When Leonardo da Vinci was painting his masterpiece, The Last Supper, he selected as the person to sit for the character of Christ a young man, Pietri Bandinelli, who was connected with the Milan Cathedral as chorister. Years passed before the great picture was completed, and when one character only—that of Judas Iscariot—was wanting, the great painter noticed a man in the streets of Rome whom he selected as his model. With shoulders far bent toward the ground, having an expression of cold, hardened, evil, saturnine, the man seemed to afford the opportunities of a model terribly true to the artist’s conception of Judas. When in the studio, the profligate began to look around, as if recalling incidents of years gone by. Finally, he turned and with a look half-sad, yet one which told how hard it was to realize the change which had taken place, he said, “Maestro, I was in this studio twenty-five years ago. I, then, sat for Christ.
