Iconic female painting personifies Bramante's Tempietto in Rome. Secret code hidden in Da Vinci's Mona Lisa. Pagan god symbolizes dual soul during pregnancy.
October 17, 2013 (Newswire) - Self-evident proof has been released showing that Leonardo da Vinci painted the Mona Lisa as a personification of Bramante's Tempietto in Rome. The Prado copy of the iconic painting provides corroborating detail that the partial pillars on the wall behind the Mona Lisa figure, and the chair she sits on, were taken directly from the architecture of the chapel.
According to Scott Lund's "Mona Lisa Code," Da Vinci and his good friend Donato Bramante created their works together to express the religious doctrine of the "Two Faces of the Soul." With his newly released visual presentation, Lund thinks the evidence is conclusive. "The sister projects of the Tempietto and the Mona Lisa were clear artistic and symbolic representations of each other," says Lund. "Most assertions and assumptions about the Mona Lisa are wrong, and art history is about to be rewritten."
Lund points out that the Tempietto, which sits atop Rome's highest hill, was the vantage point from where the right side landscape of the Mona Lisa was viewed. The site was the mythical location of the citadel of the two-faced Roman god Janus, who Da Vinci used as his hidden metaphor for the dualistic painting.
In 2010, Lund revealed that the Mona Lisa figure was the secret depiction of a double soul shared between a mother and her unborn child. Da Vinci had written about the concept, and he believed souls gave birth to other souls. In his new presentation, Lund shows that the architectural basis for the Tempietto was two tangent circles, which were symbolic of the conception of one soul from another. Lund believes the unique double-bellied design of the upper railing, clearly seen as the spindles of the armrest, also represents the metaphor of a splitting soul. The railing effectively divides the Tempietto into upper and lower halves.
"Ongoing excavations to discover the remains of Lisa Gherardini, the supposed model for the Mona Lisa, will shed no light on the painting," says Lund. "Whether or not her bones are found at a former convent in Florence, it has no connection to the Mona Lisa Code, or to Leonardo da Vinci, who most certainly did not use her likeness."
The Tempietto di Bramante in Montorio is under the authority of the Real Academia de España en Roma, or "Royal Academy of Spain in Rome," and under the patronage of the Spanish Royal Family.
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