This portrayal can been seen in by the illustration of St John innocently sleeping to the left of Jesus and contrasted to the tense, rigid figure of Judas sitting opposite. Judas is the one who betrays Jesus and is depicted in the shadows. Judas is also in front and separated from the rest of the disciples, he is also not illustrated with a halo. Leonardo’s artwork broke the tradition by placing all the disciples on one side of the table rather than singling out Judas. There are also no halos in Leonardo’s artwork, something commonly seen in early Renaissance works. With the figures crowded together, Leonardo uses the table as a barrier to separate the spiritual realm and the viewers terrestrial realm. With Leonardo’s great emphasis on the spiritual realm of the artwork, Castagno’s is seen as more naturalistic. Leonardo’s artwork is full of many symbolic references, giving each apostle an attribute to identify them. The figures of Castagno’s artwork is more monumental, while Leonardo’s is more linear. In Castagno’s work there is an extraordinary element of balance in the gestures and expressions particular in the center of
This portrayal can been seen in by the illustration of St John innocently sleeping to the left of Jesus and contrasted to the tense, rigid figure of Judas sitting opposite. Judas is the one who betrays Jesus and is depicted in the shadows. Judas is also in front and separated from the rest of the disciples, he is also not illustrated with a halo. Leonardo’s artwork broke the tradition by placing all the disciples on one side of the table rather than singling out Judas. There are also no halos in Leonardo’s artwork, something commonly seen in early Renaissance works. With the figures crowded together, Leonardo uses the table as a barrier to separate the spiritual realm and the viewers terrestrial realm. With Leonardo’s great emphasis on the spiritual realm of the artwork, Castagno’s is seen as more naturalistic. Leonardo’s artwork is full of many symbolic references, giving each apostle an attribute to identify them. The figures of Castagno’s artwork is more monumental, while Leonardo’s is more linear. In Castagno’s work there is an extraordinary element of balance in the gestures and expressions particular in the center of