Leonardo and the Last Supper (60 page)

16
Carlo Pedretti, ed.,
Leonardo da Vinci on Painting
, 54.

17
Jorio,
Gesture in Naples
, 263.

18
The fact that Peter’s knife points to Bartholomew is pointed out and discussed in Steinberg,
Leonardo’s Incessant “Last Supper,”
101.

19
Quoted in Maud Cruttwell,
Verrocchio
(London: Duckworth & Co., 1904), 161. For Tuscan town halls, see John T. Paoletti and Gary M. Radke,
Art in Renaissance Italy
(London: Laurence King Publishing, 2005), 272.

20
Quoted in Martin Kemp,
The Marvellous Works of Nature and Man
, rev. ed. (Oxford: Oxford University Press, 2006), 111.

21
Janson,
A History of Art
, 370.

22
Barcilon, “The Restoration,” 376.

23
James the Lesser’s beard, difficult to appreciate in Leonardo’s original mural, is unmistakable in the version by Giampietrino.

24
Friedrich Ohly,
The Damned and the Elect: Guilt in Western Culture
, trans. Linda Archibald (Cambridge: Cambridge University Press, 1992), 88.

25
Quoted in Boyle,
Sense of Touch
, 211. See also Michael Barsley,
The Left-Handed Book: An Investigation into the Sinister History of Left-Handedness
(London: Souvenir Press, 1966).

26
Quoted in Lauren Julius Harris, “Cultural Influences on Handedness: Historical and Contemporary Theory and Evidence,” in Stanley Coren, ed.,
Left-Handedness: Behavioral Implications and Anomalies
(Amsterdam: Elsevir Science, 1990), 198.

27
Joanna Woods-Marsden, “Portrait of the Lady, 1430–1520,” in David Alan Brown, ed.,
Virtue and Beauty: Leonardo’s Ginevra de’ Benci and Renaissance Portraits of Women
(Princeton: Princeton University Press, 2001), 69.

28
Guy Tal,
Witches on Top: Magic, Power, and Imagination in the Art of Early Modern Italy
(Bloomington: Indiana University Press, 2006), 110.

29
Jack Wasserman, “Leonardo da Vinci’s
Last Supper
: The Case of the Overturned Saltcellar,”
Artibus et Historiae
24 (2003): 65–72.

30
“To Grosphus,” in E. R. Garnsey, trans.,
The Odes of Horace
(London: Swan Sonnenschein, 1907). On the
dirae
, see Charles Anthon,
A Classical Dictionary
(New York: Harper & Brothers, 1848), 237. On royal saltcellars, see Mark Kurlansky,
Salt: A World History
(New York: Walker & Co., 2002), 144–45.

31
Philip Gavitt,
Charity and Children in Renaissance Florence: the Ospedale degli Innocenti, 1410–1536
(Ann Arbor: University of Michigan Press, 1990), 187–88.

32
Michael D. Bailey, “The Disenchantment of Magic: Spells, Charms, and Superstition in Early European Witchcraft,”
American Historical Review
111 (April 2006): 397; and Philip F. Waterman,
Story of Superstition
(New York: Alfred A. Knopf, 1929), 123.

33
Colin Campbell, “Half-Belief and the Paradox of Ritual Instrumental Activism: A Theory of Modern Superstition,”
British Journal of Sociology
47 (March 1996): 153.

34
For examples, see Debra Higgs Strickland,
Saracens, Demons, & Jews: Making Monsters in Medieval Art
(Princeton: Princeton University Press, 2003), 108, 124, 141–43, 215, and 221.

35
Quoted in David L. Jeffrey, ed.,
A Dictionary of Biblical Tradition in English Literature
(Grand Rapids: William B. Eerdmans, 1992), 418.

36
Quoted in Giacomo Todeschini, “The Incivility of Judas: ‘Manifest’ Usury as a Metaphor for the ‘Infamy of Fact,’” in Juliann Vitullo and Diane Wolfthal, eds.,
Money, Morality and Culture in Late Medieval and Early Modern Europe
(Farnham, Surrey: Ashgate, 2010), 34.

37
Strickland,
Saracens, Demons, & Jews
, 142.

38
Quoted in Nirit ben-Aryeh Debby, “Jews and Judaism in the Rhetoric of Popular Preachers: The Florentine Sermons of Giovanni Dominici (1356–1419) and Bernardino da Siena (1380–1444),”
Jewish History
14 (2000): 186.

39
Barbara Wisch, “Vested Interest: Redressing Jews on Michelangelo’s Sistine Ceiling,”
Artibus et Historiae
24 (2003): 147.

40
Quoted in Debby, “Jews and Judaism,” 189.

41
Quoted in Marica S. Tacconi,
Cathedral and Civic Ritual in Late Medieval and Renaissance Florence: The Service Books of Santa Maria del Fiore
(Cambridge: Cambridge University Press, 2005), 165.

42
Vasari, “Life of Simone, called Il Cronaca,” in
Lives of the Most Eminent Painters, Sculptors and Architects
, 10 vols. vol. 4, trans. Gaston du C. de Vere (London: Philip Lee Warner, 1912–15), 269.

43
Howard Adelman, “Review: Simonsohn’s
The Jews in Milan
,”
Jewish Quarterly Review
new series, vol. 77 (October 1986–January 1987): 200.

44
Cartwright,
Beatrice d’Este
, 128.

45
Carlo Pedretti,
Leonardo: Studies for
“The Last Supper”
from the Royal Library at Windsor Castle
(Florence: Electa, 1983), 110.

46
Quoted in Claude Blanckaert, “On the Origins of French Ethnology: William Edwards and the Doctrine of Race,” in George W. Stocking, ed.,
Bones, Bodies, Behavior: Essays on Biological Anthropology
(Madison: University of Wisconsin Press, 1990), 35.

47
Ernst Gombrich, “The Grotesque Heads,” in
The Heritage of Apelles: Studies in the Art of the Renaissance
(Oxford: Phaidon, 1976), 61.

48
On the engraved portrait, see Steinberg,
Leonardo’s Incessant “Last Supper
,” 80. Steinberg believes the supposed dissimilarity proves Vasari’s story to be “sheer fabrication,” but any dissimilarity actually seems to be the result of a difference in artistic media, level of detail, and level of skill.

49
Goethe,
Observations
, 37.

50
On the Jewishness of Judas in Italian paintings, see Brigitte Monstadt,
Judas beim Abendmahl: Figurenkonstellation und Bedeutung in Darstellungen von Giotto bis Andrea del Sarto
(Munich: Scaneg, 1995). I am indebted to Steinberg’s discussion of Monstadt’s thesis on p. 93, n29. On Judas’s red hair, see Paull Franklin Baum, “Judas’s Red Hair,”
Journal of English and Germanic Philology
21 (July 1922): 520–29.

51
For Judas’s costume, see Barcilon, “The Restoration,” 382.

52
The story is traced to Chapman in Austin B. Tucker,
The Preacher as Storyteller: The Power of Narrative in the Pulpit
(Nashville: B&H Publishing, 2008), 196. For Davis’s version, see
Commencement Parts
(New York: Hines, Noble & Eldredge, 1898), 475.

Chapter 15

1
Sabba da Castiglione, quoted in Pedretti,
Leonardo: Architect
, 80.

2
Villata, ed.,
Documenti
, 102.

3
Ibid.

4
Quoted in Cartwright,
Beatrice d’Este
, 316.

5
For Peraudi’s salary, see Setton,
The Papacy and the Levant
, vol. 3, 403 and 529. Bandello’s story is found in Matteo Bandello,
Tutte le opere
, ed. Francesco Flora, 2 vols., vol. 1 (Milan: A. Mondadori, 1934), 646–50. For a good discussion of Bandello’s story, see Norman E. Land, “Leonardo da Vinci in a Tale by Matteo Bandello,”
Discoveries
(2006), available online at:
http://cstlcla.semo.edu/reinheimer/discoveries/archives/231/land231pf.htm
.

6
For Leonardo’s persistence with the project, see Laurie Fusco and Gino Corti, “Lorenzo de’ Medici on the Sforza Monument,”
Achademia Leonardi Vinci: Journal of Leonardo Studies and Bibliography of Vinciana
, ed. Carlo Pedretti, vol. 5 (Florence: Giunti, 1992), 24.

7
Pedretti,
Leonardo: Architect
, 72–74.

8
Richter, ed.,
The Literary Works
, vol. 2, §1523. For wages, see Goldthwaite,
The Economy of Renaissance Florence
, 294.

9
Quoted in Cartwright,
Beatrice d’Este
, 305.

10
Quoted in Setton,
The Papacy and the Levant
, vol. 3, 503.

11
Patrick Macey,
Bonfire Songs: Savonarola’s Musical Legacy
, vol. 1 (Oxford: Oxford University Press, 1998), 75.

12
Villari,
Life and Times of Girolamo Savonarola
, 189.

13
Quoted in Pastor,
History of the Popes
, vol. 5, 523, and vol. 6, 16.

14
Quoted in Cartwright,
Beatrice d’Este
, 295.

15
Quoted in Ibid., 331.

16
Commines, 267.

17
Ibid., 482.

18
Ibid., 281.

19
Ibid., 283.

20
Ibid., 284.

21
Villata, ed.,
Documenti
, 110. Leonardo is not actually mentioned in this document.

22
Quoted in Pérez-Gómez, “The Glass Architecture of Luca Pacioli,” 262.

23
For a good discussion of this property, see Nicholl,
Leonardo da Vinci
, 312–14. Nicholl securely dates the gift of the land to August 1497, earlier than previously believed.

24
Richter, ed.,
The Literary Works
, vol. 2, §1566.

25
Quoted in Lillian F. Schwartz, “The Staging of Leonardo’s
Last Supper
: A Computer-Based Exploration of Its Perspective,”
Electronic Art
, vol. 1 (1988),
Leonardo: Supplemental Issue
, 93.

26
Observations
, 7.

27
Richter, ed.,
The Literary Works
, vol. 1, §284.

28
For a good discussion of perspective in the painting, see Martin Kemp,
Leonardo da Vinci: The Marvellous Works of Nature and Man
, rev. ed. (Oxford: Oxford University Press, 2006), 182–86; and idem, “‘
Fate come dico, non fate come faccio”: Lo Spazio e lo spettatore nell
’ ‘
Ultima Cena
,’ “
Il genio e le passioni
, ed. Pietro Marani (Milan: Skira, 2001), 53–59.

29
Richter, ed.,
The Literary Works
, vol. 1, §§543 and 544.

30
Kemp,
Marvellous Works
, 183–84.

31
See Pedretti,
Commentary
, vol. 2, 59.

32
See Carlo Pedretti, “Nec ense,”
Achademia Leonardi Vinci
:
Journal of Leonardo Studies and Bibliography of Vinciana
, ed. Carlo Pedretti, vol. 3 (Florence: Giunti, 1990), 82–90; and Kemp,
Marvellous Works
, 167–76.

33
Richter, ed.,
The Literary Works
, vol. 1, §680.

34
Ibid., vol. 1, §704.

35
Pedretti,
Leonardo: Architect
, 105.

36
Quoted in Frederic J. Baumgartner,
Louis II
(New York: St. Martin’s Press, 1994), 9.

37
Quoted in Ady,
A History of Milan Under the Sforza
, 173

38
Ibid., 175.

39
Quoted in Setton,
The Papacy and the Levant
, vol. 3, 514.

40
Quoted in Nicholl,
Leonardo da Vinci
, 321.

41
Quoted in Cartwright,
Beatrice d’Este
, 346.

42
Richter, ed.,
The Literary Works
, vol. 2, §1414.

43
Ibid., vol. 2, §1371.

44
Pedretti,
Commentary
, vol. 2, 11.

45
Sabba da Castiglione,
Ricordi overo ammaestramenti
(Venice, 1554), xiv.

46
Quoted in Cartwright,
Beatrice d’Este
, 354.

47
Giovio, “The Life of Leonardo da Vinci,” 29.

48
Vasari,
Lives of the Artists
, 263.

49
Villata, ed.,
Documenti
, 136.