About
“the poetic dream of an unsurpassed artist”
— Luca Beltrami describing Leonardo Da Vinci’s work in the Sala Delle Asse in 1902
Patrizia Costa
“There is no silence more inviting than Leonardo’s unfinished works. Their quiet eloquence reminds us that masterpieces are born in the intimate planning stages.” -PC
Patrizia Costa is a Research Associate at the University of Pittsburgh specializing in both Renaissance and twentieth-century Italian art. She was born in Milan, not far from the Sforza Castle where a room known from 15th-century documents as the Sala delle Asse would recapture her interest and imagination as a graduate student many years later. She lives in Pittsburgh, Pennsylvania, with her family.
This limited-edition, richly-illustrated monograph will make a great addition to any art library on the heels of Leonardo da Vinci’s 500th anniversary.
One of the distinctions of this stimulating study is its use of historiographical and archival information to show how the Sala delle Asse changed its symbolic significance while also replaying a nationalistic ideology at two different historical moments: the late nineteenth-to-early-twentieth century when the Sala was re-discovered and subjected to a major restoration and the fifteenth-century, when Ludovico Sforza, Duke of Milan, commissioned the paintings.
The architectural and pictorial alterations ordered in 1893 to prepare the room for public view shifted attention away from the Sala’s fifteenth-century circumstances and transformed it into a key component of the ambitious restoration scheme that had been formulated for the Sforza Castle as a whole. This was a scheme that supported a nationalist agenda and post-Risorgimento cultural ideologies. In the fifteenth-century, Leonardo was similarly called upon to help shape a civic identity for the Sforza family through commissions such as the Last Supper, a twenty-four-foot equestrian horse and the Sala delle Asse. Although the Sala was never completed, it provides a fascinating window into the court’s commissioning practices, Leonardo’s interactions with a wider community of artists, and the role of Milanese art in the Renaissance canon.
This book is contains over 100 color plates in addition to black and white archival photos. It concludes with an extensive Register of Documents containing transcriptions of important 15th-, 19th-, and 20th-century documents for the Sala delle Asse.
Hardbound with cloth cover and foil stamping
Laminated dustjacket
Set in Bembo
266 pages
138 illustrations (100+ in color)
Book is 9” x 12” (23.86 x 30.48 cm)
ISBN: 978-1-7367074-0-1