La Gioconda

“Is this the line for the Mona Lisa?” the older woman behind me asked as her husband moved up and down the snaking procession of people asking anyone who looked like an official Louvre employee if they’d actually made it to their destination.

There we stood, eyes alighting upon the gorgeous glass Pyramide du Louvre that is the iconic “You are here” sign for the magnificent museum. It was 8:52 a.m. and the line tripled, then quadrupled, then trickled well past the initial security screen and out into the rainy morning.

We had arrived, nearly ten minutes early in fact, for our 9 a.m. appointment. We’d done everything in our power to ensure such a meeting took place—bought our tickets in advance, made reservations online, left nothing to chance.

However, I. M. Pei’s architectural wonder could not convince those of us who had another sort of iconic masterpiece in mind that we’d not screwed this all up and would be stuck in a line that led to, well, not what we came to see.

It turned out that EVERYONE was in line for a visit with La Gioconda, and we’d totally done the right thing. Those of us with advance tickets and reservations for the very first slot of the day trotted right through, up the stairs, up more stairs, and then some more, and one more flight just to make sure.

The museum docent that I stopped to talk to at the top of the stairs said that in half an hour those stairs would be packed with people waiting, waiting, waiting. Some might wait for three hours for a glimpse at the beauty beyond the doorway.

So, I stopped talking and scurried toward the magnificent Galerie Médicis where she stood, glassed-in, amongst some of the most spectacular paintings in the history of art.

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Dwarfed by the size and absolute divinity of the 24-panel Marie de’ Medici Cycle painted by Rubens 400 years ago, there she sat, roped off, barely visible. Visitors, fifty or so at a time, were let past the ropes that kept them penned back from her as well.

With that, the stopwatch began.

One minute.

That was all the time you had in her presence.

Time enough to click a selfie, take a picture or two, and then—poof—all the anticipation and work put in to stand even in her vicinity was over.

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It was the most magnificent moment of my life.

No woman on this Earth is more mysterious and sought-after than the Mona Lisa. From obscurity to utter obsession, the world has latched itself upon this simple portrait. Everyone seems willing to speculate on her identity and nobody really knows who she is.

I spent far more time with her in other places—hours and hours at Clos Lucé and in da Vinci’s gardens at Amboise.

However, that one minute proved one thing to me—that this glorious goddess with whom women crave a moment and men desire with the greatest of passion is a vessel for immeasurable power.

While men wage war on the Earth, she conquers the mind. Her territory, her imperialism, lies within.

And so, Woman On The Wall seeks to explore the true identity of La Gioconda, this woman who has inexplicably captured our hearts, as she watches over the world.

 

My Ladies and Their Unicorns

A Mon Sevl Desir – According to my will only.

There she stood—a queen, a goddess, emerging from her royal pavilion to return the magnificent jewels once bestowed upon her to a faithful servant for safekeeping. Fantastical bestiary of the forest ensure her passage to and from this place. The lion and the unicorn, watching over the doorway; the dog and the monkey, companions underfoot.

Before me hung the sixth, most enigmatic, panel of the famed La Dame à la licorne tapestries at the Museé de Cluny in Paris, and I found myself deeply overwhelmed for the second time that day.

Exhaustion and jet lag, I told myself as dabbed at my wet cheeks.

Then, my eyes rose up to land upon the words woven in the pavilion rising up in the background of the tapestry. I leaned into my constant state of verklempt and understood that France with all of the moments I chose to open fully to would transpire according to my will only.

“A mon seul desir,” I whispered, and it was if my lady and her unicorn whispered hello in return.

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A Mon Sevl Desir – the sixth panel of La Dame à la licorne

 

I’d waited years to take in the absolute wonder of this allegorical series of tapestries that have been the source of heated debate and endless interpretation since their rediscovery at Château du Boussac in 1841.

Still in the throes of my first twenty-four hours in France, I would only come to understand the significance of the tapestries within the context of my novel research almost two weeks later. The thrill of knowing now that this proved the first piece in a provocative puzzle of revolution, duality, and mysteries of the French Renaissance shoots me right back to that moment.

As I write this, I wish only that I’d spent more time at the Cluny with these magnificent works, listening to them speak as so much else would speak to me through the places and artifacts I discovered in my research.

While no one entirely agrees on what these mysterious panels mean, who created them, or why they were crafted, the general consensus is that the six panels are an allegory of the senses (Sight, Sound, Smell, Taste, Touch, and the final sense of Heart or Soul).

Oh, how I want to get into all of the academic knowledge surrounding them. To me, the debate and the analysis make me ravenous for more. However, I’d much rather tell you about my own fictional interpretation that leads to these being included in the novel.

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Panel 1: Sight

I’ve long pursued a more fanciful interpretation (and totally fictional, as I have nothing more than my imagination and anecdotal research to thread together the concepts I’ve chosen to pair up). One in which these panels represent the story of a lost time and the lost society of the Sibylline.

The mythology of the Sibyls is more than 11,000 years old and weaves its way through at least a dozen civilizations of North Africa, Mesopotamia, and Europe. Five appear on the ceiling of the Sistine Chapel. The Vestal Virgins are thought tied to them. The Sibylline Books, great records of the oracular visions of the ancient world, are thought lost to the politics and religious fervor of the 5th Century, re-written later to suit the re-telling of history through the lens of Abrahamic religions. For generation after generation, kings and pharaohs sought them out and relied upon their oracular powers to guide everything from warfare to marriage, and then they were wiped from history.

Or were they?

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Panel 2: Hearing

 

From King Arthur to the Dames Blanches, the Medieval era is steeped in mysticism. The line between this world and the next revealed itself as little more than a light veil, through which all manner of creature and being often passed.  I like to entertain the idea that these tapestries reveal the existence of the Sibylline to us.

While many today attribute illuminated manuscripts bursting with spells and rituals, bestiaries from which headless armies of Blemmyes walked and dragons of all manner took to the sky to nothing more than fantasy, I am not so easily convinced that we have not somehow severed ourselves from the passages that once were open between the world.

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Panel 3: Smell

Evidence of the Sibylline mounting a resurgence of their culture and extrasensory abilities is ample within the Middle Ages. These tapestries to me reveal their revered place in Medieval society, particularly in France where Humanism and the exploration of the self attached to that sensibility found itself fostered by common man and royalty alike.

Within their world, a new Sibyl could rise and take her place as the oracle of humanity every thousand years. The last Sibyl had been brutally murdered at the beginning of the 5th Century.

So, the time of da Vinci and Michelangelo, of Francois I and Marguerite, was the time once again for a Sibyl to rise after this female-driven society remained cloistered in abbeys, underground, hidden away while rebuilding for a millennia.

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Panel 4: Taste

Through each sense elaborated upon in the tapestries, the Sibylline reveal their ability to renew the world, to end humanity’s suffering, and to bring us all back to a greater understanding of the power that lives within ourselves.

Away from the Christian interpretation of these panels, there is plenty of pagan and ancient goddess iconography. The baby rabbits are associated with Artemis and cannot be killed in the hunt as they are under her protection. The chalice is an ancient goddess symbol of fertility and rising up from the Mother blood.

The crescent moon within the banners of the tapestries is the epitome of the divine feminine power on Earth.

That one might once again be able to develop spiritually enough to manifest and fortify personal power according to their own will was widespread in the 15th Century. This esoteric link between human and divine is not unlike the new age movements today that are opening people to new levels of mental and spiritual development.

We all can begin to understand why panels such as these and women such as the Sibylline vanished.

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Panel 5: Touch

Returning back to the final panel and the phrase sewn into the pavilion.

Nearly everything in that time period, especially if it might have subverted the doctrine of those who murdered to keep their dogma in a primary place of power, was encoded to be deciphered by those who knew the way.

I played for a long time with the anagram of those words until the code I needed to emerge from it made itself evident:

A Mon Sevl Desir – According to my will only.

Voir des l’ansem: See the Ansem, the descendents of angels.

 

Did You Know The Mona Lisa Has A Twin?

It’s true, the Mona Lisa has a twin who lives in Spain.

The Prado in Madrid has been home to what many considered a knock-off for years.

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Until it came down for restoration a few years ago, no one even knew that there was scenery behind a layer of black paint.

Now, it turns out M.L. has a sister.

Or, is there something even more interesting going on?

Learn more about this twinning HERE

I have my theories about how it’s possible that two of these beauties exist. Time to go finish what may be like the twentieth book on the Mona Lisa that I have read since I started researching her for Woman On The Wall.

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My plan is to go hang out with her in person this Fall on a solo research trip—first stop, Paris. After that,  I’m headed for the bucolic hills of Amboise to hang with da Vinci himself and see if I can discover some of my own answers about our La Gioconda.

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