Da Form 1506 Instructions: Fill & Download for Free

Crazy facts about Leonardo Da Vinci:—1.He do not have a surnameIn modern sense Leonardo Da Vinci do not have a surname as his name means “Leonardo of Vinci"His full name is leonardo di ser Piero of da VinciIt means that “Leonardo ,(son) of ser Piero from Vinci. So in a sense you can say that he doesn't have a surname2. Leonardo was a illegitimate child-fortunatelyThe renaissance man was born out of wedlock to ser Piero, a wealthy notary and a young peasant Caterina. He spent his very early childhood with her mother and when he was 5 he went on to live with his dadHe was fortunate enough to be born as a illegitimate child because in that era legitimate childrens need to follow the profession of their fathers and if he would have followed it we won't be able to get the renaissance icon3. He was well accomplished in musicLeonardo da Vinci was a excellent musician according to his own writings he believed music to be closely related to the visual arts as it was similarly dependent upon one of the 5 senses.He used to play lyre and flute often performing at gatherings of the nobility and at the houses of his patrons4. He never went to schoolNow that comes as a shocker for you that a great polymath like leonardo da Vinci never went to school.But this is true that he had no formal education, he did recieved some instructions in subjects like mathematics, reading and writing. He largely taught himself.When he was 14 he worked as a apprentice at the studio of Andrea del Verrocchio's where he would have learned about a number of crafts, including drafting, metallurgy, plaster casting and carpentry. He also had exposure to drawing, painting and sculpting.Rumors has it that after Leonardo da Vinci pointed out the angel in Verrocchio's work 'the baptism of Christ’ Verrocchio was so much humbled by his talents that he vowed to never paint.5. He was a chronic procrastinatorLeonardo wasn't a prolific painter Because of his abundance of diverse interests, he would often fail to complete his paintings and projects.Instead, he would spend his time immersed in nature, conducting scientific experiments, dissecting human and animal bodies, and filling his notebooks with inventions, observations and theories.It is considered that a stroke left his right hand paralysed which lead to cutting short of his painting career and leaving works such as Mona Lisa unfinishedAs a result, only 15 paintings have been attributed either in whole or in large part to him.6. His greatest work was ruined by a warIn 1482 leonardo left for Milan. He was commissioned for a enormous equestrian statue of Francesco Sforza. When completed it would have been larger the other two equestrian statues of the Renaissance done by Donatello and Leonardo’s old mentor Verrocchio.It was 16 feet tall and was commissioned by Sforza's son who was Duke of milan Leonardo toiled for 17 years on the project, which was given the nickname Gran Cavallo (Great Horse). The long timeline wasn’t unusual for Leonardo given his pursuit of other interests.But before it was completed french forces invaded Milan in 1499. The clay sculpture was used as target practice by the French soldiers which shattered it into pieces.7. He was ambidextrousHe could draw forward and backward with opposing hands simultaneously. Leonardo da Vinci wrote most of his work from right to left. The result of this writing was a mirror script, which was difficult to read. Some historians explain the many backwards-written texts among Leonardo's papers as the artist's effort to encode his ideas against theft, but others speculate that when writing with his left hand, Leonardo da Vinci reversed direction as a means of avoiding inevitable smears of the wet ink, charcoal or chalk he was using.8. Leonardo was a animal rights activistLeonardo wrote about his love and respectfor animals and questioned whether humans were really superior from them or notHe reportedly bought caged birds in order to set them and abstained from eating meat9. Bill gates bought his notebook for $30.8 millionBill gates owns the only copy of leonardo da Vinci's illustrated manuscript the codex Leicester which is also know as the codex hammer that resides outside the EuropeThe book has leonardo's Writings which he wrote between 1506 and 1510 on various topics as the diffusion of light in the heavens, musings on why the moon is luminous, and a study of hydrodynamics.10. He spent his final years in FranceWhen Francis I of France offered him the title of “Premier Painter and Engineer and Architect to the King” in 1515, Leonardo left Italy for good.It gave him the opportunity to work at leisure while living in a country manor house, Clos Lucé, near the king’s residence in Amboise in the Loire Valley.Leonardo died in 1519 at the age of 67 and was buried in a nearby palace church.The church was nearly obliterated during the French Revolution, making it impossible to identify his exact gravesite.Simplicity is the ultimate sophisticationSource:—12 Masterful Facts About Leonardo Da VinciLeonardo was a polymath, and the very definition of a Renaissance man. He also had beef with Michelangelo.https://www.mentalfloss.com/article/502202/12-masterful-facts-about-leonardo-da-vinci10 Facts About Leonardo da Vinci's Incredible LifeHow much do you know about Leonardo da Vinci?https://mymodernmet.com/leonardo-da-vinci-facts/10 Facts You Might Not Know About Leonardo da VinciLeonardo da Vinci (1452-1519) was a painter, sculptor, architect, writer, anatomist, geologist, astronomer, botanist, inventor, engineer and...https://www.historyhit.com/facts-you-might-not-know-about-leonardo-da-vinci/10 Leonardo da Vinci Facts That Might Surprise You1. Leonardo da Vinci was the illegitimate son of a respected notary/lawyer, Messer Piero Frosino di Antonio da Vinci, and a young peasant woman named Caterina di Meo Lippi, and spent his very early childhood with his mother in the town of Anchiano, Italy. When he was five years old, the future Renaissance icon went to live with his father in Vinci. 2. Not his surname: Leonardo had no surname in the modern sense - "da Vinci" simply means "of Vinci". Vinci is a village near the Metropolitan City of Florence in the Italian region of Tuscany. 3. Although he became one of the greatest artists in history, Leonardo had little formal training. He received some tutelage in his father's home in Latin and mathematics, and when he was 14, he became an apprentice in the studio of the prominent artist Verrocchio in Florence. During his seven years there, Leonardo da Vinci would have gained knowledge about a number of crafts, including drafting, metallurgy, plaster casting and carpentry. He also had exposure to drawing, painting and sculpting. 4. He was ambidextrous - he could draw forward and backward with opposing hands simultaneously. Leonardo da Vinci wrote most of his work from right to left. The result of this writing was a mirror script, which was difficult to read. Some historians explain the many backwards-written texts among Leonardo's papers as the artist's effort to encode his ideas against theft, but others speculate that when writing with his left hand, Leonardo da Vinci reversed direction as a means of avoiding inevitable smears of the wet ink, charcoal or chalk he was using. 5. The epitome of the Renaissance man, Leonardo da Vinci was an accomplished musician as well as a master painter. He sang in addition to playing the lyre and the flute, frequently at gatherings of the nobility and at his patrons' palaces. His surviving manuscripts contain some of his musical compositions too. The artist customarily listened to music as he painted. According to his own writings, Leonardo considered music to be closely related to the visual arts, since it was similarly dependent upon one of the five senses, yet less enduring than a painting because the sound immediately fades away. 6. Although many notable artists following Leonardo, including Rembrandt , Van Gogh , Monet , Picasso , and Matisse , produced numbers of self-portraits, Leonardo da Vinci left behind only one, the Portrait of a Man in Red Chalk , which Leonardo drew at approximately 60 years of age. 7. Bill Gates owns the only copy of Leonardo da Vinci's 72-page illustrated manuscript the Codex Leicester, which is also known as the Codex Hammer, that resides outside of Europe. The collection is variously named after the Earl of Leicester or Armand Hammer, both of whom once owned copies. The Microsoft billionaire purchased the science-themed notebook at a Christie's auction in the mid-1990s for nearly $40 million. The work, which includeshttps://www.leonardodavinci.net/facts.jspEdits are welcomed by you allPeace

I don’t believe that anyone has figured out the answer to your question. In fact, I don’t think anyone has paid a great deal of attention to that particular matter. For a very long time, the big deal has been authentication. There are many initial drawings of the work, and those form the basis for determining that this is actually a genuine painting created by Leonardo, which is a matter that has stood in dispute for many years.Why? Because parts of it seem as though they are by his hand, while others do not. Since I can’t give you a good answer to the question you asked, I will give you something that may amuse you. Here is a really interesting theory I found that attempts to resolve the visual discrepancies in the painting. I don’t know who these people are, but wow, is this interesting! It supposes that the piece was a teaching lesson - and that Leonardo painted one-half, and gave the other half to an apprentice to finish as a test of his abilities. It still doesn’t give a clue as to the “who” - but look at the rest…“Salvator Mundi,” a Priceless Leonardo, or a Fake?, posted on Two Old Liberals, Contemplations on Life, Love, Art, Politics, Wisdom, Spirit and Nature April 14, 2012 By KevinIn early November when I opened Paul’s envelope containing an L.A. Times article entitled “The Lost Leonardo,” I looked at the stunning color photo of “Salvator Mundi” and felt thoroughly confused. It immediately struck me as being both an authentic Leonardo, and NOT a Leonardo. The masterpiece was shown at The National Gallery in London from Nov 9, 2011 to Feb 5, 2012 as part of their exhibition, “Leonardo da Vinci: Painter at the Court of Milan.” This beautiful portrait of Christ as “Savior of the World,” depicts His face softened by the master’s famous sfumato dry-brushing technique. However, the drapery, embroidery, right hand raised in benediction and left hand holding a crystal orb representing the world, are painted in clear detail. The face is so hazy as to seem like a vision or an image in a dream. Many art historians and experts question the origin of the painting. Its source is the subject of significant controversy. I request indulgence to add my ideas to the debate.I wrote to Paul immediately, as I often do when trying to sort out my own thoughts, feelings and logical arguments about virtually any subject:Yesterday your card with the article and photo about “The Lost Leonardo” arrived in the mail. I have spent some time considering it. The painting is compelling and very well made, but I have serious doubts that it is entirely a Leonardo. Actually, what I think is that this painting is from the studio of Leonardo and that the master’s hand is in it, but that it may have been largely painted by one of his apprentices. While the image is very haunting and beautiful, it has some serious problems that Leonardo never exhibited:The eyes are not exactly at the same level and each eye has a subtly different gaze. As you face the painting, the eye on the right is lower and looking down somewhat at the viewer’s mouth, by comparison with the other eye which is higher and gazing directly out into the eyes of the viewer. Leonardo never had this kind of trouble focusing the gaze of his faces.One hand is actually somewhat crude — the hand holding the orb. The thumb is especially rigid and wooden. The raised hand is much better and looks like Leonardo’s work, while the hand holding the orb does not.The orb is not well-defined. It is hard for me to imagine that Leonardo would not have developed more highlighting and definition in such an important part of the painting.Although the sfumato technique is very typical of Leonardo’s work, it is overdone here, as if a struggling younger artist is attempting to camouflage some problems, especially in the eyes, which are nearly dry-brushed out of existence.Now, having listed my concerns, I must quickly add that there are some elements of the work that are very Leonardo-like:Many parts of the face, the chest, and the ringlets of hair at both sides of the chest, feel very much like other paintings by the master.The mouth is quite reminiscent of Leonardo, and that’s where I looked first, because the corners of Leonardo’s mouths are especially distinctive. This painting has such a corner on the side near the raised hand, but not the other. I just have to observe that while this mouth is very beautiful, only half of it is a Leonardo mouth.The hand raised in blessing is utterly characteristic of Leonardo – organic and alive with flesh and bones. But the execution of the orb-holding hand is surprisingly immature and wooden.Finally, stepping back and taking in the overall effect of the painting, it feels both overly dramatic and too rigid for a Leonardo to me, and I still have the feeling that it was largely executed by one of his apprentices under the guidance of Leonardo. It feels like a painting made by a younger artist than the others we know are from the master’s hand. This beautiful image is extremely dramatic in its ghostly quality on a dark background, and especially in the gauzy quality of the not quite matching eyes. And yet the lower half of the painting — the drape and ornate border ribbons are so rigidly and meticulously rendered as to seem like they might belong to a different painting altogether. The more I look at this work, the more I see the marks of two artists — the master’s hand is in part of the face and the raised hand. The apprentice is more and more obvious in the rest of the painting.I was still very bothered by the painting and continued to stare at it for hours and meditate upon it. Suddenly I saw an answer – an explanation that completely satisfied me. As I stared at the “Salvator Mundi,” I found myself transported in my mind back to Leonardo’s studio, where several paintings were being produced by the master, with the “help” of his apprentices. In his studio Leonardo was a teacher, seeking ways to instruct his young apprentices. The “Salvator Mundi” commission presented a perfect teaching moment because it was an uncompromising full-face, symmetrical pose. If I were Leonardo, I would have drawn a line right down the middle of the painting, completed one half of it and given it to an apprentice to complete the other half in the same manner as a mirror image. As I scoured the painting for evidence supporting my hypothesis, I was compelled to write to Paul again:Leonardo’s work an apprentice’s workI contend that the left side of the painting with the raised hand was painted by Leonardo, and the right side, with the orb, was painted by an apprentice, because everything on the left is much more expertly rendered than everything on the right. By “everything” I mean:The left eye is perfect and expertly formed and gazes straight into the eyes of the observer, while the right eye is badly formed and lower than the left eye, and gazes at the observer’s mouth.The left eyebrow is nuanced and very Leonardo-like, suggesting the contours of the brow behind it, while the right eyebrow is an uncompromising arc lacking in such subtleties.The line connecting the bridge of the nose to the eyebrow on the left is a diagonal line, again showing an understanding of anatomy, while the same line on the right is a rigid vertical line.The left mouth corner exhibits the distinctive Leonardo dimpled indentation and shadow, creating an enigmatic inner smile. That signature detail is missing on the right corner.The left hand as we look at the painting (the raised hand) is much better rendered than the other hand. We see and feel the anatomical detail of the raised hand, but not the other.The orb on the apprentice’s side of the painting is not detailed at all. It looks unfinished.The drapery is much more nuanced and advanced on the raised hand side of the canvas, where it falls naturally and looks photographic. On the orb side it is stiff and forced.Again, it is my theory that Leonardo used this uncompromisingly full frontal pose to draw a line straight down the middle of the canvas and paint one side of it himself (the raised hand side) while instructing an apprentice to copy his work on the shaded side. The only exception is that I believe the apprentice was instructed to do all the intricately detailed ribbon and jewel and front fabric panel work. It looks to me like Leonardo painted the entire raised hand and arm including the drapery as well as that side of the head and face, while the apprentice did his best to finish the other side.After discussing all of this with Paul by phone, I was truly hooked by the compelling mystery of this disputed “Lost Leonardo,” and several months of information gathering have ensued, during which I have become more and more convinced that the painting is a “collaboration” between Leonardo and one of his apprentices. One of the techniques I used to consider my theory was to flop the painting and cut it in half down the middle, matching the two Leonardo halves together and the two halves that I believe were painted by the apprentice as well. The results are rather striking:This is the Leonardo half of “Salvator Mundi” paired with its own mirror image. To my eye this is clearly a Leonardo painting in every respect – the confident and focused gaze looking directly into the viewer’s eyes, the organic eyes and eyebrows, the refined nose, the mysteriously half-smiling mouth, the hair, the anatomy of the hands. All of it is quintessential Leonardo, and the result is a powerful, commanding, confident image of Christ.By stark contrast, here is the apprentice’s half of “Salvator Mundi” paired with its own mirror image. The eyes, eyebrows, nose, and mouth, while compelling, do not look like Leonardo’s work. Moreover, the combined effect depicts a thin, weak, worried face with a flat nose and pursed thin lips. Leonardo’s faces are almost always sublimely serene with full sensuous lips, dimpled in the corners to provide that signature enigmatic inner Mona Lisa smile. That trademark characteristic of all Leonardo faces is entirely missing in this mirrored pairing of the apprentice’s side of the painting. While we can clearly see that this side of the painting is heavily influenced by Leonardo, it is not the master’s work, even though some may prefer it to the more robust and serene Christ image entirely by Leonardo.According to www.italian-renaissance-art.com/Salvator-Mundi.html, there are 20 versions of “Salvator Mundi.” It is evident that 19 of them are copies of this painting produced in Leonardo’s studio, because infrared imaging has shown several “pentimenti (artist’s alterations) in Leonardo’s painting. Those final changes are mimicked in the 19 copies, but, of course, infrared imaging shows no changes in their painting process. The Leonardo image is composed of pigments characteristic of his work, and it is painted on a walnut panel that was produced in the correct era, consistent with other Leonardo paintings. His depiction of a crystal “mundus” is a unique innovation that also links the painting to the master, because he was something of a rock crystal expert.There is strong documentary evidence that in 1506 Louis XII of France commissioned Leonardo to produce a painting entitled “Salvator Mundi,” which was completed in 1513. The work is documented to have been in the collection of King Charles I in 1649 and sold at auction by the Duke of Buckingham’s son in 1763. The painting fell upon hard times after that, and was lost until 1900, when it was purchased by the British art dealer Sir Frederick Cook. Several very poor restoration attempts made the painting very difficult to authenticate, and it was sold at auction for about $125 in 1958. In 2005 it was acquired by a consortium of U.S. art dealers and properly restored. After a seven-year authentication process, “Salvator Mundi” is now generally believed to be a Leonardo da Vinci painting worth somewhere in the neighborhood of $100 to 200 million. For its recent exhibition, The National Gallery in London cataloged the painting as a newly discovered Leonardo.To all of these inquiries, studies, disputes, discussions and controversies, I add my own humble little theory that Leonardo used this full-face portrait of Christ as an opportunity to teach an apprentice his techniques, by asking the student to copy the master’s work from the left side of the painting as a mirror image on the right. After all… the right side was in shadow, and if necessary there was always the possibility of obscuring it further with more sfumato blurring – the 1510 version of Vaseline on the camera lens. The resulting two-artist painting is powerful, mysterious and both aesthetically and spiritually moving. In this disciplined exercise the apprentice learned a great deal from the master, and so can we when we deeply concentrate upon the transcendentally beautiful “Salvator Mundi.”Thanks Konrad, for the compliment of the A2A.

+JMJ+I don’t think all that much, at least in the beginning, the Protestants did not come over to the New World in any respectable numbers until 1620. Whilst the Catholic missionaries had been in the New World since the very beginning of the previous century:(extract from Wikipedia)Timeline of Christian missions - Wikipedia1500 – Franciscans enter Brazil with Cabral[98]1501 – Portuguese explorer João da Nova builds a chapel at Mossel Bay, the first one in South Africa1501 – Pope Alexander VI grants to the crown of Spain all the newly discovered countries in the Americas, on condition that provision be made for the religious instruction of the native populations1502 – Bartolomé de las Casas, who will later become an ardent defender of the indigenous peoples of the Americas, goes to Cuba. For his military services there he will be given an encomienda, an estate that included the services of the Indigenous Peoples of the Americas living on it.1503 – Mar Elijah, Patriarch of the East Syrian church, sends three missionaries "to the islands of the sea which are inside Java and to China."[106]1506 – Mission work begun in Mozambique[105]1508 – Franciscans begin evangelizing in Venezuela[107]1509 – First church building constructed on Puerto Rico[105]1510 – Dominicans begin work in Haiti[53]1511 – Martin de Valencia came to believe that Psalm 58 prophesied the conversion of all unbelievers. While reflecting on the Scripture passage, he asked, "When will this be? When will this prophecy be filled . . . we are already in the afternoon, at the end of our days, and the world's final era." Later that same week, while reading aloud from the prophet Isaiah, he reportedly saw a vision of vast multitudes being converted and baptised. He began to pray to be chosen to preach and convert all heathen. He would die 20 years later as a missionary to Mexico.[108]1512 – Dominican missionary Antonio de Montesino returns to Spain to try to convince King Ferdinand that all is not as it should be in the new western colonies. He reported that on the islands of Hispaniola (now Dominican Republic and Haiti) and Cuba, the indigenous peoples were rapidly dying out under the system of slavery used by the colonists.1513 – In Cuba, Bartolomé de las Casas is ordained (possibly the first ordination in the New World). Soon thereafter, Las Casas will renounce all claims to his Indian serfs1515 – Portuguese missionary Francisco Álvares is sent on a diplomatic mission to Dawit II, the Negus or Emperor of Abyssinia (an old name for Ethiopia)1515 – Portuguese missionaries begin work in Benin, Nigeria[109]1517 – The Mughal Rulers of Delhi opened the door of Bengal to Christian missionaries[110]1518 – Don Henrique, son of the king of the Congo, is consecrated by Pope Leo X as the first indigenous bishop from sub-Saharan Black Africa[111]1519 – Two Franciscans accompany Hernán Cortés in his expedition to Mexico[112]1520 – German missionary Maximilian Uhland, also known as Bernardino de San José, goes to Hispaniola with the newly appointed Bishop Alessandro Geraldini.1521 – Pope Leo X grants Franciscan Francis Quiñones permission and faculties to go as a missionary to the New World together with Juan Clapión1522 – Portuguese missionaries establish presence on coast of Sri Lanka and begin moving inland in the wake of Portuguese military units