Abstract
The paper analyzes the famous masterpiece by Leonardo starting with the peculiar perspective of Georg Simmel, a great German philosopher whose reputation in Italy has been disregarded for a long time enough. His thoughtful paper on the Last Supper, published in 1905 and recently reminded by Pedretti and Marani had set a milestone for the further development of a critical point of view on the mural painting. His original statement about the Leonardo’s invention of a new “Shape of Time”, related to a different iconography and to a dazzling psychological purpose, was a topic promptly received and appreciated by Guido Lodovico Luzzatto in 1913 in a review soon forgotten in the critical debate. During a period marked by controversial positions on Leonardo da Vinci, it arises, by contrast, the possible relationship between Simmel and Wölfflin.
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