The Last Supper
The Last Supper 318M798A0001

This handpainted work of art captivates the spirit of High Renaissance. With the portrayal of Leonardo da Vinci’s The Last Supper on the dial, the timepiece is created to be an embodiment of high arts. It’s the most spellbinding selection among our series of classical works.

  • ShapeRound
  • Size⌀: 42.00mm
  • Height12.00mm
  • Case Material18K Gold (Including hands, buckle and crown)
  • Bezel18K Gold, Flat
  • Glass CrystalFlat Crystal Sapphire, Scratch Resistant, 9/10 Mohs
  • Watch Caseback316L Surgical Grade Stainless Steel, Engraved with Octoganal Perpetual Pattern
  • DialMicro Painted
  • Water Resistance3 ATM, 30 Meters
  • MovementETA 2824-2, Swiss Made
  • Frequency4 Hz, 28'800 A/h
  • Power Reserve42 Hours
  • Shock ProtectionIncabloc Novodiac
  • Movement FeaturesSelf-Winding, Stop-Second Time Setting, Bidirectional
  • DisplayHours, Minutes
  • AccuracyAverage +/- 12 sec/day, up to +/- 30 sec/day
  • Self WindingYes
  • MaterialCrocodile Leather
  • TypeGenuine Leather, Hand Tanned
  • SeamHand Sewn, High Quality
  • Buckle18K Gold
  • Dial ArtHand Painted Micro Art, Reinterpretation of The Last Supper from Leonardo da Vinci, Jesus and the Apostles Figures, Traditional Technique, Special Coating
  • Crown ArtHand Painted Micro Art of Mona Lisa, Traditional Technique, Special Coating
  • Top Lug SideHand Painted Micro Art depicting Mona Lisa, Traditional Technique, Special Coating
  • Bottom Lug SideHand Painted Micro Art from Virgin of the Rocks, Traditional Technique, Special Coating
  • Bottom Lug SideHand Painted Micro Art from Virgin of the Rocks, Traditional Technique, Special Coating
A Masterpiece of High Renaissance by Leonardo da Vinci
The Last Supper
The Last Supper

Through the exceptional skill of our most prized artist, this masterpiece is recreated in respect to the original work, The Last Supper by Leonardo da Vinci. The artist creates the classical works of art without disrupting their essence and interprets them in the spirit of the contemporary. Without skimming any detail, he imbues the spirit of art into the case of the timepiece. Through a special technique, he is able to interpret the expressive depiction of any artwork into any size of choice. The masterpiece marks one of his most important milestones that he created by blending his artistic soul with the essence of classical Italian art, which he is in love with. It’s the result of a persistent quest to preserve the nature of classical masters and to carry it into the future generations.

It’s our pride to witness the transformation of the famous Last Supper by Leonardo da Vinci into a multifaceted medium without any loss of detail or nuance. The Last Supper, which is one among the few artworks that Leonardo managed to finalize through the years, is also considered to be the trigger point of Renaissance. It’s painted as a mural on the wall of the mass hall of Santa Maria Delle Grazie Monastery in Milan. Though time has not been kind to it and caused it to go through numerous restorations. The only way to observe the fine details of the painting is through the few copies that were created at a close time of its creation. Classical works, one way or another, get defeated against the wear of time. It’s our belief that the best method to preserve these classics is to conserve their essential philosophies in the memories of their admirers. This is the reason that we encompass classical works into our series. This item in particular, is one of our most proud artistic timepieces. It interprets the great master’s work with the objective of carrying it through the generations.

It’s an awe-inspiring piece of work for anyone who spectates it's genuine delicacy, which has gone through an immense period of design and manufacture. Even though every detail has been delicately painted onto the dial and the case, there is no feeling of compression or an overload of subtlety in the general stature of the timepiece. The artist has managed to synthesize his artistic skill that he has been cultivating for the past forty years, together with the artistic perspective of the great master Leonardo da Vinci, and imbues it together with the fundamental experience of Sirius. In the process, he puts forth what could almost be interpreted as a new artistic movement. He transitions the great works that are only available at museums into miniature tableau and presents these for quality spectation. Such demanding work is a necessity to confine a large masterpiece into a small dial without any loss of perspective and intricacy. While keeping the details from the original, the work also manages to express the human emotion in the movement of the depicted figures.

Squaring the circle; the enigmatic phenomenon that many philosophers and sophists have worked on from the very early stages of history, as well as Leonardo da Vinci himself, has been a reference point to transform The Last Supper’s horizontal composition into a circular dial. When the spectator finds out that not only the Last Supper, but also the various works of Leonardo have been depicted onto the case of the timepiece, they will find the eyes of Mona Lisa gazing right back at them from beneath the frontal case. This is not only a timepiece but also a unique work of art composed into an artistic interpretation.

The famous Mona Lisa, an inspiration to many artists and adoned by countless admirers, among whom counts Raffaello Sanzio da Urbino who has used the composition for his own portraiture works, is known for the depiction of what is favorably attributed as the most mysterious smile in history, worn by its enchanting model Lisa del Giocondo, the wife of a merchant who commissioned the painting. Although perceived under the inspection of realism by the earlier commentators and art historians, the portrait was taken with a more enigmatic lens under the light of romanticism. With such interpretation sparked the focus on the lure of her ambiguous smile - was she smiling or was it an illusion of sfumato? Curious observers, zooming in on the lips, will undoubtedly see the smile present, whereas taking the face as a whole, the certainty of this smile disappears and leaves behind that perplexed wonder of her expression. Even if not euphoric, her eyes seem equally cheerful when taken separately. What is it then, which transforms the expression into a subtle amusement from the clear welcoming smile when gazed upon its holistic composition? Perhaps you will be able to tell when you look at the eyes of Mona Lisa residing on the top lug side of the watch case, querying back at you in a similar mischievous subterfuge.

On the opposite lug side of the case is her counterpart, the angel from the Virgin of the Rocks, another masterwork painted by Leonardo da Vinci. Raising a hand in benediction in the original painting, the expression on this face is clear. However, instead of raising a sense of doubtless relief, this clarity only serves to display a complex layer of different emotions and their nuances. Genderless, but still referenced after a female model, the eyes of the angel are carefree yet alert, without either the hint of worldly anxiety or the exhaustion of burdening the opposite. The aesthetically attractive eyes don't betray any impression of clarity, unlike that of its counterpart on the other side of the watch, but raises a complex cognition of natural stoicism and an awareness accompanied by indifference.

This timepiece that ingrains the spirit of High Renaissance into a watch is among our greatest achievements. It’s the signature work of our best artist who is also, at the same time, behind the creation of the concept. He gets his inspiration from the great masters of art as he expresses the classical arts into haute horlogerie. These classical arts encompass a great deal of his artistic persona.

Being a polymath artist, he very much resembles the uomo universale individuals of the Renaissance age. The numerous common points he has with Leonardo da Vinci is reflected upon the work. He takes the concept of design from the grip of mechanical industry and returns it to its true essence, the artistic expression. A similar tendency is easily observed if one studies the life of Leonardo da Vinci. As an engineer, a stage designer and a scientist while he works in profession; he takes artistic commissions during such occupations and uses the opportunity to gather together different disciplines under the basis of art. As such, Leonardo’s The Last supper is one of such commissions he received while in employment in Milan.

Leonardo, born in the small cottage of Vinci in the countryside of Florence, was enrolled into the art atelier of the Venetian artist Andrea del Verrocchio at a very young age. He soon surpassed his own master in artistic skill. Later, he was employed by Ludovico Sforza, the duke of Milan, and working through a number of creations, he was commissioned for the monastery of Santa Maria Delle Grazie to create the painting of The Last Supper. Instead of using the traditional methods of fresco painting, he applied a mixed technique of tempera and oil paints on dry plaster, which caused the painting to crumble and distort before 50 years have passed after its creation. This caused several copies of the painting to be made in date, with the presence and direct involvement of Leonardo himself. From those copies it was made possible to restore the mural in modern ages, while staying true to its original detail as best as possible. The Last Supper has been a subject of art before and after Leonardo’s time and even though he stayed loyal to certain classical elements used in the composition, he innovated a complete new method in comperence to the predecessors. Renaissance itself has been about the focus on human nature and renovation, but Leonardo took this a step further. He gave the figures a deep anthropomorphic movement and depicted them with masterful expression of emotion. He carefully ornamented the theological details into the composition alongside the rest.

To understand The Last Supper and the spirit of Leonardo when he painted it, one must understand the importance it holds in Christianity. To spend time with the apostles in the Passover, in which unleavened bread is consumed, Jesus goes to the city center of Jerusalem and meets with the apostles in a house that has been designated beforehand. When the evening comes, Jesus tells the apostles “Truly I tell you, one of you will betray me,” which sends them all in disarray and shock. One by one they start asking “Is it me?” which Jesus replies with “The one who has shared a bowl with me, one of the twelve, will betray me.” And when finally Judas asks “Is it me?” Jesus replies with “You have said it yourself. Do what you must do quickly;” because despite that the rest of the apostles didn’t understand what their conversation has been about, Judas had already agreed to betray the identity of Jesus to the high priests, at a price of thirty silver coins. Afterwards, Jesus breaks a bread and gives it to the apostles and says “Take this bread, it’s my body;” and then takes a drink and gives it to them and says “Drink this, it’s my blood which has been poured for many.” Then he sets to wash each one of their feet to exemplify equality. All of what transpires then, later becomes the objects of rite in the Holy Eucharist which Christians practiced for centuries to come.

Bread is just a bread by itself, though to the pure of heart who is full of faithful conviction, it becomes the body of Jesus, meaning that it transforms the one who consumes it to celestial inspiration. The blood is believed to be the spirit of Jesus and represents the innocence which purifies the sin. To be inspired into the pure faith, one must have a heart purified with goodness and a virtuous character, which is important than any worldly pursuit. This, Jesus emphasizes with “Remember me,” to carry the message of goodness into the future generations. The Last Supper having such a strong place in theology is the reason why both the classical and the modern artists have depicted the subject in numerous works of art. Together with this classical tradition of Last Supper depiction, Leonardo includes the details like Jesus sharing the bowl with Judas, gesturing towards the bread, the dismay and surprise of the apostles, the simplicity of the Passover supper into the painting in a stylistic interpretation.

With the exclusion of Judas, their number becomes 12, which is equal to the number of months that we divide a year in the system which the birth of Jesus is taken as the starting point. The same number of numericals is also put onto the dial of a watch. Just like unleavened bread signifying purity, so is the supper without Judas, who represents the sin traded for worldly gain. The supper without Judas, just like bread without leaven, represents the sinless everlasting immortality in the timelessness of Heaven infinite.