A Trip to Jerusalem

Medieval and Renaissance depictions of the episodes of Christ’s Passion often seem to invite the devout beholder to participate in the events portrayed. To explain how such an approach can be extended to the sixteenth- and seventeenth-century Netherlands, this essay shows how Gerbrand van den Eeckhout’s Last Supper invites the beholder to take the seat that Judas has left vacant. A comparison with other Last Supper scenes shows how effectively Van den Eeckhout’s composition invites viewers into the imaginary space and time represented in the painting.