Presented in Rome, for the first time ever, the true, first work of the master of masters, the 'stupor mundi' of Italian art of all time. It is a quadrella, a glazed majolica tile with the Archangel Gabriel. One thing is certain. If a cultural event of this magnitude had taken place overseas o a little closer to us, I know, in London, this would have been considered the event of the year. And instead here with us, with a certain unspoken snobbery that has always distinguished us (as if to say 'we have too much of art') the thing took place almost in silence. The 'thing' in domanda is the presentation of the first pictorial work of Leonardo da Vinci held yesterday morning, June 21, più o less at the time of the summer solstice, at the headquarters of the Foreign Press, a few hundred meters from Quirinale. Yes, te read that right, this is the exposition - for the first time ever - of the true, first work of the master of the masters, the 'stupor mundi' of Italian art of all time. It is a square (20 × 20 for a thickness of 1.2 cm), a glazed majolica tile with the Archangel Gabriel, painted in a luster-like shape, ie treated with only two cooking steps instead of three. In a nutshell, the pictorial artefacts in question, after an accurate work of authentication and attribution of paternity, thanks to a long diagnostic study, which lasted più than three years, da Professor Ernesto Solari, a well-known scholar of Leonardo, and the doctor Ivana Rosa Bonfantino, graphologist, former professor of Comparative Graphology and History of Graphology at La LUMSA in Rome, the work, we said, was attributed to Leonardo da Vinci. The Archangel Gabriel has been recognized as his most ancient painting who has reached us now his first autographed WM, imprisoned in his 'painting of eternal paint' and accompanied da a sort of puzzle, again da the artist. The explanations of the experts during the presentation of the work were many, punctual and exhaustive, followed da the domande of journalists, the Times, the Daily Telegraph, CNN, ANSA, Russian and Turkish, German and of course Italian . As for me, I was hypnotized da the small armored glass box suitably covered with an ivory cloth and surrounded da armed guards and police officers. Its value is undoubtedly inestimable, as was repeated to the Times journalist who insisted on asking how much this work could hold. I could not take my eyes off that cloth and imagine the beauty that it hid and the privilege I had at that moment, along with about forty guests. The first time that the oldest painting of a very young Leonardo is shown in the world. And when the time came for the discovery of the case, one could perceive the common thrill, the sizzling energy of wonder and wonder. There was a moment, very short, of an almost solid intensity, of total silence. I was sure we had even stopped breathing. Fermi, captured da the bright light that emanated from the tile, from the oro of the face that sparkled from the case, from the hieratic features of the angel, from the perfection of the set image, almost like a western icon. Then followed the assault, content with difficulty, from the security service, photos, video racette. I took a step back, I held the yearning of the precedente moment, of the magnitude of the instant. The rest could not even orso witness to a drop of that sea of ​​emotions experienced in the stasis of revelation. I left leaving them all there, between interviews and ash, thinking that the majolica will return very soon in the darkness of a bank of a bank hoping that soon a museum, we hope Italian, can expose it to benecio of all. In the end, enjoying beauty must remain our right.