Leonardo da Vinci’s “Last Supper”

Occasionally I have joined that crowd, before Leonardo da Vinci’s “Last Supper,” in the former whitewashed refectory of Santa Maria delle Grazie, checking in on a beloved, hospice-bound but faded relative, expecting to make the most of the allotted 15 minutes tourists are permitted. Jesus delivers his message of betrayal, as always, and the shock wave disperses his apostles above the broad white tablecloth like bowling pins.





Born out of wedlock to a notary, Piero da Vinci, and a peasant woman, Caterina, at Vinci in the region of Florence, Leonardo was educated in the studio of the renowned Florentine painter, Verrocchio. Much of his earlier working life was spent in the service of Ludovico il Moro in Milan. He later worked in Rome, Bologna and Venice and spent his last years in France, at the home awarded him by Francis I.
Leonardo was and is renowned primarily as a painter. Among his works, the Mona Lisa is the most famous and most parodied portrait and The Last Supper the most reproduced religious painting of all time, with their fame approached only by Michelangelo's Creation of Adam. Leonardo's drawing of the Vitruvian Man

The Last Supper (Italian: Il Cenacolo or L'Ultima Cena) is a 15th century mural painting in Milan created by Leonardo da Vinci for his patron Duke Ludovico Sforza and his duchess Beatrice d'Este. It represents the scene of The Last Supper from the final days of Jesus as it is told in the Gospel of John 13:21, when Jesus announces that one of his Twelve Apostles would betray him.





Why da Vinci's The Last Supper Was Created

Leonardo da Vinci worked for Ludovico Sforza, Duke of Milan, for nearly eighteen years. The Duke decided he wanted this particular religious scene painted and Leonardo, decided painting it made perfect financial sense.
Facts About da Vinci's The Last Supper

The painting is huge, 460 x 880 cm and it covers an entire large wall. The original mural is on a wall of the refectory in the Convent of Santa Maria delle Grazie in Milan, Italy. da Vinci began working on it in 1495, and finished Last Supper in 1498. It's a remarkable composition because the disciples are all displaying very human, identifiable emotions. Secondly, every single element of the painting directs one's attention straight to the midpoint of the composition, Christ's head.
What da Vinci Interpreted to Create the Last Supper

Last Supper is Leonardo's visual interpretation of an event chronicled in all four of the Gospels. The evening before Christ was betrayed by one of his disciples, he gathered them together to eat, told them he knew what was coming and washed their feet. As they ate and drank together, Christ gave the disciples explicit instructions on how to eat and drink in the future, in remembrance of him. It was the first celebration of the Eucharist, a ritual still performed.



The Last Supper specifically portrays the reaction given by each apostle when Jesus said one of them would betray him. All twelve apostles have different reactions to the news, with various degrees of anger and shock. The apostles are identified from a manuscript (The Notebooks of Leonardo Da Vinci p. 232) with their names found in the 19th century. (Before this, only Judas, Peter, John and Jesus were positively identified.) From left to right:

Bartholomew, James, son of Alphaeus and Andrew form a group of three, all are surprised.
Judas Iscariot, Peter and John form another group of three. Judas is wearing green and blue and is in shadow, looking rather withdrawn and taken aback by the sudden revelation of his plan. He is clutching a small bag, perhaps signifying the silver given to him as payment to betray Jesus, or perhaps a reference to his role within the 12 disciples as treasurer.He is also tipping over the salt shaker. This may be related to the near-Eastern expression to "betray the salt" meaning to betray one's Master. He is the only person to have his elbow on the table and his head is also horizontally the lowest of anyone in the painting. Peter looks angry and is holding a knife pointed away from Christ, perhaps foreshadowing his violent reaction in Gethsemane during Jesus' arrest. The youngest apostle, John, appears to swoon.
Jesus.

Apostle Thomas, James the Greater and Philip are the next group of three. Thomas is clearly upset; James the Greater looks stunned, with his arms in the air. Meanwhile, Philip appears to be requesting some explanation.
Matthew, Jude Thaddeus and Simon the Zealot are the final group of three. Both Jude Thaddeus and Matthew are turned toward Simon, perhaps to find out if he has any answer to their initial questions.

In common with other depictions of The Last Supper from this period, Leonardo seats the diners on one side of the table, so that none of them have their backs to the viewer. Most previous depictions excluded Judas by placing him alone on the opposite side of the table from the other eleven disciples and Jesus or placing halos around all the disciples except Judas. Leonardo instead has Judas lean back into shadow. Jesus is predicting that his betrayer will take the bread at the same time he does to Saints Thomas and James to his left, who react in horror as Jesus points with his left hand to a piece of bread before them. Distracted by the conversation between John and Peter, Judas reaches for a different piece of bread not noticing Jesus too stretching out with his right hand towards it. (Matthew 26: 23). The angles and lighting draw attention to Jesus, whose head is located at the vanishing point for all perspective lines.

The painting contains several references to the number 3, which represents the Christian belief in the Holy Trinity. The Apostles are seated in groupings of three; there are three windows behind Jesus; and the shape of Jesus' figure resembles a triangle. There may have been other references that have since been lost as the painting deteriorated.