Da Vinci Coded: Masterpiece Goes Online in High-Def

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Leonardo da Vinci’s masterpiece “The Last Supper” has not aged well. After centuries of degradation, the painting can now be seen by only a handful of viewers at a time in an effort to hide it from outside pollutants. Now, officials have put a 16-billion pixel image of the painting online for anyone to see. The resolution is 1,600 stronger than an image taken on a 10 megapixel camera.

The high-resolution allows viewers to look at details as though they were inches from the art work, in contrast to regular photographs, which become grainy as you zoom in, said curator Alberto Artioli.

“You can see how Leonardo made the cups transparent, something you can’t ordinarily see,” said Artioli. “You can also note the state of degradation the painting is in.”

Besides allowing experts and art-lovers to study the masterpiece from home, Artioli said the project provides an historical document of how the painting appears in 2007, which will be valuable to future generations of art historians.

Although there appeared to be problems with the Web site late Saturday, it was accessible earlier in day.

The work, in Milan’s Church of Santa Maria delle Grazie, was restored in a painstaking effort that wrapped up in 1999 — a project aimed at reversing half a millennium of damage to the famed artwork. Leonard painted “The Last Supper” dry, so the painting did not cleave to the surface in the fresco style, meaning it is more delicate and subject to wear.

“Over the years it has been subjected to bombardments; it was used as a stall by Napoleon,” Artioli said. The restoration removed 500 years of dirt while also removing previous restoration works that masked Leonardo’s own work.

Even those who get to Milan have a hard time gaining admission to see the “Last Supper.” Visits have been made more difficult by measures to protect it. Twenty-five visitors are admitted every 15 minutes to see the painting for a total of about 320,000 visitors a year. Visitors must pass through a filtration system to help reduce the work’s exposure to dust and pollutants.

Follow this link look at the High-Def: http://www.haltadefinizione.com/en/

A great idea. Let’s hope others follow on. I would love to have a few High-Def pictures of Poussin!

3 thoughts on “Da Vinci Coded: Masterpiece Goes Online in High-Def

    marek zielinski said:
    February 7, 2008 at 11:44 pm

    In painting, Leonardo Da Vinci initiated by reason of his skills and efforts to reproduce the volume of objects by the play of light, shade and mirror reflections in addition with his knowledge of nature and philosophy, created one of the most famous pictures in the world and one of those that has been most widely circulated in copies, drawings, engravings and descriptive studies revealing new points of view to the coded message craftily implanted by the author of which one is just about to be shared. First of all it has to be said that almost from the very beginning the painting began to deteriorate being in constant state of repairs, renovations and ‘alterations’. Thanks to be given to Mr. Vandal who by his ‘vandalism’ rather added another point than altered it. Today we are looking at the very little of the original work.
    But there is a fresh view to be checked on
    http://www.visutech.net/peace365/index.asp?pageID=86

    Enjoy!

    marek

    BRENT said:
    March 9, 2009 at 6:13 pm

    IN THE PAINTING “THE LAST SUPPER” IF YOU LOOK AT REAL GOOD. YOU WILL SEE THEIR TWO WOMEN THERE. ONE IS YOUNG, YOU KNOW AS MARY MAGDALALENE. BUT THE OTHER WOMAN IS OLDER, THEN WHO IS SHE? AND ALSO THEIR ARE TWO MEN THAT LOOK’S JUST LIKE JESUS. ONE IS SITTING RIGHT BESIDE JESUS. AND THE OTHER ONE IS THE FOURTH PERSON DOWN ON MARY MAGDALALENE RIGHT SIDE. BUT THEY HAVE BEARD’S AND JESUS DON’T. BUT ON THE CROSS JESUS DOES. CAN THIS PAINT OF “THE LAST SUPPER” REAL MEAN JESUS AND MARY MAGDALALENE FAMILEY’S LAST SUPPER?

    Marek Zielinski said:
    February 13, 2012 at 5:25 am

    Sequel 9

    The Truth About The Mona Lisa’s Smile Or The Mystery of God is Completed – Revelation 10:7

    The Mona Lisa’s enigmatic ‘smile’ intrigued experts and scholars for centuries. There are lots of opinions and views about this famous painting and I want to add one another simple observation to already existing long list. One of the Leonardo Da Vinci’s ways to introduce his art to the public, some simple, some complicated, is the use of a mirror which he uses it to purposely hide this aesthetic, philosophical and advertising symbols, meanings and expressions of his work in this inquisitive world at the time.

    So, so far to avoid the confusion, let’s start from the beginning.

    Genesis 1: 26 and 27© 26Then God said, “Let us make humankind in our image, after our likeness, so they may rule over the fish of the sea and the birds of the air, over the cattle, and over all the earth, and over all the creatures that move on the earth.” 1:27God created humankind* in his own image, in the image of God he created them,** male and female he created them.***

    * tn The Hebrew word is אָדָם (’adam), which can sometimes refer to man, as opposed to woman. The term refers here to humankind, comprised of male and female. The singular is clearly collective (see the plural verb, “[that] they may rule” in v. 26b) and the referent is defined specifically as “male and female” in v. 27.

    ** tn The third person suffix on the particle אֵת (’et) is singular here, but collective.

    *** sn The distinction of “humankind” as “male” and “female” is another point of separation in God’s creation. There is no possibility that the verse is teaching that humans were first androgynous (having both male and female physical characteristics) and afterward were separated. The mention of male and female prepares for the blessing to follow. This is the image God created ‘in their image’, ‘after their likeness’; ‘in his own image’, he created them, ‘male and female’ as a third gender; both sexes, male and female in One body that is the image of God – Zygote. Photo 1.
    MonaLisa1

    Photo 1

    The Truth and The Mystery explained

    Genesis 2:18© 18The Lord God said, “It is not good for the man to be alone. I will make a companion* for him who corresponds to him.”**

    * tn Traditionally “helper.” The English word “helper,” because it can connote so many different ideas, does not accurately convey the connotation of the Hebrew word עֵזֶר (’ezer). Usage of the Hebrew term does not suggest a subordinate role, a connotation which English “helper” can have. In the Bible God is frequently described as the “helper,” the one who does for us what we cannot do for ourselves, the one who meets our needs. In this context the word seems to express the idea of an “indispensable companion.” The woman would supply what the man was lacking in the design of creation and logically it would follow that the man would supply what she was lacking, although that is not stated here. See further M. L. Rosenzweig, “A Helper Equal to Him,” Jud 139 (1986): 277-80.

    ** tn The Hebrew expression כְּנֶגְדּוֹ (kÿnegdo) literally means “according to the opposite of him.” Translations such as “suitable [for]” (NASB, NIV), “matching,” “corresponding to” all capture the idea. (Translations that render the phrase simply “partner” [cf. NEB, NRSV], while not totally inaccurate, do not reflect the nuance of correspondence and/or suitability.) The man’s form and nature are matched by the woman’s as she reflects him and complements him. Together they correspond. In short, this prepositional phrase indicates that she has everything that God had invested in him.

    Put one edge of a mirror along with the dividing line on of the Lisa’s face as shown on Photo 2
    MonaLisa2

    Photo 2

    Together, with its reflected side; Genesis 2: 21© 21So the Lord God caused the man to fall into a deep sleep, and while he was asleep, he took part of the man’s side* and closed up the place with flesh.

    * tn Traditionally translated “rib,” the Hebrew word actually means “side.” The Hebrew text reads, “and he took one from his sides,” which could be rendered “part of his sides.” That idea may fit better the explanation by the man that the woman is his flesh and bone.

    The Lord God made a female from a half image of God, Zygote as shown on Photo 3
    MonaLisa3

    Photo 3

    Now put the edge of a mirror along with the dividing line on of the Lisa’s face shown on Photo 4

    The Lord God made a male from other half image of God, Zygote as shown on Photo 4
    MonaLisa4

    Photo 4

    Now do your homework. Put the mirror down on the picture and try it for yourself.

    God fashioned humankind in his own image with the smile* or? the grin** on his face. Photo 5

    * the smile, mystery smile, – the slight opening of the lips at the corners of the mouth was considered in that period a sign of elegance.

    ** the grin, the truth, – God new that one day mystery of him and secret of the Mona Lisa’s grin will be revealed.
    MonaLisa5

    Photo 5

    Conclusion

    The mystery of God is completed.

    Photo 5 shows the whole true image, the masculine and the feminine aspects of God called the Third Gender. Male and female in One body – Embryo – Man and Kind in Humankind – Androgyne.*

    * Androgyne – The primal elements of sulphur (that which burns) and mercury (that which is volatile) are embodied in the androgyne or hermaphrodite. The union of these opposite but complimentary principles is the purpose of alchemy and of human endeavour itself. The androgyne wears the crown of perfection. It stands on a dragon – a serpent with bird’s feet – symbolising its dominion over the forces of land, sea and air. The four heads of the dragon represent the four elements – fire, air, water and earth.

    The Book of Revelation 10: 7 (b, c) ©

    7But in the days when the seventh angel is about to blow his trumpet, the mystery of God is completed,* just as he has** proclaimed to his servants the prophets.”

    * tn The aorist ἐτελέσθη (etelesqh) has been translated as a proleptic (futuristic) aorist (ExSyn 564 cites this verse as an example).

    ** tn The time of the action described by the aorist εὐηγγέλισεν (euhngelisen) seems to be past with respect to the aorist passive ἐτελέσθη (etelesqh). This does not require that the prophets in view here be OT prophets. They may actually refer to the martyrs in the church (so G. B. Caird, Revelation [HNTC], 129).

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