The Geometric, Zodiacal, and Vedic Keys of Leonardo's "Last Supper" - Part 5

“[T]he most important key sacred geometry has to offer [is] the radius, which unites centre and periphery, or the unity and the multiplicity.”
(Patrizia Norelli-Bachelet (Thea), The New Way, Vol. 3, p. 368)

In Parts Two and Four of this present series, I discussed and illustrated the linear 1:6 ratio between the hand width of Leonardo’s Divine Son and the table width as found in his zodiacal Last Supper painting. I discussed the eternal geometric law (sanatana dharma) by which the linear radius—the Divine Son of the circle and of the zodiacal Rig Veda—divides the circumference of the circle into three, six, and twelve equal parts. I also shared several of Leonardo’s drawings/studies of the sixfold division of the circle by the radius and by six vesicae piscium, as found in his Codex Atlanticus. Below is the full page of Codex Atlanticus folio 459r, followed by folio 307v.

Leonardo used a compass to generate the curvilinear forms of the circle and its six vesicae piscium, with the radius acting as the hidden architect and unifying measure of the constructions. While most of Leonardo’s forms in these drawings are curvilinear, he also illustrated the rectilinear forms—triangles, hexagons, and six-pointed stars (i.e., the Satkona/Star of David) hidden within them. Leonardo painted The Last Supper circa 1495–1498 CE, and the Codex Atlanticus folios above are dated to 1517–1518. Thus The Last Supper painting precedes these geometric folios. Regardless, as I have illustrated throughout this series, Leonardo encoded the same harmony between linear and curvilinear sacred geometry in his Last Supper, based on the unit/radius measured out by the Divine Son’s hands.

Thus, whether he intended to or not, Leonardo portrayed the pre-Christian Vedic sense of the Divine Son or Salvator Mundi as the harmonizer of the linear and the spherical dimensions, and likewise the harmonizer of the One and the Many. It is worth mentioning here again that in the multidimensional sense of the Rig Veda, this Divine Son is simultaneously the immortal Divine Soul that is the Immanent Divine ever-present, however hidden, in Time and material creation, and the immortal radius/architect of the zodiacal circle. In my understanding, it is not one or the other. It is simultaneously and inseparably both.*

See The Spherical Gnosis of the Sage & the Release of the Vedic Waters (2022–24) for my discussion of the sevenfold victory and birth of the Divine Son/Sage as a prophecy of humanity’s awakening to spherical consciousness in our Age of Aquarius. Part Four of that series features many of Thea’s quotations on the subject of the evolutionary shift from linear mental consciousness to spherical supramental, divine, or universal unity consciousness. See The New Way, Vol. 3 (2005), for Thea’s discussions and illustrations of Leonardo’s Vitruvian Man as a symbol of the same shift.