Leonardo da vinci john the baptist history of creation. "John the Baptist" by Leonardo da Vinci: description, history and interesting facts

We decided to compare two geniuses of the world fine arts - Andrey Rublev and Leonardo da Vinci.

God and nature

The comparison should begin with the worldview of the two masters. Two big artist- they are, first of all, two thinkers whose ideas about the world were embodied in creativity.
Andrei Rublev is considered one of the brightest representatives of hesychasm in Rus'. Hesychasts practiced tireless control over their thoughts, constant inner prayer, which should purify the mind and heart and bring the prayer closer to God. “The Kingdom of God is within you,” says the Bible, and the goal of the Hesychasts was to “see” God spiritually. “Tell this mountain to move, and if you truly believe, it will move” - that was their principle.
Leonardo da Vinci is considered prominent representative Western European Renaissance, "universal man". Denying the dogmas of scholasticism, not accepting strict religious dogmas, in particular, ridiculing the formidable Savonarola, da Vinci found another meaning in life - nature. That is why his interests were not limited to painting alone. If Rublev sought to know and capture God, da Vinci achieved perfection in depicting nature.

Monk and engineer

The difference in the perception of one's own place in the world follows from the difference in world outlook. One of the first reliable information about Andrei Rublev is the words about his tonsure as a monk, which the icon painter received at the Trinity-Sergius Monastery under the Monk Nikon of Radonezh. That is, first of all, Rublev was a monk - and only then an icon painter. And Leonardo da Vinci himself did not consider himself an artist: despite the fact that he graduated from the workshop of Verrocchio, where he even surpassed his teacher in skill, da Vinci considered engineering to be his main profession. Painting was for him as important, interesting, but a side activity as passion for music or the art of table setting.

Annunciation

The Annunciation is one of the first independent paintings by Leonardo da Vinci. bible story the artist interprets it quite traditionally: the Virgin Mary sits at the threshold of her house and reads the Bible, installed on a marble stand. A few steps away from her, with a lily in her left hand, kneeling, stands the winged Archangel Gabriel. The Mother of God and the throne angel are depicted as rich contemporaries of da Vinci, a girl and a youth. It seems that the plot here is of less interest to the author than the possibilities that composition and perspective open up for him. With amazing detail, the city is brilliantly written out in the background of the picture.

In the "Annunciation" by Andrei Rublev, you cannot find such detail. The city behind the two figures is practically of no interest to the author: almost the same buildings can be found on other icons of this type. However, the impact of his work is much greater. The reason for this is, first of all, in the dynamics inherent in the figure of the archangel (at the work of da Vinci, he is static). The archangel takes a step towards the Mother of God and, as if up, rises to her. The Virgin Mary bowed, humbly and lowly, to the blessing archangel. It seems that she is overwhelmed with emotions, the first of which is joy. And it is believed that the Holy Spirit really descends on her at this moment.

"Madonna Benois" and a copy of Our Lady of Vladimir

Other early work Leonardo - the so-called "Madonna Benois" or "Madonna with a flower" - interpretation classical motif Virgin Mary with child. The young mother, tenderly, holds a well-fed baby in her arms, who, with a serious face, looks at a flower that looks like a cross in shape. Belonging to this painting brush Italian master was proven by Bernard Berenson in 1912. This is how the art critic himself describes his meeting with the painting: “On one unfortunate day I was invited to examine“ Madonna Benois"... The eerie ghost of an old woman plays with a child: his face resembles an empty mask, and swollen bodies and limbs are attached to it. Pathetic hands, stupidly vain folds of skin, the color is like serum. And yet I had to admit that this terrible creature belongs to Leonardo da Vinci.

At the beginning of the 15th century, Andrei Rublev wrote a copy from miraculous icon Vladimir Mother of God. In contrast to da Vinci, he did not try to "revive" the images, to make them more real. It was more important for him to show the relationship between the mother, who knows about the fate of her child, and the baby. She leans towards him, and he clings to her. They keep looking into each other's eyes.

John the Baptist

Perhaps the most obvious contrast between the works of da Vinci and Rublev is in the images of John the Baptist. The figure on the icon from the iconostasis of the Assumption Cathedral in Vladimir, her look, her posture are amazing. The image is both restrained and emotional. John the Baptist stands straight, but bowing his head and strongly bending his whole body. He is thoughtful, wise, righteous and pure.

John the Baptist by Leonardo da Vinci is based on his handsome student (and possibly lover) Salai. Not on a golden, like Rublev’s Forerunner, but on a Rembrandtian dark background, an effeminate young man stands, raising his finger in a gesture traditional for John the Baptist. On his face is a sly smile. English art historian Walter Pater noted that she "gives out thoughts that are far from being exhausted by an external gesture or setting."

Spas and "Savior of the World"

The sixth reason for comparison is the image of Christ himself, written by both masters. Da Vinci's "Savior" is a real work of art, a masterpiece. In it, the master perfected the possession painting technique and, first of all, the sfumato technique, better known for another Italian canvas - Monet Lisa. Sfumato is a kind of haze with which the author envelops objects, thereby softening their outlines. This is the thickness of the air that separates us from the hero of the canvas. We see the face of the Savior as if out of focus. The most clearly depicted is the right hand, which is closest to us, as well as an amazingly drawn transparent sphere in the left hand.

From the "Spas" by Andrei Rublev, only a small fragment has survived. There are no details left - only the face of Christ. But (perhaps) the stronger, the more striking the impact of this image. There is not and cannot be any haze. It seems that God Himself is looking at us from a wooden board.

Leonardo di Ser Piero da Vinci amazes all mankind with his genius even after almost five centuries since his death. The inventions and works of art of the great Italian are still the subjects of study by leading historians of the world. Doesn't leave them alone either famous painting"John the Baptist" by Leonardo da Vinci, which is recognized as the last great job genius.

Birth of a genius

Leonardo da Vinci was illegitimately born in the Italian village of Vinci. His birth status closed the path to quality education and prestigious profession, because Leonardo was born in an illegal union of a peasant woman and a notary. However, future genius was only fueled by prohibitions, and thus his ambition and passion for his beloved work only grew.

Education

At the age of 15, da Vinci became a student of the artist Andrea del Verocchio. The skill and technique of the young student were so progressive that sometimes the teacher was even frightened. Despite his talent in the field of art, Leonardo was always fond of science and inventions. In order to expand his circle of interests, da Vinci moves from Florence to cultural capital Italy - Milan. In this city for da Vinci begins at all new life immediately after he starts working as a military engineer for the Duke of Milan Sforza himself. During 17 years of work in Milan great Leonardo invented, drew, comprehended science, and also generated an endless stream of the most daring and innovative ideas of his time. Without a doubt, these years spent working for Sforza were the most productive in the career of a great creator. However, in 1499, when da Vinci was 47 years old, French troops captured Milan and expelled Duke Sforza from the city. From then until his death, Leonardo traveled around Italy, visiting Venice and Rome, undertaking projects of all kinds. During this time, the creator was concentrated on the activities of the artist and anatomist.

Legacy and end of life

As an artist, Leonardo is famous for countless paintings and frescoes, the main of which are “Mona Lisa” and “ The Last Supper". As an anatomist, da Vinci made about 30 autopsies with his own hand and documented each of them in detail in the form of detailed drawings and drawings.

Anticipating hundreds important inventions by creating with my own hands legendary works of art and actively engaged in such various areas like astronomy and architecture, Leonardo da Vinci dies in 1519 at the age of 67.

Painting “John the Baptist” by Leonardo da Vinci

What picture is latest work brushes of the legendary artist? This is John the Baptist. Leonardo da Vinci finished writing the last masterpiece of his collection in 1517, exactly 500 years ago. The painting is 69x57 cm in size, executed in oil on a walnut canvas. In November 2016, the masters completed the last restoration of the painting and returned it back to the Louvre Museum in Paris. An interesting fact: the restoration took place under the clear guidance of professionals who had previously worked with paintings by famous artists, one of whom was Rembrandt. The process consisted of removing 15 layers of varnish and paint from previous restorations. In addition, thanks to the efforts of the masters, the canvas has become brighter and the faded details of the body, head and environment of John are now visible better.

Leonardo da Vinci, “John the Baptist”: description of the painting

The closest forerunner of Jesus Christ - John - was always depicted as thin and ardent, living in the desert and eating locusts and honey. Therefore, the painting “John the Baptist” by Leonardo da Vinci, in which main character depicted almost as a hermaphrodite with male and female features at the same time, was subjected to severe criticism and condemnation. In addition, the canvas was forgotten for quite a long time and was not put on public display.

The painting depicts John with a feminine arm bent at the elbow and an outstretched index finger pointing to heaven. Of course, it was not without enigmatic smile reminiscent of the famous Mona Lisa. John's face, with some features similar to a faun, is framed by a cascade of thick curls. The upward pointing finger appears quite often in da Vinci's works, signifying the coming of Jesus Christ.

“John the Baptist” by Leonardo da Vinci is written in the famous technique of the play of light and shadow. In the artist's notes, one can find references to the fact that he absolutely consciously depicts the figure of the hero against a dark background. This technique helps the master achieve a complete connection of the canvas elements. From a distance, the details of the picture are not visible, only the lightest elements are visible. However, depicting the body of John himself, da Vinci does not skimp on light and shadow. This helps the viewer to comprehend the picture as fully as possible. Even the darkened areas of the hero's figure reflect a faint sheen and radiance.

The canvas “John the Baptist” by Leonardo da Vinci, the description of which is simply impossible without mentioning the haunting beauty of John, radiates the ambiguity of the sexual identity of the main character. The mysterious gesture of the brush with the finger pointing up carries not only a religious meaning, most likely, an esoteric meaning is encrypted in it. Such a conclusion is possible, because not a single work of da Vinci can be interpreted unambiguously.

The riddle of John

The most important issue of interest to historians is the ambiguity of who is actually depicted in the painting “John the Baptist” by Leonardo da Vinci. The mysteries and mysteries that shroud the work of a genius have misled historians and scientists because it is impossible to give an unambiguous answer regarding the gender of the main character in the picture. An interesting fact: the picture was written from the lover of the great da Vinci - Salai. However, doubts about the gender of the character in the paintings of the genius originate even from the Mona Lisa, because Italian scientists, examining the famous canvas, found the letters L and S under the eyes of Gioconda (Leonardo and Salai, respectively). This discovery has led historians to doubt the existence of the true Lisa del Giocondo (the prototype of the same “Mona Lisa”), as well as to reconsider the gender of other da Vinci characters. This doubt was also generated by the obvious similarity of the smiles of Gioconda and Salai.

It is most likely impossible to get an unambiguous answer to all questions regarding the work of the great artist due to the passage of such a long time. But no mysteries and secrets prevent to this day from enjoying such a rich heritage of the Italian genius.

The painting “John the Baptist” by Leonardo da Vinci, despite being unknown to the general public for a long time, now rightfully takes its place in the Louvre and, according to many visitors to the museum, is as attractive as the immortal Gioconda .

The Lord called the Prophet John to preach to the Jewish people, to speak about the coming of Jesus Christ. “And he says, Repent, for the kingdom of heaven is at hand” (Mat. 3:2). “John answered everyone: I baptize you with water, but the strongest of me is coming, from whom I am not worthy to untie the strap of my shoes; He will baptize you with the Holy Spirit and fire” (Luke 3:16). But John also baptized Jesus Christ.

John denounced the vices of all people, for which he incurred the wrath of King Herod. John was not afraid to talk about the relationship of the king with his brother's wife Herodiana, who was also his niece. But Herod could not simply kill him, as he was afraid of the wrath of the people. Herodiana hated John even more than Herod. And at the birthday party of Herod, Solomiya, the daughter of Herodiana, danced so that Herod promised to fulfill her every wish. And on the advice of her mother, she demanded that the head of John the Baptist be brought to her on a platter. The promise was kept.

This story was popular in fine arts. Leonardo da Vinci also did not bypass him. But this picture is different from his other creations. Leonardo used a deep landscape (Gioconda, portrait of Ginevra Benci, Madonna in the grotto, even in such paintings as the Madonna Litta in the window we see the landscape). In this picture, the background is dark. Many art historians believe that a disciple of da Vinci is depicted in the image of John. Leonardo breaks with the classical style here.

The picture was written for about four years. It depicts an effeminate man. He has rounded shoulders, feminine soft face, curly hair, and again the same alluring smile. With his left hand he holds a cross, while his right hand points upwards. But he does not look like a saint. Dzhivelegov writes the following about this: “It is clear that the painting belongs to Leonardo himself, apart from stylistic features. None of the disciples could have had such a bold, almost blasphemous thought as the one personified by the "Baptist". In the Windsor draft of the first Florentine era, the modern Adoration of the Magi and the influences of the Platonic Academy, John the Baptist is quite different. He could eat locusts and exhaust himself with ascetic thoughts. This one is completely different." The researcher also notes that “in technical terms, “John the Baptist” continues what Leonardo found and fully implemented back in the “La Gioconda”.

"John" is a magnificent play of chiaroscuro, such a wonderful harmony of Leonard's sfumato. According to B.R. Vipper "But Leonard's sfumato is something more than external environment; it seems to penetrate the body through and through, warming it with its life-giving force, making warm blood play under the skin. With the help of the sfumato, Leonardo wants to penetrate inner life object, reveal its soul, learn the secret of its divine beauty. Leonard's sfumato thus serves not only as a formal picturesque purposes, but also spiritual impact on the viewer.

By sfumato they mean the softness of the pictorial manner, tonal transitions. This term was introduced by da Vinci himself, whose notes are preserved in the Treatise on Painting.

In the painting by Leonardo da Vinci "John the Baptist", the artist depicts a long-haired, effeminate young man who holds a cross in one hand and points to the sky with the other.

The study of this picture in monochromatic light showed that the skin (the robe of John the Baptist) and the reed cross (his typical attribute on paintings) added later by another artist. After that, the picture became known as "John the Baptist". Although this young man does not fit in with the image of the Baptist.

Here is an example of how John the Baptist is depicted Andrea Verrocchio, who had young Leonardo as a student. While working on the painting "The Baptism of Christ", the teacher instructs the young Leonardo to paint an angel holding the clothes of Christ.

Art critic Silvano Vinchetti voiced the theory that the prototype the mysterious Mona Lisa is Leonardo da Vinci's student Jean Giacomo Caprotti. Caprotti, also known as Salai, worked with famous artist over 20 years. The young man's face bears a striking resemblance to the image of the Mona Lisa. "Salai was Leonardo's favorite model," says Vinchetti, "it's safe to say that the artist added his facial features to the image of Mona Lisa."

Regarding the striking resemblance to the Gioconda - the remark is appropriate. An equally striking resemblance can be found with Anna in his other paintings.

It is worth noting that there is a similar portrait by Leonardo da Vinci "Angel Bringing Good News". It can be assumed that John, before he drew a cross, was also the same Angel. Recall now that there is a famous sketch by Leonardo da Vinci, the so-called "Angel in the Flesh."

The history of the sketch is rather obscure. It is known that in the 19th century it was part of the royal collection at Windsor, along with eleven other erotic drawings by Leonardo. According to the British art historian Brian Sewell, one fine day this collection was examined by a certain “well-known German expert”, and some time later the drawings disappeared (it is possible that with tacit consent Queen Victoria), and subsequently ended up in Germany. The names of the subsequent owners of the drawings are not advertised, but more than a century later, in 1991, Carlo Pedretti, a recognized connoisseur of Leonardo's work, was able to obtain permission from the owner of the drawing and present the "Angel in the Flesh" at an exhibition in Stia, Tuscany. Be that as it may, experts agree that Leonardo is the author of this sketch.

It is difficult to imagine an image that is more distant from everything that is usually associated with the concept of "asceticism" than this pampered young man. His food was clearly not "locust and wild honey." Thousands of art historians, writers and other lovers of beauty tried to understand what exactly the master Leonardo wanted to express by depicting St. John the Baptist in such an unexpected, to put it mildly, form. Not without reason, this portrait has always served as fertile nourishment for legends and rumors, stubbornly linking Leonardo with various secret communities, depicting him as the owner of "hidden", "secret" knowledge, a heretic, "magician", "initiated", in other words, connecting him with the hermetic tradition of the Renaissance.

Thus, strictly speaking, there is no reason to associate the feminine youth depicted by Leonardo da Vinci with John the Baptist. However, this circumstance in no way removes the question: why was such an association created, even if not by Leonardo himself, but by someone else? Well, in fact, why attach to a young man of a clearly non-Christian appearance the attributes of one of the most revered Christian saints? What is the complex of ideas behind this? Is there some hidden – hermetic – meaning in this?

The transformation of the canonical image of John the Baptist into the Prophet Elijah, Hermes Trismegistus, the Angel of the Covenant and the legendary Metatron will seem absurd and perhaps even blasphemous to adherents of any church! But the argumentation and steadfastness of the arguments in this work are irresistible.

Let us give one more argument in favor of such an interpretation: let us compare the image with Giambologna's famous "Mercury". The right arm of Mercury is raised and bent at the elbow in the same way as in the portrait of John the Baptist and in the painting “The Angel Bringing Good News”, and in the same way the pointing finger is directed to heaven.

The pointing finger is present on many canvases and drawings by Leonardo da Vinci; art critics could somehow convincingly explain the meaning of this symbolic gesture. It is quite possible that this symbol in Leonardo has many meanings, however, when interpreting the image of John as Enoch-Metatron, his gesture in the da Vinci painting receives a clear and logical explanation: the Jewish tradition calls Metatron the pointing finger of God, since he showed the way to the promised land in the desert to the Jewish people .

The symbol of the pointing finger is also found in Raphael, who was a student and follower of Leonardo da Vinci. For example, Raphael painted a portrait of John the Baptist, which is naturally associated with the painting by Leonardo.

In the gesture of Leonard's John, Plato's right hand is raised in Raphael's fresco Athenian school". And the very image of Plato is very similar to the self-portrait of Leonardo da Vinci. Therefore, in the image of Plato, the connection Plato - Leonardo - John the Baptist is declared. In addition, it must be borne in mind that in the Renaissance, Plato was considered the heir to the wisdom of Hermes Trismegistus.

Marsilio Ficino wrote that Hermes passed on the secret knowledge to his student Orpheus, he - Aglaofem, who was succeeded by Pythagoras, whose student was Philolaus, the teacher of the divine Plato. Thus, the fresco indicates that Leonardo was a successor of Plato and, thus, an adherent of the teachings of Hermes Thrice Greatest. Therefore, Plato-Leonardo tells us, lifting up forefinger As you look at the image of John, think of the unsurpassed wisdom and holiness of the divine Hermes.

…
And finally one more alternative version, about where the finger is pointing anyway.

Images of Virgo on the zodiacs are easily recognized. As a rule, this is a female figure with an ear in her hands. Often the Virgin was depicted pointing to the tail Lion, as shown in the figure by A. Dürer. On it, the Virgin touches the tassel at the end of the Lion's tail with her hand. As if holding it slightly. This tassel depicts the star of Denebola.

And here is another character, supposedly an Angel with a pointing finger (on Alexandrian column). And for comparison, the image of the Virgin, on astronomical maps of the XVI-XVII centuries. As they say, find ten differences:

1. Alexandrian column.
2. Andreas Cellarius, The Harmony of the Macrocosmos, 1661 edition.
3. "Phenomena and Predictions" Arata, 1569-1570, Mark Hofeld, Luxembourg.
4. Durer, 1515. Northern hemisphere of the sky.

The name of Denebola's star comes from Deneb Alased, from the Arabic phrase ذنب الاسد danab al-asad "lion's tail", or, according to Balinger, "Judge", "Coming Master". An angel pointing to the Cross, as if calling to remember the coming Judgment of God?

In astrology, Denebola was considered a harbinger of misfortune. It is believed that it "launches" world catastrophes in mundane maps (R. Ebertin, G. Hoffman "Fixed Stars"). Interesting characteristic the star on which Virgo focuses our attention. As they say, what does that mean? Isn't it the apocalypse?

Well, to complete the picture: Caduceus, an attribute of Hermes, in the hands of the Virgin, from medieval astronomical atlases.

1. Hugo Grotius, "Construction according to Arat", 1600.
2. Gigin, Astronomy, 1485 edition.
3. Gigin, Astronomy, 1570 edition.
4. Manuscript, IX century.
5. Sacrobusto (Sacrobusto "Sphaera Mundi" 1539).

However, should we be surprised? After all, the Ruler of the Virgo sign is Mercury, i.e. the same Hermes. different peoples associated the Virgin with their Great Goddesses, from Isis and Atargatis to Artemis and Themis. The Greeks associated her with Aphrodite. Hence we have Hermaphrodite - this is the essence of Hermes and Aphrodite in one bottle. Maybe Leonardo meant it? Unknown...

Interest in the personality and work of Leonardo da Vinci is not weakening. For example, in the movie secret life"Mona Lisa"" the authors claim to have discovered the secret of the Gioconda and know who posed for the artist for immortal image, which has become a symbol European art.
Another film about Leonardo da Vinci is The Da Vinci Code, its plot is not related to the scandalous bestseller of the same name. In the film, people commenting on the shots, somewhat shocking, but with academic degrees, argue - and it looks quite convincing - that the symbols of the sect of supporters of the teachings of John the Baptist - the Mandaeans - are reflected in da Vinci's paintings.

In particular, they talked about a certain gesture by which one can identify an adherent of this Gnostic teaching. This is a pointing gesture - up, down, to the side, i.e. not having a fixed direction - set aside forefinger. A gesture quite often found in the paintings of Leonardo da Vinci. His "John the Baptist" finger points somewhere up.

In another story, "Madonna in the Rocks", the message is allegedly encrypted that John is a real teacher of Truth.
There are two versions of the painting "Madonna in the Rocks" one, written according to all church canons, is in the National Gallery in London. On it, next to the Madonna (according to art critics), Jesus is depicted, who is baptized by John the Baptist sitting next to the angel. Moreover, John looks younger than Jesus, and holds ... a cross! Another detail - the angel is depicted with dark wings, which are covered with a bright scarlet cape, and moreover - with a clawed paw! According to art historians, it was this non-canonical image of the angel that became the reason for the customers to demand that the painting be redrawn.
The second painting, Madonna in the Rocks, is kept in the Louvre. Presumably, this is the first version of the painting. Here the angel points to John (art historians insist that John the Baptist sits next to the Madonna, and Jesus is with the angel). Here John is older than Jesus. But! Jesus baptizes John, and not vice versa, which is contrary to the gospel. Unlike the London version of the Madonna, there are no halos in this painting.

In general, the meaning of the film was that almost all artistic creativity Leonardo was aimed at conveying to posterity the truth about the origins of Christianity.

Never before heard that Leonardo da Vinci was an adherent of some faith. Known for his conflicts with the church. While his genius was boundless, he certainly possessed some secret knowledge received from outside.
But the revelation was that Leonardo da Vinci was ranked among the Madeys (by the way, the only surviving Gnostic sect).

So let's look at everything in order:

John the Baptist, 1513-1516 Louvre.

Look closely at your right hand. It is not only directed upwards - it is also depicted without ring finger and little finger (like the right hand of John the Baptist).

Madonna of the Yarnwinder. 1501. ( Private collection)

1. What do Christians see in this picture?
Our Lady Mary and baby Jesus

2. What do the Mandaeans see in the same picture?
Our Lady Elizabeth with John the Baptist.

And for those and for others in the picture is the Madonna, only in favor of the second version is the elongated cross that the baby is holding in the hands - a symbol John the Baptist .

The main postulate of the Mandaeans: The true mission is John the Baptist, Jesus and Mohammed are false prophets.

Now let's look at the following pictures:

Madonna of the Rocks. 1482-1486. Louvre

On the right, the archangel points to the baby on the left. So which one is John, which one is Jesus?

Later version:

The Virgin of the Rocks. 1506-1508. National Gallery. London

Here the symbol of John the Baptist is on the left of the baby, i.e. in the first picture, the archangel points to the true prophet at John

"Madonna in the Grotto" - the first of the famous creations of Leonardo, created in Milan, and stands at the origins of the Lombard school.
The interpretation of the religious theme is different: in the Luva version, the flowers symbolize mainly the Passion of Christ, in the London version, the purity and humility of Mary.

In the London version, the baby Jesus (if with the cross Jesus) is noticeably older than the baby John. Notice the baby's two-fingered blessing on the right. In theory, this is a gesture of Jesus, since we know that John's gesture is "pointing finger."

This is the "Savior of the World" - one of the best so-called. student versions, from which Leonardo's own drawings remained. The hand of Jesus is raised in a two-fingered gesture.

"Bacchus", originally "Saint John the Baptist". It was retouched in the 17th century.

A. Vezzosi, "Leonardo":

"Madonna in the Grotto" for twenty-five years will be the subject of a dispute between Leonardo and the Brotherhood immaculate conception in Milan. Despite the discovery of new archival documents, this picture remains largely a mystery.
It has caused many conflicts since the disappearance of the first version (now in the Louvre). Threats and complaints continued until a second version agreement was reached (now based in London). Having accepted the order on April 25, 1483, Leonardo undertook to complete the painting in just over seven months. The signature is under finished work he was only able to deliver on October 23, 1508.
In this picture, the synthesis of the main Leonard's themes and hermetic signs, mysterious and saturated with allusions, which give rise to an infinite number of symbolic and theological interpretations, is striking: a grotto with a water stream and flowers in the depths of the earth, shrouded in mystical lyricism and mystery. The rocky cave and impregnable, distant mountains embody the geological universe in infinite space and time, serve as the stage for the sacrament associated with a sacred event, and all gestures remain incomplete in the quest to comprehend this defining moment of human history.
The iconography does not correspond to that provided for in the treaty of 1483 (Madonna and Child between two angels and two prophets, but without St. John), which makes one think of Leonardo's heretical intention.

The brooch of the Virgin (The brooch depicted in the center of the Parisian “Madonna in the Grotto” is absent from the London version.) is of extreme interest for the morphogenesis of the picture: it embodies a certain microcosm, an eye of refracted light and deep shadow, like on a dim mirror. The face of the Mother of God is located at the intersection of several diagonals, but the center of the composition is a brooch with twenty pearls.

In the Louvre Madonna in the Grotto, the angel's gaze is turned outside the picture, towards the viewer, who, however, cannot catch him. Some consider this angel ambiguous - almost a demon because of the mines on his right leg. The four characters of the London version, forming a geometric, pyramidal composition with lines in the form of a cross, are more freely arranged in space. Each illuminated element has its own visual dynamics, in particular the yellow folds of the drapery of the Virgin, which in the Louvre version seem to be pure abstraction, in the London version they acquire the plausibility of a lining. The magnificent frame of gilded wood created by Giacomo del Maiano has disappeared without a trace, but two side panels have been preserved, which depict only two musician angels instead of the eight musicians and singers agreed in advance.

Virgin and Child with St. Anne. c.1502-1516. Louvre

- this is a symbol of Jesus, whom John the Baptist called:

" ... The next day, John sees Jesus coming towards him and says: Behold the Lamb of God Who takes away the sin of the world..."(John 1.29)

It is very significant that in the painting "Virgin and Child with St. Anne" (compositional schemes: pyramid and triangle), Anna holds Mary on her knees. One can interpret this to mean that Mary is the successor or "spiritual daughter" of Anna. It is also possible that the picture contains an allusion to ancient custom adoption. It happened like this. The surrogate mother during childbirth was relieved from the burden, sitting on the lap of the adoptive mother, so that the newborn was between the legs of the second. Thus, symbolic childbirth gave the adoptive mother the legal right to call the child her own.

In this sketch, the gestures of the characters are quite recognizable. And, most importantly, it is clear that with a pointing finger - Anna, and not Maria.

Remember, of course, the sign of John - THE EXTENDED INDEX FINGER OF THE RIGHT HAND ... and now look:

1. A fragment of the painting Madonna of the Yarnwinder. 1501.
2. Sketch for the painting Virgin and Child with St. Anne. 1508.

Look carefully at the baby's finger.

So who is there (in the painting Virgin and Child with St. Anne) to the lamb of God, who takes upon himself the sin of the world, then turns his head?

John and Jesus were related:

"... The holy prophet Zechariah and the righteous Elisabeth, his wife from the family of Aronov, sister of Anna, mother of the Blessed Virgin Mary... "

Those. St. Anna is their common relative

As I said the plot, when one woman sits on the lap of another, it means "surrogate mother."

Let's look at Virgin and Child with St. Anne again from two perspectives:

1. What Christians see: on the lap of "grandmother" Anna sits the "mother" Virgin Mary, next to the baby Jesus is tugging at the head of a lamb.

2. What the Mandaeans see: on the knees of the elderly sister Elizabeth (mother of John) ( younger sister would fit better surrogate mother- then the name of the picture would be read more clearly "Virgin and Child with St. Anne", i.e. Virgin - a virgin or nulliparous) sits St. Anna, at whose feet John (note - outstretched finger right hand covered with sheep's wool) and pulling the head of the Lamb of God (symbol of Jesus) ...

“Here is Elizabeth, your relative, called barren, and she conceived a son in her old age, and she is already six months old ...”(Luke 1:36).

And remember the most famous painting Leonardo's "Mona Lisa", see:

MONA LISA = M-ad-ON-n-A E-LISA-betta (ital.)

If Leonardo considered John to be the true Mission, then:
Mona is a shortened form of Madonna (Our Lady),
for him the Mother of God, i.e. Madonna - ELISABETH - abbr. LISA

If our version is correct and Leonardo depicted Our Lady of the Mandaeans Elizabeth, then the Mona Lisa, the Madonna with Child and Spindle, and the Madonna and Child with St. Anna must have something in common... Some elusive symbol. We look:

I also thought what kind of stripes they all have on their foreheads that look like the fold of a picture. And then I looked closely - just like a FUNERAL VEIL (on the left you can clearly see it).

And here is why Elizabeth was depicted with a mourning veil:

"... XXIII. In the meantime, Herod was looking for John and sent servants to Zacharias, saying: Where did you hide your son? He answered, saying: I am a servant of God, I am in the temple and do not know where my son is. And the servants came And they told this to Herod. And Herod said in anger, "His son will be king of Israel. And he sent (servants) to him again, saying, Tell the truth, where is your son? For know that your life is in my power. And Zechariah answered: I witness (martyr) of God, if you shed my blood, the Lord will receive my soul, for you will shed innocent blood in front of the temple. And before dawn, Zechariah was killed, and the children of Israel did not know that he was killed ... "

H There is something very interesting in the picture, which is a Russian treasure (kept in the Hermitage):