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74. H 130V.
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75. The caption (H 288v) is separate from the drawing (Musée Bonnat, Bayonne, 656; Popham 1946, no. 109b), but obviously refers to it.
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76. I1138v; cf. related drawing in RL 12497. Leonardo introduces Poverty with the word‘ancora’ in the narrative sense of ‘then’ (‘Then the frightening figure of Poverty comes running’ etc.), which suggests he is thinking of a dramatic representation rather than a pictorial image.
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77. CA866r/315v–a. On Bascapé: PC 2.296. 贝林乔尼给他写了一首谄媚的十四行诗,拜托他去请求“摩尔人”允许他发表他的诗作(R 1344n)。
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78. H 31v.
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79. H 105r.
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80. Noyes 1908, 173–5.
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81. Vecce 1998,149–51; M. Sanudo, La spedizione di Carlo VIII (Venice, 1873), 118–19.
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82. CA 914r/335v–a.
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83. Bandello: see Part IV n. 121.
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84. 在温琴佐·班代洛1487年12月4日写给院长的信中[Archivio storico Lombardo 1 (1874), 33–4],卢多维科罗列了他委托并且付款给感恩修道院的项目(讲坛、圣器室、宿舍等)。他提到的“绘画”可能特指列奥纳多的作品:蒙托尔法诺镇的壁画由修道院院长本人亲自委托。除了《最后的晚餐》,列奥纳多在感恩修道院教堂还画了两幅作品:在修道院和教堂之间门上的《救世主基督》(Redentore) ;位于教堂主入口上方半圆壁的《圣母升天》(Assunta ),1603年扩建这扇门时,这件作品遭到破坏。第一幅画或许和米兰布雷拉画廊收藏的基督头像有关,这可能是一幅后来重新绘制过的列奥纳多作品。绘有卢多维科、比娅特丽斯和他们孩子的小幅油画肖像,分散在蒙托尔法诺镇湿壁画的各个角落,现在几乎难以辨认,也都是列奥纳多的作品。
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85. RL 12542. 这张纸下方的几何学笔记及素描可能与卢卡·帕乔利的《算数、几何与比例集成》有关,列奥纳多有一本。如果真是这样,后者的出版时间(1494年11月10日)应是这幅构图草图的绘制时间。
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86. Accademia, Venice, no. 254; Popham 1946, no. 162. 润色扭曲了列奥纳多的原意,但素描和文字都是他的原作。
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87. Louvre, Cabinet des Dessins 2022 (Zöllner 2003, no. 130).
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88. Judas: RL 12547r (illustrated). Peter: Albertina, Vienna, inv. no. 17614. St James: RL 12552r (illustrated). St Philip: RL 12551r. Hands: RL 12543r. Sleeve: RL 12546r.
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89. Fors 216r, Fors 3 1v; Fors 21 3r, v. “克里斯托福罗·卡斯蒂廖内”出现在一份1486年的米兰文献中(Calvi 1925, 59);他可能和作家巴尔达萨雷·卡斯蒂廖内相关,后者15世纪90年代在米兰。里希特把“Giovan conte”翻译为“乔瓦尼伯爵”,但根据列奥纳多书写它的方式,还有这个人 “和枢机主教在一起”(即服务于他)的事实,我会觉得“conte”更像是名字,而不是等级头衔。Luigi of Aragon’s comment:Beatis 1979, 182.
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90. Fors 2 1v–2r; Clark 1988, 152.
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91. On the profound originality of Leonardo’s conception of the Last Supper , see Kemp 1981, 189ff.; Laurenza 1999; Steinberg 1973, 2002. Among earlier critics see Guiseppe Bossi’s monograph, Il Cenacolo (Milan, 1810), and Goethe’s ‘Abend–mahl von Leonardo da Vinci’, in Kunst und Altertum (1818). Max Marmor [ALV 5 (1992), 114–16] gives a translation of Jacob Burckhardt’s first essay on the painting, from Der Wanderer in der Schweiz 5(‘Bilder aus Italien’), 1839.
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92. Marani 2000a, 13–14.
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93. Pacioli 1509, preface. 此处描述的“戏剧性的瞬间”正是斯坦伯格的这份探索性研究的主题。他进一步解读了“圣餐”一说:这幅画包括了一系列和圣餐仪式有关的意象,因此表明这幅画的构图叙事是从基督的宣告到第一次宣布领受圣餐。例如,图中右起第二的达太的双手,可以看成一只手准备拍打另一只,好像在说“我告诉你什么来的?”(大体上是歌德的理解。)但也可以看成是双手捧起,准备去接圣餐面包。
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94. For Giraldi, see Introduction n. 7.
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95. Technical data in Barcelon and Marani 2001, 408ff., on which this paragraph is based.
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96. CA 189r/68r–a (written from right to left), CA 713r/264r–b. The former is echoed in I 53v, ‘benedetto 17 October’, which is doubtless contemporary with the shopping–list dated 17 October 1497 a few pages earlier (I 49v). However, this may mark the end of Benedetto’s first year.
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97. Barcelon and Marani 2001, 413–14.
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98. Beltrami 1919, doc. 70; PC 2.296.
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