In Monas Hieroglyphical (1564) Dee gave us a most illuminating representation of Monad in relation with (his/her) universe, both within and without or in Jungean terms: The anima versus the animus within us.

Let us resume the meaning of these two names: (1.) Rebus means duality and is hermaphrodite. (2.) Monad is non-duality and is primal unity.
Monad is also the pure androgyne state of being as Elimine Zola put it ("The reconciliation of male and female"). This is also the enlightenment phase that Leonardo Da Vinci wanted to reach. This stage of his life could be shown in many of his paintings with androgenic emphasis (Louvre's Mona Lisa included).

Since at Leonardo's time, the function of sexual hormone in our libido was not clearly understood, and since the innated sexual urge in male towards female is stronger than any reasoning; this "weakness" was usually attributed to the work of the Devil, as illustrated below.

"Man and wife are united by a true_love's_knot and become the tree of life"
Barthelemy Aneau's picta Boesis explained the emblem of marriage. But within the Rebis the trinity body_soul_spirit brings the sexual duality (the rebis) into primal unity (the Monad) by divine marriage symbolized by right hand over left hand (Alchemy and Myticism by Alexander Roob, page 332). The emblem of Divine marriage in Monad Lisa could be seen below:

The knot design in different patterns could be seen again on Salvator Mundi's dress.

We noticed that this knot is not a part of Monad Lisa's dress. It is unattatched and is outside of her dress.

Leonardo drew himself in his own state of duality:

He claims that his Rebis helped him in his works of divine subject. In other words, when he painted his icon Monad it was the anima or female principle within that guided him.
In Leonardo's own words: "The deity that resides in the science of the painter causes the mind of the painter to transform itself into a similitude of the divine mind."
(Leonardo da Vinci, pg. 167)

The "Nude Mona" circulated as a sketch (see below) could surely be attributed to Leonardo De Vinci; who else but himself would know about the formation of Monad Lisa as a hermaphrodite? We could easily separate the sketch into parts male and female. We then xerox those two parts in their mirror duplication than collate them accordingly. The results are quite interesting:

We can recognize right away that the female personality is St. Anne, the great mother and the male one is St. John the Baptist, the one who proclaims and baptizes Jesus as the Christ.

It is highly possible that Leonardo linked the past and the present (his present time) through reincarnation from one generation of the past Greeek god/dess such as Monad/Gaia/Apollo/Dionysus/Bacchus reincarnate into St Ann/St Mary/Christ/St John etc. and all god/dess are androgyne.

Leonardo alternated St. John as the male side of St. Ann because he is the Christian version of Dyonisius (Bacchus) and as such, he represented "the synthesis of heavenly fire and maternal earth...the union of opposites and therefore the past transmute itself into the future" (Yves Bonnefoy, 292).

As the direct consequence of using Greek Gods to interpret Christian divinities, Leonardo has committed paganism (Hellenism) which was a grave offense at that time.

"The bigger the claim, the heavier the burden of proof." We're very much aware of this adage by offering proof which lies right in our backyard, and is displayed in the public eye: In 1939 the Italian government gave the Metropolitan Museum of Art a sculptured marble slab from the Altar of Peace (Ara Pacis), showing Mother Earth (Terra Mater). This slab was made in 13 BC and was dedicated to the Altar of Augustan Peace (Heicheheim and Yeo, 286).

Mother Earth Leto, is shown siting on the rocks with Apollo on her right side. The bull and the sheep shown underneath are symbols of flock and herd, which Apollo was also in charge of as duties of a God patron, besides music, prophesie, art, and medicine. Dionysius, Apollo's companion, is on the left side of Mother Earth with grapes and fruit displayed on her lap. The poppies behind him grow in his garden (Macaulay, 88). Notice her sitting posture and head position as reference when comparing them with Leonardo's earliest compositions and their progressive sequences.

1.)Leonardo added St. Mary and seated her on Mother Earth's lap therefor changing her into the great St. Mother: St. Ann. St. Ann's head was positioned closer to St. Mary's and the sheep became the lamb of God, "Ecce agnus dei."

2.) He added St. Ann's left pointing hand upwards, meaning The Truth. This sketch also shows Christ Child's right hand's two fingers pointing upwards, meaning Twice The Truth. Christ's left hand now touches St. John's face (former Dionysius).

3.) Final version without St. John and the final position of St. Ann's left hand.

The slab also gives us a bonus of how Leonardo and his school composed "Leda and the Swan."

The swan in the painting has the head of Zeus in the morphic phase and the body in completed phase. Also, Leda gets her nude form from the slab. Leonardo visited Rome in 1501, and apparently saw the altar and three weeks later, on April 3rd, 1501, Pietro da Novellara wrote in his letter that Leonardo was working on "little cartoon...not yet finished" (Marami, 262).

Since our liturgical knowledge is very limited, our thinking dares to venture far enough within the scope of this monologue and only to justify our beginning tenets as mentioned earlier.