After publishing about my incarnation as Leonardo Da Vinci, now, a few months down the road, I tend to look upon that lifetime as my "trickster" lifetime, for my association with the "gray hats" (see Glossary) of that era, how else did I become such a recognized living artist? This expressed itself perhaps most infamously in my manufacturing of the shroud of Turin, probably one of the most stupid things I've ever done. Here, I'm drawing upon information made public by today's Templars. Accordingly, Leo had close ties with the Templars. He made the shroud for the De Molay family, for them to offer to the pope, in hopes for reconciliation after the Vatican had outlawed the Templars two centuries earlier, leading to the execution of its Grandmaster Jacques de Molay. With the shroud, the Vatican would have another relic to manipulate its followers with.

I have wondered why I would have had two rather similar incarnations in close succession, as Da Vinci and then as Giordano Bruno. The same country, the same time, the same gender, while the soul looks for diverse experiences. I'm assuming that as Giordano I was (among other things) busy resolving the karma that Leo had accumulated. Both men mingled with the mighty, but in Bruno's story I see no signs of immorality in that and the name of Giordano Bruno eventually became connected with the principle of sticking to your convictions at all cost. I can't help but see atonement in that for Leo's rancid associations, from the corpses in his basement to the pope with whom he discussed the shroud. Through Giordano's incorruptible lifetime, and his eventual death at the stake, I hope I have atoned karmically, but that still leaves my duty of asking forgiveness from the people, today and in the past, who have cherished the shroud as something of Jesus proper. Which hereby I do. Not only does the deception of the shroud violate the feelings of the worshippers of Jesus, but it also betrays my own history of female incarnations on Earth, in which I would always be under threath from the long arm of the Vatican or similar organizations elsewhere in the world. To think that I, as Da Vinci, sat down with the Pope to discuss how to best create an object which with to deceive Christian believers, absolutely horrifies me. And to do that with the leader of the institute that had my mother killed in my Banduri lifetime.
The other side of my Da Vinci lifetime, I suppose, is that as a renaissance man I helped to pave the way for the Enlightenment, which could be seen as a stepping stone for today's Ascension process. But one good deed doesn't balance out deception, that's not how karma works. Karma is about learning by experience.
In a sense, there is poetic justice in the shroud. It's the first photographic picture in modern times, which Leo made...of himself. No matter how much he hated Judas (the biblical figure), that's just who he was in a previous life, as I set forward on my page Admin’s history. But Judas was the crucified man, so in the shroud people are properly looking at the crucified man (in a not too farfetched sense, I hope), but not at Jesus. In either case, the shroud materializes the deception that the Christian narrative is in certain ways, certainly with regard to the crucifixion.