The Cenacolo of Andrea del Sarto, in the Convent of the Salvi near Florence, takes, I believe, the third rank after those of Leonardo and Raphael. He has chosen the self-same moment, ‘One of you shall betray me.’ The figures are, as usual, ranged on one side of a long table. Christ, in the centre, holds a piece of bread in his hand; on his left is St. John, and on his right St. James Major, both seen in profile. The face of St. John expresses interrogation; that of St. James, interrogation and a start of amazement. Next to St. James are Peter, Thomas, Andrew; then Philip, who has a small cross upon his breast. After St. John come James Minor, Simon, Jude, Judas Iscariot, and Bartholomew. Judas, with his hands folded together, leans forward, and looks down, with a round mean face, in which there is no power of any kind, not even of malignity. In passing almost immediately from the Cenacolo in the St. Onofrio to that in the Salvi, we feel strongly all the difference between the mental and moral superiority of Raphael at the age of twenty, and the artistic greatness of Andrea in the maturity of his age and talent. This fresco deserves its high celebrity. It is impossible to look on it without admiration, considered as a work of art. The variety of the attitudes, the disposition of the limbs beneath the table, the ample, tasteful draperies, deserve the highest praise; but the heads are deficient in character and elevation, and the whole composition wants that solemnity of feeling proper to the subject. * * * * * The Cenacolo of Titian, painted for Philip II. for the altar of his chapel in the Escurial, is also a notable example of the want of proper reverential feeling: two servants are in attendance; Judas is in front, averting his head, which is in deep shadow; a dog is under the table, and the Holy Ghost is descending from above. Niccolò Poussin has three times painted the Cenacolo. In the two series of the Seven Sacraments, he has, of course, represented the institution of the Eucharist, as proper to his subject; in both instances, in that pure and classical taste proper to himself. In the best and largest composition, the apostles are reclining on couches round the table. Christ holds a plate full of bread, and appears as saying, ‘Take, eat.’ Four are putting the morsel into their mouths. Judas is seen behind, with an abject look, stealing out of the room. * * * * *