This great picture was painted in oil instead of in "distemper," the proper kind of mixture for fresco, and therefore it was bound to be lost in the course of time. Besides, it has known more than ordinary disaster. The troops of Napoleon used this room, the convent refectory, for a stable, and that did not do the painting any good. The reason we have so complete a knowledge of it, however, is that Leonardo's pupils made an endless number of copies of it, and thus it has found its way into thousands of homes. The following is the order in which Leonardo placed the disciples at the table: Jesus of Nazareth in the centre, Bartholomew the last on the left, after him is James, Andrew, Peter, Judas--who holds the money bag--and John. On the right, next to Jesus, comes Thomas, the doubting one; James the Greater, Philip, Matthew, Thaddeus, and Simon. Jesus has just declared that one of them shall betray him, and each in his own way seems to be asking "Lord, is it I?" In the South Kensington Museum in London will be found carefully preserved a description, written out fairly in Leonardo's own hand, to guide him in painting the Last Supper. It is most interesting and we shall quote it: "One, in the act of drinking puts down his glass and turns his head to the speaker. Another twisting his fingers together, turns to his companion, knitting his eyebrows. Another, opening his hands and turning the palm toward the spectator, shrugs his shoulders, his mouth expressing the liveliest surprise. Another whispers in the ear of a companion, who turns to listen, holding in one hand a knife, and in the other a loaf, which he has cut in two. Another, turning around with a knife in his hand, upsets a glass upon the table and looks; another gasps in amazement; another leans forward to look at the speaker, shading his eyes with his hand; another, drawing back behind the one who leans forward, looks into the space between the wall and the stooping disciple." Other paintings of Leonardo's are: "Mona Lisa," "Head of Medusa," "Adoration of the Magi," and the "Madonna della Caraffa." XLIV JEAN ANTOINE WATTEAU (Pronounced in French, Vaht-toh; English, Wot-toh) _French (Genre) School_ 1684-1721 _Pupil of Gillot and Audran_ Watteau's father was a tiler in a Flemish town--Valenciennes. He meant that his son should be a carpenter, but that son tramped from Valenciennes to Paris with the purpose of becoming a great painter. He did more, he became a "school" of painting, all by himself. There is no sadder story among artists than that of this lowly born genius. He was not good to look upon, being the very opposite of all that he loved, having no grace or charm in appearance. He had a drooping mouth, red and bony hands, and a narrow chest with stooping shoulders. Because of a strange sensitiveness he lived all his life apart from those he would have been happy with, for he mistrusted his own ugliness, and thought he might be a burden to others.