It is also possible to explain the position of the perspective lines suggested by the tapestries! And much more...

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And this, ladies and gentlemen, is the key to the geometry of The Last Supper!

From this single triangle, one can derive the height of the windows and door openings, the construction of the pediment above the door, and the placement of the cornice. Can you see how?

Furthermore, Christ’s left hand, opening up in a gesture of offering, visually balances the movement initiated by his right hand as it turns towards the morsel of bread.
But, if we were to extend downwards the triangle suggested by the posture of Christ, we would end up with a triangle of base 4.

The 3 centres are part of a unique geometrical design. Not only is it beautiful in its clarity and efficiency, but the symbolic meaning concealed within it forms a spiritual message – hidden, yet profoundly present – at the heart of The Last Supper.

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If we assume for a moment that these centres are indeed connected, we would have to examine the reasons behind their arrangement. One explanation could be the logical outcome of a geometrical construction; another, the result of a deliberate choice infused with symbolic meaning.

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Visually, the importance of the vanishing point is indisputable, since it commands the viewer’s attention, while the centre of the pediment belongs to a modest ornament, and the grid’s centre is virtually invisible. Yet, this raises a crucial question: is their placement purely coincidental?

The 3 centres are, in fact, part of a unique geometrical design. Not only is it beautiful in its clarity and efficiency, but the symbolic meaning concealed within it forms a spiritual message – hidden yet profoundly present – at the heart of The Last Supper.

geometrylastsupper.com
#LeonardoDaVinci

If we assume for a moment that these centres are connected, we would have to examine the reasons behind their arrangement. One explanation could be the logical outcome of a geometrical construction; another, the result of a deliberate choice infused with symbolic meaning.

#TheLastSupper

Visually, the importance of the vanishing point is indisputable, since it commands the viewer’s attention, while the centre of the pediment belongs to a modest ornament, and the grid’s centre is virtually invisible. Yet, this raises a crucial question: is their placement purely coincidental?

#TheLastSupper #LeonardoDaVinci #RenaissanceArt
#ArtHistory #Geometry #GeometryInArt #SymbolismInArt
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It shouldn’t come as a surprise to find architectural elements in The Last Supper that disobey the grid’s rigid order. After all, its inherent inflexibility limits creativity. Yet, it is in these departures from order that the geometry itself starts to speak.

Notably, the arrangement of the four groups of apostles follows the grid’s boundaries.
However, what truly sparks our interest are the elements that seem to defy the grid: the openings of the windows and the door don’t align with it. The pediment and the main lines of perspective don't conform.

To the far left, James the Minor, dressed in pink and part of the first group of apostles, reaches out to touch Peter’s shoulder, trying to draw his attention. His palm faces downward, almost flat, with the back of his hand positioned precisely at the level of the median.

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This subtle detail visually signals his moral and emotional descent.
Counterbalancing his downward motion, Philip rises above the median, his hands pressed on his heart, contributing to the wave-like motion that animates the composition.

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On the left, Judas leans back on his elbow, generating a downward tilt that is counterbalanced on the right by the upright posture of Philip who stands behind James and Thomas.

As the wave moves outward toward the edges of the composition, it looses intensity and gradually flattens.

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This leaves two units in the centre occupied by Jesus alone, giving rise to a sense of authority and calm amid the chaos around him.

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Brachert’s grid governs the distribution of the apostles along the table. They form four groups, two on each side of Jesus.

📐 According to Brachert, the groups at the far ends of the table each occupy three units of the grid. The two groups closest to Jesus are confined to just two units each.