three saints, Laurence, Francis, and Peter Martyr listen intently to the eloquent words in which the venerable Father, St. Augustine, descants on the divine mystery, and Sebastian and Magdalene kneel at their feet. This work marks the culminating point of Andrea's art, and like the famous Madonna delle Arpie, was painted before his memorable journey to France. This last-named picture, which takes its name from the reliefs of harpies carved on the pedestal of the Virgin's throne, was originally executed for a Franciscan convent in the Via Pentolini, and is now among the chief ornaments of the Tribune of the Uffizi. It was painted early in 1517, a few months after the artist's marriage to the beautiful widow, Lucrezia del Fede, whose features we recognise in the Virgin's face. A striped cloth rests on her brown hair and a yellow shawl is folded round her shoulders. The laughing Child clings lovingly to his Mother's neck, and two fair boy-angels play with the skirts of her blue robe. At the foot of the throne St. Francis stands with a crucifix in his hand, and a youthful St. John is seen in the act of writing his Gospel. Andrea never excelled this composition which, in simple grace and majesty, is unique among his works, and belongs to the happiest moment of his life.
The story of Andrea's marriage is familiar to us in the pages of Vasari, who was at one time the artist's pupil, and who in his hatred of his master's wife has painted her in the blackest colours. But although his language may be exaggerated, the main facts of the case are probably true, and have never been refuted. This handsome woman whose face recurs in almost
