![]() Thus the new perspective defines this seat, and Judas is given his own horizon line, which is placed below the division of heaven and earth in the painting’s divine hierarchy, making clear that he is damned. This departure is emphasized by the light thrown on Judas’ empty seat, but also by the fact that, quite unusually, Eckersberg has introduced a second vanishing point at the left edge of the painting, near the elbow of the apostle sitting farthest away. ![]() The disciples also find themselves in the earthly region, except that Judas, Christ’s betrayer, has left the scene. “Because the horizon line, according to the perspectival construction of the painting, runs along Christ’s shoulders, his head is conceived as already being up in the heavenly realm, while his body still stands on the earth. Lene Bøgh Rønberg explains how Eckersberg utilized perspective to convey meaning: Frederiksberg Church, Copenhagen Documentation: ![]()
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