- 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
