Italian High Renaissance Painter and Inventor, 1452-1519 Italian High Renaissance Painter and Inventor, 1452-1519 Florentine Renaissance man, genius, artist in all media, architect, musician, anatomist, inventor, sculptor, geometer, military engineer. Born is the small town of Anchiano. Possibly the most brilliantly creative man in European history, he advertised himself, first of all, as a military engineer. In a famous letter dated about 1481 to Ludovico Sforza, of which a copy survives in the Codice Atlantico in Milan, Leonardo asks for employment in that capacity. He had plans for bridges, very light and strong, and plans for destroying those of the enemy. He knew how to cut off water to besieged fortifications, and how to construct bridges, mantlets, scaling ladders, and other instruments. He designed cannon, very convenient and easy of transport, designed to fire small stones, almost in the manner of hail grape- or case-shot. He offered cannon of very beautiful and useful shapes, quite different from those in common use and, where it is not possible to employ cannon, catapults, mangonels and trabocchi and other engines of wonderful efficacy not in general use. And he said he made armored cars, safe and unassailable, which will enter the serried ranks of the enemy with their artillery and behind them the infantry will be able to follow quite unharmed, and without any opposition. He also offered to design ships which can resist the fire of all the heaviest cannon, and powder and smoke. The large number of surviving drawings and notes on military art show that Leonardo claims were not without foundation, although most date from after the Sforza letter. Most of the drawings, including giant crossbows, appear to be improvements on existing machines rather than new inventions. One exception is the drawing of a tank dating from 1485-8 now in the British Museum, a flattened cone, propelled from inside by crankshafts, firing guns. Another design in the British Museum, for a machine with scythes revolving in the horizontal plane, dismembering bodies as it goes, is gruesomely fanciful. Most of the other drawings are in the Codice Atlantico in Milan but some are in the Royal Libraries at Windsor and Turin, in Venice, or the Louvre and the École des Beaux Arts in Paris. Two ingenious machines for continuously firing arrows, machine-gun style, powered by a treadmill are shown in the Codice Atlantico. A number of other sketches of bridges, water pumps, and canals could be for military or civil purposes: dual use technology. Leonardo lived at a time when the first artillery fortifications were appearing and the Codice Atlantico contains sketches of ingenious fortifications combining bastions, round towers, and truncated cones. Models constructed from the drawings and photographed in Calvi works reveal forts which would have looked strikingly modern in the 19th century, and might even feature in science fiction films today. On 18 August 1502 Cesare Borgia appointed Leonardo as his Military Engineer General, although no known building by Leonardo exists. Leonardo was also fascinated by flight. Thirteen pages with drawings for man-powered aero-planes survive and there is one design for a helicoidal helicopter. Leonardo later realized the inadequacy of the power a man could generate and turned his attention to aero-foils. Had his enormous abilities been concentrated on one thing, he might have invented the modern glider.
It almost seems as though his inventions were prophetic because hundreds of years later many of his designs became a reality.
Da Vinci has long been a favorite of conspiracy theorists who speculate endlessly about hidden symbols in his work. The composition of some works, such as the first of his Madonna on the Rocks paintings, suggests a mischievous nature. In fact, the Italian monks who commissioned the painting rejected it because the main characters weren’t sporting haloes. The work had to be repainted. I certainly believe that Da Vinci knew more than the commoner.
One of the greatest art mysteries is the identity of Mona Lisa. Some suggest it could be a female lover of da Vinci, others that it could be a gay partner in disguise, or even a self-portrait in drag.
The painting that is by far the most relevant to Dan Brown’s work is The Last Supper. It’s painted on the refectory wall of the Santa Maria delle Grazie in Milan, and is a whopping 9.1 meters long and 4.3 meters high. It took da Vinci three years (notice the number symbolism) to complete. The picture shows Christ sitting at the center of a long table, with his disciples on either side.
According to orthodoxy, the person at the right hand of Christ is St John. But this person looks like a woman. The speculation is that this is Mary.
The 13th-century mathematician Fibonacci suggested that all life grows according to certain mathematical principles. The patterns that flow are echoed in nature, for example, in the structure of the nautilus shell.
No-one knows what Da Vinci actually intended. But those who insist it is St John, say that he is often portrayed as an effeminate young man. To be fair, this could be due to the massive restoration work that the painting has undergone.
Although they are clear to see, it’s easy to find plenty of hidden symbolic meanings in paintings. The elite want people to think that Mary and Jesus were married, hence a hidden bloodline. But, the truth of the matter is…this is a facade. This is how they will try and fool many into believing the current ‘royalty’ (bluebloods) are from Jesus’ bloodline. This agenda began long ago as you can see.
In this new picture images were found of an infant and knight. Suppose that the knight represents THE KNIGHTS TEMPLAR?
And suppose that the baby is a prophecy of Sarah, who might be the child of Mary M and Jesus? WRONG! This is what the elite bloodlines want you to think because this is going to be their focus in order to assert their link to Jesus.
The Magi of Forbidden Knowledge
The theories in the DaVinci Code are interesting. Man has a thirst for knowledge that can never be quenched leading us to our undoing, but is ignorance any better?
I believe we have a right to the truth, but because of Da Vinci’s ingenuity, his painting technique led to THE LAST SUPPER painting to fall into ruin the very second he completed it. It will never be the same again so the answers are harder than ever to find.
Nostradamus foresaw things and this and wrote it down in his quatrains. His book (whether he made them or not) shows us this. But on the last three pages he shows the book of life. On the third its pages are blank. People have taken this as the end of time, the consequences of our actions but I see it differently. The book is open half way, meaning their may be text before hand, recording the history of man, but there is still half the book to go. This shows that we can write our own destiny after this point. Because after we break this point, the cycle of history shall break and we can continue to the future as we have never done before.
The Mayans of Central America based their 8 cycle calendar to end on the 21/12/2012.
The famous Renaissance painter and inventor Leonardo Da Vinci was rumored to have been a member of a secret society. Many authors have done extensive research on Da Vinci and come up with a new theory on the painter’s source of wide-ranging knowledge and his ties with the Cherubim. It almost seems as though his inventions were prophetic because hundreds of years later many of his designs became a reality.
He has left some clues that suggest that it is highly likely that he was uniquely connected to The Tree of Life. If one takes a closer look at what lurks in his famous painting ‘Virgin of the Rocks’ in the London National Gallery, this may well convince many who have seen the way that he has encrypted other secrets into his most important religious paintings. The grand secret lies in the ‘rocks’ and the grand human design code encrypted.
Notice how Mary places her hand above the infant Christ’s head. Notice also the obvious angel on the right side the painting (a human type angel with symbolic wings to signify flight). Both the presence of Mary and that of the angel seem to suggest that this was how The Christ was looked after here on Earth, and from above.
But there is another angel present, a Cherubim, which the artist seems to have encrypted ingeniously into this masterpiece, but in such a way so as not to incriminate him as blasphemous in any way, in the face of a totalitarian church.
Take a close look at the detail of what appears to be a Cherubim peering over Mary’s shoulder perhaps with its hand also poised over the infant Christ.
Although many will be inclined to say this is merely coincidence, what Da Vinci portrays in his painting offers a more complete picture of the Christ story. There is also consistent theme styling: Both are angels and they are together… both are looking in the same mysterious direction of all present in the painting.
What are they looking at?
Could they be looking at another grand secret in front of them?
Da Vinci also appears to have encrypted his knowledge of the star origin secret of humanity in his most famous sketch titled ‘Vitruvian Man’.
Take a close look at how he depicts the human form giving the subject of his sketch an unusual leg and arm stance that is very different from how his contemporaries portray the same. This arm and leg position can be tracked down to even earlier, in a manuscript by Heinrich Agrippa that was released in Germany at the very same time Da Vinci completed his sketch. Perhaps sourced from the 2000-year-old lost manuscript of the Greek writer architect and engineer, Vitruvius.
Da Vinci emphasized three dimples in the human form stomach area in an odd kind of way. Only a bodybuilder would have such ‘dimples’, namely abdominal muscles.
However it would be anatomically incorrect to have only three dimples!
How can Da vinci make such a glaring error? Unless of course if he wanted to conceal a secret.
On a defined body one would have these type of ‘dimples’, but there should be anything between six and nine of them.
The author believes that Da Vinci was re-creating the human-Orion secret, where the three belt stars of the Orion star constellation ‘show the way’ as an alignment to the place from where the grand human form physically originated from… the place of three sun-like stars near the Pleiades. This is the place where their ‘gods’ reside. This is the ORION CONSPIRACY. They are demons! Fallen Demons.
Da Vinci would also have known about The Tree of Life, if what the author has identified in the painting, and the earlier one of the ‘Virgin of the Rocks’, are truly Cherubim hidden in the landscape.
Not only would he have known about The Tree of Life, but would have found a way to incorporate it into a painting involving The Christ, given that the staunch church of the time would have been uncomfortable with this kind of symbolism.
Even scholars are now saying the paintings of Da Vinci hold encrypted symbolism.
In his famous painting ‘Adoration of the Magi’ he inadvertently shows a tree that can be analyzed as being synonymous with the Tree of Life. A circle has been drawn in, to show its central positioning in relation to the main subject, Mary together with The Christ child. The tree the author identifies as the Cosmic Tree is of the same fan spread style used by the Sumerians to portray their Cosmic Tree. What is more, it is positioned on an unnatural looking mound as well as having a perfect pillar representation as its trunk. This is redolent of the Cosmic Tree at the place of The Creation, which is positioned on a mountain. Perhaps in a last ditch effort to make it less noticeable it has been partly obscured by an ordinary looking tree.
Another point of interest is the Biblical account of the three Magi. Another author presents evidence of the Magi representing the three stars of Orion’s Belt … the same three stars that show the way so to speak in Da Vinci’s ‘Vitruvian Man’!
First, the mona lisa’s head is quite spherical, so we tried super imposing da vinci’s vitruvian man over her head, incredibly her left eye sits directly on top of the triangle created by the man’s legs a la the pyramid/eye of horus. next we took the vitruvian man and got some hi res scans of a US dollar bill. over the two ‘great’ seals we again imposed mr vitruvian. On seal #1 (annuit coeptis), mr vit’s head lines up perfectly over the the eye, on the other seal (eagle) something more astonishing appears: Mr Vitruvian turns into a majestic angel crowned by a sparkling halo.
PRIORY OF SION – A Gnostic-style order, aka the Prieure de Sion, the Priory Of Sion was originally created to preserve the Merovingian bloodline (whose kings claimed to be a direct descendants of King Solomon and Jesus). Established in 1099 on Mount Zion, just outside Jerusalem, this guiding force for Freemasonry and the Knights Templar included such members as Leonardo Da Vinci, Isaac Newton, Joan Of Arc, Claude DeBussy, and Jean Cocteau.
So, this information draws the conclusion that DaVinci did paint symbols into his work. The eyes in every painting reveals a trademark consistency. The fact, he was a Freemason/Illuminati/Templar shows promise because of his name being listed into such societies. I see connections not only to the eye of Horus/Ra was to Orion and the whole scenario coming together.