Da Vinci and the Sistine Chapel

 

 

Sorry but there is no way Michelangelo was that smart.

 

Da Vinci is the true genius behind the Sistine chapel

A was the painting architect

B he painted the hardest portions

C he painted most of it, under a clandestine agreement between Michelangelo and the Pope. since Da Vinci himself was hated by most of the bishops of the Vatican.

 

Da Vinci was that smart, but Michael was not.

It takes no stretch of the imagination at all to assume Da Vinci was smart enough to build a map and codes into his work. He did that into almost every work he did.

This would be no exception in any way.

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It takes a huge leap of faith to assume for even a second that Michelangelo was smart enough to build in maps, and other secrets into his work.

He did not have any history in any way of building in complex maps, secrets, etc. into his works.

His decades of experience, he was a master sculptor, but he was not in almost any way smart enough to follow in the footsteps of his master Leonardo Da Vinci.

No one would question the basic premise if the Sistine Chapel was painted by or at least designed by Da Vinci.

In fact, Da Vinci scholars would immediately begin to look for the hidden codes, maps, etc. which are present in almost every other single work Da Vinci did.

That statistical analysis is absolute.

Michelangelo; doubtful he was that smart

Da Vinci; not only was he that smart, but he could not help himself, he would have designed in codes, maps, and puzzles into his works. Close to impossible to assume otherwise.

We have a solid basis in facts. Doubtful to a fictional level, and a could not be done without it from the other.

 

                                Image result for sistine chapel god brain

There is absolutely no doubt in most scholars minds this God brain extremely complex painting is intentional.

But Michelangelo did not have this knowledge, he did not use this type of knowledge of anatomy in anything at all else that he did before or after. He simply did not use anatomy, he used biology, but not anatomy.

Da Vinci on the other hand was an expert in anatomy, biology, physiology, mathematics, engineering, medicine, chemistry, etc. etc. etc.

This is one piece of evidence that Michelangelo did not paint the ceiling, or at least design this specific panel.

It is strong almost impossible evidence to how Da Vinci did not. Close to the only person on the planet callable of painting it was Da Vinci.

 

Da Vinci (April 15, 1452) and the Sistine Chapel 1508–1512.

Da Vinci was in his middle 50s to early 60, Michelangelo was in his early 30s. The skills of a seriously legendary master of painting Da Vinci possessed without the slightest doubt. Michelangelo did not in almost any way.

 

Leonardo was more than smart enough to come up with the brain structures as God.

However, he was also smart enough to have guessed that the ancient sciences of the Egyptians from which the building the Sistine Chapel has been a resident of Heliopolis since the city was still called IWNW circa 5000 bce. The city was this building and the city and building were the same thing and name. The Capitol City of Pillars.

Da Vinci possessed an IQ of well over 200.

In his work with the Vatican and of course his work with the Catholic Church while the building was being rebuilt from its previous modeling circa 1473, De Vinci was a man of about 20. Construction had taken place in his 20s and the plans had taken place in his teens. Despite the fact that he was from Anchiano Italy, that is about 100 give or take miles from Rome itself. He would have been a noted and remarkable person interested in the subject.

It took more than four decades and at least two popes between, but they would have finally been semi-allowed to be included in some aspects of the building itself. Not the remodeling, or the structuring of it; but he would be allowed to assist in the fresco painting of the ceiling. Why the ceiling, because for most of the time the scaffolding prevented all but a very small number of people to even see the painting process let alone the painter.

The painter would be on a platform, at least 10x10 if not larger to paint the frescoes in time and have them blend into each other seamlessly. Da Vinci could paint that way, Michelangelo would not have possessed those skills. Forget a mastery of those skills, legendary skills are lightyears beyond those type of skills.

However, for Leonardo, being hidden by the scaffolding is simply part of the clandestine efforts.

But this brings up a very interesting other connection.

Moses used a scaffolding to create the Hebrew letters. The language he used to build his scaffolding from was the Elder Futhark, the Elder Futhark is the structure of the Scaffolding.

However, in all large pieces of art, scaffoldings were standard procedure. They were obviously required in order to not have painters try in vain to use ladders and have to use three hands to paint. The larger the piece of art, the larger and more elaborate the scaffolding would need to be.

The scaffolding for the most part hid the overwhelming majority of the artwork from view  until the scaffolding was removed and the entire piece of art could be perceived.

For the most part over the years and years it took the construct, from 10 feet high up the entire Sistine chapel center building was entirely cut off from view from most people. Easily creating huge areas which dozens of people could easily hide in and not be seen for years.

The Sistine Chapel itself

The history of the building itself is long, detailed, complicated, and plays a part in the bible at least twice if not more.

The original Capitol city of Pillars or in Indo-European language IWNW is likely the masonry and some of the timbers used to build the Chapel in the first place.

The City of IWNW was renamed Heliopolis circa 3500 bce by an invader of Egypt from Mecca. The temple of IWNW was by legend built by Adam himself.

The building had been rebuilt on several occasions. In both Egypt and of course on Vatican property.

The similar sciences which Da Vinci used on several of his other paintings it appears that he used a Freemasonic 3x3x3 framework similar to the 3x3 he used for the Last Supper.

However, for this ceiling a larger and more audacious type of mathematics would be required.

But there was another problem, Leonardo was hated by most of the Vatican. The Pope did not mind him, but most of the Bishops did and the office of inquisition wanted on several occasions to arrest him and execute him for heresy. But his friends were far too powerful to allow his arrest. He was good friends with the Medici, some friends in Rome, Machiavelli, the King of France, etc.

He had really good friends, so the inquisition could not arrest and kill him. But to pull off the Ceiling of the Chapel would require some clandestine operations as well as someone most of the Vatican liked and was a specific favorite of the Pope. Michelangelo (March 6, 1475,) was about 20 years younger than Da Vinci. Which means at the Venice school of art Leonardo was Michelango’s painting master. Everything Michelangelo knew about painting was taught to him by Leonardo. One of the human’s best painters; if not the best painter humans have ever produced.

Michael was good, but Leonardo was as stated one of the best if not the best painter to have ever lived.

But there is a problem. Leonardo himself was not welcome in the Vatican, but Michelangelo was. So how to fix/adjust the problem.

Simply have the chapel sealed off most of the time. The painter spends hours out of sight of anyone on the floor. And it took years, with long breaks between painting sessions. To that Michelangelo could do his sculpting and Leonardo could make appearances in other locations to appear he was far away. But in all hard reality Michelangelo did not have the skills in painting, geometry, anatomy, etc. to pull of the ceiling.

Now something else of extreme note.

 

 Leo was not gay, but a huge chunk of the clergy at that time were. Michael was also about as gay as Freddy; just look at the "queer eye for the straight guy" Swiss guard uniforms. I mean come on now girlfriend. who else but a raging queen would design that.

 

The Ceiling is laid out according to the story of Genesis. But it is not laid out in a linear fashion, it is laid out in a pattern similar to that of the ATEN.

Did Leonardo use the structure of the Egyptian ATEN to design the layout of the panels?

Did Michelango’s first attempts at painting end with his utter understanding he was no where close to the man who taught him painting. He then asked the pope to bring in Leonardo clandestinely to paint the panels. He would be paid, but he would have no part in any of the recognition.

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There is a map built into the structure and layout of the Sistine chapel panels. That map is absolutely present. The only question is, is the map present intentionally or unintentionally built in by Leonardo Da Vinci.

Physical evidence of said designs in his notebooks. About 5 to 15 of Da Vinci’s notebooks were stolen in the hours before and after his death. They simply “disappeared”; there is no logical reason in the world to assume those books were not confiscated by either the King of France’s man or the Bishop from Paris who was specifically tasked to wait until Leonardo was close to or actually dead and confiscate those books which would show conclusive proof beyond a doubt the Sistine chapel work was definitely his.

 

How can we be so sure.

Everyone who knew Leonardo knew flat out that he, with extreme certainty, wrote his ideas and sketches in his notebooks.

That is not in question in any way.

So, part of the deal he had to follow for the Vatican and Michelangelo was that he only write and sketch for the panels in specific notebooks he was either given and or he purposely purchased for this specific project. Which is not the first time. Some of Da Vinci’s previous masters had forced him into the same agreement, those notebooks belonged to his master after the work was done.

Machiavelli for instance, the notes which became “The Prince” would be part of the deal he made with Da Vinci.

 

Noah’s Ark Vatican Sistine Chapel

Sistine Chapel God and the brain   

 

We know da Vinci was one of the smartest people to have ever lived.

But what happened next is of extremely important to the maximum degree.

Da Vinci was a major pain in the butt when it came to being forced into things.

He was such a huge pain in the butt when it comes to being forced into contracts he did not want to do.

The Vatican forced Da Vinci to give all credit to a student of his who was more than 20 years his junior. He was forced to accept Jr Michelangelo as his equal; despite no evidence to back it up.

The Vatican forced Leo to paint frescoes; paint on wet plaster. A form he hated the most.

It did not allow for time he wanted to think about how to make every brush stroke absolutely perfect.

He only had a few hours to paint x square feet of space. When he would have liked days to weeks to paint those square feet to make every brush stroke absolutely perfect.

He was forced to use only specific notebooks which were ceiling specific.

So, with all those forced things, Leo would on have not been able to keep his aggressive and scientific mind at rest. He would have used the time and money to hide the ultimate secrets and codes buried deep into the panels in the paintings in the ceiling.

He would have taken four decades to think it all out. To think out what the ceiling could be, could do, his inventive and creative mind pushed for 4 decades of annoyances and frustrations. What could a mind like that do over 4 decades of being actually angry with his church, local politicians, artists, education, medical science, etc. he would have had more than sufficient time to think it all out.

He would have also been able to think about ancient cultures and expeditions by friends of his family who had gone to Egypt and seen the pyramids for themselves. He was not allowed to go for a variety of reasons, but he would have been educated in the subjects.

 

Unlimited resources, unlimited money, 10 years to perform the painting but 3 decades to think it all out.

What could a mind like his do with those parameters.

His mind would have gone to the ultimate science prize.

Time Travel.

What if Leo built the blue prints for a time machine into the panels he painted on the ceiling of the Sistine chapel. More on the bottom of these graphics

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Right off the bat, with some exact specificity, the code primer for said hidden information can be found

Flat out in the fact that the panels are laid out according to “The ATEN”.

The circle at the center, and the limbs of God and man extending

 

This would point to the ATEN from a given center place to measure from that center point (first rule of mathematics, measure to and from fixed points) out to different panels. The center of the ATEN happens to be the exact feet between the finger of God and the finger of man reaching for each other. This is the very definition of both the Ptah standing on the Ben Ben stone reaching up to geb/nut/shu as well as the exact definition of Jew. The descendants of the holder of the limb. Two codes in one, which then fan out in the shape of the ATEN.

The basic idea of the ATEN and the Ceiling.

An example of the from fixed point to fixed point in the AEtt of the Elder Futhark.

From hand to hand, from any given fixed point to any given fixed opint.

 

Although this first one is from the light of the center of the universe the ATEN out to usually hand

Fixed points.

The hand seems to be a huge deal with Jesus, so the fixed point to work to and from is the hand.

 

 

Now the next part becomes a bit interesting. The question is; did Da Vinci know and design accordingly

Or did is this code but part of our DNA and comes out naturally.

 

From fixed points to fixed points.

The ATEN fixed center point, out (arms, legs, appendigis) to given fixed points. usually to start with either hearts

Or hands.

 

 

 

 

 

 

 

TR Welling