figures which compose the picture, and of the expression
of the heads; and he confesses his inability to find in them anything
decisively indicating the period supposed to be chosen. He remarks that
nine at least of the persons, including the principal one, are evidently
engaged in animated conversation; that instead of that concentrated
attention which the announcement might be supposed to generate, there
appears to be great variety of expressions and of action; and that neither
surprise nor indignation are so generally prominent, as might have been
expected. He inclines to think that the studied diversity of expression,
and the varied attitudes and gestures of the assembled party, are to be
regarded as proofs of the artist's efforts to produce a powerful and
harmonious composition, rather than a natural and truthful representation
of any particular moment of the transaction depicted by him.

The work in question is now so generally accessible through the medium of
accurate engravings, that any one may easily exercise his own judgment on
the matter, and decide for himself whether the criticism be well founded.

It must be borne in mind that the subject had long been a familiar
decoration of conventual refectories before the time when Lionardo brought
his profound knowledge of external human nature, and his unsurpassed powers
of executive art, to bear on a subject which had before been treated in the
dry, conventional, inanimate manner of the Middle Ages. The leading
features of the traditional picture are retained: the long table, the linen
cloth, the one-sided arrangement of the figures, the classic drapery, and
the general form and design of the apartment, are all to be found in the
earlier works; and must have been considered, by observers in general, far
more essential to the correct delineation of the scene than any adherence
to the exact description of it in any one of the Evangelists. But as the
subject was usually introduced into refectories for the edification of the
brethren assembled with their superior at their own meals, it does not seem
likely that the treachery of Judas should have been intended to be the
prominent action of the picture. It was a memorial of the institution of
the Eucharist, although the Christ was not represented as dispensing either
bread or wine. In such a case, if any particular point of time was ever
contemplated by the artist, he might judiciously and appropriately select
the moment