Mrs Jameson objects to the introduction of dogs in such a subject as the Last Supper, but remarks that it is supposed to show that the supper is over, and the paschal lamb eaten. It is so common that we should rather refer it to a more evident and more important signification, to show that this institution was not for the Jews only, and alluding to the passage showing that "dogs eat of the crumbs which fell from their masters' table." The large dogs, however, of Paul Veronese, gnawing bones, do not with propriety represent the passage; for there is reason to believe that the word "crumbs" describes the small pet dogs, which its was the fashion for the rich to carry about with them. The early painters introduced Satan in person tempting Judas. When Baroccio, with little taste, adopted the same treatment, the pope, Clement VIII., ordered the figure to be obliterated--"Che non gli piaceva il demonio si dimésticasse tanto con Gesu Christo." We know not where Mrs Jameson has found the anecdote which relates that Andrea del Castagno, called the Infamous, after he had assassinated Dominico his friend, who had intrusted him with Van Eyck's secret, painted his own portrait in the character of Judas, from remorse of conscience. We are not sure of the story at all respecting Andrea del Castagno: there may be other grounds for doubting it, but this anecdote, if true to the fact, would rather indicate insanity than guilt. The farther we advance in the history and practice of art, the more we find it suffering in sentiment from the infusion of the classical. In the Pitti Palace is a picture by Vasari of St Jerome as a penitent, in which he has introduced Venus and cupids, one of whom is taking aim at the saint. It is true that, as we proceed, legends crowd in upon us, and the painters find rather scope for fancy than subjects for faith and resting-places for devotion. Art, ever fond of female forms, readily seized upon the legends of Mary Magdalene. Her penitence has ever been a favourite subject, and has given opportunity for the introduction of grand landscape backgrounds in the lonely solitudes and wildernesses of a rocky desert. The individuality of the characters of Mary and Martha in Scripture history was too striking not to be taken advantage of by painters. There is a legend of an Egyptian penitent Mary, anterior to that of Mary Magdalene, which is curious. Whether this was another Mary or not, she is represented as a female anchoret; and we are reminded thereby of the double story of Helen of Troy, whom a real or fabulous history has deposited in Egypt, while the great poet of the Iliad has introduced her as so visible and palpable an agent in the Trojan war, and not without a touch of penitence, not quite characteristic of that age. Accounts say that it was her double, or eidolon, which figured at Troy.