In many of his works, Leonardo Da Vinci left a number of more or less understandable encrypted messages. The most secret and inaccessible of them is undoubtedly the > " Vitruvian Man" , the wordl renowned and most reproduced drawing in the world, < where the "Master" indicates the "secret key" to understanding the "masonic key to squaring the circle".


Man is geometry:  from the middle of the breast to the summit of the crown is a fourth part of the whole height, the head from the chin to the crown is an eighth and the face, from the chin to the top of the forehead and the lowest roots of the hair, is a tenth.
In his famous Drawing, Leonardo inscribed a male figure within both a circle and a square (two perfectly simmetrical shapes) and provided movement to the drawing, combining variation and equivalence.

We are in the field of Vitruvius antropometry applied to human proportions, an idea that influenced architecture and primarily the design of fino alla progettazione di chiese a pianta centrale, combinazione e trasmutazione di cerchi e quadrati.

Such a symmetry, that can be found in nature, has often been used by man in his creations and primarily in architecture: in the Giza pyramids,  the Parthenon, the Colosseum, the Domus Aurea, Castel del Monte, the Cistercian church of San Galgano, Villa Americo – also known as “la Rotonda” - , St Peters’ Square, the Taj Mahal, the Eiffel tower,  the Pentagon and in Buckminster Fuller’s domes.

The golden ratio was very often used by ancient Egyptians and later by all the civilizations of the Mediterranean basin. Through the study of the stars, and more specifically of the Orion Constellation, the court astrologers found out that the "golden spiral" was the key and the matrix of life on earth and of all creation.

and the RECTANGLE based on the


and Sirius, its brightest star, considered  sacred by ancient Egyptians.

The harmonious ratio is represented by the logarythmic spiral, also called "golden spiral", through which the harmonious development of form is connected with the individual’s need to live according to nature, namely in the best and least wasteful way possible.

You can start anywhere to generate the whole language of creation.

As a result of his studies on the centres of gravity, Leonardo arrives at innovative conclusions concerning man and applies them to fluid mechanics and to nature as a whole. In his enigmatic drawing, Leonardo indicates that Man’s proportions are based on the same golden ratio ruling the Universe, to which man is joined in an harmonious, well-proportioned and indissoluble relationship among the parts of a whole, according to the ancient Egyptian, Greek, Roman and later Medieval hermetic philosophy.

Undoubtedly, the Arab esotericism that had influenced the Knights Templar, and Frederick II of Swabia in the age of the Crusades, Brother Elijah and Saint Francis when they travelled to Egypt and Palestine and even Celestine V, had a very strong impact on Leonardo himself. Indeed, in his Vitruvian man, Leonardo expressed the very same hermetic and philosophic conception of ancient Egyptians, since he was convinced that there was a close link between al - Kawnun insanun - kaVirun > the Universe is like a Huge Man < and wa-l-Kawnun- çaghîr > Man is a small universe <.

Nature, animate beings and inanimate objects feature the same archetypal shapes, expressing order and harmony: round, combacianti, intertwined and branched.

Squares turn into triangles and rectangles, <> the dodecahedron can be broken down into a cube <> two octahedra and a cube create an icosahedron, exactly like the five regular polydhedra described by Plato (427-348 BC) in his Timaeus. To quote Plato:
But when the world began to get into order, fire and water and earth and air … were altogether such as everything might be expected to be in the absence of God... Let it be consistently maintained by us in all that we say that God made them as far as possible the fairest and the best, out of things which were not fair and good … In the first place then, as is evident to all, fire and earth and water and air are bodies…. and next we have to determine what are the four most beautiful bodies which are unlike one another, and of which some are capable of resolution into one another for having discovered thus much, we shall know the true origin of earth and fire and of the proportionate and intermediate elements. And then we shall not be willing to allow that there are any distinct kinds of visible bodies which excel in beauty, and then we shall be able to say that we have sufficiently apprehended their nature”.

Plato’s Timaeus contains the oldest description of the five regular solids.

Only these five solids (five was a sacred number to Pythagoras) with all their faces consisting of regular polygons fit inside "one sphere".

The icosahedron can be inscribed in an octahedron; the vertices of the five platonic polyhedra lie at the ensuing points of intersection.

Inscribed in the portico of Plato’s Academy in Athens is the warning:
Let no one ignorant of geometry enter”.



The fascination with those polyhedra was most likely created by the collective unconscious. Even though Plato was the first recorded thinker to describe them, the polyhedra symbolized the secret knowledge of the Pythagorean school that Plato was initiated in, and their origin dates back to even more ancient times.

According to Hermeticism, the squares of the following prime numbers are connected with the seven planetary energies, i.e.:

1)      3 x  3  <>  Saturn

2)      4 x  4  <>  Jupiter
3)      5 x  5  <>  Mars
4)      6 x  6  <>  The Sun
5)      7 x  7  <>  Venus
6)      8 x  8  <>  Mercury
7)      9 x  9  <>  The Moon

The five polyhedra are a geometric representation of the four key chemical elements that make up our bodies and 96.5 per cent of an organism’s weight:

1)      Hydrogen ( H )

2)      Oxygen ( O )

3)      Carbon ( C )

4)      Nitrogen ( N )

Most of the oxygen atoms form water molecules. It is a well known fact that almost 70 percent of all organisms and cells are made up of water, and life and health are based on chemical and physical reactions occurring in aqueous solutions.

Just like the energies flowing within our bodies, also the 5 regular polyhedra contained in the Metatron’s Cube have a specific rhythmic rotation. This is a "Western" theory, comparable to the "Eastern" thinking that identifies the energy system in the bodyand provides an accurate description of the Chakra and Acupuncture points where the flow of energy – that is Life and body awareness - is stimulated or blocked, and every piece of information stagnates and eventually disappears from consciousness.

The Metatron’s Cube is the symbolic representation of the energy flowing in living nuclei, metaphorically represented by the five platonic polyhedra.

Today, all this goes with the name of Sacred Geometry and is based on two key elements: the creation of "Platonic Solids" and the combination of complex figures, starting from the simplest and most perfect of all, the circle, as shown in the Basilica of Collemaggio in L'Aquila. It is right there that the energy of the five Platonic solids is generated and forms the Cube, which contains them all.

The sphere symbolizes the entire microcosm and macrocosm, in their simplest form.

By its very nature, Sacred Geometry provides an absolute and uninterrupted fluidity,

which keeps unfolding throughout the creation of the entire Universe. Each part is connected to the Whole
The Golden Ratio is an integral part of Sacred Geometry,

and since its discovery, it has become the symbol of the universal law of harmony.

The golden ratio - or divine proportion - was a common feature in paintings and sculptures and was used by Leonardo in his world famous “ Mona Lisa”. According to the theory formulated by Vasile Droj in his book “Leonardo da Vinci’s  Universal Code –Subcode “ published by Universale,  in the Mona Lisa, as in all of his paintings, Leonardo concealed a mathematical/geometric code, based on a long-forgotten and barely comprehensible cryptogeometric artemathics. Hence, it is not accidental that all Leonardo’s paintings have a specific meaning and feature ratios and proportions that convey a precise symbolic message.

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

Part Two

Symmetry, a word that comes from Greek and means "right proportion, balance", reached its peak during the ages of anthropocentrism,  primarily during the Renaissance. At that time Leonardo created the symbol “par excellence" of human symmetry: the Vitruvian Man, depicting a male figure with his arms and legs apart and simultaneously inscribed in a circle and a square, whose centers coincide with the navel.

Leonardo investigated thoroughly the strict geometric connection between Man and the Universe and between the Parts and the Whole. In the “construction” of his Vitruvian Man, he highlighted how the geometric implications and correspondences might become a creative and initiatory path. Leonardo also studied he proportions of the human body and its commensurability with the perfect geometric forms (i.e. the circle and the square).

His scientific analyses had cosmological ends (correspondence between microcosm and macrocosm) as well as artistic aims: he wanted to represent the human figure correctly and plan architectures based on the proportions of the human body, according to the teachings of Ancient Egyptians, who were very familiar with the

> golden ratio < and the > the Secret of the Three Octaves <

hidden in Labyrinth of Collemaggio

The knowledge that shapes our entire reality is based on quanta and sound. The Sound comes from the depth of a space that has always been identified with the 12
Zodiac Constellations: twelve intervals of 2160 yearsso incredibly important to man, based on the metrics of the Three Octaves.

According to Ancient Egyptians, Precession was not a physical but rather a sonic phenomenon >. Human ages have been influenced bySound and from that very Sound, in an undefined moment in the past, someone acquired all his knowledge and condensed it in a vibrational package, which is equal to > Three Octaves <.

As was mentioned in the beginning of this chapter, in many of his works Leonardo Da Vinci left several, more or less understandable encrypted messages. His most secret and inaccessible message is arguably hidden in his >" Drawing” – also known as the > " Vitruvian Man" - the most famous and most often reproduced drawing in the world, < in which the "Master" indicates the " secret " to understanding the "masonic key to squaring the circle> the only key to deciphering what was considered an enigma impossible to solve mathematically without resorting to tricks or pure magic, as indicated in the above mentioned link.

The Ancient Egyptians, the Greeks, and later the Romans, knew the most intimate secrets of that key and used them to design and construct buildings and cities, as shown in the Rhind papyrus - an ancient document the essayist Gaetano Barbella referred to in a press article (not accidentally) entitled > "Roman Turin was truly founded in the name of Mathematics" <

Like many other researchers, at first I did not pay due attention to that article. My curiosity rose significantly when I received a > drawing < from "someone" who, as often happens in life, showed up "by chance " and disappeared immediately.

The following emblematic > image helps us understand the secret meaning of the veritable "da Vinci’s Codex", concealed in the drawing of the Vitruvian Man. The image below hides > encrypted messages <, which sometimes are hardly comprehensible and decipherable even by scholars and practitioners of esoteric sciences.

Also another great esoteric artist, > MICHELANGELO < had a very clear idea of those messages, when he carved the "eyes" of his equally famous and emblematic sculpture, depicting a peculiar Moses > transformed into a > transceiver < with > two protuberances, one of which < points definitely and inexorably

............> to the left >>>>>>>>>>

… as does Moses’ face > <> and > gaze <.

I am contemplating a number of ideas about their different meanings and I have tried to illustrate them in the various chapters of this site, most of all in the chapter dedicated to Michelangelo’s > Moses < and the two strange prominences protruding out of his forehead. I think they can hardly be considered "horns", because in all animals that naturally have horns, the latter typically grow at the sides of the forehead, while in Michelangelo’s Moses they grow out of the top of his head, like two antennas of a transceiver.

> Anyway, this too in an investigation we should   engage in….together <.

What do you think?

Leonardo da Vinci was a Great Initiate. Apparently, he belonged to the Order of the Shri, the sages of the past. According to Vasile Droj, Leonardo was a member of the “Giocondi” (the Jocunds), a mysterious order whose aim was the attainment of an ongoing personal and spiritual growth through lifelong practice. The Giocondi worshipped the ECSERC ↔ CRESC universal formula, which means ”Practice in order to grow”.  Droj assumes that such a formula might well be the decodification of the root of the founder’s name, Jesus Christ (Isus Cristos).
Isus means is us, i.e. “I am used ” or simply “I use”. The root of the name Christ comes from the verb to grow. The mystery lies in the depth of the word not as yet revealed.

When read backwards  (CRESCE = ECSERC), this formula means "To Exercise, Exercise".
To conclude, for all human beings, the example and the secret formula of Isus Cristos used to be and still is:

> Es uso dell’ecserciatare<> Life is an Exercise <

> La Vita è un Esercizio <

Avv. Giovanni Salvati

Cuore a Cuore

Un uomo non può cambiare il mondo
ma può diffondere un messaggio
che può cambiare il mondo


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