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- Albert Einstein
Such a quote from Albert is enhanced by thousands of others.
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In this tail, all the woodland animals describe how they feel; the owl feels wise, the lion feels brave, the bear feels strong. Leo the Lop says he feels brave, but the other animals scoff, saying he is too small and cute. When there is a forest fire, however, only little Leo can crawl under the choking smoke to guide the other animals to safety, proving that it does not matter what you look like on the outside, but what you have on the inside that counts.
As usual, this Serendipity book is beautifully illustrated and ends with a little poem giving the moral, most of which I remember all these years later. I highly recommend this book for all young folks.
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Steinberg has chapters on the disciples, on feet and hands, on the disciples, and more. The main figure, that of Jesus, bears, of course, the closest examination, and Steinberg details the history of thought about it, with writers weighing in on the meaning of the pose and the timing within the Gospel story of the scene depicted. Over and over, Steinberg shows that to seek a meaning and a timing is in vain. Leonardo has deliberately engineered his work so that any explanation involving a single meaning will be an oversimplification. Jesus's right hand is downturned in a gesture of apprehension. It is close to a mirror image of the left hand of Judas as they reach simultaneously towards the dish by which Jesus will designate his betrayer. It is also gesturing towards the wine, so that it marks the institution of the Eucharist; after reading Steinberg's work, the idea that Leonardo drew these two separate parts of the story together and told them as one is only one of the multiple meanings that seem natural on further reflection. Jesus's left hand is upturned, gesturing toward the bread. It also underlies the portentous hand of Thomas, hovering directly above it. Thomas's hand has an index finger pointing up, continuing the upturn theme of Jesus's left, and indicating, of course, higher things. It is Thomas's index finger that would soon be feeling around for confirmation of Jesus's wounds.
To read this book is to appreciate a hundred telling details in the painting which one did not notice before, and consequently to admire Leonardo's genius anew. It is also to admire the fruition of the decades of Steinberg's close study. His readers may feel a sense of humility that there was so much to see that had previously escaped them, but his witty, sure, and genial expertise will welcome them into seeing _The Last Supper_ with new vision.
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