What does Vinci's prefix mean in the name. History of origin and interpretation of the name Vinci

Perhaps no one disputes the fact that the most outstanding personality of the past millennium was an artist and scientist Leonardo da Vinci. He was born on April 15, 1452 in the village of Ankiano near Vinci, not far from Florence. His father was the 25-year-old Notary Piero da Vinci, and his mother was a simple peasant Katerina. Pierce Da Vinci, means that he comes from Vinci.

From the beginning of Leonardo lived with his mother, but then the father took him, as his marriage with a noble girl turned out to be childless. Leonardo's ability manifested pretty early. As a child, he was well versed in arithmetic, played on the Lira, but he liked to draw the most of all and was lying. Father wanted the Son to continue his father and grandfather and would be a notary. But Leonardo was indifferent to jurisprudence. One day, the Father took the Leonardo drawings, to his friend and the artist Verrocko. He was delighted with his drawings and said that his son would definitely be engaged in painting.

In 1466, Leonardo was adopted by a student in the Verrocko Workshop. It must be said that this workshop was very famous and attended by many famous masters of painting, such as Botticelli, Perugino. He was, who has to learn the art of painting. In 1473, when he was 20 years old, he received the title of Master, in the holy Luke guild. On the genius of Leonardo da Vinci, he said, at least the fact that the other genius of the Renaissance Michelangelo did not tolerate when Leonardo mentioned in his presence, and he always called him an upset. As they say, the geniuses say their quirks, they do not like, when someone can be better than him.

As an artist, he wrote several paintings, but, perhaps, his two works entered the treasury of mankind. This is a picture of Joconda (Mona Lisa) and the painting on the wall is a Last Supper. Joconda still excites the minds of humanity, especially her smile, and indeed the whole composition, probably not about one picture, was not written as much as about Mont Lisa. It can be said that, it is most likely the most expensive picture in the world, the truth is not to buy, not to sell it impossible, she is priceless and too famous all over the world. The painting of the Last Supper, where Jesus and His apostles are depicted, this is an unsurpassed work of art, which stunned its depth and pays a lot of mysteries that Genius left us inheritance. There are many paintings on the topic, a lot of paintings are written, but not one of them can not compare with the painting Leonardo da Vinci, it is as they say the modern language of Number One (number one) and it is unlikely that someone will succeed to surpass the Master of the Renaissance.

Leonardo was never married in his life. He was left. Among the works of Leonardo there are both mysterious predictions. Which still solve the scholars of men. Here, for example: "Will rushing an ominous feathery on the air; they will attack people and animals and will eat them with a great cry. They will fill their screens of scarlet blood" - As experts consider this prediction, it seems to create military aircraft and helicopters or Such: "People will talk to each other from the most distant countries and respond to each other" - this is, of course, the phone, and modern means of communication, such as telegraph and radio communication. Such prophetic mysteries were left quite a lot.

Also, Leonardo da Vinci was considered a magician and a magician, as he was well versed in physics and chemistry. He could make a red wine from white wine, put his saliva at the end of the pen, and the feather wrote on paper, as if it were ink, a colorful fire caused from a boiling liquid. His contemporaries seriously considered him the "black magician".

Leonardo was well understood in mechanics, his drawings are well known, where the construction of the tank is guessed, there are also parachute drawings, he invented a bike, a glider. Submit the idea of \u200b\u200bcreating armored ships (armaduses). It is described by the ideas of the machine gun, the smoke curtain, the use of poisoning gases during the conduct of hostilities. The list of his ideas and inventions is too big that it would be possible to list them all. You can no doubt that he was able to look into the future development of humanity in general and a few centuries ahead. The latitude of his thoughts is simply amazing, it is necessary to take into account, the fact that it was the Middle Ages, where they were still burning, and any fretsiness was and just dangerous for life.

He died at the age of 67, in the castle of clock near Amboise, on May 2, 1519. In the castle of Amboise, he was buried. The following inscription was carved on the gravestone plate of genius and the prophet: "In the walls of this monastery, the ashes of Leonardo da Vinci, the greatest artist, engineer and the architectural French kingdom are resting. There is nothing more and add. The name Leonardo da Vinci entered the history of mankind, like Egyptian pyramids, mysterious and for long century.

Painter, engineer, mechanic, carpenter, musician, mathematician, pathologist, inventor - here is not a complete list of edges of universal genius. He was called the magician, the minister of the devil, the Italian Faust and the Divine Spirit. He was ahead of his time for several centuries ahead. Surrounded by legends while life, the great Leonardo is a symbol of the infinite aspirations of the human mind. After heaving the ideal of the Renaissance "universal person," Leonardo was reflected in the subsequent tradition as a person, the most vividly outlined range of creative directions of the era. He was the founder of the art of high rebirth.

Biography

Childhood

The house in which Leonardo lived in childhood.

Defeated teacher

Picture of the Verrocko "Baptism of Christ". Angel on the left (left lower corner) - the creation of the brush Leonardo.

In the XV century in the air, there were ideas about the revival of ancient ideals. In the Florentine Academy, the best minds of Italy created the theory of new art. Creative youth spent time in lively discussions. Leonardo remained aside from the turbulent social life and rarely left the workshop. He was not to theoretical disputes: he improved his skills. Once the Verrocko received an order to the painting "Baptism of Christ" and instructed Leonardo to write one of the two angels. It was the usual practice of art workshops of that time: the teacher created a picture with the assistants-students. The most talented and diligent was instructed by the execution of a whole fragment. Two Angels, written by Leonardo and Verrocko, unequivocally demonstrated the superiority of the student over the teacher. As Vasari writes, the prudent Verrocko scored a brush and never returned to painting again.

Professional activities, 1476-1513

At the age of 24, Leonardo and three more young people were brought to the legal proceedings on a false anonymous accusation in Sodomy. They were justified. After this event, it is known very little about his life, but it probably had his own workshop in Florence in 1476-1481.

In 1482 Leonardo, being, according to Vazari, a very talented musician, created a silver liru in the form of a horse head. Lorenzo Medici sent him as a peacemaker to Lodoviko Moro, and Liru sent him as a gift with him.

Personal life

Leonardo had many friends and disciples. As for love relationships, there is no reliable information on this score, as Leonardo carefully hid this side of his life. According to some versions, Leonardo had a bond with the Barlerani, the favorite of Lodovico Moro, with whom he wrote his famous painting "Lady with Mornostham".

End of life

In France, Leonardo almost did not paint. The master of the middle of the right hand, and he struggled with difficulty without any help. The third year of life in Amboise 67-year-old Leonardo spent in bed. On April 23, 1519, he left the testament, and on May 2, he died surrounded by students and his masterpieces. Leonardo da Vinci was buried in the castle of Amboise. On the gravestone, the inscription was knocked out: "Leonardo's dust from Vinci, the greatest artist, engineer and the architectural French kingdom is resting in the walls of this monastery.

Main dates

• - Leonardo Da Vinci enters the workshop of the Verrocko Movement of the artist (Florence)
• - Member of the Florentine Guild of Artists
• - - Work on: "The Baptism of Christ", "Annunciation", "Madonna with a Vaza"
• The second half of the 70s. Created "Madonna with Flower" ("Madonna Benua")
• - Scandal with Saltarelli
• - Leonardo opens his own workshop
• - According to the documents, this year, Leonardo had her own workshop
• - Monastery San Donato and Systo orders Leonardo, the large altar image of "worship of the Magi" (not completed); Work has begun on the picture "Saint Jerome"
• - United to the court of Lodovico Sforza in Milan. Work has begun on the equestrian monument to Francesco Sforza.
• - Work has begun on "Madonna in Grote"
• Mid 80s - created "Madonna Litt"
• - Created "Portrait of a Musician"
• - Development of an aircraft - ornithopteer based on bird flight
• - Anatomical drawings of skulls
• - Picture "Portrait of a musician". A clay model of the monument to Francesco Sforza was performed.
• - Vitruvian man is a famous drawing that is sometimes called canonical proportions.
• - - Finished "Madonna in Grote"
• - - Work on the fresco "The Last Supper" in the monastery of Santa Maria della Grazia in Milan
• - Milan is captured by the French troops of Louis Xii, Leonardo leaves Milan, the model of the Sforza monument is badly damaged
• - Coming to the service for Cesare Bordjia as an architect and military engineer
• - Cardboard for fresco "Battle in Andjaria (with angiary)" and the picture "Mona Lisa"

House in France, in which Leonardo da Vinci died in 1519

• - Return to Milan and service at the King of France Louis XII (at the time controlled North Italy, see the Italian Wars)
• - - Work in Milan over the equestrian monument Marshal Trivulzio
• - Painting in the Cathedral of St. Anne
• - "Self-portrait"
• - Moving to Rome under the patronage of Pope Lion X
• - - Work on the picture "John Baptist"
• - Moving to France as a court artist, engineer, architect and mechanics

Achievements

Art

Our contemporaries Leonardo is primarily known as an artist. In addition, it is possible that Da Vinci could be a sculptor: researchers from the University of Perugia - Giancarlo Gennelnie and Carlo Sisi - argue that the terracotta head found by them in 1990 is the only sculptural work of Leonardo da Vinci. However, Da Vinci himself, in different periods of his life, considered himself primarily an engineer or scientist. He gave pictorial art not a lot of time and worked quite slowly. Therefore, the artistic heritage of Leonardo is not quantitatively large, and a number of his works are lost or badly damaged. However, his contribution to the world artistic culture is extremely important even against the background of the cohort of the geniuses, which the Italian revival gave. Thanks to his work, the art of painting passed on a qualitatively new stage of its development. The preceding Leonardo artists of the Renaissance, resolutely refused many conventions of medieval art. It was movement towards realism and much has already been achieved in the study of the prospects, anatomy, greater freedom in composite solutions. But in terms of painting, work with paint, artists were still quite conditional and apparent. The line in the picture clearly outlined the subject, and the image was the kind of painted pattern. The most conditional was a landscape that played a minor role. Leonardo realized and embodied new picturesque technique. He has the line has the right to blur, because so we see it. He realized the phenomena of the scattering of light in the air and the occurrence of Sphumato - hassle between the spectator and the object shown, which softens the color contrasts and lines. As a result, realism in painting switched to a qualitatively new stage.

Science and engineering

His only invention that received recognition in his life is a wheel lock for a pistol (keys started). At the beginning, the wheel pistol was not enough, but by the middle of the XVI century, it became popular with the nobles, especially in the cavalry, which even reflected on the design of the lat, namely: Maximilian armor began to make gloves instead of gunpowters. The wheel castle for a gun, invented by Leonardo da Vinci, was so perfect that he continued to meet in the XIX century.

Leonardo da Vinci was interested in flight problems. In Milan, he did a lot of drawings and studied the flying mechanism of birds of different breeds and bats. In addition to observations, he conducted experiments, but they were all unsuccessful. Leonardo very much wanted to build an aircraft. He said: "Who knows everything, he can do everything. Just to know - and the wings will be! " At first, Leonardo was developed by the problem of flights with the help of the wings, leading to the movement of the muscular power of man: the idea of \u200b\u200bthe simplest devil and Ikara. But then he reached the thought of the construction of such a device to which the person should not be attached, but should maintain complete freedom to manage it; The device should lead themselves in motion with its own power. This is essentially an airplane idea. In order to successfully practically build and use the apparatus, Leonardo was not enough only one: the ideas of a motor with sufficient force. Before all the rest he reached. Leonardo da Vinci worked on the vertical takeoff and landing apparatus. On the vertical "Ornitottero" Leonardo planned to place a system of retractable stairs. An example was Nature: "Look at the stone stride, who sat on the ground and cannot take off because of his short feet; And when he is in flight, pull out the ladder, as shown in the second image from above ... So you need to take off from the plane; These stairs serve as legs ... ". As for landing, he wrote: "These hooks (concave wedges), which are attached to the base of the stairs, serve as the same goals as the tips of the fingertips of the feet of the person who jumps on them and all his body does not shock at the same time as if he were Jumping on heels. "

Inventions

1. Metal wagon for transportation soldiers (tank prototype)
2. Light portable bridges for the army.

Anatomy

Thinker

... empty and full of delusions those science that are not generated by experience, the father of any reliability, and are not completed in visual experience ...

None of human research can be called true science, if it has not passed through mathematical evidence. And if you say that the sciences beginning with and ending in thought are true, then this cannot be agreed with you, ... because there are no experience in such purely mental arguments, without which there is no reliability.

Literature

The huge literary heritage of Leonardo da Vinci came to the present day in chaotic form, in the manuscripts written by the left hand. Although Leonardo da Vinci did not print from them either a line, but in his records he constantly turned to the imaginary reader and all the last years of his life did not leave thoughts about the publication of his works.

Already after the death of Leonardo, Da Vinci his friend and a student Francesco Meltsi chose out of them excerpts related to painting, of which was subsequently composed of "Tracto Della Pittura, 1st ed.,). In the full form, the handwritten heritage Leonardo da Vinci was published only in the XIX -XX centuries. In addition to huge scientific and historical significance, it also has an artistic value due to a compressed, energetic syllable and an unusually pure language. Living in the era of the heyday of humanism, when Italian was considered minor compared to Latin, Leonardo da Vinci admired contemporaries by the beauty and expressiveness of his speech (according to legend he was a good improviser), but did not consider himself a writer and wrote, as he said; Its prose is therefore - a sample of the spoken language of the intelligentsia of the XV century, and it has lost its entirety from the artificiality and the veleability inherent in the prose of humanists, although in some Passages didactic Scripture Leonardo da Vinci we find the extension of the humanistic style pathos.

Even in the least "poetic" design fragments, the syllable of Leonardo da Vinci is characterized by bright imagery; Thus, his "treatise on painting" is equipped with excellent descriptions (for example, a famous Flood Description), striking the skill of verbal transmission of pictorial and plastic images. Along with the descriptions in which the manner of the painter's artist is felt, Leonardo da Vinci gives in his manuscripts a lot of samples of narrative prose: fables, fakes (joking stories), aphorisms, allegories, prophecies. In the fables and fakes, Leonardo stands at the level of prosaikov of the XIV century with their incentive practical morality; And some of his favorites are indistinguishable from Novel Saketyi.

More fantastic character have allegory and prophecy: in the first Leonardo da Vinci uses the techniques of medieval encyclopedias and bastiaries; The second is the character of humorous mysteries, characterized by the brightness and the accuracy of phraseology and imbued with a vascular, almost Voltaire irony, aimed at the address of the famous preacher Dzhirolamo Savonarola. Finally, in Aphorisms, Leonardo da Vinci is expressed in the epighogrummic form of his philosophy of nature, his thoughts about the inner essence of things. Artistic literature had a purely utilitarian, utility value for him.

Diaries Leonardo

To date, about 7,000 pages in different collections survived from the Leonardo diaries. First, invaluable notes belonged to the masters's favorite student, Francesco, but when he died, the manuscripts disappeared. Separate fragments began to "pop up" at the turn of the XVIII-XIX centuries. At first they did not meet due interest. Numerous owners did not even suspect what treasure got to them in hand! But when scientists established authorship, it turned out that both barn books, art historical essays, and anatomical sketches, and strange drawings, and research on geology, architecture, hydraulics, geometry, combat fortifications, philosophy, optics, pattern of figure - the fruit of one person. All entries in the Leonardo diaries are made in the mirror image.

pupils

Leonardo's workshop came out such students ("Leonardes") as:

• Ambrogo de Preis
• Jammeterino

His many years of experience in the upbringing of young painters, the famous Master summarized in a number of practical recommendations. The student must first master the prospect, explore the forms of objects, then copy the drawings of the master, draw from nature, study the works of different painters, and only after that they are taken for their own creation. "Learn formerly adjacent than speed," Leonardo advises. The master recommends developing memory and especially fantasy, prompting to peer into unclear contours of the flame and find new, amazing forms. Leonardo calls on the painter to explore nature, in order not to become like a mirror, which reflects the items without possessing knowledge about them. The teacher created the "recipes" of the face, figures, clothes, animals, trees, sky, rain. In addition to the aesthetic principles of the Great Master, his notes contain wise everyday advice to young artists.

After Leonardo

In 1485, after the terrible epidemic of plague in Milan, Leonardo offered the authorities a project of an ideal city with certain parameters, layout and sewer system. Milan Duke Lodovico Sforza rejected the project. Passed century, and the London authorities recognized the Leonardo plan for the perfect foundation for the further development of the city. In modern Norway there is a valid bridge, created by the project Leonardo da Vinci. The tests of parachutes and deltaplanov, made according to the sketches of the master, confirmed that only the imperfection of the materials did not allow him to rise into the sky. With the advent of aviation, the most cherished dream of the Great Florentine became a reality. In the Rome airport, the name of Leonardo da Vinci, is established by the giant, leaving the Statue of the scientist with the model of the helicopter in his hands. "Do not turn around the one who is fixed to the star," the divine Leonardo wrote.

• Leonardo, apparently, did not leave any autoportist who could be unequivocally assigned. Scientists doubted that the famous self-portrait of Sangina Leonardo (traditionally dated -1515), depicting it in old age, is such. They believe that, perhaps, this is just an etude of the head of the apostle for the "secret evening". Doubt is that this is a self-portrait of the artist, spoke from the XIX century, the last of them recently expressed one of the largest specialists in Leonardo, Professor Pietro Maleão.

• One day, Leonardo teacher, Verrocko received an order to the painting "Baptism of Christ" and instructed Leonardo to write one of the two angels. It was the usual practice of art workshops of that time: the teacher created a picture with the assistants-students. The most talented and diligent was instructed by the execution of a whole fragment. Two Angels, written by Leonardo and Nerrock, unequivocally demonstrated the superiority of the student over the teacher. As Vasari writes, the amazed Verrocko scored a brush and never returned to painting.

• He playedly played on Lira. When the Leonardo case was considered in the court of Milan, he appeared there exactly as a musician, and not as an artist or inventor.

• Leonardo first explained why the sky is blue. In the book "On Painting", he wrote: "Skynese sky occurs due to the thickness of the illuminated particles of the air, which is located between the ground and is at the top of the black."

• Leonardo was ambidexter - to the same extent well-owned right and left hands. They even say that he could simultaneously write different texts with different hands. However, most of the work he wrote to his left left right.

• It was a vegetarian. He belongs to the words "If a person is striving for freedom, why does he keep birds and animals in cells? .. A man is truly the king of animals, because he brutally exterminates them. We live killing others. We are walking cemeteries! At the early age, I refused meat. "

• Leonardo in his famous diaries wrote to the right left in the mirror reflection. Many people think that in this way he wanted to make his research secret. Maybe it is. According to another version, the mirror handwriting was his individual feature (there is even the information that it was easier for him to write so than normal); There is even the concept of "Handwriting Leonardo".

• Among the hobbies of Leonardo there were even cooking and the art of serving. In Milan, for 13 years, he was a manager of the court pearls. He invented several culinary devices that facilitate the work of the chefs. The original dish "from Leonardo" is finely chopped meat stewed with topped vegetables - enjoyed great popularity on court feasts.

Bibliography

Works

• Natural scientific essays and aesthetics work. ().

About him

• Leonardo da Vinci. Selected natural science works. M. 1955.
• Monuments of world aesthetic thought, t. I, M. 1962.
• I. Les Manuscrits de Leonard de Vinci, De La Bibliothèque de L'Institut, 1881-1891.
• Leonardo Da Vinci: Traité De La Peinture, 1910.
• Il Codice di Leonardo Da Vinci, Nella Biblioteca del Principe Trivulzio, Milano, 1891.
• Il Codice Atlantico Di Leonardo Da Vinci, Nella Biblioteca Ambrosiana, Milano, 1894-1904.
• Volynsky A. L., Leonardo da Vinci, St. Petersburg, 1900; 2nd ed., SPb, 1909.
• The general history of the arts. T.3, M. "Art", 1962.
• Gukovsky M. A. Mechanics Leonardo da Vinci. - M.: Publishing House of the Academy of Sciences of the USSR, 1947. - 815 p.
• Dental V. P. Leonardo da Vinci. M.: Ed. Academy of Sciences of the USSR, 1962.
• Pater V. Renaissance, M., 1912.
• Seiler G. Leonardo da Vinci as an artist and scientist. Experience psychological biography, St. Petersburg, 1898.
• N. F. Leonardo da Vinci, 2nd ed., Kharkov, 1900.
• Florentine readings: Leonardo da Vinci (nationals. Articles E. Solmi, B. Kroce, I. Del Lungo, J. Paladina, etc.), M., 1914.
• Geymüller H. Les Manuscrits de Leonardo de Vinci, Extr. De la "Gazette des Beaux-Arts", 1894.
• Grothe H., Leonardo Da Vinci Als Ingenieur und Philosophh, 1880.
• Herzfeld M., Das Traktat Von Der Malerei. Jena, 1909.
• Leonardo da Vinci, Der Denker, Forscher und Poet, Auswahl, Utemsetzung und Einleitung, Jena, 1906.
• Müntz E., Leonardo Da Vinci, 1899.
• Péladan, Leonardo Da Vinci. Textes Choisis, 1907.
• Richter J. P., The Literary Works of L. Da Vinci, London, 1883.
• Ravaisson-Mollien ch., Les Écrits de Leonardo de Vinci, 1881.

Gallery

Encyclopedia Brockhaus and Ephron

Leonardo da Vinci

See Vinci.

Medieval world in terms, names and names

Leonardo da Vinci

(1452-1519) - Great IT. Artist (painter, sculptor, architect), scientist (anatom, mathematician, physicist, naturalist), Engineer-inventor and Thinker of the Renaissance. Born in the village of Ankiano (approx. G. Vinci, between Florence and Pisa). The extramarital son of a wealthy notary and a simple peasantry. From 1469 he studied in Florence in Andrea Verroko's workshop. In 1470, he was recorded in the Commonwealth of Florentine Masters, but until 1481 continued to work with the Verrocko. OK. 1476 performed the figure of the left angel in the picture of his teacher "The Baptism of Christ", which was favorably distinguished from the work of the Verrocko. Among the early works of L. Ya V. "Madonna with a flower" (or "Madonna Benua") (OK.1478), "worship of the Magi" and "Holy Jerome" (1481-1482).

In 1482, at the invitation of the actual. The ruler of Milan Lodovico Sforza L. Ya V. moved to Milan. He worked primarily as a military. The engineer, wrote "Treatise about painting," was engaged in science, architecture and sculpture. In Milan, they created a clay model of the Francesco Sforza monument (father of the Lovovik), destroyed by Fr. soldiers in 1499; "Madonna in the rocks" (or "Madonna in Grote") (1483-1494) with the use of the famous Leonardian Sphumato (the finest lighting), "Madonna Litta" (1490-1491); Fresco "Last Supper" in the Milan Monastery of Santa Maria Delle Grazie (1495-1497) - the main picturesque work of this period. This huge wall painting (4.6x8,8 m) became an event in the art. The life of Italy, but, made by Tever, she already under the life of the artist began to gradually collapse.

The Milane period is the most fruitful in the work of the master - lasted until 1499 L.D. V. became the most famous artist of Italy. He left Milan engaged in French and after a brief stay in Mantua and Venice in 1500, he returned to Florence, where he worked as a military for some time. Engineer in Cesare Bordja. In 1502, L.Da V. received from Florentine Signory to the painting of the wall of the board of the board in the Palazzo Vecchio Palace at the story of the "Battle of Angiari"; On dr. The wall of Michelangelo was supposed to execute the "Battle of Kashin". But both artists made only preparatory cards.

In 1503-1506. L. Ya V. created the most famous portrait in the history of world painting - Portrait of Mona Lisa ("Jokonda"), spouses of the Florentine merchant Francesco Di Joconde since 1506, the period of the next wanders began: first Milan (1506), then Rome (1513); In 1516, L. Ya V. I moved to France, where in the castle of the club (approx. Amboise) spent the last years of life.

L. Ya V. did not leave a large number of picturesque works: he worked on his works as a scientist researcher, considering painting with science and daughter of nature; argued that "a good painter should write two main things: a person and presentation of his soul." In the "Treatise on painting" (1498) L. Ya V. As the theoretical of art insisted on the need to study the linear and air perspective, anatomy, etc. As an engineer, he expressed a number of brilliant hypotheses and left a number of projects for mechanisms, machine tools, aircraft, devices for irrigation, etc. L. Yes, V. One of the first to substantiate the idea of \u200b\u200bthe cognition of the world through the mind and sensations, expressed a guess that the Earth is only one of the heavenly bodies and is not the center of the Universe.

LIT: Leonardo da Vinci. Book of painting. M., 1934; Leonardo da Vinci. Selected natural science works. M., 1955; Leonardo da Vinci. Selected passages from the literary inheritance // Masters of Art of Art. T. 2. The Renaissance / Ed. A. A. Gruppa, V.N. Grazhenkova. M., 1966; Vazari Georgeo. The lives of the most famous painters, sculptors and architects. T. 3. M., 1970; Gukovsky ml. Leonardo da Vinci. M., 1967; Dzhivelegov A.K. Leonardo da Vinci. M., 1969; Lazarev V.N. Leonardo da Vinci. M, 1952.

encyclopedic Dictionary

Leonardo da Vinci

1. (Leonardo Da Vinci) (April 15, 1452, Vinci near Florence - May 2, 1519, CLOR castle, near Amboise, Turnea, France), Italian artist, scientist, engineer and philosopher. Born in the family of rich notary. Forest as a master by learning from Andrea del Verrocko (1467 - 72). Methods of work in the Florentine workshop of the time where the work of the artist was closely conjugated with technical experiments, as well as an acquaintance with Astronomer P. Toskanueli contributed to the origin of the scientific interests of the young Leonardo. In early works (Angel's head in "Baptism" Verrocko, after 1470, "Annunciation", about 1474, both in the Uffiz "Madonna Benua", About 1478, Hermitage) enriches the traditions of painting a quatrocheto, emphasizing the smooth volume of mild lights, reviving the face with thin, barely by a catchy smile. IN "Worship of Magi" (1481-82, not completed; submarike - in the Uffusion) turns a religious image in a mirror of various human emotions, developing innovative patterns of drawing. Fixing the results of countless observations in sketches, sketches and homefinds (Italian pencil, silver pencil, Sangin, Feather and other techniques), Leonardo is achieving a rare sharpness in the transfer of facial expressions (resorting sometimes to Grotesque and caricature), and the structure and movement of the human body leads In perfect compliance with the playwright of the composition. In the service of the ruler of Milan Lodovico Moro (from 1481), Leonardo acts as a military engineer, hydraulic engineering, organizer of the court festivals. Over 10 years, he works on the monument to Francesco Sforza, Father Lodovico Moro; Plastic relics The clay model of the monument in full size was not preserved (destroyed by the capture of Milan by the French in 1500) and is known only on the preparatory sketches. "Madonna in the rocks" For this period, there is a creative flourishing of the Leonardo painter. IN "Madonna in the rocks" (1483-94, Louvre; Second version - 1487-1511, National Gallery, London) Pressed Master The finest Light ( "SFUMATO"It appears to be a new halo, which is a change to medieval nimbam: it is equally and divine-human, and the natural sacrament, where the rocky grotto, reflecting the geological observations of Leonardo, plays a no less dramatic role than the saints in the foreground. "Last Supper" In the refectory monastery of Santa Maria Delle Grazie Leonardo creates painting "Last Supper" (1495-97; Due to the risky experiment, which the master went, applying oil to the fresco in a mixture with tempera, work reached us in a very damaged form). The high religious and ethical content of the image, which is represented by the violent, disrupting the reaction of the students of Christ on his words about the upcoming betrayal, is expressed in clear mathematical patterns of the composition, powerlessly obeying not only drawn, but also a real architectural space. Clear scenic logic of facial expressions and gestures, as well as the exciting-paradoxical, as always at Leonardo, a combination of strict rationality with inexplicable mystery made "The Last Supper" One of the most significant works in the history of world art. Conducting also architecture, Leonardo is developing various options. "The perfect city" and the Central Dome Temple. Subsequent years, the Master is carried out in unproved crossings (Florence - 1500-02, 1503-06, 1507; Mantua and Venice - 1500; Milan - 1506, 1507-13; Rome - 1513-16). From 1517 lives in France, where he was invited by King Francis I. "Battle of Angyari". Joconda (Portrait of Mona Lisa) in Florence Leonardo is working on painting in Palazzo Vecchio ( "Battle of Angyari", 1503-06; not completed and not survived, known through copies from cardboard, as well as the newly discovered sketch - a private meeting, Japan), which is at the origins of the battle genre in the art of the new time; The mortal rage of war is embodied here in the sacrificial fight of riders. In the most famous picture of Leonardo, the portrait of Mona Lisa (the so-called "Jocona", about 1503, Louvre) The image of a rich town center appears to the mysterious personification of nature as such, without losing the purely female judging; The internal significance of the composition gives the cosmic-magnificent and at the same time an alarming-alienated landscape, melting in a cold haze. Late paintings for late works Leonardo belong: Projects of the monument Marshal Trivulzio (1508 - 12), painting "St. Anna with Maria and Baby Christ" (Ok. 1500-07, Louvre). In the latter, as it were, his search for his search in the field of the light-air perspective, tonal color (with the predominance of cool, greenish shades) and the harmonic pyramidal composition; At the same time, this harmony over the abyss, since a group of holy characters, soldered family proximity, is represented on the edge of the abyss. Last picture Leonardo, "St. John the Baptist" (about 1515-17, there is also a complete erotic ambiguity: the young forerunner looks here not as the holy ascetic, but as a complete sensual charm of the tempter. In a series of drawings with the image of an universal catastrophe (T.N. cycle with "Flood", Italian pencil, feather, about 1514-16, Royal library, Windsor) meditation about the fragility and the nonentity of a person in front of the power of the elements are combined with rationalistic anticipating "Vortex" R. Descartes cosmology by submissions about cyclical nature of natural processes. "Treatise on painting" The most important source for studying the views of Leonardo da Vinci serves his notebooks and manuscripts (about 7 thousand sheets) written in spoken Italian. The master himself did not leave the systematic presentation of his thoughts. "Treatise on painting", prepared after the death of Leonardo his student F. Meltsi and had a huge impact on the theory of art, consists of passages, in many ways randomly extracted from the context of its notes. For Leonardo, art and science were associated inextricably. Giving B. "Spore of the Arts" Palm of painting championship as the most intellectual, according to his convictions, the type of creativity, the master understood it as a universal language (similar to mathematics in the field of sciences), which embodies all the variety of the universe through proportions, prospects and lighting. "Painting," Leonardo writes, - science and legitimate daughter of nature ..., relative of God ". Studying the nature, the perfect artist-naturalist thereby knows "Divine Mind"hidden under the appearance of nature. Engaging in a creative competition with this divine-reasonable start, the artist thus approves his semblance of the Supreme Creator. Since O. "It has first in the shower, and then in the hands" "All that exists in the universe", he also has "Some God". Leonardo is a scientist. Technical projects as a scientist and engineer Leonardo da Vinci enriched with insightful observations and guesses almost all areas of knowledge of that time, considering its notes and drawings as an outline to the giant natural philosophical encyclopedia. He was a bright representative of a new, based on the experiment of natural science. Leonardo paid special attention to mechanics, calling her "Wearam of Mathematical Sciences" and seeing the key to the secrets of the universe; He tried to determine the coefficients of slipping slip, studied the resistance of materials, carried out enthusiastically with hydraulics. Numerous hydrotechnical experiments received an expression in innovative projects of channels and irrigation systems. The passion for modeling led Leonardo to the striking technical foresights, much ahead of the era: these are the sketches of the projects of metallurgical furnaces and rolling mills, weaving machines, printed, woodworking and other machines, a submarine and tank, as well as designed after careful study of flight of birds of lethal structures and Parachute. The optics collected Leonardo observation on the influence of transparent and translucent bodies on the painting of objects reflected in his painting, led to an approval in the art of the principles of the air passage. The versatility of optical laws was connected to it with the idea of \u200b\u200bthe homogeneity of the Universe. He was close to the creation of a heliocentric system, counting the Earth "Point in the Universe". He studied the device of the human eye, expressing guesses about the nature of binocular vision. Anatomy, botany, paleontology in anatomical studies, summarizing the results of opening corpses, in detailed figures laid the foundations of modern scientific illustration. Studying the functions of organs, considered the body as a sample "Natural Mechanics". For the first time, a number of bones and nerves described, special attention paid to issues of embryology and comparative anatomy, seeking to introduce an experimental method and biology. Approving the botany as an independent discipline, gave the classical descriptions of the leaf position, helium and geotrophimism, root pressure and movement of plant juices. Was one of the founders of paleontology, believing that fossils found on the tops of the mountains refute the ideas about "World Flood". Appeared by the ideal of the Renaissance "Universal Man", Leonardo da Vinci comprehended in the subsequent tradition as a person, the most vividly outlined range of creative sections of the era. In the Russian literature, the portrait of Leonardo was created by D. S. Merezhkovsky in the novel "Resurrected gods" (1899 - 1900).
2. (Leonardo Da Vinci) (1452 - 1519), Italian painter, sculptor, architect, scientist, engineer. Combining the development of new features of the art language with theoretical generalizations, created an image of a person who meets the humanistic ideals of high rebirth. In painting "Last Supper" (1495-97, in the refectory monastery of Santa Maria Delle Grazie in Milan) high ethical content expressed in strict laws of composition, a clear system of gestures and facial characters characters. The humanistic ideal of female beauty is embodied in the portrait of Mona Lisa (T. N. "Joconda", OK. 1503). Numerous discoveries, projects, experimental research in the field of mathematics, natural sciences, mechanics. Defended the crucial importance of experience in knowledge of nature (notebooks and manuscripts, approx. 7 thousand sheets).

European art: painting. Sculpture. Graphics: Encyclopedia

Leonardo da Vinci

(Leonardo Da Vinci)

1452, Vinci - 1519, Amboise.

Italian painter, sculptor, architect, scientist, engineer, art theorist. Master of the Florentine school, student Verrocko. The creative way began in Florence. In 1481/1482 was invited to Milan the Duke of Lodovico Moro. Up to 1499 he worked in Milan as a painter, sculptor, architect, military engineer, organizer of the court festivals. In 1500-1506 (with breaks) worked in Florence; In 1502-1503 consisted of serving Cesare Bordja as a military engineer; In 1506-1513 worked in Milan, in 1513-1514 - in Rome. In 1516 at the invitation of the King of Francis I moved to France; The last years of life (1516-1519) spent the club near Amboise in the castle. Exceeded by the universality of his talents of all the geniuses of Italian Renaissance, Leonardo da Vinci belonged to the same generation as the ending development of the early Renaissance of Botticelli, Girondai, Carpaccio, Perugino, Pinturikkio, Signorelli. At the same time, he acted as one of the greatest reformers of Italian art, which embodied in his works a new worldview, new principles of artistic generalization, which became the basis of the art of high rebirth. The uniqueness of Leonardo da Vinci as an artist consists not only in the versatility of its gods and in the innovative spirit inherent in it, but also in the organic unity of his artistic and scientific interests. Leonardo gave the palm of the championship among the plastic arts of painting, which he called "the science and legitimate daughter of nature", able to know, according to him, "the beauty of the creations of nature", unlike the exact sciences, knowledgeable "interrupted and continuous quantities". The picturesque work was for him a concentrated embodiment in a picture of some common and most significant started visible reality. At the same time, the work on the composition was for Leonardo the process of aesthetic knowledge of the world and its theoretical study, which has been continued in its extensive scientific treatises. From here, it is unusually large even for the artist of Renaissance, which he took clarification of the plan in composite sketches, to the most fully expressing feelings, etc. The process of working on each composition was so long, and The creative time of Leonardo so often shared between his artwork, scientific and technical research that his picturesque heritage numbers only about one and a half dozens of works (including unfinished and made together with students). But these few works have become a starting point for the formation of aesthetic principles of high rebirth. In the formation of creative appearance Leonardo da Vinci, the first Florentine period (approx. 1470-1480) occupies an important place when the features of a new artistic style are formed in its few works, marked by the desire for generality, a little illness, concentration on a person, a new degree of impact of images; A light thread starts to play an important role, gently simulating forms and combining them with a spatial medium. These features, outlined in the figure of the Angel in the baptism of Christ Verrocko (approx. 1470), in the Annunciation (approx. 1474, both - Florence, the Uffizi Gallery) acquire a more complete expression in the works of Con. 1470 - NC. 1480s. In Madonna with a flower (t. Madonna Benoit, Ok. 1478, St. Petersburg, State Hermitage) Leonardo refuses to its contemporaries of detail, focusing on the Virgin Mary and Baby, connecting the naturalness of the manifestation of feelings and solemn Severity. Leonardo preparatory drawings make it possible to trace the search for the most compact and harmonious compositional formula when the figures fit into the invisible arch, repeating the outlines of the picture. An even more decisive departure from the traditions of early revival demonstrates the unfinished, remaining at the stage of golden-brown podmuelovka, the worship of the Maginee (1481-1482, Florence, the Uffizi Gallery), built on the contrast of dramatic excitement, penetrating the crowd with large masses and shadows, a strange landscape with Ruins, fiercely fighting horsemen, and awe of the reverent silence, uniting Madonna and Volkhvov. The study of the sovereign patheau expressed in the plastic of the human body, the expression in the preparatory figures for the worship of the Magi, determined the solution of the unfinished composition of St. Jeronim (approx. 1481, Vatican, Pinakotek). The first experience of Leonardo da Vinci in the field of portrait includes the Florentine period. A small portrait of Ginevar Benci (Ok. 1474-1476, Washington, Nats. Gallery) stands out on the background of portraits of this time, the artist's desire to create a feeling of the wealth of spiritual life, which is facilitated by a thin game of light and shadows. The pale face of a young woman is glowing on the background of a landscape shrouded in the evening twilight with a dark bush of juniper and reflections of light on the surface of the pond, anticipating the inexpensiveness of his expression later by the artist. Milane period (1482-1499) was the time of the most intense and multilateral activities of Leonardo. The court engineer of the Duke Ludovico Moro, he led the construction work and laying of the channels, the military structures, siege devices, developed projects of improving weapons, participated in the registration of court festivals, worked on this and not implemented by the Equestrian Statue of the Father Lodovico Moro's project - Duke Francesco Sforza. The Milane period includes the majority of Leonardo scientific manuscripts and his records dedicated to the problems of painting, subsequently systematized and published by his student Meltsi called the book about painting. Little picturesque work of Leonardo da Vinci Milan period belong to the number of its most significant creations. The altar picture of Madonna in the grotto (approx. 1483, Paris, Louvre) is unusual for the chosen artist's motive - the quiet privacy of Madonna with the infant Christ, John the Baptist, the young woundless angel in the twilight of a grotto with a fantastic journey of sharp rocks. Their figures are inscribed in the classical solutions for the composition of the revival of the pyramid, which gives the composition of clear readability, collens, equilibrium; At the same time, glances, gestures, turns of the heads, who addressed the finger to the gaze of the angel create an inner movement, the cycle of rhythms, involving the viewer, forcing him again and again to contact each character, penetrating the atmosphere of reverent spiritual concentration. A large role in the picture is played by a muted scattered light that penetrates through the clefts into the twilight of the grotto, which gives rise to smoky lightness - "Sphumato", according to the terminology of Leonardo, - called the "creator of expression on the faces." Softening, blurring contours and relief of the forms, Sphumato creates a feeling of tenderness and warmth of naked children's bodies, gives excellent people of Madonna and angel fine spirituality. This elusive movement of Leonardo's feelings is striving to convey in Madonna Litt (approx. 1490-1491, St. Petersburg, state. Hermitage), and in a lady with ermine (approx. 1483, Krakow, Nats. Chartor's gallery). The central place among the works of the Milane period is the monumental painting of the Last Supper (1495-1497, Milan, the monastery of Santa Maria Delle Grazie). Refusing the traditional fresco technology, which required the speed of execution and almost no impress, the artist chose a complex mixed technique, which was already in the XVI century. Skipping painting. Released in our days from numerous restoration records, it retains and traces of destruction from numerous frauds of the paints, and the greatness of the artist's plan. This is the first work of Leonardo, in which he reached the measures of artistic generalization, the greatness and spiritual power of the images, which are characteristic of the art of high revival. Based on the composite and plot interpretation, found by Kastano (symmetry of the composition, unfolded parallel to the plane of the image, the reaction of the apostles to the words "one of you betray me"), Leonardo found a solution that excluded the traditional ritual solemnity and based on the dramatic contrast of the calm absence of Christ and the explosion of feelings , as if the waves of diverging from him, capturing shocked apostles. The time of the new creative heyday Leonardo da Vinci was the second Florentine period (1500-1506). The work of these years had the greatest impact on the formation of the style of high rebirth, the work of Raphael and other younger contemporaries Leonardo. According to Vazari, now the lost cardboard of St. Anna (approx. 1501), the graphic version of the natural value, usually preceding the revival of the design of the pictorial work in the era, caused the pilgrimage of Florentine to the artist's workshop. The preserved earlier option (St. Anna, Cardboard, OK. 1499-1500, London, Nats. Gallery) is distinguished by naturalness and ease with which the artist united in a compact and complete life group Madonna, sitting on his knees from his mother Anna, and playing Her feet of children - Christ and John the Baptist; Wonderful latitude and generalization of forms and rhythms, energy and soft modeling, fine spirituality of individuals lit by a smile, which is not so much the movement of lips, how much elusive thickening and cutting of lighting. This strange, inacked, rather guessing than the visible, smile created a halo of mystery surrounding the most famous picturesque work of Leonardo da Vinci Mona Lisu (Jocona; Ok. 1503-1505, Paris, Louvre). Its raidness, apparently, should be sought in the fact that Leonardo saw in his model, the wife of the Florentine notary, something that allowed him to translate in a portrait form the whole amount of his ideas about man and department, beauty, harmony and order, about "science of painting", Her learning and creative opportunities. The composition of the picture is so impeccable, outlined by a smooth generalized silhouette. The female figure is so immaculately inscribed in a rectangular framing, in a natural and calm posture there is such an equilibrium and completeness, the ratio of dark and light spots, natural chaos immersed in a blonde haze and the power dominant over him. As if it would make the harmony and spiritual power of the universe of the human figure, that the image of Mona Lisa acquires a generalized, as if universal character. Symba Sphumato, enveloping not only a figure, but also a deserted rocky landscape, gives unity to the artist to the artist and informs the multivalousness of the facial expression and the elusive, mysterious smile of Mona Lisa. The third significant Florentine work of Leonardo was Cardboard to the central episode of the painting of the battle in Angiari ordered to him for the main hall of Palazzo Vecchio (1503-1505). Cardboard, depicting a fierce battle of four riders for a banner, remained until the XVIII century; Figure Rubens (Paris, Louvre), scenic copies (Florence, Gallery of the Uffizi; Vienna, Gallery of the Academy) and the two drawings of Leonardo to the heads of warriors (Budapest, the Museum of Fine Arts) give an idea of \u200b\u200bthe expression force and the passions of passions that melt fighting in a single tangle. Last scenic work Leonardo - Completed after returning to Milan St. Anna (approx. 1509, Paris, Louvre) and made by him with the help of A. Di Wallery Replica Madonna in the rocks (approx. 1505-1508, London, Nats. Gallery) - testify On the growing creative crisis of the master returning to the formulas already found. The last ten years of Life Leonardo, apparently, did not apply to painting.

LIT: Leonardo da Vinci. Book of painting. M., 1934; Leonardo da Vinci. Selected works / Ed. A. K. Dzhivelegova and A. M. Efros. M.; L., 1935. T. 1-2; Leonardo da Vinci. Favorites. M., 1952; Lazarev V. N. Leonardo da Vinci. M.; L., 1969; Dental V. P. Leonardo da Vinci. M.; L., 1961; Gukovsky M. A. Leonardo da Vinci. L.; M., 1967; Jivelegov A. K. Leonardo da Vinci. M., 1974; Gastev A. Leonardo da Vinci. M., 1972; Bathkin L. M. Leonardo da Vinci and features of renaissance creative thinking. M., 1990; Suida W. Leonardo und Sein Kreis. Munchen, 1929; Clark K. Leonardo Da Vinci. Cambrige, 1939; Cambrige, 1952; Heydenreich L. Leonardo di Vinci. Berlin, 1945; Basel, 1953; CastelFranco J. La Pittura di Leonardo da Vinci. Milano, 1956.

I. Smirnova

Russian dictionaries

CHAPTER FIRST. Mystery code Leonardo da Vinci

There are one of the most famous - immortal - works of art. The fresco of Leonardo da Vinci "The Last Supper" is the only surviving painting in the Santa Maria Del Grazia's refectory monastery. It is made on the wall that remained standing after the entire building turned into a pile of garbage as a result of the bombing of the Allies during World War II. Although other wonderful artists were presented to this biblical scene and other wonderful artists - Nikola Poussin and even such a causing idiosyncrazia the author, like Salvador Dali, is the creation of Leonardo for some reason amazing the imagination more than any other canvas. Options on this topic can be seen everywhere, and they cover the entire spectrum of relationships to the topic: from worship to ridicule.

Sometimes the image looks so familiar that it is practically not considered in the details, although it is openly a look of any viewer and requires a more thorough review: his true deep meaning remains a closed book, and the viewer slides his look only on its cover.

It is this work of Leonardo da Vinci (1452-1519) - the suffering of the genius of Italy of the Renaissance - pointed us the road that led to discoveries, so exciting in their consequences, which at first they seemed incredible. It is impossible to understand why entire generations of scientists did not notice what was available to our amazed look, why such an explosive information was patiently waiting for all this time of writers like us, remained outside the mainstream of historical or religious research and was not discovered.

To be consistent, we must return to the "Last Supper" and look at her fresh, unbiased view. Now there is no time to consider it in the light of familiar ideas about history and art. Now the moment came when a more suitable person will be a look of a person who is at all unfamiliar to this such well-known scene - let the bell bias fall from our eyes, let them look at the picture in a new way.

The central figure, of course, is Jesus, whom Leonardo in his records belonging to this work calls the Savior. He thoughtfully looks down and slightly left from himself, his hands are sharp on the table in front of him, as if by offering the audience the gifts of the Last Supper. Since it is then, according to the New Testament, Jesus introduced the sacrament of communion, offering students bread and wine as their "flesh" and "blood", the viewer has the right to expect that there should be a bowl or wine cup on the table to look justified . Ultimately, for Christians, this bulk is directly preceded by the Passions of Christ in the Garden of Garden, where he is so much praying "Yes, the Bowl of Yiya ..." - Another Association with the image of Wine - Blood, - as well as holy blood sheds before crucifying In total mankind. Nevertheless, there is no wine in front of Jesus (and even the symbolic amount of it on the whole table). Can these stretched hands mean what artists are called an empty gesture?

Given the lack of wine, perhaps it is not by chance that of all the breads on the table very few "refracted". Since Jesus himself associated bread with his flesh, which should be reflected in the highest mystery, didn't we be sent a distinguishable hint of the true nature of Jesus's suffering?

However, all this is only the top of Iceberg Yersie reflected in this picture. According to the Gospel, the apostle John theologian was physically so close to Jesus during this evening that the studio "to his chest". However, Leonardo, this young man does not take at all such a situation as the "stage instructions" of the Gospels, but, on the contrary, exaggeratedly deviated from the Savior, bowing his head into the right side. An unbiased viewer can be forgiven if he notes only these curious features regarding the only image - the image of the Apostle John. But, although the artist, due to his own addiction, of course, was inclined to the ideal of male beauty a few feminine type, there can be no other interpretations: at the moment we look at the woman.All in it is amazingly feminine. Whatever old and faithful image is due to the age of frescoes, you can not pay attention to tiny, graceful hands, fine features of the face, obviously female breasts and a gold necklace. This is a woman, it is a woman who is noted by a robe, especially its allocating. Clothes on it are a mirror reflection of the Savior's clothing: if there is a blue chiton and a red raincoat on it, then it has red chiton and blue raincoat on it. No one from the table has no robes that are a mirror reflection of Jesus's clothes. And at the table there are no other women.

Central in the composition is huge, ruinthe letter "M", which form the figures of Jesus and this woman, taken together. They are literally connected in the hips, but they suffer due to the fact that they diverge or even grow from one point in different directions. As far as we know, none of the academicians have never referred to this image otherwise than the "Saint John" is not observed by them and the composition form in the form of the letter "M". Leonardo, as we set out in our studies, was a magnificent psychologist who laughed, submitting to his cartridges, who ordered him a traditional biblical image, to the highest degree of unorthodox images, knowing that people would calmly and calmly look at the most monstrous heresy, because they usually see only What you want to see. If you were called on to write a Christian scene and you submitted to the public something, at first glance, similar and meets it wishes, people will never seem to seek ambiguous symbolism.

At the same time, Leonardo was to hope that, perhaps, there are other, dividing his unusual interpretation of the New Testament, who recognizes a secret symbolism in the picture. Or someone once, a certain objective observer once will understand the image of a mysterious woman associated with the letter "M", and will ask questions, with an eye of this arising. Who was this "m" and why is it so important? Why Leonardo risked his reputation - even life in those days when heretics were burned everywhere on the fires, - to include it in the fundamental scene for a Christian? Whoever she is, her fate can not not be alarmed, since the outstretched hand cuts her elegantly arched neck. The threat, concluded in this gesture, can not be called.

Raised right in front of the Savior Flash The index finger of another hand with obvious passionism threatens himself. But Jesus and "M" look like people who do not accept a threat, each of them is completely immersed in the world of their Duma, each in its own manner is serene and calm. But all together looks like the secret symbols are used not only to warn Jesus and sitting nearby woman(?), But also to inform (and maybe remind) the observer about some information that it would be dangerous to publish another way. Has Leonardo did not use his creation to promulgate any special beliefs, to proclaim that the usual way would be just madness? And could these beliefs be a message addressed a much wider range, and not only his neighboring surroundings? Maybe they were intended for us for us for people of our time?

Let's return to the consideration of this amazing creation. On the fresco on the right, from the point of view of the observer, a high bearded man bent almost twice, telling a student sitting at the edge of the table. At the same time, he almost completely turned his back to the Savior. A model for the image of this student - St. Faddeya or St. Juda - served by Leonardo himself. Note that the image of the artists of the Renaissance, as a rule, either random or was done when the artist was a beautiful model. In this case, we are dealing with an example of using the image of an adherent double Entendre(double meaning). (He was concerned about the search for the desired model for each of the apostles, which can be judged by his Bunlet proposal, made by the Saint Mary's Saint Monastery, serve as a model for Judas.) So why Leonardo portrayed himself so clearly turned away from Jesus?

Moreover. An unusual hand Celit Dagger in the student's stomach sitting in just one person from "M". This hand cannot belong to anyone from those who are sitting at the table, because to hold the dagger in such a position, such a bend is physically impossible for people near the image of the hand. However, really amazing is not the very fact of the existence of an existence that does not belong to the body, but the absence in the works of Leonardo, which we read, references to this: although in a pair of work this hand is mentioned, nothing unusual authors are found in it. As in the case of the John Apostle, which looks like a woman, nothing can be more obvious - and more strange - it is worth only to pay attention to this circumstance. But this incomprehensibility most often escapes the attention of the observer simply because this fact is extraordinary and outrageous.

We often hear that Leonardo was a zealous Christian, whose religious paintings reflect the depth of his faith. As we see, at least one of the paintings are present images, very dubious, from the point of view of an orthodox Christian. Our further studies, as we show, established: Nothing can be so far from the truth as the idea that Leonardo was truly believer - it is implied, who believes on the canons to generally accepted or at least an acceptable form of Christianity. Already at curious abnormal features of one of his creations, we see that he tried to tell us about a different layer meaningin a familiar biblical stage, about another world of faith, hidden in generally accepted wall paintings in Milan.

Whatever these heretic misunderstandings mean - and the importance of this fact is impossible to exaggerately, they were absolutely incompatible with the orthodox dogmas of Christianity. In itself, it is unlikely that will be news for many modern materialists / rationalists, since Leonardo was the first real scientist, a person who had no time for any superstition, a man who was an antithesis of any mysticism and the occult. But they could not understand what the eyes appeared before their eyes. To portray a secret evening without wine is tantamount to the image of the coronation scene without a crown: it turns out either nonsense, or the picture is filled with another content, and to such an extent that the author represents an absolute heretic - a person who has faith, but faith, contrary to the dogmas of Christianity. Maybe not just another, but being in a state of combating the dogmas of Christianity. And in other works by Leonardo, we found his own special heretical addictions, expressed in carefully worked out the relevant scenes, which he hardly had written exactly the way, being just an atheist earning a living. These deviations and symbols are too much so that they can be interpreted as a mock of skeptics, forced to work on request, you can not be called them and simply antics like, for example, the image of Saint Peter with a red nose. What we see in the mystery evening and other works is the secret code of Leonardo da Vinci, who, as we believe, has a striking connection with the world.

You can argue, in which I believed or did not believe Leonardo, but his actions were not just a fad of a person undoubtedly an extraordinary, the whole life of which was full of paradoxes. He was closed, but at the same time soul and life of society; He despised fortune-telling, but in his papers marked large sums paid by astrologers; He was considered a vegetarian and gently loved animals, but his tenderness rarely extended to humanity; He zealously accepted the corpses and watched an anatoma look at the executions, was a deep thinker and master of mysteries, tricks and mystics.

With such a contradictory inner world, it is likely that the religious and philosophical views of Leonardo were unusual, even strange. Just for this reason the temptation arises not to pay attention to his heretical beliefsas on something that does not matter for our modern day. It is generally recognized that Leonardo was an extremely gifted person, but the current trend to evaluate everything in terms of "Epochs" leads to a significant underestimation of its achievements. In the end, at that time, when he was in the flourishing of creative forces, even a typography was a novelty. What is one inventor-loner, who lived in such primitive times, can offer the world that bathes in the ocean of information through the global network, peace, in counting seconds through the phone and fax by exchanging information with continents, in its times not yet open?

There are two answers to this question. The first: Leonardo was not, we use the paradox, ordinary genius. Most educated people know that he designed an aircraft and a primitive tank, but at the same time, some of his inventions were so unusual for the time in which he lived that people with an eccentric mindset could imagine that he was given the future. Its bicycle design, for example, has become known only at the end of the sixties of the twentieth century. Unlike painful evolution by the method of trial and error, which the Victorian bike has undergone, leonardo Da Vinci's devouter has already in the first edition two wheels and chain transmission.But even more affects the design of the mechanism, but the question of the reasons that prompted to invent a bicycle. The man always wanted to fly like a bird, but the dream of balancing on two wheels and puming to the pedals, taking into account the deplorable state of roads, already gives my mystics. (Recall, by the way, in contrast to the dreams of flights, it does not appear in any classical plot.) Among other other statements about the future, Leonardo also predicted the appearance of the phone.

Be Leonardo even even a big genius than the historical books say, it still remains unanswered by the question: what kind of knowledge he could have if the proposed meaning has gained or gained widespread after five centuries after its time. You can, of course, put forward the argument that the teaching of the preacher of the first century would seem to have even less attitude towards our time, but remains an immutable fact: some ideas are universal and eternal, truth, found or formulated, does not cease to be truth after centuries.

But for Leonardo, we were at first they attracted not his philosophy, explicit or hidden, and not his art. We took up a wide study of everything related to Leonardo, because of its most paradoxical creation, whose fame is incomprehensible, and there is practically no knowledge. As it was detailed in our last book, we found that he was the master who fabricatedThe Turin Dospise, the relic, on which the miracle was preserved by the face of Christ during his death. In 1988, the radioisotope method was proved by all, in addition to a handful of fanatically believers, that this item is an artifact of the late Middle Ages or early Renaissance. For us, the shroud remained truly a wonderful piece of art. Burning interest caused the question of who this mystifier, since only a genius could create this striking relic.

All - and those who believe in the authenticity of the glory, and those who do not agree with that - recognize that it has all the features inherent in photographs. For the relic, a curious "effect of negative" is characteristic, which means: the image for the naked eye looks like a foggy burn of the material, but it looks completely clear in all parts in a photographic negative. Since such features cannot be the result of any known painting technique or other way of applying an image, a relic authenticity (those who believe that this is really the Correspondence of Jesus) consider them proof of the miraculous nature of the image. However, we found that the Touris Cloak exhibits properties inherent in photos, because she is a photographic imprint and is.

No matter how incredible this fact seemed to be at first glance, but the Turin Doodle is a photo. The authors of this book together with Kate Prince recreated the fact that, in their opinion, was the original technology. The authors of this book became the first to reproduce the inexplicable features of the Turin Camping. We acquired a chamber-Okokur (camera with a hole without lenses), a fabric treated with chemicals available in the fifteenth century, and picked up bright lighting. However, the object of our experiment was a gypsum bust of the girl, who, unfortunately, the status is from the first model in light years, despite the fact that the face on the loatching is not a face of Jesus, as repeatedly proclaimed, but the face of the very sweeter. Shortly speaking, Touris Cloak, among other things, there is a five hundred years of a photo of no one, like Leonardo da Vinci.Despite some curious claims for the opposite, such work could not be fulfilled by a pious Christian. The image on the Turin Doodle, if we consider it in a photographic negative, is clearly a bloody, broken body of Jesus.

Its blood, it should be remembered, there is no ordinary blood, but for Christians it is the blood of the Divine, holy, through her the world gained atonement. According to our concepts, falsify the blood and be truly believers - the concepts are incompatible, besides, a person experiencing a tolly of respect for the identity of Jesus cannot give his own face for his face. Leonardo did both, and the masterfully and, as we suspect, not without some secret pleasure. Of course, he knew, could not help but know that the image of Jesus on the ship - because no one realizes that this is the image of the Florentine artist himself, "many pilgrims will pray during the lifetime of the artist. As far as we know, he really visited the shadows, watching people pray before the relic, - and it fully corresponds to what we know about his character. But did he guess what the indispensable number of people would be to autumn himself with a sign of him in front of his image during the centuries? Could he imagine that sometime in the future people will be addressed to the Catholic dogma just because they saw this beautiful, exhausted face? Could he foresee that in the world of Western culture the concept of how Jesus looked like, will be under the influence of the image on the Turin Dospider? Did he understand that someday millions of people from all over the world will worship the Lord in the image of the heretic-homosexual of the XV century, that man Leonardo da Vinci will literally by the image of Jesus Christ?The glory became, as we believe, the most cynical - and successful - hoax from ever implemented in human history.

But, despite the fact that millions of people were foured, it is something more than anthem with the art of tasteless draw. We believe that Leonardo took advantage of the opportunity to create the most distinguished Christian relic as a means of implementing two purposes: to convey to the offspring invented by their technology and encoded heretical views. It was extremely dangerous - and the events confirm this - to make public the technology of primitive photography in the age of superstition and religious fanaticism. But, there is no doubt, Leonardo was amused by the fact that he would look at the very priests that he despised so despised. Of course, this irony of situations could be a purely random, simple priest of fate in the plot is already entertaining enough, but for us it looks like another proof of Leonardo's passion for complete control over the situation, and the extended far beyond the limits of his own life.

In addition to the fact that the Turin Cloak is the falsification and creation of genius, it also contains certain symbols characteristic of the leonardo addictions that are found in other recognized works. For example, at the base of the neck of a person displayed on the ship, a clear separation line passes. In the image, fully converted to the "contour card" with a sophisticated computer technology, we see that this line marks the bottom limit of the head displayed, then the dark field is underway under it until the top of the chest appears. It seems to us that there were two reasons. One of them is purely practical, since the mapping is a composite - the body is really a crucible person, and Leonardo's face, therefore the line could be the necessary element indicating the place of "compounds" of two parts. However, the falsifier was not a simple craftsworn and could easily get rid of the treacherous separation line. But did he really get rid of her? Maybe he left it for the viewer deliberately, according to the principle "Having of his eyes, but sees"?

What a possible heretic message could keep the Turin Doodle even in the encoded form? Is there a limit to the number of characters that can be encoded in an image of a naked crucified person - an image subjected to a scrupulous analysis by many better scientists with the help of the equipment available at their disposal? We will return to this question further, and now let us hint that the answer to the questions set can be found by looking at the fresh, unbiased view into two main features of the display. The first feature: the abundance of blood, which makes the impression of the ones by the hands of Jesus, which may seem conflicting the characteristics of a secret evening, namely, a symbol expressed through the absence of wine on the table. In fact, only confirms another. The second feature: a pronounced dividing line between head and body, as if Leonardo attracts our attention to the care of the head ... As far as we know, Jesus was not beheaded, and the display is composite, it means that we are invited to look at the display as two separate images. which are nevertheless for some reason closely connected. But even if it is so, then why someone's decapitated placed over those who have been crucified?

As you will see, this hint of a severed head in the mapping on the Turin Dospider is an amplification of the symbols available in many other works by Leonardo. We have already noted that the young woman"M" on the fresco "The Last Supper" clearly threatens the hand, as if cutting her elegant neck, as in the face of Jesus himself, the throat is raised upwards: an explicit warning, or perhaps a reminder, or both. In the works of Leonardo raised up the index finger, in each case, directly connected with the John the Baptist.

This holy prophet, the Forerunner of Jesus, who announced the world of "CE Lamb of God", whose sandals he is unnecessary to unleash, was of great importance for Leonardo, which one can judge by numerous images in all the preserved works of the artist. This addiction in itself is a curious for a person who believed modern rationalists arguing that Leonardo lacked time for religion. A person for whom all the acting persons and the traditions of Christianity were nothing, hardly to devote so much time and forces to one, separately taken to such an extent to which he was engaged in John the Baptist. Again and again, John dominates Leonardo in the life of the conscious level in his works, and on the subconscious, which is expressed through numerous coincidences surrounding it.

It seems that the Baptist follows him everywhere. For example, his favorite Florence is considered under the auspices of this saint, like the Cathedral in Turin, where the holy shroud is falsified by him. His last picturesque work, which, together with the "Mona Lisa", was in his room in the last hours before his death, was an image of John the Baptist. His only surviving sculpture (made in conjunction with Jooked by Francesco Rustichi, the famous occultist) is also a baptist. It is now standing over the entrance to the Baptistery in Florence, highly ascended over the head of the crowd of tourists, representing, unfortunately, a convenient volatile for indifferent to the shrines of puzzles. The index finger raised is what we call the "gesture of John," appears in the painting of Raphael "School in Athens" (1509). The honorable Plato repeats this gesture, but in circumstances that are not related to any mysterious alluses, as a reader can imagine. In fact, the model for Plato was not anyone else, like Leonardo himself, and this gesture was obviously not only characteristic of him, but he also had a deep meaning (as, allegedly, for Rafael, and other people from this circle).

If it seems to you that we attach too much importance to what they called the "gesture of John", take a look at other examples in Leonardo works. The gesture appears in several pictures and, as we said, always indicates the same thing. In his incomplete picture of the "worshi worship" (which was started in 1481) an anonymous witness repeats this gesture near the hill on which it grows rozhkovoewood. Many are unlikely to even notice this figure, since their attention is riveted to the main, in their opinion, in the picture - worship of sages or the Magi of the Holy Family. Beautiful, dreamy Madonna with a baby Jesus on his knees is shown in the shade. Magitians stand on her knees, stretching the gifts to the child, and in the background there is a crowd of people who came to bow and baby. But, as in the case of the "Last Supper", this work only at first view of Christian, and it deserves closest studies.

Founding in the foreground can hardly be called a sample of health and beauty. Magnies are exhausted to such an extent that they look almost corpses. Stretched hands do not impress the gesture of admiration, rather, they look like a drawing to her mother with a child shadow in a nightmare. Magnies stretch their gifts, but there are only two of the canonical three. Ladan and Smyrna are given, but not gold. At the time of Leonardo, the gift of gold symbolized not only well-being, but also the relationship - here in it is denied Jesus. If you look at the background, for the beautiful male and magic, then the second crowd of worshiping is visible. They look more healthy and strong, but if you trace where their views are directed, it becomes obvious that they are not looking at Madonna and baby, but on the roots of the horned tree, near which one of them raised his hand in the "gesture of John." And the horn tree is traditionally associated - with whom you would think - with the John the Baptist ... A young man in the lower right corner of the picture deliberately turned away from the Holy Family. According to generally accepted opinion, it is Leonardo da Vinci himself. A rather weak traditional argument that he turned away, considering himself unworthy of honor to see the Holy Family, does not stand criticism, because it was widely known that Leonardo did not particularly complain the church. In addition, he and in the form of the Apostle Faddey completely turned away from the Savior, emphasizing the negative emotions that are connected with him with the central figures of Christian history. In addition, since Leonardo was hardly the embodiment of piety or humility, such a reaction was unlikely to be the result of a complex of inferiority or operability.

Let us turn to a wonderful, memorable picture "Madonna with a baby and St. Anna" (1501), which is the pearl of the London National Gallery. Here again we will find the items that should - although it rarely happens - to concern the observer with their impression meaning. The picture shows Madonna with a baby, St. Anna (her mother) and John the Baptist. The baby Jesus, obviously, blesses his "cousin" John, who instinctively looks up, while the Holy Anna closely looks closely at the daughter's detached face and makes the "gesture of John", surprisingly, a large and-like hand. However, this raised upward finger is located right above the tiny handle of Jesus, which gives a blessing, as if shading it and literally, and metaphorically. And although Madonna's post seems very uncomfortable - she sits almost sideways, - in fact, the most strange pose of the baby Jesus.

Madonna holds him as if she was now pushing his forward so that he would give a blessing, as if she brought him to the picture in order to do this, but she keeps him on his knees with difficulty. Meanwhile, John is serenely resting on the knees of St. Anne, as if he had the honor, he was not worried. Could it be that his own mother Madonna reminded her of a certain secret associated with John. As indicated in the accompanying explanation of the National Gallery, some experts puzzled by the youth of St. Anne and anomalous presence of John the Baptist put forward the assumption that Madonna and Her Kuzina Elizaveta were depicted in the picture. mother John.Such an interpretation seems likely, and if we take it, the argument becomes even stronger. You can see the same obvious change in the roles of Jesus and John the Baptist in one of the two options for the painting Leonardo da Vinci "Madonna in the rocks". Art historians did not give a satisfactory explanation, why the picture is executed in two versions, one of which is located in the National Gallery in London, and the second is the most interesting for us - in the Louvre.

The initial order was made by the Order of the Immaculate Conception, and the picture should have become the central part of Triptych in the Altar of their chapels in San Francesco Grand in Milan. (Two other Pictures of Triptych were ordered to other artists.) A contract, which dated April 25, 1483, has been preserved to this day, and it contains interesting details regarding what the picture should be, and how the order received it. In the contract, the dimensions were scrupulated, since the frame for triptych was already made. It is strange that the dimensions are observed and in the other option, although why he wrote two paintings, unknown. However, we can make a guessed about the interpretations of the plot different from each other, which have little in common with the desire for excellence, and the author was aware of their explosive potential.

The contract also contains the theme of the picture. It followed to write an event that is not mentioned in the Gospels, but widely known in Christian legend. According to legend, Joseph, Maria and baby Jesus during flight to Egypt took place in the cave, where they met the infant John the Baptist, who was guarded by Archangel Gabriel. The value of this legend is that it allows you to leave one of the quite obvious, but inconvenient issues relating to the evangelical history about the baptism of Jesus. Why, in general, sinless Jesus was generally escaped, given the fact that the ritual is a symbolic washout of sins and the Declaration of commitment to Divinity? Why should God go through the procedure representing the act of power of the Baptist?

The legend says that at this wonderful meeting of two holy babies, Jesus gave his cousin John the right to baptize him when they become adults. There are many reasons for which the order given to the Order of Leonardo can be considered an irony of fate, but equally there is reason to suspect that Leonardo was very pleased with the order and interpretation of the scene, at least in one of the options, was clearly his own.

In the spirit of the time and in accordance with its tastes, the members of the Brotherhood would like to see a luxurious, richly decorated canvas with an ornament of golden leaves with a lot of cherubs and prophets of the Old Testament, which. All were filling the space. As a result, they received something so plotically different from their idea that the relationship between the Order and the artist did not just deteriorate, but became hostile, ending with litigation, which stretched over twenty years.

Leonardo chose to portray the scene so realistic as it was possible, without including a single foreign character in it: there were neither plump cherubs, nor such shadows of the prophets, announced by the coming fate. In the picture, the number of characters was minimized, perhaps, even excessively. Although it is assumed that the Holy Family is depicted during flight to Egypt, Joseph is not in the picture.

On the canvas located in the Louvre, - an earlier version - depicts Madonna in blue apparel, the hand of which hugs his son, defending it, another child - next to Archangel Gabriel. It is curious that the children look like each other, but a child with a blessing angel and baby Mary, who bowed knees as a sign of humility looks like each other. Some versions in connection with this expressed the assumption that Leonardo, by virtue of some reasons, placed the infant of John next to Maria. Ultimately, there is no designation in the picture, which of Jesus babies, but, of course, the right to give a blessing should belong to Jesus. However, the picture can be interpreted differently, and this interpretation not only suggests the presence of undervaluable and highly non-arbitrary messages, but enhances the codes used in other Leonardo works. Perhaps the similarity of two children is due to the fact that Leonardo intentionally made them such for their own goals. And at the time, as Maria with his left hand protects the child, whom John is considered, her right hand is stretched over the head of Jesus so that this gesture seems to be frankly hostile. It is about this hand Serge Brahli in his recently published biography of Leonardo writes as a "reminiscent claws of an eagle." Gabriel points to the child of Mary, but, apart from this, mysteriously looks at the observer - that is, obviously not to Madonna and her infant. It may be easier to interpret this gesture as an indication of the Messiah, but there is another possible sense in this part of the composition.

And if the baby with Maria in the Louvre is a picture of Madonna in the cliffs in the Louvre - Jesus - the assumption is very logical, - and a baby with Gabriel - John? Recall that in this case John blesses Jesus, and he leans before his power. Gabriel, speaking by the defender of John, does not even look at Jesus. And Maria, defending her son, shot in a threatening gesture hand over the head of the child of John. In a few inches under her hand, pointing the hand of the Archangel Gabriel cuts the space, as if two of these hands form a kind of mysterious key. It looks like that Leonardo shows us that a certain object is important, but invisible, - must fill the space between hands. In the specified context, it does not seem fantastic assumption that the outstretched fingers of Mary hold the crown, which she places on an invisible head, and the pointing finger of Gabriel cuts the space precisely where this head should be. This head-phantom swims high above the child, which is located next to the Archangel Gabriel ... So, is it in the picture ultimately all the same instructions on who of the two will die through the courtesy of the head? And if the assumption is true, then this John the Baptist gives a blessing, it is higher than the rank.

At the same time, by referring to a later option located in the national gallery, we will find that all elements allowing to make such a heretical assumption disappeared - but only these elements. The appearance in children is completely different, and the one who is next to Maria has a traditional cross of the baptist with an elongated longitudinal part (although it may be added by another artist later). In this version, Mary's hand is also simple for another child, but the threats in her gesture is not felt. Gabriel does not show anywhere, and his eyes are not allocated from the unfolded scene. It looks like this, as if Leonardo invites us to play the game "Find distances in two pictures" and make certain conclusions when we define the anomalies of the first option.

This kind of checking the creations of Leonardo reveals many provocative subtexts. With the help of several inventive techniques, signals and symbols, as it seems to us, the topic of John the Baptist is constantly repeated. Again and again, he or images denoting it are towering over Jesus, even if, of course, we are right - in the characters displayed in the Turin Dospider.

For such persistence, persistence is felt, manifested at least in the most complexity of the images that Leonardo used, as well as, of course, in that risk, which he took over, presenting the world of heresy, even if it is so cunning and thin. Perhaps how we have already hinted, the reason for such a large number of unfinished work is not the desire for perfection, but the consciousness of what can happen to him if someone is quite authoritative, will see through the subtle layer of orthodoxy direct blasphemy contained in the picture. In all likelihood, even such an intelligent and physical giant, like Leonardo, preferred to be careful, fearing to stain himself before the government, was quite enough for him. However, there is no doubt that he had no need to put the chapter on the fell, inserting such heretic messages to his paintings if he had no passionate faith in them. As we have seen, he was far from an atheistic materialist, according to many of our contemporaries. Leonardo was deep, seriously believers, but his faith was the exact opposite of the fact that then - and now - is the main rode of Christianity. This faith is called the occult.

Most people in our time, having heard this term, immediately imagine something by no means positive. It is usually used in relation to black magic, or to the clamps of the frank charlatans, or for the designation and the other. But in fact, the "occult" means just "hidden" and is often used in English in astronomy, when one heavenly object overlaps another. In relation to Leonardo, everyone agrees: Of course, although in his life and there were sinful rituals and departures of magic, yet the truth is that, above all, he was looking for knowledge. Most of what he was looking for was, however, effectively driven underground, turned into an occult society and, in particular, one powerful and omnipresent organization. In most European countries, the church did not approve of scientific classes and the decisive measures made silenced those who announced their inertotional views or opinions, diverging with generally accepted.

But Florence is a city in which Leonardo was born and where his career began at the courtyard, - was the prosperous center of the new wave of knowledge. It happened only because the city became a refuge for a large number of influential magicians and people engaged in occult sciences. Leonardo's first cartridges, the Medici family, which the rules of Florence, actively encouraged the occultation by occultism and paid considerable money for the search and the translation of particularly valuable vintage manuscripts. It is a passion for intractable knowledge during the Renaissance period cannot be compared with modern newspaper horoscopes. Although sometimes areas of research were - and it is inevitable - naive or simply associated with superstitions, much more of them can be called a serious attempt to understand the universe and the person's place in it. Mages, however, went somewhat further - they were looking for ways to control the forces of nature. In such a world, it becomes clear: there is nothing special that Leonardo was among others actively engaged in the occult at that time, in such a place. Dear historian Daim Francis Yeats put forward the suggestion that the key to understanding the genius Leonardo, which extends so far to the future, lies in modern ideas related to magic.

A detailed description of the philosophical ideas dominated in the occult movement of Florence, you will find in our previous book, but at the heart of the views of all groups of that time there was a hermetism, named after Hermes of the Trismegist, the Great, Legendary Egyptian Maga, in which a logical magic system was built. The most important concept of these views was the thesis about the partly of the Divine Essence of Man - the thesis, such a strongly threatening author of the church over the minds and the hearts of people, that he was doomed to Anafé. The principles of hermeticism are clearly traced in the life and works of Leonardo, but at first glance, there is a striking contradiction between these complex philosophical and cosmological views and heretical delusions, which are nevertheless based on faith in biblical characters. (We must emphasize that the unorthodox views of Leonardo and the people of His Circle were not only a reaction to corruptness and other flaws of the Church. History showed - there was another reaction to these shortcomings of the Roman Church, and the reaction is not underground, but in the form of a powerful open Protestant movement. But Be Leonardo today today, we would hardly see him praying in this, other church.)

There is a large number of evidence that sealants could be absolute heretics.

Jordano Bruno (1548-1600), a fanatical adherent of hermethyms, proclaimed that the source of his faith is the Egyptian religion, which preceded Christianity and overshadow it with his wisdom. Part of this prosperous occult world were alchemists who could only be underground from fear to church disapproval. And again, this group is underestimated due to modern bias. Today they look at the fools who spent their lives in vain, trying to turn simple metals in gold in vain. In fact, these classes were a useful cover for serious alchemists who were more interested in genuinely scientific experiments along with the transformation of the personality and the potential opportunities to manage their own destiny. It is not difficult to assume that a person, such a passionately thirsty knowledge, like Leonardo, will be a member of this movement, maybe even one of the main. There are no direct evidence of this kind of Leonardo's classes, but it is known that he rushed with people devoted to the ideas of the occult of various kinds. Our studies of falsification of the Turin Doodpefish make it possible to assume that the mapping on the tissue is the result of its own "alchemical" experiments. (Moreover, we came to the conclusion that the photo itself was once one of the greatest secrets of Alchemy.)

We will try to formulate it easier: it is unlikely that Leonardo was unfamiliar with any of the knowledge systems that existed at that time; At the same time, considering the risk associated with openly acquisition to these systems, equally unlikely so that he entrusts any evidence of this paper. At the same time, as we have seen, the symbols and images that he repeatedly used in his so-called Christian paintings, it would hardly have received the approval of the clergy if they guess their true character.

Even if so, the charm with hermeticism, it may seem at least at first glance, almost at the opposite end of the scale towards John the Baptist and the estimated significance of the woman "M". Indeed, this is a contradiction so puzzled us that we were forced to dive into research more and deeper. Of course, it is possible to challenge that all these endless raised upwards mean that John the Baptist was navationthe genius of the Renaissance era. However, is it possible to have a deeper value of the personal belief of Leonardo? Was the message encrypted with symbols in any plan true?

There is no doubt that the master has been known for a long time in the occult circles as the owner of secret knowledge. When we started the study of his participation in the falsification of the Turin District, we came across many rumors circulating among the people of this circle, that he not only put his hand to its creation, but was also a famous magic with a high reputation. There is even a nineteenth-century Paris billboard, advertising a rose salon + cross - a famous place of meeting of people from the artistic circles engaged in the occultism - on which Leonardo is depicted as the Keeper of St. Grail (in these circles it meant the keeper of the highest secrets). Of course, rumors and bills in themselves do not mean anything, but everything, combined, expressed our interest in the unknown personality of Leonardo.