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  Leonardo da Vinci         and his mother              Caterina

                                                                                     "The origins"


                                                                                                                         Maurizio Pecorari 18/01/2021


The Virgin of the Rocks 1483/86
short study

At the beginning of the year 2020 I read a book entitled "Ceci n'st pas Leonardo" author Riccardo Magnani, an interesting text full of documentation. The main topic was the figure of Leonardo da Vinci and the historical events of his time, the paragraphs that most intrigued me were those relating to the discoveries of the Americas The main topic was the figure of Leonardo da Vinci and the historical events of his time, the paragraphs that most intrigued me were those relating to the discoveries of the Americas, here the maps of the American continents were described with graphic documentation, dated many years before 1492 (Christopher Columbus).. These revelations pushed me to search for signs, iconographic elements that would certify the knowledge of the American continents in years prior to that date. Analyzing some paintings "The virgin of the rocks" by Leonardo and subsequently "the Cavalcata dei Magi" by Benozzo Gozzoli, I arrived at an extraordinary result following a path that I will now describe. We can see that Leonardo himself tells, with subliminal and significant figurative elements, the events of his life, his knowledge and the bond that unites him with the American continents since childhood.

The stories known to us are the following: "Leonardo da Vinci was the eldest son born of an illegitimate relationship between the twenty-four year old Piero notary in Vinci and Caterina, a woman of modest social background. The news of the birth of the first grandson was noted by his grandfather Antonio , father of Piero and also a notary. VASARI in his documents writes: "Leonardo was born in good blood" or rather from a high-ranking family, referring to the Florentine nobility. These phrases bring into play some stimulating thoughts, a new way of rereading the life of Leonardo and his works, if so my first question was: "what is the mystery surrounding his birth, the second is whether Leonardo was aware of his genetic belonging". My academic artistic studies on Leonardo were of short intensity, his personality and his works, having become part of the collective imagination, did not lead me to deepen. Freud's text "Leonardo" has left in me an ever-lively interest in the mystery of his life, in each of his works, as can be guessed from the expressive form of the nuanced, one glimpses a rich and mysterious language, of ethereal atmospheres of things said and unspoken. This my interpretation of Leonardo's work: "THE VIRGIN OF THE ROCKS" does not claim to bring arguments of a theological or philosophical nature, but to highlight with a reading of some significant formal aspects. Looking carefully at the painting, the first sensation I had is its complexity, a set of figurative elements never found in any work.

I have carefully searched for the detail among the different expressive forms that would indicate the starting point for a correct reading. Leonardo often resorted to the playful forms of the rebus, he also read and wrote from right to left, which is the same method of hieroglyphic writing, this language through images always starts the word from the right with the person or animal that indicates the sentence. In this painting it is the winged angel and his gaze turned towards the observer and his hand indicates a trajectory directed to JOHN, I deduce the beginning of the word. The second movement starts from the left, from the head of Giovanni traced by the extraordinarily straight drapery up to a stone placed on the sealing point of the two parts of the mantle, therefore I deduce PIERO (petrum medicem), translation from Latin). The third element is Mary's hand which is placed directly towards Jesus with a complex gesture "motion from place" which in Latin is written DE, the hand recalls a position of agreement on a musical instrument, that is, it involves several "elements" and here it enters the name of the anatomical parts is at stake Tracing a line between the two fingers "the Medes" of Mary and Jesus, intersects the index of the angel "DICI". My interpretation is therefore the following: "GIOVANNI PIERO-DE-ME-DI-CI.


This interpretation of mine seems fanciful, but all the elements have a preponderant meaning. Did Leonardo want to affirm the knowledge of his genetic belonging? In the same painting there is a second interpretation. Looking closely at the top of the rocks, one can glimpse a trace formed by the dense foliage where a silhouette of a lion's head appears. Is the Rampant Lion the representation of the heraldic coat of arms of the Tornabuoni family, a possible lineage of Leonardo?

If we compare the coat of arms of this family with the traces of the painting, we can see the perfect hidden transposition (sub liminare) of the rampant lion, centered in the perimeter and at the diagonals. In this work Leonardo wanted to leave the significant trace of his belonging to the noble family, what he could not say in life.

LEONARDO DA VINCI GIOVANNI PIERO DE MEDICI TORNABUONI -

This second reading key solves the puzzle in a definite way, Leonardo not only affirms his first baptismal name but also by whom was it revealed to him? The name PIERO can be translated into Latin "Petrum Medicem" (healing stone), the one placed on Mary's mantle represents a Bezoary (Medicament stone) was a precious mineral conformation of organic origin, it could be found in the belly of animals and also of humans, this could be worked and polished, the word from Persian means "Protection from poisons" was used in the Renaissance for its beneficial healing properties, it was said that anyone who wore it on the chest was loved by everyone. If we add that the name PIETRO in the sacred texts of the new testament was given by Jesus to SIMONE, we can anagram with this second resultant and reread the following sentence: SI DE NOME PIERO ME DICE GIOVANNI DE MEDICI

This study of mine has the purpose of verifying the solutions addressed up to now, with attention to semantic readings of various kinds, body language, constructive and symbolic elements, geometry and literature of sacred texts and anecdotes.

Here I am transcribing the translations from Latin and the complete anagram that in my opinion Leonardo wanted to imply. We know that complete sentences in Latin take on different meanings depending on the position of the individual sentences, therefore each interpretation must be identified in the contents of the work itself. Uriel states:

ENUNC EST SALVUS IN MATREM PETRAM

NOW YOU ARE SAFE FOR MOTHER ROCK

anagram:

TACENT SINE VULNUS PATREM MATREM

SILENT WOUND WITHOUT FATHER, MOTHER Synthesis and simplicity are the most important aspects of all forms of communication, images, sounds, words, can reach our consciousness directly without filters.

There is the clear and evident will, of the genius Leonardo Da Vinci, to formulate with complex representations dictated by various musical, figurative, literary, historical and humanistic knowledge, such as using 2 space-time communication forms, Archangel Uriel represents the past, present and future, he has communicated and will communicate to us, is the figure who participates in the action and at the same time in a reality external to the action itself. The Latin language which is adapted to the synthesis, I believe is the desired form by intuition and logic.

DICIS QUI EST MATREM PETRAM DICIS QUI EST MATREM PATREM

Anagram by changing a single letter

SAYS THE MOTHER ROCK THE MOTHER AND THE FATHER SAY

^!^

Benozzo Gozzoli The cavalcade of the Magi 1459

I believe this new argument is in direct relation to the image represented above by Lorenzo the Magnificent, which I identified as a trace drawn hidden in the foliage with the profile facing figures that represent shapes similar to geographical silhouettes, an island identified by me by similarity. to Jamaica, you can see from the photographic elaborate and the Americas characterized in a symbolic way.

The research leads me to deepen in different directions, to obtain more evidence and certainties, the most significant vision occurred by observing the frescoes of the "Cavalcade of the Magi", a celebratory painting of the De Medici family. It is a shared journey of important families to exotic lands, the significant forms of the landscape have a structure like a geographical map, rocks and silhouettes similar to islands and continents can be glimpsed.

Working with a program of overlays of cut-out images of Caribbean islands, I have identified with approximation, despite the Gothic style of Benozzo Gozzoli, the desire to represent a cartography of the Americas (see photo). , which represents the passage on the territory

of the Yucatan, the procession moves from left to right from north to south, furrows are depicted under the clogs that indicate the passage from the Panama Canal, the figures in the background describe the story of the chronological path the first landing on the islands (rocks in the upper left part of the painting), the figures on horseback inside the gorge represent the passage to the continent. Another significant element are the representations of the birds placed on the sides, in fact they have always played a fundamental function for the first navigators, their sighting was used to orientate towards migratory directions. If it is true that the travels and contacts with the American continents took place at least 50 years before the officialization of "Christopher Columbus". we should have some evidence from official documents, or we must assume that the nature and purpose of those first contacts should not have been revealed at that precise moment for both political and economic reasons, so the painting had to be described only in a strictly symbolic form. It can be understood that the motivations of these "families" to undertake such an important journey were of a purely economic and prestigious nature, consequently justifying the desire not to reveal their sources of income (free trade) and to increase their power. against competition, the Church, the Maritime Republics and foreign states.

*!*

Here's what Benozzo wants to tell us about the meaning of the painting... He points with his open hand towards the observer, calls attention to approaching the horse's ears and says "listen carefully, this exotic journey (dark-skinned man with turban) is the union of intent (thumb is the power placed towards the palm, middle and ring fingers together) towards these new lands, they have hair and headgear made like this, "Mascapaica Inca" (people of the central Americas). The gesture of the gear fingers, with the tips that touching, can symbolize coordination, collaboration or harmonious interaction. It can be used to express the synergy and teamwork of the different families represented here.

The following reading reinforces some theses of the mysteries of Leonardo's life, so far signals attributable to the presumed genealogy of Leonardo with the De Medici and Tornabuoni family have been identified, the next step was to study in depth the forms for the synthesis of the contours of the Leonardo's painting and comparing them to the geographical forms of some Caribbean islands, after various tests carried out with a computer program with major and minor islands, I obtained a result, with a very small island with an articulated shape belonging to the archipelago of the French Antilles

The island represented here is CARRIACOU,

(Caribbean) fits perfectly into the central body of the figure of Mary, interlocking it surrounds John's hands and the yellow mantle (symbol of the maternal womb of birth), the fingers of Mary's left hand cut out the profile with extraordinary precision, the ' Angel Uriel is superimposed as if to indicate the place , to follow the movement of the blessing hand of Jesus .

That Leonardo wanted to represent the island as a birthplace of Catherine.

The image of the silhouette of the island represented here is satellite, while the one that could have existed at Leonardo's time certainly hand approximations.

 We can read the constructive layout of the "Virgin of the Rocks" as a set of symbolic, subtle and interpenetrating forms, a synthesis of the story between the history of the sacred scriptures and her personal life.

Leonardo fixes and imprints in the work the mystery that surrounds his life, inextricably linked to his childhood.

With this superimposition of images I demonstrate how my research is correct, Leonardo has left a clue, the Carriacou island with the symbolic layout of a route. In perspective, a three-dimensional form of an island in the shade (obscured) as if to make the signifier understand the meaning of the existence of an esoteric message. Master of the ludens.
With this superimposition of images I demonstrate how my research is correct, Leonardo has left a clue, the Carriacou island with the symbolic layout of a route. In perspective, a three-dimensional form of an island in the shade (obscured) as if to make the signifier understand the meaning of the existence of an esoteric message. Master of the ludens.
With extraordinary precision.
With extraordinary precision.

The following reading strengthens some theses of the mysteries of Leonardo's life, so far we can identify signs that can be traced back to the alleged genealogy of Leonardo with the De Medici and Tornabuoni family. The next step was to study in depth the modules for the synthesis of the contours of Leonardo's painting and compare them to the geographic forms of some Caribbean islands. Among the tests carried out with a computer program on several islands I obtained a unique result: "a very small island with an articulated shape belonging to the archipelago of the French Antilles, Carriacou".

The shape of this island fits perfectly into the central body of the figure of Mary, licks the arms of John's hands, the yellow mantle (symbol of the maternal womb of birth), the hand of Mary surrounded by the upper appendage of the island with extraordinary precision , the hand of the Angel is superimposed to indicate the place and the hand of Jesus blessing.

That Leonardo wanted to represent the island as a conceivable birthplace of Catherine?

As historians describe her origins: "Catherine was a slave peasant", and the term slave was given to people brought from exotic countries.

https://samorini.it/archeologia/americhe/polveri-da-fiuto-taino-antille/

text taken from the link

(It is an origin myth that relates the cohoba to the tortoise, understood as the generator of humanity. In fact, in the version of the myth of the Four Twins reported by Pedro Mártir de Anglería in 1511,3 from the shoulder of the firstborn "a woman, of whom all the brothers used each other, and from her sons and daughters were born ". It would therefore be a woman-tortoise, a mythical being who was the father of the human race. With a work of comparison and integration of the materials of the chroniclers with the ethnographic materials, it was possible to better understand this ancient Arawak myth, compared to the incomplete version of Pané. Deminán Caracaracol enters the house of Bayamanaco - who possesses the secret of fire and the art of making cazabe bread (a bread made with flour yucca) - with the aim of asking or perhaps stealing these secrets from him, but Bayamanaco gets angry and spits on his back (Arrom, 1989: 84). T).

The document shown above in the link allowed me to identify a missing piece, the meanings of the yellow cloth placed on the belly of the Virgin. The content of this study by G. Samorini concerns anthropological arguments of the Caribbean inhabitants, the Tayno and the Arawaks, of their customs and spirituality. In one paragraph the most important mythological figure is described, that of the "origins", a TURTLE woman generating all men, and a divinity with carapace called DEMINÀN CARACARACOL. The association of the drape with a TURTLE FIN was immediate, I made an overlap to be sure, the result was this shown in the image,. A perfect identity of form. What sense can a fin have, what formal development? A new vision follows. Starting from the position of the fin, imagine the consequentiality of a turtle's body and its entire shape will appear.

This skilful construction, commissioned by Leonardo, reveals a reality never read in any writing not even of his own hand, both regarding the knowledge of the new continents before that date, and narratives attributable to pre-Columbian cultures. We can hypothesize that one of the reasons had been to comply with the rules of silence desired by the families who participated in the first trips, as I mentioned in the topic of the Cavalcade of the Magi.

In this painting, which I would define as a "monument", Leonardo expresses an extraordinary poetic made up of projections and parallels, linked by invisible threads.

The reading is unequivocal, more evidence crosses and identifies a celebratory aspect, the story of the origins of the mother Catherine.

MAURIZIO PECORARI 18/01/21

The developments of this research and the knowledge acquired so far have led us to a new reading of Leonardo's paintings, many more signs and symbols indicate the story of his childhood, the most significant works The Benois Madonna, The Virgin of the Rocks, Sant Anna with the virgin and the child, are the elaboration of the "repressed", indicate with precision the origins of the birth and the consequences of the pain removed from the little Leonardo, due to his early estrangement from his mother. The sequence of these three paintings is not accidental they respect the three phases of "knowledge" , while the portrait called La Gioconda concludes the cycle with the "sublimation" of the mother figure . The image represents Caterina the mother, i.e. the one who raised him in the first years of his life. her original name was Butes (see photo) in the Taino language means Blue, you can glimpse it written and skilfully glossed over in the tinsel of the Spanish fashion dress (Camora). Taken or rather kidnapped from her island Carriacou at a young age, as Leonardo intends to tell by describing us with the different symbolic elements depicted, she draws a parallel with the stories from the Greek mythology of Amphitride and Poseidon the Dolphin indicates the kidnapping, it can be glimpsed in the conformation rocky left similitude, head and tongue showing gift . Still on the left, they take different forms such as the snake's head, the steep and steep path, on the right, the Ebro river from the story of Orpheus and Eurydice, the figure takes place in a symbolic landscape, recounts "the journey" on separate planes between "two worlds" between "life and death". Through a semantic reading, this research of mine defines a small part of the Master's entire work, clarifies some fundamental aspects that bring us closer to the mystery of his life.
The masterpiece known as "La Gioconda" is Leonardo's Orphic ritual, finished after his mother's death, his art of painting, like Orpheus singing and playing to the gods of the underworld, allowed him to see his beloved again for the last time.
The big hand is the symbolic rock conformation that assumes the meaning of duality, the power of man over history and divine destiny! In the two works depicted here they express the two fundamental aspects of knowledge.
The big hand is the symbolic rock conformation that assumes the meaning of duality, the power of man over history and divine destiny! In the two works depicted here they express the two fundamental aspects of knowledge.
Madonna Benois
Madonna Benois
The dolphin
 A beautiful legend narrated that, when Poseidon wanted to take her as his wife, Amphitrite escaped from him by running away and took refuge in the depths of the sea, where a dolphin managed to kidnap her and take her to the god, who, out of gratitude, placed the dolphin among the stars .....

The two arms of the island of mother Caterina Carriacou (signifiers of the Tainos spiritual origins). Christ's hands repeat the same conformation and the head and shoulders profile fit perfectly. For Leonardo the island becomes the divinatory symbol, the form and content are the celebratory seed of the mystery of the "sacrifice" and of the emotional love relationship with his mother Caterina.

the figure to the right of Jesus is identical to the Virgin of the rocks both carry the Bezoar in the center of their chest, while the hand of the Virgin is turned over and placed on Jesus. We can also note the composite dynamics between the two figures separated by a symbolic space of division.
Leonardo once again reveals the story of passion and sacrifice, of the mystery that surrounds his life and relationship. with his mother Catherine.
The theme of the whole work in the Last Supper is betrayal , the moment of the Eucharist could have done differently, the motivations that prompted Leonardo were of an essentially political nature, i.e. telling the story that involved the families who took part in the first trips to the new lands, the prohibition imposed by force and blackmail by Rome the ban on disclosing its existence, the conspiracy of the Pazzi was its epilogue. The hand resting on the neck of the figure on the right represents the symbol of the power that divides, Leonardo himself was directly involved in it, I remember that his mother Caterina was originally from those lands and was forced to sacrifice part of her life for various reasons including removal from little Leonardo....
Chapter of rebuses and anagrams.


 Taking up some previous analyzes regarding Leonardo's playful and creative characteristics, a constant appears in some paintings, the need to give substance to significant words dictated by the language of anatomical signs or by figural elements of identifiable things or objects, a sort of multimedia operation, real puzzles from
Here I sit between earth and sky girded in fleece with degree and staff Anagram~ Here is the dream of that hidden truth of being a Tornabuoni son
Here I sit between earth and sky girded in fleece with degree and staff Anagram~ Here is the dream of that hidden truth of being a Tornabuoni son
The following is a rebus anagram of 8 words and 51 letters of the painting the Virgin of the Rocks, the union of all the coincident symbolic images, give rise to a precise sentence with significant content, we can read the secrets left by the Master to posterity, what that he could not say in life !
This is a rebus anagram for images, Leonardo tells us the unspeakable! Obviously in English it can't work properly, I'll transcribe the complete sense of the sentence.
This is a rebus anagram for images, Leonardo tells us the unspeakable! Obviously in English it can't work properly, I'll transcribe the complete sense of the sentence.
Linguaggio Italiano
Linguaggio Italiano
As I mentioned, the painting La Gioconda or Mona Lisa is an Orphic ritual by Leonardo, the landscape is essentially a deliberately symbolic composition, it celebrates and sublimates the figure of mother Caterina and the layout of her earthly journey.
dolphin , Catherine , bridge. - for you nymph I sing the odes
dolphin , Catherine , bridge. - for you nymph I sing the odes
The recent studies I have addressed are characterized by an amplified vision of historical events, the semantic structures of other works such as the Gonzaga court, have revealed signs and symbols attributable to political events, inherent to the discoveries of the new continents before 1492. They were thus celebrated with sumptuous paintings by Mantegna, the Camera Picta is an example of this, the Gonzaga family was involved in the negotiations, there were fervent negotiations between the papacy of Rome and the different families, they tried to bring together a unitary and cohesive force that could face an expansion project towards new lands. The representations of the Bridal Chamber indicate journeys starting from the left, the thick foliage with fruits and men on horseback, are one of the meanings. What clarifies the meaning is the landscape above. Mantegna's composition is precise in his semantic codes, the symbolic representation of Hephaestus in the cave expresses the secret events carried out in that period, the two mountains communicating by a natural bridge expresses the passage to new lands, the rock on the left shaped like crystals and the building under construction indicates the possibility of expand your domain. We might think that it is just a fantasy thesis, but this clever composition is connected to the two symbolic forms comparable to islands, I put the examples in the images, the perimeter of the opening of the cave takes the shape of a Caribbean island, while in the central composition of the The image of the whole family, a white cloud stands out at the top, we could compare it to a star in the sky, "you can see it too well". Comparing with the island of Martinique, we can note that even if glossed over, it presents some unmistakable peculiarities, such as that gray portion similar to the main bay positioned with precision. These negotiations were never disclosed with the documents, we don't have any and therefore I deduce that even if there had been they would have destroyed them, given the failure of all the negotiations. They are known to celebrate victories but not defeats It all ended as we know, the Pope allied himself with Spain and began the occupation of the "Americas", making the date of the discoveries official as 1492

https://it.m.wikipedia.org/wiki/Cappella_dei_Magi
https://it.m.wikipedia.org/wiki/Vergine_delle_Rocce_(Parigi)
https://www.giuntialpunto.it/product/b087sgs5hf/libri-ceci-nest-pas-leonardo-quello-che-non-vi-dicono-su-leonardo-da-vinci-e-il<br>

https://www.cinquecosebelle.it/la-metonimia-esempi-figura-retorica/

https://it.m.wikipedia.org/wiki/Congiura_dei_Pazzi

https://it.m.wikipedia.org/wiki/Semantica

https://it.m.wikipedia.org/wiki/Anagramma
https://it.m.wikipedia.org/wiki/Tornabuoni

https://youtu.be/35ZtZLDiIrg
Testo : "Ceci n'est pas Leonardo" autore Riccardo Magnani

Testo : "Leonardo " S. Freud

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