Massimo Guerrero and Rui Aleixo informed us on August 26, 2025, that their paper: “Scaling Turbulent Wake Flow Downstream of Isolated Piers in Laboratory and River” was accepted for publication in the Journal Results in Engineering. They explored the results obtained in Gdansk and Bologna based on the Da Vinci experiments carried at the University of Bologna.
Congratulations to our new colleagues!
Biological residue on or around an artwork may help tell an original from a fake, but the novel method is not without risks.
In their new book “Genìa Da Vinci. Genealogy and Genetics for Leonardo’s DNA ,” published by Angelo Pontecorboli Editions, experts Alessandro Vezzosi and Agnese Sabato of the Leonardo Da Vinci Heritage Association present findings from 30 years of genealogical research that have culminated in groundbreaking insights. The book documents an elaborate family tree tracing back to 1331, spanning 21 generations and involving over 400 individuals. The work lays the groundwork for reconstruction of Leonardo’s genetic profile.
The Book caused a blaze of interest in the Leonardo Da Vinci DNA Project including this article in the Times of London.
Here is the Preface from Jesse Ausubel, as well as the table of contents of the book
The English version of the book will be published in 2026.
Here is the pre-print of the sampling protocol article that will be published as Open Access in the March 2025 issue of the Journal of Forensic Sciences.
Article Title: Sampling Techniques and Genomic Analysis of Biological Material from Artworks
Authors: Rhonda K Roby, Rosana A Wiskovitch-Russo, Rebecca Hart, Amanda E Appel, Manija A Kazmi, Thomas Huber, Karina C Åberg, Thomas P Sakmar, José A Lorente, Norberto Gonzalez-Juarbe
DOI: https://onlinelibrary.wiley.com/doi/10.1111/1556-4029.15701
Abstract: The genomic analysis of biological material from artworks can be used to guide curation, preservation, and restoration. Additionally, human DNA recovered from artworks may provide other insights. However, the recovery of biological samples from artworks is dependent on the sampling technique used and the media from which the biological materials are recovered. The ideal sampling method should be noninvasive, yet robust. We studied five artworks on paper and compared three sampling methods, each with increasing degrees of invasiveness. Minimally invasive swabbing techniques collect samples from the surface, whereas more aggressive techniques such as wet vacuuming were expected to yield more biological material from within the support media and more likely to produce authentic DNA from the artwork. We report a comparison of collection techniques to generate microbial DNA sequence data, the conserved human gene RNase P, and Y-STRs from artworks on paper. We observed that wet vacuuming resulted in higher DNA recovery than double swabbing and core punches. Diverse microbial populations existed on the corners and centers of the five artworks studied, but the distribution of the total biomass was relatively even across the surfaces of the works sampled. Studies of peripheral regions, where sampling is less likely to cause alterations to the artwork, could thus yield useful results in microbiome and human DNA studies. These results provide a framework for sampling artworks on paper to obtain biological material. The methods described may provide microbiome identification to facilitate restoration and preservation, and might also contribute to the determination of provenance.
Within a few months, Pontecorboli Editions will publish in Italian a definitive history of the family of Leonardo Da Vinci from his forebears to the present day, a masterwork of scholarship by colleagues Alessandro Vezzosi and Agnese Sabato. An English edition should appear in 2026. Here is Jesse Ausubel’s Afterword in both languages as well as the draft table of contents of the Big Genealogy Book. The books should form a major legacy of the Leonardo Da Vinci DNA Project.