As I continued to explore the second Apostle from the left (whom I consider Philip), I read about one of the many “micro-revelations” that appeared during a restoration by Dr. Pinin Brambilla Barcilon.
As she writes in the description of this Apostle: “On almost the entire width of the neckline, the cleaning revealed a refined geometric design painted by brush tip with lead white and yellow pigment.” [1] As in Barcilon publication this is only written about, I am keen to enclose a detail. What is further interesting in Giampietrino’s copy of The Last Supper it is not repeated [2] and even their depiction of the collar has a different colour.
For centuries, this detail was completely obscured. Before Barcilon’s restoration (1978–1999), the Apostles’ clothing appeared as flat, muddy blocks of colour due to “restorations” in the 18th and 19th centuries that used thick oil paints and varnishes. When Barcilon reached Leonardo’s original layer, she found that he had not just painted “clothes”—he had painted their textiles.
In comparison, Giampietrino in his copy, when depicting the collar, appears to insert decorations for Andrew, John, Christ, and the penultimate apostle on the right. From these what is still visible in the original and confirmed by Barcilon’s writing are adornements for Jesus [3] and the apostle on the right [4].
But the white/yellow geometric traces on the blue collar may be an intentional individualizing sign by Leonardo, not shared among others in The Last Supper.
Although we do not know how many gold accents were lost in The Last Supper, the still visible traces on Judas’ collar form another unique, individualizing mark.
Literature and comments
[1] Leonardo: The Last Supper; p. 392; Pinin Brambilla Barcilon, Pietro C. Marani; 2001
[2] It also appears to be absent from The Last Supper’s copy at Tongerlo Abbey. A visit to the work or a very high-quality photographic copy would be necessary for a more thorough examination of this piece.
[3] Leonardo: The Last Supper; p. 359; Pinin Brambilla Barcilon, Pietro C. Marani; 2001
[4] Leonardo: The Last Supper; p. 367; Pinin Brambilla Barcilon, Pietro C. Marani; 2001