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Original Message
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I am sure you are all familiar with Da Vinci's Last Supper painting...
[link to dl.dropbox.com]
Remember a few years back when it was revealed that, supposedly, upon superimposing the mirror image of The Last Supper upon itself, that an entirely new painting is created? The researcher claimed that it wasn't pure luck, but instead it was the intention of Da Vinci to paint it as such.
Well, the researcher who discovered it was right. Except, he didn't align the superimposing correctly, or if he did, he intentionally released an incorrect version to the press.
The version released publicly:
[link to upload.wikimedia.org]
So how is my version different? Well, it's pretty simple actually. While the original researcher aligned according to the general shape of Jesus's head, I moved the alignment slightly to focus directly on Jesus's face. It doesn't sound like much, but as you will see it made a big difference.
So without further ado, I will share with you what I found. The following is cut & pasted from a text file I wrote at the time describing all the details I could find that were revealed by the superimposed image. I have supplemented the info with some additional images.
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THE REAL LAST SUPPER SUPERIMPOSED
[link to dl.dropbox.com]
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I believe that Leonardo Da Vinci really did paint The Last Supper with hidden imagery that only could be revealed by superimposing the mirrored image onto itself. To do so with only the technology available to him at the time serves to prove once again how masterfully brilliant he was.
The following outlines every detail that I could find which is revealed by the superimposed image. To my knowledge, no one else, including the original discoverer, has produced a properly superimposed image. While there is no way to prove that Leonardo Da Vinci really intended for the image to be superimposed, or even if my version is correct if he did, I believe that the overwhelming detail found in my version will serve persuasive enough.
For example, I believe that Da Vinci included hints in the original painting itself. You'll notice that even in the original painting, everything is generally symmetric. However, there is one strikingly obvious detail that is not -- the candle box just above the window frame. There is one on the left, but not the right. Thomas seems very perturbed about this, and is pointing directly to where it should be!
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- Jesus
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The most immediate aspect of the superimposed painting is that Jesus now looks directly at the viewer. It's quite creepy, in fact. He becomes decidedly more evil. He appears to have a lion-like face, with strange angled eyes. The nose contours into a circular tip. The mouth is slightly open.
More strange transformations are found on the face of Jesus. At his chin lie two pairs of horns curling in different directions. Even more strangely is what appears to be an upside down cross on his forehead.
Below the horns on his chin, Jesus is wearing a large necklace. Further below, on Jesus's shirt, there is a reddish face wearing a crown. Notice the purple backdrop creates a perfect triangle (or possibly pyramid). Further below this figure in red lies a smaller figure in purple. This figure rests on the capstone of a darker purple pyramid.
Under the figures another triangle, in gray, is seen with a detailed design that cannot be distinguished.
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- The Holy Grail
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The other center of attention is the appearance of a translucent goblet or plate directly in front of Jesus. While it is pure speculation to say so, I believe this is the Holy Grail. His hands are placed at either side of the Grail with palms raised, as if in incantation. It's possible the Holy Grail may be floating.
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- The Mind's Eye
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Directly on the top of Jesus's forehead lies an eye, outlined in black with a red pupil. Upon close observation, another translucent eye of the same shape, appears to be levitating upwards. This translucent eye is nearing a descending dove. This dove has a single eye with a blue pupil.
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- Eucharist Dove
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Examples:
[link to dl.dropbox.com]
[link to dl.dropbox.com]
The descending dove represents the Holy Spirit's appearance.
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- Center Line
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Following the center line further up the image, a small star is seen just above the window frame. This star appears to be at the apex of an upside-down triangle. This triangle is enclosed within a larger, right-side-up triangle that connects with the edges of the window frame.
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- Pentagram
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This larger triangle also serves as the inverse of the bottom portion of a perfect pentagram. It is very faint, but there is a definite large pentagram created by slightly different shades of black.
In the middle of the pentagram lies what appears to be a smiling goat face.
Where the wall meets the rafters, another fairly large but faint face is visible. Some people have trouble distinguishing this face, so I will describe it in detail. The face is looking directly at the viewer, and everything above the mouth is part of the rafters and the mouth and chin are on the wall. The eyes are defined by the black area between beams while the nose, cheeks, and forehead, are on a beam.
It may be faint, but the eyes and mouth are very defined and it does appear that this face has similar horns on the chin that as seen on Jesus, albeit only a single pair. Following the center line to the top some interesting but indistinguishable patterns are seen.
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- The Disciples
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Disciples:
[link to dl.dropbox.com]
Changes in the superimposed image are not limited to the center. Everyone sitting at the table, with the exception of Thomas, have their appearances changed dramatically.
Bartholomew and Simon have combined to form a knight, in armor, sitting at the end of the table. Bartholomew's face combines with that of Thaddeus's, and almost washes out completely.
Matthew and James the younger (who has a feminine appearance) are kissing. Andrew fades away into Matthew's body.
Interestingly, Philip appears to be murdering both Peter and John. He is choking them by putting his arms around their faces. They both look faint and have their eyes closed.
Even more interestingly, Judas is the only disciple who disappears entirely.
As mentioned previously, Thomas is still next to Jesus pointing upwards. You will see now that his beaded eye is staring directly at the Holy Grail.
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- James
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Perhaps the most fascinating transformation found in the entire image is that of James, the brother of Jesus.
If you look closely at the original painting, it appears that James doesn't really have a body. His body (color of clothing and all) seamlessly melds into the body of Thomas. Whereas all other disciples are engaged, James seems to be in shock, staring at the table in front of Jesus with his mouth gaping open. He definitely stands out from the rest.
Now, I don't think that it's just coincidence that James aligns just so with the window exposed by the gap between John and Jesus. In the superimposed image, James is faintly visible in the window, and he appears to have become Jesus himself!
Jesus, looking down, wearing a crown of thorns with blood on his brow!
Notice how the body of what was James has now become the body of Thomas, and the ghost-like face floats in the window.
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- The Gap
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There has been much debate over the other non-symmetric feature found in the original painting -- the mysterious gap between John and Jesus. This was even prominently featured in The Da Vinci Code, which suggested that the gap's 'V' shape represented female fertility, and thus proved that John was really Mary.
However, I believe the gap had a functional, not symbolic purpose, which served the superimposed image. Without the gap, the transformation of James into Jesus, floating ethereally in the window, simply would not be possible.
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- The Knife
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There has been nearly as much debate over Peter's knife as there has been over the gap between John and Jesus. Why is he holding his knife in such an odd, concealing fashion? Some scholars have suggested he was about to attack Judas, knowing of his coming treachery, halted just in time by Jesus's speech. Others have said it was simply the natural posture of bending over and speak to James the Younger.
Once again, I believe the real answer lies in the superimposed image, and boy, is this a strange one.
Right there on the table, is a big, gross monster. It has a fish-like face with antlers and a larva-like torso. And you will see that Peter's knife creates a perfect cutout of the creature's mouth! Andrew's hands form the creature's antlers.
Here is an enhanced close-up of the monster:
[link to dl.dropbox.com]
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- Misc Findings
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Da Vinci was known to have used and significantly improve upon the design of the Camera Obscura.
[link to en.wikipedia.org]
So it's interesting to see that on the right-hand side of the original painting, there is a dark line on Simon's cloak. This seems to be a reference marker that allowed Da Vinci to align both halves of the superimposed image. Using his camera obscura, Da Vinci had the technology to make this masterclass possible.
In another demonstration of pure brilliance, when comparing to the original, you will notice that the wall-mounted image closest to the viewer has magically changed dimensional planes. In the original, it is on the inside of the walls facing in towards the room, whereas in the superimposed image it is on the front of the wall facing towards the viewer. Is this an Egyptian Hieroglyph?
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- Conclusion
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After studying this painting inside and out, it is clear to me that Da Vinci was one of, if not the, greatest mind in human history. To create two paintings in one, encompassing the terminal ends of Christianity in such a manner, is simply mind-boggling. And for one to become so legendary and the other to be completely hidden and unknown for centuries, is simply an affirmation of his genius. Only today, with our modern technology, can we deconstruct what he constructed centuries ago.
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