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The Da Vinci Code claims that Leonardo da Vinci was a Grand Master of the Priory of
Sion, the ancient society that kept the secret of Jesus and Mary Magdalene, and that
he left clues in his paintings concerning his belief in the sacred feminine and the
marriage of Jesus and Mary Magdalene. Most significantly, the book claims that in his
painting of the Last Supper, Leonardo placed Mary in the honored position at Jesus’
right hand, filling the painting with symbols revealing Mary’s status as the “Holy Grail”
and epitome of the sacred feminine.

See The Da Vinci Code, pp. 243-44

Does Mary appear in
Leonardo’s painting of the
Last Supper?

Art historians say no. The figure on Jesus’ right is John
the apostle, who is portrayed in a typical Renaissance
fashion.

Isn’t the Holy Grail missing
from the painting, confirming
that the Grail is actually Mary?

Actually, no. The Bible does not mention the grail, but
only a normal “cup” which Jesus passed to his
disciples (and cups are present in the painting). The idea
of a large bejeweled grail comes from later legend.

Is Peter threatening “Mary” in
the Last Supper?

No. The painting portrays Peter leaning towards John in
order to say the words recorded in John 13:24. The
dagger in his hand is the sword he will use in John 18:10.

Does The Last Supper contain
hidden messages related to
the sacred feminine?

There is all kinds of symmetry in the painting, but none
of it points clearly or conclusively to feminine symbolism.

Did Leonardo name the
“Mona Lisa” after male and
female deities?

No. Leonardo did not even name the painting. While the
sitter is unknown, the name refers to Monna Lisa del
Giocondo, the portrait’s likely subject.

The material on this
webpage is available
in more detail and with
supporting references
in Truth & Error in the
Da Vinci Code, by Mark
L. Strauss