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.
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 happen in the garden.
c. "But look at the painting! There is no grail, so Mary must be the grail! After all, their seating arrangement forms an "M" which stands for "Mary" and "Matrimony!"
An "M"? Look’s like a "W" if you ask me. "W" stands for "Who knows What?" It’s called symmetry...it’s ART, not a photograph! Imagine Peter saying, okay everyone, let’s ALL get on the same side of the table so we can be in the picture!" Sheesh! What about the grail, though? There are enough cups for everyone, and the legend of the grail was in fact a much later development (no mention until the 1100’s).
d. By the way, The Last Supper is not a "fresco" as called repeatedly in Dan Brown’s novel, but an experimental medium of tempera on stone which caused it to flake off shortly after completion. There have been several restoration attempts, the last completed in 1999.
2. THE MONA LISA
According to The Da Vinci Code the Mona Lisa is androgynous— the melding of male and female sexuality into one. Da Vinci allegedly believed that in addition to their being a “god” there was also a “goddess,” also known as “the sacred feminine.” The book suggests that the Mona Lisa is an androgynous self-portrait of Da Vinci.
Further proof is supposedly in the name of the painting. Mona Lisa is an anagram of the Egyptian god “Amon,” and the Egyptian goddess “Isis.” And so “Mona Lisa” is an anagram for “Amon-L’lsa” (Italian for Isis). Do you hear something stretching?
The fact is, Leonardo never called the painting "the Mona Lisa." That name was given to it much later, chosen based on the supposed sitter for the painting, Madonna Lisa, wife of Francesco di Bartolomeo del Giocondo.