by Ross King
55 See John Brewer, The American Leonardo: A Tale of Obsession, Art, and Money (New York: Oxford University Press, 2009).
Chapter 12
1 Dan Brown, The Da Vinci Code (New York: Doubleday, 2003), 243.
2 Michelle Pauli, “Vatican Appoints Official Da Vinci Code Debunker,” Guardian, 15 March 2005.
3 For the text of the Gospel of Philip and the other Nag Hammadi codices, see James M. Robinson, ed., The Nag Hammadi Library in English (Leiden: E. J. Brill, and New York: Harper and Row, 1977), and subsequent reprints and revisions.
4 Brown, The Da Vinci Code, 246.
5 Voragine, The Golden Legend, vol. 1, 376 and 382.
6 Quoted in Katherine Ludwig Jansen, “Maria Magdalena: Apostolorum Apostola,” in Women Preachers and Prophets through Two Millennia of Christianity, ed. Beverly Mayne Kienzle and Pamela J. Walker (Berkeley and Los Angeles: University of California Press, 1998), 57.
7 Phyllis Zagano and Thomas C. McGonigle, The Dominican Tradition (Collegeville, MN: Order of Saint Benedict, 2006), 2; Susan Haskins, Mary Magdalen: Myth and Metaphor (New York: Harcourt Brace, 1994), 135.
8 Jansen, “Maria Magdalena: Apostolorum Apostola,” 57.
9 Quoted in Katherine L. Jansen, “Like a Virgin: The Meaning of the Magdalen for Female Penitents of Later Medieval Italy,” Memoirs of the American Academy in Rome, vol. 45 (2000), 133.
10 Sarah Wilk, “The Cult of Mary Magdalene in Fifteenth-Century Florence and Its Iconography,” Studi medievali 26 (1985): 685–98.
11 For the Aquinas quote and the Signorelli fresco, see Sara Nair James, Signorelli and Fra Angelico at Orvieto: Liturgy, Poetry and a Vision of the End-Time (Aldershot, Hants.: Ashgate, 2003), 57.
12 Among numerous other sources, see Laura Miller, “The Last Word: The Da Vinci Con,” New York Times, 22 February 2004.
13 Brown, The Da Vinci Code, 243.
14 Quoted in Richard Turner, Inventing Leonardo (London: Papermac, 1995), 110.
15 Quoted in Ernest Samuels, Bernard Berenson: The Making of a Legend (Cambridge, MA: Harvard University Press, 1987), 215.
16 Nick Squires, “Mona Lisa ‘was a boy,’” Daily Telegraph, 2 February 2011.
17 See Antoinette LaFarge, “The Bearded Lady and the Shaven Man: Mona Lisa, Meet Mona/Leo,” Leonardo 29 (1996): 379–83.
18 Nicholl, Leonardo da Vinci: The Flights of the Mind (London: Allen Lane, 2004), 469–70. For a history of the sketch, see ibid., n26 on p. 562.
19 “The ‘Angel in the Flesh,’” Achademia Leonardi Vinci: Journal of Leonardo Studies and Bibliography of Vinciana, ed. Carlo Pedretti, vol. 4 (Florence: Giunti, 1991), 35.
20 See Lorenzo Ghiberti, I commentari, ed. Ottavio Morisani (Naples: Riccardo Ricciardi, 1947), 55.
21 On these issues, see Giancarlo Maiorini, Leonardo da Vinci: The Daedalian Mythmaker (University Park: Pennsylvania State University Press, 1992), 110.
22 See Luke Syson et al. ed., Leonardo da Vinci: Painter at the Court of Milan (London: National Gallery, 2011), 268.
23 Barcilon, “The Restoration,” 381.
24 Knut Schäferdiek, “The Acts of John,” in Wilhelm Schneemelcher, ed., New Testament Apocrypha, vol. 2 (Louisville, KY: Westminster John Knox Press, 2003), 156. For the story of the “obedient bugs,” see 190.
25 Schäferdiek, “The Acts of John,” 203.
26 Quoted in David M. Bergeron, King James and Letters of Homoerotic Desire (Iowa City: University of Iowa Press, 1999), 104. Marlowe’s assertion comes from “The Baines Note,” British Library, MS Harley 6848, ff. 185–86.
27 Sjef van Tilborg, Imaginative Love in John (Leiden: E. J. Brill, 1993), 247. See also J. S. Peart-Binns, Bishop Hugh Montefiore (London: Blond/Quartet, 1990), 127; and Delbert Burkett, ed., The Blackwell Companion to Jesus (Oxford: Blackwell, 2011), 452.
28 Marsilio Ficino, Commentarium in Platonis Convivium Initiation, quoted in Giovanni Dall’Orto, “‘Socratic Love’ as a Disguise for Same-Sex in the Italian Renaissance,” in Kent Gerard and Gert Hekma, eds., The Pursuit of Sodomy: Male Homosexuality in Renaissance and Enlightenment Europe (New York: Haworth Press, 1989), 37–38. For “educational homosexuality” in ancient Greece, see James Neil, The Origins and Role of Same-Sex Relations in Human Societies (Jefferson, NC: McFarland & Co., 2009), 144–85.
29 Quoted in Louis Crampton, Homosexuality and Civilization (Cambridge, MA: Harvard University Press, 2003), 265.
30 Pseudo-Bonaventure, Meditations on the Life of Christ, trans. Isa Ragusa and Rosalie B. Green (Princeton: Princeton University Press, 1961), 150.
31 Quoted in Carolyn S. Jirousek, “Christ and St. John the Evangelist as a Model of Medieval Mysticism,” Cleveland Studies in the History of Art 6 (2001): 19.
32 Quoted in Culpeper, John, the Son of Zebedee, 166.
33 Quoted in Jirousek, “Christ and St. John the Evangelist,” 17.
34 See John Boswell, Christianity, Social Tolerance, and Homosexuality: Gay People in Western Europe from the Beginning of the Christian Era to the Fourteenth Century (Chicago: University of Chicago Press, 1981), 202; and Jirousek, “Christ and St. John the Evangelist,” 6–27.
Chapter 13
1 Quoted in Nicholl, Leonardo da Vinci, 42.
2 Richter, ed., The Literary Works, vol. 2, §§1521, 1519, 1535, 1544, 1545 and 1397. Richter dates the reference to “ears of corn” to about 1500.
3 Ibid., vol. 2, §1548.
4 Ibid., vol. 2, §§1295 and 845.
5 Ibid., vol. 2, §1295.
6 Vasari, Lives of the Artists, 2 vols., 257.
7 Quoted in Cartwright, Beatrice d’Este, 81.
8 Scipione Ammirato, Opuscoli, vol. 2 (Florence, 1637), 242.
9 Simon Tugwell, ed., Early Dominicans: Selected Writings (Mahwah, NJ: Paulist Press, 1982), 456.
10 Johann Wolfgang von Goethe, Observations on Leonardo da Vinci’s Celebrated Picture of the Last Supper, trans. G. H. Noehden (London: J. Booth, 1821), 7–8.
11 Quoted in Leo Steinberg, Leonardo’s Incessant “Last Supper” (New York: Zone Books, 2001), 50.
12 Vasari, Lives of the Artists, 262.
13 Quoted in P.A.P.E. Kattenberg, Andy Warhol, Priest: “The Last Supper Comes in Small, Medium and Large” (Leiden: Brill, 2002), 5.
14 Quoted in Nello Forte Grazzini, “Flemish Weavers in Italy in the Sixteenth Century,” in Guy Delmarcel, ed., Flemish Tapestry Weavers Abroad: Emigration and the Founding of Manufactories in Europe (Louvain: Louvain University Press, 2002), 131.
15 Cartwright, Beatrice d’Este, 117.
16 On Flemish weavers in Milan, see Hillie Smit, “Flemish Tapestry Weavers in Italy, c. 1420–1520: A Survey and Analysis of the Activity in Various Cities,” in Delmarcel, ed., Flemish Tapestry Weavers Abroad, 121.
17 See John Varriano, “At Supper with Leonardo,” Gastronomica: The Journal of Food and Culture 8 (Winter 2008): 75–79.
18 Quoted in Albert Rapp, “The Father of Western Gastronomy,” Classical Journal 51 (October 1955): 44.
19 Quoted in Mel Licht, “Elysium: A Prelude to Renaissance Theater,” Renaissance Quarterly 49 (Spring 1996): 18.
20 Quoted in Cartwright, Beatrice d’Este, 82.
21 See Odile Redon, Françoise Sabban, and Silvano Serventi, The Medieval Kitchen: Recipes from France and Italy, trans. Edward Schneider (Chicago: University of Chicago Press, 1998), 119–21.
22 Quoted in Redon et al., The Medieval Kitchen, 121.
23 Tugwell, ed., Early Dominicans: Selected Writings, 128, 133–34. On the consumption of bread, see Richard A. Goldthwaite, The Building of Renaissance Florence: An Economic and Social History (Baltimore: The Johns Hopkins University Press, 1980), 346–47.
24 Goldthwaite, The Building of Renaissance Florence, 292; and Antonio Ivan Pini, Vite e vino nel medioevo (Bologna: CLUEB, 1989), 133–35.
25 Richter, ed., The Literary Works, vol. 2, §§1030, 1548 and 1520.
26 Quoted in Paul Murray, The New Wine of Dominican Spirituality: A Drink Called Happiness (London: Continuum, 2006),
152 and 129.
27 Thomas Gilby, ed., Summa theologiae, vol. 43 (1968), 137, 139.
28 Pedretti, Commentary, vol. 2, 382.
29 Quoted in Boyle, Senses of Touch, 65. On the fork, see Giovanni Rebora, Culture of the Fork: A Brief History of Food in Europe, trans. Albert Sonnenfeld (New York: Columbia University Press, 2001), 16–17.
30 Donald Strong, “The Triumph of Mona Lisa: Science and Allegory of Time,” in Enrico Bellone and Paolo Rossi eds., Leonardo e l’età della Ragione (Milan: Edizioni di Scientia, 1982), 255–78.
31 Gilbert, “Last Suppers and their Refectories,” 392.
32 Brown, The Da Vinci Code, 236.
33 Richter, ed., The Literary Works, vol. 1, §593.
34 For a discussion, see Steinberg, Leonardo’s Incessant “Last Supper,” 19. I am indebted to Steinberg’s work (especially chapters 1 and 2) in the survey that follows.
35 Goethe, Observations on Leonardo da Vinci’s Celebrated Picture, 9.
36 Quoted in Steinberg, Leonardo’s Incessant “Last Supper,” 31.
37 Quoted in ibid., 40.
38 Quoted in ibid., 40.
39 For Goethe’s religious beliefs, and lack thereof, see Astrida Orle Tantillo, Goethe’s Modernisms (London: Continuum, 2010), 87–88.
40 “Leonardo’s Last Supper,” Art Quarterly 36 (1973): 297–410. In 2001, Steinberg published this work, revised and enlarged, as Leonardo’s Incessant “Last Supper.”
41 A History of Art: A Survey of the Major Visual Arts from the Dawn of History to the Present Day (London: Thames and Hudson, 1962), 350.
42 Helen Gardener’s 1970 version of Art through the Ages (New York: Harcourt, Brace, and World, 1970), quoted in Steinberg, Leonardo’s Incessant “Last Supper,” 46.
43 Jack Wasserman, quoted in ibid., 48.
44 On these issues, see Miri Rubin, Corpus Christi: The Eucharist in Late Medieval Culture (Cambridge: Cambridge University Press, 1991), passim, especially 1–2 and 9.
45 Giacomo Filippo Besta, Vera narratione del successo della peste che afflisse l’inclita città di Milano, l’anno 1576 (Milan: Gottardo, 1578), 30. For a discussion, see Farago, “Aesthetics before Art: Leonardo Through the Looking Glass,” 55.
46 Vasari, Lives of the Artists, 266.
47 Frederick Hartt, “Leonardo and the Second Florentine Republic,” Journal of the Walters Art Gallery 44 (1986), 100.
48 See Martin Kemp and Pascal Cotte, La Bella Principessa: The Story of the New Masterpiece by Leonardo da Vinci (London: Hodder & Stoughton, 2010); and Dalya Alberge, “Is this portrait a lost Leonardo?” Guardian, 27 September 2011.
49 Quoted in Cartwright, Beatrice d’Este, 306; and Ady, 162.
50 Quoted in Cartwright, Beatrice d’Este, 310.
Chapter 14
1 Quoted in Allison Levy, “Framing Widows: Mourning, Gender and Portraiture in Early Modern Florence,” in Allison Levy, ed., Widowhood and Visual Culture in Early Modern Europe (Aldershot: Ashgate, 2003), 217. On these issues, see Carol Lansing, Passion and Order: Restraint of Grief in the Medieval Italian Communes (Ithaca: Cornell University Press, 2008).
2 Goethe, Observations, 9.
3 See H. Colin Slim, “The Lutenist’s Hand,” Achademia Leonardi Vinci: Journal of Leonardo Studies and Bibliography of Vinciana, ed. Carlo Pedretti, vol. 1 (Florence: Giunti, 1988), 32–34.
4 Treatise on Painting, ed. McMahon, vol. 1, 105; and Richter, ed., The Literary Works, vol. 1, §593 and 653. On Leonardo and Cristoforo de’ Predis, see Nicholas Mirzoeff, Silent Poetry: Deafness, Sign and Visual Culture in Early Modern France (Princeton: Princeton University Press, 1995), 13.
5 Quoted in Ernest Samuels, Bernard Berenson: The Making of a Legend (Cambridge, MA: Harvard University Press, 1987), 215.
6 Goethe, Observations, 11. For a survey of these disparate readings of Thaddeus, see Steinberg, 84.
7 Goethe, Observations, 9.
8 Andrea de Jorio, Gesture in Naples and Gesture in Classical Antiquity, trans. Adam Kendon (Bloomington and Indianapolis: Indiana University Press, 2000), 4.
9 Jorio, Gesture in Naples, 129, 291, and 214.
10 Ibid., 215 and 66.
11 H. E. Butler, ed. and trans., The Institutio Oratoria of Quintilian, vol. 4 (Cambridge, MA: Loeb Classical Library, 1920), book 11, chap. 3.
12 Carlo Pedretti, ed., Leonardo da Vinci on Painting: A Lost Book (Libro A) (Berkeley and Los Angeles: University of California Press, 1964), 133.
13 Pasquale Villari, Life of Times of Girolamo Savonarola, vol. 1, trans. Linda Villari (London: T. Fisher Unwin, 1888), 71.
14 Michael Baxandall, Painting and Experience in Fifteenth-Century Italy (Oxford: Oxford University Press, 1992), 61; and Angus Trumble, The Finger: A Handbook (Melbourne: Melbourne University Press, 2010), 85. Trumble notes that this practice developed at Cluny and spread to other monasteries, forming an “intermonastic language of gesture” (ibid.). The Dominicans of Santa Maria delle Grazie would have used a similar system.
15 For examples, see Anne D. Hedeman, “Van der Weyden’s Escorial Crucifixion and Carthusian Devotional Practices,” in Robert Ousterhout and Leslie Brubaker, eds., The Sacred Image East and West (Urbana: University of Illinois Press, 1995), 197; and William Hood, “Saint Dominic’s Manners of Praying: Gestures in Fra Angelico’s Cell Frescoes at S. Marco,” Art Bulletin 68 (June 1986): 195–206.
16 Carlo Pedretti, ed., Leonardo da Vinci on Painting, 54.
17 Jorio, Gesture in Naples, 263.
18 The fact that Peter’s knife points to Bartholomew is pointed out and discussed in Steinberg, Leonardo’s Incessant “Last Supper,” 101.
19 Quoted in Maud Cruttwell, Verrocchio (London: Duckworth & Co., 1904), 161. For Tuscan town halls, see John T. Paoletti and Gary M. Radke, Art in Renaissance Italy (London: Laurence King Publishing, 2005), 272.
20 Quoted in Martin Kemp, The Marvellous Works of Nature and Man, rev. ed. (Oxford: Oxford University Press, 2006), 111.
21 Janson, A History of Art, 370.
22 Barcilon, “The Restoration,” 376.
23 James the Lesser’s beard, difficult to appreciate in Leonardo’s original mural, is unmistakable in the version by Giampietrino.
24 Friedrich Ohly, The Damned and the Elect: Guilt in Western Culture, trans. Linda Archibald (Cambridge: Cambridge University Press, 1992), 88.
25 Quoted in Boyle, Sense of Touch, 211. See also Michael Barsley, The Left-Handed Book: An Investigation into the Sinister History of Left-Handedness (London: Souvenir Press, 1966).
26 Quoted in Lauren Julius Harris, “Cultural Influences on Handedness: Historical and Contemporary Theory and Evidence,” in Stanley Coren, ed., Left-Handedness: Behavioral Implications and Anomalies (Amsterdam: Elsevir Science, 1990), 198.
27 Joanna Woods-Marsden, “Portrait of the Lady, 1430–1520,” in David Alan Brown, ed., Virtue and Beauty: Leonardo’s Ginevra de’ Benci and Renaissance Portraits of Women (Princeton: Princeton University Press, 2001), 69.
28 Guy Tal, Witches on Top: Magic, Power, and Imagination in the Art of Early Modern Italy (Bloomington: Indiana University Press, 2006), 110.
29 Jack Wasserman, “Leonardo da Vinci’s Last Supper: The Case of the Overturned Saltcellar,” Artibus et Historiae 24 (2003): 65–72.
30 “To Grosphus,” in E. R. Garnsey, trans., The Odes of Horace (London: Swan Sonnenschein, 1907). On the dirae, see Charles Anthon, A Classical Dictionary (New York: Harper & Brothers, 1848), 237. On royal saltcellars, see Mark Kurlansky, Salt: A World History (New York: Walker & Co., 2002), 144–45.
31 Philip Gavitt, Charity and Children in Renaissance Florence: the Ospedale degli Innocenti, 1410–1536 (Ann Arbor: University of Michigan Press, 1990), 187–88.
32 Michael D. Bailey, “The Disenchantment of Magic: Spells, Charms, and Superstition in Early European Witchcraft,” American Historical Review 111 (April 2006): 397; and Philip F. Waterman, Story of Superstition (New York: Alfred A. Knopf, 1929), 123.
33 Colin Campbell, “Half-Beli
ef and the Paradox of Ritual Instrumental Activism: A Theory of Modern Superstition,” British Journal of Sociology 47 (March 1996): 153.
34 For examples, see Debra Higgs Strickland, Saracens, Demons, & Jews: Making Monsters in Medieval Art (Princeton: Princeton University Press, 2003), 108, 124, 141–43, 215, and 221.
35 Quoted in David L. Jeffrey, ed., A Dictionary of Biblical Tradition in English Literature (Grand Rapids: William B. Eerdmans, 1992), 418.
36 Quoted in Giacomo Todeschini, “The Incivility of Judas: ‘Manifest’ Usury as a Metaphor for the ‘Infamy of Fact,’” in Juliann Vitullo and Diane Wolfthal, eds., Money, Morality and Culture in Late Medieval and Early Modern Europe (Farnham, Surrey: Ashgate, 2010), 34.
37 Strickland, Saracens, Demons, & Jews, 142.
38 Quoted in Nirit ben-Aryeh Debby, “Jews and Judaism in the Rhetoric of Popular Preachers: The Florentine Sermons of Giovanni Dominici (1356–1419) and Bernardino da Siena (1380–1444),” Jewish History 14 (2000): 186.
39 Barbara Wisch, “Vested Interest: Redressing Jews on Michelangelo’s Sistine Ceiling,” Artibus et Historiae 24 (2003): 147.
40 Quoted in Debby, “Jews and Judaism,” 189.
41 Quoted in Marica S. Tacconi, Cathedral and Civic Ritual in Late Medieval and Renaissance Florence: The Service Books of Santa Maria del Fiore (Cambridge: Cambridge University Press, 2005), 165.
42 Vasari, “Life of Simone, called Il Cronaca,” in Lives of the Most Eminent Painters, Sculptors and Architects, 10 vols. vol. 4, trans. Gaston du C. de Vere (London: Philip Lee Warner, 1912–15), 269.
43 Howard Adelman, “Review: Simonsohn’s The Jews in Milan,” Jewish Quarterly Review new series, vol. 77 (October 1986–January 1987): 200.
44 Cartwright, Beatrice d’Este, 128.
45 Carlo Pedretti, Leonardo: Studies for “The Last Supper” from the Royal Library at Windsor Castle (Florence: Electa, 1983), 110.
46 Quoted in Claude Blanckaert, “On the Origins of French Ethnology: William Edwards and the Doctrine of Race,” in George W. Stocking, ed., Bones, Bodies, Behavior: Essays on Biological Anthropology (Madison: University of Wisconsin Press, 1990), 35.