[artemirra]

Сообщение от LCR

In any case, Serachini proved that scientific analysis can provide meaningful assistance to art historians, although they prefer to build their opinions primarily on the basis of their knowledge and intuition. However, unlike intuition of scientific analysis that intuition is subjective, and scientific data can be assured. Thus, in the case of the "Adoration of the Magi" historians have been unable to understand that this work not written by Leonardo, and scientific analysis in a few days, presented compelling evidence.

Very strange that the West still have at least some doubt as to what makes technological analysis of the art historian ... The fact that they study in the X-ray, infrared rays and conducting other nondestructive methods of analysis of painting a long time (years from 1960) became a standard procedure for describing and cataloging of painting. In general, restorers and art historians have always worked side by side, in fact already appeared effective methods of "evaluation", interpretation and "correction" of these technological research by historians of art. It has long been not only and not so much intuition and knowledge. Therefore, experts Serachini version did not cause full confidence, it does not mean that they are inert and do not rely on the latest technologies (which daaaavno and so used), but because it is possible that take into account everything that does not take into account Serachini.
1. Significant differences between the preparatory drawing of the final version of the picture can not be an argument in favor of changing the author in the process.
2. Moreover, the very modest collection of information about the nature of the preparatory drawings of Leonardo (or any of its graphics) spoke in favor of the fact that the artist is always a lot of time reworking the track, and any surface suitable for writing (including primed canvas or a wall) could be used not only to develop the product composition of the future, but also for "fixing" of ideas - and this explains the presence of a self-portrait.
3. Naturally, then had to somehow produce a finished item to the customer (with finality Leonardo has always been a problem), so everything is hidden behind layers of painting.
4. Often in the treaties of the artist and customer to prescribe a mandatory condition - agreement on the stage of preparatory work for the so-called vidimus'a (sketch on paper) or a preparatory drawing on the ground. The customer has the right to make their own changes and amendments that should have been included in the final version.
In my opinion, this example would be a good explanation for the more traditional arrangement of the final compared with the preparatory drawings.

[color="# 666686"]Added after 5 minutes[/color]
"Scientific diagnostician, saw a true" Adoration of the Magi "

Among obsessed scientists and scheming prelates who inhabit the world of Dan Brown's bestseller The Da Vinci Code ", there is a real person.

Maurizio Serachini works decorated with frescoes in the Palazzo with high ceilings, which separates the river from the Uffizi gallery in Florence. Room packed with equipment, which makes him look like a hospital or laboratory.

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Brown calls it art diagnostician, and it is not bad characterizes human activities, which explores the paintings with the help of modern technologies and advises museums, dealers and collectors on the restoration, reports Guardian. (Translation of material - site Inopressa.ru).
Source: www.newsru.com
Article 2005)

Plot of "The Da Vinci Code revolves around the claim that Leonardo da Vinci's paintings contain many symbolic allusions to the secrets that keep the followers of the medieval Knights Templar: Christ married Mary Magdalene and had children whose descendants are alive today. Brown drew attention to the Serachini through an epic investigation, during which the detective sorted out, which is under the surface of the Adoration of the Magi "- paintings, sketches which, according to experts, did da Vinci, but painted by someone else.

Brown said that the infrared images show that the picture is very different from the sketch. Differences, in his opinion, were intended to "destroy the original idea of Da Vinci. He added: "Whatever the true essence of the sketch, it must see the general public."

Now it is possible. Serachini, which this week to complete four years of investigation, in an exclusive interview told the Guardian about the preliminary results. Three years ago he had something to tell New York Times, but then talked about the preliminary findings only with the four experts. Serachini thoroughly studied painting, using infrared rays that penetrate through the paint, but reflect on the fact that under it.

He and his staff learned from the amber-colored background pictures da Vinci, was located there more than five centuries. They include many details that had previously remained invisible. Some will fall to the court theorists conspiracy theories.

Adoration of the Magi, probably intended as a training ground. Even see all of the work is filled with figures, faces, animals, buildings, foliage and actions that have no relationship to the biblical story about the visit of the Virgin Mary and her newborn son, the three wise men.

Figure of a man immersed in thought, in the foreground surrounded by a sea of faces. Behind Mary on one side is an unfinished building, which is sometimes called the destroyed palace. On the other hand - the rider, who seems to have just emerged from the battle. Thus there are no elements that can be expected: no stables, nurseries, oxen and even a donkey.

At the last stage with Serachini almost a year working three assistants who have made 2,4 thousand of images in infrared light.

Under the superficial layer of paintings Serachini found "the whole world", no doubt, created by Da Vinci. In the abundance of available documentary evidence that he received an order for "Adoration of the Magi" and made at least part of the work.

"There is a surprising sense of belonging to a creative search for Leonardo - said Martin Kemp, professor of history at Oxford and one of the experts who saw the interim results of Serachini. - Remarkable brainstorming, which is not visible on the surface."

To the right of the 500-year-old non-existence appeared thoroughly drawn ox and ass, and part of the roof missing barn. King-misanthrope, grimly gazing out over the right shoulder of Mary, was a figure, full of grandeur. In the lower left corner, a host of individuals, drawn master's hand.

Perhaps the most important for critics and historians, the discovery will be that the two riders in the top right corner - a small piece of an entire battle scene. From it emanates violence and terror: the people writhe in pain, reflecting the blows and falling under the hooves of horses. In the distance can be seen equestrian battle.

Job Serachini raises the question: why Da Vinci wanted to include this bloody scene in the picture of the birth of Christ and why he - or anyone else - gave up this idea? But fans of Dan Brown will take another question: Is that found Serachini and his assistants, all that can be seen under the superficial layer of the painting.

The traditional interpretation, the building is rubble, symbolizing the decline of pre-Christian way of life. Study Serachini confirmed that the structure is not a Christian. Da Vinci did not apply to the surrounding classical Roman architecture. "This small caps - the image of the lotus - Serachini said, pointing to the column. - I am very surprised to see her."

Small capitals - upper part of the column - allows to judge the age and style of the building. The capitals in the form of a lotus flower are characteristic of ancient Egypt.

The building is partially destroyed and abandoned. Another discovery was made several days ago - a tree grows on the rocks. And the people around him - apparently, the workers and artisans. Serachini believes that this pagan temple, and Leonardo originally wanted to show that it is reduced.

It is unusual for a painting depicting the birth of Christ, but fans of "The Da Vinci Code" would no doubt see in this an allusion to the main idea of the book: after the dissolution of the Knights Templar, he was secretly restored to keep a secret. Serachini who has not read Brown's book, does not want to indulge in such speculation.

But he sure found a "real" worship, and that to which we have looked for centuries, is a distortion created by "apprentice". Sitting next to a scientist at the monitor on which he demonstrates the details of the sketch, it is easy to understand why.

The physical details of the sketch in the upper layer, consisting of resin, shellac, coal and bitumen, are deformed.

Serachini believes that the upper layer was caused at least half a century after da Vinci. But many art historians are not so sure.

Some argue that the show now in its present form is not intended as an orange-brown background is a primer. This is as controversial as the question of da Vinci's designs.

Serachini believes that da Vinci created a sketch, because he used a mixture of lampblack and water glue. "Otherwise, he simply would have disappeared."

Does it mean that Leonardo was suspected that his plan be subject to change, and intentionally kept it that way? "I'm not going to speculate on the subject - snapped Serachini. - Leave that to the historians of art. But I can not be deleted".