The secret of mona lisa eyes,meditation guided morning,how does secret training work in type 0,what is descartes meditation 5 about - Good Point

To see our content at its best we recommend upgrading if you wish to continue using IE or using another browser such as Firefox, Safari or Google Chrome. Scientists have discovered how the artist managed to achieve his trademark smoky effect, known as sfumato, on the painting; by applying up to 40 layers of extremely thin glaze thought to have been smeared on with his fingers.
Leonardo da Vinci is known to have employed the sfumato effect to seamlessly blend shading together and to blur outlines. Two years ago, the Prado Museum in Madrid announced that a painting long thought to be a relatively unremarkable copy of Leonardo da Vinci’s Mona Lisa was actually painted contemporaneously with the original, likely by a student following the master as he drew and painted the portrait.
They found that the background of the Prado painting, while virtually identical in shape, is 10% more zoomed in than the Louvre version’s.
With the comparative perspective data, the researchers were able to calculate the positions of the canvases relative to the sitter and then they made a model of Leonardo’s studio during the painting of the Mona Lisa with Playmobil minifigs. The original (labeled 1st) is further back and to the right of the Prado copy, and the horizontal distance between the versions is about 69.3 millimeters.
That’s a lot of speculation and there are significant counterpoints refuting this hypothesis. You can read the whole paper here (pdf) to get the fully fleshed out argument with math and everything. The possibility that the Louvre Mona Lisa was part of a stereoscopic arrangement was claimed even before the significance of the Prado Mona Lisa was recognized. There may be a 3D version of la Giaconda, unfortunately without a smile: Apparently the corpse of Lisa Gherardini del Giocondo, who died at 63, is currently sought after in Florence: Gentlemen, start your graphing engines ! Were it true, the face and body should turn toward and away from us in the animated picture above, and it doesn’t.
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Order your medicine online by online pharmacy )\% order cialis black affordable generic pills. Product quality is one of key performance indicators canadian pharmacy online Low retail price, the manufacturer. Leonardo's interest in religion and mysticism is no secret and it is quite possible that these hidden numbers and letters actually represent more than just the initials of the artist and model as most recent media reports allude to.  The number "72," is found in the Kabbalah, a form of Jewish mysticism, and in Christianity.
It is very possible that just as the ancient civilizations left monuments to show off their knowledge of science and astronomy, Leonardo did nothing by chance, Perhaps just as the ancient civilizations, he simply wanted to leave his final thoughts and testimony that he too was of an enlightened nature and not only understood the elements of mysticism but had mastered the art of life itself. Several scholars have concluded that Leonardo da Vinci worked on the Mona Lisa over a long period of time, starting in 1505 or 1506 and finishing sometime when he was in Rome or Milan.
The transparency of the veil shows da Vinci first painted a landscape and then used transparency techniques to paint the veil atop it.

A blotch mark on the corner of the eye and chin are varnish accidents, countering claims that Mona Lisa was sick. Experts say the barely distinguishable letters and numbers represent something of a real-life Da Vinci code.
The revelation could have come straight from the pages of Dan Brown’s best-seller The Da Vinci Code, in which the Mona Lisa is said to contain hidden clues about the Holy Grail. Silvano Vinceti, president of Italy’s National Committee for Cultural Heritage, which spotted the symbols, said: ‘To the naked eye the symbols are not visible but with a magnifying glass they can clearly be seen.
The search was initiated by another Dan Brown-style plot device after a fellow committee member discovered a musty book in an antique shop referring to symbols in the Mona Lisa’s eyes. Mr Vinceti added: ‘Da Vinci put a special emphasis on the Mona Lisa and we know that in the last years of his life he took the painting with him everywhere. Mr Vinceti is a member of a group which is seeking permission to exhume da Vinci’s remains from his tomb at Amboise Castle in France’s Loire Valley.
They want to see if the artist’s skull is there so that they can try and recreate his face and establish if the Mona Lisa – owned by the French government and on display in The Louvre – is in fact a twist on a self-portrait of the artist as some believe. But that is not all, imagine the shock when Mona Lisa reveals she is holding the same card a spectator has previously chosen! Documentaire "La Joconde devoilee" de Klaus Steindl, diffuse sur Arte les 5, 6 et 10 mai 2012. Dans l'emission de Laurent Ruquier du 3 mars 2012, Les Joconde ont decontenance leur voleur, chante en choeur et remporte un franc succes ! But the exact techniques used to achieve this have long fascinated and intrigued art experts. Infrared reflectography found that the 18th century black overpaint obscured a hilly background almost the same as the original. Two German researchers studied both paintings, selecting landmark points (like the tip of her nose, say, or a particular feature in the mountains) and mapping the path from the landmarks to the observer’s sight line. Also, when looking at the original colors of the two paintings the only real difference was in the sleeves, in which they are reddish in one version and greenish in the other. It could all be pure imagination and it would be worth it for the minifig studio alone, as far as I’m concerned.
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The right eye has an "L" and a "V", which some experts suggest might stand for  Leonardo Vinci.

Though it is not known whose initials or letters  those letters would stand for, it does contradict the common belief that Mona Lisa was Lisa Gherardini, the wife of a Florentine merchant. Even when considered separately, "7" is full of symbolic associations in both Judaism and Christianity, for example to the creation of the world and the number of God, and the number "2" may be a reference to the duality of male and female.
When you show Mona Lisa a second time, she is suddenly holding a BicycleA® playingcard in her hand. Commentaires du jury : "Ils nous amusent beaucoup, ils ont des references intelligentes", "Ils arrivent a faire quelque chose de beau, d'esthetique".
When the black overpaint and varnish were removed from the Prado’s copy, further infrared and X-ray analysis found underdrawings and alterations from the tracing and all the way through the upper paint levels that matched those in 2004 scans of the Louvre Mona Lisa.
The trajectories illustrated a number of perspective changes in the painting of the figure, particularly dense in Mona Lisa’s hands and head. Most of the trajectories on the upper portion of Mona Lisa’s body like her face and hair have a vertical orientation. Stuff like lazurite was not really common and may be of identical structure in both paintings. In any case I’ll be subscribing on your rss feed and I am hoping you write once more soon! The number "72" is found under the arched bridge in the backdrop of Leonardo da Vinci's famous painting.
Turning the card around, the spectators are surprised to see Mona Lisa painted from behind. That means from the initial sketches to the changes and corrections as painting progressed, the Prado copy followed along at each stage. Still, Leonardo did write about binocular vision and depth perception, so it’s possible he had some idea there could be a dimensional payoff in the positioning of the two canvases. The conclusion of that article states “the Mona Lisa is an elaborate and sophisticated puzzle. Provided that the one painting -of course the one with that smile- is not just a photo- or paintshopped version of the other, is it correct that the source of light is coming from the right of the ’1st’ painter ?
The puzzle is solved by staring at the painting with eyes converged, to appreciate the three-dimensional image as a stereoscopic illusion.

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