A Lady from Florence
In 1502, Leonardo acquired magnifying lenses, a measure that indicated the beginning of a failing eyesight. A year after, he launched his search after a maiden suitable for his new project which at the time hasn’t been named yet. Da Vinvci gave it the name (A lady from Florence), for convenience.
At the age of fifty, da Vinci ventured into the question of death, examining his thoughts he writes: the soul would always want to escort the body, for it is the body that bestows sense, perception, and vigour of life upon the soul. He continues: every harm produces and leaves behind a painful memory except for the greatest harm, which is death. It takes away our memories along with our souls. O Thou man engulfed in dormancy, what is sleep? Sleep is the simulacrum of death, you better innovate works that would make you immortal, don’t sleep your life away like the dead. He used to tell his companions: material life is the dwelling of the soul, and death is to exclude this materiality, which forcibly flows out, against its own will, and it doesn’t seem to end up dwelling in the highest of the utopia.
During Cesare Borgia’s invasion wars da Vinci has stared death in the face. He has seen too many men dying in that year, when his eyesight began to fail. He has seen death’ maps and weapons and how they harvested the souls of fighters. A year latter he went to Florence following the fate of the Borgia state and the fate of his master Cesare. In Florence he began to search after a face for his new project and found what he was looking for in a married woman, probably Lisa Gherardini, the wife of a Florentine silk merchant. Lisa was tweenty four years old and mother of three children the last of whom died in 1499 (a girl). Da Vinic proceeded painitng in 1503, and the Florentines called his painting La Gioconda (The joyfull). During his last three years in his studio in France de Vinci used to show his visitors three paintings: the painitng of Saint John, the Virgin and Child with Saint Anne, and the third painting was the work he used to introduce as A lady from Florence. Critics agree that she is the Mona Lisa, the name that has been attached to her, and has been chasing her in a time of perpetual secrecy, until now.
Has Leonardo da Vinci chosen Lisa Gherardini of Florence as a model for the angel of death? That invisible hand which will eventually take his soul after years? That's what I arrive at everytime I get close to the painting in contemplation, her narrow eyes, her gaze, her mysterious smile, her dispense with jewelry, her shadowy dress, the lonely, muddy paths of Tuscany behind her, the nightfall colors that bring about the feeling of an approaching death, and da Vinci’s constant excuses that he is not yet done with it (untill it is done with him), and Hall Thriteenth of the Louvre Palace first floor where the painting is on dispaly. On Saturday the 23 April 1519, I see in my mind’ eye, after he had finished dictating his will da Vinic kept looking at it until his soul departs on 2 May, when the scientist and the artist inside him were ready to set sail to the great sea.
In 1502, Leonardo acquired magnifying lenses, a measure that indicated the beginning of a failing eyesight. A year after, he launched his search after a maiden suitable for his new project which at the time hasn’t been named yet. Da Vinvci gave it the name (A lady from Florence), for convenience.
At the age of fifty, da Vinci ventured into the question of death, examining his thoughts he writes: the soul would always want to escort the body, for it is the body that bestows sense, perception, and vigour of life upon the soul. He continues: every harm produces and leaves behind a painful memory except for the greatest harm, which is death. It takes away our memories along with our souls. O Thou man engulfed in dormancy, what is sleep? Sleep is the simulacrum of death, you better innovate works that would make you immortal, don’t sleep your life away like the dead. He used to tell his companions: material life is the dwelling of the soul, and death is to exclude this materiality, which forcibly flows out, against its own will, and it doesn’t seem to end up dwelling in the highest of the utopia.
During Cesare Borgia’s invasion wars da Vinci has stared death in the face. He has seen too many men dying in that year, when his eyesight began to fail. He has seen death’ maps and weapons and how they harvested the souls of fighters. A year latter he went to Florence following the fate of the Borgia state and the fate of his master Cesare. In Florence he began to search after a face for his new project and found what he was looking for in a married woman, probably Lisa Gherardini, the wife of a Florentine silk merchant. Lisa was tweenty four years old and mother of three children the last of whom died in 1499 (a girl). Da Vinic proceeded painitng in 1503, and the Florentines called his painting La Gioconda (The joyfull). During his last three years in his studio in France de Vinci used to show his visitors three paintings: the painitng of Saint John, the Virgin and Child with Saint Anne, and the third painting was the work he used to introduce as A lady from Florence. Critics agree that she is the Mona Lisa, the name that has been attached to her, and has been chasing her in a time of perpetual secrecy, until now.
Has Leonardo da Vinci chosen Lisa Gherardini of Florence as a model for the angel of death? That invisible hand which will eventually take his soul after years? That's what I arrive at everytime I get close to the painting in contemplation, her narrow eyes, her gaze, her mysterious smile, her dispense with jewelry, her shadowy dress, the lonely, muddy paths of Tuscany behind her, the nightfall colors that bring about the feeling of an approaching death, and da Vinci’s constant excuses that he is not yet done with it (untill it is done with him), and Hall Thriteenth of the Louvre Palace first floor where the painting is on dispaly. On Saturday the 23 April 1519, I see in my mind’ eye, after he had finished dictating his will da Vinic kept looking at it until his soul departs on 2 May, when the scientist and the artist inside him were ready to set sail to the great sea.
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