W.N. Varvel - The Lady Speaks ; Uncovering the Secrets of the Mona Lisa

2014 W. N. Varvel

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THE LADY SPEAKS

Uncovering the Secrets of the Mona Lisa

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AUTHORS NOTE

In March 2012, the Louvre in Paris confirmed the radical revision of the dating of the Mona Lisa. Leonardo da Vinci's famous portrait had been dated to around 15031506, but this dating has now been formally altered to 15031519. This important shift was presented to the world in the catalogue of the Louvres exhibition Saint Anne: Leonardo da Vincis Ultimate Masterpiece (March 29June 25, 2012). This critical change in dating is important to this text because it substantiates the data presented within The Lady Speaks , which sets the beginning and completion of the painting of the Mona Lisa within the year 1515.

All biblical references cited in The Lady Speaks are taken from the Douay-Rheims English Translation of the Latin Vulgate, which was the standard Bible used by the Roman Catholic Church during the era of the Italian High Renaissance.

PREFACE

T he Mona Lisa has been the subject of many erroneous correlations and suppositions throughout its five-hundred-year history, due in large part to the speculation that some hidden messages might be contained within the portrait. Any productive discussion of the decoding and subsequent interpretation of the Mona Lisa can begin only at the time when hard data can be provided and verified to the general public.

The process of decoding and interpreting the Mona Lisa requires that three distinct types of hard data be presented to the general public: (1) the reference text used by Leonardo da Vinci to construct his arguments within the Mona Lisa, (2) the physical map used by Leonardo da Vinci to correlate geographic locations taken from his reference text and placed into the background of the Mona Lisa, (3) and the identification of the religious symbols Leonardo da Vinci used within the composition of the Mona Lisa in order to teach or communicate the lesson of his theme.

The reference text used to construct arguments within the Mona Lisa was chapter 14 of the book of Zechariah in the Old Testament. Leonardo desired to present the theme of Theological Gender Equality or Womens Rights to Hold the Priesthood of Jesus Christ by artistically presenting the twenty-one verses of Holy Scripture that it contained.

To accomplish this task, Leonardo constructed and placed a total of forty separate symbols taken from chapter 14 into the background, middle ground, and foreground of the composition of the Mona Lisa.

The first ten can be correlated to the background of the Mona Lisa and have been identified and placed upon the Map of the Old City of Jerusalem (Figure 1).

Leonardo used the Map of the Old City of Jerusalem to assist him in painting the background of the portrait. This particular map was readily accessible to Leonardo as it was located within the vaults of the Vatican Library during the three years that Leonardo resided within the Belvedere of the Vatican from 1513 to 1516. These ten symbols reveal Leonardos message.

In addition to these first ten symbols within the background of the Mona Lisa, Leonardo placed an additional ten either on or near the portrait sitter of the Mona Lisa, in order to teach the message of Theological Gender Equality, as presented by Zechariah 14. This second set of ten symbols is presented and identified on the composition of the Mona Lisa in Figure 2.

There are a total of 1,189 chapters within the combined Latin Vulgate the Old and New Testaments of the Bibleto which Leonardo da Vinci had access. The probability that all forty symbols within the Mona Lisa would exactly correlate to the fourteenth chapter of the book of Zechariah is 1 out of 47,560, which yields an accuracy of interpretation between the Mona Lisa and the book of Zechariah chapter 14 at the astonishing value of 99.99998%.

This extreme accuracy on the part of Leonardo may seem like overkill, but as Leonardo clearly states, Now look here reader, at what our ancestors would have us believe. They have tried to define life and the soul as dealing with things which cannot be proven, when those things which at all times could clearly be proven by experience. These things have been unknown for so many centuries or else misunderstood, and I find by my experience that it is something quite different.

The something quite different is the major theme presented within the Mona Lisa and is defined as humanitys universal sanctification, brought about by the recognition of theological gender equality, or the rights of women to hold the priesthood of Jesus Christ. Leonardo realized that his message would be evident to the general public of some future generation, and would not require any additional validation by theologians, scholars, professors, or doctors of the Church as to its true meaning. It would be that particular generation that would be ready to integrate his hidden message into their ongoing pursuit of happiness.