💡 Why Nikki Haley Thinks the China Threat is Growing ⌛

China says they're going to take Taiwan next - we should be ready for that.   [New Trading View Logo]( [New Trading View Logo]( [“The secret of getting ahead is getting started.” — Mark Twain]( Sometimes, colleagues of New Trading View share special offers with us that we think our readers should be made aware of. Below is one such special opportunity that we believe deserves your attention. Dear Fellow Investor, On Sunday March 13 on Meet the Press, Ambassador Nikki Haley said - "When tyrants speak we should listen. Putin said he was gonna take Ukraine and he is. China said they were gonna take Hong Kong and they did. China says they're going to take Taiwan next - we should be ready for that." [Here are 3 steps you can take to prepare for a Chinese attack on Taiwan ]( "The Buck Stops Here," Dylan Jovine Founder & CEO, Behind the Markets   You are receiving our newsletter because you opted-in for it on one of our sister websites. Make sure you stay up to date with finance news by [whitelisting us](. Copyright © 2023 New Trading View.com All Rights Reserved[.]( This ad is sent on behalf of Behind The Markets, 4260 NW 1st Avenue, Suite # 55 Boca Raton, FL 33431 – 4264. If you would like to unsubscribe from receiving offers from Behind The Markets please [click here](. 234 5th Ave, New York, NY 10001, United States [Privacy Policy]( l [Terms & Conditions]( Thinking about unsubscribing? We hope not! But, if you must, the link is below. [Unsubscribe]( In the 1480s, Leonardo received two very important commissions and commenced another work that was of ground-breaking importance in terms of composition. Two of the three were never finished, and the third took so long that it was subject to lengthy negotiations over completion and payment. One of these paintings was Saint Jerome in the Wilderness, which Bortolon associates with a difficult period of Leonardo's life, as evidenced in his diary: "I thought I was learning to live; I was only learning to die."[37] Although the painting is barely begun, the composition can be seen and is very unusual.[x] Jerome, as a penitent, occupies the middle of the picture, set on a slight diagonal and viewed somewhat from above. His kneeling form takes on a trapezoid shape, with one arm stretched to the outer edge of the painting and his gaze looking in the opposite direction. J. Wasserman points out the link between this painting and Leonardo's anatomical studies.[109] Across the foreground sprawls his symbol, a great lion whose body and tail make a double spiral across the base of the picture space. The other remarkable feature is the sketchy landscape of craggy rocks against which the figure is silhouetted. The daring display of figure composition, the landscape elements and personal drama also appear in the great unfinished masterpiece, the Adoration of the Magi, a commission from the Monks of San Donato a Scopeto. It is a complex composition, of about 250 x 250 centimetres. Leonardo did numerous drawings and preparatory studies, including a detailed one in linear perspective of the ruined classical architecture that forms part of the background. In 1482 Leonardo went to Milan at the behest of Lorenzo de' Medici in order to win favour with Ludovico il Moro, and the painting was abandoned.[14] Lady with an Ermine, c. 1489–1491,[d 6] Czartoryski Museum, Kraków, Poland The third important work of this period is the Virgin of the Rocks, commissioned in Milan for the Confraternity of the Immaculate Conception. The painting, to be done with the assistance of the de Predis brothers, was to fill a large complex altarpiece.[110] Leonardo chose to paint an apocryphal moment of the infancy of Christ when the infant John the Baptist, in protection of an angel, met the Holy Family on the road to Egypt. The painting demonstrates an eerie beauty as the graceful figures kneel in adoration around the infant Christ in a wild landscape of tumbling rock and whirling water.[111] While the painting is quite large, about 200×120 centimetres, it is not nearly as complex as the painting ordered by the monks of San Donato, having only four figures rather than about fifty and a rocky landscape rather than architectural details. The painting was eventually finished; in fact, two versions of the painting were finished: one remained at the chapel of the Confraternity, while Leonardo took the other to France. The Brothers did not get their painting, however, nor the de Predis their payment, until the next century.[38][61] Leonardo's most remarkable portrait of this period is the Lady with an Ermine, presumed to be Cecilia Gallerani (c. 1483–1490), lover of Ludovico Sforza.[112][113] The painting is characterised by the pose of the figure with the head turned at a very different angle to the torso, unusual at a date when many portraits were still rigidly in profile. The ermine plainly carries symbolic meaning, relating either to the sitter, or to Ludovico who belonged to the prestigious Order of the Ermine.[112] Paintings of the 1490s The Last Supper,[d 7] Convent of Santa Maria delle Grazie, Milan (c. 1492–1498) Leonardo's most famous painting of the 1490s is The Last Supper, commissioned for the refectory of the Convent of Santa Maria della Grazie in Milan. It represents the last meal shared by Jesus with his disciples before his capture and death, and shows the moment when Jesus has just said "one of you will betray me", and the consternation that this statement caused.[38] The writer Matteo Bandello observed Leonardo at work and wrote that some days he would paint from dawn till dusk without stopping to eat and then not paint for three or four days at a time.[114] This was beyond the comprehension of the prior of the convent, who hounded him until Leonardo asked Ludovico to intervene. Vasari describes how Leonardo, troubled over his ability to adequately depict the faces of Christ and the traitor Judas, told the duke that he might be obliged to use the prior as his model.[‡ 7] The painting was acclaimed as a masterpiece of design and characterization,[‡ 8] but it deteriorated rapidly, so that within a hundred years it was described by one viewer as "completely ruined."[115] Leonardo, instead of using the reliable technique of fresco, had used tempera over a ground that was mainly gesso, resulting in a surface subject to mould and to flaking.[116] Despite this, the painting remains one of the most reproduced works of art; countless copies have been made in various mediums. Toward the end of this period, in 1498 da Vinci's trompe-l'œil decoration of the Sala delle Asse was painted for the Duke of Milan in the Castello Sforzesco. Paintings of the 1500s Mona Lisa or La Gioconda c. 1503–1516,[d 8] Louvre, Paris In 1505, Leonardo was commissioned to paint The Battle of Anghiari in the Salone dei Cinquecento (Hall of the Five Hundred) in the Palazzo Vecchio, Florence. Leonardo devised a dynamic composition depicting four men riding raging war horses engaged in a battle for possession of a standard, at the Battle of Anghiari in 1440. Michelangelo was assigned the opposite wall to depict the Battle of Cascina. Leonardo's painting deteriorated rapidly and is now known from a copy by Rubens.[117] Among the works created by Leonardo in the 16th century is the small portrait known as the Mona Lisa or La Gioconda, the laughing one. In the present era, it is arguably the most famous painting in the world. Its fame rests, in particular, on the elusive smile on the woman's face, its mysterious quality perhaps due to the subtly shadowed corners of the mouth and eyes such that the exact nature of the smile cannot be determined. The shadowy quality for which the work is renowned came to be called "sfumato", or Leonardo's smoke. Vasari wrote that the smile was "so pleasing that it seems more divine than human, and it was considered a wondrous thing that it was as lively as the smile of the living original."[‡ 9] Other characteristics of the painting are the unadorned dress, in which the eyes and hands have no competition from other details; the dramatic landscape background, in which the world seems to be in a state of flux; the subdued colouring; and the extremely smooth nature of the painterly technique, employing oils laid on much like tempera, and blended on the surface so that the brushstrokes are indistinguishable.[118] Vasari expressed that the painting's quality would make even "the most confident master ... despair and lose heart."[‡ 10] The perfect state of preservation and the fact that there is no sign of repair or overpainting is rare in a panel painting of this date.[119] In the painting Virgin and Child with Saint Anne, the composition again picks up the theme of figures in a landscape, which Wasserman describes as "breathtakingly beautiful"[120] and harkens back to the Saint Jerome with the figure set at an oblique angle. What makes this painting unusual is that there are two obliquely set figures superimposed. Mary is seated on the knee of her mother, Saint Anne. She leans forward to restrain the Christ Child as he plays roughly with a lamb, the sign of his own impending sacrifice.[38] This painting, which was copied many times, influenced Michelangelo, Raphael, and Andrea del Sarto,[121] and through them Pontormo and Correggio. The trends in composition were adopted in particular by the Venetian painters Tintoretto and Veronese. Drawings Presumed self-portrait of Leonardo (c. 1510) at the Royal Library of Turin, Italy Leonardo was a prolific draughtsman, keeping journals full of small sketches and detailed drawings recording all manner of things that took his attention. As well as the journals there exist many studies for paintings, some of which can be identified as preparatory to particular works such as The Adoration of the Magi, The Virgin of the Rocks and The Last Supper.[122] His earliest dated drawing is a Landscape of the Arno Valley, 1473, which shows the river, the mountains, Montelupo Castle and the farmlands beyond it in great detail.[37][122][y] Among his famous drawings are the Vitruvian Man, a study of the proportions of the human body; the Head of an Angel, for The Virgin of the Rocks in the Louvre; a botanical study of Star of Bethlehem; and a large drawing (160×100 cm) in black chalk on coloured paper of The Virgin and Child with Saint Anne and Saint John the Baptist in the National Gallery, London.[122] This drawing employs the subtle sfumato technique of shading, in the manner of the Mona Lisa. It is thought that Leonardo never made a painting from it, the closest similarity being to The Virgin and Child with Saint Anne in the Louvre.[123] Antique warrior in profile, c. 1472. British Museum, London Other drawings of interest include numerous studies generally referred to as "caricatures" because, although exaggerated, they appear to be based upon observation of live models. Vasari relates that Leonardo would look for interesting faces in public to use as models for some of his work.[‡ 7] There are numerous studies of beautiful young men, often associated with Salaì, with the rare and much admired facial feature, the so-called "Grecian profile".[z] These faces are often contrasted with that of a warrior.[122] Salaì is often depicted in fancy-dress costume. Leonardo is known to have designed sets for pageants with which these may be associated. Other, often meticulous, drawings show studies of drapery. A marked development in Leonardo's ability to draw drapery occurred in his early works. Another often-reproduced drawing is a macabre sketch that was done by Leonardo in Florence in 1479 showing the body of Bernardo Baroncelli, hanged in connection with the murder of Giuliano, brother of Lorenzo de' Medici, in the Pazzi conspiracy.[122] In his notes, Leonardo recorded the colours of the robes that Baroncelli was wearing when he died. Like the two contemporary architects Donato Bramante (who designed the Belvedere Courtyard) and Antonio da Sangallo the Elder, Leonardo experimented with designs for centrally planned churches, a number of which appear in his journals, as both plans and views, although none was ever realised.[41][124] Journals and notes See also: List of works by Leonardo da Vinci § Manuscripts Renaissance humanism recognised no mutually exclusive polarities between the sciences and the arts, and Leonardo's studies in science and engineering are sometimes considered as impressive and innovative as his artistic work.[38] These studies were recorded in 13,000 pages of notes and drawings, which fuse art and natural philosophy (the forerunner of modern science). They were made and maintained daily throughout Leonardo's life and travels, as he made continual observations of the world around him.[38] Leonardo's notes and drawings display an enormous range of interests and preoccupations, some as mundane as lists of groceries and people who owed him money and some as intriguing as designs for wings and shoes for walking on water. There are compositions for paintings, studies of details and drapery, studies of faces and emotions, of animals, babies, dissections, plant studies, rock formations, whirlpools, war machines, flying machines and architecture.[38] A page showing Leonardo's study of a foetus in the womb (c. 1510), Royal Library, Windsor Castle These notebooks—originally loose papers of different types and sizes—were largely entrusted to Leonardo's pupil and heir Francesco Melzi after the master's death.[125] These were to be published, a task of overwhelming difficulty because of its scope and Leonardo's idiosyncratic writing.[126] Some of Leonardo's drawings were copied by an anonymous Milanese artist for a planned treatise on art c. 1570.[127] After Melzi's death in 1570, the collection passed to his son, the lawyer Orazio, who initially took little interest in the journals.[125] In 1587, a Melzi household tutor named Lelio Gavardi took 13 of the manuscripts to Pisa; there, the architect Giovanni Magenta reproached Gavardi for having taken the manuscripts illicitly and returned them to Orazio. Having many more such works in his possession, Orazio gifted the volumes to Magenta. News spread of these lost works of Leonardo's, and Orazio retrieved seven of the 13 manuscripts, which he then gave to Pompeo Leoni for publication in two volumes; one of these was the Codex Atlanticus. The other six works had been distributed to a few others.[128] After Orazio's death, his heirs sold the rest of Leonardo's possessions, and thus began their dispersal.[129] Some works have found their way into major collections such as the Royal Library at Windsor Castle, the Louvre, the Biblioteca Nacional de España, the Victoria and Albert Museum, the Biblioteca Ambrosiana in Milan, which holds the 12-volume Codex Atlanticus, and the British Library in London, which has put a selection from the Codex Arundel (BL Arundel MS 263) online.[130] Works have also been at Holkham Hall, the Metropolitan Museum of Art, and in the private hands of John Nicholas Brown I and Robert Lehman.[125] The Codex Leicester is the only privately owned major scientific work of Leonardo; it is owned by Bill Gates and displayed once a year in different cities around the world. Most of Leonardo's writings are in mirror-image cursive.[46][131] Since Leonardo wrote with his left hand, it was probably easier for him to write from right to left.[132][aa] Leonardo used a variety of shorthand and symbols, and states in his notes that he intended to prepare them for publication.[131] In many cases a single topic is covered in detail in both words and pictures on a single sheet, together conveying information that would not be lost if the pages were published out of order.[135] Why they were not published during Leonardo's lifetime is unknown.[38] Science and inventions Main article: Science and inventions of Leonardo da Vinci Rhombicuboctahedron as published in Pacioli's Divina proportione (1509) Leonardo's approach to science was observational: he tried to understand a phenomenon by describing and depicting it in utmost detail and did not emphasise experiments or theoretical explanation. Since he lacked formal education in Latin and mathematics, contemporary scholars mostly ignored Leonardo the scientist, although he did teach himself Latin. His keen observations in many areas were noted, such as when he wrote "Il sole non si move." ("The Sun does not move.")[136] In the 1490s he studied mathematics under Luca Pacioli and prepared a series of drawings of regular solids in a skeletal form to be engraved as plates for Pacioli's book Divina proportione, published in 1509.[38] While living in Milan, he studied light from the summit of Monte Rosa.[69] Scientific writings in his notebook on fossils have been considered as influential on early palaeontology.[137] The content of his journals suggest that he was planning a series of treatises on a variety of subjects. A coherent treatise on anatomy is said to have been observed during a visit by Cardinal Louis d'Aragon's secretary in 1517.[138] Aspects of his work on the studies of anatomy, light and the landscape were assembled for publication by Melzi and eventually published as A Treatise on Painting in France and Italy in 1651 and Germany in 1724,[139] with engravings based upon drawings by the Classical painter Nicolas Poussin.[4] According to Arasse, the treatise, which in France went into 62 editions in fifty years, caused Leonardo to be seen as "the precursor of French academic thought on art."[38] While Leonardo's experimentation followed scientific methods, a recent and exhaustive analysis of Leonardo as a scientist by Fritjof Capra argues that Leonardo was a fundamentally different kind of scientist from Galileo, Newton and other scientists who followed him in that, as a "Renaissance Man", his theorising and hypothesising integrated the arts and particularly painting.[140] Anatomy and physiology Anatomical study of the arm (c. 1510) Leonardo started his study in the anatomy of the human body under the apprenticeship of Verrocchio, who demanded that his students develop a deep knowledge of the subject. As an artist, he quickly became master of topographic anatomy, drawing many studies of muscles, tendons and other visible anatomical features.[citation needed] As a successful artist, Leonardo was given permission to dissect human corpses at the Hospital of Santa Maria Nuova in Florence and later at hospitals in Milan and Rome. From 1510 to 1511 he collaborated in his studies with the doctor Marcantonio della Torre, professor of Anatomy at the University of Pavia.[141] Leonardo made over 240 detailed drawings and wrote about 13,000 words toward a treatise on anatomy.[142] Only a small amount of the material on anatomy was published in Leonardo's Treatise on painting.[126] During the time that Melzi was ordering the material into chapters for publication, they were examined by a number of anatomists and artists, including Vasari, Cellini and Albrecht Dürer, who made a number of drawings from them.[126] Leonardo's anatomical drawings include many studies of the human skeleton and its parts, and of muscles and sinews. He studied the mechanical functions of the skeleton and the muscular forces that are applied to it in a manner that prefigured the modern science of biomechanics.[143] He drew the heart and vascular system, the sex organs and other internal organs, making one of the first scientific drawings of a fetus in utero.[122] The drawings and notation are far ahead of their time, and if published would undoubtedly have made a major contribution to medical science.[142] Leonardo's physiological sketch of the human brain and skull (c. 1510) Leonardo also closely observed and recorded the effects of age and of human emotion on the physiology, studying in particular the effects of rage. He drew many figures who had significant facial deformities or signs of illness.[38][122] Leonardo also studied and drew the anatomy of many animals, dissecting cows, birds, monkeys, bears, and frogs, and comparing in his drawings their anatomical structure with that of humans. He also made a number of studies of horses.[122] Leonardo's dissections and documentation of muscles, nerves, and vessels helped to describe the physiology and mechanics of movement. He attempted to identify the source of 'emotions' and their expression. He found it difficult to incorporate the prevailing system and theories of bodily humours, but eventually he abandoned these physiological explanations of bodily functions. He made the observations that humours were not located in cerebral spaces or ventricles. He documented that the humours were not contained in the heart or the liver, and that it was the heart that defined the circulatory system. He was the first to define atherosclerosis and liver cirrhosis. He created models of the cerebral ventricles with the use of melted wax and constructed a glass aorta to observe the circulation of blood through the aortic valve by using water and grass seed to watch flow patterns.[144] Engineering and inventions A design for a flying machine (c. 1488), first presented in the Codex on the Flight of Birds An aerial screw (c. 1489), suggestive of a helicopter, from the Codex Atlanticus During his lifetime, Leonardo was also valued as an engineer. With the same rational and analytical approach that moved him to represent the human body and to investigate anatomy, Leonardo studied and designed many machines and devices. He drew their "anatomy" with unparalleled mastery, producing the first form of the modern technical drawing, including a perfected "exploded view" technique, to represent internal components. Those studies and projects collected in his codices fill more than 5,000 pages.[145] In a letter of 1482 to the lord of Milan Ludovico il Moro, he wrote that he could create all sorts of machines both for the protection of a city and for siege. When he fled from Milan to Venice in 1499, he found employment as an engineer and devised a system of moveable barricades to protect the city from attack. In 1502, he created a scheme for diverting the flow of the Arno river, a project on which Niccolò Machiavelli also worked.[146][147] He continued to contemplate the canalization of Lombardy's plains while in Louis XII's company[69] and of the Loire and its tributaries in the company of Francis I.[148] Leonardo's journals include a vast number of inventions, both practical and impractical. They include musical instruments, a mechanical knight, hydraulic pumps, reversible crank mechanisms, finned mortar shells, and a steam cannon.[37][38] Leonardo's drawings of a scythed chariot and a fighting vehicle Leonardo was fascinated by the phenomenon of flight for much of his life, producing many studies, including Codex on the Flight of Birds (c. 1505), as well as plans for several flying machines, such as a flapping ornithopter and a machine with a helical rotor.[38] A 2003 documentary by British television station Channel Four, titled Leonardo's Dream Machines, various designs by Leonardo, such as a parachute and a giant crossbow, were interpreted and constructed.[149][150] Some of those designs proved successful, whilst others fared less well when tested. Research performed by Marc van den Broek revealed older prototypes for more than 100 inventions that are ascribed to Leonardo. Similarities between Leonardo's illustrations and drawings from the Middle Ages and from Ancient Greece and Rome, the Chinese and Persian Empires, and Egypt suggest that a large portion of Leonardo's inventions had been conceived before his lifetime. Leonardo's innovation was to combine different functions from existing drafts and set them into scenes that illustrated their utility. By reconstituting technical inventions he created something new.[151] In his notebooks, Leonardo first stated the 'laws' of sliding friction in 1493.[152] His inspiration for investigating friction came about in part from his study of perpetual motion, which he correctly concluded was not possible.[153] His results were never published and the friction laws were not rediscovered until 1699 by Guillaume Amontons, with whose name they are now usually associated.[152] For this contribution, Leonardo was named as the first of the 23 "Men of Tribology" by Duncan Dowson.[154] Legacy Further information: Cultural references to Leonardo da Vinci and List of things named after Leonardo da Vinci Statue outside the Uffizi, Florence, by Luigi Pampaloni (1791–1847) Although he had no formal academic training,[155] many historians and scholars regard Leonardo as the prime exemplar of the "Universal Genius" or "Renaissance Man", an individual of "unquenchable curiosity" and "feverishly inventive imagination."[156] He is widely considered one of the most diversely talented individuals ever to have lived.[157] According to art historian Helen Gardner, the scope and depth of his interests were without precedent in recorded history, and "his mind and personality seem to us superhuman, while the man himself mysterious and remote."[156] Scholars interpret his view of the world as being based in logic, though the empirical methods he used were unorthodox for his time.[158] Leonardo's fame within his own lifetime was such that the King of France carried him away like a trophy, and was claimed to have supported him in his old age and held him in his arms as he died. Interest in Leonardo and his work has never diminished. Crowds still queue to see his best-known artworks, T-shirts still bear his most famous drawing, and writers continue to hail him as a genius while speculating about his private life, as well as about what one so intelligent actually believed in.[38] The continued admiration that Leonardo commanded from painters, critics and historians is reflected in many other written tributes. Baldassare Castiglione, author of Il Cortegiano (The Courtier), wrote in 1528: "...Another of the greatest painters in this world looks down on this art in which he is unequalled..."[159] while the biographer known as "Anonimo Gaddiano" wrote, c. 1540: "His genius was so rare and universal that it can be said that nature worked a miracle on his behalf..."[160] Vasari, in his Lives of the Artists (1568), opens his chapter on Leonardo:[‡ 11] In the normal course of events many men and women are born with remarkable talents; but occasionally, in a way that transcends nature, a single person is marvellously endowed by Heaven with beauty, grace and talent in such abundance that he leaves other men far behind, all his actions seem inspired and indeed everything he does clearly comes from God rather than from human skill. Everyone acknowledged that this was true of Leonardo da Vinci, an artist of outstanding physical beauty, who displayed infinite grace in everything that he did and who cultivated his genius so brilliantly that all problems he studied he solved with ease. The Death of Leonardo da Vinci, by Ingres, 1818[u] The 19th century brought a particular admiration for Leonardo's genius, causing Henry Fuseli to write in 1801: "Such was the dawn of modern art, when Leonardo da Vinci broke forth with a splendour that distanced former excellence: made up of all the elements that constitute the essence of genius..."[161] This is echoed by A.E. Rio who wrote in 1861: "He towered above all other artists through the strength and the nobility of his talents."[162] By the 19th century, the scope of Leonardo's notebooks was known, as well as his paintings. Hippolyte Taine wrote in 1866: "There may not be in the world an example of another genius so universal, so incapable of fulfilment, so full of yearning for the infinite, so naturally refined, so far ahead of his own century and the following centuries."[163] Art historian Bernard Berenson wrote in 1896: "Leonardo is the one artist of whom it may be said with perfect literalness: Nothing that he touched but turned into a thing of eternal beauty. Whether it be the cross section of a skull, the structure of a weed, or a study of muscles, he, with his feeling for line and for light and shade, forever transmuted it into life-communicating values."[164] The interest in Leonardo's genius has continued unabated; experts study and translate his writings, analyse his paintings using scientific techniques, argue over attributions and search for works which have been recorded but never found.[165] Liana Bortolon, writing in 1967, said: "Because of the multiplicity of interests that spurred him to pursue every field of knowledge...Leonardo can be considered, quite rightly, to have been the universal genius par excellence, and with all the disquieting overtones inherent in that term. Man is as uncomfortable today, faced with a genius, as he was in the 16th century. Five centuries have passed, yet we still view Leonardo with awe."[37] The Elmer Belt Library of Vinciana is a special collection at the University of California, Los Angeles.[166] Leonardo Museum in Vinci, which houses a large collection of models constructed on the basis of Leonardo's drawings. Twenty-first-century author Walter Isaacson based much of his biography of Leonardo[103] on thousands of notebook entries, studying the personal notes, sketches, budget notations, and musings of the man whom he considers the greatest of innovators. Isaacson was surprised to discover a "fun, joyous" side of Leonardo in addition to his limitless curiosity and creative genius.[167] On the 500th anniversary of Leonardo's death, the Louvre in Paris arranged for the largest ever single exhibit of his work, called Leonardo, between November 2019 and February 2020. The exhibit includes over 100 paintings, drawings and notebooks. Eleven of the paintings that Leonardo completed in his lifetime were included. Five of these are owned by the Louvre, but the Mona Lisa was not included because it is in such great demand among general visitors to the Louvre; it remains on display in its gallery. Vitruvian Man, however, is on display following a legal battle with its owner, the Gallerie dell'Accademia in Venice. Salvator Mundi [ab] was also not included because its Saudi owner did not agree to lease the work.[170][171] The Mona Lisa, considered Leonardo's magnum opus, is often regarded as the most famous portrait ever made.[3][172] The Last Supper is the most reproduced religious painting of all time,[156] and Leonardo's Vitruvian Man drawing is also considered a cultural icon.[173] More than a decade of analysis of Leonardo's genetic genealogy, conducted by Alessandro Vezzosi and Agnese Sabato, came to a conclusion in mid-2021. It was determined that the artist has 14 living male relatives. The work could also help determine the authenticity of remains thought to belong to Leonardo.[174] [New Trading View Logo](