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The Last Supper (Leonardo da Vinci)
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This article is about the Leonardo da Vinci painting. For other uses, see The Last Supper (disambiguation).
The Last Supper
Il Cenacolo or L'Ultima Cena
Artist
Leonardo da Vinci
Year
1490s (Julian)
Medium
Tempera, Gesso
Dimensions
460 cm (180 in) × 880 cm (350 in)
Location
Convent of Santa Maria delle Grazie in Milan
Coordinates
45°28′00″N 9°10′15″E / 45.466666666667°N 9.1708333333333°E / 45.466666666667; 9.1708333333333Coordinates: 45°28′00″N 9°10′15″E / 45.466666666667°N 9.1708333333333°E / 45.466666666667; 9.1708333333333
Website
legraziemilano.it/il-cenacolo/
[edit on Wikidata]
The Last Supper (Italian: Il Cenacolo [il tʃeˈnaːkolo] or L'Ultima Cena [ˈlultima ˈtʃeːna]) is a late 15th-century mural painting by Leonardo da Vinci housed by the refectory of the Convent of Santa Maria delle Grazie in Milan. It is one of the world's most recognizable paintings.[1]
The work is presumed to have been started around 1495–96 and was commissioned as part of a plan of renovations to the church and its convent buildings by Leonardo's patron Ludovico Sforza, Duke of Milan. The painting represents the scene of the Last Supper of Jesus with his apostles, as it is told in the Gospel of John, 13:21.[2] Leonardo has depicted the consternation that occurred among the Twelve Disciples when Jesus announced that one of them would betray him.
Due to the methods used, a variety of environmental factors, and intentional damage, very little of the original painting remains today despite numerous restoration attempts, the last being completed in 1999.
Contents
1 Painting
1.1 Important copies
2 Medium
3 Damage and restorations
3.1 Major restoration
4 The Last Supper in culture
4.1 Painting, mosaic, and photography
4.2 Modern art
4.3 Literature
4.4 Film and television
5 Other speculation
6 Notes
7 Further reading
8 External links
Painting[edit]
Crucifixion, opposite Leonardo's Last Supper
The Last Supper, ca. 1520, by Giovanni Pietro Rizzoli, called Giampietrino (active 1508–1549), after Leonardo da Vinci, Oil on canvas, in the collection of The Royal Academy of Arts, London; full-scale copy that was the main source for the twenty-year restoration of the original (1978-1998). It includes several lost details such as Christ's feet and the salt cellar spilled by Judas. Giampietrino is thought to have worked closely with Leonardo when he was in Milan. The painting hung in the chapel of Magdalen College, Oxford from 1992.[3]
The Last Supper, ca. 1520, Andrea Solari, after Leonardo da Vinci, oil on canvas, in the Leonardo da Vinci Museum, Tongerlo Abbey.
The Last Supper measures 460 cm × 880 cm (180 in × 350 in) and covers an end wall of the dining hall at the monastery of Santa Maria delle Grazie in Milan, Italy. The theme was a traditional one for refectories, although the room was not a refectory at the time that Leonardo painted it. The main church building had only recently been completed (in 1498), but was remodeled by Bramante, hired by Ludovico Sforza to build a Sforza family mausoleum.[4]
The painting was commissioned by Sforza to be the centerpiece of the mausoleum.[5] The lunettes above the main painting, formed by the triple arched ceiling of the refectory, are painted with Sforza coats-of-arms.
The opposite wall of the refectory is covered by the Crucifixion fresco by Giovanni Donato da Montorfano, to which Leonardo added figures of the Sforza family in tempera. (These figures have deteriorated in much the same way as has The Last Supper.)
Leonardo began work on The Last Supper in 1495 and completed it in 1498—he did not work on the painting continuously. The beginning date is not certain, as the archives of the convent for the period have been destroyed, and a document dated 1497 indicates that the painting was nearly completed at that date.[6]
One story goes that a prior from the monastery complained to Leonardo about the delay, enraging him. He wrote to the head of the monastery, explaining he had been struggling to find the perfect villainous face for Judas, and that if he could not find a face corresponding with what he had in mind, he would use the features of the prior who complained.[7][8]
A study for The Last Supper from Leonardo's notebooks showing nine apostles identified by names written above their heads

The Last Supper specifically portrays the reaction given by each apostle when Jesus said one of them would betray him. All twelve apostles have different reactions to the news, with various degrees of anger and shock. The apostles are identified from a manuscript[9] (The Notebooks of Leonardo da Vinci p. 232) with their names found in the 19th century. (Before this, only Judas, Peter, John and Jesus were positively identified.) From left to right, according to the apostles' heads:
Bartholomew, James, son of Alphaeus, and Andrew form a group of three; all are surprised.
Judas Iscariot, Peter, and John form another group of three.
Judas is wearing green and blue and is in shadow, looking rather withdrawn and taken aback by the sudden revelation of his plan. He is clutching a small bag, perhaps signifying the silver given to him as payment to betray Jesus, or perhaps a reference to his role within the 12 disciples as treasurer.[10] He is also tipping over the salt cellar. This may be related to the near-Eastern expression to "betray the salt" meaning to betray one's Master. He is the only person to have his elbow on the table and his head is also horizontally the lowest of anyone in the painting.
Peter looks angry and is holding a knife pointed away from Christ, perhaps foreshadowing his violent reaction in Gethsemane during Jesus' arrest.
The youngest apostle, John, appears to swoon.
Jesus
Apostle Thomas, James the Greater, and Philip are the next group of three.
Thomas is clearly upset; the raised index finger foreshadows his incredulity of the Resurrection.
James the Greater looks stunned, with his arms in the air. Meanwhile, Philip appears to be requesting some explanation.
Matthew, Jude Thaddeus, and Simon the Zealot are the final group of three.
Both Jude Thaddeus and Matthew are turned toward Simon, perhaps to find out if he has any answer to their initial questions.
In common with other depictions of the Last Supper from this period, Leonardo seats the diners on one side of the table, so that none of them has his back to the viewer. Most previous depictions excluded Judas by placing him alone on the opposite side of the table from the other eleven disciples and Jesus, or placing halos around all the disciples except Judas.
Leonardo instead has Judas lean back into shadow. Jesus is predicting that his betrayer will take the bread at the same time he does to Saints Thomas and James to his left, who react in horror as Jesus points with his left hand to a piece of bread before them. Distracted by the conversation between John and Peter, Judas reaches for a different piece of bread not noticing Jesus too stretching out with his right hand towards it (Matthew 26: 23). The angles and lighting draw attention to Jesus, whose turned right cheek is located at the vanishing point for all perspective lines; his hands are located at the golden ratio of half the height of the composition.[11]
The painting contains several references to the number 3, which represents the Christian belief in the Holy Trinity. The Apostles are seated in groupings of three; there are three windows behind Jesus; and the shape of Jesus' figure resembles a triangle. The painting can also be interpreted using the Fibonacci series: 1 table, 1 central figure, 2 side walls, 3 windows and figures grouped in threes, 5 groups of figures, 8 panels on the walls and 8 table legs, and 13 individual figures.[11] There may have been other references that have since been lost as the painting deteriorated.
Important copies[edit]
Two early copies of The Last Supper are known to exist, presumed to be work by Leonardo's assistants. The copies are almost the size of the original, and have survived with a wealth of original detail still intact.[12] One, by Giampietrino, is in the collection of the Royal Academy of Arts, London, and the other, by Cesare da Sesto, is installed at the Church of St. Ambrogio in Ponte Capriasca, Switzerland. A third copy (oil on canvas) is painted by Andrea Solari (c. 1520) and is on display in the Leonardo da Vinci Museum of the Tongerlo Abbey, Belgium.
Medium[edit]
For this work, Leonardo sought a greater detail and luminosity than could be achieved with traditional fresco.[13] He painted The Last Supper on a dry wall rather than on wet plaster, so it is not a true fresco. Because a fresco cannot be modified as the artist works, Leonardo instead chose to seal the stone wall with a double layer of dried plaster.[13] Then, borrowing from panel painting, he added an undercoat of white lead to enhance the brightness of the oil and tempera that was applied on top. This was a method that had been described previously, by Cennino Cennini in the 14th century. However, Cennini had recommended the use of secco for the final touches alone.[14] These techniques were important for Leonardo's desire to work slowly on the painting, giving him sufficient time to develop the gradual shading or chiaroscuro that was essential in his style.
Damage and restorations[edit]
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A protective structure was built in front of the da Vinci wall fresco. This photo shows the bombing damage in 1943, suggesting the magnitude of the greater damage that was averted.
Because the painting was on a thin exterior wall, the effects of humidity were felt more keenly, and the paint failed to properly adhere to the wall. Because of the method used, soon after the painting was completed on February 9, 1498 it began to deteriorate.[13] As early as 1517, the painting was starting to flake, and in 1532 Gerolamo Cardano described it as "blurred and colorless compared with what I remember of it when I saw it as a boy".[15] By 1556—fewer than sixty years after it was finished—Leonardo's biographer Giorgio Vasari described the painting as already "ruined" and so deteriorated that the figures were unrecognizable. By the second half of the sixteenth century Gian Paolo Lomazzo stated that "the painting is all ruined".[13] In 1652, a doorway was cut through the (then unrecognisable) painting, and later bricked up; this can still be seen as the irregular arch shaped structure near the center base of the painting. It is believed, through early copies, that Jesus' feet were in a position symbolizing the forthcoming crucifixion. In 1768, a curtain was hung over the painting for the purpose of protection; it instead trapped moisture on the surface, and whenever the curtain was pulled back, it scratched the flaking paint.
A first restoration was attempted in 1726 by Michelangelo Bellotti, who filled in missing sections with oil paint then varnished the whole mural. This repair did not last well and another restoration was attempted in 1770 by an otherwise unknown artist named Giuseppe Mazza. Mazza stripped off Bellotti's work then largely repainted the painting; he had redone all but three faces when he was halted due to public outrage. In 1796, French revolutionary anti-clerical troops used the refectory as an armory; they threw stones at the painting and climbed ladders to scratch out the Apostles' eyes. The refectory was then later used as a prison; it is not known if any of the prisoners may have damaged the painting. In 1821, Stefano Barezzi, an expert in removing whole frescoes from their walls intact, was called in to remove the painting to a safer location; he badly damaged the center section before realizing that Leonardo's work was not a fresco. Barezzi then attempted to reattach damaged sections with glue. From 1901 to 1908, Luigi Cavenaghi first completed a careful study of the structure of the painting, then began cleaning it. In 1924, Oreste Silvestri did further cleaning, and stabilised some parts with stucco.
During World War II, on August 15, 1943, the refectory was struck by Allied bombing; protective sandbagging prevented the painting from being struck by bomb splinters, but it may have been damaged further by the vibration. From 1951 to 1954, another clean-and-stabilise restoration was undertaken by Mauro Pelliccioli.
Major restoration[edit]
The painting as it looked in the 1970s
The painting's appearance by the late 1970s had become badly deteriorated. From 1978 to 1999, Pinin Brambilla Barcilon guided a major restoration project which undertook to stabilize the painting, and reverse the damage caused by dirt and pollution. The 18th- and 19th-century restoration attempts were also reverted. Since it had proved impractical to move the painting to a more controlled environment, the refectory was instead converted to a sealed, climate-controlled environment, which meant bricking up the windows. Then, detailed study was undertaken to determine the painting's original form, using scientific tests (especially infrared reflectoscopy and microscopic core-samples), and original cartoons preserved in the Royal Library at Windsor Castle. Some areas were deemed unrestorable. These were re-painted using watercolor in subdued colors intended to indicate they were not original work, while not being too distracting.
This restoration took 21 years and, on 28 May 1999, the painting was returned to display. Intending visitors were required to book ahead and could only stay for 15 minutes. When it was unveiled, considerable controversy was aroused by the dramatic changes in colors, tones, and even some facial shapes. James Beck, professor of art history at Columbia University and founder of ArtWatch International, had been a particularly strong critic.[16] Michael Daley, director of ArtWatch UK, has also complained about the restored version of the painting. He has been critical of Christ's right arm in the image which has been altered from a draped sleeve to what Daley calls "muff-like drapery".[17]
The Last Supper in culture[edit]
The Last Supper made in salt in Wieliczka Salt Mine (Poland)
The Last Supper has frequently been referenced, reproduced, or parodied in Western culture. Some of the more notable examples are:
Painting, mosaic, and photography[edit]
A 16th-century oil on canvas copy is conserved in the abbey of Tongerlo, Antwerp, Belgium. It reveals many details that are no longer visible on the original.[citation needed] The Roman mosaic artist Giacomo Raffaelli made another life-sized copy (1809–1814) in the Viennese Minoritenkirche.[citation needed]
Modern art[edit]
In 1955, Salvador Dalí painted The Sacrament of the Last Supper, with Jesus portrayed as blond and clean shaven, pointing upward to a spectral torso while the apostles are gathered around the table heads bowed so that none may be identified. It is reputed to be one of the most popular paintings in the collection of the National Gallery of Art in Washington, D.C.
In 1986, Andy Warhol was commissioned to produce a series of paintings based on The Last Supper that were exhibited initially in Milan. This was his last series of paintings before his death.[18]
Sculptor Marisol Escobar rendered The Last Supper as a life-sized, three-dimensional, sculptural assemblage using painted and drawn wood, plywood, brownstone, plaster, and aluminum. This work, Self-Portrait Looking at The Last Supper, (1982–84) is in New York's Metropolitan Museum of Art.[19]
In 1988, Susan Dorothea White painted The First Supper showing 13 women from all regions of the world, with the woman in the position of Leonardo's Christ figure being an Australian aboriginal.[20][21]
In 2001, Chinese artist Zeng Fanzhi painted Last Supper, showing 13 mask-wearing people seated at a table strewn with watermelon fragments. The oil painting was sold for $23.3 million at Sotheby's auction on October 7, 2013, setting a new record for contemporary Asian artwork.[22]
In 1998, modern artist Vik Muniz displayed a recreation of The Last Supper, made entirely out of Bosco Chocolate Syrup.[23]
Literature[edit]
Author Mary Shelley describes her impression of the painting in her travel narrative, Rambles in Germany and Italy published in 1844:
First we visited the fading inimitable fresco of Leonardo da Vinci. How vain are copies! not in one, nor in any print, did i ever see the slightest approach to the expression in our Savior's face, such as it is in the original. Majesty and love—these are the words that would describe it—joined to an absence of all guile that expresses the divine nature more visibly than I ever saw it in any other picture.[24]
—  Mary Shelley, Travel Writing (1996), Pages 131–132
Film and television[edit]
In Luis Buñuel's Spanish film Viridiana, a tableau vivant of Leonardo's painting is staged with beggars. Another beggar 'photographs' the scene by flashing them. This scene contributed to its refusal by the Vatican who called it "blasphemous."
In Norman Jewison's 1973 film version of "Jesus Christ Superstar", in the Last Supper sequence, Jesus and the 12 apostles briefly mimic the posture of each character in Da Vinci's painting
The painting is parodied in Mel Brooks's movie History of the World, Part I, making Leonardo a contemporary of Jesus. It is also parodied in the original movie MASH, in the scene where Hawkeye Pierce stages a "last supper" for Walt (Painless) Waldowski before his planned suicide. The various doctors, all in surgical scrubs, pose in imitation of the painting.
Many parodies of the painting appear on the small screen, including The Simpsons' Season 16 episode "Thank God, It's Doomsday," with Homer as Jesus and Moe and his other patrons as the disciples; That '70s Show's first-season episode "Streaking," with Eric flanked by his friends (and Jackie wondering why everyone is sitting on the same side of the table); and South Park's Season 13 episode "Margaritaville," with Kyle and his friends eating at a pizza parlor. In one episode of the CBC drama Murdoch Mysteries called Barenaked Ladies, the suspects recreate the poses of Peter, Judas and Thomas in their victims.
Other speculation[edit]
Detail of the "beloved disciple" to Jesus's right, identified by art historians as the apostle John,[25][26] but speculated in The Da Vinci Code and similar works to actually be Mary Magdalene in disguise.[25][26]
The Last Supper has been the target of much speculation by writers and historical revisionists alike, usually centered on purported hidden messages or hints found within the painting, especially since the publication of the novel The Da Vinci Code by Dan Brown in 2003. Dan Brown proposed that the person to Jesus' right (left of Jesus from the viewer's perspective) is actually Mary Magdalene disguised as the Apostle John.[25][26] This speculation originated in earlier books The Templar Revelation (1997) by Lynn Picknett and The Holy Blood and the Holy Grail by Michael Baigent, Henry Lincoln and Richard Leigh (1982).[26] Art historians hold that the figure is the Apostle John,[25][26] who only appears feminine due to Leonardo's characteristic fascination with blurring the lines between the sexes, a quality which is found in his other paintings, such as St. John the Baptist (painted c. 1513–1516).[25][26] Christopher Hodapp and Alice Von Kannon comment "If he [John] looks effeminate and needs a haircut, so does James, the second figure on the left.".[26]
Furthermore, according to Ross King, an expert on Italian art, Mary Magdalene's appearance at the last supper would not have been controversial and Leonardo would have had no motive to disguise her as one of the other disciples,[25] since she was widely venerated in her role as the "Apostle to the Apostles" and was the patron of the Dominican Order, for whom The Last Supper was painted.[25] There would have even been precedent for it, since the earlier Italian Renaissance painter Fra Angelico had included her in his painting of the Last Supper.[25]
Giovanni Maria Pala, an Italian musician, has indicated that the positions of hands and loaves of bread can be interpreted as notes on a musical staff and, if read from right to left, as was characteristic of Leonardo's writing, form a musical composition.[27][28][29]
Notes[edit]
Jump up ^ "Leonardo Da Vinci's 'The Last Supper' reveals more secrets". sciencedaily.com. Retrieved March 3, 2014.
Jump up ^ The Last Supper by Leonardo da Vinci –. "Santa Maria delle Grazie – Milan". Inexhibit. Retrieved 10 November 2017.
Jump up ^ "Chapel with return Renaissance painrefting". Oxford Times. 14 September 2017. p. 19.
Jump up ^ "Santa Maria delle Grazie & The Last Supper". Timeout.com. Retrieved 2012-12-21.
Jump up ^ "Leonardo's Itinerary: Early maturity in Milan (1482-1499)". Museo Galileo. 5 March 2008. Retrieved 2012-12-21.
Jump up ^ Kenneth Clark.Leonardo da Vinci, Penguin Books 1939, 1993, p144.
Jump up ^ "The Last Supper". lairweb.org.nz. Retrieved 2012-12-21.
Jump up ^ "DaVinci". The Mark Steel Lectures. Series 2. Episode 2. The Open University. 7 October 2003. BBC. Retrieved 2012-12-21.
Jump up ^ "The Notebooks of Leonardo Da Vinci—Complete by Leonardo da Vinci". Gutenberg.org. 1 January 2004. Retrieved 2012-02-14.
Jump up ^ Cfr. Matthew 26:15; John 12:6 and 13:29.
^ Jump up to: a b White, Susan D. (2006). Draw Like Da Vinci. London: Cassell Illustrated, p.132. ISBN 9781844034444.
Jump up ^ "Last Supper (copy after Leonardo)". University of the Arts, London. Retrieved 2008-08-11.
^ Jump up to: a b c d "Leonardo's Last Supper". Smart history presented by the Khan Academy. Retrieved 25 February 2014.
Jump up ^ "The Last Supper". The Last Supper. Retrieved 25 February 2014.
Jump up ^ Wykes, Alan (1969). Doctor Cardano, physician extraordinary. p. 26.
Jump up ^ Phillip William (24 May 1999). "The Last Supper or a dog's dinner?". The Guardian. guardian.co.uk. Retrieved 2012-12-21.
Jump up ^ Dayla Alberge (14 March 2012). "Have art restorers ruined Leonardo's masterpiece?". The Independent. Retrieved 2012-12-21.
Jump up ^ Haden-Guest, Anthony (3 August 1999). "Warhol's Last Supper". Artnet. Retrieved 2010-03-12.
Jump up ^ "Self-Portrait Looking at The Last Supper". Metropolitan Museum of Art. Retrieved 2012-12-21.
Jump up ^ Susan White - veelzijdig werk, Kunstbeeld (Amsterdam) Oct. 1990, vol. 14 (10) p.62 (translation)
Jump up ^ Allen, Christopher. 'Ludicrous Leonardo', The Sydney Morning Herald, 23 December 1988, p.10
Jump up ^ "Zeng's 'Last Supper' Sells for Record $23.3 Million at Sotheby's Auction". WSJ.com. October 7, 2013.
Jump up ^ Goldberg, Vicki (25 September 1998). "ART REVIEW; It's a Leonardo? It's a Corot? Well, No, It's Chocolate Syrup". The New York Times. Retrieved 2012-12-21.
Jump up ^ Shelley, Mary (1996). Travel Writing. London: Pickering. pp. 131–132. ISBN 1-85196-084-8.
^ Jump up to: a b c d e f g h King, Ross (2012). Leonardo and the Last Supper. New York City, New York and London, England: Bloomsbury. pp. 187–189. ISBN 978-0-7475-9947-0.
^ Jump up to: a b c d e f g Christopher Hodapp, Alice Von Kannon, The Templar Code For Dummies, page 257 (Wiley Publishing, Inc., 2007. ISBN 978-0-470-12765-0).
Jump up ^ Rossella Lorenzi (9 November 2007). "Leonardo's 'Last Supper' Hides True Da Vinci Code". Discovery News. Retrieved 2012-12-21.
Jump up ^ "Da Vinci's "Last Supper" has hidden music (includes link to recording)". Extra.beloblog.com. Archived from the original on 2008-07-23. Retrieved 2009-02-08.
Jump up ^ mp3 file of the composition, hosted.ap.org
Further reading[edit]
Steinberg, Leo. Leonardo's Incessant 'Last Supper'". New York: Zone Books, 2001.
Detailed review of Steinberg's 'Incessant Last Supper' at 3 Pipe Problem
Bertelli, Carlo (November 1983). "Restoration Reveals The Last Supper". National Geographic. Vol. 164 no. 5. pp. 664–684. ISSN 0027-9358. OCLC 643483454.
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Leonardo's Last Supper and the three layers
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Jump up ^ "Leonardo's Last Supper". Smarthistory at Khan Academy. Retrieved February 11, 2013.
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Beaumont-Hamel Newfoundland Memorial
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Beaumont-Hamel Newfoundland Memorial
Veterans Affairs Canada
Commonwealth War Graves Commission
Caribou statue, Newfoundland Regiment Memorial, Beaumont-Hamel
For the Newfoundland Regiment on the opening day of the Battle of the Somme and World War I Newfoundland forces members whose graves are unknown.
Unveiled
7 June 1925
Location
50°04′25″N 02°38′53″E / 50.07361°N 2.64806°E / 50.07361; 2.64806Coordinates: 50°04′25″N 02°38′53″E / 50.07361°N 2.64806°E / 50.07361; 2.64806
near Beaumont-Hamel, France
Designed by
Rudolph Cochius (landscape)
Basil Gotto (memorial)
Total commemorated
814
To the Glory of God and in perpetual remembrance of those officers and men of the Newfoundland Forces who gave their lives by Land and Sea in the Great War and who have no known graves.
Statistics source: Cemetery details. Commonwealth War Graves Commission.
National Historic Site of Canada
Official name
Beaumont-Hamel Newfoundland Memorial National Historic Site of Canada
Designated
1996
The Beaumont-Hamel Newfoundland Memorial is a memorial site in France dedicated to the commemoration of Dominion of Newfoundland forces members who were killed during World War I. The 74-acre (300,000 m2) preserved battlefield park encompasses the grounds over which the Newfoundland Regiment made their unsuccessful attack on 1 July 1916 during the first day of the Battle of the Somme.[1]
The Battle of the Somme was the regiment's first major engagement, and during an assault that lasted approximately 30 minutes the regiment was all but wiped out. Purchased in 1921 by the people of Newfoundland, the memorial site is the largest battalion memorial on the Western Front, and the largest area of the Somme battlefield that has been preserved. Along with preserved trench lines, there are a number of memorials and cemeteries contained within the site.
Officially opened by British Field Marshal Earl Haig in 1925, the memorial site is one of only two National Historic Sites of Canada located outside of Canada. (The other is the Canadian National Vimy Memorial). The memorial site and experience of the Newfoundland Regiment at Beaumont-Hamel has come to represent the Newfoundland First World War experience. As a result, it has become a Newfoundland symbol of sacrifice and a source of identity.
Contents
[hide]
1 Background
1.1 Battle of the Somme
1.2 The rest of the war
2 History
3 The site
3.1 29th Division Memorial
3.2 Newfoundland Regiment Memorial
3.3 51st Division Monument
3.4 The Danger Tree
3.5 Visitors Centre
4 Influence on Newfoundland
5 Notes
6 Footnotes
7 References
8 External links
Background[edit]
During the First World War, Newfoundland was a largely rural Dominion of the British Empire with a population of 240,000, and not yet part of Canada.[2] The outbreak of the First World War in 1914 led the Government of Newfoundland to recruit a force for service with the British Army.[3] Even though the island had not possessed any formal military organization since 1870, enough men soon volunteered that an entire battalion was formed, and later maintained throughout the war.[4] The regiment trained at various locations in the United Kingdom and increased from an initial contingent of 500 men to full battalion strength of 1,000 men, before being deployed.[5] After a period of acclimatization in Egypt, the regiment was deployed at Suvla Bay on the Gallipoli peninsula with the 29th British Division in support of the Gallipoli Campaign.[6] With the close of the Gallipoli Campaign the regiment spent a short period recuperating before being transferred to the Western Front in March 1916.[7]
Battle of the Somme[edit]
The Hawthorn Mine explosion. Photo by Ernest Brooks.
In France, the regiment regained battalion strength in preparation for the Battle of the Somme. The regiment, still with the 29th British Division, went into the line in April 1916 at Beaumont-Hamel.[8] Beaumont-Hamel was situated near the northern end of the 45-kilometre front being assaulted by the joint French and British force. The attack, originally scheduled for 29 June 1916 was postponed by two days to July 1, 1916, partly on account of inclement weather, partly to allow more time for the artillery preparation.[9] The 29th British Division, with its three infantry brigades faced defences manned by experienced troops of the 119th (Reserve) Infantry Regiment of the 26th (Wurttemberg) Reserve Division.[10] The 119th (Reserve) Infantry Regiment had been involved in the invasion of France in August 1914 and had been manning the Beaumont-Hamel section of the line for nearly 20 months prior to the battle.[10] The German troops were spending a great deal of their time not only training but fortifying their position, including the construction of numerous deep dugouts and at least two tunnels.[10][11]
The infantry assault by the 29th British Division on 1 July 1916 was to be preceded ten minutes earlier by a mine explosion under the heavily fortified Hawthorn Ridge Redoubt.[12] The explosion of the 18,000 kilogram (40,000 lb) Hawthorn Mine underneath the German lines successfully destroyed a major enemy strong point but also served to alert the German forces to the imminent attack.[13] Following the explosion, troops of the 119th (Reserve) Infantry Regiment immediately deployed from their dugouts into the firing line, even preventing the British from taking control of the resulting crater as they had planned.[Note 1] When the assault finally began, the troops from the 86th and 87th Brigade of the 29th British Division were quickly stopped. With the exception of the 1st Battalion of the Royal Inniskilling Fusiliers on the right flank, the initial assault foundered in No Man's Land at, or short of, the German barbed wire.[15] At divisional headquarters, Major-General Beauvoir De Lisle and his staff were trying to unravel the numerous and confusing messages coming back from observation posts, contact aircraft and the two leading brigades. There were indications that some troops had broken into and gone beyond the German first line.[Note 2] In an effort to exploit the perceived break in the German line he ordered the 88th Brigade, which was in reserve, to send forward two battalions to support attack.[16]
Newfoundland soldiers waiting in St. John's Road support trench
At 8:45 a.m. the Newfoundland Regiment and 1st Battalion of the Essex Regiment received orders to move forward.[16] The Newfoundland Regiment was situated at St. John's Road, a support trench 250 yards (230 m) behind the British forward line and out of sight of the enemy.[17] Movement forward through the communication trenches was not possible because they were congested with dead and wounded men and under shell fire.[18] Lieutenant Colonel Arthur Lovell Hadow, the battalion commander, decided to move immediately into attack formation and advance across the surface, which involved first navigating through the British barbed wire defences.[17] As they breasted the skyline behind the British first line, they were effectively the only troops moving on the battlefield and clearly visible to the German defenders.[18] Subjected to the full force of the 119th (Reserve) Infantry Regiment, most of the Newfoundland Regiment who had started forward were dead, dying or wounded within 15 to 20 minutes of leaving St. John's Road trench.[19] Most reached no further than the Danger Tree, a skeleton of a tree that lay in No Man's Land that was being utilized as a landmark.[20] So far as can be ascertained, 22 officers and 758 other ranks were directly involved in the advance.[20] Of these, all the officers and slightly under 658 other ranks became casualties.[20] Of the 780 men who went forward only about 110 survived unscathed, of whom only 68 were available for roll call the following day.[20] For all intents and purposes the Newfoundland Regiment had been wiped out, the unit as a whole having suffered a casualty rate of approximately 80%. The only unit to suffer greater casualties during the attack was the 10th Battalion of the West Yorkshire Regiment, attacking west of Fricourt village.[21]
The rest of the war[edit]
It was a magnificent display of trained and disciplined valour, and its assault only failed of success because dead men can advance no further.[22]
Major-General Sir Beauvoir De Lisle referring to the Newfoundland Regiment at Beaumont-Hamel
After July 1916, the Beaumont-Hamel front remained relatively quiet while the Battle of the Somme continued to the south. In the final act in the Somme Offensive, Beaumont-Hamel was assaulted by the 51st (Highland) Division on 13 November 1916 on the opening of the Battle of the Ancre.[23] Within two days, all the 29th Division objectives of 1 July had been taken along with a great many German prisoners.[24] The area of the memorial site then became a rear area with troops lodged in the former German dugouts and a camp was established in the vicinity of the present Y Ravine Cemetery.[25] With the German withdrawal in March 1917 to the Hindenburg Line, about 30 kilometres from Beaumont-Hamel, the battlefield salvage parties moved in, many dugouts were closed off and initial efforts were probably made to restore some of the land to agriculture.[25] However, in March 1918, the German Spring Offensive was here checked on exactly the same battle lines as before.[26] Until the Battle of Amiens and the German withdrawal in late August 1918, the protagonists confronted each other over the same ground, although the only actions were those of routine front line trench raids, patrols and artillery harassment.[27]
History[edit]
In 1921, Newfoundland purchased the ground over which the Newfoundland Regiment made its unsuccessful attack during the first day of the Battle of the Somme.[28] Much of the credit for the establishment of the 74-acre (300,000 m2) memorial site is given to Lieutenant Colonel Tom Nangle, the former Roman Catholic Priest of the regiment.[25][29] As Director of Graves Registration and Enquiry and Newfoundland's representative on the Imperial War Graves Commission he negotiated with some 250 French landowners for the purchase of the site.[29] He also played a leading role in selecting and developing the sites where the Newfoundland memorials currently stand, as well as supervising the construction of each memorial.[29] The memorials, including that at the Beaumont-Hamel Newfoundland Memorial site, were constructed for the Government of Newfoundland between 1924 and 1925.[30]
The Beaumont-Hamel Newfoundland Memorial site was officially opened, and the memorial unveiled, by Field Marshal Earl Haig on 7 June 1925.[29] Since Newfoundland's confederation with Canada in 1949, the Canadian Government, through the Department of Veterans Affairs, has been responsible for the site's maintenance and care.[31] The site had fallen into some disrepair during the German occupation of France in the Second World War and following confederation the replacement of the original site cabin with a modern building as well as some trench restoration work was undertaken in time for the 45th anniversary of the battle.[31] The memorial site was established as one of only two National Historic Sites of Canada located outside of Canada by the then Minister of Canadian Heritage Sheila Copps on 10 April 1997.[32]
The site[edit]
The preserved battlefield today
The Beaumont-Hamel Newfoundland Memorial site is situated 9 kilometres (6 mi) north of Albert, France near the village of Beaumont-Hamel in an area containing numerous cemeteries and memorials related to the Battle of the Somme.[33] The site is one of the few places on the former Western Front where a visitor can see the trench lines of the First World War and the related terrain in a preserved natural state.[34][35] It is the largest site dedicated to the memory of the Newfoundland Regiment, the largest battalion memorial on the Western Front, and the largest area of the Somme battlefield that has been preserved.[36]
Although the site was founded to honour the memory of the Newfoundland Regiment, it also contains a number of memorials as well as four cemeteries maintained by the Commonwealth War Graves Commission; that of Y Ravine Cemetery, Hawthorn Ridge Cemeteries No. 1 and No. 2 and the unusual mass burial site of Hunter's Cemetery.[33] Beyond being a popular location for battlefield tours the site is also an important location in the burgeoning field of First World War battlefield archaeology, because of its preserved and largely undisturbed state.[37][38] The ever-increasing number of visitors to the Memorial has resulted in the authorities taking measures to control access by fencing off certain areas of the former battlefield.[39]
29th Division Memorial[edit]
Near the entrance to site is situated a memorial to the 29th British Division, the division of which the Newfoundland Regiment was a part. Lieutenant-General Beauvoir De Lisle, wartime commander of the 29th British Division, unveiled the monument the morning of the official opening of the site on 7 June 1925.[29] Each wartime unit of the 29th British Division sent a representative to form a guard of honour for the occasion.[29] Afterwards, this detachment, joined by French infantry from Arras formed the honour guard for the unveiling of the Beaumont-Hamel Newfoundland Memorial.[29]
Newfoundland Regiment Memorial[edit]
The memorial is one of six memorials erected by the Government of Newfoundland following the First World War. Five were erected in France and Belgium[Note 3] and the sixth at Bowring Park in St. John's, Newfoundland, Canada.[40] The memorial is a bronze caribou, the emblem of the Royal Newfoundland Regiment, standing atop a cairn of Newfoundland granite facing the former foe with head thrown high in defiance. At the Beaumont-Hamel Newfoundland Memorial site the mound rises approximately 50 feet (15 m) from ground level.[41] The mounds are also surrounded by native Newfoundland plants. At the base of the Beaumont-Hamel Newfoundland Memorial mound, three bronze tablets carry the names of 820 members of the Royal Newfoundland Regiment, the Newfoundland Royal Naval Reserve, and the Mercantile Marines who gave their lives in the First World War and have no known grave.[41] The memorial is situated close to the headquarters dugout of the 88th Brigade, the brigade of which the Newfoundland Regiment was a part. Sixteen memorial designs were submitted to Nangle for review. He recommended that the government accept British sculptor Basil Gotto’s plan to erect five identical caribou statues in memory of the regiment.[42][30] Gotto was already well known in Newfoundland as he had been previously commissioned to execute the statue of the Fighting Newfoundlander located in Bowring Park.[29] The landscape architect who designed the sites and supervised their construction, was Rudolph Cochius, a native of the Netherlands living in St. John's.[29] It was decided to plant many of Newfoundland’s native tree species, such as spruce, dogberry and juniper, along the boundaries of the site.[30] In total, over 5,000 trees were transplanted before the project was completed in 1925.[30] The memorial was unveiled at the official opening of the site by Field Marshal Earl Haig on 7 June 1925.[29] Those that participated or were present included Chief of the French General Staff, Marshal of France Marie Émile Fayolle, Newfoundland Colonial Secretary John Bennett, Lieutenant Generals Aylmer Hunter-Weston and Beauvoir De Lisle, Major-General D. E. Cayley and former regimental commanding officers Lieutenant-Colonel Arthur Lovell and Adolph Ernest Bernard.[29]
51st Division Monument[edit]
Main article: 51st (Highland) Division Monument (Beaumont-Hamel)
Overlooking Y Ravine is the memorial to 51st (Highland) Division. The ground originally donated by the commune of Beaumont-Hamel to the Veterans of the 51st Division was found to be unstable because of the many dugouts beneath it.[25] Lieutenant Colonel Nangle offered a location overlooking Y Ravine within the Beaumont-Hamel Newfoundland Memorial site.[25] The Y ravine had been the scene of fierce fighting for the division on 13 November 1916.[23] The selected sculptor for the 51st Division Monument was George Henry Paulin.[43] The base of the monument consists of rough blocks of Rubislaw granite which were produced by Garden & Co. in Aberdeen, Scotland, and are assembled in a pyramid form.[25] Company Sergeant Major Bob Rowan of the Glasgow Highlanders was used as the model for the kilted figure atop the memorial.[25] The figure faces east towards the village of Beaumont-Hamel. On the front is a plaque inscribed in Gaelic: La a'Blair s'math n Cairdean which in English translates as "Friends are good on the day of battle".[44] The 51st Division Monument was unveiled on 28 September 1924 by Marshal of France Ferdinand Foch, the former Allied Supreme Commander.[45] The memorial was rededicated on 13 July 1958, the front panel now referring to not only those who died during the First World War but the Second as well. A wooden Celtic cross directly across the track from the memorial was originally sited at High Wood and subsequently moved to the Newfoundland site.[25] The cross commemorates the men of the 51st Highland Division who fell at High Wood in July 1916.[25]
The Danger Tree[edit]
Danger Tree site and replica.
The Danger Tree had been part of a clump of trees located about halfway into No Man's Land and had originally been used as a landmark by a Newfoundland Regiment trench raiding party in the days before the Battle of the Somme.[18] British and German artillery bombardments eventually stripped the tree of leaves and left nothing more than a shattered tree trunk.[18] During the Newfoundland Regiment's infantry assault, the tree was once again used as a landmark, where the troops were ordered to gather. The tree was however a highly visible landmark for the German artillery and the site proved to be a location where the German shrapnel was particularly deadly. As a result, the regiment suffered a large concentration of casualties around the tree.[18] A replica representation of the twisted tree now stands at the spot.[25]
Visitors Centre[edit]
There is a Visitors' Centre which exhibits the historical and social circumstances of Newfoundland at the beginning of the 20th century and traces the history of the Royal Newfoundland Regiment and some of its personalities.[25] A Memorial room within the Centre houses a copy of the Newfoundland Book of Remembrance, along with a bronze plaque listing the Battle Honours won by the Royal Newfoundland Regiment.[25] The centre also incorporates the administrative offices and site archive. Canadian student guides based at the site are available to provide guided tours or explain particular facets of the battlefield and the Newfoundland involvement.[25]
Influence on Newfoundland[edit]
Postage stamp honouring the Royal Newfoundland Regiment.
The significance of the events at Beaumont-Hamel on the first day of the Battle of the Somme was perhaps most strongly felt by the Dominion of Newfoundland, as it was the first great conflict experienced by that dominion. Newfoundland was left with a sense of loss that marked an entire generation.[46][47] The effects on the post-war generation were compounded by chronic financial problems caused both by Newfoundland's large debt from the war, and a prolonged post-war economic recession due to a decline in the fisheries.[48][49]
Lasting impressions of the war experience are ever-prevalent on the island. In Canada, 1 July is celebrated as Canada Day, in recognition of Canadian confederation. In the Canadian province of Newfoundland and Labrador the date is Memorial Day, in remembrance of the Newfoundland Regiment's losses at Beaumont-Hamel.[Note 4] Memorial University College, now Memorial University of Newfoundland, was originally established as a memorial to Newfoundlanders who had lost their lives in active service during the First World War.[51] Lastly, the six caribou memorials and the National War Memorial erected following the First World War, and the establishment of the preserved battlefield park at Beaumont-Hamel which is visited by thousands of tourists a year. The Beaumont-Hamel Newfoundland Memorial site also serves an informal ambassadorial function, educating visitors not only about the experience of the Newfoundland Regiment but also regarding the history of the island.[25]
Notes[edit]
Jump up ^ Quoting the diaries of the German 119th (Reserve) Infantry Regiment.[14]
Jump up ^ A German flare to indicate shells were falling short of target was mistakenly identified as a British flare used to indicate the first objective had been taken.[16]
Jump up ^ Of these five, four were erected in France, and one in Belgium. The French caribou memorials are: this one at Beaumont-Hamel; the Gueudecourt (Newfoundland) Memorial, the Monchy-le-Preux (Newfoundland) Memorial; and the memorial at Masnières. The Belgian caribou memorial is at Courtrai.
Jump up ^ Memorial Day has been recognized since 1917, during Newfoundland's Dominion period.[50]
Footnotes[edit]
Jump up ^ Jacqueline Hucker (2012). "Monuments of the First and Second World Wars". The Canadian Encyclopedia. Historica Foundation. Retrieved 2012-07-26.
Jump up ^ Hopkins pp. 153–156
Jump up ^ Nicholson p. 98
Jump up ^ Nicholson p. 88
Jump up ^ Nicholson pp. 121–154
Jump up ^ Nicholson pp. 155–192
Jump up ^ Nicholson p. 480
Jump up ^ Nicholson pp. 239–242
Jump up ^ Nicholson pp. 253, 261
^ Jump up to: a b c Nicholson p. 243
Jump up ^ Sheldon p. 66
Jump up ^ Rose & Nathanail p. 404
Jump up ^ Rose & Nathanail pp. 404–405
Jump up ^ Nicholson p. 264–265
Jump up ^ Nicholson p. 266
^ Jump up to: a b c Nicholson p. 268
^ Jump up to: a b Nicholson p. 270
^ Jump up to: a b c d e Nicholson p. 271
Jump up ^ Nicholson pp. 270, 273
^ Jump up to: a b c d Nicholson p. 274
Jump up ^ Farr p. 88
Jump up ^ Gilbert p. 64
^ Jump up to: a b Gilbert p. 235
Jump up ^ Gilbert p. 235–238
^ Jump up to: a b c d e f g h i j k l m n "Beaumont Hamel Newfoundland Memorial". Veterans Affairs Canada. 2008-06-17. Archived from the original on 1 March 2009. Retrieved 2009-03-13.
Jump up ^ Gilbert p. 252–253
Jump up ^ Gilbert p. 254
Jump up ^ Nicholson p. 282
^ Jump up to: a b c d e f g h i j k Nicholson p. 518
^ Jump up to: a b c d "Commemorations: Overseas". Newfoundland and the Great War. Newfoundland and Labrador Heritage. n.d. Retrieved 2009-03-12.
^ Jump up to: a b Nicholson p. 533
Jump up ^ "Beaumont-Hamel National Historic Site of Canada". Historic Places. Parks Canada. 2 April 2017. Retrieved 14 June 2017.
^ Jump up to: a b "CWGC :: Cemetery Details – Beaumont-Hamel (Newfoundland) Memorial". Commonwealth War Graves Commission. n.d. Retrieved 2009-03-13.
Jump up ^ Rose & Nathanail p. 216
Jump up ^ Lloyd p. 120
Jump up ^ "Somme > The Somme Revisited > The Battlefield Today > Battlefield Tour 1 > Newfoundland Memorial Park Beaumont-Hamel". Imperial War Museum. n.d. Archived from the original on 2009-06-29. Retrieved 2009-03-13.
Jump up ^ Saunders pp. 101–108
Jump up ^ Dolamore pp. 12–17
Jump up ^ Gough p. 699
Jump up ^ Busch p. 151
^ Jump up to: a b Nicholson p. 517
Jump up ^ Nicholson p. 516
Jump up ^ Dolman p. 532
Jump up ^ Salmond p. 271
Jump up ^ Salmond p. 270
Jump up ^ Steele p. 200–201
Jump up ^ Busch pp. 150, 157
Jump up ^ Steele p. 14
Jump up ^ Busch p. 157
Jump up ^ Nicholson p. 283
Jump up ^ "Welcome to Memorial | History". Memorial University of Newfoundland. 2006-03-30. Archived from the original on 15 March 2009. Retrieved 2009-03-13.
References[edit]
Boyer, Robert (Summer 2006). "The Battle of the Somme – 90th Anniversary: The 1st Newfoundland Regiment at Beaumont Hamel, 1st July 1916" (PDF). Canadian Army Journal. Department of National Defence. 9 (2): 4–8. ISSN 1712-9745. Archived from the original (PDF) on 2012-03-05.
Busch, Briton Cooper (2003). Canada and the Great War: Western Front Association Papers. Montreal: McGill-Queen's University Press. ISBN 0-7735-2570-X.
Dolamore, Mike (2001). "Seeing beneath the battlefield – geophysical prospection at the Vimy and Newfoundland Memorial Parks (News from the Durand Group)". Battlefields Review. Wharncliffe Publishing Ltd (15): 12–17.
Gilbert, Martin (2006). The Somme: Heroism and Horror in the First World War. New York: Henry Hold & Co. ISBN 0-8050-8127-5.
Gough, Paul (2007). "'Contested memories: Contested site': Newfoundland and its unique heritage on the Western Front". The Round Table. 96 (393): 693–705.
Hopkins, John Castell (1916). The Canadian Annual Review of Public Affairs – 1915. Toronto: Annual Review Publishing Company Limited.
Dolman, Bernard (1954). Who's who in Art. London: Art Trade Press, Ltd.
Farr, Don (2007). The Silent General: A Biography of Haig's Trusted Great War Comrade-in-Arms. Solihull: Helion & Company Limited. ISBN 978-1-874622-99-4.
Lloyd, David (1998). Battlefield tourism: pilgrimage and the commemoration of the Great War in Britain, Australia and Canada, 1919–1939. Oxford: Berg Publishing. ISBN 1-85973-174-0.
Nicholson, Gerald W. L. (1962). Official History of the Canadian Army in the First World War: Canadian Expeditionary Force 1914–1919. Ottawa: Queen's Printer and Controller of Stationary.
Nicholson, Gerald W. L. (2006) [1964]. The Fighting Newfoundlander: A History of the Royal Newfoundland Regiment. Carleton Library; 209 (2nd ed.). Montreal: McGill-Queen's University Press. ISBN 0-7735-3133-5.
Rose, Edward (2000). Geology and Warfare: Examples of the Influence of Terrain and Geologists on Military Operations. London: Geological Society. ISBN 0-85052-463-6.
Salmond, James Bell (1953). The history of the 51st Highland Division, 1939–1945. Edinburgh: William Blackwood and Sons.
Saunders, Nicholas (2002). "Excavating memories: archaeology and the Great War, 1914–2001". Antiquity. Portland Press. 76 (291): 101–108.
Sheldon, Jack (2006). The Germans at Beaumont Hamel. London: Pen and Swords Books. ISBN 978-1-84415-443-2.
Steele, Owen William (2003). David Richard Facey-Crowther, ed. Lieutenant Owen William Steele of the Newfoundland Regiment: diary and letters. Montreal: McGill-Queen's University Press. ISBN 0-7735-2428-2.
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values: Beaumont-Hamel Newfoundland Memorial – German

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