Above: the Parallel Declinations aspects of the planets, at the moment of Pastore's birth time, are shaping a latin cross. Please click here, you will see many images of Jesus Christ on his cross as depicted by many artists, and notice that his arms in relation to the cross have a very similar position to the figure above. I've tried to overlap some of those examples to the Vitruvian Man (click here for the results)

The last scene of the film "Jesus Christ Superstar": CHRIST IS RESURRECTED. At the moment of the resurrection the cross is empty, illuminated by the sun which faces it,
Man is reborn as the Shepherd of souls (not visible at the bottom of this picture, there is Jesus leading a group of sheep). It is He who leads the way towards human salvation.
This is in fact the image chosen by the authors to depict the purpose of the second coming of Christ: "Before him will be gathered all the nations, and he will separate people one from another as a shepherd separates the sheep from the goats." (Matthew, 25:32). The film was released in 1973, in the period in which Pastore was conceived.

ASTRO-ANTHROPOMETRIC DIAGRAM ANALYSIS

The Vitruvian Man was designed to represent a cosmografia del minor mondo (cosmography of the microcosm). Leonardo believed the workings of the human body to be an analogy for the workings of the universe. (source: "The Encyclopaedia Britannica"). In our analysis, we related the perfectly proportioned microcosm of the Vitruvian Man within his circle with Pastore's astronomical configuration, or rather with the macrocosm which surrounds the man beyond the circular line. The circumference thus becomes the border between the micro and macro cosmos, the physical and spiritual plane, man and the universe. The perfect life of the New Man comes to be represented by this circumference, a place where universal forces (outer, or planetary) and personal forces (inner, or the parts of the body) exactly coincide at the same points of the circumference and unfold by interrelating with each other. That means that the New Man is constantly balanced between teaching/giving to the universe and learning/receiving from the universe.

The MACROCOSM

Natal chart for Pastore positions of planets with respect to the Earth. Bari, 20th of march 1974, 4.15AM.
(source: Astrolog 5.4 software)

The MICROCOSM

The Vitruvian Man:
tracing a line from the middle finger of the horizontal arm to the middle finger of the opposite arm, and a perpendicular from the middle of this line, a double triangle diagram is obtained (called "kite" in astrology), of 60° and 120° degrees. A specular kite shape is obtained which mirrors this.
(source: analysis carried out on Vitruvian Man drawing by Leonardo da Vinci, 1492)

The MACROCOSM + The MICROCOSM

Natal chart + Vitruvian Man:
overlapping the previous two diagrams, we obtain an almost perfect conjunction on the circle, allowing reasonable tolerances. The exception which confirms the rule is given by the lunar node (which in fact is the only point that is not a planet) which is a few degrees outside the conjunction.

P.S.: The distance between the centres of the two diagrams is based on the fact that, in the past two hundred years, anthropometry has shown that span exceeds height in 59-78% of normal adult white men. (source: GD Scott, The extent of man from Vitruvius to Marfan. In Lancet 19-26 Dec 1992, p 1518-20). So the abstraction made by Leonardo to fit the man in a circle, has been adjusted according to the average relation between the two measures, span and height, with a shift of the natal chart ten cm. above the navel.

Pastore's natal chart shows a clear separation between the "personal" - or "quicker" - planets in the southern hemisphere - or inner world -, and the "generational” - or “slower” - planets in the northern hemisphere - or outer world. Moreover, all three "generational” planets have been found retrograde, but connected to the "personal" ones by a geometrical configuration, as we saw above. This fact indicates, according to an astrological interpretation, that the sphere of his personality evolves independently with respect to the overall development of his generation and, at a certain point, he will have to face his generation with all his wisdom. The extent to which this may end dramatically or well depends on him, and destiny depends on the confrontation of all his inner qualities in reflecting in himself the wisdom of the cosmos, and how he can give to the world and how the world is ready to accept his holy intentions and will-driven miracles. This is the challenge between the New Man and His Generation. Is his generation ready to accept him as an individual connecting microcosm and macrocosm?

[link1]

With regard to this special signification there is also an angelic helper in the Cabala, corresponding to the 30th degree of Pisces (the last day of the zodiac), entitled- "The Angels of Omnipotence and Omniscience"-, which says: "The final and last step is the uniting of heaven and earth, the microcosm and the macrocosm in all wisdom, power, and love... Guided by us, it is possible to become like us, all-knowing and all-powerful with regard to the microcosm as well as the macrocosm, and like us you cannot be governed by any other being but the One, Impersonal Divine Providence..."

[link2]

Then, we need to look to the Hermetic Magic meaning corresponding to the 36th decan (Third and last decan of Pisces): "If man is the measure of all things, Bianakith is the template to which that measure is drawn. Although humanity, as the primary intermediary between microcosm and macrocosm, encompasses all the decans, it is within the medium of meat and bone and desire and thought established by this decan that they must operate... Mihal, Lord of Perfected Success, appears only in human form. Sometimes, in fact, in two human forms (man and maiden); other times as a crowned king of perfect form, mien, and carriage".

[link2.1]

So, while the Hermetic Magic associates the meaning of "Man measure of all thing" to the 36th decan, or the last week of Pisces sun sign, the Cabala is even more precisely saying that the union between microcosm an macrocosm would happen on the 30th degree of Pisces, or the last day of the last week of Pisces sun sign (that comes usually the 20th of March).

It means that teoritically there is a corrispondence between the Vitruvian Man (as a man measure of all thing and human figure of both Microcosm and Macrocosm) and the Sun position degree on the day of 20th of March, and my analysis confirm the event of that corrispondence. In other words, on the base of the esoteric teachings, I've learnt that the Vitruvian Man could have been born only when the Sun was in Pisces 36th decan, 30th degree position, as happened in Pastore case.

At the moment of Pastore's birth, the Vitruvian Man, standing on Easter Island and facing north, indicates the astronomical coordinates of the planets of the solar system, as shown above. Easter Island was given its name by the Dutch sea captain Jacob Roggeveen who became the first European to visit it on Easter Sunday, April 5, 1722. So, on the day of the celebration of Christ's resurrection - we again find the empty cross and the rising sun symbolizing the spiritual birth of Christ after His physical death. In former times, the oldest known traditional name of the island was Te Pito or Te Henua, meaning ‘The Navel of the World'. This prophetic name is extremely important for our analysis, because the navel of the world is superimposed on the navel of the Vitruvian Man at the moment of Pastore's birth, as the centre of the cosmic circle or elliptic solar orbit. So the centre of the body coincides with the centre of the solar system around the earth, and in the case of Pastore's birth, this coincides with the ‘The Navel of the World', or Easter Island.

In addition, the position of the Sun at the moment of Pastore's birth corresponds with the 360th symbolic degree, that is with the final day of the solar calendar. This is associated with the following image: " Becoming an Archetype : A young man identifies himself with a great stone face cut out of the mountain, until he resembles it". [link3]
Or: "Nathaniel Hawthorn's conception of the Great Stone Face has been brought to fruition in a huge mountain carving". Hawthorn's short novel [link4] speaks of a prophecy of the advent of a New Man, a human model to follow and that the whole community is waiting for. Eventually this man appears, and all people recognize him thanks to the revelation of an artist.

Were the Great Stone Faces on Easter Island built to announce the coming of the new Man?

Is this another devoted form of foreseeing the rebirth of the New Man?

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Holy Roman Emperor Frederick II's royal globe representing a cross on a sphere, as a symbol of earthly power granted by God (XIII s.)

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Copyrighted essay by M. Martelli © 2007-2008

Page under construction. For any comments, please contact: prophecy@aiborg.net

also visit the following links:

THE ADVENT OF THE NEW MAN - DECODING DA VINCI'S VITRUVIAN MAN

HOW DID DISCOVER THE TIME OF THE NEW MAN COMING ON THE EARTH

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ANSWERS TO QUESTIONS AND DOUBTS #1:

"Why in your image of the Vitruvian Man do you neglect to acknowledge the spread leg pose in Da Vinci's picture which an astrological synchronicity?"
There are few issues below to answer to this question:

1_ It was not necessary for Leonardo to use the spread leg pose to justify the presence of both of the circle and the square. As can easily be observed, Leonardo's geometrical problem is resolved even without them: the body fits both a circle and a square at same time with the spreading of the arms alone.

2_ As drawn by Leonardo, the spread leg pose is incorrect: in fact the rotational centre of a man's leg is not the navel but each leg has its own separate centre. In a correct representation of the real movement, the spread legs would not meet the drawn circle as the arms do.

3_ Leonardo's way of describing reality was not based on abstraction, as for example was Michelangelo's: all his drawings are the realistic representations of a scientist or an engineer, they depict machines rather than emotions. But in this picture, he drew something which is not actually possible: a man who describes a circle with his legs spread while he is standing up. It might be objected that this position was taken by a model lying on the ground, but this can be seen as a contradiction: the model was therefore a corpse lying on the ground and not a MAN acting normally in a three dimensional space, which is the subject of the drawing. I would therefore say that the spread legs are the only abstract element that can be found in Leonardo's work. Why then would an artist ethically devoted to a rigidly scientific representation have erroneously drawn those two legs? No one knows the answer. Even were someone to logically or scientifically justify them, I would not take it into consideration. I am not accusing the artist, on the contrary I feel that this error is the sign that Leonardo's state of mind when he drew it was not his usual one, but that it reflected something larger – because eternal – than matter or machine, and anticipates the ultimate evolutionary step of the spirit within the body on the basis of the equation: perfect body = perfect spirit, or: Appearance = Will. In this sense this drawing too would further confirm the futuristic approach of Leonardo's thought. I am certain that he is a prophet (a visionary of future events).

Conclusions: I believe that Leonardo is more than an artist, but is a prophetic genius who understood that a perfect man could exist, and that the erroneous spread leg position is a mysterious ploy that confirms his premonition of the advent of a new Man.

ANSWERS TO QUESTIONS AND DOUBTS #2:

"Why do you claim that the Vitruvian Man is related to the coming of a new Christ "
It is thanks to your inputs that I'm able to carry my research forward. Here is my answer:

1_Among the other representations of "Man in a Circle and/or a Square", Leonardo's Vitruvian Man drawing is the most perfectly realised (if we are not considering the spread leg position, as above). All these Men are said "Cosmic", since they describe an individual micro-cosmus in relation to the universal macro-cosmus, and they resulted to be a laic version of an iconic way of representing the embodyment of Christ's spirit irradiating towards Universe, since the early stage of Christian religion (see point 2). In Leonardo's one, this perfect spirit is drew in a perfect body, a model to follow for the human being development. Look, for example at this image which compares, in chronological order, all the "Man in a Circle and/or in a Square" I could find, beside mine's:

Zodiac Man, mosaic pavement of a synagogue in Beit Alpha, Israel 6th century

Christ's body as a Microcosm under planets influence, Glossarium Salomonis, Prufenig monastery 1158-65

Hildegard von Bingen 1098-1179	Fra Giovanni Giocondo 1435-1515	Bartolommeo Caporali 1442-1509

Leonardo Da Vinci about 1492

Cesare Cesariano 1483-1543	Cesariano's Edition by Vitruvius	Francesco di Giorgio 1482-89

Agrippa von Nettesheim 1486 - 1535	Robert Fludd's zodiac man 1617	Eliphas Levi 1810-1875

Maria Martelli 2006

 

While R. Fludd's picture explicitly shows an astrological chart in order to interpret the macrocosm in relation to a human figure, this figure does not have harmonious proportions such as to be comparable with Leonardo's drawing. These two pictures are the starting points on which my analysis is based: one for its representation of the macrocosm as the distribution of the planets in the solar system, the other for its representation of a perfect microcosm in the form of a perfectly proportioned man. Both drawings seek to objectively depict on two different but parallel levels the first example of a conceptual drawing of a Man in a Circle, that of Von Bingen. My initial drawing is the first to portray the New Man in his Macrocosm, merging the two objective levels of planets and body.

2_ Christian iconography portrays the death of Christ lifeless on the cross, the Second Coming of Christ on Earth is depicted by the figure of a Man enclosed in a Circle, often standing, and often with hands open and held high as a sign of glory and power. In this sense the Vitruvian Man is the  perfecting of that iconography with a realistic result, unifying the figure of the T, on the cross, with that of the  Y, with raised arms. This can be seen in the following examples:

 

3_ The cross is the most significant and important emblem of the Christian religion and represents faith in the spirit of Christ and in His resurrection. It appears in the Vitruvian Man as in the natal theme of Pastore at the time of his birth, as was stressed above in the analysis of the chart of the declination of the planets with respect to the sun at its vernal point.

4_Pastore's body is similar to that of the Vitruvian Man both in proportion and dimensions, as we will see in the following reply.

Conclusions to the note:

the proofs of evidence, on which my findings are based, are:

1. The birth chart of Pastore,

2. The Vitruvian Man,

3. The body of Pastore.

The perfect and scientifically proven coincidences, on which I base my findings, are:

A. The overlapping of 1 and 2;

B. the overlapping of 2 and 3;

C. The overlapping of 3 and 1.

Each of these superimpositions coincides with a latin cross diagram.

ANSWERS TO QUESTIONS AND DOUBTS #3:

"How it is possible to identify the New Man among all the other people born on the same day, at the same time and in the same place?"

Thank you for your question. Due to what is a limitation of the discipline of astrology in general, this a very controversial issue. How, for example, would you interpret the natal charts of two twins? I would interpret them as being similar. In fact, an astrological chart by itself is insufficient and my reply to your acute question will have an anthropometric basis. I met the New Man to ask Him if I could take some frontal pictures of his body and measure it. When I met him, I noticed that his body is undoubtedly similar to that of the Vitruvian Man, both in its main proportions and overall dimensions. Please note that: 1_for privacy reasons, for the present time at least, I will not show you a photograph of Pastore, but only one which has been filtered, without any modifications to the shape, dimensions or proportions of the figure; 2_The picture of the New Man shown below is slightly distorted - especially its lower part - as I do not have the professional equipment to obtain perfectly parallel photographs. I will try to remedy this at a later stage, but all the measurements that appear in the diagram were taken directly on his body, and so are reliable.

In this way it will be seen whether Leonardo was telling the truth in forecasting also the physical appearence of the resurrected Christ. .. and it seems to be so...

Observe the following two comparisons between the New Man and the Vitruvian Man:

The first analysis is based on the measurements, assuming that the Vitruvian Man has the same height as Pastore (177cm), and shows that all the measurements coincide, with tolerances of a couple of centimetres at most. In particular, it is noted that the span of the arms is four centimetres greater than the man's height. This detail with respect to Da Vinci's Man is actually found in the average of human beings in the light of the considerations of G.D. Scott, mentioned above in regard to astro-anthropometric analysis. It is noted in this case that Pastore's navel is 2 centimetres higher: for the purposes of my analysis, this represents a fundamental point which will be the basis for my next comments, which confirm the adaptation so far employed intuitively on the Vitruvian Man to centre him in Pastore's birth chart, that is the lowering by a few centimetres of Leonardo's figure so that his navel coincides with the centre of the cosmic circle. In the following diagram the real body of the New Man will be superimposed on his natal chart, without shifts but placing his navel in the centre of the cosmic circle. I expect that the result will be perfect.

Second and third analysis is based on proportions, which are eventually found as similars.