Briefly, the paper examines the myriad artistic influences van Gogh was parsing the summer of 1888: his lifelong devotion to and imitation of Jesus Christ; synthesizing "Japonism" and "Cloisonnism" with his own "plein air" techniques; colorizing Jean-François Millet's pious genre scenes with Eugène Delacroix's luminous palette (see Boats du Rhône); "search-for-sacred-realism" correspondence with his artist friend Émile Bernard; Thomas Carlyle and Boccaccio's examples of dressing old ideas in new clothes; an Émile Burnouf article claiming Buddhist missionaries sowed the seeds Essenes later reaped as Christianity; failed attempts creating his own Christ in the Garden of Olives; two proximal "Last Supper" studies ("Interior of a Restaurant in Arles" and "Interior of the Restaurant Carrel in Arles") featuring straw-bottomed chairs he'd just purchased by the dozen (hoping to start a commune of twelve "artist-apostles" at his Yellow House); culminating with his composition of twelve diners drenched in a yellow halo surrounding a Rembrandtesque server framed by a crucifix at the vanishing point of the picture; it's concluded his original starry night is a Symbolist's "Last Supper".