Leonardo's 'Last supper'

John Bjarne Grover

I here discuss an important parallelism of Leonardo da Vinci's artwork "The last supper" with poems #65-78 in part 1 of my own 'Der Dornenstrauch'.

The idea goes that if the white stone I found in the kitchen sink (in the drain-hole, leaning in onto the round side of it, as tells the smooth half of the stone) is supposed to be a real lapis philosophorum on basis of my Dornenstrauch and the visual logic in Caravaggio, then one should expect to see traces of it - on background of the idea of Jacob Böhme that the lapis philosophorum is the same as Jesus Christ, the very 'bread of the holy communion' (cp. also ideas of vedic SOMA) - in Leonardo's Last supper as well. There is such a simple recognition which is something worth: It applies to the poems 65-78 in part 1 - those which are about the poems (shakespearean sonnets) 65-77.3 which collapsed into 64 in part 3. For this part 3, I wrote such shakespearean sonnets untill I had completed 77 of them, and having embarked upon #78 I came to a complete stop after 3-4 lines - so complete that there was eventually no other solution than to break the work off there, in spite of my intentions to go for another 360 or so, after which I found the puzzling redundancy which called for an incorporation of the 13*14 = 182 lines of poems 65-77.3 - plus a few lines in poem 78 - into the 64 preceding poems, which gave 2 bottom lines and 1 title to each poem. It is this 'collapsed part' of part 3 ('Linien die prägen die Sterne über uns') which seems to have its description in part 1 - in the poems 65-78. One simply reads from #65 ('Nochmals gleiten Tauben...') upwards along the series of disciples in Leonardo's painting from left to right - skips Jesus and continues up to poem 74 with the many underpoems, the disciple who turns right and holds both his hands left, he has a lot to discuss, untill poem #76 as the rightmost disciple. Then poem #77 is Jesus who talks about the 'fruchtbare Abhängingkeit des Quecksilbers' (or did he mean to say 'furchtbare'?) when one of the disciples cannot avoid to copy his movement when he dips the bread. That is in poem #78 in part 1 - the lines up to what corresponds to the line in #78 in part 3 when it came to a total stop and it collapsed into the lapis, the Stein - here the first lines of #78 in part 1:

Leben fährt fort
eben wenn die äußere Bedingungen
die innere Erscheinungen
wiederspiegeln. Hier
sind wir plötzlich versteinert,

and there Judas (whose poem is #69 - if I have understood Leonardo's painting right) rises and exits in a hurry and the whole thing collapses behind him.

This is consonant with the theme of the material world - that it is a collapse of belief, the spiritual world collapses from a theory into a material form described therein.

This is one of the great Mysteries of part 1 - in the catalogue of mysteries - here the mystery of material being.

The last words of Jesus in #77 refers to the potato peel filter that looks like an inka sun disc with 12 or 24 compartmentations - the hours of the day, the disciples at the table:

Was unter [transparenter] Plastik verweilt
bleibt in der Schönheit des menschliches Herzens

It was 'under' this quasi-transparent plastic item (if there had been one potato peel filter there in the sink, which there was not) that I found the 'lapis'. Hence it is 'in der Schönheit des menschliches Herzens' that the belief in the spirit collapses to a white stone.

Grammatically right would be 'in der Schönheit des menschlichen Herzen'. The corresponding place in Rigveda is 1-11-8 at the end, second last word, which seems to mean 'to stretch out to unite one's own self with' - that is Jesus reaching for the dip and Judas doing the same - and in Moses 1-11-8 it means 'to be white', 'to make a brick', 'to make a white stone'. The opening door - is what Judas needed then.

© John Bjarne Grover
On the web 17 march 2016