A Startling Non-Fiction Da Vinci "Code" Found Hidden In The Last Supper Reveals Da Vinci's Occult / Pagan / Egyptian Religion
The Last Supper and Trajan's Kiosk (near Aswan, Egypt)
Find Out Right Now How The Fabled "Lost Wisdom Of The Pharaohs" Lies Hidden In Leonardo da Vinci's Masterpiece
From the desk of:
Richard Cassaro
Feb 23, 2012
Dear World Explorer,
See this "Triptych" three-in-one doorway behind Jesus?
"TRIPTYCH" ARCHITECTURAL PATTERN
Scholars haven't recognized it, but the Triptych pattern is vastly ancient; it is a symbol embedded into the architecture of temples that predate Christianity by thousands of years.
Highly symbolic and deeply esoteric, the Triptych enshrines a lost "Sacred Science" wisdom-teaching, which has the potential to alter our understanding of Western civilization and change the course of history.
The ruins of Triptychs are still visible all over Egypt:
The Last Supper and The Temple of Dendur
This Triptych's presence in The Last Supper—hidden in plain sight—is a real-life, non-fiction Da Vinci code.
Da Vinci used the Triptych here because he wanted to endow his work with an esoteric meaning; he also seems to have desired to illustrate the fact that his beliefs ran counter to the teachings of orthodox Christianity.
In fact, evidence exists which shows that the entire shape, color, design and layout of The Last Supper was centered not on Jesus, but the Triptych!
Before I explain this, let me tell you who I am and how I made this discovery...
HISTORY OF THE TRIPTYCH DISCOVERY
The Triptych's true power and meaning—a discovery so recent and groundbreaking as to be unrecognized by academia—became clear to me while I was training for a career in Egyptology in Cairo, Egypt in 1996, one year after graduating from Pace University in New York City.
I was in Egypt looking for cultural parallels shared by ancient "Old World" civilizations (like the Egyptians) and ancient "New World" civilizations (like the Mayans).
Victorian-era scholars (1800s) had already uncovered many such parallels, including pyramid construction, mummification, and corbel vault architecture (see photo below).
Intrigued by these overwhelmingly similar cultural practices, these scholars traced these parallels back to the same theoretical "source"—"Atlantis," a prehistoric yet highly advanced Golden Age civilization named by the ancient Greek philosopher Plato.
According to their theory, this hypothetical "Atlantis" civilization was washed away by a great Flood, as Plato described, but its spiritual wisdom and cultural legacy lived on in the cultures that followed—Egyptians, Mayans, Indonesians, and so on:
Victorian scholars called the Golden Age "Atlantis," after
Plato's tale of a lost city that sank into the Atlantic Ocean.
The theory of Atlantis was widely accepted by a great many Victorian scholars of the era, and by the end of the 19th century a great deal of literature had been published on the subject by more than a few respected scholars. Despite the many books on Atlantis written by these Victorian-era scholars, however, and regardless of all the evidence they gathered, the Atlantis Theory fell out of favor in the late 20th century.
Today, in fact, scholars unanimously describe the ancient cultural parallels as "coincidental," saying they reveal nothing more than natural patterns in human evolution. But is this really true?
Though modern scholars trivialize the idea of Atlantis and discard the evidence, it stands to reason that such cultural similarities are highly unlikely to be coincidental. Aren't parallels like stepped-pyramid construction and mummification far too detailed to have suddenly appeared simultaneously worldwide, after millions of years of human evolution, all within the same few-thousand-year-period (3,000 – 1,000 BCE)—a "speck" in time by historical standards? This never seemed right to me, and in fact seems almost academically dishonest; parallels between other societies have been made and accepted on much weaker archaeological evidence.
So when I set out for Egypt in 1996, I was looking for a big discovery that would change history; something that would shift the paradigm. What I found amazed me, and amazes me more as I continue to unravel it. In particular, I noticed strange and powerful similarities, finds that the Victorian scholars had missed; finds that led me to believe there was something more here.
Then, in one brief moment it dawned on me that Triptych temple architecture was shared by both the ancient Mayans and Egyptians; the Triptych formed the facades of temples on both sides of the Atlantic!
It was the greatest aha moment of my life.
After years of study, I have come to discover that the Triptych is not just a random aesthetic (visual) similarity. The Egyptians and Mayans, along with other ancient people disconnected by time and space, embedded the Triptych into their buildings and art to symbolize and celebrate the same ancient wisdom-religion!
This wisdom-religion is an advanced spiritual doctrine based on the number Three (hence the "three" spaces of the Triptych). I began to call this wisdom-religion a "Sacred Science of the Soul" because it teaches who we are, where we came from, and where we're going—the meaning of life itself.
I've now been studying the Triptych for 16 years, and I've learned many fascinating and mysterious things. I've accumulated everything I've learned into a new book, Written In Stone, in which I explain carefully;
How the Triptych was built by the Egyptians, Nubians, Mayas, Incas, Aztecs, Chinese, Hindus, Gnostics, Greeks, Etruscans, Romans and others, and is linked to the religion, symbolism, and iconography of these and other ancient peoples.
How the medieval operative Freemasons—a Secret Society scholars credit with building the Gothic cathedrals—encoded the Triptych into cathedral architecture to pay homage to the Sacred Science and alert posterity of its existence and meaning:
The architecture of the "Western facade" (i.e., the Twin Towers, Rose Window, and Triptych entry) reveals the meaning of the Sacred Science.
How the Triptych is common to the entrances of Masonic temples and lodges worldwide, as well as other Secret Society headquarters, like those of the Shriners and the Skull & Bones:
How the Triptych on these headquarters reveals the fact that all the world's occult Secret Societies were founded for the same purpose: To preserve the ancient message, mystery and meaning of the Triptych, to share its Sacred Science wisdom and grow from it spiritually and physically.
How these Secret Societies have recently been stripped of their noble founding purpose, leaving an empty shell of meaningless symbols, rites and rituals, and creating a breeding-ground for men with less honest intentions.
Admittedly, all of the architectural Triptychs presented on this web page are merely visual.
But I can prove that all of them (including da Vinci's) point to the same ancient Sacred Science wisdom, once practiced worldwide!
What you are seeing here just barely scratches the surface of the world's lost Universal Religion and Secret Society tradition.
Sign up to my Newsletter below and get FREE Instant Access to my new 34-page PDF Release: Breaking The Cathedral Code: Freemasonry's Triptych Secret Revealed
You'll see evidence presented that decodes the Western facade of Gothic cathedrals, step-by-step, to reveal a big part of the message of the Triptych.
Just fill in your name and email address above and then press "Get Instant Access."
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The Triptych is the greatest discovery in modern times, and the PDF is highly informative, but it's only the tip of the iceberg.
There will be much more revealed in the pages of Written In Stone, and on this website, so stay connected!
