James the elder, Andrew, and Peter on his right, and John Evangelist, Bartholomew, Matthew, Thomas, Simon, and Thaddeus on his left; in front, alone, Judas. Composition resembles that of Dom. Ghirlandajo, in S. Marco, Florence, but execution Peruginesque. Possibly painted by Perugino's pupils, Gerino da Pistoia, Eusebio, or Giannicola Manni. Was at one time attributed to Raphael. Another Last Supper, in fresco, belonging also to this school, but attributed to Raphael, was recovered in 1845 from under a coat of whitewash in the refectory of the Convent of S. Onofrio, Florence. It has been engraved by Jesi.—C. & C., Italy, iii. 247; Jahrbuch, v. 207.
By Frans Pourbus, the younger, Louvre; canvas, H. 9 ft. 5 in. × 12 ft. 2 in.; signed, dated 1618. The apostles seated two by two on benches on each side of the table, leaving in front an opening through which is seen Christ, with a plate, a glass, and the bread before him; at left, Judas, standing, holds the purse behind him and protests his innocence. Formerly on high altar of S. Leu and S. Gilles, Paris.—Villot, Cat. Louvre.
By Nicolas Poussin, Louvre; canvas, H. 10 ft. 8 in. × 8 ft. 3 in. In a hall adorned with Ionic columns, Christ, standing in front of the table, distributes the bread to the disciples, who stand or kneel around him. Ordered in 1641 by Louis XIII. for Chapel of St. Germain-en-Laye. Engraved by P. Lombart; Normand.—Cat. Louvre; Landon, Œuvres; Smith, viii. 52.
By Giulio Procaccini, L'Annunziata, Genoa. Considered the painter's masterpiece.
By Raphael, Vatican, fresco on wall of Loggia. The disciples are seated on all sides of a square table, those seen from behind turning their heads so as to show their faces. Engraved by Sisto Badalocchio, and others.—Gruyer, Fresques de Raphael (Loges), 188; Larousse, iii. 704.
By Rubens, Brera, Milan; canvas, H. 10 ft. × 6 ft. 9 in. Christ, seated with his disciples around a table, holds the bread in his hands and lifts his eyes to heaven.
By Andrea del Sarto, Convent of S. Salvi, near Florence; fresco on wall of refectory. Composition similar to that of Leonardo da Vinci, Christ and the disciples being seated on the same side of the table; Judas, at the right of Jesus, protests his innocence, while the rest show astonishment or indignation.—Larousse, iii. 704; Lavice.
By Bartolommeo Schidone, Parma Museum. Christ has his right hand raised above a large platter containing a lamb, his left upon St. John's shoulder; two disciples are standing, the rest are seated.
By Tintoretto, S. Giorgio Maggiore, Venice; canvas. Represented like any large supper in an Italian inn, the figures all uninteresting; but the smoke of the lamp turns as it rises into a multitude of angels, so writhed and twisted together as to be at first scarcely distinguishable.—Ruskin, Stones of Venice, iii. 302; Zanotto, 631.
By Tintoretto, S. Trovaso (SS. Gervasio e Protasio), Venice; canvas. While the rest of the apostles are intently listening to Christ's words, one of them (Judas?) is stooping to help himself to wine from a flask on the floor. So much repainted as to be hardly worth notice. A similar picture, attributed to Tintoretto, in the Louvre. Engraved by Sadeler; Lovisa.—Ruskin, Stones of Venice, iii. 361.
By Tintoretto, Scuola di S. Rocco, Venice; canvas. Christ at the end of the table, which is spread in a sort of large kitchen, the host being employed at a dresser in the background; only eleven disciples, Judas having gone out; in front, sitting on steps, two mendicants wait for the fragments, and a dog watches earnestly the movements of the company. A most unsatisfactory picture.—Ruskin, Stones of Venice, iii. 338.
By Titian, Escorial, Spain; canvas; thirteen full-length figures of life-size; signed. Table in a vast hall, with an arched opening at each side; Christ seated in middle, with the disciples grouped behind and around ends of the table, under which a dog is gnawing a bone; on the floor, a vase near
