marți, 25 august 2015


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Nessuna umana investigazione si pò dimandare vera scienzia
s'essa non passa per le matematiche dimostrazioni
Leonardo da Vinci

    • There is still another key that we can use to find the mysterious and the controversial identity of the person from the most famous painting of Leonardo da Vinci, "The Mona Lisa".
    • The key in question is one ancient and its use leads us to more than interesting results...
    • The letters and the numbers recently discovered in the eyes of the personage, unconfirmed yet by the experts of the Louvre Museum, can also be decrypted by the same method.
     • Everything comes to confirm Sigmund Freud's conclusion: this masterpiece represents the mother of the artist, Caterina, seen as an ideal of the maternity or femininity.
    • It seems that, indeed, Madonna Lisa del Giocondo or Lisa Gherardini was chosen as a model by Leonardo to create a symbolical portrait of Caterina, because he was separated from his mother since childhood.
    But it could be "The Mona Lisa" multiple portrait ?


    Thanks to the writer Dan Brown, the da Vinci code is so popular that we could consider this case closed, but in fact the situation is not so; this essay is intended to highlight new aspects of it, this time with a key rarely used by the researchers, called gematria or ghematria, a form to provide various digital values to the letters and to the words.

This study was published on, under the title
"Mona Lisa și secretul său aritmetic":

    Browsing the "Oxford Dictionaries", we find the following: "Definition of gematria in English/[...]/A Kabbalistic method of interpreting the Hebrew scriptures by computing the numerical value of words, based on the values of their constituent letters"./Example sentences/Another important aspect in gematria are the numerical values of letters: A = 1, B = 2…/He does say that there was special significance in the number 18, since in gematria (an important method of divination among Jews at one time), this was the number equivalent of the word life. [...]/Origin/Mid 17th century: from Aramaic gīmaṭrĕyā, from Greek gēometria (see geometry)"1.
    As a possible reminiscence of this issue, the Latin alphabet also has the same quality, because the numbers are graphically marked by combinations of letters, it is true that without transmitting a hidden meaning.
    But it is more than plausible that da Vinci learned about such things from a mathematician, his friend of almost a lifetime, Luca Pacioli, also a connoisseur of the unconventional or recreational arithmetics.

    Knowing the fact that Leonardo did not speak very well the Latin, we have applied a simple, not so complicated gematria on the alphabet of his maternal language, the Italian (the version without foreign influences / lettere straniere – J, K, W, X, Y), establishing digital values for each letter corresponding to their natural order:
A = 1   B = 2   C=3   D = 4   E = 5   F = 6   G = 7   H = 8   I = 9   L = 10   M = 11   N = 12   O = 13
P = 14   Q = 15   R = 16   S = 17   T = 18   U = 19   V = 20   Z = 21

A short version of this theory
was presented by Ben Davis from "artnet news",
under the title "[...] Mona Lisa's Secret Number [...]":

    By completing this digital conversion of letters with a form of symbolical arithmetics (consisting in the sum of the digits of a number, concretely exemplified by the sum of the two digits 1 forming the number 11 and so on), we obtained the following final results:
MONA LISA = 11 + 13 + 12 + 1 + 10 + 9 + 17 + 1 = 74 = 7 + 4 = 11 = 1 + 1 = 2
CATERINA = 3 + 1 + 18 + 5 + 16 + 9 + 12 + 1 = 65 = 6 + 5 = 11 = 1 + 1 = 2
    The common results of these simple calculations make plausible the equivalence between the two names:


    Should be noted the fact that this digit (2) is certainly one of the obvious keys of the masterpiece: this is really the number of the only visible fingers (the index and the middle finger) of the right hand of the personage; the road to the right side of the main figure has the form of the digit 2; the bridge can be considered a correspondent of the same digit because it connects two shores or two worlds...

Relevant in the images above is not the fact that Mona Lisa
has two eyes or two arms, but the fact that the same digit
(2/two) appears where it is not obvious

    Following this interpretation way, was born the idea that the artist should be hermetically developed and exploited in his art (using the gematria, respectively using the symbolical arithmetics) an obvious and native coincidence – his first name, Leonardo, digitally converted, corresponds to the first name of his mother, Caterina.It is very possible that, in the case of a genius like Leonardo, nothing happens by chance and, in the same time, it is very possible that his figures have been chosen even in the light of the numerical values of their names, among other things of course.
    This fact gives us new clues about the true identity of the figure from the painting; according to Sigmund Freud, this figure should not be necessarily confused with the model used by the artist, Madonna Lisa del Giocondo, where Leonardo found his mother's defining features.

        Another da Vinci's famous painting (lost picture, but still in the memory of the humanity through various copies, signed by another famous artists) is called "Leda", in fact "Leda and the Swan", title that leads us to the same digit, two / 2:

LEDA = 10 + 5 + 4 + 1 = 20 = 2 + 0 = 2

    It is necessary to mention some clear facts, that do not require professional advice, elements that can be easily observed even at a brief look; for example, the digit 2 is, again, one of the keys of interpretation, the figures being represented grouped two by two:

Significant in previous photos is not the fact that Leda
has two eyes or two legs, but the fact that this digit, 2 (two)
is repeated in other key details


    According to the informations from the, Silvano Vinceti, president of Italy’s National Committee for Cultural Heritage, said that on the same painting were discovered tiny letters and numbers: LV (the initials of the author) in the right eye, CE or B in the left eye and L2 or LS maybe 72 between the arches of the bridge, graphic signs that can not be pricesely certified due to the deterioration occurring over time; please note that the information has not been confirmed by the experts of the Louvre Museum, where the painting is exposed.   
    Using gematria and symbolic arithmetics, we can establish the plausible version of the discovered cipher (if it is real, of course), thanks to its common result, the digit 2:

LVCE = 10 + 20 + 3 + 5 = 38 = 3 + 8 = 11 = 1 + 1 = 2

    L2 is also a cryptogram of the name Leonardo, name that, by the same method, is equivalent with the digit two/2:

L = L(EONARDO) = 10 + 5 + 13 + 12 + 1 + 16 + 4 + 13 = 74 = 7 + 4 = 11 = 1 + 1 = 2

B = 2

    The hypothesis of a chain of coincidences is not excluded, but it is not equally credible, because the calculation – if it can be called so – does not lead us (through the shown method) to the same common result to other persons or names from the entourage of the artist: Isabella (d'Este), Cecilia (Gallerani), Albiera (di Giovanni), Beatrice (Sforza), Francesca (Lanfredini), Constanza (de Avalos), Lucrezia (Borgia), Margareta (de Valois) etc.
    The titles "La Belle Ferronière" and "Dama con l'Ermellino" can be also translated into the digit 2, but the differences (between the faces of the personages) are obvious and they allow limited analogies.
    As well, even if is about from a totally different character, the "Madonna Litta" (this name can be numerically transposed into the digit 2) could confirm that this opera is correctly attributed to Leonardo.


   The basic principle of this study is "Testis unus, testis nullus": when establishing the truth, more than one single test is needed. This is the reason why this theory expose more proofs, not just one or only two.

    According to the, the same Silvano Vinceti claims that Leonardo's model was not Madonna Lisa del Giocondo or Lisa Gherardini, but his apprentice, Giacomo Caprotti, known as Salai.
    This opinion has caused controversies; indeed, contrary to all the arguments that have been submitted, it remains difficult to believe that da Vinci used as a model a man to paint a woman with clothing for the new mothers, but everything is possible...
    However, the aura of the mystery remains, because the appellative Salai leads us to the digit 2:

SALAI = 17 + 1 + 10 + 1 + 9 = 38 = 3 + 8 = 11 = 1 + 1 = 2

    The supposed correctitude of the presented method is plausible because it may be successfully verified  on other cryptograms, ideograms or anagrams of Leonardo.
    In the book "La Pasion secondo Leonardo" by Vittoria Haziel, we found various solutions for the crossword puzzles "q3"4 and "E mo nel f...oco = Tremo nel fuoco"5; not necessarily as an addition, we propose for all of this the following decryption.
    For example, the equivalence (proposed by Vittoria Haziel) between q3 and QUE (q = 3 = que) can be verified with gematria and with symbolic arithmetics in this way:

Q = QUE = 15 + 19 + 5 = 39 = 3 + 9 = 12 = 1 + 2 = 3

    The procedure can be also applied for the ideogram "E mo nel f ... oco = Tremo nel fuoco" because the correspondence – signaled by the same Vittoria Haziel – between the E handwritten and the number 3 (E and 3 being retroverted or mirrored graphic signs) can also be tested in the following manner:   

E (MO) = TRE(MO)
E = TRE = 18 + 16 + 5 = 39 = 3 + 9 = 12 = 1 + 2 = 3

   The digit three is obvious, for example, in the case of da Vinci's "The Last Supper":

Art critics have noted that, in "The Last Supper",
is not important that Jesus has two arms,
but the fact that the apostles are grouped three by three

    The terms "foco" and "f ... oco" have logic not only by adding the letter u, but by the following digital conversion (FOCO + U does FUOCO as 8 plus 1 does 9):

FOCO (8) + U (1) = FUOCO (9)
FOCO = 6 + 13 + 3 +13 =  35 = 3 + 5 = 8
U = 1 + 9 = 10 = 1 + 0 = 1
FUOCO  = 6 + 1 + 13 + 3 + 13 = 36 = 3 + 6 = 9

    The da Vinci's predilection for the arithmetics can be explained by his friendship, for almost a lifetime, with the famous mathematician Luca Pacioli.
    The researchers also noted that, indeed, the friendship with Paccioli stimulated his passion for mathematics – "Într-adevăr, prietenia tot mai strânsă cu Paccioli îi aprinsese mai mult ca oricând pasiunea pentru matematică, [...]"6.
    The examples could go on, but the most suggestive argument for the assumption that Leonardo's works contains messages arithmetically coded is the advice from his notebooks: no one who is not a mathematician must do not read my works – "[...] Nici un om care nu este matematician să nu citească lucrările mele"7.
    The choose of the Italian alphabet for the digital conversion of the letters can be explained by the fact, frequently mentioned by the biographers, that Leonardo da Vinci did not excel in the use of the Latin, the preferred language of many intellectuals at that time.
    He did not ever speak well Latin and his lectures were advancing slowly because of the difficult translations – "Nu a stăpânit niciodată limba latină şi descifrarea ideilor complexe ale autorilor pe care îi citea era de două ori mai dificilă din cauza stângăciei cu care traducea cuvintele"8.
    In the same time, as we have mentioned before, this alphabet was used in the version without foreign influences / lettere straniere – J, K, W, X, Y), because these letters are representative just for the words that were taken later from another languages.

    Of course, "The Mona Lisa" is the English title of the famous painting and avoiding the Italian name (Monna Lisa) may seem forced to fit certain calculations.   
    In fact, Mona Lisa is still a Italian name, but in the popular, basic or in the old version of this language, preferred by Leonardo, who was never a good linguist – "[...] nu a fost niciodată un bun lingvist [...]"9 and who often avoided the literary version of this language.
    Leonardo could find a rich source of poetical expressions in the classical Italian, but many of the words he needed to explain his analytical conclusions just does not exist – "Italiana clasică îi oferea lui Leonardo o sursă bogată de exprimare poetică, dar, în pofida încrederii lui iniţiale, multe dintre cuvintele de care avea nevoie ca să-şi explice concluziile analitice pur şi simplu nu existau"10.
    An additional argument in this regard may be the known abbreviation (not necessarily incorrect or ungrammatical but ancient or ancestral) of his father name: "di.s.p.ero" it reads "dispero" but can also mean "di ser Piero" – «Al său "di.s.p.ero" se citeşte "dispero", dar poate să însemne şi "di ser Piero" [...]»11.
    For similar reasons, we have chosen the simple version, Mona Lisa,  and not the form with double n, Monna Lisa.

    As we have said from the beginning, the mission of these lines is to confirm and even to argue, as far as possible, through a very rare method, this old hypothesis: the painter has used the model of the Florentine beautiful lady, Madonna Lisa del Giocondo, to make the symbolical portrait of his mother, Caterina, a concrete form of the idealistical maternity (he was separated from his mother in his childhood).
    Obviously, this requires a distinction between the chosen model and the represented figure.
    Without any inappropriate comparison, the artist has done in the same manner when, for example, did not paint from his imagination, but he searched on the streets, in Milan, in the Borghetto district, the right person to represent Judas in "The Last Supper": "Caut o figură care să exprime ticăloşia lui Iuda. De un an şi mai bine mă duc în fiecare zi, şi dimineaţa şi seara, în cartierul Borghetto unde locuieşte toată pleava Milanului, dar n-am izbutit  încă să găsesc o figură de ticălos aidoma aceluia pe care o am eu în minte"12.
    There are various references to the fact that Mona Lisa expresses in fact the maternal femininity of Caterina; the most suggestive belong to Sigmund Freud (this does not mean that we make references to the father of the psychoanalysis, only due to its undeniable authority, on the contrary): "If the beautiful children's  heads were reproductions of his own person as it was in his childhood, then the smiling women are nothing other than repetitions of his mother Caterina, and we begin to suspect the possibility that it was his mother who possessed the mysterious smile – the smile that he had lost and fascinated him so much when he found it again in the Florentine lady"13.


   All doubt about the identity of the Mona Lisa has now been removed:


    To paint his mother (Leonardo and his mother have been separated since childhood), the artist used facial features from himself, but also from other people: from the model Madonna Lisa del Giocondo or Lisa Gherardini and from his apprentice Salai.
    But the interpretations are fascinating, because "The Mona Lisa" may be a multiple portrait. 
    In other words, under a single figure, Leonardo represented more characters: his mother Caterina, Madonna Lisa del Giocondo, his apprentice Salai and himself ...
    To be continued.

    Par l'intermédiaire de la gématrie – une ancienne méthode de lecture des messages secrets, mais cette fois adaptée et appliquée sur le da Vinci code – on peut argumenter l'hypothèse que l'artiste a utilisé les caractéristiques physiques de Madonna Lisa del Giocondo pour faire un portrait symbolique de sa mère, Caterina, parce qu'il a été brutalement privé de son amour depuis l'enfance.
    Les conversions numériques des noms Mona Lisa, Caterina, Leonardo etc. et la somme des chiffres obtenus mènent toujours vers le même résultat final.   
    Tout cela confirme l'ancien soupçon de Sigmund Freud: le célèbre chef-d'œuvre est un portrait maternel.
    La même procédure peut être appliquée avec succès pour résoudre d'autres idéogrammes, cryptogrammes ou jeux de mots, conçues par Leonardo.
    La méthode présentée permet aussi un décryptage plausible des lettres et des chiffres microscopiques, récemment découvertes sur la célèbre peinture.
 & Carmina FELICE
    The same results can be obtained using the "Latin Gematria Calculator" right here:
    We recommend you to digitally convert various names and words or letters (like Leonardo, Mona Lisa, Caterina, Salai, Leda, que, tre, foco, fuoco, u); of course, you must make the sum of the obtained digits.
    LVCE leaves the "equation" because in Latin U was marked with the letter V.
    It appears a new "coincidence": Giocconda (with double c) corresponds to Mona Lisa (with simple n) and give the impression that everything is a pure chance ...


1 Oxford dictionaries,, "Definition of gematria in English",, access date 11 august 2015
2 Nick PISA, The real-life Da Vinci Code: Historians discover tiny numbers and letters in the eyes of the Mona Lisa, în, ediţia din 12 decembrie 2010,, access date 11 august 2015
3  Nick SQUIRES, Mona Lisa "was a boy", în,
ediţia din 2 februarie 2011,,
access date 11 august 2015
4 Vittoria HAZIEL, Patimile după Leonardo, geniul lui da Vinci şi giulgiul de la Torino cu noile descoperiri: tehnica, semnătura, RAO International Publishing Company, Bucureşti, 2008, p. 174
5 Vittoria HAZIEL, op. cit., p. 182
6 Ovidiu DRÎMBA, Leonardo da Vinci, titan al Renaşterii, Ed. Saeculum, Bucureşti, 2000, p. 133
7 Michael WHITE, Leonardo da Vinci, biografia unui geniu, Ed.Litera, Bucureşti, 2010, p. 37
8 Michael WHITE, op. cit., p. 131
9 Michael WHITE, op. cit., p. 130
10 Michael WHITE, op. cit., pp. 130 - 131
11 Vittoria HAZIEL, op. cit., p. 184
12 Ovidiu DRÎMBA, op. cit., p. 113
13 Sigmund FREUD, Leonardo da Vinci, a memory of his childhood, Routledge Classics, London, 2001, p 66.

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