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The Painter and The Carpenter

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THE PAINTER AND THE CARPENTER:
LEONARDO’S LIFE SIZE PORTRAIT OF JESUS

DISCOVERIES MADE 500 YEARS AFTER THE PAINTING

Readers of this book will be empowered to see the real Da Vinci Code overlooked by the school of Dan Brown, concealed by a secret society, and unsuspected by the art experts. Fresh research has made new connections and contexts for previously obscure journal musings.

When I made a Christ Child you put me in prison.

Now if I represent him grown up you will treat me worse.

New and Unpublished Material:

  • In the Last Supper he expresses the Gnostic Gospels not the New Testament.
  • The gender fluidity expresses Gnosticism, the artist’s aesthetic, lifestyle and anatomy.
  • Leonardo was not an unbeliever but a nonconformist.
  • He was inwardly secretive and aloof yet outwardly handsome and sociable.
  • If you see Jesus as a preacher and Leonardo as an artist then you will not grasp Leonardo’s sublime religious paintings.
  • Leonardo was a member of closed fraternities with access to books smuggled into Florence from the Islamic Middle East.
  • A childhood friend of the Medicis, he was protected by friends in high places: popes, kings, dukes, soldiers, and statesmen.
  • To escape prosecution he fled jurisdictions, finally settling in France.
  • Leonardo has followed the gospels of Philip and Thomas, not Mathew and John: Jesus does not instruct the disciples, blame Judas, break bread, etc.
  • John and Matthew lean away from the Master; Philip and Thomas revere Him.
  • Thomas, the one who doubted, is modelled on the artist in middle age. Revealed by Ross King in 2013, I have found the proof.
  • The probing finger of Thomas/ Leonardo directs us to the first of 12 dramatic scenes which depict the drift of the Church from the teaching of Jesus.
  • There are 19 figures 6 of whom are hidden.
  • The young person is a composite of John and Mary, a frequently used device.
  • James is depicted in the posture of the crucifixion in a western esoteric tradition.
  • As the first son of Joseph, James was the threat to the Herods. Jesus died in his place.
  • Judas did not betray the Jews; he deceived the Romans.
  • Leonardo painted perhaps the only Last Supper which does not expel Judas.
  • The figure of Judas is one of many details modified to comply with orthodoxy – in this case the hatred of his race.
  • The Last Supper did not dilapidate by accident; it was deliberately destroyed.
  • The landscape as originally painted was Mt Sion with symbols long ago erased.

SEEING THE LAST SUPPER FOR THE FIRST TIME

It is said that The Last Supper expresses the New Testament account of events in which Jesus blames Judas, announces his fate, orders commemoration of his body and blood by bread and wine; John leans on his breast, the disciples react in shock and are ordered to preach the good news of salvation.

But none of this is painted by Leonardo.

Judas is reinstated with his companions and is being stabbed in the back. Jesus is silent and completely detached from his disciples. Only the first group of three react in shock; groups two to four display a different agenda by facial expression and body language we should actively interpret. John leans away from Jesus.

This is only the beginning of the revelation by looking at what is painted, not what we expected.

1979 Deteriorated and defaced by “restorers” who introduced changes including blackening Judas. A door installed in 1652 obliterated the feet of Jesus, concealing the painting’s shocking secret.

1999 After 21 years of restoration, the mural was back on view in 1999. Judas appears shocked not evil. The door is retained rather than Leonardo’s image.

An oil on canvas copy made around 1520 by Leonardo’s student Giampietrino. The bound foot of James is deliberately hidden.

Nicolas Poussin read Leonardo’s secret journals. In 1640 he made this copy of Leonardo’s Last Supper. Observe the crossed feet of James, with outstretched arms: why is he in crucifixion pose? Why does Poussin introduce the jug?

A modern artist conjectures the vibrancy of Leonardo’s original colors. The feet of James are bound together.

Giovanni Rapiti, a modern Italian artist, recreated Leonardo’s vibrant colours expressing detailed facial and body language.

Self portrait
Copy of the Last Supper by Leonardo’s pupil, Giovanni Pietro Rizzoli
The original mural. The probing finger became a symbol of truth and Leonardo’s trade mark.

Judas is stabbed in the back