Mona Lisa

Eadem mutata resurgo

This website analyzes the lifework of Leonardo da Vinci and other Renaissance masters. Eventually, I will explain the Mona Lisa, which acts as a front door to all his other paintings. Those paintings tell a story that is most applicable to our current situation and is a worthy pursuit in my spare time while I wait for the “day of the Lord” because that is what these paintings are all about, the end time and how ET plans to end the banker’s warfare against mankind. I do not argue for my analysis. I instruct. I have no peers on this subject. None whatsoever. 

I am focusing on the paintings of Leonardo da Vinci because I see in him a continuity of both the opposition to the bankers and the presence of ET. In other words, I am starting to see evidence that the people I refer to as the “thinkers” are an unbroken chain dating back, not to Elizabethan England and the start of the final baktun (hence the need to go public to put the plans to occupy what would become San Antonio, Texas into action), but to at least the time of Leonardo da Vinci. But the implications that ET keeps surfacing suggest an unbroken chain back to the time of Christ Jesus. However, what fascinates me about the paintings of the Renaissance masters, and the Virgin on the Rocks specifically, is the evidence that the strategic plan of the thinkers from that time to this is to closely observe their enemy, all the while focusing their efforts on Armageddon, on the final battle between the bankers and the thinkers in the end time. The Freemasons, an arm of the bankers from their very inception, inculcate this practice in their rank and file through the legend of Hiram Abiff. But Hiram Abiff was a thinker, a Phoenician, not a fucking traitor to humanity (i.e. not a Freemason, or at least not a Scottish Rite Freemason). That time is now, and the supersonic missile technology the original Rosicrucians in San Antonio, Texas gave to their counterparts in control of Russia and China appears to be the culmination of their work to keep the bankers in check(mate) in the end time. I will need to assume a continuity of my own, that the reader was familiar with my previous work on the larger subject. That means this present work is intended for a select audience. I can’t break this off entirely, and you guys know it. But this is it for me. I will not return to the main subject. And I will assume the reader is familiar with my previous work and already has a clue about what is happening in the here and now. If you don’t, you will miss some important innuendo, but the current work should still be understandable. By the way, it was while taking an art history class that I was permanently expelled from college. Such has been my life.

Mona

Mona is a reference to the capital of the Druids. We know this in part because of the choice of the angel Uriel in the Virgin on the Rocks, which I believe to be his primary work. As stated in Wikipedia, “Uriel or Auriel (male) / Urielle or Eurielle (female) is also a name assimilated by the Celtic Brittanic culture, because of Urielle [fr] (7th century), sister of the Breton king Judicael, who popularised the name.” Leonardo da Vinci’s paintings are about the destruction of the Druids, Aztecs, and other cultures that had knowledge of the coming apocalypse. It is also about how the bankers were taking over the Catholic church in Rome for essentially the same purpose, to undermine anyone who may oppose them in the end time. 

Lisa

Lisa is an oath or promise made by God (read ET) to destroy the bankers in the end time. Based on alien spacecraft in his paintings and those of his fellow artists, I can only surmise that he was in direct contact with them.