Da Vinci's real Code - the Stars!
The Renaissance master's last three
paintings were charts of the starry sky.
Visionary historian Scott Lund has released additional evidence to support his Mona Lisa Code (sm). Incredibly, Da Vinci's last three paintings have been found to form a complete solar grouping that represented the solstices and equinoxes during the Catholic church's Grand Jubilee celebration of 1500 AD.
In the last few years of his life, Da Vinci surrounded himself with just three paintings: The Mona Lisa, The Virgin and Child with Saint Anne, and Saint John the Baptist. Previously, the Mona Lisa Code revealed that the Mona Lisa depicted Christmas sunrise during the Church's jubilee year, with a land survey line in Rome becoming momentarily joined to a "celestial" survey line at the instant the Sun appeared. The other two paintings support the original conclusion by portraying the Autumn equinox and Summer solstice of 1500 AD, respectively. Remarkably accurate alignments of the paintings with the constellations Sagittarius, Capricorn, and Perseus, indicate that their composition was entirely derived from the shapes of the stars in the sky.
Da Vinci's three works were consistent with the idea that paintings could be "talismans" capable of pulling down the power of the planets and stars for magical purposes. The idea that paintings could used as magic talismans was promoted by Marsilio Ficino at his Academy of Plato in Florence, and was highly influenced by the Picatrix - a medieval book of "black" magic that detailed the procedures for creating them. According to the Picatrix, such talismans accomplished their power through "violence," much like poison.
It took Da Vinci so long to paint the Mona Lisa and the other two paintings because, according to the Picatrix, he could only work on them when there were "favorable aspects" with the planets. Following the dictates of the book in trying to capture the "soul" of the Sun, Da Vinci would presumably have dressed in gold silk, burned incense of ambergris, and talked to his paintings with "sound intention."
According to Wikipedia, Da Vinci was a "painter, sculptor, architect, musician, mathematician, engineer, inventor, anatomist, geologist, cartographer, botanist, and writer." What has never been recognized was that Da Vinci was an astronomer, and unquestionably the greatest one of his age. The world now sees an entirely new Da Vinci, who was neither artist, nor painter, so much as Hermetic wizard. Da Vinci viewed the three paintings from his deathbed as he contemplated the immortality of his soul.
Scott Lund's recent discoveries have been published in his new book: The Mona Lisa Code: Preliminary Scholar's Edition (ISBN: 978-1-4951-2788-5), which he is making available to historians and art experts for critique and commentary. This fall, Lund will be hosting an event in Los Angeles, where the public and news media will have the opportunity to view detailed illustrations of his new discoveries.
Da Vinci's Christmas Surprise!
Mona Lisa frozen in time: Dec. 25, 1500 AD
The moment in time captured by Leonardo da Vinci's Mona Lisa has been identified. Visionary historian Scott Lund has released amazing visual proof that the painting portrays the soft light of sunrise on Christmas morning in Rome, 1500 AD. Daybreak on December 25th marked the most symbolic point in time during the Grand Jubilee that celebrated the renewal of the Catholic Church after 15 centuries. It was that instant which was frozen forever on the Mona Lisa.
The exact time and setting has now been established for Da Vinci's mysterious masterpiece. At first light on Christmas morn, 1500 AD, the Mona Lisa female figure faced the Southeast horizon of Rome from atop the Janiculum-the highest hill in the city. There is where the Tempietto stands-the small elegant chapel built by Da Vinci's good friend, Donato Bramante. Da Vinci's Mona Lisa, and Bramante's Tempietto, were sister projects meant to jointly commemorate the Catholic Church's Grand Jubilee of 1500 AD, but also to secretly express profound religious concepts that would have been viewed as heretical. The Mona Lisa Code has previously revealed the Mona Lisa personifies the Tempietto's architecture.
In 2011, Scott Lund demonstrated in Rome that the Mona Lisa's landscape actually depicted a precise land-survey line stretching 29.5 kilometers from the Vatican-through the site of the Tempietto-and ending at a former pagan cult site of the Roman Goddess Diana at Lake Nemi. Now, it is additionally shown that the position of the night sky, just before the moment of dawn on Christmas Day, indicates a second incredible "survey line" of the stars! Da Vinci's celestial survey line connects to his terrestrial one precisely at daybreak on Christmas, and that adds tremendous mathematical and corroborative proof to the Mona Lisa Code.
On December 15, the Mona Lisa Code revealed that the peculiar shape of the mountain ridge, seen on the left-side landscape, represented the "Dark Rift" area of the Milky Way, located at the center of the galaxy. On the other side of the painting, a mountain shaped like the small constellation seen at the top of the galaxy's "north pole." Amazingly, Da Vinci had painted the two essential coordinates that defined the galaxy's center and the polar orientation it revolves around. It now appears that the Mona Lisa has a second survey line that stretches from the very center of our galaxy to the end of its "northern pole." This follows the Hermetic philosophical maxim: 'As Above, So Below', connecting the stars and their patterns directly with Earth and its geography.
Of particular interest is the star Kaus Australis-the brightest in the constellation of Sagittarius, and very close to the "Dark Rift." Kaus Australis is the star that marked the Southeast compass-point of the horizon in conjunction with the rising of the sun that special Christmas morning. Disguised as a rock formation on the left side of the Mona Lisa, it is identified by the Mona Lisa Code as the figure of St. Christopher entering the water of Lake Nemi at the precise endpoint of the land-survey line extending from the Vatican. It is the head of the Christ Child, seen on the shoulder of St. Christopher, that matches up perfectly with the star Kaus Australis. Da Vinci used Kaus Australis as a 'holy star' to mystically symbolize Christmas, the Sun, the Christ Child, and the union between the Celestial and Terrestrial realms.
The "Dark Rift," in the midst of the thickest section of the Milky Way's stars, symbolizes Lake Nemi surrounded by the sacred forest of the Goddess Diana. Coma Berenices, the star constellation at the top of the galactic pole, symbolizes the supremacy of the Vatican centered above the Universe.
Leonardo da Vinci's astounding Vision of our Galaxy
Mysterious mountain landscape of the Mona Lisa concealed Secrets of the Stars
Visionary historian Scott Lund says the mountain landscape of the Mona Lisa is really a disguised representation of the Milky Way galaxy. Amazingly, Da Vinci apparently depicted the two essential coordinates that define both the galaxy's center, and the polar orientation it revolves around. Pictorial evidence shows Da Vinci painted a craggy rock formation on the painting's left-side horizon in order to match the peculiar shape of the "Dark Rift" located at the galaxy's bulging hub. The "Dark Rift" also figured prominently in the 26,000-year passage of the Sun that signaled the so-called "end" of the Mayan calendar in 2012.
Lund's astronomical interpretation is strongly supported on the right side of the painting by a lakeside mountain that apparently represents the small constellation that marks the top of the galaxy's perpendicular axis, or "North Galactic Pole." The constellation, known as Coma Berenices, also forms the small grouping of stars seen as the tail of Leo the Lion. Lund believes the "lion's tail" was adopted by Leo-nardo to use as his own celestial signature for the painting.
Scott Lund's findings are part of his corpus of supporting evidence presented as the "Mona Lisa Code." In 2011, Lund demonstrated that the Mona Lisa depicted a precise survey line that stretched 29.5 kilometers from the Vatican to Lake Nemi. It is now appears that the painting depicts a second survey line that stretches from the very center of our galaxy. This follows the Hermetic philosophical maxim: "As Above, So Below," connecting the stars and their patterns directly with Earth and its geography.
It is incredible that the Mona Lisa has concealed its galactic secrets for 500 years, even though the immense number of stars in our galaxy approximates the number of people who have actually seen its image.
A revised and updated version of Scott Lund's book, "The Mona Lisa Code," is now being offered as a Scholar's Edition for academic critique.
Prado copy of Mona Lisa provides self-evident proof of secret code
Leonardo Da Vinci's Iconic female painting personifies Bramante's Tempietto in Rome
Self-evident proof has been released showing that Leonardo da Vinci painted the Mona Lisa as a personification of Bramante's Tempietto in Rome. The Prado copy of the iconic painting provides corroborating detail that the partial pillars on the wall behind the Mona Lisa figure, and the chair she sits on, were taken directly from the architecture of the chapel.
According to Scott Lund's "Mona Lisa Code," Leonardo Da Vinci and his good friend Donato Bramante created their works together to express the religious doctrine of the "Two Faces of the Soul." With his newly released visual presentation, Lund thinks the evidence is conclusive. "The sister projects of the Tempietto and the Mona Lisa were clear artistic and symbolic representations of each other," says Lund. "Most assertions and assumptions about the Mona Lisa are wrong, and art history is about to be rewritten."
Lund points out that the Tempietto, which sits atop Rome's highest hill, was the vantage point from where the right side landscape of the Mona Lisa was viewed. The site was the mythical location of the citadel of the two-faced Roman god Janus, who Da Vinci used as his hidden metaphor for the dualistic painting.
In 2010, Lund revealed that the Mona Lisa figure was the secret depiction of a double soul shared between a mother and her unborn child. Da Vinci had written about the concept, and he believed souls gave birth to other souls. In his new presentation, Lund shows that the architectural basis for the Tempietto was two tangent circles, which were symbolic of the conception of one soul from another. Lund believes the unique double-bellied design of the upper railing, clearly seen as the spindles of the armrest, also represents the metaphor of a splitting soul. The railing effectively divides the Tempietto into upper and lower halves.
"Ongoing excavations to discover the remains of Lisa Gherardini, the supposed model for the Mona Lisa, will shed no light on the painting," says Lund. "Whether or not her bones are found at a former Ursuline convent in Florence, it has no connection to the Mona Lisa Code, or to Leonardo da Vinci, who most certainly did not use her likeness."
The Tempietto di Bramante in Montorio is under the authority of the Real Academia de Espana en Roma, or "Royal Academy of Spain in Rome," and under the patronage of the Spanish Royal Family."
Proof of secret code in Mona Lisa
History sleuth Scott Lund holds press conference on 9/10/11 at world's most celebrated meeting place
Proof of the Mona Lisa Code was presented in Rome by Scott Lund on September 10, 2011. At 3 p.m. Lund addressed a crowd of people gathered near the ancient Colosseum, then led them to the tune of a bagpiper across the Tiber river to the top of the Janiculum hill. There he identified the Tempietto of Bramante as the site where Leonardo had his vision for the Mona Lisa. International coverage of the event included major Italian media such as La Repubblica, Il Tempo, La Stampa, and AGI.
The greatest secret in art history was declared by Scott Lund in Rome on 9/10/11. It was revealed to be an ingenious optical trick that Leonardo da Vinci used to transform the viewer of the Mona Lisa into the two-faced Roman Sun-god Janus, who looks in opposite directions simultaneously.
Lund has identified the Tempietto of Bramante as the site where Leonardo had his vision for the world's most famous work of art. He states that the Mona Lisa is a personification of the elegant circular chapel built by Donato Bramante at the presumed location of the mythical citadel occupied by Janus at the beginning of Italian civilization.
With a large graphic presentation, Lund demonstrated that, contrary to popular belief, the Mona Lisa's landscape is not a fantasy, but a precise survey map of Rome and its vicinity. The survey cleverly defines the two extremes of religion, marking the center of Christianity on the right side, and the center of paganism on the left. The dome of St. Peter's Basilica at the Vatican is one end of the survey, and the site of the cult practices of the goddess Diana at Lake Nemi is the other. A line between the two endpoints, 29.5 km apart, intersects the Tempietto of Bramante.
Lund points out that Lake Nemi was the cradle of European witchcraft, and its location on the Mona Lisa was dangerously heretical during the Renaissance period. Using the pagan god Janus as the theme for the painting also implied Leonardo's heretical conviction that the sun was the center of the Universe.
In his book "The Mona Lisa Code," Lund identifies the central figure of the Mona Lisa as a single soul shared between an expectant mother and her unborn male child. The dualistic theme of Janus is symbolized by the partial pillars on either side of the painting, and the god is also identified by the code words ANIMA SOL, which is a secret anagram for the name Mona Lisa, meaning "Soul/Sun god" in Latin.
"What tied the soul and the sun together for Leonardo is that he believed the sun to be the source for the vital force of the soul," says Lund, "Leonardo also believed that all images, including the Mona Lisa, were the result of the sun being projected onto the soul at the back of the eye."
"Leonardo was extremely logical, and the method of his genius is that he always sought out logical extremes. The opposite faces of the Sun-god Janus uniquely portrayed the metaphor of a land survey, which requires the connection of a straight line between two points," says Lund.
According to Lund, Leonardo worked with the architect Bramante at the court of Milan until 1499 when an invading French army sent their patron, Duke Ludovico Sforza, fleeing the city. The two friends then sought safety and new opportunities in Rome, which was preparing for its Grand Jubilee of 1500. The Mona Lisa was probably begun in conjunction with the groundbreaking of Bramante's Tempietto in 1502, at a time when Leonardo was known to have been in Rome. Their complementary projects were intended to symbolize the religious doctrine of the "Two Faces of the Soul."
Lund says that the radical stereoscopic illusion Leonardo crafted into the Mona Lisa exceeds the imagination of any Hollywood movie script writer. Billions of people have viewed the painting without suspecting the ingenious Janus-faced perspective that the grand master had placed them in.
Witch Owls and Christian Saint
Mona Lisa landscape hides images connected with cult site of Roman Childbirth goddess Diana
Three Owls and St. Christopher carrying the Christ Child are seen hidden in the rock formations of the Mona Lisa's left landscape. Investigative writer Scott Lund has discovered these startling images that identify the end of a survey line that Leonardo da Vinci drew from the Vatican to the primary cult site of the Childbirth goddess Diana at Lake Nemi near Rome.
Mona Lisa Code TV Channel airs first episode on YouTube
Lund talks about the insight that started his quest of discovery into Da Vinci's hidden secrets
July 24, 2011
Scott Lund presents his main thesis on YouTube
O.C. Register magazine
Reporter for popular Southern California arts section looks into Scott Lund's challenge
Huffington Post profiles Scott Lund
Award-winning journalist Ellen Sterling looks into Lund's background and discoveries
July 27, 2010
Ellen's colorful article is entitled: "Solving a Centuries-Old Mystery: Who Is That Lady? That's No Lady, That's Mona Lisa."
Bel-Air Magazine premieres with Mona Lisa Code feature article
Public debut makes international news
June 18, 2010
Writer Scott Lund seen at magazine launch party between publishers Rick and Melanie Amor, with publicist Elizabeth Venturini on right.
The Mona Lisa Code made its first appearance in Bel-Air Magazine's June-July, 2010 issue.
"The Mona Lisa Code," 1st Edition; ISBN 978-1-4507-8133-6; is available for sale by writing to MonaLisaCode@MonaLisaCode.com. A revised and updated version of Scott Lund's book, "The Mona Lisa Code," is now offered as a Scholar's Edition for academic review.
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