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The Last Suppern of Leonardo da Vinci
By BRO. GERALD CORBETT, 0. P.
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OT only in the religious and intellectual worlds have the
sons of Saint Dominic ever held a foremost place, but
in the artistic world as well the Friar Preacher holds a
unique and enviable position . Besides having given to
the world such artists as the masterful Fra Angelico, a~d Raph~
ael’s master-who was Angelico’s brother-the Fra Bartolomeo
della Porta, the Dominicans have ever realized the quickness and
effectiveness by which the human heart can be reached through
the medium of a l;>eautiful painting. Blessed Jordan of Rival to
voiced a thoroughly Dominican conviction when he said, “Art
is the quasi-daughter of preaching.” This conviction has found
1ts expression on the richly adorned wa ll s of such glorious edifices as that of St. Mary’s, once the temple of the Minerva, at
Rome, Saint Mark’s and Santa _faria Tovella at Florence, SS.
John and Paul at Venice along with many other European convents of the Order, which were opened to artists not on ly of the
Friars’ ranks but to the best talent of the age as well. In view
of all this it is not surpri ing that what has proven to be the
supreme triumph of the painter’s art was executed on the wall
of a Dominican refectory.
Art critics have never unanimously agreed as to just what
one of the world’s rna terpieces i the greate t of all, yet they
have decided that the “Sistine Madonna” of Raphael, the “Last
Judgment” of :rvfichelangelo and the “Last Supper” of Leonardo
da Vinci form the fine’s t trio of paintings in the world. It remained, then, for public favor to select its choice among this
mighty trio, and that favor has undoubtedly been accorded the
“Last Supper” of da Vinci; for there have been more copies,
prints and reprints of this work than of the other two masterpieces taken together; while Raphael and Angelo both admitted
that if it were not for Leonardo’s great work their efforts would
have never seen the light. As early as the year 1468 a young
Leonardo da V inci
“The greatest genius the world has known.”
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“The Last Supper” of Leonardo da Vinci
Florentine, Leonardo da Vinci by name, had begun t o attract
wide-spread attention through tho e myriad accomplishments
that were to earn for him the title of “the greatest genius the
world ha known.” With the_ sign in g of the peace of Lodi in
1454 the long war between Venice and the Kings of Naples
were at an end and so when Ludovico Sforza, called il Moro ,
ascended the throne of Milan so me severa l yea rs later, peace
reigned supreme. It was a time of rejoicing and feasting and
every new amusement and diversion was so ught. In order to
maintain his hold upon the reins of government Ludovico
sought to appear before his subjects in the dual role of tyrat~t
and philanthropist; with one hand banishing and slaying hi s
enemie , and with the other drawing around him1 the leading
repre entative of cience and art of his day.
Ludovico had not long been Duke when he sent for Leonardo. In a letter still extant written in respo nse to Ludovico’
invitation to Milan, Leonardo gives a list · of his accomplishment which is nothing less than startling. In thi unique document the Florentine describes his inventions of portable bridges,
rapid-fire guns, a t ype of cannon unknown in that day, and “indestructible steel-covered carts bearing artill ery which break
through the enemies’ line”-a remarkable resemblance to the
” tank s” of the late war. Then he ‘goes on to ay~ that in time
of peace he could se rve in the capacity of architect, sculptor,
mathematician, a tronomer, anatomi st, surveyor, poet, geologi t
or phi losopher. Here Mrs. Heaton, in her account of Leonardo,
aptly remarks that uch a letter could have been written only by
a genius or a fool. After s ixteen years spent in the service of
the Sfor”za prince, Leonardo could add a few more accompli shments to this formidable li st; for by this time he had -completed
his model flying machine (which i now in the United States
National Museum at ·washington ) and also that masterpiece of
painting which since his time has been the wonder and despair
of all those who have followed in hi path.
Here it may be interesting to know that it was in none of
the above mentioned capacities that the Duke engaged Leonardo.
Ludovico had heard that da Vinci could play the sweetest and
most harmonious melodies upon the lyre, so it was as musician
t hat Leonardo was introduced to the royal court of Milan. The
new and curious si lver lyre that Leonardo played was of his
“The Last Supper” of Leonardo da Vinci
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own construction and was quite similar to the modern Italian
harp; and being much larger than the other instruments it gave
forth such a strong and sonorous tone that it was heard above
.all the other instruments. Chroniclers of the period tell us that
Leonardo was a handso me youth, possessed an exceptionally fine
voice and was a brilliant improviser of verse which he was wont
to : ing while playing ·for the fete s, ballets, interludes, joust s and
tournaments of which the Renaissance was so fond. At the
time of Louis XU’s entrance into Milan a mechanical lion crossed
the banquet hall, halted before the king and kneeling opened its
brea t, sp reading before him a showe r of fragrant lilies. This
machine was Leonardo’s inveption. Such \·as Leonardo da
Vinci when towards the end of 1482 he entered the services of
LudoYico il Moro.
Leonardo had not long resided at Iilan before he learned
to love the Dominican convent of Santa :Maria Della Grazie and
in the Friars he found true friends and fond admirers of his
genius.
This convent po se sed a miraculou statue and
the Duche
Beatrice’s profound devotion joined to the fitful
pietistic mood s of her husband Ludovico gave o-reat honor to
this sh rine. At one time it seemed as if Ludovico wa determined to make the convent as rich and plendid as the Cathedral
.and the Pavian Cert osa, which the preceding dyna ty had left as
it s monuments. About 1485 the increa ing community at the
convent had outgrown the bui lding and it became necessary to
enlarge many portions of it. under the Duke’s patronage artists,
.architect , culptors and church-jewellers were set to work
ther e. To da Vinci was as igned the re-decoration of the refectory. Here was an opport unity for the fulfillment of the
greatest de ire of Leonardo’ life,-an opportunity to execute a
design hi s heart had lo ng cherished. So about the year 1489 we
find him beginning work on what wa to be hi s chef d’oeuvre,
~’T he Last Supper.”
A few arti ts had treated this subject previously but in an
entirely different way than the great Florentine. They had seen
only a religion significance-the institution of the Holy Euchari t-while Leonardo wi shed to add over and above this a
broader and more human note. He was not content with merely
satisfying devout so ul s for he knew that Christ wished to gain
for himself the souls of all men of all times. He saw not only
“The Laat Supper” of Leonardo da Vinci
James the Less
Peter
John
Bartholomew
Andrew
Judas
Thomas
Chri st
Philip
Matt.
James th e Greater
Thad.
Simon
“The Last Supper” of Leonardo da Vinci
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divine religion in the subject but the human reaction in a dramatic moment a s well. So when the greatest thinker as well
as the greatest painter of the Renaissance brought all the
resourc.es of his master mind to the s ubject of the Last Supper
small wonder that the re sult was a triumph.
When the time came to begin actual work Leonardo dreaded
the undertaking; for he feared that he would never find upon
earth a face that might serve as a model for the Christ. He
spent hours in prayer and meditation, until finally, we are told,
whi le assisting at Mass one morning his eyes fell upon the
countenance of a youth serving the priest. Here was a face that
typified innocence and holiness. The boy’s ser vices were immediately procured and the drawing known as “The Head of
Christ,” now in the Breta Ga ll ery at Milan, was the result. This
more youthful and loveable type of face underwent many
changes, however, before it was thought worthy to represent
the Man-God. Wrinkles were placed on the forehead, a light
beard upon the face, more character was given to the chin,
making the who le more in keeping with the noble masculinity
of the Saviour. The arti st told a friend that his hand trembled
every time he attempted t o paint this face and yet, when it was
completed, it contained the sum of all human grace in mould and
quality. The most perfect express ion of male beauty. Here
it was that Leonardo so lved the problem of all art,-the elevation of the natural by the infu sion of the supernatura l.
Brandello, a contemporary, gives us a g limp se of the da
Vinci of this period when he relates in one of his novels:
” Some gentlemen li ving in Milan were met one day in the friars’
refectory of the convent delle Grazie, where with hushed voices they
·watched Leonardo da Vinci as he worked upon his marvellous picture of
the Last Supper. The painter was much pleased that they should each
tell him what th ey thought of his work. He wou ld often come to the convent at early dawn; and this I have often seen him do myself. Hastily
mounting the scaffolding, he worked diligently until the shades of evening
compelled him to cease, never thinking to take food at all, so absorbed ·
was he in his work. At other times he would remain there three or four
days without touching his picture, only coming for a few hours to remain
before it, with folded arms gazing at his figures as if to criticize them himself. At midday too, when the g lare of a sun at its zenith has made barren
all the streets of Milan, I have seen him hasten from the citadel, where
he was modelling his colossal horse, without seeking the shade, by the
shortest way to the convent, where he would add a touch or two and
immediately return.”
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“The Laat Supper” of Leonardo da Vinci
These mannerisms of da Vinci have given ri e to a number
of anecdotes. One of them concerns the Prior of the convent
who is said to have complained frequently to the Duke about
the dilatoriness of the arti t. Better authorities, however, discredit thi tale. Still one can easily imagine the inconvenience
the community was caused, and this for a number of years. The
main reason for Leonardo’s prolonged d·e lay was his inability to
find suitable characters to pose for him. Giraldi, a chronicler of
the time, tells u of Leonardo’s manner of ecuring models for
hi heads; that after long meditation as to the rank, age and
expression proper to each subject, he used to go into the streets,
and scrutinizing the pa er -by he would transfer to his sketch
book such traits as he could afterwards reunite for the desired
head. His greatest gu ide · were the ~ew Testament and the
live of the Saint which he studied constant ly. -o other painting. perhaps, was founded on such prolonged out-door studies.
of characters. Leonardo almost despaired of finding a face that
could depict the ba eness and hatefulness of Judas; but one
night, in the latter part of 1497, his persistent earch led him to
the less re pectable parts of the city and as he was passing a
certain shop of ill-repute a man came crashing through the door
and fell at the arti t’s feet. A gleam of lamp light streaming
thro ugh the open doorway revealed to the painter the face he
had so eao-e rly and laborio usly sought after. “At la st I have
found the Judas of my painting,” cried da Vinci. The services.
of the degenerate ” ·ere easily procured and he was immediately
brought to the convent delle Grazie. vVhen Leonardo removed
the cu rtain from his nearly-finished ·work the man drew back in.
ho rror and falling upon his knees he confe eel, “Good God! I
once posed as the Christ in this picture.”
The table, which was painted fir st, was an exact copy of
the original from ·which Christ and His apo ties partook of the
Pa ch. It now reposes in the Church of St. John Lateran at
Rome. The table fills the entire extent of the wall and the
figures are a little less than life- ize. The Pascal lamb and other
food stuffs specified for use were carefully reproduced. The
banquet room is designed along the biblical type of architecture
and extremely plain and simple, for Leonardo, like Fra Angelico,
beli eved that when treating a spiritual subject all super fluity of
earthly detail sho uld be eliminated. The lighting comes from the
“The Last Supper” of Leonardo da Vinci
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rloor and two small windows at either side in the back of the
room. The s un has just set and the scarlet rays of twilight tint
the scene. The peaceful hill country is seen in the distance. The
apostles are divided into four groups and placed on three sides of
the table with Christ in the center. The feast wa well under
way when the Master announces, “Amen, amen I say to you.
one of you shall betray lfe” John xiii, 21.
The apostle knew that Jesus wa s to be betrayed but they
had never uspected that the culprit would be one of their own
little ~and. A s soon a s the words were uttered the whole a sembly wa s thrown into utter con fu sion, and it wa s Leonardo’s
purpose to portray the effect these ·w ord s had upon twelve diverse temperament s and personalities. A stupendou s undertak ing to be . ure. Da Vinci paints the soul s of men, and their bodies
serve merely a. the expression of the inward working of the
heart. Here was a departure from all pt·eviou attempts in the
art, the arti st becoming, in a sense, the fir st of the “moderns .’ ‘
The rank-and-file o rder ” ·as avo ided by breaking the company into four group of three; yet, by a imultaneity of action
the harmony of the wh o le wa s preserved. The expression on
the face s and the action of the hand s in pantomime of the highest order. It is a play without word s. The figure of Christ is in
the center. All the perspective lines of the picture converge at
a point of sight covered by His head; thus centering the interest
on thi s great central figure and emphasizing it s importance, the
eye of the spe
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