Renaissance1495-1498
The Last Supper
Leonardo da Vinci
Curator's Eye
"An experimental fresco located in the refectory of Santa Maria delle Grazie in Milan, painted by Leonardo between 1495 and 1498."
The absolute masterpiece of mural painting, capturing the tragic moment Christ announces the betrayal, revolutionizing the representation of human emotions.
Analysis
Leonardo da Vinci’s Last Supper represents the zenith of the intellectual Renaissance. Unlike traditional depictions that froze the apostles in solemn communion, Leonardo chose to illustrate the "motions of the mind" (moti mentali). By painting the precise moment Jesus utters the words "One of you will betray me," he triggers a psychological shockwave that rippled across the table. Each apostle reacts according to his temperament: Peter’s anger, Judas’s recoil, Thomas’s doubt. This work transforms the biblical narrative into a clinical study of human psychology, where the body becomes the mirror of the soul, a total break from medieval hieratism.
Historically, the work was commissioned by Ludovico Sforza for the Dominican convent. Leonardo, refusing the speed of traditional fresco (buon fresco), invented a hybrid technique of oil and tempera on a dry wall. This artistic choice, while allowing for unparalleled modeling and chromatic depth, proved to be a technical disaster. Even during the artist’s lifetime, humidity began to disintegrate the pigments, turning the masterpiece into a fragile relic. The analysis of the style reveals the masterly use of sfumato and natural lighting that seems to emanate from the actual windows of the room, merging the pictorial space with the architectural space of the refectory.
The secrets of The Last Supper often lie in what the eye does not perceive at first glance. Recent infrared reflectography analyses have confirmed the presence of a nail driven into Christ’s temple, used by Leonardo to trace all the perspective’s vanishing lines. Even more intriguing, a musicological study suggests that the arrangement of the apostles’ hands and the bread on the table forms a hidden musical score, readable from right to left according to Leonardo’s habit, creating a 40-second funeral melody. Judas, often relegated to the shadows, is depicted here on the same plane as the others, but his face is cast in a symbolic shadow, and his hand brushes against Christ’s near the dish, confirming the biblical prophecy.
Another mystery concerns the absence of a chalice. While the Last Supper celebrates the institution of the Eucharist, no Holy Grail is visible on the table, as Leonardo preferred to focus on the human aspect of betrayal rather than the liturgical ritual. Furthermore, during World War II, the refectory was almost completely destroyed by Allied bombing; only a structure of sandbags saved Leonardo’s wall, a survival many consider a modern miracle. Finally, the faces of the apostles are said to have been inspired by real criminals and Milanese citizens Leonardo observed to capture the "truth" of human features.
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What unfortunate technical innovation did Leonardo da Vinci experiment with for The Last Supper, causing its premature degradation?
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