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Secrets In Plain Sight: Leonardo da Vinci, by Scott Onstott
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Discovering precise encoding in the majority of Leonardo’s art, the author’s insightful analysis reveals the once-heretical transmission of what one of Leonardo da Vinci’s collaborators called a “very secret science.” Da Vinci encoded his most important secrets in plain sight, where they have been overlooked for centuries. His paintings and drawings, although few in number, are the most visited, most written about and most valuable art in the world. Could this be due to his talent of encoding this science into his works? Scott Onstott concludes that the secret science works because it is part of you, no matter whether you are conscious of it or not. This is a must read if you want to comprehend the implications of Leonardo’s cosmic ordering principle.
- Sales Rank: #911306 in Books
- Published on: 2015-10-14
- Original language: English
- Number of items: 1
- Dimensions: 8.50" h x .13" w x 8.50" l, .35 pounds
- Binding: Paperback
- 54 pages
About the Author
Scott Onstott is a writer, trainer, filmmaker and artist. He has a degree in Architecture from the University of California at Berkeley and has written a dozen technical books on architectural visualization software. He is the creator of the Secrets In Plain Sight video series and is author of The Divine Proportion, Quantification, and Taking Measure: Explorations in Number, Architecture and Consciousness.
Most helpful customer reviews
5 of 5 people found the following review helpful.
Appreciate the genius of Leonardo da Vinci in a whole new light!
By David Warner Mathisen
Belongs in every library, public or private, home or high school or university!
Secrets in Plain Sight: Leonardo da Vinci begins with a brief but powerful summary of the incredible achievements and ongoing importance of Leonardo himself (1452 - 1519).
He then explains the concept of the divine proportion (the golden ratio, the proportion of which is designated by the Greek letter phi) and its mysterious qualities -- with accompanying diagrams and labeled illustrations that should make its properties more understandable than perhaps any discussion of the golden ratio that you have encountered before (Scott is a trained architect and a teacher and author on the subject of architectural visualization software and techniques).
The discussion reveals the mysterious, unchanging, infinite, and self-contained properties of the divine proportion, and why and how it conveys aspects of what we might call the Infinite Realm, the Divine Realm, the Invisible Realm.
As you open your eyes to what is being presented, you will realize that phi does not just point us towards the Infinite: in many ways it actually manifests the Infinite Realm in itself, and impresses it upon our deeper understanding.
Scott then presents stunning evidence that demonstrates convincingly, beyond any doubt, that Leonardo da Vinci incorporated this divine ratio -- and its unfolding in the infinitely self-generating golden rectangles and the golden spiral that they create (the book shows how this spiral generates) -- into his art, over and over again, and with a degree of precision that indicates he knew exactly what he was doing.
But why?
Clearly, the golden ratio resonates powerfully with us -- our own bodies, and many aspects of the universe around us (perhaps every aspect of the universe around us), exhibit the golden ratio or phi on nearly every level. Scott even visually illustrates the way that DNA, the basic code of all known life, unfolds according to the golden ratio at its most fundamental level.
The golden ratio is aesthetically pleasing and attractive, even if we do not consciously recognize its presence.
But as Scott shows the golden rectangles and spirals present in the art of Leonardo da Vinci, he uncovers evidence that da Vinci was incorporating this divine proportion to convey and even more powerful message. As Scott says in the description of the book on his own website:
"Leonardo's secret pointing to the divine proportion's divisions to physical and illuminated third eyes suggests he saw the divine not just in a transcendent heaven, but immanently in the human body and in the world."
That sentence is worth reading a few times for full effect.
What Scott's illustrations in the book, in which he overlays golden spirals upon the artwork of da Vinci, reveals quite clearly is that the spirals almost inevitably concentrate upon one eye of a human subject in the painting, or (even more frequently) upon the point of the "third eye" in the center of the forehead.
The implication, as Scott makes plain in the quoted sentence above, is that Leonardo da Vinci was conveying the message, using phi as the representative of the Divine and the Infinite, that the very same Infinite which unfolds in every aspect of the physical universe around us (and which shows that the Invisible Realm is present at every point in the seemingly-material cosmos) is also present in each and every man and woman: the divine in us.
And, as has already been said above, when da Vinci "drops phi" into his artwork, he is not just placing a symbol of the Divine or the Infinite into the art: he is putting an actual unfolding of Infinity right onto the canvas! The golden proportion actually is infinite, in and of itself, and it actually does begin to generate infinite spirals and an infinite rectangle-series, the moment you place it onto the page!
Note carefully what Scott Onstott is saying in that sentence above about the presence of this Infinity in both the heavens and the human: da Vinci recognized that it was present everywhere, both on the incredible scale of the heavens, and in the proportions of the human body, and that it "spirals inwards" to our eye (the "window to the soul") to suggest that the divine is there as well.
The divine ratio is present in every strand of DNA, and in the astronomical distances and scales with which our infinite universe is framed. It is operating everywhere and at all times, effortlessly unfolding and contracting, outward to the most distant galaxies and inward to the secret universe of our interior world.
The illustrations in Scott's book must be seen to be fully appreciated. I would suggest that a physical copy belongs on the shelf of every library, public or private, home or university or high school.
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