UNLIKE ANY CHALICE IN THE WORLD


Robert Payne, an expert on Leonardo Da Vinci, has documented that Verocchio studio trained goldsmiths, metal smiths, wood carvers, sculptors, setters of jewelry, makers of cassoni, gem cutters, designers of armor, and painters of flags and banners. The flags and banners were those that appeared in religious processions and those that were displayed at ceremonial jousts. The artisans made altarpieces and elaborate altar frames. They made church vessels and crucifixes, death masks, and effigies. They also designed vestments, executed all kinds of metal casting, including the making of coins and medallions.

All forms of painting were taught at the Verocchio studio. The studio was geared to the steady production of high quality artifacts. The clientele included noble families in Florence and the surrounding towns, including the churches.

At the Verocchio studio, Da Vinci excelled at all forms of the arts and learning. It is not surprising that in this studio Da Vinci would create a wonderful silver Chalice that incorporated a theme that was dear to his heart, one that followed him through his entire career. Simply put... this concept was the flow and movement of water and air.

This theme was the foundation of many of his works. Examples are found in the Codex Leicester (see note) and in many drawings, paintings, and sculptures. The same motif was incorporated in this chalice.

CODEX LEICESTER: "Mostly hidden away in his notebooks, Leonardo's brilliant ideas had little influence on the development of science in his day. However, today, we can see that his observations and experiments foreshadowed not only techniques of modern science but some of its findings." - American Museum of Natural History.

SIMPLE COMPARATIVE VIEW OF THE CHALICE PEDESTAL AND THE PEDESTAL FROM DA VINCI'S ANNUNICATION [UFFIZI GALLERY, FLORENCE ITALY]. THE PAINTING IS OFTEN ATTRIBUTED AS A JOINT EFFORT OF VEROCCHIO AND DA VINCI, POSSIBLY HIGHLIGHTING THE SIMILARITIES IN THE PEDESTAL SCALLOPS – IN A STYLE ATTRIBUTED TO THE EARLY WORK OF DA VINCI, THOUGH NOT NECESSARILY POPULAR WITHIN CONTEMPORARY SCULPTURE AND CASTINGS OF THE ERA.