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Updated: June 21, 2025
Two engravings on the wall gave evidence of the happiest broadmindedness in taste; one of da Vinci's St. John the Baptist, and the Maison des Dernières Cartouches of Alphonse de Neuville. On the table were earthenware goblets. A heavy jar held palm liqueur.
Among them were Da Vinci's "La Joconde" and Raphael's "Holy Family and Saint Michael." Henri II, Henri IV, and Louis XIII did little to enrich the art collections of the palace, but Louis XIV charged his minister, Colbert, with numerous purchases.
As well as I can remember, it may be five or six feet square, and I suppose would accommodate twelve persons, though not if they reclined in the Roman fashion, nor if they sat as they do in Leonardo da Vinci's picture. It would be very delightful to believe in this table.
So it is with every other expression of nature. By black and white I mean, of course, that excess or absence of pure color which when translated into pure black and white would express the meaning of the subject-matter, as one of Raphael Morghen's engravings on steel gives you the feeling and color in his masterly rendering of Da Vinci's "Last Supper."
It is not certain that Titian's mistress, or Leonardo da Vinci's Monna Lisa, or Raphael's Fornarina were as beautiful as this exquisite Esther, in whom not the most practised eye of the most experienced Parisian could have detected the faintest trace of the ordinary courtesan.
Milan, of course. They are restoring Da Vinci's Cenacolo. What called it to mind is the fact that this is also the last supper. To-morrow at this hour you will be in possession and I'll be off for my pearls." The recipients of this remarkable news appeared petrified for a space. Cunningham enjoyed the astonishment. "Sounds almost too good to be true, doesn't it? Still, it's a fact."
The jewel of the view is Trasimeno, a silvery shield encased with serried hills, and set upon one corner of the scene, like a precious thing apart and meant for separate contemplation. There is something in the singularity and circumscribed completeness of the mountain-girded lake, diminished by distance, which would have attracted Lionardo da Vinci's pencil, had he seen it.
The painters of that period, as is proved by Sebastiano's practice, by Lionardo da Vinci's unfortunate innovations at Florence, and by the experiments of Raffaello's pupils in the hall of Constantine, not unfrequently invented methods for mural decoration which should afford the glow and richness of oil-colouring.
Before doing so, they passed by Milan, enjoyed the opera there, and went to see Leonardo da Vinci's "Last Supper," which Mary naturally much admires; she mentions the Luinis without enthusiasm.
A strange light, however, was shed on the effect made by the purely artistic significance of a masterpiece, when I stood before Leonardo da Vinci's 'Last Supper' and had the same experience as every one else.
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