we beheld this dining-room still
undestroyed. Opposite the entrance on the narrow end on the floor of the
hall stands the prior's table with a table for the monks on either side,
all three raised a step above the ground, and now when the visitor turns
around he sees painted on the wall, above the not very high doors, a
fourth table, at which are seated Christ and His disciples, as if they
also belonged to this company. It must have been an impressive sight at
meal times when the tables of Christ and the prior looked upon each
other like two pictures, and the monks found themselves enclosed between
them. And, for this very reason, the artist's judgment selected the
tables of the monks for a model. Also the table-cloth, with its creased
folds, embroidered stripes, and tied corners, was taken from the
linen-room of the monastery, while the dishes, plates, drinking-vessels,
and other utensils are similarly copied from those used by the monks.

Here, also, no attempt was made to depict an uncertain and antiquated
custom. It would have been extremely unsuitable in this place to permit
the holy company to recline upon cushions. No! it should be made
contemporary. Christ should take His Last Supper with the Dominicans in
Milan.

In many other respects also the picture must have produced a great
effect. About ten feet above the floor the thirteen figures, each one
half larger than life-size, occupy a space twenty-eight Parisian feet
long. Only two of these can be seen at full length at the opposite ends
of the table, the others are half-figures, and here, too, the artist
found great advantage in the conditions. Every moral expression belongs
solely to the upper part of the body, and the feet, in such cases, are
always in the way; the artist has created here eleven half-figures,
whose laps and knees are hidden by the table and table-cloth under which
the feet in the deep shadow are scarcely visible.

Now, let us transport ourselves to this place and room, imagine the
extreme moral repose which reigns in such a monastic dining-hall, and
marvel at the strong emotion and impassioned action that the painter has
put into his picture whilst he has kept his work of art close to nature,
bringing it immediately in contrast with the neighbouring actual scene.

The exciting means which the artist employed to agitate the tranquil
and holy Supper-Table are the Master's words: "There is one amongst you
that betrays me." The words are spoken