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It may be the best known portrait ever produced. It was created between 1503 and 1506 by Leonardo da Vinci, crafted in oil on a wooden board. It is known as “Mona Lisa,” but for centuries art historians have expressed uncertainty over the identity of the subject. This week, however, German researchers believe the mystery has been solved. Veit Probst, the director of the Heidelberg University Library, stated in an interview with the German radio network Südwestfunk that it was now “confirmed” that the figure in the painting is the wife of a Florentine merchant, Lisa del Gioconda. The radio report is summarized in the current issue of the Hamburg newsweekly Der Spiegel.
The painting, which hangs in the Louvre, has long been labeled “La Gioconda” based on reports from the sixteenth century linking da Vinci to Lisa del Gioconda as his “favorite.”
Probst was previously the head of the Heidelberg University Library’s manuscript department. That’s where he came across an incunabulum (a primitive sort of print) which contained a marginal notation of its owner, a handwritten indication of the identity of the person portrayed. The owner of this print was also established–he was a contemporary of Leonardo’s and knew him.
The discovery was published for the first time in an exhibition catalogue at Heidelberg University. Probst has also prepared a scientific essay on the discovery which is set to be published in three weeks.
Writings on the portrait in the past have speculated that “Mona Lisa,” with her world famous smile, was an unknown mistress of da Vinci’s or that it was a coded self portrait of da Vinci himself.
More from Scott Horton:
Six Questions — October 18, 2014, 8:00 pm
Nathaniel Raymond on CIA interrogation techniques.
On a Friday evening in January, a thousand people at the annual California Native Plant Society conference in San Jose settled down to a banquet and a keynote speech delivered by an environmental historian named Jared Farmer. His chosen topic was the eucalyptus tree and its role in California’s ecology and history. The address did not go well. Eucalyptus is not a native plant but a Victorian import from Australia. In the eyes of those gathered at the San Jose DoubleTree, it qualified as “invasive,” “exotic,” “alien” — all dirty words to this crowd, who were therefore convinced that the tree was dangerously combustible, unfriendly to birds, and excessively greedy in competing for water with honest native species.
In his speech, Farmer dutifully highlighted these ugly attributes, but also quoted a few more positive remarks made by others over the years. This was a reckless move. A reference to the tree as “indigenously Californian” elicited an abusive roar, as did an observation that without the aromatic import, the state would be like a “home without its mother.” Thereafter, the mild-mannered speaker was continually interrupted by boos, groans, and exasperated gasps. Only when he mentioned the longhorn beetle, a species imported (illegally) from Australia during the 1990s with the specific aim of killing the eucalyptus, did he earn a resounding cheer.
Percentage of Britons who cannot name the city that provides the setting for the musical Chicago:
An Australian entrepreneur was selling oysters raised in tanks laced with Viagra.
A tourism company in Australia announced a service that will allow users to take the “world’s biggest selfies,” and a Texas man accidentally killed himself while trying to pose for a selfie with a handgun.
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“Shelby is waiting for something. He himself does not know what it is. When it comes he will either go back into the world from which he came, or sink out of sight in the morass of alcoholism or despair that has engulfed other vagrants.”