11Ith to 12th centuries.212 In terms of iconography, this theme is a repetition of the Last

Supper but reduced in numbers. Instead of having thirteen retainers, the Last Supper has

three: Christ and the two disciples.213

 The next scene on folio CCCXXV r represents the Doubting Thomas (Fig. 80).

According to Yarza Luaces, this scene is unique to the Bible ofAvila. There are no other

representations of the Doubting Thomas in the manuscripts of Castile and Leon from the

11Ith to 12th centuries.214 Yet there is one in a relief panel of the cloister of Santo Domingo

de Silos (Burgos) dated to the last third of the 11Ith century (Fig. 81).215 In terms of

iconography there are some similarities. The event takes place in the presence of all the

disciples, but the position of the disciples is different in both examples since the relief

sculpture has a vertical composition and the Bible ofAvila has a more horizontal

composition. Christ raises His right arm straight up, allowing Thomas, who is located on

the left underneath Christ' s arm, to touch the open wound. This is similar in both

examples. Christ has a cross halo and his hair and beard are long. In both examples Christ

is semi-covered by His garment, and in both examples Christ has his left hand raised up

to his chest.

 In terms of style there are some similarities between the relief on the cloister of

Santo Domingo de Silos and its counterpart in the Bible ofAvila. The drapery of the

garment of the figures is similar in so far as it falls in a linear fashion and it clinches to

212 Yarza Luaces, J., Iconograjia de la 2iniatura Ca;stellano-Leonesa,~~11~11~~1 1973, p. 32.

213 Reau, L., Iconographie de l'Art Chretiene, 1957, pp. 563-565, mentions the Bible of
Avila as one of the earliest representations of this theme.

214 Yarza Luaces, J., Iconogralia de la 2iniatura Ca;stellano-Leonesa,~~11~11~~1 1973, p. 32.

215 Palacios, M., Yarza Luaces, J., y Torres, R., El~ona~sterio de Santo Domingo de
Silos, 1989, p. 17.