Thomas pointing finger upwards in the Jesus Last Supper (Leonardo)

Feast of Saint Thomas - Wednesday 3rd July
Interesting news regarding the Leonardo mural

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http://www.dailymail.co.uk/news/article-2189604/The-Last-Supper-Fascinating-new-theory-suggests-Leonardo-da-Vinci-used-face-TWO-apostles.html  

Thomas is also pointing his finger upwards in the 500-year-old mural, a gesture which Leonardo's contemporaries viewed as a da Vinci trademark

Did da Vinci paint himself into The Last Supper? Fascinating new theory suggests Leonardo used his own face for TWO of the apostles

• Art expert believes Thomas and James the Lesser are self-portraits of Renaissance genius

By DAILY MAIL REPORTER

PUBLISHED: 03:42, 17 August 2012 | UPDATED: 03:44, 17 August 2012

 
 
 

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He is the man behind some of the most famous portrait paintings in history.

Yet, ironically, art experts still have relatively little idea what Leonardo da Vinci himself looked like.

Because the Renaissance genius left no self-portraits from his youth, academics have been forced to explore their suspicions that he may have placed his image into one of his own masterpieces.

Code cracked? Art historian Dr Ross King has presented new evidence which he believes shows that Leonardo da Vinci used his own face for two apostles, Thomas and James the Lesser, in his painting of the Last Supper

Staring them in the face? Dr King references a portrait believed to be of da Vinci in his later years showing him with a Greek nose and flowing hair, much like the two apostles. Thomas is also pointing his finger upwards in the 500-year-old mural, a gesture which Leonardo's contemporaries viewed as a da Vinci trademark

Now one art historian believes he has uncovered new evidence that the great man inserted himself not once, but twice, into his famous mural, The Last Supper.

Ross King, the author of the international best-seller Brunelleschi's Dome, makes reference to a poem written in the 1490s, while Leonardo was painting The Last Supper, by his friend Gasparo Visconti.

 

More...

In it, Visconti makes fun of an unnamed artist for putting his image into his works 'however handsome it may be'.

Dr King also cites the famous portrait of a man in red chalk, sketched around 1515, which is thought to show Leonardo in his advancing years.

He has a Greek nose, flowing hair and a long beard, much like the faces of the apostles Thomas and James the Lesser in the 500-year-old Last Supper.

Clues: According to Dr King, the portrait of a man in red chalk (left), believed to depict da Vinci around 1515, has similar features to those shown in the two apostles. Some art experts also believe the Mona Lisa (right) may be a self-portrait

Steeped in history: The Last Supper was painted on an end wall in the dining hall at the monastery of Santa Maria delle Grazie in Milan, Italy, for Leonardo's patron Duke Ludovico Sforza and his duchess Beatrice d'Este

Thomas's upturned finger was also considered by contemporaries as a trademark Leonardo gesture.

Dr King told the Independent: 'The Last Supper is the only work that no one, either crackpot or academic, has tried to identify as a Leonardo portrait.'

Renowned Leonardo scholar Charles Nicholl said: 'Of all the apostles that (Leonardo) would wish to be identified with, I think Doubting Thomas would be top of his list because Leonardo was a great believer in asking questions rather than accepting what people tell you.'

The Last Supper was painted on an end wall in the dining hall at the monastery of Santa Maria delle Grazie in Milan, Italy, for Leonardo's patron Duke Ludovico Sforza and his duchess Beatrice d'Este.

It has faded substantially over time, but underwent a 21-year restoration from the 1970s which sparked considerable controversy because of the subsequent changes in tones and colours.

Finding images of Leonardo in his paintings has become a popular pastime with academics, with some even suggesting that the Mona Lisa is in fact a self-portrait in disguise.

Bloomsbury Publishing will publish Dr King's latest research in Leonardo And The Last Supper on August 30. It will also feature as BBC 4's Book of the Week at the same time.

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The sacrifice of our father Abraham

https://www.magnificat.net/

Thursday, 04 July 2013

Thursday of the Thirteenth week in Ordinary Time

Book of Genesis 22:1-19.

God put Abraham to the test. He called to him, "Abraham!" "Here I am!" he replied.

Then God said: "Take your son Isaac, your only one, whom you love, and go to the land of Moriah. There you shall offer him up as a holocaust on a height that I will point out to you."

Early the next morning Abraham saddled his donkey, took with him his son Isaac, and two of his servants as well, and with the wood that he had cut for the holocaust, set out for the place of which God had told him.

On the third day Abraham got sight of the place from afar.

Then he said to his servants: "Both of you stay here with the donkey, while the boy and I go on over yonder. We will worship and then come back to you."

Thereupon Abraham took the wood for the holocaust and laid it on his son Isaac's shoulders, while he himself carried the fire and the knife.

As the two walked on together, Isaac spoke tnued, "Here are the fire and the wood, but where is the sheep for the holocaust?" 

"Son," Abraham answered, "God himself will provide the sheep for the holocaust." Then the two continued going forward. o his father Abraham. "Father!" he said. "Yes, son," he replied. Isaac conti...

The Supreme Sacrifice

Since the Fathers of the Church, many authors have exerted considerable effort trying to interpret the “true meaning” of Genesis, chapter 22, including modern thinkers such as Kant and Kierkegaard, and postmoderns such as Derrida and Marion. It is no wonder, then, that this episode about the sacrifice of Isaac should pose a huge challenge to artists as well! Such difficulty is hardly surprising, since in this text the divine pedagogy is just beginning to reveal the mystery of faith, this mystery which, in the fullness of revelation, will nourish Christian life from the profession of baptismal faith to every Mass, when the Church renews in an unbloody manner the sacrifice of Christ.

In this painting, Gentileschi proposes a multi-leveled interpretation. On the first level, that of the first Covenant, the angel abruptly stops the horrible act of infanticide. His expression is severe, and with his left hand raised toward heaven he points, in a sort of anticipation of Sinai, to the Law of God: You shall not kill! God thus gives a harsh lesson to Abraham, guilty of having believed it possible that the Lord would have asked him to adopt the monstrous practice of that period—offering first-born sons in sacrifice to the titular deity. Later, Moses will explain that offering first-born sons to God means to consecrate them, not sacrifice them. On the second level, that of the new and eternal Covenant, Gentileschi, unlike Caravaggio and Rembrandt, represents Isaac as neither constrained nor terrified. He who carried the wood for his own sacrifice is here the figure of Jesus Christ. Now, Jesus testifies that God his Father, our Father, does not wish to sacrifice his Son, just as he did not want Abraham to sacrifice Isaac: No one takes my life from me, but I lay it down on my own, he affirms. But as Savior of the world, it is no less true that Jesus exalts the greatness of the supreme sacrifice, since he is the only offering pleasing to God: No one shows greater love than by laying down his life for those he loves. 

Pierre-Marie Dumont 

  

The Sacrifice of Isaac, Orazio Gentileschi (1563-1639),

Galleria Nazionale di Palazzo Spinola, Genoa, Italy.

© Electa / Leemage.

(Leonardo) Last Supper - the plaster cast model from the window of a charity shop

COMMENT:
Irresistible photos of the plaster cast model.

From: Donald .......
To: William J ....
Sent: Tuesday, 2 July 2013, 22:16
Subject: Fw: [Blog] Last Supper - the salt cellar plaster cast model

Dear William,...

News from the Hospital after Vespers: Fr. Thomas has undergone the hip operation and he was enjoying the tea, after the day fasting. The Duty Nurse of the ward has already know Fr. Thomas - pleasant encounter.

As from the special Feast Day we noted Saint Thomas in his own unique role in the cast of the (Leonardo) Last Supper, more searching and browsing, otherwise contemplating.

Back to the salt cellar knock over by Judas,   

...

Donald

PS. Thank for the great development from the charity shop plaster cast model.

 

 

----- Forwarded Message -----
From: William Wardle <williamwardle2bp@btinternet.com>
To: Donald Nunraw <nunrawdonald@yahoo.com>
Sent: Wednesday, 3 July 2013, 19:15
Subject: Re: [Blog] Last Supper -plaster cast model

Dear Father Donald,

 

St Thomas' feast for Father Thomas (unless his name dedication is of another Thomas), the day of his long awaited hip operation. I pray that it may restore his health, most especially his mobility so that he may resume attendance at community liturgy and meals, which [to me] is the shared expression of your cenobitic life together. My prayers unite with those of the community for him: may these and my greetings and best wishes be relayed to him.

 

I have endeavoured to record images of the plaster cast model of the (Leonardo) Last Supper. The model measures in width 9.5 inches (24cm)

It is so startling to believe that I found it in the window of a charity shop!! (the only damage being to Bartholomew's re-glued head).

 

It is the salt cellar at Judas' elbow that catches the eye, although the money bag is far from being defined (merging with a bread roll). The big disappointment for today's feast is that Thomas is holding up a full hand, not a finger, but this would have been a casting difficulty.

 

'Not me Lord?' is very eloquent in the hand positions of Philip (right facing) and James the Less and Andrew (left facing), with Bartholomew almost tipping over his stool as he rises in disbelief. There appears to be a private conversation between Matthew, Thadeus and Simon (right facing) as they together attempt to understand the Lord's words (Matthew gesticulating, raising the question). I think that James the Great is gesturing, with Philip anxiously over his shoulder, to Bartholomew to 'hold his peace' - I don't think he is looking at Judas. John's hands are shown as open, not as clasped, and [big difference] Judas has not (yet) reached out to dip his fingers in the small bowl which is missing!

 

Absolutely fascinating, I (can) lose myself in this scene, and I now delight in cross relating it to the (clearer) copy of the Giampietri painting that you discovered which reveals the hidden detail. One odd thought, it impresses me that the clay artist should have troubled to have completed for the cast the reverse of the characters, for that is not in the painting!

 

Where to end contemplating this scene?! It is a joy to delight with you in these reflections.

 

With my love in Our Lord,

William

----- Forwarded Message -----
From: William ...
To: Fr Donald ...
Sent: Monday, 1 July 2013, 20:04
Subject: Re: [Blog] Last Supper - the salt cellar

Dear Father Donald,

 

Thank you for finding the Giampietrino copy of Leonardo's painting - it has spelled out for me the 'salt cellar' moment that is for me the 'frozen moment' depicted in the painting.

 

I surmise: Judas has overheard Peter's question and John's subsequent inquiry of Our Lord without too much concern, but having just dipped his fingers in the dish at the self same moment as Jesus, he hears Jesus' answer... "the one who has dipped his hand into the bowl with me" (Mtt 26:23). He starts in alarm (for if Jesus knows, what then? and alas, more immediate perhaps, Peter has a knife, and all know his vehement defence of his master, which was to be duly evidenced, v51). It is at that moment as Judas blurts out,"Surely not I, Rabbi?" that the salt cellar overturns: Judas has been found out: a second later, and Leonardo would have portrayed him jumping to his feet...

 

I am quite in awe of this painting. It tells of the developing Passion of Lord as no words could ever describe.

 

The plaster cast model on my bookshelf has 'come alive' with meaning, for amongst the table shapes, I now can see the salt cellar, clearly distinguished. The figure of James the Great expresses all our alarm, and that of Matthew speaks to us, 'Can that be true?'...  

 

No one could feel complacent gazing upon that scene. Least of all me.

 

With very many thanks,

and with my love in Our Lord,

William

 

From: Fr Donald <domdonald@sacmus.org>
To: williamwardle2bp@btinternet.com
Sent: Monday, 1 July 2013, 11:34
Subject: [Dom Donald's Blog] COMMENT: Last Supper (Leonardo) Judas - Footnotes
 

Giampietrino-Last-Supper-ca-1520

The Significance of Various Elements in the Composition of the Painting Note on Judas. Michael Ladwein Leonardo da Vinci – The Last SuperThe language and.meaning of gestures .......... ... the ever-long forefinger of Thomas, pointing upwards very striking and energetically, might also be interpreted as indicating that the doubts he experienced regarding Christ's Resurrection could only be overcome by actually touching his wounds John 20,27). This in turn meant that in medieval theology Thomas became the actual witness of the Resurrection, so that his heavenward-pointing finger came to symbolize Christ's Ascension." Peter's right hand, propped on his hip (behind Judas' back) is holding a knife which at first sight can be regarded as a perfectly legitimate item of cutlery. But apart from the fact that it is the only knife in the whole picture, its size and shape also make it appear more like a weapon. Thus it points to the happening a few hours hence when Peter, militantly ready to defend Christ, will cut off the ear of Malchus (while here the ear of .John is willingly turned towards him and that of Judas involuntarily hears his urgent enquiry as to the name of the traitor). Thus the knife becomes in a sense an attribute of Peter. 
Apart from Peter, only Judas is holding in his right hand an object open to ambivalent interpretation: the purse full of money (Fig.53). 
Judas, Peter, John, 1999 restored Initially it can be seen as the common purse (John 12,6) which he administers, but we immediately and above all associate it with his traitor's reward of thirty pieces of silver. Moreover, as he recoils vehemently in surprise, he appears inadvertently to upset a salt-cellar. This is a most realistic touch," (15*) for he is symbolically rejecting Christ's promise that he too, like the others, shall be 'the salt of the earth', thus cancelling his links with Christ." (16*) 

14 Bernard of Clairvaux, De laudibus Virginis matris, quoted after Steinberg: 'Thomas, at first doubting the truth but then verifying it by touch, thus became the surest witness of the Resurrection.'

15 This is no longer discernible in the original painting but can be seen in copies and engravings (see p.87.) In a passage that evidently refers to Judas, Leonardo's notes reveal that he originally considered showing him overturning a glass of wine. Perhaps finding this idea too obvious, he rejected it in favour of the salt-cellar. Right beside his elbow, as though pushed aside by him, there is a piece of bread. According to Steinberg this could also be interpreted as a rejection of the Eucharist and thus point to antagonism towards Christ.

16 Matthew 5,13; Mark 9,50; Luke 14,34-35; see also R. Steiner From Jesus to Christ; lecture of 12 October 1911, andCosmic and Human Metamorphoses, lecture of 20 March 1917.

17 F. Rittelmeyer, p.72.

The Precious Blood, Bruges, Basilica of the Holy Blood

Basilica of the Holy Blood staircase

COMMENT:

In the Month of the Precious Blood.

After exciting the discovery of the Jerusalem Solemnity of the Precious Blood in Gethsemane, I love learning about the Bruges Basilica of the Holy Blood, the Shrine and Pilgrimage.

Leading on the trail, it may be that the Salve Regina statue at Latroun Abbey, Our Lady of Sorrows, celebrates the Precious Blood. 
The Cistercian (Trappist) sculptor, Fr. Bernard of Sept-Fons Abbey, famous for statues of St. Therese of Lisieux, made the Salve Regina over the Altarat Latroun.
Below, the best picture to hand is from the gellery in the Wine Shop

      
NEWS: 

Hospital Bulletin.
Fr. Thomas' operation of the hip has been very successful. The surgeon comes from small place near Munich. He is familiar with the local Benedictine monastery. Grgreat relationship  and in fact finding everyone in the hospital extremely helpful. I was there with Fr. Nivard.
   

Deo gratias.

Donald 

----- Forwarded Message -----
From: William J. ...
To: Donald...
Sent: Tuesday, 2 July 2013, 14:36
Subject: [Blog] The Precious Blood - a souvenir

Basilica of the Holy Blood entrance

Dear Father Donald,

 I thought to send the above images to you in the month of The Precious Blood.

A pilgrim will have brought home from Bruges two souvenirs. I found a little medallion, and a cross with a tiny peep-window in a stall holder's box of badges and buckles a number of years ago, of "Chasse du Saint Sang, Bruges".

I have found photos via google to describe it < 'saint sang bruges' > and onhttp://en.wikipedia.org/wiki/Basilica_of_the_Holy_Blood 

A fascinating relic... or very much more... which I thought would interest you!

...  in Our Lord,

William

Latroun Abbey apse statue Our Lady of Sorrows Fr. Bernard (Sept-fons) sculptor

P.S. We need to find a close up photo of the Salve Regina, always illuminated to end Compline.

Michael Grube (Quito, Ecuador) JEWELS of the VIOLIN-LITERATURE

Nunraw Abbey

Wednesday, 3 July 2013

6.45 pm

_

_ _ _ _ _ _ _ _ _

Dr. Michael Grube

& his 350 year-old AMATI violin

============================

Vocations - Mass

----- Forwarded Message -----

From: Fr. Mark ...

Sent: Tuesday, 2 July 2013
Subject: Intro to Mass for Vocations

Intro to Mass for Vocations         Tuesday, 13 Week of Year (Mt 8 23-27)

In today’s gospel reading we see Jesus getting into the boat with his disciples. 
A storm broke over the lake.  Their plea to him was, ‘Save us Lord, we are going down’.

That is how many in the Church often feel today about themselves
and about who will safeguard their spiritual lives. 
Today we are offering Mass for more vocations to care for and to nourish, not just save, our lives.

We pray for more priests and religious in the Church to give their lives, committed to the service of men and women and as a witness to God’s undying love for us.

We should take courage, even from the rebuke Jesus gave his disciples
in today’s gospel: ‘Why are you so frightened, you of little faith?

+ + +

Vocations Network.   

http://www.vocationnetwork.org/?gclid=CMS6nb75j7gCFQ3KtAod6y0ATw

Gethsemane De Pretiosissimo Sanguine Domini Nostri Sollemnitas -die 1 Iulii -Getsemani

 

http://www.custodia.org/default.asp?id=779&id_n=11084

The Solemn Feast of the Most Precious Blood of Our Lord Jesus Christ in Gethsemane

“Today’s Solemnity answers an ancient cry by man. As usual, it is a response that differs from the one man could have imagined. Once again, there is blood and sacrifice, but this time the blood is not of man, but of God. It is not the sacrifice of man for God, but God’s sacrifice for man.”

Today, on the first Sunday of July, the friars of the Custody gathered together in Gethsemane for the Solemn Feast of the Most Precious Blood of Our Lord Jesus Christ. In the Basilica designed by Barluzzi, the the Custos, Father Pierbattista Pizzaballa, presided the Solemn Mass for this Feast, which Vatican Council II combined with Corpus Christi, but which survives in Jerusalem where it is celebrated each year on the Mount of Olives.

It is a Feast that, as the Custos recalled in his homily, emphasizes the unique bond between Jerusalem and the Mystery of the Redemption.

“Our land, that of man, has always been marked by blood. From the very first pages of the Bible, and therefore from the history of man, we see that the experience of violence, evil and hatred disrupts the lives of people and their relations, and the land is forced to accept innocent blood and be a witness to its cry.

This blood, the symbol of life, thus also becomes the symbol of death and of violent death. Blood, namely life given by God, is wrenched from man and spilt unjustly. We also bear the consequences of this wound and in our hearts, we harbour the doubt that our evil is too great. We are wrong if we think that God’s mercy cannot penetrate that far and that our sins are stronger and greater than His love.”

By Serena Picariello

2011/04/07 - The solemn feast of the Most Precious Blood of Our Lord Jesus Christ in Gethsemane

·        

Welcome refresment

·     

De Pretiosissimo Sanguine Domini Nostri

Sollemnitas -die 1 Iulii -Getsemani   

Month of The Precious Blood of our Lord Jesus Christ - Pope's Intentions

 Madonna of the Precious Blood - Inexhaustible chalice

http://starrymantle.blogspot.co.uk/2009/07/month-of-precious-blood.html

Pope's Intention

http://www.apostleshipofprayer.org/reflectionsmonthly.html

JULY ·         World Youth Day. That World Youth Day in Brazil may encourage all young Christians to become disciples and missionaries of the Gospel. ·         Asia. That throughout Asia doors may be open to messengers of the Gospel.

 https://www.facebook.com/PreciousBlood

Prayers for July

Catholic Prayers for the Month of the Precious Blood

By Scott P. Richert, About.com Guide

Ads:

 
• Christians Prayers
 
• God Prayers
 
• Novena Prayers
 
• Church Prayers
 
• Prayers to Jesus

By tradition, the Catholic Church dedicates each month of the year to a certain devotion. In July, it is the Precious Blood of Jesus. (The Feast of the Precious Blood, established by Pope Pius IX in 1849, is celebrated each year on the first Sunday of July.) The Precious Blood, like the Sacred Heart of Jesus, has long been venerated for its role in our redemption.

Some or all of the following prayers can be incorporated into our daily prayers during the Month of the Precious Blood.

Petition to Jesus Christ

Christ's Precious Blood, like His Sacred Heart, is a symbol of His love for all mankind. In this prayer, we recall the shedding of His Blood and ask that He may guide our lives so that we may be worthy of Heaven.

Prayer to the Eternal FatherPrayer to Jesus

This short prayer calls to mind the Precious Blood of Jesus and asks Christ for His aid. It is a type of prayer known as an ejaculation or aspiration—a short prayer meant to be memorized and repeated throughout the day, either alone or in combination with longer prayers.

ttp://catholicism.about.com/od/prayers/tp/Prayers_July.htm

1. Passionist Feast 1st July - The Precious Blood of our Lord Jesus Christ

   www.flickr.com/photos/14341228@N00/3675983819/‎

   Oct 7, 2007 – Passionist Feast 1st July - The Precious Blood of our Lord Jesus Christ.

Precious Blood Solemnity at Getsemane 1st July  
http://www.custodia.org/default.asp?id=779&id_n=11084

COMMENT: Last Supper (Leonardo) Judas - Footnotes

Giampietrino-Last-Supper-ca-1520

The Significance of Various Elements in the Composition of the Painting
Note on Judas.
Michael Ladwein
Leonardo da Vinci – The Last Super
The language and.meaning of gestures ..........
... the ever-long forefinger of Thomas, pointing upwards very striking and energetically, might also be interpreted as indicating that the doubts he experienced regarding Christ's Resurrection could only be overcome by actually touching his wounds John 20,27). This in turn meant that in medieval theology Thomas became the actual witness of the Resurrection, so that his heavenward-pointing finger came to symbolize Christ's Ascension." Peter's right hand, propped on his hip (behind Judas' back) is holding a knife which at first sight can be regarded as a perfectly legitimate item of cutlery. But apart from the fact that it is the only knife in the whole picture, its size and shape also make it appear more like a weapon. Thus it points to the happening a few hours hence when Peter, militantly ready to defend Christ, will cut off the ear of Malchus (while here the ear of .John is willingly turned towards him and that of Judas involuntarily hears his urgent enquiry as to the name of the traitor). Thus the knife becomes in a sense an attribute of Peter.

Apart from Peter, only Judas is holding in his right hand an object open to ambivalent interpretation: the purse full of money (Fig.53).

Judas, Peter, John, 1999 restored
Initially it can be seen as the common purse (John 12,6) which he administers, but we immediately and above all associate it with his traitor's reward of thirty pieces of silver. Moreover, as he recoils vehemently in surprise, he appears inadvertently to upset a salt-cellar. This is a most realistic touch," (15*) for he is symbolically rejecting Christ's promise that he too, like the others, shall be 'the salt of the earth', thus cancelling his links with Christ." (16*)

14 Bernard of Clairvaux, De laudibus Virginis matris, quoted after Steinberg: 'Thomas, at first doubting the truth but then verifying it by touch, thus became the surest witness of the Resurrection.'

15 This is no longer discernible in the original painting but can be seen in copies and engravings (see p.87.) In a passage that evidently refers to Judas, Leonardo's notes reveal that he originally considered showing him overturning a glass of wine. Perhaps finding this idea too obvious, he rejected it in favour of the salt-cellar. Right beside his elbow, as though pushed aside by him, there is a piece of bread. According to Steinberg this could also be interpreted as a rejection of the Eucharist and thus point to antagonism towards Christ.

16 Matthew 5,13; Mark 9,50; Luke 14,34-35; see also R. Steiner From Jesus to Christ; lecture of 12 October 1911, and Cosmic and Human Metamorphoses, lecture of 20 March 1917.

17 F. Rittelmeyer, p.72.