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陳明發博士文化產業慕課札記：蒙娜麗莎
（2006年12月27日日記）契馬布埃和喬托同樣采取傳統的金色背景，但喬托從自然中找到象征放入金色背景；到了文藝復興時期，達文西在處理“蒙娜麗莎”時，“模特兒融入灑滿金光的神奇風景當中。在女子的身後，寬闊的原野一直延伸到海邊，地平線上隱約可見起伏的山巒，柔和的光線和自然的過渡色彩，使女子的逆光輪廓，諧調而自然地置於較為明亮的風景之中。……‘漸隱法’的色彩技巧，形成了一種巧妙的聯系：身處理想境界的女子本人，也予人一某種夢幻的感覺。”（Mareille & Langeyrie-Dagen編著的《梵世界藝術史》(1999，124－125頁，臺北聯經出版）
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