The "Christ of Lecco” is a work created by the great Leonardo Da Vinci. After years of studies and debates on the attribution of this blood sketch owned by the family Gallo-Mazzoleni of Lecco, now the confirmation has arrived. Thanks to a study conducted by the Leonardo Da Vinci expert, Annalisa DiMariaof mathematics Nathalie Popis and by the professor emeritus of the Sorbonne of Paris Jean-Charles Pomerol (whose results were then published by “OpenScience”, one of the most important scientific journals in the world), it was possible to demonstrate that the same is present in the Christ of Lecco as well aspect ratio system which is found in the other works of Leonardo Da Vinci. The study confirms what Di Maria has always maintained, namely that behind this wonderful sketch there is the hand of the Florentine master.

Christ of Lecco - Leonardo Da Vinci
Christ of Lecco (Leonardo Da Vinci)

The master shared his knowledge and experience with his disciples. For this reason, even the most expert today find it difficult to distinguish Leonardo's works from those of his students with the naked eye. However, the Florentine genius possessed and used a major technical mastery e science of measure and proportions, which made his works unique. In the early Florentine period Leonardo used the same proportions used by Verrocchio, his master. This can be seen for example in the portrait of Guinevere de Benci. A mathematical study carried out by the specialist Nathalie Popis and by the emeritus professor Jean-Charles Pomerol has in fact demonstrated that there are identical measurements between Leonardo's painting and the marble bust of Ginevra de Benci made by Verrocchio (the “Lady with bouquet"). Leonardo taught his pupils these proportions, but modified them for his work in his quest for perfection.

Cristo di Lecco - Lady with a bouquet by Verrocchio and portrait of Ginevra de Benci by Leonardo.
Lady with bouquet by Verrocchio (left) and Leonardo's portrait of Ginevra de Benci (right).

Christ of Lecco: mathematical perfection as proof of authenticity

Despite the strong similarities, the mathematical study, of great precision, has made it possible to highlight differences in the conception of portraits made by Leonardo da Vinci and those of his disciples. Among these stands out the eye distance. In the portraits made by the master's disciples this is more accentuated and leads to golden rectangles which descend to the level of the chin. These rectangles, in Leonardo, stop instead at the bottom of the mouth, whatever the morphology and corpulence of the model.

Christ of Lecco - Works by Leonardo's disciples and works by Leonardo
Works by Leonardo's disciples (left) and works by Leonardo (right)

Leonardo has always sought mathematical perfection in his works and this has led him to rediscover the golden ratio. Among the most exemplary works in this sense are "The Vitruvian man" and the "Ideal horse”, recently discovered in a private collection. When superimposed, these two designs indeed show identical proportions, registered in golden rectangles, where their members are placed in the same place.

Ideal horse and Vitruvian Man - Leonardo Da Vinci
Superposition of the Ideal Horse and the Vitruvian Man (Leonardo Da Vinci).

Leonardo's two works bear witness to his neo-Platonist beliefs, which presuppose a bond between all beings that comes from acommon unity of divine nature. The desire to highlight divine uniqueness, embodying perfection and harmony is found in all portraits of him, including the Christ of Lecco. Leonardo Da Vinci followed precise rules, which differentiate him from his disciples. The universal measures conceived and used by the Florentine master for the realization of his portraits are unique and they have never been taken up by other painters. These were also found in the Christ of Lecco and therefore demonstrated how the work was created no doubt from the hand of Leonardo Da Vinci.

The "Christ of Lecco" is by Leonardo Da Vinci: the confirmation last edit: 2023-02-06T12:30:00+01:00 da Antonello Ciccarello

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