Lena Rivera
The Last Supper, a mural painting by Italian High Renaissance artist Leonardo da Vinci, depicts Jesus' final meal with his apostles before his crucifixion. The painting, housed in the refectory of the Convent of Santa Maria delle Grazie in Milan, Italy, is dated to between 1495 and 1498. It is considered one of the Western world's most recognizable paintings due to its handling of space, mastery of perspective, treatment of motion, and complex display of human emotion. Da Vinci's interpretation of simultaneous activity and use of linear perspective resulted in a masterpiece that captures the chaos of the moment after Jesus announces that one of his apostles will betray him. The painting depicts Jesus seated in the middle of the table, with twelve apostles on either side, for a total of thirteen figures.
| Characteristics | Values |
|---|---|
| Artist | Leonardo da Vinci |
| Date | c. 1495-1498 |
| Location | Refectory of the Convent of Santa Maria delle Grazie in Milan, Italy |
| Medium | Tempera and oil paints |
| Technique | Linear perspective |
| Subjects | Jesus and his 12 apostles |
| Notable apostles | Peter, John, Judas, Thomas, James the Greater, Philip, Matthew, Jude Thaddeus, Simon the Zealot, James the Lesser, Bartholomew, Andrew, James Major |
| Symbols | Fish, lamb, bread, wine |
| Composition | Apostles divided into three groups, with Judas in shadow |
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What You'll Learn
The seating arrangement of the 12 apostles
Leonardo da Vinci's iconic mural, The Last Supper, depicts Jesus and his 12 apostles during their final meal before Jesus' capture and crucifixion in Jerusalem. The painting, which was created between 1495 and 1498, features Jesus seated in the centre, with six of his apostles on either side.
While da Vinci's masterpiece is renowned, it is not entirely accurate in its portrayal of the supper. The painting depicts the apostles seated at a rectangular table, whereas the supper would have been held in a triclinium, a room with a U-shaped table. In a triclinium, guests would recline on their left side, with their heads towards the table and their feet facing outward, leaving their right hand free to eat.
According to scripture, John was seated to the right of Jesus, indicating that he was a trusted friend. Across the table from them, in the position of a servant, was likely Peter, who motions to John in the painting. Judas Iscariot, the betrayer, was seated to the left of Jesus in the place of honour.
The remaining apostles were likely seated in groups of three on either side of Jesus, though their exact positions are not as significant. These groupings may symbolise the Holy Trinity, consisting of the Father, the Son, and the Holy Spirit.
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Judas Iscariot's betrayal
Leonardo da Vinci's painting, The Last Supper, depicts Jesus's final meal with his apostles before his capture and crucifixion in Jerusalem. The painting shows Jesus seated in the centre of a table, with 12 apostles on either side of him.
Among these apostles is Judas Iscariot, who is known for his betrayal of Jesus. Judas's surname, Iscariot, is believed to be derived from the Latin "sicarius", meaning "murderer" or "assassin", suggesting that he belonged to the Sicarii, a radical Jewish group. Judas is the only apostle named "Judas" in the Gospel of Mark and Matthew, while the Gospel of Luke replaces the apostle "Thaddeus" with "Judas, son of James".
In the painting, Judas is placed to the left of Jesus, along with Peter and John, forming the most important trio of figures. Judas is the most prominent member of the trio, as he betrayed Jesus. He is the only figure in the shadows, with his head lowered, clutching a pouch containing thirty silver pennies earned from disclosing Jesus's identity to the Romans.
Judas's betrayal is seen as setting in motion the events leading to Jesus's crucifixion and subsequent resurrection, which brought salvation to humanity according to traditional Christian theology. Despite this, some interpret Jesus's actions towards Judas during the Last Supper as a sign of his love and forgiveness, even offering Judas a seat of honour next to him.
While the exact motivations behind Judas's betrayal remain uncertain, it is generally believed that he never recognised Jesus as God or the Messiah. Unlike the other disciples, Judas never referred to Jesus as "Lord", instead calling him "Rabbi", indicating a lack of faith and conviction.
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Leonardo da Vinci's artistic choices
Composition and Perspective: Da Vinci composed the painting to emphasise the importance of Jesus, who is seated calmly at the centre of the image, with 12 apostles on either side of him. The use of linear perspective makes objects appear proportionally smaller, as if seen through the viewer's eye. The vanishing point for all perspective lines is at Jesus' right cheek, drawing attention to his face.
Seating Arrangement: Da Vinci's seating arrangement differs from traditional depictions of the Last Supper. Instead of placing Judas alone on the opposite side of the table, da Vinci has Judas lean back into the shadows, reaching for a piece of bread, reflecting his betrayal. John, the disciple whom Jesus loved, is placed to the right of Jesus, indicating his trusted position. Peter, Judas, and John form a trio to the left of Jesus, with Judas being the most prominent due to his association with betrayal.
Emotional Expression: Each apostle reacts differently to Jesus' announcement of betrayal, displaying a range of human emotions. Thomas, James the Greater, and Philip show shock and disbelief, while Matthew, Jude Thaddeus, and Simon the Zealot seek answers. Da Vinci's ability to capture these emotions adds to the painting's impact and recognisability.
Technique and Medium: Da Vinci chose to paint on a stone wall using a mix of tempera and oil paints, deviating from the traditional fresco technique. This allowed for vivid colours and facilitated alterations, as the painting could be easily revised and retouched.
Symbolism and Detail: Da Vinci included symbolic elements in the painting, such as a white and blue-striped tablecloth, colours associated with the Jewish people. The apostles are divided into three groups, possibly representing the Holy Trinity. Behind the disciples, trees such as cypress and laurels symbolise mourning, death, victory, and eternal life. The inclusion of birds, such as ducks, hawks, and goldfinches, carry symbolic meanings related to early joys, betrayal, and the death of Jesus.
Overall, Leonardo da Vinci's artistic choices in The Last Supper showcase his innovative approach to composition, perspective, emotion, and symbolism, making it one of the most celebrated and recognisable paintings in the Western world.
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The absence of halos
Another notable aspect of da Vinci's composition is his arrangement of the apostles. Unlike earlier depictions that placed Judas alone on the opposite side of the table or with a distinct lack of a halo, da Vinci positioned Judas within the group of apostles, leaning back into the shadows. This subtle treatment of Judas's betrayal emphasises the emotional impact of the scene, capturing the moment after Jesus announces that one of his apostles will betray him.
While the absence of halos in "The Last Supper" may have initially been a break from tradition, it is important to note that da Vinci did include subtle hints of divinity in the composition. For example, he placed a stone arch over the window behind Christ, suggesting a halo-like aura. This subtle use of symbolism showcases da Vinci's skill in conveying spiritual themes without relying on conventional artistic tropes.
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The apostles' reactions
The Last Supper, painted by Leonardo da Vinci between 1495 and 1498, depicts the scene of Jesus' last meal with his apostles before his crucifixion. The painting captures the moment after Jesus announces that one of his apostles will betray him, and each apostle reacts differently to this news.
Bartholomew, James, and Andrew
The group on the left, comprising Bartholomew, James, and Andrew, express surprise at Jesus' revelation. Andrew, in particular, is depicted with his hands lifted, palms facing the viewer, conveying a sense of shock and disbelief.
Judas Iscariot, Peter, and John
Judas Iscariot, the betrayer, is placed in the shadows, with his head lowered and his body language conveying withdrawal. He clutches a pouch containing the thirty silver pennies he received as payment for disclosing Jesus' identity. Peter, angry and contemplative of revenge, holds a knife and leans towards John, touching him on the shoulder. John, the youngest apostle, appears to swoon and lean towards Peter.
Thomas, James the Greater, and Philip
Thomas, James the Greater, and Philip form another group in the painting. Their reactions are not as prominently described, but they are part of the dynamic scene capturing the apostles' personalities and interactions.
Other Apostles
Matthew, Thaddeus, and Simon are also present in the painting, located just to the left of Jesus. While their specific reactions are not detailed, they, along with the other apostles, form three distinct groups based on their replies to Jesus' announcement. This compositional choice by da Vinci emphasizes the importance of Jesus as the central figure.
Overall, the painting captures a range of emotions and reactions among the apostles, from surprise and shock to anger and contemplation of revenge, creating a dynamic and compelling scene that has made it one of the most recognizable paintings in the Western world.
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Frequently asked questions
There are 12 disciples in the painting.
The 12 disciples are Thomas, James the Greater, Philip, Matthew, Jude Thaddeus, Simon the Zealot, Peter, John, Bartholomew, James Minor, Andrew, and Judas Iscariot.
Judas Iscariot is identified through various methods, including placing him alone on the opposite side of the table from the other disciples, excluding him from halos, and portraying him with a purse.
The Last Supper painting by Leonardo da Vinci depicts the final meal shared by Jesus and his 12 disciples before his capture and crucifixion. It captures the moment when Jesus announces that one of his apostles will betray him.
Da Vinci's interpretation of simultaneous activity, use of linear perspective, and departure from traditional depictions of Jesus and his disciples without halos are notable features of the painting.
