The Secret of Renaissance and Leonardo da Vinci
One of the most famous of the Italian artists of the Renaissance, Leonardo da Vinci is something of a mythical figure in history. After the battle of Marignan, the King of France, Francis 1st invited him to come and stay in Amboise, where he spent his last three years. Everybody stands in awe before the diversity of his talents: an exceptional painter and an engineer before his time. How is it possible that he was able to draw the first anatomical sketches, think about the submarine, work on ball bearings, study optics, shape up knowledge about parachutes, draw something that resembles a tank, discover the principle of helicopters, and suggest a futuristic urbanism? His genius is unbelievable and seems unlimited… Leonardo used to write in reverse, from the right to the left. He had kept that habit since childhood; his teachers had let him do it. Any writer who might want to conceal his works would find this technique very suitable. It becomes impossible to read the text without a mirror. Leonardo was a very complex person, who very much enjoyed keeping parts of his life mysterious. In his paintings some parts are left in the darkness, and the shapes in them are ambivalent. He himself never used any word to qualify himself, but people have said he was an alchemist, esoteric, an initiate or symbolist. He certainly was a mathematician, a musician, he dissected corpses during the night, he invented extravagant war machines, he drew up a submarine before it was even thought about… there is no simple way of qualifying this very talented and peculiar man. In Leonardo's notebooks, there are several pages of rebus, made of pieces of music and notes. Underneath one of them, he writes: "But if fortune is kind to me, then I'll change faces." This very enigmatic sentence is typical of our man; does he have two faces? Long before he met Francis 1st, he used to serve the King of France Louis XII, through the Count of Ligny. Leonardo had scribbled a mnemonic note in which some words are reversed: "Va trouver ingil (Ligny) et dis lui que tu l'attendras à amor (Rome) et que tu iras avec lui à ilopan (Naples) " [Go find ingil (Ligny) et tell him you will wait for him in amor (Rome) and that you will go with him to ilopan (Naples) ]. Obviously the artist tries to conceal his relationship with France. Here is another quite surprising sentence by him: "I never get tired of being useful", but hten he writes in the margin "… it is a carnival's saying". But then carnival is a party where one wears a mask and a disguise. One of the Master's notebooks has the title "Prophecies", which seems very weird when it is a book full of riddles. To define "Shoes with a leather sole", he write: "In a big part of the country, men will be seen walking on the skin of big animals". " Raked grass" corresponds to "Lives without number will be blown out et numberless free spaces will be created on Earth". What a curious sense of humour! It could very well be concealed prophecies not yet understood… There is a problem with Leonardo: he is too good, too much of a genius! Let's imagine for a moment that he didn't get his scientific thesis from his own brain. Maybe he had the ability to read the Akashik records, i.e. the ability to reach a higher state of consciousness where all Knowledge rests. Edgar Cayce, the healer with the very unusual prescriptions that he got out of nowhere, was familiar with this practice, as are Anne Givaudan and Daniel Meurois. Leonardo could have refrained from telling about his "akashik readings", in order not to offend the Church that easily burnt people at the time. Here is another possibility: Da Vinci got his extraordinary knowledge from a civilisation that existed a very long time ago. Many sources, Cayce to name but one, testify of the reality of a lost civilisation that would have developed high technological knowledge. That Atlantis of sorts xould have passed on to the future, before they were out rooted by some cataclysm, records summing up their cultural acquits. Leonardo would thus have gained access to scientific records coming from Atlantis; his task consisting in copying what he was able to grasp. "one has the right to be rational only within a certain frame." However, the Truth is always beyond the consensus of a given time, let's not be afraid of walking unbeaten paths. Some descendants of the Atlantis might have survived the cataclism that destryed their continent, that is the theory of Professor Demarcq. Compared to us, they would be some kind of super men, that would get in touch with our ancestors and present themselves as God's messengers. There is absolutely no reason to suspect any manipulation whatsoever: these being would just be greater than us from a spiritual point of view. The same thread reminds us of extraterrestrial beings whose existence is proven by many testimonies, including radar echoes and close meetings. Jean Sider, who does not believe in the "steel" version of UFO's, could partly be right: some UFO's would be illusions, provoked by cosmic intelligences. The superior beings, the gods or the angels always have been a great mystery throughout the times : Renaissance certainly is marked by it. The time's artists and aristocrats have ciphered in their paintings and castles information of the highest importance. The Renaissance is the time of the Christian Cabala, inspired by the Jewish Kabala. It consists in speculations on letters and words. The hidden meaning of the Scripturesis revealed through "linguistic" techniques, since Catholicism directly comes from Judaism. That is the time when the noblesse prides itself with relating with magicians and astrologers, such as Nostradamus or Guillaume Postel. The wise man of the house of Angoulême is Jean Thenaud, a very skilled cabalist. If Leonardo had secrets he wished to pass on to us, then they must be ciphered in his drawings and paintings. His painting "Saint John the Baptist" is probably one of his last paintings, completed in France. Picture 1. An ambiguous character, half man half women, points his finger up to the sky. His arm is hiding his breast, which makes it impossible to define the sex of the character. He smiles an enigmatic smiles and says : " I'm neither a man nor a woman, and I come from Heaven. I am an angel. "
Picture 1. Saint John the Baptist, Louvre.
Pictures 2. Drawing by Leonardo da Vinci ; (Venice, Accademia ; Florence ; Venice, Accademia ; Windsor Castle (x2).
Pictures 2. The great Leonardo has left us with many strange faces, that he himself described as "monstruous". During the Renaissance, a "monster" was "a prodigious and incredible thing". Before he became a friend of the King of France, Leonardo wrote to the Duke Le More:"I would get so bold… as to address Your Excellence in order to inform Him of my secrets." To the left, the famous profile with the cross-ruled face shows the taste of Leonardo for mathematical proportions. If we look at them from upside down, the mouth and chin of the character represent, a smiling face, seen from its profile. The same can be done with the other faces, selected among many others. Technically, we are now going to see how the word OLE in ancient French is a major key of the Renaissance's cabalists. The meaning of the word was "skull"; it also had other meaning which we'll look at further on. In understanding the grotesque characters, OLE is quite important: each reversed "skull" can be named ELO, i.e. "(a) god" in Hebrew. The hidden faces would be those of the gods or of the angels. The message of the grotesque works in the plural too: each face takes up half the space of a whole skull, thus MI-OLE, meaning "half skull". Read in reverse, we get ELOHIM, which is the most used biblical word for God. The Gods are thus hidden and smiling and friendly. What a fantastic discovery! Some other articles of mine have already shown the level of refinement the sculptors were able to achieve in ciphering their works. During the Renaissance, almost each movement of the scissors had a double meaning: we cannot but expect the same from Leonardo. One of the other meanings of the word OLE is "edge". Of the dozens of grotesque faces by Leonardo, almost all of them are drawn in profile, which means that we only see the edge of the, the OLE. Just one detail concerning the last drawing: the character is bi-cephalic: he's got two brains. Each one of them is thus a MI-OLE, half of the whole skull. The contortions I'm indulging in might seem a bit tedious, but they are nevertheless fairly important pieces of evidence. Since Leonardo da Vinci felt the need to cipher the existence of the gods, one may ask the question why. More than anything, the culture of Europe is a religious culture, whereas Catholicism has its roots in Judaism. The New Testament which tells the story of Jesus' life finishes up the Ancient Testament, i.e. the Torah, which is the Jews' holy scripture. That's why the way Leornardo uses secret references to Hebrew is very legitimate. Picture 3. Mona Lisa is probably the world's most famous painting. It is agreed that the artist probably spent about ten thousand hours on his work, and millions of pencil brushes. The result is the sfumato, da Vinci's own style, where everything is at the same time vaporous and accurate. Back to OLE, which means "edge", but also "border". We draw a line that cuts the painting into two equal parts (two "edges"). Pictures 4. The line runs through Mona Lisa's scull. When you apply a mirror effect and turn the painting upside down, a strange head appears, a "skull". If it is a god, he is linked to Egypt because it seems to be wearing the memes, i.e. the pharaohs' headdress. According to ancient texts, before the human dynasties, the gods were ruling the pyramids' country. The god Thot is more than anything else a keystone to the pharaohs' empire. He revealed the knowledge of writing to the first Egyptians and thus civilised the country, bringing with him spiritual enlightenment .
1- Actually, ELOHIM is a plural that should have been translated with "the gods". The OLE message goes further by saying something that could apply to each one of the skulls: MI: OLE, i.e. ME: SKULL
2- René Lachaud : " Magie et Initiation en Egypte pharaonique ". Mrs Christiane Pérard, who's studying da Vinci's esoterics, was the first one to see the other face : www.vaisseaudevinci.com/joconde-en
Pictures 3. Mona Lisa, Louvre (Drawing by François Sérent.)
Pictures 4.
Pictures 3. Our investigation continues with a careful observation of the painting, which reveals, on each side of Mona Lisa, the foundation of pillars, that are barely noticeable. Mona Lisa seems to be in a theatre loge, which would imply there is a stanging, like in staging for a play. The pillars are hidden, and in the hieroglyphic language, the word for " pillar, column", is Thot! The God Thot is hidden. The play on words with OLE continues, since the "borders" of the painting are identical to the borders of the pillars. In his notebooks, Leonardo wrote about a trip to Cairo that led him to the Sultan. What most probably is a fiction leads us to think that the artist certainly was aware of the original secret of the Black Earth.
According to Edgar Cayce , the Atlantes didn't always have a fully human body. They sometimes had animal parts, like we see in the Egyptian frescos. It might be that the first Egyptian kings were in fact Atlantes with humanoid faces, as are Leonardo's hidden faces! To be honest, we have to acknowledge that the same manipulation is possible with many female portraits.
3- see the excellent book by Dorothée Koechlin de Bizemont : " Univers d'Edgar Cayce, Tome 1 "
Pictures 5. Galerie François 1er, Castle of Fontainebleau. Woodwork by Scibec de Carpi.
Pictures 5. The Salamander was Francis 1st's personal mark. The head of this particular one is turned upside down. Surprinsingly enough, if we examine the salamander carefully, what we discover is the head of a dog, like a greyhound's head! This we get with half the head of the salamander ; it is MI-OLE reversed, e.g. ELOHIM!
Picture 6. Castle of Fontainebleau.
Picture 6. The shape of this salamander is so unnatural that it must be concealing a great many things. The usual technique is used here too, the one with half and skull. Actually, on the second picture: the right half of the salamander resembles the half of a non human head, or half of a head wearing a helmet! And as we've been doing on Leonardo's work, if we look a tit upside down, something else appears. In this case, we have to look upside down at the right front leg of the animal to see a head appear! Many of those who have declared that they've seen UFOs state they have glimpsed humanoid being, more often than not wearing helmets. Another interesting statement: the journalist-precursor Jean-Claude Bourret used to see in the Salamander a symbol for extra-terrestrial life…
4- I've shown earlier on how the Archangel Saint Michael was ciphered in Francis 1st's decorations. The dog is even more interesting, since the the word CHEEL used to mean "little dog". So, if I say MI-CHEEL, I both name the emblematic salamander (half-dog) and the Archangel MICHEL. In fact, the body of the animal is more like a dog's or a cat's body than the body of a batrachian, as it should be.
Pictures 7. Castle of Dampierre-sur-Boutonne.
Pictures 7. Here we see a snake with a dog's head, which responds to a former picture .An angel with a bow and an arrow is riding on it. On a road, an arrow shows a direction, and here it is pointed towards the sky. Moreover, there are stars under the snake. The arrow being one of the few flying objects of the time, we get the impression that our two characters are travelling in the sky.
The angel has stepped on the hat of a small bearded person. Seen upside down, the same surface becomes a smiling and monstrous face! As with Leonardo's work, the mere hazard can't explain everything. Personally, I suppose that Saint Michael and the angels are hidden, and that they have a physical body as well as a face.
Pictures 8. Castle of Chenonceau.
Picture 8. Our thread, OLE, also had the meaning " big pot ", and we are going to have a look at some corresponding themes. At all times, people have seen UFOs in the sky, particularly during the Middle Ages and Renaissance. There are many testimonies about this. The plates engraved in the roofs above the staircases in Chenonceau could very well refer to the flying saucers. A "volet" was a type of deep plate, here they fly. They seem to be the angels' vehicle. In the middle, the birds and the central star suggest it is some kind of celestial object. To the right, an angelis flyhis OLE. I do not see what other interpretation there could be, unless it has something to do with the Holy Grail. One detail is breathtaking: the angel's body is too short, which means he is standing on his knees, A GENOUX in French. However, JE NOUE (pronounced the same way) used to mean "I am navigating"! Concerning the Royal Art of the Renaissance, the words are always the key.
5- The snake is the symbol for the Seraphim that are described in the Bible as "burning snakes". We will talk about that later on.
6- See " Autrefois les OVNI ", by Richard D. Nolane
Pictures 9. Chartres cathedral
Pictures 9. Chartres cathedral is one of the most famous of the European holy buildings. The jubé with its numerous sculpted panels was made during the Renaissance. The plae (or pot) theme is reproduced many many times, and more often than not, it is associated to angels. Here, it is flying since a bird whose wings are spread out is sitting on it. It could be the Cherub's vehicule since he has taken place in it!
Picture 10. Castle of Chateaudun. The picture of the UFO was taken by Paul Villa, " approached " in the 60's.
Picture 10. The sculpted theme reminds us of a big enlightened pot, turned upside down, with some kind of lid. The pot is a bit strange, and intellectually, it is only half a pot, that is, MI-OLE. Should we look at the picture upside down… surprise! The head of one of the monsters becomes half of a face, MI-OLE, wearing a hat. Some UFOs of the past were described as being flying hats. The central theme resembles the shape of a flying saucer! Perhaps it is the vessel where the Gods live, the ELOHIM. The object has a shape that is quite common to UFOs.
Picture 11. (Palace of Florence).
Picture 11. This " Virgin and Saint John as a child " is known to have been painted by Filippo Lippi. In the sky, we see a UFO that was actually painted by the artist, since a man is looking at the thing! Leonardo da Vinci knew Filippo's son, Filippino. They met several times. This painting is an evidence that UFOs existed during the Renaissance, and that it stimulated the artists.
The points of views and the theories I develop in the present article are totally new, since no one had ever approached the Renaissance architecture that way. I just want to add that they are cleverly following up on Guy Mouny's hypothesises, who himself felt there must be some other intelligence coming from space. The very wise designers of all this probably were cabalists like Jean Thenaud, Cornelius Agrippa, Guillaume Postel ou Nostradamus... The speculation on words, which we only just began can be brought further by mathematics, and particularly by using the Golden Number, that Leonardo very much enjoyed. Even though the themes more often that not apear to be empty and sterile, at least I have tried to offer one interpretation. What is my thesis? The people who were close to Francis 1st, aristocrats, high ranking artists, held secrets regarding the Judeo-Christian tradition. The Royalty was in possession of documents about the past, about the biblical eras, where there had been meetings of the third type. It is also possible that non human beings revealed themselves at the time of Frnacis 1st. One can easily imagine what a cultural shock that would have been. There was no way this could be revealed at such an intolerant time. Thus, the Royalty discretely concealed in certain forms of art what could not be told during the XVIth century. They kind of threw a bottle to the sea. Another possibility might be magical practices: God's or an angel's name is ciphered in order to draw his attention and favours. What makes the Renaissance so special is the tremendous dimension of the ciphering in its architecture.
The Secrets of the Renaissance
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