Da Vinci riddle with numbers. Leonardo da Vinci: mirror code in the artist's paintings
“Predictions are a game of riddles and clues. There is no doubt that they had a secular purpose and, perhaps, even only a court one. Leonardo immediately came up with a whole bunch of such enigmi or proiezione and immediately wrote them down in series in his notebooks, explains art critic Abram Efros. “He obviously prepared them for one or another occasion when high society gathered and it was pleasant or obligatory to entertain them. It can be assumed from the totality of data that the “Predictions” were composed in the Milanese period for the needs of Ludovico Moro and his entourage and were part of the “entertainment” that Leonardo supplied to his patron and master.”
Here is one of Leonardo's predictions (most often he wrote them down along with the correct answers):
“People will throw away from their own homes the supplies that were intended to support their lives.
What is he talking about? About the stupidity that has struck humanity? About a fashionable diet? Not at all. “On grain and other crops” is written in Leonardo’s hand next to the prediction.
Abram Efros explains the structure of Leonardo’s riddles: “What was the game? The fact is that the verbal description of the phenomenon, true to its individual characteristics, diverged as much as possible from the essence of what was being described. Thus, an ordinary thing turned into its opposite; the listener had to recognize and call the thing by name. Leonardo’s verbal art consisted of, on the one hand, separating as much as possible the description of the characteristics of a thing from its actual appearance, and on the other, not breaking the connection between them. He did it masterfully. He worked as a jeweler of the word. If you don’t guess the purpose of these passages, reading them creates the impression of some kind of grandiose nightmares.”
Indeed, some of Leonardo’s riddles sound like Bosch could easily find ready-made illustrations for them. By the way, there is a version - and a very plausible one - about the content and purpose of Bosch’s “Garden of Earthly Delights”: the triptych is stuffed with puzzles, solving which the customer and his guests could have fun. Bosch and Leonardo are also brought together by their attitude to the institution of the church.
Most of Leonardo da Vinci's riddles and predictions are written down on the sheets of the so-called “Atlantic Codex”. This is a collection of manuscripts by Leonardo da Vinci with a volume of 1119 pages. The codex was compiled from scattered sheets after the artist’s death, and is now kept in Milan, in the Ambrosian Library. Above is a page from the Atlantic Codex showing a map of Armenia. How could Leonardo see Armenia and even from a bird's eye view? A riddle to which the artist did not leave a correct answer.
And here is a consonant riddle-prediction of Leonardo:
- There will be many who will leave their studies, and labors, and the poverty of life, and possessions, and will go to live in wealth and solemn buildings, proving that this is a means of making friends with God.
Correct answer: About churches and monastic dwellings.
Here is a fragment of Bosch’s triptych “The Temptation of St. Anthony”.
And here is an equally creepy riddle of da Vinci:
“It will be seen how the longest snakes fight with birds in the air at a tremendous height.”
Correct answer: About snakes carried away by storks.
So, you already understand what Leonardo da Vinci’s predictions are and how you need to think to unravel them. Imagine yourself as a high-ranking guest at the court of Ludovico Sforza and get started. The correct answers will be given at the end. But don't rush to look there.
1. There will be many who will skin their mother, turning over her skin.
2. People will enjoy seeing their own creations destroyed and torn.
3. Many, releasing their breath too quickly, will lose their sight, and soon all their senses.
4. Animal skins will bring people out of silence with great screams and curses.
5. Oxen will largely cause the destruction of cities, and likewise horses and buffaloes.
6. Many children will be torn from their mothers' own arms by merciless beatings, thrown to the ground and then torn to pieces.
7. Forests will give birth to children who will cause their death.
8. The dead will come out of the ground and with their menacing movements will kill countless human creatures from the world.
9. People will be given the greatest honors and celebrations without their knowledge.
10. People will speak to people who will not hear, they will have open eyes and they will not see; with such they will speak, and there will be no answer to them; they will ask for mercy from those who, having ears, do not hear; they will give light to those who are blind.
11. People will reach such ingratitude that the one who gives them shelter without any compensation will be showered with blows, and his internal parts will be torn from their place and will turn over his entire body.
12. You will see how high the walls are big cities overturned into their ditches.
The Harbinger (Leonardo da Vinci at the court of Ludovico Sforza) Eleonora Fortesquier-Bricdal, 1920 In the painting above, Leonardo da Vinci demonstrates his next invention by Ludovico Sforza. His wife, Beatrice d'Este, is sitting. Behind her stands Lodovico Sforza's favorite Cecilia Gallerani, immortalized in the image of a lady with an ermine. And even further away is Elisabetta Gonzaga. Perhaps one of these techniques involved the riddles that you just solved.
Correct answers to Leonardo da Vinci's riddles:
1. Farmers.
2. Shoemakers.
3. About extinguishing a candle for those who go to bed.
4. Balls for the game.
5. Animals are carrying guns.
6. About nuts, olives, acorns, chestnuts and the like.
7. Ax handle.
8. Iron, extracted from the ground, is dead, and weapons are made from it, causing the death of so many people.
9. O church services, funerals, and processions, and candles, and bells, and attendants.
10. About pictures of saints who are worshiped.
11. About fluffing the bed to straighten it
12. About the reflection of city walls in the water of their ditches.
The predictions of Leonardo da Vinci, translated into Russian, are quoted from the publication “Leonardo da Vinci. Selected works in two volumes. Edited by A.K. Dzhivelegov and A.M. Efros” (1935, republished by Artemy Lebedev Studio in 2010).
Title illustration: Leonardo da Vinci as Plato (left) and Aristotle in a fresco by Raphael "
To sharpen his perception of the world, improve memory and develop imagination, Leonardo practiced special psychotechnical exercises that go back to the esoteric practices of the Pythagoreans and - imagine! – modern neurolinguistics. He seemed to know the evolutionary keys to the secrets of the human psyche. Thus, one of Leonardo da Vinci’s secrets was a special sleep formula: he slept for 15 minutes every 4 hours, thus reducing his daily sleep from 8 to 1.5 hours. Thanks to this, the genius immediately saved 75 percent of his sleep time, which actually extended his lifespan from 70 to 100 years!
Master's Workshop
And after five centuries, the mysteries and secrets of the genius of the Renaissance never cease to amaze our contemporaries.
Italian researchers recently discovered Leonardo da Vinci's secret workshop. She's in the building monastery St. Annunziata in the very center of Florence. Monks from the Order of the Servants of the Virgin Mary rented out some of the monastery rooms to distinguished guests. The existence of the workshop was known for a long time from various documents; it was also known that Leonardo stayed in this monastery. But the skillfully sealed rooms were not easy to discover. Behind the sealed door was a staircase dating from 1430, the work of the Florentine sculptor and architect Michelozzo Bartolomeo. This staircase led to five rooms in which Leonardo lived with his students. The monastery offered the great scientist excellent conditions, since he was already famous. The most large room with two windows was a bedroom. In addition to it, there was also an adjacent secret room where the Master himself worked. The remaining rooms served as a workshop for Leonardo and his students, of whom there were 5-6 people. Some details indicate that a cook was among them.
The location of the workshop was ideal. The monastery library contained a collection of almost 5,000 manuscripts, which da Vinci was very interested in. St. Mary's Hospital was nearby, where he could dissect corpses.
Indisputable evidence that Leonardo worked in the workshop was the frescoes in it. They evoke associations with other works of the master at first glance. Computer research These associations are fully confirmed.
By the way, the family of the wealthy merchant Francesco del Giocondo had a chapel in the monastery of St. Annuciata. It is quite possible that it was in the monastery that the great painter met the merchant’s wife, Lisa Cerardini. The young woman served as the artist’s model for painting the famous Mona Lisa.
He or she?
Researchers have been struggling to solve the mystery of Mona Lisa's smile for many years. Almost every year there is a scientist reporting: “The secret has been revealed!” Some believe that the difference in perception of Mona Lisa's facial expression depends on personal mental qualities everyone. To some it seems sad, to others thoughtful, to others crafty, to others even evil. And some believe that Gioconda doesn’t even smile at all! Other scientists believe that the issue lies in the peculiarities of the author’s artistic style. Allegedly, Leonardo applied paints in such a special way that the face of Mona Lisa is constantly changing. Many insist that the artist depicted himself in a female form on the canvas, which is why such a strange effect was obtained.
There is a version that the artist, who was allegedly bisexual, did not paint himself, but his student and assistant Gian Giacomo Caprotti, who was next to him for 26 years. This version is supported by the fact that Leonardo left this painting as an inheritance when he died in 1519.
Medical opinions require special attention. Dentist and painting expert Joseph Borkowski believes that the Mona Lisa's facial expression is typical of people who have lost their front teeth. And the Japanese doctor Nakamura discovered a lesion in the corner of Gioconda’s left eye and concluded that she was predisposed to heart disease and suffered from asthma. Another version - about paralysis facial nerve- put forward otolaryngologist Azur from Auckland and Danish doctor Finn Becker-Christiansen, who suggested paying attention to the fact that Gioconda right side smiles, and grimaces with his left. In addition, he even discovered symptoms of idiocy in Mona Lisa, citing the disproportionate fingers and lack of flexibility in the hand. But, according to the British doctor Kenneth Keel, the portrait simply conveys the peaceful state of a pregnant woman.
They say:
: that the great artist owes his death to the model of Mona Lisa. That many hours of grueling sessions with her exhausted the great master, since the model herself turned out to be a bio-vampire. They still talk about this today. As soon as the picture was painted, the great artist was gone.
Everyone knows that Leonardo was left-handed and wrote from right to left in a mirror image. His early notes are completely unreadable, but over time, Leonardo’s mirror writing took on a certain form, a characteristic, albeit barely legible handwriting. Having established the styles of individual letters, some researchers learned to read it normally, from right to left. It would seem that the key has been found! But illegible handwriting is not so bad. Leonardo also had the habit of writing in auditory method, then separated the syllables of one word, then unexpectedly molded several words into one. Add to this the vastness of knowledge available only to specialists in different fields. All this could not help but mislead researchers. That is why almost all the secrets of genius remain unsolved for humanity.
Riddles without answers
Among Leonardo's prose works there are the mysterious "Predictions", which are a kind of game of riddles and clues. Most likely, he prepared them for the entertainment of court or secular society. Leonardo gave a verbal description of the phenomenon, correct in its individual features, which, if possible, diverged from the essence of what was being described. At the same time, the most ordinary thing turned into its opposite. The listener had to recognize the thing and call it by name. Da Vinci’s task was, on the one hand, to separate as much as possible the description of the characteristics of a thing from its actual appearance, and on the other, not to break the connection between them.
Here, for example, is how Leonardo da Vinci encrypted the riddle “On Swaddled Babies”: “O sea cities! I see you, your citizens, both women and men, tightly bound hand and foot by strong bonds by people who will not understand your speeches, and you will be able to alleviate your suffering and loss of freedom only in tearful complaints, sighing and lamenting among yourself yourself, for the one who bound you will not understand you, nor will you understand them.”
Something similar was written by him about sucking children: “Many Francesco, Dominico and Benedetto will eat what others in the neighborhood have more than once eaten, and many months will pass before they can speak.”
“Oh, how many there will be who will not be allowed to be born,” he wrote about eggs from which chickens will not hatch.
Many riddles have an encrypted prophetic meaning. Researchers believe they have solved some of the puzzles. For example:
“An ominous feathered race will fly through the air; they will attack people and animals and feed on them with great screaming. They will fill their belly with scarlet blood” - a prediction, experts say, very similar to the creation of air aircraft, airplanes and helicopters.
“People will talk to each other from the most distant countries and answer each other” - what is this if not a prediction of the invention of telephone, telegraph and radio communications?
“Many will be seen rushing on large animals in a fast run to the destruction of their own lives and to a speedy death. Animals will be visible on the ground different colors, carrying people to destroy their lives” - cars and all kinds of armored vehicles.
“There will be many who will move one against the other, holding in their hands sharp iron; they will not cause each other any harm other than fatigue, for as much as one bends forward, the other will lean back. But woe to the one who falls in the middle between them, for in the end he will be cut into pieces” - two-handed saw.
“There will be many who will skin their mother, turning her skin over her, using a terrible beast for this” - agricultural machines. Another saying applies to this: “It will be seen how they turn the earth upside down and look at the opposite hemispheres and open the holes of the most ferocious animals.”
“Animal skins will bring people out of silence with great shouts and curses” - balls for sports games made of leather.
And here are predictions about possible cataclysms associated with warming: “ sea water will rise to high peaks mountains, to heaven and will fall again on the dwellings of people. It will be seen how the largest trees of the forests will be carried by the fury of the wind from east to west.”
But Leonardo da Vinci also has mysteries before which researchers are at a loss. Maybe you can decipher them?
* Will open up: Beasts will come out of the earth, clothed in darkness, and with amazing attacks they will attack human race, and she will be devoured by them with brutal bites, with the shedding of blood.
* People will walk and not move; they will speak to those who are not there, they will hear those who do not speak.
*Countless lives will be destroyed and countless holes will be made in the ground. Then most of the people who remain alive will throw away the food they had saved from their homes for free prey by birds and ground animals, without caring at all about it. People will throw away from their own homes the supplies that were intended to support their lives.
* Herod's time will return, for innocent babies will be taken from their nurses and die from great wounds at the hands of cruel people.
* There will be many peoples who will hide themselves, their children and their supplies in the depths of dark caves, and there, in the darkness, they will feed themselves and their families for many months without any artificial or natural light.
* It will be seen as if in the air at a great height huge snakes fight with birds.
* For the most part masculine will not be allowed to reproduce, as their testes will be taken away.
If you hurry, you will make people laugh
Leonardo da Vinci was never in a hurry to finish a work. He believed that incompleteness is an essential quality of life. Finishing means killing! The slowness of the creator was amazing; he painted his canvases for years. He could make two or three strokes and leave the city for many days, for example, to improve the valleys of Lombardy or create an apparatus for walking on water. Almost every one of his significant works is “unfinished.” Many were damaged by water, fire, barbaric treatment, but the artist never corrected the damage, as if he gave life the right to interfere with his work, to correct something.
Good = Evil
Creating a fresco " last supper»Leonardo da Vinci searched for ideal models for a very long time. Jesus must embody Good, and Judas, who decided to betray him at this meal, is Evil.
Leonardo interrupted his work many times, going in search of sitters. One day, while listening to a church choir, he saw a perfect image of Christ in one of the young singers and, inviting him to his workshop, made several sketches and studies from him.
Three years have passed. The Last Supper was almost completed, but Leonardo never found a suitable sitter for Judas. The cardinal, who was in charge of painting the cathedral, hurried the artist, demanding that the fresco be completed as soon as possible.
And then, after a long search, the artist saw a man lying in a gutter - young, but prematurely decrepit, dirty, drunk and ragged. There was no longer time for sketches, and Leonardo ordered his assistants to take him straight to the cathedral. With great difficulty they dragged him there and put him on his feet. The man did not really understand what was happening and where he was, but Leonardo captured on canvas the face of a man mired in sins. When he finished his work, the beggar, who by this time had already come to his senses a little, approached the canvas and cried out:
- I've already seen this picture before!
- When? – Leonardo was surprised.
- Three years ago, before I lost everything. At that time, when I sang in the choir, and my life was full of dreams, some artist painted Christ from me:
Inventions of a genius
Leonardo was an excellent magician (his contemporaries called him a magician). He could create a multi-colored flame from a boiling liquid by pouring wine into it; easily turned white wine into red; with one blow he broke a cane, the ends of which were placed on two glasses, without breaking either of them; applied a little of his saliva to the end of the pen - and the inscription on the paper turned black. The miracles that Leonardo showed impressed his contemporaries so much that he was seriously suspected of serving “black magic.” In addition, near the genius there were always strange, dubious personalities, like Tomaso Giovanni Masini, known under the pseudonym Zoroaster de Peretola, a good mechanic, jeweler and at the same time an adept of the secret sciences:
Leonardo encrypted a lot so that his ideas would be revealed gradually, as humanity “matured” to them. Scientists only last year, five centuries after the death of Leonardo da Vinci, were able to understand the design of his self-propelled cart and build it. This invention can easily be called the predecessor of the modern car.
The inventions and discoveries made by da Vinci cover all areas of knowledge (there are more than 50 of them!), completely anticipating the directions of development modern civilization. In 1499, Leonardo, to meet the French king Louis XII, designed a wooden mechanical lion, which, after taking a few steps, opened its chest and showed the insides “filled with lilies.” The scientist is the inventor of a spacesuit, a submarine, a steamship, and flippers. He has a manuscript that shows the possibility of diving to great depths without a spacesuit thanks to the use of a special gas mixture(the secret of which he deliberately destroyed). To invent it, it was necessary to have a good understanding of biochemical processes human body, which were completely unknown at the time! It was he who first suggested installing on armored ships batteries of firearms (gave the idea of an armadillo!), invented a helicopter, a bicycle, a glider, a parachute, a tank, a machine gun, poisonous gases, a smoke screen for troops, magnifying glass(100 years before Galileo!). Da Vinci invented textile machines, weaving machines, machines for making needles, powerful cranes, systems for draining swamps through pipes, and arched bridges. He created drawings of gates, levers and screws designed to lift enormous weights - mechanisms that did not exist in his time. It is amazing that Leonardo describes these machines and mechanisms in detail, although they were impossible to make at that time due to the fact that ball bearings were not known at that time (but Leonardo himself knew this - the corresponding drawing has been preserved). Sometimes it seems that da Vinci simply wanted to learn as much as possible about this world by collecting information. Why did he need it in this form and in such quantity? He did not leave an answer to this question.
Interest in the personality and work of Leonardo da Vinci continues unabated. For example, in the film " Secret life“Mona Lisa”, the authors claim that they have discovered the secret of Mona Lisa and know who posed for the artist for the immortal image, which has become a symbol of European art.
Another film about Leonardo da Vinci, “The Da Vinci Code,” its plot is not related to the scandalous bestseller of the same name. In the film, the people commenting on the footage are somewhat shocking, but with academic degrees, they claim - and it looks quite convincing - that Da Vinci’s paintings reflect the symbolism of the sect of supporters of the teachings of John the Baptist - the Mandaeans.
In particular, they talked about a certain gesture by which one can identify an adherent of this Gnostic teaching. This is a pointing gesture - up, down, to the side, i.e. not having a fixed direction - set aside index finger. A gesture quite often found in the paintings of Leonardo da Vinci. His “John the Baptist” finger points somewhere upward.
Another story, “Madonna of the Rocks,” supposedly contains an encrypted message that John is the real teacher of Truth.
There are two versions of the painting "Madonna of the Rocks" one, painted according to all church canons, is in National Gallery in London. It depicts Jesus next to the Madonna (according to art historians), who is baptized by John the Baptist sitting next to the angel. Moreover, John looks younger than Jesus, and holds... a cross! Another detail - the angel is depicted with dark wings, which are covered with a bright scarlet cape, and moreover, with a clawed paw! According to art critics, it was this non-canonical image of the angel that became the reason for customers to demand that the picture be redrawn.
The second painting, “Madonna of the Rocks,” is kept in the Louvre. Presumably this is the first version of the painting. Here the angel points to John (art historians insist that John the Baptist sits next to the Madonna, and Jesus sits with the angel). Here John is older than Jesus. But! Jesus baptizes John, and not vice versa, which contradicts the Gospel. Unlike the London version of the Madonna, there are no halos in this painting.
In general, the point of the film was that almost everyone artistic creativity Leonardo's goal was to convey to posterity the truth about the origins of Christianity.
Previously, we had never heard of Leonardo da Vinci being an adherent of any faith. It is known about his conflicts with the church. While his genius was boundless, he certainly possessed some secret knowledge received from outside.
But the revelation was that Leonardo da Vinci was ranked among the Madeans (by the way, the only surviving Gnostic sect).
So let's look at everything in order:
John the Baptist, 1513 -1516 Louvre.
Look closely at your right hand. Not only is it directed upward, it is also depicted without ring finger and little finger (like the right hand of John the Baptist).
Madonna of the Yarnwinder. 1501. ( Private collection)
1. What do Christians see in this picture?
Our Lady Mary and Baby Jesus
2. What do the Mandaeans see in the same picture?
Our Lady Elizabeth with John the Baptist.
For both of them there is a Madonna in the picture, only in favor of the second version the elongated cross held in the hands of a baby is a symbol John the Baptist .
The main postulate of the Mandaeans: The true mission is John the Baptist, Jesus and Magomed are false prophets.
Now look at the following pictures:
Madonna of the Rocks. 1482-1486. Louvre
On the right, the archangel points to the baby on the left. So which one is John, which one is Jesus?
Later version:
The Virgin of the Rocks. 1506-1508. National Gallery. London
Here the symbol of John the Baptist is with the baby on the left, i.e. in the first picture the archangel points to the true prophet John
“Madonna in the Grotto” is the first of Leonardo’s known creations, created in Milan, and stands at the origins of the Lombard school.
The interpretation of the religious theme is different: in the Louvs version, the flowers symbolize mainly the Passion of Christ, in the London version - the purity and submission of Mary.
In the London version, the baby Jesus (if Jesus with the cross) is noticeably older than the baby John. Note the two-finger blessing of the baby on the right. In theory, this is the gesture of Jesus, since we know that John's gesture is a “pointing finger.”
This is “Savior of the World” - one of the best so-called. student versions, from which Leonardo’s own drawings remain. Jesus' hand is raised in a two-fingered gesture.
"Bacchus", originally "Saint John the Baptist". It was retouched in the 17th century.
A. Vezzosi, “Leonardo”:
“Madonna in the Grotto” would be the subject of a dispute between Leonardo and the Brotherhood for twenty-five years immaculate conception in Milan. Despite the discovery of new archival documents, this picture remains largely a mystery.
It has caused many conflicts since the disappearance of the first version (now in the Louvre). Threats and complaints continued until an agreement was reached for the second version (now in London). Having accepted the order on April 25, 1483, Leonardo undertook to complete the painting in just over seven months. He was able to sign the finished work only on October 23, 1508.
What is striking in this painting is the synthesis of Leonard’s main themes and Hermetic signs, mysterious and rich in allusions that give rise to an endless variety of symbolic and theological interpretations: a grotto with a stream of water and flowers in the depths of the earth, shrouded in mystical lyricism and mystery. The rocky cave and the forbidding, distant mountains embody the geological Universe in infinite space and time, serve as the stage for the mystery associated with a sacred event, and all gestures remain incomplete in the quest to comprehend this defining moment of human history.
The iconography does not correspond to that provided for in the 1483 treaty (Madonna and Child between two angels and two prophets, but without St. John), which suggests a heretical design by Leonardo.
The Brooch of the Virgin (The Brooch depicted in the center of the Parisian “Madonna in the Grotto” is absent in the London version.) is of extreme interest for the morphogenesis of the painting: it embodies a kind of microcosm, an eye of refracted light and deep shadow, as on a dim mirror. The face of the Virgin Mary is located at the intersection of several diagonals, but the center of the composition is a brooch with twenty pearls.
In the Louvre’s “Madonna in the Grotto,” the angel’s gaze is directed outside the picture, towards the viewer, who, however, cannot catch it. Some consider this angel ambiguous - almost a demon because of the spears on his right leg. The four characters of the London version, forming a geometric, pyramidal composition with cross-shaped lines, are more freely located in space. Each illuminated element has its own visual dynamics, in particular the yellow folds of the Virgin’s drapery, which in the Louvre version seem like pure abstraction, take on the verisimilitude of a lining in the London version. The magnificent gilded wood frame created by Giacomo del Maiano has disappeared without a trace, but two side panels have been preserved, depicting only two angel musicians instead of the pre-agreed eight musicians and singers.
Virgin and Child with St. Anne. c.1502-1516. Louvre
is a symbol of Jesus, whom John the Baptist called:
" ...The next day John sees Jesus coming to him and says: Behold the Lamb of God, who takes away the sin of the world..." (John 1.29)
It is very significant that in the painting “Virgin and Child with St. Anne” (compositional schemes: pyramid and triangle) Anne holds Mary on her lap. This can be interpreted to mean that Mary is the successor or “spiritual daughter” of Anna. It is also possible that the painting contains an allusion to the ancient custom of adoption. It went something like this. During childbirth, the surrogate mother was relieved of the burden, sitting on the lap of the adoptive mother, so that the newborn was between the legs of the second. Thus, symbolic childbirth was given to the adoptive mother legal right call the child your own.
In this sketch, the characters' gestures are quite recognizable. And, most importantly, it is clear that with the pointing finger it is Anna, and not Maria.
Remember, of course, the sign of John - THE EXTENDED INDEX FINGER OF THE RIGHT HAND... and now look:
1. Fragment of the painting Madonna of the Yarnwinder. 1501.
2. Sketch for the painting Virgin and Child with St. Anne. 1508.
Look carefully at the baby's finger.
So who is there (in the painting Virgin and Child with St. Anne) turning the head of the lamb of God, who takes upon himself the sin of the world?
John and Jesus were related:
"...The Holy Prophet Zechariah and the righteous Elizabeth, his wife from the Aron family, sister of Anna, mother Holy Virgin Maria... "
Those. St. Anna is their common relative
As I said, the plot, when one woman sits on the lap of another, means “surrogate mother”.
Let's look at the painting "Virgin and Child with St. Anne" again from two points of view:
1. What Christians see: on the lap of “grandmother” Anna sits the “mother” Virgin Mary, next to him the baby Jesus is fiddling with the head of a lamb.
2. What the Mandaeans see: on the knees of the elderly sister Elizabeth (mother of John) ( younger sister would have been more suitable for a surrogate mother - then the title of the picture would have read more clearly “Virgin and Child with St. Anne”, i.e. Virgin - virgin or nulliparous) sits St. Anna, at whose feet is John (note - outstretched finger right hand covered with sheep's wool) and fingering the head of the Lamb of God (symbol of Jesus)...
“Here is Elizabeth, your relative, who is called barren, and she conceived a son in her old age, and she is already in her sixth month...”(Luke 1:36).
And remember Leonardo’s most famous painting “Mona Lisa”, look:
MONA LISA = M-ad-ON-n-A E-LISA-betta (ital.)
If Leonardo considered John to be the true Mission, then:
Mona is a short form of Madonna (Our Lady),
for him the Mother of God, i.e. Madonna - ELISABETH - abbr. LISA
If our version is correct and Leonardo depicted the Mother of God of the Mandaeans, Elizabeth, then “Mona Lisa”, “Madonna and Child with a Spindle” and “Madonna and Child and St. Anne” should have something in common... Some elusive symbol. Let's look:
I was also wondering what kind of stripes they all have on their foreheads that look like the crease of a painting. And then I looked closer - it was definitely a MOURNING VEILE (clearly visible on the left).
And here’s why Elizabeth was depicted with a mourning veil:
"...XXIII. Meanwhile, Herod was looking for John and sent servants to Zechariah, saying: Where have you hidden your son? He answered, saying: I am a servant of God, I am in the temple and I do not know where my son is. And the servants came and they told this to Herod. And Herod said in anger: His son will be king of Israel. And he sent (the servants) to him again, saying: Tell me the truth, for know that your life is in my power. witness (martyr) of God, if you shed my blood, the Lord will accept my soul, for you will shed innocent blood in front of the temple. And before dawn Zechariah was killed, and the children of Israel did not know that he was killed... "
N There is something very interesting in the painting, which is a Russian property (kept in the Hermitage):
Leonardo di Ser Piero da Vinci
Great Italian artist (painter, sculptor, architect) and scientist (anatomist, naturalist), inventor, writer. One of the largest representatives of the art of the High Renaissance, shining example“universal man” (lat. homo universalis) - the ideal of the Italian Renaissance.
Having revealed the ideal of the Renaissance “universal man,” Leonardo was interpreted in the subsequent tradition as the person who most clearly outlined the range of creative quests of the era.
| Francis Goya - Francis Goya / | 04:34 | |
In the world of thinkers putting forward theories about the work of Leonardo, a new storm is brewing: a mysterious organization claims that its members, using mirrors, have discovered hidden images of biblical characters in some of the great artist's most famous works.
Did Leonardo da Vinci hide the face of God in his paintings?
IN recent years art historians have found on Leonardo’s canvases the Knights Templar, Mary Magdalene, a certain child, and a musical score.
There is much documented evidence that da Vinci often wrote notes in “mirror writing,” either to prevent his rivals from stealing his ideas, or to try to hide his own. scientific theories, often seen as subversive, from the powerful Roman Catholic Church.
| Francis Goya - Nostalgia | 02:53 | |
And now an organization known as the World Mirror Foundation Holy Scripture and Painting" (The Mirror of the Sacred Scriptures and Paintings World Foundation), came to the conclusion that Leonardo used the same method in some of his most famous works, including the Mona Lisa and the Last Supper, to hide images of mysterious persons and religious symbols.
The secrets hidden in the works of Leonardo Da Vinci are revealed on the website Mirrorandar.cov, using the example of famous works of the genius.
"Madonna and Child with St. Anne and St. John the Baptist" Leonardo
This image can be seen using a 140X100 mirror, installing it from the shoulder of the main character on the Virgin Mary canvas and pointing it to the left.
Second theories say: if you apply a mirror to the sketch that is exhibited in the London National Gallery, you can see the Old Testament god Yahweh, who “protects the soul from the vices of the body” and is crowned with the papal tiara.
The search for hidden figures was inspired by the philosophical works of Philip of Alexandria. It was in his works that mentions of mysterious images first appeared. Which can only be seen with a mirror. This fact was mentioned more than once in the manuscripts of Leonardo himself.
Their theory explains why many of Leonardo's characters seem to point into space or stare into space, as if searching for something divine. Representatives of the foundation claim that by doing so the characters indicate how the mirror should be placed in order to reveal the secrets of the painting.
Saint John Baptist
In order to see this image, it is necessary to install a mirror measuring 180x100 exactly in the middle of the figure of St. John.
| Francis Goya - Sommarnatt | 02:59 | |
From the point of view of Mirrorander.com, we could be talking about the mysterious picture “Adam and Eve in Paradise, which is talked about so much, and which no one has ever seen.
Virgin Mary with babies and archangel.
On the canvas, the baby Jesus and the archangel point with their fingers at the hidden location of the mirror.
This image can be seen by placing a mirror perpendicular to half of the canvas, reflecting it right side, towards the Virgin Mary.
Another image hidden on this canvas.
Leonardo's Last Supper
This is what can be seen by placing the mirror perpendicular to the picture, parallel to the table, at a level between the hands of Jesus and the dish, reflecting the upper image.
The image of the vessel, which appears upside down in the hands of Jesus, could carry an allegorical meaning (the Holy Grail) and be the reason for the surprise on the face of the Apostle John, the welcoming position of his hands and his gaze turned in exactly that direction.
Another image in the mirror reflections of the Supper
Monna Lisa and the secret image
At the same time, Monna Lisa seems to point her finger at the place where the secret image is hidden.
The same method was used by Michelangelo and Raphael in works exhibited in the Vatican Museums, and by other Renaissance artists and neoclassicist Jacques-Louis David, according to foundation members. Similar phenomena have also been found in famous images and statues of Buddha.
The study's authors sent a letter to the Vatican last year outlining their discovery, but received a haughty response that, while their findings would undoubtedly be widely discussed among art historians, their ideas needed "solid evidence" and should be supported by the general opinion of art historians , before they can be taken seriously.
Critics of this endeavor will argue that the authors of the theory want to benefit from the worldwide craze for conspiracy theories about Leonardo.
These theories culminated in the publication of Dan Brown's book "The Da Vinci Code" and its subsequent film adaptation with Tom Hanks. The novel and film posited the theory that the man sitting (at the Last Supper) next to Christ on the right is in fact Mary Magdalene and that the couple have descendants living in modern times; It also described many visits around the world to places associated with Da Vinci.
The newest theory, put forth by the Mirror of Scripture and Paintings, whose website is owned by the Sacred and Divine Reason and Foundation Corp., comes on the heels of an Italian amateur scientist's announcement in July that there is a hidden image in the Last Supper. women with a child in their arms.
According to him, this figure appeared when its mirror image was superimposed on the fresco and both images were made translucent.
Oh, Vinci, you are one in everything:
You have defeated the ancient captivity.
What serpentine wisdom
Your terrible face is captured!
Already, like us, diverse,
You have great daring doubts.
You are in the deepest temptations
Everything that is dual has penetrated.
And you have icons in the darkness
With the smile of the Sphinx they look into the distance
Semi-pagan wives, -
And their sadness is not without sin.
Prophet or demon, or magician,
Keeping the eternal riddle,
Oh Leonardo, you are the harbinger
Another unknown day.
Look, you sick children
Sick and dark ages:
In the darkness of future centuries
He is incomprehensible and harsh, -
Impassive to all earthly passions,
It will remain like this forever -
God-despising, autocratic,
God-like man.
1895 Merezhkovsky D.S.
Entry by Luarde
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What other secrets did the legendary master encrypt in his works?
website invites you to discover amazing world great artist.
1. Error in the painting Salvator Mundi (“Savior of the World”)
If you look closely at the picture, you will notice that the sphere in Jesus’ hands is transparent. But who, if not Leonardo, who studied optics inside and out, should have known that the background behind the crystal sphere could not be like that. It should enlarge and become fuzzy. Why the great artist made such a mistake is not known for certain.
2. Amazing fact about the Last Supper
What can unite Judas and Jesus in this painting? There is a parable according to which the sitter for both was the same person. Unfortunately, who it was exactly has not reached our days.
However, according to legend, da Vinci found his Jesus in the church choir, where he served as a singer. Later, when the fresco was almost completed and the master could not find anyone for the image of Judas, Leonardo noticed a very drunk man in a ditch with traces of a riotous life on his face. When da Vinci completed the image of Judas, the sitter admitted that he was familiar with this image and that he posed for the artist as Jesus 3 years ago.
3. Another amazing fact about The Last Supper
Another interesting nuance of this fresco. An overturned salt shaker lies next to Judas.. Interestingly, this fact may be a clear example It is believed that spilled salt is bad luck. After all, the canvas depicts the moment when Jesus says that one of those gathered will betray him.
