1. SUMMARY OF THE STUDY: LEONARDO DA VINCI, THE VENICE DRAWING AND THE APOSTLE THADDEUS IN THE LAST SUPPER
This study highlights a rarely explored connection between Leonardo da Vinci’s Head of Christ Drawing in Venice (circa 1490) and the figure of the apostle Thaddeus in The Last Supper. This comparison is based on a detailed morphological analysis.
2. A MORPHOLOGICAL COMPARISON BASED ON GIAMPIETRINO’S LAST SUPPER
Given the deterioration of the original fresco, the study relies on major early copies (by Giampietrino, Oggiono, and the Tongerlo version) to faithfully reconstruct the features of Thaddeus. A rigorous morphological comparison reveals a striking resemblance between the face of Thaddeus and that of the Christ in the Venice Drawing, demonstrated through the superimposition of contours.
The Last Supper (copy by Giampietrino), Thaddeus in the center
Superimposition: outline of the Drawing over Thaddeus (reversed)
3. CORRESPONDING MORPHOLOGICAL POINTS
In addition to the superimposition of outlines, a precise mapping of eighteen homologous morphological points was carried out on both figures, in order to methodically validate the observed correspondences.
The stylistic and expressive analysis shows that Thaddeus retains characteristic features of the Christ from the Venice Drawing.
4. COMPARISON BETWEEN ADAM (ADAM AND EVE BY GIAMPIETRINO) AND THADDEUS
The comparison goes further. It extends to Adam and Eve, attributed to Giampietrino. In this painting, the figure of Adam shows the same facial structure found in both Thaddeus and Christ.
Consequently, this suggests the circulation of a facial type designed by Leonardo and reused in his workshop.
Adam and Eve (Giampietrino), upper part
Adam and Thaddeus (reversed)
5. A COMMON MODEL
This diagram illustrates the hypothesis that Leonardo da Vinci’s Head of Christ Drawing in Venice, could represent the common source for the faces of Thaddeus in The Last Supper and Adam in Adam and Eve by Giampietrino.
However, it is also possible that a now-lost painted model by Leonardo once existed, which may have directly inspired some of his followers.
Finally, the conclusions of this study are reinforced by recent expert assessments from the art market. These expert opinions acknowledge Leonardo’s imprint in these figures, thus supporting the hypothesis of a shared model.
TO GO FURTHER
To explore further, browse the available resources in PDF, audio, or video formats.