Dope


We know for certain that sight is one of the most rapid actions we can perform. In an instant we see an infinite number of forms, still we only take in thoroughly one object at a time. Supposing that you, Reader, were to glance rapidly at the whole of this written page, you would instantly perceive that it was covered with various letters; but you could not, in the time, recognise what the letters were, nor what they were meant to tell. Hence you would need to see them word by word, line by line to be able to understand the letters. -Leonardo da Vinci

Seeking some calm from the excitements of this week � the injustice meted out to Winona! the latest report on the distribution of stock options during the 90s! und so weiter -- LI has been reading Leo Steinberg�s marvelous essay, Leonardo�s Incessant Last Supper. Steinberg is, as he calls it, a Leonardista. Among the splendors of the book are the photos he has taken, over the years, of the Last Supper. These photos record the changes made to that painting as its slow, inexorable restoration moved glacially forward. Frankly, if the restoration does look like the end page fold-out � and we have no doubt it does � LI suspects that, in another twenty years, we are going to be talking about the Last Supper Disaster. One has only to compare James Major, the second figure to Christ�s left, as he has been �restored� to earlier pictures. The restoration seems to have sentimentalized the painting, and to have created a muddiness where, before, there was a decay. I agree with Jacques Franck:"Ninety per cent of the work has disappeared, and the fact that you repaint 90 per cent is to me something that has not much sense."

This is not, I think, Steinberg�s opinion.

But what interested us, among other things, about Steinberg�s essay was the comparison of readings of the Last Supper. As Steinberg demonstrates, from the eighteenth century to quite recently, a secular interpretation prevailed. The �moment� portrayed in the painting, on this interpretation, was Jesus� revelation that he was going to be betrayed. Goethe was one of the great institutors of this interpretation � although, as a dissident pointed out, in 1903, Goethe depended on a reproduction of The Last Supper by Raphael Morghen that left the wine out of the painting � the wine in the glass before Jesus� upraised right hand. This is crucial to the counter-secular reading. This is how the scene is reported in Matthew, 26:

�19: And the disciples did as Jesus had appointed them; and they made ready the passover.
20: Now when the even was come, he sat down with the twelve.
21: And as they did eat, he said, Verily I say unto you, that one of you shall betray me.
22: And they were exceeding sorrowful, and began every one of them to say unto him, Lord, is it I?
23: And he answered and said, He that dippeth his hand with me in the dish, the same shall betray me.
24: The Son of man goeth as it is written of him: but woe unto that man by whom the Son of man is betrayed! it had been good for that man if he had not been born.
25: Then Judas, which betrayed him, answered and said, Master, is it I? He said unto him, Thou hast said.
26: And as they were eating, Jesus took bread, and blessed it, and brake it, and gave it to the disciples, and said, Take, eat; this is my body.
27: And he took the cup, and gave thanks, and gave it to them, saying, Drink ye all of it;
28: For this is my blood of the new testament, which is shed for many for the remission of sins.
29: But I say unto you, I will not drink henceforth of this fruit of the vine, until that day when I drink it new with you in my Father's kingdom.�
which was that the consternation at the table was provoked by Jesus�s pronouncement, this is my body, take eat, this is my blood.�

Steinberg traces the rise of the secular interpretation, buoyed by the spirit of Goethe, until the early sixties. But then the second, eucharistic interpretation began to emerge and contest the secularists. The salient fact about the Last Supper is that, at both ends of the table, the disciples register some kind of shock, while, at the very center, Jesus looks preternaturally mild. So what is this contrast? The secularists think that Leonardo has painted a Shakespearian tableau. Jesus� pronouncement, which could be uttered with cunning, or with anger, is uttered, by the son of man, with a sort of shame for the traitor � while the disciples, human all too human, have fallen to debating, among themselves, the crucial question of cultic loyalty. The eucharistics, according to the secularists, can�t account for the appearance of shock among the disciples. But this is because the secularists are thinking of the eucharist as it has been normalized for the last two thousand years. The eucharistics, however, think Leonardo has transported us back to the initial, shocking moment in which a man who these twelve men regarded as the son of God said to them, in effect, this bread, here, and this wine, over here, represent my body and my blood. And I want you to eat these things in order to remember me.

This is a shocking thing to hear. It is so very sexual, so very intimate, it releases a train of wild images in the mind that are normally repressed. It goes way back, saying something like that. There are stone floors of caves, there is firelight, there are night sweats, there is struggle. It forces the person who hears it to really look at the flesh saying it , and know that flesh is the world � that we live in a fully carnal world. The cannibal�s speech is that the mouth that speaks eats other mouths that speak. Words turn flesh, and flesh turns into words, feverishly. This is the effect caught in John 6, where Jesus says:

51: I am the living bread which came down from heaven: if any man eat of this bread, he shall live for ever: and the bread that I will give is my flesh, which I will give for the life of the world.
52: The Jews therefore strove among themselves, saying, How can this man give us his flesh to eat?
53: Then Jesus said unto them, Verily, verily, I say unto you, Except ye eat the flesh of the Son of man, and drink his blood, ye have no life in you.
54: Whoso eateth my flesh, and drinketh my blood, hath eternal life; and I will raise him up at the last day.

The effect of this speech on the disciples is remarked on in verset 60:
60: Many therefore of his disciples, when they had heard this, said, This is an hard saying; who can hear it?

So, this is the eucharistic case. But, as the saying is, sometimes Hegel happens. That is, sometimes the thesis and antithesis really do form a synthesis. Steinberg claims that the current consensus has moved to the conjunction of the secularist and eucharistic versions � that in this instance, as the hands go out for bread and wine, as the disciples cluster, as Thomas raises a finger and James Major spreads his arms in amazement, what is happening is a dream condensation, in the classical Freudian sense, of these two events � a Verdichtung. Steinberg does not make the Freudian detour, tempting as it might appear. LI is going to avoid it too � merely referring readers to the Chapter on Dreamwork in the Interpretation of Dreams. http://www.psywww.com/books/interp/chap06a.htm

We are after a different subject, which is: how exactly do we analyze the temporal element in the pictorial? In other words, how is time constituted in the picture?

Well, more on that tomorrow.