The Man Who Kidnapped MONA LISA


When Mona Lisa vanished from the Louvre Museum in 1911, she became a worldwide obsession. In reality, it is just another instance of art theft. This remains a common crime, though it has never again shaken the world like it did with Leonardo’s masterpiece.

Every year, more than 50,000 art pieces are stolen around the world. The annual black market value for art theft stands between 6 and 8 billion.

After months of frantic search, the world lost hope that she would be found. Bigger tragedies took place: the ‘unsinkable’ Titanic went down on her maiden voyage, giving reporters something new to focus on.

Fifteen months after her disappearance, France formally abandoned hope of La Gioconda returning. The case was closed, and life in Paris resumed its fast pace.

Letter From ‘Leonardo’

It was Winter in the year 1913. Florence art dealer Alfredo Geri was anticipating a busy Christmas season. He had placed an ad in many Italian newspapers, offering to pay generously for fine artwork.

Responses poured in; Geri looked over them every morning, sorting out replies that sounded promising. One of them stood out from the others.

It was postmarked Poste Restante, Place de la République, Paris. It was signed “Leonardo.” Geri first suspected it to be a prank, but followed his gut and read on:

The stolen work of Leonardo da Vinci is in my possession. It seems to belong to Italy since its painter was Italian. My dream is to give back this masterpiece to the land from which he came and to the country that inspired it.

Geri took the letter to Giovanni Poggi, director of the local Uffizi Gallery. Poggi was skeptical of the letter, thinking it would be at best a well-done copy; nonetheless, he told Geri there was no loss in writing back. They told the thief that they would have to see the painting before they made an offer.

“Leonardo” wrote back quickly. He invited Geri to visit him. Poggi agreed that, when the day was set, he would go with the art dealer to examine the piece and determine whether it was a fake.

On December 10, Geri’s shop had a great deal of customers. One of them stood out from the others; he lurked in the shadows, waiting until everyone else had gone before approaching the art dealer. He introduced himself as the Leonardo from the letters and said that he had brought Mona Lisa home to Florence.

Geri and Poggi followed ‘Leonardo’ to the hotel where he was staying. It was the Albergio Tripoli-Italia, located blocks away from the house where Lisa del Giocondo had posed for the real Leonardo da Vinci in the portrait.

As they walked, Geri mentioned the payment. ‘Leonardo’ admitted that he expected the Italian government to compensate him “for the great service rendered.” He said he hadn’t taken the painting to make money. He had intended to return it to the land from which it had been stolen.

An amount was proposed. Geri would agree to pay only if Poggi could confirm the painting’s legitimacy.

They went upstairs into the room where ‘Leonardo’ had been staying. He opened his medium-sized suitcase, emptied it of its meager contents, and opened a false bottom. Inside waited Mona Lisa, wrapped in silk and marvelously preserved. Poggi studied the painting and confirmed that this was Louvre property.

Geri and Poggi contained their excitement in front of the thief. They fled the hotel with the painting and called the police. ‘Leonardo’ was napping when Florence officers came to take him.

He did not struggle, convinced that the government would recognize him as a hero.

Vincenzo Peruggia, Mona Lisa’s thief

Knight In Shining Armor

‘Leonardo’ cooperated with the police. He identified himself as thirty-two year old Vincenzo Peruggia. He lived in Paris, where he worked painting houses. He had worked at the Louvre as a glazier for two years.

Peruggia described himself as a patriot. He had stolen the Mona Lisa to avenge all the art pieces that had been taken from Italy by Napoleon during his painting plunder. Peruggia did not seem to know that, while Napoleon did steal many pieces of art, Mona Lisa was not one of them. She had been in France delighting kings and aristocrats long before Napoleon was born.

It was arranged that Mona Lisa would be given to the French ambassador. France allowed her to stay in Italy for two weeks. During this visit, thousands of Italians came on pilgrimage to see Leonardo’s most famous painting. Peruggia’s prediction that he would be a hero wasn’t far off: many Italians believed that he had done a great service to their country.

Conquering Hero?

Vincenzo Peruggia was on the list of Louvre workers that French police had investigated when Mona Lisa vanished. How come he was not a suspect from the beginning?

Peruggia had been summoned at the beginning for questioning but never appeared. A detective went to his apartment, searched it, and asked questions. Peruggia said he had been at work the morning when Mona Lisa vanished; if they had checked his alibi, they would learn that he arrived several hours late.

What about fingerprinting? There had been a flaw in Alphonse Bertillon’s profiling. He only classified his criminal records with right thumbprints, and the print on Mona Lisa’s frame had been a left thumbprint. Peruggia was therefore never linked to it.

Peruggia was not brought to trial until June 4, 1914. France did not press for harsh treatment; Italy was not keen to punish the man who had brought Mona Lisa for a brief visit home. He managed to rouse the sympathy of his compatriots, which must have had an influence on his absurdly short prison sentence.

He was given a sentence of one year and fifteen days. On July 19, it was reduced to seven months and nine days. When this brief punishment ended, he went on to start a paint shop.

I have tried to cover the disappearance of Mona Lisa and do justice to the story over the month of August. It’s impossible to give all of the details in a series of little blog posts. If you want to know more about this insane event in history, I encourage you to read Vanished Smile by R.A. Scotti.

Everything about Mona Lisa has a story behind it. I will continue to read about her because few paintings have had such long, unique histories. I am wrapping up my August Mona Lisa Month with this post, but I am not done getting to know the Queen of the Louvre.

I hope my articles have been helpful to you; they were great fun to write!

5 Amazing Facts About Louisa May Alcott


Little Women by Louisa May Alcott is one of those books that every child knows. The antics of Meg, Jo, Beth and Amy stay with us long after we reach adulthood. It reminds us that a good life has its hardships, even in fiction. The resilience of the March sisters gives us hope that we can survive our trials.

This book has been made into movies and continues to inspire readers. Its characters live on as readers pass it down to their children. What do we know about the author, though?

Alcott was a unique woman for her time. A defender of women’s rights and fiercely independent, her life can inspire us as much as her book has done. Here are five amazing facts about Louisa May Alcott.

1- She Turned Down A Marriage

Many female writers of the time chose writing over marriage (even if it marred their social stance). Like Jane Austen years before, Louisa May Alcott turned down a marriage proposal.

Mr. Condit was a prosperous manufacturer of silk hats. He proposed to Louisa in 1860. Her family was in a hard place financially, making it difficult to refuse, but she did not love him.

What was more, she feared that her career as a writer would vanish if she took a husband. In the end, she chose her writing over a loveless union.

2- She Was A Civil War Nurse

In 1861, the Civil War hit. Alcott was not the sort of woman to be idle in dire times. First, she volunteered to sew uniforms for the soldiers. Itching to become more involved, she became a nurse, going straight into the chaos.

Alcott saw horrible things while tending to wounded soldiers. In a Washington D.C. tent-hospital, she comforted wounded men as they died. These events left profound scars from which she found solace in writing.

Alcott recorded her experiences in journals and letters to family. She published Hospital Sketches in 1863. It is a fictionalized account based on her letters. The book became massively popular and was reprinted with more material.

3- She Didn’t Want To Write Little Women

Alcott wrote her most famous book, Little Women, after much resistance.

Her father was asked by an editor at a publishing house if she would write a novel for little girls. Louisa was not keen on the idea of writing for children. She refused and a year passed.

When her father was trying to publish his own book on philosophy, the editor once more requested a book for little girls. He would publish the philosophy book if Louisa agreed.

Giving in, she used her childhood with her sisters as a topic for the book. The first part of Little Women was published in 1868. It became a huge success—perhaps to her chagrin–and she went on to write the sequels, Jo’s Boys and Little Men.

4- She Adopted Her Niece

Alcott never had children, but was able to experience motherhood at the age of forty-seven. In 1879, her sister May died after giving birth to a daughter. On her deathbed, May told her husband that she wanted the child to go to Louisa.

He honored his wife’s last wish and trusted the baby to Alcott. She was named Louisa after her aunt and nicknamed LuLu. Alcott raised the girl during the final years of her own life.

Alcott died of a stroke when LuLu was 8 years old, and LuLu was sent back to Switzerland with her father. Though they were together for a short time, Lulu carried fond memories of her aunt Louisa.

5- She Was A Suffragette

Alcott advocated for women’s rights when the movement was in its infancy. She wrote for a women’s periodical in the 1870s and went door-to-door, encouraging women in Massachusetts to vote.

In 1869, the state passed a law that would allow women to vote on any issue involving education and children. Alcott registered and became the first woman in Concord to vote.

She and nineteen other women voted that year, initiating a great change. Alcott was passionate about making sure that women’s voices were heard. The Nineteenth Amendment was cast in 1890—decades after Alcott’s death.

Louisa May Alcott was a devoted writer. Though she is best known for Little Women, her collection of complete works is staggering. More attention should be given to this impressive and fearless woman.

Behind every great story is a greater story; in the case of Little Women, it is the writer’s life. She valued her independence, worked to support her family, and fought for the woman’s vote.

We miss out on a great deal when we don’t look at an author’s background. Timeless stories don’t come out of the blue; there is always a fascinating chain of events forming the foundation of a classic.

5 Witches in Mythology


When I started research on magic in mythology, I did not realize the phrase would be so broad. Magic can explain many events in myths all over the world. We need to be more specific when learning about magic.

Are we thinking about women in the forest who collect healing herbs? Are we perhaps referring to revelations we found in tea leaves?

I changed my phrasing to witches in mythology. This is still a vague term, but most mythologies separate gods from witches. Greek mythology was the haziest for this article; however, I found these examples too intriguing to leave out.

Each culture has a different definition of witch. Some witches are dark and frightening figures; others are revered by their people. Collecting five stories for this post has been a welcome challenge.

Hecate, Goddess of Witchcraft

Hecate is one of the most controversial figures of Greek mythology. Because worship of her predates the writings we use for reference–for example, Homer–her origin is disputed. Nonetheless, she remains in their tales as a goddess of witchcraft.

She was also the goddess of boundaries—which in the physical world could mean entrances, borders, and crossroads. Spiritually, she stood at the boundary between life and death. Having this power, Hecate could cross into the Underworld and walk it freely.

When Persephone was taken by Hades, Hecate aided Demeter in the search for her daughter. Since Persephone had eaten the pomegranate seeds, she could not escape the Underworld forever.

Unable to release her from the spell of the pomegranate seeds, Hecate became Persephone’s guide to the Underworld whenever she returned to Hades.

Hecate is often depicted as being one person with three bodies.

Circe

Another figure of Greek mythology, Circe was a minor goddess. Some stories call her the daughter of Hecate and Aeetes, a king in Greek mythology. She is well known for her knowledge of potions and herbs.

She is mentioned in Homer’s Odyssey when Odysseus visits her island, Aeaea, on the way back from the Trojan war. Circe turns most of Odysseus’ crew into swine. Her ability to change people into animals surfaces again in the fate of Picus. He was an Italian king whom she turned into a woodpecker for resisting her advances.

She becomes enemies with the nymph Scylla, whom I wrote about here. When the sea-god Glaucus preferred Scylla to her, she poisoned the water where Scylla lived, turning the beautiful nymph into a sea monster.

Circe and ‘The unhappy Greeks turned into Swine.’

The Morrigan

The Morrigan is not a witch in the traditional sense. Her ability to shapeshift into a crow is an attribute of witchcraft, and I thought she would fit in this list. She is one of the most famous figures of Irish mythology, linked with war, life and death.

She is one of three war goddesses featured in Irish mythology; the other two are Macha and Neman. The Morrigan is described as being able to predict the names of those who will die in battle. She would use this knowledge to influence wars.

The Morrigan would do this by flying over a battle in the form of a crow. Seeing this crow would strike such fear into soldiers that they would die of fright or fight for their lives.

Crow II monoprint © Peter Gander

Völva the Viking Witch

In Norse folklore, the Völva is what we would call a Seeress. The magic they practiced was known as Seidr, a word which literally means “to bind.” Men could also practice Seidr, but it was less common.

The Völva would have been the spiritual leader and healer in a Nordic society. She wore colorful dresses and carried a beautiful staff to help her carry out Seidr.

One of the Völva’s most important roles was communication with the deceased. She would perform rituals in which she would sing songs to attract spirits. The Völva would sit in a very high chair while singing. She might also be lifted into the air, allowing her to see into another realm.

Japanese Animal Familiars

In Japan, some people were believed to keep spirit animals as familiars. If you had an animal familiar, you were considered a witch. This was usually a family affair, and such families were called tsukimono-zukai.

Animal familiars could bring a family wealth and power, but there was a downside. Having an animal familiar made neighbors superstitious. It was difficult to keep friends, and if you were a woman, marriage was nearly impossible.

If a family wanted to be rid of the tsukimono, this could be attempted through exorcism by a Shinto priest. These rituals did not always work. To learn more about the fascinating myth of tsukimono, read this excellent article.

I am eager to do more research on witchcraft and ‘spooky’ myths as Halloween nears. It’s my favorite time of the year–not only does the weather turn crisp and lovely, but the air is full of mystery!

If myths interest you, check out my post about butterfly myths–and another about star myths!

Pablo Picasso on Trial


When I started my series of posts on the Mona Lisa, I wanted to tell the story of her disappearance in a manner that did it justice. I was captivated by Vanished Smile, a book that makes the painting come to life (more so than she reportedly does!)

In this post I will sum up for you an interesting chapter of the investigation which I learned of from R. A. Scotti. I have left out plenty of details; to enjoy the full scope of the madness, you’ll have to read the book.

History is stranger than fiction. In 1911 France’s most famous lady was stolen–practically from under the noses of guards. The world was left reeling from the brashness of this theft.

It was a time of change in the art world. Pablo Picasso had begun championing a new form of art, modern and daring, a far cry from the styles of the old masters. His style brought together a group of enthusiasts determined to challenge tradition and redefine beauty.

Many members of Picasso’s gang were known for being loud and sometimes rude. They were labeled romantic renegades by those who admired them, ne’er-do-wells by disapprovers. It wasn’t until La Gioconda’s disappearance that something happened to pull them into legal problems.

Pablo Picasso, Young Woman Drawing

During this interlude in the search for da Vinci’s painting, the police no longer saw these people as artists making a statement. Instead the police called them “foreign thieves and swindlers who have come to France to plunder its treasure.”

With dozens of theories but no clues about the painting’s whereabouts, Picasso’s gang gave police something to focus on. It all started with some badly timed letters, an apparent joke gone wrong.

The Statue

Following Mona Lisa‘s disappearance, an explosion of fake copies and ‘sightings’ sprang up worldwide. Louvre experts examined the false paintings turned in by people hoping for a reward. They did not fall for the scams, but were no closer to an answer.

On August 29, the day the Museum opened again, a strange correspondent wrote to the editors of the Paris-Journal. This newspaper had promised a reward as well as anonymity to thief if they should return La Gioconda.

His first letter did not speak of La Gioconda, but it didn’t arrive alone. With it was a small statue the writer claimed was from the Louvre. He wrote about a series of thefts, his story raising as many questions as it answered.

Most of all, it rubbed salt into the wound of the Museum’s lax security.

It was in March, 1907, that I entered the Louvre for the first time—a young man with time to kill and no money to spend … I suddenly realized how easy it would be to … take away almost any object of moderate size.

The mysterious author explained how he had chosen the head of a woman, concealed it under his vest, and walked out. He sold the statue to an unnamed painter-friend for fifty francs ($200.)

The very next day I took a man’s head with enormous ears. … And three days later, a plaster fragment covered in hieroglyphs. A friend gave me twenty francs for this last. … Now one of my colleagues has spoiled all of my plans for a collection by making this hullabaloo in the painting department!

The next day, August 30, the paper reported a second letter from the mysterious writer.

… You will allow me a few words of protest against certain terms of abuse leveled at me in your issue of yesterday … A professional thief, lacking all moral sense, would remain unaffected by them; but I am not without sensitivity…

The letter was signed Baron Ignace d’Ormesan.

An examination by Louvre curators confirmed that the statue was property of the museum. It meant that the thief’s story was true: at least one statue had been stolen. The next day, ‘Baron d’Ormesan’ wrote another letter in the same mocking tone:

I do not want to leave France without once again sending you my thanks for the chivalrous manner in which you handled the little matter…

Then he finished:

I can only urge the person at present holding Vinci’s masterpiece to place himself entirely in your hands. He has a colleague’s word for it that your good faith is above all suspicion.

The morning paper had scarcely gone out before Prefect Lépine identified the so-called Baron d’Ormesan. It was a familiar name to Parisian literati belonging to a fictional character from L’Hérésiarque et cie, a collection of stories written by the poet Guillaume Apollinaire.

Apollinaire was a part of Picasso’s crowd. Police were soon knocking at the poet’s door.

Pablo Picasso, Child with a Dove

Questions

Three days after Mona Lisa’s disappearance, Apollinaire had written in the paper L’Intrasigeant:

The pictures, even the smallest, are not padlocked on the walls, as they are in most museums abroad. Furthermore, it is a fact that the guards have never been drilled in how to rescue pictures in case of fire. The situation is one of carelessness, negligence, indifference.

Loosely known as la bande de Picasso, the group was famous for more than their loud opinions. They were outlaws of traditional art, set on breaking the rules to free art from art history.

Mona Lisa was the archetype of the dead masterpieces they rejected. If Picasso’s group had indeed taken her, no one would have been surprised. Prefect Lépine was convinced that la bande de Picasso was involved.

Apollinaire’s letters as the Baron placed him in the middle of the investigation–and in deep trouble.

Guillaume Apollinaire was transported in handcuffs to the Palais de Justice, where for hours he refused to provide any information. Only at the point of arrest did he confess that he was not the statue thief, but knew who was. He named Honoré Joseph Géry Pieret, a Belgian who had been living in his apartment as a secretary.

He admitted to knowing about Géry’s theft. He confessed to having bought Géry a train ticket to Marseilles on August 21, urging him to leave the country. Apollinaire thought that he would be released after giving the information.

Instead he was locked in a cell at Le Santé prison for being an accomplice.

La bande de Picasso was a guilty party to Prefect Lépine. He was confident that they were the gang of thieves he was after—and that they would be able to tell him Mona Lisa’s whereabouts.

It wasn’t long before he’d arrested the face of the movement, Picasso himself.

Betrayal

Guillaume Apollinaire and Pablo Picasso, so often seen together as leaders of a band of rebels, faced one another in the courtroom. Their nerves caused them to trip on words, contradicting themselves and one another.

When asked about his friendship with Apollinaire, Picasso said, “I have never seen him before.”

Picasso confessed to having bought the stolen statues. He was released on his own recognizance and warned not to leave Paris. Apollinaire was returned to the Santé prison, but there was not enough evidence to link him to the theft of Mona Lisa. He was released on September 13.

The theft of Mona Lisa had found a likely culprit in la bande de Picasso, but it was a dead end. Géry’s theft of the statues was possible because of the poor security which enabled the theft of la Gioconda.

Unfortunately for detectives, this only proved that theft was easy at the Louvre, not that Picasso’s band had indeed taken the painting. The questions remained: who was the thief, and where was the painting? No closer to an answer, police began to lose spirit.

Pablo Picasso, Mediterranean Landscape

For years Picasso never spoke of the Mona Lisa ordeal. He continued being his larger-than-life self, leading the modern art movement with his bold colors and shapes.

It was 1959 when at last he mentioned Apollinaire during an interview:

When the judge asked me, ‘Do you know this gentleman?’ I was suddenly terribly frightened and without knowing what I was saying, I answered, ‘I have never seen this man.’ I saw Guillaume’s expression change. The blood ebbed from his face. I am still ashamed.

I wish I had read Vanished Smile before I went to the Louvre to see Mona Lisa. R. A. Scotti tells the story of her disappearance with more grace than I’ve been able to manage. If you like history, art, and true stories that sound insane, I encourage you to grab a copy and dig in.

Next week I’ll wrap up my Mona Lisa segment with her return to the Louvre–and the peculiar circumstances surrounding that. I hope you’ve enjoyed reading this story as much as I did!

5 Surprising Facts About Jane Austen


Despite having such a devoted fan base, Jane Austen’s life is shrouded in mystery. She was an unusual woman for her time, holding firm to her values. She believed in love matches; her stories are full of unlikely couples, yet she remained unmarried.

We don’t have much correspondence from which to learn her thoughts. Following the custom of the time, Jane’s sister Cassandra burned many letters after the author’s death.

Fortunately, not all was lost with those yellowing pages. Enough history remains to offer us a satisfying portrait.

Here are five surprising facts about Jane Austen.

1- She Enjoyed Gothic Novels

It’s not surprising that Jane Austen was well-read. She spent hours in the family library immersed in classics such as Shakespeare.

As always, literary tastes at the time were changing; she also enjoyed reading then-popular Gothic novels.

Her favorite authors included Frances Burney, Ann Radcliffe, and Maria Edgeworth. Radcliffe’s The Mysteries of Udolpho was mentioned in Jane’s novel Northanger Abbey as one of Catherine Morland’s favorite books.

Want to learn more about which books Jane read? Here is a list!

Portrait of Author Frances Burney

2- Jane Austen Hated School

The Austens were unique in their belief that education was important for all children, not only boys.

Jane and her sister Cassandra attended boarding school as young girls. Jane was only seven when she first left home to study. There is speculation about why she left at such a tender age. Some think it was because she could not bear separation from her sister.

They attended Mrs. Cawley’s boarding school for girls, where they were taught sewing and French. Jane would later write about her time at school as a torment.

3- She Was Engaged—for a Night

On December 2, 1802, Jane accepted a marriage proposal from family friend Harris Bigg-Wither. The Bigg-Wither family owned a large estate; marriage to him would ensure Jane’s happy retirement.

The following morning, she’d changed her mind. She called off the engagement, a choice that perplexed everybody–she wasn’t getting any younger.

Why did Jane choose spinsterhood over a comfortable home? We know that she believed people ought to marry for love; perhaps that was her reason.

I found this article about Harris Bigg-Wither interesting.

Drawing of Harris Bigg-Wither

4- Charlotte Brontë Wasn’t a Fan

There has been a rumor circulating that Charlotte Brontë’s classic Jane Eyre was inspired Austen’s character Jane Fairfax in Emma. This article criticizes the rumor, but it doesn’t deny that Brontë wasn’t a fan.

One can hardly blame her, seeing the big picture. Rare were female authors brave enough to publish with their names. They were generalized as lady authors, and Brontë was tired of being lumped in with Austen when their novels were so different.

I’m thankful that there is now room for different kinds of lady authors. It’s possible for us to write light-hearted romance or Gothic pieces–whatever we please!

5- Austen’s Last Piece was a Poem

Many famous authors have died and left novels unfinished. Jane Austen left two books unfinished—Sanditon and The Watsons—but her last complete work seems to have been a poem.

Titled Venta, it was dictated to Cassandra three days before Jane’s death. It’s a satirical piece about the people of Winchester, poking fun at their fervor for horse races. Jane wrote that they cared more for the races than they did for their patron saint, St. Swithin.

Various poems by Jane Austen can be found here.

It’s always fascinating to do research about the lives of famous authors. This little post does not begin to cover Jane Austen’s life, but I hope it taught you something new!

5 Myths About Sea Monsters


Humans tell stories to shed light on the unexplained, giving it a face we can imagine. It’s been our custom for centuries, and one of the most frightening mysteries our ancestors faced was the ocean.

Whether they were fishing or embarking on voyages into the unknown, they had no guarantee of a safe return. The ocean was a moody mistress; they personified her by giving her faces.

Now we know more about the world under the sea, but there remain mysteries that will never be explained. Stories make things interesting; why not learn some ocean folklore to uphold the ocean’s personality?

Siren Art by Mark Heine

Each-uisge

Not all sea monsters are giant squids of Jack Sparrow fame. The human imagination is adept at giving a shape to fear; something like water is impossible to keep in a set form.

Each-uisge is a sea monster of Scottish folklore. Its literal translation is water-horse. This monster is a shapeshifter; it can turn into a horse, pony, even into a handsome man!

Should somebody mount it while it is in horse form, they are only safe if the ocean is out of sight. A glimpse of the water changes the rider’s fate. The water-horse’s skin becomes like adhesive, making the rider helpless to dismount as the each-uisge dives into the sea.

Highland people are wary of wild horses—nobody wants to be drowned by a pony!

The Flying Dutchman

Ghost ships have marked ocean lore for as long as men have died at sea. Perhaps the most famous is the Flying Dutchman. Books and movies have been made about this spirit-ship doomed to sail on forever.

The oldest version of this legend originated in the 18th century. If hailed by another ship, the Flying Dutchman would attempt to send messages to land. At times, these messages would be to people long dead. Considered omens of death, sightings of the Flying Dutchman were dreaded by sailors.

Literary references to sightings of the Dutchman include a passage from Travels in various part of Europe, Asia and Africa during a series of thirty years and upward (1790) by John MacDonald:

The weather was so stormy that the sailors said they saw the Flying Dutchman. The common story is that this Dutchman came to the Cape in distress of weather and wanted to get into harbour but could not get a pilot to conduct her and was lost and that ever since in very bad weather her vision appears.

More literary references can be found on Wikipedia. A well-known sighting was reported by Prince George of Wales in 1880, the future King George V.

The Flying Dutchman by Stephen Palmer (Source)

Charybdis

Scholars have placed this sea monster from Greek folklore in the Strait of Messina. Charybdis appears with the sea monster Scylla to challenge heroes such as Odysseus and Aenas. Later myths identify her as the daughter of Poseidon and Gaia.

Charybdis and Scylla lived under large rocks, one on each side of a narrow channel. There was no way to escape their trap; the term ‘to be between Charybdis and Scylla’ means being presented with two opposite dangers.

Charybdis created giant whirlpools three times a day. She did this by swallowing large amounts of water, pulling sailors to their doom. In some variations of the myth, she is simply a giant whirlpool.

Siren

Ocean mythology would be incomplete without mention of the Siren. Not to be mistaken with a Mermaid, Sirens exist in different cultures under different disguises.

Some cultures portray them as beautiful women who live in the ocean; others describe them as women with birds’ feathers and scaly feet. What all Sirens have in common is a wicked custom of luring sailors to their death, usually with their songs.

Ovid wrote that Sirens were the companions of Persephone as a young girl. After Persephone was kidnapped by Hades, Demeter gave them wings to find her. When they failed to locate Persephone, Demeter cursed them. They were destined to live only until the humans who heard their songs passed by.

Another legend says that Hera persuaded the Muses to participate in a singing competition with the Sirens. When the Muses won, they plucked the Sirens’ feathers as a punishment. Wingless, the Sirens fell into the sea of Aptera, where they formed the islands known as Leukai.

Funayūrei

Ships are not the only ghostly bodies thought to dwell near the ocean. According to Japanese legend, Funayūrei are angry spirits of the sea. They appear in writings from the Edo period; they have not faded from modern folk customs.

Funayūrei are said to be the spirits of humans who died in shipwrecks. These angry spirits want to doom more humans to death at the bottom of the ocean. They would make ladies fill boats with water in order to make them sink.

Their appearances vary widely in the different legends. Some float above the water; others appear on ships to haunt sailors. They are more likely to appear when it is raining or during nights when the moon is full.

Maybe you’ve never seen The Flying Dutchman, but have you heard the sound of wind before a storm? Have you ever stared at an approaching wave and wondered if it was coming for you?

The sea is full of mysteries. Since humans can never control the sea, it strikes fear into our hearts. Coming up with stories gives us a fleeting grasp on it.

I’ve gathered butterfly myths and star myths. The stories of our ancestors are a great part of who we are as a race. Get to know those beliefs; you might find that a voice deep inside of you still believes.

Mona Lisa’s Romantic Disappearance


Vanished Smile: The Mysterious Theft of Mona Lisa by R. A. Scotti is a book that helps put Mona Lisa’s fame into perspective. Most people know her as Leonardo da Vinci’s masterpiece.

We can get a better grasp of her fame after learning about the drama that took place in 1911.

In August 1911, the Louvre Museum was stirred from its routine by horrific news. Usually displayed in the Salon de Carré, where she was visited by artists and suitors, Mona Lisa had vanished. Under the spot where the portrait had hung was a plaque reading her name, but she was nowhere to be found.

Her empty frame was discovered in one of the corridors, as well as the glass case meant to protect her from outsiders. A broken doorknob indicated a route of escape that the thief might have taken.

1910 Map of the Louvre

Pre-Theft Louvre

How was this possible in a museum containing so many treasures? The ugly truth is that the Louvre Museum before Mona Lisa’s theft was lax in security. It was understaffed and too large for there to be guards everywhere.

The director of the museum was fired after Mona Lisa’s disappearance.

In 1911, the Louvre had more exits available for thieves to slip through. Visitors were allowed to grab paintings for photographs without written consent. Curators and guards were so busy that none of them noticed Mona Lisa’s disappearance for three days.

She was last known to have been in the Salon de Carré on Sunday evening; her absence was not discovered until Tuesday morning.

Parisians were outraged that it had been so easy for the painting to disappear under guards’ very noses. The greatest available detective would be required to solve such a mystery.

Alphonse Bertillon was called in the very Tuesday that Mona Lisa’s disappearance was noticed.

Alphonse Bertillon, detective. He pioneered in using photography to help solve crimes.

Sherlock Holmes’ Hero

Alphonse Bertillon was Chief of the Judicial Identity of the Paris Prefecture. He was the closest they could get to Sherlock Holmes in this most Holmesian of cases.

In a short story written by Sir Arthur Conan Doyle, The Adventures of the Naval Treaty, Holmes tells Watson that he admires the French policeman Alphonse Bertillon. Naval Treaty was published in a collection of Holmesian short stories in 1893.

Sherlock uttered these words before the Mona Lisa disappeared. Was it a premonition?

Bertillon came with all of the tools of the trade. This included his magnifying glass, dusting powder, and a trail of assistants to photograph the scene. Photography of crime scenes was a new practice which Bertillon pioneered.

He examined Mona Lisa’s empty frame and the glass case that held her. Using his magnifying glass, he searched for evidence that could give a name to the heinous thief: fingerprints.

A perfect thumbprint was discovered on the glass case which had held Mona Lisa.

Paris, France: MONA LISA THEFT, 1911. The gap on the wall of the Carre Gallery of the Louvre Museum, Paris, where the Mona Lisa was exhibited before it was stolen 1911. ©Mary Evans Picture Library / The Image Works

Salon Full of Suspects

Louis Lepine, Prefect of the Seine, arranged for the theft to be repeated by two groups on a different painting of the same size.

The first group to recreate the theft was comprised of ordinary gendarmes. They struggled to remove the art from the frames and did a clumsy job of it. The second group was made up of Louvre workers–people familiar with the museum and comfortable handling art in their cases.

The Louvre workers removed the painting from its frame and case in moments. This provided clues for Bertillon—and a great deal of embarrassment for museum staff.

It suggested that the theft had been committed by someone who worked at the museum. He must have been familiar with the halls and glass cases, so that they wouldn’t be such obstacles.

Could a thief have been mingling with curators and guards long enough to plan a heist?

Seeking a Match

Lepine requested that a list be compiled naming everybody who’d had access to the museum between that Sunday and Tuesday.

The long window of time was discouraging. Whoever had stolen the painting could have escaped France by the time guards noticed her absence. He might be on a ship halfway across the world.

Proceedings continued, though officers began to doubt that Mona Lisa would ever be seen again.

Each Louvre custodian, curator, workman and photographer on Lepine’s list was fingerprinted and interrogated. One guard confessed that Mona Lisa had been left alone from eight to ten o’clock on Monday morning. He had been called away from the Salon de Carré to help move paintings in another part of the museum.

This gave the thief two hours’ free rein to remove the painting from its frame and flee.

Mona Lisa’s Lover

The guard then confessed an unnerving detail.

He had been seeing a young man pay weekly visits to the Mona Lisa. Sometimes this man would bring her flowers, as if they were lovers. Could this obsessed visitor have been alone with the object of his affections that Monday? Was he deranged enough to have stolen her?

This revelation provided the Louvre with a way to save face. The thief was not necessarily one of their staff; it could have been one of her unstable courtiers. While police continued to question museum workers, the public was told about Mona Lisa’s admirer.

It was the sort of story that the media cannot resist. Chicago Tribune commented wryly on the matter:

So, Mona Lisa has another lover! … Now, after four and a half centuries, Leonardo’s subtle lady wins another lover, and her tantalizing discretion quite forgot, she flees with her wooer. Ten thousand dollars for her return, cries Paris. … No one man should have exclusive right to feed on that mysterious loveliness.

This ends the first part of my series on Mona Lisa’s disappearance. After I’d read Vanished Smile, I struggled for a way to sum up the story for my blog.

When Mona Lisa disappeared, the world reacted in outrage. When newspapers and the French government offered rewards for her return, false paintings were provided by people hoping for money. Billionaires like J. P. Morgan and artists like Pablo Picasso were pulled into the matter.

To leave out one surreal detail does this story a disservice. There is more to the Mona Lisa than her mysterious smile; there’s a reason why she now has a bulletproof chamber at the museum.

Behind every great story is an even greater story; the Mona Lisa’s is no exception. I will post more about the investigation in a few days.

5 Myths About the Stars


Stars have aided us from the beginning. Before we settled on a common calendar, they told our ancestors when to plant crops. Navigators at sea used the stars to guide them on treacherous journeys. In uncertain times, humans sought messages from these celestial lights.

Though we have developed modern methods of navigation, the stars have not lost their significance. We yearn to see them, write songs about them, and study them from afar. They remind us of that which does not vanish; they remain above us, sources of wonder and romance.

It would be a shame if we did not learn what the stars meant to our ancestors. Here are five interesting myths about stars. These myths come from different parts of the world.

When you finish, go on to read mythology about butterflies.

The ‘Digging-Stars’

According to South African mythology, tribes anticipated the appearance of IsiLimela–the Pleiades–to warn them it was time to begin hoeing the ground. The Pleiades were called the ‘digging stars’ because of this specific role.

These were more than ‘digging-stars.’ Xhosa boys marked the beginning of their manhood from the Pleiades’ first June appearance. Their new lives depended on the appearance of IsiLimela.

Read more South African star myths here!

The Pleiades

Inca Constellations

The Inca culture in Peru also relied on the stars for agricultural purposes. Their belief was that everything in nature is sacred, so they worshiped various Gods such as Inti (the sun) and Chuqui Illa (the God of Thunder.)

Machu Picchu, the famous archaeological site, has long been a mystery. Who was it built for and why in that spectacular location? Recent studies suggest that, aside from being a ceremonial site, Machu Picchu was an astronomical observatory.

PeruforLess has a good article about Inca culture and their belief system.

Machu Picchu, Peru

Lost Viking Tales

Most of the known Norse mythology is found in the Eddas, though there’s little mention of stars specifically. If you’re interested in the Norse stories of creation, the Eddas provide a fascinating read. Find the Edda of Snorri Sturluson on Amazon.

I quote this excellent essay on Norse constellations by Jonas Persson:

In Völuspa the origin of the stars and planets are mentioned, as well as their end at Ragnarök. The world was created from the body of the giant Ymer. His skull forms the firmament and is held in place by four dwarves, where sparks from Muspellheim form the stars. Their place in the sky was determined by the gods and some were given paths they will roam.

Having depended on the night sky to guide their ships, it’s inevitable that the Norse people knew astronomy. They had their own constellations, though the names of most of these constellations have been lost.

Star Religion

As a writer I’m pleased to learn that, in Egyptian mythology, the stars were represented by the goddess of writing, Seshat. The Milky Way Galaxy represented the mother goddess Nut giving birth to the sun god, Ra.

We needn’t look farther than the Pyramids to understand the significance of stars to the ancient Egyptians. It is said that the Pyramids of Giza were built in alignment to Orion’s belt.

If this is true, it’s no surprise. According to their religious writings, they believed the gods to be descended from those three stars (read more).

Goddess of Falling Stars

Greek mythology is famous for the gods and goddesses who fought amongst themselves and caused trouble on earth. Among the lesser-known is Asteria, the goddess of dreams and of falling stars.

Asteria’s father was the Titan Coeus. He was the god of the northern axis of Heaven, around which revolve the constellations. From him Asteria gained abilities such as spelling messages in heaven with the stars.

Zeus could not resist Asteria’s beauty (nor can we expect him to, given his record). Once when he had caught her, she transformed into a quail to slip away. Refusing to be defeated, Zeus became a bird and gave chase.

Seeing that Zeus would never leave her be, Asteria dived into the sea and metamorphized into the Italian island now known as Ortigia. Learn more about Asteria.

Stars have captivated us from the beginning. Regardless of where in the world our ancestors lived, the stars did not escape their attention. Further research would reveal more stories about the cosmos from other ethnic groups.

I conclude this list with a beautiful quote:

“Silently, one by one, in the infinite meadows of heaven,
Blossomed the lovely stars, the forget-me-nots of the angels.”

― Henry Wadsworth Longfellow

Leonardo da Vinci: Unveiling the Genius


Every now and then we encounter humans with incredible abilities. I don’t mean superpowers–no one can fly without special equipment, nor can they turn invisible. These abilities are acquired through study. Mastering an art form, throwing oneself into a field of science, or sailing around the world–these can be done by any human.

They can be done–but not without study and courage.

We have little hope of reaching the expertise of Leonardo da Vinci. He dabbled in everything–art, science, architecture, and more. All of these were his superpowers. They were trades and disciplines that he had a firm grip on because curiosity drove him to tireless study. Though he is best known for having painted the Mona Lisa, you could spend a lifetime learning about his achievements.

How did Leonardo da Vinci stand out as the genius of his time? Since I’m covering La Gioconda, I have decided to limit this blog post to his life as a painter. Maybe later I can explore his other talents.

Self-Portrait, Leonardo da Vinci

Priceless Education

Leonardo da Vinci did not go to school.

It sounds ludicrous, doesn’t it? Since he was born to unwed parents, he wasn’t allowed to study in the parish school. This might have been his great advantage: he had the opportunity to teach himself. This allowed him to open doors that his ‘luckier’ peers never thought of.

Da Vinci learned reading, writing and arithmetic at home–three skills that were to be the foundation for his achievements later on. At the age of twenty, he left to become an apprentice at the studio of painter Andrea Verrocchio. He was taught painting, sculpture, and mechanical skills.

16th-century art historian Giorgio Vasari wrote a fascinating account from da Vinci’s time as an apprentice. Historians today believe that he embellished the tale, but there is something charming in pondering legend.

Vasari writes that da Vinci collaborated with Verrocchio to paint The Baptism of Christ (1474-1478). According to Vasari, Verrocchio saw the great talent of his own apprentice and was struck with despair. He allegedly threw down his own brush and never painted again.

Baptism of Christ, Leonardo da Vinci and Verrocchio

Enduring Art

Leonardo da Vinci was a polymath, possessing great talent in many fields that we consider difficult or obsolete today. Since this trilogy focuses on the Mona Lisa, I thought it appropriate to summarize da Vinci’s life and success as a painter.

Only 18 original paintings attributed to him survive. They fall into categories–those universally accepted to be his work, those traditionally accepted, and widely accepted. These categories hinge on existing evidence of his being the painter.

The Annunciation (1472-1476) is widely accepted to have been his first completed painting. The Baptism of Christ, his collaboration with the ill-tempered Verrocchio, is widely accepted as the third.

La Gioconda, or Mona Lisa, is universally accepted as his twenty-second work. He was in his sixties when he took on this commission. What you might not have known, though, is that Mona Lisa is an unfinished painting.

Historical accounts from visitors and acquaintances tell us that da Vinci had a stroke. This caused a paralysis in his right hand which frustrated him while he was painting La Gioconda. How did he manage to paint what can be seen of her now? He was ambidextrous, which must have come in useful, but the paralysis still troubled him enough for the work to be unfinished.

Vitruvian Man, Leonardo da Vinci

Where To Find His Work

Leonardo da Vinci’s paintings have taken on lives of their own long after the death of the master. Lovers of La Gioconda claim that her eyes appear to be following them. Stories exist of men who fell in love and brought her flowers.

If you want to see his most famous works of art, you’ll have to travel the world. Mona Lisa reigns in a chamber of her own at the Museum of the Louvre in Paris. The famous Last Supper is located in the Convent of Santa Maria delle Grazie in Milan.

His pen-and-ink drawing, Vitruvian Man, is an image that most people have seen. It was taken from one of the many notebooks that he filled during his mature years. It isn’t on display because it is so brittle that photographs would do it severe damage. Vitruvian Man is kept safe in the archive of the Venetian Gallerie dell’Accademia.

Do you want to go on a pilgrimage and see his surviving works? Here is a list of where to locate them.

Da Vinci’s Notebooks

Leonardo da Vinci’s notebooks are available for the fanatic to read and bask in his wisdom. Gutenberg offers them for free, but they can also be purchased in book form for more comfortable reading.

There has been a renewed interest in the journals themselves and how he wrote in them. This compelling article makes me wish I knew how to keep smarter diaries, because the article says:

It is estimated that da Vinci produced between 20,000 to 28,000 pages of notes and sketches spanning across 50 different notebooks about work related to whatever topics that interested him – painting, engineering, philosophy, warfare, engineering, physiology, landscape, proportion, perspective, geography, geology, light and shade, inventions and various other topics.

In my lifetime I have filled about 28 notebooks properly–meaning that I finished them cover-to-cover rather than skipping around. However, I did not cover all the topics listed above.

If you want to know more about da Vinci, I can tell you as a diarist that journals are a great place to search. With this useful footnote I will close my attempt to capture Leonardo’s brilliance in a blog post. I hope I did some justice to his life as a painter.

My first post about La Gioconda was an introduction to the mysterious lady and the controversy over who posed as her model. In my next article, I will review and comment on the book Vanished Smile: The Mysterious Theft of Mona Lisa by R. A. Scotti.

Canvas could not keep La Gioconda from going on an adventure, and I’d like to tell the story. After all, how often do paintings go on vacation?

Learning to Teach History: Interview with Phillip Campbell


In recent years I have discovered a new interest in history. My motto for this blog is that behind every great story is an even greater story.

This refers to three things. First, it speaks of the effort going on behind the scenes when an author writes a book. Secondly, think of a painting. It’s easy to admire as an image, but often is so much more. If you’ve studied art, you know that very few immortal paintings exist for the sake of existing. Great works of art tend to have stories woven in between brushstrokes.

The third and broadest type of ‘story’ I refer to with my motto is history.

When we see the fireworks on Independence Day, we celebrate our freedom. How often do we set aside the hot dogs and ponder those men who, centuries ago, stood up in defense of their rights?

We idolize Vincent van Gogh for his story and his poignant art, make jokes about the ear incident. Do we know why he cut off his ear? Behind every great (and I mean great in the sense of huge, not always good, as in the case of van Gogh) story is a greater story.

We cannot let these stories become lost in time; they are relevant as the marble statues in front of the Capital building. Maybe we can’t see the stitches in that old quilt Grandma gave us; it doesn’t make the effort of perfecting those stitches less meaningful.

I believe history should be taught thoroughly, and so does my good friend Phillip Campbell. A history teacher, he’s published a book about how to teach history.

How do you present events with the dignity they deserve? How can you see the stitches in the quilt? What can we do to help those we are teaching to appreciate those stitches, too?

The Catholic Educator’s Guide to Teaching History, Phillip Campbell

I asked him a few questions about the past and its significance. I’m excited to read his book, The Catholic Educator’s Guide to Teaching History. My quest for this blog, digging up those small stitches and presenting them to you, will benefit from his wisdom.

It’s not only our duty to learn history–we must also pass it on. Purchase his book today.

Tell us your goal in writing this book. How will it change the way readers think of the past?

I wrote The Catholic Educator’s Guide to Teaching History to be a summary of my 15+ years experience teaching history in Catholic educational environments. This book is for parents or teachers who are trying to teach history in various settings: classroom, homeschool, or co-op. I’m hoping this book will help these people to teach history in a way that is engaging and memorable. 

Too many people complain that they found history classes in school to be boring and uninspiring. This is a true shame, as history is full of the greatest stories one will ever encounter. History is ultimately just the story of the human race! It’s unfortunate that it is often made dull by people who teach it poorly. Hopefully my book will contribute in some small way to turning that around.

There’s a lot to say about how to handle the past as a subject of study, but the crux of my method (at least when dealing with children) is capturing the narrative arc of history. In other words, returning the story to history. Everybody loves a good story, especially children. 

If we can really present our historical content as a story—complete with characters, plot, climax, and resolution—it becomes immensely more accessible. And the best part is we don’t have to create the story ourselves; it’s already there, we merely need to tailor our approach in such a way that the narrative structure of history is highlighted for young minds. This is what makes history “come alive” for people.  

Why is it important to teach and study history?

That is a very broad question, to which many answers have been given over the years. For most people, this question immediately brings to mind the famous quote of philosopher George Santayana: “Those who cannot remember the past are condemned to repeat it.” 

I have always disliked it as a comprehensive explanation of why we ought to study history. It takes a very pessimistic view of human civilization, essentially viewing history as nothing but an embarrassing burden we are “condemned” to deal with. Human nature is capable of great darkness, to be sure, but also great beauty. 

I, for one, prefer not to view history as something that only dooms us, something we must constantly be struggling to escape. But beyond this, we could also critique Santayana’s maxim for being too utilitarian. While building a more peaceful society for all humanity is certainly a worthy goal, doesn’t the study of history have some rationale more intrinsic to our own character development? Something more personal?

Traditionally, history has been a core part of the so-called “liberal arts” curriculum. The liberal arts are those studies whose purpose is to develop our own intellectual capacity and character (as opposed to professional or vocational skills). One does not study literature, poetry, or art because this knowledge keeps the electricity running or helps us make a buck. We study them because they form our character by ennobling our individual potential. They elevate our minds. They teach us to think. They make us more human. 

The ancients viewed history in this manner. Cicero said, “To be ignorant of what occurred before you were born is to remain always a child. For what is the worth of human life, unless it is woven into the life of our ancestors by the records of history?” Understanding the things that came before our own life experience is essential to understanding not only the world we live in, but our very selves. 

A person unfortunate enough to suffer complete amnesia loses their identity entirely, for a person who doesn’t know where they have been does not know who they are. Similarly, to the degree we live without knowledge of where we have been, to that degree we remain stunted in our understanding of ourselves. In the words of Cicero, we are still, in some sense, a “child.”

Did any authors or historical figures influence this book?

I was deeply influenced by the classical approach to history as exemplified by the Greeks and Romans. The Greeks assigned history its own muse, Clio, the “Proclaimer”, the inspirational goddess of history. That history should be numbered amongst the Nine Muses—with such subjects as poetry and dance—gives us profound insight into the real value of historical study. 

The Muses were goddesses of inspiration; that is, the arts of the Muses are those that inspire and require inspiration. They help us transcend the workaday world and find value in life in an existential manner, connecting with things bigger than ourselves. That was part of my vision, to enable people to be inspired by history in a way that helps them connect with their own existence in a more meaningful way.

I mentioned Cicero above. Another inspiration is Livy, the ancient Roman author who compiled a history of Rome from the founding of the city to his own day. Livy stressed the moral value of history as a lesson in human nature—we are edified by the deeds of the righteous and horrified by the evils of the wicked. I just think the ancients were so much more in tune with the character building aspect of history than modern people.

If a person decided to study history, which three books would you recommend to them?

It depends on what era of history you want to study, and one’s level of cognition. 

Assuming we are talking to adults, I have a few recommendations: an excellent book that gives a solid introduction to the Middle Ages is Norman Cantor’s book The Civilization of the Middle Ages. My go-to book for ancient Rome is Michael Grant’s 1978 masterpiece History of Rome. It gets so much more fragmented when you get into modern history, and American history especially. 

It’s challenging to recommend a single comprehensive book. I guess I will take the opportunity to make a shameless plug for my own two texts on modern Europe and American history: Story of Civilization Volume 3: The Making of the Modern World, and Story of Civilization Volume 4: The History of the United States. These books are meant for younger readers, but adults enjoy them as well because, as I said, everyone loves a story!

It’s important to read lots of books to obtain a well-rounded view of history. For example, no one would say, “If you want to appreciate literature, what three books would you read?” Because the reality is, we develop our literary taste by reading a great variety of books. 

Obviously we have to start somewhere, and I think that’s what your question is getting at. But ultimately if we want to be historically literate, we need to get our history from a diversity of sources as well. I don’t have just one book about a given period. Incidentally, this also helps inoculate you against historical bias, because the more history you read the more discerning your historical sense becomes.

END

Mona Lisa: The Queen of the Louvre


Throughout my years of blogging I’ve been faithful to the topic of literature. As a storyteller, it seemed like the most natural thing: reading is my vocation. Almost a decade later, I’m itching to write about more.

My interests as I’ve grown and learned have developed considerably. Having read The Storytelling Animal by Jonathan Gottschall, I’ve come to understand that story isn’t limited to words on a page.

Story is a magic that’s not limited to paper and ink. In the beginning, sagas were spoken by bards. Before common people could read, they learned their history through sketches and paintings. Story can also be sung or played on musical instruments.

Lost in the rabbit hole of the Internet, a person can live their lifetime without ever really looking at a painting. Masters such as Van Gogh or Beethoven are more than online trends. I want to talk about the artists whose work helped form society.

La Gioconda, Leonardo da Vinci

Most Famous Smile

We’re going to begin by discussing the most famous painting in the world.

Is there a better way in which to introduce fine art? Mona Lisa has made it to meme fame; her face is on trendy t-shirts and bags. It’s tragic that people know what she looks like but few know who she is. 

Mona Lisa, known in Italian as La Gioconda, has had an exciting life despite being trapped on canvas. She has been speculated over, stolen, and pulled into one of the wildest conspiracy theories.

At this time, she lives in the historic museum of the Louvre. So many tourists go there to visit La Gioconda (including myself!) that she has been given a room of her own. It’s bulletproof and its temperature is strictly controlled to protect her.

Who Is Mona Lisa?

Completed by the master Leonardo da Vinci in 1517, La Gioconda is categorized as a half-length painting. This is a term which refers to a portrait that only shows the subject’s upper half and hands.

Mona Lisa was commissioned by a wealthy silk merchant named Francesco del Giocondo. It was a portrait of his wife, Lisa, and took sixteen years for Leonardo to complete. It’s thought to have been painted in celebration of the birth of their second son.

Before Lisa del Giocondo was identified as the model, this painting presented a staggering puzzle. Alternate models were proposed such as Isabella of Aragon, the Duchess of Francavilla, and Renaissance art patron Isabella d’Este.

Some insist that Leonardo used himself as the model, but 21st century art historians refute this.

What’s It Like At Her House?

The Louvre had a history before it became a tourist hot spot. It was a fortress during the turbulent Middle Ages, a palace during the time of the monarchy, and Napoleon’s showcase for stolen art during the First Empire.

I visited the Louvre with my mom and brother. Because it was designed as a fortress, it’s unlike other museums I’ve seen with their straightforward floor plans. The Louvre is enormous; we didn’t have time to see everything.

I became pleasantly lost in the realm of the marble statues. It reminded me of the White Witch’s court in Narnia. Later I learned that the Louvre houses the Nike of Samothrace. I can’t believe I missed it, and hope to visit again for a look.

Nike of Samothrace

An Audience With La Gioconda

Mona Lisa is the Queen of the Louvre. If you wish to visit her, it means standing in line for at least half an hour. You ascend three elevators crowded with tourists who want to pay homage.

There is a sign by the entrance to her chamber. It says to make haste because of the many people who want to meet her.

When you enter the chamber, there’s a moment in which you think Is she really here? The Mona Lisa is depicted as enormous in cartoons and memes, but she’s actually the smallest painting in the vicinity.

La Gioconda measures 30 by 20 inches. The crowd is so packed that you must crane your neck to glimpse that famous smile. This is proof that you do not need to be the largest or most eye-catching to be powerful.

People then rush in to get their pictures. Drawing near to the legendary painting, you feel goosebumps. Regardless of her size, this is her–this is the lady everyone knows about to some degree, the goddess of Renaissance art.

La Gioconda in her chamber (Source: Reader’s Digest)

Homage

In the City of Light you cannot delude yourself into believing story is limited to pages in books.

Stories pack the streets of Paris, waiting on the famous bridges and near bookselling bouquinistes. They linger near the ruins of Notre Dame Cathedral, where you can imagine centuries of people stopping there to pray. They are sprawled on the sidewalks which, during the Revolution, glistened with pools of blood.

In our next tribute to La Gioconda, we’ll learn about the artist–just a little, because there’s not enough room in a blog post to depict Leonardo da Vinci in a way that’ll do him justice. I’ll enjoy my research; I hope you’ll enjoy reading it.

The Bookworm’s Bible: FOR THE LOVE OF BOOKS by Graham Tarrant


For The Love Of Books is the perfect gift for your picky book-loving friend. It’s the sort they’ll read over and over–for fun, as well as to learn.

It was there in my Kindle for months before I started to read. At once I realized that it was the perfect match for me! I had already been doing my own research on writers, book series, and events that triggered classic stories. This work opened a treasure chest of details to keep me going.

Graham Tarrant has gathered priceless facts and ‘did-you-know’ bits. I finished reading with the sense that I’d been given a crash course on literary history. 

You finish reading this book with the sense that you’ve gone through volumes of classics, biographies, and newspaper articles. The only downside is realizing there are so many books we’ve yet to read.

Why can’t I skip bedtime for reading time?

Which Tasty Morsels?

For The Love Of Books features everything to hook the bibliophile. It talks about authors’ disputes and the (mostly) indirect swings they aimed at each other. These were done via interviews–but sometimes their books featured characters suspiciously similar to their rivals.

It provides juicy details on literary romances. If you want to learn about husband-wife cowriters, there are such romantic duos. If you prefer the dangerous, there are love affairs that authors carried out with colleagues. You’ll also find that some of them preferred the writer-hermit lifestyle to a family setup.

Are you curious about the origin of the mystery novel? A chapter has been dedicated to mysteries and thrillers. There are many famous female mystery writers, Agatha Christie being the best known. You’ll read about spy novels that were based on the authors’ experiences.

Of course, there is the melancholy: there are some authors who passed away before they could finish their work. I’m not talking about Dickens with Edward Drood or Jane Austen with Sanditon. No, this is a threat that all authors face! I can’t imagine anything sadder than an unfinished manuscript on my bedside when my last day comes.

Fellow bookworm, you’ll find everything here to satisfy your appetite.

“What Do I Read Next?”

For The Love Of Books will make you feel enlightened. You’ll fall in love with the literary world and its history–but you might also find yourself in a panic. You won’t know what to read next! There are so many titles mentioned; it might depend on which category you’d like to explore. 

Do you want to read the first detective story by Edgar Allen Poe? Called The Murders in the Rue Morgue, it’s said to have inspired future “career” mystery writers. Maybe you’d like to know which writers produced their best work under the influence of alcohol. If you dedicate yourself to the It’s A Fact tidbits, you will still learn much. In two or three sentences, Tarrant delights us with history to mull over and laugh at.

Behind every great story is an even greater story. That is my motto, and Graham Tarrant has written the book to feed my obsessions: books and history, history and books. I am grateful for this gem, this must-have for book lovers, and the material it has given me to continue my research in these realms I adore.