[…]found Florence Thompson, the Mona Lisa of the 1930s, a migrant mother whose picture haunted the nation.

This small and deceptively simple, but extremely interesting molecular system was rightly characterized by Cram and coworkers as ‘The Mona Lisa of Organic Chemistry’, because of its ability to elicit wonder, to stimulate imagination and, last but not least, by its enigmatic elusiveness and numerous outstanding features.

The panels depicting scenes from the life of Dionysos are framed with acanthus leaves, some of which form medallions, including one showing a fascinating woman who has come to be known as the Mona Lisa of Galilee.

For centuries, the Mona Lisa was a relatively obscure painting languishing in the private residences of kings—still a masterpiece, to be sure, but only one among many. Even when it was moved to the Louvre, after the French Revolution, it did not attract as much attention as the works of other artists[…]

If one were to ask the rhetorical question as to why one of the two original Mona Lisas has columns, and the other does not, the logical answer is that they are two separate compositions – with certain deliberate similarities, and with certain distinct differences of which only the artist was aware – and never intended to be copies of each other.

Now, in fifth grade, I’m still drawing stick figures and she’s making Mona Lisas.

In order to better discuss the hidden portrait, discovered under the Louvre Mona Lisa, Figure 35 presents both the Louvre Mona Lisa and the Isleworth Mona Lisa beside Raphael’s drawing; then, Table 4 below raises some points of reference of this drawing (without considering the garment drawn by Raphael): (1) the columns, (2) the hairstyle, (3) the age of the model and (4) the landscape. These points will be considered in both Mona Lisas painted by Leonardo and in the model of the hidden portrait, seen in Figure 34.

Mona lisa

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