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Symmetrical golden ropes and knots are interwoven with the branches, combining in a unique way the natural growth of plants with abstract geometrical tracing. According to
Francesca Tasso, vice president of the scientific committee, “ropes twisting into knots, some of which are extremely complex, constitute a recurring theme in Leonardo da Vinci's work, during the two decades he spent in Milan”.
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example) must be faced. There are different opinions about several issues: should previous painting layers (due to restoration) be totally removed? How much new painting is allowed? Too little, will leave the room in an aesthetically unpleasant state, too much will be somehow a “false”. The scientific committee (see below) is debating the issues, guiding and supervising operations.
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During the restoration in the 1950s, preparatory drawings for the original painting were uncovered, executed in black over white paint, instead of drawing directly on the plaster. The grounding with white paint is a technique now known to be a characteristic of
Leonardo. Beltrami had considered these
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saw in him the wisest of all trees, since he blooms for a long time and his fruit ripens fast, which symbolized good governance. Ludovico initiated the planting of countless mulberry trees to promote the production of silk. The golden mesh of rope stood for the silk and gold fiber manufacturing Milan
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Of the first restoration performed at the beginning of the twentieth century, traces can still be seen in a few spots on the vault. The restoration left the room fully decorated in the vault, with strong trunks on the lateral walls, interrupted by wooden panels. The bright colors puzzled many leading
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In 1902, visitors could see the result of this restoration: a wonderful depiction of trunks on the walls and a canopy of branches and leaves on the ceiling. Colors were bright. Immediately critics noted that the “style” did not resemble what they thought was
Leonardo's "typical" style of painting. In
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The current name of the room is incongruous. Some experts state that the name was used prior to the painting by
Leonardo. The walls had been covered with wooden planks (in Italian, “asse” means planks), and hence, the hall of the planks had been the name traditionally used to identify the room. Other
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The immediate goal was to stop the evident deterioration. In this case, several factors have been identified: humidity from the building, microclimatic changes due to negative interaction (chemical binding) between the substances used for the original painting and the materials used for the various
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In the 1950s, partially to appease the critics, a second restoration was conducted by Ottemi della Rotta and executed by the restorer
Ernesto Rusca. Basically, colors were toned down and the room took a more “antique” flavor, which can still be seen. Experts of the scientific committee still have
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Besides providing charming bright spots of color, the red berries probably are an allusion to the Duke of Milan, nicknamed “il Moro”, because in the local dialect both then and today, those mulberries are called “moroni”. Its trunk was considered especially strong and architecturally relevant, a
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was used to detect various layers of painting. Ultraviolet light, in fact, can be used to detect the different “organic binders” of paint, i.e. the organic substances (e.g. eggs) used to keep the colors stable. These binders were different from the time of
Leonardo, to later periods, and to the
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The long-term goal is to provide a valid “aesthetic restoration”. First of all, painted surfaces must be cleaned and stabilized. Then the problem of “peeling off” layers due to previous restorations and integrating missing spots with new painting (using modern materials, such as watercolor, for
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The branches, leaves, and berries of eighteen mulberry trees make up the decoration. The branches follow the rips of the vault hiding its architectural construction. The branches and the leaves create the illusion of one being in open space under a canopy of leaves, not in a room of the castle.
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implemented a plan for restoring the castle, as it can be seen today. Within the restoration, in 1893, some traces of the original paint were detected below the white surface covering the room. Beltrami found the proper financing (mostly from private sources) and selected
Ernesto Rusca for a
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Careful “peeling off” of layers has allowed uncovering of older layers. This has been especially relevant for bringing to light the monochrome, currently considered the oldest layer of decoration in the room. It is likely that the drawings were created by
Leonardo while preparing for the
151:, member of the scientific committee for the current restoration, said about the room: “one is amazed by its spectacular vaulted ceiling, decorated with branches and knots all tangled together: a long rope, weaving together all these branches, is entwined with vegetal elements…”.
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One of the merits of the current restoration is the uncovering of many of these underdrawings, called “monochrome” by the experts. Some of them show the roots of the trees penetrating the side walls and breaking them, with a decorative scheme reminiscent of the decoration of the
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Archive digging: relevant documentation has been brought to light or put in the proper perspective. The material includes original letters (from the time of the original painting of the room), to historical documentation about the castle, and also about the two previous
81:, nicknamed “il Moro” ("the moor”), that is dated April 21, 1498. In the letter Gualtiero Bascapè, the duke's chancellor, states “…Magistro Leonardo promises to finish it by September”. On the 23rd, he wrote that “the large chamber is free from the boards”.
92:, and Ludovico Sforza fled. Over the centuries, several foreign dominations (Spanish, Austrians, and others) followed. The Sforza Castle was used for military purposes: the walls of the room were painted over in white and memory of the painting was lost.
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Cecilia
Frosinini from the Opificio delle pietre dure says "...modern restoration must be approached with great humility. It is necessary to appreciate both the original work of the author, and the work of the various restoration experts who followed.”
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In 2012, a third restoration project was launched. The main goal was to block deterioration by humidity and other factors. The scientific goal was to investigate the decoration further, uncovering as much as possible of the original work by
Leonardo.
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Artistic analysis: A careful analysis of various documents and results from diagnostics, has allowed better understanding of the various events and actions that have brought the castle (in general) and Sala delle Asse (specifically) to the current
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scheme depicting trunks, leaves, fruits, and knots, as if it was in the open air and not within a castle. Art historian Rocky Ruggiero describes the decoration of the square, fifteen-by-fifteen-meters room as creating the effect of a natural
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Architectural historical analysis: investigating all the historical events leading to the current situation of the room. Several alterations of the past openings in the room were detected and properly framed within the history of the
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Therefore much more somber colors were the result of the second restoration in the 1950s, when the bright colors of the first restoration did not seem to fit the muted tone range, which at the time was thought to be Leonardo's style.
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This restoration was ongoing in December 2018 and some important results already had been achieved, including the recovery of more preliminary drawings (called “monochrome”) on the lower parts of the walls.
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conflicting opinions about this subject. On the lateral walls new wooden panels were installed covering the preparatory drawings, while benches for visitors in part hid the drawings at the bottom.
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in Milan. In several ways the mulberry tree in particular provided symbolic meaning for the celebration of the chancellor Ludovico Sforza, whose coat of arms in alliance with that of his wife
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as an architectural feature. Ruggiero suggests that Leonardo drew upon all of his scientific research into natural systems as he painted the masterful illusion that resembles a grove of
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51:, dating from about 1498. Its walls and vaulted ceiling are decorated with "intertwining plants with fruits and monochromes of roots and rocks" and a canopy created by sixteen trees.
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and member of the scientific committee, says that they suggest “the creation of thin, slanting trunks, springing from the roots and then joining the decoration on the ceiling”.
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experts say that this name was a misreading of the letter; with his words, the chancellor was stating a fact (the getting rid of the planks), not giving the name of the room.
338:(detecting differences in temperature on the walls) was used to identify alteration in the building of the rooms (since different materials have different temperatures).
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Tasso, Francesca (2017), "La camera grande da le Asse coè da la tore, da Galeazzo Maria Sforza a Luca Beltrami", in M. Palazzo; F. Tasso; Cinisello Balsamo (eds.),
1843:
1012:
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Lavori in corso: il restauro del monocromo leonardesco al Castello Sforzesco, in Leonardo da Vinci. Metodi e tecniche per la costruzione della conoscenza
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The Sala delle Asse is an expression of a leader's palace conceived as "paradise", an idea well established in the mid-15th century and described by
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When Italy was unified (1861) the castle was in full decay and people discussed tearing it down. Toward the end of the nineteenth century, architect
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1192:
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977:, tesi di Dottorato di Ricerca in Conservazione dei Beni Architettonici, Politecnico di Milano, relatore Carolina Di Biase, a.a. 2016–2017.
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are a different story. It was not affected by previous restorations: it was not considered worthwhile and covered with wooden planks.
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1957:
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Studi sul monocromo nella Sala delle Asse e nuove scoperte sull’impostazione compositiva della decorazione di Leonardo da Vinci
839:"I restauri dei dipinti murali della Sala delle Asse e delle sale terrene della Corte Ducale nel Castello Sforzesco di Milano"
1907:
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I restauri dei dipinti murali della Sala delle Asse e delle sale terrene della Corte Ducale nel Castello Sforzesco di Milano
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restorations, and accumulation of filth (since artifacts such as this can't be cleaned regularly as in a domestic house).
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Il Castello di Milano '' so̲tto il Dominio dei Visconti e degli Sforza MCCCLXVIII – MDXXXV con 178 incisioni e 5 tavole
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Documenti e memorie riguardanti la vita e le opere di Leonardo da Vinci, in ordine cronologico a cura di Luca Beltrami
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374:(in the Infra-Red range) has been used to detect the various “inorganic binders” used for painting, at various times.
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Leonardo da Vinci - The Sala delle Asse of the Sfzorza Castle. Diagnostic Testing and Restoration of the Monochrome
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addition, the lack of photographic documentation of the room's situation during the restoration raised suspicions.
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265:. Even more surprising, some other drawings suggest a different solution for the trunks. Cecilia Frosinini, from
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is displayed right in the center of the vault, surrounded by inscriptions with his latest accomplishments.
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La sala delle Asse del Castello Sforzesco. Leonardo da Vinci. La diagnostica e il restauro del Monocromo
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569:"• Documenti per la decorazione del Castello di Milano nell'età di Galeazzo Maria Sforza (1466–1476)"
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221:, a leader who withstands all trouble. The geometrical tracing relates also to the concept of the
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897:(in German). Translated by Stefan Barmann; Regina Schmidt-Ort. Cologne: DuMont. p. 133–143.
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Immediately after this letter, in 1499, Milan was taken over by the French army led by king
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A new restoration of Sala delle Asse was started in 2012 and was ongoing as of 2022.
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and the installation holes for the panelling in 2013, prior to the third restoration
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metaphor for a stable state, while the crown was able to shield from any adversity.
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994:, a cura di Pietro C. Marani e Rodolfo Maffeis, Busto Arsizio 2016, pp. 115–116.
964:, a cura di Pietro C. Marani e Rodolfo Maffeis, Busto Arsizio 2016, pp. 117–122.
930:, a cura di Pietro C. Marani e Rodolfo Maffeis, Busto Arsizio 2016, pp. 123–132.
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The room was decorated in 1498, as testified by a letter to the Duke of Milan,
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Il progetto di restauro della Sala delle Asse nel Castello Sforzesco di Milano
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Wall panelling, exhibition displays and lighting in 1956 (photo: Paolo Monti)
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Technical diagnostics: several modern diagnostic techniques have been used.
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Technicians at work using laser scraping techniques in the sala delle asse
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Tracce pittoriche Leonardesche recuperate al Castello Sforzesco di Milano
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Lower panelling to show preliminary drawings in 1956 (photo: Paolo Monti)
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Leonardo da Vinci. Metodi e tecniche per la costruzione della conoscenza
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Leonardo da Vinci. Metodi e tecniche per la costruzione della conoscenza
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1317:
1036:"La Sala delle Asse Fotografia e memoria fra le trame di un archivio"
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Leonardo da Vinci : i documenti e le testimonianze contemporanee
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Room decorated by Leonardo da Vinci in the Castello Sforzesco, Milan
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View into the vault in 2019, with a trial patch of the restoration
35:(In English: 'room of the wooden planks'), is a large room in the
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Leonardo da Vinci: 1452-1519: The Complete Paintings and Drawings
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The Virgin and Child with Saint Anne and Saint John the Baptist
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Leonardo da Vinci e la sala delle "Asse" nel Castello di Milano
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Making Art and History Come to Life, Rebuilding the Renaissance
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experts of the time, who were used to the fading colors of the
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Museo Nazionale Scienza e Tecnologia Leonardo da Vinci (Milan)
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Il Castello di Milano sotto il dominio degli Sforza, 1450–1535
1727:
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The vault of the Sala delle Asse after the 1950s restoration
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Official website about the restoration of Sala delle Asse
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Madonna and Child with the Infant Saint John the Baptist
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drawings as additions made earlier and covered them.
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was famous for. The filament was also the thread of
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416:
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were used to build a precise 3-D model of the room.
320:Various activities have been performed since 2012,
442:The Sala delle Asse in the Sforza Castle in Milan
272:
1949:
944:Michela Palazzo e Francesca Tasso (a cura di),
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585:
419:"Tutto mi piace" : Leonardo e il castello
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1496:Designs for an Adoration of the Christ Child
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529:: CS1 maint: location missing publisher (
1510:Head of the Infant Saint John the Baptist
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54:The walls and ceiling are painted with a
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225:. There was a garden labyrinth at the
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1073:"La Sala delle Asse di Luca Beltrami"
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1311:The Virgin and Child with Saint Anne
1015:from the original on 29 January 2023
1005:"Restoration In The Third Millenium"
482:Leonardo : portrait of a master
685:La Sala delle Asse di Luca Beltrami
464:Leonardo da Vinci's Sala delle Asse
13:
1089:from the original on 8 August 2017
1052:from the original on 8 August 2017
933:
911:
837:Palazzo, Michaela (14 July 2017).
681:
567:Albertario, Marco (January 2003).
398:List of works by Leonardo da Vinci
244:
14:
1979:
1582:Drapery of the Virgin's Right Arm
1105:
702:(1st ed.). Firenze: Giunti.
364:UV fluorescence on the monochrome
144:The decoration of Sala delle Asse
1932:
1931:
1468:Studies of the Fetus in the Womb
1447:The Martyrdom of Saint Sebastian
1433:Study for the Madonna of the Cat
573:"Solchi", VII, Nn. 1–2
383:Restoring drawings and paintings
100:restoration of Sala delle Asse.
43:, the location of a painting in
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1027:
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967:
856:
830:
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780:
757:
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691:
675:
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1958:Paintings by Leonardo da Vinci
1886:replicas and reinterpretations
1832:Museo Ideale Leonardo da Vinci
1475:Portrait of a Man in Red Chalk
1229:Saint Jerome in the Wilderness
606:
579:
560:
537:
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273:Goals of the third restoration
227:Castello Sforzesco in Vigevano
217:and thus Ludovico was the new
1:
403:
307:
1875:Conservation-restoration of
1642:Codex on the Flight of Birds
1575:Drapery of the Virgin's Legs
1201:The Madonna of the Carnation
1080:www.saladelleassecastello.it
1043:www.saladelleassecastello.it
1009:www.saladelleassecastello.it
417:Maria Teresa Fiorio (2005).
7:
1801:Giovanni Ambrogio de Predis
1756:Giovanni Antonio Boltraffio
1461:Portrait of Isabella d'Este
764:Baroni, Costantino (1955).
391:
10:
1984:
1827:Museo leonardiano di Vinci
1364:The Holy Infants Embracing
548:. Ente raccolta vinciana.
267:Opificio delle Pietre dure
72:
1926:✻✻ Possible collaboration
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1776:Giovanni Agostino da Lodi
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1609:
1540:
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1391:
1222:The Adoration of the Magi
1177:
1154:
1071:Catturini, Carlo (2013).
700:Leonardo da Vinci :
698:Cremante, Simona (2005).
544:Villata, Edoardo (1999).
948:, Cinisello Balsamo 2017
682:Frezza, Patrizia Costa,
519:, Milano, pp. 26–55
470:, aired October 6, 2021.
440:Costa, Patrizia (2006).
893:Daniel Arasse (2002) .
731:Zöllner, Frank (2007).
659:Beltrami, Luca (1885).
613:Beltrami, Luca (1902).
586:Beltrami, Luca (1919).
480:Nardini, Bruno (2009).
300:The restoration of the
190:, who had designed the
1653:A Treatise on Painting
1371:The Battle of Anghiari
1332:Saint John the Baptist
1251:Portrait of a Musician
1164:Science and inventions
1034:Paoli, Silvia (2013).
868:bibdig.museogalileo.it
843:www.politesi.polimi.it
817:bibdig.museogalileo.it
792:bibdig.museogalileo.it
636:Luca Beltrami (1894).
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354:previous restorations.
317:
282:
241:
192:
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174:tracings by Leonardo (
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1870:Portraits of Leonardo
1545:Child with Saint Anne
1193:The Baptism of Christ
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169:
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24:
1766:Bernardino de' Conti
1266:La Belle Ferronnière
421:. pp. 163–190.
1911:(Galleria Borghese)
1896:Mathematics and art
1860:Cultural references
1723:Rapid fire crossbow
1713:Self-propelled cart
1487:Virgin of the Rocks
1259:Lady with an Ermine
1244:Virgin of the Rocks
1968:Castello Sforzesco
1676:Divina proportione
1632:Codex Trivulzianus
1596:Head of the Virgin
1589:Head of Saint Anne
466:", Episode 142 of
462:Ruggiero, Rocky, "
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318:
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37:Castello Sforzesco
27:
1945:
1944:
1909:Leda and the Swan
1902:The Lost Leonardo
1718:Octant projection
1688:Harpsichord-viola
1605:
1604:
1503:Head of the Angel
1387:
1386:
1378:Leda and the Swan
1303:Lansdowne Madonna
1287:Buccleuch Madonna
1208:Ginevra de' Benci
1148:Leonardo da Vinci
973:Michela Palazzo,
960:Francesca Tasso,
922:Michela Palazzo,
904:978-3-8321-7150-6
895:Leonardo da Vinci
735:. Köln: Taschen.
308:Activities
49:Leonardo da Vinci
1975:
1935:
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1891:High Renaissance
1839:Leonardo3 Museum
1781:Bernardino Luini
1703:Fighting vehicle
1617:Codex Atlanticus
1557:(London cartoon)
1541:Relating to the
1520:Studies for the
1485:Studies for the
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1186:The Annunciation
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1923:âś» Collaboration
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1877:The Last Supper
1848:
1815:
1796:Francesco Melzi
1791:Marco d'Oggiono
1761:Cesare da Sesto
1742:
1733:Viola organista
1679:(illustrations)
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1647:Codex Leicester
1601:
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1407:Horse and Rider
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1280:Sala delle Asse
1273:The Last Supper
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986:Claudio Salsi,
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864:"Teca Digitale"
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813:"Teca Digitale"
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210:Pliny the Elder
198:Beatrice d'Este
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79:Ludovico Sforza
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32:Sala delle Asse
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822:19 December
797:19 December
342:Laser beams
302:monochromes
247:monochromes
170:One of the
157:Last Supper
1952:Categories
1683:Great Kite
1543:Virgin and
1392:Sculptures
768:. Hoepli.
709:8809038118
554:1000910785
484:. Giunti.
404:References
380:situation.
238:monochrome
208:knew that
1884:Mona Lisa
1865:Namesakes
1738:World Map
1318:Mona Lisa
1178:Paintings
774:759078027
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718:162299598
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387:painting.
236:Vault, a
223:labyrinth
206:Humanists
90:Louis XII
1937:Category
1698:Crossbow
1084:Archived
1047:Archived
1013:Archived
525:citation
392:See also
193:castello
188:Filarete
178:, Paris)
172:Academia
67:mulberry
1853:Related
1820:Museums
329:castle.
219:Theseus
215:Ariadne
73:History
69:trees.
63:pergola
45:tempera
1563:(lost)
1350:Medusa
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1019:7 June
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176:Louvre
1806:Salaì
1728:Sonar
1708:Robot
1087:(PDF)
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1039:(PDF)
990:, in
926:, in
41:Milan
1095:2023
1058:2023
1021:2023
899:ISBN
875:2018
850:2018
824:2018
799:2018
770:OCLC
747:OCLC
737:ISBN
714:OCLC
704:ISBN
665:OCLC
642:OCLC
619:OCLC
596:OCLC
550:OCLC
531:link
496:OCLC
486:ISBN
446:OCLC
423:OCLC
245:The
29:The
261:in
39:in
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1298:✻✻
1254:✻✻
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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