Tintoretto’s Last Supper and the Counter-Reformation

Jacopo Tintoretto painted this version of the Last Supper, for Venice’s San Giorgio Maggiore Church between 1592–1594. The date is significant.

The Protestant Reformation, begun by Martin Luther in 1517, was in full force.

The Council of Trent, which launched the Counter-Reformation in 1563, included a call for a new art form to counter Protestantism, an art form through which 'the faithful are instructed and strengthened by commemorating and frequently recalling the articles of our faith.'

Tintoretto responded with a version of the Last Supper that is uniquely Catholic: It portrays a supper that didn’t happen just once during the time of Christ. It is happening in the Venice of the day, and viewers are therefore invited to find their own place in the story.

The scene is divided in half diagonally. The center of the scene is NOT occupied by Jesus or the apostles, but by an ordinary Venetian woman holding a dish.

Near her are servants taking dishes from a table, and even a pesky cat. But notice the lack of lights on this side of the room. Yes, it is evening, but more tellingly, the people on this side of the room are “in the dark:” as ignorant as the cat of the event that is happening on the other half of the room.

The table cuts the room at a diagonal, and the other half of the room dances with light, both from the flaring lamp on the ceiling and from Jesus' aura. But look! The lights are supernatural lights, revealing a multitude of the heavenly host encircling Jesus and glowing- with-light disciples! Even from under the table, there is light glowing.

The picture is thus divided between people of the light and people of darkness.

Notice some other details. Two women stand behind the table, one wearing blue, the other red - blue and red being the symbolic colors associated with the Madonna and Mary Magdalene. Cross-marked bread sets at the end of the table, pointing to the coming crucifixion.

Diagonal objects are usually in motion, (Try standing at the angle the table makes and you’ll understand why), and diagonals suggest action. Situating the table at a diagonal puts this picture into motion - and notice how active the disciples are too! What will all this action lead to? Will the disciples stay on their side of the table? Will light come to the darkness? And are we, the viewers, associating ourselves with the light or the darkness?