depicted is very similar. The branches that the figures throw at Christ' s feet in both examples appear to be single leaves in the form of a club, and the figures that are inside the city of Jerusalem, coming out of a window in the tower, hold a three branch cluster. Worth noting is the way in which the towers in each example end in a conical roof. There are some interesting conclusions derived from the iconographic and stylistic analysis of this theme, the Entry of Christ into Jerusalem. The iconography of the Entry in the Bible ofAvila seems to be more closely related to the iconography on sculpted capital, yet the stylistic analysis relates it to the ivory relief. Contrary to logic, mural painting displays the least comparable characteristics on iconographic and stylistic grounds. The next scene on folio CCCXXIII v is the Last Supper (Fig. 36). This scene of the Passion of Christ was rarely depicted in manuscript illumination in the 11Ith and 12th centuries, but it was widely depicted in other mediums. 146 An example of the Last Supper that slightly resembles its counterpart to the Bible ofAvila comes from an early 12th century historiated capital from the Romanesque cathedral of Burgo de Osma (Fig. 37).147 Here Christ and the eleven Apostles are located behind a table and Judas is on the other side of the table. The capital represents Christ feeding Judas the bread, while Judas tries to steal the fish. The Apostle John reclines his head against the heart of Christ. The Apostles present different types of facial characteristics. These iconographical 146 Yarza Luaces, J., Iconograjia de la 2iniatura Ca;stellano-Leonesa,~~11~11~~1 1973, p. 30, mentios that the other surviving example of the actual dinner can be found in a manuscript of the Sermons of Saint Martino of Leon in an initial D (I, second part, fol. 1 10v), but it does not have the same quality of the example in the Bible ofAvila. 147 IHOS Ruiz Montej o. El Romanico de Villa~s y Tierra~s de Segovia. Madrid: Ediciones Encuentro, S.A., 1988, p. 148.