Have you ever really studied the freestanding altar at St. Francis de Sales?
The frieze carved on the front is inspired by Leonardo da Vinci’s famous 15th century painting of the Last Supper, which seems appropriate, though, curiously, the scene, as Leonardo painted it, was intended to represent the moment when Jesus told his apostles that one of them would betray him! It’s not an exact copy: our anonymous altar sculptor made some significant design choices where details were unclear, but it’s pretty close.
Leonardo’s ancient planning notes identify the first three people on the left in the scene as Bartholomew, James son of Alpheus (James the Less), and Andrew, all looking astonished at the betrayal. In Leonardo’s original plan, which he later changed, one of those apostles is so surprised, that he “blows his mouthful” — a very human, but possibly too distracting image!
Next comes Judas, the villain in the piece. A 19th century analysis of Leonardo’s artwork notes that Judas “is the only person to have his elbow on the table and his head is also horizontally the lowest of anyone” in the scene. He is shown “clutching a small bag…He is also tipping over the salt cellar” – said to be a symbol of betrayal. Intriguingly, in Jewish religion, salt also signified God’s (Old-Testament) covenant.
A bread knife in a hand behind Judas has caused much speculation through the ages. Leonardo’s original notes describe a character later identified as Peter who “speaks into his neighbour’s (John’s) ear and he, as he listens to him, turns towards him to lend an ear, while he holds a knife in one hand, and in the other the loaf half cut through by the knife.” Carefully read, this convoluted sentence suggests that Leonardo originally intended John to hold the knife, although Peter is more usually credited, and our altar sculptor has chosen Peter.
Why is John a more interesting possibility? Here’s a thought: in Renaissance art, a “loaf with a knife in it” symbolized the Eucharist and Christ’s sacrifice. It seems like John, the beloved disciple, on hearing the news of betrayal, might instinctively try to yank the knife from the loaf and cast it away, to symbolically stop Jesus’ suffering. Peter, future head of the church, might grab his arm to stop him, knowing that Jesus must die as foretold. And Judas spills the salt.
Jesus, in the center, studiously ignores the drama, since he knows what must happen.
On his other side, Thomas points heavenward, while James the Greater gestures to Jesus and Philip points to himself, questioning. Matthew, Thaddeus (Jude) and Simon confer together at the far end of the table.
Our altar, by the way, has a story of its own. The ultramodern streamlined acrylic freestanding altar installed at SFDS to celebrate the new ideas of Vatican II and the 1960s proved to be too brittle, and it cracked. It was replaced several times by sturdier, less austere wooden substitutes (much like the adjustments to the New Mass). In 2007, the MBS altar was moved and installed here to commemorate the merging of the two parishes, symbolically gathering everyone around the same table. Its marble was a perfect match — restoring the traditional look of the sanctuary and fitting in as though it has always been here!