On Holy Thursday, Catholic imagination turns to thoughts of a painting. You know the one: Da Vinci’s Last Supper. Painted over a door in the refectory of a Milanese monastery in 1498, the mural is the sum of theological reflection on Jesus’ last Passover meal. Our own mental image of the event—who was there? what did it look like?—is fixed on Da Vinci’s interpretation. But an interpretation is all that it is. Yet we grant to pictorial orchestration the veracity of revelation. Continue Reading
