Jesus Decoded

Introduction

By Msgr. Francis J. Maniscalco

Causing people to see something they never saw before in a five-hundred-year-old work of art which is among the most famous and reproduced of all time is an accomplishment of genius, if that “something” is a valid new insight. If it is not, then this kind of achievement usually goes by other names.

The Da Vinci Code novel contains a claim that in Leonardo’s mural The Last Supper, which portrays Jesus and his twelve apostles at the meal he took with them on the night before he died, one of the twelve is not the apostle John but actually a woman who is Mary Magdalene.

Forget the Gospel narratives through which Leonardo, like every other Christian, would have known about the Last Supper and which contain no mention of Mary Magdalene; forget the fact that this mural seems to have caused no sensation among the monks whose refectory it decorated and who would have been as likely to recognize a female form then as we are today; forget the many paintings of the Last Supper which show a handsome youth often leaning on Christ’s shoulder or on his chest following the tradition that identified John with the unnamed “beloved disciple” of the fourth Gospel. If such a claim is put between the covers of a book, apparently it merits respectful consideration no matter how absurd.

What this novel does to Leonardo’s Last Supper, it does to Christianity as such. It asks people to consider equivalent to the mainstream Christian tradition quite a few odd claims. Some are merely distortions of hypotheses advanced by serious scholars who do serious research. Others, however, are inaccurate or false.