The informal formalities of Oriental life are brimful of sentiment. The Oriental's chief concern in matters of conduct is not the correctness of the technique, but the cordiality of the deed. To the Anglo-Saxon the Oriental appears to be perhaps too cordial, decidedly sentimental, and over-responsive to the social stimulus. To the Oriental, on the other hand, the Anglo-Saxon seems in danger of becoming an unemotional intellectualist.
Be that as it may, the Oriental is never afraid to "let himself go" and to give free course to his feelings. The Bible in general and such portions of it as the story of the Last Supper in particular illustrate this phase of Oriental life.
In Syria, as a general rule, the men eat their fraternal feasts alone, as in the case of the Master and his disciples at the Last Supper, when, so far as the record goes, none of the women followers of Christ were present. They sit on the floor in something like a circle, and eat out of one or a few large, deep dishes. The food is lifted into the mouth, not with a fork or spoon,--except in the case of liquid food,--but with small "shreds" of thin bread. Even liquid food is sometimes "dipped up" with pieces of bread formed like the bowl of a spoon. Here may be readily understood Jesus' saying, "He that dippeth his hand with me in the dish, the same shall betray me."[1]
In his famous painting, The Last Supper, Leonardo da Vinci presents an Oriental event in an Occidental form. The high table, the chairs, the individual plates and drinking-glasses are European rather than Syrian appointments. From a historical standpoint, the picture is misleading. But Da Vinci's great { 59} production was not intended to be a historical, but a character, study. Such a task could not have been accomplished if the artist had presented the Master and his disciples as they really sat in the "upper room"--in a circle. He seats them on one side of the table, divides them into four groups of three each--two groups on each side of the Master. As we view the great painting, we feel the thrill of horror which agitated the loyal disciples when Jesus declared, "Verily, I say unto you, that one of you shall betray me."[2] The gestures, the sudden change of position, and the facial expression reveal the innermost soul of each disciple. This is the central purpose of the picture. The artist gave the event a European rather than an Oriental setting, in order to make it more intelligible to the people for whom it was intended.