and San Marco, also form part of this picture, which is esteemed to be fully equal to the other works of our artist.[1] There was beside a semi-circular painting, prepared as the completion of that above described, and destined to be placed over it, but this remained in the hands of Giuliano Scala, who retained it as security for a sum of money which he had advanced on account of those to whom it should have been sent; the subject of this last-mentioned work was the Annunciation, and it is now in a chapel belonging to the above-named Giuliano, which is situate near the choir in the principal tribune or apsis of the church of the Servites.[2]
Many years had now elapsed since the monks of San Salvi had thought of having any progress made with the Last Supper, which they had commissioned Andrea to paint at the time when he executed the work before mentioned, that in the arch with the four figures namely. But there came at last an Abbot, who was a man of sense and judgment; by him therefore it was determined that the Last Supper should be completed; and Andrea, who had long before engaged to paint that picture, made no opposition. In a few months he set hand to it accordingly, working at it as he found himself inclined, and doing one part after another, but finishing it at length, and that in such a manner as to compel the acknowledgment of its excellence from all who beheld it.[3] This work is indeed, as it is held to be, among the most animated, whether as regards design or colour, ever executed by the hand of our artist, nay, rather that could be effected by any hand; it gives proof of admirable facility, and the master has imparted grandeur, majesty, and grace to all the figures, insomuch that I know not what to say of this Supper that
- ↑ From the Genoese palace, alluded to in the preceding note, this work found its way to Paris, and was there purchased (from the Lafitte Collection) in 1838, for the Royal Gallery of Berlin, where it still remains in excellent preservation. For a circumstantial account of the same, see the Kunslblatt for 1838, No. 27.
- ↑ Now in the Pitti Palace, in the Hall of Saturn, to which place it was removed from the Church of the Servites. It has been engraved by Domenico Picchianti.
- ↑ his work has been engraved by Theodor Cruger, and in outline by Chiari. An engraving of the same had been commenced by Giovacchino Cantini, a scholar of Raphael Morghen; but the work, when nearly half completed, was interrupted by the death of the engraver.
