The Painting of the Last Supper

Leonardo Da Vinci

This is a true story about Da Vinci's painting...

 

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 thought in the life of a boy or girl, or of a man or woman.

The Last Supper was painted by Leonardo Da Vinci, a noted Italian artist.

The time engaged for its completion was seven years.

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 completely devoid of dissipation caused 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.

This was the apostle, you remember, who betrayed his Lord for thirty pieces of silver.

For weeks Da Vinci searched for a man with a hard callous face, with a countenance marked by scars of avarice, deceit, who would betray his best friend.

 After many discouraging experiences in searching for the type of person required to represent Judas, word came to Da Vinci that a man whose appearance fully met the requirements had been found. He was in a dungeon in Rome, sentenced to die for a life of crime and murder.

Da Vinci made the trip to Rome at once, and this man was brought out from his imprisonment in the dungeon and led out into the light of the sun.

There Da Vinci saw before him a dark, swarthy man, his long shaggy and unkempt hair sprawled over his face. A face which portrayed a character of viciousness and complete ruin. At last the painter had found the person he wanted to represent the character of Judas in his painting. By special permission from the king, this prisoner was carried to Milan where the fresco was being painted.

For six months the prisoner sat before Da Vinci, at appointed hours each day, as the gifted artist diligently continued his task of transmitting to his painting this base character in the picture representing the traitor and betrayer of the Savior.

As he finished his last stroke, he turned to the guards and said, "I have finished, you may take the prisoner away."

The prisoner suddenly broke loose from their control and rushed up to Da Vinci, crying as he did so; "Oh, Da Vinci, look at me!

Do you not know who I am?"

Da Vinci, with the trained eyes of a great character student, carefully scrutinized the man upon whose face he had constantly gazed for six months and replied;

"No, I have never seen you in my life until you were brought before me out of the dungeon in Rome."

Then lifting his eyes toward heaven, the prisoner said, "O God, have I fallen so low?"

Then turning his face to the painter he cried, "Leonardo Da Vinci, look at me again, for I am the same man you painted just seven years ago as the figure of Christ! "

~~~

This is the true story of the painting of "The Last Supper" ...that teaches so strongly the lesson of the effects of right and wrong thinking of an individual.

He was a young man whose character was so pure and unspoiled by the sins of the world that he represented a countenance and innocence and beauty fit to be used for the painting of a representation of Christ.

But during the seven years, following a life of sin and crime, he was changed into a perfect picture of the most notorious character ever known in the history of the world.

"Thou believest that there is one God; thou doest well; the devils also believe, and tremble. But wilt thou know, O vain man, that faith without works is dead?" --James 2:19-20

~~~

Leonardo da Vinci

(self portrait in chalk)

Life and works

Early period: Florence

The illegitimate son of Ser Piero, a Florentine notary and landlord, Leonardo was born on his father's family estate. His mother, Caterina, was a young peasant woman who shortly thereafter married an artisan from that region. Not until his third and fourth marriages did Ser Piero's wives have children, the first one in 1476, when Leonardo was already an adult. Thus, Leonardo grew up in his father's house, where he was treated as a legitimate son and received the usual elementary education of that day: reading, writing, and arithmetic. As for Latin, the key language of traditional learning, Leonardo did not seriously study it until much later, when he acquired a working knowledge of it on his own. Not until he was 30 years old did he apply himself to higher mathematics--advanced geometry and arithmetic--which he studied with diligent tenacity; but here, too, he did not get much beyond the beginning stages.

Leonardo's artistic inclinations must have appeared early. When he was about 15, his father, who enjoyed a high reputation in the Florence community, apprenticed him to Andrea del Verrocchio. In Verrocchio's renowned workshop Leonardo received a many-sided training that included not only painting and sculpture but the technical-mechanical arts as well. He also worked in the next-door workshop of Antonio Pollaiuolo, where he was probably first drawn to the study of anatomy. In 1472 Leonardo was accepted in the painters' guild of Florence but remained five years more in his teacher's workshop. Then he worked independently in Florence until 1481. In the few extant works of this early period one may clearly trace the development of the artist's remarkable talent. Keenness of observation and creative imagination stand out. His early mastery is revealed in an angel and a segment of landscape executed by him in Verrocchio's painting the "Baptism of Christ" (Uffizi, Florence) and in two Annunciations (Uffizi, as well as the Louvre, Paris), both of them done in Verrocchio's workshop, as were the "Madonna with the Carnation," the "Madonna Benois," and the "Portrait of Ginevra de' Benci." This mastery reached its peak in two paintings that remained unfinished: "St. Jerome" and a large panel painting of "The Adoration of the Magi." In addition to these few paintings there are a great many superb pen and pencil drawings, in which Leonardo's mastery blazed new trails for this graphic art. Among the drawings are many technical sketches--for example, pumps, military weapons, mechanical apparatus--evidence of Leonardo's interest in and knowledge of technical matters at the outset of his career.

 

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