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 *ly detached itself from the wall. About half a century subsequent to the execution of this wonderful work, when Armenini saw it, it was already half decayed: and Scanelli, who examined it in 1642, declared that it 'was with difficulty he could discern the history as it had been.' Nothing now remains except the heads of three apostles, which may be said to be rather sketched than painted."—Lanzi.

COPIES OF THE LAST SUPPER OF DA VINCI.

The great loss of the original picture is in some measure compensated by several excellent copies, some of which are by Lionardo's most eminent disciples; the best are, that by Marco Uggione, at the Carthusians of Pavia; another in the Refectory of the Franciscans at Lugano, by Bernardino Luini; and one in La Pace at Milan, by Gio. Paolo Lomazzo. Fuseli, lecturing on the copy by Marco Uggione, says, "the face of the Saviour is an abyss of thought, and broods over the immense revolution in the economy of mankind, which throngs inwardly on his absorbed eye—as the Spirit creative in the beginning over the water's darksome wave—undisturbed and quiet. It could not be lost in the copy before us; how could its sublime expression escape those who saw the original? It has survived the hand of time in the study which Lionardo made in crayons, exhibited with most of the attendant heads in the British Gallery, and even in the feeble transcripts of Pietro Testa. I am not afraid of being