Out of time
Forward looking
A little review of the future was discussed 22:30 CET on Sun 29th March
Leonardo’s young muse
Birgitte, a painter of the elite and royalty of Europe and a strong believer in reincarnation, saw the above image sketched by Leonardo da Vinci at his resting place in the Royal Château of Amboise and was convinced it was a representation of myself in a former incarnation and that I had researched together with Leonardo.
Below is the message she sent to Yin Gazda back in 2023, along with the photo of a ‘youth’ that I found to be in the British Royal Collection.
Below is the sketch I believe that Leonardo had a problem with ears, as a 3d sculptor and later 3d animator, I believe that the ear is too small in this work.
The below video was first shared in July 2023.
Face to Face
Due to a strange sequence of events, a first time ever exhibition and shear luck - I happened to come face to face with a rendering of Leonardo’s younger muse.
Leonardo da Vinci’s Codex Atlanticus arrives in Naples for the first time
Description of the folio in the exhibition
Profile of a youth, concentric circles
“de ludo geometrico” - “of geometric play”
Folio 239r of the Codex Atlanticus is an eloquent example of how working materials in Leonardo’s workshop were living objects, traversed by different hands and thoughts before assuming a definitive meaning. The support is a coarse paper, which absorbs ink and allows what is on the reverse side to show through: a condition that attests to daily use, devoid of formality. Before Leonardo used it, the sheet seems to have been employed by apprentices to sketch, in charcoal, risqué drawings now almost invisible, a detail that gives us a tangible and lively sense of the workshop, a place of study but also of play, imitation, and experimentation. Later, the surface was occupied by geometric exercises and annotations. A young man’s head, in profile and in red chalk retraced with pen, cannot be attributed to Leonardo but to a collaborator, perhaps practicing the plastic rendering of the face.
On the lower part appear five concentric circle figures related to the so-called “ludo geometrico”, a mathematical game Leonardo used to explore proportional relationships and growth dynamics. Next to the circles are two interlaced ribbon patterns, shapes approaching his famous nodal structures, investigations into the continuity of the line and movement in space. The division 365:8 recorded on the sheet, along with other numbers noted in a column, likely refers to calculations concerning the division of the solar year according to recurring cycles. The phrase noted on the left, “and the equal parts decrease in number as they increase in magnitude; and conversely, they increase in number as they decrease in size”, clarifies the principle under study: a law of balance between quantity and proportion.
This sheet, in its fragmentary aspect, testifies to the breadth of Leonardo’s method: observing, measuring, and playing with forms to understand the profound harmony that governs the world.
Though Leonardo repeatedly attempted to draw this individual, this description suggests that Leonardo himself did not draw it in 1517, despite it using similar materials and paper to his finest rendering of it. This may well be true, since the date of the drawing is claimed to be 1517, which is 7 years after the finer sketch that forms part of the British Royal Collection. It may well be the case that an apprentice was attempting to copy Leonardos original, before Leonardo annotated the paper with flower of life and related geometry.
That said, in this image I see an ear in pencil that is more correctly sized for the face. It is still a little too small in my view but more physically accurate and better placed than in the 1510 drawing above. It has been adjusted in the pen overlay to be more similar to Leonardo’s original image. This leads me to believe that it was actually Leonardo that sketched this, initially expressing the same dimensional and placement problem he had with mis-scaling and mis-placing the ear in the earlier drawing, but going though a process of self-correction. It may be that he found the ear an ugly thing and wanted to minimise its presence in a drawing, but I favour the idea that he was in a process of continuous learning.
1/9th pixel density of my photo of folio 239r
Photos of myself closer in age to subject
The photo on the left was taken in November 1998, I was 26 years old. At that time my upper lip was close in form to that drawn by Leonardo in 1510. My hair in the second image on the right was close to that in the 1517 image said to be drawn by an apprentice of Leonardo.
Reincarnation
I have stated very precisely what I believe to be the cryptographic key to the spirit, how akashic records are interacted with and how reincarnation is achieved. I have also stated in detail how variation in a biologic that could interact with a particular spirit would present variations of physical form.
Given this, I am not closed to considering Birgitte’s view on my possibly being the muse of Leonardo and given that this latest imagery directly connects to the study of sacred geometry, it’s all starting to get a little weird…
…I might even suggest, ‘a little bit ‘O’ crazy!’
Semi-off topic, but this information is an interesting puzzle piece and a possible validation to the picture starting to reveal itself lately through my research into alternative interpretations of the ancient Sumerian and Biblical scripture: around elohim with Enlil and Enki, Nimrod, Gilgamesh and the nephilims, attacking Iran in 2003 a few weeks after finding the alleged tumb of Gilgamesh, possibly to secure its DNA in an attempt to induce Armageddon, the return of the anti-christ and with that return of Christ.
Being in a spiritual battle while many anticipating the end times (listen to the speeches of Trump's secretary of defense / war and his senior advisor to the White House Faith Office, Paula White) could gain a very physical meaning through all these reincarnarion stories of different figures of the past both on and against team humanity. Crazy, but might be something on to it.
When seeing this in the exopolitical context of Yin, Elena Danaan and the ancient figure Enki, I wonder whether tinkering with our genetics might also include the purposeful reincarnation of certain DNA traits or individuals in order to proceed with a certain legacy from earlier times. Minting the same cryptographic key might after all not be so coincidental as it seems. Based on pure chance, the probability would need to be almost zero, especially in such a short period of time like 500 years. And who knows: maybe there are some other portaits to be found from the centuries in between, too.
E.g., I wonder whether Einstein actually mimiced you retrocausally from that serious curly haired picture on the right. ;-)