The Last Supper by Leonardo da Vinci Maps the Star Path of the Sun
From Free Thought Nation, 2013
Leonardo’s sublime fresco, The Last Supper, depicts the story of the meal Jesus Christ shared with his twelve disciples the night before he was crucified. My analysis of the stances of Christ and the disciples indicates that Leonardo used the twelve constellations of the zodiac, the star path of the sun, as his template for the painting.
The twelve apostles are based on the successive star patterns traversed by the sun each year. Christ himself is modelled on the constellation Pisces, the star position of the Sun at the spring equinox through the two millennia of the Christian Era.
The Last Supper shows animated conversation and high drama, as Christ accuses Judas of betrayal.
Last Supper Figures Detail With Constellation Shapes Added
On our right (Christ’s left), we see firstly Aries, with hands in the shape of the three stars of the Ram, speaking with Taurus the Bull, whose right hand makes a V in the shape of the Hyades, the Bull’s Head, and whose left hand has fingers making a circle mapping the Pleiades, the Bull’s Shoulder. Next, Gemini holds out his two arms in parallel, just as the twins Castor and Pollux stand at the end of two parallel lines of stars. This group of three disciples maps the stars which at the time of Christ were passed by the sun in spring.
The next group of three disciples maps the stars of summer, grouped towards Christ to show adoration, awe and insight. Cancer stands with devoted hands to heart, forming the same Y shape as its star group. Leo has left hand curled in the familiar mane of the lion’s stars with Regulus at the heart, and right hand modelled on the lion’s tail, Denebola. The hand of Virgo points to the sky, forming the Virgin Mary shape of the star group, and calling us to look up.
In the middle, Jesus Christ is modelled on the two fishes roped together seen in the stars of Pisces. His head is in the position of the star Alpha Pisces, the knot, Alrisha. This knot binds on earth what is bound in heaven, as explained at Matthew 18:18. Christ’s arms map the two lines of stars joined at the knot, forming ropes extending to the two fish seen in his hands. Christ’s right hand forms the asterism of the circlet, the ring of stars seen as a fish where the equinox now stands, while his left hand is the other fish. The reason why Leonardo would have used Pisces to depict Christ is that the Sun begins the natural year at the spring equinox in this constellation, so Christ as Pisces symbolises the Sun.
The next group of three, forming the season of autumn, shows the star shapes of Libra, Scorpio and Sagittarius. Libra, conventionally John or the Beloved Disciple, has arms and hands forming the traditional weighing scale shape of its constellation. Next comes an interesting pair. Scorpio, Saint Peter, conceals his sword in the position marked in the sky as the sting of the scorpion, with his arms and head curving to form the scorpion’s body and claws. In front of Scorpio we see Sagittarius, Judas clutching his bag of thirty pieces of silver. Judas exactly models the dense star field seen in this constellation of the Archer where the zodiac crosses the Milky Way. The head of Judas is in front of the heart of Peter.
Finally, the three winter months show Capricorn, with head and hands in the triangle shape of the sea-goat, then Aquarius with arm draped across Capricorn and using the matching star group of the Water Bearer as template, and finally Pisces, using the same star shape as Christ, but with the knot an actual knot of his robe above his shoulder, and hands again forming one round fish, the circlet, and another fish as an extended line from the rope, just like its star group, and rather like Christ.
This embedded astronomy reflects the natural scientific philosophy of Leonardo da Vinci. Renowned as a keenly observant and accurate depicter of nature, Leonardo has used The Last Supper to show the great central story of the Gospels, that Jesus Christ is a mythological earthly reflection of a perceived heavenly reality. The heavenly reality mapped in The Last Supper is the actual visible natural path of the sun through the stars.
Leonardo’s Notebooks help to explain his motives. Forty years before Copernicus, Leonardo wrote ‘the sun does not move’, a statement that anticipated the new heliocentric understanding, and showed his keen interest in astronomy. He frequently alludes to the idea that the microcosm is a reflection of the macrocosm, for example comparing the human body to the earth, as in the Vitruvian Man. In The Last Supper, Leonardo has compared the ideal human to the observable star path of the sun, on earth as in heaven, as the Lord’s Prayer puts it. His method is the same as the ancient myths seen in the stories of the star groups, updated for Christianity.
[The Vitruvian Man] represents a cornerstone of Leonardo’s attempts to relate man to nature. Encyclopaedia Britannica online states, “Leonardo envisaged the great picture chart of the human body he had produced through his anatomical drawings and Vitruvian Man as a cosmografia del minor mondo (cosmography of the microcosm). He believed the workings of the human body to be an analogy for the workings of the universe.”
In view of the heretical charges levelled against claims of association between Jesus Christ and the Sun, it is hardly surprising that Leonardo did not explain his source or motive for his hidden code in The Last Supper. What is extremely surprising is that this clear pattern, the real Da Vinci Code, has been sitting in front of people for five hundred years but we have been unable to see it. Reasons for this blindness include the hostility of the church towards science, and the association between the zodiac stars and astrology. These have apparently been enough to ensure that no one has imagined this way of looking at the painting as a real natural code. What greater illustration could we find of the power of supernatural dogma to blind people to simple observation!
Studied in detail, this stellar explanation is compelling. The deep message of this finding is that a hidden natural religion has coursed through human life, seen by geniuses like Leonardo but invisible to others. The natural religion inspiring The Last Supper understands the true connection between humanity and the cosmos. Leonardo is saying that the story of Jesus Christ is primarily an allegory for the Sun, our real source of light and life.
The Da Vince Perspective
From Humanity Healing, 2012
The Last Supper, as portrayed by Leonardo da Vince, specifically describes the reaction given by each apostle when Jesus states that one of them would betray him. All twelve apostles have different reactions to the news, with various degrees of anger and shock. The painting contains several references to the number three, which represents the Christian belief in the Holy Trinity. The Apostles are seated in groupings of three; there are three windows behind Jesus; and the shape of Jesus’ figure resembles a triangle. There may have been other references that have since been lost as the painting deteriorated. The Last Supper has also been the target of much speculation by writers and historical revisionists alike, usually centered around supposed purported hidden messages or hints found within the painting.
In his analysis, Da Vince invites us to examine the disciples and their position, from the right to the left.
On the head of the table is St. Simon, who represents the sign of Aries, the zodiac sign of fire and action. Simon’s hands indicate the direction to take. Aries astrologically governs the anatomy of the head and Simon’s forehead is well highlighted in the painting. Its readiness is also shown by the creative hands, to act according to the will and courage.
On the left is St. Jude, representing Taurus. His countenance is angry while listening to Simon as if slowly digesting his impressions. His hands are in the posture of one who receives something, characterizing the possessiveness of Taurus, which is the sign that accumulates. In the human body, Taurus rules the neck and throat, and that of Jude is well highlighted.
St. Matthew comes next, as the representative of Gemini, the Twins, the double sign which governs the interaction with people and ability to gather information. Matthew has the willing hands and face on opposite sides of each other, revealing the Gemini habit of talking and listening at the same time. Matthew was a scribe and the historian of the life of Jesus: he wrote one of four books accepted as genuine by the Catholic Church. Gemini rules the 3rd House of the Zodiac, the House of communication and knowledge.
To the left is St. Philip, representing the sign of Cancer. His hands are towards the chest showing the Cancerian tendency to accommodate, protect and take care of things. Ruled by the Moon, Cancer works with feelings. Philip is angled forward, portrayed as if offering himself to perform some type of task.
At his side is St. James the Lesser, the Leonine, arms open, revealing with sweeping gesture the power to radiate love. Leo governs the heart and the heart chakra. The expansive gesture shows his confident nature and the centering attention.
Behind him, almost hidden, it is St. Thomas, representing Virgo, the famous “seeing is believing” disciple. Thomas does not fail to express the critical and inquisitive side of Virgo: with raised finger he disputes before Christ.
To the left of Jesus, Libra is symbolized by Mary Magdalene, Jesus’ supposed wife. With hands clasped, she weighs and considers all opinions before taking positions. Libra rules the 7th House, which is the sector of marriage and partnerships. There is conjecture that this figure was left as evidence that the Templars supposedly had knowledge about the marriage of Jesus and the destination of his descendants. Others state that this is not Mary Magdalene, but Saint John, the apostle referred to as the one which Jesus loved.
Beside [her] is Judas Iscariot, Jesus’ bodyguard, representing Scorpio. With one hand he holds a bag of money and with the other hand he knocks on the table in protest. Scorpio rules the 8th House, which deals with goods, death, money, debts and the property ??of others.
Next is Peter, the Fisherman of Souls, representing the joyful Sagittarius. It was he who created the original dogma and church law. Sagittarius rules the 9th House: industry, law, religions and philosophy. His finger points to Jesus as the goal of Sagittarius is spiritual. He also stands between Mary and Judas, bringing clarification and light to the discussion. Sagittarius is the “uplifting” sign of the zodiac.
At his side is St. Andrew, the Capricorn. The most responsible sign of the zodiac, he imposes limits with his restrictive gestures. His thin face and protuberant bones reveal the Capricorn biotype. His hair and beard are white and his face shows the serious relationship that Capricorn obtains with time and wisdom.
Beside St Andrew, we find St. James Major, the Aquarian, who addresses the other apostle with one of his hands on the shoulder of James in a friendly gesture, while the other extends to the yet another. He sees all, encompassing the discipleship led by Jesus. Aquarius rules the 11th House, which encompasses the industry groups, friends, social communications and hope.
Finally, sitting on the left, we have St. Bartholomew […] representing Pisces. His [hands], which are governed by Pisces astrological anatomy, are in focus. He seems absorbed by what happens at the table.