
The city of Milan wanted the restoration completed for the 500th anniversary of the painting, but the years passed, and the scaffolding stayed in place as the restorers worked flake by flake, millimeter by millimeter, fragment after fragment.
But then again the painting was never really about speed anyway, was it.
When Leonardo was working on it, he had more than one unfriendly discussion with the Friars of the monastery of Santa Maria delle Grazie over his apparent lack of urgency to complete the project. They were becoming exasperated with his slowness. They complained that Leonardo would stand in front of the painting for hours, make a few brush strokes, and then leave for the day. It was true. Leonardo was taking his time. In fact it is precisely because he wanted to take his time that all the trouble began. Leonardo knew that if he used normal fresco techniques he would have to work quickly, and that was not his game plan. So he experimented and reworked an old Roman and Greek technique that would give him more time and allow him to work at his own pace.
Santa Maria delle Grazie, MilanWith true fresco, a layer of wet plaster is applied to a surface and before it dries the artist must apply the color. The color then penetrates the plaster and becomes part of it, and together they become an indestructible substance. The wet plaster layer is called la giornata, meaning the day, because that's all the time you have to work with it. Instead, what Leonardo did was put two layers of a dry plaster preparation on the wall, and he used the wall the same way a painter uses a canvas.
If he made a mistake, although it's hard to think of Leonardo making mistakes, all he had to do was slap on another layer of plaster and start over again. This technique gave him enough time; days, months and even years, to retouch, correct and modify portions of the painting he wasn't satisfied with. The problem was that the technique he used requires a number of special conditions, the most important of which is a dry wall, and the wall on which Leonardo painted the Last Supper was anything but dry, even today. In the winter moisture laden winds blow down on Milan from the snow-covered Alps, and in the summer water condenses on the wall because there is a river directly beneath the monastery. Not the best of conditions for a painting, to say the least.
Detail: Head of Christ
Then came a series of restorations, one more damaging than the other. The painting was scraped, peeled, waxed, oiled, glued and destroyed. At one point restorers were reattaching Leonard's paint droppings with a mixture of glue and oil. At the end of the eighteenth century, art restorer Luigi Mazza decided to take all the glue and oil off. While he was definitely on the right track, in the process he also took off a great deal of what remained of Leonardo's paint.
And as if that wasn't damage enough, the building was completely destroyed by a bombduring the Second World War Newspapers of the day ran scandalous photos of the wall exposed to the elements, held up only by sacks of sand. The fact that the wall was standing at all would have been called a miracle in the Middle Ages, and maybe it was.
Today the painting is protected. Special dust-absorbing carpets and dust-filtering pipes have been installed to keep it safe from the elemnts. Reservations are necessary and visitors are only allowed inside in groups of 25 and only for 15 minutes. But it is 15 minutes in the presence of genius. If you are in town, and you can get a reservation, I highly recommend it. You’ll never look at a reproduction of the Last Supper in the same way again.






















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Without wasting any time Nadia and her friend checked to see what flights to Europe were available and managed to find a couple of tickets to Spain: one to Madrid and another to Barcelona. They took them. Nadia chose Madrid.
It was at that point that her travel mate called from Barcelona and said she, along with some other Italians, had rented a car and if Nadia could get herself from Madrid to Barcelona by 3 that afternoon, she could be back in Milan before midnight. She was able to get a ticket on a Madrid-Barcelona train and arrived in plenty of time to meet up with the group.
Fabrizio, who was in England that weekend also opted to take the train back to Milan. His adventure began in idyllic Oxford where he took the train to London and from London to Paris with the hope of booking a seat on a train to Milan. But by then all of the European transport systems were in tilt and there were no seats available on any train going in any direction. He had to wait for two days before he could leave.
”But it wasn’t so bad,” he said with a smile, “after all if you have to be stuck in a city what better city to be stuck in than Paris?” The down side was that the train he ended up taking was the train that went to Zurich, Switzerland before it went to Milan, making what is normally a 5 hour ride a 10 hour odyssey.
But it was Andrea who had the most difficult journey. He was in Singapore when the ash cloud began to rise and his route home via Bangkok and Rome was long and torturous.
In every story I’ve heard so far the trains have helped save the day. Which brings me to this: my American relatives and friends, without exception, find train travel in Italy confusing. This is especially true if the train ride is only the beginning of their journey. Any combination of train plus subway or train plus tram or boat seems overly complicated, and I guess compared to driving yourself to where you want to go, it is.