Код да Винчи

Chapter 32

           Saunière,itseemed,ateveryturn,wasreinforcinghisfondnessforthedarkandmischievoussideofLeonardoDaVinci.

           DaVinci’soriginalcommissionforMadonnaoftheRockshadcomefromanorganizationknownastheConfraternityoftheImmaculateConception,whichneededapaintingforthecenterpieceofanaltartriptychintheirchurchofSanFrancescoinMilan.ThenunsgaveLeonardospecificdimensions,andthedesiredthemeforthepaintingtheVirginMary,babyJohntheBaptist,Uriel,andBabyJesusshelteringinacave.AlthoughDaVincididastheyrequested,whenhedeliveredthework,thegroupreactedwithhorror.Hehadfilledthepaintingwithexplosiveanddisturbingdetails.

           Thepaintingshowedablue-robedVirginMarysittingwithherarmaroundaninfantchild,presumablyBabyJesus.OppositeMarysatUriel,alsowithaninfant,presumablybabyJohntheBaptist.Oddly,though,ratherthantheusualJesus-blessing-Johnscenario,itwasbabyJohnwhowasblessingJesus…andJesuswassubmittingtohisauthority!Moretroublingstill,MarywasholdingonehandhighabovetheheadofinfantJohnandmakingadecidedlythreateninggestureherfingerslookinglikeeagle’stalons,grippinganinvisiblehead.Finally,themostobviousandfrighteningimage:JustbelowMary’scurledfingers,UrielwasmakingacuttinggesturewithhishandasifslicingtheneckoftheinvisibleheadgrippedbyMary’sclaw-likehand.

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