The Order Of The Ancient Way

The Madonna of the Spindle

• [1]
• [2]
• Page Three of Four
• [4]

Once again we can see Leonardo's use of the classic single finger pose. Why? What is the child holding? His hand divides the "cross" into a lower (longer) segment and a shorter (upper) segment. This is deliberate as it actually shows that Leonardo is drawing attention to the upper part - a more equally balanced cross - a true cross -- like the ones you see on Templar banners and costumes and indeed in so many flags of nations to this very day. Perhaps like the ones you might see on ancient pre-Christian artefacts, or even like the runic symbol -- known as Gyfu, the cruciform shape connected with Odin, the father of the Runes?

This mark refers to friendship and peace, as does the symbolic indication to the white dove and Venus mentioned earlier. When you see this X or + symbol you can read it to represent the number ten in its esoteric (hidden) form. It may be represented at varying angles but its meaning is the same in all portrayals.

When you see this symbol in red you should understand it as referring to the colour signifying the Sign of the Ram/Lamb, which is ruled by Mars.

You can see a similar cruciform shape in the palm of the floating hand in the Madonna of the Spindle painting. It is from this cruciform shape that the Roman numeral representing ten as an X originated.

If we focus our attention we can see the pointing of the child's finger to the very epicentre of the cross. Why? He is drawing attention to a well recognised adage to the Way followers, which is, "As above, so below", referring to the understanding that the Force of The All, of which we are part, is the same force that is above and below all things that exist. It is one and the same force that may be seen within all things. It is not a deity or anything that man in truth understands, though he has partial knowledge of it through observation and experience.

The reason why we do not understand it more completely is that in the main we have been taught not to look, question or even dare to examine it by those who profess to have our better interests at heart.

You might find it to be of interest to consider how it has become part of assumed truth that the One God cast Adam and Eve out of the Garden of Eden because they dared to eat of the forbidden fruit. That metaphorical fruit was the fruit of the Tree of Knowledge, and of course we know that the fruit of this tree is often depicted in paintings and held to be an apple in general belief. Ever wonder why an apple was used to represent knowledge despite that fact that the bible does not actually mention that particular fruit in connection with? Most people presume that it mentions an apple but this is probably more of a subconscious linking of the story to medieval and Renaissance paintings when much of the modern visual concepts associated with the bible became pervasive. You can find the answer for yourself if you have the desire to do so. Cut an apple across the middle (not downwards through the stem) and you will see something hidden in plain sight.

Look a little closer to the very top of the cross and you will see a small and almost unnoticeable pointer there, indicating the reference to above -- as in motioning upwards. Note how the crossbar on the cross divides what is above and below by virtue of the upwardly-pointing upright bar and the transverse one.

We can now bring your attention to some items of note in both the Madonna of the Spindle and the Madonna of the Rocks paintings. Take a look at the peculiarity of the oddly placed and seemingly armless hand that seems to float in a protective manner over the young children in both paintings.

You can quite clearly see that the positioning of the floating hand looks oddly placed, but particularly in the Madonna of the Spindle depiction. It seems to be completely detached from any realistic sitting position and appears quite artificially placed. Try sitting in a position like those yourself and see how odd it feels and looks.

Even more oddly, a similar and downwardly inclined hand may also be found above a carving of the Green Man, the representation of new life, in Roslyn Temple.

Intriguingly still, is that the Madonnas are wearing blue or green cloaks, depending on the particular version of the portrait you are looking at. Indeed, so is Uriel, but he (she even?) is also clad in a very long deep-red garment while the Madonna figure has an oddly placed golden fabric deliberately shining out of the darkness. Gold is the usual colour associated with kings. Red is also, but then again it is associated with the planet Mars, the ruling planet of Aries, the Sign of the Ram/Lamb. You may recall that Jesus was often referred to as the Lamb.

Yet another odd point is that the plants/flowers beside the Virgin's face (in the rocks painting) are Aquilegia, or Columbine - genrally referred to as dove plants. The Latin word for dove is Columba. Consider the subject matter of the apple and Venus.

We can also see that there are some other plants in the cave in the Rocks painting. If we consider the symbolic meaning of the plants as representing the growth of new things from a dark and shadowy environment, we can see what Leonardo was trying to tell us - a message of rebirth, regeneration and possibilities of success. The hidden message is subtly portrayed indeed: as is the depiction of the same metaphor carved in stone in Roslyn Temple.

Note how the whole painting draws attention to the subject of hidden and oddly placed hands denoting secrecy at work.

If we take yet another closer look at the Uriel figure we will note the very odd placement of the right hand of the character (the pointing finger one). Our attention is being brought to this hand as the other one cannot be clearly seen; once again signifying secrecy/something hidden.

We can see how this forearm extends upwardly from a very severe angle and then bends at 45 degrees when it reaches the wrist. This angle of 45 degrees holds yet more information as it represents the number nine (4+5=9), the number nine itself being a reference to completion and uniting into one all others as spoken by Jesus The Christ himself in his prophecy.

There is a contradiction here, as the Uriel character has his/her cloak draped from the lower right hand side over the left shoulder. If you consider the degree to which Uriel turns his/her head sideways to look at the John figure, yet still inclines his/her body towards the Jesus figure, it is extremely uncomfortable, if not almost physically impossible to hold the expression of complete relaxation represented here whilst simultaneously keeping a cloak in such a position. Try it and see.

The right arm of Uriel is depicted as though it extends from just under the left armpit in order for it to point in the direction of the Jesus figure. Note once again how the arm looks disproportionate to the body of the lightly framed Uriel.

This pointing arm of Uriel does not appear in other paintings on the same theme. Leonardo often changed elements in his paintings so as to throw onlookers off the trail should they not possess the required knowledge to understand fully of the information portrayed before their very eyes. In this way he presented a number of variations so that anyone who might guess but should not be privy to such information would be left with more questions than answers. There are subtle differences in each version as he improved on the subtleties in what he wished to convey, as is the way of any craftsman. The more you know, the better you can do something.

In some versions of the Cave painting, you can clearly see that at the bottom of the picture there is a pool of water. Other versions of this painting are darker but still refer to the concept of reflection and concealment. The properties of water are such that it can reflect that which is above and conceal that which is below from all but those who have eyes to see. Now-you-see-me now-you-don't is the message here. There are none so blind as those who will not see.

You may have noticed that the woman in the Spindle painting looks as though she has a very subtle veil over her forehead. See how her brow is clearly demarked by a subtle use of light to define this feature. Now take a look at the picture of the Mona Lisa or Giaconda painting and what can you see? Can you also see that she holds her right hand draped so casually over her left arm? Does she not hold her hand with two fingers pointing downwards?

You may also notice the similar imagery in the rear-left of the Spindle, the Rocks and the Giaconda paintings: that of the curving Way and that of high mountain peaks.

There are many levels of information concealed within these and similar paintings by a man who knew of the hidden path called as The Way. All of Leonardo's works are based on number sequences, as number is the primary language of all that exists. He was a master of his craft and understood the underlying patters that govern all that is above and below all things. Numbers can be represented in many forms, by way of colour, angles and geometric forms amongst others.

• [1]
• [2]
• Page Three of Four
• [4]

© Caulbearer.org