Decoding of the painting Le Festin des dieux ("The Feast of the Gods") by the Dutch painter Jan van Bijlert (1635–1640, displayed in the Musée Magnin in Dijon, France) as the reflection of his satirical view of the depicted characters while preserving the message of the painting. Detailed connection and differences with related, and now decoded “Last Supper” by Leonardo Da Vinci. Use now decoded “Sistine Madonna”, “Disputation of The Holy Sacrament” and “School of Athens” by Raphael to simplify the understanding of the connection of painter Jan van Bijlert with the Verrocchio/Da Vinci project (1472-1498) about the beginnings of Christianity.
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00:00Decoding of the painting Le Festin de Dieu, the Feast of the Gods, by the Dutch painter Jan van Bijlert, 1635-1640,
00:08displayed in the Musée Magnin in Dijon, France, as the reflection of his satirical view of the depicted characters while preserving the message of the painting.
00:17Detailed Connection and Differences with Related and Now Decoded Last Supper by Leonardo da Vinci
00:24Use Now Decoded, Sistine Madonna, Disputation of the Holy Sacrament, and School of Athens, by Raphael to simplify the understanding of the connection of painter Jan van Bijlert with the Verrocchio-Da Vinci project, 1472-1498, about the beginnings of Christianity.
00:43This video and the research it is based on are not the product of artificial intelligence or any other automated research and writing tools.
00:52The material is new, and not all statements in this video have the same potential to withstand the test of additional research, time, and reason.
01:01Use at your own discretion.
01:03And you know what?
01:05All rights reserved.
01:07The narrative is heavily dependent on the supplied visual material.
01:12Please, do not hesitate to pause the video to get a better look.
01:16From past experience it is known that some viewers are irritated by the narrated voice.
01:22Please, keep in mind that you can mute the sound and simply read from the slides.
01:27The slides will continue to change after narration is finished in the background.
01:32I do not have a quality of voice and performing ability to do my own voiceovers.
01:38The budgetary considerations are also a factor in the choice of robotic voiceover versus a live one.
01:45Questions and comments are welcome.
01:49This presentation is tailored for the viewer who possibly never heard about the Andrea del Verrocchio-Leonardo da Vinci project about the beginnings of Christianity.
01:59In 2019-2023 the book, Beyond a Reasonable Doubt, was written which contained a unique, unorthodox textual and medical analysis of the available material about Jesus of Nazareth.
02:12At the very end of the work, it was discovered that Leonardo da Vinci and his teacher, Andrea del Verrocchio accomplished similar analyses between 1472 and 1498.
02:23Being wary of prosecution they did not write any books but encoded findings of the project in multiple paintings, with Leonardo's, Last Supper, being a message to humanity and final report.
02:36After the book was written, multiple surprising facts revealed that Leonardo did not keep the truth hidden but shared it with a few selected painter friends, and it existed and influenced painters for centuries, from 15th to 19th.
02:49Obviously, to determine that a particular painter was agreeing with the conclusions of the project and rejecting Christianity their works need to be examined for easily interpreted clues.
03:00This painting, The Holy Family, by Jan van Bijlert showcases a child Jesus with an ear and nose of the same shape as ear and nose of the old Joseph.
03:10Before genetics people used those to get a clue on paternity while the child is still young.
03:16Affirming the paternity of Joseph means refuting the immaculate conception.
03:21This conclusion allows us to identify Jan van Bijlert as a painter working for the resistance, for the reason and truth and the Verrocchio-Da Vinci project.
03:31This part is included to demonstrate the way paintings work within the Verrocchio-Da Vinci project to convey the messages.
03:40The message of the painting, Sistine Madonna, by Raphael is about the historical event of informing the Church about the basic outline of the project and its conclusions.
03:50Pope Julius II was informed at about 1506 that at the base of Christianity are theatrics, and green theatrical curtains standing for that part of the message,
04:00along with meaningless sufferings of Jesus, talented actor who suffered life and health setbacks and his mother Mary, her likeness is of Margarita Ludi, Raphael's girlfriend.
04:10The horror is forever imprinted on the facial expressions of Mary and Jesus to signify that part.
04:17Another part of the story is a role of John the Baptist who is depicted as Saint Barbara and shown playing with demons,
04:23the putty on the bottom are not angels, they are demons, and the one with only one wing can be identified by name,
04:30without paying any attention to the sufferings of Mary and Jesus.
04:34This example is to demonstrate the military strength encryption used by the painters working on the project in order to protect their lives.
04:43It is also reinforcing gender fluidity of the depicted personages as there are two women in the Last Supper, by Leonardo.
04:51Obviously, as John the Baptist can be depicted as Saint Barbara, he can also be depicted as satire.
04:58Also, something perceived nice, like putty, could be really of a very sinister nature.
05:05As for the timing and significance of the event that Raphael messaged about,
05:09it ended Christianity as the religion and transformed it into a conspiracy,
05:13years before the meaningless and costly Reformation engulfed much of Europe.
05:19This slide is to refresh or introduce the decoding of the Last Supper, by Leonardo da Vinci.
05:26As mentioned, all detailed reasoning behind this decoding will not be included in this presentation for the sake of brevity.
05:33Characters are numbered as follows.
05:361 is John the Baptist standing for his sect and disguised as disciple Bartholomew.
05:412 is Mary Magdalene, security officer for the sect of John the Baptist, disguised as disciple John.
05:493 is Pontius Pilate himself with his just washed hands outstretched for drawing disguised as disciple Andrew.
05:564 is wife of Pontius Pilate who is unnamed but mentioned in the Gospel of Matthew disguised as disciple James the Minor.
06:045 is James the Just, brother of Jesus disguised as disciple James the Major.
06:106, 7 and 8 are figures standing for the Gospels of Mark, Matthew and Luke
06:15with the age of each man corresponding to the time that passed between the crucifixion and the writing of the Gospel.
06:22Later artworks by Raphael depict Matthew somewhat older than he was depicted by Leonardo da Vinci,
06:28pointing to the later time of writing of the Gospel of Matthew.
06:32In the fresco by Leonardo, they are disguised as disciples Philip, Matthew and Jude slash Taddeus.
06:399 is figure standing for the Gospel of John disguised as disciple Thomas.
06:4410 is a figure standing for traditional Judaism disguised as disciple Simon Zelot.
06:50Jesus, Peter and Judas are depicted as themselves,
06:54with the note that Jesus was a professional performer and suffered from the onset of neurological conditions.
07:00He was coerced by the sect of John the Baptist to do very risky performing ministry on behalf of the sect.
07:07Peter and Judas were professional swordsmen and his bodyguards assigned to him by the sect.
07:14This slide will showcase the decoding of the Last Supper by Giorgio Vasari based on inference to Leonardo's Last Supper.
07:22The step-by-step decoding of the Last Supper takes about a hundred pages and took two years to accomplish.
07:47But other Last Suppers are similar to it and convey the same message.
07:52That is why decoding by inference is justified.
07:56In general, the message is as follows.
07:59In the course of the Andrea del Verrocchio slash Leonardo da Vinci project, 1472-1498,
08:07it was determined that Jesus of Nazareth was a talented actor who suffered a head trauma and became a neurological patient.
08:15Desperate to find a cure he joined the sect headed by an unscrupulous, cynical cult leader with sinister ethics, John the Baptist.
08:23Recognizing the value of an asset, John the Baptist entangled Jesus in the performing ministry
08:29under immediate command of the security officer Mary Magdalene and under protection of the two swordsmen, Peter and Judas.
08:36James, brother of Jesus, abetted the continued abuse of the vulnerable adult.
08:42That, and the correct order of the Gospels, mark in priority is a content of the message of Leonardo.
08:49On a separate note, Pontius Pilate was corrupt through the influence of the sect on his wife and was acting on behalf of the sect and Jesus,
08:57but failed to save Jesus from crucifixion.
09:00Following slides would discuss parts of the decoding in detail to make understanding of inferences possible.
09:08This slide will start the series of slides discussing parts of the decoding to make understanding possible.
09:14Both common considerations and differences between interpretation of Leonardo da Vinci and understanding of Jan van Bijlert will be highlighted in the discussion.
09:24Both Leonardo and Jan van Bijlert agree about who are the real antagonists in the story of Jesus.
09:31It is sect of John the Baptist, with the fact of its existence carefully hidden in the Gospels and traditional Judaism.
09:39While Leonardo personified the sect in the dynamic, passionate figure that meant to represent John the Baptist himself in his wilderness attire,
09:47Jan van Bijlert depicted the sect as a grotesque figure of the satire.
09:53That may have reflected feelings of Jan van Bijlert about the bizarre set of eschatological beliefs that were propagated by the sect
10:00and the equally bizarre ways the sect operated on the ground.
10:04On the plus side, that creative approach eliminated a guess or speculation about the possible presence of John the Baptist himself at the Last Supper or in Jerusalem at the time.
10:15John the Baptist was imprisoned by Herod Antipas and did not participate in person in the events that unfolded in Jerusalem before and after the crucifixion of Jesus.
10:25While Leonardo's approach makes decoding easier as John the Baptist is visually identifiable from the fresco,
10:32Jan van Bijlert's interpretation is better in helping to avoid confusion about the historicity.
10:38Jan van Bijlert obviously also hints about the presence of humor in his painting.
10:44It could be also a nod to the proclivity of John the Baptist to act in the performances he staged as an amateur actor.
10:52Figures of Pontius Pilate and his wife are present in Leonardo's Last Supper, in School of Athens, by Raphael, and in The Last Supper by Giorgio Vasari.
11:03But there is very little historical record about the man and the nature of his relationship with his wife.
11:10Any possible disagreements with her are a total mystery.
11:14What is available from the Gospels is a very good understanding of the position of Pontius Pilate about Jesus and about competition of the sect of John the Baptist and traditional religion.
11:25Objectively, Pontius Pilate did not have a dog in the fight.
11:29His wife asked him to exonerate Jesus, and he obliged.
11:34The fact that Jesus was not able to assist his own defense, because of his neurological condition, and aggressive attitude of bloodthirsty priests took Pontius Pilate by surprise and forced him to fold.
11:46The detailed consideration of the trial is in the book Beyond a Reasonable Doubt.
11:51It did not look like Pontius Pilate was going to lose sleep over his courtroom defeat.
11:56The flack from the spouse is not the same thing as crucifixion.
12:01Leonardo depicted the wife of Pontius Pilate as a willing intermediary to the efforts of the sect of John the Baptist.
12:08Raphael depicted her as a capricious spouse.
12:12Giorgio Vasari depicted the sect being in between the spouses, dividing them.
12:17Leonardo also showed the power couple in the middle of everything, but Giorgio Vasari showed them on the side, far away from the action.
12:26Jan van Bijlert agrees with Giorgio Vasari on this point.
12:31Historically, that would probably be a more accurate depiction given the absence of the evidence of emotional involvement by Pontius Pilate.
12:39Three older depictions show Pilate's just washed hands outstretched to dry, with Leonardo's depiction of hands most prolific,
12:47but Jan van Bijlert chose a slightly different route to describe pathetic Pontius Pilate and his fiasco at the trial of Jesus.
12:55He depicted Pontius Pilate with the childish or even girly face.
13:00It is an inference to the fact that he was outplayed like a child in the entangled politics of the Holy Land by the much more experienced high priest and his allies.
13:10Another thing that Jan van Bijlert depicted differently is showing Pontius Pilate wearing armor.
13:17That could be a nod to Pontius Pilate's birthright of being Roman equestrian which roughly translates as a knight.
13:24The irony is, from what little we know about Pontius Pilate, he did most of his service to Rome in the elite corps of desk riders with informatable imperial command of logistics and supply.
13:35It could also be a nod to his position of power in the Holy Land.
13:40His opposite during the trial and on the painting is nearly naked man, a bloodthirsty high priest with not much power outside of Jerusalem and walls of the temple,
13:49but the one who outwitted Pontius Pilate at the trial and forced him to sign off on the execution of Jesus.
13:55Armor of Pontius Pilate also could be an inference to the Raphael's school of Athens, as Roman centurion, also of equestrian origin because of his young age, in armor shown conversing with him, possibly about upcoming Jesus' trial.
14:10Hypothetically, it is the same one mentioned in the centurion in his servant's story from the Gospels, and also a domestic partner of Mary Magdalene, as depicted by Raphael, watching her back.
14:22Common equestrian origin made a connection between ordinary centurion and Pontius Pilate possible to contemplate.
14:30There is a clear visual similarity between positioning of the figures representing synoptic Gospels and the figure representing traditional Judaism.
14:39Just as in the Last Supper, by Leonardo Jan van Bijlert depicted three figures of different ages.
14:46The obvious difference is that all figures depicted by Leonardo are male, and Jan van Bijlert depicted one male and two females.
14:55The ages of each figure are supposed to represent the time that passed since the crucifixion until the particular Gospel was written.
15:03Even by the time of Raphael it became clear that the Gospel of Matthew, while was first drafted about ten years after the Gospel of Mark, was later influenced by Peter, and had some general interpolations before it was put to distribution.
15:17Raphael depicted Matthew much older than Leonardo did.
15:21As for Jan van Bijlert, he retained age progression but reversed the order, youngest to oldest from right to left instead of Leonardo's left to right.
15:31Female figure in the middle is obviously older than the very young female figure closest to the figure of the old man representing Judaism.
15:39Male figure representing the Gospel of Luke is older than both of them.
15:44Jan van Bijlert, just like Leonardo, arranged figures of synoptic Gospels into the evil Cerberus, three-headed dog from Hades-hell, combination, the approach that was also favored by Paolo Veronese.
15:58One interesting detail is an obvious stare contest between Luke and a figure representing Judaism.
16:05Christianity by the time of Luke separated from the withering sect of John the Baptist and became violently anti-Jewish.
16:13Leonardo da Vinci attempted to reflect that historical tidbit.
16:17As for Jan van Bijlert, he is not that subtle.
16:21His figure of Judaism is facing Luke as a savage with the club, and that is an accurate representation of what Christianity became for Jews for centuries on end.
16:32Interestingly, Jan van Bijlert retained the colors of the clothing, red and blue for the Mark figure and blue only for Matthew figure, even so color scheme is not as important in the Jan van Bijlert painting as it was in The Last Supper by Leonardo da Vinci.
16:48If anything, Jan van Bijlert replicated the colors to signify a connection between his painting and The Last Supper.
16:57Both Jesus and his brother James the Just positioned similarly, and both have facial similarities between depictions by Jan van Bijlert and Last Supper by Leonardo da Vinci.
17:08In the fresco in Milan Leonardo interprets Jesus as a cornered child, his head is depicted smaller, and he is confused and lost.
17:17He cannot explain his tantrum in the temple to his associates, and about to launch his verbal tirade about bread that they ate was his body and their wine that they drunk was his blood, and now they are not giving him benefit of a doubt as ungraceful animals they are.
17:32That approach has support in the historicity given what is known about Jesus' health condition.
17:38James is shown surprised and indignated by the inability of Jesus to explain about the tantrum.
17:44As for Jan van Bijlert, he depicted interaction between brothers in the more temperate way but the expression of confusion and loss is still on the face of Jesus.
17:54Characteristically, James is shown under the hand of John the Baptist, a clever visual clue reflecting his entrenched association with the sect and John himself.
18:05Special note is needed about the clothing of Jesus and the lyre, the musical instrument that often accompanies legendary King David on paintings.
18:14The elaborate, princely clothing of Jesus is noted in the Gospels, and it is suspected that it was a part of preparation for his last stint that he was going to perform for the sect of John the Baptist, when his arrest put those plans to an end.
18:28Jesus' executioners divided his clothes as loot.
18:33Curiously, a concise explanation why Leonardo da Vinci depicted the Gospel of John as a man pointing his finger to the sky was never perfected.
18:43In a way, it remains mysterious.
18:46As for Jan van Bijlert, his depiction of John as a drunk on the ground, between John the Baptist and the peacock is much more straightforward.
18:55In many places in the Gospels when disciples John and James are mentioned it is really James the just, brother of Jesus and John the Baptist himself taking part in the action as supporting actors or stagehands.
19:08As for the peacock, when the bird unfolds his feathers, it can be described as boastful.
19:14The Gospel of John replicates a number of the true sayings of Jesus that provided an invaluable window into his neurological conditions.
19:22Author of John used the dossier of Jesus preserved from the time of Jesus' ministry, but live witnesses, knowing the flawed nature of those saying excluded them from the synoptic Gospels.
19:33The Gospel of John brought those sayings of Jesus out and boasted about them.
19:38John 21, ESV
19:4115 When they had finished breakfast, Jesus said to Simon Peter, Simon, son of John, do you love me more than these?
19:50He said to him, Yes, Lord, you know that I love you.
19:54He said to him, Feed my lambs.
19:5716 He said to him a second time, Simon, son of John, do you love me?
20:03He said to him, Yes, Lord, you know that I love you.
20:07He said to him, Tend my sheep.
20:1017 He said to him the third time, Simon, son of John, do you love me?
20:16Peter was grieved because he said to him the third time, Do you love me?
20:21And he said to him, Lord, you know everything, you know that I love you.
20:26Jesus said to him, Feed my sheep.
20:29Jesus was clearly drunk in that conversation.
20:33He is also cussing, with cussing substituted in the text, and playing neurological games driving Peter crazy.
20:40Gospel of John at its best
20:44There is a petrified face shown in The Feast of Gods by Jan van Bijlert in the lower right side of the painting.
20:52It is possible that Jan van Bijlert inserted his own likeness, horrified with what he got to see in the feast.
20:59There is known engraved portrait of the painter, after self-portrait, and there is a picture of the man with the flute, that bears likeness to self-portrait, nose, bagging under the eyes, arching or eyebrows in hairstyle matching the self-portrait and somewhat resembles a petrified face.
21:17Jan van Bijlert actually repeated the same idea about Peter, Judas and Mary Magdalene that was formalized by Leonardo da Vinci in repeated in the older, Last Supper, paintings by the artists who made paintings in support of the Verrocchio slash da Vinci project.
21:33Jacopo Bassano is most prolific, his Mary Magdalene is seated in the center of the table and Jesus is standing behind her chair like a butler.
21:43In the numerous paintings, regardless of the relationship to the project, Judas is positioned on the opposite side of the table. Leonardo is actually an exception as his Judas is on the same side as all other disciples.
21:58Each painter gives hints about Mary's superior position differently. Leonardo positioned her closest to Jesus, between Jesus and her underlings, swordsman Peter and Judas.
22:11Giorgio Vasari showed Mary holding Peter on the leash, and Jacopo Bassano showed her in the middle seat of honor, even so sleepy drunk.
22:20Jan van Bijlert, however, caught Mary Magdalene in the unfortunate moment. Judas resorted to mutiny and was shown threatening to hit her with a metal piece of tableware.
22:32For a couple days he will be in command, but it will be too late for Jesus. Both Judas and Peter come to realize that Mary Magdalene is over her head, but it was too little and too late.
22:45With time limit on uploads in mind this presentation will not go in depth about the hidden narrative of the Gospels that was first discovered by Leonardo da Vinci.
22:55That narrative will only be repeated or discussed if it is absolutely unavoidable. Instead, the focus of this presentation will be on the ways Jan van Bijlert encoded the true identity of his personages, and the related references.
23:09As it was mentioned before, the two putty on Sistine Madonna by Raphael are actually demons.
23:16There are seven putty demons in The Feast of Gods, reused by Jan van Bijlert as a hint to Mary's identity.
23:23In Mark 16 verse 9 ESV, now when he rose early on the first day of the week, he appeared first to Mary Magdalene, from whom he had cast out seven demons.
23:35Luke 8 verse 2 has a similar reference to seven demons of Mary Magdalene.
23:40Apparently, those seven demons were not cast very far, and one of them is still embraced by Mary Magdalene, as depicted by Jan van Bijlert.
23:50Even more interesting is the reasoning for depicting Peter as a topless woman.
23:56There is a personage in the Bible called, Whore of Babylon, it has a deeply negative connotation and is mentioned in the Revelation part as, Babylon the Great, the mother of harlots and abominations of the earth.
24:08The thinking behind goes as deep as Babylon captivity of the Hebrews.
24:13Lifestyle in Babylon was a complete culture shock to Hebrews and imprinted in the collective memory as epitome of sinful impropriety.
24:22When the, Whore of Babylon, was referenced, it did not mean some evil female personage, it meant the city of Babylon itself personified as such a woman in the imagination of many Hebrews and Hebrew writers.
24:35By the time of Jesus, the story of Babylon was ancient history, and when personages and writers of the New Testament mentioned, Whore of Babylon, they usually refer to the city of Rome, as culturally opposite to the expat Jews as Babylon was to their ancestors.
24:52The above mentioned reference from Revelations is no exception.
24:56Contextually, this part of the Bible is about Rome.
25:00In the book or epistle called 1st Peter at the very end one of the final greetings is,
25:061st Peter 5, verse 13, KJB
25:1013 The church that is at Babylon, elected together with you, saluteth you, and so doth Marcus my son.
25:18Most obviously by Jan van Bijlert satirically equating the church of Rome, denigrated as Babylon by Peter, to the Whore of Babylon.
25:27He depicted her as a drunk topless woman.
25:31And what is she shown doing?
25:33Waving her hand, sending greetings, saluteth.
25:37The second layer of association is that the papacy position of the head of the church of Rome is commonly known as a seat of St. Peter.
25:46Judas Iscariot is one of the most radically misunderstood personages of the New Testament and intentionally badmouthed by the writers at that.
25:55Judas and Simon, Peter, were bodyguards slash security guards of Jesus attached to him by the order of John the Baptist himself, Gospel of John blurted about that.
26:06By nature, by intention, Jesus often did what is in the modern world called a disruption of religious assembly.
26:14In some modern countries that is actually a petty crime.
26:17In New Zealand one can get two years in jail for doing that.
26:22Not like many people get convicted, but law enforcement authorities are fully aware that tempers might flare and use criminal code to prevent that from happening.
26:31Jesus mentioned expressing fear on numerous occasions but, curiously, he is not mentioned ever to be hurt or beat up.
26:39Every time when indignated members of congregation started to gang up to show Jesus, Kingdom of God, Peter and Judas jumped in to work their magic.
26:48Nothing cools down the righteous indignation like a strategically placed and timed kick or punch into one of the sensitive organs.
26:56All Jesus had to do is to walk away really fast.
27:00Both Judas and Peter are men with military background and skills.
27:06Outside of Jesus performing ministry they could have been private security guards or even mercenaries.
27:12They both carried swords.
27:15Two of them was enough until the day they were not and only because Peter got drunk.
27:20Out of the two Judas was much larger and in preliminary research, following the depiction of Raphael, he was nicknamed Terminator.
27:30Judas Iscariot was very close to Jesus and was a beloved disciple, that is why beloved disciple never named in the Gospels.
27:38That closeness had a downside.
27:41Jesus performed circus style, resurrections, and developed the delusion that he himself will rise after death.
27:48Those circus resurrection presupposed burial in the tomb and, resurrected, co-conspirator walking out when Jesus called him.
27:56Judas was not in the loop and tried to do everything possible to let Jesus come back to life after the crucifixion.
28:03In order to accomplish that Judas forced Mary Magdalene to cooperate.
28:08It was Judas who arranged for Jesus to be killed by the spear on the cross, to spare his legs for walking out of the tomb,
28:15as he learned about the intention to break the legs of the condemned to have them die faster.
28:21Judas arranged the burial of Jesus in the tomb, from where Jesus had the opportunity to walk out,
28:27and later had the body of Jesus moved because of the concern that the guard at the tomb will interfere with resurrection.
28:34Mary Magdalene assisted him partly out of fear and partly because she figured where that was all going, Judas' suicide.
28:41Mary Magdalene had her own security detail from two Roman legionaries provided by her partner Centurion,
28:48and depicted by Raphael, but decided not to try her luck against towering Judas.
28:54This slide is dedicated to odds, ends and omissions.
28:59One of those is flowing tails on the clothing of the figure representing the Gospel of Mark.
29:04Could be an allusion to the language reference like, long tails.
29:08There are several scattered red and blue carnations in, the feast of gods.
29:13They are most definitely a pointer to Leonardo's, Last Supper.
29:17There are sets of blue and red carnations in the, Last Supper, indicating allegiances or associations by the numbers.
29:25They are observable again after the latest restoration, also they were obliterated for several centuries.
29:32It should also be noted that Jan van Bijlert was not the first painter who depicted John the Baptist as satire.
29:39The work of Parmigiano from two centuries prior depicts Venus, Cupid and satire repurposed as Mary,
29:46child Jesus and John the Baptist in the, Vision of Saint Jerome.
29:50Curiously, while the raciness of, The Feast of Gods, is not objectionable due to its alleged pure decorative purpose,
29:58the, Vision of Saint Jerome, was actually meant to be displayed in a church.
30:03Yet another thing, the depiction of Jesus in the fashion of the legendary King David could be an allusion to the verbal handshake,
30:10Jesus, the son of David, that helped Jesus to identify from the crowd the beggar with whom his associates
30:16or Mary Magdalene herself arranged to be cured by Jesus a day or two before Jesus would arrive at the next town.