Kate Middleton recently took a stroll down memory lane, sharing a charming glimpse into her childhood Christmas festivities in 1983. The Princess of Wales treated her followers on Instagram to a vintage snapshot capturing the essence of the holiday season. The image featured a young Kate seated at the Christmas dinner table, just a few weeks shy of turning two in January 1984.
A Striking Resemblance
Clothed in a festive ensemble comprising a cardigan, a collared blue dress, and a beaded necklace, the future duchess radiated joy and innocence. The post not only offered a candid look at Kate’s early years but also invited followers to appreciate the timeless charm of Christmas celebrations through the lens of royalty.
As admirers marveled at the throwback, one striking detail couldn’t escape their notice—the remarkable resemblance between young Kate and her five-year-old son, Prince Louis. The social media post became a canvas for drawing heartwarming parallels between the duchess’s childhood features and those of her youngest offspring. The royal mother and son duo seem to be an almost replica of each other when in childhood, and it’s easy to see where the oldest royal sibling, Prince Louis, has gotten his charm from!
Kate’s Advocacy for Early Childhood Development
Beyond the surface, Kate Middleton’s Christmas throwback served a more profound purpose. Aligned with her ongoing Shaping Us campaign, the post contributed to the Princess’s advocacy for early childhood development. The campaign underscores the critical importance of addressing the specific needs of children under five, promoting awareness about the formative years of a child’s life.
Kate’s active involvement in championing this cause became evident as she intensified her efforts in the lead-up to the annual Christmas carol concert. Encouraging followers to participate by sharing their own childhood Christmas memories, Kate Middleton demonstrated the power of collective reminiscence in fostering awareness.
The Christmas Service
The Together at Christmas Carol Service, taped at Westminster Abbey and featuring royal siblings Prince Louis, Prince George, and Princess Charlotte, is poised to broadcast on Christmas Eve.
Beyond the enchanting melodies, this royal showcase serves as a poignant reminder of the importance of nurturing young minds and promoting early childhood development during the festive season. Through her heartfelt throwback and ongoing initiatives, Kate invites us all to reflect on the timeless magic of Christmas and the enduring bonds that shape us.
Mona Lisa has captured the world with its beauty and is one of the most well-known paintings in the world. Despite the fact that it is centuries old, the allure and the mystery of the woman in the painting and painter is still going strong.
While it sits in content behind the glass at the Louvre, scientists and art historians continue to dig—and this time they have discovered something new about the iconic work.
The Painter’s Technique
Leonardo da Vinci’s technique intrigues people studying his work, and new information has come to light regarding this multi-talented artist, who also appears to be some kind of paint alchemist!
Researchers analyzing his painting recently found a rare compound called plumbonacrite in a tiny speck of paint at the corners of Mona Lisa. The same compound was also found in da Vinci’s famous work The Last Supper.
The compound plumbonacrite is a result of lead oxide, which suggests that the painter was using the substance powder to thicken and dry his paint. Upon deliberation, research has suggested that Leonardo was mixing oxide powder with either linseed or walnut oil, post which he would heat the mix to form a paste.
The mixture, which would be somewhat golden in color, would then be applied to the wood panel upon which he painted the world-renowned Mona Lisa. Since the compound was also found in The Last Supper, it’s possible he painted the wall below it with the same paste.
The Genius Technique
Chemist Victor Gonzalez from France’s National Centre for Scientific Research, commented that this discovery could be instrumental in restoring it in the future, as well as add to the knowledge of conservators working on Leonardo’s works.
The mention of this compound was present in the artist’s notes only for hair and skin remedies, but researchers believe the mixture recipe was one he created on his palette.