“[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.

Read more

Dan Brown's The Da Vinci Code popularized the idea that the apparent absence of the legendary Holy Grail from Leonardo's Last Supper was intentional, drawing on the earlier, unsubstantiated theory advanced by the authors of The Holy Blood and the Holy Grail (1982), who argued that the Grail was not an actual vessel but the womb of Mary Magdalene, carrying the child—and thus the bloodline—of Jesus. [See: The Da Vinci Code movie clip]

My view is quite different. Since 2016, I have understood the mythological Holy Grail not as a literal drinking vessel, but as the immortal geometric vessel, virgin womb, and eternal law (sanatana dharma) of the vesica piscis and its indwelling radius or Divine Son.

For those who are not familiar with my work, the short history of how I came to this view is as follows. At the age of 24, in 1993, I came across the supramental yoga and writings of Sri Aurobindo, and immediately had the distinct feeling that not only was he my spiritual guide and family, but that his yoga and yogic mission and mine were one and the same. I did not know at the time that his mission (or mine) included recovering the lost sense, secrets, and eternal law of the Rig Veda. After 23 years of studying his teachings and the teachings of his collaborators (the Mother and Thea), the vesica piscis progressively revealed itself to me as the KEY to deciphering the ancient mystery of the zodiacal Vedic poetry. Simultaneously, it revealed itself to be a unifying key of a wide range of myths, symbols, and religious traditions, including those surrounding the pouring out of, or quest for sacred waters or the nectar of immortality (amrita), such as the quest for the Holy Grail, as well as the biblical Revelation of the river and “fountain of the water of life,” and the mythology of the pouring out of the purifying immortal waters of the Aquarian Water Jar.

The height of this revelatory process was coming to see, while looking at the curve of a dry creek, that the Vedic RIVER is a symbol of the arc or path of the vesica piscis flowing through the inner space of the zodiacal circle. With this flash of Vedic insight, I could see that the “seven rivers” (mothers, sisters, cows, mares, floods, paths, etc.) of the Vedic Hero-Son were the first seven vesicae piscium of the Zodiac, measuring out the entrance into the sign of Aquarius, known as Kumbha in India. Kumbha is one of the names the Vedic Poets gave to the zodiacal Water Jar, Pitcher, Pot, etc. Other Sanskrit names for this Water Jar found in the Rig Veda include: kalaśa (pitcher or beaker), camasa (cup), droṇa (wooden trough or vat), kośa (receptacle, cask), pātra (vessel), kavandha (cask, barrel, container), udriṇa (cask or reservoir), and samudra (reservoir, sea, or ocean).

I could see that the sacred vessel of the Vedas is not simply an eternal geometric form. It is the geometric form that—together with its indwelling Divine Son/Radius and the Earth's equinoxes and solstices—measures out the twelve months of the Zodiac as well as the long-forgotten zodiacal location of the Divine Son’s sevenfold birth, victory, or apocalypse, by whatever name.

“BORN like a youngling he [= the Immortal Son Agni as the Sagittarian Sage/Stallion Soma Pavamana] hath clamoured in the wood [elsewhere ‘in the wooden vessel’], when he, the Red, the Strong, would win the light of heaven. He comes with heavenly seed that makes the water swell: him for wide-spreading shelter we implore with prayer. A far-extended pillar that supports the sky the Soma-stalk, filled full, moves itself every way.... Soma assumes white colour when he strives to gain…. Down the steep slope, through song, he comes to sacrifice, and he will burst the water-holding cask [divás kavandham... udríṇam] of heaven, Yea, to the shining milk-anointed beaker [kalaśa], as to his goal, hath stepped the conquering Courser.” — Rig Veda 9.74, excerpts, tr. RTH Griffith [Text in brackets and bold emphasis mine]

This zodiacal journey or quest of the Divine Son or Hero to the Holy Grail or Kumbha of Aquarius—via his form, vehicle, vessel, womb, mother, path, or seed of the vesica piscis—was lauded in so many varied and veiled ways by the Vedic Rishis that those unfamiliar with the zodiacal context of the poetry would simply never be able to understand what in the world they were actually describing. As evidenced in the language of the Rishis, their poetry and gnosis, and the location of the singular victory—hidden by its many descriptions—was an intentional mystery and puzzle, meant to be solved in and via the 360° course of the zodiacal Year/Yajña.

“I ask thee of the earth’s extremest limit, where is the centre of the world, I ask thee. I ask thee of the Stallion’s seed prolific, I ask of highest heaven where Speech abideth. This altar is the earth’s extremest limit; this sacrifice of ours is the world’s centre. The Stallion’s seed prolific is the Soma; this Brahman highest heaven where Speech abideth. Seven germs unripened yet are heaven’s prolific seed: their functions they maintain by Viṣṇu’s ordinance. Endued with wisdom through intelligence and thought, they compass us about present on every side…. Upon what syllable of holy praise-song, as twere their highest heaven, the Gods [take their seat],—Who knows not this, what will he do with praise-song? But they who know it well sit here assembled…. [1]

“They call [the Divine Hero-Son] Indra, Mitra, Varuṇa, Agni, and he is heavenly nobly-winged Garutmān. To what is One, sages give many a title they call it Agni, Yama, Mātariśvan. Dark the descent: the birds are golden-coloured; up to the heaven they fly robed in the waters. Again descend they from the seat of Order, and all the earth is moistened with their fatness. Twelve are the fellies, and the wheel is single; three are the naves. What man hath understood it? Therein are set together spokes three hundred and sixty, which in nowise can be loosened. That breast of thine exhaustless, spring of pleasure, wherewith thou feedest all things that are choicest, wealth-giver, treasure-finder, free bestower,—bring that, Sarasvatī, that we may drain it. By means of sacrifice [=the twelve-month zodiacal Yajna/Year] the Gods accomplished their sacrifice: these were the earliest ordinances.” — Rig Veda 1.164.34-39; 46-50 excerpts [2]

In Rig Veda 9.86, the sevenfold destination of the zodiacal Sage is specifically named “the waters’ lap” (upām upasth)—i.e. the waters’ vessel (kumbha)—as well as ṛtasya yonau, indicating the womb, source, or seat of ṛta (truth/order), which Griffith translated as “the place of sacrifice.”

In 2016, 144 years after Sri Aurobindo’s birth and in week of Thea’s passing, the geometric key, sacred syllable, and Holy Grail of this Vedic mystery or quest was simply dropped into my consciousness. From that astonishing point onwards, the Rig Veda, and all related pre- and post-Vedic symbolism, as well as the odd course and unfolding of my life—including a wide and wild variety of premonitory dreams—made increasingly perfect and cohesive sense.

Now in 2026, after discussing the incarnational continuity between Sri Aurobindo and Leonardo da Vinci, and investigating the sacred geometry of Leonardo’s Last Supper painting—identified in 2005 by my mentor Patrizia Norelli-Bachelet (Thea) as a veiled display of Leonardo’s zodiacal gnosis—it appears to me that the occult Holy Grail of Leonardo’s Last Supper is the vesica piscis itself—i.e. the Vedic and astrological Kumbha—held firmly in the hands of Leonardo’s Divine Son, as shown in Fig. 1 above. Note, as discussed in my previous series—The Sacred Geometry & Sanatana Dharma of Leonardo da Vinci’s Salvator Mundi—the Salvator Mundi painting attributed to Leonardo in 2011, also contains in itself the occult key, measure, and Holy Grail or sacred vessel of the vesica piscis.

Read more

In Part One, I discussed the origin of my interest in Leonardo’s Last Supper painting, including Thea’s illuminations of the zodiacal sense of the painting, the Mother’s and Thea’s commentary on the incarnational continuity between Leonardo and Sri Aurobindo, together with what I have learned since 2016 about the long-forgotten correspondence between the Divine Son and the radius that—in conjunction with the Earth’s equinoxes and solstices and the vesica piscis—measures out the twelve-month zodiacal year, or yajna.

In Part Two, I discussed and illustrated the sixfold horizontal or linear division of Leonardo’s Last Supper table via the unit of measure established by the Divine Son’s hand gesture. I also illustrated the sixfold circle-based division of the table using the Son’s handwidth as the radius of six vesicae piscium and six circles, and discussed the significance of this 1:6 ratio in relation to the sacred geometry of the circle and the vesica pisces.

Naturally, after illustrating the sixfold division of the table, I used the same unit, radius, “Hidden One,” or geometric Son, and its companion vesicae piscium, to divide the table into twelve (= 2 × 6) segments. From there, I added the twelve zodiacal glyphs and the numerical count to help readers SEE and UNDERSTAND the table as a linear portrayal of the cyclical/circular 12-month Zodiac. Note that in the Arthurian parable of the Last Supper, featuring King Arthur and his 12 knights, the table is indeed round.

In Fig. 2, I have illustrated the Pisces glyph inherent in the structural geometry of the painting. Similarly, in Fig. 1, the opening image, I illustrated the geometric FISH (ΙΧΘΥΣ/Ichthys)—i.e. the Vesica Piscis or “Vessel of the Fish”—that is not only the widely forgotten or unacknowledged origin of the “Jesus Fish” or fish symbol that was co-opted by Christianity in the Age of Pisces, but also the widely forgotten geometric foundation and eternal law of Vishnu’s first Avatar in his line of ten (dasavatara), whose name is Matsya, meaning Fish.

Read more

After opening The Last Supper in Adobe Illustrator, the first thing I did was look for Leonardo’s “Hidden One” (Guha), i.e., his UNIT, unifying measure, or geometric “Son,” by which the veiled sacred geometry of the painting would become apparent.

It was not hard to find. In Part 8 of my “Spherical Gnosis of the Sage and the Release of the Waters” series, subtitled “The Architect and Architecture of Time,” I included an Italian Renaissance fresco of the Divine Son in Mary Magdalene’s vesica-piscis-shaped womb, in which the hand width of the Son is equivalent to the radius. Thus, I instantly suspected that the hand width of Leonardo’s Divine Son was the unifying and revelatory unit of The Last Supper.

Read more

This saying is commonly attributed to Leonardo da Vinci, and whether he actually said or wrote it or not, it sets a fitting tone not only for this new series but also, more broadly, for the work at hand in our Age of Aquarius.

I was planning to share what I have learned so far this year about the Divine Measure and Eternal Law [Sanatana Dharma] of Leonardo da Vinci’s Last Supper via a video slideshow, but the learning curve is a little too steep for me at the moment, so the written word and my illustrations will have to do for now. Before diving in and explaining the twelvefold division of The Last Supper table as illustrated above, in this introduction I will backtrack a bit to bring new readers up to speed.

I turned my eye towards analyzing the sacred geometry of The Last Supper after completing my first Substack series, The Sacred Geometry & Sanatana Dharma of Leonardo da Vinci’s ‘Salvator Mundi’, and subsequently rereading Thea’s (Patrizia Norelli-Bachelet’s) booklet, Explorations into the Leonardo Mystery.

In the Salvator Mundi series I discussed not only the hidden sacred geometry of Leonardo’s Salvator Mundi in relation to the Vedic and post-Vedic lore and prophecy of the Divine Son and his sevenfold Apocalypse/Revelation, but also in relation to the incarnational continuity and sacred geometry of Leonardo’s and Sri Aurobindo’s lives and births. In Part One I illustrated how the sacred 432,000 solar measure of the radius and its vesica piscis shows up in the timespan of their birthdays, 15 April and 15 August; and in Part Four I illustrated their temporal relationship within the framework of the Age of Pisces, when measured as ending at the zero point of 1872—the year of Sri Aurobindo’s birth—thereby revealing a striking correspondence with the sacred numbers and multiples of 144 and 432. [1]

In a subsequent post, I shared a summary of and a handful of excerpts from Explorations into the Leonardo Mystery in which Thea discussed the 12-month Zodiac as the principal key of understanding Leonardo’s Last Supper, including this excerpt below.

“The system Leonardo conveys in The Last Supper is the zodiac of twelve signs, — in other words, Christ is the ‘sun’ around which revolve the twelve disciples/signs.” (p. 2)

Thea posited that without this key and context, the viewer of The Last Supper is “blind” to the highest significance and artistically veiled message of the painting.

Here I will share some additional excerpts from Thea’s writings to further acquaint readers with her seeing and understanding of the zodiacal sense of The Last Supper.

Read more

In Part 5 of my “No Accident” series, I briefly mentioned the prevalence of the number power of 5 on the day of my accident which happened at 5 p.m. at 5° Gemini in the 5th month of 2025, a year which carries in itself the 4th and 5th multiples of 5. In a footnote, I added that both my 25 May 2025 accident and the rare Saturn-Neptune conjunction at 0° Aries on 20/21 February 2026 measure out FIVE Saturn Returns from the Mother’s birth year. In the first case, 25 May 1878 to 25 May 2025 spans 147 years and marks the “true” 5-fold return of Saturn to its 0° Aries position. In the second case, 21 February 1878 to 20/21 February 2026—spanning from the Mother’s birth to her 148th birth anniversary—corresponds exactly to five times the standard 29.6-year mathematical measure of Saturn’s orbital period. [1]

Given the connection between the planet of Saturn, Time, and Sri Aurobindo’s extended lineage as discussed by Thea [see Part One], I have been contemplating these personal and cosmological events, and their 5 number power, in the broader context of Sri Aurobindo’s avataric lineage, its special relationship with Time, and its multi-stage mission of recovering and releasing long-lost cohesive sense of the Rig Veda and its myriad veiled symbols, and thereby accomplishing the Vedic Victory in our Age of Aquarius. In Part 5, I wrote:

“The RADIUS of the circle, inseparable from its fraternal TWIN, the VESICA PISCIS, are the TWIN keys I was given in 2016 to advance Sri Aurobindo’s avataric mission of unveiling the long-forgotten sense, gnosis, and Sanatana Dharma (Eternal Truth/Law) of the Rig Veda.”

This is representative of how I have presented my work and yoga since 2016, essentially as a participant in Sri Aurobindo’s avataric mission, without overtly expressing my actual numerical place in his extended lineage.

Thea recognized and wrote of FOUR members of Sri Aurobindo’s “Solar Line” or extended avataric Aquarian Age avataric lineage: Sri Aurobindo, the Mother, Thea herself, and Sri Aurobindo reborn as the victorious Vedic “Son”. She discussed and illustrated the significance of their respective births in the signs of Leo, Pisces, Capricorn, and Sagittarius, and of the respective number powers of their birth years: 9, 6, 3, and 1. She considered the prophesied seven-fold Vedic Victory of the Divine Son—equivalent to the biblical Revelation or Apocalypse—to be entirely complete via these four. She never saw or recognized a need for a FIFTH or an Aquarian member of this line who would complete another necessary level of this victory.

Read more

Summary: “In Explorations into the Leonardo Mystery, Patrizia Norelli-Bachelet (Thea) discusses the zodiac as the system of wholistic knowledge that Leonardo DaVinci conveys in his artwork. The 12 signs of the zodiac figure prominently in The Last Supper, with special emphasises on the signs of Virgo and Scorpio which explain Mary Magdalene’s dual persona as the ‘Virgin’ mother of Jesus and a prostitute. The imagery and symbolism in Leonardo’s art demonstrates that he knew the zodiac to be an evolutionary journey in which the 8th sign Scorpio represents the point at which the vital energies are used for self-destruction (the Scorpion) or for illumination and fuel to manifest higher levels of consciousness (the Eagle). PNB discusses the the crucifiction of Jesus as a Scorpionic collapse of the individual’s journey towards becoming the manifest divine. She exposes the choice before mankind: to collapse under our limited vision of God and material creation, or to labor on and achieve a higher vision and experience of the Self and the Cosmos. Images which are discussed in terms of their occult significance include The Vitruvian Man, St. Anne and the Virgin (cartoon), St. John the Baptist, La Gioconda (Mona Lisa), and the Rosicrucian Mysterium which places side by side the ‘Shroud of Turin’, and the ‘Ark of Noah’. Readers are given both a sense of Leonardo’s familiarity with and use of the zodiac as a system of knowledge, and a sense of why it is that throughout the history of mankind, this system lives on through all manner of civilizations, religions, mythologies, artwork, etc.”

Read more

In Part One, I revisited the Mother’s intriguing statement—from 1940–naming Sri Aurobindo as the artist of the Mona Lisa, which would suggest that she believed Sri Aurobindo was the reincarnation of Leonardo da Vinci. I noted that if this continuity of consciousness is true, and if the National Gallery’s 2011 authentication of Leonardo’s Salvator Mundi is correct, then the painting and its hidden sacred geometry takes on an even deeper significance. It connects, symbolically, Sri Aurobindo’s avataric mission of recovering the Eternal Law (Sanatana Dharma) of the ancient Vedic Seers and the eternal geometric and zodiacal key of this Eternal Law and of the Rig Veda that Sri Aurobindo and his extended lineage recovered over the course of 144 years.

And with this geometric key—shown above—we recover the original geometric and zodiacal sense and context of the Vedic Divine Son—or Salvator Mundi by whatever name—and his purifying “Apocalypse.” Via this recovery, we can clearly SEE, ILLUMINATE, and HEAL from humanity’s inherited misunderstandings of ancient symbols and lore which crystalized into the various, fragmented and fractious world religions of our Age of Pisces.

In Part Four—the conclusion of this series—I will further explore the connection between Leonardo and Sri Aurobindo, focusing on how this connection can be seen and appreciated in the cyclical field of time.

Read more

In Part Two I discussed and illustrated the 1:1 relationship between the radius of Leonardo’s Salvator Mundi and the height of his middle and index finger. In Part Three I will add a few layers of sacred geometry, starting with the equilateral triangle that circumscribes the Savior’s or Divine Son’s translucent sphere. The proportion of the height of the equilateral triangle to the radius of its “incircle” is eternally and in this illustration, 3:1. What is of particular note in this image is that the fabric of the Savior’s robe or cloak—draped over his left shoulder (on the right side of the above image)—almost in its entirety, follows the 60° incline of the left side of the triangle up to the horizontal top of his tunic.

Read more

In Part One I pointed to the central geometric key of Leonardo’s Salvator Mundi without illustration. I wrote: “For now I will just say that the radius of the transparent globe is contained in the “savior’s” hand gesture, reminiscent of the hand gesture of Leonardo’s St. John the Baptist, and it determines the proportions and underlying occult or hidden sacred geometry of the entire painting. Thus the painter was clearly aware, on some level, of the connection between the Divine Son and the sacred geometry of the circle.” In Part Two I am illustrating and discussing this sacred geometry which is not only a key of Leonardo’s painting, but a key of the much misunderstood ideology and symbolism of the Divine Son.

Read more

In January 2024, while I was in the middle of writing a series entitled, The Spherical Gnosis of the Sage & the Release of the Vedic Waters, my partner sent me a New York Times article about a Salvator Mundi (“Savior of the World”) painting attributed to Leonardo da Vinci. Up until that point in time, I had never heard of or seen this painting. In April of 2024 I included mention of it and its artist in Part 8 of The Spherical Gnosis of the Sage which I subtitled, “The Architect and Architecture of Time”:

“[T]his controversial painting featuring Jesus holding a transparent SPHERE in the palm of his left hand, which sold for the 9-Power figure of $450,000,000 [1] in 2017, fetch[ed] the highest price-point for any art to date only 12 years after having been bought at a 2005 Baton Rouge auction for $1,175. In 2011 this Salvator Mundi was recognized and authenticated by London’s National Gallery as a Leonardo da Vinci painting in 2011.

“This authentication is contested by some, but regardless the image is notable in relation to the subject matter and title of this series, The Spherical Gnosis of the Sage. The “Salvator Mundi” theme of Jesus holding a sphere representing the World (Mundi) he “saves”, has been an artistic theme for some 1,500 years. The recent discovery, restoration, unveiling, attribution, authentication, and extraordinary valuation of this particular “Salvator Mundi”…takes on even more importance and significance in this discussion given that the Mother considered Sri Aurobindo to be a reincarnation of Leonardo Da Vinci. Regarding the Mona Lisa, the Mother once commented:

“Sri Aurobindo was the artist.”

Read more