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« A Medic in the Museum | Main | Rediscoveries Revelations. Book Review: The Secrets of Leonardo da Vinci, Vol. 1, Graeme Cameron, Vega Scan, 2011, 128 pages. »



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David Packwood


Because of the crap interface of Windows Live Writer, it put the post up twice- I'm afraid I've deleted the post with your comment by mistake.

I read it though. I don't know about the science behind Vegascan, but it looks a sophisticated scanning technique. Graeme has much more to say, so we might know more about it in time.

I can't remember everything else you said, but I think you were asking about Sebastiano. I think Graeme is arguing that Raphael could have been influenced by that Venetian style in Rome, but he believes the picture to be a Raphael original.

If you want, post your comment up again, so I can address your queries in more detail.

Best- David

David Packwood

No sweat H,

Your comment went to my e.mail. Here it is. I'll have another look at GC's book later on.

You wrote

"Many thanks for this update David. I was wondering what was happening with my elusive compatriot. I'm curious that there is no detail mentioned in this review of what vegascan actually is. I know of this technology used as a visualisation tool in industrial applications, but have not encountered any (other) literature on its use in art analysis. As for Mona Lisa being modelled on Caterina, this would potentially fit in with the other reports of anatomic similarities with the known self portrait (where we are hence making the assumption that Leonardo looked like his mother). That being said, where does the 1493 date come from? Is it accurately revealed by this scanning method or is it an extrapolation based on Leonardo's timeline - (like so much other constructed chronologies in art history) - which is far from science, and often filled with data gaps from a documentary standpoint. eg. Early Titian/Giorgione is another great example where a cadre of experts with disparate viewpoints and methodologies calmly assume we'll take their word for it. As for the Judgment of Paris, surely the present owners don't need a gang of Magnifici stirred into a frenzy by Nicholas Penny to supply some basic facts - such as the structural composition of the canvas, and chemical constitents of the ground, pigment layers, degree of underdrawing etc. What caused the 1960s Giorgione reassignment - was it based purely on stylistic grounds? Unfortunately I don't have GCs book to be able to say whether these details are supplied or not. Physiognomic similarities are a good starting point, but more data is going to be needed to reassign the Malmsbury piece to anyone - is he arguing it is del Piombo? It wasnt stated entirely clearly above. Kind Regards H

H Niyazi

Cheers for the recovery David - for a moment there I thought my comment had suffered the same fate as that Giorgione attribution!

Interesting to see GC is assigning it to Raphael. Raphael's technique, use of colour, even in his Roman phase was still so crisp and controlled - some may have an easier time accepting that a Venetian artist like Del Piombo was depicting his friend and his lover in that robust Venetian manner. It'd be interesting to read that part of the analysis in more detail.

I have a copy of Sherman's 'Early Modern sources' in front of me and (after a brief) search could find no reference to a lost 'Last Judgement' from Raphael. It's a sizeable resource so something may turn up when I finish working on it.

Does GC reveal any documentation that Raphael ever created a 'Last Judgement' (apart from the Raimondi) that is now unaccounted for?


David Packwood

Thanks H,

If you feel inclined, please start a new comment stream on the most recent version of the review I've just put up. GC is going to send me some better images of the Judgment, so I'll wait until then and do a whole post on the problem.



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