It is said that Leonardo threatened to paint the face of the complaining prior as the Judas in his picture, but we know that he did not.
He has chosen for his subject the moment following the words of Christ to his disciples: “One of you shall betray me.” On their faces he has shown the surprise, consternation, and distress which would naturally follow the realization that there is a traitor among them.
We recognize at once the calm, beautiful face of the figure in the center as that of the Christ. Leonardo spent more time on this head than on any other part of the picture. He made a great many sketches, and in each he tried to represent Christ as looking at us, but all his efforts failed to satisfy him. At last he consulted a friend, who advised him to give up trying to paint the expression of the eyes, but to represent Christ looking down; and this seems to have been the last touch needed to make the face perfect.
On both sides we see the disciples in four groups of three each. If we study any one of these groups we will find it complete in itself, yet all four groups are held together by the expression on the faces and especially by the position of the hands. So wonderfully have the hands been painted that some critics have spoken of this picture as “a study of hands.”
If we begin at the left-hand side of the picture we see Bartholomew standing at the end. In his astonishment, he has risen so quickly that his feet are still crossed as they were when he was seated. He looks toward Christ as if he thought his ears must have deceived him.
Next to Bartholomew is James (the less), who reaches behind Andrew to touch the arm of Peter and urge him to ask the meaning of it all. Andrew’s uplifted hands express horror, while his face is turned anxiously toward the Master. Peter is greatly excited, but feels that John is the one to ask the question; so we see him leaning toward John, his hand resting on John’s shoulder as he eagerly urges him to ask who it is of whom Christ spoke. In his right hand Peter grasps his knife ready to defend his Lord.
Between Peter and John we see the traitor Judas, vainly attempting to appear innocent and unconcerned. As he leans forward, he clasps his money bag tighter, but at the first sudden movement of alarm he has overturned the salt upon the table. It is said that after the face of the Christ, Leonardo found that of Judas the most difficult to paint. It was hard to imagine a man so wicked.
The gentle, sorrowful face of John seated next to the Christ is in strong contrast to the startled, guilty look on the dark face of Judas.
To the right of the Master, we see James (the great), whose arms are outstretched as he looks at the Master and eagerly asks, “Lord, is it I?”
Just behind James is Thomas, with one finger lifted threateningly as if he must know who the traitor is that he may cast him out at once.