(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.