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To everyones benefit, instead of someone being symbolically a winner, winning definatory power.
In May of 1884 Giovanni Morelli did only look at a photograph of the painting in question.
Now I dont know if I am going too far on my part, if I might dare to pass a sentence myself as to the supposed author of the picture, merely based on the autopsy of this photograph that I am going to send you [Jean Paul Richter] soon.
Eisenmann, says Habich, has seen the picture with his own eyes and studied it diligently, and does wholeheartedly agree with Dr.
Bode and company in Berlin, in thinking the same being a work of Leonardo.
Er [Woldemar von Seidlitz] brachte die Fotografie eines Bildes mit sich, die er mir zur Beurteilung vorlegte.
Or more precise: in regard to the observations that had translated into language.
And this is worth studying even without considering their respective result (the attribution).
Nor were they (while conversing with their collegues, friends and with people belonging actually more to the other, the antagonists circle), nor were they conversing with each other.And if, as the below notes show, Morelli subsequently again changed his mind and saw only an imitator of Leonardo (in dismissing the link to the Leonardo pupil Marco d Oggiono) he moved away from his earlier and better judgment.that Herr Bode prides himself on having made in the deposit of the Berlin museum, although Freund Habich had written to me about it and although I knew very well through Frizzoni (shown the same photograph that Bode had shown him in Florence) what the Berliners think of this picture.Because Bode had, as Morelli had already heard, when Seidlitz had come to visit him, attributed the painting in question to Leonardo da Vinci, and with his expertise not reflecting his mere looking, but also that very knowledge Morelli of course challenged Bodes attribution and expertise.Who on his part knew of Morellis opinion, and probably already knowing it when publishing his expertise also in 1884.