Giovanni Donato da Montorfano’s Crucifixion holds a dignified but often understated presence in the refectory of Santa Maria delle Grazie in Milan.
While Leonardo da Vinci’s The Last Supper on the opposite wall has become an icon of Western art, Montorfano’s work deserves recognition as an important example of late 15th-century Milanese artistry and spirituality.
The artist and his legacy
Born into a family of painters, Giovanni Donato da Montorfano (c. 1460–1503) inherited a rich artistic lineage.
His grandfather, Abramo, and father, Alberto, worked in the Milan Cathedral as painters and members of the esteemed Milan painter’s guild.
Both Giovanni Donato and his brother, Vincenzo, followed in their father’s footsteps, receiving their artistic education under his tutelage.
While Montorfano’s artistic output extended beyond The Crucifixion, this fresco remains his most celebrated work.
It is signed and dated 1495, proudly displayed on a square stone block at the foot of the cross.
Composition and style
Montorfano’s Crucifixion occupies the entire south wall of the refectory, set within a simple architectural frame.
The scene depicts the crucifixion of Jesus Christ, a central theme in Christian art and theology, with Calvary and three crosses dominating the composition.
The artist’s meticulous attention to detail is evident in the carefully arranged figures, dressed in vibrant colors and rigid, metallic textures.
However, despite the clarity of the figures, the overall arrangement appears somewhat disorderly, lacking a sense of fluidity and dramatic interaction.
The backdrop features a cityscape reminiscent of ancient Jerusalem, adding depth and historical context to the narrative.
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Technique and preservation
Montorfano executed The Crucifixion using the traditional fresco technique, applying water-based pigments to wet plaster.
Unlike Leonardo’s experimental approach to The Last Supper, this method has contributed to the fresco’s remarkable preservation over the centuries.
The colors remain vibrant, allowing viewers to appreciate Montorfano’s mastery of this demanding technique.
Leonardo’s potential contribution
An intriguing aspect surrounding The Crucifixion is the speculation about Leonardo da Vinci’s possible involvement in the painting.
According to Giorgio Vasari, a renowned art historian and biographer, Leonardo might have added portraits of Duke Ludovico Sforza, his wife Beatrice d’Este, and their sons to the lower part of the fresco after Montorfano completed the main composition.
However, due to the poor state of preservation in those areas, the figures are barely discernible today.
Yet another comparison: Tourists often find themselves not only comparing The Crucifixion and The Last Supper but also debating whether to prioritize a visit to Santa Maria delle Grazie or the Duomo di Milano. For those who wish to experience both these cathedrals, the good news is that it’s entirely feasible to visit both in a single day. Here’s a quick guide on how to travel from the di Milano to Santa Maria delle Grazie.
A tale of two masterpieces
While Montorfano’s Crucifixion may not enjoy the same global recognition as The Last Supper, its presence in the Santa Maria delle Grazie refectory creates a compelling juxtaposition of artistic styles and biblical narratives.
Visitors to this sacred space are presented with two distinct interpretations of pivotal moments in the life of Jesus Christ, each offering a unique perspective on faith, sacrifice, and human emotion.
Visiting The Crucifixion
The Crucifixion is located on the south wall of the refectory in Santa Maria delle Grazie.
Admission to the refectory requires a timed ticket, which can be booked online or purchased at the ticket office, subject to availability.
It is advisable to book tickets in advance, especially during peak tourist seasons, as entry is limited to ensure the preservation of both The Last Supper and The Crucifixion. Find out everything about Santa Maria delle Grazie tickets before making the purchase.