Publisher's Synopsis
This book provides the most important and illuminating analysis of Da Vinci's Vitruvian Man drawing that has ever been made in the more than 500 years that have elapsed since its production. Everyone in the past has focused on how the drawing illustrates the fit of the human body to both a square and a circle. However, this was not the real intent of the drawing, but served mainly as a distraction to divert attention from the anomalies that hide a truly dark revelation.
It has been discovered that Da Vinci followed a mathematically precise geometric model for the construction not only of the square, the circle and the equilateral triangle (which fits the spread-apart pair of legs), but also of a pentagram which Da Vinci chose to hide. With this model, all 4 of the geometric shapes are pure functions of the radius of the circle. Although Da Vinci hid the pentagram, most likely because he was using it as a Freemasonic occult symbol, he pointed to its hidden presence by creating a device which makes use of a slight reduction in the radius of the model circle and a minor change in one corner of the square.
Even more intriguing are several distortions in the body shape of the human figure in the drawing. These were deliberately constructed to have the man's body fit the image of the ancient dual serpent god Ningishzida. This god is known as a fertility god and a healer, but since the image of Ningishzida is likely a predecessor of the caduceus (the staff of Hermes or Mercury), there seems to be a more sinister aspect to Da Vinci's use of this deity. The Greek god Hermes, who was called Mercury by the Romans, was considered to be the god of thieves as well as a god of deception and trickery. In fitting the human shape to Ningishzida, Da Vinci appears to be proclaiming the rulership of this serpent god over humanity. In the process, he also appears to have found a clever way to indicate that he was gay. It also seems that Da Vinci was showing that Ningishzida creates a satanic chakra system which is superimposed on our yogic chakra system to repress it and connect us to a satanic consciousness.
Despite the heavy indoctrination that NASA has promoted for over 50 years saying that Mars is a lifeless planet, the topography of the planet overwhelmingly reveals through scientific measurements that the huge mountains, many craters and other landforms did not arise from natural forces but instead have been artificially constructed. It has been found that the 4 giant mountains of Olympus Mons, Ascraeus Mons, Pavonis Mons and Arsia Mons have been artificially arranged to provide a template for a virtual Vitruvian Martian which can be constructed using the exact same model used by Da Vinci. There is a pyramid nearby which is approximately 30 km in diameter and has the shape of a perfect pentagram. The Martian architects used the 2 northern star points of the pyramid to delineate the radius and the centre (naval position) of the circle which fits the Vitruvian Martian.
Da Vinci, as a Freemason, probably had access to privileged information about Mars. It is likely that he used the model of the Vitruvian Martian as the basis for his drawing of the Vitruvian Man. He distorted the model and the human figure in order to secretly send occult messages to elite members of Freemasonry. The distortions are also very likely to have been intended to serve as subliminal messages to the masses in order to exert a satanic influence on an unsuspecting public.
