THE LAST WORD; The Da Vinci Con
The New York Times By LAURA MILLER Published: February 22, 2004

Plantard's hoax was debunked by a series of (as yet untranslated) French books and a 1996 BBC documentary, but curiously enough, this set of shocking revelations hasn't proved as popular as the fantasia of ''Holy Blood, Holy Grail,'' or, for that matter, as ''The Da Vinci Code.'' The only thing more powerful than a worldwide conspiracy, it seems, is our desire to believe in one.

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Exposing the Da Vinci Hoax

By Joe Nickell from the Skeptical Inquirer posted: 24 May 2005

Among the "revelations" of Picknett and Prince, adopted by Dan Brown in The Da Vinci Code, is the claim that Leonardo’s fresco, Last Supper, contains hidden symbolism relating to the sang real secret. They claim, for instance, that St. John in the picture (seated at the right of Jesus) is actually a woman—Mary Magdalene!—and that the shape made by "Mary" and Jesus is "a giant, spreadeagled ‘M,’" supposedly confirming the interpretation. By repeating this silliness, Brown provokes critics to note that his characterizations reveal ignorance about his subject.

Alas, the whole basis of The Da Vinci Code—the "discovered" parchments of Rennes-le-Château, relating to the alleged Priory of Sion—were part of a hoax perpetrated by a man named Pierre Plantard. Plantard commissioned a friend to create fake parchments which he then used to concoct the bogus priory story in 1956. (See Carl E. Olson and Sandra Miesel, The Da Vinci Hoax, 2004.)

Of course, Dan Brown—with the authors of Holy Blood, Holy Grail and The Templar Revelation—was also duped by the Priory of Sion hoax, which he in turn foisted onto his readers. But he is apparently unrepentant, and his apologists point out that The Da Vinci Code is, after all, fiction, although at the beginning of the novel, Brown claimed it was based on fact. Meanwhile, despite the devastatingly negative evidence, The Da Vinci Code mania continues. Perhaps Brown should go on his own quest—for the truth.