For the Last Supper – a wall painting in the refectory of the convent of Santa Maria delle Grazie in Milan – Leonardo Da Vinci used an experimental painting method.

Leonardo Da Vinci painted the Last Supper during the last years of the 15th century when he worked in Milan for Duke Ludovico Sforza ‘Il Moro’ and Duchess Beatrice d’Este.  

Betrayal  The painting represents the Last Supper as told by the gospel of John 13:21. In particular it shows the reaction of the apostles when Jesus tells them that one of them will soon betray him.  

A secco Instead of the conventional fresco method for painting on walls, Leonardo chose to paint on a dry wall. A fresco painting cannot be modified as the painter works on it.

Perfectionist Leonardo was a perfectionist. He wanted to have to chance to modify, correct, achieve special color effects and to interrupt his work to think, look for the right models and find new inspiration.  

Masterpiece Leonardo worked four years on his masterpiece, that measures 4,60 x 8,80 meters. He used a layer of pitch, gesso and mastic and painted on it with tempera. Unfortunately the experiment of painting a secco wasn’t a success.    

Deterioration It only took a few years for the painting to start showing signs of deterioration. After less than sixty years the figures had become unrecognisable and a century later a doorway was cut right through the painting.  

Oil paint and glue Only in the eighteenth century the value of Leonardo’s masterpiece was recognized. This was the beginning of continuous restoring. Different methods were used, from filling missing pieces with oil paint to removing and reattaching pieces of the work.

Full restoration The most recent and full restoration was completed in 1999. It took twenty years, five times longer than Leonardo needed to paint the original. To ensure that the painting be kept at room temperature, the visitor intake has been restricted to 25 every 15 minutes.  

Air pollution The last years a new threat has occurred. The high measure of air pollution in the city of Milan, enters the refectory and sticks to the painting, causing a thin black layer.  

Renaissance Critics claim that after all attempts to restore the painting, it can no longer be considered a work of Leonardo Da Vinci. However, this does not alter the art historical importance of the work. The realistic style and the presence of Judas at the supper table were absolute novelties and the beginning of the Italian Renaissance.

The Last Supper can be visited in the convent of Santa Maria delle Grazie, Piazza Santa Maria delle Grazie 2, Milan (Italy) – because of the limited number of visitors attended, reservation is needed.