Showing posts with label Da Vinci. Show all posts
Showing posts with label Da Vinci. Show all posts

Monday, October 29, 2012

A Faded Piece of Papyrus Refers to Jesus’ Wife


LAURIE GOODSTEIN
September 18, 2012
http://www.nytimes.com/2012/09/19/us/historian-says-piece-of-papyrus-refers-to-jesus-wife.html

CAMBRIDGE, Mass. — A historian of early Christianity at Harvard Divinity School has identified a scrap of papyrus that she says was written in Coptic in the fourth century and contains a phrase never seen in any piece of Scripture: “Jesus said to them, ‘My wife ...’ ”

The faded papyrus fragment is smaller than a business card, with eight lines on one side, in black ink legible under a magnifying glass. Just below the line about Jesus having a wife, the papyrus includes a second provocative clause that purportedly says, “she will be able to be my disciple.”

The finding was made public in Rome on Tuesday at the International Congress of Coptic Studies by Karen L. King, a historian who has published several books about new Gospel discoveries and is the first woman to hold the nation’s oldest endowed chair, the Hollis professor of divinity.

The provenance of the papyrus fragment is a mystery, and its owner has asked to remain anonymous. Until Tuesday, Dr. King had shown the fragment to only a small circle of experts in papyrology and Coptic linguistics, who concluded that it is most likely not a forgery. But she and her collaborators say they are eager for more scholars to weigh in and perhaps upend their conclusions.

Even with many questions unsettled, the discovery could reignite the debate over whether Jesus was married, whether Mary Magdalene was his wife and whether he had a female disciple. These debates date to the early centuries of Christianity, scholars say. But they are relevant today, when global Christianity is roiling over the place of women in ministry and the boundaries of marriage.

The discussion is particularly animated in the Roman Catholic Church, where despite calls for change, the Vatican has reiterated the teaching that the priesthood cannot be opened to women and married men because of the model set by Jesus.

Dr. King gave an interview and showed the papyrus fragment, encased in glass, to reporters from The New York Times, The Boston Globe and Harvard Magazine in her garret office in the tower at Harvard Divinity School last Thursday.

She repeatedly cautioned that this fragment should not be taken as proof that Jesus, the historical person, was actually married. The text was probably written centuries after Jesus lived, and all other early, historically reliable Christian literature is silent on the question, she said.

But the discovery is exciting, Dr. King said, because it is the first known statement from antiquity that refers to Jesus speaking of a wife. It provides further evidence that there was an active discussion among early Christians about whether Jesus was celibate or married, and which path his followers should choose.

“This fragment suggests that some early Christians had a tradition that Jesus was married,” she said. “There was, we already know, a controversy in the second century over whether Jesus was married, caught up with a debate about whether Christians should marry and have sex.”

Dr. King first learned about what she calls “The Gospel of Jesus’s Wife” when she received an e-mail in 2010 from a private collector who asked her to translate it. Dr. King, 58, specializes in Coptic literature, and has written books on the Gospel of Judas, the Gospel of Mary of Magdala, Gnosticism and women in antiquity.

The owner, who has a collection of Greek, Coptic and Arabic papyri, is not willing to be identified by name, nationality or location, because, Dr. King said, “He doesn’t want to be hounded by people who want to buy this.”

When, where or how the fragment was discovered is unknown. The collector acquired it in a batch of papyri in 1997 from the previous owner, a German. It came with a handwritten note in German that names a professor of Egyptology in Berlin, now deceased, and cited him calling the fragment “the sole example” of a text in which Jesus claims a wife.

The owner took the fragment to the Divinity School in December 2011 and left it with Dr. King. In March, she carried the fragment in her red handbag to New York to show it to two papyrologists: Roger Bagnall, director of the Institute for the Study of the Ancient World, at New York University, and AnneMarie Luijendijk, an associate professor of religion at Princeton University.

They examined the scrap under sharp magnification. It was very small — only 4 by 8 centimeters. The lettering was splotchy and uneven, the hand of an amateur, but not unusual for the time period, when many Christians were poor and persecuted.

It was written in Coptic, an Egyptian language that uses Greek characters — and more precisely, in Sahidic Coptic, a dialect from southern Egypt, Dr. Luijendijk said in an interview.

What convinced them it was probably genuine was the fading of the ink on the papyrus fibers, and traces of ink adhered to the bent fibers at the torn edges. The back side is so faint that only five words are visible, one only partly: “my moth[er],” “three,” “forth which.”

“It would be impossible to forge,” said Dr. Luijendijk, who contributed to Dr. King’s paper.

Dr. Bagnall reasoned that a forger would have had to be expert in Coptic grammar, handwriting and ideas. Most forgeries he has seen were nothing more than gibberish. And if it were a forgery intended to cause a sensation or make someone rich, why would it have lain in obscurity for so many years?

“It’s hard to construct a scenario that is at all plausible in which somebody fakes something like this. The world is not really crawling with crooked papyrologists,” Dr. Bagnall said.

The piece is torn into a rough rectangle, so that the document is missing its adjoining text on the left, right, top and bottom — most likely the work of a dealer who divided up a larger piece to maximize his profit, Dr. Bagnall said.

Much of the context, therefore, is missing. But Dr. King was struck by phrases in the fragment like “My mother gave to me life,” and “Mary is worthy of it,” which resemble snippets from the Gospels of Thomas and Mary. Experts believe those were written in the late second century and translated into Coptic. She surmises that this fragment is also copied from a second-century Greek text.

The meaning of the words, “my wife,” is beyond question, Dr. King said. “These words can mean nothing else.” The text beyond “my wife” is cut off.

Dr. King did not have the ink dated using carbon testing. She said it would require scraping off too much, destroying the relic. She still plans to have the ink tested by spectroscopy, which could roughly determine its age by its chemical composition.

Dr. King submitted her paper to The Harvard Theological Review, which asked three scholars to review it. Two questioned its authenticity, but they had seen only low-resolution photographs of the fragment and were unaware that expert papyrologists had seen the actual item and judged it to be genuine, Dr. King said. One of the two questioned the grammar, translation and interpretation.

Ariel Shisha-Halevy, an eminent Coptic linguist at Hebrew University in Jerusalem, was consulted, and said in an e-mail in September, “I believe — on the basis of language and grammar — the text is authentic.”

Major doubts allayed, The Review plans to publish Dr. King’s article in its January issue.

Dr. King said she would push the owner to come forward, in part to avoid stoking conspiracy theories.

The notion that Jesus had a wife was the central conceit of the best seller and movie “The Da Vinci Code.” But Dr. King said she wants nothing to do with the code or its author: “At least, don’t say this proves Dan Brown was right.”

Saturday, November 5, 2011

Leonardo's La Bella Principessa?


From LiveScience.com:

Christie's auction house may have sold a priceless piece of art by Leonardo da Vinci for a little more than $21,000, according to researchers who claim to have identified the origins of the hotly debated painting.

The painting appears to have come from a 500-year-old book containing the family history of the Duke of Milan. Art historian Martin Kemp, of the University of Oxford, believes the mystery painting, which appeared in 1998, is a portrait of the duke's daughter, created by da Vinci for her wedding book.

"We knew it came from a book, you have the stitch holes and can see the knife cut. Finding it is a miracle in a way. I was amazed," Kemp told LiveScience. "When doing historical research on 500-year-old objects … you hardly get the circle completed in this way."

In 2010, Kemp first suggested that da Vinci painted the portrait, and since then, art historians have debated over both its origin and the painter. In fact, several art historians contacted by LiveScience said they wouldn't comment on the piece or didn't return emails. An earlier examination of the artwork by a gallery in Vienna led the director there to say it was not a da Vinci, and they are unswayed by the new evidence.

From storage to source

The portrait was sent to Christie's in 1998, with art historians there suggesting the piece came from 19th-century German artists called the Nazarenes, who mimicked the Renaissance style. (This was disproved after carbon dating estimated the portrait's creation between 1440 and 1650.) It was titled "Head of a Young Girl in Profile to the Left in Renaissance Dress."

Kemp wasn't convinced and started looking into the painting's history. He first saw the portrait as an attachment to an email in 2008, and immediately recognized da Vinci's left-handed style. He went to see it in Zurich and his co-author, Pascal Cotte, engineer and founder of art analysis start-up Lumiere Technology, examined it in Paris.

Kemp and Cotte then published "La Bella Principessa: The Story of the New Masterpiece by Leonardo da Vinci," (Hodder Hb, 2010) claiming the work might be a da Vinci, a claim that many respected historians have disagreed with, some vehemently.

The portrait is made on vellum, a specially prepared skin normally used for writing and printing. No work by da Vinci has been found on vellum before, though it was frequently used in books. Researchers believe the portrait came from a book, because three stitch holes are visible on the portrait's left margin. It is also made of chalks and ink, not paint.

A wedding gift

"The chance of identifying the vellum book it came from was pretty small, a needle in the haystack, one would say," Kemp told LiveScience. That was, until American art historian D. R. Edward Wright of the University of South Florida, suggested that Kemp look at a set of books titled the "Sforziad."

There were at most four copies made, Kemp said. Aside from the copy in the National Library in Warsaw, there is a copy in London and one in Paris. Each book was custom-made and had different art and cover pages; evidence that this portrait had been "ripped" out was only found in the Warsaw book. The image was probably removed during the 18th century when the book was rebound, Kemp said.

Da Vinci was an artist in the duke's residence for several years between 1481 and 1499. He was the only left-handed artist in the court at that time, the researchers said.

Matching page to book

Upon examination, Kemp saw that the stitch holes from the page match up with the stitching on the book, but they aren't the only evidence Kemp puts forward. Because vellum is made from processed skins, each sheet has different qualities. The thickness and composition of this sheet matches up perfectly with the vellum from the book, Kemp said. There are also cut marks on the edge of the book.

"It was apparent from the evidence we got about the vellum and the missing sheets, within reasonable margins of doubt, that's where it comes from," Kemp said. "At 500 years old, you never have as much confirmation as you like, but this is as good as it gets."

Kemp and Cotte have published a short version of their examination of the book and the portrait's cut marks and binding, along with their analysis of the vellum online. The painting has been renamed "La Bella Principessa," though its true origins are still debated...

'Lost' Da Vinci Portrait, and its Origins, Stir Controversy
Jennifer Wels
14 October 2011
http://www.livescience.com/16549-lost-davinci-portrait.html

Tuesday, December 21, 2010

The real-life Da Vinci Code

http://www.dailymail.co.uk/news/article-1337976/Real-life-Da-Vinci-Code-Tiny-numbers-letters-discovered-Mona-Lisa.html

The real-life Da Vinci Code: Historians discover tiny numbers and letters in the eyes of the Mona Lisa
Nick Pisa and Luke Salkeld
13th December 2010

Intrigue is usually focused on her enigmatic smile.

But the Mona Lisa was at the centre of a new mystery yesterday after art detectives took a fresh look at the masterpiece – and noticed something in her eyes.

Hidden in the dark paint of her pupils are tiny letters and numbers, placed there by the artist Leonardo da Vinci and revealed only now thanks to high-­magnification techniques.

Experts say the barely distinguishable letters and numbers represent something of a real-life Da Vinci code.

The revelation could have come straight from the pages of Dan Brown’s best-seller The Da Vinci Code, in which the Mona Lisa is said to contain hidden clues about the Holy Grail.

Silvano Vinceti, president of Italy’s National Committee for Cultural Heritage, which spotted the symbols, said: ‘To the naked eye the symbols are not visible but with a magnifying glass they can clearly be seen

‘In the right eye appear to be the letters LV which could well stand for his name, Leonardo da Vinci, while in the left eye there are also symbols but they are not as defined.

‘It is very difficult to make them out clearly but they appear to be the letters CE, or it could be the letter B.

‘In the arch of the bridge in the background the number 72 can be seen or it could be an L and the number 2.

‘You have to remember the ­picture is almost 500 years old so it is not as sharp and clear as when first painted.

‘From the preliminary investigations we have carried out we are confident they are not a mistake and were put there by the artist.’

The search was initiated by another Dan Brown-style plot device after a fellow committee member discovered a musty book in an antique shop ­referring to symbols in the Mona Lisa’s eyes.

Mr Vinceti added: ‘Da Vinci put a special emphasis on the Mona Lisa and we know that in the last years of his life he took the painting with him everywhere.

'We also know that da Vinci was very esoteric and used symbols in his work to give out messages.

‘Who knows, they may even ­possibly be a love message to the ­figure in the painting.’

Mr Vinceti is a member of a group which is seeking permission to exhume da Vinci’s remains from his tomb at Amboise Castle in France’s Loire Valley.

They want to see if the artist’s skull is there so that they can try and recreate his face and establish if the Mona Lisa – owned by the French government and on display in The Louvre – is in fact a twist on a self-portrait of the artist as some believe.

Friday, October 1, 2010

Human-powered aircraft makes aviation history


http://www.dailymail.co.uk/sciencetech/article-1314509/Human-powered-aircraft-makes-aviation-history-fly-using-flapping-wings.html


Human-powered aircraft makes aviation history by becoming the first to fly using flapping wings
Niall Firth
23rd September 2010


It has been the dream of engineers and eccentric inventors for centuries.

And ever since Leonardo da Vinci sketched the first human-powered ornithopter in 1485, humans have tried to take to the air like birds by flapping their wings.

But now a human-powered aircraft has made aviation history by becoming the first with flapping wings to fly continuously.

The 'Snowbird' performed its record-breaking flight at the Great Lakes Gliding Club in Ontario in Canada in August.

Todd Reichert, an Engineering PhD candidate at the University of Toronto Institute for Aerospace Studies (UTIAS), flew the wing-flapping device and sustained both altitude and airspeed for 19.3 seconds, covering a distance of 145 metres at an average speed of 25.6 kilometres per hour.

He flew the Snowbird by pedaling with his legs. Pulleys and ropes attached to the wings pulled down when he pedaled forward.

‘The Snowbird represents the completion of an age-old aeronautical dream,' says lead developer and project manager Reichert.

‘Throughout history, countless men and women have dreamt of flying like a bird under their own power, and hundreds, if not thousands have attempted to achieve it. This represents one of the last of the aviation firsts.’

The Snowbird weighs just 94 lbs and has a wing span of 105 feet. Although its wingspan is comparable to that of a Boeing 737, the Snowbird weighs less than all of the pillows on board.

Pilot Reichert lost 18 lbs of body weight over the summer to facilitate flying the aircraft.

The feat was witnessed by the vice-president of the Fédération Aéronautique Internationale (FAI), the world-governing body for air sports and aeronautical world records.

The official record claim was filed this month, and the FAI is expected to confirm the ornithopter's world record at its meeting in October.

Reichert said: 'The use of human power, when walking or cycling, is an efficient, reliable, healthy and sustainable form of transportation.

‘Though the aircraft is not a practical method of transport, it is also meant to act as an inspiration to others to use the strength of their body and the creativity of their mind to follow their dreams.'

Thursday, February 4, 2010

Behind the smile

http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/visual_arts/article6976971.ece

The Times
January 6, 2010
Behind the smile Mona Lisa may have been suffering from high cholesterol
In Leonardo Da Vinci's Mona Lisa there is said to be clear evidence around the left eye socket of xanthelasma, a yellowish collection of fatty acids underneath the skin, suggesting high levels of cholesterol. There also evidence on the hands of subcutaneous lipomas, benign tumors composed of fatty tissue.
Richard Owen in Rome

Is she enjoying a private joke? Is she sneaking a sly glance at an unseen lover? Or is the glint in the Mona Lisa’s eye in fact the result of a build-up of fatty acids around her eye socket, a sure sign that she wasn’t watching her cholesterol?

An Italian medical expert says he has found evidence of a range of afflictions in some of the world’s greatest works of art. Vito Franco, Professor of Pathological Anatomy at the University of Palermo, claims that there are clear signs of diseases, from bone malformations to kidney stones, that cast certain icons of perfection in a very different light.

Professor Franco, who presented his findings at a European congress on human pathology in Florence, told The Times that he had begun studying art masterpieces for evidence of disease and illness two years ago.

“I look at art with a different eye from an art expert, much as a mathematician listens to music in a different way from a music critic,” he said. He added that he had analysed about 100 art works, from Egyptian sculpture to contemporary paintings but his focus, he told La Stampa, was on Old Masters. He found that not only aristocrats but also Madonnas, angels and mythical heroes — or at least the sitters — revealed telltale signs of illness.

In Diego Velázquez’s Las Meninas (The Maids of Honour), at the Prado in Madrid, the five-year-old Infanta Margarita depicted with her attendants at the court of Philip IV appears to be a victim of Albright syndrome, “a genetic illness involving precocious puberty, low stature, bone disease and hormonal problems”.

The “almost feminine” elegance of the young nobleman in a red velvet hat and wearing a gold medal in Sandro Botticelli’s Portrait of a Young Man at the National Gallery in Washington was due to his unnaturally long, thin fingers — a sign of arachnodactyly, or “spider fingers”. This condition is linked to Marfan syndrome, a genetic defect apparently visible in Parmigianino’s long-necked Madonna, at the Uffizi Gallery in Florence.

Sufferers from Marfan syndrome, first identified by the French physician Bernard Marfan in 1896, tend to be unusually tall and thin with disproportionately long limbs.

Another famous Virgin Mary, the Madonna del Parto by Piero della Francesca, has a goitre, or swelling of the thyroid gland, on her neck “typical of people who drank water from a well in certain areas” in medieval times. This produced a deficiency of iodine, which caused changes in the thyroid.

Michelangelo’s own ailment, which Professor Franco diagnoses as kidney stones — is shown in Raphael’s School of Athens where he appears with strangely swollen and knobbly knees. Michelangelo complained of kidney and bladder problems in his letters and may have suffered from gout.

Friday, April 24, 2009

Dan Brown Novel Now Due in September

http://artsbeat.blogs.nytimes.com/2009/04/20/long-delayed-dan-brown-novel-now-due-in-september/

April 20, 2009
Long-Delayed Dan Brown Novel Now Due in September
By Motoko Rich

Dan Brown, the author of the mega-bestselling novel “The Da Vinci Code,” has finally delivered his long-awaited new novel, “The Lost Symbol,” and it will be published Sept. 15. The Knopf Doubleday Publishing Group said on Monday that it was planning a first print run of 5 million copies, a number that dwarfs most other books. “The Da Vinci Code,” which was made into a movie starring Tom Hanks, was a worldwide publishing phenomenon, with 81 million hardcover copies in print. Fans and the publisher have been waiting a long time for Mr. Brown to finish the new book. It was originally scheduled for a 2005 delivery. “The Lost Symbol” will again feature Robert Langdon, the protagonist of “The Da Vinci Code.” According to Jason Kaufman, executive editor at Doubleday, the novel takes place over the course of 12 hours and will “follow Robert Langdon through a masterful and unexpected new landscape.” In a statement, Mr. Brown said he had spent five years on research for the book. “Robert Langdon’s life clearly moves a lot faster than mine,” he said.

The publisher remained cryptic about the plot or subject of the new novel, but in an author’s FAQ on Mr. Brown’s Web site, he answers the question “What are you working on now?” by saying that the work in progress finds Langdon “embroiled in a mystery on U.S. soil. The new novel explores the hidden history of our nation’s capital.” And on another page on the Web site, he notes that “the next Robert Langdon novel” is “set deep within the oldest fraternity in history … the enigmatic brotherhood of the Masons.”

Monday, December 22, 2008

Drawings discovered on Da Vinci masterpiece

http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/visual_arts/article5365300.ece

December 18, 2008
Three near-invisible drawings discovered on back of Da Vinci masterpiece
Adam Sage in Paris

The French art world is in a frenzy of speculation today after the strange discovery of three almost invisible drawings on the back of a masterpiece by Leonardo da Vinci in the Louvre museum.

The mysterious sketches, which were found when the painting, Virgin and Child With Saint Anne, was taken down for experts to determine whether it could be restored, may be by the Renaissance artist himself, according to the museum in Paris.

Although the discovery is reminiscent of Dan Brown's Da Vinci Code, art experts said that the drawings would not have contained a hidden message from the painter.

They say that Da Vinci sketched out his ideas on whatever came to hand, and might have used the planks of poplar wood that formed the backing for the work, which dates from the 1500s.

If he were confirmed as the author, the drawings could help to give an exact date to the work, which is often considered as his artistic testament.

They were detected in September after Sylvain Laveissière, a curator at the Louvre, noticed that some of the grey marks behind Virgin and Child With Saint Anne resembled a horse's head.

A photograph with an infrared camera in the Louvre's laboratory confirmed his suspicion and found two other sketches invisible to the naked human eye next to the horse's head.

These were of a human skull and of the infant Jesus with a Lamb — a drawing reminiscent of the celebrated painting on the other side of the popular boards.

"They were not meant to be kept," said Bruno Mottin, a specialist at the Louvre's art laboratory. "They had been largely wiped out, which explains why no one had notived them until now."

The Louvre said in a statement: "This is an exceptional discovery as sketches on backs of works are very rare and there is no known example of one from Leonardo to this day."

Thursday, May 1, 2008

Swiss jumps using da Vinci-designed parachute

And for more on Leonardo...

http://news.yahoo.com/s/afp/20080426/od_afp/switzerlandparachuteoffbeathistory_080426202937

Swiss jumps using Leonardo da Vinci-designed parachute
Sat Apr 26, 2008

A 36-year-old Swiss amateur parachutist made a successful 650-metre (2,130-foot) drop Saturday using a replica of a parachute designed more than 500 years ago by Leonardo da Vinci.

"I came down... smack in the middle of the tarmac at Payerne military airport," said Olivier Vietti-Teppa. "A perfect jump."

Vietti-Teppa is the first person to have made it safely to the ground with the Leonardo model.

In 2000, Britain's Adrian Nicholas tried it but had to pull the ripcord on a modern backup parachute to complete his descent safely.

Vietti-Teppa jumped from a hovering helicopter and the Leonardo parachute opened at 600 metres, he reported.

The parachute he used was made using modern fabric along lines designed by the Renaissance genius. The specifications were found in a text dating from 1485.

The parachute consists of four equilateral triangles, seven metres on each side, made of parachute fabric, Vietti-Teppa explained.

The base of the pyramid is a square of mosquito net, which enables the parachute to open. A wooden frame originally conceived by da Vinci was not used on the model in action on Saturday.

One drawback: it is impossible to manoeuvre or steer the Leonardo parachute. "You come down at the whim of the wind," said Vietti-Teppa, who carried out advance tests using a scale dummy model launched from a remote-controlled model helicopter.

Wednesday, March 26, 2008

St Peter not the first Pope and never went to Rome

http://www.telegraph.co.uk/news/main.jhtml?xml=/news/2008/03/23/wrome123.xml

St Peter was not the first Pope and never went to Rome, claims Channel 4
By Jonathan Wynne-Jones, Religious Affairs Correspondent
23/03/2008

St Peter's journey to Rome led to the spread of Christianity in the West and the foundation of Roman Catholicism, so the Church has always taught.

But a new documentary will challenge the link as nothing more than a "conspiracy of faith". In it, prominent academics accuse the Vatican of misleading the world over the fate of the man regarded as Jesus Christ's closest disciple. In allegations likely to spark controversy, they accuse the Church of fabricating a connection with the apostle to validate giving ultimate power to the papacy.

Catholicism holds that the Pope is the sole successor to the 'supremacy' of Peter

Catholicism has taught for centuries that Peter was martyred and buried in Rome and that all popes succeed him, but the documentary will challenge this by asserting that he never reached the Italian city. Instead, it will accuse the Church of ignoring the discovery of a tomb in Jerusalem that archaeologists believe contains the bones of Peter.

Leading theologians said that these views were an "attempt to smear Catholicism" and criticised Channel 4 for allowing such "outlandish" claims to be broadcast.

They expressed concern that they would appeal to people who are easily persuaded by conspiracy theories, such as the idea that Jesus had a child with Mary Magdalene, as proposed in Dan Brown's best-seller The Da Vinci Code.

Dr Robert Beckford, a theology lecturer at Oxford Brookes University, who presents the documentary, denied that this was an attempt to attack the Catholic Church. "This is about looking at what the pillars of power are founded on and examining the scholarship that most Catholics take for granted," he said.

"We found that there is no scientific evidence to support the idea that Peter was buried in Rome, but yet the rival theory has not got out because it challenges the Church.

"If you undermine its basis for power you undermine the Church. It's tragic that the faith gets reduced to manipulating the facts and to one Church trying to make itself superior to others."

As Christianity spread following the crucifixion of Jesus, it became important for the new churches to claim a link with the disciples and led the Catholic Church to establish a connection with St Peter.

advertisementCatholics believe the proof that Christ constituted St Peter head of His Church is found in the two Petrine texts, Matthew 16:17-19, and John 21:15-17. In Matthew, the office is solemnly promised to the apostle as Jesus addresses him: "Blessed art thou, Simon Bar-Jona: because flesh and blood hath not revealed it to thee, but my Father who is in heaven. And I say to thee: That thou art Peter; and upon this rock I will build my Church, and the gates of hell shall not prevail against it. And I will give to thee the keys of the kingdom of heaven."

Roman Catholicism holds that the Pope, also known as the Bishop of Rome, is the sole successor to the "supremacy" or primacy of Peter and is thus the "Vicar of Christ" for the world.

It is traditionally believed that he was crucified in Rome and buried where the Basilica of St Peter was later built, beneath the high altar.

In 1939, the Vatican announced that the bones of Peter had been found in Rome during an archaeological dig. But the documentary casts doubt on this, questioning why the dig was carried out "in total secrecy", and led by a "personal friend" of the Pope.

"The Pope's authority over the world's one billion Roman Catholics derives from the belief that Peter died and was buried here almost 2,000 years ago," said Dr Beckford.

The documentary, The Secrets of the Twelve Disciples ­(Channel 4 today at 5.45pm), suggests it that is much more likely that St Peter was buried in an ossuary found in Jerusalem with the inscription Shimon Bar Jonah - Simon son of Jonah - the Hebrew name for Peter.

However, Gerald O'Collins, professor emeritus of Systematic Theology at the Gregorian University in Rome, said that the documentary contradicted the "great weight" of tradition that accepted Peter had been martyred and buried in Rome. "This is awful stuff, total ­nonsense," he said. "This kind of outlandish garbage drives me nuts."

John Medlin, the general manager of the Latin Mass Society, said of the "intellectually-challenged" arguments: "They are on a par with Dan Brown's Da Vinci Code and are unsubstantiated. It shows undisguised disdain for the Catholic Church."

Friday, November 2, 2007

Leonardo's "Last Supper" Goes HiDef Online

Leonardo's "Last Supper" Goes HiDef Online
MILAN, Italy, Oct. 27, 2007

(AP) Can't get to Milan to see Leonardo Da Vinci's masterpiece "The Last Supper?"

As of Saturday, all you need is an Internet connection. Officials put online an image of the "Last Supper" at 16 billion pixels - 1,600 times stronger than the images taken with the typical 10 million pixel digital camera.

The high resolution will allow experts to examine details of the 15th century wall painting that they otherwise could not - including traces of drawings Leonardo put down before painting.

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.

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.

"The demand is three of four times higher, but we can't accommodate it because of efforts to preserve the painting," Artioli said.

On the Web: http://www.haltadefinizione.com/

By Associated Press Writer Colleen Barry

Friday, October 26, 2007

25 Secrets of Mona Lisa Revealed

http://www.livescience.com/history/071018-mona-lisa.html

25 Secrets of Mona Lisa Revealed
By Jeanna Bryner, LiveScience Staff Writer
18 October 2007

New images uncover 25 secrets about the Mona Lisa, including proof that Leonardo da Vinci gave her eyebrows, solving a long-held mystery.

The images are part of an exhibition, "Mona Lisa Secrets Revealed," which features new research by French engineer Pascal Cotte and debuts in the United States at the Metreon Center in San Francisco, where it will remain through the end of this year. The Mona Lisa showcase is part of a larger exhibition called "Da Vinci: An Exhibition of Genius."

Cotte, founder of Lumiere Technology, scanned the painting with a 240-megapixel Multi-spectral Imaging Camera he invented, which uses 13 wavelengths from ultraviolet light to infrared. The resulting images peel away centuries of varnish and other alterations, shedding light on how the artist brought the painted figure to life and how she appeared to da Vinci and his contemporaries.

"The face of Mona Lisa appears slightly wider and the smile is different and the eyes are different," Cotte said. "The smile is more accentuated I would say."

Mona Lisa mysteries

A zoomed-in image of Mona Lisa's left eye revealed a single brush stroke in the eyebrow region, Cotte said.

"I am an engineer and scientist, so for me all has to be logical. It was not logical that Mona Lisa does not have any eyebrows or eyelashes," Cotte told LiveScience. "I discovered one hair of the eyebrow."

Another conundrum had been the position of the subject's right arm, which lies across her stomach. This was the first time, Cotte said, that a painter had rendered a subject's arm and wrist in such a position. While other artists had never understood da Vinci's reasoning, they copied it nonetheless.

Cotte discovered the pigment just behind the right wrist matched up perfectly with that of the painted cover that drapes across Mona Lisa's knee. So it did make sense: The forearm and wrist held up one side of a blanket.

"The wrist of the right hand is up high on the stomach. But if you look deeply in the infrared you understand that she holds a cover with her wrist," Cotte said.

Behind a painting

The infrared images also revealed da Vinci's preparatory drawings that lie behind layers of varnish and paint, showing that the Renaissance man was also human.

"If you look at the left hand you see the first position of the finger, and he changed his mind for another position," Cotte said. "Even Leonardo da Vinci had hesitation."

Other revelations include:

Lace on Mona Lisa's dress

The transparency of the veil shows da Vinci first painted a landscape and then used transparency techniques to paint the veil atop it.

A change in the position of the left index and middle finger.

The elbow was repaired from damage due to a rock thrown at the painting in 1956.

The blanket covering Mona Lisa's knees also covers her stomach.

The left finger was not completely finished.

A blotch mark on the corner of the eye and chin are varnish accidents, countering claims that Mona Lisa was sick.

And the Mona Lisa was painted on uncut poplar board, contrary to speculations.

In the larger picture, Cotte said when he stands back and looks up at the enlarged infrared image of Mona Lisa, her beauty and mystique are apparent.

"If you are in front of this huge enlargement of Mona Lisa, you understand instantly why Mona Lisa is so famous," Cotte said. He added, it's something you have to see with your own eyes.

Sunday, July 29, 2007

New "Last Supper" theory

http://news.yahoo.com/s/nm/20070727/wr_nm/italy_lastsupper_theory_dc

New "Last Supper" theory crashes Leonardo Web sites
Fri Jul 27, 2007

A new theory that Leonardo's "Last Supper" might hide within it a depiction of Christ blessing the bread and wine has triggered so much interest that Web sites connected to the picture have crashed.

The famous fresco is already the focus of mythical speculation after author Dan Brown based his "The Da Vinci Code" book around the painting, arguing in the novel that Jesus married his follower, Mary Magdelene, and fathered a child.

Now Slavisa Pesci, an information technologist and amateur scholar, says superimposing the "Last Supper" with its mirror-image throws up another picture containing a figure who looks like a Templar knight and another holding a small baby.

"I came across it by accident, from some of the details you can infer that we are not talking about chance but about a precise calculation," Pesci told journalists when he unveiled the theory earlier this week.

Websites http://www.leonardodavinci.tv/, http://www.codicedavinci.tv/, http://www.cenacolo.biz/ and http://www.leonardo2007.com/ had 15 million hits on Thursday morning alone, organizers said, adding they were trying to provide a more powerful server for the sites.

In the superimposed version, a figure on Christ's left appears to be cradling a baby in its arms, Pesci said, but he made no suggestion this could be Christ's child.

Judas, whose imminent betrayal of Christ is the force breaking the right-hand line of the original fresco, appears in an empty space on the left in the reverse image version.

And Pesci also suggests that the superimposed version shows a goblet before Christ and illustrates when Christ blessed bread and wine at a supper with his disciples for the first Eucharist.

The original Da Vinci depicts Christ when he predicts that one among them will betray him.