And what has come. Here I try to explore some aspects, which we can find present in the Venetian drawing and are not directly observable in the final Leonardo da Vinci’s Last Supper or are transformed respectively.
Thomas
Thomas’s left hand is on his side, holding or picking up an object from his pocket. Seemingly already referencing to his famous story of “Doubting Thomas”. [1] There is a holding brooch on Thomas’s right shoulder and this clip might resemble to some people his famous pointing out exploratory finger in the latter painting of The Last Supper. In the final his left hand is hidden or inserted somewhere between the apostles, again close to supposed James the Greater’s left hand.
Andrew
Andrew the Apostle is clearly a head taller than the other apostles and there are some slightly noticeable lines close to his head, also by red chalk as the rest, perhaps referencing to this. In the painting Andrew relinquishes his position as the first called apostle, emphasizing this by his gesture of two open hands. As I explained in the previous, this motive of the tallest figure takes on another one (the first supposed bishop of Jerusalem in the near future).
Jude Thaddeus
There is a blot which can be seen on Jude Thaddeus’s lower part and this blotch might resemble a heart to some people.
Conclusion
Every small line should be understood to fully appreciate and comprehend maestro Leonardo’s preparatory drawing. By being a piece of art by its own.
Literature and comments
[1] “But he said to them, ‘Unless I see the nail marks in his hands and put my finger where the nails were, and put my hand into his side, I will not believe.’” – John 20:25
[2] The detail of Thomas is taken from: https://en.wikipedia.org/wiki/File:Leonardo_da_vinci,_Study_for_the_Last_Supper.jpg
[3] The detail of Andrew is taken from: https://en.wikipedia.org/wiki/File:Leonardo_da_vinci,_Study_for_the_Last_Supper.jpg
[4] The detail of Jude Thaddeus is taken from: https://en.wikipedia.org/wiki/File:Leonardo_da_vinci,_Study_for_the_Last_Supper.jpg