The Da Vinci Code (26 page)

“Surely art scholars must have noted that.”

“You will be shocked to learn what anomalies Da Vinci included here that most scholars either do not see or simply choose to ignore. This fresco, in fact, is the entire key to the Holy Grail mystery. Da Vinci lays it all out in the open in
The Last Supper
.”

Sophie scanned the work eagerly. “Does this fresco tell us
what
the Grail really is?”

“Not
what
it is,” Teabing whispered. “But rather
who
it is. The Holy Grail is not a thing. It is, in fact . . . a
person
.”

CHAPTER
56

Sophie stared
at Teabing a long moment and then turned to Langdon. “The Holy Grail is a person?”

Langdon nodded. “A woman, in fact.” From the blank look on Sophie's face, Langdon could tell they had already lost her. He recalled having a similar reaction the first time he heard the statement. It was not until he understood the
symbology
behind the Grail that the feminine connection became clear.

Teabing apparently had a similar thought. “Robert, perhaps this is the moment for the symbologist to clarify?” He went to a nearby end table, found a piece of paper, and laid it in front of Langdon.

Langdon pulled a pen from his pocket. “Sophie, are you familiar with the modern icons for male and female?” He drew the common male symbol ♀ and female symbol ◨.

“Of course,” she said.

“These,” he said quietly, “are not the original symbols for male and female. Many people incorrectly assume the male symbol is derived from a shield and spear, while the female symbol represents a mirror reflecting beauty. In fact, the symbols originated as ancient astronomical symbols for the planet-god Mars and planet-goddess Venus. The original symbols are far simpler.” Langdon drew another icon on the paper.

“This symbol is the original icon for
male,
” he told her. “A rudimentary phallus.”

“Quite to the point,” Sophie said.

“As it were,” Teabing added.

Langdon went on. “This icon is formally known as the
blade,
and it represents aggression and manhood. In fact, this exact phallus symbol is still used today on modern military uniforms to denote rank.”

“Indeed.” Teabing grinned. “The more penises you have, the higher your rank. Boys will be boys.”

Langdon winced. “Moving on, the female symbol, as you might imagine, is the exact opposite.” He drew another symbol on the page. “This is called the
chalice
.”

Sophie glanced up, looking surprised.

Langdon could see she had made the connection. “The chalice,” he said, “resembles a cup or vessel, and more important, it resembles the shape of a woman's womb. This symbol communicates femininity, womanhood, and fertility.” Langdon looked directly at her now. “Sophie, legend tells us the Holy Grail is a chalice—a cup. But the Grail's description as a
chalice
is actually an allegory to protect the true nature of the Holy Grail. That is to say, the legend uses the chalice as a
metaphor
for something far more important.”

“A woman,” Sophie said.

“Exactly.” Langdon smiled. “The Grail is literally the ancient symbol for womanhood, and the
Holy
Grail represents the sacred feminine and the goddess, which of course has now been lost, virtually eliminated by the Church. The power of the female and her ability to produce life was once very sacred, but it posed a threat to the rise of the predominantly male Church, and so the sacred feminine was demonized and called unclean. It was
man,
not God, who created the concept of ‘original sin,' whereby Eve tasted of the apple and caused the downfall of the human race. Woman, once the sacred giver of life, was now the enemy.”

“I should add,” Teabing chimed, “that this concept of woman as life-bringer was the foundation of ancient religion. Childbirth was mystical and powerful. Sadly, Christian philosophy decided to embezzle the female's creative power by ignoring biological truth and making
man
the Creator. Genesis tells us that Eve was created from Adam's rib. Woman became an offshoot of man. And a sinful one at that. Genesis was the beginning of the end for the goddess.”

“The Grail,” Langdon said, “is symbolic of the lost goddess. When Christianity came along, the old pagan religions did not die easily. Legends of chivalric quests for the lost Grail were in fact stories of forbidden quests to find the lost sacred feminine. Knights who claimed to be “searching for the chalice” were speaking in code as a way to protect themselves from a Church that had subjugated women, banished the Goddess, burned nonbelievers, and forbidden the pagan reverence for the sacred feminine.”

Sophie shook her head. “I'm sorry, when you said the Holy Grail was a person, I thought you meant it was an actual person.”

“It is,” Langdon said.

“And not just
any
person,” Teabing blurted, clambering excitedly to his feet. “A woman who carried with her a secret so powerful that, if revealed, it threatened to devastate the very foundation of Christianity!”

Sophie looked overwhelmed. “Is this woman well known in history?”

“Quite.” Teabing collected his crutches and motioned down the hall. “And if we adjourn to the study, my friends, it would be my honor to show you Da Vinci's painting of her.”

Two rooms away, in the kitchen, manservant Rémy Legaludec stood in silence before a television. The news station was broadcasting photos of a man and woman . . . the same two individuals to whom Rémy had just served tea.

CHAPTER
57

Standing at
the roadblock outside the Depository Bank of Zurich, Lieutenant Collet wondered what was taking Fache so long to come up with the search warrant. The bankers were obviously hiding something. They claimed Langdon and Neveu had arrived earlier and were turned away from the bank because they did not have proper account identification.

So why won't they let us inside for a look?

Finally, Collet's cellular phone rang. It was the command post at the Louvre. “Do we have a search warrant yet?” Collet demanded.

“Forget about the bank, Lieutenant,” the agent told him. “We just got a tip. We have the exact location where Langdon and Neveu are hiding.”

Collet sat down hard on the hood of his car. “You're kidding.”

“I have an address in the suburbs. Somewhere near Versailles.”

“Does Captain Fache know?”

“Not yet. He's busy on an important call.”

“I'm on my way. Have him call as soon as he's free.” Collet took down the address and jumped in his car. As he peeled away from the bank, Collet realized he had forgotten to ask who had tipped DCPJ off to Langdon's location. Not that it mattered. Collet had been blessed with a chance to redeem his skepticism and earlier blunders. He was about to make the most high-profile arrest of his career.

Collet radioed the five cars accompanying him. “No sirens, men. Langdon can't know we're coming.”

Forty kilometers away, a black Audi pulled off a rural road and parked in the shadows on the edge of a field. Silas got out and peered through the rungs of the wrought-iron fence that encircled the vast compound before him. He gazed up the long moonlit slope to the château in the distance.

The downstairs lights were all ablaze. Odd for this hour, Silas thought, smiling. The information the Teacher had given him was obviously accurate. I will not leave this house without the keystone, he vowed. I will not fail the bishop and the Teacher.

Checking the thirteen-round clip in his Heckler Koch, Silas pushed it through the bars and let it fall onto the mossy ground inside the compound. Then, gripping the top of the fence, he heaved himself up and over, dropping to the ground on the other side. Ignoring the slash of pain from his cilice, Silas retrieved his gun and began the long trek up the grassy slope.

CHAPTER
58

Teabing's “study”
was like no study Sophie had ever seen. Six or seven times larger than even the most luxurious of office spaces, the knight's
cabinet de travail
resembled an ungainly hybrid of science laboratory, archival library, and indoor flea market. Lit by three overhead chandeliers, the boundless tile floor was dotted with clustered islands of worktables buried beneath books, artwork, artifacts, and a surprising amount of electronic gear—computers, projectors, microscopes, copy machines, and flatbed scanners.

“I converted the ballroom,” Teabing said, looking sheepish as he shuffled into the room. “I have little occasion to dance.”

Sophie felt as if the entire night had become some kind of twilight zone where nothing was as she expected. “This is all for your work?”

“Learning the truth has become my life's love,” Teabing said. “And the Sangreal is my favorite mistress.”

The Holy Grail is a woman,
Sophie thought, her mind a collage of interrelated ideas that seemed to make no sense. “You said you have a
picture
of this woman who you claim is the Holy Grail.”

“Yes, but it is not I who
claim
she is the Grail. Christ Himself made that claim.”

“Which one is the painting?” Sophie asked, scanning the walls.

“Hmmm . . .” Teabing made a show of seeming to have forgotten. “The Holy Grail. The Sangreal. The Chalice.” He wheeled suddenly and pointed to the far wall. On it hung an eight-foot-long print of
The Last Supper,
the same exact image Sophie had just been looking at. “There she is!”

Sophie was certain she had missed something. “That's the same painting you just showed me.”

He winked. “I know, but the enlargement is so much more exciting. Don't you think?”

Sophie turned to Langdon for help. “I'm lost.”

Langdon smiled. “As it turns out, the Holy Grail
does
indeed make an appearance in
The Last Supper
. Leonardo included her prominently.”

“Hold on,” Sophie said. “You told me the Holy Grail is a
woman. The Last Supper
is a painting of thirteen men.”

“Is it?” Teabing arched his eyebrows. “Take a closer look.”

Uncertain, Sophie made her way closer to the painting, scanning the thirteen figures—Jesus Christ in the middle, six disciples on His left, and six on His right. “They're all men,” she confirmed.

“Oh?” Teabing said. “How about the one seated in the place of honor, at the right hand of the Lord?”

Sophie examined the figure to Jesus' immediate right, focusing in. As she studied the person's face and body, a wave of astonishment rose within her. The individual had flowing red hair, delicate folded hands, and the hint of a bosom. It was, without a doubt . . . female.

“That's a woman!” Sophie exclaimed.

Teabing was laughing. “Surprise, surprise. Believe me, it's no mistake. Leonardo was skilled at painting the difference between the sexes.”

Sophie could not take her eyes from the woman beside Christ.
The Last Supper is supposed to be thirteen men. Who is this woman?
Although Sophie had seen this classic image many times, she had not once noticed this glaring discrepancy.

“Everyone misses it,” Teabing said. “Our preconceived notions of this scene are so powerful that our mind blocks out the incongruity and overrides our eyes.”

“It's known as
skitoma
,” Langdon added. “The brain does it sometimes with powerful symbols.”

“Another reason you might have missed the woman,” Teabing said, “is that many of the photographs in art books were taken before 1954, when the details were still hidden beneath layers of grime and several restorative repaintings done by clumsy hands in the eighteenth century. Now, at last, the fresco has been cleaned down to Da Vinci's original layer of paint.” He motioned to the photograph. “
Et voilà!”

Sophie moved closer to the image. The woman to Jesus' right was young and pious-looking, with a demure face, beautiful red hair, and hands folded quietly.
This is the woman who singlehandedly could crumble the Church?

“Who is she?” Sophie asked.

“That, my dear,” Teabing replied, “is Mary Magdalene.”

Sophie turned. “The prostitute?”

Teabing drew a short breath, as if the word had injured him personally. “Magdalene was no such thing. That unfortunate misconception is the legacy of a smear campaign launched by the early Church. The Church needed to defame Mary Magdalene in order to cover up her dangerous secret—her role as the Holy Grail.”

“Her
role?
”

“As I mentioned,” Teabing clarified, “the early Church needed to convince the world that the mortal prophet Jesus was a
divine
being. Therefore, any gospels that described
earthly
aspects of Jesus' life had to be omitted from the Bible. Unfortunately for the early editors, one particularly troubling earthly theme kept recurring in the gospels. Mary Magdalene.” He paused. “More specifically, her marriage to Jesus Christ.”

“I beg your pardon?” Sophie's eyes moved to Langdon and then back to Teabing.

“It's a matter of historical record,” Teabing said, “and Da Vinci was certainly aware of that fact.
The Last Supper
practically shouts at the viewer that Jesus and Magdalene were a pair.”

Sophie glanced back to the fresco.

“Notice that Jesus and Magdalene are clothed as mirror images of one another.” Teabing pointed to the two individuals in the center of the fresco.

Sophie was mesmerized. Sure enough, their clothes were inverse colors. Jesus wore a red robe and blue cloak; Mary Magdalene wore a blue robe and red cloak.
Yin and yang
.

“Venturing into the more bizarre,” Teabing said, “note that Jesus and His bride appear to be joined at the hip and are leaning away from one another as if to create this clearly delineated negative space between them.”

Even before Teabing traced the contour for her, Sophie saw it—the indisputable
V
shape at the focal point of the painting. It was the same symbol Langdon had drawn earlier for the Grail, the chalice, and the female womb.

“Finally,” Teabing said, “if you view Jesus and Magdalene as compositional elements rather than as people, you will see another obvious shape leap out at you.” He paused. “A
letter
of the alphabet.”

Sophie saw it at once. To say the letter leapt out at her was an understatement. The letter was suddenly all Sophie could see. Glaring in the center of the painting was the unquestionable outline of an enormous, flawlessly formed letter M.

“A bit too perfect for coincidence, wouldn't you say?” Teabing asked.

Sophie was amazed. “Why is it there?”

Teabing shrugged. “Conspiracy theorists will tell you it stands for
Matrimonio
or
Mary Magdalene
. To be honest, nobody is certain. The only certainty is that the hidden M is no mistake. Countless Grail-related works contain the hidden letter M—whether as watermarks, underpaintings, or compositional allusions. The most blatant M, of course, is emblazoned on the altar at Our Lady of Paris in London, which was designed by a former Grand Master of the Priory of Sion, Jean Cocteau.”

Sophie weighed the information. “I'll admit, the hidden M's are intriguing, although I assume nobody is claiming they are proof of Jesus' marriage to Magdalene.”

“No, no,” Teabing said, going to a nearby table of books. “As I said earlier, the marriage of Jesus and Mary Magdalene is part of the historical record.” He began pawing through his book collection. “Moreover, Jesus as a married man makes infinitely more sense than our standard biblical view of Jesus as a bachelor.”

“Why?” Sophie asked.

“Because Jesus was a Jew,” Langdon said, taking over while Teabing searched for his book, “and the social decorum during that time virtually forbid a Jewish man to be unmarried. According to Jewish custom, celibacy was condemned, and the obligation for a Jewish father was to find a suitable wife for his son. If Jesus were not married, at least one of the Bible's gospels would have mentioned it and offered some explanation for His unnatural state of bachelorhood.”

Teabing located a huge book and pulled it toward him across the table. The leather-bound edition was poster-sized, like a huge atlas. The cover read:
The Gnostic Gospels.
Teabing heaved it open, and Langdon and Sophie joined him. Sophie could see it contained photographs of what appeared to be magnified passages of ancient documents—tattered papyrus with handwritten text. She did not recognize the ancient language, but the facing pages bore typed translations.

“These are photocopies of the Nag Hammadi and Dead Sea scrolls, which I mentioned earlier,” Teabing said. “The earliest Christian records. Troublingly, they do not match up with the gospels in the Bible.” Flipping toward the middle of the book, Teabing pointed to a passage. “The Gospel of Philip is always a good place to start.”

Sophie read the passage:

And the companion of the Saviour is Mary Magdalene. Christ loved her more than all the disciples and used to kiss her often on her mouth. The rest of the disciples were offended by it and expressed disapproval. They said to him, “Why do you love her more than all of us?”

The words surprised Sophie, and yet they hardly seemed conclusive. “It says nothing of marriage.”

“Au contraire
.
”
Teabing smiled, pointing to the first line. “As any Aramaic scholar will tell you, the word
companion
, in those days, literally meant
spouse
.”

Langdon concurred with a nod.

Sophie read the first line again.
And the companion of the Saviour is Mary Magdalene.

Teabing flipped through the book and pointed out several other passages that, to Sophie's surprise, clearly suggested Magdalene and Jesus had a romantic relationship. As she read the passages, Sophie recalled an angry priest who had banged on her grandfather's door when she was a schoolgirl.

“Is this the home of Jacques Saunière?” the priest had demanded, glaring down at young Sophie when she pulled open the door. “I want to talk to him about this editorial he wrote.” The priest held up a newspaper.

Sophie summoned her grandfather, and the two men disappeared into his study and closed the door.
My grandfather wrote something in the paper?
Sophie immediately ran to the kitchen and flipped through that morning's paper. She found her grandfather's name on an article on the second page. She read it. Sophie didn't understand all of what was said, but it sounded like the French government, under pressure from priests, had agreed to ban an American movie called
The Last Temptation of Christ,
which was about Jesus having sex with a lady called Mary Magdalene. Her grandfather's article said the Church was arrogant and wrong to ban it.

No wonder the priest is mad,
Sophie thought.

“It's pornography! Sacrilege!” the priest yelled, emerging from the study and storming to the front door. “How can you possibly endorse that! This American Martin Scorsese is a blasphemer, and the Church will permit him no pulpit in France!” The priest slammed the door on his way out.

When her grandfather came into the kitchen, he saw Sophie with the paper and frowned. “You're quick.”

Sophie said, “You think Jesus Christ had a girlfriend?”

“No, dear, I said the Church should not be allowed to tell us what notions we can and can't entertain.”

“Did Jesus have a girlfriend?”

Her grandfather was silent for several moments. “Would it be so bad if He did?”

Sophie considered it and then shrugged. “I wouldn't mind.”

Sir Leigh Teabing was still talking. “I shan't bore you with the countless references to Jesus and Magdalene's union. That has been explored ad nauseum by modern historians. I would, however, like to point out the following.” He motioned to another passage. “This is from the Gospel of Mary Magdalene.”

Sophie had not known a gospel existed in Magdalene's words. She read the text:

And Peter said, “Did the Saviour really speak with a woman without our knowledge? Are we to turn about and all listen to her? Did he prefer her to us?”

And Levi answered, “Peter, you have always been hot-tempered. Now I see you contending against the woman like an adversary. If the Saviour made her worthy, who are you indeed to reject her? Surely the Saviour knows her very well. That is why he loved her more than us.”

“The woman they are speaking of,” Teabing explained, “is Mary Magdalene. Peter is jealous of her.”

“Because Jesus preferred Mary?”

“Not only that. The stakes were far greater than mere affection. At this point in the gospels, Jesus suspects He will soon be captured and crucified. So He gives Mary Magdalene instructions on how to carry on His Church after He is gone. As a result, Peter expresses his discontent over playing second fiddle to a woman. I daresay Peter was something of a sexist.”

Sophie was trying to keep up. “This is
Saint
Peter. The rock on which Jesus built His Church.”

“The same, except for one catch. According to these unaltered gospels, it was not
Peter
to whom Christ gave directions with which to establish the Christian Church. It was
Mary Magdalene
.”

Sophie looked at him. “You're saying the Christian Church was to be carried on by a
woman?
”

“That was the plan. Jesus was the original feminist. He intended for the future of His Church to be in the hands of Mary Magdalene.”

“And Peter had a problem with that,” Langdon said, pointing to
The Last Supper
. “That's Peter there. You can see that Da Vinci was well aware of how Peter felt about Mary Magdalene.”

Again, Sophie was speechless. In the painting, Peter was leaning menacingly toward Mary Magdalene and slicing his blade-like hand across her neck. The same threatening gesture as in
Madonna of the Rocks
!

“And here too,” Langdon said, pointing now to the crowd of disciples near Peter. “A bit ominous, no?”