Archive for the ‘Art and Architecture’ Category

Analysis: Leonardo’s “Salvator Mundi”

December 8, 2017

After more than five-hundred years of having been enjoyed only by the few through whose hands it has been passed down, a painting by Leonardo da Vinci, Salvator Mundi (Savior of the World), has been identified and presented to the public-at-large. Held in the collections of French and then English royals for almost three-hundred years, after which the chain of ownership is unclear until 1900, last month it sold at auction for $400 million (hammer price) to a Saudi Arabian prince. The consensus of experts is that the restored painting is genuine, but some art historians are unconvinced. PluribusOne™ accepts its genuineness based on our discovery of occult features in the work and the fact that the evidential occult information is found only in this painting and in later copies by other artists.

Leonardo, a Renaissance polymath, was a painter who had been, at some point in early adulthood, initiated into the mysteries of the ancient world and enlisted in the quest of his enlightened patrons to preserve that knowledge by, in part, embedding pieces of esoteric information in paintings and incorporating it in the design of practical inventions, including war machines. To the extent that the information was heretical with respect to doctrines of the Roman Catholic Church, his was a dangerous mission. Yet he managed to escape prosecution by the Inquisition through providing valuable services to Church and State while helping fulfill the secretly held vision for a New World. Although he lacked formal schooling, Leonardo studied various subjects, and he exhibited a high level of natural intelligence— “smarts.” Leonardo made good use of his powers of observation and was driven to think independently, to experiment.

Some researchers conclude that Leonardo was Grand Master of a truly secret society whose roots trace back to Egypt and beyond. PluribusOne™ sees compelling evidence supporting the claim that Leonardo played such a role in shaping western civilization, some of which evidence is presented in earlier posts, including: “Analysis: Leonardo’s ‘Mona Lisa’” (August, 2010), “Analysis: Leonardo’s ‘St. Jerome’” (July, 2012), and “Analysis: Leonardo’s ‘Virgin of the Rocks’” (October, 2014). But his “Salvator Mundi” painting is uniquely revealing with respect to Leonardo’s view of himself as well as his perspective on Jesus of Nazareth. Interestingly, the factors that evidence the genuineness of the painting are also factors that evidence Leonardo as having been, in all likelihood, a leader in a secret organization intent on carrying forward the tradition of the Templar Knights and their predecessors.

However, we hasten to clarify that Dan Brown’s story, The Da Vinci Code, is fiction—a masterwork of fiction perched on the edge of reality. The symbolism allegedly identified and decoded in that story, with respect to Leonardo’s paintings The Last Supper and Mona Lisa, is not actual or valid. Brown’s decoding is contrived to serve the story’s premise and meet a preexisting social agenda. Our extensive study of Last Supper paintings has revealed that the apparent woman at the table makes a guest appearance in many Last Supper renditions, not just Leonardo’s painting. In fact, she appears in enough of them to be considered a common element. See our July, 2009 post: “Da Vinci Code ‘Evidence’ Debunked.”

Now for the analysis of Salvator Mundi (see Image File #65), which includes Noetitek™-enabled revelations found in no other analyses of this painting:

First, we see that the image shows depth by making the background less distinct than the foreground. This technique emphasizes the most important features of the painting by presenting them most clearly, namely: the robe/gown, the right hand, and the orb. Within these features we also see allusions to the alchemical elements: earth, air, fire, water, and aether although they may have been incorporated unconsciously or synchronistically.

The robe is blue, the color the Church associated with the Virgin Mary’s garment (see “Analysis: Vermeer’s ‘Woman Holding a Balance’,” November, 2017). We see Leonardo using the blue here—it was red in Leonardo’s The Last Supper fresco—to indicate his conviction that the matrilineal descent of Jesus takes precedent over patrilineal descent because only the human bloodline of Mary can be looked to if the New Testament story were true. Matrilineal descent, however, negates the patrilineal-based Torah teaching regarding the prophesied Messiah. Therefore, we see Leonardo subtly pointing out that the Church doctrine of Jesus’ virgin birth effectively negates its claim that Jesus is Savior; if he is Savior via extension of Joseph’s bloodline then there was no virgin birth.

The X across the front of the robe is an occult Hermetic symbol for Man (see “Coded X-Rune Mystery Solved,” June, 2017), a meaning reinforced by the pattern stitched upon it. The secret message here is that Jesus was a man, albeit a uniquely enlightened man among largely unenlightened men and women. In the Gospel of Luke, Jesus refers to himself as “Son of Man” more than twenty times. His real mission as Savior was to deliver to the world the truth about the nature of human beings—that humans are actual children of God, extensions of Source Energy. Sadly, the teachings of the Church are designed to obscure, not disseminate, that knowledge. These were things of which Leonardo was aware, as were other members of the secret society sometimes referred to as the Priory of Sion.

Jesus’ right hand is seen by every analyst as making the traditional priestly gesture of benediction: a right hand raised with the ring finger and little finger turned down against the palm, and the thumb, index, and middle fingers elevated. Variations of that gesture of benevolence can communicate additional information. Leonardo’s positioning of the fingers established an iconographic hand signal of self-identification for an enlightened or illumined person, which is apparently how Leonardo saw Jesus as well as himself in his role as secret society protector of human-empowering knowledge that the Church vehemently sought to suppress and eradicate. With the index and middle fingers crossed slightly, the thumb bent a little, and the others folded across the palm, the overall hand forms a perfect symbol for flame, like the eternal flame of an undying candle—mystic fire and light. Only after Leonardo established this precise sign do we find other painters of Salvator Mundi paintings using it.

The globe resting in Jesus’ left hand has been discussed by other analysts as one composed of transparent natural rock crystal or calcite. We see it as a crystal ball, perhaps a secret society artifact once owned by a Persian Magus predating the birth of Jesus. We think that Leonardo used such orb as a prop in the painting process. Any lack of realism in the orb’s depiction can only be taken as intentional, designed to bear meaning. We see the orb as conveying the idea that nothing escaped the perception of Jesus, that he was omniscient, that Creation held no mysteries for him, and so the orb symbolizes both Earth and Omniverse (past, present, and future). The blue tones of the robe and brownish tones of the hand showing through the orb represent land and water in proportions reasonably accurate. Although many in Leonardo’s time were aware that the planet is not flat—the fact that Earth is essentially spherical had been known by some people for millennia—very few in 1500 had access to detailed information contained in ancient maps and maps made by Templar sailors during prior centuries, and even fewer could have known that the planet is roughly seventy-percent water.