Virgin of the Rocks&Detail of green angel...."

MY REVELATION 12 LOTR ETC.CASTLE IN MY HOMETOWN IS STILL HAPPENING.SEALED. SAKIEMLAYECHID.SAKIYECHID.SKIEMLAYECHID.SAKIEMLAYECHID.

"I AM THEE WOMAN."THIS MIRACULOUS HEBREW EVERLASTING MARRIAGE BLOOD COVENANT IS OF WHO IAM STANDING ON THE REVELATION 12 LOTR ETC.CLIFF'S EDGE:MOON."LOTR ETC.

NICOLE WILL NOT STOP TRYING TO MURDER WHO IAM&WILL NOT STOP THINKING SHE IS GOING TO GET MY HUSBANDS TO DIVORCE WHO IAM&LEAVE NATALIE(JORDAN)&GO&MARRY HER&I AM NOT JUST SAYING THIS.

Kimberly Marie(MARY) Lapointe-HANSON(1971)Ma "kimchi"REV.12🛫

🛫

*AND:I AM:"L'IRIS"

A SEXUALLY-BROKEN HYMEN IS NOT ALLOWED.

 la Rose.(fleurira la Rose)(quand fleurira la Rose)
A SEXUALLY-BROKEN HYMEN IS NOT ALLOWED.

*I AM THE ROSE SPOKEN OF IN THE REVELATION 12 LOTR ETC.PROPHECIES&GOD MADE A MIRACULOUS PICTURE OF MY SELF IN THIS ROSE.
*I AM REPRESNTED BY:THE ROSE.
*I AM LIKENED UNTO:MARY MAGDELENE.

Earthquakes Ciburial..."*NO.TO ANY:CHRIST IRIS BURIAL IRIS NOAH DOOR NOAH 
EVE II SION:SAVIOUR IRIS OMEGA NOAH ALPHA:*GOD TOLD U THAT I AM NOT DEAD, *AND THAT I WILL NOT EVER BE DEAD AS WHO IAM ETERNALLY SEALED IN AS. *TIMES EVERY DIRECTION AND EVERY PLACE. *TIMES INFINITY.

*GOOGLE....." IS/ARE TRYNG TO LU-LOO-LOU BURY WHO IAM FOR  A LUCIFEREAN REPLACEMENT COUPLE.

*THEY ARE NOT ANYONE THAT THIS IS ABOUT...."IN ANY WAY THAT THEY EVER WANTED TO KNOW ABOUT

Exodus 20:14 Context

¹¹For in six days the LORD made heaven and earth, the sea, and all that in them is, and rested the seventh day: wherefore the LORD blessed the sabbath day, and hallowed it. ¹²Honour thy father and thy mother: that thy days may be long upon the land which the LORD thy God giveth thee. ¹³Thou shalt not kill. ¹⁴Thou shalt not commit adultery. ¹⁵Thou shalt not steal. ¹⁶Thou shalt not bear false witness against thy neighbour. ¹⁷Thou shalt not covet thy neighbour's house, thou shalt not covet thy neighbour's wife, nor his manservant, nor his maidservant, nor his ox, nor his ass, nor any thing that is thy neighbour's. 

17 When Abram was ninety-nine years old, the Lord appeared to Abram and said to him, “I am ^[a]Almighty God; walk before Me and be blameless. ² And I will make My covenant between Me and you, and will multiply you exceedingly.” ³ Then Abram fell on his face, and God talked with him, saying:⁴ “As for Me, behold, My covenant is with you, and you shall be a father of ^[b]many nations. ⁵ No longer shall your name be called ^[c]Abram, but your name shall be ^[d]Abraham; for I have made you a father of ^[e]many nations. ⁶ I will make you exceedingly fruitful; and I will make nations of you, and kings shall come from you. ⁷ And I will establish My covenant between Me and you and your descendants after you in their generations, for an everlasting covenant, to be God to you and your descendants after you.⁸ Also I give to you and your descendants after you the land in^[f] which you are a stranger, all the land of ISRAEL an everlasting possession; and I will be their God.”

(1971) (1971) (1971) 

Rescue, CA Earthquakes | Homefacts

https://www.homefacts.com/earthquakes/California/...

Rescue, CA has a moderate earthquake risk, with a total of 8 earthquakes since 1931. The USGS database shows that there is a 26.89% chance of a major earthquake within 50km of Rescue, CA within the next 50 years. The largest earthquake within 30 miles of Rescue, CA was a 2.8 Magnitude in 2002.

Rescue, CA Earthquakes | Homefacts

https://www.homefacts.com/earthquakes/California/...

Rescue, CA has a moderate earthquake risk, with a total of 8 earthquakes since 1931. The USGS database shows that there is a 26.89% chance of a major earthquake within 50km of Rescue, CA within the next 50 years. The largest earthquake within 30 miles of Rescue, CA was a 2.8 Magnitude in 2002.

Virgin of the Rocks

Artist	Leonardo da Vinci
Year	1483–1486
Type	Oil on panel (transferred to canvas)
Dimensions	199 cm × 122 cm (78.3 in × 48.0 in)
Location	Louvre, Paris

The Virgin with the Infant Saint John the Baptist adoring the Christ Child accompanied by an Angel. In this second version Mary and Jesus are depicted with a halo and John the Baptist with the cross

Virgin of the Rocks

Artist	Leonardo da Vinci and other(s)
Year	1495–1508
Medium	Oil on panel
Dimensions	189.5 cm × 120 cm (74.6 in × 47.25 in)
Location	National Gallery, London

Angel by an unknown painter, perhaps Bernardino Luini or Francesco Napoletano

Female head study by Leonardo for the Madonna of the Rocks, Royal Library of Turin

Detail of green angel

Bernardino Luini, The Holy Family with St. John. Museo del Prado, Madrid

The Virgin of the Rocks (Italian: Vergine delle rocce; sometimes the Madonna of the Rocks) is the name of two paintings by the Italian artist Leonardo da Vinci, of the same subject, with a composition which is identical except for several significant details. The version generally considered the prime version, the earlier of the two, is unrestored and hangs in the Louvre in Paris. The other, which was restored between 2008–2010, hangs in the National Gallery, London. The paintings are both nearly 2 metres (over 6 feet) high and are painted in oils. Both were originally painted on wooden panels, but the Louvre version has been transferred to canvas.^[1]

Both paintings show the Madonna and child Jesus with the infant John the Baptist and an angel Uriel, in a rocky setting which gives the paintings their usual name. The significant compositional differences are in the gaze and right hand of the angel. There are many minor ways in which the works differ, including the colours, the lighting, the flora, and the way in which sfumato has been used. Although the date of an associated commission is documented, the complete histories of the two paintings are unknown, leading to speculation about which of the two is earlier.

Two further paintings are associated with the commission: side panels each containing an angel playing a musical instrument and completed by associates of Leonardo. These are both in the National Gallery, London.

Louvre version[edit]

The Virgin of the Rocks in the Louvre is considered by most art historians to be the earlier of the two and dates from around 1483–1486. Most authorities agree that the work is entirely by Leonardo.^[2] It is about 8 cm (3 in) taller than the London version. The first certain record of this picture dates from 1625, when it was in the French royal collection. It is generally accepted that this painting was produced to fulfill a commission of 1483 in Milan. It is hypothesised that this painting was privately sold by Leonardo and that the London version was painted at a later date to fill the commission.^[2] There are a number of other theories to explain the existence of two paintings.^[3][4] This painting is regarded as a perfect example of Leonardo's "sfumato" technique.

London version[edit]

A very similar painting in the National Gallery, London, is also ascribed to Leonardo da Vinci, and ascribed a date before 1508.^[5] Originally thought to have been partially painted by Leonardo's assistants, a close inspection of the painting during the recent restoration between 2008 and 2010 has led the conservators from the National Gallery to conclude that the greater part of the work is by the hand of Leonardo,^[6] but debate continues.^[7] Parts of the painting, the flowers in particular, indicate the collaboration and have led to speculation that the work is entirely by other hands,^[8] possibly Leonardo's assistant Giovanni Ambrogio de Predis and perhaps Evangelista.^[9]

It was painted for the chapel of the Confraternity of the Immaculate Conception, in the church of San Francesco Maggiore in Milan. It was sold by the church, very likely in 1781, and certainly by 1785, when it was bought by Gavin Hamilton, who took it to England. After passing through various collections, it was bought by the National Gallery in 1880.^[2]

Angels[edit]

Two paintings of angels playing musical instruments are believed to have been part of the composition that was set into the altarpiece. These two pictures, now in the National Gallery, London, are thought to have been completed between 1490 and 1495. One, an angel in red, is thought to be the work of Ambrogio de Predis while the angel in green is thought to be the work of a different assistant of Leonardo, perhaps Francesco Napoletano.^[10]

History[edit]

Chapel of the Immaculate Conception[edit]

The Chapel of the Immaculate Conception was founded prior to 1335 by Beatrice d'Este [it], wife of Gian Galeazzo Visconti, Duke of Milan. The chapel was attached to the church of S. Francesco Grande, Milan.^[11]

In 1479 the Confraternity of the Immaculate Conception contracted Francesco Zavattari and Giorgio della Chiesa to decorate the vault of the chapel.^[11] In 1480 the Confraternity of the Immaculate Conception contracted Giacomo del Maino to create a large wooden altarpiece with spaces for paintings and with carvings and decoration, to be placed above the altar of the chapel. Final payment was to be made on August 7, 1482.^[11]

Commission for the painting[edit]

On April 25, 1483, Prior Bartolomeo Scorlione and the Confraternity contracted Leonardo da Vinci, and the brothers Ambrogio and Evangelista de Predis to provide the painted panels for the altarpiece.^[11] The contract was not explicit about what each artist was to do. Leonardo was referred to in the contract as "Master". Ambrogio de Predis was also a painter.^[11] It is presumed that Evangelista de Predis was a gilder and assisted in preparing the colours.

The details of the painting, colouring and gilding are set out in the contract.^[12] The central panel was to be a painting showing the Virgin Mary and Christ child, with two prophets, probably David and Isaiah, surrounded by angels. Above them was to be a lunette containing a relief panel of God and the Virgin Mary, beneath which was a panel showing the crib. The relief figures were to be brightly painted and gilded. To either side of the central painting were to be painted panels showing four angelic musicians on one side and four singing angels on the other. A number of sculptured relief panels were to depict the life of the Virgin Mary. Details of the colours and the gilding of the major parts were specified in the contract.^[12]

The due date of installation was December 8, 1483, the Feast Day of the Immaculate Conception, giving seven months for its completion.

Payment[edit]

On May 1, 1483 there was an initial payment of 100 Lire. This was followed by payments of 40 Lire per month from July 1483 until February 1485 totalling 800 Lire.^[11] A final payment was to be negotiated upon completion and delivery of the work in December 1483.^[11]

Between 1490–95, Ambrogio and Leonardo wrote to the Confraternity stating that the centrepiece had cost the whole 800 Lire and they asked for a further 1,200 Lire, according to the contract. The Confraternity offered them only 100 Lire as a result of the petition.^[11] Leonardo and Ambrogio then requested Ludovico Sforza, the Duke of Milan, to intervene on their behalf. It was suggested that the altarpiece should be assessed by experts and evaluated, for the final payment. The artists also suggested that if an agreement over price could not be met, then they should remove the artwork.^[11]

In 1503 Ambrogio again appealed for payment, on his own behalf and that of the heirs of his now deceased brother, Evangelista.^[11] On March 9, 1503, Louis XII of France, who had invaded Lombardy in 1499, wrote to the commander of Milan requesting that he intervene on behalf of the artists.^[11] On June 23, 1503, the Confraternity set out a deed contesting de Predis' request for evaluation or return of the painting.^[11] On April 27, 1506, an evaluation was made. It was judged that the work was still incomplete. Leonardo was requested to finish it, but he was still absent from Milan.^[11]

On August 18, 1508, the painting was delivered and put into place.^[11] On August 7, 1507, and October 23, 1508, Ambrogio received two payments totalling 200 Lire. The receipt of this payment is acknowledged in correspondence by Leonardo.^[11]

1524–2011[edit]

National Gallery painting[edit]

In 1524 and 1576 The Virgin of the Rocks in the Chapel of the Immaculate Conception, presumably the London version, was invoked against the plague.^[13] In 1576, the altarpiece was removed from the chapel, which was demolished.^[11] In mid-1785, Gavin Hamilton, a Scottish painter and dealer, paid 1,582 Lire to purchase the Virgin of the Rocks from Alessandro, Count Cicogna, administrator of the religious body which succeeded the Confraternity of the Immaculate Conception.^[14] Hamilton's heirs sold the painting to Lord Lansdowne,^[11] who had amassed considerable debts. After his death in 1805, his son John was forced to sell nearly all of his father's collections,^[15] and the painting was purchased by the 15th Earl of Suffolk. In 1880, the painting was sold by the 18th Earl of Suffolk to the National Gallery for 9,000 guineas. It was reported at that time to be in a poor state and was attributed by some critics to Leonardo and by others to Bernardino Luini.^[11]

In June 2005, the painting was examined by infra-red reflectogram. This imaging revealed a draft of a different painting beneath the visible one. The draft portrays a woman, probably kneeling, with her right hand outstretched and her left on her heart.^[16][17] Some researchers believe that the artist's original intention was to paint an adoration of the infant Jesus.^[18] Many other pentimenti are visible under x-ray or infra-red examination.^[16]

In 2009/2010 the painting underwent cleaning and conservation work,^[6] returning to display in July 2010. The National Gallery, in a preliminary announcement of the results of the work, said that it revealed that the painting was largely, possibly entirely, by Leonardo, and unfinished in parts. The full publication of the findings was released later in 2010.^[19]

Louvre painting[edit]

In 1625 the Virgin of the Rocks now in the Louvre was seen at Fontainebleau by Cassiano dal Pozzo. In 1806, the French restorer Fr Hacquin transferred the Louvre Virgin of the Rocks from its panel onto canvas.^[11] For a brief time in 2011–12 it was hung with the London painting as part of an exhibition in the National Gallery on Leonardo's activity as painter to the court of Ludovico Sforza.^[20]

Side panels[edit]

The two panels from the completed altarpiece containing figures of angels playing musical instruments were acquired by the National Gallery, London in 1898.^[10]

The subject of the two paintings is the adoration of the Christ child by the infant John the Baptist. This subject relates to a non-Biblical event which became part of the medieval tradition of the holy family’s journey into Egypt. The Gospel of Matthew relates that Joseph, the husband of Mary, was warned in a dream that King Herod would attempt to kill the child Jesus, and that he was to take the child and his mother and flee to safety.^[21] There are a series of non-Biblical narratives that relate to the journey to Egypt. One of these concerns Jesus’ cousin, John the Baptist, whose family, like that of Jesus, resided in the town of Bethlehem where the Massacre of the Innocents was to take place. According to legend, John was escorted to Egypt by the Archangel Uriel, and met the holy family on the road.^[22] The Louvre website refers to the angel in the painting as "Gabriel" (but the description of the painting in the Louvre still refers to Uriel). This accords with the Apocryphal gospel of John the Baptist, which describes his removal from Bethlehem as by Gabriel rather than Uriel and does not mention the meeting on the road to Egypt.^[1]

The subject of the Virgin Mary with the Christ child being adored by John the Baptist was common in the art of Renaissance Florence. John the Baptist is the patron saint of Florence and has often been depicted in the art of that city.^[23] Those who painted and sculpted the subject of the Mary and child with St John include Fra Filippo Lippi, Raphael, and Michelangelo.^[24][25][26]

In both paintings the scene is depicted taking place against a background of rock formations. While scenes of the Nativity were sometimes depicted as taking place in a cave, and Kenneth Clark points to the existence of an earlier rocky landscape in an adoration painted for the Medici family by Fra Filippo Lippi,^[27] the setting was unprecedented^[1] and gave to the paintings their usual name of the Virgin of the Rocks.