haircut, so does James, the second figure on the left." 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, 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. 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. The painting contains several possible numerical references, including to the number three. The Apostles are seated in groups of three, there are three windows behind Jesus, and the shape of Jesus' figure resembles a triangle. His hands are located at the golden ratio of half the height of the composition. The painting can also be interpreted using the Fibonacci series: one table, one central figure, two side walls, three windows and figures grouped in threes, five groups of figures, eight panels on the walls and eight table legs, and thirteen individual figures. Debates among art historians still surround the use of the Fibonacci series as some argue that its purposeful use did not fully begin to be applied to architecture until the early 19th century. Notes References Bibliography Further reading Detailed review of Steinberg's 'Incessant Last Supper' at 3 Pipe Problem External links Leonardo's Last Supper and the three layers Leonardo da Vinci: anatomical drawings from the Royal Library, Windsor Castle, exhibition catalog fully online as PDF from The Metropolitan Museum of Art, which contains material on The Last Supper (see index) 1498 paintings Leonardo Fresco paintings in Milan Paintings by Leonardo da Vinci Catholic paintings Paintings depicting Saint Peter Paintings depicting Judas Iscariot Tourist attractions in Milan