Leonardo da Vinci’s fascination with secret knowledge and esoteric symbolism is well-known in art history circles. One of the intriguing symbols tied to his work, and to the Renaissance as a whole, is what authors of The Templar Revelation Lynn Picknett and Clive Prince call “John gesture”: the upward-pointing finger, often associated with John the Baptist. In this book, the authors argue that this gesture carries deep, hidden meanings tied to mystical traditions and occult ideas. At its core, the “John gesture” represents a connection to divine knowledge, and its recurrent use by Leonardo and other Renaissance artists highlights a profound link between art, religion, and secret societies.
John the Baptist, according to Picknett and Prince, plays a key role in these hidden narratives. Unlike the typical Christian focus on Jesus, alternative spiritual traditions often placed John in a central role as the true bearer of divine revelation. Leonardo’s deep admiration for John the Baptist is evident in several of his works, and the gesture of pointing upwards is one of the key visual clues to this significance. Picknett and Prince argue that John the Baptist played a central role in Leonardo da Vinci’s life and work. They point out that Leonardo’s beloved city of Florence was dedicated to John the Baptist, a fact that may have deepened his personal connection to the saint. They also note that Leonardo’s Saint John the Baptist is believed to be his final oil painting, and his only surviving sculpture, created in collaboration with Giovan Francesco Rustici, also depicts The Baptist, further emphasizing the saint’s profound influence on Leonardo’s legacy.
In The School of Athens by Raphael, a work that showcases the greatest philosophers and thinkers of the ancient world, the “John gesture” appears in a subtle but significant way. The central figures of Plato and Aristotle are depicted in conversation, with Plato pointing upwards in a clear reflection of this gesture. Picknett and Prince argue that it is none other than Leonardo himself who was the model for Plato in Raphael’s masterpiece. This suggests that the gesture was not only characteristic of Leonardo in some way but also significant to Raphael and others in their circle at the time. The gesture here, they argue, is not just a symbol of abstract philosophy but also of the hidden truths that Renaissance thinkers sought to uncover.
Another notable appearance of the “John gesture” can be found in Leonardo’s own Adoration of the Magi. In this unfinished masterpiece, Leonardo inserts complex layers of symbolism. One of the figures points upwards in a manner that mirrors the “John gesture.” Though traditionally viewed as a symbol of divine revelation, Picknett and Prince argue that the inclusion of this gesture, combined with other esoteric symbols in the painting, suggests Leonardo’s engagement with Gnostic and mystical ideas. Leonardo, they claim, was deeply influenced by alternative religious currents, and his frequent use of the “John gesture” is a testament to this hidden knowledge.
Perhaps the most striking use of this gesture is in Leonardo’s Saint John the Baptist, a work that focuses solely on the saint. In this painting, John is depicted alone, holding a staff and pointing upwards with his index finger. The serene, almost mysterious expression on his face further deepens the enigma of the gesture. According to Picknett and Prince, this depiction is not just a simple religious icon but an affirmation of John’s central role in spiritual revelation. The upward-pointing finger, they suggest, signals John as the true messenger of divine knowledge, overshadowing even Jesus in certain mystical traditions.
The authors of The Templar Revelation also emphasize the significance of another of Leonardo’s works. London’s National Gallery houses Leonardo da Vinci’s Virgin and Child with Saint Anne and Saint John the Baptist, a drawing rich with symbolic elements that merit closer examination. In this composition, the Virgin Mary is shown with the infant Jesus, alongside her mother, Saint Anne, and the child John the Baptist. Jesus is depicted blessing his cousin John, while Saint Anne looks down at her daughter and subtly makes the iconic “John gesture” — raising her forefinger upward. Notably, Anne’s upraised finger hovers directly above the tiny hand of Jesus as he gives his blessing, almost as if her gesture overshadows his.
Why, then, is this gesture so important? Picknett and Prince suggest that it embodies a fundamental tension in Renaissance thought: the tension between the official narrative of Christianity and the alternative, often suppressed, spiritual beliefs that persisted beneath the surface. John the Baptist, as a figure of revelation, stood at the crossroads of these competing narratives. The “John gesture” in Renaissance art is a subtle but powerful reminder of the era’s fascination with hidden knowledge and divine mysteries. The use of symbolism in Renaissance art often involved references to classical antiquity and contemporary religious thought. Artists like Leonardo and Raphael, deeply engaged with the intellectual currents of their time, employed symbols to bridge the gap between the sacred and the secular, the visible and the hidden. The John Gesture may thus be seen as part of a larger discourse on the transmission of wisdom and the nature of divine revelation.
For art history enthusiasts, The Templar Revelation by Lynn Picknett and Clive Prince is a must-read. The book reveals hidden symbols and esoteric themes in Renaissance art, offering fresh insights into masterpieces by Leonardo da Vinci and other Renaissance masters. It’s a fascinating exploration for anyone interested in the deeper meanings behind iconic artworks. Get a copy of this book from Amazon here: The Templar Revelation.
