Last evening in painting. Last Supper Dürera

The secret notebook is a secret book - you mean the events described in the sentence "sentence"? "That's the way ... in the 73rd year, I didn't turn to fifty years old, put me on an operation in the oncological institute. Cancer Cancer, Melanoma. Kayuk, death is inevitable ... somehow already

mystery evening

(Matthew, 26: 20-29; Mark, 14: 12-25; Luka, 22: 7-23; John, 13: 21-30)

(20) When evening came, he was eleggent with twelve students (21) and when they ate, said: Truly tell you that one of you betray me. (22) they extremely saddened, and began to talk to him, each of them: Isn't I, Lord? (23) He said in response: Lowering his hand in a dish, this will betray me; (24) however, the Son of Human goes, as written about him, but woe to the man who mans the Son is indulge: it would be betterthis person is not born. (25) With Sez and Judas, who indulges him, said: Isn't I Rabbi? Jesus tells him: You said.

(26) And when they sat down, Jesus took bread and, blessing, prevented and, distributing pupils, said: Hold, Fly: This is my body. (27) and, taking the bowl and thank you, filed them and said: Drink it all, (28) For this is my blood New Testament, for many exhausted to leaving sins. (29) I raise you, that from now on I will not drink from the fetus of this grape before the daywhen I drink new wine with you in the kingdom of my father.

(Matt. 26: 20-29)

Three most important events occurred at a secret evening, the last meal of Jesus Christ with students: 1) the prediction of the betrayal (Judah), 2) the establishment of communion and 3) is the abundance of their feet of students. These events were accompanied by certain actions of participants in the party - actions, to reconstruct the course of which it is possible, comparing the stories of all four evangelists. As the main moments of this evening, and a number of their details were reflected in painting and received their interpretation. If you separate the pupils of the pupils in this list, the two other points of the gospel story - the prediction of the betrayal and the establishment of the Eucharist - form two main types of images of the mystery to be called, respectively historicaland liturgical(or symbolic).Taking this division, consider these two types of images as independent because different epochs One of them was dominated, then another of them. But since, in addition to these "clean" iconographic types in the history of art, both "mixed" are also known in which the elements of both are combined, we will also consider them.

So, historicalThe secret bulk emphasizes the moment of predicting the betrayal of Judah, litultic(or symbolic) Last Supper - the sacramental nature of the establishment of the Eucharist.

But before it is necessary to say about the symbolic image of the Eucharist that prevailed in the ancient Christian art (the catacomb). The magnitude of such images is the symbolic image of Christ-Assistimonograms (GreekBUKV) inhibition: ІΧΘΥΣ ("Ichtis"). They form a word that in Greek literally means "fish", and when deciphering this abbreviation - "Jesus Christ, the Son of God, the Savior."

Fish one of the earliest Christian characters. He was still used by Terertullian (II - III century): "We, Fish, Following" Fish "(ichthus.) Our Jesus Christ, we are born in the water, we keep life not otherwise, as remaining in the water "("DE. baptismo."). This symbol is found in the Scriptures of the Clement Alexandrian, Augustine, Jerome, Origen, Meliton Sardia, Miletto, and many others.

"Most of all, - writes L. A. Asspensky, - both in images and in written monuments that use the fish symbol, the Eucharistic value of this symbol is emphasized. Whether the sacrament of the Eucharist is depicted, whether in the form of meals (historicalLast evening. -A.. M..), making the sacredness (litulticLast evening. -A.. M..) or a pure symbol, next to bread is sure to depict fish. Meanwhile, the fish has never been used when making the sacrament of the Eucharist. It only indicates the value of bread and wine "( Assumption L., from. 41). An image of fish in this symbolic sense is held up toXIV century (.

Heim Serra. Last evening. (Second half XIV century).

Palermo. National Museum.

Early Christian images of the secret inkum demonstrate Christ with students located on the arcD. --shaped table. Christ on the left edge; This place behind this table was the most honorable (behind the rectangular table, how he began to portray at a later time, such a place is in the middle). Pose lying was considered in the times of Roman government a sign of a person's free and more corresponded to the celebration of the Jewish Easter - the festival of the exodus, that is, the liberation from the Egyptian captivity (inXVII a century, such a position of students at the table was resurrected to Poussin). However, the trapesers could be depicted and sitting at the table - this pose when there is more ancient food.

The ancient Christian images of the catacomb period were adopted by the artists of the early Middle Ages: savedD. -Accupic tables lying around him Christ (left) and disciples; On the table breads and dish with fish (or two fish). (Early Christian Mosaic. Ravenna. Church of Sant Popolbar Nuovo).

Early Christian Mosaic. Last evening. (520).

Ravenna. Church of Sant Apollinar NUOO .

The number and composition of the participants in the meal in the ancient Christian images can fluctuate: students from two to seven; In addition to men (students?), sometimes women and children are present, and even the servants can be depicted. But when analyzing such images, the question arises, whether it is the secret or traditional pagan feast (and the whole view of the pictures often indicate that it feast is fun). In some cases, it is completely difficult to solve this issue very difficult, and sometimes it is impossible.

From the early images of the secret evening, a mosaic in the Ravenskaya church Sant Popolbar Nuovo is of particular interest. We see here an ancient image type:D. -the table on which breads and two fish on the dish. Christ will believe, as was customary in such a composition, on the left edge. He is with a beard, on it ordinary clothes and cruciform Nimbi. Special discussion requires an existing image here. eleven(not traditionally twelve) students. Such their number made some art historians (Chiampini) read that here we are dealing with the plot relating to the meal in the house of Lazar. But neither what is in this image is not what in it does not confirm this opinion. Firstly, there is no molding for meals in the house of Lazarus neither Materna, nor Mary, nor in the end of the lasquarter itself. But the number of students - eleven - does not find confirmation in other images of meals in the house of Lazarus belonging to the first centuries of Christianity. Secondly, it is necessary to take into account the context in which the image of this meal appears in the church of Sant Popolbar Nuovo. The whole mosaics system here is subordinate to a certain idea: on one wall of the church, those plots showing the greatness of Christ (Christ's wonders), on the other - in strictly chronological order are scenes of his humiliation (the passion of Christ). At the image of this evening, the prayer of Christ in the Garden of Garden, and, therefore, this evening is the last meal of Christ with students. Another opinion regarding the number of students on this mosaic was expressed by N. Pokrovsky: the master could not desire to introduce into the composition of Juda-traitor. This explanation cannot be fully satisfactory. The fact is that Mosatist did not provide the apostles with any characteristic peculiarities for which we could identify at least someone from them - they are all "on one person" (even John is not depicted by the head of Christ's head on the chest, as we see It is in the overwhelming number of images of the secret internship, belonging to the early centuries of Christianity), so, strictly speaking, we do not have complete confidence that it is not depicted by Judas. Suchthe interpretation of this plot translates the number of students in this case in a purely arithmetic plane, and mosaist could not really give it values. Be that as it may, the complete calm, which is imbued with the whole composition, the expression of modesty and the concentration of the apostles, the magnitude-calm figure of Christ - the evidence that all attention is focused not on physical food, but on the spiritual act of meals.

Since images historical The secret evening with eleven students (that is, without Judah) are found in Western art more than once, it is necessary to more carefully examine the question, was the really Judas at the time of establishing the Eucharist. This question, of course, arises from the comparison of the stories of weather forecasters, on the one hand, with the story of John - on the other. The latter argues that Judas left during the evening. If we rely on the testimony of weather forecasters, then the impression is that Judas attended the evening from beginning to end, and therefore, when establishing the sacrament of the sacrament and from the hands of Christ, sacred sacraments. Comparison of all four Gospels (it is known that they complement each other on the principle of complementarity), however, convinces: 1) that Judas attended when the legs were abolished, 2) that he retired immediately after chosing him and appeal to Him Jesus with the words: " What you do, do rather "and 3) that at a farewell conversation he was not present. B. Gladkov's argument clearly clarifies this question: "Reading the Gospel of John (13: 1-30), you come to the undoubted conclusion that the impact of Judah followed the instructions for humility, said Jesus about the ablution of legs produced by it In an inseparable connection with the instruction, serving as if the continuation of it. Consequently, if the establishment of a sacrament could not follow between the ablution of the legs and the chief of Judah, it should be concluded that it followed to the ablution of the legs, or after the departure of Judah. Evangelist John says that the ablution was committed "during the evening" and that for this Jesus "got up from the evening" (13: 2 and 4). But what happened at the very beginning, while Jesus did not stand in one evening for the ablution of the legs? The answer to this question must be sought in the gospel of Luke; It says that it was between the Apostles "Spore, who of them should be considered great" (22:24). This dispute could not arise about the classes of places at the table, as they were not the first time to stand up with Jesus and, probably, occupied the places on the usual established between them; They could not argue about seniority in the kingdom of the Messiah, since such a dispute was already allowed by Jesus. Most likely, the dispute arose on the question of which of them should, for the lack of servant, to fulfill the slave responsibilities this evening, wash the dyed legs of the participants in the evening; This is proved by the further words of the evangelist Luke, certifying that by contacting the apostles about this dispute, Jesus, by the way, said: "Who else: reclining, or employee? Does not rest? And I'm in the midst of you as an employee. " Words: "I'm in the midst of you, as an employee," they were pronounced, obviously, after the ablution of the apostles' legs, and the ablution itself was performed after the dispute of the apostles. But for no matter no reason, this dispute occurred, in any case, it should be recognized that the apostles hood at the very beginning of the evening. He could not arise after the ablution of the legs, because after the sample of humility shown by Jesus, such disputes could not have places. This dispute could not arise after establishing the sacrament of the Eucharist, since this sacrament equalized all the apostles. And if the beginning of the evening was occupied by the dispute of the apostles, followed by the ablution of legs; If the instrument of humility was followed directly behind the ablution of the legs, and behind this instruction - the bold of the traitor and care, it is obvious that the establishment of the sacrament could not happen at the very beginning of the evening, to the ablution of the legs. Consequently, the sacrament is established after the departure of Judah "( Gladkov B.., from. 688). However, still the question, whether Judah participated in the Eucharist, was not solved. Below we will return to his discussion.

With eleven students depicted a secret evening in the late Engraving Durer (Durer, 1523).

Durer. Last Supper (1523). Engraving.

Obviously, the episode of the Gospel of John is captured here (13: 31-16: 33) - the so-called farewell speeches of Christ. This episode of John begins in words: "(30) He (Juda. - A.. M..), having accepted a piece, immediately came out; And there was a night. (31) When he came out, Jesus said: now the Son of Man was famous, and God became famous in it "(John 13: 30-31). Farewell speeches are perceived by students with reverent attention; The Eucharistic bowl is moved away from the center of the table.

Dierer, however, is traditional in terms of iconography image historicalLast Supper - with all the twelve students. This is an engraving from his "big passion" cycle ( Durer, 1510.):

Durer. Last Supper (from the "Large Passion" engravings cycle). (1510).

Christ with a luminous cross-tree nimbent in the center rectangular table; John, the youngest of the students, stands at his chest (the foundation - the words of John: "(23) The same one of his students, whom Jesus loved, snapped at Jesus's chest" (John 13:23)), students - on both from him side; Judas, whom we learn about his traditional attribute - wallet, sits with the opposite side of the table from Christ, back to the viewer, his faces are not visible (in accordance with the common custom, to avoid depict Judas so that his view can meet with the viewer's view). The general initiation of students conveys their response to the words of Christ that he would be dedicated to one of those present (Wed with the behavior of students on the engraving of 1523). From the above analysis of the chronology of events at a secret evening, it is clear that two chromiures of Durer should be considered in the sequence: early (1510) - Late (1523).

The masterpiece of this type of the secret evening is the fresco of Leonardo da Vinci in the refectory Milan Monastery Santa Maria della Grazie (Leonardo da Vinci).

Leonardo da Vinci. Last evening. (1495-1497). Milan. Santa Maria Della Grazie

Here captured the moment of prediction by Jesus betrayal. Leonardo places Christ in the middle of the rectangular table (this is the place for this table is the most honorable; Wed with the position of ChristD. - Fashion table on the early Christian samples of this plot). All twelve apostles are placed six on both sides. Judas can be recognized among students according to its traditional attribute - wallet, which he compresses in his hand; Leonardo refuses to portray the Judas for the time of the tradition of the tradition that the traditions have already become strong because of the other students from the opposite side (the custom is so depicting Judas installed inXIV century, and individual examples of such a composition go back even toXII. century; See below, in connection with the image of this plot, Nicholas Verdunsky; Such is the final composition; The sketches show that at first Leonardo followed the traditional compositional principle and placed Judas separately, referring to the text of the Gospel of John (31:26), which illustrated other artists); And although he puts Judas on the side of Jesus, a sharp turn of the head of the traitor, he takes his eyes from the viewer. The adopted identification of other students is such (from left to right): bartolomes (warfolomes), Jacob smaller (younger), Andrei, Juda Islands (Traitor), Simon (otherwise, Peter; behind Judah), John. From Christ to the right: Thomas (rear), Jacob Zevedueev (senior or greater), Philip, Matthew, Juda Jekovlev (otherwise - Fadda), Simon Zvytot. None of the artists can compare with Leonardo in the transfer of depth and strength of the reaction of students on the prediction of Jesus. We seem to hear their excited speech - the words of protest, fright, bewilderment. Their voices merge into some musical - the vocal - the sound, and the grouping of students in three as it is impossible to correspond to the three-voice vocal warehouse of music in the time of Leonardo.

In the era of the Renaissance, the topic of the secret evening, along with other "refectory" plots from the New Testament (marriage in Cana, the wonderful saturation of five thousand, dinner in Emmaus), becomes a favorite in the decoration of monastic meadows (Andrea del Kastano; This fresco decorates the reforence of the Florentine Monastery Santa Apollonia; Taddeo Gaddi; Fresco of the Florentine Monastery of Santa Croce).

Andrea del Kastano. Last evening. (1445-1450).

Florence. Santaapolonia's refectory monastery.

P. Muratov's "Images of Italy" wrote about this fresco: "For Kastagno, the apostles of the Lord themselves were not such impassive heroes, as the creatures that the pride and glory of Florence were connected in his thoughts. In his "secret evening" depicts human characters, and in this one contradictions are concluded with the laws of monumental style. But what kind of terrible and anxious idea of \u200b\u200bhumanity is expressed here! A deep mistrust of a friend to the arc is read in the eyes of the apostles, and the sharp features of their individuals speak of the restless passions. The betrayal of Judah does not break here as the voice of a worldly evil, in the holy and sad harmony of the last evening. It was born among the deep varnishes of this room and these clothes as natural as the Heavy dream of John and the destructive doubt of the Thomas. Such a fine voltage human passion, that energy, in the brilliance of which is indistinguishable good and evil, Kastano remains in a few things that have survived in some places outside the walls of the Santa Apollonia. " ( P. Muranov. P. 115).

Under the influence of Andrea Del Kastano several times writes his secret Surveys Domenico Girlandian. They are interested in considering all together.

Domenico Girlandiao. Last evening. Florence. Abbey in Passignano.

This fresco will especially discover composite similarity with Andrea Del Kastano.

Domenico Girlandiao. Last evening. Florence. Monastery San Marco.

In the secret evening for the monastery of San Marco, an entertaining narration has turned the artist in Chronista Florence of the middleXV century. This is one of the most typical productions of Girlandian, created, without a doubt, according to the sketch of the master and with rather active participation. It is calm, modestly and convincingly testifies to what is happening - it is enough to look at the impassive Jude, sitting opposite Christ and seems to be even talking to him.

Domenico Girlandiao. Last evening. Florence. Church of Ondisanti.

For the refectory - Milan Monastery Santa Maria della Grazie - and Leonardo wrote his masterpiece. "During our trip a few years ago, we saw this refectory still in complete preservation, I wrote I. V. Goethe. - Just against the entrance to it, along the end wall in the depths of the hall, stood the table of prior, and on both sides of him - the tables of monks, raised above the floor for one step, and only when the incoming turned around, he saw over a low door in the fourth narrow The wall drawn up the table, followed by Christ with his students, as if they belonged to the society gathered here. It must have been a strong impression when the meals sitting at the table of prior and sitting at the table of Christ met views with each other, as if in the mirror, and the monks for their tables seemed to be that they were between these two communities "( Goethe I. V. Giuseppe Bossi about the "secret evening" Leonardo da Vinci, from. 208). It should be noted, however, that Leonardo doesn't have one of the characters of the "secret evening", because the prior sitting at the table could not meet with the views with the apostles - the Last Supper was the secret, and could not be any extraneous interlocutors ( A look at the viewer is a look of the character, as you know, involves the first in the dialogue; many late artists, who wrote this evening, who wrote this evening, who wrote the secret large number additional characters; It would be possible to argue long on the theme of the meaningfulness of the "Topia" of the secret evening of Christ).

Jesus at the secret evening is not only pre-advisacy, but also indicated specifically to the traitor. About how he pointed to Judas, Matthew, Mark and John narrow. Identical testimonies of weather forecasters, however, somewhat different from John's narration. Matthew writes: "(23) He said in response: Holding his hand in the dish, this will betray me" (MF. 26:23); Mark: "(20) He told them in response: One of the twelve, looming with me in the dish" (MK. 14:20). According to John, the action was different: "(26) the one to whom I, having saved a piece of bread, feed. And, having saved a piece, submitted Judas Simonov Israariot "(John 13:26). This moment, depicted either by weather forecasters, or by John, clearly indicates the source of the literary program for the artist. So, Jotto relied on weather forecasters (Jotto),

Jotto. Last Supper (1304-1306). Padua. Capella overseas.

Whereas, for example, an unknown master illustrated by the Bible de Floreffeph, took the story of John John.

Unknown master. Last evening. Illustration of the Bible de Floreffe.

London. British library ( Add.. 17738) .

In general, it can be stated that early artists, as a rule, followed Matthew and brand, starting withX. a century preference was given to John version.

In this regard, the "Last Supper" of Andrea Del Kastano is interesting. It is based on John's story: Judah is a piece, damaged in wine, indicates it as a traitor. Ludolf Saxon, monk of the Kartusian Order, in widespread inXIV the age of the Treatment "Life of Christ" this circumstance comments on this circumstance (the connection of this treatise with the concept of frescoes Andrea del Kastano emphasized F. Hartt; seeHartt. F.. , R. . 264): This piece was not blessed by Christ, and thus it was not true Eucharist; So all who are involved in the wrong way, was comparable to Juda a traitor. Kastano deliberately opposes the hand of Christ, blessing bread and wine to convey their apostles, the hand of Judas, which is already holding a piece. At this very moment, Satan entered Jude; The artist handed it in the guise of Judah: he had a satanic feature - a humpback nose, protruding a goat beard. His stopped look expresses despair. Christ, not paying attention to Judas, she looks at John, his beloved apostle, who, crushed, bowed his head on the hand of Christ. Behind Judah by left Christ Peter. He looks at the teacher, and his gaze seems to speak about the premonition of the future of his renunciation from Christ. It is noteworthy that a decorative ornament is placed on the back wall in the frieze. At first glance, it seems a strange number of its ovals - thirty-three and a half. It is explained, apparently, the age of Christ - at the time of the secret evening he was 33 years and a few months.

Interesting "Last Supper" Nicholas Verdunsky: Christ with students at an oval table (obviously because of the lack of sufficient place the artist portrayed only eight students). Christ in a cruciform Nimbe; The rest of the students with simple districts. Judas - on the opposite side of the table; It is worth dropping on one knee, in his left hand behind his back squeezes fish - the symbol of whom he betrays; Christ holds him a piece of bread (by John).

IOS Van Wasserov (Yustus Van Gent). Last Supper (Communion of the Apostles).

(1473-1475). Urbino. National Gallery.

An ambiguity in the question was, at the same time, Judas attended (see above), is the cause of the fillet of this episode by artists. So, Dirk Boauts and Peter Paul Rubens put the Judas among witnesses institutions of the mysteriousness of communion, whereas Ios Van Wasserov gives an image of only eleven stupid knees before Christ, approximate easter table With the altar and placing the entire scene in the interior of the temple.

In the XI - XIII of the centuries of Christ, depicted behind the throne; With the right hand, he serves St. Chull, the left is a bowl; Above his head is pigeoning the pigeon of St. Spirit. Such images prove that in the West even inXIII. a century communion and bread and wine (see about it above) was ordinary. In monumentsXV the century, when a new germination practice has already been established in the West, there are no such images: there are clouds on the table (guests); Christ has a bowl in his hand, but it is not transferred to the apostles; And sometimes Christ picks up one clouds standing on the knees of the apostles ( Ios van Wasserov).

In a number of works, artists interpret the typological aspects of the mystery of the evening. In such cases, the Supper of Christ is compared with the Old Testament Manna and Melchizedek, who meets Abraham, is a traditional analogy. Dirk Boauts goes on and on his altar gives four windy-retarded episodes on two side flaps covering the central image - "Last Supper": a meeting of Abraham with Melchizedek (Gen. 14); Easter (Old Testament) meal (Ex. 12); Manna harvest (Ex. 16); Angel, bringing a meal or in the desert (3 kings. 19). INBiblia Pauperum(The Bible of the Poor) In connection with the Last Supper, there are also illustrations of the episodes of the collection of manna and meeting Melchizedac Avraam; In addition, according to custom, adopted in this monument of printed art, the figures of the four prophets - David are placed here: "Angelsky's bread ate man" (Ps. 77:25), Isaiah: "Listen to me carefully and get off the good" (Is. 55: 2), Solomon: "Go, eat my bread and drink wine" (Proverb. 9: 5) and Syrahakh: "I sent it, easy to do with the sky, who had any friend to the taste of each" (Solomon: Prem 16: twenty).

The most definitely decides the issue with the identity of Judah - there is no need to reveal again traditional methods Specify it - its location at the table, the attribute - the wallet (strictly speaking, the attribute can be considered, only if you recognize it as an allusion for thirty Srebrenikov - Jude's fee for betrayal; in the scene, the same evening it is not an attribute, that is, a symbolic pointer to Juda, and Juda's belonging is an illustration of the words of John: "He had a cash drawer with him and wore that he was lowered there" - in. 12: 6 and certain actions, definitely determining it). It should only be added that Judas could be depicted, unlike the other students, either without Himba (an unknown master, Andrea del Kastano), or with a black bed (Rosselly). Sometimes the artists illustrate the words of John: "(27) And after this piece of Satan entered it" (John 13:27) - the figure of Satan is sitting at the shoulders of Judas (Rosselly; Wed with Satany behind Judah in the "foreigner of Juda" Jotto ). Externally, Judas is depicted by a man of mature age, as a rule, with dark hair and beard.

John at the secret evening is depicted in the youngest of the students, fabor, with long hair And the pretty feminine features of the face that came to the chest of Jesus (see about it above).

The appearance of Peter's appearance rather early decided in Western art. He has gray hair, as a rule, a short curly beard, a tanned face, what a fisherman should be. Occasionally he can have a knife in his hand (this time, apparently, as an attribute, in the subsequent stage - the capture of Christ in custody - Peter the knife cutches the ear servant of the High Priest; see Church of Christ); On the image of Peter, Leonardo wrote brightly: "Peter, meanwhile she grabbed the right hand of John's right shoulder with his left hand and points to Christ. He demands that a favorite student asked Teachers - who is a traitor? Squeezing the right hand of the knife handle, Peter inadvertently hitting them by Judas in the side and the time justifies the gesture of frightened Judah, which is so sharply fed and overturns the salt. " Goethe I. V. Giuseppe Bossi about the "secret evening" Leonardo da Vinci, from. 210; Here, it should be persistently recommended to read the whole brilliant article Goethe - the article in a brilliant artist about the genius artist).

The apostle whose similarity with Christ in the paintings of old masters is often striking, - Jacobs are smaller (Jr.) (Ios Van Wasserov; here this Jacob is the fourth left; Rosselly; fourth on the right). The basis of such a tradition to portray this student is in the passing of the obstacled remark in the message to the Galatians Paul: "... Jacob, the brother of the Lord" (Gal. 1:19). On this basis, artists depict Jacob look like Jesus. (Some believe that this kind of similarity made the Judas kiss Christ, so that the warriors understand who it is precisely to grasp; see Taking Christ in custody.)

It is hardly possible to formulate as defined principles of the image of other students at the secret evening, which the old masters would have adhered to. In the era of counteraction, when popular popularity has increased dramatically liturgicalThe secret of the evening (due to the strengthening of the values \u200b\u200bof the sacraments), in the paintings with this plot, which was filled with a large number of additional characters by this time, were often depicted by persons in the portraits of which the contemporaries of artists were recognized.

Unrecognizable bright examples This kind of picturesque interpretations of the secret evening serve the work of Lucas Kranach senior and artists of his workshop. So, his engraving (approx. 1540-1550) depicts Luther and Gus (!), Coming family members of the Saxon Kuffson family. The inclusion in the composition of Yana Gus, burned at a fire in 1415, without a small one and a half centuries before the creation of engraving, indicates that respect for the memory of this forerunner of the Reformation, which was in the Lutheran environment. All characters on this engravings are named. This image of the secret evening served in order to clearly demonstrate that one of the powerful ruling humanities of Europe took the reformist faith. It reflects a new doctrine and at the same time fixes a certain historical moment.

No less, if not more, an interesting altar of the Castle Church in Dessau (1565; Lucas Senior Workshop). Christ in the center of the table. Traditionally, giving a piece of bread Judas, he points to the traitor. Here reformers and rich Protestant landowners who confessed the new faith are depicted as an apostle at the Last Supper. "Apostles" is identified in this picture as follows. Left (by right hand Christ; From him - by the end of the table) - Georg von Anhal, Luther (indicates Christ with his hand, although his gaze is directed somewhere in the distance), Bugogenhagen, Yustus Jonas, Kaspar Krucyger. On the left hand of Christ - Melanchton, Johann Forster, Johann Pffringer, Georg Major and Bartolomeus Bernhardi. In the foreground on the left - the crankshake - Donator Joachim von Anhalt; Right, with a glass (Eucharistic wine?) - Lucas cranes younger. This mixture of the gospel event with a modern moment, frequent in Kranah, spacing from the passionate desire of reformats to actualize the history of salvation. Pictures of this kind served as a demonstration of simultaneously the reform concept of the Eucharist and the Lutheran concept of the presence of Christ in the Eucharist as opposed to the Calvinist Doctrine.Leonardo da Vinci. Last evening. (1495-1497). Milan. Santa Maria's refectory monastery della Grazia. century). Moscow. GMI them. A.S. Pushkin.

Dirk Boauts. Last Supper (establishing the sacrament of the Eucharist) (1464). Luvan. Church of St. Peter.

Paolo Veronese. Last Supper (1570). Milan. Pinakotek Brera.

Unknown master. Last evening. Illustration of the Bible de Floreffe. London. British library (Add. 17738).

Andrea del Kastano. Last Supper (1447-1449). Florence. Santa Apollonia's refectory monastery.

Nicholas Verdununsky. Last Supper (1181). Closterneyburg. Altar of the monastery.

© Alexander Makar.

Christ Jesus: The Last Supper The Last Supper is the event of the Gospel, the last meal with students and apostles.
Bible researchers have been arguing for many years, the code was actually a secret evening of Jesus Christ with the apostles. From the Gospels from Matthew, Mark and Luke follows that it happened on Friday, as it says that it happened on the first day of the Jewish holiday Pescha. The Gospel of John is given another date that it happened on Thursday on the eve of the holiday of Pescha. These two contradictions do not give rest - both believers and equal to the lobe of bibologists.

This issue was still engaged in the priest Alexander Men. In the bibliological dictionary, he wrote five reasons explaining why the apostles are not unanimous in their descriptions of this event.

Professor Cambridge University Colin Humphrey put forward his hypothesis, which will finally decide this "delicious" question once and forever. Hamphrey that the Last Supper took place on Thursday, nor on Friday, but on Wednesday. In the proof of its rightful, Colin Humphrey cites third-party historical chronicles and the analysis of biblical texts, but he considers the most important argument to be the following circumstance. Jesus Christ was a supporter not sunny calendar (Which at that time was considered the innovation), but used the lunar. About this possibility has mentioned in its study A. Men. He believed that Christ adhered to a non-traditional calendar, according to which Pesach was celebrated before. If Hamphrey and Merit, it turns out if the Last Supper took place on Wednesday, then the events described in the Bible - arrest, interrogation and lawsuits - occupied not one night, as it is considered, and more than a day, which, according to Hamphrey, more like more truth.

Three most important events occurred at a secret evening, the last meal of Jesus Christ with students: 1) the prediction of the betrayal (Judah), 2) the establishment of communion and 3) is the abundance of their feet of students. If you separate the plot of the ablution of the feet of students as an independent, then the two other points of the prediction of betrayal and the rite of bruising and wine - form two main types of images of the secret toast, which are customary to refer to historical and symbolic. Taking this division, you can consider these two types of images as independent, because one of them dominated different epochs, then another of them. But since in addition to iconographic types, mixed, in which the elements of both are also combined.

The historical secret bulk emphasizes the moment of predicting the betrayal of Judas, the symbolic secret evening is the sacred nature of the establishment of the rite of taste.

But before you need to say about the symbolic image of the rite of taste, which was dominated in the ancient Christian art. The main feature of such images is the symbolic image of Christ by means of tags\u003e and the monograms (Greek letters) of his name:\u003e і ("ichtis"). They form a word that in Greek literally means "fish", and when deciphering this abbreviation - "Jesus Christ, the Son of God, the Savior." Fish one of the earliest Christian characters. Whenever the sacrament of the rite of taste is depicted, whether in the form of a meal (historical), committing the most sacred (symbolic) or a pure symbol, near the bread, a fish is definitely depicted. Meanwhile, the fish has never been used when making the sacrament of the rite of taste. It only indicates the value of bread and wine. " An image of fish in this symbolic sense is held up to the XIV century (Khaim Serra).

On the procedure of the apostles of places during the last meal with Christ, it is only known that John, Peter and Juda, a traitor who was closer to Christ. We conclude about the situation of the latter, in particular, by the fact that Christ was able to be able to submit it a piece of bread. Frenchman E. L. Kama as follows as follows the location of Christ and students at the table. It proceeds from two parcels: 1) The meal took place behind the system of tables placed by the letter "P" or D-figurative and 2) participants trapes lying, leaning on the left hand, in order to right to have free.

Early Christian images of a secret summer evening demonstrate Christ with students located on the D-shaped dug. Christ on the left edge; This place behind this table was the most honorable (behind the rectangular table, how he began to portray at a later time, such a place is in the middle). Pose lying was considered in the times of Roman government a sign of a person's free and more corresponded to the celebration of the Jewish Easter - that is, the liberation from the Egyptian captivity (in the XVII century, this position of the students at the table was resurrected to Pussen). However, the trapesers could be depicted and sitting at the table - this pose when there is more ancient food.

The ancient Christian images of the catacomb period were adopted by the artists of the early Middle Ages: saved D-tablewho lying around him Christ (left) and students; On the table breads and dish with fish.

The number and composition of the participants in the meal in the ancient Christian images can fluctuate: students from two to seven; In addition to students, sometimes women and children are present, besides, even the servants can be depicted. But when analyzing such images, the question arises, is the secret whether the evening or traditional pagan feast.

In the picture, we often notice household items in the foreground, or the household plot not related to the Great Sacrament. I.N.Toretto - the maid and employee are fussing in their affairs, pets, jugs and food. From levy distinctly allocated in the foreground of the young beggar, who started a conversation with one of the apostles. And many maiders are everywhere in the background. Also P. Lorenzetti wrote, behind the wall, in the room nearby, ordinary people are engaged in their concerns, but the room is open to the main event and there is a connection between the maids and the Great Sacrament. Dirk Boauts placed ordinary peopleAs witnesses the sacrament to the background. A. Durer in the foreground, on the floor there was a tray, jug, and a basket with food, at the same time, as if by chance, put his initials "A. D. ". Also, on the picture D. Girlandiao from the very edge there are jugs, they are almost invisible, and on the sides on top and in the background, over the story itself, wrote a lot of birds and trees with fruits meaning in the Bible that trees are the kingdom of God, fruits -Ther, and birds are all believers.

Tableware and animals in the foreground are present at Ya. Bassano, K. Roselly - who also has richly dressed people, guess customers. N. Poussin is emphasized in the middle of the room, the cabinet and the chest carrying the meaning that the Lord transmits its knowledge and faith to the apostles as its descendants. Chest as a legacy of religion.

Many artists resorted to such a way of objects and details, at first glance, do not make any point in themselves, as a feature of that era, Catholics and Lutheran, in countries where household scenes were used as tribute fashion.

From the early images of the secret evening, a mosaic in the Ravenskaya church Sant Popolbar Nuovo is of particular interest. You can see here an ancient type of image: a D-shaped table, on which breads and two fish on the dish. Christ will believe, as was customary in such a composition, on the left edge. He is with a beard, on it ordinary clothes and cruciform Nimbi. Special discussion requires an existing image of eleven (and not traditionally twelve) students. Perhaps the master could not desire to introduce a traitor to Judea. The fact is that Mosatist did not provide the apostles by any characteristic featuresThose who could identify at least someone from them - they are all "on one person" (even John is not depicted by the head of the head on the chest). So there is no complete confidence that it is not depicted by Judas. Mosatist could simply not give it values. Be that as it may, the complete calm, which is imbued with the whole composition, the expression of modesty and the concentration of the apostles, the magnitude-calm figure of Christ - the evidence that all attention is focused not on physical food, but on the spiritual act of meals.

Images of a historic secret evening with eleven students (that is, without Judas) are found in Western art more than once. In the New Testament, Evangelist John describes that Judas died during the evening.

This episode of John begins in words: "He (Juda), having accepted a piece, immediately came out; And there was a night. When he came out, Jesus said: now the Son of Man was famous, and God became famous in it. " Farewell speeches are perceived by students with reverent attention; A bowl is moved from the center of the table.

In Dürer, however, there is a traditional image of a historic secret evening in terms of iconography - with all twelve disciples.

Christ with luminous cross-tree nimbers in the center of the rectangular table; John, the youngest of the students, will face him on his chest "The same of his students, whom Jesus loved, snapped at the chest of Jesus" (Joan), students - on both sides; Judas, whom we learn about his traditional attribute - wallet, sits with the opposite side of the table from Christ, back to the viewer, his faces are not visible (in accordance with the common custom, to avoid depict Judas so that his view can meet with the viewer's view). The general initiation of students conveys their reaction to the words of Christ that he will be dedicated to one of those present (comparing with the behavior of students on the engraving of 1523). From the above analysis of the chronology of events at a secret evening, it is clear that two chromiures of Durer should be considered in the sequence: early (1510) - Late (1523).

Information sources:

1. Wikipedia website
2. "Biblical Encyclopedia"