o, Sala Grande contain elements with a mannerist language common in the artist’s works and present in his mentors and predecessors as if they were signature patterns.
Both works have changed significantly over the years. First, the Church of San Trovaso introduced an orthodox front on an elevated dais and the interior depicted its superb white nudity. This depiction enabled churchgoers during the mid1500s to stop and value the balance of each perfect painting, including Tintoretto’s “Last Supper.” Being an altarpiece, Tintoretto’s version of the Last Supper in the Church of San Trovaso in fact depicts an ongoing dining in comparison to other renaissance versions of the same event3. The San Trovaso version exhibits Tintoretto’s radical spirit that deviates from classicism, which is evident in the painting’s three-dimensional setting. The radical nature of three-dimensional settings is clear from the fact that it did not become prevalent amongst Italian artists during the 1500s until the emergence of Leonardo da Vinci. In the San Trovaso version “Last Supper,” Tintoretto’s places the table diagonally and enjoys the subjects’ viewpoints so that moving the painting’s axis is evident4. However, this shifting effect heavily relies on the left or right position taken by the viewer.
Tintoretto’s “Last Supper” in Scuola San Rocco shows the continuation of dynamism from the San Trovaso version. This is because of the enthusiasm of the disciples who appear to gesture each other. Along with a flight of angels who almost abruptly plummet into the event, Christ’s disciples show their excitement of the event. In this version, Christ is not in the middle, which means viewers mostly have to look for him5. The scene is very dynamic and filled with contrast caused by a lighting output. The lighting output in this “Last Supper” is evident in the specific beams of light and shadow that raise the sense of spectacle in an environment similar to a