ed
himself, poor in art, but at the same time, as is usual, with an
abundant supply of presumption. He, like a charlatan, boasted of a
secret process with which he could restore the picture to its original
state. By means of a small sample of his work he deluded the ignorant
monks who yielded to his discretion this treasure, which he immediately
surrounded with scaffolding, and, hidden behind it, he painted over the
entire picture with a hand shaming to art. The little monks wondered at
the secret, which he communicated in a common varnish to delude them,
and gave them to understand that with this they would be able to save it
from spoiling for ever.

Whether, on the clouding of the picture after a short time, the monks
made use of this costly remedy or not, is unknown, but it certainly was
freshened up several times, and indeed with water-colours in certain
parts.

Meanwhile the picture had become constantly more decayed, and again the
question arose how far it could still be preserved, but not without much
contention among artists and directors. De Giorgi, a modest man of
moderate talent, but intelligent and zealous and with a knowledge of
true art, steadfastly refused to set his hand forward where Leonardo had
withheld his own.

At last, in 1770, on a well-meaning order but one void of discretion,
through the indulgence of a courtly prior, the work was transferred to a
certain Mazza, who botched it in a masterly manner. The few old original
spots remaining, although twice muddied by a foreign hand, were an
impediment to his free brush; so he scraped them with iron and prepared
bare places for the free play of his own impudent daubing, indeed,
several heads were handled in this way.

Friends of art were now aroused against that in Milan, and patrons and
clients were openly blamed. Enthusiasm fed the fire and the fermentation
became general. Mazza, who had begun to paint on the right of the
Saviour, had by this arrived at the left, and only the heads of Matthew,
Thaddaeus, and Simon remained untouched. He thought to cover Bellotti's
work and to vie with him in the name of a hero. But Fate willed
otherwise, for the pliant prior having been transferred, his successor,
a friend of art, did not delay to dismiss Mazza forthwith; through which
step three heads were so far saved that we can accordingly judge of
Bellotti. And, indeed, this circumstance probably gave rise to the
saying: "There are still three heads of the