Maurizio Seracini

From Wikipedia, the free encyclopedia

Maurizio Seracini is a diagnostician of Italian art. A '73 UCSD Alumus, graduated in bioengineering from the University of California, San Diego (UCSD), he founded, in 1977, the first company in Italy for diagnostic and non-destructive analyses on art and architecture, the Editech srl, Diagnostic Center for Cultural Heritage in Florence.^[1] Adapting technologies from the medical and military fields and other technical measuring instruments he has made possible diagnostics of art and search for art without destroying the artwork itself.

After studying engineering at the University of California, Seracini transferred to U.C.L.A. to study Renaissance art. This background helped him to develop a rare blend of scientific skills and non-invasive diagnostic techniques that include X-rays, echography and chemical analysis.

Seracini has been well known for his search for the Leonardo da Vinci mural, The Battle of Anghiari in the Salone dei Cinquecento, Palazzo Vecchio, Florence and for his diagnostic survey on Da Vinci's Adoration of the Magi.

For centuries, the whereabouts of [Leonardo Da Vinci’s] [1]masterwork, a painting of the Battle of Anghiari, has been one of the art world’s greatest mysteries. This painting, said to be the ‘school of the world’ had contemporary artists commenting it was the greatest of all the renaissance masterpieces. After a thirty year quest, [Maurizio Seracini][2], thinks he has found the answer to the missing Da Vinci artwork mystery. If it is true, he will have cracked the real DaVinci code and the Palazzo Vecchio (seat of power for centuries in Florence, Italy) could very well become one of the most important museums in the world.

The painting’s existence is postulated only through the copies made by admiring artists that survive. Leonardo’s contract for the painting was signed in 1503 by Niccolo Machiavelli—yes that Machiavelli--to commemorate the victory of the Florentines over the Milanese in 1440. The painting is thought to depict both the savagery of battle and the grace and beauty of the men and horses caught up in a seminal moment of the battle’s ferocity.

Almost thirty years ago, Seracini found the words circa trova – “seek and ye shall find”, written on a tiny flag high up on one of the walls in the Palazzo Vecchio. It is the only writing on any of the flags. It flies very high – higher than the human eye can see- in one of six murals commissioned sixty years later to commemorate victories by the Medici and to obliterate those celebrating the triumphs of the Republic. If Dr Seracini’s theory is correct, this later mural covers Da Vinci’s masterpiece.

Dr Seracini believes that Vasari, the artist who painted the work that is now visible in the Sala del Gran Consiglio, could not bring himself to destroy Leonardo’s finest achievement. He contends that Vasari chose to cover it rather than destroy it. But he left the tiny clue written on the flag in the uppermost section of his mural. In support of this contention, Seracini notes that Vasari protected a work by Masaccio in the same way. This painting is of the Holy Trinity in Santa Maria Novella, one of Florence’s most beautiful churches.

Vasari was clearly awed by Leonardo’s achievement. Of it, he said “It would be impossible to express the inventiveness of Leonardo’s design for the soldiers’ uniforms, which he sketched in their variety, or the crests of the helmets and other ornaments, not to mention the incredible skill he demonstrated in the shape and features of the horses, which Leonardo better than any other master, created with their boldness, muscles and graceful beauty.”

This is not Dr Seracini’s first brush with controversy. After painstaking research, he revealed that the paint on the “Adoration of the Magi” held by the Uffizi was not applied by Leonardo. Leonardo did the original sketch for the work which was commissioned in 1481. The paint was not applied, however, until up to a century later. Dr Seracini’s painstaking investigation has demonstrated that in the process, some of Leonardo’s original elements were covered or obliterated.

There is an important connection between the Uffizi’s painting and the one Dr Seracini believes is hidden in the Palazzo Vecchio. Seracini’s infrared reflectography techniques reveal that Leonardo’s original drawing for the “Adoration” depicted a scene reminiscent of the battle scene in the lost “Battle of Anghiari”. This secret lies under the later additions by the unknown person who painted over the Leonardo’s drawing for the “Adoration”. Until this revelation, art historians believed that it was not till more than twenty years later that Leonardo began to lead the way in depicting the revolutionary ideas that the intensity of the battle scene reveal.

Article by: Elayne Jay for [Artviva] [3]