Address: Piazza di Santa Maria delle Grazie, 20123 Milano, Italy. Opening hours: daily from 07:00 to 19:00 (break from 12:00 to 15:00); To visit the hall with the "Last Supper" a preliminary registration is required; groups of 25 people are formed every 15 minutes. The cost of visiting is 14 EUR. How to get there: the church is located between the metro stations "Conciliazione" and "Cadorna" (line M-1).

Santa Maria delle Grazie - guardian of the Last Supper by Leonardo da Vinci

Geniuses don't die! Leaving the body, a piece of the soul continues to live in their immortal masterpieces. Leonardo da Vinci is a secret behind seven seals, the most mysterious person in the centuries-old history of mankind. He was idolized and hated, considered an angel and a demon, not understood, but could not help but admire him. To this day they travel, fly, hurry to Milan millions of people want to stand in an incredible line outside the church Santa Maria delle Grazie dreaming of seeing "Last Supper"- a unique brainchild of the famous artist, who immortalized the worst betrayal on Earth and the manifestation of boundless love.

The birth of a monastery of peace and tranquility

It all started with a plot of land located in a quiet area, far from the busy, bustling capital of Lombardy. It was presented to the Order of Dominican friars by Count Vimercati (1463). The brothers in faith decided to build a monastery there with a church named after the miraculous icon of the Mother of God “Merciful”. The famous architect Guiniforte Solari, who was involved in the construction of the Duomo Cathedral, undertook to bring the plan into reality. By 1469, monastic dwellings had grown and construction of a basilica in the late Gothic style began, but it was not completed. What was the reason? The financial philanthropist was known as the despotic Lodovico Sforza, at the top of the power pyramid, nicknamed Moro for his dark skin color, who gained power after the death of his nephew, which occurred under rather mysterious, incomprehensible circumstances. What are the motives for generous charity? He believed that by helping the monks he would shorten his time in purgatory by leaving the mortal world. But the ruler wanted to see art that reflected his power. To implement his artistic plans, he chose the monastery sanctuary. There is another version: having married 15-year-old Beatrice d’Este (1491), the ruler got the idea to build a family tomb there. Perestroika was entrusted to Bramante (1492). The decoration of the church interior was entrusted to the best painters and sculptors. The result is a three-nave red brick temple 63 m long, 30 m wide, representing a cross of regular shape at the base. Light streams penetrate through multiple alternating round, arched windows decorated with light marble. Part of the previous structure was demolished and a huge cube with three apses was added. A portico with Corinthian columns harmoniously fits into the building, and on the façade is the coat of arms of the Sforza family. The stepped building is crowned, as if floating above it, by a painted dome, located opposite the sacristy with lace ornaments. There is a medallion above the entrance gate. It shows the Virgin Mary surrounded by the ducal couple. The lack of gigantic dimensions does not make the building any less majestic. In front of enthusiastic visitors is a real pearl in the service of paradise. The wall paintings were carried out by popular local masters of painting. Here are the amazing works of Donato Montorfano, Bernardo Zenale, Gaudenzio Ferrari, depicting the life episodes of the Savior. A small piece of marble on the vaults preserves the Bramante family name. Moreau ordered the completely rebuilt refectory to be decorated by Leonardo, thereby immortalizing his own name. The ruler was in a hurry, constantly urging the architect on, working like a man possessed, as if he was afraid of not being on time, reminiscent of a man who was given little time by fate. And so it happened. It took no more than a year to admire the achievements. Misfortunes arose with the death of his wife. Finding her husband with his mistress, a 22-year-old pregnant woman, killed by betrayal, went to pray in the chapel, then visited the refectory, where the brilliant Florentine worked hard, standing on scaffolding. She silently enjoyed the work, recognizing it as a miracle. As she left, she said that she had dreamed of waiting until it was completed, but apparently it wasn’t meant to be. The maestro tried to object, but covering his mouth with her graceful fingers, she sadly whispered: “God bless you!” A monstrous premonition crept into the creator’s heart, which did not deceive him. That same evening, in the presence of her husband, who was tormented by remorse after giving birth to a stillborn baby, the poor thing died. For a widowed man, the sudden loss that took him by surprise was extremely difficult. I thought he would not survive the grief that befell him. “We don’t keep what we have; when we lose it, we cry,” says the proverb. Awareness, as a rule, comes too late. Experiencing inhuman torment, Moreau realized: the young, flame-like fragile princess, almost a child, keen on literature and art, was endowed with a strong character, a sharp mind, turned out to be much stronger than him, played an important role in government affairs. Loving in his own way, he considered her a guiding star. When she looked lovingly, slightly half-mockingly, a desire was born to lightly spank the playful dark-skinned woman and immediately kiss her, but this did not stop her from having favorites, although she suspected insane jealousy. They buried her in the church before the altar. He spent two weeks as a recluse, covering his windows with mourning cloth. Putting on a black cloak, he rushed to the grave every day. Being superstitious, I had no doubt that my beloved took away good luck with her. And so it happened. The power, which until recently had been held so tightly, flowed away like sea sand through the fingers, dissolving like a mirage. In 1499, the city was captured by the French, and Sforza was taken prisoner. Two years later, Louis XII, showing mercy, ordered the prisoner to be released from prison. When the prison gates opened before him, his worn-out body could no longer be helped. Stretching out his hands to the light, as if wanting to embrace the expanse bathed in the sun, as if knocked down, collapsing to the ground, he died. Their common tomb with Beatrice with two recumbent full-length statues was placed in the Carthusian monastery of Pavia (made by Cristoforo Solari). Santa Maria did not become a family pantheon, as planned, but it preserved for descendants the rarest marvel of the titan of Renaissance painting, which no one managed to surpass.

Creation of a legendary fresco

Da Vinci, an illegitimate child, failed to receive a decent education. At the age of 14, the boy, talented since childhood, came to Florence and became an apprentice to the wonderful sculptor and artist Andrea Verrocchio, who introduced him to religious art. The mentor, who was more often interested in sculpture, did not teach the young man how to paint walls. Having established himself as an excellent portrait painter, surpassing even Verrocchio, he basked in the rays of fame. The responsible order received from Lodovico could lift it to unprecedented heights or destroy it. For 2 years, the craftsman prepared to reproduce the psychological plot, which must coincide with the evangelical text, conveying a reliably true tragedy that once happened. He thought for a long time, studied the Bible, and became acquainted with similar paintings made 100 years before him. The image had to correspond to a long-standing strict tradition: believers eating food were placed on one side of the table, unquestioningly observing deathly silence. Finally, work began to boil. First, helpers removed the old plaster and replaced it with fresh plaster. The fresco was painted on a damp base, then it was preserved for centuries. The innovator wanted to use a hitherto unknown method, using oil paints. To do this, a different primer was applied, consisting of different layers. The first, for the binder, contained calcium and magnesium. The next one, with lead white, is to enhance brightness. He preferred to write on a dry surface so that he could create slowly, thinking about every detail. Sometimes he didn’t let go of his brush from early morning until late at night, sometimes he stood still for hours at his creation, thinking, appraising, or, after adding a couple of strokes, he disappeared, not appearing for several days. This went on for 3 years. The image of Judas especially did not work out, although he was constantly looking for it, wandering through the seedy streets, looking closely, noticing, memorizing. From dawn to dusk he followed the Milanese, who attracted attention with their unusual manners, distinctive appearance, and strange habits. Pope Leo X sarcastically threw at him: “He will never do anything, because he thinks about the end without starting at the beginning.” When, after the abbot’s complaint, the customer made a claim, the maestro, in a fit of anger, threatened that he would paint the apostate from him, after which they stopped harassing him. As a result, he found a solution to the problem, refusing to present the traitor as a notorious villain. He showed a philosopher who was in the deepest spiritual crisis, condemned to play out an ill-fated role that disgraced him forever. And now the long creative process is completed. The final touches were applied, the auxiliary structures were removed, and for the first time the completed titanic work appeared in all its splendor to the large audience that filled the workshop to capacity.

The original appearance of the work

What was revealed to the viewer's gaze defied any description. The painting of gigantic dimensions (4.5 x 9 m) occupying the northern wall of the dining room, depicting the last Easter meal of Jesus with the apostles on the eve of his arrest by Roman soldiers, was perfection itself, unlike any decoration.
Looking at her, there was a feeling that a dramatic event from Holy Scripture was happening right here and now. What was especially striking was the illusion of the space existing behind those sitting, making one feel literally inside it, to feel like a participant in the drama taking place. The power of influence on those present was simply stunning. No one before, or after, managed to achieve such high skill. The acting characters are turned towards the audience. The main ones are the Teacher, located in the center, and the student who betrayed him. Their similarity is that both know what will happen, but do not change the situation. The author depicted the main point - the reaction of each character to the words spoken by the Lord: “One of you will betray me.” What they heard caused confusion, causing various emotions among followers, as evidenced by facial expressions and gestures. Christ is calm, ready to bear a heavy cross with dignity for the sake of atonement for the sins of others. He sits against the background of a window, behind which the landscape and space are transformed into a halo that does not yet exist. The eyes look down, the left hand is laid palm up, signifying the internal acceptance of the will of the Heavenly Father. On the right is a trio of supporters, among whom is Judas, not separated from the rest, only the darkened face betrays a fallen soul, marked by the Fall. He clutches a bag of silver pieces to his chest, which turned out to be more valuable than the Son of God. He knocks over the salt shaker - a sure sign of trouble. By the elongated neck and swollen veins, one can guess the sinner who hanged himself before dawn. Peter, standing up, determined to find out the name of the traitor, clamped his knife, preparing to punish the criminal. The daredevil will cut off the ear of the guard who came to arrest the Creator. John’s humble appearance and closed eyelids hint at his inability to take active action. Da Vinci sought to express the spiritual essence of everyone through movements. Groups of people, layering on top of each other, heat up passions and create a contrast between the emotional response of the diners. Here is Thomas, pointing his finger to the heavens, as if saying: “The Almighty will not allow this.” Nearby - Philip, clasping his hands together, demonstrates immeasurable devotion; Simon parted them in bewilderment, expressing doubt: “This cannot be.” The volume of the figures makes a great impression; they are perceived as alive. On the opposite side is the crucifixion scene (created by Tintoretto), which serves as a continuation of the biblical story. After all, the crime led to execution. If the Lord had raised his saddened gaze, he would have seen himself crucified the next day. There was no talent on the planet who could so convincingly convey the fact described in the Gospel. The delightful creation, which brought the creator an enchanting triumph, was not signed by him. At the top there is a personal coat of arms, the initials of the customer. The French king, who saw the jewel, was so amazed that he asked to transport it together with the partition to France, which was impossible. She became an integral part of the destined place, which was an advantage and at the same time a tragedy.

The vicissitudes of the planid

Unfortunately, the priceless treasure was doomed from the moment it appeared. Only ideal conditions would have saved his life, but the foundation of the building, standing on high groundwater, was being washed away. Evaporation from the kitchen that penetrated inside accumulated, contained by an oil film, causing fungus. The paint peeled off like petals and fell off. The experiment tried by the great inventor failed miserably. Having returned, he tried in every possible way to restore and save the precious unique piece, but could not find a way to stop the ongoing process of decay. The exclusive creation slowly died, being in a deplorable state, as noted a century later by the English memoirist John Everin, who observed it. The monks, considering it hopelessly corrupt, widened the door below, destroying the fragment with the Lord’s feet. Soon the picture became covered with mold, and water dripped down like tears onto the floor. In the 18th century The human destructive factor has been added to the natural damage. Napoleon, who captured Milan, built a stable and warehouse here. Rough soldiers, incapable of appreciating the beautiful, went on rampages, threw stones, scratched out the eyes of the holy messengers with daggers, and mutilated the clothes that were painted with such love. Only Bonaparte's intervention stopped the outrage. The doorway was blocked with bricks. The walled up fresco has practically disappeared. Illiterate restorers caused significant damage by applying paint in layers like layers of a layer cake, gluing crumbling pieces together with thick glue, smoothing the surface with hot rollers, and distorting the face beyond recognition with inept retouching of the face. The Second World War brought painful trials. During the bombing, the canteen was destroyed by a bomb that hit it. Apparently, from above they did not allow the painting to disappear. The wall with it survived. Without a roof over her head, blown by the winds, drenched by rain, she heroically survived for three years.

Revived through the centuries

The painting managed to reach us, passing through centuries, suffering, earning the right to life, given to it by a group of restorers led by Signora Pinin Brambilla Barchilon. Experienced specialists restored slowly, 21 years, adhering to the motto “do no harm.” The primary task is to stop further destruction, then remove multiple layers of different time periods, leaving only the created maestro. It happened that in a day they cleared an area the size of a postage stamp. As a result, only 30% of the prototype remained. We decided to re-paint fragments that could not be restored, using watercolors in more muted tones, in order to allow viewers to distinguish parts of the original. We developed a complex system of a stable microclimate in the hall, providing proper ventilation and thorough air filtration to remove excess moisture and dust. On May 28, 1999, the masterpiece was reopened for viewing. After the publication of “The Da Vinci Code,” composed by Dan Brown, which sold about 10 million copies, the master’s phenomenal work became the center of attention of pilgrims from all over the world. The novel was read by many readers, much more than those who became personally acquainted with the painting, a distorted interpretation of the writer, which exploded the Christian tradition. The bestselling author speaks out about the mysterious meaning supposedly implied by the artist who depicted Mary Magdalene instead of his beloved student. Between her and the God-man, the modernist spotted the encrypted Latin letter “V”, speaking of the feminine principle. Together, both figures represent the letter “M”, indicating Christ’s companion, in fact, his wife. Many believed the postmodernist’s conclusion, historians unanimously categorically rejected it. Where then did the 12th apostle disappear to? Every day the painter’s work was observed by the monastery prior, who did not allow the slightest deviation from the interpretations of the New Testament. And lastly: the absolute identity of the combined faces of John and the Madonna is proof that they are based on a single portrait sketch. And if there was any secret, Leonardo took it with him forever into eternity. Entering here, visitors are allowed to examine, admire, and compare the copies imprinted in memory with the original in just 15 allotted minutes. Dying a painful death, resurrected today, transformed, "The Last Supper", being nothing more than a memory of past greatness, again tells those who are thirsty the ancient story of Holy Scripture, once again putting humanity before a choice: to live with God in the soul or to follow the path of lies and hatred , betrayal.

For the opportunity to look at it, millions of tourists flock to Milan, regardless of the season.

The original fresco is located in the church of Santa Maria delle Grazie in the square of the same name in Milan. The church was built in . It was commissioned by the architects Guiniforte Solari and Donato Bramante, Dominican monks.

The Last Supper fresco was commissioned by the Duke of Milan, Ludovico Maria Sforzo, at whose court Leonardo da Vinci gained fame as a skilled painter. The artist completed the commission he received in the refectory of the monastery in 1495-1497.

Damage and restoration

During its more than half a millennium existence, the fresco was damaged several times. And by the Dominican monks themselves, who cut off the lower part of the image along with the feet of Jesus and the closest apostles. And Napoleon's troops, who turned the church into a stable and threw stones at the heads of the apostles. And Allied bombs that exploded on the roof during World War II. After the damage was caused, well-meaning restorers tried to repair the damage, but the results were not very good.

Already at the end of the 20th century, a lengthy restoration removed all previous unsuccessful restoration attempts and corrected the damage caused to the fresco. But despite this, today’s “Last Supper” is just a shadow of the masterpiece created by the great painter.

The photo below shows a restored copy:

Description

Until now, many art scientists believe « The Last Supper by Leonardo da Vinci is the greatest work of world art. Even in Da Vinci's era, the fresco was considered his best work - its approximate dimensions are 880 by 460 cm. It was made on dry plaster using a thick layer of egg tempera. Due to the use of such fragile material, the fresco began to collapse about 20 years after its creation.

The painting depicts the moment when Jesus Christ tells his disciples at dinner that one of them, Judas, sitting second on the right hand of Christ, will betray him. In the picture, Judas reaches with his left hand to the same dish as Jesus, and in his right hand he clutches a bag of silver. To obtain lifelikeness and accuracy, Leonardo spent a long time observing the poses and facial expressions of his contemporaries in various situations. Most researchers of Leonardo da Vinci's work have come to the conclusion that the ideal place to contemplate the painting is a distance of 9 meters from it at a height of 3.5 meters from the floor level.

The uniqueness of “The Last Supper” lies in the amazing diversity and richness of emotions of the characters depicted. No other painting on the theme of the Last Supper can even come close to matching the uniqueness of the composition and fine detailing of Leonardo's masterpiece. Three or four days could pass during which the master did not touch the future work of art.

And when he returned, he stood for hours in front of the sketch, examining it and criticizing his work.

Thanks to this, each character is not only a wonderful portrait, but also a clear type. Every detail is thought out and weighed repeatedly.

The most difficult thing for Leonardo when painting was to find models for painting Good, embodied in the image of Christ, and Evil, embodied in the image of Judas. There is even a legend about how the ideal models for these images in the great painting were found. One day the painter attended a performance by a church choir. And there, in the face of one of the young choir singers, he saw a beautiful image of Jesus. He invited the boy to his workshop and completed several sketches. Three years later, the main work on The Last Supper was almost completed, and Leonardo still had not found a suitable model for Judas. And the customer was in a hurry, demanding that the work be completed as soon as possible. And so, having undertaken a multi-day search, the artist saw a ragamuffin lying in a gutter. It was a young man, but he was drunk, ragged, and looked very decrepit. Deciding not to waste time on sketches, da Vinci asked to bring this man directly to the cathedral. The weak-willed body was dragged to the temple, and the master painted the sinfulness looking from his face.

When the work was finished, the tramp came to his senses and cried out in fear when he saw the picture. It turned out that he had already seen her, three years ago. Then he was young and full of dreams, and some artist invited him to pose for the image of Christ. Later everything changed, he lost himself and sank in life.

Maybe this legend tells us that good and evil are two sides of the same coin. And in life everything depends on at what moment they meet on our way.

Tickets, opening hours

Visitors to the church wishing to see the Last Supper can only enter the church in groups of up to 25 people. Before entering, everyone must undergo a procedure for removing contaminants from clothing using special devices.

But, despite this, the queue of people who want to see the fresco with their own eyes never dries out. During high season from April to November, tickets must be booked at least 4 months in advance.

Moreover, the reservation must be paid immediately. That is, you cannot pay later for what you ordered in advance. In winter, when the flow of tourists subsides slightly, you can book tickets 1-2 months before your visit.

The most profitable way to buy tickets for the Supper (CENACOLO VINCIANO) is on the official website of the Italian Ministry of Culture www.vivaticket.it, which is available in Italian and English, but in fact there are never any tickets there. As of 2019, an adult ticket costs 12 euros + 3.5 euros fee.

How to buy last minute tickets

How to see the famous fresco by Leonardo?

Having scoured the entire Internet and analyzed dozens of intermediary sites, I can only recommend one reliable site for buying last minute tickets online– this is www.getyourguide.ru

We go to the Milan section and select tickets costing from 44 euros with an English-language excursion - such tickets are on sale in about a week or two.

If you need to see the Last Supper urgently, then choose the option for 68 euros with a tour of Milan.

For example, on the evening of August 18, I managed to book tickets for August 21, while on the official website the next available window was not until December. The cost of 2 tickets with a group tour of Milan was 136 euros.

Working hours: from 8-15 to 19-00 with a break from 12-00 to 15-00. On pre-holiday and holiday days, the church is open from 11-30 to 18-30. Weekends: January 1, May 1, December 25.

How to get there

You can get to the Church of Santa Maria delle Grazie:

  • By tram 18 in the direction of Magenta, stop Santa Maria delle Grazie
  • On line M2, stop Conciliazione or Cadorna

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Church Santa Maria delle Grazie is located on the square with the same name.
If you are in the center of Milan on Piazza Duomo, then you first need to go along Via Orefici towards Sforzesco Castle and almost immediately after Piazza Cordusio (there is a monument to Giuseppe Parini) turn left onto Via Meravigli, which smoothly flows into Corso Magenta. Walk straight all the time. You will not pass by Santa Maria dela Grazie. The path is not long (about 7-8 blocks), but at the same time you are walking along the streets of Milan!
Without wasting time, head straight to the cashier. There's usually a queue here. Buy entrance tickets (8 euros), the ticket will indicate the time of your visit to the monastery refectory, where the Leonardo da Vinci fresco is actually located "The Last Supper". The wait for this time is long (an hour or an hour and a half). And we were there out of season, in winter. I read that in summer you generally need to book tickets a month in advance...
During your wait, you will be able to explore the square and enter the church itself, and go into its courtyard. It's always quiet and peaceful here. The church was heavily damaged during Allied bombing at the end of World War II and was restored. Now in the church you can see several frescoes by Italian masters. It is a miracle that the Last Supper was not damaged at all.
And now the time comes, you entered. We are already waiting inside again. Museum staff divide people into three groups of about 10 people each. After this, each group is taken individually into a glass room, the doors are closed, the air humidity and temperature are equalized for about two minutes, then they are transferred to the next glass room. The same procedure and you find yourself in the “accumulation” hall, where all three groups eventually gather. Then the most important thing.
You are taken into a room with the famous fresco by Leonardo da Vinci. Chairs are placed at a distance of 7-10 meters, everyone is seated. They watch in silence. To say it's impressive is an understatement. After all, until now you could only see this fresco on TV or in some magazine. And now you are looking at a masterpiece of world significance with your own eyes! 5 minutes are given for this. You are not allowed to talk or take photos or videos. Then for 1-2 minutes you are allowed to approach the fresco a little closer, to the limiting tape, in order to examine it in more detail. At the signal from the staff, we leave the hall. When you exit, there is a copy of the fresco on the wall - you can photograph it. Through the souvenir shop and the church courtyard we find ourselves on the street.
Yes, a note. In 1980, the Church of Santa Maria delle Grazie was included in the UNESCO World Heritage List..
You can see “The Last Supper” every day. The refectory with the fresco is open to the public from 7:30 to 19:00 (lunch from 12:00 to 15:00). On holidays until 11:30, on pre-holidays until 18:30.
Very close to the square (on Via San Vittore), there is the Museum of Science and Technology, where the scientific projects of the great Leonardo da Vinci are presented.

The Church of Santa Maria delle Grazie is located in the heart of Milan. It is an outstanding work of architecture, as well as an emblem of the classical tradition of the Catholic Church. But the church is best known for one of the surviving works of Leonardo Da Vinci, which is located inside. The Last Supper in the refectory of Santa Maria delle Grazie attracts tourists from all over the world. The church is one of the most important testimonies of Renaissance art. In 1980, the building was added to the UNESCO World Heritage List.

Story

As the center of political, economic and social events, Milan has been of particular strategic importance to Italy for many centuries. In 1460, the Vimerciati officer, commander of the militia Francesco Sforza, ordered the construction of a chapel for the knightly order of St. Dominic, the frescoes of which depicted the Holy Madonna del Gracia. Over time, the order grew stronger and was able to build its own church and monastery.

Construction of the church and monastery began in 1463. The architect Guiniforte Solari was responsible for the construction. The monastery was built by 1469, and the church only by 1482. In 1490, Duke Lodovico Sforz, whose ancestor was Francesco Sforz, wanted to add a tomb to the church. The changes were entrusted to the architect Donato Bramante.

Church outside

As a result of Bramante's work, large semicircular asps, a majestic dome with a series of columns, a magnificent confessional and a refectory were added. On the sides of the church there are 7 square chapels dedicated to the Virgin Gracia. After the completion of construction, the most influential families of Milan asked for patronage over the chapels in order to have the right to bury their loved ones in them. Those who achieved this eventually began to decorate them with various works of art. The Chapel of St. Catharine is decorated with sculptures by Antonello de Messina, the Chapel of the Holy Virgin and the Holy Crown - frescoes by Gaudenzio Ferrari.

Since the complex had 2 creators, there was a mixture of styles: Gothic and Renaissance. Because of this, the architecture of the church is considered quite complex. Despite this, today Bramante's Santa Maria delle Grazie, along with Da Vinci's Last Supper, are symbols of the Renaissance in Milan and a new era in the history of European art.

Church inside

Visitors come inside mainly to get acquainted with the creation of Leonardo da Vinci. The “Last Supper” was greatly destroyed over the years, so each generation was engaged in its restoration. The current fresco is not so similar to the master’s original work, but it still amazes with its scale. It is noteworthy that during the Second World War the refectory premises were destroyed by a bomb, but the fresco remained undamaged.

In addition to the fresco, the interior decoration of the church also attracts attention. During the Renaissance, it was customary to pay attention to detail, so everything inside is done in accordance with the fashion of those times. The high ceilings of the main hall have ornate paintings done in white and brown colors. White marble columns forming vaulted arches also have their place. During the day, the interior is bright thanks to the high round windows near the ceiling: the light interior design perfectly reflects the street light.

Location, opening hours and cost

The church is located on the square of the same name - Piazza Santa Maria delle Grazie.

Opening hours:

  • Monday to Saturday from 7.00 to 12.00 and from 16.00 to 19.30;
  • On Sunday from 7.30 to 12.30 and from 16.30 to 19.30.

Entrance ticket price:

  • 3.25 euros for pensioners, schoolchildren and students;
  • 6.50 euros for other categories of visitors.

You must buy tickets in advance on one of the museum websites in Milan, because... It is extremely difficult to get inside. In summer, you need to book at least 2 weeks in advance; in winter, 2 days in advance is enough. Tickets must be paid directly on the website; this cannot be done on the territory of the museum.

How to get there

To get to this attraction, you need to get to the station metro Conciliazone. Then follow the sign: walk a little along Via Boccaccio and turn onto Via Ruffini. The church is 300 meters or 15 minutes walk from the metro.

In contact with

The painter painted the Last Supper in the refectory of Santa Maria delle Grazie (now called Cenacolo Vinciano) from 1495 to 1497.

Around the time he was commissioned to paint the fresco, Bramante completed the construction of the church, which began in 1469 under the mentorship of the architect Solari.

Interesting fact! Leonardo not only painted the fresco, but also depicted Sforza and his wife near the Madonna on the gate medallion. Thus, the family was able to immortalize themselves on one of the most famous architectural monuments.

How did two geniuses take on the task of decorating and reconstructing a modest religious building, rather than, say, the Duomo?

The answer lies in an ambitious plan to transform the church of Santa Maria delle Grazie in Milan into a magnificent mausoleum for the Sforza family. But this did not happen: 2 years after Leonardo finished The Last Supper, Ludovico il Moro Sforza lost power and then languished in a French dungeon for the remaining eight years of his life.

In creating his masterpiece, Leonardo chose to work slowly and patiently, using oil pigments that require dry plaster, rather than hastily gliding over wet plaster according to the traditional fresco technique.

The Last Supper is an extremely complex and ambitious undertaking, so Leonardo conducted extensive research and created many developments and preparatory sketches before completing the painting. Only 20 drawings are now kept in the Royal Library at Windsor Castle. They have been there since 1600. The priceless collection is undoubtedly only a small part of the enormous preparations carried out in the monastery of Santa Maria delle Grazie by the greatest artist and scientist.

Since its completion, the painting has endured an incredible history of failure and neglect. Its deterioration began even before the paint on the wet walls became dry. In the 18th and 19th centuries, the fresco underwent well-intentioned but poorly executed “improvements” that only caused further damage to it.

Then came the war: Napoleon's troops used the wall as a shooting target, and in August 1943 Allied bombing tore off the roof of the room, leaving the painting exposed to the elements for three years. Novelist Aldous Huxley called the Last Supper of Santa Maria delle Grazie "the saddest work of art in the world."

But finally, after years of restoration work with meticulous attention to every square centimeter, the Renaissance masterpiece was freed from centuries of repainting, dirt and dust. Although only a faint shadow of the original version remains, The Last Supper remains breathtaking. In 1980, the church and the monastery were included in the UNESCO list.

The Last Supper of Leonardo da Vinci

Most visitors often take a quick glance at the church, but Santa Maria delle Grazie is quite an elaborate structure with a stunning dome. It is part of a beautiful monastery complex.

The last dish shared by Jesus and his disciples was the main theme used to decorate monastic refectories, especially in Florence, but Leonardo presented it in a completely innovative form. He made radical changes to the layout of the scene, and, most importantly, depicted this episode from the Gospel with amazing realism.

Despite Leonardo's carefully preserved preparatory sketches, in which the apostles are clearly identified by name, there is still some minor controversy regarding the identity of a few individuals. Novelist Dan Brown argues in The Da Vinci Code that the figure to the right of Jesus is not John the Apostle, but Mary Magdalene. He also believes that Peter is making a threatening gesture towards "Mary", so the painting represents a violent battle between the two figures in the early church period. However, most art historians note that St. John is usually depicted with feminine features, and there is no reason to think that this figure is Mary.

Be that as it may, it cannot be mistaken that the small and dark hand of Judas calmly looks towards the bread, as if isolated from the terrible confusion that has overwhelmed the hearts of the other participants in the picture. Critic Frederick Hartt said that the composition is so successful because it combines "dramatic confusion" and "mathematical order."

The surprisingly skillful and unobtrusive repetition of the three - in the windows, in the grouping of figures and in their placement - really adds a mystical aspect to what at first appears to be simply a perfect observation of a spontaneous human gesture.

On the south wall opposite the Last Supper is a large Crucifixion painted by Donato Montorfano. The two magnificent scenes are linked by a painted frieze with biblical quotations in support of the monastic life.

It's better to set aside time to make a reservation in advance. Otherwise, you will not be able to get tickets to visit the Church of Santa Maria delle Grazie. Contact the reservation office, your travel agent, or your hotel a few days before your weekday church visit and a couple of weeks before your weekend trip.

Every fifteen minutes, only a small group of tourists (up to 30 people) has access to the painting, so you can enjoy the masterpiece in relative silence.

Taking photographs indoors with the mural is prohibited.

Ways to get to church

You should not have any problems with the question of how to get to Santa Maria delle Grazie. Take metro line MM1 to Conciliazione or MM2 to Cadorna, where you will see signs for "Cenacolo Vinciano". From there, follow the busy Corso Magenta towards the church.

You can also get there from Central Station. To do this, take the MM2 line and get off after five stops, or take a 20-minute walk from the Duomo.

Contact Information

There is no need to pay to enter the building.
Refectory and fresco: you will not be allowed in without pre-booking tickets. You can watch “The Last Supper” on the following days: Tuesday-Sunday (8:15-18:45).

Tel: 02 92 800360 (line active from 8:00 to 18:30, except Sundays).
Fax: 02 92800363.

Book tickets online: www.vivaticket.it (commission 1.5 EUR).
An adult ticket costs 6.5 EUR.
Church address: Piazza Santa Maria delle Grazie, 2 Milan 20123 Italy.