Mona Lisa, Megaliths and a Map

[sluggozim61]

Da Vinci concealed a Map in the early Mona Lisa. The first marker in the painting, a ^ symbol, marks a Dolmen on the ground with the same ^ shape on the southern Brittany coast line. The destination marker is a Cypriot Syllabary symbol. That symbol marks Chateau Bu on the ground, a chambered cairn, part of the megalithic complex at St Just.

I know it is hard to be believe a hobbyist would find a map but it is there.

That Da Vinci concealed a map marking megalithic sites, whatever is at Chateau Bu must be precious. Templars?

sluggozim

 

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[sdcfia]

Time to dust off the Priory of Sion rabbit hole.

 

[sluggozim61]

Time to dust off the Priory of Sion rabbit hole.

lol. Interesting you mentioned the Priory when I did not. Not a rabbit hole I want to go down. The Dolmen mark, painting to ground, is compelling, right? If not, why not? I really want to know so I can improve my approach and not infer rabbit holes.

Interesting side note. The Mona Lisa Foundation, a large private organization, exists to curate this ONE painting. Now, there is your rabbit hole.

onward.

 

[sdcfia]

lol. Interesting you mentioned the Priory when I did not. Not a rabbit hole I want to go down. The Dolmen mark, painting to ground, is compelling, right? If not, why not? I really want to know so I can improve my approach and not infer rabbit holes.

Interesting side note. The Mona Lisa Foundation, a large private organization, exists to curate this ONE painting. Now, there is your rabbit hole.

onward.

That Islesworth Mona Lisa has not been attributed to da Vinci, although some believe he painted it. So we take Leonardo (the alleged 12th Grand Master of the Priory of Sion/Templars) out of the equation. Be that as it may, the main question is the 'map'. That tree outline does sorta look like the coastline, rotated. That squiggle does sorta look like that dolman photo. From those observations, where do you go from there? First thing, IMO, would be to establish the provenance of the Isleswoth Mona Lisa and try to figure out who's responsible for it and why it was painted. Any way you slice it, this theory becomes a rabbit hole no matter what you do.

As far as hidden messages-within-paintings goes, the Poussin stuff is really interesting, maybe not for 'maps' per se, but for hidden messages. Keep in mind, these hidden things in paintings could also be just the artist's way of messing with peoples' heads for the fun of it.

 

[sluggozim61]

That Islesworth Mona Lisa has not been attributed to da Vinci, although some believe he painted it. So we take Leonardo (the alleged 12th Grand Master of the Priory of Sion/Templars) out of the equation. Be that as it may, the main question is the 'map'. That tree outline does sorta look like the coastline, rotated. That squiggle does sorta look like that dolman photo. From those observations, where do you go from there? First thing, IMO, would be to establish the provenance of the Isleswoth Mona Lisa and try to figure out who's responsible for it and why it was painted. Any way you slice it, this theory becomes a rabbit hole no matter what you do.

As far as hidden messages-within-paintings goes, the Poussin stuff is really interesting, maybe not for 'maps' per se, but for hidden messages. Keep in mind, these hidden things in paintings could also be just the artist's way of messing with peoples' heads for the fun of it.

First, thank you for the dialog. It really helps.

Sure it has, Encyclopedia Americana did in 1951 is an easy example. Many more. But, as usual, the nay sayers are loud. I see so much intellect in the painting that it would make sense to be DaVinci. Not the point though. The painter was just the messenger. That is a point I need to emphasize better. The painter was given knowledge to conceal in the painting, and I stumbled into it. I get it, unbelievable, yet ...

I am just going from the painting to the ground. I am a glass half full person, so I can suspend disbelief, follow the leads and then look back, assess the path and go from there, forward so far. My objective is to have the artifacts evolve for the observer just as they did for me.

The dark feature and the translation to the coastal profile is still not obvious enough, apparently, and considered a coincidence, singular. Among size, scaling and features, there are about 12 coincidences between the painting and the coastline. Given the visual image and complexity of the coastal profile, I thought the coastal profile alignment was a no-brainer, considering 500 years between images.

After conceding the coastal profile alignment, that Dolmen is certainly a no-brainer? In the right place with the right shape? C'mon Man! A Dolmen marked on a coast line, that is a Map. [emoji5]

Where does it lead? Given the artifacts, Chateau Bu, and I would welcome dialog on that. My graphics skills are basic and there are so many more artifacts in the map area I just cannot resolve.

Poussin is yielding lots of artifacts, Brittany related. He is not as good as Da Vinci at concealment. Simple blurring reveals a lot in the bushes, trees, and leaves. Not sure when I will get back to him. I am going deeper on the Louvre Mona Lisa.

Totally agree that these artists are flipping the bird in their works to their disliked patrons.

Thanks again for the dialog.

 

[dog the treasure hunter]

I find this subject interesting. Would like to hear and see more.

 

[sluggozim61]

The dark feature is a treed hillside reflected downward, according to scholars, so our eyes see a horizontal feature. But, as the king of light and shade, the reflection loses nothing in color nor intensity and the bottom equals the top across the horizontal access. Not realistic for a reflection, is it? An artifact?Plus the symbol at the top right edge of the feature was not reflected. Another artifact to ponder. I was chasing a Poussin artifact in the southern Brittany coast line, Hoedik Island, when I noticed the complex Brittany coastline in that area. Looked like the top and bottom were reflections of each other and, the overall shape seemed familiar. I finally realized what the shape was, went back to the IML, and there it was.

The right edge of the dark feature matched the southern Brittany coastline profile really well. Apparently, the dark feature was created to keep our eyes going horizontal while the map key was concealed in the negative vertical edge, hiding in plain sight. Genius.

For thoroughness, I scaled and lined up the dark feature edges and the satellite image of the coast. I added lines to show feature details matchups and proportions. So, not just one coincidence, but rather 10+ coincidences. Pretty darn accurate, given 500 years of knowledge and geophysical forces, which suggests a deliberate motive.

The non-reflected symbol just amplifies this motive. The topic of next post.

 

[sluggozim61]

This is the Poussin that got me to Hoedik Island, off the southern Brittany coastline. How I found the island is a story for another time.

 

[sluggozim61]

The non-reflected mark at the top right edge of the dark feature has gone unexplained through history other than perhaps evidence of an incomplete work, until now.

Recognizing the coastal profile alignment, the red line, what is on the ground where the circled mark is? The images are zooming in near Billiers, until the megalithic site is revealed, a collapsed dolmen. Looking closely at the mark in the painting, it clearly shows two opposing unequal lines, angled into each other. On the ground, a collapsed dolmen, with two opposing unequal stones, angled into each other. The mark is Dolmen du Crapaud, right where the painter said it would be. From painting to ground, a terrestrial object marked next to a coastal profile alignment, further supports the notion of a map, hiding in plain sight.

If it is a map, does it lead sonewhere? Is there another marker? Yes, an ancient symbol leads to another megalithic site.

The next post.

 

[sluggozim61]

More LML. I am totally baffled by these symbols. Filtering is for you, I can see them in the first pic.

Thoughts?

 

[dog the treasure hunter]

Very interesting , its kinda hard to make a argument against it, with what you have showed.

 

[dog the treasure hunter]

I had read Poussin did six tempera paintings for the Jesuits, but i guess they have disappeared some how. Have you seen any of those sluggozima61? Or know of the subject matter or names of those paintings?

 

[sluggozim61]

Very interesting , its kinda hard to make a argument against it, with what you have showed.

dog, you made my day. That is the most supportive statement I have received. I have had this for months with time to think through and polish my thoughts. If secrets exist in paintings, they have to be retrievable in some way with the proper knowledge. That is my approach and how I stumbled into the IML stuff, along with other works.

I really need help with graphics, to coax out more of the symbols in the map that have faded over time, and were subtle to begin with. I attached an example. Left is original Da Vinci hand study, middle is UV light treatment and right is my treatment. Just shows plausibility of my meager ability to reveal artifacts.

onward.

 

[sluggozim61]

I had read Poussin did six tempera paintings for the Jesuits, but i guess they have disappeared some how. Have you seen any of those sluggozima61? Or know of the subject matter or names of those paintings?

Not offhand, but I have not looked for them either. Will check my resources.

This Poussin is a where's waldo of artifacts. The heads make a 72, or constellations, Leo on the right? And is that anything other than a wine bottle under the horse?[emoji5] And the symbols on the neck and shoulder, odd looking muscles?

 

[dog the treasure hunter]

I belive in what you have showed, and i belive there are things hidden in some of these paintings. I know i have found things in the field that are in Poussin's paintings. I had gotten away from looking at those things,but now you have rekindled my intrest in it. Thanks for posting what you have found. I think you are onto something .

 

[sdcfia]

I like the work you're doing, it's interesting. I'm of the opinion that some of the Renaissance artists did indeed include 'secret information' within their works. The 'artifacts' you're revealing may be such easter eggs, or they may be be some form of apophenia - obvious to you but not as significant to others. I'm not arguing for or against your presentations, but I will say I don't believe in coincidences.

I see what you're doing, but I'm not sure what you're doing with the results. Symbols ('artifacts') are one thing, but 'maps' are another. Symbols send messages and ideas, maps lead to destinations. There's a difference. Are you primarily intrigued by the easter eggs themselves or are you seeking destinations? Me, I'm interested in both ideas, but my focus lately is primarily with 'axis mundi geometry' - joining significant surface structures with straight lines and noticing patterns. I hope you keep posting stuff and discussing it, but I can't add much except to recognize the anomalies or not.

 

[sluggozim61]

I am all about patterns, shapes, symmetry, asymmetry, and anomalies. I am very careful about apophenia and pareidolia as I try to resolve solid lines, hard angles, symbols, letters. No fluffy cloud bunnies![emoji5] I attached my current dilemma in this regard.
The "structures" in the sky suggest groups if words and writing, all horizontal, relatively equal height and spacing between related lines. Or not! I just cant get the image sharp enough.

You bet I have a destination for the map, just following the artifacts. I thought it important to establish the map and the first marker before heading to the destination, a faded Cypriot symbol, pre-Greek. I will post that narrative next. Then go to the other side of the painting.

my hobby website is decloakingsecrets.com. not much yet, just getting started.

I really appreciate the comments.

 

[sluggozim61]

Here is a rabbit hole on this topic. A beautifully illuminated map of 1472 political Brittany created c.1940 by HAAS Xavier. I cannot find his inspiration nor sources for his work. There are 4 pairs of crossed swords on the map and a dotted north-south path. All four pairs of swords mark unambiguous megalithic sites, interesting. In the second pic, two of the sword pairs are shown and the south end of the dotted path.

The crossed swords above Redon mark the same St-Just megalithic site as Da Vinci, my next post. The dotted path ends at Dolmen du Crapaud. Seriously!

Rabbit hole?

onward.

 

[dog the treasure hunter]

Holy Cow. I checked out your web site and your other thread on this site. Man, nice work. You are right on some secrects. Dang, what great work. Cant wait to see more. That one photo on your web site is killer. I need to take some more time to study your work. Thanks a million . Keep it going.

 

[sluggozim61]

I had read Poussin did six tempera paintings for the Jesuits, but i guess they have disappeared some how. Have you seen any of those sluggozima61? Or know of the subject matter or names of those paintings?

The book i have on Poussin refers to those 6 paintings in 1622 right up front, no names, just that they were lost. Poussin landscapes style changed, I think, around 1630 or so. The leaves on bushes and trees took on a whole new texture, finer individual leaf detail, more overall structure and depth to bushes and trees as well. He used the trees and bushes to create the structure and shading he needed for concealment. Not as clever as Da Vinci, because Poussin concealment can be defeated by slightly blurring the trees and bushes. I just cant piece together latin nor french. This was some of my earliest work. good examples. i just cant read them.[emoji53]