Monday, December 26, 2011

 Leonardo da Vinci Research Group

Marquis de Ganay Collection Paris
Salvator Mundi, Savior of The World

Salvator Mundi Savior of The World the Leonardo, da Vinci Research Group It is our very strong considered opinion, backed up by substantial study, that this painting in blue must be reviewed further in light of our mounting weight of proof that the painting is "NOT" the work of Leonardo, but that of another lesser talent. Owner Robert Simon, in New York, the historians, all the scholars involved, the restorer, technical people, the team Simon put together, and The National Gallery of England, need to understand the "INTENT" (example) How an audience interprets a piece of art will always be somewhat different from what the artist originally intended simply because the response to art is always subjective. Every person responds individually to a given work of art based on their own personal experiences, values, education, temperament, etc. A fresco created by an Italian Master Leonardo da Vinci is going to mean something very different to a modern American. Yet, the question “what did the artist mean by that?” has always loomed large in the appreciation of art. Some artists feel that the question is irrelevant and should not even be asked since the answer may bias the response of the audience to the work of art. Yet most people who enjoy a piece of art are interested in knowing at least something about the life of the artist who created it and the circumstances under which it was created. The “intention” of the artist thus becomes a relevant piece of information, including how the artist intended the work to be displayed in order to make a proper assessment of the painting. It is this added dimension that is missing from the traditional authentication methods that has led to, in our opinion, an incorrect validation.This painting, not having been the work of Leonardo, da Vinci but perhaps a student, contains many changes, but does not have the subtle trademark processes that Leonardo put into his works of art.It is a well-documented fact that Leonardo, da Vinci had a philosophy and penchant for infusing science and mathematics, with extreme accuracy into his every artistic endeavor. It leads to the supposition that his artworks would reflect his almost obsessive search for truth and accurate portrayal of everything around him. The artworks after all were an extension of the expression of his scientific studies. Using what is known about Leonardo from his writings and codex’s as a starting point to review the Salvatore Mundi original and "restored" images, yields a number of anomalies in the restored painting that are inconsistent with Leonardo's techniques, and his uniquely accurate portrayal of geometric symmetry, color, shadowing and scaling.The painting,Once owned by Marquis de Ganay "Salvator Mundi" was auctioned by Sotheby's May 1999 in its "Important Old Masters Paintings" auction.  It sold for $332,500.
According to
The City Review:

the painting crafted in "Red and Blue clothing, and is also in our opinion, the authentic Salvator Mundi painted by Leonardo, da Vinci.  A detailed analysis of the measurements and proportions is a very telling indication of authenticity because of the clearly perfect alignment.  Leonardo's technique of ensuring perfect ratios and accurate alignment in his Salvatore Mundi painting may be compared to the tolerances of those in his Vitruvian Man and other of his works.
Who purchased the painting for $325,500 in 1999 and how many owners has it had since then?
The crucial question is: When was it restored?
Before the 1999 auction it can be seen in its present state: here and here.

A few process Leonardo invented, discovered by, Michael W. Domoretsky

Some are numbers, some are letters, and many are in "MICRO FORM", a process Leonardo invented to hide his intended messages.  It is unfortunate that the scholars are locked into a process that fails to consider motivation and intent because we firmly believe that these are key criteria against which Leonardo's, and the works of other artists of the period, must be tested. As a result of our findings we strongly recommend that the "Blue" painting be reevaluated against the additional criteria we have found to be hallmarks found in all of Leonardo's works. We believe that this reevaluation will yield the finding that this is "NOT" the work of Leonardo.

By Michael W. Domoretsky
Leonardo,da Vinci Research Group

The students painting in blue. The True Leonardo, da Vinci Salvator Mundi in red and blue.

During my research I ran across the following information which I found extremely interesting and intriguing:
Various tests and close examination has convinced experts this painting in red and blue is genuine. Monochromatic sodium lighting, infra-red and ultra-violet tests were performed and, along with x-rays, these have revealed a number of interesting details:
The pearls around the jewel have been altered.

A cross has been removed from the orb (not very successfully). Leonardo deviated from his basic sketch very little. Infra-red tests showed up the original sketch behind the painting.
X-rays show the paint has been applied in layers on a wooden base. This technique was used often by Leonardo during his last five years of work.
A thick coat of varnish has been added.

Nut wood was used for Salvator Mundi, the same was used on St. John the Baptist. The triangular composition, light angles, facial shadows and hair swirls are typical of many of Leonardo's paintings, while the colors used are reminiscent of the Last Supper.
Typical of Leonardo, many of the objects in this painting have a deeper significance which is not at first obvious to the eye.

The eight-pointed centre star signifies resurrection and corresponds to the eight lines of the threads found on the stole. The ruby represents martyrdom and passion. An unusual vestment tuck seen on the right-hand side of the stole signifies the lance piercing Christ's side. What we now see as a globe was originally an "orb" (when surmounted by the cross); it probably recalls the words, "I am the Light of the world. “The stole symbolizes the Voice of Immortality. Catholic priests don stoles as a sign of accepting the New Covenant.
One issue that is always before us is this: What is of great worth and more intrinsic value, the representation or the reality?  The symbol or the reality which is being symbolized?  The ritual or the reality that the ritual is designed to celebrate?
 The “Red and Blue Painting below, is the True Leonardo, da Vinci Painting.The Blue painting hanging in The National Gallery of England on display now with the collection of true Leonardo, da Vinci Paintings, is owned by Robert Simon a private art dealer in New York and his group, and though Leonardo drew the raised hand in the preparatory drawing was completed by someone other than Leonardo, likely Leonardo's student.

The painting above is in perfect alignment and proportion

A detailed analysis of the measurements and proportions is a very telling indication of authenticity because of the clearly perfect alignment in the red and blue painting above. 
By Leonardo, da Vinci.

Further research is revealing that there is a high likelihood that the hand in the Blue painting was originally prepared by Leonardo, but that the remainder of the preparatory drawing and the painting itself were completed by his student. It also appears that the restoration displaced the original painting by as much as a quarter inch and softened the image washing out the detail.   It is unfortunate that the techniques used by Leonardo were not recognized as it would have assisted greatly in efforts to ensure that the restoration included the detail that Leonardo originally placed in the hand in the artwork.

The Master Leonardo, da Vinci's painting and prep picture.
Look at the two S's in the painting and prep work they are the same, they have four points, and then look at the Mushroom in the clothing, a symbol standing for the initial "M", for Mundi"Salvator Mundi"

Salvator Mundi, or Saviour of the WorldThe original Leonardo, da Vinci Painting above. Notice the three quarter “Templar Cross” in the bottom of the mushroom outlined, also look at the "S", this is a four pointed "S", something Leonardo was very brilliant about doing in his masterpieces across the board, three very important and prfound symbol's. 

 Something to ponder.
The  "S" = Salvatour, The "M" = shape of the Mushroom, for Mundi, and the Cross is a Templar Cross,
All have profound Symbolic meaning.

The Vitruvian Man, By Michael W. Domoretsky 2007

The blue painting S is not Leonardo's, above and below, they do not compare with the prep drawing, in any way shape or form, This was not done by Leonardo, da Vinci.

Not a true Leonardo in the picture above
The prep hand prepared by Leonardo,da Vinci and the prep drawing painted and completed by the student, notice the two S's are very different, the students S has no points and is smooth flowing, while the rmasters S is much older looking and has four points, a true Leonardo masterpiece, and also look at  the square marked in the red and blue painting, the mushroom has vanished, a symbol for the letter M.

This Salvator Mundi painting below is by Leonardo's, prep. drawing  in "blue,"
and was done by the "student", then restored by the restorer,
Not a true Leonardo Painting, owner Robert Simon N.Y

As with many such paintings, there is much symbolism.

The true completed Salvator Mundi Painting below by Leonardo, da Vinci in red and blue. Salvator Mundi, or Saviour of the World below has over 35 symbols within it from the neck down, most in "micro form", which the Lionardo, da Vinci, Research Group discovered in a processes Leonardo invented to include in all his masterpieces.

Leonardo's knot, Italy, circa 1500

The eight-pointed centre star signifies resurrection and corresponds to the eight lines of the threads found on the stole. The ruby represents martyrdom and passion.

 The structural layout of the "student's" "blue" painting below of Salvator Mundi, is unintentionally asymmetric, unlike Leonardos work which is always perfectly balanced and proportioned. There is only one symbol in evidence,  now referred to as a globe. Previously the word globe would have been referred to as an "Orb”.   Other unfortunate changes in the student’s work is that the mushroom, which stands for the cipher "M" has vanished as a symbol. (Refer to the 6th picture above), and the “Templar Cross" below it,clearly seen in the red and blue painting by Leonardo, is also missing. This means that two very significant symbols are missing, from a very important painting. A very clear indication that Leonardo did not complete the "blue" painting.

Shown below are two paintings, the one on the left completed by Leonardo, da Vinci in red and blue, the one in the middle in "blue", likely by an unknown student, and the one on the right a composite of both Leonardo's and the students paintings.

Conclusion:  the Red and Blue painting on the left is the true Salvator Mundi, Saviour of The World.The blue painting was completed by an unknown student.The only contribution Leonardo made to the "blue" painting was that he Leonardo drew the raised hand.  Therefore, though Leonardo was involved or perhaps supervised the production of the painting, he did not complete the entire preparatory drawing, nor did he complete the final painting.  We therefore conclude that this is not an authentic Leonardo, da Vinci work. It is however a unique piece of artwork that was with a high degree of certainty touched by Leonardo.

Clearely, this is "not" Leonardo, da Vinci's Painting below in blue.

The transparent overlay of the blue painting over the red and blue painting below, clearly illustrates the difference in the Masters work when compared to that of the students. Another clear indication that the blue painting was not painted by Leonardo, da Vinci is that he would not have completed a painting with sections of thumb missing on both sides of the artwork.

Our research indicates that the Red and Blue painting is an authentic Leonardo, da Vinci painting.  It has over 35 symbols and images hidden within the lower half of the artwork. 
The Lionardo,da Vinci Research Group has discovered a number of processes within all of  Leonardo’s major works that traditionalist scholars, historians and the owners of the blue painting have yet to come to  accept as legitimate tools for authentication.  This is a clear case where conventional thinking and traditional validation methods have misled the experts into authenticating a painting that was not completed by Leonardo, da Vinci.

This is another example of Leonardo hiding  numbers and letters in micro form, in this case in the “Orb”, and combining it with another  gesture of the  “index finger above” pointing to the profile of Leonardo, da Vinci’s face. The second face of Leonardo, included here for comparison below, is from The Adoration of the Magi, second picture down.

In "Micro Form" at the bottom of the "Orb" above is the profile of Leonardo's face.

Leonardo's profile below, in The Adoration of the Magi.

Three faces in a diffrent location of the "Orb" in the two pictures below.

Three Micro Faces and a Cross below lower botom right.


Located in the picture above are three faces and a Cross.

Located In the right hand corner of the Orb above, on the outside, under the thumb, is a micro image of a woman's face with a hood, looking up at the Orb above.  Her eyes are wide open and her mouth is in a circle.  The gaze is directed precisely at the orb and is an expression of amazement. Additionally there are a series of white beads wound around the Orb, fingers, thumb and palm of the hand circled in white.

Below In both pictures, Michelangelo di Lodovico Buonarroti Simoni, the picture on the right faceing you is from the Orb above, the picture on the left is from
The Academy of Athens painting bellow in black and white.

Leonardo, da Vinci on the left below, and on the right, Michael Angelo

Archway of the Academy of Athens.

In the  the Academy of Athens, a painting by the renaissance artist Raphael, there are two figures in the archway. The one on the left is generally thought by many to be Aristotle, but is actually Leonardo, da Vinci.  The man next to him on the right is another man of great intellectual and artistic importance, Michaelangelo. It is important to note in the painting that Michaelangelo has stopped and Leonardo is still walking, indicative of forward motion of Leonardo and the acceptance of knowledge from him by Michaelangelo who is standing still.  The upright pointing arm with the finger pointing up is a sign of Leonardo making a higher point of importance.  The books in their hands denote the transition and continuity of knowledge from Leonardo passed through the years to Michaelangelo.

Comparing the head of Michaelangelo in the Academy of Athens painting with the head found in the orb of the red and blue Salvator Mundi painting shows a striking similarity. It is known that artists of the renaissance period showed their admiration and respect for beloved masters by including their likeness in their own art.

The name of painting, "The Academy of Athens," is an indication that there is an intent to teach and pass along knowledge.  In this case the presence of both Leonardo and Michaelangelo is depicting both a connection and continuity of knowledge from master to to apprentice or perhaps from peer to peer.  This painting, on a grand scale, of learning and the high regard for the masters held by others in the painting, was a means of flaunting the disregard in which they held the dogma of the era, and the high regard they had for passing on truth and higher learning.     

Leonardo, da Vinci  does it yet again......  500 years after his passing, another of his brilliant insights brings to light another scientific truth. 
A french scientific researcher, using the same approach as the Lionardo, da Vinci Research Group, that of reading Leonardo's words and applying them to his works, or in this case to Leonardo's study of the real world, has uncovered and proven true a postulation that there is a  relationship between the size of a tree's trunk and the combined measure of its branches.   This highly detailed and precise observation is only now being validated by 21st century science. 
 This discovery and validation is added proof that everything Leonardo created was based upon scientific principles and that he applied both the scientific principles and his legendary precision to everything he created, including his artworks. Leonardo's accuracy both in his observations and his work leads us unerringly to the fact that ALL of his art and scientific work can be authenticated or conversely proven not to be his work based on the degree of detail, precision and in the case of his art, his hidden images and constructs.
The following link activates the article detailing the findings related to Lionardo,da Vinci observation on the relative cross section of the trunk of a tree to that of its branches:

Based on the understanding gained from over 75,000 hours of research in ten years by Michael alone, and such added vindication of our methods and findings as the article referenced above, we can clearly state that the "Blue" Salvatore Mundi fails the tests of accuracy of portrayal, mathematical precision, scale and proportion, color, sense of life and does not have any of the tell tale hidden elements that Leonardo placed in ALL of his major works.  The only exception to these findings are that the up raised hand in the completed painting was identical, within our ability to measure, to the preparatory drawing beneath drawn by Leonardo in both the Red and Blue painting as well as the Blue painting. The remainder of the preparatory drawing and the finished painting were completed by another less accomplished artist. This second artist, likely a student, did not have the understanding of mathematics, and geometric precision, or the skills to create art with the microscopic accuracy for which Leonardo was known.

Perfect, in our opinion

A comparison of the preparatory drawings of the raised hands in both paintings shows them to be identical. The extreme accuracy and detail indicate to us that the hands were drawn by Leonardo, da Vinci. A detailed analysis of the Blue painting reveals off-sets in the symmetry and scale. These anomalies were introduced into the original work by the student who completed the painting and by the recent restoration artist.
In the original,  (the red and blue) note the the roundness of the thumb and arch on the side coming down from the top to the inside of the crease of the next knuckle. Also make note of the "S" in the cuff of the wrist. This was created in very old in block form which is consistent with the fonts of the era in which the painting was created.

Notice in the blue painting the top of the thumb has a more squared off character.  The arch of the thumb from the top to the inside of the next crease of the knuckle is missing. These omissions are very obvious to anyone looking at the painting carefully.These issues should have been noted and corrected, if not by the original artist, then by the restoration artist.  The S also in the area of the cuff of the wrist is a modern font and not consistent with the fonts of the middle ages.  These errors are clear and obvious, and Leonardo would not have allowed such errors to persist in his own works.....  He was far to exacting to allow such oversights to remain uncorrected.

Our conclusion that the red and Blue painting is the authentic Leonardo painting, while the Blue painting is not that of the Master but by another artist , likely a student, is clearly supported by the just the observations of the prominent errors remaining in the artwork.  This evidence stands alone and is enough to convince us.  When combined with the additional  mathematical, geometric and style  evidence covered elsewhere, it is difficult to come to any other conclusion.

We are hoping that the scholars and historians who are presently constrained by traditional methods of authentication will come to understand the new discoveries made by the Lionardo, da Vinci Research Group, and accept and use our research as added criteria by which to authenticate the works of Leonardo and other renaissance artists

The true prep work drawing below and painting of the Four pointed "S" in the red and blue painting clearly show the evidences of Leonardo  da Vinci's hand being in the entire painting of Salvator Mundi, Savior of The World,  the red and blue painting.

The true Leonardo, da Vinci work above, both in prep and in painting.
Again, when will they listen to the Lionardo, da Vinci Research Group and there concerns?

Article in The Star Tribune / Intertainment / Wed. June 10, 2012

Da Vinci painting's restoration creates conflict:
Experts are bitterly divided over the restoration of a Leonardo da Vinci painting that some say might have gone too far.
 To see more of the Article click link in red above:

They have been "changed!" the below picture has been restored, not to the likeing of many, find out why in the link above in red, then come back to the article by the Lionardo, da Vinci Research Group.

Restored Painting.

An Opinion, Based on Fact.
Here we go yet again!  Restoration has likely damaged another priceless work by Lionardo,da Vinci.We are pleased to see however that some of the experts recognize that lines are being crossed that should not be and have expressed and publicized their very valid concerns by resigning from the Louvre restoration advisory committee. This to us is a sign of true integrity on their part. 
The biggest problem is that, to date, art experts in general have failed to recognize and acknowledge that much of what Leonardo put into his paintings is hidden by extremely subtle shadings and since they are not recognized by the restoration personnel they "clean away" these subtleties along with the over lying accumulation of contaminants or they paint over these very fine details not understanding their existence or importance.  
Unfortunately it is not just the Louvre that is causing these irreplaceable paintings to lose the "intent" Leonardo and other artists placed in their works.  Other works by Leonardo are being damaged as well. It is the opinion of Lionardo, da Vinci Research Group that there should be a moratorium on the restoration of ALL major renaissance works until the "experts" and "scholars"  recognize that there are extremely delicate subtle elements within the paintings that are obliterated when conventional restoration techniques are applied.   We have made every attempt to present the overwhelming and clear findings to the "experts”.  Unfortunately there is a sense of empire, disbelief and stubborn unwillingness on the part of art world "experts" to admit that which is obvious to those who see our findings.   As a result the world is losing some incredibly valuable and irreplaceable treasures. It saddens us greatly that the established art authorities and restoration experts are unwilling to admit that there may very well be things that they have missed, and that they might be in error.We understand that such an admission would be embarrassing and costly, both to the individual experts, and to the industry as a whole. It would place the authentication and restoration processes into flux and might very well affect the financial integrity of the renaissance fine art market. But if the processes used presently are continued, we will also continue loosing priceless art.   

Lionardo,da Vinci, Research Group sincerely hopes that the headlong rush of destructive restoration stops before more irreplaceable works become just a shadow of their intended images.  We in the Research Group are hoping that a groundswell of understanding of the hidden processes and images by the public, and other interested parties, causes an outcry that encourages the "experts" in the art world to make the effort to understand the ramifications of our findings, so that they take appropriate steps to safeguard the heritage that Leonardo and other allied artists bequeathed to us all.  We encourage all who have an interest in preserving our artistic heritage, to understand our discoveries and to voice their anxiety on the subject to those who are charged with the safe keeping and maintenance of these works of art. 

A note sent from a friend in Australia to Michael

Dear Michael,                                                                                                            7th April, 2011

I am writing to let you know that it is very pleasing to see that finally, someone has posted findings/discoveries extracted from Leonardo, da Vinci’s paintings that have not been obtained by altering his original works in any way what so ever.
For many years I have been looking at codes and messages that have been embedded in architecture and paintings. In particular I have researched the period from early Egyptian times, through to the end of the Baroque, when the advent of the printing press diluted and finally destroyed the transfer of structured coded and meaningful graphical information that had previously and historically transferred from one master to another in paintings and buildings that Michael has well understood very successfully.  
I have catalogued hundreds of images from Leonardo’s, and other notable artist’s works. Although we have approached this topic from different directions, I note Michael that your findings are consistent with many of the images I have on file and be on.
In his manuscripts/notebooks, Leonardo speaks extensively of perspective, light, shade, color and, mirrors. The images Michael you have found relate to perspective, light, shade, color, optical illusions, and most of all mirrors. We have all seen the visual perspective drawings that can be one or more paintings in which you Michael so succinctly named “pictures within pictures”. The following are simple examples of such altered perspective:

Leonardo was very adept at using this form of altered perspective in his paintings and drawings, the most notable of these that comes to mind is one of his earliest drawings known, the “Landscape with a view of the Arno River”, currently held by the Uffizi in Florence.

A Few Examples bellow in the same picture

Discovered in 2002
All work is Copyrighted Protected 2000-2012- may not be used in any way,manor, or form, without written permission by owner.

As you have shown in your lectures, this drawing is packed with “embedded” images which are very easy to see. This technique was employed by many masters, particularly in the renaissance period. However, unlike his contemporaries, Leonardo also embedded images in Micro form, or with such clever shading effects that they can only be seen in their true form with a magnifying glass.
You have shown this technique in your writings and demonstrating these process, but what is impressive me is that you have taken this a step further, taking literally, what Leonardo said about different things in his notebooks which you have discovered, three to date, and have applied that knowledge directly to his paintings. What you have come up with is an exciting collection of images that could not have been discovered without the process you have discovered.
I am personally very interested in following your continuing story and the discoveries you have made and what may come in the future.
Michael, your discoveries have opened up a whole new avenue of research into Leonardo’s vast body of works, and also shown that when reading his journals, researchers / historian and Scholars, should read between the lines for “meaning within meanings”, in much the same way that we are able to see in “Pictures within Pictures” that you so properly named and fitted to Leonardo’s artwork.

Louvre’s Leonardo, da Vinci restoration ignites art world row

Leonardo, da Vinci
TodayThe cleaning of Leonardo's 500-year-old painting, The Virgin and Child With Saint Anne, has divided the Louvre's advisory committee for its restoration. – AFP Photo
PARIS: Delicate work to restore a Leonardo Da Vinci masterpiece, to be unveiled in March, has turned into a headache for the Louvre, after experts accused the Paris museum of putting the precious oil work at risk. Leonardo began painting “The Virgin and Child with Saint Anne” in 1503 and when he died in France in 1519 the unfinished work, depicting Christ beside his mother and grandmother with a sacrificial lamb, was acquired by King Francis I.
Restoration carried out in the past century left the “Saint Anne” disfigured by stains, on the Virgin’s dress for instance, due to the ageing of a substance in the varnish and in 2010 the museum decided to restore the work once more.The “Saint Anne” is to be unveiled to the public in March as the highlight of a major exhibition built around it.But the project hit trouble last autumn as critics warned that cleaning could damage the masterpiece, and two experts have since resigned in protest from the advisory committee set up to oversee the work.
Both are art world heavyweights: Segolene Bergeon Langle, who left in December, is a French national heritage curator, while Jean-Pierre Cuzin who left in the autumn is former chief curator of the Louvre’s painting department.A French arts journal first sounded the alarm in October with an article entitled “Leonard in danger”.
At stake was the type of solvent used to dissolve the yellow-brown coat of varnish covering the painting, deemed too harsh by critics who fear it could remove the actual paint. Experts especially feared damage to the faces of Saint Anne and the Virgin Mary, and more broadly to the “sfumato” – layers of clear paint used by Da Vinci to produce smoky, softened contours, on this work as on the “Mona Lisa”.Contacted by AFP last week, the curator Bergeon Langle said she left the advisory committee for several reasons.
“I deemed that the restoration was not being carried out in line with what I imagined was necessary for this Louvre painting. That is my firm belief.”– Louvre insists ‘Saint Anne’ is not at risk – One critical point was the question of whether to remove a white patch on the body of the baby Jesus.The museum’s chosen restorer Cinzia Pasquali, who worked on the paintings of the Chateau de Versailles’ Hall of Mirrors, was convinced it was a patch of varnish, turned white by microscopic cracks, and wanted to remove it.
Bergeon Langle believed it may have been added by Da Vinci’s own hand – and was wary of any intervention.Finally Vincent Pomarede, the head of the Louvre’s painting department, went ahead and green-lighted its removal after having it analysed.
“On that issue, we were in disagreement,” he told AFP. “But I have the laboratory results and they are conclusive. I was certain it was a cracked varnish, and you can see plainly from the final result that it is.””I have no regrets,” said Pomarede, who has insisted the Louvre is not putting the work at risk. Last autumn the Louvre invited journalists to view the painting in the workshops of the French Museums’ Centre for Research and Restoration, the C2RMF, next to the Louvre, to defuse tensions.
In 1994, the Louvre had to abandon an earlier plan to restore the “Saint Anne”, over fears for its delicate “sfumato”.At the time, explained Pomarede, the Louvre did not have the technical know-how to protect the work. Now, however, he said it was possible to measure the thickness of the varnish down to the last micron.On the subjects’ fragile faces, for example, the restorer left an extra thickness of varnish: 16 to 17 microns, against 8 to 12 microns elsewere – and down from 30 to 35 microns previously.Early this month the scientific committee met and handed down a “positive verdict on the thinning of the varnish and the removal in places of additional layers of paint,” said Pomarede.
“Two or three experts even wanted to go further” including removing secondary tree trunks that are thought to have been added in the 19th century,”said Pomarede – who ruled to keep the trunks as they are. Since then the Louvre says tensions have simmered down with the dissenting experts.
Pasquali is putting the finishing touches to the work but this phase of the work is all reversible unlike removing varnish, and “should be a more serene period,” Pomarede said.
But Bergeon Langle, who was received by the head of the Louvre Henri Loyrette early this month and has another meeting planned with Pomarede, told AFP she still had “doubts” over the progress of the work.“As a general rule, I prefer old works to be cleaned only very lightly. You can never retrieve the original colours, what you get instead is the current state of the painting materials. Leaving a slight veil over the work makes it more harmonious,” she explained

Cercate e troverete !

Las Vegas becomes new home to
Leonardo da Vinci sculpture

Las Vegas becomes new home to Leonardo da Vinci sculpture
It was 500 years in the making but on Jan. 19 the only authenticated Leonardo da Vinci sculpture, “Horse and Rider," was revealed and made available to the public in Las Vegas. Brett K. Maly, whose keen eye as a fine arts appraiser has made him a regular on the Las Vegas-based TV show, “Pawn Stars” on the History Channel, is one of the principals instrumental in bringing this monumental find to Las Vegas.
 In 1985, four businessmen traveled to Switzerland and were introduced to a centuries old sculpture languishing in a vault. Hand carved from beeswax, the piece measured 10” high by 8” long and 3” wide depicting a war horse and its distinguished rider and was purported to be by Leonardo. The men contacted Dr. Carlo Pedretti, Professor Emeritus of Art History and Italian Studies on Leonardo da Vinci at UCLA and considered the world’s authority on the life and works of Leonardo. After much study and research, Dr. Pedretti authenticated the work as a Leonardo. The businessmen had a mold made from the delicate wax sculpture but never followed through on plans to make and market bronze sculptures from the mold created. The whereabouts of the original wax sculpture is currently unknown.
Richard A. Lewis purchased the mold in 1988 along with the letter of authentication from Dr. Pedretti and other documentation; storing it for 25 years. After retirement, Lewis searched on the Internet for information about the mold and about one year ago contacted Art encounter in Las Vegas. Maly, the president of Art encounter,admitted that he probably chuckled when told by one of his staff that someone was calling to speak to him about a Leonardo da Vinci piece he owned. After realizing the caller was legitimate, Maly involved his father, Rod Maly, founder of Art encounter with decades of experience, to present Horse and Rider to the world in
Las Vegas.
Horse and Rider

Leonardo da Vinci's Hidden Genius

Article from Greece on Michael's discoveries

On the Mona Lisa in Paris

Photo: AFP

Letter sent to Michael from Silvano Vinceti above from Italy, on the “Mona Lisa” in Paris.

Hi, Michael                                                                              February 16, 2011
I got your 2nd Email today and will be writing to you in the morning, in regards to "our finding together" I am very excited again, until the morning, I feel that the academic world will be put on the seat with what you have learned, very excited.
Silvano Vinceti,
Chairman of the Italian National Committee for Cultural Heritage

Although Mr. Domoretsky agrees with Silvano Vinceti, Chairman of the Italian National Committee for Cultural Heritage that there are numbers and symbols in the Mona Lisa Eyes; Mr. Domoretsky disagrees profoundly on the meaning and interpretation that Mr. Vinceti puts forth.  The pictures Domoretsky sent to Vincenti were from a discovery made by Domoretsky ten years previously and do not correlate  to Mr. Vincenti’s interpretations.  Mr Domoretsky believes that the numbers have a geometric connection to the Vitruvian Man.
The Vitruvian Man Is a world-renowned drawing created by Leonardo da Vinci circa 1487. It is accompanied by notes based on the work of the famed architect, Vitruvius. The drawing, which is in pen and ink on paper, depicts a male figure in two superimposed positions with his arms and legs apart and simultaneously inscribed in a circle and square. The drawing and text are sometimes called the Canon of Proportions or, less often, Proportions of Man. It is stored in the Gallerie dell'Accademia in Venice, Italy, and, like most works on paper, is displayed only occasionally.
The drawing is based on the correlations of the ideal human proportions with geometry described by the ancient Roman architect Vitruvius in Book III of his treatise De Architecture. Vitruvius described the human figure as being the principal source of proportion among the Classical orders of architecture. Leonardo's drawing is traditionally named in honor of the architect.  Mr. Domoretsky’s over a decade of research  has lead him to conclude that the letters and symbols in The Mona Lisa’s eyes are related to the geometry of the perfect Universal Man and geometry of life, and not as Silvano Venceti contends in his book, about the identity of the subject..

Historical discoveries within the Mona Lisa, the Virgin and Child with the Infant John the Baptist and St. Anne, at the National Gallery London, and Salvator Mundi (saviour of the World) once part of the de Gany collection, along with many other masterpieces
 by Leonardo da Vinci, to be published in first of its kind Novel called:

Leonardo da Vinci
 Pictures with Pictures,
outside the Frame, outside the Box.

Founder, Michael W. Domoretsky

Leonardo, da Vinci Research Group
All work is Copyrighted Protected 2000-2012- may not be used in any way, manor, or form, without written permission by owner,

  Thank you, Leonardo, da Vinci Research Group

Cercate e troverete !


  1. Conventional Wisdom and the rotting of the core of one’s mind, yours!

    Conventional Wisdom / Thinking, is not a healthy mindset, it creates a follower mentality and stifles creativity, progressive innovation and understanding. It is the safe route but in turn fosters mediocrity it creates gridlock. The dark ages, where religious control was foisted on, and coupled with strict adherence to conventional thinking doctrine by the masses, was an extreme example. Today's fear of proffering a different or counter culture viewpoint in academia or research, though not engendering the physical consequences of old, still sadly inhibits the progress in understanding the truth. Though nothing new, this has been going on for thousands and thousands years, it would be far more advantageous for us, as a race and society, if we were more prone to be willing to accept and investigate new or different viewpoints, rather than be mired in, and fearful of, changes to the accepted paradigms We need to turn the page, wake up and entertain the possibilities.

  2. Thank you for the knowledge offered. You certainly are going to surprise us with your findings. Please let us have the puzzle solved... Kind Regards, Helena Archontakis, Athens-Greece

    1. Dear Helena Archontakis, thank you for taking the time to actually look at the images,these images and symbols are far too numerous and obvious to anyone who actually takes the time to see them to be dismissed, and since they are embedded within the structure of each work, they will not be going away anytime soon, we are in the process of putting two books together with our ten years of research and scientific proof to back them all up, again thank you Kindly.

      Founder, Michael W. Domoretsky
      Lionardo, da Vinci Research Group

  3. Michael and his group have logged over 75,000 man hours of work compiling hundreds of images, thousands of elements and the processes devised by da Vinci to hide his secret messages in plain, and not so plain sight.

    Please join the blog and watch the story unfold in the coming weeks and months as new and stunning revelations are made.

  4. Graham Noll

    The da Vinci Project Research Group of Ipswich Massachusetts, founded by Michael Domoretsky, has had these and many other images for over a decade, since 2000. Some of the images have been published several years ago in the Gloucester Times when a presentation was made to the Masons in Gloucester Ma. We also have over 3000 !! never before seen images created by da Vinci and embedded in his works as well as several previously unknown processes used by da Vinci to encrypt hidden messages in his works. We have also identified the name of the subject in the Mona Lisa painting. We are in the process of compiling and authoring a book on the subject.

    For the entire story, not just a few pictures, or for further Information call:
    M Graham Noll 978 352 3800
    or email at

  5. Ever since I have been in contact with this unique project, I have changed my point of view on art. The secret hidden message in da Vinci's paintings are a science in themselves, difficult to discover for the untrained eye. I am grateful for all the information Michael W. Domoretsky supplies to the world as a result of his intense and highly specialized investigations, which will sure have a deep impact on the world of art.

  6. All I can say is, "Thank You, Jesus" for Michael and the da Vinci Project Research Group for their unceasing search for truth amongst all the lies prommelgated through Western Art History by museums like the National Gallery and the Louvre. (Anyone with an "eye" can plainly see the Mona Lisa was switched with a doppelganger after it's exhibition in the US in the 1960's). Likewise, the effort to promote the "BLUE" salvator over the "RED" version began years ago with Sotheby's preventing me from bidding on what was clearly the lost original! How many others were refused a paddle that dark day in New York, in their attempt to steal the painting which "only" sold for $300,000! It is worth millions upon millions today, and now they try to foist this imposter upon the viewing public!!!I have developed special intruments for viewing hidden micro-messages though da Vinci's special painting techniques which can be seen even today, messages which foretell of even these imposters, and the dark forces which are out to switch many more masterpieces with false "originals". Leonardo's messages come through very strong at times and it's clear from Michael's analysis that I am not the only one having these secret messages sent to him. PLEASE -will all the others who can receice these communications please make themselves known so we can combine our strengths before it is too late and all the greatest paintings from antiquity are stolen and switched with clever forgeries!! This is serious and we are the only one's who can stop this. Please help me.

  7. Hi,

    We laud your interest in finding the truth and encourage you to continue following our research as we are now going to be presenting some very important findings to the public.

    As you are aware, we agree with your assesment of the Salvatore Mundi paintings and have definitive proof of the validity of your feelings on the subject.

    We have discovered and documented the processes that Leonardo used in encrypting messages within all of his artworks. As such since we are the only group to have all the processes, we can definitively identify and authinticate an original daVinci or conversely identify an artwork as completed by someone other than Leonardo with surety.

    There are major problems with authentication of da Vinci's works and indeed with others as well. It stems not from conspiracy as much as from the need for scholars to toe the line of conventional thinking with their findings in order not to be considered to be outcast from the academic community.... Thats not to say that conspiracies do not exist...... But our personal experience has taught us that it would be very painful for the scholars to have to admit that they have been wrong all this time.....

    We are happy to have your interest in following and participating in our dialog. Please continue to be part of the project.

    Best Regards,

    The da Vinci Project Research Group

    I congratulate you my friend, Michael W. Domoretsky FOR YOUR PERCEPTION AND CARE, THE ANALYSIS OF DIVINE WORKS. You are fantastic, and I thank you for the privilege, YOU Michael, I always provides.
    Kisses in your heart.

  9. We are always happy when someone takes the time to understand the complete story in-depth and has the curiosity to continue following a highly complex subject. We are on the verge of presenting a vast array of discoveries made over the course of the decade of study.

    Thanks for your appreciation and support!

    The da Vinci Project Research Group.

  10. Michael,

    I praise and commend Your brilliance and Achievement on what had been honored among the ancients, but almost forgotten since. Your inspiring works and deeds provides a fresh new prospective in providing scholars with a fuller, more accurate knowledge of ancient civilizations and antiquity truth.

    Conventional thinking can call any age golden, however unconventional thinking is beyond doubt that age which brings forth golden talents in different places. That such is true of this Century, like a golden age, has restored to light the liberal arts, codex's, poetry, rhetoric, painting, sculpture, and archeological findings which were almost extinct...
    Your wisdom and eloquence has recalled the ancient teachings from darkness into light.

    Respectful regards,

    Sir Jack Lane

  11. Jack,

    I thank you for your kind words and recognition of our efforts to bring the secrets of Leonardo and others artists to light.

    We as a group agree with you wholeheartedly that dogmatic adherence to conventional thinking has been, and still is, an impediment to the exposure of the truth in the arts and sciences. We believe as you do that new discoveries should be embraced and thoroughly investigated with an open mind rather than derided or shunned.

    It is difficult to persuade those who have been schooled traditionally to consider other perspectives, but with people like you who are open to the possibility that what is taught is not necessarily the truth, we have hope that what we and others are discovering will receive more open consideration from both the public and scholars.

    We thank you and respect you for looking and making an concerted effort to move toward the light.

    Again, Thank you,

    Michael and The da Vinci Project Research Group.

  12. Self deception is a term that is not heard too often in the world outside of forensic psychology. Most people who suffer the symptoms are unable to realize that they are even capable of self deception with themselves. Telling lies and believing false truths is more common than you may think. Truth, lies and self deception are recurring themes that seem to plague many forensic psychology cases.

    Although they are irrational convictions, delusions are a real psychotic problem that often goes untreated. There is even the possibility of Shared Psychotic Disorder, where the delusional state is shared between close individuals and other associates of the original person. This allows for psychosis to be a communicable condition. Even though the process may be biochemically induced in the brain for psychosis, it is also true that psychosis can be a psychological phenomenon brought on through perceived realities that are seeded by other individuals. The psychology of the human mind is very powerful and very capable of self deception.

    Everyone is capable of deceiving themselves. Self deception can come in many forms and delusions are not uncommon throughout the ordinary people in any community. Conflicts between partners, relatives or friends can become heated quickly, and this is ordinary. The people involved may have completely different accounts of what happened and why they were fighting and both may be right, if they believe that their account was the real truth even if a delusionary state. No matter the situation, we are programmed internally to take a situation, gather facts that help our case and manipulate it to benefit ourselves. We will completely dismiss or omit any facts that will harm our egos and either use other information to fill the gaps or take a different direction with in our recount of the situation. This is also known as confirmation bias by social psychologists. Unconsciously, we are capable of producing a lie that we believe completely, making our perceived reality the truth, and what others see as a false conviction. We are likely unable to realize that we perform with such lies imbedded in our fragile minds and twisted self image.

    Believing such lies to one self can cause serious delusional thinking. This psychological state will allow for a person to believe that something other that what really happened occurred. A person may have committed murder and truly believe that they were not the culprit, passing on the blame to someone else. If they truly believe they did not commit the act, in their minds they are telling the truth. This can even cause problems with polygraph machines which are designed to weed out lies from truths. This can then lead to a person with serious psychotic disorder to run free after a trial has concluded. This can happen anywhere, at any time.

    Long start short ending, Brother. I am grateful for your long and lasting efforts to reveal the TRUTH, we / I thought we knew. You showed us, that our perception in the core was right, but we we wrong the same way. You showed to us the true beauty of the spirit and the spiritual. You show us the the magnificent work of one of the most important genius alive on this earth ever. I adore your work and your love in the work you do.
    May the music play for you forever. Love and light, I am more the proud to be your beloved brother, Sir Halting Loved, Knight of Justice, MM .:. ZH/CH

  13. Sir Halting,

    Thank you for taking the time to pen the informative primer on self delusion for us..... in the case of the Blue Salvatore Mundi painting we are hoping and thinking that it is nothing more than either incorrect assessment or self deception by traditionalist based scholars and an owner...... but in truth there may be other more self serving forces at work here.... But It is not our place to judge people's motivation, just to find truth and bring good things by da Vinci to light......

    We should point out that Leonardo did have influence over the creation of the Blue painting and indeed had a hand in a single area and certain part of the preparatory drawing..... an important historical find in and of itself. So though one could say that the artwork was inspired, touched and supervised by da Vinci, it cannot be said in our opinion that it is one completed in total by the great master himself

    We are gratified that our tens of thousands of hours of work on this project are finally bearing fruit by bringing the truth to our brethren and indeed the public at large.... And your recognition and encouragement is very much appreciated giving us more reason than ever to continue to find the truth and bring to the widest audience possible all that this incredible master bequeathed us over 500 years ago .

    We welcome your kind words, support and sincere interest!

    Thank you,

    Michael Domoretsky and The da Vinci Project Research Group.

  14. Leonardo da Vinci Masterpiece was turned into 'Garish Mess' after Restoration Pushed by 'Overzealous' British, Claim the French Conventional Wisdom and its effect on the world of art! We are personally very saddened to see, yet again, a case where restoration has likely damaged yet another of da Vinci's works. This painting The Virgin And Child With Saint Anne by Leonard da Vinci, now the second having controversy over the restoration efforts closely follows the first group of da Vinci paintings having an ongoing battle for authentication and proper repair, that being the Salvator Mundi Paintings, where the restoration experts did not understanding the INTENT of the master. We contacted the owners of the painting to let them know of our discovery that the Salvator Mundi painting in BLUE is that of a student. The da Vinci Project, Research Group (DPRG) contacted major news outlets around the world but they are all looking for "expert" verification. Unfortunately the conventional wisdom / thinking of these "experts" have been hindered by a lack of openness to other possibilities. This has set the tone for restoration for generations. This mindset creates a follower mentality and stifles, progressive innovation and understanding. It is the safe route, but in turn fosters mediocrity and is damaging irreplaceable art. The fear of proffering a different or counter culture viewpoint in academia or research, though not engendering the physical consequences of old, still sadly inhibits the progress in understanding the truth. Though nothing new, this has been going on for thousands and thousands years, It would be far more advantageous for us, as a race and society, if we were more prone to be more willing to accept and investigate new or different viewpoints, rather than be mired in, and fearful of, changes to the accepted paradigms. We need to turn the page, wake up and entertain the possibilities. Because Leonardo was so creative, ahead of his time and placed so much within his paintings and other art that was never understood, and is not yet accepted, many of his artworks are being damaged by restoration efforts based solely on typical repair methods. Leonardo was a genius who put subtleties within his works that very few can recognize without assistance. When both the restoration personnel and historians adhere to the accepted methods, they are failing to understand the nuances, techniques and the true intent of the optical illusions that he and other artists of the era included within the works to pass on hidden messages. Hence their restoration efforts are destroying priceless art, all because everyone is afraid to embrace processes that the DPRG has uncovered in over a decade of work; proven processes that the masters used in their works, because they are not accepted by the scholars who will not entertain the idea that da Vinci and others really did hide images and symbols with their works. The DPRG has literally hundreds of examples of these images and is leading the charge to get the art world to sit up and take notice of these important findings before more priceless art is destroyed and its meaning lost forever. Founder,and Director Michael W. Domoretsky

  15. We would like to commend anyone who takes the time and makes the effort to study leonardo and the many exciting subjects in which he was involved.
    Limiting our comment to the actual Salvatore Mundi painting we would like to point out that the Blue painting lacks the detail, hidden constructs and accuracy that Leonardo put into his works, especially later in life. We contend that the Blue painting though having had the contribution of Leonardo's having drawn the hand in the preparatory drawing is not a painting actually completed by Leonardo himself. When a comparison is performed between the blue painting and the Ganay red and blue painting it becomes obvious to us that the Ganay painting contains many, many of the telltale hallmarks we have found in other of his works while the blue painting only contains one comparable section in the presentation of the hand. A careful comparison of these two paintings will yield startling and very eye opening results. For a more in-depth understanding of the findings upon which the previous statements are based, please look at the blog that has a highly detailed explanation.

  16. This search for mystic geometry is totally misguided, as, in general, is the search for "codes". None of the huge body of evidence about the design of Renaissance paintings (Leonardo's included) provides the slightest encouragement for the imposing of detailed surface geometry (using thick lines on small reproductions) on paintings in this way. The most there may be as an adherence to certain canons of bodily proportion, but none of his drawings for specific works of art contain even this. Renaissance paintings contain allegories and symbolism, but there are not "codes".
    "Da Vinci" is not his name - that's an ugly Americanism. It's like calling me "from Woodstock". It was not a surname.
    Martin Kemp

    1. We are honored to have such a distinguished scholar visit our blog and voice an opinion. We thank you for taking the time to do so, and for your comments.
      It was never our intention or interest to search for “codes” in Lionardo’s works, but rather we made one astonishing discovery by accident that led to another,and to our finding literally hundreds of images with literally thousands of elements within his works over the course of over a decade of intense 7 day a week full time research. We also ascertained by correlating his written texts, teachings and known predisposition for mirrored optics and encryption, that he utilized several processes to embed hidden images within his works. As a result of our findings we must respectfully disagree with the contention that there are no hidden images and elements in his works, not withstanding conventional thought on the subject.
      If our research had uncovered just a few anomalies we would have to agree that there was nothing to the idea that he created images within his works. However utilizing the highest resolution digital photographs available to researchers, directly from museums, we have isolated so many clearly recognizable symbols, letters, numerals, and above all, images having religious, intellectual and conceptual meaning that we cannot dismiss and must consider that they are in essence Lionardo’s “hidden language of images and ideas” that some might describe as a “code”. Almost everyone who has seen the vast number of highly precise and recognizable images, and who has not been taught that such things do not exist, or who have had a reason to disavow what they actually have seen, have come away with no doubt that the images were the intended work of Lionardo. We have been asked the following question by many: How is it possible that the scholars and historians have missed these images? These inclusions are too obvious, too precise and too consistent with the methods and techniques Lionardo used to be dismissed as dust. They are literally part of the base structure of the works. We agree and can only surmise that the scholars have failed to consider that regardless of the conventional and traditional thoughts and teachings, maybe Lionardo had more to tell …… Would it not be just like Lionardo to surprise us all once again with something never before considered? After all, He was Lionardo .
      As for the “ugly Americanism”… for several years we used his real name in our correspondence and research, and are well aware that it is Lionardo di Sir Piero, da Vinci …. However just as almost all published works by scholars and art historians have had to use the name Leonardo da Vinci or da Vinci, for commercial reasons, as we are all well aware, the vast majority of people do not recognize his real name, so we too were forced to do the same. We have found that people around the world, even the British, recognize the name da Vinci or Leonardo da Vinci more readily than his real name, so we being Americans humbly thank you for the attribution and recognition.
      We respect the many and great contributions you, Mr. Kemp, have made to the study of this world renowned artist and scientist and wish you success with your latest publication. We are also in the process of compiling our thousands of images and writing a book that we believe will open up a whole new area of study in renaissance art, beginning with the works of Lionardo. We hope you will consider our findings in a positive light as a new and previously never before studied aspect of Lionardo’s genius.
      Mr. Kemp, We also thank you for your suggestion that we change the name of our research group to The Lionardo, da Vinci, Project Research Group, in order to better stay within the bounds of historic accuracy. We are grateful and will of course change our name in your honor. Again thank you for having taken time to correspond with us.
      The Lionardo, da Vinci, Project Research Group
      Founder Mr. Michael W. Domoretsky

  17. Dear Professor Martin Kemp, January 16, 2012 Response to MK

    Thank you for noting the typo, though of course the Ser has also been published as SIR as well..... but we do agree it was a typo and we know full well that this is the case..... but what perplexes us is why would something as trivial as a typo be the only consideration upon which to dwell when there is such an interesting and notable set of findings presented for study and comment...... We are honored to explain and show our findings to anyone open to understanding that Lionardo produced yet another surprise.... previously unrecognized images every bit worthy of his intellect, consistent with his predilections and obvious to anyone taking the time to actually look at the images. We invite you to actually see our findings so that you can participate in bringing this new area of study to light. These images and symbols are far too numerous and obvious to anyone who actually sees them to be dismissed, and they since they are embedded within the structure of each work, will not be going away or be branded anomalies or fabrications. We are serious in this research and are hoping you will consider that perhaps Lionardo created yet another invention that the established art world simply has yet to recognize and embrace. We would sincerely welcome your serious consideration of the hidden images Lionardo created.


  18. Thank you for opening my eyes to new horizons, Michael Domoretsky. Please continue sharing your valuable knowledge and findings with us. Helena Archontakis, Athens-Greece.

  19. A note of interest sent to Founder , Michael W. Domoretsky of the Lionardo, da Vinci Research Group on January 25 2012.

    Your blog was of great interest to me.

    My ladyfriend (an art historian) and I are creating a video designed to demonstrate that the de Ganay version of the Salvator Mundi (the "red" one) has at least as good a claim to authenticity as the Cook version (the blue one). She and I have come up with a novel, yet well-grounded, approach to the authenticity question. She presented her work at an art history symposium at the University of California back in 2010. (That was before the restored version of the Cook was unveiled.) The Ren specialists in attendance pronounced her main finding to be unassailable.

    You're on the right track, and you delve into some areas that had not occurred to us. I must confess, though, that the symbolism is not quite so important to me as it appears to be to you. There's too much room for wild speculation in that realm. (That said, my ladyfriend remains a big fan of Panofsky.)

    You are correct to note that the Omega fold is a key clue. "The Omega Fold" was Heydenreich's term -- he did the most intensive work on the de Ganay. Are you familiar with his work? I fear that it has not been translated out of German.

    I hesitate to divulge all of the reasons why we feel that the de Ganay is authentic. (We tend to think that the hand in the Cook was painted by Leonardo; conversely, many passages in the de Ganay are obviously NOT by Leonardo.)

    I'll say this: Both versions were made from the same cartoon or preparatory drawing. Leonardo prepared the face on a separate drawing. (We know that he followed this practice when he created the Madonna of the Rocks.) The same cartoon was used for both faces. They may LOOK very different -- but look closer, and you'll eventually understand the trick.

    Whoever painted the Omega fold in the Cook did not have access to the extant preparatory drawing and thus did not understand the artist's intent. I'm not speaking in symbolic terms. Leonardo's cartoon was transferred to the panel, but the resultant underdrawing on that panel did not make Leonardo's intentions entirely clear to whoever it was who finished the painting. (In the video, we will draw a comparison to the unfinished Adoration of the Magi, which is very sketchy in parts.)

    We believe that the new painter -- who had access only to this panel and not to the original studies (reproduced on your site) -- simply did not understand the intended shape of the cloth.

    Forgive me for not divulging the major aspect of the de Ganay Salvator Mundi that everyone has so far missed. We are saving this for our video.

    For now, may I make a humble suggestion? We need to maintain some consistency in terminology. Previously, the painting now owned (in part) by Simon was called "the Cook" because it had belonged to the Cook family in the U.K. Similarly, the de Ganay should, we think, be called "the de Ganay" -- not "the red one."

    That said, we suspect that the de Ganay Christ as once entirely clad in red, not red and blue. The drapery over the left shoulder is obviously a very clumsy overpainting. You can see red showing through the orb.

    One online source says that the de Ganay family recently sold their painting for less than a million dollars. But I don't know who owns the work at present. Do you?

    Thanks for any help you can give. I hope the video will be of interest to you when it is completed.

    Joseph Cannon

    1. Hello Mr Cannon and Lady friend,
      We agree with much of what you have indicated and are pleased to see that you are taking the time and making an effort to show that the "GANAY (red painting) has at least the as much claim if not more of being an original by Leonardo than the "Cook" (blue Painting).
      We agree with your assessment that the hand was definitely painted by Leonardo in 'Cook" as in Ganay, and that the remainder of "Cook " was not. We also agree with your contention regarding the "second painter".
      Where we differ is not in the assessment of this work but in our fundemental approach to the subject of Leonardo not as an artist, but as a keeper and conveyor of secrets and truth. Your lady friend is approaching this from the standpoint of an art historian, working to present the truth about a single work, while we are approaching it from the viewpoint of leonardo's intent across all of his works. The symbols are only a tiny fractional part of our findings and contribute added credibility to our discoveries. Our validation process is based upon previously unconsidered factors that will be shown in detail a book presently being authored.
      The single most important thing you have stated to which we heartily agree is in the word "INTENT" . This is what has been missed in a far larger scope than anyone has begun to understand.
      We thank you for your interest, and for taking the time to discuss the subject and your endeavor with us. We look forward to seeing your video as it may very well further substantiate what many have already concluded.... That there was far more to Leonardo and his intent than anyone suspects.
      Unfortunately we have agreed not to divulge any contact information on the works we are studying and as such cannot do so. We are truly sorry that we are unable to help you in this matter.
      Please drop a line to us when your video is available!
      Thanks and good luck with your project!
      Michael Domoretsky and the Lionardo da Vinci Research Group.

  20. In Amazement Leonardo does it again!

    Look at the lines in this Masterful work of Art by Leonardo, da Vinci, called the Horse and Rider authenticated by Dr. Carlo Pedretti, Professor Emeritus of Art History and Italian Studies on Leonardo da Vinci at UCLA and considered the world’s authority on the life and works of Leonardo, I also agree with Dr. Pedretti’s authentication and feel the lines throughout the sculpture are absolutely perfect and is a true Leonardo Masterpiece, now, look at the Salvator Mundi Painting in Blue paint hanging in the National Gallery in England above, this painting is a far Cry in our opinion from any work ever done by Leonardo, da Vinci, but yet the experts such as Professor Martin Kemp and other well known Scholar's say it is a true Leonardo masterpiece, how could they.

    I haven't spoken to Dr. Carlo Pedretti, Dean Emeritus personally, and have tried several times, but would enjoy hearing his assessment on this painting, my personal opinion with the extensive research we have compiled over ten years in the, Lionardo da Vinci Research Group, would suggest to us that possibly Dr. Pedretti would agree with our findings, and feel the same as we do.

    We humbly and openly, invite Dr. Carlo Pedretti to weigh in on this at any point in time.

    Founder of the Lionardo da Vinci Research Group
    Michael W. Domoretsky

  21. A note of interest sent to Founder, Michael W. Domoretsky,
    January 27, 2012

    Michail Panagopoulos
    5:26 PM (14 hours ago)

    Dear Mr Domoretsky,

    I am a lecturer at the department of Audio and Visual Arts of the Ionian University and my research interests involve application of pattern recognition methods to art and cultural heritage.
    I have visited your blog and I found your work very interesting but I could not find any relative publications of this project.
    Can you please send me the links or even better the publications related to your recent research work?

    I look forward to hearing from you,

    Michail Panagopoulos, Ph.D
    Electrical & Computer Engineer
    Department of Audio & Visual Arts
    Ionian University

    1. Dear Dr. Panagopoulos,
      We thank you for reviewing our blog, finding it intriguing and for requesting information.
      The discoveries I have made in the field of pattern recognition have never been noticed before in such a profound way that I know off or have been reordered as so. There are no publications on the subject because it has previously remained undiscovered and a secret in the art world within this process of pattern recognition, until 2000 when my research began, from there on it has only been published a hand full of times through the news, and as so was grounded based upon a decision made that until we could bring this to the public in the right format so everyone would understand just how profound the ground breaking discoveries were, and so now the time has come for The Lionardo da Vinci Research Group to introduce our discoveries and proof to the world at hand.
      We are in the process of authoring our first publication of several on the subject. The publication will show the images that Leonardo created and the very inventive processes he used to embed them in his major works, the messages given, the secret master’s involved with Leonardo, and the intent of the messages throughout history going back hundreds of thousands of years passed down from the ancients to the present.
      We believe that you will find the processes, images, ancient knowledge and the messages within the secret code that have remained elusive, fascinating and groundbreaking, even by today's standards.
      Once we published our research, we would welcome your participation because the actual encryption's, being patterns, having geometric, symmetry and ultimately having very consequential historical ramifications are all within your frame of study, to date we have put a decade of research on this subject alone.
      We are working as fast as possible to organize and complete the work and will be happy to alert you when the books are ready for your review.

      Please feel free to contact us at any time for an update.
      Michael W. Domoretsky

  22. Letter of interest sent to Michael from Silvano Vinceti, Italy

    Hi, Michael February 16, 2011

    I got your 2nd Email today and will be writing to you in the morning, in regards to "our finding together" I am very excited again, until the morning, I feel that the academic world will be put on the seat with what you have learned, very excited.

    Silvano Vinceti,
    Chairman of the Italian National Committee for Cultural Heritage

  23. Mr. Domoretsky,
    Had not been into the blog for quite a long time. Am really happy to see interest coming from Mr. Panagopoulos, Ionian University, Greece.
    Please continue keeping us posted.
    Helena Archontakis

  24. Dear Michael,
    I am thrilled for you upon hearing your book will be published! It is so exciting that your years of research will soon be available to the public. I know it will be dynamite and will rock the world and will enlighten people to the discoveries you have made in Leonardo da Vinci's work. After following you for several years I am happy to see that headway is finally coming your way.
    Maureen Mitchell


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