Leonardo Was No ‘Father of Cryptography,’ But Is A Victim of A Coverup, as is a Hero of Early Christianity Who was Painted Out of “Last Supper,” a Tennessee Writer Says
by ERIC BLAIR
FEBRUARY 8, 2008 — A man who today would be considered a native of Libya is credited by a Tennessee writer with writing two of the four New Testament gospels (Mark and John), as well as 1 and 2 Peter, which were ghost written, and the book of the Revelation. Randall Carter Gray, a former resident of Ethiopia and Eritrea at the time of the deposing of Ethiopian Emperor Haile Selassie, “the Lion of Judah,” in 1974, said the mystery writer is none other than John Mark, or St. Mark the evangelist, an apostle of Jesus — and, says Gray, a victim of having his identity obscured in Leonardo’s “The Last Supper” over the centuries by heretics … because John Mark was black.
Gray, a former religion writer and editor for two daily newspapers in the South, said he decided to publicize his findings and his ongoing work further after stumbling onto an article by Michelle Delio, published in 2003 by WIRED, in which the freelance writer calls Leonardo “the father of cryptography.” The 54-year-old Tennessee writer was working as an intelligence specialist and cryptographer for the U.S. Navy in Ethiopia when Selassie was deposed.
“I used to be a cryptographer,” Gray said. “I know cryptographers. Cryptographers have been my friends. Leonardo was no cryptographer … but rather a victim of having his work ruined to hide racial identities and discredit Jesus.”
Gray is writing a scholarly article on the subject plus a documentary script, the title of which is “The African Whom Jesus Loved,” a reference to the third-person identifier “the disciple whom Jesus loved,” which the writer of the Gospel of John uses to refer to himself.
Interestingly, Gray said Leonardo Da Vinci’s “The Last Supper,” the focal point for the novel and film “The Da Vinci Code,” provided him with confirmation that he was on the right track toward solving the important biblical mystery, the solution of which he said is strongly suggestive of the notion that Jesus was a man of color. That conclusion for Gray came about shortly after the 2006 release of the blockbuster film based on author Dan Brown’s novel. Gray’s hypothesis, which he calls “The Moor’s Code,” was also confirmed, he added, by subsequent recent claims that there were other “code-like” features in Leonardo’s disintegration masterpiece, such as those asserting that a mirror image of the 15th century painting reveals a woman holding a baby and that notes corresponding to the hands of Jesus and his disciples plays a tune.
“The new musical Da Vinci Code,” said Gray, “helps to strengthen our claim that the coverup of John Mark is continuing, on racist grounds, and, that Leonardo’s ‘The Last Supper’ was repainted and botched to remove the African scholar John Mark after the painting’s patron, whose nickname was “the Moor” or “African,” was deposed by the French in 1499.” Gray, himself a painter, said the assertion that Leonardo used poor technique and experimental materials, which led to the chipping and cracking of the “dry-wall fresco” was “ludicrous.”
The musical Da Vinci Code, called “bogus” and “disingenuous” by Gray, was introduced by an Italian researcher, Gray said, to hide a mystery hand holding a knife which isn’t attached to an arm. He said the knife-gripping hand, of all clues, reveals that the Da Vinci Code is “fiction and more” — an ancient secret, which is John Mark’s race, that Gray said “would turn Christianity upside down” if it was more widely known.
“Leonardo was a perfectionist,” the writer contended, “with three years to complete the work (located on a cafeteria wall in the Santa Maria delle Grazie in Milan), Leonardo would not have been hasty or predisposed to experimenting with new techniques and pigments. What apparently happened was in repainting the original painting, which we believe featured a dark-skinned Libyan (Cyrenian) John Mark as the youth named John reclining on Jesus breast, the fraudulent artists used a dry wall instead of a wet plaster surface, which is mandatory for frescoes.”
Adding weight to Gray’s claim that Leonardo’s version of “The Last Supper” featured one or more African people, he explained, is the biblically based fact that the Passover meal Jesus shared with his disciples just before his arrest was held in an African home, one belonging to John Mark and his mother Mary, a woman of apparent wealth. Not only was the Passover meal held in the home of John Mark and his mother Mary, but so was the first appearance Jesus made to his disciples after his resurrection and so was the Day of Pentecost, “when the Holy Spirit descended on the disciples, causing them to speak in languages they did not know.”
In biblical times Libya was known as Cyrene, a bustling seaport on the southern coast of the Mediterranean Sea, located to the west of Egypt. Cyrene is the location from which the man hailed who was grabbed by Roman soldiers to help Jesus carry his cross. Gray posits the question why did the Roman soldiers pointedly grab Simon of Cyrene, an out-of-towner, whom John Mark knew, to help Jesus, if Jesus was not himself a “man of color.”
Need more proof that Gray is on the right track? The writer ran down a list of other things wrong with Leonardo’s version of the Passover meal, which he said leads to no other conclusion than the painting was repainted: sunshine through the window (Passover is observed at sundown); fish instead of the traditional lamb is being eaten, as are rolls instead of unleavened bread; Jesus’ chalice is missing … and lastly what Gray said was the “holy grail” of all clues — the hand gripping a knife floating in midair behind the back of Judas, with no arm or person attached.
Gray said that the Mary Magdalene angle in “The Last Supper” is “simply part of the “subterfuge used through the centuries to draw attention away from John Mark’s mother Mary,” whom Gray said is the Mary who stands with her son John (Mark) at the cross of Jesus, when Jesus tells mother and son to” behold” one another, that is, lean on one another after Jesus’ death, resurrection and ascension. This conclusion by Gray, if accurate, also proves that the Bible was tampered with and altered for the purpose of hiding John Mark as “the disciple whom Jesus loved,” a young scholar and perhaps also a priest who was trained in Libya/Cyrene in Latin and classical Greek, as well as Hebrew.
Gray’s sources for this new material are his notes made while studying in East Africa and Coptic Church biographical material written and published recently by the Church’s patriarch in Alexandria, Egypt. According to Gray, John Mark has been “unfairly ignored as a hero of early Christianity,” demonstrated by the little known facts that John Mark evangelized his native Africa, that he was not martyred, but lived to write in Ephesus and on the island of Patmos, as Gray said 2 Timothy 4:11 confirms, and that John Mark or St. Mark is credited by Copts around the world with having founded the Coptic Christian Orthodox Church, one of the most devout denominations in all of Christendom, Gray added.