the Vatica
n but was less than a month. With the new pope, Cesare Borgia had a quarrel and
was exiled, first to Naples and then back to Spain where King Ferdinand does shu
t the fortress of Medina del Campo. Of them managed to escape October 25, 1506,
taking refuge in Pamplona hoping to protect a brother until then never seen or k
nown. They helped him and put him in charge of a thousand horsemen and sent him
rebelled against Luis de Beaumont in the castle of Viana. There he was mortally
wounded, 12 March 1507 during ambushed by the besieged. An inglorious end for a
man of action like him.
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