Trebon Altarpiece, circa 1380

Jesus in the Garden of Gethsemane, from the Trebon Altarpiece, circa 1380

he Master of the Třeboň Altarpiece, sometimes called the Master of Wittingau, was a Bohemian painter active in Prague around 1380-1390. His name is derived from an altarpiece from the church of Saint Eligius at the Augustinian convent of Třeboň (known in German as "Wittingau"). The altarpiece, a triptych, depicts Christ on the Mount of Olives, The Tomb of Christ, and the Resurrection. It has been dated to around 1380, and is today held at the Convent of St. Agnes branch of the National Gallery in Prague.

Stylistically, the Master seems to have been aware of French painting; in addition, the influence of northern Italian art may be seen in his work. He created the so-called "beautiful style", a Bohemian variant of the International Gothic style in which figures are placed in deep settings and modeled with chiaroscuro; such intensity had never before been seen in Bohemian art, but would be prominent in the work of future generations of artists. In addition, his influence can be seen in the work of other European artists of the period, most especially the Master of the Bamberg Altar.

Last Supper window St. Giles Cathedral, Edinburgh

I had the joy of seeing these windows in June of 2005 when I visited Scotland for the first time. My friend Mike Abrams took me to St. Giles where I spent quite a bit of time taking pictures. Mike took this photo of me taking pictures.


Last Supper window St. Giles Cathedral, Edinburgh

Last Supper, Salvador Dalí. (Spanish, 1904-1989)

The Sacrament of the Last Supper, c.1955
National Gallery of Art, Washington DC
by Salvador Dalí. (Spanish, 1904-1989)

Dali stated that this was an "arithmetic and philosophical cosmogony based on the paranoiac sublimity of the number twelve...the pentagon contains microcosmic man: Christ"

Noel Paton

by Sir Joseph Noel Paton RSA (1821-1901)
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Joseph Noel Paton was a Scottish painter, born in Dunfermline, Scotland to a family of weavers. He studied at the Royal Academy, London, and became a painter of historical, fairy, allegorical and religious subjects, in a style close to that of the Pre-Raphaelites. He was appointed Queen's Limner for Scotland from 1866. He also published two volumes of poems.

Jesus Washing Peter's Feet. by Ford Madox Brown

He riseth from supper, and laid aside his garments; and took a towel, and girded himself. After that he poureth water into a bason, and began to wash the disciples' feet, and to wipe them with the towel wherewith he was girded. Then cometh he to Simon Peter: and Peter saith unto him, Lord, dost thou wash my feet? Jesus answered and said unto him, What I do thou knowest not now; but thou shalt know hereafter. Peter saith unto him, Thou shalt never wash my feet. Jesus answered him, If I wash thee not, thou hast no part with me. Simon Peter saith unto him, Lord, not my feet only, but also my hands and my head.


Jesus Washing Peter's Feet. 1852-56 by Ford Madox Brown



This picture illustrates the biblical story of Christ washing his disciples’ feet at the Last Supper. It has an unusually low viewpoint and compressed space. Critics objected to the picture’s coarseness – it originally depicted Jesus only semi-clad. This caused an outcry when it was first exhibited and it remained unsold for several years until Ford Madox Brown reworked the figure in robes.Brown was never invited to join the Pre-Raphaelite Brotherhood but he was a close associate of the group. Several members modelled for the disciples in this picture and the critic F G Stephens sat for Christ.

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Ford Madox Brown (16 April 1821 – 6 October 1893) was an English painter of moral and historical subjects, notable for his distinctively graphic and often Hogarthian version of the Pre-Raphaelite style. While he was closely associated with the Pre-Raphaelite Brotherhood, he was never actually a member. Nevertheless, he remained close to Dante Gabriel Rossetti, with whom he also joined William Morris's design company, Morris, Marshall, Faulkner & Co., in 1861.

http://www.tate.org.uk/servlet/ViewWork?workid=1581