He also identifies a homosexual content (‘the situation in the fantasy… According to an unreliable tradition the mill was owned by Leonardo’s uncle Francesco. Leonardo was able to draw right-handed, and to write in the conventional direction (see illustration), but did not retrain himself to do so, as did Michelangelo, another natural southpaw. Michelangelo was apprenticed by his father to the Ghirlandaio workshop on 1 April 1488, a couple of weeks after his thirteenth birthday.
corresponds to an idea of the act of fellatio’), thus finding in the fantasy an unconscious link between early mother-fixation and adult homosexuality. This bestiary version suggests to Beck ‘that the “dream” of the kite was neither a dream nor a memory but a fantasy based on the reintegration of some literary text familiar to Leonardo’ (Beck 1993, 8). The connection between birds and parentage is found elsewhere in the bestiary: ‘Although partridges steal one another’s eggs, nonetheless the young born of those eggs always return to their true mother’ (H 8v); and, in what seems a classically Freudian text, ‘Pigeons are a symbol of ingratitude, for when they are old enough not to need feeding any more, they begin to fight with the father, and this struggle does not end until the young one drives the father out, and takes his wife, making her his own’ (ibid., 7r). By the later sixteenth century it was owned by the Ridolfi family, and it appears on the ‘Guelf map’ of Vinci (. The contract was for three years at a wage averaging 8 florins a year (Vasari 1987, 1.327–8).
Bembo himself, Fletcher notes (1989, 814), ‘proved resistant to the philosophical aspects of Ficino’s neo-Platonism’, having been deeply influenced by Aristotelian and Averroist teachers at Padua university. Dante’s response is complicated by the presence of his former teacher, Ser Brunetto Latino, among the damned.
On hardline attitudes further to the 1484 papal bull ‘Summis desiderantes affectibus’, see M. Giovanni di Renzo: ASF, Catasto 1427, Indice delle famiglie.
Bartolomeo, Antonio, Bernardo: ASF, Catasto 1457, Sommario dei campioni 2 (Santa Croce), C3. Wildenstein, New York) is attributed to Verrocchio, but recent analysis reveals left-handed brush-strokes in the shading of the face and throat. 1486), though it was commissioned by the Otto di Pratica (the magistrature) and has no connection with the San Bernardo commission; and he did paint an altarpiece to substitute for an unfinished work by Leonardo (his .
One of these three, who are assessed together in 1457, may be the father of Giovanni (thus named after his grandfather) and Jacopo; their actual . Madonna and child with the infant St John: RL 12276; Clark and Pedretti 1968, 1.3–4.
The earliest English translation was a brief selection by William Aglonby, 1685; the most accessible modern translation is by George Bull (Harmondsworth, 1987), in which the Life of Leonardo is 1.255–71. On 13 October 1857 Gaetano Milanesi wrote to Cesare Guasti, ‘If you go to Pistoia, would you please tell Mons. A near-contemporary illustration by Marciano Taccola depicts it as a fourteen-wheeled wagon converted into a raft – an amphibious vehicle like a modern ‘duck’ – while other descriptions suggest a boat or barge with paddle-wheels.
It is not impossible that Leonardo knew the man whose execution he recorded. ASF, Antica Badia Fiorentina, Familiari XI 322, 146ff; Brescia and Tomio 1999, 69–70.
(Vasari says he left it at the ‘house of Amerigo de’ Benci’, which is sometimes misinterpreted as referring to Ginevra’s father; it refers to Giovanni’s son, who was head of the family when Vasari was writing.) Giovanni is mentioned in Leonardo memoranda of the early 1500s: ‘the map of the world which Giovanni Benci has’ (CA 358r/130r-a), and ‘book of Giovanni Benci’s’ (L IV).
It is possible that the latter is the book of veterinary science (Jordanus Ruffus, has a more complex meaning than today’s morally tinged ‘virtue’.
Madonna and child with a cat: rapid sketches: BM 1857–1–10–1r, v (verso illustrated), 1860–6–16–98; Musée Bonnat, Bayonne (Zöllner 2003, nos.
110–13); more finished studies: BM 1856–6–26–1r, v; private coll.; Uffizi GDS 421E (Zöllner 2003, nos. ), but the Baroncelli were an established Florentine clan of the Santa Croce quarter; Maddalena Bandini Baroncelli (d.