Thanks for the nice read, keep up the interesting posts..

The best of da Vinci’s genius is not his paintings as art. Yes the art is exquisite, world class when viewed as art but what he put within and even more importantly outside the frame of the art is quickly becoming recognized by more and more people world-wide, as the proof of his absolute all time world class genius.

The art techniques he developed were cutting edge, seminal and unique, never before seen brush less masterpieces…. but even these revolutionary techniques and artistic quality pale when compared to the intellectual encryptions the master scientist, mathematician, engineer, inventor, and yes artist placed within the artworks using even more astonishing techniques, hundreds of years ahead of their time.

One such technique used by Leonardo was the optical illusion, the subtle use of light and shade to give the impression of visually expected objects and effects, while masking a second and to him more important item, message or visually illusive construct. Such is the case in the Mona Lisa.

In the portrait of the Mona Lisa, Leonardo showed a mastery of art technique that was unknown at the time. He created the Sfumato technique that in Italian means vanished or evaporated. With this technique subtle transitions between light and dark are used creating a soft haze. He uses shadow in the lowest areas of the picture, in the background and around the edges to blur detail that draws one to the detailed area of the face. Her face emerges from the shadow areas of her hair and veil and her hands appear from the vague yet detailed folds of the sleeves of her dress. The shadowed areas at the corners of her eyes and mouth are faintly blurred. Looking at the subject one may notice that the right corner of her mouth seems to lift up slightly and the left side her mouth does not. She looks serene and comfortable sitting for Leonardo. The degree to which she looks alive is astonishing. This is the artistic genius of the master…. however….

After a number of years of intensive detailed research by Michael W. Domoretsky and the da Vinci Project ™, contemplating and studying Leonardo’s extensive writings in his manuscripts (codices) on light, shade and the theory and perspective of colors, what became clear in early 2005, is that Leonardo, a genius known for alternative methods, appears to have applied his superior scientific understanding to brilliantly disguise the true name of the subject in the Mona Lisa, his most treasured painting. It appears that deftly hidden within the detailed folds of her sleeve, secretly and discreetly painted, is her name, his chosen name for her, “Mary”. The name clearly visible but hidden in plain site by a genius known to be secretive and brilliant in his methods, is a carefully created illusion on her right sleeve.

Under magnification, the word “MARY” emerges from the gathered folds. Within this apparently deliberate optical illusion the name MARY, appears as carefully interrupted flowing script. It may very well be the name Leonardo had in mind for what has become the most famous painting in the world.

It is the interweaving of an optical illusion within the painting, tracing out the name MARY. Using ingenious artistic methods and his unrivaled scientific knowledge of the nature of cause and effect and of light upon subjects that gives us a glimpse into the vast true depth of genius that was and still is Leonardo da Vinci. The true meaning of his hidden messages, some call the da Vinci code, remaining discovered but mostly un-deciphered to this day.

Figure one, for your viewing purpose the tracing of the name” MARY,” the optical illusion on the left sleeve facing you of the painting we know and call the “Mona Lisa.”

Figure two, larger view cropped and traced of the left sleeve facing you, the name “MARY”, emerges.

Figure three, same area cropped, left sleeve facing you not traced, with negative in the lower right area attached, the name “MARY”

Figure Four, same area cropped, negative form of left sleeve facing you, the name “MARY”.

From a stylistic standpoint Leonardo introduced the waist up, hands folded in the lap type of portrait. The pose was immediately copied and greatly admired. The pose became fashionable for portraiture by such painters as Raphael and eventually became an accepted standard for the Renaissance portrait.

It is very interesting to note and speculate upon the reason(s) that the Mona Lisa was never delivered to Gioconda family. It remained with Leonardo da Vinci until his death in Ambrose, France in 1519. The painting was his most cherished and protected possession. He loved the portrait so much that he carried it with him on all of his travels throughout Italy and in his later years while conducting studies at the Vatican. He kept the painting with him while he was in Ambrose, France where he spent his twilight years.
Why? Is it because it held meaning beyond the actual artwork, exquisite though it was?

Anything hidden could very well have been construed to be the “work of the Devil” by an overly repressive and dominant Catholic church of the time. Or are there other reasons?

The da Vinci Project ™ is in the process of attempting with painstakingly detailed research and review, to discover all of the hidden images within and “outside the frame”™ in order to formulate a cohesive and comprehensive theory based on facts and proofs that answer many of the questions left by one of the greatest: scientists, mathematicians and yes art masters in all of recorded history, Leonardo da Vinci.

On the left picture, taken from the
original painting called “The Mona Lisa”,
by Leonardo da Vinci, is a cropped version of the left sleeve facing you, place mouse over image of the name, underneath this a cropped version in negative form also for your viewing, bottom center of site page.

http://www.lionardofromvinci.com/Reflections.html

Now, also notice the cross bar of the
letter A, the name discovered on the original
painting, found to be the name. “MARY”,
perhaps the true name Leonardo intended for her.

http://www.lionardofromvinci.com/Reflections.html

http://www.lionardofromvinci.com/index.html

http://www.lionardofromvinci.com/contact.html

The da Vinci Project
Managing Director, DVP
Michael W. Domoretsky
Director, Graham Noll
1-508-843-9902