Clive Prince - The Templar Revelation

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Clive Prince The Templar Revelation
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Also by Lynn Picknett and Clive Prince

TURIN SHROUD: HOW LEONARDO DA VINCI FOOLED HISTORY

THE STARGATE CONSPIRACY

THE SION REVELATION

Also by Lynn Picknett

MARY MAGDALENE: CHRISTIANITYS HIDDEN GODDESS

THE SECRET HISTORY OF LUCIFER

By Lynn Picknett, Clive Prince and Stephen Prior (with additional historical research by Robert Brydon)

DOUBLE STANDARDS: THE RUDOLF HESS COVER-UP

WAR OF THE WINDSORS

FRIENDLY FIRE: THE SECRET WAR BETWEEN THE ALLIES

Lynn Picknett and Clive Prince

THE TEMPLAR REVELATION
Secret Guardians of the True Identity of Christ
TRANSWORLD PUBLISHERS penguincouk Transworld is part of the Penguin Random - photo 1

TRANSWORLD PUBLISHERS
penguin.co.uk

Transworld is part of the Penguin Random House group of companies whose addresses can be found at global.penguinrandomhouse.com.

First published in Great Britain in 1997 by Bantam Press an imprint of - photo 2

First published in Great Britain in 1997 by Bantam Press
an imprint of Transworld Publishers
Corgi edition published 1998
Reprinted twenty-one times
Corgi edition reissued 2007

Copyright Lynn Picknett and Clive Prince 1997, 2007

Lynn Picknett and Clive Prince have asserted their right under the Copyright, Designs and Patents Act 1988 to be identified as the authors of this work.

Every effort has been made to obtain the necessary permissions with reference to copyright material, both illustrative and quoted. We apologize for any omissions in this respect and will be pleased to make the appropriate acknowledgements in any future edition.

This book is a work of non-fiction based on the experiences and recollections of the authors. The authors have stated to the publishers that the contents of this book are true.

A CIP catalogue record for this book is available from the British Library

ISBN 9781473512252

This ebook is copyright material and must not be copied, reproduced, transferred, distributed, leased, licensed or publicly performed or used in any way except as specifically permitted in writing by the publishers, as allowed under the terms and conditions under which it was purchased or as strictly permitted by applicable copyright law. Any unauthorized distribution or use of this text may be a direct infringement of the authors and publishers rights and those responsible may be liable in law accordingly.

For those we love most, both in time and beyond

Acclaim for The Templar Revelation:

One of the most fascinating books I have read since The Holy Blood and the Holy Grail

Colin Wilson

A cracking art-detection story, as well as a central inspiration for The Da Vinci Code a highly entertaining book

The Rough Guide to The Da Vinci Code

One of the key books in The Da Vinci Codes bibliography and the original source of a number of the novels theories about Leonardo, the Templars, and the Priory of Sion

Dan Burstein, Secrets of the Code

Youll never look at the work of Leonardo da Vinci or, indeed, at Christianity in the same way ever again!

Fortean Times

The great enigmas of The Da Vinci Code emerged from the pages of this book

Javier Sierra, author of The Secret Supper

This book is more than an informative experience: it is an initiatory one, too. The chapter Sex: The Ultimate Sacrament, for example, is probably the most precise and down-to-earth account ever written on the subject, and its clarity would undoubtedly be an alleviator of confusion for anyone who might be puzzled by the mysteries of the higher degrees of the O.T.O. Picknett and Prince can congratulate themselves on producing a masterpiece of scholarly engineering, whilst achieving the unusual success of writing a book which the layman would find a readable pleasure and the seasoned occultist an inspiration

Starfire, the official organ of the Ordo Templi Orientis

One of the most intriguing attempts yet at a Grand Unified Field Theory of the Western mystery tradition

Niklas Rasche, Fortean Times

CHAPTER ONE
The Secret Code of Leonardo da Vinci

It is one of the most famous and enduring works of art in the world. Leonardo da Vincis fresco The Last Supper is the one surviving piece of the original church of Santa Maria delle Grazie near Milan, being on the only wall that remained standing after Allied bombing reduced the rest of the building to rubble in the Second World War. Although many other admired artists such as Ghirlandaio and Nicolas Poussin even such an idiosyncratic painter as Salvador Dali have also given the world their version of this significant biblical scene, it is Leonardos which has, for some reason, captured the imagination more than most. Versions of it are seen everywhere, encompassing both ends of the spectrum of taste, from the sublime to the ridiculous.

Some images may be so familiar that they are never truly examined, and although they lie openly before the viewers gaze and invite closer scrutiny, at their most profound and meaningful level they actually remain totally closed books. So it is with Leonardos Last Supper and, unbelievably enough, with almost all of his other remaining works.

It was the work of Leonardo (14521519) that tortured genius of Renaissance Italy that was to draw us on to a path that led to discoveries so breathtaking in their implications that at first it seemed impossible: impossible that generations of academics had simply not observed what leapt to our startled notice and impossible that such explosive information had lain patiently waiting all this time for writers like us from outside the mainstream of historical or religious research to discover.

So, to begin our story proper we have to return to Leonardos Last Supper and look at it with new eyes. This is not the time to view it in the context of the familiar art-historical assumptions. This is the moment when it is appropriate to see it as a complete newcomer to this most familiar of scenes would see it, to let the scales of preconception fall from ones eyes and, perhaps for the first time, really look at it.

The central figure is, of course, that of Jesus, whom Leonardo referred to as the Redeemer in his notes for the work. (Even so, the reader is warned against making any of the obvious assumptions here.) He looks contemplatively downwards and slightly to his left, hands outstretched on the table before him as if presenting some gift to the viewer. As this is the Last Supper at which, so the New Testament tells us, Jesus initiated the sacrament of the bread and wine, urging his followers to partake of them as his flesh and blood, one might reasonably expect some chalice or cup of wine to be set before him, to be encompassed by that gesture. After all, for Christians this meal came immediately before Jesus Passion in the garden of Gethsemane when he fervently prayed that this cup pass from me another allusion to the wine/blood imagery and also before his death by crucifixion when his holy blood was spilled on behalf of all mankind. Yet there is no wine in front of Jesus (and a mere token amount on the whole table). Could it be that those spread hands are making what, according to the artist, is essentially an empty gesture?

In the light of the missing wine, perhaps it is also no accident that of all the bread on the table very little is actually broken. As Jesus himself identified the bread with his own body which was to be broken in the supreme sacrifice, is some subtle message being conveyed about the true nature of Jesus suffering?

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