Most commented on is the recurring theme of duality- the Jesus figure wears red, and the figure to his right wears blue, traditional colors for the elements of fire and water. The fire element is emphasized by the upward pointing triangle of the Jesus figure. The negative space between the figures makes a downward-pointing triangle, a traditional symbol of water. Fire and water triangles overlaid form the Seal of Solomon, the seal of perfection, representing the reconciliation of matter and spirit, male and female, body and soul, the hieros gamos (sacred marriage).

The mystical symbolism is repeated again in the hands of Jesus, positioned right palm up and right palm down, gestures which in the Renaissance symbolism of the Christian Kabbalists represented the pillars of the kabbalistic tree of life, Mildness and Severity- and the sephirot Geburah and Chesed- justice and mercy. The balance between these sephirah is Tiphareth, symbolized by the Seal of Solomon. (In Freemasonry, the square and compass shares similar symbolism) The four groups of apostles suggest the tetragrammaton, the four compass points, and the fixed signs of the zodiac.

This mystic marriage was a popular subject for the mystic philosophers of the Renaissance, and the "Priory of Sion" is better known as the Rosicrucian Brotherhood, the Renaissance secret society whose spiritual leader was Christian Rosencreutz (Literally, rose-cross), a mythical character who was symbolic of spiritual immortality. He was described as existing eternally "in a single body," that referred to a continuously existing symbolism that transcends religion. This was of course dangerous heresy, and no member of the original Rosicrucian Order has ever been uncovered- even though their anonymous publications stirred up a public debate that changed worldviews and set the course of the Enlightenment. Of course, the first "rose cross" was the cross of the Templars, who through their exposure to near eastern culture were instrumental in bringing many of the Hermetic teachings into Europe.

On the ceiling, note the six-by-six grid of squares. In Renaissance times, this grid was the square of the sun, a kabbalistic magical device that represented the sun and its ruler, Tiphareth. These magical squares (called kamea) can be seen all over the religious art and architecture of the renaissance. (See Albrecht Durer's Melencholia for a Jupiter Square) (The number of a Sun-square, incidentlly, is 666.)

Curious about that strangely twisted arm with the knife? Take a look at this.

I am often asked, "If that is Mary Magdalen at the side of Jesus, then why are there only twelve figures? Where is the twelfth apostle?" Most people take for granted that the twelve mentioned in the bible are the same twelve familiar to us today from the list compiled by the church. However, the bible mentions various apostles by name but never gives a list of twelve males, so it is almost certain that Mary was of the "twelve" menioned in the New Testament. Given Mary's obvious importance in scripture, and the fact that she was accepted as an apostle before the establishment of the Roman Church, one has to wonder at the motivation behind the Church's composition of an all-male list.

An illustration of the Pythagorean Theorem overlaid on the Last Supper fits perfectly This symbol is sometimes referred to as the "Bride's Chair," or "Throne of Isis."

Next> Student Copy of The Last Supper

Virtual Tour of Santa Maria Delle Grazie- see the Last Supper up close

See also: A study of the head of John

More Leonardo Da Vinci Images