What is "last supper"

The Last Supper is the final meal that, in the Gospel accounts, Jesus shared with his Apostles in Jerusalem before his crucifixion. The Last Supper is commemorated by Christians especially on Maundy Thursday. The Last Supper provides the scriptural basis for the Eucharist, also known as " Holy Communion" or " The Lord's Supper".

The First Epistle to the Corinthians contains the earliest known mention of the Last Supper. The four canonical Gospels all state that the Last Supper took place towards the end of the week, after Jesus' triumphal entry into Jerusalem and that Jesus and his Apostles shared a meal shortly before Jesus was crucified at the end of that week. During the meal Jesus predicts his betrayal by one of the Apostles present, and foretells that before the next morning, Peter will deny knowing him.

The three Synoptic Gospels and the First Epistle to the Corinthians include the account of the institution of the Eucharist in which Jesus takes bread, breaks it and gives it to the Apostles, saying: "This is my body which is given for you". The Gospel of John does not include this episode, but tells of Jesus washing the feet of the Apostles, giving the new commandment "to love one another as I have loved you", and has a detailed farewell discourse by Jesus, calling the Apostles who follow his teachings "friends and not servants", as he prepares them for his departure.

Scholars have looked to the Last Supper as the source of early Christian Eucharist traditions. Others see the account of the Last Supper as derived from 1st-century eucharistic practice as described by Paul in the mid-50s.

The Last Supper served the dual purpose of venerating Passover, the escape of the Jews from slavery in Egypt, and the establishment of a new tradition, Christianity.

"Last Supper" is an episode of The Outer Limits television show. It first aired on 31 January 1997, during the third season.

The Last Supper is a painting by the Italian Renaissance artist Jacopo Tintoretto. An oil painting on canvas executed in 1592–94, it is housed in the Basilica di San Giorgio Maggiore in Venice, northern Italy.

The Last Supper (1493–1496) is a fresco by the Italian Renaissance painter Pietro Perugino, located in the refectory, now museum, of the former Convent of Fuligno located on Via Faenza #42 in Florence, region of Tuscany, Italy.

The fresco depicts Jesus and the Apostles during the Last Supper, with Judas sitting separately on the near side of the table, as is common in depictions of the Last Supper in Christian art. It is considered one of Perugino's best works. As in some other cases, Perugino reused the details of the delicate figures here in other works, drawing later complaints from Giorgio Vasari.

The convent of Fuligno originally had housed Clarissan nuns since 1419. Later it became a convent for noble Florentine girls, and received the patronage of Lorenzo de' Medici and the Lapaccini family. Pietro Perugino, who by 1493 had settled mainly in Florence started to paint there. The fresco was "discovered" and open to the public in the 19th century. It was originally attributed to Raphael, who was a pupil of Perugino later, and whose early style is very similar to his, but it was eventually realized that it was a work by Perugino.

After Luther's objections to large public religious images had started to fade, Lucas Cranach the Elder, along with his son and workshop began to work on a number of altarpieces of the Last Supper, among other subjects.

In some such depictions Christ is shown with the traditional halo, but the apostles are represented as leading reformers, without halos. The altarpiece of the main church in Martin Luther's home of Wittenberg has a traditional representation of the Last Supper in the main panel, except that the apostle having a drink poured is a portrait of Luther, and the server may be one of Cranach. By the time the painting was installed in 1547, Luther was dead. Other panels show the Protestant theologians Philipp Melanchthon and Johannes Bugenhagen, pastor of the church, though not in biblical scenes. Other figures in the panels are probably portraits of figures from the town, now unidentifiable. Another work, the "Altarpiece of the Reformers" in Dessau, by Lucas Cranach the Younger (1565) shows all the apostles except Judas as Protestant churchmen or nobility, and it is now the younger Cranach shown as the cupbearer. However such works are rare, and Protestant paintings soon reverted to more traditional depictions.

The Last Supper is a fresco by the Italian Renaissance painters Cosimo Rosselli and Biagio d'Antonio, executed in 1481–1482 and located in the Sistine Chapel, Rome.

Last Supper (Portuguese: Última Ceia ou Instituição da Sagrada Eucaristia) is an altarpiece by Grão Vasco Fernandes, from 1535.

The Last Supper (1445–1450) is a fresco by the Italian Renaissance artist Andrea del Castagno, located in the refectory of the convent of Sant'Apollonia, now the Museo di Cenacolo di Sant'Apollonia, and accessed through a door on Via Ventisette Aprile at the corner with Santa Reparata, in Florence, region of Tuscany. The painting depicts Jesus and the Apostles during the Last Supper, with Judas, unlike all the other apostles, sitting separately on the near side of the table, as is common in depictions of the Last Supper in Christian art.

Sant'Apollonia was a Benedictine convent of cloistered nuns, and Castagno's fresco was not publicly known until the convent was suppressed in 1866: Vasari, for example, seems not to have known of the painting. Thus its exclusively female audience should be considered in analyzing the work. Castagno painted a large chamber with life-sized figures that confronted the nuns at every meal. The fresco would have served as a didactic image and an inspiration to meditation on their relationship with Jesus. Painted with a careful attention to naturalistic detail - a sense of real space and light, seemingly tangible details of the setting, and lifelike figures - the work must have spoken forcefully of the continued significance of the Eucharistic meal in their own world.

The Last Supper (1630–1631) is an oil painting by Peter Paul Rubens. It was commissioned by Catherine Lescuyer as a commemorative piece for her father. Rubens created it as part of an altarpiece in the Church of St. Rombout (Romuald) in Mechelen. The painting depicts Jesus and the Apostles during the Last Supper, with Judas dressed in blue turning back towards the viewer and away from the table. Other than Jesus, the most prominent figure is Judas. Judas holds his right hand to his mouth with his eyes avoiding direct contact with the other figures in the painting creating a nervous expression. Jesus is dressed in red and has a yellow halo surrounding his head with his face tilted upwards. Jesus is located centrally in the painting surrounded by his disciples with six on each side, and he holds a loaf of bread with a cup of wine in front of him. Out of all of the figures, he is the most in the light with the figures to the farthest left being the most in shadow. “The scene thus represents a perfect conflation of the theological significance of the Last Supper” meaning the conflation between the blessing of the bread and the wine while still being pivotal in the sense of revealing the betrayal.

As in many other Northern European depictions, a dog with a bone can be seen in the scene, probably a simple pet. It may represent faith, dogs are traditionally symbols of and are representing faith. According to J. Richard Judson the dog near Judas perhaps represents greed or evil, as the companion of Judas, as in John 13:27.

This painting followed the first unsuccessful attempt by Rubens to produce a Last Supper in 1611, when his patrons backed out the last minute, perhaps due to the high price of 4,000 Guilder asked by Rubens.

Leonardo da Vinci's Last Supper fresco was a significant influence on Rubens who created an etching after the Davinci Last Supper, which was one of Rubens first attempts to express the full range of human emotion printed by Pieter Soutman. Rubens was also influenced by his humanist ideals from which he extracts biblical themes.

Rubens often made engravings following the completion of his works. Other artists used these engravings to serve as a basis of their own works. These copies were even collected. The engravings and copies helped to lead to the popularity of Rubens’ works during his lifetime.