A less known angle of the genius
Leonardo Da Vinci’s entire experience may be considered as the embodiment of the Alchemist premise As above, so below, which refers to the understanding of the macrocosms by studying the microcosm. Leonardo’s well-known fascination with nature perhaps derives right from this premise: his understanding of sacred geometry, platonic solids, the meaning of Phi, the Fibonacci Sequence, and the Golden Ratio, or what has been called the Divine Fingerprint of God, may in fact explain how the universal genius successfully approached so many different disciplines.
Given this premise, one should then ask if and how Leonardo used this Alchemical Gnosis or knowledge, and what evidence of this can we find in his art. Let’s see.
The Alchemical Premise of transmuting baser metals orenergies into higher or nobler ones also refers to human consciousness and body, and the search for the philosopher’s stone to produce the elixir of life or water of immortality was purported to transmute the carbon based body into the diamond or golden light body. This transmutation is known as the “Magnum Opus” or The Great Work. All alchemists sought and seek the revered philosophers stone necessary to understanding the universe. What one should ask is what is this precious stone that bestows immortality, allows its user to traverse time and space and travel the multiverse, communicate with aliens and, yes, eventually even with God. We know that in history this type of gnosis or knowledge had to be hidden – which is precisely why is esoteric – and that alchemists have been hunted down and murdered by the Church to obtain or conceal this knowledge since it translates into power.
Throughout the years, and with the help of technology, we have learned that not only did Leonardo write in reverse, but also painted in such way: or, to use the proper word, holographically. As many of his masterpieces were copied and the two mirror images joined at the hands, a third, quite strange image was revealed.
Quite interestingly, many of these images showed the subject with a third eye protruding from the forehead, while other images revealed alien-type creatures. Consequently, we may assume that this was the reason why Leonardo produced sketches and drawings of which humanity had no prior knowledge: flying machines, scuba diving apparatus, warfare mechanisms. In the Codex Atlanticus, indeed, there are over 6.000 pages of notes, sketches, three-dimensional designs written down in reverse for security’s sake. And the papers of the Codex Atlanticus, along with one of his most famous sketches – the Vitruvian Man – are to this day keep under lock.
So the question arises as to what we can attribute this remarkable knowledge and vision of Leonardo. Perhaps to his Alchemical training? Perhaps to the fact that he found the philosopher’s stone, or that he achieved the gift of interdimensional travel? Or that he was able to receive, somehow, information or visions of the future and communicate with off-world intelligence? The answer may lie concealed
precisely in the genius’ Vitruvian Man.
This perfect specimen of human anatomy placed inside both a circle and a square is a holographic form with 16 different positions. Leonardo believed the workings of the human body to be an analogy for the workings of the universe: As above, so below. He symbolized the material existence by the square and the spiritual one by the circle, and this concept of squaring the circle or achieving the impossible is also a symbol of divine spirt manifested in form: The Alchemical meaning of the circled square finds the philosophers stone, completing the Great Work and achieving enlightenment.
The square unfolded reveals the existence of other Platonic solids, specifically the tetrahedron. As these two triangles are joined, they form what in Hebrew is called the Mer Ka Ba, whereas Mer means light, Ka spirit, and Ba Body or vehicle of the light body. The Merkaba would be the energy field surrounding all living things. When properly activated by the spinning of the two triangles that form the tetrahedron in
opposing directions, this energy raises the vibration of the physical body transforming it into the “light’ body, transmuting the lower frequencies of the carbon body into the higher frequencies of the diamond or golden body.
And what about the philosophers stone? Where could this precious gem be hidden and how could the adept find it? Perhaps the secret lies hidden in the holographic mirror images of Leonardo’s paintings. The images that had a third eye protruding from the center of their forehead were traditionally used in Eastern Art to symbolized an enlightened being who had obtained the sight by the opening of his third eye, and
Leonardo’s image of Christ in The Last Supper contains such an image. Could the genius have left the secret location of the philosopher’s stone hidden in plain sight inside his art for future generations to at long last “see”? And could this precious gem be our pineal gland and the elixir of life the golden melatonin or honey which flows down the spinal column as part of the Alchemical Art of Raising the Chrism? Perhaps, only an Alchemist may know the true secret.