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Monday, November 11, 2019

Leonardo da Vinci, a Baby Genius on Whatevr #7

11:35 AM


A Baby Genius
While this article may not act as a guide to raising a baby genius, it will give you an idea of the early years of one of the greatest geniuses of the modern age, who, being human, was undoubtedly once a baby and then a child before assuming the appearance of the bearded old man in the iconic portrait.

Our main character is none other then the legendary Leonardo da Vinci, born on the 15th of April, 1452, in the middle of the night in the small town of Vinci or, more precisely, the hamlet of Anchiano, halfway between Florence and Pisa.

We’ve chosen to feature Leonardo because the year 2019 marks the 500-year anniversary of his death on the 2nd of May, 1519, at Clos Lucé, a castle in the city of Amboise, France. On that day, as Francis I was holding his head and lamenting the loss of that great man, Leonardo whispered his last words: “I have offended God and mankind because my work did not reach the quality it should have.” It was the perfect farewell of a genius – or so the legend goes. 

This year, a number of cultural institutions will be celebrating the anniversary of the death of that astounding polymath. The most eagerly anticipated event will be the mega-exhibition at the Louvre, scheduled for the autumn of 2019 and likely to be one of the greatest cultural events in recent decades.
And so, as Whatevr #7 celebrates childhood, we’ll be focusing on the mysterious early years of the man of the year. But before we begin, we have to warn you that the little we know about those years is based on scant historical records and lots of wild conjecture.

Not surprisingly  for the time and place, Leonardo was born out of wedlock. From his DNA, we know that Leo was the illegitimate son of the Florentine notary Piero di Antonio da Vinci and the orphan girl Caterina di Meo Lippi, so while Leo’s father came from a wealthy family, his mother was considered a nobody. Also a notary, Leonardo’s grandfather Antonio made a record of his grandson’s baptism, including all witnesses who attended the event – and what instantly stands out is that Leo’s mother was not there. It was clear that this would not be a happy family and that the baby was not wanted – at least, not at first.

Baby Leonardo may have lived with his mother during the first years of his life, but by 1457, at the age of five, we find him staying in the house of his grandfather, Ser Antonio, in Vinci. Living in the same house was Leonardo’s grandmother Lucia, the descendant of a Majolica artist-craftsman family, and Leonardo’s young uncle Francesco, who was a member of the silk guild of Florence . Leonardo’s father, who married another woman several months after the child’s birth soon moved to Florence, where he served as a notary for the Medici family, married three more times and had thirteen children.






And what about Leo’s mother, Caterina? We know that she married a farmer and that they had four children together. Beyond that, we know next to nothing. She and Leonardo may have met years later in Milan, a few months before Caterina’s death, and we know that Leonardo paid her funeral expenses.

With so little solid information, the road was wide open for a string of speculative theories on Caterina’s origins.  A perfect example is the story of a Chinese girl captured by Mongol raiders and sold as a slave: first in the Crimea, then in Constantinople and finally in Venice. Having arrived in the Italian Maritime Republic she was bought by a wealthy Florentine businessman, Ser Vanni, and brought to his house in Tuscany to help his wife with the chores. Vanni happened to be one of Piero Vinci’s clients, and it was there in the Vanni household that the sexual assault on Caterina took place and where she conceived Leonardo. The book that sets forth this theory is now a bestseller in China – no surprises there.

The story is certainly a spectacular fantasy, but it’s not completely unrealistic. In Renaissance Italy, domestic slaves were often referred to as Tartars or Orientals. According to Italian university researchers who have been reconstructing Leonardo’s fingerprints from those found on his drawings and paintings, the central whorl, a common fingerprint pattern found in the Middle East, suggests that Leonardo’s mother may have come from that area. Approximately 60 percent of the Middle Eastern population evidently have the same pattern, which leads us to ask: did Leonardo da Vinci have Turkish, Arab, Tartar or even Chinese origins?

Whether that’s true or not, it makes for a great story. But the best is yet to come. The theory goes on to suggest that the scenery behind the Mona Lisa resembles a typical Oriental landscape such as Leonardo might have seen on a Chinese fan in his mother’s possession. Furthermore, the Mona Lisa herself is apparently not the image of Francesco di Giocondo’s wife, Madama Lisa Gherardini, but a disguised portrait of Leonardo’s mother Caterina. Yes, the most famous European portrait of all time is now thought to be the likeness of ... (drum roll) ... a Chinese slave in Europe, 500 years ago – the mother of a genius. It just goes to show the power of globalization is nothing new.

But let’s go back to the small town of Vinci and the house of Leonardo’s grandfather Antonio. How did Leonardo spend his time? Later in his life, the artist would record only two childhood episodes in his codices. The most famous one reads as follows:

“It seems that it had been destined before that I should occupy myself so thoroughly with the vulture, for it comes to my mind as a very early memory, when I was still in the cradle, a vulture came down to me, he opened my mouth with his tail and struck me a few times with his tail against my lips.”

Sigmund Freud used this quote, which is incorrectly translated into English from the Codex Atlanticus (the “vulture” is actually a kite), in his highly debated work Leonardo da Vinci and a Memory of His Childhood (1910). An interesting read. About sexuality. Guess you probably knew that. 






The second incident occurred at a time when Leonardo was exploring the Tuscan mountains around Vinci and one day happened upon a mysterious cave. The darkness of the cave terrified young Leonardo, as did the unknown danger of what might be lurking inside. But his curiosity drove him to explore what was there in spite of his fear. Leonardo most likely wrote the story to illustrate the power of human curiosity. Then again, some pseudo-historians prefer to see the cave as, yes, a stargate or time machine that he could have used for time travel or close encounters of the third kind – no doubt the perfect explanation for Leonardo’s futuristic engineering projects.

The earliest record of Leonardo’s artistic talent is mentioned in a biography written by Giorgio Vasari a few decades after the artist’s death. In it, Vasari describes how a family friend asked Ser Piero if his talented son could embellish his new shield. Leonardo responded by painting some terrifying images of fire-breathing snakes on the round plaque. The monsters looked so real and frightening that Piero sold the shield to a Florentine art dealer and made a huge profit in the process.

Whether this story is true is unknown, but we do know that Ser Piero brought young Leonardo along to Florence to improve his artistic aptitudes. Perhaps Leonardo’s father thought that, as an illegitimate child, his son would not have the opportunity to become a notary like himself and the boy’s grandfather. Leonardo’s skills in arithmetic were also apparently inadequate. Florence, however, had a variety of successful artist studios where Leonardo could serve as an apprentice, and a career as an artist was considered a respectable position in the society of that time. 






The decision was made: the young boy would become an artist. In 1466, Leonardo was documented as frequenting the workshop of the great master Andrea del Verrocchio (featured in a marvelous exhibit in Florence this year), with such immortal “schoolmates” as Botticelli, Perugino, Ghirlandaio and Lorenzo di Credi, all future great masters of the Florentine Renaissance. The situation could not have been better: Florence was one of the most advanced cultural centres in Europe at that time and Verrocchio’s “talent scout” atelier was the best place for a boy as gifted as Leonardo to grow and learn. Verrocchio was moreover not only a painter but also an architect, sculptor and goldsmith. The resulting exposure to a vast range of technical skills that included mechanics, chemistry and carpentry as well as painting, drawing and modeling enabled Leonardo to improve all his skills and gifts. As he learned how to use the different paintbrushes, colours and pencils, he developed an irresistible passion for the natural sciences and soon concluded that deduction was the only road to real knowledge: theory alone was no longer enough. Taking part in the atelier’s creations between 1466 and 1476 also helped to shape Leonardo into the man we know today, a man whose passion for observing and comprehending the laws of nature and physics was focused on improving his skill as a painter. This, then, was the learning environment of one of the greatest maestros of Italian art and culture.

The earliest work of art associated with Leonardo is The Baptism of Christ (1472), a painting attributed to Verrocchio and on display at the Uffizi. This painting was clearly the work of different hands, and as Ser Vasari documented once again, Leonardo was among them. But while Leonardo was only one of several apprentices who contributed to the work’s creation, his skill and style so surpassed the rest that Verrocchio himself – so goes the story – put down his brush, never to paint again. While that may be exaggerated, almost all art historians agree that Leonardo painted the more beautiful of the two angels as well as the backdrop to the scene. There is also no doubt that both the figures painted by Leonardo and that of John the Baptist, most likely the work of Botticelli, reveal a modern spirit unlike any prior Florentine creation. The golden generation was rising. Leonardo was now a fully fledged artist; and so, our story comes to an end.   
But before we say “over and out”, let’s go back to the beginning to answer one more question: what did Leonardo look like in his younger years? What was his outward appearance before he assumed the look of a wise Greek philosopher? His biographers describe him as first, a nice-looking boy and later, a handsome man: tall and graceful, strong and valiant. According to tradition, he was the model for his master Verrocchio’s carving of the famous bronze David, now housed in the Bargello National Museum in Florence. If this is true, we can imagine the young Leonardo as a good-looking youth, slender and muscular with long, curly hair – and on his face, just a hint of an enigmatic smile.
by Christheguide
 published on #7
 and 
 

Saturday, November 9, 2019

Art & Bites in Trastevere

12:48 PM

Art & Bites in Trastevere - November and december 2019

To enrich soul and vision we will visit ancient churches, adimire priceless art masterpieces and discover an underground surprise.
To gratify our taste and curiosity we'll savor delicious bites as supplì, red pizza and roman bisquits entering in cosy local shops.



A walk of less than 2 km with 3 bites, 2 churches and 1 undergound visit.
We'll visit the medieval churches of S. Crisogono and S. Maria, famous for mosaics and a secret underground. We will admire a surprising statue by Bernini in S. Francesco where sexuality is connected with religion. And obviously some italian bites in a old bakery, a cosy bar and, well, the rest is a surprise...
49 € per person 
 special price 39 € per person

Meeting point piazza Sonnino (in front of the big church)


Friday, September 27, 2019

The Sacred and the Sexual, a visit of Palazzo Barberini

11:37 AM


The Sacred and the Sexual, a visit of Palazzo Barberini.
In November and December 2019



Palazzo Barberini, via delle Quattro Fontane, 13.
Book now with Airbnb experience:
 


Discovering this unique art collection we will focus on the development of European taste in matter of nudity, sexuality and love to find out that both profane and sacred art pieces are valuable historic sources to comprehend the morality of the European society through the centuries.

Palazzo Barberini is an extraordinary Baroque palace built for Pope Urban VIII. It hosts the national collection of Renaissance and Baroque art.





 - In Christian societies, patrons and artists valued chastity and celibacy. Depictions of unclothed bodies were very rare and used just to convey ideas of shame, how and when did it change?



 
- What is the influence of "classical" Greek and Roman art nudes on the development of European art? 


- Nudity in Christian art is just a consequence of Renaissance naturalism or it is an aesthetic choice guided by deep religious beliefs?

- What is the difference in-between nudity and nakedness?

- Are sex objects in art shown just for the viewer's gratification?

- Could sexuality in mythological and biblical themes panting be elevated as a legitimate subject of art?
nudus nudum Christum sequi 



  • Meeting point: Palazzo Barberini, via delle Quattro Fontane, 13
  • Duration: 1.5 hours
  • Max group size: 6
  • Price:  adults 35 tickets included

Sunday, June 16, 2019

Vatican Museums at night: june 28th and july 19

5:36 PM
Vatican Museums at night: june 28th and july 19th
The Vatican Museums under the moonlight!
Meeting point: viale Vaticano 100
Duration: 2,5 hours
Max group size:10
Price:  send us a e-mail
friday june 28th 9 pm
friday july 19th 8 pm
During the summer season Art lovers are offered the unique opportunity to visit the Vatican Museums at night. The museum opens his doors after sunset till 11 pm. We will visit all the masterpieces of the Vatican, including the Sistine Chapel and the Pope Apartments, avoiding big crowds.
Join us for this wonderful late summer evening full of history, art and beauty.
Guided tour by Christiaan Santini. 
For info please e-mail us: christiaansantini@gmail.com 
or what's up: +39 3478769063 

Saturday, June 15, 2019

Bernini vs Borromini, friday june 21st 10 am

11:45 AM

Bernini vs Borromini Tour

 It was a rivalry between two men that transformed Rome into the most beautiful and modern city of 17th century Europe.



Meeting point:
Palazzo Barberini, main entrance.  
Duration: 
2 hours
 Max Group Size:
Days:
June 21, 2019
Start Times:
10:00


These two really hated each other. Their names: Gianlorenzo Bernini and Francesco Borromini. This… is the story of their enmity!
So, let’s get to know the contenders. Understanding Baroque in a 2 hours walk!
 The two main masters of roman Baroque: Bernini's passion, art as a full theatrical lighting. Borromini's genius, the modernity of "chess master" architect.
 Their masterpieces on the Quirinale hill.


S. Andrea al Quirinale (Bernini)


S. Carlo alle Quattro Fontane (Borromini)


S. Maria della Vittoria (Bernini)
Palazzo Barberini (Bernini, Borromini, Pietro da Cortona)

Practical information

Duration: 2 hours
Language: english
Price: €20 per person

Friday, April 12, 2019

a night with Michelangelo

10:50 AM

A night with Michelangelo: enjoy the 3d theatre show Giudizio Universale, have a glass of wine to relax your soul and then take our guided visit into the Vatican Museums to see the real Sistine chapel





Meeting point: via della Conciliazione, 4
Duration: 5-10 pm
Max group size:10

During the summer season Art lovers are offered the unique opportunity to visit the Vatican Museums at night. The museum opens his doors after sunset till 11 pm. We will visit all the masterpieces of the Vatican, including the Sistine Chapel and the Pope Apartments, avoiding big crowds.
Join us for this wonderful late summer evening full of history, art and beauty.
This year you have got the possibility prepare yourself to the great Museum visit watching the show Giudizio Universale at the Conciliazione theatre with a special reduced ticket.
The theatre show is an immersive and modern way to understand fully the Renaissance art and be ready and well prepared for the visit of Michelangelo's masterpiece
Guided tour by Christiaan Santini.





Giudizio Universale. Michelangelo and the Secrets of the Sistine Chapel is a viewer-immersive show made with the scientific advice of the Vatican Museums.
The viewer is taken on a journey through time. It starts by taking us to the sixteenth century to visit the quarries of Carrara on a search for the perfect piece of marble.
Michelangelo’s passion for stone arose out of his relationship with “the giant”, a rock that seemed impossible to sculpt, until he created the most iconic statue of all time: David.
Michelangelo is without a doubt, an artist. He not only sculpts, but also writes poetry and paints. This is why Pope Julius II commissioned him to paint the ceiling of the Sistine Chapel.
The Chapel will appear to the public as it was before Michelangelo began work on it, and the viewer will explore, in his presence, the lateral paintings carried out by the Italian masters who preceded him.
A magical journey featuring the artist’s creative process where the ceiling paintings dedicated to Genesis come alive and express their humanity.
In 1513, a year after completion of the ceiling fresco, the Sistine Chapel became, for the first time, the place where the Papal conclave, the meeting convened to elect the Pope, would take place. Thanks to a free interpretation, the symbols of this timeless rite come to life.
At the end of the Papal conclave, the viewer will find themselves before the new Pope. Clement VII orders Michelangelo to create the fresco on the main wall of the Sistine Chapel.
A new challenge for Michelangelo, who in a moment of inspiration produces a visionary and powerful fresco depicting the Last Judgement, one which completely breaks with previous tradition.
Giudizio Universale immerses us in an aesthetic, emotional and spiritual experience.

Wednesday, April 3, 2019

The ultimate food guide in Rome spring & summer 2019 by Chris

1:39 PM


Where to eat in Rome, a short guide by Christheguide for your spring and summer 2019

A very important part of any holiday is the food, expecially when in Rome.
Italian food is no doubt on of the best possible worldwide but Rome you have to know where to go.
Where do I go to eat?
Here some tasty suggestions:

La Torricella in via Evangelista Torricelli 2, Testaccio Area
Just one of my favourite places in all Rome. Especially for the antipasti and fresh fish. 
Testaccio is a little south of the city-center but is worth a visit, the area is in general one of the pest places to seek for real roman food for local, la Torricella is simply my place

Other options in the Testaccio area:
Da Felice, via Mastro Giorgio 29
Perilli, via Marmorata 39
Both old traditional places, very high quality but a little more expansive than la Torricella.


Other beautiful area to seek for food is the Jewish district, known in Italian as the Ghetto.  
My favourite is: Ba Ghetto, via del Portico d'Ottavia, 57. Real kosher restaurant, but roman  and Israeli kosher cuisine, just failproof. 

Other option in the Ghetto area:
Yotvata, Piazza Cenci 70; signature song pasta with fish
Sora Margherita, Piazza delle Cinque Scole 30, not kosher, simple small and cosy place. Food 5 stars


The third mecca aerea for food in Rome is Trastevere, and here the choice is very complicated.
The place to go is anyway still th Pizzeria ai Marmi (aka Panattoni), Viale Trastevere 57. Take a pizza there and appetizer (supplì is just mind-blowing). To me, really, best pizza in town. Super cheap...

more in Trastevere?
Trattoria Antico Carlone, Via della Luce 5 has one of the best Carbonara's in town
Enzo al 29, Via dei Vascellari, 29 is great but on all the touristic guides so always very crowded. Go if you want but very early or very late.
Osteria der Belli, piazza S.Apollonia,11. Nothing changed there since 1970 I suppose, great vintage option.
For take away do not miss: il Supplì (aka da Venanzio), via san Francesco a Ripa 137

And if you are in other areas of town? 

If you go to San Lorenzo, close to the train station and the San Lorenzo Basilica choose: Pommidoro, piazza dei Sanniti 46
If you are in between the train station and the Colosseum (piazza Vittorio area) 2 places: da Danilo, via Petrarca 13 and Vecchia Roma, via Ferruccio 13.
Close to the train station few steps form the wide via Nazionale avenue have a sit in Est Est Est, via Genova 32

around the super monumets of Rome city-center:

Colosseum area:
Taverna Romana, Via della Madonna dei Monti, 79: very close to the Roman Forum entrance, quality/price unbeatable there
Nerone, via delle Terme di Tito 96: on the Oppian hill, good food with tables outside facing the Colosseum
Le Tavernelle, via Panisperna 48: out of the touristic routes, hidden to the most = hidden gem
Very very colse to the Colsseum, few steps form the besutiful San Clemente church:
Luzzi, Via di San Giovanni in Laterano, 88 for cheap pizza with tables outside
Naumachia, Via Celimontana 7, air conditioned, huge, all good, nothing special but well, why not...

Trevi area:
I would personally never stop to eat around there, but if mandatory:
Vineria Il Chianti, via del Lavatore 81
Quirinetta caffè e cucina, via Minghetti 2
Trattoria al Moro, vicolo delle Bollette 13 (this is a great place but expansive) 

Ranaissance city center:
Enoteca Corsi, via del Gesù 87-88. Known as the luch place for the Gesuit piests as theys main chrch is very close by. Do not forget, where priests eat in Rome food is always good. Opend only on lunch time during the week, dinner just on weekends! Few steps form the Pantheon.

For take away pizza choose pizza Florida via Florida 25 (but basically on Largo Argentina, right in front of the place where Cesar was assassinated!)

Campo de' Fiori is the place in Rome for an aperitif, if hungry afterword’s choose:
Grappolo d'Oro, Piazza della Cancelleria, 80. I go there often. (but no tables outiside)
or
Ar Galletto, piazza Farnese 104: good food, honest prices and with a nice view on palazzo Farnese, the most beautiful renaissance facade of town (by Michelangelo by the way)

Around Navona square I go to 2 places:
Ponte & Parione, Via di S. Maria dell'Anima 62; food & kitchen
Pizzeria La Montecarlo, vicolo Savelli 13. Just pizza or pasta, forget about the rest of the menu and you'll have a great meal








 




About Us

Christiaan Santini, Rome, Italy / - Tour Designer, Tour Guide, Tour Manager / Official Tour Guide license issued by the Regional Administration of Rome (nr. 4545) / p.iva: 12307641006 / c.f.: sntcrs79e19h501o / Nationality: Italian-Dutch

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