Brief Description
The refectory of the Convent of Santa Maria delle Grazie forms an integral part of this architectural complex, begun in Milan in 1463 and reworked at the end of the 15th century by Bramante. On the north wall is The Last Supper, the unrivalled masterpiece painted between 1495 and 1497 by Leonardo da Vinci, whose work was to herald a new era in the history of art.
The refectory of the Convent of Santa Maria delle Grazie forms an integral part of this architectural complex, begun in Milan in 1463 and reworked at the end of the 15th century by Bramante. On the north wall is The Last Supper, the unrivalled masterpiece painted between 1495 and 1497 by Leonardo da Vinci, whose work was to herald a new era in the history of art.
L'église et le couvent dominicain de Santa Maria delle Grazie avec « La Cène » de Léonard de Vinci
Partie intégrante d'un ensemble architectural édifié à Milan à partir de 1463 et remanié à la fin du XVe siècle par Bramante, le réfectoire du couvent de Sainte-Marie-des-Grâces conserve sur sa paroi nord un chef-d'œuvre incontesté, La Cène, peint de 1495 à 1497 par Léonard de Vinci, qui a ouvert une ère nouvelle dans l'histoire de l'art.
كنيسة سيدة النعم والدير الدومينيكي التابع لها مع رسم
تشكل قاعة طعام دير سيدة النعم جزءًا لا يتجزأ من مجموعة هندسية شيِّدت في ميلانو ابتداءً من العام 1463 وأُصلحت في نهاية القرن الخامس عشر على يد برامانت وهي تحتفظ على جدارها الشمالي بتحفة لا متنازع عليها، هي العشاء السري ، الذي رسمه ليوناردو دا فنتشي بين العامين 1495 و1497 وهي تحفة فتحت أبواب حقبة جديدة من تاريخ الفن.
Source: UNESCO/BPI
绘有达•芬奇《最后的晚餐》的圣玛丽亚感恩教堂和多明各会修道院
圣玛丽亚感恩修道院的餐厅是这个建筑群不可分割的组成部分，它地处米兰城，始建于1463年，15世纪末意大利建筑设计师布拉曼特对之进行了改造。该建筑的北墙上，至今仍然保存着莱昂纳多·达·芬奇完成于1495至1497年两年间的无以伦比的代表作《最后的晚餐》。达·芬奇的作品宣告了艺术史上一个新世纪的到来。
Source: UNESCO/ERI
Церковь и доминиканский монастырь Санта-Мария-делла-Грацие c фреской Леонардо да Винчи
Трапезная монастыря Санта-Мария-делла-Грацие представляет неотъемлемую часть этого архитектурного комплекса, основанного в Милане в 1463 г. и перестроенного в конце XV в. архитектором Браманте. На северной стене находится «Тайная вечеря» – непревзойденный шедевр, созданный в 1495-1497 гг. Леонардо да Винчи, чье творчество провозгласило новую эру в истории искусства.
Source: UNESCO/ERI
Iglesia y convento dominico de Santa Maria delle Grazie con “La Cena” de Leonardo de Vinci
Construido en Milán a partir del año 1463 y reformado por Bramante a finales del siglo XV, el conjunto arquitectónico del convento de Santa Maria delle Grazie alberga en la pared norte de su refectorio una obra maestra sin parangón en el mundo: el fresco de “La última cena”, pintado entre 1495 y 1497 por Leonardo da Vinci, que abrió una nueva era en la historia del arte.
Source: UNESCO/ERI
レオナルド・ダ・ヴィンチの「最後の晩餐」があるサンタ・マリア・デッレ・グラツィエ教会とドメニコ会修道院
source: NFUAJ
© OUR PLACE The World Heritage Collection
Long Description
The city of Milan was founded by Celts and has seen four particularly splendid periods. Between the 4th and 5th centuries, it was the capital of the Western Roman Empire and became established as one of the hubs of the new Christian world. The period between the 11th and 13th centuries saw the constitution and consolidation of 'Free Communes' that were soon stronger than neighbouring territories and led to the fight for freedom against German rulers that came to a head with the battle of Legnano (1176). Between the 14th and 16th centuries, the city was governed by the Viscontis, then the Sforza family and was home to the dukedom of Milan. It was subjugated first by the French and then the Spanish: this was the time of the Renaissance that motivated Gian Galeazzo Visconti, Francesco Sforza and Ludovico il Moro to produce their greatest works like the Duomo, the Castello Sforzesco, Santa Maria delle Grazie and San Satiro. The two great artists Bramante and Leonardo were actively working at this time. Milan gradually became a modern city and during the 1800s magnificent neoclassical palaces began to be built. It became the capital of the Kingdom of Italy under Napoleon and was home to the patriotic movement during the political revival.
In 1463, the captain of the Francesco Sforza troops donated a piece of land to the Dominicans. On this land there was a cloister with frescoes depicting the Madonna delle Grazie. The monks commissioned Guiniforte Solari to build a church and convent and the work began in 1463. The new Lord of Milan, Ludovico il Moro, decreed that the apse and presbytery should be knocked down to enlarge the church and he commissioned Donato Bramante to supervise the work. Bramante, who came from Urbino, structurally enlarged the church and added large semi-circular apses, a wonderful drum-shaped dome surrounded by columns and a spectacular cloister and refectory.
The fresco was commissioned in 1495 and completed in 1487. The representation by Leonardo da Vinci depicted the moment immediately after Christ said, 'One of you will betray me'. The 12 Apostles reacted in differing ways; their movements and expressions are magnificently captured in Leonardo's work. He focused on the impact of Christ's words on the Apostles and on their reactions. This broke with the traditional representation of the past, upsetting some ideas.
The genius of the artist is seen especially in the use of light and strong perspective. The three windows behind the table companions and the landscape beyond create a luminosity that set against the backlight illuminates the characters from the side as well. The result is a combination of a particular classically Florentine and chiaroscuro perspectives.
If this work is compared with others by artists such as Castagno, the differences are obvious. In the classical interpretation, Judas is depicted alone whereas the other Apostles and Jesus are on the other side of the table sitting beside each other. Leonardo rejected this and had Jesus in the midst of the Apostles; he also created four groups of three figures on either side of Christ. From the left: Bartholomew, James the Younger and Andrew who are stunned by Jesus's declaration. The second group is made up of Peter, Judas and John. Peter is leaning towards John who is seated beside Jesus and is pushing Judas forward. The figure of Judas is highlighted without isolating the others. The group on the right is made up of Matthew, Thaddeus and Simon who are involved in an animated discussion and are not looking at Jesus. In the centre and perplexedly leaning towards Jesus are Thomas, James the Elder and Phillip who are engaged assuring Jesus of their allegiance. In the centre we find the figure of Jesus in the fresco vanishing point.
Unfortunately, Leonardo did not work in oil but in tempera on a two-layered surface of plaster that was not damp-proof. It was as early as 1568 when Vasari first pointed out problems with this painting technique. Repeated conservation programmes have been carried out, the most recent over the past 20 years.
Source: UNESCO/CLT/WHC
