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      New theory re-ignites debate about identity of Leonardo da Vinci’s mother

      news.movim.eu / ArsTechnica · Wednesday, 15 March, 2023 - 21:14 · 1 minute

    Presumed self-portrait of Leonardo (c. 1510) at the Royal Library of Turin, Italy

    Enlarge / Presumed self-portrait of Leonardo da Vinci (c. 1510) at the Royal Library of Turin, Italy. (credit: Public domain)

    Could Leonardo da Vinci's mother, Caterina, have been a slave kidnapped from the mountainous Caucasus region of Central Asia? That's the latest hypothesis re-igniting a long-running debate about the identity of this mysterious woman largely lost to history. Historian Carlo Vecce of the University of Naples told reporters at a Tuesday press conference that he discovered a previously unknown document supporting the claim. He's also written a historical novel about Caterina's life ( Il Sorriso di Caterina or Caterina's Smile ) based on his research.

    It's well-established that Leonardo was born in 1452, the illegitimate son of a Florentine notary named Ser Piero d’Antonio and a woman named Caterina. Ser Piero went on to marry a woman named Albiera Amadori, followed by three subsequent marriages after her 1464 death. His various unions produced 16 children (11 of whom survived their early years), in addition to Leonardo, who grew up in his father’s household and received a solid education.

    As for Caterina, many historians have identified her as a local peasant girl and eventual wife of a kiln worker named Antonio di Piero del Vacca (nicknamed "L'Accattabriga" or "the quarrelsome one"). But that's all we know of her. So naturally, over the years, various alternative identifications have been suggested. Perhaps the most controversial, proposed in 2014 by Italian historian Angelo Paratico, is that Caterina had been a Chinese domestic slave imported from Crimea by Venetian traders and sold to a Florentine banker.

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      Leonardo da Vinci’s drawings have unique microbiomes, study finds

      Jennifer Ouellette · news.movim.eu / ArsTechnica · Tuesday, 22 December, 2020 - 22:10 · 1 minute

    Portrait of a Man in Red Chalk (1512).' src='https://cdn.arstechnica.net/wp-content/uploads/2020/11/davinci1-800x533.jpg' >

    Enlarge / Sampling microbes from Leonardo da Vinci's Portrait of a Man in Red Chalk (1512). (credit: Guadalupe Piñar et al.)

    Microbiomes are all the scientific rage, even in art conservation, where studying the microbial species that congregate on works of art may lead to new ways to slow down the deterioration of priceless aging artwork, as well as potentially unmask counterfeits. For instance, scientists have analyzed the microbes found on seven of Leonardo da Vinci's drawings, according to a recent paper published in the journal Frontiers in Microbiology. And back in March, scientists at the J. Craig Venter Institute (JCVI) collected and analyzed swabs taken from centuries-old art in a private collection housed in Florence, Italy, and published their findings in the journal Microbial Ecology.

    The researchers behind the earlier March paper were JCVI geneticists who collaborated with the Leonardo da Vinci DNA Project in France. The work built on a prior study looking for microbial signatures and possible geographic patterns in hairs collected from people in the District of Columbia and San Diego, California. They concluded from that analysis that microbes could be a useful geographic signature.

    For the March study, the JCVI geneticists took swabs of microbes from Renaissance-style pieces and confirmed the presence of so-called "oxidase positive" microbes on painted wood and canvas surfaces. These microbes munch on the compounds found in paint, glue, and cellulose (found in paper, canvas, and wood), in turn producing water or hydrogen peroxide as byproducts.

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