Looking for the Last Supper:

An Unusual Florentine Scavenger Hunt

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Tuscan food is all the rage in the United States now. Hearty, flavorful and richly varied, it deserves its glowing reputation, as you are sure to ascertain in practically any establishment you choose for your cena (dinner). But Florence is also the Italian capital of another kind of dinner, the cenacolo, or Last Supper. No less than seven masterful artists painted the biblical scene, described in Matthew XXVI, 21-24, on refectory walls in local monasteries. Just as the gentry of Lucca seemed intent on having a more fanciful front door than the Joneses, so did the monks of Florence vie for the most beautiful, most serene, most inspiring cenacolo.

Unluckily for the church, most of Italy's monastic orders were abolished by the state in the 18th century. Luckily for us, their refectories are now open to the public. As you walk around town, keep this list handy and pop in to view the frescoes. You can decide for yourselves whose scene you like best. In chronological order, they are:

Santa Croce

• Santa Croce (c. 1340). Originally attributed to Giotto, this first great representation of Christ's last meal was actually painted by Taddeo Gaddi. (Museo dell’Opera di Santa Croce, Piazza Santa Croce 16, 9am-12, 3-6pm in summer; 9am-12 and 3-5pm in winter; closed Sunday).

  
  
  

Santo Spirito (c. 1360). It was only after World War II that this masterpiece of 14th-century painting was attributed to Andrea Orcagna. Unfortunately, only a few fragments remain, but the consolation is the same artist's breathtaking Crucifixion above it. (Piazza di Santo Spirito 29, 10am-1pm; closed Monday; 1.5 Euro). Incidentally, the square on which this unforgettable church is located is one of the best places to get an idea of what daily life in Florence is really like.




Santa Apollonia




• Santa Apollonia (c. 1450). If you're following this little tour in chronological order, you will be stunned by the progress a century brought to Florence. Andrea del Castagno's fresco (right) is strikingly realistic and embellished with intricate architectural details. Note the haunting figure of Judas, isolated on the near side of the table. The Crucifixion and Deposition above are less famous, but perhaps even more memorable. (Via XXVII Aprile 1: ring the doorbell and cross your fingers!).

  
  

  Ognissanti

  
  Ognissanti (1480). A superb example of the highly decorative work of Domenico Ghirlandaio. Note the "doors" opening onto the flowering garden in the background, and the swallows streaking upward above the fresco. A bonus here is Sandro Botticelli's Saint Augustine in His Studio, on the left wall. (Borgo Ognissanti 42; 8:30am-12:30 and 4-6pm).

  
  
  

  San Marco

  
  

• San Marco (1482). The small refectory is illuminated by Ghirlandaio's lovely counterpart to the Ognissanti fresco. (Piazza San Marco 1 [walk through the cloisters]; 9am-2pm; 9am-1pm on Sundays; closed Monday).

  
  
  

  Foligno

  
  Foligno (c. 1495). It took me years to see this Ultima Cena by Il Perugino, but when someone finally answered the door, I found myself alone, magically transposed to an Umbrian hillside on a mystical, soulful 15th-century afternoon. The landscape is Perugino at his best (while the figures may have been executed by his followers). (Via Faenza 42; ring the bell).

  
  

  Calza

  
  

• Calza (1514). Down the street from Pitti Palace and the Boboli Gardens, just before you get to Porta Romana, you'll find a former monastery which now serves as meeting center. In its refectory is Franciabigio's well-restored Last Supper, highly influenced by Leonardo's recently completed Ultima Cena in Milan. Peek into the lovely little church while you're here. (Piazza della Calza 6; better call ahead at 055-222-287 to see if visitors are still welcome!).

  
  
  

  San Salvi

  San Salvi (1519-26). If you are unfamiliar with the work of Andrea del Sarto, try very hard to see this 16th-century masterpiece. Vastly damaged by the 1966 floods, it has been in restoration ever since, and may prove to be the most elusive treasure of our little hunt. Dramatic, elegant, harmonious, heartbreaking and unforgettable, it shows why Andrea's contemporaries called him the "man who made no mistakes." And this is considered by many to be his most spectacular masterpiece. (Via San Salvi 16; ring the bell).

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