Appalto e forniture del Genio e Demanio Militare.

Foreword by Carlo Pedretti. English edition. Firenze, C.B. Cartei e Bianchi 2010, cm.16x18, pp.154, num.figg.a col.nt. brossura cop.fig.a col. Giorgio Vasari, Leonardo's first biographer, said that the artist used to sketch "many designs for architecture". In fact, in the so-called "letter of employment" written to Ludovico il Moro in 1482, Leonardo presented himself as a military engineer, able to satisfy the demands of the Duke of Milan in peace and in war, declaring that he "can give perfect satisfaction and to the equal of any other in architecture and the composition of buildings public and private". And then he speaks of his ability in hydraulic engineering for conducting water "from one level to another". Leonardo studied in depth several ancient texts but also the treatises of his own time: in particular the treatise of military and civil architecture by the Sienese engineer and architect Francesco di Giorgio Martini, a text that contains projects for fortifications with bastions, able to offer resistance to the artillery fire. This could explain Leonardo's fascination with fortifications, his involvement in the project to realize the tiburio for the Milan cathedral. He made a great many architectural projects for gardens and elegant buildings, testing out innovative solutions, such as the internal stairs. This allows us to better understand his excellent competence in architecture and why he attempted to plan the "ideal city", conceived as being organized on two different levels, one for pedestrians and the other suitable for vehicle transportation. He also projected also religious buildings, studying different solutions for the centralized plan based on complex systems of architectural symmetries.

Foreword by Carlo Pedretti. English translation by Valentina Diani. Poggio a Caiano, CB Publishers 2010, cm.16x18, pp.160, numerose ill.a col.nt., brossura, cop.fig.a col.con bandelle. Stato di nuovo.

Foreword by Carlo Pedretti. Firenze, C.B. Cartei e Bianchi 2010, cm.16x18, pp.160, num.figg.a col.nt. brossura cop.fig.a col.

A cura di Roberto Manescalchi. Firenze, European Center of Fine Arts 2008, cm.21x21, pp.94, num.figg.bn.nt. brossura cop.fig.a col. Coll.Pagine nuove. Storia dell'Arte e dell'Architettura,2.

A cura di Mario Apollonio. Milano, Rizzoli Ed. 1944, 2 voll. cm.13x19, pp.680,666, legatura ed.in tutta tela. Coll.Classici diretti da Ugo Ojetti.

English edition, translated from the German, with extensive corrections and additions and an Index of names, books and prints. Amsterdam, G.W. Hissink & Co. 1969, cm.15x23, pp.XXII,179,(5), numerose ill. e tavv. in bn. ft. di cui alcune ripiegatr, legatura ed. in tutta tela, titoli in argento al piatto ant. e al dorso. Coll. Scripta Artis Monographia, 7. Reprint of the edition London 1888.

Collections and Historical Reception Proceedings of the International Conference (London, 25-27 May 2016). Edited by Juliana Barone and Susanna Avery-Quash. Firenze, Olschki Ed. 2019, cm 17 x 24, xlvi-456 pp. con 56 tavv. f.t. a colori, brossura Biblioteca Leonardiana. Studi e Documenti,7. The study of the legacy of Leonardo da Vinci in Britain has remained largely overshadowed by that of other Italian Renaissance artists. What was actually known of Leonardo’s work? Were particular aspects of his legacy favoured? This volume investigates how Leonardo’s artistic, theoretical and scientific work has been received in Britain from the seventeenth century onwards. It offers new information concerning the provenance of certain key works and considers their significance for the formation of important British private and public collections. It also addresses the crucial issue of what was considered to be an original work by Leonardo, encompassing related discussions on the roles of versions and copies. In addition, it investigates the shaping of early academic discourse and the appearance of the first English editions of the ‘Treatise on Painting’, as well as considering the publication of English anthologies of his writings and methodological approaches to Leonardo studies. At the same that this volume focuses on the historical reception of Leonardo and his followers’ works in Britain, it makes a wider contribution to studies concerning cultural and intellectual exchanges between Italy and Britain.

Milano, Arnoldo Mondadori Ed. 1976, cm.13x19, pp.160, brossura cop.ill.a col. Coll.Urania977. Per un curioso paradosso la fantascienza del Lontanissimo Futuro assume spesso colori da Medio-Evo: pellegrini, mercanti, frati, principi, popolani, mendicanti, osterie, soldati di ventura... Ricordate la fondazione di Asimov? Il paradosso si spiega con la somiglianza che effettivamente un giorno, la Galassia potrà avere con la Terra di quel remoto passato in cui pellegrini, frati, mercanti, percorrevano "distanze incommensurabili" tra esotiche, incredibili meraviglie... Ricordate "Il Milione" di Marco Polo?