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Da Vinci and the Secret of the Mona Lisa
Posted on Friday, October 13, 2006 (CDT) by Thoth
 Researcher and author Michael W. Domoretsky recently announced a remarkable discovery that reveals a unique element to the masterpieces created by Leonardo Da Vinci.
Until now, despite the many clues that Da Vinci left behind, art historians appear to have overlooked an amazing aspect of Da Vinci’s work, one that is in plain view and that could perhaps be used to unlock the key to the Master himself. Domoretsky’s discovery centres around his most famous creation; the Mona Lisa.
For centuries, people have wondered about the Mona Lisa’s enigmatic smile and what lies behind it. She is a woman who is unmistakably alluring, yet somehow aloof, as if she was painted to be an enigmatic mystery that was never to be fully understood. Much has been made of who the mystery lady really was; experts suggest she was the wife of Florentine nobleman Francesco del Giocondo.
Dressed in
the Florentine fashion of her day and seated before the visionary,
mountainous landscape of the Arno Valley, the Mona Lisa is cited as a
remarkable example of Leonardo's sfumato technique of soft, heavily
shaded modeling. Sfumato in Italian means vanished or evaporated and
was a technique that Da Vinci pioneered.
 Such was Da Vinci’s
attachment to the Mona Lisa, which was commissioned between 1503 and
1506, the painting was never delivered to the Gioconda family. Instead,
it remained with Da Vinci who carried with him on his travels
throughout Italy and Europe, until his death in Amboise, France in
1519. Quite why Da Vinci was so reluctant to let the painting go has
never been fully understood.
Through his research,
Domoretsky reveals that there is more to Da Vinci’s Sfumato masterpiece
than most people have ever imagined possible and which no other master
who followed in Da Vinci’s footsteps seems to have been aware of.
Encoded within the painting carefully hidden in plain sight, is a
hologram.
Da Vinci once said "Who would believe that so small a space could contain the images of the universe?"
Measuring just 77 x 53 cm
(30 x 20 7/8 in) the Mona Lisa is certainly small, but does it contain
the images of the universe? Domoretsky thinks that it may well do.
 Even taken at face value,
Domoretsky’s discovery is an exciting one. By his own admission, it is
something easiest for those accustomed to thinking outside of the box
to comprehend, as it seems to blend esoteric tradition with science in
a way that demands our attention. The art world however often appears a
little reluctant to investigate his ideas, however those ideas can be
demonstrated; they are not without substance. According to Domoretsky,
Da Vinci used his extensive understanding of science, nature, life,
shade and light to create a holographic image of the Holy Grail, which
he then embedded in the Mona Lisa. Domoretsky contends that Da Vinci’s
well documented fascination with mirrors and mirror imaging lead him to
conceal a series of these images in not only the Mona Lisa but in many
of his works of art. These hidden images are only revealed through the
mirror imaging of Da Vinci’s masterpieces.
Probably the most stunning
hologram so far discovered can be found in Da Vinci’s treasured
painting and constant companion in his twilight years; the Mona Lisa.
Here, Domoretsky first reveals the image of the Holy Grail and
additionally puts forward the contention that the Mona Lisa is in fact
Mary.
After reading and
contemplating over comments made in Da Vinci’s surviving manuscripts
discussing light and shade, his notes on the theory of colours, along
with his various observations relating to perspective of colour,
Domoretsky realised that there was an undiscovered subtlety contained
in the work. That subtlety was not only revealed when the Mona Lisa was
viewed as a mirror image but on a lesser level can be seen when the
painting is examined in minute detail.
In addition to his grail
discovery, on the Mona Lisa’s sleeve concealed within the delicate
folds of material and interplay of variations of light and shade,
Domoretsky postulates that the name ‘Mary’ can be deciphered. This is
by no means as obvious as his grail hologram but is bound to be an
element of his research that Da Vinci code enthusiasts will pursue with
some enthusiasm as they ponder how deep Da Vinci’s knowledge of the
divine feminine might have been.
 We know that Da Vinci
designed detailed plans for many inventions that were centuries ahead
of their time from flying machines to tanks and battle chariots (many
of these surviving images can be found in ThothWeb’s Gallery). We also
know that he had advanced knowledge of anatomy and biology, but is it
possible that Da Vinci used his knowledge of science to encode an
arcane esoteric understanding of the mechanism of the universe within
his art? The simple answer is, yes.
Da Vinci’s studies often
blended science, engineering and mathematics with his artwork. For Da
Vinci, these were not mutually exclusive disciplines but complementary
ones that could and should be fused together in the act of creation and
observation of the world.
Da Vinci kept notebooks
throughout his life, around 4,000 pages of which still survive. Many of
these entries were made in reverse or ‘mirror’ writing. There are two
possible reasons for this, one is that he used this method of writing
naturally because he was lefthanded and mirror writing was easier for a
left handed person using a quill this way without smudging (although
one can hardly imagine an artist of Da Vinci’s calibre smudging his
writing no matter which hand he wrote with). The second reason was that
it allowed him to keep his writing relatively secret, this is borne out
by the fact that he often used strange abbreviations in his journals in
addition to writing backwards.
Da Vinci’s own words,
translated from the Italian by Richard Hooker highlight his deep
fascination and understanding of the complexities and potential of the
mirror and some would say the universal kaleidoscope; the holographic
nature of reality.
 The air is filled with an
infinite number of images of all the objects in it. All these images
are represented everywhere, all these images combine together: if you
place two mirrors in such a way that they face each other perfectly,
the first mirror will reflect into the second mirror and the second
mirror will reflect into the first mirror. So: the first mirror takes
the image of the second mirror and the second mirror takes the image of
the first mirror, and each mirror takes the image of the other on to
infinity, each mirror having within it a smaller mirror. This proves,
by experience, that every object sends its image to every spot where
that object can be seen. The reverse is also true: that very same
object sending its image to every spot can also receive the images of
all objects placed in front of it.
Therefore, the human eye sends out
its image through the air to all objects placed in front of it,
including other eyes, and it also receives all the images of all the
objects placed in front of it; it receives these images on its surface,
communicates them to the common sense, which judges them, and if
pleased with them, communicates them to the memory. As a result of
this, I believe that the invisible images in the eye are also
communicated to the object, as the image of the object is communicated
to the eye. The images of objects are communicated throughout the
atmosphere. Here's the proof: if you place several mirrors in a circle,
they will reflect on each other to infinity. When one image reaches
another, it will be returned to the object that produced it in the
first place, and, now being a smaller image, it will return again to
the object and then come back again, on and on to infinity. Here's
another proof: if you put a light between two flat mirrors placed
exactly apart, you will see in the mirrors an infinite number of
lights, each smaller than the other. Here's another proof: if you put a
light between the walls of a room, all parts of those walls will be
illuminated in some way, if there is nothing to block the course of the
image of the light.
Domoretsky’s work covers
not only the holographic makeup of the Mona Lisa, indeed, he is piecing
together a complex and detailed jigsaw puzzle that encompasses every
detail of Da Vinci’s work. This labour of love is a slow and
time-consuming endeavor but one Domoretsky is convinced will yield yet
more secrets of the Master.
If Da Vinci actually saw
the universe as a hologram that was concealed by the physical aspect of
reality, then it seems that we have so far only touched upon the genius
of the man himself and the meaning of the Mona Lisa. There is a huge
amount of investigation still to be undertaken into full extent of Da
Vinci’s genius but it seems that new insights are destined to take us
into the heart and mind of Da Vinci himself.
Note: Images reproduced here with the kind permission of the author.
For full-size pictures and descriptions, please click here.
Michael W. Domoretsky's website: www.lionardofromvinci.com
© Thothweb - http://www.thothweb.com
All images copyright © by
their respective photographers. This article is copyrighted. No part of
this article can be reproduced without the written permission of
ThothWeb.
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Re: Da Vinci and the Secret of the Mona Lisa
by VLADIMIR on Wednesday, October 18, 2006 (CDT)
(User Info | Send a Message) | Having experienced the same unexplainable obsession with Da Vinci's Mona Lisa, it was with great relieve that I happened upon Michael Domoretsky's facinating discoveries and his unique ability to have unraveled what millions have be asking for centuries, "What is it about the Mona Lisa!" I agree that the enormous genuis of Da Vinci has yet to be truly realized or appreciated. I've had the opportunity to read other articles about Mr.
Domoretsky and his amazing discoveries found in so many of the painting and drawings of Da Vinci, which have been in plain sight for so long and yet some how have evaded the "experts" scrutiny.
It's amazing to me that "experts" are still
not paying attention to someone who has obviously unlocked the door of mystery surrounding Leonardo Da Vinci's work. I've been looking forward to Mr. Domoretshy's book, though I haven't heard anything about a possible release date. Please Mr. Domoretsky, we've waited long enough! I truly can not wait to see what else you've in store for us. |
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Re: Da Vinci and the Secret of the Mona Lisa
by beastly on Thursday, October 19, 2006 (CDT)
(User Info | Send a Message) | | I found the article Da Vinci and the Secret of the Mona Lisa to be fascinating and read of his findings on lionardofromvinci.com. I am amazed at Michael Domoretskys discoveries and find it discouraging to read of the difficulity he experiences as he attempts to enlighten others of the undetected da Vinci art. I found the holographic images within the Arno Valley to be enchanting and at last a researcher and author has unraveled the mystery of the Mona Lisa. I say let it be known, after all it is LEONARDO DA VINCI! |
Re: Da Vinci and the Secret of the Mona Lisa (Score: 1)
by sketch56 on Wednesday, November 15, 2006 (CST)
(User Info | Send a Message) http://www.lionardofromvinci.com | I would like to let the readers know the week of the 13 of November The Boston Globe will be sharing the findings within Leonardo da Vinci and the processes found witin his masterpieces.
Both the discovery of optical illusion and perpendicular reverse mirror imaging process will be shared.
Sincerely,
Michael W. Domoretsky
http://www.lionardofromvinci.com
http://www.lionardofromvinci.com/mirrorimage.html |
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