Post by Blu on Nov 26, 2004 19:23:58 GMT -5
The Quotable Leonardo Truth was the only daugh- daughter ter of Time. Wisdom is the daughter of experience. Constancy does not begin, but is that which perseveres. He turns not back who is bound to a star. I obey Thee Lord, first for the love I ought, in all reason to bear Thee; secondly for that Thou canst shorten or prolong the lives of men. Our body is dependent on heaven and heaven on Spirit. Why does the eye see a thing more clearly in dreams than with the imagination being awake? He who wishes to be rich in a day will be hanged in a year. Fear arises sooner than anything else. Patience serves us against insults precisely as clothes do against the cold. For if you multiply your garments as the cold increases, that cold cannot hurt you. After 40 years, a man is responsible for his face. There can be no greater or lesser mastery than over oneself. I have offended God and mankind because my work did not reach the quality it should have.
Air and Space Flight By the aid of the stars men will be seen who will be as swift as any swift animal. (Of the Stars of Spurs) 1295 Rockets and Aircraft Serpents of great length will be seen at a great height in the air, fighting with birds. (Of Snakes, carried by Storks) 1309 Creatures will come from underground which with their terrific noise will stun all who are near; and with their breath will kill men and destroy cities and castles. (Of great guns, which come out of a pit and a mould) 1309 Electronic Transactions and Wall Street Invisible money will procure the triumph of many who will spend it. (Of Friars, who spending nothing but words, receive great gifts and bestow Paradise) 1296 L e o n a r d o was accused by Giorgio Vasari, his first biographer, of heresy, of amorality, and placing scientific knowledge above the Christian faith. But his paintings tell a different story about his furtive spirituality. Of Cults and Secret Symbols Mystical, astrological, and metaphysical themes were often woven into paintings during the Middle Ages, reflecting either the views of the artists or those who protected them (Lorenzo de Medici, for example, was an outspoken neoplatonist). Painters such as Verrocchio and Botticelli sought to infuse their art with secret symbolism intended to be understood either by the initiated or those with a sensitivity of soul. Perhaps Leonardo framed his ”Prophecies” as riddles for the same reason. Creative speculators surmise that Leonardo’s spirituality was informed by his membership in the Priory of Sion, a secret organization originating in the 11th century, from which the Knights Templar had earlier split. The ”cult” was outlawed by the Church for its veneration of Mary Magdalene – the first one to be visited by the resurrected Christ – and a belief that the Magdalene and Jesus had not only married but reared children. (Students of the Edgar Cayce readings are aware that – when asked about this question – Cayce stated that there had never been a sexual relationship between the two; see “Mary Magdalene” article, February 2004 Personal Spirituality newsletter.) newsletter.) Membership in the Priory included Isaac Newton, Victor Hugo, Claude Debussy, Francis Bacon, Jean Cocteau, and Pablo Picasso. (This was also a theme in a popular 2003 novel, The Da Vinci Code, by Dan Brown, which was informed by the 1982 classic Holy Blood, Holy Grail by Leigh, Lincoln, and Baignet.) A mystery is put forth regarding symbols of the archetypal feminine in The Last Supper. Is the fair John, to the left of Jesus, actually Mary Magdalene turning sadly away from the Lord’s imminent betrayal? Another feminine symbol is the gaping red-edged “V” between the John/Mary figure and Christ, formed by their garments, the only red ones in the painting. In Leonardo’s paintings, he was among the first to dispense with the fad of halos – perhaps a nod to the brewing Reformation. He thought painting was related to God, writing, ”Where the spirit does not work with the hand, there is no art.” In painting, he sought to honor divine creation. ”The divine character of painting means that the mind of the painter is transformed into an image of the mind of God.” If a painter wanted to see ”beauties capable of inspiring him with love, he has the faculty of creating them; and if he wishes to see monstrous things, inspiring fear, or comical things to make him laugh, or sights capable of arousing pity, he is their master and their god.” Perhaps Leonardo would extend his view of the power of art to the songwriter and filmmaker of today. He was also a devotee of Mary, Elizabeth, and John the Apostle, representing them in many paintings – the upward-pointing finger in various of his works reflected his own convictions that God would be found in higher consciousness, rather than in authoritarian dogma. He painted many images of the young Jesus, but was 44 years old before he would paint Jesus as an adult. The Last Supper is still admired for its composition, a sacred geometry that places Christ’s head at the vanishing point of perspective. His famous ”Vitruvian Man” drawing, poster boy for the humanist movement, reflects a profound formula in which the circumference of the circle equals the perimeter of the square. Leonardo saw the synthesis of earth (square) and heaven (circle) united in the human form.
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Air and Space Flight By the aid of the stars men will be seen who will be as swift as any swift animal. (Of the Stars of Spurs) 1295 Rockets and Aircraft Serpents of great length will be seen at a great height in the air, fighting with birds. (Of Snakes, carried by Storks) 1309 Creatures will come from underground which with their terrific noise will stun all who are near; and with their breath will kill men and destroy cities and castles. (Of great guns, which come out of a pit and a mould) 1309 Electronic Transactions and Wall Street Invisible money will procure the triumph of many who will spend it. (Of Friars, who spending nothing but words, receive great gifts and bestow Paradise) 1296 L e o n a r d o was accused by Giorgio Vasari, his first biographer, of heresy, of amorality, and placing scientific knowledge above the Christian faith. But his paintings tell a different story about his furtive spirituality. Of Cults and Secret Symbols Mystical, astrological, and metaphysical themes were often woven into paintings during the Middle Ages, reflecting either the views of the artists or those who protected them (Lorenzo de Medici, for example, was an outspoken neoplatonist). Painters such as Verrocchio and Botticelli sought to infuse their art with secret symbolism intended to be understood either by the initiated or those with a sensitivity of soul. Perhaps Leonardo framed his ”Prophecies” as riddles for the same reason. Creative speculators surmise that Leonardo’s spirituality was informed by his membership in the Priory of Sion, a secret organization originating in the 11th century, from which the Knights Templar had earlier split. The ”cult” was outlawed by the Church for its veneration of Mary Magdalene – the first one to be visited by the resurrected Christ – and a belief that the Magdalene and Jesus had not only married but reared children. (Students of the Edgar Cayce readings are aware that – when asked about this question – Cayce stated that there had never been a sexual relationship between the two; see “Mary Magdalene” article, February 2004 Personal Spirituality newsletter.) newsletter.) Membership in the Priory included Isaac Newton, Victor Hugo, Claude Debussy, Francis Bacon, Jean Cocteau, and Pablo Picasso. (This was also a theme in a popular 2003 novel, The Da Vinci Code, by Dan Brown, which was informed by the 1982 classic Holy Blood, Holy Grail by Leigh, Lincoln, and Baignet.) A mystery is put forth regarding symbols of the archetypal feminine in The Last Supper. Is the fair John, to the left of Jesus, actually Mary Magdalene turning sadly away from the Lord’s imminent betrayal? Another feminine symbol is the gaping red-edged “V” between the John/Mary figure and Christ, formed by their garments, the only red ones in the painting. In Leonardo’s paintings, he was among the first to dispense with the fad of halos – perhaps a nod to the brewing Reformation. He thought painting was related to God, writing, ”Where the spirit does not work with the hand, there is no art.” In painting, he sought to honor divine creation. ”The divine character of painting means that the mind of the painter is transformed into an image of the mind of God.” If a painter wanted to see ”beauties capable of inspiring him with love, he has the faculty of creating them; and if he wishes to see monstrous things, inspiring fear, or comical things to make him laugh, or sights capable of arousing pity, he is their master and their god.” Perhaps Leonardo would extend his view of the power of art to the songwriter and filmmaker of today. He was also a devotee of Mary, Elizabeth, and John the Apostle, representing them in many paintings – the upward-pointing finger in various of his works reflected his own convictions that God would be found in higher consciousness, rather than in authoritarian dogma. He painted many images of the young Jesus, but was 44 years old before he would paint Jesus as an adult. The Last Supper is still admired for its composition, a sacred geometry that places Christ’s head at the vanishing point of perspective. His famous ”Vitruvian Man” drawing, poster boy for the humanist movement, reflects a profound formula in which the circumference of the circle equals the perimeter of the square. Leonardo saw the synthesis of earth (square) and heaven (circle) united in the human form.
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by Author
etc
... Page 1 2 3 4
www.edgarcayce.org/oldventure_inward/05062004/the_riddle_of_leonardo_da_vinci_page3.htm