Leonardo and the Last Supper (59 page)

23
Barcilon, “The Restoration,” 381.

24
Knut Schäferdiek, “The Acts of John,” in Wilhelm Schneemelcher, ed.,
New Testament Apocrypha
, vol. 2 (Louisville, KY: Westminster John Knox Press, 2003), 156. For the story of the “obedient bugs,” see 190.

25
Schäferdiek, “The Acts of John,” 203.

26
Quoted in David M. Bergeron,
King James and Letters of Homoerotic Desire
(Iowa City: University of Iowa Press, 1999), 104. Marlowe’s assertion comes from “The Baines Note,” British Library, MS Harley 6848, ff. 185–86.

27
Sjef van Tilborg,
Imaginative Love in John
(Leiden: E. J. Brill, 1993), 247. See also J. S. Peart-Binns,
Bishop Hugh Montefiore
(London: Blond/Quartet, 1990), 127; and Delbert Burkett, ed.,
The Blackwell Companion to Jesus
(Oxford: Blackwell, 2011), 452.

28
Marsilio Ficino,
Commentarium in Platonis Convivium Initiation
, quoted in Giovanni Dall’Orto, “‘Socratic Love’ as a Disguise for Same-Sex in the Italian Renaissance,” in Kent Gerard and Gert Hekma, eds.,
The Pursuit of Sodomy: Male Homosexuality in Renaissance and Enlightenment Europe
(New York: Haworth Press, 1989), 37–38. For “educational homosexuality” in ancient Greece, see James Neil,
The Origins and Role of Same-Sex Relations in Human Societies
(Jefferson, NC: McFarland & Co., 2009), 144–85.

29
Quoted in Louis Crampton,
Homosexuality and Civilization
(Cambridge, MA: Harvard University Press, 2003), 265.

30
Pseudo-Bonaventure,
Meditations on the Life of Christ
, trans. Isa Ragusa and Rosalie B. Green (Princeton: Princeton University Press, 1961), 150.

31
Quoted in Carolyn S. Jirousek, “
Christ and St. John the Evangelist
as a Model of Medieval Mysticism,”
Cleveland Studies in the History of Art
6 (2001): 19.

32
Quoted in Culpeper,
John, the Son of Zebedee
, 166.

33
Quoted in Jirousek, “
Christ and St. John the Evangelist
,” 17.

34
See John Boswell,
Christianity, Social Tolerance, and Homosexuality: Gay People in Western Europe from the Beginning of the Christian Era to the Fourteenth Century
(Chicago: University of Chicago Press, 1981), 202; and Jirousek, “
Christ and St. John the Evangelist
,” 6–27.

Chapter 13

1
Quoted in Nicholl,
Leonardo da Vinci
, 42.

2
Richter, ed.,
The Literary Works
, vol. 2, §§1521, 1519, 1535, 1544, 1545 and 1397. Richter dates the reference to “ears of corn” to about 1500.

3
Ibid., vol. 2, §1548.

4
Ibid., vol. 2, §§1295 and 845.

5
Ibid., vol. 2, §1295.

6
Vasari,
Lives of the Artists
, 2 vols., 257.

7
Quoted in Cartwright,
Beatrice d’Este
, 81.

8
Scipione Ammirato,
Opuscoli
, vol. 2 (Florence, 1637), 242.

9
Simon Tugwell, ed.,
Early Dominicans: Selected Writings
(Mahwah, NJ: Paulist Press, 1982), 456.

10
Johann Wolfgang von Goethe,
Observations on Leonardo da Vinci’s Celebrated Picture of the Last Supper
, trans. G. H. Noehden (London: J. Booth, 1821), 7–8.

11
Quoted in Leo Steinberg,
Leonardo’s Incessant
“
Last Supper
” (New York: Zone Books, 2001), 50.

12
Vasari,
Lives of the Artists
, 262.

13
Quoted in P.A.P.E. Kattenberg,
Andy Warhol, Priest: “The Last Supper Comes in Small
,
Medium and Large”
(Leiden: Brill, 2002), 5.

14
Quoted in Nello Forte Grazzini, “Flemish Weavers in Italy in the Sixteenth Century,” in Guy Delmarcel, ed.,
Flemish Tapestry Weavers Abroad: Emigration and the Founding of Manufactories in Europe
(Louvain: Louvain University Press, 2002), 131.

15
Cartwright,
Beatrice d’Este
, 117.

16
On Flemish weavers in Milan, see Hillie Smit, “Flemish Tapestry Weavers in Italy, c. 1420–1520: A Survey and Analysis of the Activity in Various Cities,” in Delmarcel, ed.,
Flemish Tapestry Weavers Abroad
, 121.

17
See John Varriano, “At Supper with Leonardo,”
Gastronomica: The Journal of Food and Culture
8 (Winter 2008): 75–79.

18
Quoted in Albert Rapp, “The Father of Western Gastronomy,”
Classical Journal
51 (October 1955): 44.

19
Quoted in Mel Licht, “Elysium: A Prelude to Renaissance Theater,”
Renaissance Quarterly
49 (Spring 1996): 18.

20
Quoted in Cartwright,
Beatrice d’Este
, 82.

21
See Odile Redon, Françoise Sabban, and Silvano Serventi,
The Medieval Kitchen: Recipes from France and Italy
, trans. Edward Schneider (Chicago: University of Chicago Press, 1998), 119–21.

22
Quoted in Redon et al.,
The Medieval Kitchen
, 121.

23
Tugwell, ed.,
Early Dominicans: Selected Writings
, 128, 133–34. On the consumption of bread, see Richard A. Goldthwaite,
The Building of Renaissance Florence
:
An Economic and Social History
(Baltimore: The Johns Hopkins University Press, 1980), 346–47.

24
Goldthwaite,
The Building of Renaissance Florence
, 292; and Antonio Ivan Pini,
Vite e vino nel medioevo
(Bologna: CLUEB, 1989), 133–35.

25
Richter, ed.,
The Literary Works
, vol. 2, §§1030, 1548 and 1520.

26
Quoted in Paul Murray,
The New Wine of Dominican Spirituality: A Drink Called Happiness
(London: Continuum, 2006), 152 and 129.

27
Thomas Gilby, ed.,
Summa theologiae
, vol. 43 (1968), 137, 139.

28
Pedretti,
Commentary
, vol. 2, 382.

29
Quoted in Boyle,
Senses of Touch
, 65. On the fork, see Giovanni Rebora,
Culture of the Fork: A Brief History of Food in Europe
, trans. Albert Sonnenfeld (New York: Columbia University Press, 2001), 16–17.

30
Donald Strong, “The Triumph of Mona Lisa: Science and Allegory of Time,” in Enrico Bellone and Paolo Rossi eds.,
Leonardo e l’età della Ragione
(Milan: Edizioni di Scientia, 1982), 255–78.

31
Gilbert, “Last Suppers and their Refectories,” 392.

32
Brown,
The Da Vinci Code
, 236.

33
Richter, ed.,
The Literary Works
, vol. 1, §593.

34
For a discussion, see Steinberg,
Leonardo’s Incessant “Last Supper
,” 19. I am indebted to Steinberg’s work (especially chapters 1 and 2) in the survey that follows.

35
Goethe,
Observations on Leonardo da Vinci’s Celebrated Picture
, 9.

36
Quoted in Steinberg,
Leonardo’s Incessant “Last Supper
,” 31.

37
Quoted in ibid., 40.

38
Quoted in ibid., 40.

39
For Goethe’s religious beliefs, and lack thereof, see Astrida Orle Tantillo,
Goethe’s Modernisms
(London: Continuum, 2010), 87–88.

40
“Leonardo’s
Last Supper
,”
Art Quarterly
36 (1973): 297–410. In 2001, Steinberg published this work, revised and enlarged, as
Leonardo’s Incessant
“
Last Supper
.”

41
A History of Art: A Survey of the Major Visual Arts from the Dawn of History to the Present Day
(London: Thames and Hudson, 1962), 350.

42
Helen Gardener’s 1970 version of
Art through the Ages
(New York: Harcourt, Brace, and World, 1970), quoted in Steinberg,
Leonardo’s Incessant “Last Supper,”
46.

43
Jack Wasserman, quoted in ibid., 48.

44
On these issues, see Miri Rubin,
Corpus Christi: The Eucharist in Late Medieval Culture
(Cambridge: Cambridge University Press, 1991), passim, especially 1–2 and 9.

45
Giacomo Filippo Besta,
Vera narratione del successo della peste che afflisse l’inclita città di Milano, l’anno 1576
(Milan: Gottardo, 1578), 30. For a discussion, see Farago, “Aesthetics before Art: Leonardo Through the Looking Glass,” 55.

46
Vasari,
Lives of the Artists
, 266.

47
Frederick Hartt, “Leonardo and the Second Florentine Republic,”
Journal of the Walters Art Gallery
44 (1986), 100.

48
See Martin Kemp and Pascal Cotte,
La Bella Principessa: The Story of the New Masterpiece
by Leonardo da Vinci
(London: Hodder & Stoughton, 2010); and Dalya Alberge, “Is this portrait a lost Leonardo?”
Guardian
, 27 September 2011.

49
Quoted in Cartwright,
Beatrice d’Este
, 306; and Ady, 162.

50
Quoted in Cartwright,
Beatrice d’Este
, 310.

Chapter 14

1
Quoted in Allison Levy, “Framing Widows: Mourning, Gender and Portraiture in Early Modern Florence,” in Allison Levy, ed.,
Widowhood and Visual Culture in Early Modern Europe
(Aldershot: Ashgate, 2003), 217. On these issues, see Carol Lansing,
Passion and Order: Restraint of Grief in the Medieval Italian Communes
(Ithaca: Cornell University Press, 2008).

2
Goethe,
Observations
, 9.

3
See H. Colin Slim, “The Lutenist’s Hand,”
Achademia Leonardi Vinci: Journal of Leonardo Studies and Bibliography of Vinciana
, ed. Carlo Pedretti, vol. 1 (Florence: Giunti, 1988), 32–34.

4
Treatise on Painting
, ed. McMahon, vol. 1, 105; and Richter, ed.,
The Literary Works
, vol. 1, §593 and 653. On Leonardo and Cristoforo de’ Predis, see Nicholas Mirzoeff,
Silent Poetry: Deafness, Sign and Visual Culture in Early Modern France
(Princeton: Princeton University Press, 1995), 13.

5
Quoted in Ernest Samuels,
Bernard Berenson: The Making of a Legend
(Cambridge, MA: Harvard University Press, 1987), 215.

6
Goethe,
Observations
, 11. For a survey of these disparate readings of Thaddeus, see Steinberg, 84.

7
Goethe,
Observations
, 9.

8
Andrea de Jorio,
Gesture in Naples and Gesture in Classical Antiquity
, trans. Adam Kendon (Bloomington and Indianapolis: Indiana University Press, 2000), 4.

9
Jorio,
Gesture in Naples
, 129, 291, and 214.

10
Ibid., 215 and 66.

11
H. E. Butler, ed. and trans.,
The Institutio Oratoria of Quintilian
, vol. 4 (Cambridge, MA: Loeb Classical Library, 1920), book 11,
chap. 3
.

12
Carlo Pedretti, ed.,
Leonardo da Vinci on Painting: A Lost Book (Libro A)
(Berkeley and Los Angeles: University of California Press, 1964), 133.

13
Pasquale Villari,
Life of Times of Girolamo Savonarola
, vol. 1, trans. Linda Villari (London: T. Fisher Unwin, 1888), 71.

14
Michael Baxandall,
Painting and Experience in Fifteenth-Century Italy
(Oxford: Oxford University Press, 1992), 61; and Angus Trumble,
The Finger: A Handbook
(Melbourne: Melbourne University Press, 2010), 85. Trumble notes that this practice developed at Cluny and spread to other monasteries, forming an “intermonastic language of gesture” (ibid.). The Dominicans of Santa Maria delle Grazie would have used a similar system.

15
For examples, see Anne D. Hedeman, “Van der Weyden’s Escorial
Crucifixion
and
Carthusian Devotional Practices,” in Robert Ousterhout and Leslie Brubaker, eds.,
The Sacred Image East and West
(Urbana: University of Illinois Press, 1995), 197; and William Hood, “Saint Dominic’s Manners of Praying: Gestures in Fra Angelico’s Cell Frescoes at S. Marco,”
Art Bulletin
68 (June 1986): 195–206.