strument which he had himself constructed almost wholly of silver, and in the shape of a horse’s head, a new and fanciful form calculated to give more force and sweetness to the sound. Here Leonardo surpassed all the musicians who had assembled to perform before the Duke; he was besides one of the best improvisatori in verse existing at that time, and the Duke enchanted with the admirable conversation of Leonardo, was so charmed by his varied gifts that he delighted beyond measure in his society, and prevailed on him to paint an altar-piece, the subject of which was the Nativity of Christ, which was sent by the Duke as a present to the Emperor.[1] For the Dominican monks of Santa Maria delle Grazie at Milan, he also painted a Last Supper, which is a most beautiful and admirable work; to the heads of the Apostles in this picture the master gave so much beauty and majesty[2] that he was constrained to leave that of Christ unfinished, being convinced that he could not impart to it the divinity which should appertain to and distinguish an image of the Redeemer.[3] But this work, remaining thus in its unfinished state, has been ever held in the highest estimation by the Milanese, and not by them only, but by foreigners also: Leonardo succeeded to perfection in expressing the doubts and anxiety experienced by the Apostles, and the desire felt by them to know by whom their Master is to be betrayed; in the faces of all appear love, terror, anger, or grief and bewilderment, unable as they are to fathom the meaning of their Lord. Nor is the spectator less struck with admiration by the force and truth with which, on the other hand, the master has exhibited the impious
- ↑ This work has been generally reported to be still in the Imperial Gallery, but is no longer to be found there.
- ↑ Of this admirable picture, justly regarded by Lorenzo as “the compendium of all Leonardo’s studies and writings,” an engraving by Raphael Morghen appeared in 1800: and this engraving is considered the masterpiece of the engraver, as the picture is that of the painter. The work wfis also copied in mosaic, and for that purpose, a cartoon, now in the Leuchtenberg Gallery at Munich, and a finished picture, now at Milan (in the Brera),were prepared by the Cav. Bossi—See Del Cenacolo di Leonardo da Vinci, Milan, 1810; see also Goethe’s admired remarks on the same subject, in the Propylaeen.
- ↑ The head of the Saviour is, on the contrary, admirably finished, and, notwithstanding the ruined condition of the work, is one of those in which the hiind of Leonardo can be most clearly recognized.
