Leonardo Da Vinci’s Last Supper Disciples from Left to Right: Bartholomew, James Minor, Andrew, Peter, Judas (only one cast in shadow), John the Evangelist, Jesus (central figure), Thomas (with his finger pointing up), James Major (with his arms spread), Philip (pointing at himself), Matthew, Luke, and Simon
Arrangement of Figures and Interpretation: • The Number 3 – Leonardo has four groups each with three figures o Three is the number of the Trinity and the most sacred number o Three Theological Virtues – Faith, Hope and Charity •
The Number 4 – the figures are separated into four groups o Elements of the earth: Earth, Air, Fire, Water o Four Cardinal Virtues – Fortitude, Temperance, Prudence, and Justice o Four Gospels – Matthew, Mark, Luke and John o Four Rivers of Paradise – Tigris, Euphrates, Pison, and Gihon o Four Seasons of the year
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When you add 3 + 4 = 7: o The Gifts of the Holy Spirit: Wisdom, Understanding, Spirit of Counsel, Might, Knowledge, Godliness, Fear of the Lord o Joys of the Virgin Mary: The Annunciation; the Visitation, the Adoration of the Magi, the Presentation in the Temple, Christ among the Doctors, the Assumption, and the Coronation o Sorrows of the Virgin Mary: Prophecy of Simeon at the Presentation in the Temple, the Flight into Egypt, Christ Lost on the Way to Jerusalem, the Betrayal of Christ, the Crucifixion, the Deposition, the Entombment
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When you multiply 3 x 4 = 12 o Number of Disciples/Apostles featured in the painting o The Gates of Jerusalem o The twelve tribes of Israel o The months of the year o Hours of the daytime o Hours of nighttime
Leonardo includes a triple window behind Christ. Three is again a reference to the Trinity; Christ is the second member of the Trinity and is placed in front of the second window, no matter which direction you count the windows. The “natural” light coming from the windows serves as Christ’s halo, but also as indication of revelation. The position of Christ’s arms forms a pyramid shape. He serves as the division point between the Disciples/Apostles and is the vanishing point of all lines of perspective in the painting.