Interesting information about the Last Supper

          Sharron Connelly's rendition of Leonardo's Last Supper brings into view details of the mural that have been eradicated by the ravages of time.  Through her research and by studying many prints of the original,  drawings and writing from his notebooks,  she has made many amazing discoveries.

         It must be known that Leonardo da Vinci was one of the world's greatest egotists!  His single purpose in life was to immortalize himself, as did the other artists of the Renaissance, imitating the philosophy of the Greeks and Romans. They immortalized themselves by capturing their own images in their art  so their images would remain after their death.  Leonardo, becoming obsessed with the quest for immortality, ground large mirrors so he could reflect his own image into his art.

            As he did in a myriad of his paintings, Leonardo captured his image in the figures of the Last Supper.  Although the figures represent the apostles and Christ, Leonardo was the model for all of them at different ages, beards and disguises.  His resemblance can be recognized in the Last Supper drawings in the Windsor Collection of Her Majesty the Queen, Elizabeth  II.

          The most controversial image in the painting today is the effeminate figure on the right hand of Christ. Dan Brown incorrectly identified it as Mary Magdalene!  Having usurped this idea from the authors of Holy Blood Holy Grail, Dan based his book, the Da Vinc Code the mistaken identity of this figure.  The painting has nothing to do with Mary Magdalene and Leonardo da Vinci....had nothing to do with the Da Vinci Code! 

           Although the figure in the Last Supper appears to be a woman, it is the mirror image of  Leonardo's young face captured when  he posed before his great mirror as the Virgin in the Madonna of the Rocks, Louvre version.  Compare the two figures and you will clearly see for yourself that both  had the same model.     

          Leonardo not only captured his image in the figures of the Last Supper, he imbued his initials into the entire composition.  He created one-point perspective to make the room to appear to go back into space and painted a frieze on each side wall to lead your eye into the painting.   The two main  crossed lines merge in the middle to a central point ending on the right cheek of Christ.  This also  focuses all of the attention on him as the central figure. These crossed lines create a giant X, which visually are both L's and V's. 


          The green lines on the floor are a continuation of the one-point perspective, from which numerous lines are drawn to create three-dimensional space.   The green lines continuing from spread arms of Christ make a giant V for Vinci. Another V is created by the negative space between Christ and St. John.  V designs are repeated in gold in a decorative pattern on the 6 red  tapestries hung on the side walls.  They can be found in a Last Supper drawing Windsor???

   
          Aditional three dimension is added by the open witndows and door that stage the background behind the central figures.   A bright landscape takes your eye beyond the confinement of the room.  It has been identified as Mt. Sion by some art historians, but since the entire composition is about Leonardo, I would clearly say that it is supposed to be Vinci, which was also one of his secret signatures. 
     

          The shape of the doors and windows make L's and V's are the ceiling boards in the so called upper room.  The corners of the room are L,s and the spaces betewwn the tabestries and the frieze across the ceiling are clearly V,s. By carefully examining the corner knots in the tablecloth you will find that they exhibit definite L's and the tip is a V.

          The three lunelttes make horizontal D,s as does the wooden wall ornament above the door.  D,s and L,s can also be found in the small white and yellow ochre panels between the red tapestries.


       

         

   

Death of Leonardo da Vinci

Aging Leonardo da Vinci - 64 

Cloux Castle, Amboise, France

          Leonardo da Vinci passed away on May 2, 1519 in Cloux Castle, Amboise., France.   Cloux Castle was the summerhouse of the Queen Mother of King Francis I.  It was called the castle of Light, because of the wonderful light let in by its great number of windows. 

Leonardo's bedroom window- where he lived and died.

        Leonardo resided there with the king's young widowed sister, Margurite de Navarone, who adored the aging artist.  Margurite and her friends loved to entertain and engaged the services of Leonardo to design court activities. 

Side View of Cloux Castle



Roof top of Cloux Castle

       King Francis I provided Leonardo with a pension of 7,000 gold scudi per year and  pensions for some of his entourage. 

Back of Cloux Castle - Leonardo's bedroom- Sitting room to right.

         On April 23, 1519, Leonardo dictated his last will and testament to M. Baptista de Vilanis.  He bequeathed all monies and the remainder of his pension to Francesco Melzi, a Milanese gentleman, who helped take care of him the last 9 years of his life.  He made Francesco the executor of his will and the director of his lavish funeral.

Side of Cloux Castle

Balcony where the king and his entourage watched the pageants.

        Leonardo was to be buried within the church of Saint  Florentine after three high masses there and thirty low masses at St. Gregorie Church and in St. Denis Church.  There were also thirty low masses at the church of the said friars and lesser brethren.  His body was to be borne by thirty chaplains of the church. 

       He left directions for his body to be followed by the rector and the prior or by their victors and the chaplains of the Church of Saint Denis of Amboise and lesser the friars.  He desired that sixty poor men, who would be paid for carrying them, should carry sixty lighted tapers. The purpose of the lighted procession to the burial sight,  was so that God could see the way to come for his soul.
                                     

     Although Leonardo was supposedly buried in the Church of St. Florentine, in Amboise, France,  the church was destroyed during the French Revolution.  His remains are believed to have been later transported to the Chapel of St. Hubert in the Castle of Amboise, Amboise, France. This is the chapel of King Francis I, which is near Cloux Castle where Leonardo lived.   

      The long bones were identified as those of a tall man, but not definitely identified as those of Leonardo.  Plans are in progress to have the body exhumed and tested for DNA.  At his time that has not been authorized by the French Government.  

The rose garden that Leonardo could view from his window



                              The rose garden  - summer of 2010.                                    

      Some of these photos were taken at different times, when I visited Cloux Castle. The first time being 1983.  In this photo, you can see the book store, which has been enlarged.  Since Dan Brown came out with the Da Vinci Code there has been an increase of visitors.  They have also embellished the rose garden and the surrounding area.  Thanks to Dan Brown for creating a global interest!  Too bad he doesn't know the REAL DA VINCI CODE, which gave clues to the real secret of MONA LISA!

   I just opened 8 websites concerning the death of Leonardo...each one had questions...who is MONA LISA!!!!  The answers is simple to find!!! Just read my books, THE CHARADE OF MONA LISA VOL I AND II.  They are available by contacting me on my website...    237willow@prodigy.net  Tell me where to mail them...They are $20. each....and then you won't have to wonder any more!  

     I broke the code on Leonardo's pictographs, in 1983 and discovered the secret of Mona Lisa!   It is so bizarre that you could not have imagined it in 500 years...and that is how long it has been since he painted it!!!  Sharron Connelly







WHO POSED FOR MONA LISA?

Who posed for Mona Lisa?

                                "La verita fu sola figliola del temp"

                                "The truth will be brought forth in time!"
                                                                   *******************
                                                                      The time is now!

                                        The answer is: LEONARDO!
     The most widely accepted theory is that MONA LISA is a portrait of Lisa Giaconda.  She was the wife of  Francesco del Giaconda, a wealthy Italian merchant.  However, there is no documentation that she ever posed for Leonardo.

           The myth was solidified by Georgio Vasari, the great Italian biographer.  He wrote a quite lengthy narration describing how Leonardo "...employed singers and musicians or jesters to keep her full of merriment and so chase away the melancholy, which painters usually give to portraits."

            Supposedly, this was to explain her mystic smile!  However....Vasari never knew Leonardo because he died in in France in 1519 when Vasari was only 16 years old and lived in Italy.  Vasari's book, LIVES OF THE MOST EMINENT ITALIAN ARCHITECTS, PAINTERS AND SCULPTORS, in which he wrote about Leonardo was not published until 1550....31 years after Leonardo died.  It is doubtful that Vasari ever even saw the painting, which was in France in the private collection of king Francis I at the time!  

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            It is known to the world that Leonardo experimented with mirrors.  Not only did he experiment with mirrors...he became obsessed by them!  

            Because he was already obsessed with his quest for immortality....mirrors were the perfect tools to immortalize his image!   Such is the case with MONA LISA!
  
           Leonardo looked in his great mirror and painted himself as MONA LISA.    Below is a self portrait of Leonardo, Cherebourg, France.  Thomas Henry Museum.  It was obviously painted at the same time that Leonardo painted MONA LISA!  Compare the two.  The shape of the head is the same!  The cheek bones are the same! The shape of the eyes are the same!  The visible parts of the lips are the same.  What you see of the hairline appears to be the same.
                                                        
                      BUT
            MONA LISA has a straight brow...and no eyebrows!  The truth is that Leonardo deliberately left them off so he would not be identified!  Also, remember that ..Leonardo had light blue eyes, yet, MONA LISA'S brown!   And, Leonardo had a large Tuscan nose....while MONA LISA...has a long Grecian nose! 

Leonardo at 58

 The truh is! 

 Leonardo posed for
     the painting! 

                                                                 



       What we know as the Turin self- portrait of Leoardo da Vinci...is in fact...a double mirror image of the artist!  By posing with two mirrors, he reflected his image back to his original image....so the image he painted, really looked like him instead of being backwards!

  



Turin self- portrait of Leonardo

               After studying the Turin Self- Portrait with my 10-power jewler's loop, I discovered ABOSLUTELY POSITIVE proof that Leonardo posed for MONA LISA!                                    

BUT!!! That is not the secret of  MONA LISA!

 The secret of MONA LISA is so bizarre! No one has even been able to imagine it in their wildest dreams! The secret has been shrouded in mystery for almost 500 years!!! 

     My discovery of  proof that Leonardo posed for MONA LISA ...and my research that reveals the secrets of the dark side of Leonardo and the revelation of the mystery of MONA LISA can be found in. my books......

  THE CHARADE  of
MONA  LISA Vol I & II.


Vol I is a historical novel, which begins on Leonardo's deathbed...and ends on his deathbed.  It makes a complete circle.  It goes back, allowing you to walk with him through the rose colored era of the reniassance, while he perpetrated charades in this art to immortalize himself.  Through the pages, you can share his anguish as he gets involved in a henious crime that ends with the mystery of MONA LISA.

Vol II contains my research material in which I only act as mediator to allow Leonardoto tell his own story in his own writings, drawings and painting.  

           My books can be obtained by inquiring at   237willow@prodigy.net. 

PHOTOS OF LEONARDO'S LAST SUPPER

Old photo

        This is an early image of Leonardo's mural, showing the missing right wall with the long painted frieze.  A matching frieze is on the left wall. They extend into the painting, and become part of the 3-D effect that makes the room appear to recess. 

Note : the door has already been cut in the bottom center, and the windows are still above the painted frieze. You can also also see the original curve of the ceiling. (click on images to enlarge)

Current photo

       Compare it with a current image. Notice that the curve of the ceiling is a different arch.  In 1943 the refectory of the Maria delle Grazie was hit by allied bombs.  It blew off the roof and the right wall.  Although the structure was rebuilt, the top portion of the mural above the lunettes and the frieze is gone forever. The windows, now bricked up, are cut through the middle of the painted frieze on the left wall.

    Still present is the red underpainting behind the lunettes.
The garlands surrounding the sheilds can be seen, although the paint has flaked off and they are badly deteriorated.

    The three tapestries on each side of the walls are balck and no design is present.

    Images of the feet are barely visible under the table.

    Images of the food are vaguely discernable.





Below is a photo of the bombed structure. The back wall containing the mural was sand bagged and remained intact, except for the portion above the lunettes.                                                                                                                                                                                             

Bombed 1943- mural sand bagged

    You can easily make out the painted freize on the left wall.

    The rubble of the destroyed roof can be seen in the floor of the refectory.

     The double stacked sand bags were secured by a system of support pipes.   Layers of thick wood was placed at entervals between the stacks of sand bags so they would have a place to secure the pipes.

    Notice that a temporary, protective roof has been built above the mural to protect it from falling rubble.

    It is admirable to see what great lengths the stewards of the mural went to protect Leonrdo's masterpiece.

                       

Before latest restoration

After last restoration

Last Supper by Sharron Connelly (table)

THE LAST SUPPER by SHARRON

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Try out my favorite link. 

                                                                                                                

                           This one gives a virtual tour of the Maria delle Grazie, so you can see the LAST SUPPER from home.  It also includes other interesting sites around Milan.  

Sit down!  Enjoy!!!!                     http://www.milan.arounder.com/

 

Last Supper by Sharron Connelly

                           THE LAST SUPPER by SHARRON CONNELLY
      
         After two long years,  finally I put the finishing touches on my 8 by 8 foot (framed) renaissance style oil painting, a  re-creation of Leonardo da Vinci’s LAST SUPPER.  Utilizing hundreds of bits and pieces of photographs of Leonardo's masterpiece and information gleaned from my hundreds of thousands of hours of research, I carefully reconstructed the mural. Eventually, I brought to life the artist's brillianat colors and exquisite details.  My version of what Leonardo's Last Supper originally looked like was displayed at the prestigious Milan Gallery, 505 Houston St., Fort Worth, Texas at 2 P.M. on Sunday, November 29th., 2009.  There were refreshments and a lecture about things hidden in the painting. I also revealed Leonardo da Vinci’s SECRET SIGNATURE!!

Table image

          Prints of THE LAST SUPPER by Sharron Connelly are available at 237willow@prodigy.net  or

by contacting Sharron Connelly, 6126 Park Rd., Fort Worth, Tx, 76135  or by calling 817-2389222 or (cell) 817-2354335.   They may be paid for by check, money order jor cashiers check.

          These exquisite laser prints were photographed by the famed art photographer, Brad Flowers, who is the photographer for the Dallas Art Museum and does work for other prestigious art museums across the country including the Metropolitan Art Museum in New York.

          They are framable giclees, printed on canvas. The most popular sizes are the (full view) priced at  $295.00 and the (table view) priced at $150.  Shipping: $10.00.

          They are especially valuable  fundraisers for:
                            
                                                  . Christian charity work
                                                  .  building funds
                                                  . missionary work
                                                  . camp fundraisers.
        
          One or more church members, usually pay for a print and donate it to a particular fundraising project.  Tickets are sold 6 for $5.00, with between $1,500 and $2,000 made for the project. 

Prints will be delivered sent in secure mailing tubes, immediately upon reciept of payment.

CONTENT AND COMPOSITION

To understand Leonardo da Vinci's LAST SUPPER, it is necessary to understand the times. RENAISSANCE means "rebirth."  For them, it was the revival or "rebirth" of the thinking of the Greeks and Romans, the essence of which was the QUEST FOR IMMORTALITY! They achieved this through their grand architecture, flamboyant literature and colossal art.  In Leonardo's case...it was through his art. Everyone wanted their image to be captured in a painting or sculpture so it would remain after their death...and they would be immortalized!  Artists were considered to be "divine" because they could accomplish this "immortality!"

Leonardo, being the overly egotistical, excessive impulsisve genius that he was, became obsessed with the QUEST FOR IMMORTALITY!  This obsession became the driving force in his art. He imbued his image and his initials into his works to immortalize himself...so he could live forever!

                                      ***********************************
                                               
                                                    THE LAST SUPPER

.  The mural is almost 30 by 30 feet, including the top arch, if it were rounded off.

. It is not a fresco, which was painted into wet plaster, but a mural painted with dry pigment mixed with oil.

.  The design is in Leonardo's one-point perspective, creating a three-dimensional effect in which the room appears to be extended.  This made it appear that the monk's were dining with Christ. 

.  Leonardo elevated it so everyone in the dining room had visual access to the mural.

.  The figures were one and a half life size, larger than life-size, like those of the Greeks and Romans.  If standing, they would be 9' tall.

. The apostles are combined into four groups of three, with Christ in the center

. The scene is captured at the dramatic moment Christ said, " ONE OF YE SHALL BETRAY ME!"

. All of the apostles are focusing on the figure of Christ.

.  A hole was discovered on the right cheek of Christ. Leonardo had driven a nail there and attached a string to draw a gian X to create the one-point-perspective.  These lines created 4 giant V's...Leonardo's V for Vinci.

. Because the one-point perspective ended on the cheek of Christ, it made him the central focus of the composition.

. The complete composition is composed of D's, L's and V's...Leonardo's initials.

. The V shape between St. John and Christ is a V...for Vinci....not the (vigina )of Mary Magdalene as susggested by Dan Brown!
.

                                              .

HISTORY OF LEONARDO'S LAST SUPPER




Maria delle Grazie

 

     Leonardo da Vinci painted the LAST SUPPER in the refectory, (or dining room) of the MARIA DELLE GRAZIE, (Holy Mary of Grace) in Milan, Italy.  It was a church and Dominican monastery ordered by Duke Francesco Sforza.

1469 - The building was completed.  The main architect was Guiniforte Solari.

1490 - Completion of the cloister and aspe. It was ordered by Duke Ludovico Sforza, who commanded the building to be the ducal church and family mausoleum.

                                                  Duke Lodovico Sforza
1495- Leonardo da Vinci was commissioned to paint the LAST SUPPER.

1497- Lodovico's young wife, Beatrice de' Este was buried there.

Beatrice de Este

Marble tomb of Lodovico Sforza and Beatrice de Este

                                                                           
1498- Leonardo completed the LAST SUPPER and it was unveiled.

1499- The French invaded Milan.  The Maria delle Grazie was flooded.  

1517 - The damp environment caused the mural to begin to deteriorate.

1556- Georgio Vasari, the great renaissance painter and art historian recorded that it was "ruined."

1652- the monks cut a doorway in the bottom center of the mural to access the adjacent room.  In doing so they removed the feet of the three central figures.

1726- Michelangelo Bellotti filled in missing parts with oil paint and varnished the surface.

1768- the monks hung a curtain over the mural to protect it.  However, it only trapped moisture behind it and caused more damage.  Also, when the monks pulled back the curtain, it scraped off more loose flakes of paint.

1770- Girtseppe Mazza stripped off Bellotti's work and repainted all but three faces before his work was halted due to public outrage.

1776- Napolean's troops used the refectory for a stable and armory.  They also used it for a make-shift prison.  At one point, drunken soldiers threw rocks at the mural and scaled ladders to scratch out the apostle's eyes.

1821- Stefano Barezzi tried to remove the mural from the wall and badly damaged the center section.  When he saw he couldn't remove it he tried to stablize it with glue.

1901- 1908- Luigi Cavenaughi attempted to clean it.

1924- Oreste Silvertri did further cleaning.

1943- The MARIA DELLE GRAZIE was hit by allied bombs blowing off the roof and the right wall of the refectory.  Although the wall containing the mural was sand bagged, the top portion of the mural above the lunettes crumbled. The building was rebuilt after the war and the missing parts of the painting are merely covered with house paint.

1951- 1954- Maurio Pelliccioli cleaned the mural and stablized it.

1978-1999- Dr. Pinin Brambillia Barcilon undertook a major 20 year restoration.  The windows were bricked up and a controlled atmosphere was created.  She removed all paint that was not by Leonardo and painted in blank areas with water color.

      The LAST SUPPER is now a faint image of Leonardo's original.  For that reason, I was compelled to undertake the  project of re-creating it to what I believe it looked like in brilliant color and exquisite detail, before it began to ruin.


     Here is another beautiful view of the Maria delle Grazie (Holy Mother of Grace.)

Sharron Connelly