A Dozen Brushstrokes Against the Text
Leonardo's Last Supper is set at high noon, daylight flooding through the windows, the disciples all seated on one side of a banquet table laden with fish and leavened bread. Mark and Luke are clear: this was a Passover, eaten at night, with participants reclining. There is no lamb, no unleavened bread, and the choreography is entirely wrong. But the painting has so colonized the collective imagination that most people, asked to picture the Last Supper, see Leonardo's staging and nothing else. This is the pattern across a majority of the most celebrated works in Western Christian art: the evangelists get revised, quietly and brilliantly, into something the painter's own century could absorb. Giotto's Nativity (1305, Scrovegni Chapel) gives us a rustic stable, an ox and ass, Mary reclining in exhaustion. Matthew mentions magi; Luke mentions a manger and shepherds. The stable is nowhere. The animals come from Isaiah 1:3 by way of medieval imagination. Giotto's visua...