in truth, there are few parts that have not
been retouched at different times, and sometimes by far from skilful
brushes; yet the painting bears, and will bear to the end, the divine
and ineffable touch of genius given by the inspired mind which so
carefully, lovingly, and thoughtfully designed it. It is very probable
that the fame of this unique work will ultimately have to depend upon
the fine copy in mosaics at Vienna, executed at Napoleon's command, and
supposed to be the largest and finest mosaic in the world. The
expression in the faces of the apostles is said to be most admirably
preserved.

The painting itself, which took the great Leonardo twelve years to
execute, was unfortunately painted in oils, and the plaster of the wall
not being properly prepared, the paint flakes off from exposure to the
damp. It retains just enough to show the emotions the artist wished to
express, and which the best copies fail to produce. The _motif_ of the
work is most beautifully and pathetically represented. Amidst the loving
peace of that last evening meal, Jesus sorrowfully bows His head,
saying, "One of you shall betray Me." Then all are filled with the
deepest agitation and dismay. Two of the disciples, Peter and James, I
think, reaching behind the dark form of Judas, who clutches the bag,
make signs to John to ask the Master who it is. But the silent, downcast
attitude of the Saviour, the expression of heavenly resignation, seems
but too truly to confirm the mournful words--"One of you shall betray
Me."

I must here repeat my lamentation at the unfinished condition of the
exterior of many of the cathedrals and churches of Italy, which I
consider disgraceful, containing as they do so much that is beautiful in
sculpture, painting, and art-treasures beyond value, which can never be
replaced, and yet are allowed to gradually sink into oblivion and ruin.
Little care is taken to preserve them, or prevent decay: often have I
seen the damp saturating the walls on which were the most admired
frescoes of the greatest masters, slowly but surely becoming spoiled and
effaced. It must be more than the want of funds which prevents the
people from properly finishing the buildings they took so much time to
construct and decorate--some senseless superstition must attach to it in
some way, I should think.

Santa Maria delle Grazie, adjoining the Friary, is an Abbey Church of
the fourteenth century, and, with Gothic nave and picturesque cupo