London Journal of Primary Care 2014;6:41–2
# 2014 Royal College of General Practitioners
London Landscape
Leonardo da Vinci: changing approaches to teaching and learning Francesco Carelli Professor Family Medicine, Milan and Rome, Italy
Il Mondo di Leonardo (The World of Leonardo) exhibition is one of the most important cultural events in Milan in 2013–14. At the heart of the town, in the prestigious King’s Rooms at Piazza della Scala, we can rediscover the world-renowned artist and inventor Leonardo da Vinci through working models of his machines, digital restorations of his paintings, and more than 200 threedimensional interactive reconstructions. In addition to his artistic works, the Codices of Leonardo are displayed in virtual format via multimedia stations, allowing hands-on interaction. It is possible to learn by observing and doing, in a manner not unlike what usually happens in general medicine teaching and learning: you can paint The Last Supper, build a wooden bridge, make a device supporting a man flying and so on. Visitors can read page-by-page Leonardo’s handwritten documents, such as the Atlantic Codex, Manuscript B and the Codex on the Flight of Birds, and easily understand them. They can also interact with his robot, clavi-viola, mechanical lion, programmable cart, tank, multi-barreled cannon and submarine, getting to grips with Leonardo’s inventions as never before. For the first time, it is possible to see marvels such as the ‘Flying Machine of Milan’, as well as Leonardo’s project for the highest tower in Europe and the Sforza Monument; one of the biggest equestrian monuments in the world, which was realised in metal in the last century by an American millionaire and sent to Milan, where it is now exhibited at the entrance to the hippodrome. There is also a dedicated space for young visitors, Leonardo’s Laboratory, where children can learn how to assemble Leonardian machines and print their own inventors’ certificates. The digital restoration of The Last Supper enables visitors to discover details and colours previously thought to be lost forever. In one recently added section, visitors can see the Manuscript of Wonders, with more than 150 threedimensional and interactive models of machines never before seen. ‘The Time Machine’ is born of the Manuscript; one of Leonardo’s most futuristic and surprising
devices. Folders 33v and 34r, always described as ‘mechanical drawings’, include the designs for a moto perpetuo (perpetual motion) machine, a system of programmed boxes using energy from an inverted mill and mercury as a propelling force that was supposed to provide unlimited energy to Leonardo’s ‘ideal town’. In Milan, the genius Leonardo was frenetically busy; working as a painter, sculptor, engineer, architect, designer and playing many other roles too. But his foremost project, the dream of his life, greater than the Sforza equestrian monument, more emotionally moving than any painting or artistic work, was human flight. He studied and worked on it in secret, waiting for the right moment to unveil it to the public. Leonardo’s drawings and projects on flight were secret and well hidden: no one saw them because Leonardo wanted to maintain his privacy. In Folder 749 of the Atlantic Codex one can see the advanced project for ‘the secret flying machine from Milan’. One can imagine Leonardo in his secret room near the duomo (cathedral), in the evening, by candlelight, after a long day spent at his many duties, after painting part of The Last Supper, always thinking of his most important project, his dream. This was the cause of Leonardo’s concern, making him appear so strange to the others, who did not know his mind or his secret work. The model of the flying machine, prepared by Leonardo near the place where, centuries later, the Royal Palace was built, is now reproduced in its original size – an eight metre wingspan – at the centre of the exhibition. It is one of the most recent, and most innovative additions to the exhibition. Appropriately for an exhibition dedicated to the eclectic and always-active Leonardo, Il Mondo di Leonardo is incredibly diverse and is open all day, every day. It continually develops, adding more reconstructions of his inventions, new interactive stations and increasing numbers of audio guides (now in Italian, English, French, German, Russian and Chinese). As mentioned above, the exhibition’s approach to teaching and learning is a central aspect, and thousands of school groups are booking and visiting.
42
F Carelli
This exhibition coincides with the European ‘Leonardo Project’ for teaching the teachers of general practice and family medicine (Framework for Continuing Educational Development of Trainers in General Practice in Europe), using courses managed by faculty for Levels 1–3, and organised and distributed by the European Academy of Teachers in Family Medicine (EURACT). Details of the project can be found at the EURACT website (www.euract.eu/ leonardo-project/introduction).
ACKNOWLEDGEMENTS
Some text is based on translations from the exhibition brochure. ADDRESS FOR CORRESPONDENCE
Francesco Carelli Email: [email protected]
# 2014 Royal College of General Practitioners
London Landscape
Leonardo da Vinci: changing approaches to teaching and learning Francesco Carelli Professor Family Medicine, Milan and Rome, Italy
Il Mondo di Leonardo (The World of Leonardo) exhibition is one of the most important cultural events in Milan in 2013–14. At the heart of the town, in the prestigious King’s Rooms at Piazza della Scala, we can rediscover the world-renowned artist and inventor Leonardo da Vinci through working models of his machines, digital restorations of his paintings, and more than 200 threedimensional interactive reconstructions. In addition to his artistic works, the Codices of Leonardo are displayed in virtual format via multimedia stations, allowing hands-on interaction. It is possible to learn by observing and doing, in a manner not unlike what usually happens in general medicine teaching and learning: you can paint The Last Supper, build a wooden bridge, make a device supporting a man flying and so on. Visitors can read page-by-page Leonardo’s handwritten documents, such as the Atlantic Codex, Manuscript B and the Codex on the Flight of Birds, and easily understand them. They can also interact with his robot, clavi-viola, mechanical lion, programmable cart, tank, multi-barreled cannon and submarine, getting to grips with Leonardo’s inventions as never before. For the first time, it is possible to see marvels such as the ‘Flying Machine of Milan’, as well as Leonardo’s project for the highest tower in Europe and the Sforza Monument; one of the biggest equestrian monuments in the world, which was realised in metal in the last century by an American millionaire and sent to Milan, where it is now exhibited at the entrance to the hippodrome. There is also a dedicated space for young visitors, Leonardo’s Laboratory, where children can learn how to assemble Leonardian machines and print their own inventors’ certificates. The digital restoration of The Last Supper enables visitors to discover details and colours previously thought to be lost forever. In one recently added section, visitors can see the Manuscript of Wonders, with more than 150 threedimensional and interactive models of machines never before seen. ‘The Time Machine’ is born of the Manuscript; one of Leonardo’s most futuristic and surprising
devices. Folders 33v and 34r, always described as ‘mechanical drawings’, include the designs for a moto perpetuo (perpetual motion) machine, a system of programmed boxes using energy from an inverted mill and mercury as a propelling force that was supposed to provide unlimited energy to Leonardo’s ‘ideal town’. In Milan, the genius Leonardo was frenetically busy; working as a painter, sculptor, engineer, architect, designer and playing many other roles too. But his foremost project, the dream of his life, greater than the Sforza equestrian monument, more emotionally moving than any painting or artistic work, was human flight. He studied and worked on it in secret, waiting for the right moment to unveil it to the public. Leonardo’s drawings and projects on flight were secret and well hidden: no one saw them because Leonardo wanted to maintain his privacy. In Folder 749 of the Atlantic Codex one can see the advanced project for ‘the secret flying machine from Milan’. One can imagine Leonardo in his secret room near the duomo (cathedral), in the evening, by candlelight, after a long day spent at his many duties, after painting part of The Last Supper, always thinking of his most important project, his dream. This was the cause of Leonardo’s concern, making him appear so strange to the others, who did not know his mind or his secret work. The model of the flying machine, prepared by Leonardo near the place where, centuries later, the Royal Palace was built, is now reproduced in its original size – an eight metre wingspan – at the centre of the exhibition. It is one of the most recent, and most innovative additions to the exhibition. Appropriately for an exhibition dedicated to the eclectic and always-active Leonardo, Il Mondo di Leonardo is incredibly diverse and is open all day, every day. It continually develops, adding more reconstructions of his inventions, new interactive stations and increasing numbers of audio guides (now in Italian, English, French, German, Russian and Chinese). As mentioned above, the exhibition’s approach to teaching and learning is a central aspect, and thousands of school groups are booking and visiting.
42
F Carelli
This exhibition coincides with the European ‘Leonardo Project’ for teaching the teachers of general practice and family medicine (Framework for Continuing Educational Development of Trainers in General Practice in Europe), using courses managed by faculty for Levels 1–3, and organised and distributed by the European Academy of Teachers in Family Medicine (EURACT). Details of the project can be found at the EURACT website (www.euract.eu/ leonardo-project/introduction).
ACKNOWLEDGEMENTS
Some text is based on translations from the exhibition brochure. ADDRESS FOR CORRESPONDENCE
Francesco Carelli Email: [email protected]
