Didactical summary of the discovery:

THE MIRROR OF THE SACRED SCRIPTURES & PAINTINGS

THE SACRED SCRIPTURES, RENAISSANCE MIRROR
 
The facts mentioned in this document are base on scientific evidence obtained from history, ancient and midieval philosophy books, that allowed the discovery of invisible paintings, visible only with mirrors, within the Renaissance artwork.

These secret paintings, alluded in the biblical versicles, are related to a secret message left by the artists regarding the allegories of the Genesis and New Testament, that open the doors to a new way of reading the artworks and that start to remove the veil of the mysterious cultural movement that was the origin of the rebirth of humanity.

The ardous reading of Philo of Alxandria’s treaties is what impeded, until now, the knowledge of the true meaning of his revelations.  His works are the only ones that reveal that the Bible does not describe the history of humanity but a symbolic representation of the history of the human intelligence that occurs within the brain of the human beings during its instruction.  Adam is the intelligence that resides in the mind of every human, that was symbolicly named “man”; and Eve is the corporal sensibility, that was named “woman”, and whos genesis can be seen with a mirror by those who have a sharp vision.  Da Vinci represented the allegory of this genesis in his painting of John the Baptist, just as described by Philo of Alexandria in his book “De Opificio Mundi 76”, to be seen, precisely through mirrors by those who have sharpened their vision.

This artwork exhibited in the Musée du Louvre, is one of the numerous evidences that prove that the artists knew the sacred mysteries of the biblical allegories, and that their artwork would have been contemporary along with the scriptures and history books.

Regarding this Leonardo Da Vinci wrote the following: “Our judgement does not always appreciate the distances that separate the events that occured in several periods of time, nor its relative intervals.  Events that took place in remote times seem proximate and almost actual; on the other hand many circumstances relatively recent seem distant, when in reality their antiquity does go beyond our youth.  Our eyes behave in the same way in relation to the distances, when iluminated by the sun seem near, and while briefer shaded spaces seem distant.” (Atlantic Codex. 76,r.).

The mannerism, an extraordinary technique, viewed through a mirror, just like the sfumato, removes the veil of the digital techiques utilized to create the unedited images of this mysterious language, rich in philosophical content that escapes the comprehension of the human reasoning.

Tha amazing descriptions made by Giorgio Vasari, Renaissance biographer, regarding the paintings of the artists does not coincide to the characteristics that one sees in the charcters at plain sight, which is prove that he was aware of the technique that allows one to view hidden images within the artworks with the use of mirrors.  That opens a question on the true meaning of the artists biographies, to whom this author refers to as gods and divine beings.

It is worth mentioning, that Vasari refers to the face hidden in the virgin’s shoulder within the Cartoon of  Burlington House, exhibited in the National Gallery in London, emphasizing the mastery and intelligence with which the artwork was conceived and that provoked enthusiasm in elders, women and children that paraded for two days to appreciate it.

The art critics and experts do not comprehend Vasari’s comments, to the point where they think that he’s referring to another painting since this cartoon is suposedly half done, when infact the biographer was facinated with the face Da Vinci had left in Mary’s shoulder.

According to Philo the literal interpretation of the Bible allows one to think that the genesis is an allegory of the creation of the human female formed from the rib of a human male, when in reality this philosopher explains that it is an allegory of the soul that lives within the mind, formed by the sensibility –woman- that was created from one side of the intelligence –man-, and that together form the eldest source of the thought within the brain.

Philo reveals that Adam is the primitive intelligence that is born with no knowledge within the brain of every human being, that evolves and adopts different patriarchal names from the Bible, that identify the level of intelligence in each stage of its instruction.

The Masonic symbol of the finger with which the characters of the paintings signal the spiritual images of the Bible and the history books visible only through mirrors (the mirror of the Masonic conscience), would link this mysterious group of constructors with the Renaissance maecenas and artists.  The Masons would have been keepers of the secret that the written history is the history of the intelligence that was contemporarily executed along with the artworks.

Behind this secret hides the mystery of the origin of the Masonic and Renaissance movement, that had in its hand the most advanced technologies to execute all the artworks and the architectural buildings around the world.

The language of the mirrors, utilized by the majority of the artists, including Jacques David, from the 1st century to the 19th, was also found in famous paintings and sculptures of Buddha, which would prove that the orientals would have been a part of this mysterious cultural Ranaissance movement that chose the city of Florence to forge the movement that gave place to the rebirth of humanity.

In all the artworks the characters signal this spiritual language, indicating with a finger the existence of an invisible image (in many cases signaling the exact location where one must place the mirror  to visualize them), and at least one of the characters within the paintings is glancing to the exact place where one can find it.

This technique, commonly used by the artists would question the alleged rivalry between Michelangelo and Da Vinci, and the alleged contarct between Micheangelo and the Vatican, and the historicalness of the Renaissance protagonists.