The occasion of the event at the Villa of the Lady with the Ermine offers an opportunity to revisit several themes concerning the significance of lutherie, which goes far beyond bowed string instruments understood merely as tools for making music.

Leonardo’s genius is well known; however, his approach to the theoretical foundations of knowledge may not be sufficiently recognized. At stake is the relationship between knowledge and reality.

But let us proceed in order.

It is well known that with him, experience—being the foundation of knowledge—takes on the function of “experiment.” This involves moving beyond knowledge based on empiricism, on the familiarity of déjà vu, on what seems obvious. With him, the nature of inquiry is defined. It aims at precise knowledge that enables the development of practice. Leonardo goes beyond what is known and seeks appropriate solutions to address issues usually considered inaccessible to the human mind. One need only think of “flight.” He expands the horizon of research to achieve new results, imagined almost in a visionary way.

We have mentioned flight, but in the field of lutherie as well, Leonardo proposes new instruments to obtain unusual timbres. The aim is to offer music sounds capable of interacting with it. Moreover, it should be remembered that he himself was a musician.

In his work, invention is never an end in itself; rather, while it enhances knowledge, it presents new opportunities: discoveries. In the case of string instruments, attention is directed toward an ancient approach to music: that of the Pythagoreans, revived by the Neoplatonists of his time.

Experimentation goes beyond mere technical skill to engage with harmony: the harmony of creation, the harmony of the universe. This is not subject to simple experimentation but must be identified through the path of “mathematics,” which by its nature is irrefutable. Music is situated within this horizon. Music is not mere entertainment; it reveals the ultimate horizon of reality.

From this perspective, the construction of musical instruments must be reconsidered. Leonardo clearly understood that the “musical string” constituted the first concrete approach to harmony. Pythagoras and the Pythagoreans relied on this study. This reference to music does not belong to Leonardo alone, but to classical culture as a whole. Even Bach would not depart from this conception.

The work of Master Luthier Michele Sangineto represents an important step toward Leonardo’s conception of string instruments. The Master places himself in Leonardo’s school, offering it careful study, deep insight, and unquestionable craftsmanship.

There is more. He enables musicians and listeners alike to “recover” “new” sounds. An oxymoron? Certainly not. It is uncertain whether our ears are capable of perceiving Leonardo’s sounds in their true nature. Our ears are not trained for such listening. What is beyond doubt, however, is the importance of having made instruments designed by Leonardo contemporaneous with us.

Some additional remarks. Today we limit our attention to a very small number of string instruments. What Master Luthier Sangineto offers is both an invitation and a concrete opportunity to recover a much broader tradition. We should not forget that in Cremona there is a long-standing tradition of musicology devoted to the study of “early” music. The same can be said of the W. Stauffer Academy. These institutions bring great prestige to the city, making it not only a capital of lutherie—thanks to internationally renowned master luthiers—but also a center for the training of musicologists and musicians who are able to rediscover, or rather recover, that historically active memory which constitutes our cultural heritage. The Violin Museum engages in dialogue with the Arvedi Auditorium, promoting not only concerts but also masterclasses that foster deeper understanding, educating the ear while imparting knowledge of lutherie and music.

Finally—though certainly not least—the knowledge of “science” must be promoted as a necessary reference for research. This includes, for example, dendrochronology, varnish chemistry, the mechanics of instruments, and the harmonious proportions of instruments in relation to lutherie. It also includes “mathematics,” not only for defining the most suitable algorithms for the advancement of knowledge, but above all as mathematics engages with music and forms its foundation. Nor should we overlook new reflections on the foundations of mathematics (e.g., mathematical realism), which originate in studies of the past. Reference is made to texts held in our State Library. This literary heritage is a resource accessible to all who cross the threshold of Palazzo Affaitati. It is also a place for the education of younger generations, who can discover the magnificence of their city: a capital of lutherie and music.