Meditation on Caravaggio’s Emmaus Supper By MarieHelene Cook
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aravaggio painted two scenes of the Emmaus Supper, one in 1601 and the second in 1606. It is surprising to see how he could paint, on the same subject with the same characters, such different pictures. The first painting is striking in its vitality and joy, which convey the disciples’ astonishment as they recognise Jesus through the blessing of the bread.
The movements seem to have been stopped in midcourse, as though frozen in a camera shot, which immortalises the scene and the intensity of action. One disciple seems to be ready to get up having his right hand on the arm of his chair, while the other stretches his arms in exaltation. So, too, is Jesus in the middle of a gesture: his right hand is lifted in a blessing and his left is preparing to grasp the bread. He is looking young and healthy; his face is relaxed in a halfsmile. His vivid red tunic contrasts with his white overgarment. The fourth figure, perhaps the inn keeper, has an interested look in his eyes, but doesn’t seem to share the enthusiasm of the disciples, having possibly not been close to Jesus before. All three characters have their eyes fixed on Jesus who is looking down at the bread. The disciples’ eager eyes and faces express what the Gospel of Luke recounts: “Then their eyes were opened and they recognised him.” (Chapter 24:31) The scene is bright and colourful: the light, enhanced by some dark shadows in the background, shines out from the little group, especially from their faces and the white tablecloth. 14
