The life of Leonardo da Vinci by John William Brown

The Last Supper - a Critique

The subject chosen by the Duke of Milan to exercise the talents of this great artist, was the last supper of Jesus Christ with the twelve Apostles; and the moment represented is described in the 26th chapter of St. Matthew; and the 21st and 22nd verses: "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?" This interesting subject required a perfect knowledge of the human mind. It was necessary to enter minutely into the personal character of every individual, in order to give to each the proper action and expression. The artist has surmounted this difficulty, and has given an admirable variety of action and expression, according to the disposition of those whom he represented.

The prophetic words of Jesus Christ, "that one of you shall betray me", were calculated to excite the greatest agitation among the Apostles. Until that moment they had all been faithful. Not one among them had given the least sign of discontent or disobedience. Devoted to his person, and zealous in the execution of the divine mission which had been confided to them, they had every reason to consider themselves as well-beloved of the Lord. How, then, was it possible for them to suspect that one of their number could be capable of so atrocious a crime as to betray his Master, and that Master, his God and his Saviour? The consternation, the agitation which Leonardo da Vinci has depicted on their countenances, plainly indicate the nature of the subject. But as men's passions are differently developed, according to their different dispositions, temper, habits, and education, the artist was obliged to vary the different attitudes and expressions of the Apostles, in order to give more truth to his representations.

St. John the Evangelist, the well-beloved of Christ, is represented under the form of a handsome young man, with sweet and regular features, almost approaching those of a woman, to define the tender sensibility of his heart, and his extreme attachment to his Master. He is seated by his side, to demonstrate his particular esteem. But what dejection is visible in his whole figure! The hands joined together by an involuntary movement of despair. Almost annihilated by the weight of his affliction, he scarcely breathes, or makes the slightest action to repel or to answer the prophetic denunciation.

Certain of loving his Lord, and of being loved by him, he is almost choked by grief; the warmth of life abandons him; his muscles and fibres lose their force; he reclines his head, and does not hear the words of the Apostle who is speaking to him; he does not even feel the weight of his hand on his shoulder; he sees nothing around him; he does not seem to think of the accusation, nor does he take any interest in the agitation of his brother Apostles; he believes in the words of his Saviour, and he gives himself up to the bitterness of his affliction. On the other side of our Saviour the painter has placed St. Peter, as well to designate the distinguished place he held in the favour of his divine Master, as to effect a picturesque contrast with St. John the well-beloved. St. Peter, who was considered as the chief of the Apostles, both from his zeal in propagating our Saviour's doctrines, and his attachment to his person, was animated with the strongest sentiments of religion.

Enthusiastic in his temper, he was not always able to control the violence of his passions. More advanced in age than St. John, his character is more established. Convinced of his utility to his Master, and of the reality of his faith, he who was transported with rage when the soldiers arrested Christ, could not help giving way to a more animated action of surprise than the rest of his brother Apostles, on hearing the terrible words " One of you shall betray me.". Here the painter, penetrating the feelings of his soul, has characterised him by one of those sudden movements almost approaching to vehemence; and though the denunciation is general, and announces the most mournfully interesting event, he appears to forget it. His pride is wounded; he gives himself up to the natural impulse of his character, and vigorously seems to undertake his own defence, as if he could not bear to be even suspected of so base and criminal an action. He feels acutely, and expresses himself violently.