Leonardo Da Vinci - Study of the hanged Bernardo di Bandino Baroncelli

Leonardo da Vinci, one of the most renowned figures of the Italian Renaissance, was a master of art, anatomy, and engineering. Among his many lesser-known but intriguing works is his study of the hanged Bernardo di Bandino Baroncelli, the assassin of Giuliano de’ Medici. This work is a stark, unembellished representation of a corpse, drawn with clinical precision and curiosity. It serves as both a historical document and an artistic study, shedding light on Leonardo’s interests in human anatomy, justice, and the dynamics of power in Renaissance Florence.

Historical Context: The Pazzi Conspiracy

The drawing is intimately tied to one of the most dramatic events in Florence’s history: the Pazzi Conspiracy of 1478. This was a plot led by the powerful Pazzi family to overthrow the ruling Medici family. The Medici, led by Lorenzo de’ Medici (later known as Lorenzo the Magnificent) and his younger brother Giuliano, were the de facto rulers of Florence, exerting influence over the city’s politics and economy. The Pazzi, along with their allies—including Pope Sixtus IV—sought to eliminate the Medici brothers in a coup that would shift power in their favor.

On April 26, 1478, during Easter Sunday Mass at Florence’s Cathedral of Santa Maria del Fiore, the conspiracy unfolded. Giuliano de’ Medici was stabbed multiple times and killed, while Lorenzo managed to escape with minor injuries. The plot ultimately failed, leading to swift and brutal retribution against the conspirators. Many were executed, either by hanging or beheading, and their bodies were displayed as a warning to others. One such conspirator was Bernardo di Bandino Baroncelli, who was captured and executed in 1479. His hanging was publicly displayed, and Leonardo da Vinci, always interested in the human form, took the opportunity to document it.

The Artwork: A Study in Death

Leonardo’s drawing of Baroncelli is not a grand, idealized portrait but a raw and precise study of the human body in death. The figure is depicted hanging by the neck, clothed in what appears to be a long robe, with his arms bound behind his back. His head is tilted slightly downward, his facial expression devoid of life, and his feet are crossed in a natural reaction to the hanging position.

Leonardo’s fascination with human anatomy is evident in the meticulous details of the drawing. Unlike many artists of his time, who might have sought to dramatize or romanticize such a subject, Leonardo presents it with scientific detachment. His goal was likely to understand the physiological effects of hanging on the body—how gravity acted upon the limbs, how the muscles responded to death, and how clothing interacted with the suspended form.

An important detail in the drawing is the inscription that Leonardo included. It identifies the figure as “Bernardo di Bandino Baroncelli,” directly linking the image to the Pazzi Conspiracy. This suggests that the drawing was not only an anatomical study but also a historical record of justice being served in Florence.

Leonardo’s Interest in Anatomy and Execution

Leonardo da Vinci’s studies of the human body are well-documented. Throughout his career, he conducted numerous dissections of both human and animal corpses, striving to understand the mechanics of muscles, bones, and internal organs. His anatomical drawings are some of the most detailed and advanced of the Renaissance, far surpassing the medical knowledge of his time.

His interest in execution, particularly hanging, was likely tied to both his scientific curiosity and his exposure to the harsh realities of Renaissance justice. Public executions were common in Florence, serving as a form of deterrence and spectacle. Leonardo’s studies of the hanged might have been driven by a desire to capture the physical distortions caused by the noose—how the weight of the body affected the spine, how the face changed in death, and how rigor mortis set in.

This drawing also aligns with Leonardo’s broader interest in human expression. He believed that emotions and experiences left physical imprints on the body. In his notebooks, he explored how fear, anger, and suffering altered facial expressions. In the case of Baroncelli, the expression is eerily neutral, suggesting either a quick death or the loss of individual identity in the face of justice.

Symbolism and Political Implications

While Leonardo may have approached the drawing with a scientific mindset, it also carries deep political implications. The execution of Baroncelli was meant to be a statement by the Medici family—an unambiguous display of power and retribution. By recording the event, Leonardo was indirectly engaging with the politics of Florence.

Some scholars suggest that the drawing reflects the harsh realities of Renaissance governance, where power was often maintained through fear and violence. The Medici, despite their patronage of the arts and humanist ideals, were not above ruthless tactics to secure their rule. The display of Baroncelli’s corpse was a clear warning to others who might conspire against them.

At the same time, the study can be seen as a meditation on mortality. Leonardo was deeply preoccupied with the nature of life and death. His anatomical studies sought to uncover the mysteries of the human body, but they also touched on broader existential questions. The hanging body of Baroncelli, stripped of dignity and identity, serves as a stark reminder of the fragility of human life.

Legacy of the Drawing

Leonardo’s Study of the Hanged Bernardo di Bandino Baroncelli remains a unique work within his vast portfolio. Unlike his famous paintings such as The Mona Lisa or The Last Supper, this drawing is not celebrated for its beauty but for its historical and anatomical significance. It offers a rare glimpse into Leonardo’s observational skills and his ability to merge art with forensic study.

While many of Leonardo’s anatomical drawings were intended for medical study, this particular piece exists at the intersection of history, justice, and science. It serves as a document of one of Florence’s most infamous political assassinations, a testament to Leonardo’s relentless curiosity, and an unfiltered look at the consequences of power struggles in the Renaissance.

In modern times, the drawing has been analyzed not only for its artistic value but also for what it reveals about the period. It provides insight into the methods of execution, the political climate of Florence, and Leonardo’s meticulous approach to recording human anatomy. It is a reminder that art, even when serving a scientific purpose, is never separate from the social and political forces that shape it.

Conclusion

Leonardo da Vinci’s Study of the Hanged Bernardo di Bandino Baroncelli is a fascinating work that captures a crucial moment in history. More than just an anatomical study, it is a reflection on justice, mortality, and the power dynamics of Renaissance Florence. Through his precise and detached observation, Leonardo turned a grim execution into a timeless piece of documentation—one that continues to intrigue historians, artists, and scholars alike.