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HE most strictly impressive picture in Italy is incontestably the Last Supper of Leonardo at Milan. A part of its immense solemnity is doubtless due to its being one of the first of the great Italian masterworks that you encounter in coming down from the North. Another secondary source of interest resides in the very completeness of its decay. The mind finds a rare delight in filling each of its vacant spaces, effacing its rank defilement, and repairing, as far as possible, its sad disorder. Of the essential power and beauty of the work there can be no better evidence than this fact that, having lost so much, it has yet retained so much. An unquenchable elegance lingers in those vague outlines and incurable scars; enough remains to place you in sympathy with the unfathomable wisdom of the painter. The fresco covers a wall, the reader will remember, at the end of the former refectory of a monastery now suppressed, the precinct of which is occupied by a regiment of cavalry. Horses stamp, soldiers rattle their oaths, in the cloisters which once echoed to the sober tread of monastic sandals and the pious greetings of meek-voiced friars.

It was the middle of August, and summer sat brooding fiercely over the streets of Milan. The great brick-wrought dome of the church of St. Mary of the Graces rose black with the heat against the brazen sky. As my fiacre drew up in front of the church, I found another vehicle in possession of the little square of shade which carpeted the glaring pavement before the adjoining convent. I left the two drivers to share this advantage as they could, and made 1