This is just the begining. Check back each month for more "Da Vinci Code Secret Archives" facts: codes, ambigrams, and
strange facts ... coming soon info on Brown's The Solomon Key, LINK TO DVC ONLINE NOVEL FREE
Last Update 2007
Better Together
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Exterior shot of the Cour d' honneur Pyramid
outside the Louvre in Paris ... Click for virtual tour of the Louvre.
Recent discovery of Leonardo's secret study, where
this mural was painted on the wall, and a rock-hewn table hid in the corner... for the cadavers
Westminster Abbey: the wild-goose chase!
Site of Tombs, Coronations
I visited Westminster Abbey site of The Da VinciCode's wild-goose chase scene while on duty overseas with the State Department.As we strolled through this gigantic labyrinth of history, I suddenly looked up and found that I'd become
separated from my tour guide.It was closing time. Dark shadows huddled in corners
ready to leap out at me as I passed. I quickened my pace, finally breaking into a run as my footfalls slapped the cold floor,
echoing at my heels.Then up ahead, a dim light winked in the darkness. And a
voice floated toward me through the must-filled air.
It was her voice, the voice of wisdom---Sophia
The light grew closer, brighter until it seemed to sear my eyes
with its intensity. I closed them tight, gasping for air in ragged breaths.
A starburst exploded on the dark screen of my eyelids.
They found me two days later, eyes glassed over and disoriented,
sitting on a bench in Hyde Park.A thin white streak ran through my dark brown
hair.
I kept repeating one word over and over like a demented fool:
Crime and Punishment:What do Dr.Hannibal Lecter and Da Vinci have in common?Remember
the murder scene from the movie Hannibal? Author Thomas Harris did his research, too!
On April 24th 1478 Giuliano de' Medici was stabbed to death by Francesco de' Pazzi during
high mass in the cathedral of Santa Maria del Fiore in Florence. The main target of the assassination, however, was
Giuliano's brother, Lorenzo, who was stabbed in the neck but saved from a mortal wound by a friend who threw himself in front
of Lorenzo and was himself killed.
Pazzi and his accomplices were caught and hanged but
one man, Bernado di Bandino, escaped to Turkey. On the request of the Signoria of Florence he was extradicted and he
and his wife were hanged on December 29th 1479.
Leonardo witnessed the hanging and made a pen and ink
drawing with notes for the compostion of a painting: "A tan-coloured small cap. A doublet of black serge. A black jerkin,
lined, and the collar covered with black and red-stippled velvet. A blue coat lined with fur of foxes breasts. Black hose,
Bernado di Bandino Baroncelli."
Sketches of Da Vinci's Robot
His brilliant inteventions of War!!
DR. WHO'SRobot??
It was not until the late 1950's that Carlo Pedretti of the Unversity of California proposed
that the drawings on the left were for a robot. Some forty years later the Florence-based Institute and Museum of the History of Science in collaboration with Mark Rosheim, a NASA
contractor and expert in robotics, developed a "digital" version of the robot shown on the right.
There is no evidence that the robot was actually built but it was designed to sit up, turn,
bend both arms and legs and to open its mouth or visor, probably to make some kind of noise. It was dressed in a suit
of armour.
Leonardo may have intended the robot for a festival or celebration of some kind. At
Il Paradiso - a celebration held on 13th January 1490 in Milan - Leonardo was said to have built a model of a mountain crowned
by a giant egg which rotated while a fantastic series of automats representing the human race sang the praises of the Sforza
family. The egg finally opened to reveal the seven planets and figures of the Graces, the Virtues, Nymphs, Hermes, Jupiter
and Apollo.
The Adding Machine (or Ratio Machine)
In 1967 American researchers working at the National Library of Spain in Madrid
found two unknown works of Leonardo which became known as the Codex Madrid. It included the drawing on the right. Leonardo
expert Dr Roberto Guatelli saw the drawing and thought it similar to one in the Codex Atlanticus.
In 1968 Dr Guatelli made a replica from the two drawings using "his own
intuition and imagination..." in the process. The replica was put on display at an IBM exhibition with the following
text:
"Device for Calculation: An early version of today's complicated
calculator, Leonardo's mechanism maintains a constant ratio of ten to one in each of its 13 digit-registering wheels. For
each complete revolution of the first handle, the unit wheel is turned slightly to register a new digit ranging from zero to nine. Consistent with the ten to one ratio, the tenth revolution of the first handle
causes the unit wheel to complete its first revolution and register zero, which in turn drives the decimal wheel from zero
to one. Each additional wheel marking hundreds, thousands, etc., operates on the same ratio. Slight refinements were made
on Leonardo's original sketch to give the viewer a clearer picture of how each of the 13 wheels can be independently operated
and yet maintain the ten to one ratio. Leonardo's sketch shows weights to demonstrate the equability of the machine."
After a year of the machine being on display controversy concerning the
reliability of the replica had grown and an academic trial was held at Massachusetts University in an attempt to settle the
matter.
Objectors claimed that the device was a ratio machine
- one revolution of the first shaft would give rise to 10 revolutions of the second and so on. Such a machine would
not work due to the amount of friction involved.
The vote was a tie but IBM removed the replica from the
exhibition.
Continue to learn of his
strange religious beliefs!!
Headquarters of the Opus Dei in New York City ...
Check out the links below for facts on their FBI connections ....
Click and take the red pill to leave ...
if you don't have the nerve to stay!
LINKS TO SECRET KNOWLEDGE: GENERATE YOUR OWN AMBIGRAMS, LEARN THE ANCIENT SECRETS OF THE MYSTIC
KABBALAH 'S GEMATRIA(THE SCIENCE OF NUMBERS)
CREATE YOUR OWN AMBRIGRAMS! ONLINE AMBIGRAM GENERATOR!
A very old method used for encoding
the additional, intentional messages into artistic compositions is kabbalistic exegesis called gematria,
often confused with numerology. Gematria is useful because it deals with words that have numeric values (read measures), and
relates similar values to similar meanings. If we use simple Latin code of values of letters and calculate the famous title
of the painting a value of 84 is obtained:
MONA LISA = (13+15+14+1)
+ (12+9+19+1) = 84.
Another name for the painting is also
La Gioconda, or as a variant LA GIOCCONDA, which has the same gematric value:
LA GIOCCONDA = (12+1)
+ (7+9+15+3+3+15+14+4+1) = 84.
'La Giocconda' can be translated as
a 'playful woman', which is perhaps one of the reason of her peculiar smile. But her mysterious smile conceals also another
enigma, of her identity ...
circumference
of the rectangle is 2 x (18+24) = 84
The above gematric calculations are
also amplified by the composition of circles that rule the proportions of the portrayed. If the width of the painting is considered
as 1 Venetian cubit, then three circles and four circles in height equal 18 and 24 oncia respectively. The circumference of
this rectangle 18 : 24, enclosing the figure is again concealing the number 84:
circumference
= 2 x (18+24) = 84.
This number really seems to be of extraordinary
importance for this painting, no wonder since it is also a number that unveils the master himself:
LEONARDO = 12+5+15+14+1+18+4+15
= 84.
COMPOSITION
Analysis of the composition shows that
it is based on the circle that is visible on the painting as the perfectly circular shape of the top of figure's head.
width
= 1 Venetian cubit
The diameter of described circle fits
into the width of the panel exactly 3 times, and 4 times in the height of the figure, thus forming a basic Pythagorean triangle
3-4-5. The height of the board does not fit into the grid of circles, but they are important only for the figure of portrayed.
Next thing to do is to find the system
of measures that Leonardo used for the composition. The width of the painting is according to different sources ranging from
52.4 to 53 cm. This is very close to the length of exactly 1 Venetian cubit measuring 52.2 cm.
VENETIA
cm
Miglio
5000
173867
Stadio
625
21731
Pertica grande
6
208,6
Passo
5
173,87
Pertica
Piccola
4,5
156,6
Braccio
2
69,6
Cubito
1,5
52,2
Piede
1
34,8
Palmo
4
8,7
Oncia
12
2,9
Punto
72
0,48
Linea
144
0,24
Atomo
864
0,04
Decimo
1728
0,02
Venetian
system of measures
A circle,
that is the compositional module, is therefore 1 palm in radius. Every metrical
system is 'modular', meaning that smaller units are always a simple fractions of the larger, as an example: 1 cubit equals
1.5 ft, 6 palm, or 12 oncia. The width of the painting measuring three circles is 1 cubit = 6 palm = 18 oncia, while the height of the figure is 8 palm or 24 oncia. These numbers defining the composition are conveying an important message.
REBIS
This painting seems to represent a compound
- hieroglyphic image in alchemistic manner, that is none else but hermaphroditic Leonardo himself. Another surprise is concealed
in the title of the painting, which is a rebus:
MONA LISA = SOL + ANIMA.
This title is a rebis of fundamental
alchemical antimony of Sun (Sol) and Moon (Anima, soul), two basic symbols for opposing forces that are united in alchemic
genderless hermaphrodite. There are many alchemic texts concerning this subject that obsessed a lot of artists during with
philosophy inspired Renaissance.
Sun & Moon
... Sol and Lune,
the male and female, two sperms, heaven and earth, and two, as I may say, Argent vives, and out of which alone the philosophers
say their stone is made; which pitiful fellows mistake for crude mercury. But that mercury is all metals, male and female,
and an hermaphrodite monster in the very marriage of the soul and the body, which I call solution; and the putrefaction of
the philosophers. The earth of gold is dissolved by its own spirit, which you shall discover in these proportions.
If one third of the circle, that outlines
the composition, is taken for a module ( = two oncia), the ratio of rectangle that defines the figure is 9 : 12. Both numbers
are symbols for previously mentioned antinomies, for number 9 symbolizes Moon, and 12 stands for Sun. This number is also
the number of '12 compositional circles' that could parallel 12 zodiacal signs through which Sun traverses. This traditional
symbolism is also recorded by Agrippa in De Occulta Philosophia, a dictionary of magick
from 1510:
... The number nine belongs
to the Moon, the utmost receptacle of all Celestiall influences, and vertues, as also it is dedicated to the nine Muses,
as also to Mars, from whom is the end of all things. The number ten is Circular, and belongs to the Sun, after the same manner
as unity; also it is attributed to Janus, because it is the end of the first order, and from whence begins the second unity;
it is also ascribed to the world. In like manner the number twelve, because the Sun going round twelve
signes, distributes the yeer [year] into twelve moneths, is attributed to the world, the Heaven, and the Sun ...
SECRET
INSIGNIA
Templar's symbolism in Durer's engraving Knight, Death, and Devil
(see photo below)
Albrecht Durer's engravings are enigmas,
a multi layered artworks pulsating different contents, offering several possible interpretations at the same time. Some express
a deeply gnostic apprehension of the world known to Durer, some convey important historical facts, others reveal Durer's specifically
brilliant mind that could be offensive and even politically dangerous at the time. The first engraving, in the context of
three 'Meisterstiche',Knight, Death, and Devil was created
in 1513 according to the tablet in the lower left corner of the engraving. Durer's 'tablets' always look suspiciously, since
they are always bearing a hint to the content initially concealed by the artist. The date on the tablet is precisely 200 years
after the official dissolution of the Templars in tragic year 1313. Before the number 1513 on the tablet stands a mysterious
'S' whose meaning is for Panofsky obscure1. But the secret is hidden in a Greek equivalent of Latin letter S - S, Sigma with gematrical value 200, the number which alludes to the
