A Tudor painting in London's National Gallery has been the subject of controversy for centuries. Hans Holbein the Younger's majestic portrait of the Ambassadors is full of hidden meanings. It depicts Jean de Dinteville, the French ambassador to England, and Georges de Selve, the Bishop of Lavaur in France and ambassador to Venice.
Two men, aged 29 and 25, stand in front of a green curtain. They are separated by a table covered with books, scientific instruments and tools - symbols of education and enlightenment.
The rich details and patterns distract attention from the anamorphic object in the foreground. If you look at it from the side, from a close distance, you can see that it is a skull.
This detail is an eternal reminder of death. At first, the viewer is immersed in the routine of everyday life, as if not noticing death, but upon closer inspection, everything changes, and the face of death becomes the only reality.
Many people pay attention to the book, but the skull is often overlooked
Several scientific objects (a celestial globe, a sundial, and timekeeping instruments) occupy a prominent place on the first shelf and remind us of the heavenly kingdom.
On the second shelf you can see a lute with a broken string, which serves as a symbol of discord. Next to it is a gospel hymn written by Martin Luther. All this points to the earthly world.
Floor - third level - death and oblivion.
The elements depicted can be used to calculate the time and date: April 11, 1533, 4 p.m., Good Friday.
Less noticeable is the crucifix, half hidden behind the curtain in the upper left corner.
Some experts believe that Anne Boleyn, the mother of Elizabeth I and Queen of England, commissioned the painting as a gift from Jean de Dinteville.
Since its acquisition in 1890, The Ambassadors has been an integral part of the collection of London's National Gallery. In 1997, it underwent a major restoration, which drew criticism, particularly due to changes in the size of the skull.