Last evening da Vinci. Icon "Last Supper", meaning what helps
"Last Supper" Leonardo da VinciPerhaps it is included in the top 3 of the most mysterious and conflicting works of the famous Italian. The fresco is not essentially so. An experiment in three years long. The gracious field for speculation on the meaning of symbols and genuine personalities depicted. Unbearable challenge for restorers. All this is about one of the most famous works of art in the world.
Likha trouble Start: Who ordered Leonardo "The Last Supper"
In 1494, the duke of Milan became odious and ambitious Ludovico Sforza. Despite all ambitions and weaknesses, in one extent inherent in the extent, it must be said, almost every outstanding statesman, Lodoviko served a lot for his faith and achieved significant diplomatic success, having achieved peaceful relations with Florence, Venice and Rome.He paid a lot of attention to the development of agriculture, industry, science and culture. From the painters he especially fagged Leonardo da Vinci. His brushes belongs to the portrait of Lovovico's mistress and mother of his son Cezchilia (Cecilia) Galelan, better known as the "Lady with Mornosta". Presumably, the painter perpetuated and the legitimate spouse of the Duke Beatrice D'EShe, as well as the second favorite and the mother of another illegitimate son Lucreta Krvelli.
The house of the Church of Lodovico was a chapel at the Dominican monastery of Santa Maria delle Grazie, and his abbot was a close friend of the duke. Milan's ruler became a sponsor of the large-scale reconstruction of the church, which was seen by the future Mausoleum and the monument of the Sforza dynasty. The vain plans were aggravated by the sudden death of Beatrice's wife and daughter Bianchi in 1497, two years after Leonardo began working on a "secret evening".
In 1495, when the painter received an order to select one of the walls of the meadow chapels with a nine-meter fresco with a popular Gospel plot, telling about the last meeting of Christ with the apostles, where he first revealed the sacrament of the Eucharist, no one could even suspect which long and difficult fate of her Wait.
Experimental art Leonardo da Vinci
Until that moment, Vinci did not have to work with frescoes. But could it be an obstacle for a person who chose an empirical one of all the methods of knowledge, and did not believe anyone for the word, preferring everything to check on his own experience? He acted according to the principle of "we are not looking for light paths," and in this case it remained faithful to him to the end.Instead of using the old good technique of applying Tempers on fresh plaster (actually, and the gave the name of the fresco that occurred from the Italian Fresco - "Fresh"), Leonardo began experimenting. The subject of his experiments consistently became literally all the factors and stages involved in the creation of frescoes, ranging from the construction of scaffolding, for which he tried to invent his own mechanisms, and ending with plaster and paints.
Firstly, he categorically did not fit the method of work on the wet plaster, which grabbed pretty quickly and did not allow thoughtfully to work on each fragment and endlessly refining it, bringing to perfection, as usual writing his paintings by Leonardo da Vinci. Secondly, the traditional egg temperature did not give it the degree of brightness of the paint, since it somewhat tuck and changed the color when drying. And mixing pigments with oil made it possible to obtain more expressive and shiny paints. In addition, it was possible to reach different density of shades: from very thick and opaque to thin, luminous. This is how it is impossible to better fit the love of Da Vinci to the creation of filigree black and white effects and branded reception of SFUMATO.
But that's not all. In order to make an oil emulsion more adapted to the requirements of the wall painting, the painter decides to add an egg yolk into it, thus obtaining the unprecedented composition "Oil temperature". As time will show, in the long run, a bold experiment did not justify itself.
CASE - TIME: Long history of the creation of "Last Supper"
According to the testimony of contemporaries, Da Vinci approached all aspects of writing a "secret evening" with such a thoroughness that it was delayed to infinity, and this is immensely annoyed the abbot of the monastery. Firstly, who will like the state of "chronic repairs" at the place of adoption of food with all the nuances arising from here (some sources mention a very unpleasant smell of the copyright of the plaster from Leonardo).Secondly, a long process meant and the corresponding increase in the financial costs of painting, even more so that it worked on it a whole brigade. The volume of only preparatory work on the application of plaster, primer and swine-led coatings implies the involvement of all members of Leonardo studio.
The patience of the abbot gradually approached the end, and he complained to the duke to slowness and laziness of the artist. According to the legend, the vazari in his "lifeshops", yes Vinci in his justification responded to Lodovico, that he could not find a suitable flashing for the role of the Judah model. And that if the person of the required degree of disgusting never deemed, he "Can always take advantage of the head of this abbot, so annoying and indispensable".
There is another legend of the attendant, posing when writing Judah. So beautiful that if the situation is far from reality, it would be worth it. The artist as if he was looking for his Judas among the most garbage of society, and eventually stopped his selection on a last resurrection propoine from the waste ditch. The "model" barely kept on his feet and did little, but when the image of Judas was ready, the drunkard looked into the painting and said that he had already had to pose for her earlier.
It turned out that three years before these events, when he was a young and chaste singing in church choir, a certain painter noticed him and offered him the role of a simulator for the image of Christ. It turns out the same person in different periods of his life was a chance to visit both the embodiment of absolute purity and love and the prototype of the greatest fall and betrayal. Beautiful parable about the fragile borders between good and evil and how it is hard to climb up and easy to roll down.
Escaling Beauty: How many Leonardo remains in the "Last Evening"?
Despite all the efforts and experiments with the composition of paint, and Vinci still failed to produce a revolution in writing frescoes. It was usually implied that they were made in order to delight the eyes of many centuries, and the destruction of the colorful layer of the "Last Supper" began during the life of the painter. And in the middle of the XVI century Vazari mentioned that "Not visible nothing but the confusion of spots".Numerous restorations and attempts to save the painting of the authorship of the legendary Italian only aggravated the loss. British art historian Kenneth Clark in the 30s of the last century explored the preparatory sketches and early copies of the "Secret Supper", made by artists who took the participation of its creation. He compared them with what remained from the frescoes, and his conclusions were disappointing: "Exaggerated griming persons, as if killed from the" terrible court "Michelangelo, belonged to the brushes of the mighty manarist of the XVI century".
The latter and largest restoration was completed in 1999. She took about two decades and demanded an investment of more than 20 billion lire. And no wonder: the restorers had the work of thinner jewelry: it was necessary to remove all layers of early restorations, while not damaged those crumbs that remained from the initial painting. The head of the restoration work recalled that the fresco was done so "As if she was a real disabled".
Despite the voices of critics about the fact that as a result of the "The Last Supper" lost the "spirit of the original", today she is still closer to what they saw the monastery of the Santa Maria delle Grazie monastery during the meadow. The main paradox lies in the fact that one of the most famous and recognizable works of art in the world contains only no more than 20 percent of the original.
In fact, now this is the embodiment of the collective interpretation of the plan of Leonardo da Vinci, obtained by painstaking research and analysis of all available information. But, as it often happens in the artistic world, the hard fate of the exhibit only adds to him glasses and values \u200b\u200b(remember the story with the abduction and acquisition of Davinciyevskaya Djokondov, which brought it into the absolute top of the mass.
Leonardo da Vinci - The most mysterious and unexplored personality of past years. Someone attributes to him God's gift and ranks for the face of saints, someone, on the contrary, considers him a loaf, selling the soul to the devil. But the genius of the great Italian is undeniable, because everything that the Hand of the Great Painter and Engineer has ever touched, was instantly filled with hidden meaning. Today we will talk about the famous work "Last Supper" And the sets of secrets that it hides.
Location and history of creation:
Famous fresco is in the church Santa Maria delle Grazielocated on the Milan Square of the same name. Or rather - on one of the walls of refectory. According to historians, the artist specifically depicted in the picture exactly the same table and dishes, which were at that time in the church. This was trying to show that Jesus and Judas (good and evil) are much closer to people than it seems.
An order for writing the work of the painter received from his cartridge - Milan Duke Louis Sforza In 1495. The ruler was famous for a slit life and with young years was surrounded by young Vakhanki. The situation did not change the presence of a beautiful and modest wife at the duke Beatrice d'Esthewhich sincerely loved the spouse and, because of his meekly, could not move his lifestyle. Need to admit that Louis Sforza I sincerely read my wife and was attached to her in my own way. But the true power of love Slutznaya Duke felt only at the time of the sustainable death of his spouse. The sorrow of the man was so great that he did not leave his room for 15 days. And when I came out, I first ordered Leonardo da Vinci The fresco, which once requested his deceased spouse, and forever stopped all the entertainment at the court.
The work was completed in 1498. Its dimensions amounted to 880 per 460 cm. Many artist's creativity connoisseurs agreed that best "The Last Supper" You can consider if you move out 9 meters to the side and raise 3.5 meters upwards. Especially since it is to see what. Already in the life of the author, the fresco was considered his best work. Although, to call the picture the fresco would be wrong. The fact is that Leonardo da Vinci wrote the work not on the wet plaster, but on dry to be able to edit it several times. To this end, the artist struck a thick layer of the egg pace on the wall, which subsequently served a bad service, starting to collapse only 20 years after writing a picture. But more on that later.
Work idea:
"Last Supper" Pictures the last Easter dinner of Jesus Christ with the apostles disciples, held in Jerusalem on the eve of his arrest of Romans. According to Scripture, Jesus said during the meal, that one of the apostles betray him. Leonardo da Vinci I tried to depict the reaction of each of the students on the prophetic phrase of the teacher. To do this, he walked around the city, spoke with simple people, laughed them, frustrated, encouraged. And at the same time watched emotions on faces. The purpose of the author was the display of the famous dinner with a purely human point of view. That is why he portrayed all those present in a row and nobody painted a halby over his head (as other artists loved to do).
So we reached the most interesting part of the article: secrets and features hidden in the work of the Great Author.
1. According to historians, the most difficult Leonardo da Vinci There was a spelling of two characters: Jesus and Judas. The artist tried to make them the embodiment of good and evil, so I could not find suitable models for a long time. One day, the Italian saw in the church church of the young singing - so inspired and clean, that there was no doubt left: here he is the prototype of Jesus for him "Last Supper". But, despite the fact that the image of the teacher was written, Leonardo da Vinci For a long time adjusted it, considering insufficiently perfect.
Judas remained an unlipped character in the picture. The artist climes walked through the most custodial places, looking for a model for writing among the lowered people. And almost after 3 years he was lucky. In the ditch, there was an absolutely lowered type in a state of severe alcoholic intoxication. The artist ordered to bring him to the workshop. The man almost did not hold on his feet and did not understand where he got. However, after the image of Judas was written, the drunkard approached the picture and admitted that he had already seen her before. For the perplexity of the author, a person replied that three years ago he was completely different, led the right way of life and sang in church choir. It was then that some artist approached him with a proposal to write Christ from Him. So, according to historians, Jesus and Judas were written off from the same person in different periods of his life. This once again emphasizes the fact that good and evil go so close that sometimes the line between them is immatched.
By the way, during work Leonardo da Vinci Distracted the abbot of the monastery, who constantly hurried the artist and claimed that he should write a picture by day, and not to stand before her in thought. One day the painter could not stand and promised the abbot to write off Iudu from him if he would no longer interfere in the creative process.
2. The most discussed secreter of the frescoes is the figure of the student who has positioned along the right hand from Christ. It is believed that this is not anyone else, like Maria Magdalene and its location indicates the fact that she was not the mistress of Jesus, as it is considered, and his legitimate wife. This fact confirms the letter "M", which form contours of the bodies of the pair. Allegedly it means the word "Matrimonio", which means "marriage". Some historians argue with this statement and insist that there is a signature in the picture Leonardo da Vinci - Letter "V". In favor of the first approval, the mention of the fact that Maria Magdalene was washed by the legs of Christ and wipe them with his own hair. According to traditions, it could only make it a legitimate wife. Moreover, it is believed that the woman at the time of the execution of her husband was pregnant and bore subsequently daughter Sarah, who marked the beginning of the Meroving Dynasty.
3. Some scientists argue that the unusual location of students in the picture is not accidental. Say Leonardo da Vinci Posted by people by ... Zodiac signs. According to this legend, Jesus was Capricorn, and his beloved Maria Magdalene - Virgin.
4. It is impossible not to mention the fact that during the bombing during the Second World War, the projectile that fell into the building of the Church destroyed almost everything except the wall on which the fresco was depicted. Although, the people themselves not only did not bother the work, but also came with him a truly barbaric. In 1500, the flood in the church inflicted the picture of irreparable damage. But instead of renovating the masterpiece, the monks in 1566 were trained in the wall with the image "Last Supper" The door that "cut off" the feet of the characters. A little later over the head of the Savior, Milan coat of arms hung. And at the end of the 17th century, from the refectory and did the stable. And without that dilapidated fresco was covered with manure, and the French competed with each other: who falls bricks in the head of one of the apostles. However, W. "Last Supper" And fans. The French king Francis I was so impressed with the work that he was seriously thinking about how to transport him to his home.
5. No less interesting reflection of historians about the food shown on the table. For example, near Judas Leonardo da Vinci Pictured tilted with salt (which at all times was considered a bad admission), as well as an empty plate. But the largest subject for disputes is still fish in the picture. Contemporaries still can not come together, which is drawn on the fresco - herring or eel. Scientists believe that this ambiguity is not accidental. The artist was specially encrypted in the picture hidden meaning. The fact is that in Italian "eel" is pronounced as "Arring". We add another letter, we get a completely different word - "Arring" (instruction). At the same time, the word "herring" is pronounced in northern Italy as "Rang", which means in the translation "one who denies religion." For Atheist, the artist is closer to the second interpretation.
As you can see, in the only picture there are a lot of secrets and inexpensive, over the disclosure of which is struggling not one generation. Many of them will remain unemployed. And contemporaries will only remain building guesses and the great Italian in colors, marble, sand, trying to extend the life of the fresco.
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"Last Supper" Leonardo da Vinci. Maria Magdalene or Apostle John?
Truly, there is no secret that ever it would not be clear, for the manuscripts are not lit. And we continue to discharge one of the most unscrupulous historical myths, relatively converted by the Christian Church of the name. Mary Magdalins. From the recent for us, the coverage of this topic has become fundamentally important for us, because Rigden Jappo himself speaks with great respect about her and her "great feat", in which we will definitely come later, what is indicated in the book " Sensei 4. Isoon Shambhala"Materials describing a completely unknown story of this mysterious and beautiful woman. Very soon, in the section" Organized Knowledge "we will post a detailed content of this priceless, in our opinion, literary work.
The most famous work of Leonardo is the famous "Last Supper" in the Milan Monastery of Santa Maria della Grazie. This painting, in the present, representing the Ruin, was carried out between 1495 - 1497. The reason for rapidly damage, which has already known itself, was already in 1517, it was a kind of technique that combined oil with tempera.
One of the most famous works Leonardo da Vinci Located in the monastery of Santa Maria della Grazie in Milan - this "Last Supper". The fresco, which today is a pitiful spectacle, was written at the end of the XV century. The image was spoiled very quickly, twenty years later, the masterpiece already needed restoration - the reason for this was the special technique, which combined the temperature with butter.
The writing of the frescoes preceded the long and thorough preparation. Leonardo performed a huge number of sketches that helped to choose the most appropriate gestures and pose of figures. The artist considered in the plot of the "secret evening" not only a deep dogmatic content, but also a huge human tragedy, which allows to reveal the characters of the painting heroes, demonstrate their mental experiences. For Da Vinci "The Last Supper" became primarily the stage of betrayal, so one of the tasks was to make a dramatic note in this traditional biblical plot that would attach a completely new emotional color to the fresco.
Reflecting on the idea of \u200b\u200bthe "secret evening", the artist made the records describing the behavior and actions of certain participants of the scene: "The one that drank, puts the bowl on the table and rushes a look at the talking, the other, connecting the fingers of the hands, frows and looks at his comrade , the third demonstrates the palms and raises his shoulders in surprise ... "The names of the apostles are not mentioned in these records, but Vinci definitely determined, pose, facial expressions and gestures of each of them. The figures were supposed to be located in such a way that the whole composition represents a single whole, passed all the sharpness of the plot, complete passions and experiences. The Apostles on the plan of Leonardo are not saints, but ordinary people who experience the events in their own way.
The "Last Supper" is considered the most mature and finished creation of da Vinci. The painting attracts amazing convincing composite solution, the master manages to avoid any elements that could distract the viewer from the main action. The central part of the composition occupies the figure of Christ, depicted against the background of the lumen of the door. The apostles are moved away from Christ - this is done specifically to concentrate more attention on it. With the same purpose, Leonardo placed the head of Jesus at the point of convergence of all perspective lines. Pupils are broken into four groups, each of which looks dynamically and alive. The table has small sizes, and the refectory is withstanding in a simple, strict style. Thanks to this, the focus is focused on characters whose plastic power is truly great. All these techniques demonstrate a deep creative idea and artistic purposefulness of the author.
Performing painting, Leonardo set himself a crucial purpose - to realistically convey the psychic reactions of the apostles to the words of Jesus: "One of you will betray me". The image of each student is almost a complete, formed human temperament and character with its uniqueness, therefore, and their reaction to the prediction of Christ is different.
Contemporaries da Vinci saw the genius of "secret inquiry" precisely in the subtle emotional differentiation, the embodiment of which contributed a variety of poses, gestures and facial expressions of characters. This feature of the frescoes highlights it against the background of earlier works depicting the biblical plot. Other masters, such as Thajdi, D.Gyrlandayo, K. Rozelly and A. Sader Casto, depicted students sitting at the table in calm, static positions, as if they had no relation to what was happening. These artists were unable to characterize the Judas with a psychological side in detail and had it isolated from the rest of the apostles on the other side of the table. Thus, the villainous opposition of Judah with a meeting was created artificially.
Da Vinci managed to break this tradition. The use of a rich artistic language made it possible to do without exceptionally external effects. Judas Leonardo is united to a group with other students, but its features identified him among the apostles in a certain way, so the attentive viewer quickly identifies the traitor.
All character characters are endowed with individuals. In our eyes in the meeting, even a moment ago in full calm, the greatest excitement caused by the words of Jesus, as the thunder pierced dead silence. The most impulsive reaction to speech Christ For three students sitting from him on the left side. They form a holistic group united by single gestures and efforts.
Philip jumps out from the place by sending Jesus his ineuming question, Jacobwithout hiding his indignation, spreads his hands, leaning back slightly, Thomas Rises up the hand as if trying to realize and evaluate what is happening. In a group sitting along the right hand from the teacher, a somewhat other mood reigns. From the figure of Christ, it is separated by a considerable distance, and the emotional restraint of its participants is obvious. Judas, squeezing in the hands of a wallet with Srebrenika, is depicted in a turn, his image is impregnated with tremble fear in front of Jesus. Juda's figure is indicated in darker colors, it contrasts sharply with light and brightly Johnwho loosely lowered his head and humbly folded his hands. Between John and Juda wedged Peterwho rests on the hand of John's shoulder and tells him something, leaning toward her ear, the other hand, Peter decisively grabs a sword, wanting to protect the teacher. Pupils sitting near Peter are surprised at Christ, they as if they ask a mute question, want to know the name of the traitor. The last three figures are located on the opposite side of the table. Matthew, stretching his hands towards Jesus, indignantly appeals to Faddey, Looking for him to clarify so unexpected news. But the elderly apostle is also in the ignorance, showing this inappropriate gesture.
Figures sitting on both ends of the table are shown in a full profile. This is done not by chance: Leonardo thus closed the movement sent from the center of the painting, such a reception, the artist was previously used in the picture "Wales worship", the shapes of the young man and the old man, located along the edges of the canvas, were performed. However, in this work we do not see such deep psychological techniques, there are mainly used traditional means of expression. In the "secret evening", on the contrary, the complex emotional subtext is pronounced, the analogues in the Italian painting of the XV century does not exist. Contemporaries da Vinci immediately recognized the genuine genius of the transmission by no means a new plot and took the "secret evening" in dignity, surrounding her new word in visual art.
Jesus Christ, together with his students, was captured by the Brush Leonardo during their last meeting after dinner in the evening before execution. Therefore, it is not surprising that the fresco is made in the monastery dining room. The master, as befits a true genius, worked chaotic. In some periods, he could not leave his creation for days, and then throw a job for a while. The "Last Supper" became the only major completed work of Da Vinci. The painting was applied with an unconventional way, oil paints were used, and not tempera - it made it possible to produce much slower and made it possible to make some changes and additions along the way. The fresco is written in a peculiar style, the viewer may have the impression that the image is behind the stamped glass.
On the eve of Easter on April 15, the Great Italian artist, sculptor, architect, scientist and engineer Leonardo da Vinci (1452-1519) would have been 557 years old.
The most famous work of Leonardo is the famous "Last Supper" in the Dominican Monastery of Santa Maria Delle Grazie in Milan - was performed between 1495 - 1497.
Lonardo's brush captured the last joint meal (dinner) of Jesus Christ and the twelve apostles on the eve of the day (passionate Friday) of the Christian death of Christ.
"Last Supper" Leonardo da Vinci (1495-1497) to restoration
Leonardo's Milan painting was preparing carefully and long. He performed a lot of sketches in which he studied poses and gestures of individual figures. The "Last Supper" attracted him not to his dogmatic content, and the ability to deploy a great human drama to the audience, show the various characters, reveal the spiritual world of a person and accurately and clearly describe his experiences. He perceived the "secret evening" as a scene of betrayal and set himself the goal of entering this traditional image of the dramatic beginning, thanks to which it would acquire a completely new emotional sound.
Hovering the idea of \u200b\u200bthe "secret evening", Leonardo not only performed the sketches, but also recorded his thoughts on the actions of individual participants of this scene: "The one who drank and put the Cup in place, turns his head to the speaker, the other connects the fingers of both hands and with frowning eyebrows looks like his companion, the other shows the palms of hands, lifts his shoulders to the ears and expresses surprise ... "The names of the apostles are not indicated in the record, but Leonardo, it seems clearly imagined the actions of each of them and the place that everyone was called take in the overall composition. Speaking in the drawings of postures and gestures, he was looking for such forms of expression that would involve all figures in a single whirlpool of passions. He wanted to capture in the images of the apostles of living people, each of whom responds in its own way to what is happening.
"The Last Supper" is the most mature and finished work of Leonardo.
In this painting, the Master avoids everything that could darken the main course of the action depicted by him, he achieves a rare conviction of the composite solution. In the center, he puts the figure of Christ, highlighting it with the lumen of the door. Apostles, he consciously moves away from Christ to further focus his place in the composition. Finally, for the same purpose, he makes it converge all the promising lines at the point directly located above the head of Christ. Leonardo students break into four symmetric groups, full of life and movement. It makes a small table, and the refectory is strict and simple. This gives him the opportunity to focus the attention of the viewer in the figures with a huge plastic force. In all these techniques, a deep dedication of the creative plan is affected, in which everything weighed and taken into account.
The main task that Leonardo put on a "secret evening", was the realistic transfer of the most complicated mental reactions to the words of Christ: "One of you betray me." Giving the finished human characters and temperatures in the images of the apostles, Leonardo makes each of them respond to the words uttered by Christ.
"Zloty section" Leonardo da Vinci
It is this fine psychological differentiation that is based on the diversity of persons and gestures, and hit most contemporaries Leonardo, especially when comparing his painting with earlier Florentine images on the same theme of Brush Tadeo Guddi, Andrea Del Kastano, Kozimo Rosselli and Domenico Girlandiao. All these masters, the apostles are sitting calmly, like the alike, at the table, remaining completely indifferent to everything that happens. Without having enough strong funds in his arsenal for the psychological characteristics of Judas, Leonardo's predecessors allocated him from the general group of the Apostles and had in the form of a completely insulated figure in front of the table. Thus, Judas artificially opposed to the entire assembly as a rudder and villain. Leonardo boldly breaks this tradition. His artistic language is rich enough to not resort to such, purely external effects. He unites Judah in one group with all other apostles, but gives him such features that allow the attentive viewer to immediately identify it among the twelve students of Christ.
Each of the students Leonardo interprets individually. Like the stone-abandoned stone, generating a circle, the words of Christ, who fell among the dead silence, cause the greatest movement in the meeting, in a minute before being in full peace. Especially impulsively respond to the words of Christ those three apostles that sit on his left hand. They form an inextricable group, imbued with a single will and a single movement. Young Philippe jumped out of the place, turning to the underwent question to Christ, Jacob Senior in the indignation spread his hands and leaned back a little back, Thomas raised his hand up, as if trying to give himself a report in what was happening. The group, located on the other side of Christ, is imbued with a completely different spirit. A significant interval separated from the central figure, it differs in incomparably greater gesture restraint. Presented in a sharp turn of Judas convulsively squeezes the wallet with the Srebreniki and looks at Christ with fear; His shaded, ugly, rough profile is contrastingly opposed to the brightly lit, beautiful face of John, loosely dropped his head on his shoulder and calmly arguing on the table. Between Jew and John, the head of Peter is wedged; Bending to John and leaning with his left hand about his shoulder, he whispers something in his ear, while his right hand resolutely grabbed the sword he wants to defend his teacher. Sitting near Peter three other apostles are turned into profile. It looks closely at Christ, they ask him about the culprit of betrayal. At the opposite end of the table, the last group of three figures is presented. Matthew-stretched towards Christ, stretched to Christ, appeals to the elderly Fadda, as if wanting to get an explanation of everything from him. However, the adepent gesture of the latter clearly shows that he remains in ignorance.
Not by chance, Leonardo portrayed both extreme figures sitting along the edges of the table, in a clean profile. They closure on both sides running from the center, performing here the same role that belonged to the "worship of the Magi" to the Figures of the Old Man and the young man, set as the very edges of the picture. But if the psychological means of expression from Leonardo did not rise in this work of the early Florentine era above the traditional level, then in the "secret evening" they reach such perfection and depths that were equal in vain to be found in all Italian art of the XV century. And this perfectly understood the contemporaries of the masters who took the "Layer Supper" Leonardo as a new word in art.
The artist, like almost all geniuses, worked very chaotic. That did not disappear over the whole days from his work, it applied only a few smears.
The last evening is the only major completed work of the master. He chose an unusual type of painting - oil paints, and not by temporary, which allowed a slower pace of work, with the possibility of additions and changes. The style that the work is written, creates the impression that we look at it through the stuffing glass. Numerous stains merge among themselves in a single picture.
The consecration depicted by a great genius gives the impression of real light, since weak light and the picture appears from the neighboring window of the perpendicular wall and appears in the eyes of the audience a reality. Unfortunately, currently this window is completely darkened, so as not to spoil the fragile work. Therefore, the work in its complex loses a bit. Experts offer to put a special filter on the window, but so far it is only talk.
The painting method by oil paints was very short-lived. Two years later, Leonardo came to horror, seeing his work so much changed. And ten years later, he, together with students, tries to produce the first restoration work. In total, eight restorations were made throughout the picture. In connection with these rapid attempts, new layers of paints were repeatedly applied, significantly distorted the original. In addition, by the beginning of the 20th century, the legs of Jesus Christ turned out to be fully erased, since the dining room constantly opening the door was in contact with this place. The door abandoned the monks for the passage to the refectory, but since it was done in the 1600s, then it is a historic hole and climb it there is no possibility.
Milan is rightly proud of this masterpiece, which is the only work of the era of the revival of such a scale. To no avail, two French kings dreamed of transporting painting along with the wall to Paris. Napoleon also did not remain indifferent to this idea. But to the great joy of Milanians and all Italy, this unique work of the Great Geniya remained in its place. During World War II, when British aviation bombarded Milan, the roof and three walls of the famous building turned out to be completely demolished. And imagine, only the one on which Leonardo did its painting. It was a real miracle! This "miracle" we are obliged not least by the monks, carefully laid down the wall with frescoes with sand bags.
For a long time, ingenious work was on the restoration. For the reconstruction of the work, the latest technologies were used, which allowed to gradually remove the layer on the layer. Thus, the age-old hardened dust, mold and all kinds of other foreign materials were removed. And let's say straight, from the original, for 500 years 1/3 was lost or even half of the original paints. But the general type of painting was much transformed. She, as it were, he came to life, having felt merry, alive paints, who gave her great master. And finally, in the spring of May 26, 1999, after the restoration, which lasted 21 years, the work of Leonardo da Vinci was again open to universal ferris. In the city on this occasion, there was a big holiday, and in the church - a concert.
To protect this delicate work from damage, in the building, through special filtering devices, constant temperature and air humidity are supported. The entrance is made not more than 25 people, every 15 minutes. The entrance ticket must be ordered in advance.
Dominican monastery "Santa Maria Delle Grazie" in Milan
There are several legends and legends telling about the great master and his picture.
So for one of them, when creating the frescoes "The Last Supper", Leonardo da Vinci collided with great difficulty: he had to portray good, embodied in the image of Jesus, and evil - in the image of Judah, who decided to betray him on this meal. Leonardo in the middle interrupted the work and resumed it only after found ideal models.
Once, when the artist was present on the speech of the choir, he saw in one of the young singers the perfect image of Christ and, inviting him to his workshop, made several sketches and etudes from him.
Three years have passed. "The Last Supper" was almost completed, but Leonardo has not yet found a suitable simulator for Judah. The Cardinal, who was responsible for the painting of the cathedral, hurried it, demanding that the fresco was finished as soon as possible.
And after the multi-day search, the artist saw a man-shaped in the walled ditch - a young, but prematurely dye, dirty, drunk and dangling. Time for Etudes has no longer left, and Leonardo ordered his assistants to deliver it directly to the cathedral that they did.
With great difficulty, he was dragged there and put on his feet. He really did not understand what was happening, and Leonardo imprinted sinfulness on canvas, selflessly, angry, which was breathing his face.
When he graduated from work, the beggar, who by this time had already sang a little, opened his eyes, saw a cloth in front of him and cried in fright and melancholy:
- I have already seen this picture before!
- When? Leonardo asked inadmanly.
- three years ago, even before I lost everything. At that time, when I sang in the choir and my life was full of dreams, some artist wrote Christ from me.
According to another legend, the misfortune of Leonardo, the prior of the monastery persistently demanded that he would rather finish his work. "He seemed strange to see Leonardo for a whole half of the day standing in thought. He wanted the artist to not let the brushes from the hands, like the work in the garden do not stop. Without limited to this, he complained to the duke and so began to displays him that he was forced to send him for Leonardo and in a delicate form to ask him to take up work, in every way giving it to understand that all this he did at the insistence. " When hearing the duke to talk to general artistic topics, Leonardo then pointed to him that he was close to the end of the painting and that he remains to write only two heads - Christ and Traitor Juda. "This last head, he would still like to search, but in the end, if he won't find anything better, he is ready to use the head of this very prior, so obsessive and indiscreet. This remark was very launched Duke, who said to him that he was a thousand times right. So the poor embarrassed prior continued to customize the work on the garden and left Leonardo, who finished the head of Judah, who had the true embodiment of betrayal and inhumanity. "
"Last Supper" Leonardo da Vinci (1495-1497) after restoration