Hear the words “Last Supper”, and for most of us, what first comes to mind is Leonardo da Vinci’s version in Milan – the most famous example of the genre. Florence, however, is actually the place where the tradition of painting the Last Supper was born.
Just as the nobility of certain Italian towns aimed to have the most beautiful front door, or the highest tower, the monks of Florence vied for the most beautiful, most tranquil, most inspiring Cenacolo.
There are at least eight different Cenacoli (Last Suppers) in the city, painted over a 300-year period, that are accessible to the public. Throughout the 14th century, the scene of the Last Supper was included in the elaborate cycles of frescoes which illustrated the Life and the Passion of Christ. During the 15th century, with invention of perspective, the Supper began to be represented independently on an entire wall. Often placed in the refectories, or eating halls, of medieval convents and monasteries, several of these masterpieces had been abandoned and forgotten when the monastic orders of Italy were abolished by the state in the 18th century, and were unknown ‘til the last century.
The earliest surviving example is in the Refettorio (refectory) of the church of Santa Croce, part of the Museo dell’Opera di Santa Croce, which borders the main cloister of the church on the right. Originally attributed to Giotto, this first great representation of Christ’s last meal, now a detached fresco, was actually painted by Taddeo Gaddi in 1333, and is considered his finest work.
It was only after World War II that Santo Spirito’s fragmented gem of a cenacolo, another 14th-century painting, was attributed to Andrea Orcagna. Unfortunately, only a few portions remain, but the bonus is the same artist’s magnificent Crucifixion above it.
A century later, the stunning progress in perspective and realism that took place over the years is easily noticeable in the dramatic interpretation by Andrea del Castagno. The giant fresco, completed in 1450, covers the length of the side wall of the refectory of Sant’Appollonia. The first impression is of a stark white line drawn across the canvas. This, in fact, is the tablecloth against which the figure of Judas, who, rather than Christ, is the principal character, stands out. The arresting, somewhat disturbing painting shows Christ’s table in the unusual surroundings of an intricately geometrical marble loggia. The predominant dark blood reds, greens, browns, and blues are somber while the faces of the disciples, appearing withdrawn, thoughtful, and sensing disaster, are vivid. Perhaps the harsh realism was one of the reasons that this masterpiece was plastered over by nuns before being rediscovered in the mid-1900’s.
The sinopia (rough outline in red ocher on plaster that the artist followed) is exhibited on the opposite wall.
My favorite Cenacolo, to which I like to return on each visit to Florence, is a superb example of the exquisitely detailed work of Domenico Ghirlandaio in the pretty vaulted Refectory of Ognissanti. The lush colors, delicate flowers and birds, and the grace of the figures make it a work of art that charms me for many a long, lingering visit as I sit in a chair, perfectly placed for contemplation in front of the fresco. I almost feel as if I’m a guest at the table, and can hear the twitter of birdsong in the garden scene. This depiction is said to have been the inspiration for da Vinci’s famous creation.
Pietra serena (the pale blue-gray stone utilized architecturally throughout Florence) lavabos, used by the monks to wash before eating, and a pulpit carved into the wall, where a brother read to the assembly as they ate, provide a feel of monastery life in the peaceful room in this less-discovered spot.
In the small refectory of San Marco is another lovely Ghirlandaio portrayal of the familiar scene, part of the museo di San Marco, best known for its’ monks cells individually frescoed by the remarkable Fra Angelico.
Another personal favorite is the delicate Cenacolo di Foligno, by Perugino.
I’m magically transported, with the disciples on a hillside (above the Last Supper), to the peaceful Umbrian countryside. The landscape is Perugino at his best, wispy, soulful, and mystical. The Franciscan convent was abandoned in the 1700’s, and the building was then occupied by a shop. The fresco became sooty and dark, and was not re-discovered until the mid 1800’s, when it was believed to be by Raphael, who was one of Perugino’s students
Following the Last Supper trail through the city of Florence will take you by some of our favorite places to eat as well. Not far from San Marco and Sant’Appollonia, Gelateria Caribe (Via Ricasoli 66r) is the place to enjoy an intensely flavored Sicilian ice cream or granita (fruit or coffee slushie – the best!).
Plan a stop by the Mercato Centrale on your way to the Cenacolo di Foligno and lunch on a tasty porchetta sandwich from Da Nerbone, inside the grand market hall.
Or take a seat for a down-home lunch at nearby Mario (Via della Rosina 2r). They’re open only at lunch and don’t take reservations, but it’s an experience you won’t forget – good simple Tuscan food in casual and friendly atmosphere.
On Piazza Santo Spirito, the small and fashionable Osteria Santo Spirito (Piazza Santo Spirito 16r) offers creative interpretations of Tuscan and Italian cuisine. We especially enjoy sitting outside on Florence’s most picturesque piazza, always lively and with a real neighborhood feel.
Food for the soul, and food for the body – a classic Florentine feast!
Details – hours vary, check for opening times:
Museo dell’Opera di Santa Croce
Piazza Santa Croce
Santo Spirito
Piazza Santo Spirito
Sant’Appollonia
Via XXVII Aprile,1
Ognissanti
Cenacolo di Ghirlandaio
Borgognissanti, 42
Museo di San Marco
Piazza Sa Marco, 1
Cenacolo di Foligno
Conservatorio di Foligno
Via Faenza, 42
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