Investigative historian Scott Lund has revealed that Salvator Mundi and the Mona Lisa were intended to be seen together as one single image. Leonardo Da Vinci’s two paintings, a brilliant combination of astronomy and mathematics, were projected together into one divine image with a camera obscura, claims Lund, who in 2011 discovered a ley line in the Mona Lisa landscape pointing directly 29.5 km southeast from the Vatican to the primary cult site of Roman goddess Diana at Lake Nemi. More importantly, on the sacred Christmas morning of the Vatican's grand Jubilee year in 1500 AD, the ley line momentarily extended toward the center of our galaxy, indicated by the star Kaus Australis, which peeked over the horizon in simultaneous conjunction with the Sun. Lund says Leonardo da Vinci envisioned the Mona Lisa's face being struck by the first light of that dawn as she gazed at the core of our Milky Way from Bramante's Tempietto atop Rome's Janiculum hill.

Since 2011, Lund has assembled a large body of corroborating evidence to back up his theory, known as the Mona Lisa Code ®. Just last year he showed that the controversial Salvator Mundi painting is indeed an authentic DaVinci creation due to surprising archaeoastronomical evidence. Lund has identified the Summer Triangle asterism as the lone three stars seen in Salvator Mundi's crystal orb, which shared the same Christmas sunrise as the Mona Lisa; both paintings were thus a depiction of the same view in time and space!

Lund additionally has discovered that Salvator Mundi can be scaled down to align perfectly over the Mona Lisa in overlay, creating one single entity from the combination of both paintings. He believes Salvator Mundi was intended to be projected onto the Mona Lisa in a darkened room by a camera obscura pinhole camera, resulting in a spectacular illuminated image of a divine androgynous angelic being. "No one realizes that the world's most famous painting has never been seen in the wondrous way that Leonardo da Vinci intended," says Lund.

The Mona Lisa Code is something entirely unexpected in the field of Art History, says Lund, asserting that it comprises a large corpus of corroborating evidence beyond any reasonable doubt. He convincingly establishes that the Mona Lisa and Donato Bramante's Tempietto chapel in Rome were sister projects, with each being the symbolic representation of the other. Lund presents remarkable visual evidence that the compositions of the Mona Lisa and two other paintings were based on the stars and constellations that Leonardo da Vinci observed from Rome's Janiculum hill during the Vatican's grand jubilee year of 1500 AD. The Tempietto's construction began with a dedication ceremony two years later that hid its foundation stone matching the exact same aspect ratio as the Mona Lisa.

According to myth, Lund points out that the Janiculum hill was where the two-faced Roman sun god Janus built his glorious citadel and ruled during a mythical Golden Age. Although the Tempietto marks the traditional spot where Saint Peter was crucified, the circular chapel was also an obvious homage to the pagan god Janus and the Golden Age he represented. The Mona Lisa and the Tempietto are completely intertwined with the dualistic symbolism of Janus, as well as Spanish monarchs Ferdinand and Isabella, who formed a symbolic "Janus couple" themselves.

Lund says the landscape of the Mona Lisa shows a diametrically opposed view between right and left sides such that the unsuspecting viewer becomes the god Janus by looking in two directions at once! "The split landscape view is arguably one of the greatest creative concepts in the history of art. I'm not smart enough to think of such a fantastic idea as turning viewers into a two-faced god without their knowledge, but I am smart enough to recognize Leonardo da Vinci's genius," says Lund.