The Lost Mysteries of Leonardo The Da Vinci Codex is a priceless collection of Leonardo's original work-- or is it? When Da Vinci scholar Vance Erikson discovers that several of the Codex's pages are forgeries, the search is on for the genuine documents, which may hold startling secrets and revelations. But Erikson is not the only one seeking the missing pages. He soon finds himself the target of a murderous conspiracy that dates back to the dawn of Christianity itself. For the Da Vinci Codex is more than just a precious document. It is also the key to a long-lost discovery of frightening importance. Now, not only Erikson's life but the future itself is at stake. Ultimate power is the prize for whomever seizes ... The Da Vinci Legacy First published in 1983, The Da Vinci Legacy is an engrossing international thriller. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
For the 500th anniversary of Leonardo da Vinci’s death comes an immersive journey through five centuries of history to define the Leonardo mystique and uncover how the elusive Renaissance artist became a global pop icon. Virtually everyone would agree that Leonardo da Vinci was the most important artist of the High Renaissance. It was Leonardo who singlehandedly created the defining features of Western art: a realism based on subtle shading; depth using atmospheric effects; and dramatic contrasts between light and dark. But how did Leonardo, a painter of very few works who died in obscurity in France, become the internationally renowned icon he is today, with the Mona Lisa and the Last Supper the most visited artworks in the world, attracting nearly a billion visitors each year, and Salvator Mundi selling as the most expensive artwork of all time, for nearly half a billion dollars? This extraordinary volume, lavishly illustrated with 130 color images, is the first book to unravel these mysteries by diving deep into the art, literature, science, and politics of Europe from the Renaissance through today. It gives illuminating context to both Leonardo and his accomplishments; explores why Leonardo’s fame vastly overshadowed that of his contemporaries and disciples; and ultimately reveals why despite finishing very few works, his celebrity has survived, even thrived, through five centuries of history.
Revered today as, perhaps, the greatest of Renaissance painters, Leonardo da Vinci was a scientist at heart. The artist who created the Mona Lisa also designed functioning robots and digital computers, constructed flying machines and built the first heart valve. His intuitive and ingenious approach--a new mode of thinking--linked highly diverse areas of inquiry in startling new ways and ushered in a new era. In Leonardo's Legacy, award-winning science journalist Stefan Klein deciphers the forgotten legacy of this universal genius and persuasively demonstrates that today we have much to learn from Leonardo's way of thinking. Klein sheds light on the mystery behind Leonardo's paintings, takes us through the many facets of his fascination with water, and explains the true significance of his dream of flying. It is a unique glimpse into the complex and brilliant mind of this inventor, scientist, and pioneer of a new world view, with profound consequences for our times.
Like other notebooks by Leonardo, the manuscript now known as the Codex Leicester was a working record of observations, experiments, and arguments. In it he rendered observations of natural phenomena in words, images, and diagrams. When Microsoft founder Bill Gates purchased the Codex Leicester in 1994, it made headlines around the world; this volume makes Leonardo's notebook accessible to everyone. The Codex Leicester is a product of Leonardo da Vinci's restless intellectual curiosity. By about 1508, when the Renaissance master began to work on this notebook, he had already painted his most acclaimed work, the Mona Lisa, and was working in Milan on the enigmatic Virgin and Child with Saint Anne. Both pictures feature meticulously painted landscape backgrounds that testify to Leonardo's study and scientific understanding of geology, weather, rivers, and mountains -- issues that he pursued in the Codex Leicester. Leonardo Lives explores the close relationship of art and science in Leonardo's work, but it also presents the variety of ways in which he has continued to inspire artists from the 16th century to the present.
The Vatican has lost its most closely held secret--irrefutable proof of a woman Messiah named Sophia. Born in the Holy Land in 310 AD, Sophia was known for performing healing miracles. Her divinity threatened early Christian dogma and she was executed as a girl by Church authorities. In the present, Kate Sheridan visits Switzerland with her husband, where she expects to purchase the estate of a German art collector. But before Kate can complete the transaction, they are drawn into a thousand-year-old web of conspiracy and intrigue that begins and ends with the mystery of Sophia--and all the powerful forces who share the objective of protecting their patriarchies from a divinely feminine truth. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
This book traces the story of the world's greatest treatise on painting - Leonardo Da Vinci's "Treatise of Painting". It combines an extensive body of literature about the Treatise with original research to offer a unique perspective on: • Its origins, and history of how it survived the dispersal of manuscripts; • Its contents, their significance and how Leonardo developed his Renaissance Theory of Art; • The development of both the abridged and complete printed editions; • How the printed editions have influenced treatises and art history throughout Europe, the Eastern Mediterranean, and America from the Seventeenth to the Twentieth Centuries.
A singular fatality has ruled the destiny of nearly all the most famous of Leonardo da Vinci's works. Two of the three most important were never completed, obstacles having arisen during his life-time, which obliged him to leave them unfinished; namely the Sforza Monument and the Wall-painting of the Battle of Anghiari, while the third—the picture of the Last Supper at Milan—has suffered irremediable injury from decay and the repeated restorations to which it was recklessly subjected during the XVIIth and XVIIIth centuries. Nevertheless, no other picture of the Renaissance has become so wellknown and popular through copies of every description. Vasari says, and rightly, in his Life of Leonardo, "that he laboured much more by his word than in fact or by deed", and the biographer evidently had in his mind the numerous works in Manuscript which have been preserved to this day. To us, now, it seems almost inexplicable that these valuable and interesting original texts should have remained so long unpublished, and indeed forgotten. It is certain that during the XVIth and XVIIth centuries their exceptional value was highly appreciated. This is proved not merely by the prices which they commanded, but also by the exceptional interest which has been attached to the change of ownership of merely a few pages of Manuscript. That, notwithstanding this eagerness to possess the Manuscripts, their contents remained a mystery, can only be accounted for by the many and great difficulties attending the task of deciphering them. The handwriting is so peculiar that it requires considerable practice to read even a few detached phrases, much more to solve with any certainty the numerous difficulties of alternative readings, and to master the sense as a connected whole. Vasari observes with reference to Leonardos writing: "he wrote backwards, in rude characters, and with the left hand, so that any one who is not practised in reading them, cannot understand them". The aid of a mirror in reading reversed handwriting appears to me available only for a first experimental reading. Speaking from my own experience, the persistent use of it is too fatiguing and inconvenient to be practically advisable, considering the enormous mass of Manuscripts to be deciphered. And as, after all, Leonardo's handwriting runs backwards just as all Oriental character runs backwards—that is to say from right to left—the difficulty of reading direct from the writing is not insuperable. This obvious peculiarity in the writing is not, however, by any means the only obstacle in the way of mastering the text. Leonardo made use of an orthography peculiar to himself; he had a fashion of amalgamating several short words into one long one, or, again, he would quite arbitrarily divide a long word into two separate halves; added to this there is no punctuation whatever to regulate the division and construction of the sentences, nor are there any accents—and the reader may imagine that such difficulties were almost sufficient to make the task seem a desperate one to a beginner. It is therefore not surprising that the good intentions of some of Leonardo s most reverent admirers should have failed.
The ever increasing art historical attention being paid to the School of Leonardo lies at the root of this volume published almost sixty years after Suida's classic treatment of the subject. This is the first time since then that Lombard art of Leonardesque inspiration has been the object of a systematic analysis embracing a period of around half a century starting from 1490. The essays opening the volume provide an overview dealing with the environment, the organisation and the working practices of Leonardo's atelier and the problems faced by historians, whilst each artist is discussed in a critical profile that, taking into account the most recent academic research, acts a brief but up-to-date monograph.
This text explores controversial ideas in 'The Da Vinci Code' and the real and remarkable significance of Magdalene to our culture and to Christianity itself.
