The Paris Olympics have concluded, yet the public remains puzzled: what is the significance of the main image from the 2024 Games displayed at the opening ceremony? It involves a scene that appears to be a satirical nod to Leonardo da Vinci’s “The Last Supper.”
The organizers defend their position by claiming that the bizarre figures represented the Olympic gods of Ancient Greece. However, such explanations cannot distract us from the truth. Indeed, the original work, crafted by the esteemed Florentine master, is shrouded in numerous secrets and mysteries, many of which remain unresolved even now. These are the primary ones.
1. Apostle John or Mary Magdalene?
Observe the figure to the right of Jesus. The eyes suggest a young, beautiful woman, radiating an indescribable sorrow. Yet, this is purportedly John the Evangelist! The contrast between visual perception and proclaimed identity has fueled the theory that Leonardo da Vinci might have portrayed Mary Magdalene instead. She was among the few women who followed Christ and uniquely, she witnessed his crucifixion, burial, and was the first to see his resurrection.
If this is the case, then a question emerges: why did Leonardo not only depict a woman among the attendees of the Last Supper but also place her in the most honored position – at the right hand of Christ? Theoretically, it should have been Apostle Peter in that spot, as he was the one Jesus named the foundation upon which the church would be built.
Dan Brown, the author of the bestselling novel “The Da Vinci Code,” proposed that “The Last Supper” contains a hidden message for future generations. He suggested that Leonardo was the leader of a secret society guarding a pivotal Christian secret: Mary Magdalene was not only Jesus’ wife but also bore his child. The church hierarchy, for some reason, remained silent about Mary’s role as a spouse and confidant. Leonardo, according to Brown, subtly communicated this secret through his painting.
Several compelling reasons suggest that Leonardo da Vinci would not have included Mary Magdalene among the participants in The Last Supper.
None of the Gospels mention Mary’s attendance at the Last Supper. However, they do include Saint John among those who partook in the bread and wine with Jesus. Leonardo, known for his flamboyance, was not one to engage in the thankless task of altering historical facts.
Leonardo’s The Last Supper was a commission for the Dominican monastery of Santa Maria delle Grazie in Milan by Duke Ludovico Sforza. The monastery’s abbot, who oversaw the dining hall where the painting was created, maintained strict oversight over its execution. It seems improbable that he would permit a liberal interpretation of the Scriptures, as any deviation would have been quickly noted as sacrilege by the brotherhood.
The fresco was finished in 1498, the year the notorious inquisitor Thomas Torquemada died. Records suggest that during his tenure, approximately 8,800 individuals were executed and over 27,000 suffered torture. His legacy of fanaticism persisted, and Italy remained under threat. Half a century later, Pope Paul II established the Roman branch of the Holy Inquisition, which would later condemn Giordano Bruno in 1600. For Leonardo to depict such a pivotal New Testament event with a feminist undertone would have been extraordinarily risky, especially when lesser offenses often resulted in death.
Conclusion:
It is probable that John is the figure represented in the painting. As the youngest apostle during the Gospel events, he was not older than twenty years and was traditionally portrayed as a beardless young man with flowing golden hair. Leonardo had a unique perception of beauty, frequently depicting androgynous figures in his works, possibly to highlight the superiority of the spirit over the mortal and animalistic aspects of the human body.
2. What gesture does the Apostle Thomas show?
The masterpiece draws inspiration from the narrative found in the Gospel texts, where Christ convenes the twelve apostles for the final meal and declares, “Truly I tell you, one of you will betray me.” Leonardo captured the apostles’ responses to this proclamation. He aimed to portray the ripple of emotions that emanated outward from Christ’s declaration, akin to the ripples in water when a stone is cast upon it.
The arrangement of the apostles on the fresco “The Last Supper” from left to right:
Bartholomew – leapt to his feet, shocked, unable to believe what he had heard.
James the son of Alphaeus – attempted to calm Peter, who had drawn a knife to defend the Teacher.
Andrew – raised his palms upwards, as though trying to halt the dreadful events to come.
Judas Iscariot – gripped a money bag in his hand. It might contain the same 30 pieces of silver received for his betrayal, or perhaps donations, as Judas was the group’s treasurer.
Peter – brandished a knife in one hand and with the other, pushed John aside. As a man of action, he stood ready to fight and punish the betrayer.
John – bowed his head in humble submission to destiny. He seemed to have foreseen Jesus’ capture and execution but was in denial until the end.
Jesus remained calm and sorrowful, accepting that his time on earth was concluding and prepared to face his destiny fully.
Thomas – presented a conundrum with his peculiar gesture, pointing his index finger skyward. This gesture, common among MMA fighters today, signifies divine assistance in their victory. However, in this context, the gesture likely has a different implication. Perhaps Thomas is questioning if only one among them is the betrayer? Or it might allude to later events when Thomas the Doubter declared he wouldn’t believe in Christ’s resurrection until he could touch the wounds himself. Art historians are still deciphering the true meaning behind this gesture.
Jacob the Elder – spreads his arms wide in anger: “Betrayal? This cannot be!”
Philip – with a questioning look towards Jesus: “Lord, am I the traitor?”
Matthew – appears to be speaking to his fellow disciples: “Unbelievable! Did you hear what the Teacher said?”
Thaddeus – seems to be pondering which of the apostles could commit betrayal. It is suggested by scholars that Leonardo portrayed himself as Thaddeus.
Simon – as though balancing Jesus’ words and urging calm: “Let’s not be hasty, perhaps things will resolve themselves.”
3. Was the prototype of Christ and Judas one man?
Leonardo aimed to craft a masterpiece that would profoundly move its viewers. To achieve this, he employed diverse artistic techniques. The painting’s interior space extends the actual interiors of the refectory, and the apostles’ plates are depicted with the same detail as those used by the monks. In doing so, Leonardo highlighted that the Gospel’s events are not merely historical; the battle between Good and Evil is ongoing in our daily lives.
An intriguing legend is woven into this narrative, detailed in Paulo Coelho’s novel “The Devil and Miss Prym”. Leonardo aspired to capture both the divine and the diabolical by painting the faces of God and the Devil. The visage of Jesus was easily sourced; a choir singer, observed by the artist during a church performance, embodied the ideal image with his radiant, spiritual countenance and pure, open gaze, as if the spirit of God resided within. Leonardo promptly invited the young man to his studio, producing numerous sketches and studies. However, the search for a model to represent Judas, the embodiment of Vice, continued.
Three years had elapsed, and the vast painting (4.6 by 8.8 meters) was nearing completion, with only Judas left to be depicted. At last, Leonardo encountered a drunken vagabond sprawled in a ditch, his face etched with greed, wrath, egotism, and disdain for humanity. The artist’s apprentices extricated the inebriate from the mire and escorted him to the studio, where Leonardo hastily commenced sketching. As the man regained sobriety, he recognized Leonardo and realized that he had been the model for Christ’s face three years prior. His life had since taken a tragic turn, leading to his downfall. The legend conveys that within one person dwell both God and the Devil, and the soul is the arena where Good and Evil contend daily.
Confirming or denying this legend is not possible. Only a fraction, no more than 20 percent, of Leonardo’s original brushwork survives in The Last Supper. The paint began deteriorating soon after its application, and by the time Giorgio Vasari observed the painting 70 years later, he described it as a “dull spot” rather than an artwork. Despite numerous restorations, often with little success, we have some insight into the original appearance of the refectory wall painting thanks to Leonardo da Vinci’s students, Giovanni Pietro Rizzoli and Giovanni Boltraffio.
The Last Supper started to decay during Leonardo’s own lifetime, prompting the creation of a canvas copy to preserve the masterpiece. This copy has been better preserved and serves as a reference for restorers, yet the extent to which the apprentices captured Leonardo’s vision remains uncertain. From what is visible today, it appears that the Renaissance master employed a technique of contrast through light and shadow. The face of the Savior is bathed in light, while the face of Judas is shrouded in darkness, making it hard to discern, yet it can be envisioned mentally, reflecting the portrayal of evil as imagined.
