You may select a new search term and repeat your search. Searches are not case sensitive, and you can use regular expressions in your queries.

Enter your search term: by: title, keyword, or context

   Query type: 
    Query was: leonardo
  

Here are the matching lines in their respective documents. Select one of the highlighted words in the matching lines below to jump to that point in the document.

• Title: Foundation Course: Lecture 11: Insights into the Mystery of Golgotha, Priest Ordination.
  Matching lines:
  • To suggest that, I often express it this way: If, let’s say, a Mars inhabitant came down to earth, he would find much he can’t understand, but he would be able to start understanding something when he looks at something like the painting of the last supper of Leonardo da Vinci. To this extraordinary image and what is intended with the Christ, he would be able to see something which would indicate the central point of earthly events to him. That is obvious only through comparison, but it is a comparison which I’ve often had to make to indicate what is important here.
  • Particularly for those who had a strong feeling for the sense of the Mystery of Golgotha as fallen out of the ordinary earthly course, like all that the Roman Catholic Church has gradually become, still a kind of departure came about from the original meaning of the Mystery of Golgotha. It has crystallized into an historic anecdote. When Leonardo da Vinci was appointed to paint the Last Supper, he worked slowly, for a long time. Actually, he needed more than ten years. Then a new Prior arrived and wanted this painting chap to finish off the thing at last. The painting had been completed up to the figure of Judas when the new Prior asked when it would at least be complete. Leonardo said that up to that point he had not been able to complete the painting because he had no model for Judas. Now however, he had in the Prior a model for Judas, and he could complete the painting.
  • So, on the one hand we have the continuation of symbolism, the symbolism that led to the enormous upswing of art in the Renaissance period in central Europe. Art Historians need only dig deep enough to discover that without the Catholic symbolism the entire artistic development of Giotto, Cimabue, from Leonardo to Rafael and Michelangelo would have been impossible, because the artistic development is certainly a propagation of Christian artistic subjects and belongs so strongly in Christianity that people can’t, for example, understand why the Sistine Madonna looks like she does.