|Detail of Leonardo's Mona Lisa,
Detail of Leonardo's self-portrait
Biblioteca Reale, Torino.
The image has been mirrored and slightly rotated to
match Mona Lisa's portrait.
Lisa Venerosi belongs to a noble family
of Pisa and her well-developed art of command is inherited.
Under her push I was scrambling to find irrefutable proofs
crucifix was actually a product of Leonardo' s genius.
Much of the magic of renaissance paintings derive from the
fact that they are similar to mathematical theorems. Using
a shape of basic elegant proportion, i.e. the golden ratio,
a sort of fractal grid was constructed and the first two or
three fractal levels were used to frame the figures. The nodes
of the grids appear in hierarchical importance and the objects
the painter wants to stress are located in nodes of high hierarchical
These grids have various bases of construction,
more or less derived from the golden ratio, and I thought
they could serve to classify and somehow identify the artists
through them. Having identified the type of grid necessary,
fitting it is a tedious operation as the painting may not
be perfectly aligned or perhaps it was reduced through cuts,
as it happens with the Mona Lisa, so that the borders do not
match. This labour and the hope for the click that tells the
grid has fallen into place, implies a forceful attention to
the details of the painting. In this way I observed that the
beautiful Mona Lisa had two ugly lipomas right at the root
of her nose. They appear as two small bubbles of fat under
Lipomas are fairly common defects of
the skin but the most beautiful woman of the world should
not have them. So I went to the Kunsthistorische
Institut in Florence where they have a collection of photos
of Mona Lisa, to check. In all photos the lipomas are evident,
and, as a curiosity, in one of them, made at the turn of the
last century, the photographer tried to scratch them out.
Moreover they were located in a very high rank node of the
grid. So they should be there and were carrying a message.
I thought the simplest one, they were marks of recognition
about the person.
The idea is
looming that Mona is actually Leonardo in disguise, therefore
my first move was to look at Leonardo's self-portrait
in Turin. The lipomas were actually there, but on the other
side of the nose. Self-portraits are traditionally executed
in front of a mirror, even if Leonardo could make his portrait
from memory. I think this very simple observation is the best
proof that Leonardo wanted to represent himself as the most
admired of the feminine beauties. He was gay after all, and
had a strive to be the best.
the X rays of the painting show a bearded person that is not
Mona Lisa nor Leonardo and that I could identify later as
the Nibbio, the first rapist of Leonardo, who finally transformed
him into the she-gay he was, i.e. a quasi-woman. The warped
imagination of Leonardo did put the three together in his
most admired painting.