Supper at Emmaus,
Painted by Matthias Stom (active 1600-1651),
Painted in 1632,
Oil on canvas
© Museum of Grenoble, France
Supper at Emmaus,
Painted by Matthias Stom (active 1600-1651),
Painted in 1632,
Oil on canvas
© Museum of Grenoble, France
They recognised him at the breaking of bread
Luke 24:13-35
Two of the disciples of Jesus were on their way to a village called Emmaus, seven miles from Jerusalem, and they were talking together about all that had happened. Now as they talked this over, Jesus himself came up and walked by their side; but something prevented them from recognising him. He said to them, ‘What matters are you discussing as you walk along?’ They stopped short, their faces downcast.
Then one of them, called Cleopas, answered him, ‘You must be the only person staying in Jerusalem who does not know the things that have been happening there these last few days.’ ‘What things?’ he asked. ‘All about Jesus of Nazareth’ they answered ‘who proved he was a great prophet by the things he said and did in the sight of God and of the whole people; and how our chief priests and our leaders handed him over to be sentenced to death, and had him crucified. Our own hope had been that he would be the one to set Israel free. And this is not all: two whole days have gone by since it all happened; and some women from our group have astounded us: they went to the tomb in the early morning, and when they did not find the body, they came back to tell us they had seen a vision of angels who declared he was alive. Some of our friends went to the tomb and found everything exactly as the women had reported, but of him they saw nothing.’
Then he said to them, ‘You foolish men! So slow to believe the full message of the prophets! Was it not ordained that the Christ should suffer and so enter into his glory?’ Then, starting with Moses and going through all the prophets, he explained to them the passages throughout the scriptures that were about himself.
When they drew near to the village to which they were going, he made as if to go on; but they pressed him to stay with them. ‘It is nearly evening’ they said ‘and the day is almost over.’ So he went in to stay with them. Now while he was with them at table, he took the bread and said the blessing; then he broke it and handed it to them. And their eyes were opened and they recognised him; but he had vanished from their sight. Then they said to each other, ‘Did not our hearts burn within us as he talked to us on the road and explained the scriptures to us?’
They set out that instant and returned to Jerusalem. There they found the Eleven assembled together with their companions, who said to them, ‘Yes, it is true. The Lord has risen and has appeared to Simon.’ Then they told their story of what had happened on the road and how they had recognised him at the breaking of bread.
Reflection on the painting
What an atmospheric painting! The candle-light draws us right in. As a viewer, we are invited to sit at the table, between Christ and the disciple on the left. The painting depicts the exact moment when the disciples recognise Christ at the breaking of the bread. Both disciples are raising their hands in surprise and delight. The middle disciple is stretching out his left arm, to touch Jesus. The witness to this whole scene is the young serving-man behind Christ. He is holding a bowl, looking on with great interest. We cannot see what is in his bowl.
The dog in the bottom left is not just looking for food. When our painting was executed, dogs were seen to be wandering about the streets, without any master, and living on whatever they could find. So the symbolism for the dog here is that just as the disciples realised the True Master was with them, so did the small dog find his master in one of the disciples. Dogs in 17th-century paintings thus symbolise dependence and loyalty to a master.
Stom uses a highly three-dimensional chiaroscuro (strongly contrasting light and dark areas) that sculpts rather than draws the figures. The warm tonalities convey a sense of intimacy to which we are all invited. Just like those two disciples, we too can be disorientated and lost at times. Yet this scene shows that Christ will meet us and is present to us wherever we find ourselves. He is the light, just as the candle is the only source of light in this painting… illuminating the disciples' hearts and minds.
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In hopes of contributing to the discussion today, I am trying to understand the difference between the use of light “chiaroscuro” versus “tenebroso.” I read that Stom studied Caravaggio’s work while in Italy. It seems that a host of Baroque Dutch painters studied in Italy. Who were the Dutch patrons sending these brilliant artists to study in Italy? Were they tied to the Church? How were these masters affected by the Catholic-Protestant tensions? So much to learn!
I’d say the two terms mean the same thing. Certainly Caravaggio started something with that technique and in the Baroque period, drama became the ‘thing’ so no wonder painters from other countries copied it – influence they call it! It’s an interesting point you make though, given the period, just who in the North would’ve wanted religious paintings? Whether for a church (large) or personal devotion (small) it would’ve only been Catholics. I am also one who likes to read up on the art/artists Patrick shows us. I’m no expert btw 😁
Thank you. I am no expert, just eager to learn more about the “Northern Renaissance,” and especially the magnificent Dutch masters. My follow up question: why would the influence only have been Catholics? Because the artists were sent to study in Catholic-dominated Italy?
What a beautiful painting. It does make me feel like I am sitting at the table. I must make more of a conscious effort not to take the Eucharist for granted and always recognize Jesus in the breaking of the bread. What a miracle that we as Catholics are blessed with.
So interesting that these disciples were going to Emmaus, yet after this amazing incident, they went straight back to Jerusalem to tell the others. You can’t even imagine their wonder, excitement and incredulity.
I have never seen this painting before. It’s really excellent and (shh…) dare I say it, in some ways, even better than Caravaggio’s depiction of this moment
A truly wonderful painting- thank you for explaining the meaning of the dog- it is so well expressed. I have always loved this reading but recently it has been pointed out that the whole passage is the model for the Mass. Also Jesus vanishing, which I always found a bit frustrating, is simply that He is passing Himelf into the church, and that now we are the missionaries in his place. This echoes what you are saying Patrick.
On another note, yesterday I was bewailing the lack of decorative art in my own church after seeing the wonderful window in NZ. At the vigil mass last night our priest announced we were to host a travelling mosaic in the summer! I don’t know much about it (and neither did the priest) but we are the only church in the diocese to host it- so the hope is we will get visitors! You can imagine how my heart leapt when I heard this news! it is just the tonic we all need, and I will have finished work so will be able to help with curating etc. How exciting! I will certainly keep you posted when I have more information. Isn’t God good?
God is always good, in all respects. I wish you a nice summer with the travelling mosaic. Good luck and God bless.
This is very true Rya- thank you for reminding me of this. He is unchanging, and so is His goodness even when we’re having tough times (which I am) but I think we clutch to the rays of light when things are dark just the same. God bless you too!
Well, well SFG – He’s lifted your spirits in a very tangible way. Lovely. Great that you can be part of it, adding your time AND enthusiasm.
I am happy for you and your parish. What a great opportunity and blessing.