By studying two sets of notes by Leonardo we will, in effect, see how The veil of the temple will be torn in two from top to bottom (see e.g. Matthew 27:51). These sketches (676 and 677) are part of the Allegorical representations section (Richter, 1888).


“Pleasure and Pain represent as twins, since there never is one without the other; and as if they were united back to back, since they are contrary to each other. [6] Clay, gold.

If you take Pleasure know that he has behind him one who will deal you Tribulation and Repentance.

[9] This represents Pleasure together with Pain, and show them as twins because one is never apart from the other. They are back to back because they are opposed to each other; and they exist as contraries in the same body, because they have the same basis, inasmuch as the origin of pleasure is labour and pain, and the various forms of evil pleasure are the origin of pain.”


Leonardo gives us two extremes, ‘pleasure’ and ‘pain’, which as twins cannot appear without each other. Leonardo also gives us a clue that there is more than one Mona Lisa, and that they are opposed to each other, twin extremes. This of course refers to the Louvre Mona Lisa which is Father and the Sun, and del Prado Mona Lisa which is Mother and the Moon. The sketch number 676 63 which may have been given by Leonardo but also possibly by Richter, who compiled the literary works of Leonardo da Vinci in 1888, also bears significance:


I AM * (that) I AM = YHWH * YHWH = YHWH = (10 + 5 + 6 + 5) = 26 = 676.


It is remarkable how well the backgrounds of the “twin” Mona Lisas match (Image 54). Even though they are masculine and feminine as the text says, they are the same body – Mona Lisa Father-Mother. The golden (bridge and) gate meets the silver gate, and the all-seeing-eye-pyramid of the Sun meets the evil-eye-pyramid of the Moon, and even gold meets clay.


63 The number of this sketch dates back to Richter, and the story does not tell us whether it is Leonardo’s or Richter’s idea.


Mona Lisa del Prado and of Louvre presented back to back.

Image 54. Father and Mother back to back


This symbol of twins is actually the body of the First Man (Adam), which then was divided into two genders. Another ancient symbol of twins is the Eternal Twins (or Gemini), who are Father Shu and Mother Tefnut in Egyptian Divine Order (see Appendix 7). We can still recall the eyes of Horus the Elder, which are equal with this symbolism. Naturally, this conclusion testify again that also the Mona Lisa was, indeed, painted as an image of God.


“Therefore it is here represented with a reed in his right hand which is useless and without strength, and the wounds it inflicts are poisoned. In Tuscany they are put to support beds, to signify that it is here that vain dreams come, and here a great part of life is consumed. It is here that much precious time is wasted, that is, in the morning, when the mind is composed and rested, and the body is made fit to begin new labours; there again many vain pleasures are enjoyed; both by the mind in imagining impossible things, and by the body in taking those pleasures that are often the cause of the failing of life. And for these reasons the reed is held as their support.

Evil-thinking is either Envy or Ingratitude.”


Mona Lisa with reed in her hand, then Mona Lisas on top of each others, and Mona Lisa upside down.

Image 55. Left: A Reed in his right hand. Middle: The Body is made fit to begin new labours. Right: Evil-thinking and Envy are Evil-eye (Mark 7:22)


These images (Image 55) arise from below the veil. “A reed in his right hand” is related with Mona Lisa via the sketch, where the reed is in his right hand. The middle one is duplicated and made to overlap by 153 mm from the right edge of the painting to highlight how “the body is made fit to begin new labours”. The right side refers to “evil-thinking is either Envy or Ingratitude” with the message of Mark 7:22, where evil eye and envy is used as synonyms. With this text Leonardo expresses his opinion about the evil-eye of people. He teaches us the same lesson than all the spiritual teachers; do not seek earthly pleasures, because they are often the cause of the failing of life. In this context Jesus also teaches us to seek Father – the eternal aspect of the Holy Spirit, not earthly fortune.


Sketch 677 is clearly related to Mona Lisa and it was referred to by Hartley-Parkinson (2011), who thus reported to have found hidden animals in the Mona Lisa (Hartley-Parkinson, 2011). Hartley-Parkinson’s research was indeed based on a fine idea and it almost did reveal the truth behind the veil. The point-by-point guide to looking behind the veil is included in Decoding the Last Supper (see Appendix 10), which shows that Leonardo hid another secret folding formula in the Last Supper, allowing a certain geometric image to be found in the original painting. This formula was based on the number 153. Sketch 677 plays this same purpose in the context of Mona Lisa: it contains instructions for folding the image into a new form.


“Envy must be represented with a contemptuous motion of the hand towards heaven, because if she could she would use her strength against God;”


Image of Mona Lisa upside down.

Image 56. A Contemptuous motion of the hand towards heaven


As we have already noticed, the sleeves of Mona Lisa were painted with a wavy shape on them. These waves symbolize motion. It is also possible that the hand towards heaven is an instruction to rotate the Mona Lisa upside down 180 degrees. We already studied Mona Lisa upside down, when we noticed the code Mark 7:22, which was a reference to the evil-eye.


Another justification for turning the painting upside down comes from the Way of Truth: when a person receives the Baptism of Water, the change takes place in the chakras located on the forehead and top of the head. Then, the spiritual journey continues from the top to the bottom chakras (this is called the Baptism of Fire), this is where the world and the meaning of some most relevant symbols turn up-side-down. The Baptism of Fire is the phase where all the evil thoughts such as Envy and Evil eye are burned away from a person walking in the fire. 64


64 The Baptism of Water and Fire are explained in Appendix 2.


“make her with her face covered by a mask of fair seeming; show her as wounded in the eye by a palm branch and by an olive-branch, and wounded in the ear by laurel and myrtle, to signify that victory and truth are odious to her. Many thunderbolts should proceed from her to signify her evil speaking.”


Mona Lisa folding instructions.

Image 57. Thunderbolts and mask of fair seeming


As said before, researcher Silvano Vinceti was able to find letters in the eyes of Mona Lisa in 2010. Could these letters be rather symbols such as images of a palm branch and an olive-branch? The Louvre Museum rejects the existence of these letters, and it would be interesting to know what they would say about these symbols in this context. After all, the olive-branch is a symbol of the Baptism of Water, familiar to us e.g. from the tale of Noah in Bible (Book of Genesis 8:11). The palm branch is similarly a sign of the Baptism of Water, but in the ancient Egyptian tradition, where it refers to god Heh.65 66


65 The symbolism of Noah and the Egyptian Father-God Nu, with their arks, three boys and wives with no names is presented in Appendix 2 and Table 8.


66 A palm branch symbolizing time is commonly known as a symbol of Heh (eternity and infinity) in the Ancient Egyptian Scripture.


Furthermore, laurel symbolizes god Apollo and eternity (as does Heh) whilst myrtle symbolizes goddess Venus and thus immortality, love and marital harmony (Signs & Symbols, 2008, p. 81 & 94). Also, those who have an understanding of the Way of Truth, know that the ear refers to Baptism of water 67 and the eye refers to the Baptism of Fire 68. Also the third baptism begins with thunderbolts, and these thunderbolts are clearly alluded to in the yellowish sleeves of Mona Lisa. Leonardo uses the dark symbolism such as ‘evil speaking’ and ‘wounding’, because he wants to highlight his opinion that no man is pure, unless walking the Way of Truth.


67 Jesus says, talking of John the Baptist: ”Whoever has ears, let them hear” (Mat 11: 11-15).


68 The light of the body is the eye: if therefore thine eye be single, thy whole body shall be full of light. But if thine eye be evil, thy whole body shall be full of darkness. If therefore the light that is in thee be darkness, how great is that darkness! (Mat 6:22-23). The eye full of light is the pure heart of a person that contains seven parts as explained in Appendix 5.


“Let her be lean and haggard because she is in perpetual torment. Make her heart gnawed by a swelling serpent, and make her with a quiver with tongues serving as arrows, because she often offends with it.”


More folding instructions of Mona Lisa.

Image 58. Heart, tongue together with lean and haggard


These words are the actual instructions for folding Mona Lisa. First, she needs to become lean and haggard, which is demonstrated on the right in Image 58. On the bodice of Mona Lisa’s dress, near her heart, there are ornaments which resemble snakes. When folded, this part is covered and not visible, and when folded even further, this part rises over Mona Lisa’s mouth, which is referred to with the word “tongues”.


Now, we arrive at very familiar measurements which appear once more. The folded Mona Lisa has the height of 612 mm, which is the sum of the numbers 216 (upper)69 and 396 (lower). The folded Mona Lisa has the width of 306, which, divided into half, gives us 153. 153 is the same number which was the key to the folding of the Last Supper. 70


69 The number 216 was used with the Moon, when we calculated the dimensions of the Earth, the Moon and the Mona Lisa circle (e.g. Definition 5).


70 More about Last Supper, see Appendix 10. Notice also that the symbolic number in the tale of miraculous catch of fish, is 153 in the Bible (John 21).


Because Image 59 has the dimensions 306 : 612 (1a : 2a), it fits perfectly to the floor of the King’s Chamber in the Great Pyramid of Giza (Image 6). This gives us the possibility to use Theorem A as a tool of analyzing the dimensions of Image 59.


Mona Lisa folded into smaller image.

Image 59. The dimensions for folding


On grounds of Theorem A, Image 59 forms the golden ratio bases on the ratios of the right triangle inside it. According to Theorem A (and Lemma a),


(306 + 306√5) / 612 = (1 + √5) / 2 = φ.


Hereby, also the folded Mona Lisa produces the golden ratio, and now the result is not about approximation, but it is the exact golden ratio.


After folding Mona Lisa, this image is the part we cannot see.

Image 60. The Leftovers


Also, Image 60 has beautiful dimensions, revealed by comparing the height against the width, thus


182 / 306 = 91 / 153 ≈ 1.6813… ≈ 1.6180… = (1 + √5) / 2 = φ.


Hereby, also the leftovers (Image 60) produce a decent approximation of the golden ratio.


In the end, we can state that because both Images (59 and 60) refer to the golden ratio, it is quite hard to consider it to be only a coincidence. Another point in favor of this folding method is the harmony of the elements in the background. Painting a colossal work such as Mona Lisa, for a person tied to “a normal society” with its timetables and duties, is almost an impossible mission. But as we can see, this painting has been painted, and thus exists – and we can appreciate why Leonardo painted it for decades. In the terms of Alchemy: This is Leonardo’s Great Work.


“Give her a leopard's skin, because this creature kills the lion out of envy and by deceit.”


Leopard’s skin was worn by certain Ancient Egyptian Sem-priests (or Sem-priests of Ptah) who served in funerary rituals (see e.g. the tomb of Tutankhamun, North wall). It symbolizes a holy man, who is still a human (and especially not yet god). Correspondingly, the lion refers to Shu and Tefnut 71, who are the twin-gods symbolizing the Spirit and its ‘being’ and ‘non-being’. That is why the sentence above can be read as: when a person wears leopard’s skin it is because he/she has killed the Spirit out of envy and by deceit. We will return this topic in the next chapter, where we find out that John the Baptist wears this same cloth.


71 The hieroglyph for Shu is often ’the behind of a lion’ and for Tefnut ’the head of a lion’. Together they are described as ‘Lion’ or ‘Double lion’ depending on the context. In the Bible this same symbol is called ‘the Lion of Judah’. Here, Shu is the Knowledge and Tefnut is the Life.


"Give her too a vase in her hand full of flowers and scorpions and toads and other venomous creatures; make her ride upon death, because Envy, never dying, never tires of ruling. Make her bridle, and load her with divers kinds of arms because all her weapons are deadly."


The vase is a feminine symbol of the soul and it shares the same meaning such as chalice – they are the symbol of Life. This feminine symbol is related to a woman’s genitals and womb. A vase, geometrically described, is a triangle standing on one angle. The venomous creatures such as toads and scorpions are also, like the symbol of the vase, related to nature in general through their evil and animalistic features.72


72 See e.g. the mosaic in the so-called “House of the Evil Eye” in Atioch, Museum of Hatay, Turkey.


Mona Lisa's hands shown and Mano Pantea symbol.

Image 61. Envy, contemptuous motion of the hand together with vase, flowers and toads in Mano Pantea sign


Together, the vase and the sword, are the two most fundamental symbols and in their multiple names they have been on the table in this study too. Cosmos is divided into two aspects – sword and vase – masculine, still and eternal parts versus the feminine ones that always move and refine. We know these aspects e.g. from the Book of Genesis as Tree of Life and Tree of Knowledge. They are our Mother and Father. Often in Father-Mother-division, is used the words Father-death and Mother-life, and maybe that is why also Leonardo painted Mona Lisa presenting the death, when mirroring it from the correct point. This point is 216 (= 6 x 6 x 6) from the right side (Image 62, fourth).


The vase and the venomous creatures also refer to the ancient Egyptian symbol Mano Pantea, seen in Image 61. The Mano Pantea is a symbol of sacred trinity of Life and it divides into Father, Mother and Child.73 In the symbol this is shown with the two larger fingers and one smaller finger. These same three fingers were revealed in Image 49, when was noticed that also Mona Lisa’s hand shows Mano Pantea sign.


73 It is worth mentioning once more that, correspondingly, the holy trinity of Knowledge is Father, Son and the Holy Spirit.


"Toleration. Intolerable.

No sooner is Virtue born than Envy comes into the world to attack it; and sooner will there be a body without a shadow than Virtue without Envy.”


At the final stage of folding, the Mona Lisa becomes the all-seeing-eye and the golden triangles (Image 62) which are considered the most significant symbols, even tools, of God and creation. The beautiful symbolism should be noted here: ‘the mountain is moved from here to there’ (see Matthew 17:20). The same context in Egyptian hieroglyphs is related to the two rocky mountains and the rising Sun (Mona Lisa’s eye). Here, we should explore the hieroglyph ‘Akhet’ (horizon). Akhet is often translated ‘mountain of light’ and it was used in the Ancient name of the Great pyramid of Giza – Akhet Khufu.74 It is quite clear, that in this context the eye of Mona Lisa is the Day Bark of Re. Also, the unspoken message of Leonardo is now clear to us: the true all-seeing-eye is the eye of the purified man.


74 Akhet is also one of the three seasons in the Ancient Egypt. Akhet is the season of flooding Nile and thus related, in the Way of Truth, to the Baptism of Water.


Golden triangles and Mona Lisa, and Mona Lisa as Death.

Image 62. The All-seeing-eye and golden triangles


The newborn Sun is the mark of virtue. The envy is here described through the hands of Mona Lisa – the Mano Pantea - holding ‘all venomous creatures’. Image 62 (third) shows, how the Mano Pantea is revealed also in Image 62 (first), when the left side is not folded at all. The familiar three fingers meets the eye on the right side of the centerline.


Mona Lisa is Leonardo’s understanding and vision of God: God is a purified human. This lesson is also the same as, for instance, in the Book of the Dead, which in fact is not a book about death, but rather the opposite: it describes the waking up from the eternal prison of the human subconscious.75 It teaches us how to live before dying rather than how to live after death. The book contains psychology together with the instructions for the human mind, and thus all the symbols used in Mona Lisa or Book of the Dead can be also located inside a person – inside you.


75 In fact, the original title of the Book of the Dead is Book of Coming Forth by Day.


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