the apostles and other figures standing around, whose attitudes are varied and fine, as, holding their vestments to the nose, they seek to shield themselves from the odours of that decayed body. The fear and astonishment of the spectators at this new miracle is no less eloquently expressed than the joy and gladness of Mary and Martha, who behold life returning to the dead body of their brother. This work was considered to be one of such extraordinary merit, that many believed the talent of Agnolo to surpass not only that of all Taddeo’s other disciples, but also that of the father himself.[1] The event nevertheless proved the fallacy of this opinion, for as in youth the desire for renown will often give strength to overcome all difficulties—so, as years increase, we frequently remark the approach of a certain careless negligence, which causes a man to go backwards rather than forwards, and this was the case with Agnolo. Having given so remarkable a specimen of his powers in this work, the Soderini family, hoping great things from such a master, appointed him to paint the principal chapel of the church of the Carmine; he accordingly represented the whole life of Our Lady therein, but so greatly inferior was this work to the Resurrection of Lazarus, that all might perceive how little it was his intention to devote himself studiously to the art of painting—nay, in the whole of this unusually extensive work, there is nothing well done, save only one scene, which depicts Our Lady surrounded by numerous young maidens: they are variously attired in vestments and headdresses, proper to those times, and as variously employed in different womanly occupations; one spins, another sews, a third is winding threads, while a fourth weaves, and others are employed in other occupations, all which Agnolo composed and executed tolerably well.[2]
In like manner this artist painted the principal chapel of the church of Santa Croce, in fresco, for the noble family of the Alberti, representing every circumstance of the discovery of the cross; and the work certainly displays considerable facility, but very little force of design, the colouring only being good and tolerably well done.[3] But when he afterwards
