John the Baptist three times the greatest (end). "John Baptist" Leonardo da Vinci Leonardo da Vinci John Forerun
On the picture of Leonardo da Vinci "John the Baptist", the artist depicts a long-grave middle-aged young man who keeps the cross in one hand, and the other points to the sky.
The study of this picture in monochromatic light showed that the skins (the robe of John the Baptist) and the reed cross (its typical attribute on the picturesque canvases) was added later than another artist. After that, the picture and began to be called "John the Baptist". Although with the image of the baptist, this young man does not combine.
That's for example, as I - Ioanna Baptist 
Andrea Verrocko, whose young Leonardo was in the disciples. Working on the painting "The Baptism of Christ", the teacher instructs the young Leonardo to write an angel holding the clothes of Christ.
Art historian Silvano Vinceti voiced the theory that the prototype of the mysterious Joconda is 
Student Leonardo da Vinci Jean Jacob Kaprotti. Caprotti, also known as Salay, worked together with a famous artist for more than 20 years. The face of the young man has the striking similarity with the image of Mona Lisa. "Salay was a beloved model Leonardo," says Vinceti, "you can say with all confidence that the artist added the features of his face to the image of Mona Lisa."
Regarding the striking similarity with Joconda, the remark is appropriate. No less striking similarity can be found with Anna on his other pictures. 
It is worth noting that there is a similar portrait of the brush Leonardo da Vinci "Angel, bringing good news." It can be assumed as John, before him 
The cross was painted, too was the same angel. Recall now that there is a famous sketch of Leonardo da Vinci, the so-called "Angel in the flesh".
The story of the outline is quite dark. It is known that in the 19th century 
He was part of the royal collection in Windsor, together with eleven other erotic drawings of the authorship of Leonardo. According to British art historian Bryan Sewella, one day this collection was examined by a certain "famous German expert", and some time after the drawings disappeared (it was possible that with the silent consent of Queen Victoria), and later they were in Germany. The names of the following drawings are not advertised, but more than a century later, in 1991, Carlo Pedretti, recognized by the expert of creativity Leonardo, was able to obtain the permission of the drawing owner and submit an "Angel in the flesh" at the exhibition in Stee, in Tuscany. Be that as it may, experts agree that Leonardo is the author of this sketch.
It is difficult to imagine an image that is more far from all that it is customary to communicate with the concept of "asceticism" than this raised young man. His food was clearly not "acrides and wild honey". Thousands of art historians, writers and other lovers were trying to understand what was wanted to express Mather Leonardo, portraying St. Ioanna the Baptist in such an unexpected, to put it mildly, the form. No wonder, this portrait has always served as a graceful feed for legends and rumors, stubbornly-binding Leonardo with various secret communities depicting its owner of "hidden", "secret" knowledge, heretic, "maghem", "dedicated", in other words that bind it from hermetic Tradition of the Renaissance.
Thus, strictly speaking, there is no reason to associate a feminine young man, depicted Leonardo da Vinci, with the John the Baptist. However, this circumstance in no way removes the question: why such an association is still created, even if Leonardo, and someone else? Well, in fact, why do you obviously inflate the attributes of one of the most distortions of Christian saints? What complex of ideas for this lies? Is there any hidden in this - hermetic - meaning?
Transformation of the canonical image of John the Baptist in the Prophet Elijah, Hermes of the Trismegist, the Angel of the Covenant and the Legendary Metatron will seem like adepts of any church absurd and, possibly, even blasphemous! But the argument and unshakable arguments in this work are irresistible.
We give another argument in favor of such interpretation: compare the image with the famous "Mercury" of Jambolonea. The right hand of Mercury is raised and bent in the elbow in the same way 
As in the portrait of John the Baptist and in the picture "Angel, bringing the good news," and just as directed to the heavens of the film.
The finger pointing is present on many canvases and drawings Leonardo da Vinci; Art historians ne. 
could more convincingly explain the meaning of this symbolic gesture. It is possible that this symbol of Leonardo is multi-rival, however, when interpreting the image of John as a gene-metatron, its gesture in the picture Da Vinci receives a clear and logical explanation: the Jewish tradition calls a metatron by the prescribing finger of God, since he pointed out in the desert to the Jewish people the way to the ground promised in the desert .
The symbol of the point of the point is also found in Rafael, who was a student and follower Leonardo da Vinci. For example, Rafael's brushes belongs to the portrait of John the Baptist, which is natural 
It is associated with the Leonardo picture.
In the gesture of Leonardian John raised the right hand of Plato on the fresco of Rafael "Athens School". And the image of Plato itself is very similar to Self-portrait Leonardo da Vinci. Therefore, in the form of Plato, the connection of Plato - Leonardo - John the Baptist. In addition, it is necessary to take into account that in the era of the revival of Plato, heir was considered the heir of the wisdom of Hermes of the Trismegist.
Martilio Fechino wrote that Hermes handed over secret knowledge to his student an Orpheus, he - Agrofuel who inherited Pythagoras, whose student was Philola, a teacher of the Divine Plato. Thus, the fresco indicates that Leonardo was a plato successor and, thus, a commitment to the teachings of Hermes three times the greatest. Therefore, Platon-Leonardo tells us, shook up the index finger, looking at the image of John, think about the unsurpassed wisdom and holiness of the Divine Hermes.
…
And finally, another alternative version, which is still directed by the finger pointing.
The images of the Virgin on the zodiacs are easily recognized. As a rule, it is a female figure with a spike in his hands. Often, Virgo was depicted by a fiction on the tailLion, as shown in Picture A. Dyurra. On it, Virgo touches the hand of the brushes at the end of the tail of the lion. As if slightly holding it. In this tassel depicted the Star of Denhead.
Looking at the virgin with a pointing finger, the question arises by itself: "Was there a boy"? Or initially, John Hermes thought, how did the Virgo pointing to the denbol? At least this explains the female face of John, whom Leonardo, depicted ascetic man, old years old.
But another character, supposedly an angel with a pointing finger (on the Alexandria column). And for comparison, the image of the Virgin, on the Astronomical Maps of the XVI-XVIIIV. As they say, find ten differences: 
1. Statue, crowded by Alexandria column.
2. Andreas Corolic, "Harmony of Macrocosmos", edition of 1661.
3. "Phenomena and Predictions" of Arat, 1569-1570, Mark Hofeld, Luxembourg.
4. Durer, 1515 year. Northern hemisphere sky.
The name of the star Denhebela comes from Deneb Alaced, from the Arab phrase ذنب الاسد Danab Al-Asad "The Tail of Leo", or, according to Balinger, "Judge", "Fogging Mr.". Angel pointing to the cross, as if calling to remember the coming court of God?
In Astrology, Daebol was considered a harbinger of misfortune. It is believed that she "launches" in the mundane maps of world catastrophes (R. Ebertin, Hofman "Fixed Stars"). An interesting characteristic of the star, which focuses our Virgo's attention. As they say, what would this mean? Yes, not the apocalypse?
Well, for the completeness of the picture: Caduceus, the Attribute Hermes, in the hands of the Virgin, from medieval astronomical atlases.
1. Hugo Grotty, "Building on Arata", 1600 year.
2. Hygin, "Astronomy", edition of 1485.
3. Hygin, "Astronomy", edition of 1570.
4. Manuscript, IX.
5. Sacrobusto "SPHAERA MUNDI" 1539).
However, is it worth surprising? After all, the knowledge guide of the Virgin - Mercury, i.e. All the same Hermes. Different nations associated the masses with their great goddesses, from Isis and Atargatis to Artemis and Femids. At the Greeks, she was associated with Aphrodite. From here we have a hermaphrodder - the essence of Hermes and Aphrodite in one bottle. Maybe Leonardo did it mean? Unknown ...
Interest in personality and creativity Leonardo da Vinci does not weaken. For example, in the film "The Mystery Life" Mona Lisa "» The authors claim that they opened the secret of Joconds and know who posted an artist for the immortal image that has become a symbol of European art.Another film about Leonardo da Vinci "Da Vinci Code", its plot is not related to the Bestseller's scandalous named. In the film, people who are commenting frames, a few empty species, but with scientists they claim degrees - and it looks like it is quite convincing, - that in the paintings da Vinci reflects the symbolism of the sect of supporters of the teachings of John the Baptist - Mandeev.
In particular, they said about a certain gesture, according to which one can determine the adherent of this Gnostic teaching. This is a fooling gesture - up, down, to the side, i.e. Not having a fixed orientation is a reputable index finger. The gesture, quite often found in the pictures of Leonardo da Vinci. His "John the Baptist" finger points somewhere up.
In another plot "Madonna in the rocks" allegedly encrypted the message that John is a real teacher of truth.
There are two versions of the painting "Madonna in the rocks" one, written in all church canons, is located in the National Gallery in London. On her next to Madonna (as art historian studies) is depicted Jesus, whom the Baptist sitting next to Angel is depicted. And John looks younger than Jesus, and holds ... Cross! Another detail is an angel is depicted with dark wings, which are covered with a bright scarlet cape, and moreover - with a clawed paw! According to art historians, it is this non-canonical image of an angel that has become a reason for the customers demand to redraw a picture.
The second picture of Madonna in the rocks, is stored in the Louvre. Presumably, this is the first version of the picture. Here, an angel indicates John (art historians insist that John the Baptist sits next to Madonna, and with an angel - Jesus). Here John is older than Jesus. But! Jesus baptizes John, and not the opposite, which is contrary to the Gospel. Unlike the London version of "Madonna", there are no hits in this picture.
In general, the meaning of the film was reduced to the fact that almost all artistic creativity Leonardo was aimed at conveying to the descendants the truth about the origins of Christianity.
Before, I did not have to hear that Leonardo da Vinci was a commitment to some faith. It is known about his conflicts with the church. Despite the fact that his genius was unlimited, he, definitely, owned some secret knowledge gained from the outside.
But Revelation was the fact that Leonardo da Vinci ranked to Madeyam (by the way, the only preserved Gnostic sect).
So let's consider everything in order:
John The Baptist, 1513 -1516. Louvre.
Look carefully on your right hand. She is not only directed up - it is still depicted without a nameless finger and the mother's maiden (like Dress John the Baptist).
Madonna of the yarnwinder. 1501. (Private Collection)
1. What do Christians see in this picture?
Our Lady Mary and Baby Jesus
2. What do Mandei do on the same picture?
Our Lady of Elizabeth with John the Baptist.
And for those for others in the picture of Madonna, only in favor of the second version of the elongated cross, which keeps the baby in his hands - symbol John the Baptist .
Mandeheev's main postulate: True Mission - John Baptist, Jesus and Magomed - Falsefrokoki.
And now we look at the following pictures:
Madonna of the Rocks. 1482-1486. Louvre
On the right, Archangel points to the Baby on the left. So who is John, who is Jesus?
Later version:
The Virgin of the Rocks. 1506-1508. National Gallery. London
Here is the symbol of John the Baptist in the Baby on the left, i.e. In the first picture, Archangel points to the true prophet on John
"Madonna in the grotto" is the first of the famous creations of Leonardo, created in Milan, and stands at the origins of the Lombard school.
Different interpretation of a religious topic: In the Louva version, flowers symbolize the mainly passion of Christ, in London - the purity and submission of Mary.
In the London version of the infant Jesus (if with a cross Jesus), noticeably older than the baby John. Pay attention to the blessing blessing of the baby on the right. In theory, this is the gesture of Jesus, as we know that the gesture of John is "pointing finger."
This "Savior of the World" is one of the best so-called. Student versions from which Leonardo's own drawings remained. The hand of Jesus is raised in a bubble gesture.
"VAKH", initially "Saint John the Baptist." It was retouted in the 17th century.
A. Wetszozy, Leonardo:
"Madonna in the grotto" for twenty-five will be the subject of the dispute between Leonardo and the Brotherhood of the Immaculate Conception in Milan. Despite the opening of new archival documents, this picture remains a mystery.
It caused many conflicts since the disappearance of the first version (now in Louvre). Threats and complaints continued until an agreement was concluded on the second version (now in London). Having received an order on April 25, 1483, Leonardo pledged to finish the picture for seven with a small month. The signature under the finished work he was able to put only on October 23, 1508.
In this picture, the synthesis of the main Leonardov topics and hermetic signs, mysterious and saturated allutias, which give rise to an infinite set of symbolic and theological interpretations: the grotto with water flow and flowers in the depths of the earth, shrouded in mystical lyricism and the mystery. The rocky cave and impregnable, losing away the mountains embody the geological universe in infinite space and time, serve the scene for the sacrament associated with the sacred event, and all gestures remain unfinished in the desire to comprehend this defining moment of humanity.
Iconography does not correspond to the one that was provided for in the contract of 1483 (Madonna with a baby between the two angels and two prophets, but without St. John), which makes thinking about the heretical plan of Leonardo.
The Brooch of the Virgin (brooch depicted in the center of Paris "Madonna in Grote" is absent in the London version.) Represents extreme interest for morphogenesis pictures: it is embodied by a microcosm, a refractive light and a deep shadow, as on a dim mirror. The face of the Virgin is at the point of intersection of several diagonals, but the center of the composition is a brooch with twenty pearls.
At the Louvre "Madonna in the grotto", an angel's look is facing the limits of the picture, towards the viewer, who, however, cannot catch him. Some consider this angel ambiguous - almost a demon due to a pen on his right foot. Four characters of the London version, forming a geometric, pyramidal composition with lines in the shape of a cross, are more freely located in space. Each illuminated element has its visual dynamics, in particular the yellow folds of the drapery of the Virgin, who seem to be pure abstraction in the Louvro version, in London, they find the lining. Created by Jacomo Del Mayano The magnificent frame of the gold-plated tree disappeared without a trace, but the two side panels were preserved, on which only two angel musicians were depicted instead of the above-mentioned eight musicians and singers.
Virgin and Child With St. Anne. C.1502-1516. Louvre
- This is the symbol of Jesus, whom John the Baptist called on:
" ... the next day Ivan John goes to him and says: here is the Lamb of God, who takes upon himself the sin of the world ... "(IN.1.29)
It is very significant that in the picture "Virgin and Child with St. Anne" (composite schemes: pyramid and triangle) Anna holds Maria on his knees. It is possible to interpret it that Maria is a succession or "spiritual daughter" Anna. It is also possible that the picture contains a hint of ancient custom adoption. It happened about this. The surrogate mother during the childbirth was permitted from the burden, sitting on the knees of the adoptive mother, so that the newborn was between the legs of the second. Thus, the symbolic genera gave the receiving mother legitimate right to call the child with their own.
On this outline gestures characters are quite recognizable. And, most importantly, it is clear that with the pointing finger - Anna, and not Maria.
Remember, of course, the sign of John - an elongated index finger of the right hand ... And now look:
1. Fragment of the picture Madonna of the Yarnwinder. 1501.
2. Sketch for the picture Virgin and Child WITH ST. Anne. 1508.
Look at the baby's finger carefully.
So who is there (in the picture of Virgin and Child with St. Anne) God's Lamb, who takes over the sin of the world, does the head turn?
John and Jesus were relatives:
"... the Holy Prophet Zechariah and the righteous Elizaveta, his wife from the Rod Aronov, Anna's sister, the mother of the Blessed Virgin Mary ... "
Those. sv. Anna is a common relative of them.
As I said the plot, when one woman sits on his knees in the other - means "surrogate mother".
Again, let's look at the picture "Virgin and Child with St. Anne" from two points of view:
1. What you see Christians: Anna's "Mother" of Virgin Mary is sitting on the knees of "grandmother", near the baby Jesus tears the head of the Lamb.
2. What you see Mandei: On the knees of an elderly sister Elizabeth (mother of John) (the younger sister would have come to the surrogate mother - then the picture would read more clearly "Virgin and Child With St. Anne", i.e. virgin Virgin or born) sits sv. Anna, at the feet of which John (pay attention - the elongated finger of the right hand is covered with sheep wool) and rubs the head of the lamb of God (symbol of Jesus) ...
"So Elizaveta, your relative, called in progress, and she pushed her son in her old age, and she was already the sixth month ..." (LK.1: 36).
And remember the famous picture of Leonardo "Mona Lisa", see:
MONA LISA \u003d M-AD-ON-N-A E-LISA-BETTA (ITAL.)
If Leonardo, the True Mission considered John then:
Mona is the abbreviated form from Madonna (Virgin),
For him, Our Lady, i.e. Madonna - Elizaveta - Sokr. LISA
If our version of Verne and Leonardo portrayed the Mandeev Madeyev's torment Elisaven, then "Mona Lisa", "Madonna and Baby and Spades" and "Madonna and Baby and St. Anna" must have something in common ... Some elusive symbol. We look:
I thought it was for the bands from them all on the forehead similar to the fold pattern. And then I looked at a mourning veil (it's clearly visible to the left).
But why Elizaveta was depicted with a mourning veil:
"... xxiii. And the same time I was looking for John and sent a servant to Zechariah, saying: Where did you hide your son? He answered, saying: I am servant of God, I am in the temple and I do not know where my son. And the servants came And they told it Irod. And Herod in anger said: his son will be the king of Israel. And he sent to him again (servants), saying: Tell me the truth, where is your son? For you know that your life is in my power. And Zechariah replied: I Witness (martyr) of God, if it is solemn by my blood, the Lord will make my soul, because the unhappy blood you have been sled to the temple. And before the dawn Zechariah was killed, and the sons of Israel did not know that he was killed ... "
N. achto is very interesting and in the picture, which is the Russian heritage (stored in the Hermitage):
Madonna Litta (enlarged version)
The work was received by the name of its owner in the XIX century. Duke Antonio Litti.
The picture was created in the Milan Studio (1488-1490) allegedly Marco D "Ojiono or Britapho. Leonardo entered only the details, among whom they recognize the" branded "curly hair, the muffled color of the face and neck of Madonna. From myself I will add from myself greatly likely to" Mourning grid "On Madonna's head.
Curly baby is depicting as a rule of John the Baptist, a mourning grid on his mother Elisavet (Lisa) about the death of her husband, father John.
Before figure out in the picture I remind you that at the time, Lorenzo Medici (head of the Flenty Republic) decided to push his son to the papal throne.
He gives married his daughter Magdalen for the extramarital son of Innocent VIII - Frankhetto. And his 13-year-old son Giovanni (the future dad lion X) with the help of his new "relative" makes Cardinal.
Create to find symbols confirming guess.
What is this bird in the left hand of the baby?
This is a shoe.
Schegol - Cardellino (Ial.) Comes from Ital. Cardo - Thistle, seeds of which this bird often feeds.
Cardo (lat.) Means the "axis, rod" from this word is formed and another Italian. Word Cardinale (Cardinal).
Actually, in the Italian language "Little Cardinal, Cardinal", probably, will be "Cardinallino". The word in the dictionaries is useless because of the "nonsense" of his meanings, however, in history it happens differently.
Pay attention to Leonardo's shchele red not only cheeks (as in nature), but also the Red "Cardinal" hat (allusion on Medichi) (!)
Another interesting detail - signs on the grid:
This is a sign of Gnostics :.
And the first line is similar to the numbers (date): X III C V
As you know Giovanni Medici On March 9, 1489, he was appointed Cardinal (at 13 years old) with the condition to wear Cardinal signs of differences no earlier than in 3 years.
Actually, this fact also wanted to emphasize Leonardo Roman numbers.
So, the signs can be deciphered as: XIII Summer continues to deal with the Summer Kozoo Medici (Rod. 1389), his palace was the first major humanistic center in Florence.
So: in a mourning cape - Elizaveta, a curly baby - John the Baptist (John to Ital. Giovanni (Allyusy on Giovanni Medici), holding in the hands of "Cardellino".
According to another version, this is Kabbalistic signs:
?
Among the students Leonardo was Tommaso di Giovanni Mazini Member of the Platonic Academy Ficino, where he was given the name "Zoroacero". He goes to Milan after Leonardo and succeeds there in the art of magic (it is here and called "Indovenino" [the predictor of destiny]). So "Kabbalistic signs" Leonardo was someone to tell.
It turns out so, see (Amendment: Jester - 0 Tarot Map, and the Universe - 21)
16. Ain, Oyn, translates as "Eye": O, A, Ain, (o) - 70 -Kozerogo-Kashnya
17. PH, PH or PA, translates as "mouth": p, ne (phe), (p, f) -80, 800 - Mercury - Star
21. Tau, THV, translates as "Cross": TH, Tau, (T) - 400-Sun- Universe
9. TET, TYTH, translated as "Snake": T, TET, (T) -9- Left-Herf
So, we try to match each letter the value of Tarot cards:
ע - Map IX L "Eremita (Hermit)
A man is depicted in the monastic robe, standing on the top of the mountain. He holds a lantern in his hand, in which the star burns, the other hand relies on the staff from gold.
Christian hermits considered their predecessors Ilya the prophet and John the Baptist .
פ - Map XXI IL MONDO (World (Universe))
ח - Map XVII La Stella (star)
The map shows a woman standing on one knee at the water edge. In each hand she has a jug, from which she pours water in the stream. It returns a source part of what received.
Meaning: wisdom, immortality, spiritual enlightenment.
ט - Map XVI La Torre (Tower)
Meaning: incl. Exile, excommunication from the church.
"John the Baptist" is a picture belonging to the brush of the representative of the Italian Renaissance Leonardo da Vinci. This work refers to the late period of artist's creativity.
A deaf background, deprived of a landscape, so characteristic of the revival of the Renaissance at all (for example, the "female portrait" of Neroco di Landy) and Leonardo da Vinci in particular ("Mona Lisa"), which will fully concentrate the attention of the viewer on the figure of John the Baptist, which envelops the brought to Perfections melting spumato.
The image of the saint is equipped with a traditional attribute: a thin cane cross, long hair, wool clothes. The intersection of the diagonals of the body body and the right hand enhances the motif of the cross, which is barely noticeably written by the artist.
The traditional for images of John the Baptist is the gesture of the right hand, directed upwards. However, this gesture in a certain sense is traditional and for the creativity of Leonardo, it can be found in a number of completed works ("Last Supper", "Madonna in the rocks", "Madonna with a baby" (1510), etc.), as well as sketches.
The spernitude of St. John, bordering the woman, a soft smile, a look, curly rings hair testify to the degeneration in the work of the master of the principles of classical style. Leonardo da Vinci here acts as the initiator of mannerism.
Since the model for "John the Baptist", like "Vakha", most likely served as Salaya, it is obvious that "a treacherous smile", according to W. Peter, "gives thoughts, far from an exhaustive external gesture or environment."
It seems that Leonardo brought with him "John the Baptist" to France, when in 1516 he settled in the castle of Cl. At least it is known that on October 10, 1517, he shows the picture of the "young John of the Baptist" (along with St. Anna and Joconda) Cardinal Aragon (FR.). Most likely, all three paintings were bought by Francis I in 1518, this is indirectly indicated by the document on the payment of the student Leonardo large sum "for several paintings sold by the King" ("Pour Quelques Tables De Paintures Qu'il a Bailées Au Roy"). Another indirect evidence of the presence of "John" in the Royal Collection - "Portrait of Francis I in the form of John the Baptist" Jean Clou (also in the collection of the Louvre), written in 1518-1520 and is clearly inspired by Leonardo's picture.
Then the picture left the royal collection, the circumstances of its sale are not known. In the 1620s, it turns out to have the Duke of Llankur (Fr.), one of the largest collectors of the French painting of his era.
The duke presented a picture of the English king Karl I - most likely in the 1630s, possibly to the birth of the heir to the throne. Shortly after Charles I (1649), the picture was purchased by Everhard Yabach (Fr.), who rejected it in 1662 by Louis XIV. More painting did not leave the Frazzus Royal Collection and, together with her, was inherited by the Louis.
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The Italian artist and the inventor of the Renaissance Leonardo da Vinci left behind so much secrets and mysteries that they will need more than one century. This time, the surprise researchers of creativity of the famous painter presented his picture "John the Baptist."
Another John must say that the canvas itself is unusual both in the manner of execution and in the plot. First, most of the portraits created by the artist, with rare exception, have a landscape as a background ("Jocona", "Madonna with cloves"). The background of the paintings "John Baptist" - deep black.
Moreover, no detailed analysis of the painting with the help of the most modern devices did not help researchers to detect traces of brush strokes - even on the micro level the surface of the picture is absolutely smooth.
Now as for the plot. Most artists depicting John the Baptist saw him (especially in icon paintings) a harsh, emaciated man, in whose eyes seemed to be focused on all the pain of the world and suffering for the human race. And only yes Da Vinci John is a cold fattened young man with an ambiguous smirk, and in his eyes it is not read by suffering, but a frank vice.
And about the fact that we are just John the Baptist, and not the young Kutil and the libertine, only a small cross in his left hand speaks. By the way, the artist served by the artist's favorite student of Salay, who, according to one of the versions, served as a model and for "Mona Lisa".
If you take a mirror
But the last, more thorough studies of the paintings have shown that, except for John the Baptist, the artist created a portrait of another strange, incomprehensible and, most likely unknown to his contemporaries on the canvas. But this creature is well acquainted thanks to the work of fiction in the residents of the XXI century.
Judge for yourself: huge eyes, tapering to the chin skull, powerful forehead, narrow mouth gap and no nose. Right! Before us - canonical, if you can say so, portrait of an aliens. More precisely, half of the portrait. But a whole image of a guest from space can be obtained if you bring a mirror to the picture.
Such a reception was often used by artists hiding an encrypted symbolism in their pictures.
True, to detect aliens, one mirror is small. His portrait so carefully disguised that it is possible to see it only with the help of computer processing by uniform illuminated background.
If a little "draw" an image of a person, then before we will be almost typical "gray", only with horns on the head
Why did the famous painter need to hide an extraterrestrial form of life in his picture? First, Leonardo da Vinci was a big fan of such secret symbols, repeatedly used them in their works. And since not all these symbols were encouraged by the church, they had to be carefully hidden.
But why the portrait of the alien is so similar to contemporary cinema, why his artist disguised himself in his web and, most importantly, where in the XVI century the painter could have come to the existence of an extraterrestrial life form - there is no response to these questions yet.
Even in the era of the Renaissance drawings, sometimes, the works of art themselves were considered. It was not always the sketches to the canvas. And we believe that it is so in the case with a big Etude Leonardo da Vinci, usually called "Madonna with a baby Christ, St. Anna and St. John the Baptist," because there is no punctures along the contour. Yes, although the drawing is not completed. Therefore, it is not clear which quality should be considered. There would be traces of punctures or outlined points, so that Leonardo could make the contours of the figures and move them to the ground on the wall or on the panel to create the work itself. Although, the use of Leonardo technique is so far from the traditional, for more linear painting Renaissance it would be much more problematic. The main outlines are required. And its construction of the figure is often based on chiaroscroo technique, or lighting. - Sphumato. - And here contours are softened and blurred, therefore the idea of \u200b\u200ba simple line, according to which punctures can be carried out, it seems absurd. This is true. Leonardo was much more interested in these gradual transitions from the shade to the light and the transition back. So the images seem in bulk and majestic. As well as merging them into a single whole. Figures form a kind of stable pyramid. And this is one of the features of the Renaissance era. Stability, inviolability, inherent eternity, divine images ... please ... did you want to say something? Just celebrate this interesting contrast. Since on the one hand, we are transferred to the feeling of pure perfection, the concept of eternal, infinitely spiritual. On the other hand, we see such unity between the images of St. Anna and the Virgin Mary, between Christ and John the Baptist. This is a manifestation of humanity. It is incredibly human, and incredibly valuable. And it seems to be diverted with the concept of eternal. Yes. It is both. This is what Leonardo is achieved, right? It connects the human and divine. I consider this criterion for the achievements of Leonardo in high rebirth. There are so many beautiful moments here. Let's say, how delightfully handed over the appeal of St. Anna to the Virgin Mary, sat down on her knees. There is a certain rhythm in the location of the knees. - Yes. - Down, up, down and again up. Feels musical rhythm. It seems to me that Leonardo definitely applied to the classic sculpture. Because draping is very similar to the like in ancient Greek and ancient roman sculptures. The difference between the age of the characters is felt. We can understand how Leonardo worked, especially if you pay attention to the contrast between the face of St. Anna and her hand, far from completed, and very linear. St. Anna points upwards by passing the idea that this is part of the divine plan that Christ and his future self-sacrifice is part of the Divine Plan of Salvation of Humanity. Look at the bending of the Hand of Christ and the gesture of the blessing of John the Baptist. It is actually continued by the pointing gesture of St. Anna. - Yes. - That is, this is one mpnom movement. That is, Christ literally follows the gesture of St. Anne. It starts from the line from the shoulder of the Virgin Mary, continues Christ and ends with an indication of heaven. The movement begins with the view of St. Anna, facing Maria. - Right. - Then the hand of the Virgin Mary, as you said, bent in the elbow, continued by the hand of Christ. And what we have now described, an excellent example is so important for Da Vinci unity. Images are connected, merge, the more we contemplate the picture. We can start with John the Baptist, looking up on Christ, then look up at the Mary of Maria, the eyes down to his son, and raise a glance at St. Anna, looking at Mary Mary. This is true. It is traced a kind of path made by her gaze, ultimately leading to heaven. What is certainly, it makes sense of this work. Subtitles by The Amara.org Community
