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I’m an open-minded man with a deep passion for music, symbolic geometry, and art. By profession, I’m a classical record producer, but my interest in the geometry of The Last Supper began unexpectedly when an actor friend, working on a play inspired by Leonardo da Vinci's notebooks, said to me, "We’d like to compose a piece of music that has the same proportions as The Last Supper." Those words sparked my curiosity and set me on a 20-year journey of discovery.

The fact that Leonardo da Vinci sets the scene of Christ’s last meal inside a room offers much satisfaction with regard to geometry; the architecture of the represented space displays clear outlines. Leonardo’s meticulous strokes meant that when studying the composition of The Last Supper, the margin for error was minimal. It was easy to determine which geometrical ideas had to be rejected and which ones should be pursued.

So how does a record producer end up writing about The Last Supper? The answer is simple: first, because the geometry I discovered offers a unified solution to the many diverse theories that have been proposed by scholars over the years, and second, because I find its symbolic meaning profoundly beautiful. If the beauty I see in this geometry can resonate with you, then I will have achieved my purpose.