The “Last Supper” in the Basel Gallery (No. 316) (Pl. 25),[170] which must not be confounded with the still earlier version of the same subject on canvas already described,[171] although badly damaged, bears in its composition so striking a reminiscence of Leonardo’s celebrated fresco in the refectory of the church of Santa Maria delle Grazie in Milan, that it appears almost certain that Holbein must have seen it. This panel painting, apparently the central part of a triptych, when it came into the possession of Amerbach was already in a badly-damaged state, due, no doubt, to injuries received during the religious disturbances of 1529, which finally helped to drive Holbein for a second time from Basel. It had been cut in two, and then roughly joined together, while a piece was missing from either side, so that to-day only nine apostles remain, though the hands and feet and parts of the bodies of the others are still to be seen at the sides. It is described in the Amerbach inventory as “ein nachtmal vf holtz mit olfarb H. Holbein. Ist zerhöwen vnd wider zusammengeleimbt aber unfletig.” In 1750 it was again reset by Nikolaus Grooth, who repainted and restored it in a hard and crude fashion, so that it is now very difficult to form any adequate idea of the original scheme of colour, though the heads still retain something of their original vigour and expression. The scene is set in a loggia of plain Renaissance architecture, the blue sky seen through its arched openings, against which branches of fig or vine stand out, and a distant tower on the right. Christ, seated in the centre of the table, with hands spread out before him, is depicted at the moment when he exclaims, “One of you shall betray me.” This figure, both in the expressive gesture of the hands, the position of the body, and the type of features, follows closely the greater figure which evidently inspired it. The group of St. John, St. Peter, and Judas is also based on the corresponding group in Leonardo’s fresco. The youthful St. John, seated next to the Saviour, and turning round to listen to St. Peter, who stands behind him with his hand resting on St. John’s shoulder, is admirably conceived and full of character. Judas, seated in front on the left, rests his chin on his left hand, his strongly marked, almost grotesque, face, convulsed with conflicting passions, and his right hand pressed against the seat as though he were about to spring up and rush from the table. The picture, in spite of the damage it has received, shows a great advance upon the earlier “Last Supper,” both in power of expression and technical execution. In its style of painting it has considerable affinity with the “Noli Me Tangere” in Hampton Court, more particularly with the distant figures of St. John and St. Peter in the last-named picture, while the head of St. James, seen in profile, bears a close resemblance to that of the Risen Christ. The background, too, displays a decided Italian influence.[172]