Mona Lisa's Identity, the Final Evidence

    Mathematically Proved for the First Time, after 500 Years :

THE "MONA LISA" PAINTING,

A PORTRAIT OF THE MOTHER PLANET EARTH

 

By Pavel Floresco

 

The point of the following lines is not to find out why Mona Lisa smiles, but what is the secret message of her smile and, more than that, why every viewer of the famous painting is fascinated or irrationally attracted, in his subconscious, to the being who looks at him from the frame.

Regarding the Da Vinci's friendship with the famous mathematician Luca Pacioli, we finally have, after 500 years, the arithmetic proof of the fact that in the Louvre Museum there is a portrait of the mother planet Earth, not only the figure of a beautiful lady and nothing more.

 

THE PATH OF A CHALLENGING HYPOTHESIS

 

Desiring to make a portrait of his mother, Caterina, from whom he was separated since childhood, and intending, in the same time, to artistically represent her as an universal ideal of femininity, Da Vinci used not only his intuition, his memory, but he also took physical traits partially identified to other people :

– to the beautiful Florentine model Lisa Gherardini or Madonna Lisa del Giocondo after her marriage to Francesco del Giocondo, a theory by the Italian art historian Giorgio Vasari, confirmed by Sigmund Freud (this is especially about her smile) and by Armin Schlechter with the renowned Heidelberg Document ;

– to himself (genetically inherited / controversial self-portrait hypothesis) ;

– to his disciple, Salai / the androgynous model, a theory by the Italian art historian Silvano Vinceti.

It should be noted that the painter also proceeded in this way when he reproduced Judas in the "Last Supper" or when Leonardo looked for contemporary faces to represent this character.

Such an interpretation can logically solve at least two of the most fascinating mysteries in the history of art : the Da Vinci's self-portrait in the "Mona Lisa" painting and the true identity of the woman represented in the same famous masterpiece from the Louvre Museum.

 

ARGUMENTS IN THE MIRROR OF TRUTH

 

Leonardo da Vinci being one of the friends of the renowned mathematician Luca Pacioli, this interpretation can be proved arithmetically, but not numerologically (pseudoscience).

Knowing the fact that Da Vinci, as his biographers have concluded, did not speak well the Latin, we have applied a simple form of gematria (an old alphanumeric decryption procedure) to the alphabet of his maternal language, the Italian (but 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.

By completing this digital conversion of letters with the mathematical reduction of decimals or with symbolic arithmetic (the sum of the digits of a number, specifically exemplified by the sum of the two digits 1 forming the number 11 and so on), can be obtained, by apparent coincidence, the following very significant final results, which are actually identical :

– MONA LISA (the beautiful Florentine model, Lisa del Giocondo, Tuscan name, written in dialect by the art historian Giorgio Vasari with a single N and not with two letters N / apparent coincidence) = 11 + 13 + 12 + 1 + 10 + 9 + 17 + 1 = 74 = 7 + 4 = 11 = 1 + 1 = 2 ;

– LA GIOCONDA (the same woman, Lisa Gherardini or Madonna Lisa del Giocondo after her marriage to Francesco del Giocondo) = IOCONDA = HONDA (Tuscan abbreviation for Gioconda – a theory by the art historian Pietro C. Marani. The letter H – Honda is written on the back of the painting) = 8 + (13 + 12 + 4 + 1) = 8 + 30 = 38 = 3 + 8 = 11 = 1 + 1= 2 ;

– CATERINA (the Leonardo's mother / native coincidence) = 3 + 1 + 18 + 5 + 16 + 9 + 12 + 1 = 65 = 6 + 5 = 11 = 1 + 1 = 2 ;

– LEONARDO (the artist himself, but not Lionardo / apparent coincidence) = 10 + 5 + 13 + 12 + 1 + 16 + 4 + 13 = 74 = 7 + 4 = 11 = 1 + 1 = 2 ;

– SALAI (Leonardo's apprentice, Gian Giacomo Caprotti, called Salai, but chosen by his nickname / apparent coincidence) = 17 + 1 + 10 + 1 + 9 = 38 = 3 + 8 = 11 = 1 + 1 = 2

2 =2

Mona Lisa (Gioconda) = Caterina = Salai = Leonardo

(*https://en.m.wikipedia.org/wiki/Mona_Lisa#/media/File%3AMona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg)

In other words, we have in the "Mona Lisa" painting a (multiple) portrait, inspired by several human faces. This fact explains why, for hundreds of years, it was not known precisely who the woman really is (Pacifica Brandani, Lisa Gherardini, Beatrice Sforza and so on).

Leonardo da Vinci's preference or predilection for the artistic expression of dualities through the number 2 is visible and observable in his artworks, beginning with his apprenticeship years in Verrochio's workshop.

 

***

 

It is obvious that we have in the famous masterpiece not only the beautiful lady (the microcosm), but also the landscape in the background (the macrocosm).

Being known Leonardo's preference not only for the study of the human body, but also for the study of natural phenomena – in general and for the study of geology – in particular, the relationship between the microcosm and the macrocosm makes possible, symbolically and mathematically, a correlation regarding the common identity between the two fundamental elements of the painting : the person represented and the nature depicted, as can be seen in the following lines :

– MONA LISA = 11 + 13 + 12+ 1 + 10 + 9 + 17 + 1 = 74 = 7 + 4 = 11 = 1 + 1 = 2 ;

– LA GIOCONDA = IOCONDA = HONDA = 8 + (13 + 12 + 4 + 1) = 8 + 30 = 38 = 3 + 8 = 11= 1 + 1 = 2 ;

– EARTH = TERRA = 18 + 5 + 16 + 16 + 1 = 56 = 5 + 6 = 11 = 1 + 1 = 2 ;

2 =2

Mon(n)a Lisa (La Gioconda) = Earth (Terra)

 

 

 

THEORIES OF ART HISTORIANS, MATHEMATICALLY CONFIRMED

 

The theory of the correlation between the main character Mona Lisa (microcosm) and the mother planet (macrocosm) was already formulated by other researchers, art historians and art critics such as, for example, Martin Kemp or Fritjof Capra, but, for the first time in the history of art, we proved it mathematically.

Martin Kemp : "When I had to pay sustained attention to the Mona Lisa in my 1981 monograph, I approached the painting via the concept of the microcosm, through which the geology of the body of the earth and the anatomy of the human body brought into conjunction" (Kemp 2019 : 67).

Fritjof Capra : "The central theme of the artist' most famous painting is life's procreative power, both in the female body and in the body of the living Earth" (Capra 2013 : 20).

The fact that we have in the Louvre Museum a feminized portrait of the mother planet explains the fascination that the represented woman and her mysterious smile exerted on the public, which subconsciously finds its primordial origins.

 

A SHORT SENTENCE INSTEAD OF THE FINAL CONCLUSION

 

To create a portrait of his mother Caterina, as a universal ideal of motherhood and, in fact, a portrait of the mother planet Earth – theory by Martin Kemp or Fritjof Capra, Leonardo used :

– maternal facial features, found in the model Lisa Gherardini or Mona Lisa, theory by Sigmund Freud ;

– maternal facial features from himself (feminized self-portrait) ;

– androgynous facial features from the apprentice Salai, theory by Silvano Vinceti.

 

Reference List

Kemp, Martin, Living with Leonardo : Fifty Years of Sanity and Insanity in the Art World and Beyond, London : Thames & Hudson, 2018 and 2019.

Capra, Fritjof, Learning from Leonardo : Decoding the Notebooks of a Genius, San Francisco : Berrett-Koehler Publishers, Inc., 2013