Morris tribune., 1897-08-18
DA vlNCPS JUDAS.
This True story of the Revenge of Cele-
brated Artist.


unusual versatility. He was not
only pre- eminent as an artist, but
was also one of the most learned and
accomplished men of the fifteenth
century. His varied talents, COM
bined with his great physical beau
ty, caused him to be renowned
throughout Italy.
Yet all these remarkable gifts
were marred by quick, imperious
temper and an intolerance of rebuke
or opposition. Though a devout
Catholic, such was his want of self
control that he did not hesitate to
retaliate, even when his opponent
was a dignitary of the church.
His celebrated picture 1.-The Last
Supper" was painted for the refec-
tory of the Convent of the Domini,
can Fathers of Milan. The monks
took the greatest pleasure in watch
ing the progress of the painting.
They all had the highest esteem for
the man, as well as an unbounded
admiration for his art, and they fire.
quently passed their criticisms upon
the picture. This they had many
opportunities of doing, as it was be-
ing painted in their convent.
Da Vinci meditated long and pro-
foundly upon the subject of his pic
ture, frequenting the haunts of men
whose type he needed and carefully
studying faces and attitudes. He
always carried his tablets with him,
and in these he made sketches of
heads and groups which he thought
suited his purpose. In this way, by
repeated attempts, he at last sue
ceeded in perfecting his studies for
all the disciples but Judas, but for
him no prototype could be found.
He visited the Borghetta, where
the lowest class of criminals con
cealed themselves. For a whole
year, day and night, he pursued his
search, but was unable to find face
that expressed all the evil that he
wished to portray.
AS the picture was being painted
in the dining hall of the convent, a
part of monastic discipline which
was carried on in that room was
necessarily interrupted. The prior
of the convent, at last becoming i'm
patient at what seemed to him IN
warrantable delay, expostulated
with Da Vinci; but, receiving no
satisfactory reply, he complained to
the grand duke, who at once asked
the artist for an explanation.
Da Vinci, though inWardly raging
with indignation, answered the duke
with all due courtesy, telling him
that the holy father was mistaken
in supposing that he was willfully
neglecting his painting, for, on the
contrary, he worked at his picture
several hours every day The duke
was fully satisfied, repeating to the
prior what Da Vinci had told him.
But the prior, who was ignorant
of the artists outside work in con
nection with his painting, was
shocked at what seemed to him ut
ter falsehood, and he renewed his
complaints with still greater ear
nestness, so that the unfortunate
artist was again summoned before
the grand duke to answer for him.
self, the prior thus representing the
matter:
Your grace, said he, ''Da Vinci
has not been near the convent for
nearly II months, SO how can his
story of working every day be truce
And as he has but one head to finish
it seems to me that he is trifing
with us and presuming too much !
upon our patience. =
What the holy father says is
true, your grace, . said the artist,
with much asperity, SO far as my
absence from the convent is con-
cerned, but what | have told you
with regard to my work is also
strictly true, for l have been en- |
gagged for at least two hours every
day upon the studies and sketches
that | need. AS to the one head un-
finished, that, of Judas, I have been
unable until now to find face with !
the expression that | am in search |
of, but I think the face Of the prior,
as he now looks, will suit my pur-
pose admirably, though it may be
that | am taking liberty with the
holy father.
This liberty Da Vinci did actually
take with the pious head of the
monastery, introducing his features
SO that they might be readily recog I
nized, Notwithstanding the villain
GUS expression that he had given to
the face. Philadelphia Times
Sawed Off.
4 ttHaar ma ont C11orianna Hvdal'' |