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His drawings and sketchbooks, filled with this tiniest handwriting of his which knows how precious is the ink more than any other, are to themselves a combination of sciences, art, philosophy and spirituality where the finest perception thoroughly reveals what hides beneath.
For the Trinity in his St. Anne, just like for Jean-Baptiste and Mona Lisa, the 3 canvas that have always accompanied and also trilogies that are the pillars of his art, Leonardo da Vinci has taken up all challenges of a lifetime, his very life.
Sudy for the mantel of the Virgin. Around 1507-1510. Paris, Louvre,INV. 2257 © RMN / Thierry Le Mage
He has worked again and again on the lines, the curve, the posture, the drape so as to get closer and closer to the very detail that identifies the Genius’ work from another. Nothing is ever left to chance because he knows well too much how useless it is, and as an expert, he shows it, demonstrates it, tries it out, brushes the fleeting truth aside in favor of the ever-lasting one. He was constantly in the process of remaking his St. Anne, mother of the divine Mother, mother of the Golden child, of the lamb, the sacred symbol of the origins of the Origin. He worked on the muscles, the flesh, the articulations of each and every gesture to breath the sacred life into this triangle of immortality.
