Examining Leonardo’s drawing on the last supper of the mural, he notices that the outline of the mural is inaccurate.
Furthermore, the difference is clear when a copy of Giampietrino is examined over a mural.
Simon’s head in the mural has a large bulging occipital region to the right, which is very different from Leonardo’s drawings and Giampietrino’s copy.
The recent restoration of murals has also started with Simon. At that time, the procedure for restoring the mural had not been clearly established, and the restoration was proceeding through trial and error.
Therefore, even apparently inconsistent results are left as restoration results.
The problematic point is the outline of Simon’s occipital region.
If you actually examine the magnified image of the wall, there is not enough drawing layer near the outline to prove it.
The condition of the wall is far more hopeless than many would imagine.
Realistically, the layer that Leonardo finally painted is at a condition where it is believed that it no longer exists.
The slightly remaining drawing layer should be judged as an undercoat or an intermediate layer, and cannot be considered as a final finishing layer.
It is clear that the wall where Simon’s expression was drawn is now completely exposed at the base of the wall, and repairing or verifying this part is meaningless.
Leonardo likes to draw curly hair, but this Simon is depicted with straight hair, which is rare for Leonardo.
In most existing drawings, Leonardo does not draw a beard.
In this drawing, Simon’s head is drawn slightly slender. A similar depiction has been made in the copy of Giampietrino, indicating that the credibility of the material is high.