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Despite using the rules of perspective in this context, the work of Dali is not the same as the work of Leonardo da Vinci, the Renaissance. While Leonardo is concerned to represent the visible reality, Dali works symbolically with the number twelve, the twelve apostles, the twelve pentagons that make up the dodecahedron, to compose the background of the picture, and, twelve hours and twelve minutes as the time that the scene would have occurred. But in relation to the composition, the two works have similarities. We see that both use the rules of perspective to translate the volume and depth of the forms within the picture plane. The depth or third dimension is mock artist through the vanishing points, and the diagonals which increase or decrease the size of the figures more or less near the bottom of the frame. Also note that, in both works, the geometric center is located at the head of Christ, and the geometric center of the composition, presenting a symmetrical, equally distributing the weight on both sides. Different views of art Giotto and Rego Monteiro, in his compositions with the same theme, do not use the traditional perspective (the Renaissance). Note in the works, each artist represented the theme in different ways. The Last Supper by Giotto work approaches the idea of representing the real Leonardo, despite a formal structure still no prospect, as the religious convention of the time required to express holiness. Observe how Giotto puts Apostles
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Unatoč pomoću pravila perspektive u tom kontekstu, djelo Dalija nije isto kao djelo Leonarda da Vincija, renesansnog. Dok Leonardo je zabrinut da je vidljivi stvarnost, Dali radi simbolički s brojem dvanaest, dvanaest apostola, dvanaest pentagona koje čine dodekahedron, sa stvaranjem pozadinu slike, i, dvanaest sati i dvanaest minuta kao vrijeme tog Prizor bi dogodila. No, u odnosu na sastav, dva djela imaju sličnosti. Vidimo da su i koristiti pravila perspektive prevesti volumen i dubinu od oblika u ravnini slike. Dubine ili treća dimenzija je lažna umjetnik kroz nestajanje bodova, a dijagonale koje povećavaju ili smanjuju veličinu likova više ili manje pri dnu okvira. Također, imajte na umu da, u oba djela, geometrijska centar se nalazi na čelu Krista, i geometrijska središte kompozicije, predstavljajući simetrična, jednako distribuciju težine na obje strane. Različiti pogledi umjetnosti Giotto i Rego Monteiro, u svojim skladbama s istom temom, ne koriste tradicionalnu perspektivu (renesansa). Napomena u djelima, svaki umjetnik predstavlja temu na različite načine. Posljednja večera by Giotto rad približava ideju predstavlja pravi Leonarda, unatoč formalnoj strukturi i dalje bez izgleda, kao vjerskoj konvenciji potrebnog vremena izraziti svetost. Promatrajte kako Giotto poslao apostole