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Decoding Da Vinci - Part 2

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Sermon shared by Mark Kennicott

May 2006
Summary: Part 2 in a series that reveals the truth about the Da Vinci Code novel (and movie) by author Dan Brown. Book quotes are addressed with sound biblical and historical facts.
Denomination: Pentecostal
Audience: General adults
Sermon:
Mat 16:13 When Jesus came into the coasts of Caesarea Philippi, he asked his disciples, saying, Whom do men say that I the Son of man am?
Mat 16:14 And they said, Some say that thou art John the Baptist: some, Elias; and others, Jeremias, or one of the prophets.
Mat 16:15 He saith unto them, But whom say ye that I am?

Who do YOU say that I am? That was the question 2,000 years ago; it is still the question today. It is at the heart of the Gospel message. And it is at the heart of Dan Brown’s book, The Da Vinci Code.

We began cracking the code last week, as we discovered the true nature of Opus Dei, the Priory of Sion and the Knights Templar.

The book suggests that Leonardo Da Vinci, who served as Priory of Sion headmaster, hid secret codes and symbols in his artwork to point to the truth about Jesus, and his supposed relationship with Mary Magdalene.

We already know that the Priory of Sion did not exist. But what of Leonardo? Da Vinci, by the way, is NOT his name, but refers to where he was from.

CONSPIRACY: LEONARDO DA VINCI hid Secret Codes in his Paintings about Mary and Jesus

1. THE LAST SUPPER

a. The book argues that the person to the right of Jesus is "clearly a woman" and that if you look closely enough you can actually detect a bosom. Sorry, no such hint exists.

In none of Leonardo’s sketches or writings is there any suggestion that the figure is Mary Magdalene. In fact, his notes label each person at the table, and guess what? It’s John. Why so girly then? Renessaince art typically depicted John in an effeminate way. Leonardo da Vinci painted two pictures of John the Baptist which look strikingly similar to John in the Last Supper. Was Mary really the "voice of one crying in the wilderness?"

"A classic type, common to many Renaissance paintings is the ’student.’ A favored follower, a protege or disciple, is always portrayed as very youthful, long-haired and clean-shaven...Throughout the Renaissance, artists portray St. John in this fashion. He is the ’disciple Jesus loved’ ....Only a colossal fool would paint a heresy where the monks could study it day after day. While no evidence suggest that Leonardo held the church in contempt, proof abounds that he was no fool." (Elizabeth Lev, "The Real Leonardo")

If the figure is Mary Magdalene, then where is John? A painting of the Last Supper without the ‘beloved’ disciple wouldn’t even make sense.

b. Ah, but they say, "Look at Peter! He’s mad at Mary!" Well, if Peter is threatening Mary, why is she leaning toward him? She doesn’t look worried.

"Yeah, but there’s a disembodied hand with a dagger threatening Mary!" Uh, the ‘dagger’ belongs to Peter and represents the sword he will use to cut off the ear of the slave from the arresting party. The book claims that almost no commentators say anything about the dagger, however practically every book you consult on the painting mentions that it is Peter’s hand and for-shadows what is about to
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