The Last Supper — museum
Leonardo da Vinci · Public domain

The Last Supper

Ultima Cena

  • 2 min read
  • 45.467° N 9.171° E

Interesting facts

  • According to a long-told story, Leonardo answered a prior who complained of delays by threatening to use the prior's own face for Judas.
  • Under the tempera Leonardo laid an undercoat of white lead to make his colours glow, a technique that Cennino Cennini had warned was riskier than fresco.
  • In 1499 King Louis XII of France considered cutting the painting from the wall and carrying it back to France.
  • A painter named Giuseppe Mazza repainted almost the entire work in 1770, finishing all but three faces before public outrage stopped him.
  • In 1821 a specialist in moving frescoes tried to detach the mural and badly damaged its centre before realising it was not a fresco at all.
  • Goethe recorded that in 1800 a heavy storm left the refectory flooded with about two feet of water.
  • A near full-size copy attributed to Giampietrino, now owned by the Royal Academy in London, guided the last restoration and preserves lost details such as Christ's feet.
  • The final restoration took 21 years; the windows were bricked up to seal the room, and irretrievable gaps were filled with muted watercolour.
  • Napoleon commissioned a life-size mosaic copy from Giacomo Raffaelli, completed in 1814 and now in Vienna's Minoritenkirche.
  • Andy Warhol's final series of paintings, shown in Milan in January 1987 shortly before his death, was based on The Last Supper.

Why it is worth it

On the end wall of a former monastic dining hall in Milan, Leonardo da Vinci painted the moment just after Christ tells his twelve apostles that one of them will betray him. The news runs through the table like a shock wave: the disciples recoil, lean in, protest and question in groups of three on either side, while Christ sits alone and still at the centre against the windows behind him, his head at the vanishing point where every line of the painted room converges. Measuring about 4.6 by 8.8 metres, The Last Supper became one of the most studied and most reproduced images in Western art.

Leonardo worked on the mural between about 1495 and 1498 for his patron Ludovico Sforza, Duke of Milan, in the refectory of the Dominican convent of Santa Maria delle Grazie. Instead of true fresco, which must be painted quickly onto wet plaster, he applied tempera to a dry wall prepared with gesso, pitch and mastic, a method that let him work slowly and revise. It was also the source of the painting's troubles: the paint began to flake within years, and by the middle of the 16th century Giorgio Vasari described it as badly ruined. In 1652 a doorway was cut through the lower centre of the scene, destroying the area where Christ's feet had been, and at the end of the 18th century French troops used the hall as an armoury and stable.

The worst threat came on 15 August 1943, when Allied bombs struck the refectory; sandbags protected the painting from flying fragments. A restoration led by Pinin Brambilla Barcilon from 1978 to 1999 removed layers of dirt and earlier repainting, recovering as much of Leonardo's own surface as remained. The church and convent, begun in 1463 with a Gothic nave by Guiniforte Solari and later given a Renaissance tribune associated with Donato Bramante, were inscribed together with the painting as a UNESCO World Heritage Site in 1980. Opposite the Last Supper, on the far wall of the refectory, is Giovanni Donato da Montorfano's Crucifixion fresco of 1495.

Getting there

The refectory of Santa Maria delle Grazie is west of the historic centre of Milan, Italy. The nearest airport is Milan Linate (LIN), about 9 km away; Milan Malpensa (MXP) is the city's main intercontinental airport, further to the north-west.

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From the encyclopaedia

The Last Supper is a mural painting by the Italian High Renaissance artist Leonardo da Vinci, dated to c. 1495–1498, housed in the refectory of the Convent of Santa Maria delle Grazie in Milan, Italy. The painting represents the scene of the Last Supper of Jesus with the Twelve Apostles, as it is told in the Gospel of John – specifically the moment after Jesus announces that one of his apostles will betray him. Its handling of space, mastery of perspective, treatment of motion and complex display of human emotion has made it one of the Western world's most recognizable paintings and among Leonardo's most celebrated works. Some commentators consider it pivotal in inaugurating the transition into what is now termed the High Renaissance.

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