It was Pythagoras who first said that everything is related to numbers. Later, Plato wrote above his school gate: “Let no one ignorant of geometry enter here." (Priestley, 2012) Finally, Leonardo himself said: ”Let no man who is not a Mathematician read the elements of my work.” (Sketch number 3. Richter, 1888).1


1 Even when Nicholas Copernicus revolutionized the science with his book De Revolutionibus (On the Revolutions) in 1543, his book began with the words: “Let no one untrained in geometry enter here.” (Copernicus, 1543)


Image 3. The height of Mona Lisa


A student of the Mona Lisa will learn that the dimensions of the painting are 77 cm x 53 cm. However, as researcher Vincent Delieuvin of the Louvre Museum states, the measurements are not accurate: “The panel of the Mona Lisa is a piece of wood made by a carpenter at the beginning of the 16th Century. So it is not a perfect rectangular! In fact the measures varies regularly between 53,3 and 53,4 cm, and between 79,1 and 79,4 cm.” (Email December 10, 2013)


As we know of Leonardo, he applied numbers and riddles in his works of art.2 With the Mona Lisa, the number to look at is 72 – the same numbers which are found on the arch of the bridge in the background. Incidentally, this number also matches the height of the painting. If we choose to use the maximum height of the painting, confirmed by the Louvre Museum, this is exactly 794 mm. With this height, the distance from the bottom of the painting to the vertex/ top of the head of Mona Lisa is exactly 722 mm, and thus the distance from the top of the head to the upper edge of the painting is exactly 72 mm. These dimensions can be put into the form:

72 + 722 = 794 = 666 + 27.


The equation above demonstrates the mathematical connection between the numbers 72, 722 and 666, to which we will return later (See also Images 3, 8 and 46 and Appendix 10).


2 See for instance our study demonstrating how the elements of Leonardo’s painting the Last Supper match the elements of the Great Pyramid of Giza. The study (Appendix 10) explains how the number 153 plays a significant role in encoding the painting’s hidden message.


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