Artistic Significance of Leonardo's "last Supper"

Artistic Significance of Leonardo's "Last Supper"

Leonardo's "Last Supper" is among the most famous paintings in the world. In its monumental simplicity, the composition of the scene is masterful; the power of its effect comes from the striking contrast in the attitudes of the twelve disciples as counterposed to Christ. Leonardo did not choose the portrayal of the traitor Judas customary in the iconographic tradition; he portrayed, rather, that moment of highest tension as related in the New Testament, "One of you which eateth with me will betray me." All of the Apostles--as human beings who do not understand what is about to occur--are agitated, whereas Christ alone, conscious of his divine mission, sits in lonely, transfigured serenity. Only one other being shares the secret knowledge: Judas, who is both part of and yet excluded from the movement of his companions; in this isolation he becomes the second lonely figure--the guilty one--of the company.

In the profound conception of his theme, in the perfect yet seemingly simple arrangement of the individuals, in the temperaments of the Apostles highlighted by gesture and mimicry, in the drama and at the same time the sublimity of the treatment, Leonardo attained a height of expression that has remained a model of its kind. Untold painters in succeeding generations, among them great masters such as Rubens and Rembrandt, marvelled at Leonardo's composition and were influenced by it. The painting also inspired some of Goethe's finest pages of descriptive prose. It has become widely known through countless reproductions and prints, the most important being those produced by Raffaello Morghen in 1800. Thus, the "Last Supper" has become part of humanity's common heritage and remains today one of the world's outstanding paintings.

Technical deficiencies in the execution of the work have not lessened its fame. Leonardo was uncertain about the technique he should use. He bypassed fresco painting, which, because it is executed on fresh plaster, demands quick and uninterrupted painting, in favour of another technique he had developed: tempera on a base mixed by himself on the stone wall. This procedure proved unsuccessful, inasmuch as the base soon began to be loosened from the wall. Damage appeared by the beginning of the 16th century, and deterioration soon set in. By the middle of the century the work was called a ruin. Later, inadequate attempts at restoration only aggravated the situation, and not until the most modern restoration techniques were applied after World War II was the process of decay halted.

The story behind the painting of the Last Supper is extremely interesting and instructive. Two incidents connected with this painting afford a most convincing lesson on the effects of sin in our lives.

As you know, the figures representing the twelve apostles and Christ himself were painted from living persons. The live model for the painting of the figure of Jesus was chosen first. When it was decided that Da Vinci would paint this great picture, hundreds and hundreds of young men were carefully viewed in an endeavor to find a face and personality of unaffected by sin.

Finally, after weeks of laborious searching a young man, nineteen years of age, was selected as the model for the portrayal of Christ. For six months Da Vinci worked on the production of this leading character of the famous painting. During the next six years Da Vinci continued his labors on his sublime work of art. One by one, fitting persons were chosen to represent each of the eleven apostles, space being left for the painting of the figure representing Judas Iscariot as the final task of this masterpiece.

For weeks Da Vinci searched for a man with hard calloused face, with a countenance marked by scars of avarice, deceit, which would betray his best friend. After many discouraging experiences in searching for the type of person required to represent