The mouth of the river Passovecchio (KR) confirms the place of the first reports for Calabria. This time it happened to a juv. / first winter Red-necked Phalarope Phalaropus lobatus , 18:08:08 sighted days and remained in area until 22/08/2008. Several other species, and describes a photo-report in the next post. Above and follow a few shots taken the morning after the first sighting.
One unpublished study explains how to look at the painting of the Mona Lisa with tools suggested by the same genius of da Vinci.
It turns out that the Master was also father of the 'stereoscopic'.
Nicola Vacca ( nicola.vacca @ gmail.com )
The news in brief:
Leonardo was among the first to use aerial perspective: the depth and distance of the objects represented are given through a skillful use of color and modulation of light and shadow, in overtime games atmospheric effects [Enc].
In the treatise on painting of Leonardo is said that "painting is the composition of light and darkness mixed together with the different quality of all its colors and simple compounds." With the technique of nuanced, the space takes on a depth of perspective that he calls "aerial", because it depends from the air filter [TdP].
A team of Canadian researchers from the National Research Council of Canada studied the incomparable image gradient, and was able to prove that the technique was based on a superposition of color, through which Leonardo gave depth to the image [cnrc].
Several sources demonstrate the ability to use special techniques to give Leonardo his paintings, and especially the Mona Lisa, a sense of depth. What
so far seems to have escaped the literature is that this sense of depth can be greatly magnified with the aid of simple tools suggested by Leonardo in his studies. It looked so his work is even more extraordinary. La Gioconda
be admired and then interpreted as a test degli studi sull’ottica di Leonardo, o ancora meglio, come la dimostrazione concreta di alcune teorie sull’ottica raccolte nel Trattato della pittura [TdP].
A rafforzare questa interpretazione s’aggiunge la caratterizzazione del dipinto più famoso al mondo come un’immagine a cui applicare i principi della STEREOSCOPIA.
Una lettura rivoluzionaria giacché le origini della stereoscopia comunemente sono attribuite a Charles Wheatsone inventore, nel diciannovesimo secolo, del primo stereoscopio della storia. Questo studio, invece, suggerisce e vi invita a verificare sulla base di indicazioni dello stesso Maestro un’intuizione inedita: Leonardo già possedeva e sperimentava, ante litteram, tecniche legate alla visione bioculare.
Tale processo di visualizzazione, condotto con rudimentali strumenti probabilmente simili a quelli utilizzati dal genio da Vinci e verificabile da chiunque, induce a ritenere che si debba attribuire a Leonardo anche l’invenzione dello stereoscopio ben quattro secoli prima di quanto oggi riteniamo.
Questo è quanto ho scoperto guardando e riguardando incessantemente il dipinto. Anche a seguito della popolarità di cui l’opera gode. Oggi non meno di ieri.
Una profondità più nascosta nella Gioconda
Uso del chiaro scuro, utilizzo accurato delle ombre, effetti di annebbiamento del paesaggio sullo sfondo: il dipinto della Gioconda, alone, makes this clear when the volume of its forms, by the sense of depth achieved with the right combination of techniques that have been achieved.
What is not in the literature is that the effects of depth and can be visibly amplified, looking at the painting in conditions that cause the dilation of their pupils. As you know, the pupil dilates in the presence of darkness. To achieve the desired effect, however, we must ensure the painting and lighting at the same time, darkness in our eyes. In his studies, Leonardo suggests to look through a hole on paper as wide as the thickness of a needle.
are described below tools and specific conditions used in the observations. Such conditions can not be strictly adhered to the success of the experiment.
The image of the Mona Lisa is in jpeg format with a resolution of 800x1184 pixels at 72 dpi. Is observed with 100% zoom on a 15 "screen at a distance of 75 cm. The observation is done through binoculars whose characteristics are shown in fig. [Spec-bin].
Fig [spec-bin]: specific binoculars Looking at the image through two small holes, under specified conditions, we observed two circles (One for each eye) which is bounded by the visible area. In this way you can easily establish for each eye as part of the picture observed in detail.
overlaying the two circles, the work of art become more visible depth. The body of the Mona Lisa now has its own volume perceptible not only imaginable. The amplified effect of depth can be observed throughout the painting, but is particularly evident on the face and the head in front of the landscape in the background (Fig. [proof]). A consideration should be made also on the details now clearly more distinguishable (Fig. [partic]); effect explains that Leonardo in his studies on the pupil (… tu vedrai quelle essere in sé forte illuminate, e potrai speditamente comprendere ogni minima parte di qualunque cosa…; Ne’ luoghi piú oscuri la pupilla si allarga, e tanto cresce di potenza, quanto essa acquista di grandezza …).
Una volta abituata la vista a questa versione “più profonda” della Gioconda, si provi a rimuovere velocemente il binocolo dai propri occhi: il dipinto risulta essere notevolmente più piatto.
L’esperimento consente dunque di apprezzare a pieno il volume che Leonardo era in grado di conferire alle sue opere. E’ come oltrepassare il velo schiacciato della bidimensionalità provando l’emozione di entrare, attraverso la terza size within the painted scene.
Fig [proof]: depth analysis of particular osservarto
Fig [partic] details more discernible when viewed with dilated
Fig. [imm-sx]: Porzione del dipinto da osservare con l’occhio sinistro 
Fig [imm-ste-2]: Image resulting from techniques for stereoscopic observations
Finally, deserve attention also worn by the folds of the Mona Lisa. By conducting the experiment surprising that they end up with overlapping strokes with the hand (although they belong to two different half of the figure pictured) is not random but perfectly coincident. So much to restore sinuosity of pleating.
This detail, therefore, to suggest that Leonardo possessed the principles of stereoscopy and has the Mona Lisa portrait painted by applying them and using this as a test for his studies.
A comparison of the male face and a self-portrait of Leonardo
reading of Leonardo's studies
is interesting to reread some of Leonardo's studies with a view of what has been proven so far.
Limitations of the painting to give the sense of depth
The following steps point out the limits that Leonardo was found in painting. Leonardo considered the "classical art" far from being able to represent the same effects that nature so casually showed to everybody, but at least make use of nature and science to reverse the situation.
36. Comparison of
painting to sculpture.
The painting is of greater mental and
more artifice and wonder that the sculpture, conciossiaché
necessity requires the mind of the painter to transmute itself into nature's own mind, and
become the interpreter between nature and art, commentary
with the causes of his demonstrations forced by his law, and how the similarities
objectives surrounding the eye contribute co 'real idols
the pupil of the eye, and equal in size below the goal which show greater
eye to it, and below the colors equal what will prove most
or less obscure, more or less clear; ...; and objectives in various places
equal distances, because they prove that the men known to each other.
... the painter
will show you various distances with variamento color
air interposed between the objective and the eye
... The painting is of greater mental
that the sculpture, fireworks and more; conciossiaché sculpture
is nothing more than what she seems, that body being found, and surrounded by air, surface and
dress dark and clear, as are the other natural bodies, and the artifice
is run by two operators, that natural and man;
but much more is that of nature; conciossiaché succor that if she does not work with shadows
more or less obscure, and the lights more or less clear, such an action would
all light colors and dark in the likeness of a surface
flat. And beyond this there is added an Adiutori perspective, which co '
his convoy in turn helps the muscle surface de' bodies to 'various aspects
, occupying a muscle the other more or less employment. Here
answered the sculptor and said if I did not these muscles, the outlook is not
I escorted them, to which you reply: If it were not the aid of light and dark
, you could not do these muscles, because you could not see them.
the sculptor says that he is that it gives rise to the light and dark with his upbeat
sculptor from matter; rispondesi, not he but Nature makes the shadow, and not
art, and that if he sculpted in the darkness, he would not see anything because there is variety
, nay, in the fog surrounding the subject with equal
sculptural clarity, you would see nothing but the words of the sculptor on it '
terms of the fog that surrounded her.
39. Which is difference from painting to sculpture.
The first surprise that appears in the painting is the strong opinion
from the wall or other flat, thin and deceive the reviews with that which is not separated from the wall surface
, here in this case, the sculptor makes his works so that
elle appear as they are, and here is the reason that the painter who must face
the office of the news in the shadows, that they should be de companions' light. At
sculptor must not such a science, because nature helps her works, as they
yet all the other things the body, from which removed the light are a
same color and makes them the light, are of various colors, ie light and dark
. The second thing you need to talk to the painter with great, is that with thin
investigation will lay the real qualità e quantità delle ombre e lumi; qui
la natura per sé le mette nelle opere dello scultore. Terza è la prospettiva,
investigazione ed invenzione sottilissima degli studi matematici, la quale per
forza di linee fa parere remoto quel ch'è vicino, e grande quel ch'è picciolo;
qui la scultura è aiutata dalla natura in questo caso, e fa senza invenzione
dello scultore.
Luci, ombre e dilatazione della pupilla
Gli studi sulle ombre, sulla luce, e su come la pupilla percepisce le figure al variare della sua apertura sono svariati:
198. The cause of 'loss of' colors and shapes of 'bodies
through the darkness and do not seem to have.
Many sites are self-illuminated
and clear that you show to the whole dark and deprived of any
variety of colors and shapes of things in which they find themselves: this is due to
of light that illuminated the air below the things seen and the eye intervening,
as seen in the windows that are remote from the eye, in which only includes a uniform darkness
is very dark, and if you then will enter into a
it home, you will see those be strong in themselves enlightened, you will quickly understand every part
than anything in this window
could find. And that this demonstration was created to
defect of the eye, who, overcome by excessive light air, it shrinks very
the greatness of his pupil, and it is missing much of his power, and '
darkest place the pupil widens, and so increases in power, because it buys
of magnitude, as shown in the second of my perspective.
470. precept. Infra
things of equal height above the eye Siena Situated,
what will be most remote from the eye will seem lower. And if it is located under
the eye, the eye will seem as close to it lowest, and the parallel side
compete at one point. Manco
are evident in 'distant sites of the things that are
around the rivers, that what these rivers or marshes are
remote. Infra
spessitudine things equal, those will be closer eye
will seem more rare, and most were more remote
thick.
The eye pupil will be the most the goal of more
figure. This is demonstrated in watching a celestial body for a small spiracle
done with the needle in the paper, who could not make it light if
not a small part, it seems to decrease body much of his greatness,
as part of the light that sees all of her is missing.
The air is thickened, and intervening below the eye and the thing, it makes you confused and unsure of what
words, I object and makes it majority opinion is not
figure. This arises because the prospect does not diminish the lineal corner
brings his kind eye, and the prospect of 'the color goes in and removes
that it is not much distance, so that the one in the eye removed,
and the other preserves its magnitude. ...
544. What difference is a simple shadow shadow made. Shadow is easy
one where any part can not see the light, and shade is made below the shadow simple
where any part of the light is mixed derivative.
615. That the shadows must always take part of the body color shade. No
what seems by its natural whiteness, because the sites it 'as it is seen
make much eye more or less white, as this site will be more or less
dark, and this tells us the moon, By day we show
low in the sky of the night with so much clarity and radiance, that it makes us self
the image of the sun and the day with his drive out of the darkness. And this comes from
two things: first is the comparison and that in itself has the nature of the show so much more perfect species
de 'their colors, because they are more uniform due;
the second is that the pupil is larger than the night the day, as tested, and increased
pupil sees a luminous body of greater quantity and more excellent glory
less that the pupil, who looks at the stars as evidence for a small hole made in the paper
.
707. Of clarity of the light derivative.
the most excellent clarity of the light derivative is where he sees the whole body with bright half of his right or left field shady. Provasi, bc, and both the light and the right and left field its shady both dc and ab, and the body of the light is less shady nm, and the wall where ps is impressed upon the species and shadowy light. I say, then, the wall above it ps the point r will be the most excellent clarity of light that in any other part of the floor. This occurs because the body sees bright r bc with mid to dark field, that is called, as they show us the straight contests cdr and shady pyramid of light pyramid bcr, therefore, sees much in r amount of dark field as it is called the bright bc, but sees the point s ab and sees yet shady shady cd, which two dark spaces are worth twice as bright bc, but what's more you move from the inverse r lose more ab darkness. Then, by the inverse r's always clears the floor sr; yet, how much more you move from R to O, both men see the light, and this is more dark ro how close the floor OA. And for this discussion we tried r be the clearest part of the floor os.
Stereoscopy
115. Because the painting can never strong opinion of how things
natural.
Painters often fall into despair of imitating their natural
seeing their paintings do not have that relief and vividness which
that have the things seen in the mirror, attaching them to have colors for clarity and obscurity
far advancing the quality of 'lights and shadows
of thing seen in the mirror, blaming their ignorance in this case and
no reason, because they do not know. It is impossible that painted
appeared of this relief, which looks like the mirror thing, though
one and the other is on a surface, unless it was seen with one eye;
and the reason is that the two eyes see one thing after another, as we see that
mn, n not m can take entirely, because the basis of the visual lines
is so wide, that sees the body of a second after the first. But if you close one eye, as
s, the body will f k, because the line of sight comes at a single point, and
ago basis in the first body, whence the second of the same size will not be seen
.
482. Why do things perfectly portrayed di naturale non
paiono del medesimo rilievo qual pare esso naturale.
Impossibile è che la pittura, imitata con somma perfezione di
lineamenti, ombra, lume, colore, possa parere del medesimo rilievo qual pare il
naturale, se già tal naturale in lunga distanza non è veduto da un sol occhio.
Provasi, e sieno gli occhi a b i quali veggano l'obietto c col concorso delle
linee centrali degli occhi ac e bc, le quali linee concorrono a tale obietto nel
punto c; e le altre linee laterali di essa centrale vedono dietro a tal obietto
lo spazio gd, e l'occhio a vede tutto lo spazio fd e l'occhio b vede tutto lo
spazio ge. Adunque i due occhi vedono of all the space behind the lens c
fe; wherefore this objective c is transparent as defined
transparency, behind which hides nothing, which can not intervene
to what he sees with one eye a major goal of this eye, nor could
intervene in that eye that sees far less of its goal
pupil, as is shown in the margin. And what we said we
conclude our question: why something painted all the space
that behind him, and no way you can see any part of the field that is within the line
its circumferential behind him.
484. Precept.
below for important things seen with one eye
will seem like a perfect painting.
If you see with your eyes pop
point c, it will seem in c df, and if you look at him with his eyes only g, h in m will seem, and
painting will never in itself these two varieties.
Conclusions Starting from the definition stereoscopy, has been characterized as the painting of the Mona Lisa image to which the principles have been applied. This characterization was detected with the aid of simple tools in order to ask the same hypothetical conditions of the master. It should be emphasized to achieve the ability to Leonardo depth effects on the pictures with his art and how to amplify the effects due to his studies on the perception of light as a function of pupil dilation, effects that we get today in computer graphics using mathematical models el ' INSTRUMENTS aid of sophisticated vision.
The interpretation is the Mona Lisa as an application of the principles of stereoscopy, induces the attribution to Leonardo of the invention of the stereoscope, most likely used in his research. Further
induction, endorsed by the studies applied to the work of Leonardo and his special affection to it, is the possibility that the master intended the painting as the litmus test of his studies on optics and a practical demonstration of his theories of painting collections in the Treaty.
References
[Enc]: "Leonardo da Vinci" - Microsoft ® Encarta ® Online Encyclopedia. http://it.encarta.msn.com/encyclopedia_761561520_2/Leonardo_da_Vinci.html
[TdP]: "Treatise on Painting" - Leonardo da Vinci - progetto Manuzio
[cnrc]: “NRC Scientists Help Solve the Mysteries behind the Mona Lisa” - National Research Council Canada http://www.nrc-cnrc.gc.ca/highlights/2006/0610monalisa_e.html
[ste-def]: Definizione di stereoscopia – wikipedia.it
[st-url]: Osservazioni di immagini stereoscopiche: http://en.wikipedia.org/wiki/Stereoscopy http://www.funsci.com/fun3_it/stsc/stsc.htm#7
[msn-enc-rit]: Leonardo: La Gioconda - Microsoft ® Encarta ® Online Encyclopedia. http://it.encarta.msn.com/media_461556219_761561520_-1_1/Leonardo_La_Gioconda.html
[wik-SCHW-rit]: Lillian Schwartz - Wikipedia http://en.wikipedia.org/wiki/Lillian_Schwartz
[book-hid-rit]: Monna Lisa. The Hidden Face of Leonardo Leonardo's hidden face - Renzo Manetti, Lillian Schwartz, Alessandro Vezzosi.
http://www.renzomanetti.com/libri.htm
