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At sign
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"@" and ":@" redirect here. For the emoticon, see List of emoticons. For the letter A within a circle, see Enclosed A. For the album by John Zorn and Thurston Moore, see "@" (album).
For technical reasons, "@#!*" redirects here. For the album, see @ !*.
@
At sign
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The at sign, @, normally read aloud as "at", also commonly called the at symbol or commercial at. In contemporary use, it is most commonly used in email addresses and social media platform "handles".
Originally it was an accounting and commercial invoice abbreviation meaning "at a rate of" (e.g. 7 widgets @ £2 = £14).[1] Although not included on the keyboard of the earliest commercially successful typewriters, it was on at least one 1889 model[2] and the very successful Underwood models from the "Underwood No. 5" in 1900 onward; and is now universally included on computer keyboards.
The fact that there is no single word in English for the symbol has prompted some writers to use the French arobase[3] or Spanish and Portuguese arroba, or to coin new words such as asperand,[4] ampersat[5] and strudel,[6] but none of these has achieved wide usage.
The mark is encoded as U+0040 @ Commercial AT (HTML @), or @ in HTML5.
Contents
[hide]
1 Theories of origin
2 History
3 Modern use
3.1 Commercial usage
3.2 Contemporary usage
3.3 Programming
3.4 Gender-neutrality in Spanish and Portuguese
3.5 Other uses and meanings
4 Names in other languages
5 Unicode variants
6 In culture
7 See also
8 References
9 External links
Theories of origin[edit]
@ symbol used as the initial "a" for the "amin" (amen) formula in the Bulgarian of the Manasses Chronicle (c. 1345).
The Aragonese @ symbol used in the 1448 "taula de Ariza" registry to denote a wheat shipment from Castile to the Kingdom of Aragon.[7]
@ used to signify French "à" ("at") from a 1674 protocol from a Swedish court (Arboga rådhusrätt och magistrat)
The earliest yet discovered reference to the @ symbol is a religious one; it features in a Bulgarian translation of a Greek chronicle written by Constantinos Manasses in 1345 (See Figure left). Held today in the Vatican Apostolic Library,[8] it features the @ symbol in place of the capital letter alpha 'A' in the word Amen. Why it was used in this context is still a mystery.
In terms of the commercial character of the at sign, there are several theories pending verification.
One theory is that the symbol developed as a mercantile shorthand symbol of "each at," the symbol resembling a small "a" inside a small "e," to distinguish it from the different "at" (symbolized by the mere letter "a") or "per." For example, the cost of "12 apples @ $1" would be $12, whereas the cost of "12 apples at $1" would be $1, a crucial and necessary distinction.[citation needed]
Another theory is that medieval monks abbreviated the Latin word ad (at, toward, by, about) next to a numeral. One reason for the abbreviation saving space and ink. Since thousands of pages of biblical manuscripts were copied onto expensive papyrus or hides, and the words at, toward, by and about repeated millions of times throughout the pages, a considerable amount of resources could be spared this way. A theory concerning this graphic puts forward the idea that the form derives from the Latin word ad,[clarification needed], using the older form of lower case d : ∂, which persists as the partial derivative symbol.[citation needed]
It has been theorized that it was originally an abbreviation of the Greek preposition ανά (transliterated ana), meaning at the rate of or per.[citation needed]
Another theory is that it derives from the Norman French "à" meaning "at" in the "each" sense, i.e. "2 widgets à £5.50 = £11.00", comes the accountancy shorthand notation in English commercial vouchers and ledgers to the 1990s, when the email usage overtook the accountancy usage. It is also used like this in Modern French, Swedish or Czech; in this view, the at-symbol is a stylised form of à, which avoids raising the writing hand from the page in drawing the symbol. The compromise between @ and à in French handwriting is found in street market signs.[citation needed]
History[edit]
Whatever the origin of the @ symbol, the history of its usage is more well-known: it has long been used in Spanish and Portuguese as an abbreviation of arroba, a unit of weight equivalent to 25 pounds, and derived from the Arabic expression of "a quarter" (الربع pronounced ar-rubʿ).[9] An Italian academic claims to have traced the @ symbol to the 16th century, in a mercantile document sent by Florentine Francesco Lapi from Seville to Rome on May 4, 1536.[10] The document is about commerce with Pizarro, in particular the price of an @ of wine in Peru. In Italian, the symbol was interpreted to mean amphora (anfora). Currently, the word arroba means both the at-symbol and a unit of weight. In Italian, the symbol represents one amphora, a unit of weight and volume based upon the capacity of the standard amphora jar.
Until now the first historical document containing a symbol resembling a @ as a commercial one is the Spanish "Taula de Ariza", a registry to denote a wheat shipment from Castile to Aragon in 1448. Even though the oldest fully developed modern @ sign is the one found on the above-mentioned Florentine letter.[10]
Modern use[edit]
Commercial usage[edit]
In contemporary English usage, @ is a commercial symbol, called at site or at rate meaning at and at the rate of. It has rarely been used in financial documents[clarification needed] or grocers' price tags, and is not used in standard typography.[11]
Since 23 October 2012, the At-sign is registered as a trade mark by the German Patent and Trade Mark Office—DPMA (registration number 302012038338) for @T.E.L.L. While company promoters have claimed that it may from now on be illegal for other commercial interests to use the At-sign,[citation needed] this only applies to identical or confusingly similar goods [12] and no court, German or otherwise, has yet ruled on this purported illegality. A cancellation request was filed in 2013.[13]
Contemporary usage[edit]
Further information: Mention (blogging)
A common contemporary use of @ is in email addresses (using the SMTP system), as in jdoe@example.com (the user jdoe located at site the example.com domain). BBN Technologies' Ray Tomlinson is credited with introducing this usage in 1971.[14] This idea of the symbol representing located at in the form user@host is also seen in other tools and protocols; for example, the Unix shell command ssh jdoe@example.net tries to establish an ssh connection to the computer with the hostname example.net using the username jdoe.
On web pages, organizations often obscure email addresses of their members or employees by omitting the @. This practice, known as address munging, makes the email addresses less vulnerable to spam programs that scan the internet for them.
On some online forums without threaded discussions, @ is used to denote a reply; for instance: "@Jane" to respond to a comment Jane made earlier. Similarly, in some cases, @ is used for "attention" in email messages originally sent to someone else. For example, if an email was sent from Catherine to Steve, but in the body of the email, Catherine wants to make Keirsten aware of something, Catherine will start the line "@Keirsten" to indicate to Keirsten that the following sentence concerns her. This also helps with mobile email users who cannot see bold or color in email.
In microblogging (such as Twitter and GNU social-based microblogs), @ before the user name is used to send publicly readable replies (e.g. "@otheruser: Message text here"). The blog and client software can automatically interpret these as links to the user in question. When included as part of a person's or company's contact details, an @ symbol followed by a name is normally understood to refer to a Twitter ID. A similar use of the @ symbol was also made available to Facebook users on September 15, 2009.[15] In Internet Relay Chat (IRC), it is shown before users' nicks to denote they have operator status on a channel.
In American English the @ can be used to add information about a sporting event. Where opposing sports teams have their names separated by a "v" (for versus), the away team can be written first - and the normal "v" replaced with @ to convey at which team's home field the game will be played.[16] This usage is not followed in British English, since conventionally the home team is written first.
In some communities, @ is, against current trends, appended to the end of the nick, e.g. deraadt@, to preserve its original meaning − "<nick> at (this site/community)".
Programming[edit]
@ is used in various programming languages although there is not a consistent theme to its usage. For example:
In ALGOL 68, the @ symbol is brief form of the at keyword; it is used to change the lower bound of an array. For example: arrayx[@88] now refers to an array starting at index 88.
In ActionScript, @ is used in XML parsing and traversal as a string prefix to identify attributes in contrast to child elements.
In CSS, @ is used in special statements outside of a CSS block.
In C#, it denotes "verbatim strings", where no characters are escaped and two double-quote characters represent a single double-quote.[17] As a prefix it also allows keywords to be used as identifiers,[18] a form of stropping.
In DIGITAL Command Language, the @ character was the command used to execute a command procedure. To run the command procedure VMSINSTAL.COM, one would type @VMSINSTAL at the command prompt.
In the ASP.NET MVC Razor template markup syntax, the @ character denotes the start of code statement blocks or the start of text content.[19][20]
In Forth, it is used to fetch values from the address on the top of the stack. The operator is pronounced as "fetch".
In Haskell, it is used in so-called as-patterns. This notation can be used to give aliases to patterns, making them more readable.
In Java, it has been used to denote annotations, a kind of metadata, since version 5.0.
In LiveCode, it is prefixed to a parameter to indicate that the parameter is passed by reference.
In ML, it denotes list concatenation.
In modal logic, specifically when representing possible worlds, @ is sometimes used as a logical symbol to denote the actual world (the world we are 'at').
In Objective-C, @ is prefixed to language-specific keywords such as @implementation and to form string literals.
In Pascal, @ is the "address of" operator (it tells the location at which a variable is found).
In Perl, @ prefixes variables which contain arrays @array, including array slices @array[2..5,7,9] and hash slices @hash{'foo', 'bar', 'baz'} or @hash{qw(foo bar baz)}. This use is known as a sigil.
In PHP, it is used just before an expression to make the interpreter suppress errors that would be generated from that expression.[21]
In Python 2.4 and up, it is used to decorate a function (wrap the function in another one at creation time). In Python 3.5 and up, it is also used as an overloadable matrix multiplication operator.
In Ruby, it functions as a sigil: @ prefixes instance variables, and @@ prefixes class variables.
In Scala, it is used to denote annotations (as in Java), and also to bind names to subpatterns in pattern-matching expressions.
In Swift, @ prefixes "annotations" that can be applied to classes or members. Annotations tell the compiler to apply special semantics to the declaration like keywords, without adding keywords to the language.
In T-SQL, @ prefixes variables and @@ prefixes niladic system functions.
In several xBase-type programming languages, like DBASE, FoxPro/Visual FoxPro and Clipper, it is used to denote position on the screen. For example: @1,1 SAY "HELLO" to show the word "HELLO" in line 1, column 1.
In FoxPro/Visual FoxPro, it is also used to indicate explicit pass by reference of variables when calling procedures or functions (but it is not an address operator).[22]
In Windows PowerShell, @ is used as array operator for array and hash table literals and for enclosing here-string literals.[23]
In the Domain Name System, @ is used to represent the $ORIGIN, typically the "root" of the domain without a prefixed sub-domain. (Ex: wikipedia.org vs. www.wikipedia.org)
Gender-neutrality in Spanish and Portuguese[edit]
Main article: Gender-neutrality in Spanish and Portuguese
In Portuguese and Spanish, where many words end in '-o' when in the masculine gender and end '-a' in the feminine, @ is sometimes used as a gender-neutral substitute for the default 'o' ending.[24] For example, the word amigos traditionally represents not only male friends, but also a mixed group, or where the genders are not known. The proponents of gender-inclusive language would replace it with amig@s in these latter two cases, and use amigos only when the group referred to is all-male - and amigas only when the group is all female. The Real Academia Española disapproves of this usage.[25]
Other uses and meanings[edit]
In (especially English) scientific and technical literature, @ is used to describe the conditions under which data are valid or a measurement has been made. E.g. the density of saltwater may read d = 1.050 g/cm3 @ 15 °C (read "at" for @), density of a gas d = 0.150 g/L @ 20 °C, 1 bar, or noise of a car 81 dB @ 80 km/h (speed).
As an abbreviation for alias in articles about missing persons, obituaries, brief reports - for instance: "John Smith @ Jean Smyth" (a possible abbreviation of aka).[citation needed] For example, a Chinese Singaporean may use two transliterations of his or her Chinese name (e.g., Mao Tse-Tung @ Mao Zedong).
In chemical formulae, @ is used to denote trapped atoms or molecules. For instance, La@C60 means lanthanum inside a fullerene cage. See article Endohedral fullerene for details.
In Malagasy, @ is an informal abbreviation for the prepositional form amin'ny.
In genetics, @ is the abbreviation for locus, as in IGL@ for immunoglobulin lambda locus.
In the Koalib language of Sudan, @ is used as a letter in Arabic loanwords. The Unicode Consortium rejected a proposal to encode it separately as a letter in Unicode, but SIL International uses Private Use Area code points U+F247 and U+F248 for lowercase and capital versions.[26]
A schwa, as the actual schwa character "ə" may be difficult to produce on many computers. It is used in this capacity in the ASCII IPA schemes SAMPA, X-SAMPA and Kirshenbaum.
In leet it may substitute for the letter "A".
It is frequently used in typing and text messaging as an abbreviation for "at".
In Portugal it may be used in typing and text messaging with the meaning "french kiss" (linguado).
In online discourse, @ is used by some anarchists as a substitute for the traditional circle-A.
Names in other languages[edit]
In many languages other than English, although most typewriters included the symbol, the use of @ was less common before email became widespread in the mid-1990s. Consequently, it is often perceived in those languages as denoting "the Internet", computerization, or modernization in general.
In Afrikaans, it is called aapstert, meaning "monkey tail", similarly to the Dutch use of the word.
In Arabic, it is آتْ (at).
In Armenian, it is շնիկ (shnik), which means "puppy".
In Azeri, it is ət (at), which means "meat".
In Basque, it is a bildua ("wrapped A").
In Belarusian, it is called сьлімак (ślimak, meaning "helix" or "snail").
In Bosnian, it is ludo a ("crazy A").
In Bulgarian, it is called кльомба (klyomba—"a badly written letter"), маймунско а (maymunsko a—"monkey A"), маймунка (maimunka—"little monkey"), or баница ("banitsa" - a pastry roll often made in a shape similar to the character)
In Catalan, it is called arrova ("a unit of measure") or ensaïmada (because of the similar shape of this food).
In Chinese:
In mainland China, it used to be called 圈A (pronounced quān A), meaning "circled A / enclosed A", or 花A (pronounced huā A), meaning "lacy A", and sometimes as 小老鼠 (pronounced xiǎo lǎoshǔ), meaning "little mouse".[27] Nowadays, for most of China's youth, it is called 艾特 (pronounced ài tè), which is the phonetic transcription from "at".
In Taiwan, it is 小老鼠 (pronounced xiǎo lǎoshǔ), meaning "little mouse".
In Hong Kong and Macau, it is at.
In Croatian, it is most often referred to by the English word "at". Informally, it is called a manki, coming from the local pronunciation of the English word "monkey". Note that the Croatian word for monkey, majmun, is not used to denote the symbol.
In Czech and Slovak, it is called zavináč, which means "rollmops".
In Danish, it is snabel-a ("elephant's trunk A"). It is not used for prices, where in Danish a alone means at (per piece).
In Dutch, it is called apenstaartje ("[little] monkey tail"). The "a" is the first character of the Dutch word "aap" which means "monkey". However, the use of the English "at" has become increasingly popular in Dutch.
In Esperanto, it is called ĉe-signo ("at" – for the email use, with an address like "zamenhof@esperanto.org" pronounced zamenhof ĉe esperanto punkto org), po-signo ("each"—refers only to the mathematical use), or heliko (meaning "snail").
In Estonian, it is called ätt, from the English word "at".
In Faroese, it is kurla, hjá ("at"), tranta, or snápil-a ("[elephant's] trunk A").
In Finnish, it was originally called taksamerkki ("fee sign") or yksikköhinnan merkki ("unit price sign"), but these names are long obsolete and now rarely understood. Nowadays, it is officially ät-merkki, according to the national standardization institute SFS; frequently also spelled "at-merkki". Other names include kissanhäntä ("cat's tail") and miukumauku ("miaow-meow").
In French, it is now officially the arobase[28][29] (also spelled arrobase or arrobe), or a commercial (though this is most commonly used in French-speaking Canada, and should normally only be used when quoting prices; it should always be called arobase or, better yet, arobas when in an email address). Its origin is the same as that of the Spanish word, which could be derived from the Arabic ar-roub. In France, it is also common (especially for younger generations) to say the English word "at" when spelling out an email address.[citation needed] In everyday Québec French, one often hears a commercial when sounding out an e-mail address, while TV and radio hosts are more likely to use arobase.
In Georgian, it is at, spelled ეთ–ი (კომერციული ეთ–ი).
In German, it has sometimes been referred to as Klammeraffe (meaning "spider monkey") or Affenschwanz. Klammeraffe or Affenschwanz refer to the similarity of @ to the tail of a monkey grabbing a branch. Lately, it has mostly been called at, just like in English.
In Greek, it is most often referred to as παπάκι (papaki), meaning "duckling", due to the similarity it bears with comic character designs for ducks.
In Greenlandic, and Inuit language, it is called aajusaq meaning "A-like" or "something that looks like A".
In Hebrew, it is colloquially known as שטרודל (shtrudel), due to the visual resemblance to a cross-section cut of a strudel cake. The normative term, invented by the Academy of the Hebrew Language, is כרוכית (krukhit), which is another Hebrew word for "strudel", but is rarely used.
In Hindi, it is at, from the English word.
In Hungarian, it is called kukac (a playful synonym for "worm" or "maggot").
In Icelandic, it is referred to as atmerkið ("the at sign") or hjá, which is a direct translation of the English word "at".
In Indian English, speakers often say at the rate of (with e-mail addresses quoted as "example at the rate of example.com").
In Indonesian, it is usually et. Variations exist – especially if verbal communication is very noisy – such as a bundar and a bulat (both meaning "circled A"), a keong ("snail A"), and (most rarely) a monyet ("monkey A").
In Irish, it is ag (meaning "at") or comhartha @/ag (meaning "at sign").
In Italian, it is chiocciola ("snail") or a commerciale, sometimes at (pronounced more often [ˈɛt] and rarely [ˈat]) or ad.
In Japanese, it is called attomāku (アットマーク, from the English words "at mark"). The word is wasei-eigo, a loan word from the English language. It is sometimes called Naruto, because of Naruto whirlpools or food (Narutomaki).
In Kazakh, it is officially called айқұлақ ("moon's ear"), sometimes unofficial as ит басы ("dog's head").
In Korean, it is called golbaeng-i (골뱅이, meaning "bai top shells"), a dialectal form of whelk.
In Kurdish, it is ئه ت at, from the English word.
In Kyrgyz, it is officially called маймылча ("monkey"), sometimes unofficially as собачка ("doggy"), and et.
In Latvian, it is pronounced the same as in English, but, since in Latvian [æ] is written as "e" (not "a" as in English), it is sometimes written as et.
In Lithuanian, it is et (equivalent to the English "at").
In Luxembourgish it used to be called Afeschwanz ("monkey tail"), but due to widespread use, it is now called at, as in English.
In Macedonian, it is called мајмунче (my-moon-cheh—"little monkey").
In Malay, it is called alias when it is used in names and di when it is used in email addresses. It is also commonly used to abbreviate atau which means "or" or "either".
In Morse code (not a language), it is known as a "commat", consisting of the Morse code for the "A" and "C" which run together as one character: ·--·-·. The symbol was added in 2004 for use with email addresses,[30] the only official change to Morse code since World War I.
In Nepali, the symbol is called "at the rate." Commonly, people will give their email addresses by including the phrase "at the rate."
In Norwegian, it is officially called krøllalfa ("curly alpha" or "alpha twirl"). (The alternate alfakrøll is also common, but is not its official name.) Sometimes snabel-a, the Swedish/Danish name (which means "trunk A", as in "elephant's trunk"), is used. Commonly, people will call the symbol [æt] (as in English), particularly when giving their email addresses.
In Persian, it is at, from the English word.
In Polish, it is called, both officially and commonly, małpa ("monkey"). Rarely an English word "at" is used.
In Portuguese, it is called arroba (from the Arabic arrub). The word "arroba" is also used for a weight measure in Portuguese. One arroba is equivalent to 32 old Portuguese pounds, approximately 14.7 kg, and both the weight and the symbol are called arroba. In Brazil, cattle are still priced by the arroba – now rounded to 15 kg. (This occurs because the same sign was used to represent the same measure.)
In Romanian, it is most commonly called at, but also colloquially called Coadă de maimuţă ("monkey tail") or a-rond. The latter is commonly used, and it comes from the word "round" (from its shape), but that is nothing like the mathematical symbol A-rond (rounded A). Others call it aron, or la (Romanian word for at).
@ on a DVK Soviet computer (c. 1984)
In Russian, it is most commonly собака (sobaka, meaning "dog"). The name "dog" has come from Soviet computers DVK where the symbol had a short tail and similarity to a dog.
In Serbian, it is called лудо А (ludo A—"crazy A"), мајмунче (majmunče—"little monkey"), or мајмун (majmun—"monkey").
In Slovak, it is called zavináč ("pickled fish roll", as in Czech).
In Slovenian, it is called afna ("monkey" (informally)).
In Spanish-speaking countries, it denotes a pre-metric unit of weight. While there are regional variations in Spain and Mexico, it is typically considered to represent approximately 25 pounds (11.5 kg), and both the weight and the symbol are called arroba.
In Swedish, it is called snabel-a ("elephant's trunk A") or simply at, as in the English language. Less formally it is also known as kanelbulle ("cinnamon roll") or alfakrull ("alpha curl").
In Swiss German, it is commonly called Affenschwanz ("monkey-tail"). However, the use of the English ´at´ has been coming increasingly popular in German.
In Tagalog, the word at means "and"; the symbol is thus used like an ampersand in colloquial writing such as text messages (e.g. magluto @ kumain, "cook and eat").
In Thai, it is commonly called at, as in English.
In Turkish, it is commonly called et, like in English but written in Turkish letters.
In Ukrainian, it is commonly called ет (et—"at"), other names being равлик (ravlyk—"snail"), слимачок (slymachok—"little slug"), вухо (vukho—"ear"), and песик (pesyk—"little dog").
In Urdu, it is اٹ (at).
In Uzbek, it is called kuchukcha, which loosely means "doggy"—a direct calque from Russian.
In Vietnamese, it is called a còng ("bent A") in the north and a móc ("hooked A") in the south.
In Welsh, it is sometimes known as a malwen or malwoden (both meaning "snail").
Unicode variants[edit]
U+0040 @ Commercial AT (HTML @)
U+FF20 ＠ Fullwidth commercial at (HTML ＠)
U+FE6B ﹫ Small commercial at (HTML ﹫)
In culture[edit]
The Museum of Modern Art admitted the at sign to its architecture and design collection.[27]
Author Philip Pullman added the category of "things that were invented for one purpose, but are used for another" to his "Museum of Curiosity" collection with the @ as an example.[31]
John Lloyd, pledged on QI series A DVD to support widespread use of the term "Astatine" to refer to the symbol. This name was chosen as the chemical element astatine has the chemical symbol "At".[32]
American R&B singer Usher used a version of the at sign in his career, where the "a" was replaced with the vowel "u" from his name. Puerto Rican artist Miguelito also uses his version of the at sign where the "a" is replaced by the letter "m" from his name in his own line of merchandise that includes clothes, school supplies, his studio albums, etc.
A Chinese couple tried to name their son @—pronouncing it "ai ta" or "love him"—according to the Chinese State Language Commission.[33][34]
In the 1980 video game Rogue, presented in ASCII graphics, the player character is represented by the @. Many similar games, called Roguelikes, use the same presentation, and traditionally use the @ to represent the player character as well.
See also[edit]
Circle-A
Enclosed A (Ⓐ, ⓐ)
ASCII
Unicode
References[edit]
Jump up ^ See, for example, Browns Index to Photocomposition Typography (p. 37), Greenwood Publishing, 1983, ISBN 0946824002
Jump up ^ "The @-symbol, part 2 of 2", Shady Characters ⌂ The secret life of punctuation
Jump up ^ "Short Cuts", Daniel Soar, Vol. 31 No. 10 · 28 May 2009 page 18, London Review of Books
Jump up ^ "New York's Moma claims @ as a design classic", Jemima Kiss, 28 March 2010, The Observer
Jump up ^ "… Tim Gowens offered the highly logical "ampersat" …", 05 February 1996, The Independent
Jump up ^ "strudel". FOLDOC. Retrieved 2014-11-21.
Jump up ^ "La arroba no es de Sevilla (ni de Italia)". purnas.com. Jorge Romance. Retrieved 2009-06-30.
Jump up ^ "Chronicle of Constantinus Manasses". www.worldcat.org. Retrieved 2016-03-08.
Jump up ^ "arroba". Diccionario de la Real Academia Española. Retrieved 3 August 2012.
^ Jump up to: a b Willan, Philip (2000-07-31). "Merchant@Florence Wrote It First 500 Years Ago". The Guardian. London. Retrieved 2010-04-25.
Jump up ^ Bringhurst, Robert (2002). The Elements of Typographic Style (version 2.5), p.272. Vancouver: Hartley & Marks. ISBN 0-88179-133-4.
Jump up ^ Article 5 Trade Marks Directive, as interpreted in Case C-251/95 Sabel BV v Puma AG [1997] ECR I-6191
Jump up ^ same source
Jump up ^ "The First Email". Archived from the original on 2006-05-06.
Jump up ^ "Tag Friends in Your Status and Posts - Facebook Blog".
Jump up ^ For an example, see: http://www.nfl.com/schedules
Jump up ^ 2.4.4.5 String literals,
Jump up ^ "2.4.2 Identifiers".
Jump up ^ Phil Haack. "Razor syntax quick reference".
Jump up ^ ASP.NET MVC 3: Razor’s @: and <text> syntax
Jump up ^ PHP: Error Control Operators – Manual
Jump up ^ "Visual FoxPro Programming Language Online Help: SET UDFPARMS (Command), or MSDN Library 'How to: Pass Data to Parameters by Reference'.". Microsoft, Inc. Retrieved 2011-02-19.
Jump up ^ "Windows PowerShell Language Specification 3.0 (PDF)".
Jump up ^ Martell-Otero, Loida (Fall 2009). "Doctoral Studies as Llamamiento, or How We All Need to be 'Ugly Betty'". Perspectivas: 84–106.
Jump up ^ DPD 1ͺ ediciσn, 2ͺ tirada
Jump up ^ Constable, Peter, and Lorna A. Priest (October 12, 2009) SIL Corporate PUA Assignments 5.2a. SIL International. pp. 59-60. Retrieved on April 12, 2010.
^ Jump up to: a b "Why @ Is Held in Such High Design Esteem". The New York Times, Alice Rawsthorn, March 21, 2010. 2010-03-22. Archived from the original on 24 March 2010. Retrieved 2010-04-25.
Jump up ^ "At last, France has a name for the @ sign", December 9, 2002, iol.co.za
Jump up ^ Orthographe fixée par la Commission générale de terminologie et de néologie (Journal officiel du 8 décembre 2002)
Jump up ^ "The ARRL Letter", Vol. 23, No. 18, April 30, 2004
Jump up ^ "Meeting Twelve – P-51 Mustang, Tempting Fate, Inventions Being Used for Things They Weren't Designed For". The Museum of Curiosity. Season 2. Episode 6. 8 June 2009.
Jump up ^ John Lloyd and John Mitchinson (6 November 2006). QI – The Complete First Series: "Factoids" (Audio Commentary) (DVD). BBC and 2 Entertain. OCLC 271537078. UPC 5014503232528.
Jump up ^ "English invades Chinese language", August 17, 2007", People's Daily Online
Jump up ^ "Couple try to name baby @", August 17, 2007, NZ Herald
External links[edit]
Look up commercial-at or at sign in Wiktionary, the free dictionary.
Wikimedia Commons has media related to At sign.
commercial-at at the Free On-line Dictionary of Computing
"The Accidental History of the @ Symbol ", Smithsonian magazine, September 2012, Retrieved June 2013.
The @-symbol, part 1, intermission, part 2, addenda, Shady Characters ⌂ The secret life of punctuation August 2011, Retrieved June 2013.
"Daniel Soar on @", London Review of Books, Vol. 31 No. 10, 28 May 2009, Retrieved June 2013.
ascii64 – the @ book – free download (creative commons) – by patrik sneyd – foreword by luigi colani) November 2006, Retrieved June 2013.
A Natural History of the @ Sign The many names of the at sign in various languages, 1997, Retrieved June 2013.
Sum: the @ Symbol, LINGUIST List 7.968 July 1996, Retrieved June 2013.
Where it's At: names for a common symbol World Wide Words August 1996, Retrieved June 2013.
UK Telegraph Article: Chinese parents choose to name their baby "@" August 2007, Retrieved June 2013.
Tom Chatfield tells the story of the @ sign on Medium
Retrieved from "https://en.wikipedia.org/w/index.php?title=At_sign&oldid=807053367"
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text:
The Last Supper (Leonardo da Vinci)
From Wikipedia, the free encyclopedia
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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
fresco-secco
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
[hide]
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 copy, 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 (ca. 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]
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), was not John the Apostle, but Mary Magdalene. 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). These claims have been contested by other writers, such as Carl E. Olsen and Sandra Miesel in The Da Vinci Hoax, as well as by art historians. Christopher Hodapp and Alice Von Kannon commented "If he [John] looks effeminate and needs a haircut, so does James, the second figure on the left, the one with the sort of Bette Midler look about him".[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.[26][27][28]
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 ^ 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. 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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Jump up ^ "Leonardo's Last Supper". Smarthistory at Khan Academy. Retrieved February 11, 2013.
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value: Die Laaste Avondmaal (Leonardo) – Afrikaans

value:
interlanguage-link interwiki-af
display: none;

value: العشاء الأخير (لوحة) – Arabic

value: Sonuncu şam yeməyi (Leonardo da Vinçi) – Azerbaijani

value: interlanguage-link interwiki-az badge-Q17437796 badge-featuredarticle

value: দ্য লাস্ট সাপার (লিওনার্দো দা ভিঞ্চি) – Bangla

value:
interlanguage-link interwiki-bn
display: none;

value: Chòe-āu ê Àn-pn̄g (Leonardo da Vinci) – Chinese (Min Nan)

value:
interlanguage-link interwiki-zh-min-nan
display: none;

value: Тайная вячэра (Леанарда да Вінчы) – Belarusian

value:
interlanguage-link interwiki-be
display: none;

value: Тайната вечеря (Леонардо да Винчи) – Bulgarian

value:
interlanguage-link interwiki-bg
display: none;

value:
interlanguage-link interwiki-bs
display: none;

value:
interlanguage-link interwiki-br
display: none;

value: El Sant Sopar (Leonardo da Vinci) – Catalan

value:
interlanguage-link interwiki-ca
display: none;

value:
interlanguage-link interwiki-cs
display: none;

value:
interlanguage-link interwiki-cy
display: none;

value:
interlanguage-link interwiki-da
display: none;

value: Das Abendmahl (Leonardo da Vinci) – German

value: Püha õhtusöömaaeg (Leonardo da Vinci) – Estonian

value:
interlanguage-link interwiki-et
display: none;

value: Ο Μυστικός Δείπνος (Ντα Βίντσι) – Greek

value:
interlanguage-link interwiki-el
display: none;

value: La última cena (Leonardo da Vinci) – Spanish

value: La Lasta Vespermanĝo (Leonardo) – Esperanto

value:
interlanguage-link interwiki-eo
display: none;

value: Azken Afaria (Leonardo da Vinci) – Basque

value:
interlanguage-link interwiki-eu
display: none;

value: شام آخر (دا وینچی) – Persian

value:
interlanguage-link interwiki-fa
display: none;

value: An Suipéar Déanach (Leonardo da Vinci) – Irish

value:
interlanguage-link interwiki-ga
display: none;

value:
interlanguage-link interwiki-gl
display: none;

value: 최후의 만찬 (레오나르도 다 빈치) – Korean

value:
interlanguage-link interwiki-ko
display: none;

value: Խորհրդավոր ընթրիք (Լեոնարդո դա Վինչի) – Armenian

value:
interlanguage-link interwiki-hy
display: none;

value:
interlanguage-link interwiki-hr
display: none;

value: Ti Maudi a Pangrabii (Leonardo da Vinci) – Iloko

value:
interlanguage-link interwiki-ilo
display: none;

value:
interlanguage-link interwiki-zu
display: none;

value: הסעודה האחרונה (ציור) – Hebrew

value:
interlanguage-link interwiki-he
display: none;

value: ಲಾಸ್ಟ್ ಸಪ್ಪರ್ – Kannada

value:
interlanguage-link interwiki-kn
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value: საიდუმლო სერობა (ლეონარდო და ვინჩი) – Georgian

value:
interlanguage-link interwiki-ka
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value: Жасырын кешкілік (Леонардо да Винчи) – Kazakh

value:
interlanguage-link interwiki-kk
display: none;

value:
interlanguage-link interwiki-la
display: none;

value:
interlanguage-link interwiki-lv
display: none;

value: Paskutinė vakarienė (Leonardas da Vinčis) – Lithuanian

value:
interlanguage-link interwiki-lt
display: none;

value:
interlanguage-link interwiki-li
display: none;

value: Az utolsó vacsora (da Vinci-festmény) – Hungarian

value:
interlanguage-link interwiki-hu
display: none;

value: Тајната вечера (слика) – Macedonian

value:
interlanguage-link interwiki-mk
display: none;

value: അന്ത്യതിരുവത്താഴം (ലിയനാർഡോ ഡാ വിഞ്ചി) – Malayalam

value:
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value:
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value: द लास्ट सपर – Marathi

value:
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value: Het Laatste Avondmaal (Leonardo da Vinci) – Dutch

value:
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value: 最後の晩餐 (レオナルド) – Japanese

value:
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value:
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value: Ostatnia Wieczerza (obraz Leonarda da Vinci) – Polish

value:
interlanguage-link interwiki-pl
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value: A Última Ceia (Leonardo da Vinci) – Portuguese

value: Cina cea de Taină (Leonardo da Vinci) – Romanian

value:
interlanguage-link interwiki-ro
display: none;

value: Тайная вечеря (фреска Леонардо да Винчи) – Russian

value:
interlanguage-link interwiki-sq
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value:
interlanguage-link interwiki-scn
display: none;

value: අවසන් භෝජන සංග්‍රහය (චිත්‍රය) – Sinhala

value:
interlanguage-link interwiki-si
display: none;

value:
interlanguage-link interwiki-simple
display: none;

value: Posledná večera (Leonardo da Vinci) – Slovak

value:
interlanguage-link interwiki-sk
display: none;

value: Zadnja večerja (Leonardo da Vinci) – Slovenian

value:
interlanguage-link interwiki-sl
display: none;

value: Тајна вечера (фреска) – Serbian

value:
interlanguage-link interwiki-sr
display: none;

value: Posljednja večera (Leonardo) – Serbo-Croatian

value:
interlanguage-link interwiki-sh
display: none;

value:
interlanguage-link interwiki-fi
display: none;

value:
interlanguage-link interwiki-sv
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value: இறுதி இராவுணவு (லியொனார்டோ டா வின்சி) – Tamil

value:
interlanguage-link interwiki-ta
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value: อาหารค่ำมื้อสุดท้าย (เลโอนาร์โด) – Thai

value:
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value:
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value: Тайна вечеря (картина да Вінчі) – Ukrainian

value:
interlanguage-link interwiki-uk
display: none;

value: Bữa ăn tối cuối cùng (Leonardo da Vinci) – Vietnamese

value:
interlanguage-link interwiki-vi
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value: An Urhi nga Pangiklop (Leonardo da Vinci) – Waray

value:
interlanguage-link interwiki-war
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value:
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value: 最后的晚餐 (达芬奇) – Chinese

value: All languages (initial selection from common choices by you and others)

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