In the composition by Stradano the arrangement of the table and figures is particularly well managed: all recline on couches; in the centre of the table is a dish, to which Christ extends his hand, and Judas, who is here rather handsome than otherwise, at the same time stretches forth his; the moment is evidently, ‘He that dippeth with me in the dish, the same shall betray me.’ Two circumstances spoil this picture, and bring it down to the level of the vulgar and the commonplace. In the background is seen a kitchen and the cooking of the supper. Under Judas crouches a hideous demon, with horns, hoof, and tail, visible only to the spectator. * * * * * When the Cenacolo represents the Eucharist, it is, perhaps, allowable to introduce angels, because it was, and I believe is, an established belief, that, visible or invisible, they are always present at the Sacrament. The Holy Ghost descending from above is unsanctioned by Scripture, but may serve to mark the mystical and peculiar solemnity of the moment chosen for representation. It may signify, ‘He that receiveth me, receiveth _Him_ that sent me.’ But where angels attend, or where the Spiritual Comforter comes floating down from above, then the presence of Judas, or of any superfluous figures as spectators or servitors, or of dogs or other animals, becomes a manifest impropriety. The introduction of the Devil in person as tempting Judas is rendered pardonable by the naïveté of the early painters: in the later schools of art it is offensive and ridiculous. The Cenacolo of Baroccio, painted by order of Clement VIII. (1594), for his family chapel in the Santa Maria-sopra-Minerva, is remarkable for an anecdote relating to it. Baroccio, who was not eminent for a correct taste, had in his first sketch reverted to the ancient fashion of placing Satan close behind Judas, whispering in his ear, and tempting him to betray his Master. The Pope expressed his dissatisfaction,—‘_che non gli piaceva il demonio si dimesticasse tanto con Gesù Cristo_,’—and ordered him to remove the offensive figure. This is not the last example of the ancient manner of treatment. In the Cenacolo of Franceschini, painted nearly a century later, two angels are attending on the sacred repast, while Judas is in the act of leaving the room, conducted by Satan in person. * * * * * It is surely a fault, in a scene of such solemn and sacred import, to make the head of Judas a vehicle for public or private satire, by giving him the features of some obnoxious personage of the time.[243] This, according to tradition, has been done in some instances. Perhaps the most remarkable example that could be cited is the story of Andrea del Castagno, who, after having betrayed and assassinated his friend Domenico Veneziano, painted himself in the character of Judas: a curious instance of remorse of conscience. * * * * *