Leonardo and the Last Supper (61 page)

50
Richter, ed.,
The Literary Works
, vol. 2, §1379.

51
Ibid., vol. 2, §1448. For a good discussion of Perréal, see Kemp and Cotte,
La Bella Principessa
, 36.

52
Richter, ed.,
The Literary Works
, vol. 2, §1379. See the discussion in Pedretti,
Commentary
, vol. 2, 326.

Epilogue

1
Quoted in Barbara Furlotti,
The Art of Mantua: Power and Patronage in the Renaissance
, trans. A. Lawrence Jenkins (Los Angeles: Getty Publications, 2008), 92.

2
Villata, ed.,
Documenti
, 131–32.

3
Wilhelm Oechsli,
The History of Switzerland, 1499–1914
, trans. Eden and Cedar Paul (Cambridge: Cambridge University Press, 1922), 28.

4
Vasari,
Lives of the Artists
, 265. The specifics of Leonardo’s involvement at Santissima Annunziata—whose altarpiece was eventually completed by Filippino Lippi and Pietro Perugino—are highly obscure. For a good survey of the situation, see Jonathan Nelson, “The High Altar-piece of SS. Annunziata in Florence: History, Form, and Function,”
The Burlington Magazine
139 (February 1997): 84–94. For Ser Piero’s involvement, see Cecchi, “New Light on Leonardo’s Florentine Patrons,” 124.

5
Villata, ed.,
Documenti
, 136 and 134.

6
McMahon, ed.,
Treatise on Painting
, 266.

7
For the bridge, see Nicholl,
Leonardo da Vinci
, 353–55. For the canal, see Roger D. Masters,
Fortune is a River: Leonardo da Vinci and Niccolò Machiavelli’s Magnificent Dream to Change the Course of Florentine History
(New York: Plume, 1999).

8
Vasari,
Lives of the Artists
, 266.

9
Goldscheider,
Leonardo da Vinci: Life and Work, Paintings and Drawings
, 29, 30 and 32.

10
Quoted in Bramly,
Leonardo
, 353.

11
Ibid., 346.

12
Armenini,
On the True Precepts of the Art of Painting
, trans. Edward J. Olszewski (New York: Burt Franklin & Co., 1977), 53.

13
Creighton Gilbert,
How Fra Angelico and Signorelli Saw the End of the World
(University Park: Penn State University Press, 2003), 63; and Michelle O’Malley, “Pietro Perugino and the Contingency of Value,” in Michelle O’Malley and Evelyn Welch, eds.,
The Material Renaissance
(Manchester: Manchester University Press, 2007), 108.

14
See Marani, “Leonardo’s
Last Supper
,” 39.

15
Richter, ed.,
The Literary Works
, vol. 2, §1074.

16
Guicciardini,
The History of Italy
, 153.

17
Ibid., 155.

18
Cecilia M. Ady,
A History of Milan Under the Sforza
(London: Methuen, 1907), 184.

19
Vasari,
Lives of the Artists
, 270.

20
Richter, ed.,
The Literary Works
, vol. 2, §1566.

21
Quoted in Bramly,
Leonardo
, 412.

22
Richter, ed.,
The Literary Works
, vol. 1, §651.

23
Barcilon, “The Restoration,” 336.

24
Goethe,
Observations
, 14.

25
Carlo Pedretti,
Leonardo: Studies for
“The Last Supper”
from the Royal Library at Windsor Castte
(Florence: Electa, 1983), 145.

26
Quoted in Steinberg,
Leonardo’s Incessant “Last Supper
,” 16.

27
Goethe,
Observations
, 17.

28
Ibid., vi. The visitor was G. H. Noehden.

29
Church of England Quarterly Review
21 (1847): 500.

30
Times
, 11 March 1857.

31
Henry James,
Collected Travel Writing: The Continent
(New York: Library of America, 1993), 372.

32
Quoted in Marani, “Leonardo’s
Last Supper
,” 32.

33
The Times
, 31 May 1954.

34
James Beck, cited in Piero Valsecchi, “It’s Art, but Is It Leonardo’s?” Milan: Associated Press Wire, 28 May 1999.

35
For the versions in California: Umberto Eco,
Faith in Fakes: Travels in Hyperreality
, trans. William Weaver (London: Vintage, 1986), 16–18. For Peter Greenaway: Randy Kennedy, “
The Last Supper
for the Laptop Generation,”
New York Times
, 2 December 2010. For the version in the Warhola family kitchen: Janet Daggett Dillenberger,
The Religious Art of Andy Warhol
(New York: Continuum, 2001), 80. Haltadefinizione’s magnifier may be seen at
www.haltadefinizione.com
. Websites too numerous to document testify—in both words and photographs—to the tattoos and coffins.

Footnotes

a
The shield on the wall of the lunette on the east wall was destroyed by an Allied bomb in 1943.

b
An equivalent claim today might be that—as some have maintained—DNA is “God’s handwriting,” or that the Higgs boson, if it exists, truly is “God’s particle.”

c
During the eighteenth century the sitter was erroneously believed to be the wife of a Parisian iron merchant named Jean Féron whose wife was the mistress of François I of France, Leonardo’s last patron. The painting actually became known as
La Belle Ferronière
not in homage to the royally cuckolded ironmonger but because its subject wears a
ferronière
, a slim headband with a gem on the brow, an accessory fashionable in Milan in the 1490s.

d
The title of Duchamp’s work is a pun. The letters L.H.O.O.Q., spoken aloud in French, sound like “
Elle a chaud au cul
,” which translates as “She has a hot ass.”

e
The latter association undoubtedly comes from Ovid’s
Metamorphosis
, in which Jupiter’s wife, Juno, dispatches the goddess of childbirth, Lucina, to hinder the birth of Jupiter’s child by Alcmena, and Lucina (disguised as an old hag) sits with her fingers interlaced like a trellis.

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