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Updated: May 15, 2025
Jesus has just declared that one of them shall betray him, and each in his own way seems to be asking "Lord, is it I?" In the South Kensington Museum in London will be found carefully preserved a description, written out fairly in Leonardo's own hand, to guide him in painting the Last Supper.
But to return to the Milanese painters; after Leonardo da Vinci had executed there the Last Supper already described, many sought to imitate him, and these were Marco Oggioni and others, of whom mention has been made in Leonardo's Life.
But on the walls of the room before her were four pictures lithographs, cheap, not framed, held in place by a tack at each corner. There was Washington then Lincoln then a copy of Leonardo's Jesus in the Last Supper fresco and a fourth face, bearded, powerful, imperious, yet wonderfully kind and good humored a face she did not know. Pointing her riding stick at it she said: "And who is that?"
The fancy of a perpetual life, sweeping together ten thousand experiences, is an old one; and modern thought has conceived the idea of humanity as wrought upon by, and summing up in itself, all modes of thought and life. Certainly Lady Lisa might stand as the embodiment of the old fancy, the symbol of the modern idea. It is Leonardo's conception, yet with a difference.
Over the head of my bed hung a highly-coloured reproduction of Leonardo's "Last Supper," and stuck in its frame was a leaf of blessed palm by which tokens I realized that my slumbers were to be under the wing of the ancient Mother. As I closed my eyes, the musical chime of a great bell, high up somewhere in the outer night, fell in benediction upon the darkness.
For beneath the cheerful exterior of the mere well-paid craftsman, chasing brooches for the copes of Santa Maria Novella, or twisting metal screens for the tombs of the Medici, lay the ambitious desire of expanding the destiny of Italian art by a larger knowledge and insight into things, a purpose in art not unlike Leonardo's still unconscious purpose; and often, in the modelling of drapery, or of a lifted arm, or of hair cast back from the face, there came to him something of the freer manner and richer humanity of a later age.
This is also like Leonardo." After a few minutes spent in study of the picture, Mr. Sumner continued: "There is a singular mannerism in the backgrounds of Leonardo's pictures. It is the representation of running water between rocks, a strange fancy.
The belfry clangs with a louder peal; even Clarian's Picture, though it hath utterly perished to the eye of sense, lives vivid in a thousand memories, and, having found in the tenderness of tradition and legend an engraver whose burin is as faithful as Raphael Morghen's, has left the damp dark wall, like Leonardo's Cenacolo, to accompany all of us to our firesides."
Who else lives under the same roof with an untouched masterpiece of Leonardo's? Think of the happiness of being always under the influence of such a creation; of living INTO it; of partaking of it in daily and hourly communion! This room is a chapel; the sight of that picture is a sacrament. What an atmosphere for a young life to unfold itself in! My daughter is singularly blessed.
Thausing tells us his work shows certain resemblances to that of Luca Pacioli, a companion of Leonardo's, who may have been the "man who is willing to teach me the secrets of the art of perspective," and whom Duerer in 1506 travelled from Venice to Bologna to see; it is even possible that he saw Leonardo himself in the latter town.
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