If we talk about the monuments of art and culture of world significance, one cannot fail to mention the paintings of Leonardo da Vinci. And, undoubtedly, one of the most famous is his work " The Last Supper". Someone claims that God's spark inspired the master to write it, and someone insists that for the sake of such skill he sold his soul to the devil. But one thing is undeniable - the skill and thoroughness with which the artist recreated all the nuances of the scene from the Gospel, still remain an unattainable dream for most painters.
So what secrets does this image hide? Read and find out!
The scene of Christ's last supper with his disciples
History of the painting
Leonardo da Vinci received an order to write The Last Supper from his patron, Duke of Milan Ludovico Sforza. This happened in 1495, and the reason was the death of the ruler's wife, the modest and pious Beatrice d'Este. During her lifetime, the famous womanizer Sforza neglected communication with his wife for the sake of entertainment with friends, but still loved her in his own way. The annals note that after the death of his lady, he declared a fifteen-day mourning, praying in his chambers and not leaving them for a minute. And after this period had expired, he ordered the court painter (who at that time was Leonardo) a painting in memory of the deceased.
The fresco is located in the Dominican church of Santa Maria delle Grazie. Its writing lasted for three whole years (whereas it usually took about three months to complete such a picture) and was completed only in 1498. The reason for this was the unusually large size of the work (460 × 880 cm) and the innovative technique used by the master.
Church of Santa Maria delle Grazie. Milan
Leonardo da Vinci did not paint on wet plaster, but on dry plaster in order to be able to see colors and details. In addition, he used not only oil paints, but also tempera - a mixture of pigment and egg white - which also became the reason for the rapid deterioration of the work. The picture began to collapse already twenty years after the artist made the last stroke. Now, in order to preserve it for posterity, a whole range of special events is being carried out. If this is not done, the fresco will completely disappear after 60 years.
Master's idea
Leonardo da Vinci's painting The Last Supper depicts one of the most famous and touching episodes in the Gospel. According to theological calculations, it was she who opened the Lord's path to the cross, as to the last battle with evil and death. At that moment, Christ's love for humanity manifested itself clearly and visibly - He sacrificed the divine light in order to go into death and darkness. Having shared the bread with the disciples, the Lord thereby joined each of us, left His testament. But at the same time, someone may reject this possibility - after all, God is not only love, but also freedom, and this is demonstrated by the act of Judas.
In order to adequately convey this deep and significant scene in colors, Leonardo did a significant preparatory work. As stated in the notes of his contemporaries, he walked the streets of Milan in search of sitters. The master made them laugh, upset and surprised, watched how people quarrel and make peace, confess their love and part - in order to reflect this later in his work. That is why all participants in the Last Supper on the fresco are endowed with individuality, their expression, posture and mood.
The first sketches of the Last Supper. Located in the Venice Academy
In addition, the painter abandoned the traditional icon-painting canons in favor of a realistic and natural image. At that time, writing Jesus and the apostles without the usual crowns, halos and mandorlas (golden radiance around the entire figure) was a rather bold idea, which was even criticized by some priests. But after the completion of the work, everyone unanimously recognized that it was better to convey the divine meal to no one else.
Secrets of the painting The Last Supper by Leonardo da Vinci
It is known that da Vinci was not only a famous artist, but also an inventor, engineer, anatomist, scientist, and some even attribute to him a connection with various mystical societies, of which there were quite a few in Europe in the 15th century. Therefore, thanks to the skill of their creator, the works of Leonardo da Vinci also carry a certain touch of mystery and mystery. And it is precisely around the Last Supper that there are extremely many such prejudices and hoaxes. So, what secrets did the creator encrypt?
According to historians studying the creative heritage of the Renaissance, the most difficult thing was for the master to write Jesus and Judas Iscariot. The Lord was supposed to appear before the audience as the embodiment of kindness, love and piety, while Judas was to become his opposite, a dark antagonist. It is not surprising that da Vinci could not find suitable sitters. But one day during a divine service, he saw a young singer in the church choir - his young face was so spiritual and impeccable that the painter immediately realized that this particular person could become a type of Christ. But even after his figure was painted, the artist corrected and corrected him for a long time, trying to achieve perfection.
The prototype of Judas and Jesus, Leonardo drew from one sitter, not knowing about it
It remains to portray only Iscariot - and again Leonardo could not find right person. He went to the dirtiest and most neglected districts of Milan, wandering for hours in low-class taverns and ports, trying to find someone whose face would serve as a suitable model. And finally, luck smiled at him - in a roadside ditch he saw a drunken man. The artist ordered to take him to the church and, not even allowing him to wake up from intoxication, began to capture the image. After finishing the work, the drunkard said that he had already seen her once, and even participated - only that time they wrote Christ from him ... According to contemporaries, this proved how thin the line between a prosperous life and a fall - and how easy it is to transgress!
It is also interesting that the rector of the church in which the fresco was located often distracted Leonardo da Vinci, pointing out that he should work harder, and not stand for hours in front of the image - and even more so not wander around the city in search of sitters! Finally, the painter was so tired of it that one day he promised the abbot that he would paint Judas with his face if he did not immediately stop commanding and pointing!
Disciple or Mary Magdalene?
There are still discussions about who Leonardo da Vinci depicted in the picture to the left of the Savior. According to some art historians, the gentle, graceful face of this character simply cannot belong to a man, which means that the artist introduced Mary Magdalene, one of the women who followed the Shepherd, into the plot. Some go even further, suggesting that she was the lawful wife of Jesus Christ. Confirmation of this is found in the arrangement of the figures on the fresco - leaning towards each other, they form a stylized letter "M", meaning "Matrimonio" - marriage. Other researchers do not agree with this, assuring that the outlines of bodies can only be combined into the letter "V" - da Vinci's initials.
Jesus and Mary Magdalene on the Last Supper fresco
But there are other confirmations that Magdalene was the wife of Christ. So, in the Gospel you can see references to how she washed His feet with the world and wiped them with her hair (John 12:3), and only a woman who was legally married to a man could do this. In addition, some apocrypha claim that at the time of the crucifixion of the Lord on Calvary, Mary was pregnant, and her daughter Sarah, born to her, became the progenitor of the French royal Merovingian dynasty.
Placement of figures and objects
The Last Supper by Leonardo da Vinci is distinguished not only by the realism and liveliness of human figures - the master carefully worked out the space surrounding them, and the cutlery, and even the landscape. Each feature of the work contains a coded message.
For example, scientists have found that the order in which the figures of the apostles are located on the fresco is not at all accidental - it corresponds to the sequence of the zodiac circle. So, if you follow this pattern, you can see that Jesus Christ was a capricorn - a symbol of moving forward, to new heights and achievements, spiritual development. This sign is identified with Saturn - the deity of time, fate and harmony.
But the mysterious figure next to the Savior, which has already been mentioned above, is located under the sign of the Virgin. This is another proof in favor of the fact that the master showed Mary Magdalene in the picture.
Amber icon "The Last Supper" by Leonardo da Vinci
It is interesting to study the arrangement of objects on the table. In particular, near the hand of Judas, you can see an inverted salt shaker (which was already considered a sign in those days, portending trouble), and besides, his plate is empty. This is a sign that he could not accept the grace bestowed by the coming of the Lord, rejected His gift.
Even the fish served to the diners serves as a reason for disputes. Art critics have long argued what exactly Leonardo depicted. Some say that this is a herring - its Italian name, "aringa", is consonant with "arringare" - teaching, preaching, instruction. But according to others, this is an eel - in the dialect of Eastern Italy it is called "anguilla", which for Italians sounds like "one who rejects religion."
During its existence, the fresco has been under the threat of destruction more than once. So, during World War II, an artillery shell that flew into the window of the church disfigured and partially destroyed all the walls - with the exception of the one where the work was written!
The famous picture still exists - and opens up more and more mysteries before us, the solution of which is yet to be solved. In the meantime, you can admire numerous copies and reproductions made from a variety of materials. For example, The Last Supper from amber, poured out of semi-precious crumbs and inlaid with large stones, is simply amazing - it combines masterful execution and the mystery of the original!
Leonardo da Vinci. The Last Supper. 1495-1498 Monastery of Santa Maria delle Grazia, Milan.
The Last Supper. Without exaggeration, the most famous wall painting. It's hard to see her live though.
It is not in a museum. And in the same refectory of the monastery in Milan, where it was once created by the great Leonardo. You will be allowed there only with tickets. Which need to be bought in 2 months.
I haven't seen the fresco yet. But standing in front of her, questions would have swirled in my head.
Why did Leonardo need to create the illusion of three-dimensional space? How did he manage to create such diverse characters? Next to Christ - John or still Mary Magdalene? And if Mary Magdalene is depicted, then who among the apostles is John?
1. The illusion of presence
Leonardo da Vinci. The Last Supper. 1495-1498 Monastery of Santa Maria delle Grazia, Milan, Italy. wga.hu I thought about harmoniously fitting my work into the environment. He built the perfect perspective. The real space smoothly passes into the space depicted.
The shadows from the plates and bread indicate that the Last Supper is illuminated from the left. In the room just windows on the left. Dishes and tablecloths were also painted the same as in the refectory itself.
Another interesting point. To enhance the illusion, Leonardo demanded that the door be walled up. On the wall where the fresco was supposed to appear.
The refectory was very popular in the city among the townspeople. Food was carried from the kitchen through this door. Therefore, the abbot of the monastery insisted on leaving her.
Leonardo got angry. Threatening that if he does not go to meet him, he will write him to Judas ... The door was walled up.
Food began to be carried from the kitchen through long galleries. She was cooling down. The refectory ceased to bring the same income. This is how Leonardo created the fresco. But he closed the profitable restaurant.
But the result amazed everyone. The first audience was stunned. The illusion was created that you were sitting in the refectory. And next to you, at the next table, is the Last Supper. Something tells me that this kept the diners from gluttony.
After some time, the door was returned. In 1566, the refectory was again connected to the kitchen. Christ's feet were "cut off" by the new doorway. The illusion was not as important as the hot meal.
2. Great work
When a work is ingenious, it seems that its creator had no difficulty in creating it. After all, he is a genius! To give out masterpieces one after another.
In fact, the genius is in the simplicity. Which is created by hard mental labor. Leonardo stood for a long time in front of the work in thought. Trying to find The best decision.
The already mentioned abbot of the monastery was annoyed. He complained to the customer of the fresco. Ludovico Sforza. But he was on the side of the master. He understood that creating masterpieces is not the same as weeding a garden.
Long reflections were incompatible with the fresco technique (painting on wet plaster). After all, it involves fast work. Until the plaster is dry. After that, it is no longer possible to make changes.
So Leonardo decided to take a chance. Applying oil paints to a dry wall. So he had the opportunity to work as much as he wanted. And make changes to the already written.
Leonardo da Vinci. The Last Supper. Fragment. 1495-1498 Monastery of Santa Maria delle Grazia. wga.hu But the experiment was unsuccessful. After a couple of decades, the paint began to fall off from dampness. All 500 years the masterpiece was on the verge of complete destruction. And there is still little chance that our descendants will see it.
3. Psychological reaction
Such a variety of reactions of the characters was not easy for the master. Leonardo understood that people with different characters react very differently to the same words.
Gathered at one table in taverns, he told funny stories or unusual facts. And watch how they react. To then give them the gestures of their heroes.
And here we see how the 12 apostles reacted. To the words of Christ, unexpected for them, “One of you will betray me.”
Leonardo da Vinci. The Last Supper. Fragment. 1495-1498 Monastery of Santa Maria delle Grazia, Milan, Italy Bartholomew got up from the bench and leaned on the table. In this impulse, his readiness to act is visible. As soon as he hears who the traitor is.
Andrei has a completely different reaction. He raised his hands to his chest in slight fright, palms facing the viewer. Like, it's certainly not for me, I'm clean.
And here is another group of apostles. Already on the left hand of Christ.
Leonardo da Vinci. The Last Supper. Fragment. 1495-1498 Monastery of Santa Maria delle Grazia, Milan, Italy Jacob Zevedeev is most shocked by what he heard. He lowered his gaze, trying to comprehend what he was hearing. Opening his arms, he holds back Thomas and Philip who approached. Like, wait, let the Teacher continue.
Thomas points to the sky. God won't allow this. Philip rushed to assure the Teacher that he could believe him. After all, he is not capable of this.
The reactions are very different. No one had ever portrayed this before Leonardo.
Even among contemporaries of Leonardo you will not see this. Like Ghirlandaio, for example. The apostles react, speak. But somehow it's too calm. Monotonously.
Domenico Ghirlandaio. The Last Supper. 1486 Fresco in the Basilica di San Marco, Florence, Italy. wikimedia.commons.org 4. The main mystery of the fresco. John or Mary Magdalene?
According to the official version, the apostle John is depicted on the right hand of Christ. But he is portrayed so feminine that it is easy to believe in the legend of Mary Magdalene.
Leonardo da Vinci. The Last Supper. Fragment. 1495-1498 Monastery of Santa Maria delle Grazia, Milan, Italy And the oval of the face is purely feminine with a pointed chin. And the brow ridges are too smooth. Also long thin hair.
And even his reaction is purely feminine. What he/she heard made him/her uncomfortable. Powerlessly, he/she clung to the apostle Peter.
And his/her hands are folded limply. John, before being called by Christ, was a fisherman. That is, those who pulled a multi-kilogram net from the water.
5. Where is John?
John can be identified in three ways. He was younger than Christ. As we know, before calling he was a fisherman. He also has a brother, also an apostle. So we are looking for a young, strong and similar with one more character. Here are the two contenders.
Although everything can be much more prosaic. The two characters are similar to each other because one person posed for the artist.
And John looks like a woman, because Leonardo was inclined to portray androgynous people. Remember at least the pretty angel from the painting “Madonna in the Rocks” or the effeminate “John the Baptist”.
The Last Supper is certainly one of the most mysterious works brilliant Leonardo da Vinci, with whom only his Gioconda can compete in terms of the number of rumors and conjectures.
After the publication of the novel The Da Vinci Code, the fresco decorating the refectory of the Milanese Dominican monastery of Santa Maria delle Grazie (Chiesa e Convento Domenicano di Santa Maria delle Grazie) attracted the attention of not only art history researchers, but also lovers of all kinds of conspiracy theories. . In today's article, I will try to answer the most popular questions regarding the "Last Supper" by Leonardo da Vinci.
1. WHAT IS THE LAST SUPPER BY LEONARDO CORRECTLY?
Surprisingly, the “Last Supper” only in the Russian version has such a name, in the languages of other countries both the biblical event depicted on the fresco by Leonardo, and the fresco itself has a much less poetic, but very capacious name “The Last Supper”, that is, Ultima Cena in Italian or The Last Supper in English. In principle, the name more accurately reflects the essence of what is happening on the wall painting, because before us is not a secret meeting of conspirators, but the last supper of Christ with the apostles. The second name of the fresco in Italian is Il Cenacolo, which simply translates as “refectory”.
2. HOW DID THE IDEA OF THE LAST SUPPER COME TOGETHER?
Before answering this question, it is necessary to make some clarity about the laws under which the art market lived in the fifteenth century. In fact, the free art market did not exist then, artists, as well as sculptors, worked only if they received an order from rich and influential families or from the Vatican. As you know, Leonardo da Vinci began his career in Florence, many believe that he had to leave the city because of accusations of homosexuality, but, in fact, everything was most likely much more prosaic. It's just that Leonardo had a very strong competitor in Florence - Michelangelo, who enjoyed the great favor of Lorenzo de Medici the Magnificent and took all the most interesting orders for himself. Leonardo arrived in Milan at the invitation of Ludovico Sforza and stayed in Lombardy for 17 years.
Pictured: Ludovico Sforza and Beatrice d'Este
All these years, da Vinci not only made art, but also designed his famous military vehicles, strong and light bridges and even windmills, and was also the artistic director mass events. For example, it was Leonardo da Vinci who organized the wedding of Bianca Maria Sforza (Ludovico's niece) with Emperor Maximilian I of Innsbruck, and, of course, he also arranged the wedding of Ludovico Sforza himself with the young Beatrice d'Este - one of the most beautiful princesses of the Italian Renaissance. Beatrice d'Este was from a wealthy Ferrara, and her younger brother. The princess was well educated, her husband idolized her not only for her amazing beauty, but also for her sharp mind, and, in addition, contemporaries noted that Beatrice was a very energetic person, she took an active part in public affairs and patronized artists.
In the photo: Santa Maria delle Grazie (Chiesa e Convento Domenicano di Santa Maria delle Grazie)
It is believed that the idea to decorate the refectory of the monastery of Santa Maria delle Grazie with a painting on the theme of the last supper of Christ with the apostles belongs to her. The choice of Beatrice fell on this Dominican monastery for one simple reason - the monastery church was, by the standards of the fifteenth century, a structure that surpassed the imaginations of the people of that time, so that the refectory of the monastery deserved to be decorated by the master's hand. Unfortunately, Beatrice d'Este herself never saw the Last Supper fresco, she died in childbirth at a very young age, she was only 22 years old.
3. FOR HOW MANY YEARS LEONARDO DA VINCI WROTE "THE LAST SUPPER"?
There is no correct answer to this question, it is generally accepted that work on the painting began in 1495, went on intermittently, and Leonardo finished around 1498, that is, the year after the death of Beatrice d'Este. However, since the archives of the monastery were destroyed, exact date the beginning of work on the fresco is unknown, one can only assume that it could not have begun before 1491, since Beatrice and Ludovico Sforza were married that year, and, if we focus on the few documents that have survived to this day, then, judging by them, painting was at the final stage already in 1497.
4. IS THE LAST SUPPER BY LEONARDO DA VINCI A FRESCO IN THE STRICT UNDERSTANDING OF THIS TERM?
No, strictly speaking, it is not. The fact is that this type of painting implies that the artist must paint quickly, that is, work on wet plaster and immediately on a clean copy. For Leonardo, who was very meticulous and did not recognize the work right away, this was completely unacceptable, so da Vinci invented a special primer from resin, gabs and mastic and painted The Last Supper dry. On the one hand, he was able to make numerous changes to the painting, and on the other hand, it was precisely because of the painting on a dry surface that the canvas began to collapse very quickly.
5. WHAT IS THE MOMENT DESCRIBED AT LEONARDO'S LAST SUPPER?
The moment when Christ says that one of the disciples will betray him, the focus of the artist's attention is the reaction of the disciples to his words.
6. WHO SITS AT THE RIGHT HAND OF CHRIST: THE APOSTLE JOHN OR MARY MAGDALENE?
There is no unequivocal answer to this question, the rule strictly works here, whoever believes in what he sees. Moreover, the current state of the "Last Supper" is very far from what the contemporaries of da Vinci saw as a fresco. But, it is worth saying, the figure on the right hand of Christ did not surprise and did not outrage Leonardo's contemporaries. The fact is that on the frescoes on the theme of the Last Supper, the figure on the right hand of Christ has always been very feminine; Maurizio.
In the photo: The Last Supper in the Basilica of San Maurizio
Here, the figure in the same position again looks very feminine, in a word, it turns out one of two things: either all the artists of Milan were in a secret conspiracy and portrayed Mary Magdalene at the Last Supper, or it’s just an artistic tradition to depict John as a feminine young man. Decide for yourself.
7. WHAT IS THE LAST SUPPER INNOVATIVE, WHY IS LEONARDO SAYING COMPLETELY FROM THE CLASSICAL CANONS?
First of all, in realism. The fact is that when creating his masterpiece, Leonardo decided to move away from the canons of biblical painting that existed at that time, he wanted to achieve such an effect that the monks who dined in the hall physically felt the presence of the Savior. That is why all household items are written off from those items that were in the everyday life of the monks of the Dominican monastery: the same tables at which Leonardo's contemporaries ate, the same utensils, the same dishes, yes, whatever, even the landscape outside the window - resembles the view from the windows refectory as it was in the fifteenth century.
In the photo: a mirror image of the "Last Supper"
But that is not all! The fact is that the rays of light on the fresco are a continuation of the real sunlight that fell into the windows of the refectory, in many places of the painting there is a golden section, and due to the fact that Leonardo was able to correctly reproduce the depth of the perspective, the fresco after completion of the work was voluminous, that is, in fact, it was made with a 3D effect. Unfortunately, now you can see this effect only from one point of the hall, the coordinates of the desired point: 9 meters deep into the hall from the fresco and about 3 meters above the current floor level.
8. WITH WHOM LEONARDO WROTE CHRIST, JUDAS AND OTHER FRESCO CHARACTERS?
All the characters on the fresco were painted from Leonardo's contemporaries, they say that the artist constantly walked the streets of Milan and looked for suitable characters, which even caused displeasure of the abbot of the monastery, who considered that the artist did not spend enough time at work. As a result, Leonardo informed the abbot that if he did not stop bothering him, then the portrait of Judas would be painted from him. The threat had an effect, and the rector of the maestro did not interfere anymore. For the image of Judas, the artist could not find a type for a very long time until he met a suitable person on the streets of Milan.
Judas on the fresco "The Last Supper"
When Leonardo brought an extra to his studio, it turned out that the same person had posed for da Vinci for the image of Christ a few years earlier, just then he sang in the church choir and looked completely different. What a cruel irony! In the light of this information, the well-known historical anecdote that the man from whom Leonardo wrote Judas told everyone that he was depicted at the Last Supper in the image of Christ takes on a completely different meaning.
9. IS THERE A PORTRAIT OF LEONARDO HIMSELF ON THE FRESCO?
There is a theory that there is also a self-portrait of Leonardo on The Last Supper, supposedly the artist is present on the fresco in the image of the Apostle Thaddeus - this is the second figure on the right.
Image of the Apostle Thaddeus on the fresco and portraits of Leonardo da Vinci
The truth of this statement is still in question, but the analysis of Leonardo's portraits clearly demonstrates a strong external resemblance to the image on the fresco.
10. HOW IS THE LAST SUPPER AND THE NUMBER 3 RELATED?
Another mystery of the Last Supper is the constantly repeating number 3: there are three windows on the fresco, the apostles are arranged in groups of three, even the contours of the figure of Jesus resemble a triangle. And, I must say, this is not at all accidental, because the number 3 constantly appears in the New Testament. It's not just about the Holy Trinity: God the Father, God the Son and the Holy Spirit, the number 3 goes through the whole description of the earthly ministry of Jesus.
Three wise men brought gifts to the born Jesus in Nazareth, 33 years - the term of the earthly life of Christ, also according to the New Testament, the Son of God was to be in the heart of the earth for three days and three nights (Matt. 12:40), that is, Jesus was in hell from the evening Friday to Sunday morning, in addition, the Apostle Peter denied Jesus Christ three times before the rooster crowed (by the way, this was also predicted at the Last Supper), there were three crosses on Golgotha, and Christ resurrected on the morning of the third day after the crucifixion.
PRACTICAL INFO:
Tickets for visiting the Last Supper must be ordered in advance, but rumors that they need to be booked six months in advance are greatly exaggerated. In fact, a month, or even three weeks before the intended visit, free tickets for the desired dates, as a rule, are available. You can order tickets on the website:, the cost depends on the season, in winter a visit to the Last Supper costs 8 euros, in summer - 12 euros (prices according to information for 2016). In addition, now at the church of Santa Maria delle Grazie you can often see resellers selling tickets with an extra charge of 2-3 euros, so if you are lucky, you can get there by accident. It is forbidden to take pictures of the fresco, the entrance is strictly at the time indicated on the ticket.
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Julia Malkova- Julia Malkova - founder of the website project. In past Chief Editor Internet project elle.ru and editor-in-chief of the cosmo.ru website. I talk about traveling for my own pleasure and the pleasure of readers. If you are a representative of hotels, tourism office, but we are not familiar, you can contact me by email: [email protected]
There are many hints that Judas, who betrayed (according to the canonical Gospels) Christ, was for Jesus not just one of the apostles, but even vice versa - one of the most beloved disciples. Perhaps even more beloved than John, Paul, and Peter.
In any case, we read versions from many writers that Judas is not a traitor, but vice versa - only person who fulfilled the will of Christ (and therefore the will of God), betraying the teacher. Because without this betrayal there could be no crucifixion, no atonement for our sins: someone had to “start the mechanism” of this redemption by the will of God.
Da Vinci was a big dreamer
Let's take the bull by the horns. The well-known "Last Supper" by da Vinci is pure fiction. In any case, the way the genius portrayed her.
The fact is that only contemporaries of a genius could sit at the table like that.
In Judea of the time of Christ, even in a prosperous house (and Christ gathered with his disciples in just such a place - there were two floors, otherwise it is impossible to explain the feast in the upper room) there was very little furniture.
In the tradition of those years, during feasts, guests sat on carpets or low beds, laying on their left side in order to take food with their right hand.
For the invited evening dinners low beds for men - a wedge - the Jews borrowed from the Romans, and they, in turn, from the Greeks. The beds were arranged in threes in the form of the letter “P” around the “meal” - a small table (the word and the subject itself of Greek origin).
Where, then, did Judas lie?
The gospels say differently.
Here in Luke (22:21):
“But look! The hand of the one who betrays Me is on the same table with Mine.”
That is, Judas eats at least at the same table as Jesus.
But there were twelve apostles. And there could be two options: a common large table, which is hard to imagine in a Jewish house of those years. Or several small tables dividing dinner into groups.
Mark (14:20) narrows this space:
"One of the twelve who dips bread in the ONE DISH with Me."
Same with Matthew (26:23):
“I will be betrayed by a person who puts his hand in the ONE DISH with me.”
Aha! Judas not only reclines at the same table with Christ, but also reclines next to him or opposite him: he freely reaches for the dish standing in front of Christ, the host of the supper (there is usually a sauce in which bread and meat are dipped). It reaches out, because during the meal no one got up from their beds and approached the table with a common dish, after all, not a buffet.
That is, Judas reclined side by side with Christ or opposite him. The length of our arm is about 70 centimeters.
Why is it so important?
Because in any feast a clear hierarchy was observed (see diagram).
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Next to the head of the feast (or the owner of the house) were the two most expensive and honored guests - on the right and on the left. Sometimes another guest of honor sat opposite the host (where the passage for the servant is indicated on the diagram). But that was rare. And it turned out that only two (or three) especially dear guests could reach the main dish, placed in front of the owner. But not twelve people.
If we accept the hypothesis that John was Christ's favorite disciple (that is, one place near the teacher is occupied), then the second remains only for Judas, who could calmly dip bread in the same dish with Jesus.
This means that this “traitor” was very respected and close to Christ. Which, however, also follows from the fact that Judas in the community of the apostles carried a cash box, that is, he was the treasurer, minister of finance of this organization.
And now - the main intrigue: why did Jesus, knowing for sure that it was Judas who should betray him, put him, as usual, by his side, at the main table?
And was it a betrayal at all, if Christ so easily announced this at the table, where, besides Judas, 11 more people were sitting, capable of tearing apart anyone who would encroach on the life of their teacher? After all, Peter dared to rush for Christ to the temple guards with a sword during the arrest of Jesus in Gethsemane!
But that's a completely different story. And maybe I'll get back to it.
Graphics by Alexei STEFANOV.
GOSPEL STORIES IN THE MIRROR OF ART
You are forever new, century after century,
Year after year, moment after moment,
You get up - an altar before a man,
O Bible! oh book of books!
V.Ya.Bryusov
THE LAST SUPPER
The Last Supper is the traditional name for the last meal of Christ with the disciples. In connection with the threat from the Sanhedrin (the Jewish supreme college, which included high priests, elders and scribes), the meeting took place in secret. Happened during the meal major event- the establishment of the New Testament and the sacrament of the Eucharist (Communion), which since then has been performed by the Church in memory of the Savior. Information about the Last Supper is contained in all the Gospels and in in general terms match up.
The symbolism of the Last Supper and the Eucharist is associated with the traditions of the Old Testament and ancient pagan ritual customs (sacrifices) that existed among various peoples: fraternal meals, symbolizing the unity of people both with each other and with the Divine. In the Old Testament, sacrificial blood, with which the members of the community sprinkled themselves, symbolized "consanguinity", that is, made the participants in the rite half-brothers, whose life belongs only to God.
In the New Testament, the Lord himself becomes a voluntary sacrifice, giving his blood and flesh to people, thereby uniting them. The Church emphasizes that in order to strengthen faith, it is necessary to repeat the rite of the Eucharist. Just as eating strengthens physical forces a person and introduces him to nature, the Eucharist gives spiritual strength through the body and soul of Christ. “And while they were eating, Jesus took bread, blessed it, broke it, gave it to them, and said, Take, eat; this is my body. And he took the cup, gave thanks, and gave it to them: and they all drank from it. And he said to them: This is My Blood of the New Testament, which is shed for many.” (Matthew 26:23); (Mark 14:22-24).
The establishment of the Eucharist is the liturgical component of the Last Supper. However, there are two more storylines- the washing of the feet (a lesson of boundless love and humility taught by Christ) and the betrayal of the Teacher (Christ) by the disciple (Judas).
Three main themes - the sacrament of Communion, an example of humility and love, the sin of betrayal and deceived trust - form the main types of depiction of the Last Supper in art.
The first images of the plot of the Last Supper date back to the 6th-7th centuries and, in fact, are illustrations of the gospel texts.
Altar pediment from the monastery of Suriguerola. 12th century
Italo-Byzantine master. Painting.
Giotto. The Last Supper.
The usual attributes of a meal are wine (the blood of Christ), bread (the body of Christ); in early images there is a fish (an ancient symbol of Christ).
Refectory table. Fragment.
Participants in the meal can recline or sit at a rounded or rectangular table.
Unknown artist of the Lorenzetti school. 14th century
Fra Beato Angelico. 15th century
Dirk Boats. The central part of the triptych. 15th century
The number of participants in the meal can be different, which sometimes causes bewilderment of the audience, knowing that there were twelve disciples of Christ. The explanation for the discrepancies lies, firstly, in the vagueness of the question of the presence of Judas at the sacrament of the Eucharist. Some interpreters believe that he took part in the evening from beginning to end. Others claim that Judas was present at the washing of the feet, and after the words of Jesus addressed to him "What are you doing, do it quickly" retired and did not receive the sacraments of Communion from the hands of Christ. That is why some artists depicted, not counting Christ, eleven, and others twelve characters of the Last Supper.
| Lucas Cranach.16th century |
Secondly, given that the supper is a feast, the presence of additional characters in some images should not be surprising: servants, women (Mary, Mary Magdalene). In the late historical iconography of the plot, portraits of contemporaries of artists, children, and animals are “received”.
Throughout the Middle Ages, painters did not particularly seek to differentiate the characters, with the exception of Christ and Judas. The attribute of the latter is an unchanging purse, which associates it with thirty pieces of silver and the betrayal of the Teacher. Unlike other students, Judas was portrayed without a halo, either with a black halo or with a figurine of a devil behind his shoulders - all this symbolized the idea of betrayal. In the works of Castagno and Rosselli below, attention is drawn to the compositional technique of highlighting Judas (promoting it to the fore) and thereby separating him from all other participants in the scene.
Andrea del Castagno. 15th century Fragment
Cosimo Rosselli. 15th century
Since the Renaissance, an interest in individuality has arisen, and artists strive to create psychologically reliable human characters within the framework of a canonical plot. They depart from strict canonicity in the interpretation of the plot, their innovation is realized humanistic ideas leveling the religious semantics of painting. in a natural way the liturgical component of the plot fades into the background, giving way to a historically truthful depiction of the climactic episode of the Last Supper, when Christ said: "One of you will betray me." The shocked apostles react in different ways (postures, gestures, facial expressions) to the words of the teacher.
In the art of Quattrocento, the theme of the Last Supper arose quite often; perhaps all famous artists turned to it. The skill of Renaissance painters was manifested in diversity and expressiveness. created images, in accurate and thorough, to the smallest detail, the transfer of natural phenomena, in the skillful use of the discoveries of linear perspective. According to the fair remark of I.E. Danilova, “in an effort to depict the world not intelligible, but visible (the theorists of the Renaissance insisted that the artist should depict only what the eye sees), that is, something material, concrete at the level of the subject of the image - the artists strove achieve visual illusion.
Andrea del Sarto. 16th century
Artfully built, harmoniously balanced in composition, a Renaissance painting is presented to the viewer for careful examination and evaluation: it is built correctly or incorrectly, similarly or unlikely drawn, etc.
Works with a gospel plot became not just illustrations of canonical texts, but every time they demonstrated the author's reading, an individual look (of the artist or customer).
Numerous variations on the theme of the Last Supper differ not only in technical techniques, artistic language, but, most importantly, in semantic accents.
The pinnacle of the High Renaissance and at the same time an important stage in the evolution of European painting was the "Last Supper" by Leonardo da Vinci. This work can still be regarded as a classic example, primarily because Leonardo himself (scientist-researcher, humanist, writer) is a bright, extraordinary personality, embodies his era in its entirety, its ideal impulses and utopian illusions. The Last Supper by Leonardo is a brilliant embodiment of the spirit of the times, its philosophical understanding.
Leonardo da Vinci. 15th century
At first glance, the work is in line with tradition: Christ and the twelve apostles are sitting at a frontally extended table. Carefully examining the presented scene, we begin to notice how mathematically accurate the composition is, the figures are masterfully arranged, every gesture, turn of the head is verified. The compositional center (the vanishing point of perspective lines) and the semantic center is the calm figure of Jesus with outstretched arms. The viewer's gaze, sliding over the hands, mentally draws a triangle, the apex of which is the head of Christ, clearly standing out against the background of the illuminated window. Behind him - heavenly blueness, a happy expanse of earthly or unknown eternal life.
The figures are geometrically lined up on either side of the center: two groups of six characters on each side, but further divided into subgroups of three. The students who jumped up from their seats gesticulate violently, expressing a variety of feelings: bewilderment, bitterness, fear, indignation, depression, etc. The figures are dynamic and restrained at the same time, there is no fuss, but a feeling of movement is created. Only a great master could do that.
The schematic representation clearly reveals the wave-like movement, emphasizing the expression of the dramatic situation. The light-shadow modeling of the figures is carefully thought out and subordinated to the plan. Leonardo places Judas among the other students, but in such a way that the light does not fall on his face, and it turns out to be dark. I recall Leonardo's reflections that the artist has two goals: a person and manifestations of his soul. The first is simple, the second is difficult and mysterious. She seems to be saying: “Listen - and you will hear me!”
The depth and ambiguity of the images created by the artist, the use of new techniques and technologies made his "Last Supper" semantically inexhaustible, mysterious in its self-immersion and self-sufficiency, giving rise to numerous religious and symbolic interpretations and secular interpretations. For all their differences, they contain a common component - the right to choose a person and the moral meaning of this choice. Rudolf Steiner called Leonardo's Last Supper "the key to the meaning of earthly existence."
The works of the late Renaissance lose their rigor and harmony. Already in Veronese, purely pictorial, decorative tasks come to the fore.
Paolo Veronese. 16th century
The Last Supper ceases to be a mystery and filled with sacred and moral meanings. In the paintings of Veronese, we see Venetian life in all its carnival beauty and banquet flesh: many characters, often secondary, that interfere with the traditional reading of the content. Sensual pleasures and impressions are valuable in themselves and create a spectacular effect of pomp and decorativeness.
Tintoretto demonstrates a different philosophical understanding and artistic solution.
Jacopo Tintoretto. 16th century
The last version of the Supper, written in the year of the artist's death, demonstrates Tintoretto's passion for mannerism at the level of form. This is manifested in the ornamentality of the composition, sharp contrasts of light and shadow, helical, swirling movement.
Feeling the instability of the world, the restlessness of man within the earthly limits, makes Tintoretto, like many baroque authors, look for meanings in the embodiment of higher, mystical moments, such as the sacrament of Communion.
Modern times continued to develop the plot of the Last Supper, increasingly focusing on the individual author's reading of the gospel story.
As an example, we can cite the classic version of Poussin and the baroque-rocaille version of Tiepolo.
Nicholas Poussin. 17th century
Giovanni Tiepolo 18th century
Of particular interest is the painting of Russian artists of the 19th century, who focused on the social and moral problems of their time. They developed even gospel stories not so much in a religious, but in a philosophical and ethical way, raising the theme of responsibility of the individual, inevitable sacrifice in the name of the future.
The most striking example is The Last Supper by N. Ge. The picture was perceived by the public so topically that Saltykov-Shchedrin called what was happening a secret meeting, which revealed serious political differences.
Nicholas Ge. The Last Supper. 19th century
The fact that Ge painted the head of Christ from Herzen, who was banned in Russia and lived in exile, gave particular relevance to the work in the eyes of the audience. The drama of the teacher's break with the student was interpreted by some experts in the light of ideological differences and Herzen's break with his friend and like-minded Granovsky.
Turning to the gospel plot, Ge tries to understand the present through the past, but the present, overturned on the historical plot, brings new colors and meanings to it.
The author's title of the painting "The Departure of Judas" clearly emphasizes its meaning. Judas, in the understanding of Ge, is not a banal traitor, but a significant person worthy of interest. His figure determines the compositional asymmetry of the picture, sharp light contrasts draw the viewer's attention to it, enhancing the dramatic intensity of the scene.
Ge's work was greeted ambiguously by contemporaries: from praise and admiration to criticism and accusations of the artist of falsehood and bias. I. Goncharov summed up a kind of line in the disputes: “... But no picture has ever depicted and will depict the entire Last Supper, that is, the whole evening and the entire meal of the Savior, from beginning to end ...”
It becomes obvious that by creating a picture based on a biblical story, but not striving for a dogmatic interpretation of the text, the artist finds himself in the sphere of its humanitarian interpretation, which allows for subjectivism, voluntarism and other "liberties".
The art of the 20th century marked a watershed between traditional, academic religious painting and the new one, which lives according to different laws, even if it refers to "eternal" biblical subjects.
Throughout the century, art has long and painfully struggled with history, the museum's attitude to the past, shakes established traditions and ruts. To do this, sometimes enters into a direct or indirect dialogue with the masters of the classical era.
The playful technique of artistic quotation, paraphrase of recognizable paintings, interpretation and reinterpretation of famous subjects, free manipulation of any material are widely used in painting.
A good example is the famous painting by Salvador Dali.
Salvador Dali. The Last Supper. XX century
Dali's large epic canvas conveys not only the artist's mystical and religious moods, but a certain cosmic nature of his worldview.
Coloristically restrained, in terms of color, built on the contrast of warm golden-ocher and cold bluish-gray tones, the picture radiates a glow and fascinates the viewer.
The composition clearly refers to the work of Leonardo, but it is more rationalistic and geometrically verified. One gets the impression of the rigidity and coldness of the perfect form, in which Dali believed so much and in the sacred power of which he did not doubt.
The free interpretation of the gospel text by the artist: the absence of everyday realities and religious attributes, the immersion of Christ waist-deep in water (a symbol of baptism), the presence of a ghostly figure in the upper part of the picture gives rise to semantic ambiguity and multiple interpretations of Dali's work.
Artists are attracted by the most diverse layers of the plot and semantic context of the biblical Supper. They continue to refer to "eternal history". Some embody it in accordance with religious canons and classical approaches. Others, passing through the prism of subjective-personal perception, consider the plot of the Supper as a vital problem. modern society, as a warning, as a drama of betrayal and sacrificial love. And others perceive the plot as an abstract starting point for their own self-expression. Watch, judge and choose - the viewer.
Natalya Tsarkova. 20th century
Maria Mickiewicz. XX century
Stanley Spencer. The Last Supper XX century
Gustav van Feustin. 20th century
Alexander Alekseev-Svinkin. 20th century
Pharaoh Mirzoyan. 20th century
Zurab Tsereteli. 20th century
Ivan Akimov. 20th century
