Restored in 2025-2026 with funding from The Stracke Family

One of the greatest painters of the Italian Renaissance, Jacopo Tintoretto, spent his later years working on numerous commissions for the Benedictine Basilica of San Giorgio Maggiore. His final work, The Entombment of Christ, was completed in 1594 for the altar of the Cappella dei Morti and restored by Save Venice in 2020. Around 1591 and 1592, for the Basilica’s monumental presbytery, Tintoretto created two major horizontal paintings: the Last Supper and The Israelites in the Desert. These two extraordinary pictures were likely commissioned by the monastery’s abbot Michele Alabardi.

The subject of the painting remains somewhat enigmatic. Unlike the more commonly depicted Gathering of the Manna, Tintoretto’s work appears to combine various themes from the Old Testament Book of Exodus, as it portrays scenes such as the Israelites’ encampment at the oasis of Elim (Exodus 15:27), the washing of their clothes at the foot of Mount Sinai (Exodus 19:10-19), the crafting of the copper basin for the sanctuary (Exodus 25:31-33), and the cooking of manna (Exodus 16:23), among others. Alternatively, some scholars suggest that Tintoretto’s painting draws not from Exodus but from the Book of Numbers, which chronicles the culmination of Israel’s journey from Egypt to the Promised Land. This interpretation suggests that the painting reflects the Israelites’ complaints during their journey: “With their patience worn out by the journey, they complained against God and Moses, saying, ‘Why have you brought us up from Egypt to die in this desert, where there is no food or water? We are disgusted with this wretched food!’” (Numbers 21:5). This reading would explain why many figures in the painting ignore the manna that God has sent to feed them and instead focus on their daily activities. The Book of Numbers concludes with God condemning the Israelites to die in the wilderness, awaiting the new generation that ultimately fulfills the mission.

On the far right, Moses is portrayed in a manner that intentionally mirrors the figure of Christ in The Last Supper, which is displayed on the opposite wall across the high altar. This parallel is particularly evident in the colors of their clothing and the heads shining with light. The cross-references between the two paintings emphasize the theological belief that Moses prefigures Christ. Just as Moses provided manna to the Israelites, symbolizing temporary sustenance, Christ offers the true “bread of life.” This concept is reflected in the Gospel of John: “Your ancestors ate the manna in the desert, but they died; this is the bread that comes down from heaven so that one may eat it and not die. I am the living bread that came down from heaven; whoever eats this bread will live forever; and the bread that I will give is my flesh for the life of the world” (John 6:49-51).

The Israelites in the Desert has been attributed to Tintoretto since at least 1648. Carlo Ridolfi, an early biographer of the artist, observed it “on the sides of the high chapel” alongside the Last Supper. The painting continued to be esteemed in the 18th century, as it is demonstrated by a smaller replica created by a follower of Giannantonio Guardi and now housed in the Musei Civici di Bassano del Grappa.

The most recent documented restoration was undertaken by Mauro Pelliccioli in 1937. The present treatment focused on the careful and selective removal of non-original surface layers and residues, including a dense, brownish varnish and discoloured inpainting from earlier interventions. Their reduction progressively revealed the original painted surfaces, restoring both chromatic balance and the legibility of the composition.

Areas of paint loss were reintegrated using reversible conservation materials, calibrated to achieve visual coherence at normal viewing distance while remaining discernible upon close inspection. The intervention concluded with the application of a protective varnish, providing a stable, unified surface and ensuring the long-term preservation of the work.

Jacopo Tintoretto (c. 1518/19 – 1594)
The Israelites in the Desert
c. 1591 – 1592, oil on canvas
367 x 568 cm
Basilica of San Giorgio Maggiore

Basilica di San Giorgio Maggiore: Homepage

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