Salvator Mundi Is No Mona Lisa?
Superimposed in the above images are the Leonardo Da Vinci paintings ‘Salvator Mundi’, and the ‘Mona Lisa’. Notice the feminine and masculine attributes that are mirrored here. The sync between these two supposedly unrelated art pieces is astounding. The works are an illustrious match on several key factors, most notably the background, and eyes of the Mundi and Mona Lisa.
At first impression, such shared similarities seem to be no mere chance. The paintings are believed to have been painted around the same timeframe. Given the possibility that the two pieces are synchronistic, is it possible they are companion pieces, or were these changes altered in the modern to mirror both paintings? Synchronicity is a concept, first introduced by analytical psychologist and Illuminati bloodline Carl Jung, which holds that events are “meaningful coincidences” if they occur with no causal relationship yet seem to be meaningfully related. According to theorist, Jung is regarded as a secret member of the post-Bavarian modern Illuminati, claims that arose due to the bloodline of Jung. The Bavarian Illuminati counted amongst their elite at least two members with the last name of Jung. One identified in Hermann Schüttler’s Die Mitglieder des Illuminatenordens as Franz Wilhelm Jung (1757-1833) and the other as Johann Sigmund Jung (1745-1824). The latter of the two was the ancestor of Carl Jung, while his grandfather was a Freemason, Jung also claimed to have been a descendant of an original 17th-century Rosicrucian.
Jason Farago of the New York Times wrote an article which states; “That 450 Million Leonardo? It’s No Mona Lisa.” I couldn’t help but notice the striking similarities in the pieces. The artistic figure of the ‘Salvator Mundi’ appears, at best, feminine and less than Christ-like. Below is commentary from Hidden In The Crag.
“The divine feminine interlaced into the divine masculine. Meet their god Lucifer. Jupiter Serpais and Isis in the form of their Salvator Mundi or Saviour of the World. You have the right hand of the Serapis pose and the left handed crystal ball of the priestess of Isis.” – hiddeninthecrag.com
Salvator Mundi Through The Years
The ‘Salvator Mundi’ (Latin for ‘Savior of the World’) by artist Leonardo Da Vinci, is a painting of Christ dated around 1500, a similar timeframe for the famous ‘Mona Lisa’ painting. The ‘Mundi’ features left to right symbolism, in the right hand is a blessing, while in the left hand is a crystal orb, said to symbolize the cosmos and the Earth. Around twenty other known versions of the work are in existence, with preparatory chalk and ink drawings by Da Vinci held by the so-called British Royals.
A Czech etcher, known in England as Wenceslaus or Wenceslas and in Germany as Wenzel Hollar, made an engraving of the painting, published in Antwerp in 1650 with the inscription Leonardus da Vinci pinxit (Latin for ‘Leonardo da Vinci painted it’).
Notice the numerous changes to the painting over time. This is due to a number of contributing factors, namely the painting was damaged from previous restoration attempts take on during the late 1800’s, and then various liberties were obviously taken to the modern restoration of the piece. For example most telling is the detail of the drapery robes and the cross-section.
Below I have taken the 1650 etching and superimposed the image with the 2017 version of the painting. Notice how the change in the eyes has affected the paintings appearance. The beard and mustache of the Christ were removed, while the shadowing texture on the chest was replaced or altered. With the beard forever removed, the piece takes on a less than masculine appearance, an almost esoteric theme begins to emerge.
Below is the painting of 1912 superimposed with the 2017 version. By 1912 the painting had undergone a number of repairs, alterations, and damages which resulted in an inferior looking piece. Notice that the hands have synched up very nicely between 1912 and 2017 versions. The piece varies widely in detail between 1650 – 2017 due in large to the heavily over painted application produced in the late 1800’s, and was once considered a ‘sloppy copy’, prior to the recent ‘restoration‘.
The Great Master Da Vinci & The Mirror
Leonardo da Vinci was born on 15 April 1452, in a farmhouse about 3 kilometers from the town of Vinci, near Florence. His full name was “Leonardo di ser Piero da Vinci”, which means “Leonardo, son of Piero, of Vinci”. His name is also an anagram, written as ‘O, Draconian devil’. Leonardo Da Vinci spent his last years in France at the home awarded him by Francis I. where he brought three masterpieces: Mona Lisa, The Virgin and Child with St. Anne and St. John the Baptist. His writing and paintings were done so with the technique of mirroring. Amongst theorist Da Vinci is believed to have been a member of the secretive occult, charging that such mirror/backwards applications are done so to reveal hidden meaning of an esoteric secrecy. These thoughts have led to books such as ‘The Da Vinci Code“. Leonardo’s writings are known mostly in mirror-image cursive. While the occult or hidden aspect is possible, other reasons put forward for this may have to do with Da Vinci and dyslexia. Others have stated the reasons may have been more a practical means for a left brain active individual, as Leonardo is thought to have written with his left hand, it is probable that it was easier for him to write from right to left and paint in similar mirror fashion.
Below I have shown an example of the mirror technique with the 2017 version of the Mundi. Notice the left side is striking in detail and technique and splendid in focus. While the right side only half is rather dubious in detail and appears poorly achieved.
German painter Albrecht Dürer, created a self portrait in 1500 which the “Salvator Mundi” likely inspired. Durer was a brilliant painter whose artistic talent was known to the old Italian masters such as Raphael, Bellini, and Da Vinci. Below is the 1500 self portrait by Durer.
Notice the detail in the curls. The eyes and the front facing position of the portrait, so remarkable in style and similarity. Leonardo da Vinci’s ‘Salvator Mundi’ may have been painted for Louis XII of France. It was probably commissioned between 1490 and 1500. Durer would return to the ‘Salvator Mundi’ in 1505 with an unfinished copy of the Leonardo, and again in 1526 with yet another self portrait. Both works would go unfinished. Below are the three “Salvator Mundi” works of the master.
Below I have superimposed ‘Salvator Mundi’ with the Albrecht Durer portrait.
Was The Shroud Of Turin By Da Vinci?
The Shroud of Turin or Turin Shroud (Italian: Sindone di Torino, Sacra Sindone) is a length of linen cloth bearing the image of a man whom some have alleged to be Jesus Christ. However, the piece of cloth is not the work of painting. In recent years the image of the cloth and the work of Da Vinci have been compared, some theorist have suggested that Leonardo is the creator of both the Shroud and the Mundi. In English Gematria “A da Vinci Shroud” = 888
“The dramatic evidence to link Leonardo da Vinci with the Shroud of Turin can be seen immediately by comparing the face of his painting the Salvator Mundi with (a) the face of the man on the Shroud in photographic negative….. The exact comparison is final proof positive that da Vinci had an intimate knowledge of the Shroud.” – Lynn Picknett & Clive Prince, authors of How da Vinci Fooled History: The Turin Shroud
The title of the painting, which is known in English as Mona Lisa, comes from a description by Renaissance art historian Giorgio Vasari. The painting is believed to have been painted in 1503, while mystery still surrounds the piece by Leonardo da Vinci. Below is the original, copy, and the two works combined to showcase the details and difference between them.
Below the original and copy in a combined manner, super imposed upon one another.