STEAM / Science, Technology, Engineering, Art, and Mathematics
STEAM = Scienza, tecnologia, ingegneria, arte e matematica

ITALIANO
Contacts / Contatti / mail

Leonardo da Vinci Academy

Educational Workshops

Learning with Leonardo

The Leonardo da Vinci Academy, founded and directed by Prof. Mario Taddei, has been organizing educational workshops for many years, inspired by the manuscripts, artworks, and inventions of Leonardo da Vinci.
These experiences are designed for students aged 10 and up, families, and adults who wish to rediscover the importance of hands-on learning, creativity, and the study of nature as essential sources of knowledge.

The introduction is enriched with images, videos, and models. From there, participants move on to the hands-on practice, just as in the ancient Renaissance workshops, where young apprentices learned to observe, copy, and create.
This is the same method that made Leonardo a genius: observing nature, studying history, and transforming ideas into concrete projects.

These workshops teach that, even in an age of advanced technology and artificial intelligence, manual and artistic skills remain essential:

• not to be dominated by technology, but to master it and use it consciously;
• to stimulate ingenuity and develop creative and critical thinking;
• to discover that craftsmanship, geometry, and art are tools that open doors to the future.

At the end of each workshop, every participant can take home their creation: a model, a drawing, a codex, or an object inspired by Leonardo’s inventions.
All materials are provided by the organization.

The workshops are available in Italian and English and can be organized in schools, museums, libraries, cultural festivals, and exhibition spaces worldwide.

WORKSHOPS for Children and Families

Some of the available workshops:

1. Create Your Own Da Vinci Codex
2. Tricks and Secrets of Leonardo’s Drawing
3. Recreating Leonardo da Vinci’s Colors
4. Understanding and Building the Self-Supporting Bridge
5. Constructing the Icosahedron from Leonardo’s Drawings
6. Making a Paper Octahedron and a 3D Star
7. Painting Leonardo’s Drawings
8. Drawing Nature
9. Building the 3D Mona Lisa
10. The Beauty of Geometry

1. Create Your Own Da Vinci Codex
Inspired by Leonardo’s famous codices, students create their own “manuscript” filled with drawings, symbols, and notes.
Example: a workshop held in Milan, where children produced a fully bound codex to take home.

2. Tricks and Secrets of Leonardo’s Drawing
A hands-on journey to discover Leonardo’s drawing techniques, exploring proportion, perspective, and the observation of nature.
Example: workshop in Florence with over 80 students.

3. Creating Leonardo da Vinci’s Colors
Learn to prepare pigments just like in the Renaissance, starting from natural powders and stones to obtain the colors used in paintings. Egg, water, and oil — what were the secrets behind Leonardo’s colors?
Example: workshop in Milan with a group of 40 students who produced natural tempera paints, just like in the 15th century.

4. Understanding and Building the Self-Supporting Bridge
An activity designed to explore the genius of Leonardo’s famous bridge built without nails, and to construct it to scale.
Example: workshops where students built the bridge and tested it with small weights, held in schools in Milan and museums in China.

5. Constructing the Icosahedron from Leonardo’s Drawings
Recreate one of the Platonic solids studied by Leonardo, using wooden structures. Workshops can be individual or collaborative.
Example: workshop in China at the Guangzhou Art Museum with 300 middle and high school students.

6. Making a Paper Octahedron and a 3D Star
An introduction to solid geometry by building complex and fascinating shapes using simple folded paper.
Example: workshops in Beijing and Milan.

7. Painting Leonardo’s Drawings
Reproduce the master’s drawings using pigments and Renaissance techniques.
Example: activities at the Leonardo da Vinci Academy and in Florence.

8. Drawing Nature
Learn how to observe flowers, animals, and landscapes through Leonardo’s eyes. Apply his methods to copy nature and preserve it in illustrated notebooks.
Example: activities at the Leonardo da Vinci Academy and in Florence.

9. Building the 3D Mona Lisa
Create a three-dimensional model of the world’s most famous portrait, experimenting with new perspectives.
Example: activities at the Leonardo da Vinci Academy and in Florence.

Other Workshops Available on Request

Itinerant Workshops in Italy

In addition to workshops organized in schools and museums, it is also possible to arrange a five-day itinerant workshop program in Italy, designed for students, families, or organized groups.

The itinerary includes:

• Morning: workshops at the Leonardo da Vinci Academy or in suitable venues, where students take part in practical activities inspired by Leonardo’s codices and inventions.
• Afternoon: guided visits to museums and monuments directly connected to Leonardo’s life and work.

The suggested program begins in Milan, with visits to the Sforza Castle and the Biblioteca Ambrosiana, where participants can admire Leonardo’s original Codices. The experience then continues at the Leonardo da Vinci Academy, with dedicated workshops, explanations, and manuscript analysis.

The journey proceeds to Florence, exploring the places where Leonardo lived and worked. Here, participants can join workshops inside a fascinating Renaissance convent perched on a hill overlooking the city, an evocative setting that recalls the very environments where Leonardo studied and created his works.

This educational journey combines hands-on learning, history, and culture, offering students the unique opportunity to discover Leonardo da Vinci in the authentic places of his life and achievements.

Participation in the itinerant workshops must be planned in advance, in order to organize travel, activities, and the supply of all necessary educational materials.

LEGO Workshop

The LEGO Workshops are activities dedicated to building Leonardo da Vinci’s machines using LEGO Technic bricks and special plastic components, allowing participants to create real, working mechanical structures.

Each student, or small group, receives a personal LEGO Technic kit with all the pieces needed to build the model.

The activity begins with a multimedia introduction: through videos, images, and original documents, the subject and Leonardo’s machine to be reconstructed are presented. Then, with the help of a demonstration video and step-by-step guidance, participants build the model together, discovering the secrets of Renaissance mechanics.

All models are fully functional and incorporate the fundamental concepts of STEAM disciplines (Science, Technology, Engineering, Art, and Mathematics). Some kits are also equipped with a battery-powered motor, making the machines operate autonomously like small robots.

A wide variety of subjects is available, depending on requests and areas of interest: from flying machines to mechanical clocks, from catapults to helicopters — each activity is a unique opportunity to learn while having fun, just like in Leonardo’s workshops.

LEGO WORKSHOP (per tutti)

Leonardo’s Flying Machine
Build, with LEGO bricks, Leonardo’s most famous invention.

The Mechanical Clock
Understand the principles of timekeeping machines through a working model.

The Catapult
Discover how Renaissance war machines functioned.

The Helicopter
Reconstruct Leonardo’s famous “aerial screw” in LEGO version.

Other subjects available upon request

Examples: workshops held in Milan and in science museums in China.

Organization of LEGO Workshops

The LEGO Workshops must be planned in advance, as they require the availability of multiple kits depending on the number of participants.

• Workshops with small groups: in this case, the kits are provided by the organization and used during the activity; at the end, the models are disassembled and the materials are immediately reusable.
• Workshops with large groups or special events: if each student is required to receive a personal kit to keep, the workshops must be scheduled at least two months in advance, to ensure the procurement and preparation of all necessary materials.

This planning is essential to guarantee a high-quality experience, making sure that all participants have a complete kit and can fully enjoy the educational and creative activity.

Certificate of Participation and Leonardo da Vinci Academy Medal

Each workshop concludes with a special moment:

• a group photo and an individual photo of each participant with their creation, as a memory of the experience and to share on social networks;
• the presentation of a personalized Certificate of Participation, bearing the name of the student who attended the workshop.

In some cases, the best working groups or individual students are awarded the prestigious Leonardo da Vinci Academy Medal.

In agreement with the organizers, it is also possible to provide books, educational materials, and special resources to further enrich the workshop experience.

Multimedia Workshops – 3D & VR

Leonardo da Vinci Academy

Alongside its hands-on art and science laboratories, the Leonardo da Vinci Academy also offers advanced multimedia workshops that introduce children (aged 12 and up), students, and adults to the world of interactive 3D computer graphics and virtual reality.

These courses use the most modern and widely adopted software in the video game and film industries — in particular Unreal Engine, the same platform used to create some of the world’s most famous video games and to develop immersive virtual reality experiences.

The workshops start from scratch, guiding participants step by step through:

• how to download and install Unreal Engine;
• how to navigate the interface;
• how to build a first interactive 3D environment;
• how to transform a project idea into a fully navigable virtual world.

Course Structure and Duration

• Introductory Workshop (2–3 hours): ideal for those who want to learn the basics and immediately see their first results.
• Intensive Course (up to 5 days): allows participants to create a complete project, from concept to working prototype.

After just a few hours, students will be able to develop a working executable on PC, ready to be explored. At the end of the course, each participant will have the satisfaction of having built their own virtual world, which can then be further developed into a video game, a 3D architectural model, or a VR experience.

Requirements

For the 3D modeling workshops, a basic knowledge of computers is recommended. Professional software used includes:

• 3ds Max (three-dimensional modeling)
• Photoshop (creation and management of textures and images)
• Unreal Engine (real-time interactive development)

Through this training, participants not only learn how to “use software,” but also acquire the foundations of game design, 3D modeling, and virtual reality development.

Equipment

To host the Multimedia Workshops, a properly equipped multimedia space is required, with high-performance computers capable of running 3D and real-time VR software. The Leonardo da Vinci Academy provides technical guidelines and support for preparing the workspace.

This type of workshop has already achieved great success in Italy and abroad, in schools, museums, and international exhibitions, engaging young students who were able to create their first video game or VR experience directly during the course.

MULTIMEDIA WORKSHOPS
(ages 12 and up)

• Create a Virtual Museum with Unreal Engine
• Design a Video Game with Unreal Engine
• Develop VR Experiences
• Model Leonardo’s Machines in 3D (3ds Max)
• Reconstruct Leonardo’s Cannon in 3D
• Recreate Leonardo’s Castle in 3D

Examples: workshops with university students in Milan and courses dedicated to creating virtual environments inspired by the Renaissance.

Prof. Mario Taddei – Expert in Computer Graphics and Virtual Reality

Prof. Mario Taddei, founder of the Leonardo da Vinci Academy, is one of the leading international experts in computer graphics, 3D modeling, and virtual reality.

Since 1999, he has taught at the Politecnico di Milano, where he conducted courses and laboratories in computer graphics, three-dimensional modeling, and interactive multimedia.

He has organized numerous workshops and courses in Italy and abroad, collaborating with universities, private academies, museums, and cultural institutions.

A pioneer in applying 3D and VR technologies to scientific and artistic dissemination, he has created innovative educational experiences for schools, students, and professionals.

He developed the largest virtual museum in the world dedicated to Leonardo da Vinci, which has been awarded and recognized internationally.

He has received numerous awards and recognitions for his innovative work that combines art, science, and technology.

With more than twenty-five years of experience, Mario Taddei continues to spread knowledge of computer graphics and virtual reality, training new generations of artists, designers, scientists, and creatives.

PRESS & LINKS

Politecnico
Mestieri del futuro: architetti e scenografi virtuali secondo Mario Taddei
https://alumni.polimi.it/2021/07/30/mario-taddei-mestieri-del-futuro-architetti-e-scenografi-virtuali/

Università di Siena
I robot e l’androide di Leonardo da Vinci
https://www.unisi.it/unisilife/eventi/i-robot-e-androide-di-leonardo-da-vinci

La Martesana
Dalla Cina a Cassina de’ Pecchi per studiare Leonardo
https://primalamartesana.it/attualita/dalla-cina-a-cassina-de-pecchi-per-studiare-leonardo/

Il Giorno
Leonardo e la realtà virtuale: l’arte parla già la lingua del Metaverso
https://www.ilgiorno.it/milano/cultura/metaverso-mostra-leonardo-75edb188

Confartigianato
Il Robot di Leonardo da Vinci: com’è stato scoperto e costruito
https://www.confartigianatovicenza.it/il-robot-di-leonardo-scoperto-e-costruito/

Sole 24 Ore
La creatività artificiale comincia a sedurre designer e architetti
https://www.ilsole24ore.com/art/la-creativita-artificiale-comincia-sedurre-designer-e-architetti-AEfHvj7C

Istituto Italiano di Cultura Abu Dhabi
Seminario “Manoscritti di Leonardo da Vinci e l’influenza della scienza araba antica”
https://iicabudhabi.esteri.it/it/gli_eventi/calendario/seminario-manoscritti-di-leonardo-da-vinci-e-linfluenza-della-scienza-araba-antica/

L’Istituto Pantheon Design & Technology
Master Class in Intelligenza Artificiale Creativa
https://istitutopantheon.it/intelligenza-artificiale-creativa/

Contacts / Contatti
info @ davinciacademy.net
info @ mariotaddei.net

ENGLISH

~ Visi mostruosi, volto di Megera ~
1490 / 1510 circa

Testa caricata e busto di profilo di megera verso destra, 1490 circa
Punta metallica, penna e inchiostro seppia su carta filigranata.
Frammento in carta di stracci (50 x 56 mm) ottagonale
incollato su carta giallastra quadrata
con retro azzurrato 72 × 72 mm,

Leonardo da Vinci e i “Visi Mostruosi”: Un Ritrovamento Eccezionale in un’Edizione Rara del Trattato di Pittura

Recentemente, in un’edizione rara del Trattato della Pittura di Leonardo da Vinci, stampata nel 1651 in Francia, è emerso un ritrovamento straordinario che aggiunge un valore inestimabile a questa opera già di per sé preziosa. Nella penultima pagina del volume è stata scoperta una tasca, o passepartout, ricavata da un disegno intitolato “Visi Mostruosi”. Questo disegno è particolarmente significativo poiché all’interno della tasca è custodito un frammento di carta di dimensioni 50×56 mm, incollato su un fondo azzurrato di 72×72 mm. Questo pezzo di carta ottagonale è realizzato con la carta di stracci tipica del Rinascimento, lo stesso materiale utilizzato da Leonardo da Vinci per i suoi appunti e disegni.

Il frammento in questione contiene un disegno realizzato con punta metallica, penna e inchiostro di seppia, che raffigura il profilo di una vecchia caricaturale, simile a una strega o Megera, rivolta verso destra. Questo tipo di rappresentazione rientra nel corpus di opere che Leonardo realizzò tra il 1490 e il 1510, un periodo in cui l’artista era particolarmente affascinato dalla rappresentazione di “visi mostruosi” e caricaturali.

Questi disegni, conservati presso la Biblioteca Ambrosiana di Milano, comprendono una serie di ritratti di giullari di corte, anziani e figure grottesche, spesso con nasi esageratamente pronunciati e smorfie marcate. La loro particolarità non risiede solo nell’aspetto grottesco, ma anche nel profondo interesse di Leonardo per la fisiognomica e la sua ricerca di catturare l’essenza dell’anima umana attraverso il disegno. In effetti, Leonardo stesso scrive nel Codice Madrid II (72v) riguardo alla “varietà dei visi secondo gli accidenti dell’uomo, in fatica e riposo, in ira, in pianto, in riso, in gridare, il timore e simil cose.”

Questa affermazione sottolinea l’intento di Leonardo di esplorare e documentare la vasta gamma di emozioni e stati d’animo umani attraverso l’osservazione meticolosa dei volti. Non è solo l’estetica a interessare l’artista, ma anche la capacità del volto umano di raccontare una storia, di trasmettere emozioni intense e contrastanti.

Un altro riferimento significativo si trova nel Manoscritto A (106v), dove Leonardo menziona i “visi mostruosi”. Egli scrive: “De’ visi mostruosi non parlo, perché sanza fatica si tengano a mente.” Questo passaggio è particolarmente rivelatore, poiché suggerisce che i volti grotteschi e deformi ritratti da Leonardo erano talmente memorabili da non richiedere ulteriori descrizioni o spiegazioni. Erano immagini che, per la loro stranezza e forza espressiva, restavano impresse nella mente senza bisogno di parole. Leonardo sembra quasi voler custodire questi volti come segreti visivi, la cui potenza evocativa supera la necessità di essere narrata.

Durante il periodo in cui questi disegni furono realizzati, Leonardo era impegnato nella creazione di L’Ultima Cena nel refettorio del convento di Santa Maria delle Grazie a Milano. Nei suoi scritti, egli narra di come percorresse le strade di Milano alla ricerca di volti che potessero ispirare le figure degli apostoli e di Gesù. Una leggenda narra che Leonardo trovò il volto di Giuda in un uomo dal carattere crudele e che, per una sorta di scherzo, utilizzò il volto del priore del convento, con cui aveva un rapporto conflittuale, per rappresentare il traditore.

Indipendentemente dalla veridicità di questa leggenda, ciò che è certo è che Leonardo osservava attentamente le persone comuni, ritraendole non solo nei loro tratti fisici, ma anche nella loro essenza interiore. Questa collezione di ritratti grotteschi non rappresenta semplicemente un esercizio di caricatura, ma una profonda esplorazione dell’umanità. Contrariamente ai ritratti idealizzati delle nobili dame, come La Gioconda, La Belle Ferronnière, e La Dama con l’Ermellino, queste rappresentazioni offrono uno sguardo più autentico e realistico sulle persone che popolavano Milano nel 1500.

Il frammento ritrovato nell’edizione del 1651 del Trattato della Pittura raffigura uno di questi “visi mostruosi”: il profilo di una vecchia, con un grande naso adunco, capelli raccolti dietro la testa e un mento prominente. Questo disegno, unico nel suo genere, è stato mostrato per la prima volta in televisione in Italia e attualmente appartiene a una collezione privata.

Questo ritrovamento non solo aggiunge un valore storico e artistico all’edizione del Trattato della Pittura, ma ci offre anche uno spaccato della mente di Leonardo da Vinci, un uomo capace di trovare bellezza anche nei volti più grotteschi, e di vedere l’umanità in tutte le sue forme.

Ricostruzione digitale del volto di Megera

Riferimenti e documenti

“Delle varietà de visi, secondo li acidenti dell’omo, in fatica, in riposo, in ira, in
pianto, in riso, i’ gridare, in timore e ssimili cosse.”
Madrid II 72v

“Del modo di tenere a mente la forma d’un volto.

Se volli avere facilita in tenere a mente una aria d’uno volto, impara prima a
mente di molte teste, occhi, nasi, bocche, menti e gole e colli e spalli. Poniamo caso, i nasi sono di 10 ragioni: diritto, gobbo, cavo, col rilievo più su o più giu che ‘l mezzo, aquilino, pari, simo e tondo e acuto: questi sono boni in quanto al proffilo. In faccia i nasi sono di 11 ragioni: equale, grosso in mezzo, sottile ‘n mezzo, e la punta grossa e sottile nell’appiccatura, sottile nella punta e grosso nell’appiccatura, di larghe anarise, distrette, d’alte e basse, di busi scoperti e di busi occupati dalla punta. E cosi troverai diversita nelle altre articule, delle quali cose tu de’ ritrarre di naturale e metterle a mente, ovvero, quando hai a fare uno volto a mente, porta con teco uno picciolo libretto, dove sieno notate simile fazione e quando hai dato una occhiata al volto della persona che voi ritrarre, guarderai poi in parte quale naso o bocca se le assomiglia, e favvi uno picciolo segno per riconoscerle poi a casa. De’ visi mostruosi non parlo, perché sanza fatica si tengano a mente.”

Manoscritto A 106v
Riportato poi nel Trattato di Pittura
Libro di Pittura (Codice Urbinate Lat. 1270) Capitolo 290

ENGLISH

Leonardo da Vinci and his “Monstrous Faces”: An Extraordinary Find in a Rare Edition of the Treatise on Painting

ITALIAN

~ Monstrous faces, face of Megera ~
1490 / 1510 circa

Charged head and profile bust of hag towards right, c. 1490 Metal point, pen and sepia ink on watermarked paper. Rag paper fragment (50 × 56 mm) octagonal pasted on square yellowish paper with blued reverse 72 × 72 mm,

Leonardo da Vinci and the “Monstrous Faces”: An Exceptional Find in a Rare Edition of the Treatise on Painting

Recently, in a rare edition of Leonardo da Vinci’s Treatise on Painting, printed in 1651 in France, an extraordinary find emerged that adds priceless value to this already valuable work. On the penultimate page of the volume, a pocket, or passepartout, was discovered from a drawing entitled “Monstrous Faces.” This drawing is particularly significant because inside the pocket is housed a 50×56 mm fragment of paper, glued to a 72×72 mm blued background. This octagonal piece of paper is made from the rag paper typical of the Renaissance, the same material used by Leonardo da Vinci for his notes and drawings.

The fragment in question contains a drawing made with metal point, pen and sepia ink, depicting the profile of a caricatured old woman, resembling a witch or Megera, facing to the right. This type of depiction is part of the body of work that Leonardo produced between 1490 and 1510, a period when the artist was particularly fascinated by the depiction of “monstrous faces” and caricatures.

These drawings, preserved in the Biblioteca Ambrosiana in Milan, include a series of portraits of court jesters, old men and grotesque figures, often with exaggeratedly pronounced noses and marked grimaces. Their uniqueness lies not only in their grotesque appearance, but also in Leonardo’s deep interest in physiognomy and his quest to capture the essence of the human soul through drawing. Indeed, Leonardo himself writes in Codex Madrid II (72v) about the “variety of faces according to the accidents of man, in toil and rest, in wrath, in weeping, in laughter, in crying, fear and simil things.”

This statement underscores Leonardo’s intent to explore and document the wide range of human emotions and moods through meticulous observation of faces. It is not only aesthetics that interested the artist, but also the ability of the human face to tell a story, to convey intense and conflicting emotions.

Another significant reference is found in Manuscript A (106v), where Leonardo mentions “monstrous faces.” He writes, “De’ visi monruosi non parlo, perché sanza fatica si tengono a mente.” This passage is particularly revealing because it suggests that the grotesque and deformed faces portrayed by Leonardo were so memorable that they required no further description or explanation. They were images that, because of their strangeness and expressive force, stuck in the mind without the need for words. Leonardo seems almost to want to guard these faces as visual secrets whose evocative power surpasses the need to be told.

During the period when these drawings were made, Leonardo was busy creating The Last Supper in the refectory of the convent of Santa Maria delle Grazie in Milan. In his writings, he recounts how he walked the streets of Milan looking for faces that could inspire the figures of the apostles and Jesus. One legend has it that Leonardo found the face of Judas in a man with a cruel character and that, as a sort of joke, he used the face of the prior of the convent, with whom he had a contentious relationship, to represent the traitor.

Regardless of the veracity of this legend, what is certain is that Leonardo carefully observed ordinary people, portraying them not only in their physical features but also in their inner essence. This collection of grotesque portraits is not simply an exercise in caricature, but a profound exploration of humanity. In contrast to the idealized portraits of noble ladies, such as La Gioconda, La Belle Ferronnière, and The Lady with an Ermine, these depictions offer a more authentic and realistic look at the people who populated Milan in the 1500s.

The fragment found in the 1651 edition of the Treatise on Painting depicts one of these “monstrous faces”: the profile of an old woman, with a large hooked nose, hair pulled back behind her head, and a prominent chin. This unique drawing was first shown on television in Italy and currently belongs to a private collection.

This finding not only adds historical and artistic value to the edition of the Treatise on Painting, but also gives us a glimpse into the mind of Leonardo da Vinci, a man capable of finding beauty even in the most grotesque faces, and of seeing humanity in all its forms.

Digital reconstruction of the face of Megera

References and documents

“Delle varietà de visi, secondo li acidenti dell’omo, in fatica, in riposo, in ira, in
pianto, in riso, i’ gridare, in timore e ssimili cosse.”
“Of the varieties of faces, according to the acidents of the man, in toil, in rest, in wrath, in weeping, in laughter, i’ shouting, in fear and same things”
Madrid II 72v

“Del modo di tenere a mente la forma d’un volto.

Se volli avere facilita in tenere a mente una aria d’uno volto, impara prima a mente di molte teste, occhi, nasi, bocche, menti e gole e colli e spalli.
Poniamo caso, i nasi sono di 10 ragioni: diritto, gobbo, cavo, col rilievo più su o più giu che ‘l mezzo, aquilino, pari, simo e tondo e acuto: questi sono boni in quanto al proffilo. In faccia i nasi sono di 11 ragioni: equale, grosso in mezzo, sottile ‘n mezzo, e la punta grossa e sottile nell’appiccatura, sottile nella punta e grosso nell’appiccatura, di larghe anarise, distrette, d’alte e basse, di busi scoperti e di busi occupati dalla punta. E cosi troverai diversita nelle altre particule, delle quali cose tu de’ ritrarre di naturale e metterle a mente, ovvero,
quando hai a fare uno volto a mente, porta con teco uno picciolo libretto, dove sieno notate simile fazione e quando hai dato una occhiata al volto della persona che voi ritrarre, guarderai poi in parte quale naso o bocca se le assomiglia, e favvi uno picciolo segno per riconoscerle poi a casa. De’ visi mostruosi non parlo, perché sanza fatica si tengano a mente.”

“Of the way of keeping in mind the form of a face.

If I wished to have facility in keeping in mind an air of a face, first learn in mind of many heads, eyes, noses, mouths, chins and throats and necks and shoulders. Let us say, the noses are of 10 reasons: straight, humped, hollow, with the relief more up or more down than ‘the middle, aquiline, even, simo and round and acute: these are good as to the proffile. In the face the noses are of 11 reasons: equal, coarse in the middle, thin in the middle, and the tip coarse and thin in the sticking, thin in the tip and coarse in the sticking, of broad anarise, distracted, of high and low, of uncovered busi and of busi occupied by the tip. And so you will find diversities in the other particulae, of which things you de’ portray naturally and put them in mind, or, when you have to make a face in mind, bring with you a little booklet, wherein similar factions are noted, and when you have taken a look at the face of the person whom you portray, you will then look in part what nose or mouth if it resembles them, and favvi a little mark to recognize them afterwards at home. Of monstrous faces I speak not, that without effort they may be kept in mind.”

Manuscript A 106v
Later reproduced in the Treatise on Painting Book of Painting
(Urbinate Codex Lat. 1270) Chapter 290

April 5th, 2024 | 7:30pm
Italian Cultural Institute Abu Dhabi UAE

Multimedia Presentation at the Virtual Museum of Leonardo da Vinci. Prof. Mario Taddei, Leonardo da Vinci Academy.

In this seminar, we will explore the manuscripts, art, and technology of Leonardo da Vinci, uncovering their deep connections to ancient Arabic science. With the support of the Italian Cultural Institute and the Embassy of Italy to the UAE, Prof. Mario Taddei will guide us through a multimedia presentation at the largest virtual museum of Leonardo da Vinci.

We will discover the reconstruction of incredible ancient machines designed by Leonardo, derived from the study of nature and ancient weaponry, such as flying spheres, the mechanical hawk, the robot car, and the first mechanical android. Art and technology intertwine, delving into the secrets of Leonardo’s masterpieces, including the Mona Lisa and The Last Supper.

We will explore one of Leonardo’s secrets, his study of the ancients, and particularly see the influence of ancient Arabic science on his work. Many machines and contraptions, erroneously attributed to Leonardo, are instead the result of Arab scientists from the year 1000 who influenced modern science and mathematics more than one might think.

This seminar underscores the importance of studying history, particularly the contributions of Arab scholars from the 10th century onwards, to understand the genius of Leonardo da Vinci and his creations. Participants will have the exclusive opportunity to experience a virtual reality station, allowing them to observe Leonardo da Vinci’s machines and masterpieces like never before, journeying into the largest virtual museum ever built: the Leonardo Da Vinci ACADEMY MUSEUM.

Prof. Mario Taddei
Graduated with honors in Industrial Design from the Polytechnic University of Milan. He served as a professor at the Politecnico di Milano, teaching computer science courses. Taddei is a prominent Italian academic, best known for his contributions to Leonardo da Vinci studies. He is co-curator of some of the Leonardo Da Vinci’s exhibitions, showcasing groundbreaking discoveries in art and machine research on a global scale. With extensive experience in programming, 3D graphics, video games, virtual reality development, and multimedia applications, Taddei also teaches design, virtual scenography, and virtual architecture at various art academies in Milan, Italy.

He is an expert in artificial intelligence and has authored several books on the subject, delivering frequent lectures worldwide. As a curator, Taddei has organized numerous Leonardo exhibitions worldwide and authored several books on science, computer graphics, Renaissance masters, and Leonardo da Vinci. He is renowned for leading the study, software development, and reconstruction of hundreds of Renaissance machines, as well as pioneering virtual Codex technologies and interactive historical experiences. Taddei is also recognized as a digital artist, exhibiting under the pseudonyms Silver Mark and Neoart3 at prestigious contemporary art museums in Europe and China. Furthermore, he is an expert in NFT and metaverse technologies, contributing to the development of digital art and virtual environments. Currently, Taddei teaches at Milanese Academies, founded and directs the Leonardo da Vinci Academy (www.davinciacademy.net), and can also be found at www.Neoart3.net or by searching “Mario Taddei” on Google.

The Italian Cultural Institute of Abu Dhabi is a body of the Ministry of Foreign Affairs and International Cooperation (MAECI), responsible for spreading and promoting the Italian language and culture. Its main objectives are the organization of cultural, artistic and scientific initiatives with Italy as their central theme.