How does The Last Supper (Leonardo) elucidate its Other speculation?
The Last Supper has been the target of much speculation by writers and historical revisionists alike, usually centered on purported hidden messages or hints found within the painting, especially since the publication of Dan Brown's novel The Da Vinci Code (2003), in which one of the characters suggests that the person to Jesus' right (left of Jesus from the viewer's perspective) is actually Mary Magdalene. It also states that there was a letter 'glaring in the center of the painting' (M) standing for Matrimonio or Mary Magdalene. This speculation originated in earlier books The Templar Revelation (1997) by Lynn Picknett and The Holy Blood and the Holy Grail by Michael Baigent, Henry Lincoln and Richard Leigh (1982). Art historians hold that the figure is the Apostle John, who appears feminine in line with Leonardo's characteristic fascination with blurring the lines between the sexes, a quality which is found in his other paintings, such as St. John the Baptist (painted c. 1513–1516). Christopher L. Hodapp and Alice Von Kannon comment, "If he [John] looks effeminate and needs a haircut, so does James, the second figure on the left." According to Ross King, an expert on Italian art, Mary Magdalene's appearance at the last supper would not have been controversial and Leonardo would have had no motive to disguise her as one of the other disciples, since she was widely venerated in her role as the "Apostle to the Apostles" and was the patron of the Dominican Order, for whom The Last Supper was painted. There would have even been precedent for it, since the earlier Italian Renaissance painter Fra Angelico had included her in his painting of the Last Supper.The painting contains several possible numerical references, including to the number three. The Apostles are seated in groups of three, there are three windows behind Jesus, and the shape of Jesus' figure resembles a triangle. His hands are located at the golden ratio of half the height of the composition. The painting can also be interpreted using the Fibonacci series: one table, one central figure, two side walls, three windows and figures grouped in threes, five groups of figures, eight panels on the walls and eight table legs, and thirteen individual figures. Debates among art historians still surround the use of the Fibonacci series as some argue that its purposeful use did not fully begin to be applied to architecture until the early 19th century.
Mary Magdalene Last Supper Jesus golden ratio Christopher L. Hodapp Dan Brown The Templar Revelation historical revision The Holy Blood and the Holy Grail The Da Vinci Code The Last Supper St. John the Baptist Fibonacci series Michael Baigent John Richard Leigh Fra Angelico Leonardo Dominican Order arch Henry Lincoln Lynn Picknett