Perhaps the most famous of all his depictions of this scene would be the one from 1592-1594 that is now housed at the Basilica di San Giorgio Maggiore, Venice. It is a colossal piece, at over five and a half metres wide, which makes it too large to be displayed at most provincial galleries. The photograph included in this page is the very same artwork found at the Basilica di San Giorgio Maggiore and the first thing that strikes you about it is the alternative angle used by Tintoretto here, as compared to most other artist's versions.
Whilst we all know about Leonardo da Vinci's Last Supper, which is from a straight angle, parallel to the long table, there was also a beautifully crafted version by Albrecht Durer that followed a similar layout. In fact, Tintoretto had earlier followed this format himself before switching several decades later in the interpretation that we find here. His earlier pieces can be found at the Chiesa di San Marcuola (1547) and for the Chiesa di San Felice (1559). Da Vinci's more famous version, a mural, came much earlier in the late 15th century.
The lighting within this version from the 1590s features Tintoretto's signature approach to light, with a dramatic but personal atmosphere to be found here. The composition of figures is a little different in this painting, with a number of extra, unknown people added into the scene whereas most artists would be very specific about each and every person added. Perhaps this was Tintoretto seeking to try something alternative, having already followed the standard approach in a number of earlier versions.
"...The ability of this dramatic scene to engage viewers was well in keeping with Counter-Reformation ideals and the Catholic Church's belief in the didactic nature of religious art..."