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Staffordshire Bull Terrier
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Staffordshire Bull Terrier
Common nicknames
Staffy
Nanny Dog
SBT
Origin
England
[hide]Traits
Weight
Male 13 to 17 kg (29 to 37 lb)
Female 11 to 15.4 kg (24 to 34 lb)
Height
Male 36 to 41 cm (14 to 16 in)
Coat
Smooth, short and close
Colour
Red, fawn, white, black or blue, or any one of these colours with white; any shade of brindle; any shade of brindle with white
[hide]Classification / standards
FCI
Group 3, Section 3 Bull Terriers #76 standard
AKC
Terrier standard
ANKC
Group 2 (Terriers) standard
CKC
Group 4 - Terriers standard
KC (UK)
Terrier standard
NZKC
Terrier standard
UKC
Terriers standard
Domestic dog (Canis lupus familiaris)
The Staffordshire Bull Terrier is a medium-sized, short-coated breed of dog of English lineage and may be considered to be within the pit bull type.[1][2][3][4][5][6]
Contents
[hide]
1 History
2 Appearance
3 Temperament
4 Breed-specific legislation
5 Health
6 Gallery
7 See also
8 References
9 External links
History[edit]
Before the 19th century, blood sports such as bull baiting, bear baiting and cock fighting were common. At the cattle market, bulls were set upon by dogs purportedly as a way of tenderising the meat and providing entertainment for the spectators. Fights with bears and other animals were also organised as entertainment.
The early bull and terrier types were not bred to resemble the breeds of today, but rather for the characteristic known as gameness, with the pitting of dogs against bear or bull; testing the strength and skill of the dogs. Landrace working dogs crossbred with bulldogs provided the ancestral foundation stock for the Staffordshire Bull Terrier. These bloodsports were officially eliminated in 1835 as Britain began to introduce animal welfare laws.. Dog fighting involved gambling; dogs were released into a pit, and the last dog still fighting or surviving was recognised the winner. A dog fighting another dog was cheaper to organise and easier to conceal from the law.
The modern breed is one that has a temperament suitable as a companion dog. It is a dog worthy to show and was accepted by The Kennel Club as the Staffordshire Bull Terrier on 25 May 1935.[7] The Staffordshire Bull Terrier Club was formed in June 1935. It is unusual for a breed to be recognised without a club in existence first, and even more unusual for there not to have been a breed standard in place. A standard was not drawn up until June 1935 at the Old Cross Guns, a Black Country pub in Cradley Heath. A group of 30 Stafford enthusiasts gathered there and devised the standard, as well as electing the club's first secretary, Joseph Dunn, a well-known figure connected with the breed.
Challenge certificates were awarded to the breed in 1938, and the first champions were Ch. Gentleman Jim (bred by Joseph Dunn) and Ch. Lady Eve (owned by Joseph Dunn), both taking titles in 1939. The breed was recognised in the U.S. by the American Kennel Club in 1975.[8]
Appearance[edit]
The Staffordshire Bull Terrier is a medium-sized, stocky, and very muscular dog, with a similar appearance to the much larger American Staffordshire Terrier and American Pit Bull Terrier. The coat is smooth and clings tightly to the body giving the dog a streamlined appearance. This dog has a broad, wedge-shaped head (male considerably more so than female), defined occipital muscles, a relatively short fore-face, dark round eyes and a wide mouth with a clean scissor-like bite (the top incisors slightly overlap the bottom incisors). The ears are small. The cheek muscles are very pronounced. The lips show no looseness. The teeth form a scissor bite. The head tapers down to a strong well-muscled neck and shoulders placed on squarely spaced forelimbs. They are tucked up into their loins and the last 1–2 ribs of the rib-cage are usually visible. The tail resembles an old fashioned pump handle. The hind quarters are well-muscled.
They are coloured brindle, black, red, fawn, blue, white, or any blending of these colours with white. White with any other colour broken up over the body is known as pied. Liver-coloured, black and tan dogs can occur but are rare and it is advised not to breed from either as well as those with light eyes. The exception to the light eye rule are Blue staffies; all others should have dark brown eyes even if they have a fawn coat. The coat is smooth and clings tightly to the body giving the dog a streamlined appearance.
The dogs stand 36 to 41 cm (14 to 16 in) at the withers and weigh 13 to 17 kg (29 to 37 lb) for males; females are 11 to 15.4 kg (24 to 34 lb).[9]
Temperament[edit]
Due to its breeding and history, common traits exist throughout; the Staffordshire Bull Terrier is known for its character of fearlessness and loyalty.[10][11][12] This, coupled with its affectionate nature, its off-duty quietness and trustworthy stability, make it a foremost all-purpose dog.[7]
The breed is naturally muscular and may appear intimidating. Staffordshire Bull Terrier puppies are very easy to house train.[13] They are friendly, enthusiastic and usually extremely affectionate.[14] Staffordshires are notably adaptable in terms of changing home or even owners; this may make them vulnerable to dognapping.[15]
RSPCA chief vet Mark Evans said: "Staffies have had a terrible press, but this is not of their own making–in fact they're wonderful dogs. If people think that Staffies have problems, they're looking at the wrong end of the dog lead! When well cared for and properly trained they can make brilliant companions. Our experience suggests that problems occur when bad owners exploit the Staffie's desire to please by training them to show aggression."[16]
Breed-specific legislation[edit]
Main articles: Breed-specific legislation and Pit Bull
The Staffordshire Bull Terrier is subject to breed-specific legislation in various countries, which ban members of the Bull and Terrier family.[17]
Health[edit]
Staffordshire Bull Terriers are known to suffer from hereditary cataracts and L-2-hydroxyglutaric aciduria—a metabolic disorder resulting in behavioural changes and dementia-like symptoms—both of which are detectable by DNA tests.[18]
Distichiasis (commonly known as “double eyelash”) and persistent hyperplastic primary vitreous—a condition whereby the blood supply to the ocular lens fails to regress and fibrovascular tissue forms, causing hazy vision—both of which are checked by way of an ocular examination throughout the life of a breeding stud or brood-bitch to minimise the transfer and spread of these conditions.
The breed is known to be at a higher risk from mastocytoma (mast cell tumours) than the general population of dogs.[19]
A UK Kennel Club survey puts the median lifespan at 12.75 years.[20] UK vet clinic data puts the median at 10.7 years.[21]
Gallery[edit]
Puppy
Two-months-old puppy
See also[edit]
American Staffordshire Terrier
American Pit Bull Terrier
Breed-specific legislation
Blue Paul Terrier
Pit bull
Rat-baiting
Jock of the Bushveld
References[edit]
Jump up ^ "Frequently Asked Questions". Pit Bull Rescue Central. Retrieved 2017-08-15.
Jump up ^ "Breed Information Centre – Staffordshire Bull Terrier". The Kennel Club. Retrieved 13 November 2014.
Jump up ^ Merriam-Webster. "Pit bull". Retrieved 26 October 2015. a dog... of any of several breeds... that was developed and is now often trained for fighting and is noted for strength and stamina
Jump up ^ Dias v. City & County of Denver, 567 F.3d 1169, 1173 (10th Cir. Colo. 2009). http://definitions.uslegal.com/p/pit-bull/. Retrieved 26 October 2015. A "pit bull" is defined as any dog that is an American Pit Bull Terrier, American Staffordshire Terrier, Staffordshire Bull Terrier, or any dog displaying the majority of physical traits of any one (1) or more of the above breeds Missing or empty |title= (help)CS1 maint: Multiple names: authors list (link)
Jump up ^ ASPCA. "The Truth About Pit Bulls". Retrieved 26 October 2015. The term 'pit bull' is often misunderstood, because it does not apply to just one breed of dog. [This text is in the website's page description.]
Jump up ^ Foster, Ken (2012). I'm a Good Dog: Pit Bulls, America's Most Beautiful (and Misunderstood) Dog. New York: Viking Studio. For some lovers of the American pit bull terrier... 'pit bull' is embraced as shorthand for their breed. However, fans of the American Staffordshire terrier and English Staffordshire terrier are usually quick to tell you that their breeds are not pit bulls. To the general public, all three dogs are perceived as pit bulls, along with variations of the American bulldog, bull terriers, bullmastiffs, and even boxers, as well as mixes of these breeds.
^ Jump up to: a b American Kennel Club. "AKC Staffordshire Bull Terrier Breed History". www.akc.org. Retrieved 29 July 2008.
Jump up ^ "American Kennel Club – Staffordshire Bull Terrier". www.akc.org. Retrieved 16 February 2010.
Jump up ^ "Staffordshire Bull Terrier Breed Standard". The Kennel Club. September 2000. Retrieved 17 May 2013.
Jump up ^ Nicholas, Anna Katherine (2001). Staffordshire Bull Terriers. TFH Publications. p. 30. ISBN 0-7938-2335-8.
Jump up ^ "Breed information centre, Staffordshire Bull Terrier". The Kennel Club. Retrieved 13 September 2017.
Jump up ^ "Staffordshire Bull Terrier" (PDF). FCI. p. 2. Retrieved 13 September 2017.
Jump up ^ "Breed Standard – Staffordshire Bull Terrier – Terrier". NZKC. Retrieved 13 November 2014.
Jump up ^ American Staffordshire Terrier, Meet the Breeds, American Kennel Club (AKC)
Jump up ^ Lee, Clare (1 January 1998). The Pet Owner's Guide to the Staffordshire Bull Terrier. Ringpress Books Ltd. ISBN 978-1-86054-082-0.
Jump up ^ "K9 Magazine Article". Dogmagazine.net. Retrieved 26 April 2011.
Jump up ^ Campbell, Dana (July–August 2009). "Pit Bull Bans: The State of Breed–Specific Legislation". GP-Solo. American Bar Association. 26 (5). Retrieved 30 July 2009. The American Kennel Club (AKC), the nation’s largest dog–breed registry, does not recognize a 'pit bull' breed per se. The AKC–recognized breeds most commonly included within current BSL are Bull Terriers, American Staffordshire Terriers, and Staffordshire Bull Terriers
Jump up ^ "Currently Available DNA Tests". Caninegeneticdiseases.net. Retrieved 25 December 2008.
Jump up ^ "Percentage of deaths due to cancer suffered by dogs of different breeds compared with the percentage of the breed in the survey population (adapted from Michell, 1999)". Vetstreamcanis.co.uk. Retrieved 25 December 2008. [dead link]
Jump up ^ "Individual Breed Results for Purebred Dog Health Survey".
Jump up ^ O’Neill, D. G.; Church, D. B.; McGreevy, P. D.; Thomson, P. C.; Brodbelt, D. C. (2013). "Longevity and mortality of owned dogs in England". The Veterinary Journal. 198: 638–43. doi:10.1016/j.tvjl.2013.09.020. PMID 24206631.
External links[edit]
Media related to Staffordshire Bull Terrier at Wikimedia Commons
Staffordshire Bull Terrier at DMOZ
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text:
I Got a Man
From Wikipedia, the free encyclopedia
Jump to: navigation, search
"I Got a Man"
Single by Positive K
from the album The Skills Dat Pay da Bills
Released
December 1, 1992
Format
CD single, 7", 12"
Recorded
1992
Genre
Hip hop
Length
3:52
Label
Island
Songwriter(s)
Byron Lee Miller, Roland Bautista, Darryl Gibson, Janice Marie Johnson
Producer(s)
Shawn Thomas
Positive K singles chronology
"Nightshift"
(1991) "I Got a Man"
(1992) "Ain't No Crime"
(1993)
"Nightshift"
(1991) "I Got a Man"
(1992) "Ain't No Crime"
(1993)
"I Got a Man" is a song by American hip hop rapper Positive K. It was released in December 1992 as the first single from his debut album The Skills Dat Pay Da Bills.
Contents
[hide]
1 Creation of the song
2 Release
3 Music video
4 Samples
5 Tributes to the song
6 Charts
6.1 Peak positions
6.2 End of year charts
7 References
8 External links
Creation of the song[edit]
Positive K has stated that the song is about a man's desire to engage romantically with a woman he meets on the street. Although the woman is already in a relationship, the man refuses to consider this relevant to his pursuit. She continues to reject him and persists in explaining her satisfaction with her current relationship. He further suggests that he is not interested in a committed relationship or plying her with gifts; rather he is in favor of physical pleasures they can experience together. She rebukes him and remarks that she prefers what she has.
In creating of the song itself the rapper himself provided not only the male vocals but also the female vocals [1] by raising the pitch of his voice using studio technology.[2]
Release[edit]
The single peaked at number 14 on the US Billboard Hot 100 on the chart week of March 20, 1993, making it the rapper's only Top 40 hit. It sold over 500,000 copies and was certified gold by the Recording Industry Association of America.[3][4]
Music video[edit]
There were two music videos for "I Got a Man". The first version was directed by Hype Williams,[5] while the second version was directed by Jeff Byrd.[6]
Samples[edit]
The music samples the following:
the 1980 disco single "Rescue Me" by A Taste of Honey
the song "Spread Love" by the a cappella group Take 6
the song "High Power Rap" by the rap group Crash Crew
the electric guitar riff from "Mama Used To Say" by Junior
the horn from "Get Up and Dance" by Freedom
The spoken intro of the song ("How can the same shit happen to the same guy twice?") is sampled from the 1990 film Die Hard 2 in which John McClane (played by Bruce Willis) complains about his bad luck.
the song "Kuff" by dancehall artist Shelly Thunder
Tributes to the song[edit]
In 1999, Chanté Moore and Jermaine Dupri used an interpolation of the song on their remix of "Chanté's Got a Man".
Charts[edit]
Peak positions[edit]
Chart (1992–1993)
Peak
Position
Netherlands (Dutch Top 40)[7] 12
New Zealand (Recorded Music NZ)[8] 41
UK Singles (The Official Charts Company) 43
U.S. Billboard Hot 100 14
U.S. Billboard Hot 100 Airplay 19
U.S. Billboard Hot Dance Music/Maxi-Singles Sales 14
U.S. Billboard Hot R&B/Hip-Hop Songs 10
U.S. Billboard Hot R&B/Hip-Hop Singles Sales 4
U.S. Billboard Hot Rap Singles 1
U.S. Billboard Hot Singles Sales 5
U.S. Billboard Hot Singles Recurrents 2
U.S. Billboard Rhythmic Top 40 12
End of year charts[edit]
End of year chart (1993)
Position
U.S. Billboard Hot 100[9] 63
References[edit]
Jump up ^ Willman, Chris (1993-05-16). "Rap and Feminism Do Mix - Surprise! Videos by Positive K and Paris put a positive spin on respect for women". Los Angeles Times. Retrieved 2009-01-02.
Jump up ^ Bierman, Bryan (December 3, 2014). "Positive K Says His 1992 Hit 'I Got a Man' Isn't Street Harassment". The Village Voice.
Jump up ^ "Best-Selling Records of 1993". Billboard. BPI Communications. 106 (3): 73. January 15, 1994. ISSN 0006-2510. Retrieved May 4, 2015.
Jump up ^ "American certifications – Positive K – I Got a Man". Recording Industry Association of America.
Jump up ^ "I Got A Man (Version 1)". mvdbase.com. Music Video Database. Retrieved 2015-12-13. |first1= missing |last1= in Authors list (help)
Jump up ^ "I Got A Man (Version 2)". mvdbase.com. Music Video Database. Retrieved 2015-12-13. |first1= missing |last1= in Authors list (help)
Jump up ^ "Nederlandse Top 40 – Positive K" (in Dutch). Dutch Top 40.
Jump up ^ "Charts.org.nz – Positive K – I Got a Man". Top 40 Singles.
Jump up ^ "Billboard Top 100 - 1993". Archived from the original on 2006-11-10. Retrieved 2010-08-27.
External links[edit]
Lyrics of this song at MetroLyrics

This 1990s single–related article is a stub. You can help Wikipedia by expanding it.
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List of most-followed Twitter accounts
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Katy Perry is currently the most followed person on Twitter.
This list contains the top 50 accounts with the largest number of followers on the social media platform Twitter.[1] As of April 9, 2018, the most followed person is American singer Katy Perry, with over 108 million followers. Her account was the first to exceed 100 million followers, in June 2017.[2]
Top 50 accounts[edit]
The following table lists the top 50 most followed accounts on Twitter, with each total rounded to the nearest million followers, as well as the profession or activity of each user, and their country of origin.[1]
Rank
Account name
Owner
Followers
(millions)
Profession
Country
1. @katyperry Katy Perry 109 Musician United States
2. @justinbieber Justin Bieber 106 Musician Canada
3. @BarackObama Barack Obama 101 Former U.S. President United States
4. @rihanna Rihanna 87 Musician Barbados
5. @taylorswift13 Taylor Swift 86 Musician United States
6. @ladygaga Lady Gaga 78 Musician United States
7. @TheEllenShow Ellen DeGeneres 77 Comedian United States
8. @Cristiano Cristiano Ronaldo 72 Footballer Portugal
9. @YouTube YouTube 72 Social media platform United States
10. @jtimberlake Justin Timberlake 66 Musician and actor United States
11. @twitter Twitter 63 Social media platform United States
12. @KimKardashian Kim Kardashian West 59 Reality TV personality United States
13. @britneyspears Britney Spears 58 Musician United States
14. @ArianaGrande Ariana Grande 57 Musician United States
15. @selenagomez Selena Gomez 56 Musician and actress United States
16. @ddlovato Demi Lovato 56 Musician and actress United States
17. @cnnbrk CNN Breaking News 55 News United States
18. @shakira Shakira 52 Musician Colombia
19. @jimmyfallon Jimmy Fallon 51 Comedian United States
20. @realDonaldTrump Donald Trump 50 U.S. President United States
21. @BillGates Bill Gates 45 Businessman and philanthropist United States
22. @JLo Jennifer Lopez 45 Musician and actress United States
23. @Oprah Oprah Winfrey 42 Businesswoman United States
24. @BrunoMars Bruno Mars 42 Musician United States
25. @narendramodi Narendra Modi 42 Prime Minister of India India
26. @nytimes The New York Times 42 Newspaper United States
27. @KingJames LeBron James 41 Basketball player United States
28. @MileyCyrus Miley Cyrus 41 Musician and actress United States
29. @CNN CNN 40 Television channel United States
30. @NiallOfficial Niall Horan 40 Musician Ireland
31. @instagram Instagram 39 Social media platform United States
32. @neymarjr Neymar 39 Footballer Brazil
33. @BBCBreaking BBC Breaking News 38 News United Kingdom
34. @Drake Drake 37 Rapper Canada
35. @SportsCenter SportsCenter 36 Television show United States
36. @KevinHart4real Kevin Hart 35 Comedian United States
37. @iamsrk Shah Rukh Khan 35 Actor India
38. @espn ESPN 34 Television channel United States
39. @LilTunechi Lil Wayne 34 Rapper United States
40. @SrBachchan Amitabh Bachchan 34 Actor India
41. @wizkhalifa Wiz Khalifa 34 Rapper United States
42. @Louis_Tomlinson Louis Tomlinson 33 Musician United Kingdom
43. @Pink Pink 33 Musician United States
44. @LiamPayne Liam Payne 33 Musician United Kingdom
45. @BeingSalmanKhan Salman Khan 33 Actor India
46. @Harry_Styles Harry Styles 32 Musician United Kingdom
47. @onedirection One Direction 32 Band UK / Ireland
48. @aliciakeys Alicia Keys 31 Musician United States
49. @KAKA Kaká 30 Footballer Brazil
50. @realmadrid Real Madrid C.F. 30 Football club Spain
As of April 6, 2018[update]
See also[edit]
List of most-retweeted tweets
List of most-liked tweets
List of most-followed Instagram accounts
List of most-subscribed YouTube channels
List of most-viewed YouTube videos
List of most streamed artists on Spotify
List of most streamed songs on Spotify
References[edit]
^ Jump up to: a b "Twitter: Most Followers". Friend or Follow. Retrieved February 15, 2018.
Jump up ^ Cirisano, Tatiana (June 16, 2017). "Katy Perry Becomes First to Hit 100 Million Twitter Followers". The Hollywood Reporter. Retrieved October 30, 2017.
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The Last Supper (Leonardo da Vinci)
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The Last Supper
Il Cenacolo or L'Ultima Cena
Artist
Leonardo da Vinci
Year
1494
Medium
fresco-secco
Movement
Renaissance
Subject
Last Supper
Dimensions
460 cm (180 in) × 880 cm (350 in)
Location
Santa Maria delle Grazie, Milan, Italy
Coordinates
45°28′00″N 9°10′15″E / 45.466666666667°N 9.1708333333333°E / 45.466666666667; 9.1708333333333Coordinates: 45°28′00″N 9°10′15″E / 45.466666666667°N 9.1708333333333°E / 45.466666666667; 9.1708333333333
Commissioned by
Ludovico Sforza
Website
legraziemilano.it/il-cenacolo/
[edit on Wikidata]
The Last Supper (Italian: Il Cenacolo [il tʃeˈnaːkolo] or L'Ultima Cena [ˈlultima ˈtʃeːna]) is a late 15th-century mural painting by Leonardo da Vinci housed by the refectory of the Convent of Santa Maria delle Grazie in Milan. It is one of the world's most recognizable paintings.[1]
The work is presumed to have been commenced around 1495–1496 and was commissioned as part of a plan of renovations to the church and its convent buildings by Leonardo's patron Ludovico Sforza, Duke of Milan. The painting represents the scene of The Last Supper of Jesus with his apostles, as it is told in the Gospel of John, 13:21. Leonardo has depicted the consternation that occurred among the Twelve Disciples when Jesus announced that one of them would betray him.
Due to the methods used, a variety of environmental factors, and intentional damage, very little of the original painting remains today despite numerous restoration attempts, the last being completed in 1999.
Contents
[hide]
1 Painting
1.1 Important copies
2 Medium
3 Damage and restorations
3.1 Major restoration
4 The Last Supper in culture
4.1 Painting, mosaic, and photography
4.2 Modern art
4.3 Literature
4.4 Film and television
5 Other speculation
6 Notes
7 Further reading
8 External links
Painting[edit]
Crucifixion, opposite Leonardo's Last Supper
The Last Supper, ca. 1520, by Giovanni Pietro Rizzoli, called Giampietrino (active 1508-1549), after Leonardo da Vinci, oil on canvas, currently in the collection of The Royal Academy of Arts, London; full-scale copy that was the main source for the twenty-year restoration of the original (1978-1998). It includes several lost details such as Christ's feet and the salt cellar spilled by Judas. Giampietrino is thought to have worked closely with Leonardo when he was in Milan.
The Last Supper, ca. 1520, Andrea Solari, after Leonardo da Vinci, oil on canvas, currently in the Leonardo da Vinci Museum, Tongerlo Abbey.
The Last Supper measures 460 cm × 880 cm (180 in × 350 in) and covers an end wall of the dining hall at the monastery of Santa Maria delle Grazie in Milan, Italy. The theme was a traditional one for refectories, although the room was not a refectory at the time that Leonardo painted it. The main church building had only recently been completed (in 1498), but was remodeled by Bramante, hired by Ludovico Sforza to build a Sforza family mausoleum.[2] The painting was commissioned by Sforza to be the centerpiece of the mausoleum.[3] The lunettes above the main painting, formed by the triple arched ceiling of the refectory, are painted with Sforza coats-of-arms. The opposite wall of the refectory is covered by the Crucifixion fresco by Giovanni Donato da Montorfano, to which Leonardo added figures of the Sforza family in tempera. (These figures have deteriorated in much the same way as has The Last Supper.) Leonardo began work on The Last Supper in 1495 and completed it in 1498—he did not work on the painting continuously. The beginning date is not certain, as the archives of the convent for the period have been destroyed, and a document dated 1497 indicates that the painting was nearly completed at that date.[4] One story goes that a prior from the monastery complained to Leonardo about the delay, enraging him. He wrote to the head of the monastery, explaining he had been struggling to find the perfect villainous face for Judas, and that if he could not find a face corresponding with what he had in mind, he would use the features of the prior who complained.[5][6]
A study for The Last Supper from Leonardo's notebooks showing nine apostles identified by names written above their heads
The Last Supper specifically portrays the reaction given by each apostle when Jesus said one of them would betray him. All twelve apostles have different reactions to the news, with various degrees of anger and shock. The apostles are identified from a manuscript[7] (The Notebooks of Leonardo da Vinci p. 232) with their names found in the 19th century. (Before this, only Judas, Peter, John and Jesus were positively identified.) From left to right, according to the apostles' heads:
Bartholomew, James, son of Alphaeus, and Andrew form a group of three; all are surprised.
Judas Iscariot, Peter, and John form another group of three. Judas is wearing green and blue and is in shadow, looking rather withdrawn and taken aback by the sudden revelation of his plan. He is clutching a small bag, perhaps signifying the silver given to him as payment to betray Jesus, or perhaps a reference to his role within the 12 disciples as treasurer.[8] He is also tipping over the salt cellar. This may be related to the near-Eastern expression to "betray the salt" meaning to betray one's Master. He is the only person to have his elbow on the table and his head is also horizontally the lowest of anyone in the painting. Peter looks angry and is holding a knife pointed away from Christ, perhaps foreshadowing his violent reaction in Gethsemane during Jesus' arrest. The youngest apostle, John, appears to swoon.
Jesus
Apostle Thomas, James the Greater, and Philip are the next group of three. Thomas is clearly upset; the raised index finger foreshadows his incredulity of the Resurrection. James the Greater looks stunned, with his arms in the air. Meanwhile, Philip appears to be requesting some explanation.
Matthew, Jude Thaddeus, and Simon the Zealot are the final group of three. Both Jude Thaddeus and Matthew are turned toward Simon, perhaps to find out if he has any answer to their initial questions.
External video
Leonardo's Last Supper, Smarthistory[9]
In common with other depictions of the Last Supper from this period, Leonardo seats the diners on one side of the table, so that none of them has his back to the viewer. Most previous depictions excluded Judas by placing him alone on the opposite side of the table from the other eleven disciples and Jesus, or placing halos around all the disciples except Judas. Leonardo instead has Judas lean back into shadow. Jesus is predicting that his betrayer will take the bread at the same time he does to Saints Thomas and James to his left, who react in horror as Jesus points with his left hand to a piece of bread before them. Distracted by the conversation between John and Peter, Judas reaches for a different piece of bread not noticing Jesus too stretching out with his right hand towards it (Matthew 26: 23). The angles and lighting draw attention to Jesus, whose head is located at the vanishing point for all perspective lines.
The painting contains several references to the number 3, which represents the Christian belief in the Holy Trinity. The Apostles are seated in groupings of three; there are three windows behind Jesus; and the shape of Jesus' figure resembles a triangle. There may have been other references that have since been lost as the painting deteriorated.
Important copies[edit]
Two early copies of The Last Supper are known to exist, presumed to be work by Leonardo's assistants. The copies are almost the size of the original, and have survived with a wealth of original detail still intact.[10] One copy, by Giampietrino, is in the collection of the Royal Academy of Arts, London, and the other, by Cesare da Sesto, is installed at the Church of St. Ambrogio in Ponte Capriasca, Switzerland. A third copy (oil on canvas) is painted by Andrea Solari (ca. 1520) and is currently at display in the Leonardo da Vinci Museum of the Tongerlo Abbey, Belgium.
Medium[edit]
For this work, Leonardo sought a greater detail and luminosity than could be achieved with traditional fresco.[11] He painted The Last Supper on a dry wall rather than on wet plaster, so it is not a true fresco. Because a fresco cannot be modified as the artist works, Leonardo instead chose to seal the stone wall with a double layer of dried plaster.[11] Then, borrowing from panel painting, he added an undercoat of white lead to enhance the brightness of the oil and tempera that was applied on top. This was a method that had been described previously, by Cennino Cennini in the 14th century. However, Cennini had recommended the use of secco for the final touches alone.[12] These techniques were important for Leonardo's desire to work slowly on the painting, giving him sufficient time to develop the gradual shading or chiaroscuro that was essential in his style.
Damage and restorations[edit]
This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (May 2012) (Learn how and when to remove this template message)
A protective structure was built in front of the da Vinci wall fresco. This photo shows the bombing damage in 1943, suggesting the magnitude of the greater damage that was averted.
Because the painting was on a thin exterior wall, the effects of humidity were felt more keenly, and the paint failed to properly adhere to the wall. Because of the method used, soon after the painting was completed on February 9, 1498 it began to deteriorate.[11] As early as 1517, the painting was starting to flake, and in 1532 Gerolamo Cardano described it as "blurred and colourless compared with what I remember of it when I saw it as a boy".[13] By 1556—fewer than sixty years after it was finished—Leonardo's biographer Giorgio Vasari described the painting as already "ruined" and so deteriorated that the figures were unrecognizable. By the second half of the sixteenth century Gian Paolo Lomazzo stated that "the painting is all ruined".[11] In 1652, a doorway was cut through the (then unrecognisable) painting, and later bricked up; this can still be seen as the irregular arch shaped structure near the center base of the painting. It is believed, through early copies, that Jesus' feet were in a position symbolizing the forthcoming crucifixion. In 1768, a curtain was hung over the painting for the purpose of protection; it instead trapped moisture on the surface, and whenever the curtain was pulled back, it scratched the flaking paint.
A first restoration was attempted in 1726 by Michelangelo Bellotti, who filled in missing sections with oil paint then varnished the whole mural. This repair did not last well and another restoration was attempted in 1770 by an otherwise unknown artist named Giuseppe Mazza. Mazza stripped off Bellotti's work then largely repainted the painting; he had redone all but three faces when he was halted due to public outrage. In 1796, French revolutionary anti-clerical troops used the refectory as an armory; they threw stones at the painting and climbed ladders to scratch out the Apostles' eyes. The refectory was then later used as a prison; it is not known if any of the prisoners may have damaged the painting. In 1821, Stefano Barezzi, an expert in removing whole frescoes from their walls intact, was called in to remove the painting to a safer location; he badly damaged the center section before realizing that Leonardo's work was not a fresco. Barezzi then attempted to reattach damaged sections with glue. From 1901 to 1908, Luigi Cavenaghi first completed a careful study of the structure of the painting, then began cleaning it. In 1924, Oreste Silvestri did further cleaning, and stabilised some parts with stucco.
During World War II, on August 15, 1943, the refectory was struck by Allied bombing; protective sandbagging prevented the painting from being struck by bomb splinters, but it may have been damaged further by the vibration. From 1951 to 1954, another clean-and-stabilise restoration was undertaken by Mauro Pelliccioli.
Major restoration[edit]
The painting as it looked in the 1970s
The painting's appearance by the late 1970s had become badly deteriorated. From 1978 to 1999, Pinin Brambilla Barcilon guided a major restoration project which undertook to stabilize the painting, and reverse the damage caused by dirt and pollution. The 18th- and 19th-century restoration attempts were also reverted. Since it had proved impractical to move the painting to a more controlled environment, the refectory was instead converted to a sealed, climate-controlled environment, which meant bricking up the windows. Then, detailed study was undertaken to determine the painting's original form, using scientific tests (especially infrared reflectoscopy and microscopic core-samples), and original cartoons preserved in the Royal Library at Windsor Castle. Some areas were deemed unrestorable. These were re-painted using watercolor in subdued colors intended to indicate they were not original work, while not being too distracting.
This restoration took 21 years and, on 28 May 1999, the painting was returned to display. Intending visitors were required to book ahead and could only stay for 15 minutes. When it was unveiled, considerable controversy was aroused by the dramatic changes in colors, tones, and even some facial shapes. James Beck, professor of art history at Columbia University and founder of ArtWatch International, had been a particularly strong critic.[14] Michael Daley, director of ArtWatch UK, has also complained about the restored version of the painting. He has been critical of Christ's right arm in the image which has been altered from a draped sleeve to what Daley calls "muff-like drapery".[15]
The Last Supper in culture[edit]
The Last Supper made in salt in Wieliczka Salt Mine (Poland)
The Last Supper has frequently been referenced, reproduced, or parodied in Western culture. Some of the more notable examples are:
Painting, mosaic, and photography[edit]
A 16th-century oil on canvas copy is conserved in the abbey of Tongerlo, Antwerp, Belgium. It reveals many details that are no longer visible on the original.[citation needed] The Roman mosaic artist Giacomo Raffaelli made another life-sized copy (1809–1814) in the Viennese Minoritenkirche.[citation needed]
Modern art[edit]
In 1955, Salvador Dalí painted The Sacrament of the Last Supper, with Jesus portrayed as blond and clean shaven, pointing upward to a spectral torso while the apostles are gathered around the table heads bowed so that none may be identified. It is reputed to be one of the most popular paintings in the collection of the National Gallery of Art in Washington, D.C.
In 1986, Andy Warhol was commissioned to produce a series of paintings based on The Last Supper that were exhibited initially in Milan. This was his last series of paintings before his death.[16]
Sculptor Marisol Escobar rendered The Last Supper as a life-sized, three-dimensional, sculptural assemblage using painted and drawn wood, plywood, brownstone, plaster, and aluminum. This work, Self-Portrait Looking at The Last Supper, (1982–84) is in New York's Metropolitan Museum of Art.[17]
In 2001, Chinese artist Zeng Fanzhi painted Last Supper, showing 13 mask-wearing people seated at a table strewn with watermelon fragments. The oil painting was sold for $23.3 million at Sotheby's auction on October 7, 2013, setting a new record for contemporary Asian artwork.[18]
In 1998, modern artist Vik Muniz displayed a recreation of The Last Supper, made entirely out of Bosco Chocolate Syrup.[19]
Literature[edit]
Author Mary Shelley describes her impression of the painting in her travel narrative, Rambles in Germany and Italy published in 1844:
First we visited the fading inimitable fresco of Leonardo da Vinci. How vain are copies! not in one, nor in any print, did i ever see the slightest approach to the expression in our Savior's face, such as it is in the original. Majesty and love—these are the words that would describe it—joined to an absence of all guile that expresses the divine nature more visibly than I ever saw it in any other picture.[20]
—  Mary Shelley, Travel Writing (1996), Pages 131–132
Film and television[edit]
In Luis Buñuel's Spanish film Viridiana, a tableau vivant of Leonardo's painting is staged with beggars. Another beggar 'photographs' the scene by flashing them. This scene contributed to its refusal by the Vatican who called it "blasphemous."
The painting is parodied in Mel Brooks's movie History of the World, Part I, making Leonardo a contemporary of Jesus.
Many parodies of the painting appear on the small screen, including The Simpsons' Season 16 episode "Thank God, It's Doomsday," with Homer as Jesus and Moe and his other patrons as the disciples; That '70s Show's first-season episode "Streaking," with Eric flanked by his friends (and Jackie wondering why everyone is sitting on the same side of the table); and South Park's Season 13 episode "Margaritaville," with Kyle and his friends eating at a pizza parlor.
Other speculation[edit]
The Last Supper has been the target of much speculation by writers and historical revisionists alike, usually centered on purported hidden messages or hints found within the painting, especially since the publication of the novel The Da Vinci Code by Dan Brown in 2003.
Dan Brown proposed that the person to Jesus' right (left of Jesus from the viewer's perspective), was not John the Apostle, but Mary Magdalene. This speculation originated in earlier books The Templar Revelation (1997) by Lynn Picknett and The Holy Blood and the Holy Grail by Michael Baigent, Henry Lincoln and Richard Leigh (1982). These claims have been contested by other writers, such as Carl E. Olsen and Sandra Miesel in The Da Vinci Hoax, as well as by art historians. Christopher Hodapp and Alice Von Kannon commented "If he [John] looks effeminate and needs a haircut, so does James, the second figure on the left, the one with the sort of Bette Midler look about him". [21]
Giovanni Maria Pala, an Italian musician, has indicated that the positions of hands and loaves of bread can be interpreted as notes on a musical staff and, if read from right to left, as was characteristic of Leonardo's writing, form a musical composition.[22][23][24]
Notes[edit]
Jump up ^ "Leonardo Da Vinci's 'The Last Supper' reveals more secrets". sciencedaily.com. Retrieved March 3, 2014.
Jump up ^ "Santa Maria delle Grazie & The Last Supper". Timeout.com. Retrieved 2012-12-21.
Jump up ^ "Leonardo's Itinerary: Early maturity in Milan (1482-1499)". Museo Galileo. 5 March 2008. Retrieved 2012-12-21.
Jump up ^ Kenneth Clark.Leonardo da Vinci, Penguin Books 1939, 1993, p144.
Jump up ^ "The Last Supper". lairweb.org.nz. Retrieved 2012-12-21.
Jump up ^ "DaVinci". The Mark Steel Lectures. Series 2. Episode 2. The Open University. 7 October 2003. BBC. Retrieved 2012-12-21.
Jump up ^ "The Notebooks of Leonardo Da Vinci—Complete by Leonardo da Vinci". Gutenberg.org. 1 January 2004. Retrieved 2012-02-14.
Jump up ^ Cfr. Matthew 26:15; John 12:6 and 13:29.
Jump up ^ "Leonardo's Last Supper". Smarthistory at Khan Academy. Retrieved February 11, 2013.
Jump up ^ "Last Supper (copy after Leonardo)". University of the Arts, London. Retrieved 2008-08-11.
^ Jump up to: a b c d "Leonardo's Last Supper". Smart history presented by the Khan Academy. Retrieved 25 February 2014.
Jump up ^ "The Last Supper". The Last Supper. Retrieved 25 February 2014.
Jump up ^ Wykes, Alan (1969). Doctor Cardano, physician extraordinary. p. 26.
Jump up ^ Phillip William (24 May 1999). "The Last Supper or a dog's dinner?". The Guardian. guardian.co.uk. Retrieved 2012-12-21.
Jump up ^ Dayla Alberge (14 March 2012). "Have art restorers ruined Leonardo's masterpiece?". The Independent. Retrieved 2012-12-21.
Jump up ^ Haden-Guest, Anthony (3 August 1999). "Warhol's Last Supper". Artnet. Retrieved 2010-03-12.
Jump up ^ "Self-Portrait Looking at The Last Supper". Metropolitan Museum of Art. Retrieved 2012-12-21.
Jump up ^ "Zeng’s ‘Last Supper’ Sells for Record $23.3 Million at Sotheby’s Auction". WSJ.com. October 7, 2013.
Jump up ^ Goldberg, Vicki (25 September 1998). "ART REVIEW; It's a Leonardo? It's a Corot? Well, No, It's Chocolate Syrup". The New York Times. Retrieved 2012-12-21.
Jump up ^ Shelley, Mary (1996). Travel Writing. London: Pickering. pp. 131–132. ISBN 1-85196-084-8.
Jump up ^ Christopher Hodapp, Alice Von Kannon, The Templar Code For Dummies, page 257 (Wiley Publishing, Inc., 2007. ISBN 978-0-470-12765-0).
Jump up ^ Rossella Lorenzi (9 November 2007). "Leonardo's 'Last Supper' Hides True Da Vinci Code". Discovery News. Retrieved 2012-12-21.
Jump up ^ "Da Vinci's "Last Supper" has hidden music (includes link to recording)". Extra.beloblog.com. Retrieved 2009-02-08.
Jump up ^ mp3 file of the composition, hosted.ap.org
Further reading[edit]
Steinberg, Leo. Leonardo's Incessant 'Last Supper'". New York: Zone Books, 2001.
Detailed review of Steinberg's 'Incessant Last Supper' at 3 Pipe Problem
Bertelli, Carlo (November 1983). "Restoration Reveals The Last Supper". National Geographic. Vol. 164 no. 5. pp. 664–684. ISSN 0027-9358. OCLC 643483454.
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