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«
As
I
mentioned
,
»
Teabing
clarified
,
»
the
early
Church
needed
to
convince
the
world
that
the
mortal
prophet
Jesus
was
a
divine
being
.
Therefore
,
any
gospels
that
described
earthly
aspects
of
Jesus
’
life
had
to
be
omitted
from
the
Bible
.
Unfortunately
for
the
early
editors
,
one
particularly
troubling
earthly
theme
kept
recurring
in
the
gospels
.
Mary
Magdalene
.
»
He
paused
.
«
More
specifically
,
her
marriage
to
Jesus
Christ
.
»
«
I
beg
your
pardon
?
»
Sophie
’
s
eyes
moved
to
Langdon
and
then
back
to
Teabing
.
«
It
’
s
a
matter
of
historical
record
,
»
Teabing
said
,
»
and
Da
Vinci
was
certainly
aware
of
that
fact
.
The
Last
Supper
practically
shouts
at
the
viewer
that
Jesus
and
Magdalene
were
a
pair
.
»
Sophie
glanced
back
to
the
fresco
.
«
Notice
that
Jesus
and
Magdalene
are
clothed
as
mirror
images
of
one
another
.
»
Teabing
pointed
to
the
two
individuals
in
the
center
of
the
fresco
.
Sophie
was
mesmerized
.
Sure
enough
,
their
clothes
were
inverse
colors
.
Jesus
wore
a
red
robe
and
blue
cloak
;
Mary
Magdalene
wore
a
blue
robe
and
red
cloak
.
Yin
and
yang
.
«
Venturing
into
the
more
bizarre
,
»
Teabing
said
,
»
note
that
Jesus
and
His
bride
appear
to
be
joined
at
the
hip
and
are
leaning
away
from
one
another
as
if
to
create
this
clearly
delineated
negative
space
between
them
.
»
Even
before
Teabing
traced
the
contour
for
her
,
Sophie
saw
it
–
the
indisputable
V
shape
at
the
focal
point
of
the
painting
.
It
was
the
same
symbol
Langdon
had
drawn
earlier
for
the
Grail
,
the
chalice
,
and
the
female
womb
.
«
Finally
,
»
Teabing
said
,
»
if
you
view
Jesus
and
Magdalene
as
compositional
elements
rather
than
as
people
,
you
will
see
another
obvious
shape
leap
out
at
you
.
»
He
paused
.
«
A
letter
of
the
alphabet
.
»
Sophie
saw
it
at
once
.
To
say
the
letter
leapt
out
at
her
was
an
understatement
.
The
letter
was
suddenly
all
Sophie
could
see
.
Glaring
in
the
center
of
the
painting
was
the
unquestionable
outline
of
an
enormous
,
flawlessly
formed
letter
M
.
