Anomalous additional figure within "The Last Supper".
An informal experiment to determine the possibility of the presence an additional figure within Leonard da Vinci's wall painting "The Last Supper"
The recent popularity of the novel "The da Vinci Code", by American author Dan Brown has re-ignited interest in the parahistorical theory previously propounded by the books "The Templar Secret" and "Holy Blood, Holy Grail", that the term 'Holy Grail' relates not to the cup used by Christ at the last supper, but rather to a holy blood-line descended from the union of Jesus and Mary Magdalene.
Proponents of this theory suggest that Leonardo da Vinci's wall painting "The Last Supper", at the Capella de Santa Maria delle Grazie in Milan, contains coded information confirming the existence of a child produced by such a union. In support of this claim, theorists suggest that the figure of St John, seated to the left of Christ in the painting, is actually a representation of a female figure (Mary Magdalene) and that the shape formed by the space between the two figures represents a 'V' shape, symbolising the female vulva or uterus, which cryptically indicates the fertility of the union of Jesus and Mary Magdalene.
However, while not wishing to dismiss these theories unduly, based on previous research involving manipulated photographs from the Soviet Union and considering the size and nature of the area (being apparently lacking in any important detail which would require the separation of the seated figures), the possibility was considered that in the original image the area between the figures of St John and Christ may have contained an additional figure, which has subsequently been erased or obscured.
A parahistorical exercise was devised to test this hypothesis as follows:
Method
Due to the informal nature of this exercise and funding constraint, a reproduction of Leonardo da Vinci's "The Last Supper" was obtained via the internet. Using the 'Google' search engine, an advanced image search was undertaken on the following criteria:
Keywords: da Vinci "The Last Supper"
Image size: large
File type: JPEG
Colour: Full colour only
A reproduction was selected from the search results on the basis of image pixel dimension (the largest image available), image clarity (the clearest reproduction) and assumed reliability and independence of the source (the image used being a digital scan of a postcard obtained from the Capella de Santa Maria delle Grazie, one of a number of such scanned postcards made by an Italian writer detailing his visits to various tourist locations in Italy). The original digital image used for this exercise may be viewed in full at:
http://images.fbrtech.com/dnew/Italy2001/Postcards/Milan1.jpg
[NB: original link no longer active. Best link at present is http://upload.wikimedia.org/wikipedia/commons/7/77/DaVinci_LastSupper_high_res_2_nowatmrk.jpg]
The image was downloaded from the internet to a computer within the department of parahistory and examined using digital imaging software (photoshop v6), with particular attention to the area between the figures of St John and Jesus.
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| Figure 1: Da Vinci's "The Last supper" [2004 link image] |
Result
Upon inspection of the image area detailed in (figure 2), it was determined that an outline figure existed between the figures of St John and Christ, the figure being apparently smaller than that of others within the image. The standing figure is apparent facing Christ, with head and torso visible directly in front of the darker area of the pillar.
Additionally, the figure appears to have two arms, the left being raised, the right lower, the forearms extending into the lighter area of the pillar to the right. Although no right hand is apparent, lightness of the area of Christ's robe at the point at which the hand would extend from the figure's right arm suggests that the right hand may, originally, have been touching the robe at this point. And although the figure is apparently clothed and standing upright, the facial features do not appear human.
Notably, the figure appears to have whiskers similar to those of a cat or dog and large, pointed ears. In (figure 2), the image area studied is shown unenhanced. (Figure 3) shows the result of initial digital enhancement of the key outlines of the figure.
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| Figure 2: detail of image |
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| Figure 3: digitally enhanced detail of image |
Conclusion
Taking the results of this exercise into account and using established parahistorical reasoning methods, it is determined that while da Vinci may have intended to cryptically convey knowledge relating to the existence of a Holy blood-line resulting from the union of Mary Magdalene and Christ, the presence of the cat-like creature standing immediately to the right of and touching Christ, indicates that this, now erased figure, held a position of greater significance than that of the others at the table.
Further, while evidence for this conclusion is provided by the suppression of any reference in Biblical texts to marriage between Jesus and Mary Magdalene or of any cat-like creature resulting from the union, apocryphal texts, specifically the Gospel of Mary Magdalene (Nag Hammadi) contain references to "corruption of the body", which suggest that such a creature was central to biblical events and, while apparently reviled by many of the apostles, enjoyed the particular affection of Mary Magdalene.
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