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Renaissance Science and Botticelli’s Hidden Code

In 1462, Cosimo Medici established the rebirth of the outlawed Academy of Plato in Florence and appointed Marsilio Ficino as its founder. The basic concept of Ficino, derived from Plato’s geometry, is the existence of eternal wisdom about the immortal soul, which is at the heart of the workings of the universe. The only geometric logic that might fit into this idea is fractal logic, which in the 20th century could not be linked to any kind of life sciences.

Did 15th-century Medici scholars commission Italian artists to put hidden messages of pagan science into paintings now used to develop pagan techniques? A fairly strong case argues that this is entirely true. We can investigate by examining two paintings commissioned by Medici scholars Sandro Botticelli and Domenico Ghirlandaio. Both paintings were completed in Florence in 1480.

The goddesses of Botticelli are known to dance to the celestial music of Pythagoras, imitating divine reason and cosmic order. Botticelli played a rather dangerous game in his habit of portraying famous Christian figures as the structure of such a worldview reality. In the painting of St. Augustine in his study, Botticelli is definitely flirting with disaster. He ignored Augustine’s classification of Pythagorean astromathematics and dismissed Epicurean’s atomic structure in human metabolism as the work of the devil. By drawing a spherical brass staple to delineate the atoms of the soul, Botticelli carefully placed it in the orbit of the Augustinian halo, as a symbol of consciousness, linking divine reasoning to the music of the celestial body.

There is no doubt about the heretical meaning of the painting. A book at the back of Augustine’s head opened clearly, showing a page of Pythagorean mathematics. The astrolabe used to observe the celestial body is depicted on the right, and the armillary sphere is depicted on the left, which is a model of the motion of celestial bodies. Augustine’s gaze focused on models of celestial motion, depicting the geometer in profound philosophical thought. The celestial movement that transmits the divine evolutionary wisdom to the soul through harmonic resonance describes the general love of science in the 3rd century BC. Scientist Giordano Bruno taught it at Oxford University before being imprisoned, tortured and burned alive 120 years after Bottice used the same hidden message to paint his now famous paintings .

Ghirlandaio’s painting of St. Jerome in his study depicts a 5th-century colleague of Augustine, who was also a prominent figure in the Christian religion. We realize that Botticelli did not put his spherical staple into Augustine’s halo, as Ghirlandaio was very careful to repeat the installation, placing the spherical staple image into his own St. Jerome’s halo track.

The question of whether this artistic depiction of pagan science has influenced modern science is easy to answer as “yes.”

The Australian Centre for Science and Art, which once reminded Plato’s psychic optics by being aware of what Botticelli was trying to depict, was able to develop a research programme to revise the optical keys to Leonardo da Vinci’s theory of knowledge. The 1991 Nobel Prize in Physics was awarded to Pierre de Gennes for his theory of liquid crystal optics. The following year, a team of researchers made a discovery about a huge new science and technology that confirmed the nature of the technology predicted by the center. The lead discoverers write that the center’s work covers an intellectual revolution as important to science and society as the Copernican and Newtonian revolutions.

The Center for Science and Arts launched a very successful research program in the 1980s to develop computer simulations of futuristic simple life forms based on the “sphere music” methodology proposed by China’s most prominent physicist, Huang Kun. The research has now grown to embrace the future of human survival simulations. Plato’s principles of psycho-optical engineering were also advanced into the concepts of life energy, which underlie the new life sciences initiated by the three 1996 Nobel Laureates in Chemistry.

NASA High Energy Library publishes Fractal Logic-based propositions for the life sciences of the classical Greek era. Yet associating any life science with fractal logic is still considered a criminal heresy by some, such a concept still completely ignores Einstein’s 20th century understanding of the energies that govern modern science itself.

Copyright © 2010 by Robert Pope

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