A classic Early Renaissance fresco by Domenico Ghirlandaio, depicting the Last Supper with precise linear perspective and balanced composition.

Domenico Ghirlandaio painted this version of The Last Supper for the refectory of the Ognissanti monastery in Florence in 1480. The composition follows a traditional arrangement, placing the figures along one side of a long table, which allows the viewer to observe the scene as if they were present in the room. Judas Iscariot sits alone on the near side of the table, his back to the viewer, a common convention in Florentine art of the period to distinguish him from the other apostles.

The artist demonstrates his mastery of perspective and architectural detail. The ceiling beams and the geometric floor tiles create a sense of depth, drawing the eye toward the central figures. Ghirlandaio includes naturalistic elements, such as the glassware, bread, and fruit on the table, which reflect the observational precision he brought to his work. The figures are rendered with calm, dignified expressions, avoiding excessive emotional display. The soft, natural light illuminates the scene, creating a sense of quiet order.

This fresco is one of three versions of the subject Ghirlandaio produced during his career. It remains a clear example of the Florentine approach to religious narrative, where biblical events are integrated into a recognisable, structured environment. The use of colour is balanced, with muted tones in the architectural elements allowing the garments of the figures to provide visual interest. The work is a study in the application of linear perspective, a technique that defined much of the artistic output in Italy during the late fifteenth century. By placing the scene within a space that mirrors the actual refectory, Ghirlandaio bridges the gap between the sacred narrative and the physical reality of the monastery.