The Crucifixion
Lime wash, dry finishes, and pastiglia fresco, by Donato Montorfano, after 1495,
with figures attributed to Leonardo da Vinci
Convent of Santa Maria della Grazie, Milan

A mixed technique fresco appearing on the south wall of the refectory of the Convent of Santa Maria della Grazie, this work gives a captivating counterpoint to da Vinci's Last Supper on the adjacent wall. Unlike da Vinci's fresco, Montorfano's boasts remarkable preservation, depicting the entirety of the dramatic scene at Calvary. The vast work is meticulously divided into three sections by the towering presence of the three crosses. Montorfano's composition prioritises order and symmetry, with large, well-defined figures arranged in almost mirror-image clusters on either side of the central cross. Each figure is clearly delineated, adorned in vibrantly coloured drapery that shimmers with an almost metallic sheen. However, despite the meticulous detail and vivid colours, the overall scene feels somewhat cluttered. The background, featuring a detailed cityscape reminiscent of Jerusalem, adds depth, but fails to unify the composition. The narrative unfolds through numerous details scattered throughout the scene, yet the figures lack a sense of dynamic interaction or emotional connection, creating a static quality to the portrayal. Interestingly, after the fresco's completion, da Vinci is believed to have added a personal touch to the lower left section. There, he included portraits of the donors Duke Ludovico 'il Moro' Sforza of Milan, his wife, Beatrice d'Este, and their sons, Ercole Massimiliano and Francesco. These portraits, once lauded by biographer Giorgio Vasari in the 16th century for their divine quality, have unfortunately suffered significant deterioration due to artistic miscalculations. Today, only faint outlines and a barely discernible shadow remain, a stark reminder of what was likely a more intricate and humanising addition to Montorfano's grand, but somewhat disjointed, depiction of the Crucifixion.