The graphic below is fully interactive in that if you slide your cursor over any of the 40 or so individual paintings depicted and clicking your mouse the individual work of art so selected will come up in a much larger size. The title, year, and artist also comes up as well. For increased viewing pleasure many of the paintings that come up are expandable to an even larger size by clicking the image after it comes up.
The huge overall painting itself is the end results of a three year long massive undertaking by Samuel F. B. Morse of Morse code fame, titled The Gallery of the Louvre. You can see, just as they were at the time Morse made his painting, over 40 paintings by other artists were on the walls of the gallery, and he delicately reproduced and included each and every one individually in his own masterpiece.
What is meant by being interactive in the large graphic below is if, for example, you go down to the bottom row of paintings pictured in the room as shown below, the second painting on the right of that bottom row from the door opening is a depiction of Leonardo Da Vinci's Mona Lisa. If you scroll over that Mona Lisa image with your cursor and click a larger image will come up. The same is true of all the other paintings that can be identified in the room.
CLICK ANY IMAGE OF ANY PAINTING ABOVE AND SEE THAT PAINTING IN AN ENLARGED CLOSE UP VERSION OF THAT PAINTING
In the bottom center of Morse's painting above there is a man wearing a long-tailed dark coat shown bending over and assisting a woman with a painting. That man is said to be Samuel F.B. Morse himself. There are two paintings hanging on the wall just to the very right of Morse about neck height. The second of the two is Leonardo Da Vinci's painting The Mona Lisa, and of which, because of the interactive nature of Morse's painting here, is fully click throughable.
Most people would consider a connection between Leonardo Da Vinci and Samuel Morse, the inventor of the telegraph, both born in separate eras and hundreds of years apart, kind of a stretch. Although the code invented by Morse can be used and delivered in a number of viable ways now that it has been become known and widely used, it originally came about to deliver messages over long distances via wires through the use of electromagnetism and continuous wave of(CW), simply put, by interfering with it's flow by starting and stopping it, in turn breaking it up into a series of short little dots and dashes, of which Morse, born in 1791, was able to do. Da Vinci was born in 1452 and died in 1519. No practicable forms or use of electricity existed until well after that period. The connection being made here however, is not Da Vinci through to Morse, but Morse back to Da Vinci.
A number of people over time have noticed in what I've written, and even asked about it, that there seems to exist a rather large or lengthy gap during my childhood where Morse code, on the rise in my early years disappears not to return until my high school years. Those same barren Morse code years as some have also noticed, overlay or parallel almost exactly the same years I was being overseen by my uncle.
My Uncle, himself an artist and how he made his living, recognized that gap and in his own inimitable way closed that gap by connecting Morse, Morse code, and Da Vinci, at least for me, in a most interesting way and he did so after observing my deep interest in building a flying machine based on a Leonardo Da Vinci design.[1]
He pointed out that Morse, the man who invented the Morse code, was also in fact as well, an artist. Not only was he a painter of some renowned, one of his most famous paintings had a tie back to Leonardo Da Vinci. Apparently Morse spent three years in Paris, specifically in one of the galleries at the Louvre, painting the massive picture so shown of the inside of the gallery, a gallery in the Louvre that at the time had on exhibit Da Vinci's Mona Lisa. When Morse included the paintings that were on the walls of the gallery, like he did with all the other paintings, he also included a rendition of the Mona Lisa. You can see it just to the right of the man, said to be Samuel Morse himself, bending over wearing the long tailed coat. The Mona Lisa is #20 on the chart and list below. If you go back up to the large graphic and click the surface of the Mona Lisa it will take you to a graphic of the painting that can be clicked and enlarged to almost full size. All of the works of art in the large graphic, so numbered in the chart below, can be clicked through by running your cursor over them them on the large graphic and clicking. By clicking the numbered chart you will be taken to a huge 4000 pixel widescreen image of Morse's painting.
CLICK IMAGE FOR A HUGE 4000 PIXEL WIDE GRAPHIC OF MORSE'S PAINTING
(numbers match list below)
MORSE CODE, HAND KEYS, AND LEONARDO DA VINCI
1. Paolo Caliari, known as Veronese (1528–1588, Italian), Wedding Feast at Cana
2. Bartolomé Esteban Murillo (1617 – 1682, Spanish), Immaculate Conception
3. Jean-Baptiste Jouvenet (1644– 1717, French), Descent from the Cross
4. Jacopo Robusti, known as Tintoretto (1518 –1594, Italian), Self-Portrait
5. Nicolas Poussin (1594– 1665, French), Deluge (Winter)
6. Michelangelo Merisi, known as Caravaggio (1571 – 1610, Italian), Fortune Teller
7. Tiziano Vecellio, known as Titian (c. 1490–1576, Italian), Christ Crowned with Thorns
8. Anthony Van Dyck (1599– 1641, Flemish), Venus Asking Vulcan for the Arms for Aeneas
9. Claude Gellée, known as Claude Lorrain (1604/1605–1682, French), Disembarkation of Cleopatra at Tarsus
10. Bartolomé Esteban Murillo (1617 – 1682, Spanish), Holy Family
11. David Teniers II (1610–1690, Flemish), Knife Grinder
12. Rembrandt van Rijn (1606– 1669, Dutch), Tobias and the Angel
13. Nicolas Poussin (1594–1665, French), Diogenes Casting Away His Cup
14. Tiziano Vecellio, known as Titian (c. 1490–1576, Italian), Supper at Emmaus
15. Cornelis Huysmans (1648– 1727, Flemish), Landscape with Shepherds and Herd
16. Anthony Van Dyck (1599–1641, Flemish), Portrait of a Lady and Her Daughter
17. Tiziano Vecellio, known as Titian (c. 1490– 1576, Italian), Portrait of Francis I, King of France
18. Bartolomé Esteban Murillo (1617 – 1682, Spanish), Beggar Boy
19. Paolo Caliari, known as Veronese (1528– 1588, Italian), Christ Carrying the Cross
20. Leonardo da Vinci (1452– 1519, Italian), Mona Lisa
21. Antonio Allegri, known as Correggio (1489/1494– 1534, Italian), Mystic Marriage of St. Catherine of Alexandria
22. Peter Paul Rubens (1577 – 1640, Flemish), Lot and His Family Fleeing Sodom
23. Claude Gellée, known as Claude Lorrain (1604/1605– 1682, French), Sunset at the Harbor
24. Tiziano Vecellio, known as Titian (c. 1490–1576, Italian), Entombment
25. Eustache Le Sueur and his Studio (1617 –1655, French), Christ Carrying the Cross
26. Salvator Rosa (1615–1673, Italian), Landscape with Soldiers and Hunters
27. Raphael Santi, known as Raphael (1483 – 1520, Italian), Madonna and Child with the Infant St. John the Baptist, called La Belle Jardinière
28. Anthony Van Dyck (1599– 1641, Flemish), Portrait of a Man, now identified as Pieter Soutman
29. Guido Reni (1575– 1642, Italian), The Union of Design and Color
30. Peter Paul Rubens (1577 – 1640, Flemish), Portrait of Suzanne Fourment
31. Simone Cantarini (1612 – 1648, Italian), Rest on the Flight into Egypt
32. Rembrandt van Rijn (1606–1669, Dutch), Head of an Old Man
33. Anthony Van Dyck (1599–1641, Flemish), Jesus with the Woman Taken in Adultery
34. Claude-Joseph Vernet (1714–1789, French), Marine View by Moonlight
35. Guido Reni (1575 –1642, Italian), Dejanira and the Centaur Nessus
36. Peter Paul Rubens (1577 – 1640, Flemish), Thomysris, Queen of the Massagetae
37. Pierre Mignard I (1612 –1695, French), The Virgin with Grapes
38. Antoine Watteau (1684– 1721, French), Pilgrimage to the Isle of Cythera
39. Unidentified Greco-Roman urn
40. Statue of Artemis Hunting, called Diana of Ephesus and Diana of Versailles, Roman marble copy of a Greek original attributed to Leochares (2nd century BC)
People
A. Samuel F. B. Morse
B. Susan Walker Morse, daughter of Samuel Morse
C. James Fenimore Cooper, author and friend of Morse
D. Susan DeLancy Fenimore Cooper
E. Susan Fenimore Cooper, daughter of James and Susan DeLancy Fenimore Cooper
F. Richard W. Habersham, artist and Morse’s roommate in Paris
G. Horatio Greenough, artist and Morse’s roommate in Paris
H. Copyist, possibly Morse’s recently deceased wife, Lucretia Pickering Walker, or a Miss Joreter, who took lessons from Morse at the Louvre
Morse’s signature appears on the back of the smallest canvas turned against the wall just to the left of the lady marked as "H."
His signature can be seen fairly well on the small canvas by going to the 4000 pixel graphic link further back up the page.
KEY TO THE PEOPLE AND THE ART IN
SAMUEL F .B. MORSE'S
LEONARDO DA VINCI'S: THE LAST SUPPER
-
--
(please click any of the above images)
MICHELANGELO: THE STATUE OF DAVID
---
--
(please click any of the above images)
After being drafted into the military and finishing Basic Training I was sent to the U.S. Army Southeastern Signal Corps School at Ft. Gordon, Georgia. Part way through my training I was sent on TDY to the U.S. Military Academy at West Point. At the academy I was part of a several week observed study control group working with initially ten, dropped to five, specially selected cadets supposedly versed in the intricacies of Morse code. The idea was to find out what I had that they didn't and once found could it be learned or replicated.
dancer [ dan-ser, dahn- ]
noun
DANCER: In military jargon a Morse code sender/receiver, i.e., telegrapher, operator, who is extremely light or nimble in their Morse code sending abilities. From the phrase "trip the light fantastic" meaning a dancer whose abilities are graceful and light on their feet, that glides smoothly through a dance routine as though a prima ballerina assoluta. Typically applied to a telegrapher whose skills are almost savant in nature. More specifically, an operator with a rare ability to accurately duplicate or counterfeit almost any Morse code operator's "fist" to such a point that what is sent by the counterfeiter is totally indistinguishable for virtually anyone to differentiate between messages sent and the person being imitated.
THE CIVILIAN G.I, 1968 VIETNAM: Long Range Reconnaissance Patrols, the Highlands, and Cambodia
The father of one of the cadets in the group owned a yacht that one weekend he sailed up the Hudson River from some affluent suburb of New York City hoping to spend some time with his son. The son invited several cadet friends and me to hang out with him on the boat, which, being a few notches better than nothing, I did. As what would eventually become usual for me nothing identified me as to my rank or status, so nobody really knew if I was an officer, an enlisted man, or maybe even a civilian. Often, for people who own yachts sometimes things like that matter. For example, the cadet's sister. If she had known I was a lowly private and not one of the group at large she probably wouldn't have even talked to me. Same with the dad. It came out between the father and I that we both knew David J. Halliburton Sr. and both had been on his yacht the Twin Dolphin, each of us several times. I told the father I knew Halliburton because as a young man he had a serious crush on my stepmother's niece, which is true. Halliburton's family lived right across the street from my stepmother and during the summer her niece would babysit me. In reality though I knew Halliburton later in life because I was a crew member on his yacht, a mere sander of wood. Of course I didn't tell the dad that and he automatically put me higher up on the scale of things. Years later Halliburton did so as well after the connection with my stepmother's niece became clear.
In any case, as it turned out, from February 4, 1963 to March 4, 1963, after having been on exhibit in Washington D.C., but before returning to the Louvre in Paris, and for the only time ever, Leonado Da Vinci's painting the Mona Lisa was in the U.S. and on exhibit at the The Metropolitan Museum of Art in New York City, a period of time that overlapped the exact same time I was at West Point. More than that, it just so happened the father of the cadet had long time philanthropic ties in support the museum and had at his beckon call special VIP passes to see the exhibit. When we got to talking and he thought I was right up there with Halliburton in the scheme of things and I expressed an overwhelming desire to see the Mona Lisa, as soon as he could arrange it and his soon and his son and I could get time off he sent a car up to West Point to pick us. We were whisked into the museum ahead of the hours long crowds and as others were being ushered through after viewing the painting, our neck lanyard identification allowed to stay as long as we wanted.
The painting was put on display to the public in a specially built clear plastic bullet proof humidified controlled viewing case and said to be guarded 24 hours a day by U.S. Marine guards and Secret Service, as well as plain clothes detectives circulating among the crowd.
"Thousands of visitors waited in line for the doors to open when on February 7, 1963, the Mona Lisa went on view to the public at the Metropolitan Museum of Art. More than one million New Yorkers went to see the painting during the month-long exhibition, enduring winter cold and rain, as 'Mona Mania' swept the nation."
THE WANDERLING'S FIRST FLIGHT USED A LILIENTHAL DESIGN, ENDING WITH THE SAME RESULTS AS DA VINCI'S "It was only a short time after returning from the desert during the summer of 1948 and just before school started at around age 10 or so, that I removed the flying machine my uncle and I built from the hanging position of it's construction lair and hauled it up to the rooftop of the second story building across the street. Then, holding onto the machine for dear life, I jumped off.
"The craft maintained the same two-story height advantage for quite some distance, but partway into the flight, instead of continuing in the direction I wanted, it began tipping lower on the right and turning. Without ailerons or maneuverable rudder controls and with inexperienced over-correcting on my part creating an adverse yaw followed by a sudden stall, the ensuing results ended with a somewhat dramatic drop, crashing into the porch and partway through the front windows of the house diagonally across the way."
(for nearly life size click image then click a second time)
-----
THE DRAFT, ACTIVE DUTY, ACTIVE RESERVE
OUTER SPACE TO THE RENAISSANCE UFOs
Footnote [1]
-----
(please click image)
--
--
(please click image)
--
(please click any image)
THE WANDERLING, BATMAN, AND DA VINCI
--
--
--
(please click image)