the area containing the mountains in the original
image rotated 90 degrees clockwise, you can not see the real
hidden images. In contrast, "the drowned man" is visible
immediately. Looking at the mountains from this angle, one observes
sections that are nearly black and others that are nearly white.
If one is intent on looking at the faces in this area, then one must
allow oneself taken naturally into observation of the areas of distinct
chromatic tonality one at a time. One should look for a light colored
face, dark hair with a solid color in the background, or a face in an
area totally white or black, without taken into view the
Bellow I have outlined in the oval, the first portrait discovered. I have evened out the background in white, thus allowing what is underneath to become transparent. I have also traced only the profile of the face with a subtle black line. The section that contains the face, therefore is the same as "the original".
|In the interior part of the oval, I have evened out the background in white, (the area not supposed to be taken into view) and I have emphasized the hidden face of the portrait outlining the profile in black. In the lower part, details of two designs of Leonardo (National Museum of Budapest) can be observed. They are preliminary designs of the heads of warriors for "The Battle of Anghiari", the "lost" work of Leonardo, of which only some copies made by others artist are extant. I had already compared the first design discovered to the images of the two warriors in the Battle of Anghiari. Later, at the close of my endeavor, I came across the phrases of Leonardo in the "Treatise on Painting", where he exalts wonderful inventions. This first portrait is indeed one of the "battle compositions" concealed in works of the artist.
order to observe the picture better, below, I have brought the original back to the left, very close
(note the details of the face), and the same at the right, highlighting
in white the area that should not be observed. In this case, and as
owing, the outline of the face matches some of those features, which are
in reality present in the original, and in others, fit the
"sfumature" between white and black, between light and shadow,
done by me to make it easier to see the hidden portrait, but, I have had
to leave "sfumate", as is characteristic of Leonardo's
In fact, in the original, the defining line of the face in the bottom part is quite evident, up to the mouth and higher than the upper part of the nose and on up to the forehead. At the same time, the lower parts of the nose and hair have "sfumati" contours.
Bringing the digital image to the fore, one can see clearly the eye (within the line that traces the eye), the eyelashes, the nostrils and others features.
The "battle composition" portrait in the original work is approximately 35 centimeters.
At left, I have put the original, close up and to the right, highlighting with white, the areas that should not be taking into account, in order to be able to discern the hidden portrait.
(The text and illustrations published at this site in reference to the graphic elaborations of St. Anne's work are exclusive property of the author. They may be used prior authorization of the author).