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Geronimo Stilton, along with  Benjamin e Trappy, also celebrated Leonardo Da Vinci on the 500th anniversary of his death, which took place in 2019.

Thanks to a project proposed by the school, the three enrolled in the International Friends of Leonardo Club, which gathers young people from all over the world and flew to Vinci to visit the village where Leonardo spent his childhood, then his birthplace and the Museum which collects the oldest collection of models and machines of the great Genius.

A truly phenomenal adventure, which made Stilton and his friends the protagonists of a mystery..the discovery of an ancient parchment written by Leonardo , with a series of clues that, like in a treasure hunt, has led to discover what for the Genius was the most important thing...

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Leonardo da Vinci claimed that painting belonged to the culture of the “erudite”, to high scientific and humanistic culture, that is, to the liberal arts. But he also proudly affirmed for himself the higher dignity of the inventor, contrasting it with the figure of the rhetoricians and commentators of ancient texts, thus helping to shape a new intellectual consciousness, interwoven with the still uncertain formation of the knowledge and identity of the engineer.This volume sets out to grasp the historic significance of Leonardo’s work as a “mechanic”, reconstructing its involvement in certain dynamics—played out between the time of Piero della Francesca and the early Galilei —of the knowledge and practices of the mechanical arts. These are considered in their own right, especially within the sphere of activities, of great economic importance for the city, that the more refined Florentine humanism, like that of Poliziano, had classified among the “sordid” and “sedentary” arts: building sites, mills, factories.Within this long-term perspective, the book examines the changes wrought by Leonardo on the main body of knowledge of the technicians, the “practice of geometry”; his awareness of the need for a vernacular lexicon of technical knowledge, shared with Francesco di Giorgio Martini; the novelty of his studies of textile mechanics, not just in the context of the dichotomy between the liberal and mechanical arts, but also within the stratification of the latter; the sophisticated development of various representative conventions in technical drawing and the use of scale models, in connection both with drawing and with elements of theoretical mechanics in the designing of machines. Some new hypotheses are also presented regarding the functioning and use of the building-sitemachines designed by Brunelleschi for the construction of the cupola of Florence Cathedral.