Vittoria Haziel is the pseudonym of Maria Consolata Corti, Tuscan by birth, Roman by adoption, Turinese by predestination.
She was born in Pisa from a Turin mother and a Tuscan father, a police officer, later founder and director of the Electronic Centre of the Italian Police in Castro Pretorio, Rome, where she often goes to study, because of the nearby university where she graduated in law.
She marries for the first time with Pasquale Diofebo, who gives birth to her firstborn son Massimiliano. Her second son Leonardo was born from a ten-year union with musician Luciano Patrignani, first viola at the Teatro Regio in Turin.
In 1998, she married Giorgio De Rienzo, a man of letters and linguist, with whom she enjoyed a 13-year-long artistic and sentimental partnership until his death in 2011.
The eclecticism in her DNA has led her to be present in different sectors, from written and television communication – also for the purpose of staging operas – to ludolinguistics.
La lampada sopra il moggio, Rome, Enel-Progetti museali, 1995
(biography of the Italian inventor of the electric light bulb, Alessandro Cruto),
The Passion according to Leonardo
l’ombra di un mistero che ha attraversato i secoli, Milan, Sperling & Kupfer, 1998
Back to the light
all the ways to heal depression, Milan, Sperling & Kupfer 1999
Paradise in our hands
paths and little secrets for grasping happiness, Milan, Sperling paperback, 2001
and god denied woman, Milan, Sperling & Kupfer, 2008
Il signore della luce, Turin, Nino Aragno Editore, 2008
La confessione di Leonardo, Milan, Sperling & Kupfer, 2010
L’amante segreta di Leonardo, Pisa, Felici Editore, 2013
In 2016 she began publishing independently: her books are distributed by Amazon.
Her debut is Aldilà, a posthumous novel by Giorgio De Rienzo, written with two pens.
The second is the thriller In hoc signo – canone da Vinci, based on the essay on the connection between the Shroud of Turin and the cryptic Tuscan genius.
This is followed by Il miracolo di Leonardo (Leonardo’s Miracle), the fourth edition of the essay La passione secondo Leonardo (The Passion according to Leonardo), the author’s workhorse.
In 1995 the BBC gave her an interview on the attribution of the Shroud to Leonardo Da Vinci in the documentary Turin Shroud aired on BBC1 – Everyman.
In 2002, the NATIONAL GEOGRAPHIC documentary Leonardo: the man behind the Shroud? – born from its discovery – investigates the mystery of the Shroud, Leonardo da Vinci’s secret masterpiece and not a relic of Christianity. (The documentary is shown in 136 countries worldwide).
Another discovery ridden in England, (but without seriousness), is the revelation that the Shroud of Turin is a secret masterpiece by Leonardo. The result of lengthy research that began in 1988, the discovery was covered by all the national media in 1990: networks and newspapers. The announced ostension in 1998 made the publication of the book possible: the essay La passione secondo Leonardo (The Passion according to Leonardo).
In 2000 Vittoria Haziel commissioned the Turin artist Irene Corgiat to reproduce the face of the Shroud using the pyrography technique. Exhibited for three months in the salon of Turin’s historic Principi di Piemonte hotel, the demonstration of the reproducibility of the cloth, using a technique unique in the world, proved to be further confirmation of the attribution to Da Vinci and welcomed visitors from all over the world. The image – a perfect copy of the original – is a secular and artistic counterpart to the display in the same city of what was once considered the relic of Christianity.
Vittoria Haziel was responsible for the discovery of an autograph document found among Da Vinci’s writings, in which he himself says that there is a woman next to Christ, among the apostles of his Last Supper. The news confirmed the idea of Dan Brown’s fiction as reality and bounced around the national media.
However, Vittoria Haziel had already anticipated in 1999, in an article by herself in the weekly magazine “Oggi”, not only the presence of a woman in Leonardo’s famous fresco, but also that of a phantom knife.