G2 - Zoe Moga

"While they were eating, Jesus took bread, and when he had given thanks, he broke it and gave it to his disciples, saying, “Take and eat; this is my body.” Then he took a cup, and when he had given thanks, he gave it to them, saying, “Drink from it, all of you. This is my blood of the covenant, which is poured out for many for the forgiveness of sins.” (Matthew 26:26-28) Transubstantiation is a central component of the Last Supper, as it’s depicted in the Bible and in Tintoretto’s painting. In the center of the long table Jesus is depicted feeding an apostle wine and bread, which becomes his body and blood. Like is told in the Gospels (except for John’s) and 1 Corinthians, this moment is core in telling the story of the last supper before Jesus’s crucifixion. On the cusp of betrayal and tragedy, Christ’s presence is eternalized through this physical transformation and connected fully to his apostles as they eat and drink the wine and bread. Furthermore, in this room, painted in dark colors and full of harsh shadows, Christ and his act is illuminated brightly. Much like how the story in the bible of this transubstantiation highlights an eternalized hope and connection that Jesus has to all his followers amongst darker tales of betrayal and denial, Tintoretto’s depiction illuminates the room and brings light to a dark and moody setting.

“I am not referring to all of you; I know those I have chosen. But this is to fulfill this passage of Scripture: ‘He who shared my bread has turned against me.’” (John 22:18) “… “It is the one to whom I will give this piece of bread when I have dipped it in the dish.” Then, dipping the piece of bread, he gave it to Judas, the son of Simon Iscariot. As soon as Judas took the bread, Satan entered into him.” (Luke 22:26-27) Within the story of the Last Supper, Jesus confronts his apostles, proclaiming that one of them will be betray him. He further identifies Judas as the traitor, despite his denials. While this is a critical moment of the Last Supper, Judas is difficult to identify in Tintoretto’s depiction. On the table sits Jesus and eleven apostles, all illuminated like Jesus. Two other men sit near the table with clear detailing. On the left side is a man slightly bent over, wearing tattered garments, and leaning on a cane. Closer to Jesus is a man kneeling up against the opposite side of the table wearing orange clothes. The man in orange’s proximity to Christ feels it’s at a calculated distance. Close to him and the other apostles, yet on the other side of the table, potentially separating him symbolically. However, there is no clear identification of Judas, and his story of betrayal falls into the dark background of this scene. Though this differs from the prominent telling in the Bible, this mystery is fitting, emphasizing the questions around the betrayal and the possibility of any apostle or follower descending into sin.

“When the hour came, Jesus and his apostles reclined at the table. And he said to them, “I have eagerly desired to eat this Passover with you before I suffer. For I tell you, I will not eat it again until it finds fulfillment in the kingdom of God.” (Luke 22: 14-16) Tintoretto’s portrayal of the Last Supper combines elements of the spiritual and physical. While the gospels do not outwardly describe a spiritual presence, like the angels in his painting, Tintoretto expands and illustrates themes of death and spirituality. Luke’s gospel showcases Christ expressing his excitement for this Passover while also insinuating his death. Tintoretto masterfully blends present and future within his depiction. The table and room are lively, figures besides the apostles engaging with each other and filling out the room. This brings a certain realness to this moment; besides the biblical significance, this is a moment in history and a moment within the lives of these important figures. Furthermore, this is contrasted with the soft angels near the ceiling. They all seem to gaze towards Jesus gently, as though they are listening to him, and waiting for him to join their heavenly plane. Though Tintoretto took creative liberties in his depiction of the scene, it clearly builds upon scripture and the themes of life and death it highlights during the Last Supper.

“After that, he poured water into a basin and began to wash his disciples’ feet, drying them with the towel that was wrapped around him.” (John 13:5) In John’s gospel, Jesus washes the feet of his disciples, both highlighting his humility and serving his purpose to cleanse those of their sins. Though Jesus is primarily depicted in the moment of transubstantiation, Tintoretto carefully includes a reference to this part of the Last Supper. Next to man in the orange garments is a tub with a towel thrown across the top. Although we do not see Jesus’ cleaning and washing the feet of his disciples, it’s presence in the room insinuates the movement of the story and scene. This further adds to the multi-dimensionality of Tintoretto’s painting, he does not just focus on the transubstantiation or Judas’s imminent betrayal.

“Jesus said, “Have the people sit down.” There was plenty of grass in that place, and they sat down (about five thousand men were there). Jesus then took the loaves, gave thanks, and distributed to those who were seated as much as they wanted. He did the same with the fish.” (John 6:10-11) In a scene before the Last Supper, after Jesus crossed to the far shore of the Sea of Galilee, he was followed by people who had seen him heal the sick. With Passover coming up, Jesus wanted to feed his followers, however, there was only little bread and fish. Despite this he still fed them, displaying his charity and humility. Though this story feels separate from the Last Supper, Tintoretto’s depiction includes many others besides his apostles. Tintoretto puts some of these figures in the foreground and even displays them standing behind Jesus and his apostles. This really shows the nuanced ways in which Tintoretto depicts the Last Supper. In such a pivotal moment, Jesus is surrounding by the humble, beggars and women. Much like he does with the people on the shore, these figures are included and even fed during this Passover dinner.

In Jacopo Tintoretto’s painting, Last Supper, he depicts the transubstantiation and the Passover dinner between Jesus and his twelve apostles. Tintoretto adheres loyalty to the Bible, with his inclusion of transubstantiation. However, he also takes creative liberties, expanding and adjusting his portrayal to fit within this darker and active scene. To do this, Tintoretto purposefully hides the identity of Judas and lessens its visual presence in the piece while also promoting themes of sin and hiddenness that scripture includes. He also includes a small water basin and towel, calling back to Jesus cleaning the feet of his apostles without visually demonstrating it. Tintoretto emphasizes a certain creativity with his mix of spiritual and physical elements, as well as including figures who are not of the twelve. Ultimately, Tintoretto displays a complicated and nuanced portrayal of the Last Supper. By doing so, he was able to add a dynamic and lively aspect to his painting. Jesus does not feel still; rather, Tintoretto includes clues to how this moment will develop and leads to the eventual crucifixion. By doing so, he makes his painting an intellectually and spiritually stimulating experience. There is much to uncover within the shadows and these inclusions pair purposefully with the harsh shadows and significantly illuminated figures and sections.