Jack Lawson lives in the lochs and glens of Scotland with his wife and daughter. A graduate of Strathclyde University, in 1997 he was admitted to the Society of Authors on the publication of his first book, a biography of the Danish composer and song-writer, Carl Nielsen.

    In October 1998 he contributed substantially to the fictional adaptation of Holy Blood, Holy Grail to two editors of Random House Group who co-authored The Da Vinci Code over the summer of 2002. As established by affidavits and supported by the Society of Authors in London, I decided not to collide with corporate lawyers in Court and get crushed despite the acknowledged merit and value of my claim.

    In 2006, I decided not to sue but to research my way to recognition, a more positive and patient plan to unravel the true secret suppressed by the Church; found by the Templars; forgotten by the Freemasons; overlooked by all modern authors; deliberately confused by a secret society; and (as it transpires) yes, known and expressed by Leonardo da Vinci.

    This material is new, sensational, and unpublished, therefore the author has delayed twenty years to provide full proof. He has travelled across Switzerland, France, Italy, Israel, and the former Templar villages of his native Scotland. He has consulted primary sources, often in Italian, including Leonardo’s journals and Pedretti’s autographs.

    Only from 1999 has the 20-year restoration of the Last Supper revealed the truth of the matter and yet the report of the conservator is effectively overlooked by art scholars in favour of recycled theories. Simply put, art experts talk and they write but they fail to look.

    The author has followed Leonardo’s instructions on “active seeing,” and has not imposed any subjective speculation.


    Let’s call it the Judas Secret. It concerns the patrilineal descendants of David who survived into modern Europe, deposed by the pontiffs of Rome. But no, there is no evidence that Jesus fathered a child and the “Jesus Wife Papyrus” was exposed in 2016 as a forgery.

    What has emerged is the fake history that divided Rome and Jerusalem, conqueror and displaced, a hostility that still determines our fate in the modern world. In the Last Supper this disorder is challenged.