Secrets of Leonardo da Vinci's fresco " last supper»
Leonardo da Vinci- the most mysterious and unstudied personality of past years. Some ascribe to him a gift from God and canonize him as a saint, while others, on the contrary, consider him an atheist who sold his soul to the devil. But the genius of the great Italian is undeniable, since everything that the hand of the great painter and engineer ever touched was instantly filled with hidden meaning. Today we will talk about famous work "The Last Supper" and the many secrets it hides.
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last supper
Location and history of creation
Famous fresco is in the church Santa Maria delle Grazie, located on the square of the same name in Milan. Or rather, on one of the walls of the refectory. According to historians, the artist specifically depicted in the picture exactly the same table and dishes that were in the church at that time. By this he tried to show that Jesus and Judas (good and evil) are much closer to people than they seem.
Church of Santa Maria delle Grazie
The painter received an order to paint the work from his patron, the Duke of Milan. Ludovico Sforza in 1495. The ruler was famous for his dissolute life and youth was surrounded by young bacchantes. The situation did not change at all because the Duke had a beautiful and modest wife. Beatrice d'Este, who sincerely loved her husband and, due to her meek disposition, could not contradict his way of life. It must be admitted that Ludovico Sforza sincerely revered his wife and was attached to her in his own way. But the dissolute duke felt the true power of love only at the moment of the sudden death of his wife. The man's grief was so great that he did not leave his room for 15 days. And when he came out, the first thing he did was order a fresco from Leonardo da Vinci, which his late wife had once asked for, and forever stopped all entertainment at court.
Last Supper in the refectory
The work was completed in 1498. Its dimensions were 880 by 460 cm. Many connoisseurs of the artist’s work agreed that “The Last Supper” can best be viewed if you move 9 meters to the side and rise 3.5 meters up. Moreover, there is something to see. Already during the author's lifetime, the fresco was considered his best work. Although, calling the painting a fresco would be incorrect. The fact is that Leonardo da Vinci wrote the work not on wet plaster, but on dry plaster, in order to be able to edit it several times. To do this, the artist applied a thick layer of egg tempra to the wall, which subsequently did a disservice, beginning to collapse just 20 years after the painting was painted. But more on that a little later.
Idea of the work
“The Last Supper” depicts the last Easter dinner of Jesus Christ with his disciples and apostles, held in Jerusalem on the eve of his arrest by the Romans. According to scripture, Jesus said during a meal that one of the apostles would betray him. Leonardo da Vinci tried to depict the reaction of each of the students to the prophetic phrase of the Teacher. To do this, he walked around the city, talked to ordinary people, made them laugh, upset them, and encouraged them. And at the same time he observed the emotions on their faces. The author's goal was to depict the famous dinner from a purely human point of view. That is why he depicted everyone present in a row and did not draw a halo above anyone’s head (as other artists liked to do).
Sketch of the Last Supper
Interesting facts
Now we have reached the most interesting part of the article: the secrets and features hidden in the work of the great author.
Jesus on the Last Supper fresco
1 . According to historians, Leonardo da Vinci had the hardest time writing two characters: Jesus and Judas. The artist tried to make them the embodiment of good and evil, so for a long time he could not find suitable models. One day, an Italian saw a young singer in a church choir - so spiritual and pure that there was no doubt: here he was - the prototype of Jesus for his “Last Supper”. But, despite the fact that the image of the Teacher was painted, Leonardo da Vinci corrected it for a long time, considering it insufficiently perfect.
The last unwritten character in the picture was Judas. The artist spent hours wandering through the worst places, looking for a model to paint among the degraded people. And now, almost 3 years later, he got lucky. An absolutely degenerate guy was lying in a ditch, in a state of severe alcoholic intoxication. The artist ordered him to be brought to the studio. The man could hardly stand on his feet and had no idea where he was. However, after the image of Judas was painted, the drunkard approached the picture and admitted that he had already seen it before. To the author’s bewilderment, the man replied that three years ago he was completely different, led a correct lifestyle and sang in the church choir. It was then that some artist approached him with a proposal to paint Christ from him. Thus, according to historians, Jesus and Judas were based on the same person at different periods of his life. This once again emphasizes the fact that good and evil go so close that sometimes the line between them is imperceptible.
By the way, while working, Leonardo da Vinci was distracted by the abbot of the monastery, who constantly hurried the artist and argued that he should paint a picture for days, and not stand in front of it in thought. One day the painter could not stand it and promised the abbot to write off Judas from him if he did not stop interfering in creative process.
Jesus and Mary Magdalene
2. The most discussed secret of the fresco is the figure of a student, located on right hand from Christ. It is believed that this is none other than Mary Magdalene and her location indicates the fact that she was not Jesus' mistress, as is commonly believed, but his legal wife. This fact is confirmed by the letter “M”, which is formed by the contours of the couple’s bodies. Supposedly it means the word "Matrimonio", which translated means "marriage". Some historians argue with this statement and insist that Leonardo da Vinci's signature - the letter "V" - is visible in the painting. The first statement is supported by the mention that Mary Magdalene washed Christ’s feet and dried them with her hair. According to traditions, only a legal wife could do this. Moreover, it is believed that the woman was pregnant at the time of her husband’s execution and subsequently gave birth to a daughter, Sarah, who marked the beginning of the Merovingian dynasty.
3. Some scholars argue that the unusual arrangement of the students in the painting is not accidental. They say that Leonardo da Vinci placed people according to... zodiac signs. According to this legend, Jesus was a Capricorn and his beloved Mary Magdalene was a virgin.
Mary Magdalene
4. It is impossible not to mention the fact that during the bombing during the Second World War, a shell hit the church building, destroying almost everything except the wall on which the fresco was depicted. Although, the people themselves not only did not take care of the work, but also treated it in a truly barbaric manner. In 1500, a flood in the church caused irreparable damage to the painting. But instead of restoring the masterpiece, in 1566 the monks made a door in the wall depicting the Last Supper, which “cut off” the characters’ legs. A little later, the Milanese coat of arms was hung over the Savior’s head. And at the end of the 17th century, the refectory was turned into a stable. The already dilapidated fresco was covered with manure, and the French competed with each other: who would hit the head of one of the apostles with a brick. However, The Last Supper also had fans. The French king Francis I was so impressed by the work that he seriously thought about how to transport it to his home.
Fresco Last Supper
5. No less interesting are the thoughts of historians about the food depicted on the table. For example, near Judas Leonardo da Vinci depicted an overturned salt shaker (which at all times was considered a bad omen), as well as an empty plate. But the biggest point of controversy is still the fish in the picture. Contemporaries still cannot agree on what is painted on the fresco - a herring or an eel. Scientists believe that this ambiguity is not accidental. The artist specially encrypted in the painting hidden meaning. The fact is that in Italian “eel” is pronounced “aringa”. We add one more letter, and we get a completely different word - “arringa” (instruction). At the same time, the word "herring" is pronounced in northern Italy as "renga", which means "one who denies religion." For the atheist artist, the second interpretation is closer.
As you can see, in one single picture there are hidden many secrets and understatements, which more than one generation has been struggling to uncover. Many of them will remain unsolved. And contemporaries will only have to speculate and repeat the masterpiece of the great Italian in paint, marble, sand, trying to extend the life of the fresco.
"Culturology"
From October 15 to Sunday December 3, 2017 for 8 Sundays You can see Leonardo Da Vinci's masterpiece "The Last Supper" until 22.00.
The extended opening hours of the museum will increase the number of visitors by 3,000 people. The museum will be open until 22.00 (last opening at 21.45):
October 15
October 22
October 29
November 5 (free admission in honor of the Una Domenica al Museo initiative)
November 12
November 19
November 26
December 3 (free admission in honor of the Una Domenica al Museo initiative)
Only certain part tickets can be pre-booked by phone 02 92800360, the rest of the tickets will be sold at the museum box office from 14.00 on the day of visiting the museum.
“The Last Supper” (“Cenacolo Vinciano”)
In the heart of Milan in the Church of Santa Maria delle Grazie stored greatest work world art of Leonardo da Vinci “The Last Supper” (“Cenacolo Vinciano” in Italian ) . I would like to note that this work not a picture, namely fresco, which a talented artist painted on the wall of the monastery refectory.
The fresco depicting the scene of Christ's last meal with his disciples was commissioned by the Duke of Milan, Ludovico Maria Sforzo. The painting was started by Leonardo in 1495 and completed in 1498; work proceeded intermittently.
The approximate dimensions of the fresco are 880 by 460 cm. It is noteworthy that the artist executed the work not on wet plaster, but on dry plaster, in order to be able to edit it several times. The artist applied a thick layer of egg tempra to the wall, which caused the destruction of the fresco 20 years after it was painted.
Fresco “The Last Supper”:
This fresco depicts the most scary story betrayal and manifestation of the most selfless love. The main characters are the teacher and the student who betrayed him. Both know what will happen and both will not make an attempt to change anything.
The picture of the last meal of Jesus with the apostles was recreated by many painters, but no one, neither before nor after Leonardo da Vinci, was able to convey the drama of the New Testament narrative with such expressiveness. Unlike other artists, Leonardo did not paint an icon; he was interested in non-church dogmas, but human feelings The Savior and his disciples. Thanks to the techniques used by the master, observers seem to find themselves inside the fresco. No other painting on the theme of the Last Supper can compare with uniqueness of the composition and drawing of details Leonardo's masterpiece.
The work is believed to depict the moment when Jesus utters the words that one of the apostles will betray him (“and while they were eating, he said, “Truly I say to you, one of you will betray Me”), and the reaction of each of them.
As in other depictions of the Last Supper of that time, Leonardo places those sitting at the table on one side so that the viewer can see their faces. Most previous writings on the subject excluded Judas, placing him alone at the opposite end of the table from where the other eleven apostles and Jesus sat, or depicting all the apostles except Judas with a halo. Judas clutches a small pouch, perhaps representing the silver he received for betraying Jesus, or an allusion to his role among the twelve apostles as treasurer. He was the only one with his elbow on the table. Knife in hand Petra, pointing away from Christ, perhaps refers the viewer to the scene in the Garden of Gethsemane during the arrest of Christ.
Gesture of Jesus can be interpreted in two ways. According to the Bible, Jesus predicts that his betrayer will reach out to eat at the same time he does. Judas reaches for the dish, not noticing that Jesus is also stretching out his right hand to him. At the same time, Jesus points to bread and wine, symbolizing the sinless body and shed blood respectively.
The figure of Jesus is positioned and illuminated in such a way that the viewer's attention is drawn primarily to him. The head of Jesus is at a vanishing point for all lines of perspective.
The painting contains repeated references to the number three:
The apostles sit in groups of three;
behind Jesus there are three windows;
the contours of the figure of Christ resemble a triangle.
The light illuminating the entire scene does not come from the windows painted behind, but comes from the left, just like real light from the window on the left wall.
In many places the picture passes golden ratio; for example, where Jesus and John, who is on his right, put their hands, the canvas is divided in this ratio.
How to visit the Last Supper fresco by Leonardo da Vinci in Milan:
Viewing of the fresco is carried out groups of up to 30 people. Be sure to book your ticket in advance, and the reservation must be paid immediately. There are many websites that sell tickets at exorbitant prices, but it is more profitable and reliable to buy on the official website of the Italian Ministry of Culture www.vivaticket.it.
Tickets can be purchased online, but this is very difficult and almost impossible during the peak tourist season, so it is advisable to take care of purchasing tickets well in advance of your trip.
20 minutes before the show, in the building to the left of the church, you need to exchange your reservation slips for the tickets themselves. The entrance to the “Last Supper” is also located there.
Ticket prices:
An adult ticket costs 10 euros + 2 euros booking fee.
Book by phone: +39 02 92800360
Ticket sales:
FROM DECEMBER 13 ticket sales for the month of March
FROM JANUARY 12 ticket sales for the month of April
FROM FEBRUARY 8 ticket sales for the month of May
FROM MARCH 8 ticket sales for the month of June
Opening hours of the Church of Santa Maria delle Grazie:
8.15 -19.00, break from 12.00 to 15.00.
On holidays and holidays The church is open from 11.30 to 18.30. Closed: January 1, May 1, December 25.
How to get to Santa Maria delle Grazie:
by tram 18 towards Magenta, stop Santa Maria delle Grazie
by metro line M2, stop Conciliazione or Cadorna
Vyacheslav Adrov:
Announcement...
In Milan, in the Church of Santa Maria della Grazie there is a famous fresco that has haunted numerous researchers of the personality of its author for hundreds of years. Since this is Leonardo himself, it is believed that there must be some kind of secret or, at least, a riddle in his work. There are many ideas and versions about secret messages embedded in the fresco. For example, Dan Brown's version, which caused a lot of noise in the art world. I, like everyone else, took a close look at the image and, guess what, it seems to me that I understood its additional meaning (if it was intended)! And Dan Brown's version is just a superficial reaction to the detail necessary to reflect the author's holistic intent. Moreover, there is a detail (a effeminate figure next to Christ) that carries a completely different meaning. No hints about the life partner of Christ!
In order to preserve the emotionality and dynamics of thoughts, I decided to write down thoughts and intellectual impulses as they arise and are realized. Thus, I maintained the atmosphere of research, writing down the next portion of mental developments; I still don’t know whether they will be useful in the future and, generally speaking, how will it all end? Will there be any interesting results? That's why the genre is indicated in the subtitle.
The mystery of Leonardo da Vinci's fresco "The Last Supper"
(detective investigation of one biased viewing of the famous fresco)
Part 1.
I start as usual. Returning from another trip organized by the “7 Peaks Club”, sitting in a rocking chair, wrapped in a blanket, looking at the raging fiery tongues of the fireplace stove and sipping... (insert yourself: pipe, cigar, cognac, Calvados,...), I thought about and I assessed the results of the trip and prepared for the next one. And then a reproduction of the fresco “The Last Supper” by Leonardo da Vinci caught my eye (or popped into my imagination). As befits a normal traveler, I, of course, was in that very refectory of the monastery of Santa Maria della Grazie in Milan. And, of course, I admired (and now even more so) one of the master’s greatest creations (although almost nothing is visible on it, photo 1).
Briefly, to refresh your memory. The fresco (although, in fact, this image is not a fresco due to the peculiarities of the technology for its creation) has dimensions of 450 * 870 cm and was created in the period from 1495 to 1498 by order of Duke Ludovico Sforza and his wife Beatrice d’Este. Because it was not created like a typical fresco - painted with egg tempera on a dry wall covered with layers of resin, plaster and mastic - it began to deteriorate very early and was restored many times. At the same time, the attitude of restorers towards it was not always distinguished by such reverence as is customary now - faces and figures were corrected, various technologies for applying paint and protective coating were used. When trying to move it to another place in 1821, it was almost destroyed. There is nothing to say about the attitude of the French occupiers towards it, who set up an armory and prison prisoners in the monastery (there was such an episode in the history of the refectory).
A little about the plot. It is inspired by the biblical story of Jesus' last dinner with his disciples, where he said that one of those present would betray him. According to most art critics, Leonardo’s work most expressively of all similar works on this subject conveys the degree of the apostles’ emotional reaction to these words of Jesus.
How long has this fresco existed (more than 500 years), for the same number of years researchers and interpreters have been studying this work, finding or trying to find secret signs, symbols, riddles, messages,... Here there is surprise at the quality of the conveyed perspective, evidence of the use of the golden ratio, the search for the secret of the number 3 (3 windows, 3 groups of apostles, a triangle of the figure of Christ). Someone sees on the fresco an image of Mary Magdalene (with the female symbol V and the symbol M associated with her name - this is about Dan Brown), or John the Baptist with his favorite gesture - the index finger raised up. I'm interested in all this, but not very much. As our man - an engineer - Leonardo must be practical, although the historical situation makes its own adjustments to the need to use the “Aesopian language”, and he could leave a DATE on his work! Which one? This is his choice, but the date is important for himself or for the entire World of the event. And I started looking for it in the image!
Let me remind you that the most reliable way of fixing dates, which does not depend on chronology systems, calendar reforms, the duration of the reigns of kings and dukes, the founding and destruction of cities, and even assigning the date of the creation of the World, is by the stars, i.e., drawing up a horoscope! And this method was widely used not only in the Middle Ages. You may ask why I suddenly decided that there might be a date on the image? It seems to me that the author gladly took advantage of the great chance associated with the number 12. 12 hours, 12 months, 12 signs of the Zodiac, 12 apostles,... Well, I’ll also say about the horoscope. It uniquely determines the date if the locations of even seven planets visible to the naked eye in the constellations at the time of observation are indicated. Repetitions of such combinations are very rare and occur after hundreds of thousands of years! (With fewer accurately indicated planets, the repetition period is shorter, but there are still very high chances of accurately indicating the date on historical period.) Since modern calculation methods based on the laws of celestial mechanics make it possible to restore the position of the planets in the sky at any moment, to determine the date, all that remains is to correctly set the initial data - that is, the location of the planets according to the constellations on the desired day.
So, I begin to peer and examine.
Apostles. Most likely (due to their number) these are symbols of the zodiac signs. But how can signs be distributed between characters, and who corresponds to which sign? Several comments immediately arise.
In many images of this plot, including on icons, judging by appearance characters, not only is the seating order inconsistent, but they also sit sometimes in a row, sometimes in a circle, sometimes in groups, that is, there seems to be no canonical order (traditional). For a long time, they could not identify all the characters in Leonardo’s image. Only four were reliably identified (out of 13!): Judas, John, Peter and Christ. Allegedly, in the 19th century, the diaries of Leonardo himself were “discovered” and everything was determined (there were also clues in the form of signatures under the characters on some modern copies of the fresco). Due to the dynamic arrangement of the figures - their “mixing”, “peeking out” from behind each other friend - there is a possibility that the constellations (if they are there) are not in zodiacal order.
One way or another, in accordance with prevailing ideas, the fresco depicts (from left to right, in the order of the FACES):
Bartholomew, Jacob Alpheus, Andrew, Judas Iscariot, Peter, John, Jesus Christ, Thomas, James Zebedee, Philip, Matthew, Judas Thaddeus, Simon.
To identify signs by which one could recognize allusions to the signs of the zodiac in the apostles, I tried to collect available factual information about the biographies of the characters, not yet knowing what of this might be useful (Table 1):
Their other names and nicknames;
The order of calling by Christ (only the first four are known);
Approximate age based on visual assessment of images (more by copy unknown artist(photo2);
The degree of kinship with Christ and the other apostles (who is interested in this topic, I recommend literature, except, of course, the Gospels: James D. Tabor “The Dynasty of Jesus” (AST, 2007), Michael Baigent “The Papers of Jesus” (Exmo, 2008), Robert Ambelain “ Jesus or the Deadly Secrets of the Templars" (Eurasia, 2005), V.G. Nosovsky, A.T. Fomenko "Tsar of the Slavs" (Neva, 2005), "Apocryphal Tales (Patriarchs, Prophets and Apostles)" edited by V. Vitkovsky. (Amphora, 2005));
The occupation of the apostles before their ministry;
Circumstances of death;
Location of the graves and relics of the apostles.
I invite those who wish to clarify and add details to fill out the table more completely - it is very entertaining, and the information may be useful.
Finding information to fill out this table was a very interesting and educational process, but it did not give me any of the ideas I needed!
Let's continue. Since Leonardo arranged the apostles in groups of 3 people, and even mixed them up there, then maybe the order of the signs is not important for him? What if we play around with these threes - these are groupings of signs by types of elements?! Fire, earth, air, water? And what - 4 groups of 3 signs! Or maybe we should take into account the figure of Christ as a sign of the zodiac, and exclude Judas from consideration altogether!? After all, in almost all images of the Last Supper, artists separated Judas from the rest - either painted with very dark colors, or turned his face away from the viewer, or, as in the icons, deprived him, unlike the others, of a halo. And then - what sign can the figure of Christ represent? Maybe his sign is Capricorn? Then the division into groups seems to be broken and the division into groups itself loses its meaning (if there is one). Yes, and Leonardo’s Judas is not very humiliated by visual means. He, like 7 (!) other of the 12 apostles, is depicted in profile, but only slightly more turned away from the viewer.
Let's look further at the details of the image. Items on the table: maybe there are clues somewhere - filling and placement of glasses, placement of breads, plates, salt shakers, other items,...? Elements, colors of clothing,...? Hairstyles, degree of gray hair, presence and length of beard, ...? Stop! Beard! There are seven visible planets in total that were known before the invention of Galileo’s tube, together with the Sun and Moon, and also Mercury, Venus, Mars, Jupiter and Saturn. Thus, the maximum number of pointers to planets is 7. We count beards: total, different lengths, there are 8 of them. Along with Jesus’ beard. But maybe his beard shouldn’t be counted? I wonder who then is the Sun if not him?! Let's go further - hands. Who's holding what? Maybe some combinations on the fingers? Their relative position? We fill out the table further so that it is always before our eyes. Maybe not right away, but something will open up?
I'm rocking in a chair, sipping... Or maybe the bearded ones are planets after all, and, for example, some kind of comet? But, of the seven planets, two - feminine: Venus and the Moon, it’s somehow difficult to associate them with beards too. Let's take a closer look at the apostles: the artist gave two figures a clear effeminate appearance: John and Philip - both their faces and poses with crossed arms. Maybe this is a hint at “female planets”? I’m rocking in my chair again: Leonardo da Vinci during his lifetime did not intend to be famous for centuries and wrote the fresco for the Customer and his contemporaries, so that with a little mental effort they could understand his additional message (except for the semantic and aesthetic).
What's in Judas's hand? And Peter’s too? No, Judas apparently has a bag of silver, which he will soon receive, and Peter has a knife, probably as a symbol of his future (ostentatious?) determination in the process of detaining Jesus. All this is semantic attributes.
Still, we need to decide. I'm putting forward a hypothesis. The viewer's gaze is instinctively drawn to the figure of Jesus - this is God, this is the Sun! On his right hand is a young, but very energetic and aggressive man (John), whom Jesus, like his brother Jacob of Zebedee, called Boanerges (Boanerges) - apparently, “very, twice as energetic”! They reacted very aggressively and sometimes with anger to injustice, humiliation and insults and to things that were not going the way they would like! Moreover, completely in the style of the Caucasians, so that Christ had to restrain them! (this is where the previously collected information in table 1 came in handy -
This implies that they had the appropriate hormonal background and secondary sexual characteristics. And how we see this aggressive person in Leonardo - yes, she is a humble girl, such that some (Dan Brown) consider her a woman - Mary Magdalene! With such an obvious discrepancy, Leonardo hints - this is the constellation Virgo! And now let us once again pay attention to Jacob of Zebedee, whose figure (and NOT FACE) is closest to the left of Christ. He spread his arms in different directions. According to commentators, he restrains the apostles who emotionally perceived the words of Christ (or, perhaps, physically protects Jesus from a possible uncontrolled release of energy (that’s him, Boanerges!). And what do I see? With his spread arms, he looks like... Libra! !! Then it turns out that Jesus the Sun is located between the constellations of Virgo and Libra! And all the signs are lined up in the usual order - from Aries to Pisces! And where are the other planets, except the Sun? laid out tables, printouts of the fresco. Mama Mia! (I’m hitting myself on the forehead!) Here they are, the signs of the planets! Just in the most obvious place! No racking my brain! Eh, I’m out of ink! hand, and I’ll rock a little in the chair.
I draw your attention - since we identified Jacob the Elder with Libra, this means that the constellations are distributed not in the order of the PERSONS, but in the order of the seated FIGURES!
“The Last Supper” (Italian: Il Cenacolo or L’Ultima Cena) - fresco by Leonardo da Vinci depicting the scene last supper Christ with his disciples. Created in 1495-1498 in the Dominican monastery of Santa Maria delle Grazie in Milan.
General information
The dimensions of the image are approximately 450x870 cm, it is located in the refectory of the monastery, on the back wall. The theme is traditional for this type of premises. The opposite wall of the refectory is covered with a fresco by another master; Leonardo also put his hand to it.
Leonardo da Vinci. Last Supper, 1495-1498. Ultima price. 460×880 cm. Santa Maria delle Grazie, Milan
Photo clickable
The painting was commissioned by Leonardo from his patron, Duke Ludovico Sforza and his wife Beatrice d'Este. The lunettes above the fresco, formed by a ceiling with three arches, are painted with the Sforza coat of arms. The painting began in 1495 and was completed in 1498; work proceeded intermittently. The date of the start of work is not certain, since "the archives of the monastery were destroyed, and the negligible part of the documents that we have dates back to 1497, when the painting was almost completed."
Three early copies of the fresco are known to exist, presumably by an assistant of Leonardo.
The painting became a milestone in the history of the Renaissance: the correctly reproduced depth of perspective changed the direction of the development of Western painting.
Technique
Leonardo painted The Last Supper on a dry wall, and not on wet plaster, so the painting is not a fresco in true meaning words. The fresco cannot be changed during work, and Leonardo decided to cover stone wall a layer of resin, plaster and mastic, and then write on this layer with tempera. Due to the chosen method, the painting began to deteriorate just a few years after the completion of the work.
Figures depicted
The apostles are depicted in groups of three, located around the figure of Christ sitting in the center. Groups of apostles, from left to right:
Bartholomew, Jacob Alfeev and Andrey;
Judas Iscariot (clothed in green and blue color), Peter and John;
Thomas, James Zebedee and Philip;
Matthew, Judas Thaddeus and Simon.
In the 19th century they were found notebooks Leonardo da Vinci with the names of the apostles; previously only Judas, Peter, John and Christ had been identified with certainty.
Analysis of the picture
The fresco is believed to depict the moment when Jesus utters the words that one of the apostles will betray him (“and while they were eating, he said, “Truly I say to you, one of you will betray me,” and the reaction of each of them.
As in other depictions of the Last Supper of the time, Leonardo places those sitting at the table on one side so that the viewer can see their faces. Most previous writings on the subject excluded Judas, placing him alone at the opposite end of the table from where the other eleven apostles and Jesus sat, or depicting all the apostles except Judas with a halo. Judas clutches a small pouch, perhaps representing the silver he received for betraying Jesus, or an allusion to his role among the twelve apostles as treasurer. He was the only one with his elbow on the table. The knife in Peter's hand, pointing away from Christ, perhaps refers the viewer to the scene in the Garden of Gethsemane during the arrest of Christ.
Jesus' gesture can be interpreted in two ways. According to the Bible, Jesus predicts that his betrayer will reach out to eat at the same time he does. Judas reaches for the dish, not noticing that Jesus is also stretching out his right hand to him. At the same time, Jesus points to bread and wine, symbolizing the sinless body and shed blood respectively.
The figure of Jesus is positioned and illuminated in such a way that the viewer's attention is drawn primarily to him. The head of Jesus is at a vanishing point for all lines of perspective.
The painting contains repeated references to the number three:
the apostles sit in groups of three;
behind Jesus there are three windows;
the contours of the figure of Christ resemble a triangle.
The light illuminating the entire scene does not come from the windows painted behind, but comes from the left, like the real light from the window on the left wall.
In many places in the painting there is a golden ratio, for example where Jesus and John, who is to his right, put their hands, the canvas is divided in this ratio.
Damage and restoration
Already in 1517, the paint of the painting began to peel off due to moisture. In 1556, biographer Leonardo Vasari described the painting as being badly damaged and so deteriorated that the figures were almost unrecognizable. In 1652, a doorway was made through the painting, later blocked with bricks; it can still be seen in the middle of the base of the painting. Early copies suggest that Jesus' feet were in a position that symbolized his impending crucifixion. In 1668, a curtain was hung over the painting for protection; instead, it blocked the evaporation of moisture from the surface, and when the curtain was pulled back, it scratched the peeling paint.
The first restoration was undertaken in 1726 by Michelangelo Belotti, who filled in the missing places oil paint, and then covered the fresco with varnish. This restoration did not last long, and another was undertaken in 1770 by Giuseppe Mazza. Mazza cleaned up Belotti's work and then extensively rewrote the mural: he rewrote all but three faces, and then was forced to stop the work due to public outrage. In 1796, French troops used the refectory as an armory; they threw stones at the paintings and climbed ladders to scratch out the apostles' eyes. The refectory was then used as a prison. In 1821 Stefano Barezzi, known for his ability to remove frescoes from walls with extreme care, was invited to move the painting to a safer place; he seriously damaged the central section before realizing that Leonardo's work was not a fresco. Barezzi attempted to reattach the damaged areas with glue. From 1901 to 1908, Luigi Cavenaghi carried out the first thorough study of the structure of the painting, and then Cavenaghi began clearing it. In 1924, Oreste Silvestri carried out further clearing and stabilized some parts with plaster.
During World War II, on August 15, 1943, the refectory was bombed. Sandbags prevented bomb fragments from entering the painting, but vibration could have had a detrimental effect.
In 1951-1954, Mauro Pelliccoli carried out another restoration with clearing and stabilization.
Main restoration
In the 1970s, the fresco looked badly damaged. From 1978 to 1999, under the leadership of Pinin Brambilla Barcilon, a large-scale restoration project was carried out, the goal of which was to permanently stabilize the painting and get rid of the damage caused by dirt, pollution and improper restorations of the 18th and 19th centuries. Since it was impractical to move the painting to a quieter environment, the refectory itself was converted into such a sealed, climate-controlled environment, which required bricking up the windows. Detailed research was then carried out to determine the original form of the painting using infrared reflectoscopy and examination of core samples, as well as original cartons from the Royal Library of Windsor Castle. Some areas were considered beyond repair. They were re-painted in muted watercolors to show, without distracting the viewer's attention, that they were not an original work.
The restoration took 21 years. On May 28, 1999, the painting was opened for viewing. Visitors must book tickets in advance and can only spend 15 minutes there. When the fresco was unveiled, heated debate arose over the dramatic changes in colors, tones and even the ovals of the faces of several figures. James Beck, a professor of art history at Columbia University and founder of ArtWatch International, had a particularly harsh assessment of the work.
Santa Maria delle Grazie
Leonardo da Vinci is the most mysterious and unstudied personality of past years. Some ascribe to him a gift from God and canonize him as a saint, while others, on the contrary, consider him an atheist who sold his soul to the devil. But the genius of the great Italian is undeniable, since everything that the hand of the great painter and engineer ever touched was instantly filled with hidden meaning. Today we will talk about the famous work “The Last Supper” and the many secrets it hides.
Location and history of creation:
The famous fresco is located in the church of Santa Maria delle Grazie, located in the square of the same name in Milan. Or rather, on one of the walls of the refectory. According to historians, the artist specifically depicted in the picture exactly the same table and dishes that were in the church at that time. By this he tried to show that Jesus and Judas (good and evil) are much closer to people than they seem.
The painter received the order to paint the work from his patron, the Duke of Milan Ludovico Sforza in 1495. The ruler was famous for his dissolute life and from a young age was surrounded by young bacchantes. The situation did not change at all because the Duke had a beautiful and modest wife, Beatrice d’Este, who sincerely loved her husband and, due to her meek disposition, could not contradict his way of life. It must be admitted that Ludovico Sforza sincerely revered his wife and was attached to her in his own way. But the dissolute duke felt the true power of love only at the moment of the sudden death of his wife. The man's grief was so great that he did not leave his room for 15 days. And when he came out, the first thing he did was order a fresco from Leonardo da Vinci, which his late wife had once asked for, and forever stopped all entertainment at court.
Pictured is the Church of Santa Maria delle Grazie.
The work was completed in 1498. Its dimensions were 880 by 460 cm. Many connoisseurs of the artist’s work agreed that “The Last Supper” can best be viewed if you move 9 meters to the side and rise 3.5 meters up. Moreover, there is something to see. Already during the author’s lifetime, the fresco was considered his best work. Although, calling the painting a fresco would be incorrect. The fact is that Leonardo da Vinci wrote the work not on wet plaster, but on dry plaster, in order to be able to edit it several times. To do this, the artist applied a thick layer of egg tempra to the wall, which subsequently did a disservice, beginning to collapse just 20 years after the painting was painted. But more on that a little later.
The photo shows the Last Supper in the refectory.
Idea of the piece:
“The Last Supper” depicts the last Easter dinner of Jesus Christ with his disciples and apostles, held in Jerusalem on the eve of his arrest by the Romans. According to scripture, Jesus said during a meal that one of the apostles would betray him. Leonardo da Vinci tried to depict the reaction of each of the students to the prophetic phrase of the Teacher. To do this, he walked around the city, talked to ordinary people, made them laugh, upset them, and encouraged them. And at the same time he observed the emotions on their faces. The author's goal was to depict the famous dinner from a purely human point of view. That is why he depicted everyone present in a row and did not draw a halo above anyone’s head (as other artists liked to do)
Pictured: Sketch of the Last Supper
1. According to historians, Leonardo da Vinci had the hardest time writing two characters: Jesus and Judas. The artist tried to make them the embodiment of good and evil, so for a long time he could not find suitable models. One day, an Italian saw a young singer in a church choir - so spiritual and pure that there was no doubt: here he was - the prototype of Jesus for his “Last Supper”. But, despite the fact that the image of the Teacher was painted, Leonardo da Vinci corrected it for a long time, considering it insufficiently perfect.
The last unwritten character in the picture was Judas. The artist spent hours wandering through the worst places, looking for a model to paint among the degraded people. And now, almost 3 years later, he got lucky. An absolutely degenerate guy was lying in a ditch, in a state of severe alcoholic intoxication. The artist ordered him to be brought to the studio. The man could hardly stand on his feet and had no idea where he was. However, after the image of Judas was painted, the drunkard approached the picture and admitted that he had already seen it before. To the author’s bewilderment, the man replied that three years ago he was completely different, led a correct lifestyle and sang in the church choir. It was then that some artist approached him with a proposal to paint Christ from him. Thus, according to historians, Jesus and Judas were based on the same person at different periods of his life. This once again emphasizes the fact that good and evil go so close that sometimes the line between them is imperceptible.
By the way, while working, Leonardo da Vinci was distracted by the abbot of the monastery, who constantly hurried the artist and argued that he should paint a picture for days, and not stand in front of it in thought. One day the painter could not stand it and promised the abbot to write off Judas from him if he did not stop interfering in the creative process.
The photo shows Jesus and Mary Magdalene.
2. The most discussed secret of the fresco is the figure of the disciple located at the right hand of Christ. It is believed that this is none other than Mary Magdalene and her location indicates the fact that she was not Jesus' mistress, as is commonly believed, but his legal wife. This fact is confirmed by the letter “M”, which is formed by the contours of the couple’s bodies. Supposedly it means the word "Matrimonio", which translated means "marriage". Some historians argue with this statement and insist that Leonardo da Vinci's signature - the letter "V" - is visible in the painting. The first statement is supported by the mention that Mary Magdalene washed Christ’s feet and dried them with her hair. According to traditions, only a legal wife could do this. Moreover, it is believed that the woman was pregnant at the time of her husband’s execution and subsequently gave birth to a daughter, Sarah, who marked the beginning of the Merovingian dynasty.
3. Some scholars argue that the unusual arrangement of the students in the picture is not accidental. They say that Leonardo da Vinci placed people according to... zodiac signs. According to this legend, Jesus was a Capricorn and his beloved Mary Magdalene was a virgin.
Pictured is Mary Magdalene
4. It is impossible not to mention the fact that during the bombing during the Second World War, a shell that hit the church building destroyed almost everything except the wall on which the fresco was depicted. Although, the people themselves not only did not take care of the work, but also treated it in a truly barbaric manner. In 1500, a flood in the church caused irreparable damage to the painting. But instead of restoring the masterpiece, in 1566 the monks made a door in the wall depicting the Last Supper, which “cut off” the characters’ legs. A little later, the Milanese coat of arms was hung over the Savior’s head. And at the end of the 17th century, the refectory was turned into a stable. The already dilapidated fresco was covered with manure, and the French competed with each other: who would hit the head of one of the apostles with a brick. However, The Last Supper also had fans. The French king Francis I was so impressed by the work that he seriously thought about how to transport it to his home.
The photo shows the Last Supper fresco.
5. No less interesting are the thoughts of historians about the food depicted on the table. For example, near Judas Leonardo da Vinci depicted an overturned salt shaker (which at all times was considered a bad omen), as well as an empty plate. But the biggest point of controversy is still the fish in the picture. Contemporaries still cannot agree on what is painted on the fresco - a herring or an eel. Scientists believe that this ambiguity is not accidental. The artist specifically encrypted the hidden meaning in the painting. The fact is that in Italian “eel” is pronounced “aringa”. We add one more letter, and we get a completely different word - “arringa” (instruction). At the same time, the word "herring" is pronounced in northern Italy as "renga", which means "one who denies religion." For the atheist artist, the second interpretation is closer.
As you can see, in one single picture there are hidden many secrets and understatements, which more than one generation has been struggling to uncover. Many of them will remain unsolved.
