A non-fiction InterpretationA non-fiction Interpretationofof Leonardo da Vinci’sLeonardo da Vinci’s

“The Last Supper”“The Last Supper”

This presentation is intended as a toolThis presentation is intended as a toolto assist us in differentiating betweento assist us in differentiating betweenwhat is fiction and what may be truewhat is fiction and what may be true

in the in the “Da Vinci Code”“Da Vinci Code” interpretation interpretation of the symbology of of the symbology of “The Last Supper”“The Last Supper”..

(Click to see next frame.)(Click to see next frame.)

No Glasses on the No Glasses on the TableTable ? ?

Let us begin with the “Da Vinci Code” scene where the two fugitives are in the mansion ofSir Leigh Teabing (Ian McKellan) [who later turns out to be the villain ‘teacher’] as he begins interpreting the Last Supper symbology for Prof. Langdon (Tom Hanks) and Sophie Neveu (Audrey Tautou).

The first statement he makes is:“The scene is supposed to be depicting

the breaking of bread and the blessing of the wine, the model for the communion, yet there are no glasses of wine on the

table.

Not one glass of wine can be seen!”

This is not quite correct. As a matter This is not quite correct. As a matter of fact there are indeed glasses of of fact there are indeed glasses of wine on the table, twelve of them to wine on the table, twelve of them to be exact.be exact.The wine glasses of each of the twelve

apostles (with the exception of Peter’s glass which appears to be blocked by the figure of

Judas) as well as Jesus’ glass can be seen in front of each of the figures.

Leonardo’s original fresco is unfortunately quite faded so some of the finer details are difficult to recognise.Here we see a very well preserved copy of the Last Supper painted (on canvas) during da Vinci’s time (the artist is unknown), in which some details are more easily recognisable.

Of course it seems surprising to us to see clear, transparent glasses depicted, which were not

known in the first century A.D. when Jesus lived but were already commonly used (in wealthier

households) during the time of the Renaissance.

The artistic custom of da Vinci’s time made no particular effort at historical accuracy. Ancient figures were almost always depicted wearing contemporary garments and in contemporary

environments.

The Florentine painter, Domenico Ghirlandaio, also painted a famous version of the “Last Supper” fifteen years before Leonardo.

Observing the details of Ghirlandaio’s

painting, we can see various kinds of transparent and

translucent glassware depicted; drinking glasses, wine and

water carafes, dipping bowls.

This again illustrates the common practice of Italian Renaissance

painters of using contemporary Venetian glass designs in their

compositions.

Specifically, Leonardo's work shows the moment after Jesus has Specifically, Leonardo's work shows the moment after Jesus has announced that one of those sitting at the table will betray him.announced that one of those sitting at the table will betray him.The twelve apostles react with various degrees of outrage and The twelve apostles react with various degrees of outrage and shock. shock.

The Scene being The Scene being DepictedDepicted

Leonardo’sLeonardo’sSketches & Sketches & NotesNotes

Leonardo grouped Leonardo grouped the apostles into the apostles into four groups of four groups of three, with Jesus in three, with Jesus in the middle.the middle.

From left to right, they are:

The notebooks of The notebooks of Leonardo da Vinci Leonardo da Vinci name all of the name all of the disciples in the order disciples in the order in which they are in which they are shown (which is how shown (which is how we come to identify we come to identify them). them).

Group One: BartholomewBartholomew, , James the LesserJames the Lesser and and AndrewAndrew form the first group of three. form the first group of three.

((AndrewAndrew holds both of his hands up in holds both of his hands up in front of him in a startled gesture.)front of him in a startled gesture.)

Group Two:

Leonardo identifies the second group of Leonardo identifies the second group of three as being three as being Judas IscariotJudas Iscariot, , Simon Simon

PeterPeter and and JohnJohn. . ((JudasJudas is holding a bag of silver in his right is holding a bag of silver in his right hand, while reaching for a piece of bread hand, while reaching for a piece of bread with his left.) with his left.)

Group Three:The third group is made up of The third group is made up of ThomasThomas, , James the GreatJames the Great and and PhillipPhillip..

(These three appear in varying degrees of shock; (These three appear in varying degrees of shock; ThomasThomas has his has his hand raised and hand raised and PhillipPhillip seems to be asking seems to be asking “Is it I ?”,“Is it I ?”, while while James the James the

GreatGreat, between them, appears to be recoiling in horror.) , between them, appears to be recoiling in horror.)

Group Four:The last three, Matthew, Jude Thaddeus and Simon the Zealot

(appear to be discussing the matter with each other, in a rendition of Luke 22:23: “They began to question among

themselves which of them it might be who would do this.”)

From the Gospel of LukeFrom the Gospel of Luke

And he took bread, and gave thanks, and broke it, and gave unto them, saying, This is my body which is given for you: this do in remembrance of me. Likewise also the cup after supper, saying, This cup is the new testament in my blood, which is shed for you.

But, behold, the hand of him that betrays me is with me on the table. And they began to enquire among themselves, which of them it was that should do this thing.

Luke 22:19 -23

It would be helpful at this point to read It would be helpful at this point to read the Gospel accounts of the scene the the Gospel accounts of the scene the Painting depicts:Painting depicts:

From the Gospel of JohnFrom the Gospel of John

Verily, verily, I say unto you, that one of you shall betray me. Then the disciples looked one on another, doubting of whom he spoke.

Now there was leaning on Jesus' bosom one of his disciples, whom Jesus loved.

Simon Peter therefore beckoned to him, that he should ask who it should be of whom he spoke.

John 13:18 -24

From the Gospel of MatthewFrom the Gospel of Matthew

And as they did eat, he said, Verily I say unto you, that one of you shall betray me.

And they were exceeding sorrowful, and began every one of them to say unto him, Lord, is it I?

And he answered and said, He that dips his hand with me in the dish, the same shall betray me.

Matthew 26:21 -23

From the Gospel of MarkFrom the Gospel of Mark

And as they sat and did eat, Jesus said, Verily I say unto you, One of you which is eating with me shall betray me.

And they began to be sorrowful, and to say unto him one by one, Is it I? and another said, Is it I?

And he answered and said unto them, It is one of the twelve, that dips with me in the dish.

Mark 14:18-20

A synthesis of the accounts, reveals these main points:

• Jesus expounds on the Jewish ‘Kiddush’ (blessing of bread and wine) and introduces the later Christian sacrament of Communion

• He afterwards announces that one of the twelve will betray him.

• The disciples begin heatedly discussing among themselves who it could be. Some of them ask Jesus directly, “Is it I ?”

• The idea comes up that Peter should ask John, who apparently had a particularly close relationship with Jesus, to ask the Master who the traitor is.

• Jesus apparently consents to give a sign in the form of an action he will take simultaneously with the traitor, involving the dipping of bread.

It is obvious, that each of the four writers of the It is obvious, that each of the four writers of the Gospels remembers the scene a little differently. Gospels remembers the scene a little differently.

Some describe certain details which the others Some describe certain details which the others omit.omit.

Let us consider each of the above points Let us consider each of the above points individually as they are depicted in the paintingindividually as they are depicted in the painting::

• Jesus announces that one of the twelve will betray

him.The presence of a traitor and his The presence of a traitor and his unknown identity is symbolized unknown identity is symbolized

by by the ownerless hand holding a the ownerless hand holding a knifeknife..

The ownerless The ownerless KnifeKnife

It is obvious thatIt is obvious thatda Vinci went toda Vinci went to

a great deal ofa great deal oftrouble to make trouble to make

this symbolic this symbolic device of the device of the

ownerless knife ownerless knife subtle, yet subtle, yet

clearly clearly recognisable.recognisable.

The sketch of the The sketch of the position of position of

Peter’s arm is Peter’s arm is the most the most

detailed of all detailed of all the preparatory the preparatory studies da Vinci studies da Vinci

drew for the Last drew for the Last Supper.Supper.

The angle of theThe angle of thetwo arms in two arms in

relationrelationto each other to each other also makes it also makes it obvious, that obvious, that

Peter’s arm, on Peter’s arm, on which he is which he is

leaning, cannot leaning, cannot be the arm be the arm holding the holding the

knife.knife.

Another quality Another quality differentiating differentiating

the two arms is the two arms is the colour of the the colour of the

coat- sleeves. coat- sleeves. The sleeve of The sleeve of

Peter’s coat is Peter’s coat is light blue, light blue,

whereas the whereas the sleeve of the arm sleeve of the arm holding the knife holding the knife

is brown.is brown.

• The disciples begin heatedly discussing among themselves who the traitor could be.

The agitated movement among the figures, the The agitated movement among the figures, the discussion and the questioning is obvious. discussion and the questioning is obvious.

PhillipPhillip is portrayed pointing to himself with a is portrayed pointing to himself with a questioning gesture as if saying, questioning gesture as if saying, “Is it I ?”“Is it I ?”

• James motions to Peter who in turn James motions to Peter who in turn whispers to John that he should ask whispers to John that he should ask

Jesus to reveal the traitor’s identity to Jesus to reveal the traitor’s identity to them.them.

Peter’s motion is not threatening as Peter’s motion is not threatening as Dan Brown suggests in the “Da Vinci Dan Brown suggests in the “Da Vinci Code” but seems rather to be the Code” but seems rather to be the friendly, familiar gesture of someone friendly, familiar gesture of someone who lays his hand on the shoulder of who lays his hand on the shoulder of another to whom he feels close while another to whom he feels close while speaking privately with him.speaking privately with him.

• Jesus gives a Jesus gives a sign in the form sign in the form

of an actionof an actionhe takes he takes

simultaneously simultaneously with the traitor, with the traitor,

involving the involving the dipping of dipping of

bread.bread.

With his left hand Jesus is showing a With his left hand Jesus is showing a piece of bread as if saying, piece of bread as if saying, “This is my “This is my body which is given for you … ”body which is given for you … ” while his while his right hand is giving the sign by making a right hand is giving the sign by making a reaching motion at the same time as reaching motion at the same time as Judas.Judas.

John’s Feminine appearanceJohn’s Feminine appearance

John refers to himself several times in his Gospel as John refers to himself several times in his Gospel as ‘the disciple who Jesus ‘the disciple who Jesus loved.’loved.’

There is a very old theory which interprets these references as indicating There is a very old theory which interprets these references as indicating that there might have been a homosexual relationship between John and that there might have been a homosexual relationship between John and Jesus. Jesus.

Da Vinci himself being homosexual, may have been expressing an Da Vinci himself being homosexual, may have been expressing an adherence to this theory by depicting John as being very feminine. adherence to this theory by depicting John as being very feminine.

This could also be one explanation for the complementary colours he uses This could also be one explanation for the complementary colours he uses for the clothing of Jesus and John. for the clothing of Jesus and John.

It was however not unusual for mediaeval and Renaissance artists to give It was however not unusual for mediaeval and Renaissance artists to give young men a feminine, delicate appearance. Several other well known young men a feminine, delicate appearance. Several other well known “Last “Last Supper”Supper” paintings also depict John as being feminine. paintings also depict John as being feminine.

Furthermore, the root of the word ‘Furthermore, the root of the word ‘lovedloved’ which John uses in these ’ which John uses in these references is ‘references is ‘agapeagape’ (divine love) as opposed to ‘’ (divine love) as opposed to ‘philosphilos’ (family love, ’ (family love, friendship) or ‘friendship) or ‘eroseros’ (sexual love). ’ (sexual love). John was the youngest of the apostles and it appears from other John was the youngest of the apostles and it appears from other Gospel episodes, that Jesus had a somewhat fatherly or older-brother Gospel episodes, that Jesus had a somewhat fatherly or older-brother like relationship to him. like relationship to him. This is brought out especially in the scene after the crucifixion when This is brought out especially in the scene after the crucifixion when Jesus, while still on the cross, speaks to his mother and John:Jesus, while still on the cross, speaks to his mother and John:

When Jesus therefore saw his mother, and the disciple standing by, whom he loved, he said unto his mother, Woman, behold thy son!

Then said he to the disciple, Behold thy mother! And from that hour that disciple took her unto his own home.

John 19:26-27

The Conclusion of the The Conclusion of the matter …matter …

While our little study doesn’t address Dan Brown’s other “Da Vinci Code” theory concerning the relationship between Jesus and Mary Magdalene, it does make it clear that his suggestions of a ‘da Vinci connection’ and his interpretation of the symbology of the “Last Supper” are not based on very good scholarship and seem to be, at best, purely fictional.

Copyrights & CreditsCopyrights & Credits

The illustrations used are, to our knowledge, in the public domain and are reproduced for informational, non-commercial purposes in accordance with the ‘fair use’ provisions of international copyright laws.

Bible Texts are from the King James Version. Original texts, designs and explanations are copyrighted 2006by Victor Zelikovsky.

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