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THE MASSONIC KEY TO SQUARING THE CIRCLE

 

In many of his works, Leonardo Da Vinci left a number of more or less understandable encrypted messages. The work where he hid his most secret and inaccessible message is undoubtedly the >" Vitruvian Man" , probably the most famous and reproduced drawing in the world. "Master" shows the "secret way" to understanding the "masonic key to squaring the circle", the only key to unveiling a mathematically unsolvable"enigma"that apparently could only be solved with tricks of pure magic (see the link indicated here).

THE COSMOLOGICALMAN

Leonardo studied the canon ofproportions and the correlation of the human body with the perfect geometric shapes, i.e. circle and the square. His scientific analyses had cosmological ends (correspondence between microcosm and macrocosm) and artistic aims (correct representation of the human figure andthe planning of an architecture based upon the proportions of the human body).


In the famous Vitruvian Man, on display in Venice, Vitruvius’ theories are further developed in many original ways.

Man inscribedin a circle and a square

Geometric construction

Multiple versions of the drawing are available on the internet. One of the most amusing portrays the Homus upside down.  Its author has carefully depicted not only >the hair< but also >the penishanging< top down.


No one seems to have paid particular attention to this esoteric and encrypted message. Strangely enough, in several pseudoscientific articles published on the internet
the Vitruvian Man is portrayed with two right feet facing >West.

Even scholars of Leonardo’s works have not paid sufficient attention to other "messages" left deliberately visiblebut which went unnoticed by the layman, as indirectly confirmed in an article by Fabrizio Ruta, under the suggestive title > "A biopsychological model approach to the structure of the human being". In this article, the author reproduces the famous drawing with "inverted feet" , refers clearly and unmistakably to the Accademia Art Gallery in Venice – where the original drawing is stored – and provides relevant bibliographic references.

Leonardo da Vinci: the "Vitruvian Man”, also known as "Leonardo’s canon of proportions" -Accademia Art Gallery, Venice. This drawing depicts the ideal human body proportions, in line with the principles set downby Vitruvius in Roman times and studied during the Renaissance by the mathematician Luca Pacioli in his work De Divina Proportione, illustrated with 60 drawings by Leonardo.With respect to the canon, Leonardo wrote:"Then again, in the human body the central point is naturally the navel. For if a man can be placed flat on his back, with his hands and feet extended, and a pair of compasses centered at his navel, the fingers and toes of his two hands and feet will touch the circumference of a circle described therefrom".

At first, I thought that Leonardo had made "two different drawings". In fact, the image reproduced in some reviews feature the feet pointing to the left, while in others they clearly point to the right.  Thai is the reason why I was almost convinced that Leonardo had indeedmade > TWO< drawings <>the second of which <was stored in Paris at The Louvre.

Later I discovered that the "inverted version", used erroneously and with extreme superficiality, was a "fake" , a pure fantasy item, as was the "criptex", the special message decryption device attributed to Leonardo, though with no historical evidence, and described in "The Da Vinci Code", the famous novel by Dan Brown that opens with the discovery of the corpse of Jacques Saunière, curator of the Louvre


In one of the reviews of this novel, where mention is made of the elusive "Priory of  Sion", the 'imageis reproduced backwards.

"Jacques Saunière, curator of the Louvre, is chased and shot dead by a disturbing albino monk. As he lies dying, Saunière realizes that with him, the last custodian of a terrible secretdisappears as well. A few hours later, the guardians discover the corps of Saunière lying naked on the floor, in the pose of Leonardo’s Vitruvian Man.

Before dying, the curator drew a pentacle on his stomach with his own blood!The German researchers working for the Duplicon projects were probably rather doubtful when they sponsored the exhibition on the German translation of Leonardo’s "Codex Leicester", hosted in a museum in Berlin in 2000. In the drawing of the event brochure, they invited the public - maybe unintentionally - to solve the difficult question of whether to turn <right< or> left > to go from "the square" < to > "the circle" .

The German researchers working for the Duplicon projects were probably rather doubtful when they sponsored the exhibition on the German translation of Leonardo’s " Codex Leicester", hosted in a museum in Berlin in 2000. In the drawing of the event brochure, they invited the public - maybe unintentionally - to solve the difficult question of whether to turn right< or>left to go from the the "square"< to> the"circle".


Given the confusion generated by the two versions in circulation,probably only a new Sherlock Holmes could deduce the right way to go, the "only direction" to follow, or rather, "pursue" with careful attention,


preparation and psychoenergetic aptitude, as indicated by Leonardo in an equally famous painting on display at the Louvre. In that painting, he assigned this task to St John the Baptist,who is portrayed with a feminine appearance, while raising his right index finger skywards andresting his left middle and index fingers on his sternum, at the level of the heart.



An identical, encrypted message is hidden in St Johnin the Wilderness/Bacchus,apainting also exhibited at The Louvre. Here Bacchus points off to two directions >skyward and earthward, and has his left leg crossed over the right.

The obvious message lies > in the position of the arms and legs < which in the Vitruvian Man are doubled,unmistakablyturned >to the left < and pointingEast. These aren’t the only "messages"intentionally left by Leonardo. Each plant and flower around "Bacchus" hides a more or less clear message.The oak tree, which Bacchus/John is leaning his back against, has a deep symbolic meaning that isdirectly connected to the Tree of Life and the 10 Sephirot, and highlights the indissoluble relationship between Man and Nature, and between masculine and feminine energy.


Leonardo devoted a long time to the study of nature in all its manifestations. In his drawings, he often reproduced interlacing branches that resembled precious embroideries or amazing allegories, designing the geometric interface from which > Nature < draws inspiration to unveil itself.

The "Codex Atlanticus" (Atlantic Codex) includes a set of drawings dedicated to the Art of Tessellations, i.e. geometrical arrangements that were used in Islamic art and architecture to adorn surfaces with symmetric polyhedra and extremely refined shapes, as those on display in the Sala dell'Asse (room of the wooden boards) in the Milanese Sforza Castle.


Artis a "symbol"> through which the artist represents the Invisible through visible things. Symbolism is the science of the relationship between Man and God.

God speaks to us through "signs" and through nature, in all its manifestations. Unlike mystic painters, who thought that heaven descended to earth, Leonardo tried to translate the"signs of God" into the language of Man to make Man rise to heaven, by showing him where, when and how to goto face and overcome the obstacles. Thus the artist becomes a "spiritual advisor" and "a guidefor the soul".

All these "signs " show where we should "direct"our energy. An indirect confirmation of it comes from by the "inverted image", as demonstrated by the story of Pope Celestine Vand of Collemaggio, which should be read < " backwards">.

If we analyze the various signs from an esoteric and mystic viewpoint and compare the two images, we see clearly that >darker hair <and >the black spot < could have been placed only "on the right" and not of "on the left". This emphasizes "the symbolically lefty message"of the greatInitiate, who took up the habit of writing backwards > from right to left.< Perhaps to make his coded message even more confusing!!??
At closer scrutiny, Leonardo’s drawing features some >"odd"<, inconsistent and unrealistic details.

If we turn the image upside down, these little angels look like they were kissing!




Il Segreto della Gioconda di Leonardo e la Gioconda di Raffaello - parte seconda

Part Two http://www.youtube.com/watch?v=W08NQUkqJc0

at the viewer>Does the left eye look directly ?

>Does the right eyelook up to the sky?

> Is the hair on the left side lighter-colored?

>Is the hair on the right side dark?

>Are the face and humerus inscribed in a geometric grid?

>Is a six-point star (-1) drawn under the grid?

When examining this >drawing < and its overlaid geometric grids, a few questions spring to mind:

>Is the grid divided into 64 squares?

>Is the face inside the griddivided into 16 squares?

>Does an equilateral triangle surround the face?

>Are there additional triangles at the level of the chinand nose?

>Is the face framed in a moon-shaped cup?

>Is there an additional rhombus in the middle of the base of the equilateral triangle, that divides the latter into two rectangular triangles?

>Do the 4 rhombi consist of 4 rectangular triangles or of 4 rhombic squares?

>Are there three small rhombi above the navel, forming an equilateral triangle?


https://www.facebook.com/giuseppina.holtzner.7/videos/vb.100009676537314/563907813941765/?type=2&video_source=user_video_tab

>Are Leonardos very precise >numeric ratios and symbolic relations < one more esoteric mystery?



> Is there the symbol of the square ruler between the navel and

>the small rhombusin the middle of the base of the triangle?

>The hair above the penis forms a bush, from where a rose bent to the left seems to be blooming.



>Is there a black spot at the bottom to the right of the right foot,

symbolizing "Malkuth in Assiah", the > tenth < of the Sephirot, as some scholars maintain?


Scholarly research on the messages left by Leonardo focuses mostly on other signs >related to precise geometric and mathematical proportions - very well known and studied in the minutest detail – and does not give due consideration to the "esoteric side" of the "da Vinci Master" and to how, like many other artists, he used to hide “encrypted messages" within his works. Undoubtedly, Leonardo attached his own >esoteric significance< to an intent and he used > a symbol < according to very precise reasons, primarily >the principles of Symbolism< - which he knew very well and through which he cryptically illustrated > the union between < the active energy (male and solar)  and the passive energy (feminine and lunar) > and between the human and the divine nature.



From a mystical perspective, the ”Vitruvian Man” was symbolically chosen by Leonardo to show the path Man must follow to purify our soul progressively, by adjusting to the cosmic energy all around him us and make his way up to the Primum movens - octave by octave - > 888 < .

May be the mysterious and esoteric meaning of the incomprehensible "da Vinci Codex " > could be explained through another peculiar > drawing< I received from "someone" who, as often happens in life, showed up and disappeared immediately.

The analysis of this "drawing" depicting two crossed compasses with an angular opening of less than 90° - is based upon schemas and masonic symbols that are more or less comprehensible to the "Initiates" .

One of these symbols, particularly meaningful to Plato, is the circle fitting inside an isosceles triangle.

The ancient civilizations already used complex geometric shapes -resulting either from the combination of many different forms or fitting into one another - to indicate "the path leading to the Magnum Opus" (the Great Work).


At the beginning of the Great Work, the "prima material of the hermetists" is chaotic and is in the shape of a circle, symbolizing the

>primordial chaos<

This circle is the > Ouroborus < the "mercurial snake" eating its own tail, the human "Vas electionis", the skull, > the Calvary < the vessel in which namely

The transition from the nigredo (darkness) to the albedo (whiteness) stage < takes place.

In Roman times, transitions were associated with the God Janus

MAN AND HIS DOUBLE

Janus Bifrons, the first of the gods and thus their father, was the keeper of the Solstices, which were considered the "gates of heaven""humans beings"entered through the Winter Solstice while "gods” used to exit through the Summer Solstice.

> Janus was the God of thresholds <.

>symbolizing the new found unity <

The ratio between the surface area of the inner and the outer "circle" is > 1 < to > 8 <, which means that "the biggest circle" is >one octave higher< than the smallest one. Hence, the symbolic message is that >Adepts < are one octave higher than >ordinary men< .

Leonardo’s facewith his "dark hair" and "eye" facing up to >the right< and his "fair hair" and lighter-colored eye" facing straight to >the left< is inscribed in a "square", which in turn is inscribed in a "triangle" surrounded by a "circle",

The esoteric meaning of the < Eye of Horus >,also known as the < Third Eye >, seems less obvious.  The <eye lies> in the middle of crossed >compass< and >set-square< forming > a 90° angle < and creating an additional inner >"square"<.

> A half semicircle <hangs to the >left < like a half-eyelid, and seems to run parallel to an identical "semi-circumference "that unites > the compass<.



The game becomes even more complex if we look at the arrangement of the letters of the alphabet from > a < to > j <, which indicate >individual points< in the various geometric shapes, as well as the hand written "numbers" and "letters" in the upper right side of the sheet.


I have developed my own ideas about the symbolic meanings, but in light of the various "messages I intentionally left behind in the chapters of this "initiatory path", I think we should elaborate further on them together. Therefore, I would like to invite the readers to consider carefully the remarks and reflections made by a prominent brother mason on the >anticlockwise movement < of the eggregoric energy inside a > ritually consecrated < "masonic temple".

We human beings can be compared to a light bulb.  When we are born, we have a > 25 watts < power output. For some of us, this power increases gradually but for the rest of us, this power is stifled from the early years of our lives.

 


Some succeed in boosting their energy and turn into halogen lamps that can deliver up to > 1000 watts< of power. They get there because they learn how to adjust their inner power and time thereby allowing them to beat in unison with ”cosmic" time,the "other time" < physicist Giuliana Conforto referred to when she spoke at a conference on theelasticity of timeheld in L'Aquila.


This 'search' implies a constant struggle, both individually and collectively, and it is not coincidental that hermeticists named it >the path to the Great Work <. It implies the setting of the "four energies" >fire< >air< >water< >earth< to make regeneration possible through four major stages >nigredo <> viriditas< >albedo < and >rubedo < (blackness<>greenes<>whiteness <> and redness) and by following the ternary and quaternary laws that rule our microcosmic and macrocosmic Universe.

"You will find something far greater in the woods

than you will in books. Stones and trees

willteach you that

which you will never learn from Masters"

(Saint Bernard of Clairvaux).

Only if we combine > our energies < with those of all the other human beings who live on this earth  - who are only apparently "inanimate" - as St Bernard suggested -our overburdened body will become lighter, and like a “kite" it will be able to soar highin the sky,

> to Sirius and to other innumerable stars, in search of its own "little white elephant"<.

Heart to Heart

A man cannot change the world
but he can spread a
message that can change the world