- onno, in Royal Academy, London; others in
the Louvre, in the Brera at Milan (formerly in Convent at Castellazzo di Vigentino), and at Ponte Capriasco, Switzerland. Picture best known by Raphael Morghen's engraving (1800), but it was not made from the original, as generally supposed. Morghen engraved it in Florence from a drawing made by Teodoro Matteini, who was sent to Milan for the purpose, but who undoubtedly took many details from Marco d'Oggionno's copy, in which the heads are not closely copied from the original. Bern. Luini is said to have made a copy for Louis XII. of France, but nothing is known of it. A copy by Rubens, in his peculiar style, has been engraved by Soutman. Another engraved by Thouvenet. In 1884 the French Ministry of Fine Arts commissioned Gaillard to engrave it for 70,000 francs. Reputed studies by Leonardo are in the collection of the Grand Duchess of Weimar, in the Windsor Collection, in the Brera at Milan, in the Louvre, and in the Venice Academy; Leonardo's memoranda concerning the arrangement of the figures, in one of his note-books in South Kensington Museum.—Vasari, ed. Mil., iv. 29; Delécluze, L. da Vinci (1841); Stendhal, Hist. de la Peinture en Italie (1859), i.; Bosi, Del Cenacolo (Milan, 1810); Goethe, Abendmahl von L., xxxix.; Kugler (Eastlake), ii. 252; Ch. Blanc, École florentine.
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Last Supper, Leonardo da Vinci, Convent of S. M. Grazie, Milan.
Subject treated also by Giambattista Tiepolo, Louvre; Jules Elie Delaunay, Luxembourg Museum; Bartolomeo Carducci, Madrid Museum; Annibale Carracci, Ferrara Gallery; Andrea del Castagno, Refectory of S. Apollonia, Florence; Benedetto Cagliari, Venice Academy; Pablo de Cespedes, Cordova Cathedral; Hans Holbein, elder, St. Leonard's, Augsburg: Gerard de Lairesse, Louvre; Francesco Penni, Naples Museum; Alphonse Perin, Notre-Dame de Lorette, Paris; Hippolyte Flandrin, Saint-Germain-des-Prés, ib.; Pierre Auguste Pichon (1856); François Verdier, Caen Museum.
LAST TOKEN, Gabriel Max, Miss C. L.
Wolfe, New York; canvas, H 8 ft. × 5 ft.
Scene in the Coliseum in the time of the
persecutions of the Christians. A fair young
girl, exposed in the arena to two lions and
a tiger, which have evidently just come out
of their den beside her, is timidly resting
one hand upon the wall and gazing upward
to see what sympathetic spectator has cast
down a rose lying at her feet.—Art Journal
(1881), 174; Art Treas. of Amer., i. 124.
