Art Quotes in The Da Vinci Code

Accepting hundreds of lucrative Vatican commissions, Da Vinci painted Christian themes not as an expression of his own beliefs but rather as a commercial venture – a means of funding a lavish lifestyle. Unfortunately, Da Vinci was a prankster who often amused himself by quietly gnawing at the hand that fed him. He incorporated in many of his Christian paintings hidden symbolism that was anything but Christian – tributes to his own beliefs and a subtle thumbing of his nose at the Church. (8.35)

Over the next half hour, Langdon showed them slides of artwork by Michelangelo, Albrecht Dürer, Da Vinci, and many others, demonstrating each artist's intentional and rigorous adherence to the Divine Proportion in the layout of his compositions. Langdon unveiled PHI in the architectural dimensions of the Greek Parthenon, the pyramids of Egypt, and even the United Nations Building in New York. PHI appeared in the organizational structures of Mozart's sonatas, Beethoven's Fifth Symphony, as well as the works of Bartók, Debussy, and Schubert. The number PHI, Langdon told them, was even used by Stradivarius to calculate the exact placement of the f-holes in the construction of his famous violins. (20.73)

While being interviewed by an American art magazine, Saunière had expressed his distaste for the modernist Cubist movement by noting that Picasso's masterpiece Les Demoiselles d'Avignon was a perfect anagram of vile meaningless doodles. Picasso fans were not amused. (21.6)

Despite her monumental reputation, the Mona Lisa was a mere thirty-one inches by twenty-one inches— smaller even than the posters of her sold in the Louvre gift shop. She hung on the northwest wall of the Salle des Etats behind a two-inch-thick pane of protective Plexiglas. Painted on a poplar wood panel, her ethereal, mist-filled atmosphere was attributed to Da Vinci's mastery of the sfumato style, in which forms appear to evaporate into one another. (26.1)

The Mona Lisa's status as the most famous piece of art in the world, Langdon knew, had nothing to do with her enigmatic smile. Nor was it due to the mysterious interpretations attributed her by many art historians and conspiracy buffs. Quite simply, the Mona Lisa was famous because Leonardo da Vinci claimed she was his finest accomplishment. He carried the painting with him whenever he traveled and, if asked why, would reply that he found it hard to part with his most sublime expression of female beauty.

Even so, many art historians suspected Da Vinci's reverence for the Mona Lisa had nothing to do with its artistic mastery. In actuality, the painting was a surprisingly ordinary sfumato portrait. Da Vinci's veneration for this work, many claimed, stemmed from something far deeper: a hidden message in the layers of paint. The Mona Lisa was, in fact, one of the world's most documented inside jokes. The painting's well-documented collage of double entendres and playful allusions had been revealed in most art history tomes, and yet, incredibly, the public at large still considered her smile a great mystery. (26.6)

The masterpiece she was examining was a five-foot-tall canvas. The bizarre scene Da Vinci had painted included an awkwardly posed Virgin Mary sitting with Baby Jesus, John the Baptist, and the Angel Uriel on a perilous outcropping of rocks. When Sophie was a little girl, no trip to the Mona Lisa had been complete without her grandfather dragging her across the room to see this second painting. (30.20)

Langdon's students were always amused to learn that Da Vinci eventually mollified the confraternity by painting them a second, "watered-down" version of Madonna of the Rocks in which everyone was arranged in a more orthodox manner. The second version now hung in London's National Gallery under the name Virgin of the Rocks, although Langdon still preferred the Louvre's more intriguing original. (32.20)

For this reason, Grail enthusiasts still pored over Da Vinci's art and diaries in hopes of unearthing a hidden clue as to the Grail's current location. Some claimed the mountainous backdrop in Madonna of the Rocks matched the topography of a series of cave-ridden hills in Scotland. Others insisted that the suspicious placement of disciples in The Last Supper was some kind of code. Still others claimed that X rays of the Mona Lisa revealed she originally had been painted wearing a lapis lazuli pendant of Isis— a detail Da Vinci purportedly later decided to paint over. Langdon had never seen any evidence of the pendant, nor could he imagine how it could possibly reveal the Holy Grail, and yet Grail aficionados still discussed it ad nauseum on Internet bulletin boards and worldwide-web chat rooms. (40.16)

"I assume you recognize this fresco?"

He's kidding, right? Sophie was staring at the most famous fresco of all time— The Last Supper— Da Vinci's legendary painting from the wall of Santa Maria delle Grazie near Milan. The decaying fresco portrayed Jesus and His disciples at the moment that Jesus announced one of them would betray Him. "I know the fresco, yes."

"Then perhaps you would indulge me this little game? Close your eyes if you would."
Uncertain, Sophie closed her eyes.

"Where is Jesus sitting?" Teabing asked.

"In the center."

"Good. And what food are He and His disciples breaking and eating?"

"Bread." Obviously.

"Superb. And what drink?"

"Wine. They drank wine."

"Great. And one final question. How many wineglasses are on the table?"

Sophie paused, realizing it was a trick question. And after dinner, Jesus took the cup of wine, sharing it with His disciples. "One cup," she said. "The chalice." The Cup of Christ. The Holy Grail. "Jesus passed a single chalice of wine, just as modern Christians do at communion."

Teabing sighed. "Open your eyes."

She did. Teabing was grinning smugly. Sophie looked down at the painting, seeing to her astonishment that everyone at the table had a glass of wine, including Christ. Thirteen cups. Moreover, the cups were tiny, stemless, and made of glass. There was no chalice in the painting. No Holy Grail. (55.55-67)

"The Grail story is everywhere, but it is hidden. When the Church outlawed speaking of the shunned Mary Magdalene, her story and importance had to be passed on through more discreet channels … channels that supported metaphor and symbolism."

"Of course. The arts."

Langdon motioned to The Last Supper. "A perfect example. Some of today's most enduring art, literature, and music secretly tell the history of Mary Magdalene and Jesus." Langdon quickly told her about works by Da Vinci, Botticelli, Poussin, Bernini, Mozart, and Victor Hugo that all whispered of the quest to restore the banished sacred feminine. Enduring legends like Sir Gawain and the Green Knight, King Arthur, and Sleeping Beauty were Grail allegories. Victor Hugo's Hunchback of Notre Dame and Mozart's Magic Flute were filled with Masonic symbolism and Grail secrets. (61.15-17)

Every surface in the chapel had been carved with symbols— Christian cruciforms, Jewish stars, Masonic seals, Templar crosses, cornucopias, pyramids, astrological signs, plants, vegetables, pentacles, and roses. The Knights Templar had been master stonemasons, erecting Templar churches all over Europe, but Rosslyn was considered their most sublime labor of love and veneration. The master masons had left no stone uncarved. Rosslyn Chapel was a shrine to all faiths … to all traditions … and, above all, to nature and the goddess. (104.24)