This course introduces students to the history of Renaissance art with special focus on the city of Milan and its most illustrious citizen, Leonardo da Vinci. More than simply a backdrop for Leonardo’s achievements, Milan is considered here as his essential creative matrix. Throughout the course, special attention is paid not only to Leonardo’s impact on the city, but also to Milan as the fertile terrain for his imagination, fantasies, and ingenious problem-solving skills. Taking advantage of students’ stay in Milan, the course emphasizes in-depth examinations of works that can be seen firsthand around the city. At the same time, students broaden their understanding of the historical moment under scrutiny. Da Vinci’s achievements in Milan are used as a prism through which to study major artistic, social, and cultural issues of the period in which he lived and worked. Field studies around the city of Milan include the Castello Sforzesco with Leonardo’s fresco ceiling commissioned by the Sforza family, the Pinacoteca Ambrosiana with Leonardo’s Codice Atlanticus, the bronze Sforza Horse at San Siro, the Museum of Science and Technology, the Duomo and, of course, The Last Supper.
Learning outcomes:
By the end of this course, students will gain thorough knowledge of Leonardo’s role in art and history from the Italian Renaissance to the present, and will develop an understanding of the complex relationship between fact and interpretation with respect to writings about Leonardo. As works studied are often still in the original physical settings, during field studies to museums and churches in Milan students have a unique opportunity to experience the works firsthand and in situ.
Method of presentation:
Lectures, field studies, student presentations.
LANGUAGE OF PRESENTATION: English
Field study:
Class field study visits to monuments and museums:
• Castello Sforzesco, with special focus on Leonardo’s frescoed room, La sala delle asse
o cost for Cattolica students: 1.50 euros.
o http://www.universalleonardo.org/work.php?id=311
o http://www.leonardoamilano.it/eng/istruzioni.html
o (virtual tour online).
• Pinacoteca Ambrosiana, with special focus on Leonardo’s Codice Atlantico and his Portrait of a
Musician, 1490c.
o cost for Cattolica students: 8 euros.
• Museum of Science and Technology
o cost for Cattolica students: 3 euros.
• Santa Maria delle Grazie: Leonardo’s Last Supper (time to be announced)
o cost for Cattolica students: 6.50 euros.
Independent field studies to:
• Marco d’Agrate’s St. Bartholomew in the Duomo
• Bramante’s trompe-l’oeil in the Church of San Satiro (via Torino)
• Leonardo’s Bronze Horse in San Siro, Milan
o no entry fee to these venues
*please note that guest lectures and field studies are subject to change based on availability of lecturers or guides and/or tickets.
Required work and form of assessment:
attendance (10%); professional skills (10%); assignments (journal, write-ups of readings, guest speakers, and field studies) (10%), midterm exam (20%); group project and oral presentation (25%); final exam (25%).
Attendance: MANDATORY. Arriving in class more than 10 minutes late constitutes an absence, as does leaving before the end of class. In an emergency necessitating a class absence the instructor must be notified, a doctor’s note must be submitted, and all assignments due submitted prior to class.
Professional Skills: Simply being present in the classroom is not enough! The class structure and amount of work involved in this course requires students
• to attend each entire class session.
• to be prepared for and participate actively in class discussions.
• to submit on-time, typed, proofread, complete assignments.
• Note that electronic submissions of assignments are not acceptable; computer or printer failures are not an acceptable excuse. Paper copies are easily obtained by taking your memory stick to a photo/copy store.
• To alert the professor to problems encountered with the class early enough for them to be resolved.
Please note that classes begin promptly at 13:35 and conclude at 15:25 during which time cell phones
must be turned off, no calls received or text messages sent during class time.
Assignments: Students are asked to compile a journal during the course just as Leonardo did during his life. The journal is a bound notebook, which should contain a selection of the following: descriptions, notes, observations, reflections, analyses, drawings and sketches, or photographs related to the content of the class. It should contain an entry for every week, and must be brought with you to every class. It will be turned in twice during the semester and presented in class at any time. It is also to be used for independent and class field studies, and should accompany you on your weekend travels to important Leonardo-related sites (the Louvre, the National Gallery in London, the Uffizi, the Vatican, etc.). In
addition to the journal, there will be several short written assignments covering readings, guest speakers and field studies. Plagiarism will result automatically in the grade of “F” (0%).
Group Projects: Each group is asked to design a project that addresses an important question about Leonardo’s work. Project includes a physical or digital reconstruction of a Leonardo idea. The final form will include documentation of group work, bibliography, illustrations and a presentation of the result to the class. Plagiarism will result automatically in the grade of “F” (0%).
Midterm and Final Exams: The exams are comprised of three sections: 1) slide identification and/or slide comparison and/or multiple choice; 2) short answer; 3) essay question to be researched in advance and written during the exam based on material considered in class, required readings as well as guest lecturer topics and discussion. The final exam is comprehensive, although greater weight is given to material covered in the second half of the course.
General Policies: Students are responsible for knowing and following the general policies of their home institution as well as conforming to policies described in detail in the IES student policies. These policies can be found using the following link: https://www.iesabroad.org/IES/Students/studentPolicies.html
Academic Honesty: Please see page 41-42 of IES Student Policies.
Late Policy: All work is due on the assigned due date; presentations must be given on the expected date. Midterm and final exams cannot be made up. No exceptions. For further information please see section K, page 5 of IES Academic Policy Guidelines.
Special Needs: Students are expected to complete all assignments and exams as required. Anyone requiring assistance due to a physical or learning disability or language difficulty (for example, if English is not your first language) or religious beliefs must notify the instructor immediately (prior to the 2nd week of term) so that assistance may be arranged in time.
content:
Unit 1 Beginnings
a. Course introduction. Definition of Renaissance and Leonardo da Vinci as its emblem. Vasari;
Self-portraiture.
Leonardo Works: Self-Portrait, (1512 c.)
Other Works: Self-portraits of other artists
Reading Due on this Date: In class, Vasari
b. Early Renaissance Art up to Leonardo. Discovery of perspective. Overview of group project.
Leonardo Works: Baptism of Christ (1472-75) (with Verocchio); Annunciation (1472-75); Adoration of the Magi, (1481-82)
Other Works: Giotto to Piero: other Baptisms, Annunciations & Adorations
Reading Due on this Date: Adams, p. 2-8
Unit: 2 Milan context
a. Why Milan? Leonardo’s letter to Ludovico Sforza.
Leonardo Works: Leonardo’s letter to Ludovico Sforza (1482); Drawings of War Machines 1482
Other Works: Other warriors & battles, Macchiavelli on the Prince (warrior- scholar)
Reading Due :on this Date Baxandall on artists and patrons
b. Guest Lecture*: Carol Switzer, Leonardo and Math
Leonardo Works: Leonardo’s eye
Other Works: Holbein
Reading Due on this Date: In class, Pacioli, Divine Proportion
Unit 3 New relationships, collaborations, tensions, “the social”
a. Artists and Patrons
Leonardo Works: (Sala delle asse in passing)
Other Works: Giotto, Mantegna
Reading Due on this Date: Kemp on Sala delle asse.
b. Field Study*: Castello Sforzesco. Exhibition of Leonardo’s use of proportion.
Leonardo Works: Sala delle asse (1498)
Reading Due on this Date: Wayman on Vitruvian Man, Encyclopaedia Anatomica*(note: this reading is for Monday’s class, but start early because you also have two sites to visit for Monday)
Unit 4 Two forces held in tension: paradoxes
a. Science & art, the “soul”, harmony, creation, humanism
Leonardo Works: St. Jerome in the Wilderness (1480 c.), Vitruvian Man (1492 c.), Anatomy Studies
Other Works: Raphael, School of Athens (1509-1510)
Reading Due on this Date: NO READING, Independent Field Study: See Marco d’Agrate’s St. Bartholomew in the Duomo and Bramante’s trompe-l’oeil in the Church of San Satiro (via Torino)
b. Science & art, the “soul”, destruction, anti-humanism.
Leonardo Works: Deluge drawings Leda and the Swan (various versions, various dates, copies)
Other Works: Michelangelo Deluge, Botticelli Birth of Venus, Venus and Mars Nastagio degli innocenti
Reading Due on this Date: Maiorino on doom
Unit 5 Technique Material & Metaphor, part I
a. Sculpture
Leonardo Works: Sforza steed, works that are “sculptural”, copy of Battle of Anghiari (1550-
1603c.)
Other Works: Donatello, Verrocchio, Ghibetti, Michelangelo
Reading Due on this Date: Adams on Renaissance sculpture
b. Field Study*: Museum of Science & Technology
Leonardo Works: Reconstructions of Leonardo’s inventions
Reading Due on this Date: NO READING: Independent field study: Sforza Horse at San Siro
Unit 6 Technique Material & Metaphor, part II
a. Line and Color, Chiaroscuro and Sfumato
Other Works: Pisanello, Titian
Reading Due on this Date: e-mail on “sfumato”
b. MIDTERM EXAM
Unit 7 SPRING BREAK
Reading Due on this Date: Da Vinci Code over break, as well as following reading assignment:
b. Field Study*: Pinacoteca Ambrosiana
Leonardo Works: Portrait of a Musician (1490)
Reading Due on this Date: Woods-Marsden on feminine self-portraits
Unit 9 Religion and Music
a. Painting religion
Leonardo Works: Madonna of the Rocks (1482-86) and second version (1508) Madonna and Child with Carnation (1475-6) Benois Madonna (1479-80) Madonna Litta (1481-97) Madonna of the Yarnwinder (1501- 07)
Other Works: Other Madonnas
Reading Due on this Date: Steinberg
b. Guest Lecture*: Music
Leonardo Works: Silver Lyre
Unit 10 Religion and Humanity
a. Painting – Last Supper
Leonardo Works: Last Supper (1498)
Other Works: Other Last Suppers
Reading Due on this Date: Email: Mark Twain on Last Supper
b. Guest Lecture*: Luigi Zoja, the psychology of Leonardo
Field Study*: The Last Supper, Santa Maria delle Grazie - outside class time to be announced
Reading Due on this Date: Neumann & Freud, Kris & Kurz
Unit 11 Self & Other, Other & Self
a. Mona Lisa
Leonardo Works: Mona Lisa (1503-07 c.)
Other Works: Other images of Renaissance women & men
Reading Due on this Date: NO READING, meet and work on projects, progress report in journal
b. St. John the Baptist
Leonardo Works: St. John the Baptist (1514 c.), Bacchus (1515) Virgin and Child with St. Anne and St. John the Baptist (1499-1500c.) Virgin and Child with St. Anne (1510 c.)
Other Works: Other representations of St. John & Mary Magdalene
Reading Due on this Date: NO READING, meet and finalize projects, progress report in journal
Unit 12 Leonardo & the Future
a. In-class preparation for presentations
Readings Due on this Date: Organization for final presentations In class journal review Course evaluations
b. Group Project Presentations
Unit 13 Endings
a. Group Project Presentations
Review for exam
Reading Due on this Date: Peer journal evaluation
Review for exam
b. FINAL EXAM
*please note that guest lectures and field studies are subject to change based on availability of lecturers or guides and/or tickets.
Required readings:
Course Reader, available at Copisteria Borella, consisting of excerpts from: Adams, Laurie Schneider. Italian Renaissance Art, 2001.
Baxandall, Michael. Painting and Experience in Fifteenth Century Italy. New York: Oxford University
Press, 1988.
Brown, Dan. The Da Vinci Code (any edition). Encyclopaedia Anatomica. Köln: Taschen, 2000.
Freud, Sigmund. Leonardo da Vinci, a Memory of his Childhood. 1910.
Kemp, Martin. Leonardo da Vinci. The Marvellous Works of Nature and Man, Cambridge: Harvard
University Press, 1981
Kris, Ernst and Otto Kurz. Legend, Myth and Magic in the Image of the Artist. Cambridge: Yale University
Press, 1979.
Maiorino, Giancarlo. “The Daedalian Artefix: Myth, Theology, and Doom,” in Leonardo da Vinci,. 1992. Neumann, Erich. Essay on Leonardo from Art and the Creative Unconscious: Four Essays. Princeton
University Press, 1959.
Steinberg, Leo. Leonardo’s Incessant Last Supper. New York: Zone Books, 2001. Vasari, Giorgio. The Lives of the Artists. Oxford: Oxford University Press, 1998.
Wayman, Alex. “The Human Body as Microcosm in India, Greek Cosmology, and Sixteenth-Century
Europe,” in History of Religions, Vol. 22, No. 2 (Nov. 1982), pp. 172-190.
Welch, Evelyn. Art and Authority in Renaissance Milan. Cambridge: Yale University Press, 1997.
---. “Creating Authority,” in Art in Renaissance Italy. Oxford: Oxford University Press, 1997.
Woods-Marsden, Joanna. Renaissance Self-Portraiture: The Visual Construction of Identity and the Social
Status of the Artist. Cambridge: Yale University Press, 1998.
Zollner, Frank. “Ogni pittore dipinge sè.” Leonardo da Vinci and "automimesis” (see Internet link) 1989.
This course introduces students to the history of Renaissance art with special focus on the city of Milan and its most illustrious citizen, Leonardo da Vinci. More than simply a backdrop for Leonardo’s achievements, Milan is considered here as his essential creative matrix. Throughout the course, special attention is paid not only to Leonardo’s impact on the city, but also to Milan as the fertile terrain for his imagination, fantasies, and ingenious problem-solving skills. Taking advantage of students’ stay in Milan, the course emphasizes in-depth examinations of works that can be seen firsthand around the city. At the same time, students broaden their understanding of the historical moment under scrutiny. Da Vinci’s achievements in Milan are used as a prism through which to study major artistic, social, and cultural issues of the period in which he lived and worked. Field studies around the city of Milan include the Castello Sforzesco with Leonardo’s fresco ceiling commissioned by the Sforza family, the Pinacoteca Ambrosiana with Leonardo’s Codice Atlanticus, the bronze Sforza Horse at San Siro, the Museum of Science and Technology, the Duomo and, of course, The Last Supper.
By the end of this course, students will gain thorough knowledge of Leonardo’s role in art and history from the Italian Renaissance to the present, and will develop an understanding of the complex relationship between fact and interpretation with respect to writings about Leonardo. As works studied are often still in the original physical settings, during field studies to museums and churches in Milan students have a unique opportunity to experience the works firsthand and in situ.
Lectures, field studies, student presentations.
LANGUAGE OF PRESENTATION: English
Class field study visits to monuments and museums:
• Castello Sforzesco, with special focus on Leonardo’s frescoed room, La sala delle asse
o cost for Cattolica students: 1.50 euros.
o http://www.universalleonardo.org/work.php?id=311
o http://www.leonardoamilano.it/eng/istruzioni.html
o (virtual tour online).
• Pinacoteca Ambrosiana, with special focus on Leonardo’s Codice Atlantico and his Portrait of a
Musician, 1490c.
o cost for Cattolica students: 8 euros.
• Museum of Science and Technology
o cost for Cattolica students: 3 euros.
• Santa Maria delle Grazie: Leonardo’s Last Supper (time to be announced)
o cost for Cattolica students: 6.50 euros.
Independent field studies to:
• Marco d’Agrate’s St. Bartholomew in the Duomo
• Bramante’s trompe-l’oeil in the Church of San Satiro (via Torino)
• Leonardo’s Bronze Horse in San Siro, Milan
o no entry fee to these venues
*please note that guest lectures and field studies are subject to change based on availability of lecturers or guides and/or tickets.
attendance (10%); professional skills (10%); assignments (journal, write-ups of readings, guest speakers, and field studies) (10%), midterm exam (20%); group project and oral presentation (25%); final exam (25%).
Attendance: MANDATORY. Arriving in class more than 10 minutes late constitutes an absence, as does leaving before the end of class. In an emergency necessitating a class absence the instructor must be notified, a doctor’s note must be submitted, and all assignments due submitted prior to class.
Professional Skills: Simply being present in the classroom is not enough! The class structure and amount of work involved in this course requires students
• to attend each entire class session.
• to be prepared for and participate actively in class discussions.
• to submit on-time, typed, proofread, complete assignments.
• Note that electronic submissions of assignments are not acceptable; computer or printer failures are not an acceptable excuse. Paper copies are easily obtained by taking your memory stick to a photo/copy store.
• To alert the professor to problems encountered with the class early enough for them to be resolved.
Please note that classes begin promptly at 13:35 and conclude at 15:25 during which time cell phones
must be turned off, no calls received or text messages sent during class time.
Assignments: Students are asked to compile a journal during the course just as Leonardo did during his life. The journal is a bound notebook, which should contain a selection of the following: descriptions, notes, observations, reflections, analyses, drawings and sketches, or photographs related to the content of the class. It should contain an entry for every week, and must be brought with you to every class. It will be turned in twice during the semester and presented in class at any time. It is also to be used for independent and class field studies, and should accompany you on your weekend travels to important Leonardo-related sites (the Louvre, the National Gallery in London, the Uffizi, the Vatican, etc.). In
addition to the journal, there will be several short written assignments covering readings, guest speakers and field studies. Plagiarism will result automatically in the grade of “F” (0%).
Group Projects: Each group is asked to design a project that addresses an important question about Leonardo’s work. Project includes a physical or digital reconstruction of a Leonardo idea. The final form will include documentation of group work, bibliography, illustrations and a presentation of the result to the class. Plagiarism will result automatically in the grade of “F” (0%).
Midterm and Final Exams: The exams are comprised of three sections: 1) slide identification and/or slide comparison and/or multiple choice; 2) short answer; 3) essay question to be researched in advance and written during the exam based on material considered in class, required readings as well as guest lecturer topics and discussion. The final exam is comprehensive, although greater weight is given to material covered in the second half of the course.
General Policies: Students are responsible for knowing and following the general policies of their home institution as well as conforming to policies described in detail in the IES student policies. These policies can be found using the following link: https://www.iesabroad.org/IES/Students/studentPolicies.html
Academic Honesty: Please see page 41-42 of IES Student Policies.
Late Policy: All work is due on the assigned due date; presentations must be given on the expected date. Midterm and final exams cannot be made up. No exceptions. For further information please see section K, page 5 of IES Academic Policy Guidelines.
Special Needs: Students are expected to complete all assignments and exams as required. Anyone requiring assistance due to a physical or learning disability or language difficulty (for example, if English is not your first language) or religious beliefs must notify the instructor immediately (prior to the 2nd week of term) so that assistance may be arranged in time.
Unit 1 Beginnings
a. Course introduction. Definition of Renaissance and Leonardo da Vinci as its emblem. Vasari;
Self-portraiture.
Leonardo Works: Self-Portrait, (1512 c.)
Other Works: Self-portraits of other artists
Reading Due on this Date: In class, Vasari
b. Early Renaissance Art up to Leonardo. Discovery of perspective. Overview of group project.
Leonardo Works: Baptism of Christ (1472-75) (with Verocchio); Annunciation (1472-75); Adoration of the Magi, (1481-82)
Other Works: Giotto to Piero: other Baptisms, Annunciations & Adorations
Reading Due on this Date: Adams, p. 2-8
Unit: 2 Milan context
a. Why Milan? Leonardo’s letter to Ludovico Sforza.
Leonardo Works: Leonardo’s letter to Ludovico Sforza (1482); Drawings of War Machines 1482
Other Works: Other warriors & battles, Macchiavelli on the Prince (warrior- scholar)
Reading Due :on this Date Baxandall on artists and patrons
b. Guest Lecture*: Carol Switzer, Leonardo and Math
Leonardo Works: Leonardo’s eye
Other Works: Holbein
Reading Due on this Date: In class, Pacioli, Divine Proportion
Unit 3 New relationships, collaborations, tensions, “the social”
a. Artists and Patrons
Leonardo Works: (Sala delle asse in passing)
Other Works: Giotto, Mantegna
Reading Due on this Date: Kemp on Sala delle asse.
b. Field Study*: Castello Sforzesco. Exhibition of Leonardo’s use of proportion.
Leonardo Works: Sala delle asse (1498)
Reading Due on this Date: Wayman on Vitruvian Man, Encyclopaedia Anatomica*(note: this reading is for Monday’s class, but start early because you also have two sites to visit for Monday)
Unit 4 Two forces held in tension: paradoxes
a. Science & art, the “soul”, harmony, creation, humanism
Leonardo Works: St. Jerome in the Wilderness (1480 c.), Vitruvian Man (1492 c.), Anatomy Studies
Other Works: Raphael, School of Athens (1509-1510)
Reading Due on this Date: NO READING, Independent Field Study: See Marco d’Agrate’s St. Bartholomew in the Duomo and Bramante’s trompe-l’oeil in the Church of San Satiro (via Torino)
b. Science & art, the “soul”, destruction, anti-humanism.
Leonardo Works: Deluge drawings Leda and the Swan (various versions, various dates, copies)
Other Works: Michelangelo Deluge, Botticelli Birth of Venus, Venus and Mars Nastagio degli innocenti
Reading Due on this Date: Maiorino on doom
Unit 5 Technique Material & Metaphor, part I
a. Sculpture
Leonardo Works: Sforza steed, works that are “sculptural”, copy of Battle of Anghiari (1550-
1603c.)
Other Works: Donatello, Verrocchio, Ghibetti, Michelangelo
Reading Due on this Date: Adams on Renaissance sculpture
b. Field Study*: Museum of Science & Technology
Leonardo Works: Reconstructions of Leonardo’s inventions
Reading Due on this Date: NO READING: Independent field study: Sforza Horse at San Siro
Unit 6 Technique Material & Metaphor, part II
a. Line and Color, Chiaroscuro and Sfumato
Other Works: Pisanello, Titian
Reading Due on this Date: e-mail on “sfumato”
b. MIDTERM EXAM
Unit 7 SPRING BREAK
Reading Due on this Date: Da Vinci Code over break, as well as following reading assignment:
Unit 8 The human being
a. Portraits
Leonardo Works: Ginevra de’ Benci (1476-8 c.) Cecilia Gallerani (Lady with the Ermine) (1488-
90c.), La Belle Ferronière (1496- 7 c.)
Reading Due on this Date: http://www.nga.gov/exhibitions/2001/virtuebeauty/vbintro.shtm
Zollner on self- portraits: http://archiv.ub.uni-heidelberg.de/artdok/volltexte/2006/161/pdf/Zoellner_Kuesisw_92.pdf
b. Field Study*: Pinacoteca Ambrosiana
Leonardo Works: Portrait of a Musician (1490)
Reading Due on this Date: Woods-Marsden on feminine self-portraits
Unit 9 Religion and Music
a. Painting religion
Leonardo Works: Madonna of the Rocks (1482-86) and second version (1508) Madonna and Child with Carnation (1475-6) Benois Madonna (1479-80) Madonna Litta (1481-97) Madonna of the Yarnwinder (1501- 07)
Other Works: Other Madonnas
Reading Due on this Date: Steinberg
b. Guest Lecture*: Music
Leonardo Works: Silver Lyre
Unit 10 Religion and Humanity
a. Painting – Last Supper
Leonardo Works: Last Supper (1498)
Other Works: Other Last Suppers
Reading Due on this Date: Email: Mark Twain on Last Supper
b. Guest Lecture*: Luigi Zoja, the psychology of Leonardo
Field Study*: The Last Supper, Santa Maria delle Grazie - outside class time to be announced
Reading Due on this Date: Neumann & Freud, Kris & Kurz
Unit 11 Self & Other, Other & Self
a. Mona Lisa
Leonardo Works: Mona Lisa (1503-07 c.)
Other Works: Other images of Renaissance women & men
Reading Due on this Date: NO READING, meet and work on projects, progress report in journal
b. St. John the Baptist
Leonardo Works: St. John the Baptist (1514 c.), Bacchus (1515) Virgin and Child with St. Anne and St. John the Baptist (1499-1500c.) Virgin and Child with St. Anne (1510 c.)
Other Works: Other representations of St. John & Mary Magdalene
Reading Due on this Date: NO READING, meet and finalize projects, progress report in journal
Unit 12 Leonardo & the Future
a. In-class preparation for presentations
Readings Due on this Date: Organization for final presentations In class journal review Course evaluations
b. Group Project Presentations
Unit 13 Endings
a. Group Project Presentations
Review for exam
Reading Due on this Date: Peer journal evaluation
Review for exam
b. FINAL EXAM
*please note that guest lectures and field studies are subject to change based on availability of lecturers or guides and/or tickets.
Course Reader, available at Copisteria Borella, consisting of excerpts from: Adams, Laurie Schneider. Italian Renaissance Art, 2001.
Baxandall, Michael. Painting and Experience in Fifteenth Century Italy. New York: Oxford University
Press, 1988.
Brown, Dan. The Da Vinci Code (any edition). Encyclopaedia Anatomica. Köln: Taschen, 2000.
Freud, Sigmund. Leonardo da Vinci, a Memory of his Childhood. 1910.
Kemp, Martin. Leonardo da Vinci. The Marvellous Works of Nature and Man, Cambridge: Harvard
University Press, 1981
Kris, Ernst and Otto Kurz. Legend, Myth and Magic in the Image of the Artist. Cambridge: Yale University
Press, 1979.
Maiorino, Giancarlo. “The Daedalian Artefix: Myth, Theology, and Doom,” in Leonardo da Vinci,. 1992. Neumann, Erich. Essay on Leonardo from Art and the Creative Unconscious: Four Essays. Princeton
University Press, 1959.
Steinberg, Leo. Leonardo’s Incessant Last Supper. New York: Zone Books, 2001. Vasari, Giorgio. The Lives of the Artists. Oxford: Oxford University Press, 1998.
Wayman, Alex. “The Human Body as Microcosm in India, Greek Cosmology, and Sixteenth-Century
Europe,” in History of Religions, Vol. 22, No. 2 (Nov. 1982), pp. 172-190.
Welch, Evelyn. Art and Authority in Renaissance Milan. Cambridge: Yale University Press, 1997.
---. “Creating Authority,” in Art in Renaissance Italy. Oxford: Oxford University Press, 1997.
Woods-Marsden, Joanna. Renaissance Self-Portraiture: The Visual Construction of Identity and the Social
Status of the Artist. Cambridge: Yale University Press, 1998.
Zollner, Frank. “Ogni pittore dipinge sè.” Leonardo da Vinci and "automimesis” (see Internet link) 1989.
Excerpts from “The Art of Renaissance Science,” http://brunelleschi.imss.fi.it/ingrin/index.html http://www.mcm.edu/academic/galileo/ars/arshtml/arstitle.html http://www.leonardo3.net/leonardo/paintings.htm http://www.leonardoamilano.it/eng/istruzioni.html