by Redazione , published on 30/03/2021Categories: Works and artists / Disclaimer  Called “Salaì” because of his “thief and liar” character, Gian Giacomo Caprotti was nevertheless one of Leonardo da Vinci’s closest students. Here is what we know about him and his art. At theState Archives in Milan there is a document, dated April 21, 1525, that records the inventory of the property of Gian Giacomo Caprotti known as the Salaì (Oreno, 1480 – Milan, 1524), who was a collaborator and pupil of Leonardo da Vinci (Vinci, 1452 – Amboise, 1519). This is a document of great importance because it has helped scholars understand what relations there were between the pupil and the master. We know that the Salaì followed Leonardo to France, although he stayed little with him (most likely he was not at the genius’ side when he disappeared): in 1519, Caprotti returned to Milan where, on January 19, 1524, he died a violent and sudden death (he was killed perhaps by an arquebus shot by French soldiers besieging the city, near the house he had built on the land he had inherited from Leonardo, now known as “Leonardo’s vineyard”). The inventory of Salaì’s possessions mentions several paintings, including a Leda and the Swan, a Madonna and Child with St. Anne, a Mona Lisa (mentioned as “quadro dicto la Joconda”: this is the first attestation of the term by which Leonardo’s most famous painting would later become universally known), a Salvator Mundi (“Un Cristo in modo de uno Dio Padre”), a “quadro con una meza nuda,” and a Christ at the Column mentioned as “non fornito,” or unfinished. An estimate is also presented for each of them: the Leda is the painting with the highest value (200 scudi), the Christ at the Column the least valuable (5 scudi). However, these would not be Leonardo originals, as was thought when the document was found in 1991. In 1999, the French scholar Bertrand Jestaz in fact uncovered an agreement, dating back to 1518, between the Salaì and King Francis I of France from which we get the information that, at that date, Leonardo’s pupil had sold to the French sovereign some paintings (among which was precisely the Mona Lisa) for a sum that corresponded to more than double the works listed in the 1525 inventory. Several hypotheses have been made to identify the paintings mentioned in Salaì’s inventory: for example, the “meza nuda” could be the so-called Mona Vanna, also known as the “Naked Mona Lisa,” a work of uncertain attribution to Gian Giacomo Caprotti now in storage at the Museo Ideale Leonardo in Vinci, which we have discussed more extensively elsewhere on these pages. One of the most singular aspects that nevertheless emerges from the inventory is the inclination that Salaì had toward business. His attitude was diametrically opposed to that of his master: while Leonardo was completely absorbed in his scientific and artistic studies, Salaì looked after his economic interests (in addition, of course, to looking after his own). The young Caprotti had entered Leonardo da Vinci’s workshop in Milan as a child, at the age of ten: it is the artist himself who gives us news of Salaì’s entry into his atelier. “Jacomo,” we read on folio 15v of Manuscript C, “came to stay with me on the day of Magdalene in 1490, aged 10 years” (on July 22, 1490). We also know from ancient sources that Salaì was a very handsome young man: Giorgio Vasari, in his Lives, describes him to us as a boy “vaghissimo di grazia e di bellezza, avendo begli capelli ricci ed inanellati, pe’ quali Leonardo si dilettò molto.” In Leonardo da Vinci’s folios (e.g., 12554 or 12557 in the Royal Collection at Windsor) we see a portrait of a young man in profile appear with some frequency, with curly hair, a Greek nose, and slightly effeminate features. The same type also appears in some sheets of the Codex Atlanticus, and it is thought that these may be portraits of Salaì (so much so that similar profiles have been called “Salaì type”). Salaì’s character was also opposite to Leonardo’s: the great artist is said to have described him as “thief, liar, obstinate, greedy” in one of his notes. Yet, despite the differences in temperament and social class (the young Caprotti was from a humble family: his father, Pietro Caprotti, was the tenant of the land that the master would later bequeath to Salaì), despite the fact that Leonardo’s notes record at least five thefts carried out by Salaì against the master (the nickname, after all, gives a perfect account of his temperament: “Salaì” is in fact the name of a devil in Pulci’s Morgante ), the Tuscan genius kept him with him for almost his entire life. Evidently, the young Caprotti had somehow managed to win Leonardo’s trust, and not just his own. We know, for example, that Salaì, “alevo de Leonardo da Vinci, zovene per la età sua, assai valente,” was commissioned in 1505 by Alvise Ciocca, agent of the marquise of Mantua, Isabella d’Este, to report to the marquise herself on Perugino ’s progress on a painting that the sovereign of Mantua had commissioned from the Umbrian painter: at the time, Isabella had commissioned both Perugino and Leonardo (both of whom were residing in Florence at the time, and Salaì had followed Leonardo to the Tuscan city, just as, for that matter, he had followed him to Venice earlier) to execute two works. And the Salaì, Ciocca wrote, had “lauded much the imagination et ha correcto alquanto alchune cosete ch’el prefato Reverendo [the abbot of Fiesole, ed.] et io havevamo dicto al Perusino.” And Ciocca again informs us that Salaì had expressed a desire to do “some gallant thing” for the marquise: he evidently considered himself such a skilled artist that he was held in esteem by prestigious patrons. Again, we find Salaì at the master’s side in 1513, along with his other favorite pupil, Francesco Melzi (Milan, 1491 – Vaprio d’Adda, 1570), and two other assistants, such as “Lorenzo” and “Fanfonia,” during the trip to Rome. In 1517, Salaì and Francesco Melzi were the only two of Leonardo’s pupils to follow him to France: probably, however, the only one of the two to remain at

Why We Need to Start Seeing the Classical World in Color The equation of white marble with beauty is not an inherent truth of the universe; it’s a dangerous construct that continues to influence white supremacist ideas today. Modern technology ( ultraviolet rays, etc) gives us proof that the  Greek and Roman statues they were originally painted, they were adorned with vivid hues and bright colors, but it’s hard for most to imagine quite what this would have looked like.  Marble was a precious material for Greco-Roman artisans, but it was considered a canvas, not the finished product for sculpture. It was carefully selected and then often painted in gold, red, green, black, white, and brown, among other colors.  Marble wasn’t the only material that would have been painted over. Terracotta statues, as used by both the Greeks and especially the Etruscans, would have been painted, too. The same naturally applies to ancient wooden statues. In some cases, different materials were used for different effects: a pair of marble hands and a head could be attached to a wooden body, probably because the marble, when painted, looked similar to human skin. Perhaps surprisingly, bronze statues also had colours applied to them. While the bronze “skin” of a statue would have been left unpainted, probably because it at least approximates the skin colour of a tanned person living in the Mediterranean, colours were used for other parts of the body and for clothing. Eyes and teeth were often inlaid and hair was made darker; gold leaf could be applied to highlight other parts of a statue’s body or dress.

1.Water has returned to the Bath complex of Caracalla The extraordinary architecture of the Baths of Caracalla is reflected in a mirror. Water returns to be a central element of the archaeological complex after 1800 years from its construction. The project, The Mirror,a large architectural line (42 x 32 meters) with infinity water on three sides, is radical and contemporary but at the same time harmonizes with the ancient complex of the Baths.The simple and rectangular shape deliberately suggests the shape of the Natatio: the black cladding material of the pool (Liner) is modern but maintains as its main intent to frame, mirror and replicate the ancient monument to make it the absolute protagonist, highlighting its majestic vestiges. The shape and color of the Mirror are mainly determined by its functionality, an absolute novelty: visitors will be at the center of their experience, interacting with the Baths of Caracalla. The Mirror of Water, which rises only 10 centimeters from the ground, has a multipurpose function: a sort of theater of water and on the water, equipped with a real stage intended for a series of performative and cultural activities, in a symbiosis between art and functionality. The stage, black in color, like the rest of the pool and with a minimum difference in height (about 5 centimeters) compared to the Mirror of Water, thanks to its large size, allows the possibility of presenting theatrical, dance or classical music performances, but also conferences, meetings and lectio magistralis. 2. RARE AVIS – The fashion in flight The Colosseum Archaeological Park will be embellished by a one-of-a-kind exhibition: it is entitled RARA AVIS Fashion in flight at the Farnese Aviaries and will be held from April 24 to July 21 in the Farnese Aviaries. Dresses and accessories, unique examples of haute couture from the archives of the most famous fashion houses in the world, will be exhibited in the Farnese Aviaries, one of the most symbolic places of Renaissance and Baroque Rome, set in the Farnese Gardens of the Palatine, the first botanical garden in the world, commissioned in the sixteenth century by Cardinal Alessandro Farnese. The exhibition unfolds inside the two pavilions and is divided into three sections: The Myth, Kaleidoscopic Visions and The WINGS, irreALI, reALI. The winged fantasy of the ‘mythical’ Anna Piaggi. some of the wonders that will be possible to admire: the majestic white swan dress, a tulle foam complemented by white wings by Maria Grazia Chiuri for Christian Dior (Cruise, 2022); the black swan dress, which brings to mind the Odile of Tchaikovsky’s Swan Lake, by Alexander McQueen for Givenchy (autumn-winter 1997 haute couture); the organza corset-dress,  entirely embroidered with rooster and pheasant feathers, from the Florence 2020 Collection by Dolce&Gabbana Alta Moda;  the long black dress, trimmed at the back with a cascade of kaleidoscopic feathers by Thierry Mugler (autumn-winter haute couture 1997); the golden micro-dress, in metal mesh and huge ostrich feather wings designed by Donatella Versace specifically for Katy Perry and her sported on the red carpet of the MET Gala in 2018; the exclusive look created by Alessandro Michele for Gucci with 3D crystal embroidery and worn by Florence Welch, at the 2019 MET Gala, as well as the outfit, with parrot bolero, of Jean-Paul Gaultier’s first haute couture show (autumn-winter 1997). A special place also deserves the “Victory of the Hummingbird” dress, designed specifically for “Rara Avis” by Tiziano Guardini, made of non-violent silk and dedicated to the theme of sustainability. 3. The Colossus of Constantine re-built Housed in the garden of Villa Caffarelli in the Capitoline Museums, you can admire the striking reconstruction of the Colossus of Constantine, one of the most representative works of late antique Roman sculpture, created on a scale of 1:1, thanks to the in-depth study of literary and epigraphic sources and the nine surviving fragments of the grandiose original sculpture – head, right arm, wrist, right hand, right knee, right shin, right foot, left foot – preserved in the courtyard of the Palazzo dei Conservatori. Approximately 13 metres high, the colossal statue of Constantine (4th century A.D.) depicts the emperor in the guise of a seated Jupiter, his body partially uncovered, a cloak over his shoulder, the globe in his left hand, and the sceptre in his right.

Unusual sites of Rome 1.Giardino degli aranci The Orange Trees Garden is the name used in Rome to describe the Parco Savello. The Savello Park stands on the Aventine hill, in the area of ​​the ancient fortress built by the Savelli family towards the end of the 13th century at the church of Santa Sabina; the fortress was built on a pre-existing 10th century castle belonging to the Crescenzi. The large medieval walls of the fortress now surround the Park or Orange Garden, a small rectangular garden very popular because from the belvedere overlooking the river you can enjoy a splendid view of Rome from the bend of the Tiber to St. Peter’s Basilica. The trees that give it its name were planted in memory of San Domenico, who founded the convent right here in the thirteenth century: the orange at which the saint preached is kept in the nearby cloister of S. Sabina and is still visible through a hole in the wall of the church porch. The park, characterized by a symmetrical layout with a median avenue aligned with the belvedere, was built in 1932 on a project by the architect Raffaele De Vico, who enhanced the space enclosed between the ancient walls. In the enclosure wall, on the side opposite the side wall and the apse of Santa Sabina, the traces of the towers and the drawbridge of the castle are clearly recognizable. The walls bear the signs of a subsequent refurbishment of the area, carried out at the end of the sixteenth century by the architect Domenico Fontana on behalf of Sixtus V. In addition to the walls, the thirteenth-century castle and its subsequent extensions only remain a few granaries and warehouses underground, while the building was almost completely demolished in 1613.   Leaving the Orange Garden and turning right, you reach Piazza dei Cavalieri di Malta, designed by the famous engraver Giovan Battista Piranesi in 1765. From the lock of the door that leads to the Villa dei Cavalieri, you can see Saint Peter’s dome, framed by the garden hedges. Coppede’ district The so-called Quartiere Coppedè, a complex of palaces and small villas in the Trieste district, is recognizable at a glance for its magnificence. It is an artistic-architectural experiment that combines Art Nouveau, Art Deco, Gothic and Medieval styles with references to Greek and Roman art. It owes its name to the architect Gino Coppedè, who built it between 1915 and 1927. A large, richly decorated arch, hung with a wrought-iron chandelier on Via Tagliamento, marks the entrance to the buildings facing Piazza Mincio. At the center of the square is the Fontana delle Rane (Fountain of Frogs), probably inspired by the one of turtles created by Bernini in the Jewish ghetto. The fountain is famous for the Beatles’ bath after one of their concerts at the Piper Club. Several noteworthy buildings overlook the square, such as the Villino delle Fate, consisting of three asymmetrical buildings whose paintings pay homage to the cities of Florence, Rome and Venice, and the Palazzina del Ragno covered with dragons, monsters and a knight with the inscription Labor, in a tribute to work. The Coppedè District was chosen as a film set by director Dario Argento for two of his most famous films “Inferno” and “The Bird with the Crystal Plumage” and by other directors as well. ( www.tourismoroma.it)  

Useful Information – Hungary General:  Primary language: Hungarian, however English is widely spoken in Budapest,especially in the tourism industry  Plug Type: C and E  Electricity: 230 V  Currency: Hungarian forint (Ft), even though the Euro is widely accepted through thecountry, be prepared to receive change in the form of Forints if you choose to exchangeyour currency locally.   Important telephone numbers: Emergencies: 112  International Dialling code: +36 1Weather:Budapest has a humid continental climate, with average temperatures ranging from 0°C in winter to22°C in summer.  Rain is evenly distributed throughout the year, with an average of 7 rainy days per month.  Snowfall can be expected between November and March.  June–August is the most popular time to visit Budapest. It’s the peak season, so hotel andflight prices rise accordingly.  April–May and September–October are great times to visit Budapest. The weather andtemperatures are mild, you’ll avoid the summer crowds, and hotel and flight prices arelower. Taxi:Taxis can be hailed on the street in Budapest, but be careful to only pick registered taxis withyellow plates, name on the doors and an identification badge on the dashboard – it’s required bylaw. You can easily find cab stands in the city centre, generally outside hotels and near the mainattractions.  You can directly call popular companies such as City Taxi (211 1111), Fötaxi (222 2222)or Budapest Taxi (777 7777).  Not all taxis accept payment of the fare by credit card, so check with the driver before youget in.  It’s important to have enough change when taking a taxi in Budapest – notes of 1,000 and2,000 Ft – as taxi scams are widely reported.   Other General Information:  Tipping in Budapest is appreciated but not mandatory. Many restaurants and cafes include aservice charge in the bill. When this fee is included, additional tipping is not obligatory, but it’s stillappreciated for exceptional service.  Mind the Dress code when visiting churches – Shoulders and Knees should be covered, havinga scarf to throw on is very useful  Tap water is safe to drink in Budapest and meets high-quality standards. Familiarize yourselfwith the color code for bottled water to choose your preference. Water with a BLUE CAP isusually fizzy with bubbles. Water with a PINK CAP is still. Water with a GREEN CAP is lightlycarbonated.

Useful Information – Dubai/Abu Dhabi Currency: The official currency of UAE is the Dirham (AED).   Language: The UAE has two official languages: Arabic and English.   Mosques: All mosques have a specific dress code that must be adhered to by all visitors: Other General Information: Alcohol Tourists and visitors may buy and consume alcohol in licensed venues such as hotels, restaurants, and clubs. In the emirate of Dubai, tourists are also able to obtain a temporary liquor license (the validity of which is one month) from the two official liquor distributors in Dubai.   Tipping Most restaurants will include taxes and a service charge in the bill. However, people will commonly also leave a tip between 10-15%, depending on how you judge the service to have been.   Photos Privacy is a huge matter of concern in the UAE and taking pictures of people without their explicit permission is illegal. Article 378 of the UAE Penal Code (Federal Law No. 3 of 1987) states that taking a person’s photo without his/her consent is an invasion of their privacy and is thus punishable by law.   Taxis Most taxis will only stop at designated passenger pick-up and drop–off areas across the city. To book a taxi in Dubai, you can call the RTA (Roads and Transport Authority) on 04-2080808 or book through the Careem app available on Google Play and on the App Store. 

Useful Information – Rome General: Primary language: Italian, however, travellers will find that many locals speak English,especially those who work in restaurants, hotels and other places associated with tourism. Plug Type: Types C, F and L Electricity: 220-240 V Currency: Euro (€)  International Dialling code: +39 6Important telephone numbers:  Police: 112  Emergencies: 113  Sanitary emergencies: 118  Area code for Rome: 06  Country code for Italy: +39  International Dialling code: +39 6Weather:Rome’s climate is Mediterranean, with average temperatures ranging from 3oC in winter to 30oC insummer.  Most rainfall occurs in November and December.  The sunniest time of the year being from June to September.  Summer, from June to August, is peak tourist season, when hotel and flight prices riseaccordingly.  Great months to visit: May and September, as the temperatures range around 20oC andprecipitation is rare.Taxi:City-authorized cabs are white and have the SPQR city coat of arms, a license number, and a taxisign on top.  All taxis use meters  You can also hail them down on the street  Get your hotel to call ahead if you want to pre-book, or download one of the well-advertised apps such as My Taxi  You can also use ride hailing apps like Uber in RomeOther General Information:  Don’t accept gifts from strangers on the streets  Keep an eye out for pickpockets  Mind the Dress code when visiting churches – Shoulders and Knees should be covered, havinga scarf to throw on is very useful  Don’t forget to bring a water bottle – Rome’s tap water is clean and drinkable You will pay for table service in restaurants, it is included in the bill and ranges from 10%-20%  Tipping is optional but appreciated  Public toilets are not free – usually €2