leonardo da vinci last supper painting

leonardo da vinci last supper painting
steps of oak; then I gained the hall: I halted there a minute; I
looked at some pictures on the walls (one, I remember, represented a
grim man in a cuirass, and one a lady with powdered hair and a pearl
necklace), at a bronze lamp pendent from the ceiling, at a great clock
whose case was of oak curiously carved, and ebon black with time and
rubbing. Everything appeared very stately and imposing to me; but then
I was so little accustomed to grandeur. The hall-door, which was
half of glass, stood open; I stepped over the threshold. It was a fine
autumn morning; the early sun shone serenely on embrowned groves and
still green fields; advancing on to the lawn, I looked up and surveyed
leonardo da vinci last supper painting
the front of the mansion. It was three storeys high, of proportions
not vast, though considerable: a gentleman's manor-house, not a
nobleman's seat: battlements round the top gave it a picturesque look.
Its grey front stood out well from the background of a rookery,
whose cawing tenants were now on the wing: they flew over the lawn and
grounds to alight in a great meadow, from which these were separated
by a sunk fence, and where an array of mighty old thorn trees, strong,
knotty, and broad as oaks, at once explained the etymology of the
leonardo da vinci last supper painting