Leonardo da Vinci Society



The Society was founded by the late Kenneth Keele, who combined a distinguished career in medicine with important research into the work of Leonardo. Officers have included Sir Ernst Gombrich and Martin Kemp. It is notable that, while all three scholars could correctly be described as experts on the work of Leonardo, none of them was or is a specialist on Leonardo in the sense of carrying out research only into the work of Leonardo. That, of course, also tells one something about Leonardo.
The Leonardo da Vinci Society is well established as providing a forum for those interested in Leonardo or more generally in the aspects of the culture of his time to which he contributed. The Society's interests also extend to the Art/Science overlap in other periods (due account being taken of the historical evolution of both the terms concerned). See recent reviews and publications in the newsletter. ^


The Leonardo da Vinci Society would welcome new members. To become a member, complete and post the membership form PDF or MS Word document. If you pay income tax in the UK, please also consider completing the Gift Aid portion of the membership form. For further information about membership, please contact one of the following committee members:


President, Dr J. V. Field, Department of History of Art & Screen Media, Birkbeck College 43 Gordon Sq., London WC1H 0PD, UK; tel & fax +(44) (0)20 7736 9198, email: jv.field(at)hist-art.bbk.ac.uk.

Vice President, Professor Francis Ames-Lewis, Department of History of Art & Screen Media, Birkbeck College; home address: 52 Prebend Gardens, London W6 0XU, UK; tel & fax +(44) (0)20 8748 1259, email: f.ames-lewis(at)hist-art.bbk.ac.uk.

Secretary and Treasurer, Mr Tony Mann, School of Computing and Mathematical Sciences; The University of Greenwich; Maritime Greenwich University Campus, 30 Park Row, Greenwich, London SE10 9LS, UK; tel. +(44) (0)20 8331 8709, fax: +(44) (0)20 8331 8665, email: a.mann(at)gre.ac.uk.

Newsletter Editor, Dr Maya Corry, Department of the History of Art, University of Cambridge; 1-5 Scroope Terrace, Cambridge, CB2 1PX, UK; Tel: 01223 332975; email: mc878(at)cam.ac.uk.

Publicity & Web Management, Dr Matthew Landrus, Research Fellow, Wolfson College, and Faculty of History, University of Oxford, Oxford, OX2 6UD, UK, and at the Rhode Island School of Design; UK tel 0753 094 2043; US tel (001) (401) 654 9445; email: matthew.landrus(at)history.ox.ac.uk.

Dr Juliana Barone, Department of History of Art & Screen Media, Birkbeck College, 43 Gordon Sq., London WC1H 0PD, UK; email: juliana.barone(at)btinternet.com.

Ms Noël-Ann Bradshaw, School of Computing and Mathematical Sciences; The University of Greenwich; Maritime Greenwich University Campus, 30 Park Row, Greenwich, London SE10 9LS, UK; tel. +(44) (0)20 8331 8454, fax: +(44) (0)20 8331 8665, email: n.bradshaw(at)gre.ac.uk.

Professor Frank A.J.L. James, Royal Institution Centre for the History of Science and Technology, Royal Institution of Great Britain, 21 Albemarle Street, London W1X.4BS, UK; and at the University College London Department of Science and Technology Studies; email: fjames(at)ri.ac.uk.

Dr Nick Lambert, Department of History of Art & Screen Media, Birkbeck College, 43 Gordon Sq., London WC1H 0PD, UK; email: nick.lambert(at)gmail.com.

Dr Anna Sconza, Department of Italian studies / Etudes italiennes et Roumaines, Sorbonne University (Paris 3), Université Sorbonne Nouvelle Paris 3, 13 rue Santeuil, 75230 Paris cedex 05, FR; email: anna.sconza(at)univ-paris3.fr.

Ms Angela Sheehan, A S Publishing, 73 Montpelier Rise, London NW11 9DU, UK; tel (0)20 8458 3552; email: asheehan(at)waitrose.com.

Mr Richard Talbot, Head of Fine Art, School of Arts and Cultures, Newcastle University, Armstrong Building, Newcastle upon Tyne NE1 7RU; email: richard.talbot(at)ncl.ac.uk.

The Leonardo da Vinci Society is a registered charity, no 1012878. ^



Within the history of art Leonardo da Vinci (1452 - 1519) represents 'science' and within the history of science he represents art.

On the trivial level this means that many art historians take it for granted that his anatomical or optical drawings are correct (that is, in accord with twentieth-century views) while historians of science are sometimes at least equally impressionable, being dazzled by the beauty of the drawings with which they are confronted.

In Leonardo's work we are seeing into a culture in which academic specialisations make a map very different from that of our own time, and in which, moreover, there is a considerable degree of social separation between a tradition of university learning, and a tradition of practical skills, despite a notable degree of overlap in subject matter. Nor is the advantage all to the person who is 'learned' in the sense of having university training or being able to read Latin. For instance, in Italy, when it comes to geometry or arithmetic, we may not assume that the fifteenth- or sixteenth-century 'scholar' knew more than the 'craftsman'. Also, the practical tradition fares better than the theoretical one in providing lasting monuments to skill. The dome of Florence cathedral (nearly finished when its designer, Filippo Brunelleschi, died in 1446) now looks much more impressive than fifteenth-century astronomical theories - and not only to non-specialists.

Since history of art is a better established discipline than history of science, Leonardo has in fact chiefly been studied from the art side, though (for instance) his innovatory methods of illustration, such as his use of an 'exploded' view, clearly had an influence well beyond the realm of what would now be called fine art.

A brief biography of Leonardo may be found here. ^



The Society also publishes a newsletter containing news, reviews and bibliographies, copies of which are available here. Suggestions of material, such as forthcoming conferences, symposia and other events, exhibitions, publications and so on, that would be of interest to members of the Society for inclusion in this Newsletter should be sent to: Maya Corry, Leonardo da Vinci Society Newsletter, Department of the History of Art, University of Cambridge; 1-5 Scroope Terrace, Cambridge, CB2 1PX, UK; Tel: 01223 332975; email: mc878(at)cam.ac.uk. ^



For weekly updates on a broad range of Society and Leonardo-related academic news, please visit our Facebook page. ^




To celebrate the 30th anniversary of the founding of the Society in early November 1986

Professor David Freedberg
(Director, Warburg Institute) gave a special lecture entitled

The Failure of Pictures: From Description to Diagram in the Circle of Galileo

on Friday 4 November 2016 at 6.00pm
in the lecture room of the Warburg Institute,
Woburn Square, WC1

When Federico Cesi and his friends in the Accademia dei Lincei — generally regarded as the first modern scientific society — decided to make and collect drawings of everything in nature, their main points of reference were Galileo and Leonardo. But the more drawings they collected the more they realized the impossibility of ordering and systematizing the multiplicity of nature. Despite the splendour of many of their drawings, most little-known until recently, and the environmental attentiveness of many others, they swiftly became aware of the near futility of their efforts. Neither the telescope nor the microscope provided them with the essential clues to order that they sought, or the clear borderlines between species that the drive to more rigorous systems of taxonomy and classification required. Halfway through their efforts, Galileo subverted all traditional modes of understanding nature, and Cesi began to realize that pictures might have to yield to mathematics, and description to diagram. This lecture retraced their journey with vivid examples, and conclude with the implications for our time.

A PDF poster/announcement of the lecture is here.


The 2016 AGM was on Friday, 13 May at 5:30 pm at the Kenneth Clark Lecture Theatre, Courtauld Institute of Art, Somerset House.

At 6 pm, Professor Andrew Gregory (University College, London) will discuss:

Art and Anatomy in the 15th and 16th Centuries


Vesalius, De humani corporis fabrica, Basil 1543, p. 164

Developments in art in the 15th and 16th centuries brought with them a new interest in proportion, perspective and the accurate depiction of the human body. How did this affect the science of anatomy? This talk discusses the work of Leonardo da Vinci, Vesalius and Fabricius and looks at how the nature of the new art inspired and shaped a new wave of research into the structure of the human body and how such knowledge was transmitted in visual form. This ultimately led to a revolution in our under-standing of anatomy in the late 16th and early 17th centuries.

A PDF poster/announcement of the lecture is here.

Admission is free; all are welcome. Previous annual lecture announcements are available here^



The Universal Leonardo web site (www.universal leonardo.org) is a resource on Leonardo da Vinci. Universal Leonardo is a programme of European exhibitions, scientific research and web resources on Leonardo organised by Artakt, Central Saint Martins College of Art ad Design, the University of the Arts London. Universal Leonardo is co-directed by Prof Marina Wallace, Central Saint Martins, and Prof Martin Kemp, University of Oxford. Highlights of the web site include an interactive timeline at the top of each page visualising the thematic links and interconnections in Leonardo's works over time; images revealing scientific analyses results carried out on The Madonna of the Yarnwinder (The Lansdowne Madonna); interactive games; a gallery of more than 100 zoomable images of Leonardo's works and exhibition details. ^



La Bella Principessa and the Warsaw Sforziad, by Pascal Cotte and Martin Kemp

This is a significant update to a book published in 2010 by Pascal Cotte and Martin Kemp, on an exceptional portait on vellum executed in inks and coloured chalks. This article offers evidence of the original location of the portrait in the Warsaw Sforziad. Beginning its journey as a German 19th-century pastiche in 1998, the portrait on vellum is now considered one of the works by Leonardo, about which we know most in terms of its patronage, subject, date, original location, function and innovatory technique. The article is here. ^

The Warsaw Sforziad, by Katarzyna Woźniak

This is a thorough historical assessment, as of May 2014, of the Warsaw Sforziad by Katarzyna Woźniak. As part of a larger project on this incunabulum and its possible association with La Bella Principessa, this essay is the first major historical study of the Warsaw Sforziad, developed with the help of archival evidence and previously unknown documents. The article is here. ^

La Bella Principessa and the Warsaw Sforziad. Circumstances of Rebinding and Excision of the Portrait, by Katarzyna Woźniak

This paper provides a detailed assessment of the circumstances of rebinding of the Warsaw copy of La Sforziada, and, according to the latest publication of Prof. Martin Kemp, parallel excision of the portrait of La Bella Principessa.

Extensive study of the history of the Zamoyski book collection as well as scrupulous analysis of alterations to the original volume – decoration of the new leather cover, watermarks on inserted sheets, bookplates, existing and obliterated inscriptions - have helped specify the time frame to the first years of the 19th century. Consequently, the identification of the individuals who were responsible for this restoration was possible.

On a wider historical panorama this text presents the rebinding of La Sforziada as part of the cultural and economical reform of the Entailed Estate of Zamosc, taken over by count Stanislaw Kostka Zamoyski in 1800. Furthermore, this study examines his close relationship to Princes Adam and Izabela Czartoryski, owners of Leonardo's Lady with an Ermine. The article is here. ^

Ludovico il Moro, Duke of Milan, and the Sforziada by Giovanni Simonetta in Warsaw, by D. R. Edward Wright

This paper addressess the purpose of the Warsaw Sforziad, its iconography, provenance, historical background, and the uses of the four presentation copies on vellum. The article is here. ^


It is essentially due to what today's historians would regard as an ill chosen set of categories that Leonardo, that is his historical persona, has become a symbol for the meeting of Art and Science, though his activities are indeed unusually multifarious even by the standards of his own time. However, if the categories of Art and Science are defined in twentieth-century terms, Leonardo's work does indeed span them, and since 1990 the Leonardo da Vinci Society has organised an annual series of one-day conferences, in partnership with the Society for Renaissance Studies, on the general theme 'Art and Science in the Italian Renaissance'.

Topics treated have included anatomy, optics, engineering, maps, proportion, botany, Vitruvian studies and music. The liveliness of the discussions has tended to confirm that the Society is providing a useful opportunity for the meeting of minds, and helping historians of science, medicine, engineering, architecture and art to bridge the gaps that, since Leonardo's time, have opened up between the disciplines in which he took an active interest. Notes about previous meetings are in the Society newsletters and archives. ^



At Birkbeck College, The National Gallery, and The Warburg Institute, London

25-27 May 2016

Organised by Juliana Barone (Birkbeck, London) and Susanna Avery-Quash (National Gallery)

Tickets are available via the National Gallery’s website:


With a focus on the reception of Leonardo in Britain, this conference will explore the important role and impact of Leonardo’s paintings and drawings in key British private and public collections; and also look at the broader British context of the reception of his art and science by addressing selected manuscripts and the first English editions of his Treatise on Painting, as well as historiographical approaches to Leonardo. The conference was initially conceived as a collaborative project with Romano Nanni, late director of the Biblioteca Leonardiana, and Juliana Barone at Birkbeck College, University of London, and has developed into a wider collaboration with the National Gallery, the Warburg Institute, and the Kunsthistorisches Institut in Florence. This event has received support from the Paul Mellon Centre for British Art, the British Museum and the Leonardo da Vinci Society in London.

Programme (provisional)

The conference will begin with a keynote lecture given by Professor Martin Kemp at Birkbeck on the evening of 25 May. It will continue over the following two days at the National Gallery and the Warburg Institute. A copy of the initial programme is in the November 2015 Leonardo da Vinci Society Newsletter, here.

 Day 1:

 25 May 2016, Birkbeck College, London

 Keynote lecture 




Welcome and introduction: Juliana Barone (Birkbeck College) and Susanna Avery-Quash (National Gallery)

Chair: Kate Retford (Birkbeck College)


Martin Kemp (Oxford University) – ‘Spinning a yarn or two: Leonardo’s two matching Madonnas’


Q&A and drinks


Day 2:

26 May 2016, National Gallery, London 





Welcome and introduction: Juliana Barone (Birkbeck College) and Susanna Avery-Quash (National Gallery)




Panel 1: Drawings collections

Chair: Francis Ames-Lewis (Birkbeck College)
Martin Clayton (Royal Collection Trust, Windsor) – ‘The ‘Windsor’ Leonardos after Arundel’


Jacqueline Thalmann (Christ Church Picture Gallery, Oxford) – ‘Leonardo in the collection of General John Guise (1682-1765)'


Hugo Chapman and Sarah Vowles (British Museum, London) – ‘Leonardo drawings in Bloomsbury and beyond’


Discussion and Q&A


Lunch (not provided)




Panel 2: Originals, versions, and copies

Chair: Gabriele Finaldi (National Gallery)
Carmen Bambach (The Metropolitan Museum, New York) – ‘The St Anne Burlington cartoon: function, provenance and dating’ 


Caroline Campbell and Larry Keith (National Gallery) –Some observations on the provenance and conservation history of the London Virgin of the Rocks


Pietro Marani (Università Cattolica, Politecnico, Milan) – ‘Clarifications and novelties on the issue of the copy of the Last Supper at the Royal Academy and its reception in England in the first half of the 19th century’


Discussion and Q&A


Refreshment break




Panel 3: What was thought to be a Leonardo?

Chair: Juliana Barone (Birkbeck College)
Margaret Dalivalle (Centre for Medieval and Renaissance Studies, Oxford University) – ‘Said to be of Leonard de Vincia: Or out of his Scoule: Appraising Leonardo in 17th-century England’


Susanna Avery-Quash (National Gallery) – ‘Sir Charles Eastlake at the National Gallery (1843-1865): towards a clearer picture of Leonardo as an artist’


Discussion and Q&A


Day 3:  

27 May 2016, The Warburg Institute, London 





Welcome and introduction:

Juliana Barone (Birkbeck College) and Susanna Avery-Quash (National Gallery)




Panel 1: Leonardo on art and science


Chair: Matthew Landrus (Oxford University)

J.V. Field (Birkbeck College) – ‘Leonardo’s after-life in the world of new philosophy’


Domenico Laurenza (Museo Galileo, Florence) –‘Leonardo’s science in 17th-18th-century England’ 


Discussion and Q&A


Refreshment break




Panel 2: Around the Treatise on Painting


Chair: Susanna Avery-Quash (National Gallery)

Juliana Barone (Birkbeck College) – ‘The Treatise on Painting: British collectors’ manuscript copies and the first English printed edition’


Harry Mount (Oxford Brookes, Oxford) – ‘Leonardo’s Treatise and the empirical undertow in British art theory'  


Discussion and Q&A


Lunch (provided)




Panel 3: Teaching and theoretical knowledge


Chair: Paul Taylor (Warburg Institute)

Charles Saumarez Smith (Royal Academy, London) – ‘Leonardo’s legacy in London:  The teaching programme at the Royal Academy’


Francesco Galluzzi (Accademia Belle Arti, Carrara) – ‘Alexander Cozens, Leonardo da Vinci and landscape painting in England between the 18th and 19th century’


Discussion and Q&A


Refreshment break




Panel 4: Re-reading Leonardo


Chair: Martin Kemp (Oxford University)

Francesca Fiorani (University of Virginia, Virginia) – ‘Kenneth Clark’s Leonardo’


Alessandro Nova (Kunsthistorisches Institut, Florence) – ‘John Shearman’s Leonardo’


Claire Farago (University of Colorado at Boulder, Colorado) – ‘Re-reading Richter and MacCurdy: Lessons in translation’


Discussion and Q&A, concluding remarks

With special thanks to:

Monica Taddei, The Biblioteca Leonardiana, Vinci

With grateful thanks to:

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 Description: Black master logo        


Kunst Logo               




BW copy

The Leonardo da Vinci Society is a registered charity, number 1012878. ^



The Lives of Leonardo, edited by Thomas Frangenberg and Rodney Palmer, Warburg Institute, Nino Aragno Editore, Turin, 2013. Available at The School of Advanced Study, University of London.

Re-Reading Leonardo: The Treatise on Painting across Europe, 1550-1900, edited and introduced by Claire Farago, Ashgate, 2009.Available at Ashgate and Amazon.

Rise of the Image: Essays on the History of the Illustrated Art Book, edited by Rodney Palmer and Thomas Frangenberg, Ashgate, 2003. Available at Ashgate and Amazon.

Poetry on Art: Renaissance to Romanticism, edited by Thomas Frangenberg, Shaun Tyas, 2003. Usually available at Abebooks.

Reports on previous conferences are available in the newsletters. ^


Leonardo da Vinci’s Madonna of the Yarnwinder: A Historical and Scientific Detective Story, by Martin Kemp and Thereza Wells, London: Artakt, first published in print form in 2011.’ Available for free: epub here.

Andrea del Verrocchio, Life and Work, by Dario Covi, Arte e archeologia - Studi e documenti, vol. 27, Olschki, 2005. Available at Olschki.

Le armi e le macchine da guerra: il De re militari di Leonardo, by Matthew Landrus, Disegni di Leonardo dal Codice Atlantico 5, DeAgostini, 2010. Available on request from the author and at the Biblioteca Ambrosiana.

Art and Identity in Early Modern Rome, edited by Jill Burke and Michael Bury, Ashgate, 2008. Available at Ashgate and href="http://www.amazon.co.uk/Art-Identity-Early-Modern-Rome/dp/075465690X/ref=sr_1_3?s=books&ie=UTF8&qid=1344274901&sr=1-3">Amazon.

Christ to Coke: How Image Becomes Icon, by Martin Kemp, Oxford University Press, 2011. Available at Amazon.

The Common Purposes of Life, Science and Society at the Royal Institution of Great Britain, edited by Frank A.J.L. James, Ashgate, 2002. Available at Ashgate and Amazon.

The Correspondence of Michael Faraday, edited by Frank A.J.L. James, Volumes 1-6, The Institution of Engineering and Technology, 1991-2011. Available at The Institution of Engineering and Technology, and Amazon.

The Invention of Infinity: Mathematics and Art in the Renaissance, by J.V. Field, Oxford University Press, 1997. Available at Amazon.

Isabella and Leonardo: The Artistic Relationship Between Isabella D'Este and Leonardo Da Vinci, by Francis Ames-Lewis, Yale University Press, 2012. Available at Amazon.

Leonardo, by Martin Kemp, Oxford University Press, 2004. Available at Amazon.

Leonardo da Vinci and his circle: drawings in British collections, edited by Martin Kemp and Juliana Barone, Giunti, 2010. Available at Giunti.

Leonardo da Vinci and the Ethics of Style, edited by Claire Farago, Manchester University Press, 2008. Available at Amazon.

Leonardo da Vinci's Giant Crossbow, by Matthew Landrus, Springer, 2010. Available at Amazon.

Leonardo da Vinci: Life and Work, and Treasures of Leonardo da Vinci, by Matthew Landrus, Carlton and HarperCollins, 2006, 2009. Available at here, and here.

Leonardo da Vinci: The Complete Paintings and Drawings, by Frank Zollner and Johannes NathanSpringer, 2003, 2011. Available at Amazon.

Leonardo: Studies of Motion, by Juliana Barone, Disegni di Leonardo dal Codice Atlantico 8, DeAgostini, 2011. Available at the Biblioteca Ambrosiana.

Lezioni dell'occhio, Leonardo da Vinci discepolo dell'esperienza, by Martin Kemp, Vita e Pensiero, 2004. Available at LibroCo.

Piero della Francesca. A Mathematician's Art, by J.V. Field, Yale University Press, 2005. Available at Amazon.

Reactions to the Master: Michelangelo's Effect on Art and Artists in the Sixteenth Century, edited by Francis Ames-Lewis and Paul Joannides, Ashgate, 2003. Available at Ashgate and Amazon.

Re-Reading Leonardo: The "Treatise on Painting" Across Europe, 1550-1900, edited by Claire Farago, Ashgate, 2009. Available at Ashgate and Amazon.

Rethinking the High Renaissance (Visual Culture in Early Modernity), edited by Jill Burke, Ashgate, 2012. Available at Ashgate and Amazon^

Leonardo da Vinci Society