The traditional history which has come down to us with this picture, as well as the judgment of the best connoisseurs of art in Dresden, have concurred in pronouncing it one of the finest works of Luca Giordano, although from its marked excellence in some of those particulars in which Paul Veronese was most distinguished, it might, without the least derogation from the great reputation of the latter, be well attributed to his pencil. . . . We are under the necessity of presenting such a probable explanation of its design and of its leading personages, as may be gathered from the picture. . . . [In] accordance with St. Luke's account, which represents the institution as occurring immediately after the supper, all have risen from the table except St. John, who, true to his affectionate and sympathising nature, is seen bending over the table. . . . There are, besides the central figure of our Saviour, twelve principal personages, who may be supposed to represent the twelve apostles. . . . The kneeling figure in front . . . is supposed to be intended for St. Peter. . . . The figure standing at the extreme right of the picture, with his left hand on his breast, and holding a bag in his hand, is supposed to be intended for St. Matthew. . . . The old man sitting next to St. Matthew . . . is probably intended for St. Andrew. . . . [Pp. 14-17.]
Albany Gallery of the Fine Arts, Incorporated 1846. Catalog of the Fifth Exhibition. 1850. Albany: Printed by Charles Van Benthuysen. 1850.