Depicted in profile, Christ seems compellingly real, his humanity as tangible as the bread he holds in his gnarled hands or the folds of his cloak on the chair. Drawn with black and white chalks on a somewhat faded blue paper, this sheet was undoubtedly a preparatory study for one of the 18 known paintings of the Supper at Emmaus produced by this Genoese-born artist and his workshop, probably during his later years working in Venice. For a Capuchin monk like Strozzi, the story of Christ’s appearance to two strangers on the road to Emmaus offered a chance to portray his divinity in very human terms.