The secret of the Vitruvian Man is in the algorithm of the Divine proportion

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For five centuries, Concas explained to Ansa, drawing and drawing would thus have concealed a deception, or rather the arithmetic and geometric formula that the shops used and handed down only between them, in compliance with the parameters imposed by the Church, to make each type of work.

Discovered in the discovery, the first thing that Concas understood is that the drawing made by Leonardo in 1490 actually contains two men in two different ages of life – maybe even three – and should be looked at in the mirror to bring to light the true image of the design and make sense of what were previously considered "errors"."It all started with the questions I asked myself about the Retabli of Sardinia, the characteristic altarpieces", explained Concas, "Why, I wondered, did they have this particular shape in three? There were no answers. I searched for thirty years later, then at a certain point I find the algorithm that makes me understand which is the central part and which is the lateral one, but it was only the beginning.In 2012, looking at this drawing of the Vitruvian Man I notice a similar proportion in the line below: two smaller parts a larger central one. It is tiring to explain it but it was like opening a box after another, each solution opened three together, a series of cases ".

"I began to understand that the drawing contains two faces. – Concas continues, going into detail – The right eye is of a mature man, the one to the left of a younger face. I had intuition, if he always wrote on the left he has learned using the mirror … here too he uses the mirror to reconstruct the complete figure … And the measurements have proved me right ". So two men, and with the mirror you can see well, of different ages, but designed to represent what the mathematical friar Luca Pacioli defined as the most secret science of the Divine proportion: a "system of whole", "detectable with micrometric measurements, rules of plane geometry, arithmetic calculations and finally with the use of a banal mirror", Concas recounts: "For example the measurements of the arms, which are different, come from the concept of a generator number, 225.5 and 180.5. By making subtractions or divisions all the exact measurements of the two arms are obtained ".

"Leonardo feared that the rule that had been used by architects, artists, writers and poets could be lost in the street. Used for the first time in the Arch of Constantine, in 315-325 after Christ – Concas explains -, the years of the first Council of Nicaea, the first Christian ecumenical council, but also in the Pieta of Michelangelo and obviously in the Mona Lisa.They were simple rules after all, like those of the game of football, 17 simple rules: then inside there is who is able to mark like Ronaldo. So also Raphael did masterpieces according to the rules. The algorithm from the fourth century, when the Christian religion became the state religion, until the XVIIIth century, served to spread and defend the corporations. To be recognizable and certified. Madonna, it had to be done according to the secret rules, which in a simplified way could define the 'double spiral', which has a very ancient philosophical meaning, recognizable only by some … ".

If Leonardo had revealed that the Vitruvian Man was all this, Concas says, "they would have burned him". Thus the circle is not a circle but is exactly the "double spiral". "The idea that came to me from the intuition of my daughter psychotherapist: when you mount them together they give us three axes that make up the figure, very sophisticated. But I don't want to say more because the mystery does not end here". A lost mystery "when with the Enlightenment the power of the church ended and secularism took place. But if we look around we find traces so far incomprehensible to us, everywhere".

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