Brown,
The Da Vinci Code, whose plot is a juggling exercise innocuous compared
to the real life of a man gifted crowded complexes: illegitimate son of
a notary and a peasant autodidact with no academic training or access
to valuable works because unknown Latin
and Greek homosexual sodomy trial, perfectionist syndrome victim of the
unfinished work which will be reviewed eternally condemned. And
he adds Ruiz, "a spring which removed scientific criteria and advocated
the experimental method, a maverick with modern proposals centuries
later triumph." In short, a virtuoso who was born "prematurely".
Part
of all this is clear in the imagination of Leonardo, an exhibition that
will remain from yesterday until July 29 at the National Library which
holds two valuable manuscripts (baptized in the sixties as Madrid I and
Madrid II) and, according to the institution, representing 10% of written production is preserved throughout the world. Seen
through the eyes of stock market investor, its value is enormous: Bill
Gates, the only particular a Da Vinci codex for domestic enjoyment, paid
about 20 million euros in 1994 for the 72 pages that Leonardo was
submerged at the end the Mona Lisa and in which displays his boundless imagination to anticipate cars and helicopters.
Spanish
codices (600 pages, or 2,160 million euros at the price of Gates, 1994)
achieved world fame decades ago when his false discovery announced in a
Boston hotel triggered a media soap opera and his baptism. Actually had lost track of the originals in a morass of symbols changing. There is no evidence that the two manuscripts have left Madrid since arriving from the hand of the sculptor Pompeo Leoni. One
of his heirs sold the two codices in 1642 Juan de Espina, musicologist,
cleric and collector who bequeathed funds to Philip IV.
What
I left Madrid, and just discovered Elisa Ruiz, are the admirable
drawings of the Windsor collection, where the artist steps up his talent
with a meticulous scientist: thirty corpses dissected to perfect his
knowledge of anatomy. This series was sold to British Lord Arundel in 1646, seeking a gift for the wedding of the Prince of Wales.
Leonardo da Vinci wrote the two works of the NBS at maturity. Madrid
I is a treatise on statics and mechanics where the author shows that
his mental conception of a picture that accompanies writing from right
to left (he was left handed), as a child. "His
vocabulary is short, poor and sometimes wrote to enrich lists of
words," reveals the curator at one of those exercises that exude
innocence and desire to excel. Each page is a universe in itself, and addresses an issue where the trench.
The
Madrid II germ Treatise on Painting, who copied and wrote Francesco
Melzi, a disciple, heir and executor of Leonardo, has a technical
section devoted to geometry, fortification and reproduction of medals,
the cornerstone is the casting of horse
designed to Francesco Sforza, a patron of the artist-and elsewhere, of
personal notes, which slide down the slide close to Leonardo, able to
blush with his statements: "I will die if your morality does not love
me." And an incomplete epitaph: "If I could not do ... If I ... ".
source: elpais.com
