[Footnote 76: The emperors of Costantinople used (according to Codinus De Officiis Aulae Costantinop.) to wash the feet of twelve poor persons: and Vespasiano Fiorentino in the fifteenth century, in his life of Alfonso di Napoli quoted by Cancellieri, says that "Il Giovedi Santo lavava i piedi a tanti poveri, quant' egli aveva anni, et lavavagli, come si deve ... et a tutti dava una veste bianca, et un pajo di calze, et un Alfonsino, et un fiorino et un carlino, et non so che altra moneta. Dipoi il Giovedi medesimo faceva ordinare una cena,... et la Maesta del Re la pigliava, et metteva loro innanzi, e con il vino, et quello avevano di bisogno con grandissima umilta". See also Martene, De Ant. Eccl. Rit. Lib. IV, c. XII, Sec. 8. Our readers will here call to mind the good old custom still preserved of the maundy of our British Sovereigns, so called from mandatum, the first word of the first anthem sung during, the washing of the feet. In the Greek church, according to Baillet, not only are the feet of twelve poor persons washed, but the name of an apostle is given to each of them; as it may be supposed, nobody is anxious to have the name of Judas Iscariot: so lots are drawn to determine the person who is to represent that traitor. This may remind us of the threat of Leonardo da Vinci to copy the head of Judas, in his celebrated last supper, from the importunate Prior of S. Maria delle Grazie of Milan. Poor Leonardo despaired of finding a model for the head of our Saviour; and for more than a year was seeking the rabble for a fit subject whom he might represent as Judas: meantime the Prior was continually worrying him to finish the fresco. "In ogni caso poi" said he to Lodovico Sforza, "faro capitale del ritratto del P. Priore, che lo merita per la sua importunita e per la sua poca discrezione". The story of Leonardo bears some resemblance to the manner in which Michelangelo punished Biagio da Cesena Pontifical Master of Ceremonies, who before Daniel of Volterra had acquired his well-known nickname of _braghettone_ complained to the Pope, that the naked figures of the last judgment were unworthy of a house of prayer. The artist introduced his censor in his painting as Minos judge of the infernal regions, with long ears like those of the other devils, and a serpent's tail. Paul III when appealed to is said to have answered, that if his Ceremoniere had been in Purgatory, he might have helped him out, but out of hell there was no redemption. This Papal witticism Platner could not find in any writer earlier than Richardson (See Beschreibung der Stadt Rom) but _se non e vero, e ben trovato_. Dante was not more scrupulous than Michelangelo about thrusting his opponents into his _inferno_. Pictoribus atque poetis Quidlibet audendi semper fuit aequa potestas. ] [Footnote 77: The mosaics with which it was adorned by Pope Leo III are preserved in the great niche adjoining the _scala santa_.]