DISCOVERING THE FUTURE BY REVEALING THE PAST
Indian drew forth the scalp of Christian and dried it near the fire. Mother Keller recognized the blond hair of her son and a piercing stab dripped with grief from her aching heart!
he [Joseph] was among the Indians eight years. What a life he then led - its pleasures and sorrows can only be imagined. It is reported that the daughter of an Indian Chief, having lost her brother by death, asked and obtained from her father our Joseph, whom she wished to take the place of her lost brother."
THE GOLD ARK OF THE COVENANT MADE FOR GOD BY THE ISRAELITES.
THE ARK OF THE COVENANT MADE OF WOOD BY MOSES AT THE MOUNT
THE ARK OF ST. JOHN THE BAPTIST HIDDEN BY THE KNIGHTS TEMPLAR.
The images below display some of Leonardo da Vinci's work that will lead to the Ark of the Covenant. Leonardo shows Saint John the Baptist moving 2 Arks of the Covenant; the Ark that God commanded Moses to make of wood at the mount that held the newly written tablets of the 10 Commandments (Deuteronomy 10:1-2 ). And the Ark covered with pure Gold. This Ark of the Covenant was made for God by the Israelites and held the 10 Commandments at the temple built by King Solomon, the Son of King David (Exodus 25:10-11) (1 Kings 8:6). A Ark holding relics of Saint John the Baptist, forerunner of Jesus Christ. This Ark was first hidden by the Knights Templar, last by Leonardo da Vinci, Priory of Sion and Isabella of Aragon, Duchess of Milan.
Madonna/Virgin of the Rocks - by Leonardo da Vinci
National Gallery, London
Images here captured from image of the Madonna of the Rocks painting provided by the National Gallery, London
It was recently found by the National Gallery in London, within Leonardo's second painting of Madonna/Virgin of the Rocks (below, left), an original first sketch beneath the surface of the painting. Provided by the National Gallery, an overlay of the second sketch (below, center) shows the first sketch. The first sketch also appears when using photo viewer (Below left). The sketch was drawn on the canvas beneath the layers of paint and varnish and displays well when lit-up in both negative and positive applications.
Electronics, Anamatronics and the Mona Lisa
MONA LISA - COPY When viewing the Mona Lisa, at about a 3 foot distance or close up, notice the area within the green oval circle (below left and right), it seems to display at a different angle then the lower portion of the face. Within the green oval, the bridge of her nose is not in alignment with the rest of her nose. The red lines show that the area within the green oval displays a more straight-on view and although this part of the bridge is not exactly straight-on, it also is not tilted one way or the other but rather it shows to have a backward and forward rolling motion to it. The area overall within the green oval is positioned at about 12:30. Whereas the lower part of her nose is at about 12:35. When viewing the Mona Lisa's face and looking directly between her eyes, your perifial vision will see that the area within the green oval looks to be a different painting all together. As if the area within the green oval was cut out and a person's eye's are looking through the oval from the back side and seems to be out of line with the rest of the face.
MONA LISA - COPY Is the face of the Mona Lisa filled with computer coding and anamatronics? Just as images appear within the Madonna of the Rocks, different images will also appear in the Mona Lisa. The Mona Lisa is made up of 30 individual micro thin layers of paint, glaze and varnish. As different light sources in photo viewer are added and as the layers are "stripped" away, letters and numbers similar to computer coding and electronics appear. In the image (below left) note the letters, numbers and symbols within her lips and in the shadow just under her nose and in the outside corner of her right eye. Following the theft of the Mona Lisa, in 1911, the photo (below right) was taken following it's return to officials in 1913 at the Louvre Museum in Paris. As different light sources are added to this image appears the number 5 within the nose shadow, just as in the image at left. Other letters and numbers are evident in her face but this image is of a low resolution and only the number 5 is in focus and visible when enlarged.
MONA LISA - COPY In the image (above left) at the corner of her right eye, appears to be what looks like a type of wiring. There are also many different images that appear within the retina of both eyes depending on the different light sources used. Above the Mona Lisa's right eye (above left) and seen throughout her face depending on the light sources used, reveals possibly a type of mesh, either a honeycombe or square in appearance. Records show that Leonardo painted this painting on a poplar wood panel and not a cloth, crosshatch canvas. Records show that the only major restoration to the painting occurred in 1809, when layers of glaze, varnish and paint were removed from the surface of the painting, it is not reported that the painting was transferred to a cloth canvas at any time in the past 500 years.
Visible on the surface of the painting, on the inside of the bridge of her nose, at her left eye (below left, red arrow), appears a large blemish. Records show that this painting of the Mona Lisa has been attacked and damaged several times over the years, although records do not indicate that this area of the painting was damaged in any of these attacks. So just what is this blemish? Is it possibly a window for light? In 2018, MIT Labratory's developed a tiny micro sized sensor complete with a complex circuit and a photodiode. Part of the sensor is a complex circuit, when this detector encounters a certain chemical in its environment, its ability to conduct electricity improves. The circuit also contains a photodiode, a device that can convert ambient light into electric current and this provides all the electricity needed to power the circuit. In the image (below left, blue arrow), it shows what appears to be a type of electronic chip just below the blemish/window. The window would be feeding light into a photodiode which would then convert the light into electric current thence feeding power to the Mona Lisa's face.
MONA LISA - COPY Did Leonardo build the Mona Lisa using 30 layers of paint and varnish, a mesh as a conductor, fiber optic wire and electronic chips that produce electricity and computer coding? Look carefully at the image of the Mona Lisa painting which hangs at the Louvre Museum ???????????. At the outside corner of each eye note the heavy wear, this area covers over what appears to be optic wiring in the image ?????? ?????. Also note the wide cracking within the ????? outline from the top of the forehead to the bottom of the nose and cheeks compared to the normal hairline cracks that run through the bottom of the face. Did Leonardo create the Mona Lisa to move as a anamatronic robot? It's possible that her eyes and nose did move and her eyes (?????????) did not return completely and line-up properly. This movement would cause the heavy cracking and the unusual wear in the corner of the eyes. Just below the bottom lip, Leonardo used a build-up of paint that looks like a scar. As the cracking in the lower face shows to be minimal, possibly he could not make the mouth move and he opened up this area for repairs. Known to be a universal guiness, Leonardo created some of the greatest artwork of the Renaissance period and designed some of the greatest inventions known to man. This painting of the Mona Lisa was never released by Leonardo for public or private display, it was still in his possession upon his death. Is it possible that the mouth of the Mona Lisa was also supposed to move and possibly even speak letters and numbers or words but Leonardo was unsuccessful in doing so and therefore his last words before his passing were: “I have offended God and mankind because my work did not reach the quality it should have”?
In the image below is the drawing titled Ravine. As the bottom edges of this drawing are joined together, the same gates appear (green outline) as the gates in the image above. In the red outline (below) half of the head and face of this mirror image has already been drawn-in. Leonardo also shows in this drawing a eye (blue), a rocket for the nose and a mustache acts as the rockets flame (yellow). Simply match-up with the opposite side to see the full face.
The painting below, was made by unknown. There is reason to believe that the painting was made by Leonardo da Vinci. According to Leonardo, the figure at the far left, represents the young Holy Profit Elijah. Elijah shows a horn of a bull that wraps around the side of his head (blue circle). To Elijah's left, is Saint John the Baptist. Appearing from St. John's chest is the face of a bull with horns (blue circle). The Bible states that God sent Saint John as the forerunner to Jesus Christ and here he hold a candlestick in representation of the Church. Behind Saint John, in a red robe, is possibly Jesus Christ, the figure behind Him may be from the House of King David. To the right of Saint John, is Saint John's Priory of Sion (a Priest in Heaven, or reincarnation). The Priest wears the 12 zodiacs upon his chest and is wearing the bottom clothing resembling bullhide with the legs and feet of a bull (blue circle). Next to the Priory of Sion, is John the Apostle, he is wearing two robes, a red robe for himself, and a blue robe for John of Patmos. The Apostle John also shows as having a leg of a bull (blue circle). To the right of Apostle John, is either, John of Patmos, or a beardless Leonardo da Vinci. The figure is pointing at his feet in showing the same feet and legs of a bull as he looks at his Priory of Sion.
Below, are 4 carvings located at the Chartres Cathedral, Chartres, France. It is unknown who made the carvings or when exactly they were carved, but there is reason to believe that these were carved by Leonardo da Vinci. The carvings tell the same unique storyline regarding Saint John the Baptist, as Leonardo tells in his painting's and drawing's and possibly Leonardo made these carvings during his time in France when the North spire of the cathedral was built. The cathedral was built over a sacred spring, from 100 BC, that still today exists beneath it. It's history reveals that a tunic, worn by the Virgin Mary, during the birth of Jesus Christ, was kept at the cathedral. Still today, a cloth is displayed that is said to have belonged to the Mother Mary. On the North portal of the cathedral, the four carvings are all grouped together on a round column. When laid out side-by-side this is how the scene displays (below). The writing across the bottom of the carvings translates: "Here things take their coarse; you shall work through the Ark." According to Leonardo, the scenario reads like this:
The image of the carving (below, blue border) shows a Ark in transport (red circle). This ark represents the Ark of the Covenant that God commanded Moses to make of wood, at Mount Sinai. This Ark first held the tables of the 10 Commandments (Deuteronomy 10:1-3). In the left side of the ark, there appears to be 2 stone tablets, one of the tablets is broken. Next to the unbroken tablet appears a globe like object and behind the relics is the lid of the Ark. Above the Ark is a bubbly-foam that is filled with serpents and people, Leonardo suggests that this is God. In the carving (orange border), it shows one end of the Ark of the Covenant (blue circle) that is covered with pure gold and was made by the Israelites for God. This Ark also held the 10 Commandments at King Solomon's Temple. (Exodus 25:10-21) (1 Kings 6:1-14) In front of the Ark, is a anchor shaped devise wrapped with what appears to be a cloth. The cloth possibly belongs to the Virgin Mary that is said to have once been kept at the Chartres Cathedral. To the right of this is a smaller ark, with a liquid vessel and other relics inside. Beneath the ark is a head within the foam of God that probably represents Elijah, or Jesus Christ. Stepping out from the foam of God, is a headless body with it's arm in the same pose as the headless figure just to left of it. This second headless figure represents John the Baptist after his beheading by Herod Antipas. The figure in front of Saint John is the Apostle John. From his ark, he is removing a second robe that is seen draped over his shoulder. The second robe represents John of Patmos, who is on his knee and falling away to the right of the Apostle John. In the last carving (yellow border), it shows John of Patmos (same figure from orange box that is falling away) on his knee and is lying dead against his Priory of Sion (Priory - Priest. Sion - Heaven. Sion, later changed to Zion.), both show "beheadings". Standing over the bodies and holding a speer is a Priory of Sion. His speer penetrates through a Priory of Sion cap worn on the head of Elijah/Jesus, and through John of Patmos and with his foot upon the figure lying on the ground, this ties them all together as being all the same person. The figure lying on the ground represents Leonardo da Vinci. This same full-circle is seen in the painting above. Carved on the robe of the figure lying on the ground, at the left of the arm resting across his shoulder, and written upside down, is the word ARK (also see 2nd image down, right), with an arrow pointing at the foot of John of Patmos. The arrow is pointing to a snake lying in the shape of an "S" (for Sion). In the image (below, blue box), note the front wheel of the cart is traveling over another snake in the shape of a "S". In the carving (below, green border) the two Arks of the Covenant and the other relics, are being led out via sion from the Chartres Cathedral by an Archangel and two ancient Keal animals (note the sion cap on the head of the one Keal). The carvings seem to represent the moving of the Arks of the Covenant from both Solomon's Temple and from the Chartres Cathedral. In much of Leonardo's work, he represents Saint John the Baptist as being represented by a bull. The headless Archangel (green border), shows the legs and feet of a bull. In the carving (orange border), above the shoulders of the headless Saint John, is carved the profile of the head and neck of a bull (also see 2nd image down, center). Above the neck and shoulders and between the Archangels wings (green border), is a light and dark shadow (gold circle) that meet to make a cylinder shape with a horn sticking out the side of it. The cylinder shape with the horn, is the same shape as the head of Saint John in Leonardo's Madonna/Virgin of the Rocks. Leonardo uses the shadows on the back of the Madonna's head to represent bull horns on the head of the God, Saint John the Baptist (2nd image down, left, blue outline).
In image above, shows the carving of the headless angel with shadows in negative. In image 2nd above, shows the image of Saint John (blue outline), similar to image of carving in above green border.
In red outline, the figure of a bull appears over the headless figure of Saint John the Baptist in above orange border.
Carved on the robe and upside down in red, see the top point of the letter "A" at the right side of the arm laying across the robe. The "A", wraps around the sleeve of the robe. Next to the "A", appears a upper-case letter "R". Next to this letter is a upper case, letter "K". The top leg of the K is lightly carved but casts no shadow and is not visible. Next to the letter "K", in blue, is an arrow pointing to a snake in the shape of a letter "S". The letter "P", can also be made out of the coil of the snake which stands for Priory of Sion.
Within his "hidden works", Leonardo associates Saint John the Baptist with a bull. In the red circle (left) a bull appears on a wall of the mountain plateau in his drawing "Ravine". This same drawing joined together at it's side edges (below, left) reveals the same head, face and gates revealed in Virgin/Madonna of the Rocks. The mirror image below shows Saint John's head, face and the gates of Heaven (green outline). The bull (red) appears as the eyes.
Leonardo uses this same plateau as the background in his painting's and drawings seen on this page. Within both of his painted versions of Virgin/Madonna of the Rocks, Leonardo shows the Virgin Mary, Jesus, Saint John the Baptist and the Archangel Gabriel, as being all together at this mountain plateau.
THE ARK OF THE COVENANT
From the carvings at the Chartres Cathedral (above), Saint John is shown to be relocating the Arks of the Covenant. In the drawing (at left), a large stack of flat stones or books sits at the top of the stone plateau with a busy scene of knowledge and different images eminating from all around it (at white and gold arrow).
Through the center of the flat stones stacked atop the mountain plateau, in mirror image reveals the gold Ark of the Covenant! Leonardo shows a handle on the front of the solid gold lid. A solid gold molding also wraps around the entire Ark (white arrow) as God commanded the Ark be made. Just below the Ark, is a folding latch plate with a keyhole lock (red arrow).
The image of the stone plateau (at left), also represents a Golden Eagle, native to northern Italy. From the same image below, it shows in blue outline a eagle with spread wings, breast, a tail, and eyes, with a beake and large feathered talons. In other discovered "lost works" that were probably made by Leonardo, he shows a Golden Eagle and Saint John the Baptist with the Sasso Simone and Simoncello mountain plateaus in northern Italy (Below, right). The Sasso Simone plateau has been positively identified as being the stone plateau within Leonardo's drawing "a Ravine (see below). Due to the outbreak of COVID 19, the entire country of Italy is currently closed. In northern Italy, where the Ark of the Covenant is located, was closed in early March. Efforts to retrieve the Ark of the Covenant will resume at a later date.
SASSO SIMONE AND SIMONCELLO
Shown (at left) is the Sasso Simone and Simoncello mountain plateaus. Towering at about 3850 feet above sea level, the Sasso Simone is located about a 1/4 mile south-east of the Simoncello plateau. According to the park service there, evidence of past civilizations being on the Sasso Simon goes back to before the Bronze age, about 3300 BC.
PARCO NATURALE del SASSO SIMONE e SIMONCELLO, TUSCANY/MARCHE, ITALY
(Regional Park of Sasso Simone and Simoncello, Tuscany/Marche, Italy)
In the image (below, right) is Leonardo's drawing "a Ravine." In the image (below left, red border) shows the area that has been identified as being the same stone plateau as in Leonardo's drawing (right).
The image of the Sasso Simone (below left, red border) is the same image as the image (above left, red border). Leonardo played a joke with this drawing (below and above right). In both images below, the rocks display in (blue outline) what looks similiar to a pair of pants. In the drawing (below right), Leonardo displays the "pants" on the bottom half of the plateau, whereas in the photograph (below left) the same shape of stones ("pants") appear on the upper half of the plateau (blue outline). In Leonardo's drawing (below right), he uses the area above the "pants" to draw a upper case, block letter "L" in 3-D (gold outline). He also draws a block letter "D" (green outline) and a block letter "V" (red outline). As these letters are not actually carved into the stone, Leonardo simply dropped the pants down in his drawing and exposed his initials! In both images below (red circles), is the area where the bull is drawn. Recorded by Leonardo over 500 years ago, 3 of the 4 original stones are still in place (4th stone not visible) as are the 2 stones at the red arrows. Visible on the stone in the purple circle (bottom right of both images), appears the shadow of half of a Golden Eagle. The eagle is made from the darkened area of river water that also displays as a eagle with spread wings atop a pyramid when in mirror image. Here it shows the wing pointing down as is seen in the drawing. But also a 2nd wing is pointing up making the wing look to be fluttering and possibly Leonardo made this drawing at a time during the day when only one wing cast it's shadow? Whatever the case may be, he was standing almost 4000 feet off the ground in order to capture the birds-eye perspective that he shows in this drawing.
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In the image, left, is the head and face that appears from between the head(s) of the Madonna. This same face that appears within leonardo's different works, as being home in the same rocky plateau. The image, below, left, displays as such as different lighting is applied to the image when in negative. The same photo below, right, displays as such when in positive image.
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As Leonardo's drawing "Ravine" is cut hortizontally (above left, red border), and when turned on it's side (above images at green lines) and then joined together in a mirror image (above right), appears a saucer shaped starship beneath the Sasso Simone! (below right, red circle) Using your computers photoviewer application, the mirror image (above) is in negative/inverted (below). Using a blue tint, the different light options were then applied.
Below, is a cropped image of the Virgin of the Rocks. In image at right, is the cropped image area in the white border from the image, below. From the image at right, and under various lighting conditions, in both positive and negative applications, appears a metal looking, long, flat, device, with a long "trigger" handle on each side, and two portholes exiting out of the end of a long, rounded neck of the device. Two, toggle switches, appear in the top circle above the metal device. Additional information and images are available by clicking on the button below.
In the above image, bottom circle, appears an odd shaped device. Possibly this a power source? The shape of this devise is similiar in shape to the rocks that lay on the landscape in Leonardo and Andre del Verrocchio's, painting, Tobias and the Angel (see image, below). In that painting, Leonardo paints a transparent dog.....a transparent dog?! In the image below, the dog is walking at the feet of the Angel and is about to step on a "rock" that is similiar in shape to the odd shaped devise in the bottom circle, above. The "rock" is hovering over a rectangle shaped "black-hole" in the ground.
Leonardo da Vinci, passed away over 500 years ago. A rocket, like the one seen here, did not exist until over 500 years later. Just what did Leonardo find within this cave that would enlighten him to this kind of advanced technology? The more one learns of this story, the more one will understand the overall meaning behind much of Leonardo's work. There are many different images within Leonardo's work, that also suggest that an advanced civilization lived within the Sasso Simone & Simoncello mountain plateaus prior to the Bronze age, as well as during the Medici family's time here.
Drawing by Leonardo da Vinci
Image, left, shows a drawing made by Leonardo da Vinci, circa 1483. Leonardo gave titles to very little of his work. This drawing has been known for a long time as Ravine. The drawing shows a large plateau of rock formations surrounded in water. Through some of Leonardo's different artworks, the area in the drawing has been identified as the Sasso Simone mountain plateau, in northern Italy. Additional clues of this may also be found by clicking the button beneath the image. The Sasso Simone & Simoncello mountain plateaus (image, below, left), are located in the Tuscany region in Italy. During Leonardo's time in this area, the House of Medici ruled over the Tuscany area. The Medici family produced four popes (Leo X, Clement VII, Pius IV and Leo XI). In the late 16th century, a city made of stone, and called the City of the Sun, was built by the family atop of the Sasso Simone mountain plaetau. Artifacts, found from past civilizations on the mountain, date back to before the Bronze age, 3000 BC - 1200 BC. The Medici family supported such artists as Leonardo during the Renassance period of the 14th and 15th centuries. While hiking in this area of Tuscany, Leonardo, wrote of a "threatening dark cave," that he had found there. He recalled that inside the cave he found a fossilized whale skeleton and layers of fossil shells embedded within the cave wall. Other fossil whales have since been discovered in the Tuscany area.