Da Vinci Made Christ In Tinoretto's Painting, Tintoretto

Da Vinci made Christ the center point of the entire painting. He used linear perspective and made Christ the convergence point, literally putting him at the center of the table reaching for bread and wine. Da Vinci places the Apostles in mathematical groupings. Their placement in relation to Christ at the table is very thought out. This causes the spacing in the painting to flow in an incorporated balance, which is innate of the High Renaissance. Da Vinci evenly divided the twelve Apostles into four groups of three Apostles, each group having a different set of emotions displayed. Tintoretto does not use this same mathematical thought process. Tintoretto’s painting has a powerful acceleration caused by the slant of the table. Tintoretto’s painting

Unlike previous paintings of this divine scene, Judas is one the same side of the table. He is cast in a shadow that allows us to understand his treachery. The overcrowding at the table creates disorderness and uses the table as a confine between the men in the painting and the person viewing the painting. Da Vinci does not use the traditional halo to inform us that we are looking at a divine figure. Instead he places Christ in the center of the painting and uses the natural light from the above window to let us know that Christ is the divine being. Tintoretto places halos of light above Christ and the Apostles. Christ’s halo is brighter than the Apostles and emanates a strong source of for the rest of the painting. His halo and a lantern are the only sources of light in this very dark painting. Tintoretto also has a disorderness to his painting caused by the diagonal placement of the table in the upper corner. Whereas Da Vinci kept his focus on the thirteen men in the painting, Tintoretto’s painting has many different scenes going on around these same thirteen men giving the painting a pragmatic