【旷世杰作的秘密】最后的晚餐17
《最后的晚餐》是一幅广为人知的大型壁画，文艺复兴时期由列奥纳多·达·芬奇于米兰的天主教恩宠圣母的多明我会院食堂墙壁上绘成，1980年被列为世界遗产。
❤ HINTS：
Bartholomew
Thomas
Matthew
Judas
Leonardo
Peter
Christ
John
全文听写，英式拼法
http://t1.g.hjfile.cn/listen/201307/201307031205214252479.mp3And most radically of all, Judas, who before sat opposite his fellows on the near side of the table, is placed back behind it.
Leonardo he pulls Judas back into the group, Judas is no longer a completely extraneous element, betrayal is not any longer so glaringly different from discipleship. Indeed by placing Judas in the same group of three with Peter the disciple who loves Christ and John the disciple who's loved by Christ, betrayal becomes one of the dimensions of love, one of the dimensions of intimacy.
And the revolution did not end there. If traditional designs were out, so too was the traditional painting technique. The making of the Last Supper began conventionally, by hacking the plaster off the refectory wall.
When the artist's assistants reached the stone, they began to build the surface back up until it was fit for painting. First, a thick layer of plaster went on. It was on such a wet surface that all previous Last Supper artists, working in fresco, had set to work.最明显的不同是犹太，以往坐在同伴前对面的他，回到同伴的行伍之间。
李奥纳多让犹太回到群体中间，他不再是犹如局外人。叛徒和弟子之间的差异不再一望即知，犹太身边，有热爱耶稣的门徒彼得和耶稣钟爱的门徒约翰。背叛成为爱的一部分，成为亲密的一部分。改革之处不止于此，被淘汰的不只是传统构图，传统绘画技术也被淘汰了。“最后的晚餐”工程的起步很传统，首先就是敲掉饭堂上的泥墙，画家的助手敲到石墙后，再开始补上填墙，知道表面适合作画为止。先是抹上一层厚厚的灰泥，以往绘制“最后的晚餐”的画家都在这种潮湿的表面上着手绘制壁画。
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