The Last Supper

The Last Supper

    

Recently I was talking to a long-time mate and he was mentioning that he and his wife, who was an art teacher, were planning to visit Milan to see Leonardo da Vinci's The Last Supper. Oh, how the envy welled up in me! I have always wanted to see this painting first hand but alas, the opportunity has never arisen. "Lucky Duck", was all I could say.

This painting, or mural, on the wall of the refectory of the Convent of Santa Maria delle Gracie is one of the  Western World's most famous paintings. It depicts the reaction and concern among the disciples after Jesus claimed that one of them would betray him (John 13: 21-22).

When Jesus had thus spoken, he was troubled in spirit, and testified, "Truly, truly, I say to you, one of you will betray me." The disciples looked at one another, uncertain of whom he spoke.

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This is a copy of Leonado da Vinci's famous painting of the last supper by an artist known as Giampietrino. It was used as a reference when the reconditioning of the original took place in the 1990s.

Although half the Christians churches in the world seem to contain a print of the famous mural, my wish to see the original has not diminished, rather the opposite. What I have done however is to photograph other examples of how artists have represented this incident in the background history of the Christian Church and its theologies. No doubt there are many, many thousands of art works , of varying quality, depicting this occasion, and each of these represents something special to the people associated with it. I would now like to look at a few of the photographs I have taken over the last few years.

The event with Jesus and his disciples is the forerunner of one of the important sacraments celebrated in a wide range of Christian churches to this day. This sacrament is known as The Eucharist, Holy Communion, The Lord's Supper, Holy Meal, Commemorative Meal, to name a few. Specifics in its theological interpretation and everyday practice do vary from one Christian denomination to another but its importance is not denied.

One basic understanding is that Jesus invites us to join with him in this fellowship meal. It's about accepting this invitation and receiving the spiritual nourishment for our life's journey. This invitation, I think, is so well illustrated in the first stop on our journey to see a few Last Suppers.

A gilded relief on the altar in the Lutheran Church, St Michael's, in Hamburg, Germany.

We stop first in Hamburg, Germany. In the main Lutheran church in this city, St Michael's (Michel to the locals), there is this gilded relief, acting as a sort of reredos to the very simple altar. The open hands seem to be saying, "Come, everything is now ready, awaiting you." The focus is on the cup, signifying the blood of Jesus. I am sacrificing myself for you and this cup will strengthen your resolve in following me and practising my example of showing love to all people, it is bolding proclaiming.

I am reminded of part of the Thanksgiving in the liturgy of the communion service of the Lutheran Church many years ago. Although using an old English language, which was the norm at the time, the sentiments expressed, I believe, are similar to those Jesus is portraying in this relief. It goes, spoken by the Minister:

            We give thanks to Thee, Almighty God, that thou hast refreshed us through this salutary gift; and we beseech Thee that of Thy mercy Thou wouldst strengthen us through the same in faith towards Thee and in fervent love towards one another, through Jesus Christ Thy dear Son, our Lord, Who liveth and reigneth with Thee, and the Holy Ghost, ever one God, world without end.  AMEN.

The disciples are shown in varying poses of devotion, quite unlike the postures shown in Giampietrino's copy of Leonado's classic where they are troubled.

Our journey leads now to Southern Germany along the Romantic Road which runs through a number of interesting old towns which epitomise medieval Germany. From this area I have a number of quite different depictions of the Last Supper. First to Rothenburg on the Tauber, or simply Rothenburg to the many tourists who visit this medieval town. We join the many tourist tours which stop at this town.

Our destination here is the church of St James, a medieval church built in the fourteenth and fifteenth centuries. It developed as a pilgrim church being as it was on the pilgrimage route from Germany to St James Cathedral in Santiago de Compostela in Spain. Many would stop here as well. Jill, some years ago, had expressed a very keen interest in walking some of that great pilgrimage trail but because of a number of factors that never eventuated. Standing with an artist's impression of a pilgrim outside St James in Rothenburg she did at least have the experience of taking a couple of steps on the pilgrim road.

We need to go inside the church to see our real reason for visiting this church. It was to see the work of Tilman Riemenschneider, the greatest woodcarver of the Middle Ages. Riemenschneider was an exceptional artist who lived mainly in Würzburg, a little north of Rothenburg. Some of his carving can still be seen in the surrounding districts. He was born in 1460 and so lived during the time of the Reformation era in Germany.

Unfortunately for him he was caught up in the strife which ensued between the peasants and the nobility. He sided with the peasants who were severely defeated in the so-called Peasants Revolt of 1525 and he was captured. As a punishment it is reported that his captors broke his hands and he could no longer work in his trade. He produced no work after 1525.The creative life of this master cut short. He died in 1531.

One of his carvings can be seen in St James Church here in Rothenburg. The piece is known as The Altar of the Holy Blood. The panel on the left hand side of the altar shows Jesus arriving in Jerusalem triumphantly for that last week. In contrast, the panel on the right has Jesus in the depth of despair in the Garden of Gethsemane. The major central section is a depiction of the last supper.

The scene shows the moment when Christ says the words: "Truly, truly, I say to you, one of you will betray me" (John 13:21). The figures contrast vastly with those shown on the Da Vinci's famous painting. There a great concern is shown by the wildly gesticulating arms. Here the arms do not play a great role but rather it is the agonised look on the faces of the disciples which convey deep concern. It appears that Riemenschneider is getting his inspiration and facts for the carving from St John's version of the event.

                        ²¹ When Jesus had thus spoken, he was troubled in spirit and testified, "Truly, truly, I say to you, one of you will betray me." ²² The disciples looked at one another,uncertain of whom he spoke.²³ One of his disciples, whom Jesus loved, was lying   close to the breast of Jesus; ²⁴ so Simon Peter beckoned to him and said, "Tell us who it is of whom he speaks."²⁵ So lying thus, close to the breast of Jesus, he said to him,"Lord, who is it?" ²⁶ Jesus answered, "It is he to whom I shall give this morsel when I have dipped it." So when he had dipped the morsel, he gave it to Judas, the son of Simon Iscariot.²⁷ Then after the morsel, Satan entered into him. Jesus said to him,"What you are going to do, do quickly."²⁸ Now no one at the table knew why he had said this to him. ²⁹ Some thought that, because Judas had the money box, Jesus was telling him,"Buy what we need for the feast"; or that he should give something to the poor.³⁰ So, after receiving the morsel, he immediately went out; and it was night.                                                                                                            (John 13: 21-30. RSV).

We see in the carving that "one of his disciples, whom Jesus loved, was lying close to the breast of Jesus"(13:23). Indeed, one has to look carefully to see him. Peter is standing at the right hand side of Jesus. Judas is central in the whole scene. He is holding "the money box" - a bag here (13:29). Jesus has something in his hand ( the morsel?) appearing to give it to Judas (13:26). The three disciples ( John, Peter and Judas) and Jesus are central in the carving while the attention of the others appears to be focussed elsewhere (13:22). All this ties in very closely with the extract quoted above.

The central section of the Altar of the Holy Blood in St James Church in Rothenburg, Germany.

This is Riemenschneider's great piece which he created in the years 1500 - 1504. Knowing that it is regarded as his second greatest work, what about his greatest? As luck would have it, it is found in a church just outside the village of Credlingen, a mere 20 kilometres north of Rothenburg. This church had a beginning similar in general to many other churches established in the middle ages. The specific reason for its establishment was very different from the others.

Some surprising event occurred, some life-changing experience happened, some relic was discovered, a vision appeared, these, or similar events were remembered by the building of a chapel where they occurred. That's what happened here. A farmer was ploughing his field and turned up an undamaged sacramental host (piece of bread given at communion). To commemorate this miracle the church was established. This chapel, the Church of Christ the Lord, built in 1389 became a pilgrimage church where people would come to be strengthened by the bread from heaven.

Riemenschneider was commissioned to build an altar to be placed on the simple stone altar in existence at the time. During 1505 - 1510 he produced his greatest work, The Virgin Mary Altar, a 9.2 metre high wood carving which is still to be seen in the church.

This altar does not contain a depiction of the last supper. A secondary altar to the right does have an old wood carving of the event. It lacks the high quality craftsmanship so evident in Riemenschneider's work but is appealing in its simplicity. The figures are simple, but colourful and in their way present a powerful image. Who's who? It's hard to say. John clearly is the one resting on Jesus' breast ; he appears to be sleeping here. The shifty-looking character second from the right, is probably Judas. Further than this one can hardly tell. That is not important. It objective is to connect people with that long-ago event and thereby strengthen their faith.

This is an interesting little carving but I would suggest that most people who come to this church would go away with no memory of it.

An interesting old carving in the Church of Christ the Lord in Credlingen, Germany.

Now a short trip south along the Romantic Highway, say about 60 kilometres, to an old walled town with the cute name of Dinkelsbühl. There are a number of very good reasons to stop here but on this occasion I wanted to look in the outside vaults of St George's Minster. This old Gothic church, built 1448 - 1499, has a last supper whose carvings reminded me of those at Credlingen.

These are life-sized figures sitting around a table, not in a "large upper room"(Mark 14:15), but in a distinctly lower room. These carvings also command one's attention. After many years I can still see them clearly.

In St George's Minster in Dinkelsbühl, Germany.

Finally, a painting closer to home than those in Europe. Actually this one is at home. It is hanging on the wall in our dining room. This is how my daughter, seven years old at the time, represented the events in that upper room in Jerusalem those many years ago.

With her childlike simplicity she captures the moment quite vividly. She presents it as a celebratory moment with smiles on all the faces. The attitude of the people, one with his arm in the air, suggests anything but a sad farewell at a final meal. Her emphasis is not on the reactions of the disciples but it is on the main character - Jesus. He is pronouncing his blessing, not only on the twelve disciples but on all of us who look at the painting.

Bless you all!