Mona Lisa

How a single year in Florence changed art forever

From our UK edition

The story goes that one day early in the 16th century Leonardo da Vinci was strolling through Florence with a friend. Near the Ponte Santa Trinita they came across a group of gentlemen disputing a point in Dante’s Divine Comedy. Seeing Leonardo, they asked him to explain the passage. At that same moment, Michelangelo Buonarroti also happened to hurry by, and Leonardo beckoned the sculptor over to interpret it for them. But Michelangelo, feeling he was being mocked, rounded on Leonardo: ‘Explain it yourself, you who tried to cast a horse in bronze, and couldn’t do it, and had to abandon the project in shame!’ With that he turned on his heels and stalked off, leaving Leonardo standing in the street embarrassed and furious.

Environmentalism: from concern about clean air to throwing soup at the Mona Lisa

Garrett Hardin was a professor of biology and environmental studies at UC Santa Barbara. His “commons” was a metaphor drawn from the traditional English practice of shared grazing and agricultural land to which all members of a community had access. Commons were inherently prone to abuse, Hardin argued, because every user of the commons will exploit it to maximize personal benefit without regard to the other users, leading ultimately to the collapse of the commons as a useful resource. Hardin extended the metaphor of the commons to include all natural resources, including the air, water, other species, even the entire Earth. The tragedy of Hardin’s expansive commons was the inexorable march to environmental doom, driven by the folly of human freedom.

tragedy commons

Leonardo da Virtual

This article is in The Spectator’s December 2019 US edition. Subscribe here. The first time ever I saw her face, she was smiling. I knew her face before I saw it, but I cannot remember when I first knew it, because I had always seen it. But when I first saw her in the flesh, I couldn’t really see her at all. She was behind thick glass and a waist-high wall, and a crowd of people 20-deep were pushing toward her, shouting and pointing and taking photographs. She was still smiling, but as I forced my way out of the crowd, I felt as though the smile no longer expressed the mysterious inner mood of a high-born Florentine sitting in a loggia, but the bemused contempt of a woman sitting in the stocks for the entertainment of the mob.

mona lisa leonardo