The Last Supper

original digitized image

original digitized image

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How Leonardo da Vinci

pictured the Last Supper

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The Last Supper (1494-1498) by Leonardo da Vinci
in the refectory of Santa Maria delle Grazie in Milan

During the bitter-cold first week in February, I went to snow-bound Milan to write stories about an annual world-class food-and-wine event called “IdentitàGolose” and Milan University’s Library and Archive of Egyptology. With great good luck (because the obligatory reservations made online via www.milan-museum.com often have a two-month backlog), I was able to squeeze in a same-day visit, which lasts barely 15 minutes, to see Leonardo da Vinci’s masterpiece, The Last Supper, one of his 17 paintings and the only one not on canvas. I’d seen it only once before, almost 50 years ago. Just a month before Easter, I thought I’d share with ITV readers the unique way polymath Leonardo (1452-1519), a sculptor, architect, musician, draftsman, scientist, mathematician, engineer, anatomist, geologist, and cartographer, as well as painter, pictured this prelude to Our Savior’s sacrifice by telling this spellbinding mural’s story.

A self-portrait of Da Vinci depicted as the Apostle Jude Thaddeus

THE PAINTING

In 1482, Leonardo da Vinci, then 30, left Tuscany to be the court painter for Duke Ludovico Sforza (1451-1508) and his wife Duchess Beatrice d’Este (1475-1497) in Milan. A decade or so later, his patron commissioned Leonardo to paint The Last Supper as the centerpiece of his planned mausoleum in the monastery of the recently-completed Dominican Church of Santa Maria delle Grazie, which was later remodeled by Bramante, also the architect of St. Peter’s Basilica. Leonardo began work, which was supposed to take a year, in 1494, but did not complete the painting until 1498. According to Wikipedia’s article about Leonardo, “the novelist Matteo Bandello observed Leonardo at work and wrote that some days he would paint from dawn to dusk without stopping to eat and then not paint for three or four days at a time. This was beyond the comprehension of the prior of the convent, who hounded him until Leonardo

asked Ludovico to intervene. Vasari describes how Leonardo, troubled over his ability to depict the faces of Christ and Judas (Iscariot), told the Duke that he might be obliged to use the prior as his ‘model’ for Judas.”

It is generally believed that the white-bearded Apostle on the right of the painting, Jude Thaddeus, is the artist’s self-portrait.

Leonardo also probably cryptically “signed” this work; the knot at the end of the tablecloth’s right-hand edge represents the Latin word for knot, vincium.

An earlier version of the scene: The Last Supper by Ghirlandaio (1482). Located in Florence

LEONARDO’S CONCEPTION

The Last Supper theme was a traditional one for refectories, although this room wasn’t a refectory at the time Leonardo painted his masterpiece on the north wall. His work of art represents the Last Supper as told in the Gospel of John 13:21, when Jesus announces that one of his twelve Apostles would betray him before sunrise, but does not reveal which one. We know that Leonardo studied earlier paintings by Ghirlandaio and Andrea del Castagno with traditional iconography that focuses instead on the moment of the traitor’s identification, when Judas, who is represented in an isolated position with respect to the other Apostles, receives a piece of bread from Jesus and dips it in his dish. Leonardo, however, preferred the moment prior to this, dominated by doubt. His is the first version of this theme with the Apostles displaying the human emotions of doubt, shock, fear, and anger through the expressions on their faces, the movements of their hands, and their body language, which contrast with Jesus’ calmness. It should also be mentioned that the daylight and unbroken bread confirm that it is too early for Judas to have been identified as the traitor.

Giacomo Raffaelli’s life-size mosaic copy of Leonardo’s
Last Supper (1809-14), now in Vienna’s Minoritenkirche

TECHNIQUE

A wall panel in the entrance to the refectory explains: “Leonardo creates a sense of continuity between the actual space of the refectory and the painted space through an exceptional use of perspective, which has Christ’s right temple as its vanishing point; all the lines of perspective in the composition guide the viewer’s eye towards Jesus’ face, the narrative center of the work.” Leonardo’s early ideas, both notes and preparatory drawings, for this painting are illustrated in a sheet of figure studies, no. 12542r, conserved in the Royal Library at Windsor Castle.

Another first is that Leonardo’s Judas is not seated as is customary with his back to the viewer and, unlike the other well-lit Apostles, is in a shadow. He is also holding a purse. Although he would not yet have received the 30 silver coins, he was the treasurer for the Apostles. Until The Notebooks of Leonardo da Vinci were discovered during the 19th century, only Judas, Peter, John and Jesus could be positively identified.

The painting contains several references to the number 3 or the Blessed Trinity. The Apostles are seated in groups of three: to the left of Jesus (from the viewer’s point of view): Bartholomew, James the Lesser, and Andrew; Peter, Judas Iscariot, and John; to the right of Jesus: Thomas, James the Greater, and Philip; Matthew, Jude Thaddeus, and Simon the Zealot; there are three windows behind Jesus; and the shape of Jesus’ figure resembles a triangle.

MEDIUM

Also unique to The Last Supper is the medium Leonardo, always the inventor, used. According to Wikipedia, “he painted it on a dry wall rather than on wet plaster, so it is not a true fresco. Since a fresco cannot be modified as the artist works, Leonardo instead chose to seal the stone wall with a layer of pitch, gesso, and mastic, then paint onto the sealing layer with tempera.” Because of the method he used so that he, a known procrastinator with a marked tendency to leave projects unfinished, could make changes, his masterpiece began to deteriorate after a few years. The only evidence we have of what the original painting looked like is a 16th-century oil canvas by an unknown artist, in approximately original size, now housed in the Premonstratensian monastery, founded in 1128, at Tongerlo in Westerlo near Antwerp in Belgium. The copy reveals many details that are no longer visible in the original fresco, in particular the food, the room’s décor, and the landscape. Between 1809 and 1814 the Roman mosaic artist Giacomo Raffaelli made another life-size copy, commissioned by Napoleon and now in the Viennese Minoritenkirche.

The Last Supper by Dalí

DETERIORATION

In 1517, Don Antonio de Beatis was the first to testify that Leonardo’s painting “is already beginning to be damaged.” Some 50 years later, in 1566, Leonardo’s biographer Giorgio Vasari wrote in his Lives: “Of the original by Leonardo (…) one can now perceive only a glaring stain.” A century later, the Dominican Fathers enlarged the door at the center of the wall that connected the refectory to the kitchen, which, although later bricked up, is still visible. It eliminated the part that depicted Christ’s feet, which, through early copies, were supposedly in a position symbolizing his forthcoming crucifixion. Further damage was done in 1768 when a curtain was hung over the painting to protect it; instead it trapped moisture on the surface, and whenever pulled back, scratched the flaking paint. In 1722, an English traveler testified that the rough wall was visible in various parts of the “fresco.” In 1799, when Napoleon’s troops turned the refectory into a stable and barn, the painting suffered still further vandalism. The soldiers passed their free time throwing stones at the painting and climbed ladders to scratch out the Apostles’ eyes. In 1812, the monastery of Santa Maria delle Grazie was used as a headquarters by the fire brigade and subsequently as a military barracks. In 1934, the refectory became a state museum, while the church and the cloisters were returned to the Dominicans. During the Second World War, on the night of August 15, 1943, a bomb struck the cloisters, causing the collapse of the refectory’s vault and its east wall. The Last Supper was saved from bomb splinters thanks to sandbags put in place at the start of the war. After a long period of “open air,” the collapsed parts of the refectory were rebuilt in 1947.

The Last Supper by Andy Warhol

RESTORATION

The Last Supper by Andy Warhol

A first restoration was attempted in 1726 by Michelangelo Bellotti, who filled in missing sections with oil paint and then varnished the whole mural; many others followed over the next two centuries. By the end of the 1970s the painting’s appearance had so badly deteriorated that, from 1978 to 1999, Pinin Brambilla Barcilon guided a major restoration project, which, in a sealed, climate-controlled ambience, undertook to stabilize the painting permanently and reverse the damage caused by dirt, pollution and the misguided 18th- and 19th- century restoration attempts. On May 28th, 1999, the painting was put back on display.

In 1980, UNESCO made the Santa Maria delle Grazie complex and The Last Supper a World Heritage site.

SPECULATIONS

Perhaps because of its deteriorated state, Leonardo’s Last Supper has been the target of much speculation by historians and writers, usually centered around purported hidden messages within the painting.

Several examples follow:

1) The Templar Revelation (1997) by Lynn Pickett and Clive Prince and The Da Vinci Code (2003) by Dan Brown both identify the person seated at Jesus’s right hand not as John the Apostle, but as a woman, and none other than Mary Magdalene, who supposedly bore Christ’s child after his death. It is true that the beardless John looks quite effeminate, but he was much younger than the other Apostles except for Phillip and maybe Matthew, both of whom are beardless here, too, while the others all have beards. Moreover, the Bible never mentions Mary Magdalene as present at the Last Supper, and if John is Mary, then where is John?

2) According to an article by Matthew Moore published on July 30, 2007 in The Telegraph, Slavisa Pesci, “an information technologist and amateur scholar,” superimposed Leonardo’s version of The Last Supper on its mirror image (with both images of Jesus lined up) and claimed that the resultant picture has a Templar Knight on the far left, a woman dressed in orange and holding a swaddled baby in her arms to the left of Jesus, and the Holy Grail in the form of a chalice in front of Jesus. With the naked eye no chalice is visible, although Jesus’ left hand is pointing to the Eucharist and his right to a glass of wine.

3) Giovanni Maria Pala, an Italian musician, has indicated that the positions of the hands and loaves of bread can be interpreted as notes on a musical staff, and, if read from right to left (because Leonardo was left-handed), form a musical composition.

4) Reported by British Vatican correspondent Richard Owen in an article entitled, “Da Vinci ‘predicted the world would end in 4066’ says Vatican researcher” in the London Times on March 15, 2010, is the most far-fetched of all theories. Sabrina Sforza Galitzia claimed to have deciphered the “mathematical and astrological” puzzle in Leonardo’s The Last Supper. She said that Leonardo foresaw the end of the world in a “universal flood” which would begin on March 21, 4006, and end on November 1 the same year. Leonardo believed that this would mark “a new start for humanity.”

The Last Supper by Escobar

Leonardo’s Last Supper is open all day Tuesday to Sunday from 8:15 AM to 7 PM with a maximum group of 25 people admitted every 15 minutes. Closed Mondays and on January 1st, May 1st, and Christmas Day. My same-day ticket, reserved by my hotel, cost 8 euros.

Epilogue

If you can’t make it to Milan, in Room VIII of the Pinocateca in the Vatican Museums there’s a Flemish tapestry of the Last Supper designed by Raphael, and in Raphael’s loggia on the second floor of the Apostolic Palace, one of the frescoes executed by Raphael’s workshop from 1517-19 is of the Last Supper. One of the frescoes on the northern wall of the Sistine Chapel, devoted to scenes from the life of Jesus and painted by Cosimo Rosselli (1431-1507) in 1481-2, also depicts the Last Supper.

There are several modern renditions of the Last Supper in the US. In 1955, Salvador Dalí painted The Sacrament of the Last Supper, one of the most popular paintings in the National Gallery of Art in Washington, DC. Sculptor Marisol Escobar was inspired by Leonardo’s Last Supper. Her work is in New York’s Metropolitan Museum of Art. And in 1986, Andy Warhol was commissioned to produce a series of paintings based on The Last Supper. They were first exhibited in a bank across the street from Santa Maria delle Grazie. This was Warhol’s last series of paintings before his death. On loan from the Andy Warhol Museum in his hometown of Pittsburgh, one of Warhol’s many paintings of The Last Supper (the Museum, at 117 Sandusky Street, owns three others) will take part in the traveling exhibition of 300 works “Andy Warhol: 15 Minutes Eternal” to commemorate the 25th anniversary of the artist’s death. The exhibition opened at the ArtScience Museum, Marina Bay Sands, in Singapore on March 17 and will travel to five other Asian cities: Hong Kong, Shanghai, Beijing, and Tokyo, over the next 27 months.

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POEMS

The Last Supper, by Lydia Sigourney

The Last Supper, by Jack Stewart

The Last Supper, by Rainer Maria Rilke

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10 Secrets of The Last Supper

by Leonardo da Vinci

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The Last Supper by Leonardo da Vinci

In 1495, Leonardo da Vinci began what would become one of history's most influential works of art - The Last Supper

The Last Supper is Leonardo's visual interpretation of an event chronicled in all four of the Gospels (books in the Christian New Testament). The evening before Christ was betrayed by one of his disciples, he gathered them together to eat, tell them he knew what was coming and wash their feet (a gesture symbolizing that all were equal under the eyes of the Lord). As they ate and drank together, Christ gave the disciples explicit instructions on how to eat and drink in the future, in remembrance of him. It was the first celebration of the Eucharist, a ritual still performed.

Specifically, The Last Supper depicts the next few seconds in this story after Christ dropped the bombshell that one disciple would betray him before sunrise, and all twelve have reacted to the news with different degrees of horror, anger, and shock.

Leonardo hadn't worked on such a large painting and had no experience in the standard mural medium of fresco. The painting was made using experimental pigments directly on the dry plaster wall and unlike frescos, where the pigments are mixed with the wet plaster, it has not stood the test of time well. Even before it was finished there were problems with the paint flaking from the wall and Leonardo had to repair it. Over the years it has crumbled, been vandalized bombed and restored. Today we are probably looking at very little of the original.

Much of the recent interest in the painting has centered on the details hidden within the painting, but in directing attention to these 'hidden' details, most people miss the incredible sense of perspective the work displays. The sharp angling of the walls within the picture, which leads back to the seemingly distant back wall of the room and the windows that show the hills and sky beyond. The type of day shown through these windows adds to the feeling of serenity that rests in the center of the piece, around the figure of Christ.

The Layout of The Last Supper

The Last Supper Perspective

Leonardo balanced the perspective construction of the Last Supper so that its vanishing point is immediately behind Christ's right temple, pointing to the physical location of the center, or sensus communis, of his brain. By pulling a string in radial directions from this point, he marked the table ends, floor lines, and orthogonal edges of the six ceiling coffer columns. From the right and/or left edge of the horizon line, he drew diagonal lines up to the coffer corners, locating points for the horizontal lines of the 12 coffer rows.

Leonardo was well known for his love of symmetry. In his Last Supper, the layout is largely horizontal. The large table is seen in the foreground of the image with all of the figures behind it. The painting is largely symmetrical with the same number of figures on either side of Jesus. The above diagram shows how the perspective the Last Super was worked out with a series of marks at key points highlighting the architectural aspects of the composition and positioning of the figures.

10 Facts You Might not

Know about the Masterpiece

1. Who's who in "The Last Supper"

Who's who in the Last Supper

2. The secret of "The Last Supper"

The Last Supper is a very popular religious scene painted by many celebrated artists. Unlike artists before and after him, Leonardo da Vinci chose not to put halos on Jusus Christ. Many art historians believe that Leonardo da Vinci believe in nature, not in God. To Leonardo, nature is God, so he treated every character in the fresco as common people.

3. "Last Supper" is a failed experiment.

Unlike traditional frescoes, which Renaissance masters painted on wet plaster walls, Leonardo experimented with tempura paint on a dry, sealed plaster wall in the Santa Maria delle Grazie monastery in Milan, Italy. The experiment proved unsuccessful, however, because the paint did not adhere properly and began to flake away only a few decades after the work was finished.

4. The spilled salt is symbolic.

Speculations about symbolism in the artwork are plentiful. For example, many scholars have discussed the meaning of the spilled salt container near Judas's elbow. Spilled salt could symbolize bad luck, loss, religion, or Jesus as salt of the earth.

5. Eel or herring?

Scholars have also remarked on da Vinci's choice of food. They dispute whether the fish on the table is herring or eel since each carries its own symbolic meaning. In Italian, the word for eel is "aringa." The similar word, "arringa," means to indoctrinate. In northern Italian dialect, the word for herring is "renga," which also describes someone who denies religion. This would fit with Jesus' biblical prediction that his apostle Peter would deny knowing him.

6. Da Vinci used a hammer and nail to help him to achieve the one-point perspective.

What makes the masterpiece so striking is the perspective from which it's painted, which seems to invite the viewer to step right into the dramatic scene. To achieve this illusion, da Vinci hammered a nail into the wall, then tied string to it to make marks that helped guide his hand in creating the painting's angles.

7. The existing mural is not 100% da Vinci's work.

At the end of the 20th century, restorer Panin Brambilla Barcilon and his crew relied on microscopic photographs, core samples, infrared reflectoscopy and sonar to remove the added layers of paint and restore the original as accurately as possible. Critics maintain that only a fraction of the painting that exists today is the work of Leonardo da Vinci.

8. Three early copies of the original exist.

Three of da Vinci's students, including Giampietrino, made copies of his painting early in the 16th century. Giampietrino did a full-scale copy that is now in London's Royal Academy of Arts. This oil painting on canvas was the primary resource for the latest restoration of the work. The second copy by Andrea Solari is in the Leonardo da Vinci Museum in Belgium while the third copy by Cesare da Sesto is in the Church of Saint Ambrogio in Switzerland.

The Last Supper Copy - by Giampietrino

9. The painting is also a musical score.

According to Italian musician Giovanni Maria Pala, da Vinci incorporated musical notes in "The Last Supper." In 2007, Pala created a 40-second melody from the notes that were allegedly hidden in the scene.

10. The painting has been a victim of neglect and abuse.

In 1652, monastery residents cut a new door in the wall of the deteriorating painting, which removed a chunk of the artwork showing the feet of Jesus. Late in the 18th century, Napoleon Bonaparte's soldiers turned the area into a stable and further damaged the wall with projectiles. During World War II, the Nazis bombed the monastery, reducing surrounding walls to rubble.

JESUS DE/CONSTRUCTED - FINAL AUDIOS, VIDEOS, & RESOURCE LINKS

JESUS D/C SERIES

JESUS DE/CONSTRUCTED FOR LENT, PART 1 OF 6

JESUS DE/CONSTRUCTED FOR LENT, PART 2 OF 6

JESUS DE/CONSTRUCTED FOR LENT, PART 3 OF 6

JESUS DE/CONSTRUCTED FOR LENT, PART 4 OF 6

JESUS DE/CONSTRUCTED FOR LENT, PART 5 OF 6

JESUS DE/CONSTRUCTED FOR LENT, PART 6 OF 6

JESUS DE/CONSTRUCTED - FINAL AUDIOS, VIDEOS, & RESOURCE LINKS

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JESUS DE/CONSTRUCTED FOR LENT

Here’s Tripp & Diana’s Finals Thoughts

on Jesus De/Constructed for Lent

(AUDIO)

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ADDITIONAL LINKS FROM SESSION 3

• Jürgen Moltmann: The Crucified God

• Elizabeth Johnson on Infinite Mystery and the Diverse Doxology of God

• Elizabeth Johnson on an Ecological Christology

• Quest for the Living God w/ Elizabeth Johnson

• John Cobb: the Greatest Living Theologian Turns 97

• John Cobb: Christology and Process Theology

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SPECIAL BONUS SESSION:

After Jesus Before Christianity

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From the creative minds of the scholarly group behind the groundbreaking Jesus Seminar comes this provocative and eye-opening look at the roots of Christianity that offers a thoughtful reconsideration of the first two centuries of the Jesus movement, transforming our understanding of the religion and its early dissemination.

Christianity has endured for more than two millennia and is practiced by billions worldwide today. Yet that longevity has created difficulties for scholars tracing the religion’s roots, distorting much of the historical investigation into the first two centuries of the Jesus movement. But what if Christianity died in the fourth or fifth centuries after it began? How would that change how historians see and understand its first two hundred years?

Considering these questions, three Bible scholars from the Westar Institute summarize the work of the Christianity Seminar and its efforts to offer a new way of thinking about Christianity and its roots. Synthesizing the institute’s most recent scholarship—bringing together the many archaeological and textual discoveries over the last twenty years—they have found:

• There were multiple Jesus movements, not a singular one, before the fourth century

• There was nothing called Christianity until the third century

• There was much more flexibility and diversity within Jesus’s movement before it became centralized in Rome, not only regarding the Bible and religious doctrine, but also understandings of gender, sexuality and morality.

Exciting and revolutionary, After Jesus Before Christianity provides fresh insights into the real history behind how the Jesus movement became Christianity.

After Jesus Before Christianity includes more than a dozen black-and-white images throughout.

1:32:35

After Jesus Before Christianity

Mar 21, 2022

Diana and Tripp are thrilled to host the authors of "After Jesus Before Christianity" for a webinar exploring the new book and how their research into the earliest Jesus Movements can challenge those of us who struggle to follow Jesus today.

You can check the book out here: https://amzn.to/3IyRtx7

This is a special bonus session from the school blind Lent group - Jesus De/Constructed w/ Diana Butler Bass & Tripp Fuller.

Check the group out here: http://jesusdeconstructed.com

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Post-Easter Bible QnA w/John Dominic Crossan
Apr 21, 2022

April 4, 2022 By Tripp Fuller 

John Dominic Crossan is back on the podcast talking about his new book Render Unto Caesar: The Struggle over Christ and Culture in the New Testament. It is always a blast to have Dom on the podcast and this is no exception! Dr. Crossan is one of the leading New Testament scholars today. Not only has he significantly contributed to the academic guild, but he has consistently written texts for a larger audience. 

Want to hang out with Dom? Then come join an upcoming live stream QnA where he will be tackling a bunch of Bible questions from listeners. It promises to be a nerdy good time!

Previous Visits from Crossan to the podcast 

• Resurrecting Easter with John Dominic Crossan 

• John Dominic Crossan on the First Christmas 

• From Jesus’ Parables to Parables of God with John Dominic Crossan 

• John Dominic Crossan on God & Empire!

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Previous Episodes with Diana & Tripp

• Theology and Spirituality in a Time of Rupture

• White Evangelical Theopolitics, John Shelby Spong, & Jesus

• 20 Years of Religious Decline

• Jesus After Religion and Beyond Fear

• Ruining Dinner with Diana Butler Bass and Robyn Henderson-Espinoza

• Evangelical Decline, the Supreme Court, and the Horizon of Possibility

• Debating, Praying, and Living with Tyrants

• Religion, Politics, & the Elephant in the Room

JESUS DE/CONSTRUCTED FOR LENT, PART 6 OF 6

JESUS D/C SERIES

JESUS DE/CONSTRUCTED FOR LENT, PART 1 OF 6

JESUS DE/CONSTRUCTED FOR LENT, PART 2 OF 6

JESUS DE/CONSTRUCTED FOR LENT, PART 3 OF 6

JESUS DE/CONSTRUCTED FOR LENT, PART 4 OF 6

JESUS DE/CONSTRUCTED FOR LENT, PART 5 OF 6

JESUS DE/CONSTRUCTED FOR LENT, PART 6 OF 6

JESUS DE/CONSTRUCTED - FINAL AUDIOS, VIDEOS, & RESOURCE LINKS

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JESUS DE/CONSTRUCTED FOR LENT

PART 6 OF 6

The class will cover two books. Diana’s Freeing Jesus: Rediscovering Jesus as Friend, Teacher, Savior, Lord, Way, and Presence and Tripp’s The Homebrewed Christianity Guide to Jesus: Lord, Liar, Lunatic . . . Or Awesome?. If you are super nerdy you may want to check out Tripp’s Divine Self-Investment.

UPDATE

Tripp’s book has proved hard to find for many of you. HERE is a PDF of the book. We just ask you don’t share it and if inspired purchase a delayed or digital copy.

Class Outline

We will have 6 weekly sessions each Thursday at 5pm ET. In addition to these sessions, there will be a special visit from the author of After Jesus Before Christianity: a Historical Exploration of the first two centuries of Jesus Movements.

• 3/3 SESSION 1: De/Constructing Jesus & the Lenten Journey
• Reading: the introduction to Freeing Jesus and chapter 1 of the Guide to Jesus

• 3/10 SESSION 2: the Consequences of C.S. Lewis’ Worst Idea
• Reading: Guide to Jesus ch 2-4

• 3/17 SESSION 3: from Executed Prophet to Cosmic Christ
• Reading: Guide to Jesus ch 5-7

• 3/24 SESSION 4: Freeing Jesus from Christendom Capture
• Reading: Freeing Jesus ch 1-3

• 3/31 SESSION 5: One Jesus, One Story, & a Multitude of Christs
• Reading: Freeing Jesus ch 4-6

• 4/7 SESSION 6: De/constructed Jesus & the Journey of Holy Week
• Reading: Freeing Jesus conclusion & Guide to Jesus ch 8

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Amazon Link

The Homebrewed Christianity Guide to Jesus

Lord, Liar, Lunatic, Or Awesome?

by Tripp Fuller

Christology is crazy. It’s rather absurd to identify a first-century homeless Jew as God revealed, but a bunch of us do anyway. In this book, Tripp Fuller examines the historical Jesus, the development of the doctrine of Christ, the questions that drove christological innovations through church history, contemporary constructive proposals, and the predicament of belief for the church today. Recognizing that the battle over Jesus is no longer a public debate between the skeptic and believer but an internal struggle in the heart of many disciples, he argues that we continue to make christological claims about more than an “event” or simply the “Jesus of history.” On the other hand, C. S. Lewis’s infamous “liar, lunatic, and Lord” scheme is no longer intellectually tenable. This may be a guide to Jesus, but for Christians, Fuller is guiding us toward a deeper understanding of God. He thinks it’s good news—good news about a God who is so invested in the world that God refuses to be God without us.

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CLASS 6 VIDEO

2:27:53

Jesus De/Constructed with Diana and Tripp

April 7, 2022

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Homebrewed Guide to Jesus 

BOOK Notes for Chapter 8

by Steve Thomason | Apr 28, 2022

I am currently reading Homebrewed Christianity Guide to Jesus by Tripp Fuller as part of a class taught by Tripp Fuller and Diana Butler-Bass.

Below are my notes from chapter 8.

View chapters 2-4 here.

View chapters 5-7 here.

The book introduces recent scholarship about Jesus and a really helpful and inclusive way to be a radical disciple of Jesus in this present moment. I find it life-giving.

You are welcome to join the class. It is awesome. CLICK HERE to check it out.

This book is the more accessible version of Tripp’s Book Divine Self-Investment, which I illustrated (a little) here.

Scroll down and enjoy!

by Steve Thomason

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CLASS 6 VIDEO

2:27:53

Jesus De/Constructed with Diana and Tripp

April 7, 2022

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Jesus DeConstructed VIDEO Session 6 

Class Notes

by Steve Thomason | April 29, 2022

by Steve Thomason

Here are my notes from Session 6 of Jesus De/Constructed with Diana Butler-Bass and Tripp Fuller. It was an excellent session. I sectioned out the different parts and placed them in a more linear fashion below. Scroll down to get a sense of how the session flowed. Enjoy!

This session was based on the conclusion of Freeing Jesus and Chapter 8 of the Homebrewed Guide to Jesus. See my notes on that chapter here.

CLICK HERE to view these notes as a PDF. Feel free to download and print. 

 

Steve Thomason

Steve Thomason

Steve Thomason