In 1796, the French host crossed the Alps triumphantly, led by General Bonaparte.  Young, crowned with fame and seeking fame, he was drawn by the name of Leonardo to the place that has now held us so long.

He immediately gave orders that no encampment should be made here lest other damage should happen, and signed the order on his knee before he mounted his horse.  Shortly afterwards another general disregarded these orders, had the doors broken in, and turned the hall into a stable.

Mazza’s coating had already lost some of its freshness and the horse steam which was worse than the steam from viands on monkish sideboards lastingly impregnated the walls, and added new mould to the picture; indeed, dampness collected so heavily that it ran down leaving white streaks.  Later, this room was used for storing hay, and sometimes for other purposes connected with the military, by whom it was abused.

Finally the Administration succeeded in closing the place, and even walling it in, so that for a long time those who wished to see The Last Supper were obliged to climb a ladder leading to the pulpit from which the Reader discoursed at meal times.

In the year 1800, a great flood produced still more dampness.  In 1801, on the recommendation of Vossi, who took it upon himself to assume the Secretaryship of the Academy, a door was built and the board of governors promised more care in the future.  Finally, in 1807, the Viceroy of Italy gave orders that the place should be renovated and duly honoured.  Windows were put in and scaffolding was erected in some parts to examine if there was anything more that could be done.  The door was transferred to the side, and since then no considerable changes have been noticed, although to the minute observer its dullness varies according to the state of the atmosphere.  Although the work itself is as good as lost, may it yet leave some slight trace to the sad but pious memory of future generations!

    Werke (Stuttgart and Tuebingen, 1831), Vol.  XXXIX.

THE CHILDREN OF CHARLES I.

(VAN DYCK)

JULES GUIFFREY

Upon his arrival [in England] Anthonius was temporarily lodged at the house of Edward Norgate, a protege of the Earl of Arundel, charged by the King to provide for all the needs of his guest.  Another such installation could not be repeated.  The sovereign himself took pains to find a suitable establishment for his painter.  Mr. Carpenter cites a very curious note on this subject.  Charles I. wrote with his own hand,—­“To speak with Inigo Jones concerning a house for Vandike.”  This house demanded the combination of certain conditions very difficult to meet with.  It was necessary that the artist should be comfortably established; and, on the other hand, the King wished him not to be too far from the palace.  The architect was able to