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dm. MDXXI. Andreas Sartius, pingebat, et A.D., MDLXXXII. Alexander Allorius sequbatur." Vasari describes the original drawing as the most finished he had ever seen, and says that he kept it in his own possession. Rossini argues that this fresco contains proof that del Sarto must have visited Rome after the death of Raphael, and there received impressions which show themselves in this work, the composition of which is quite outside his usual range. He says the perspective, the statues, the foreign animals, and the sontuosita of the drapery all prove " that his mind had been opened * Vasari, v. 36. C 34 ANDREA DEL SARTO beyond the limits of his usual timidity," and he therefore argues that the visit to Rome, about which early writers hint, though none speak with precision, must have preceded the paintings of this versatile composition.* It is related that Michael Angelo held del Sarto in high estimation, and was heard to remark to Raphael, " There is a bit of a manikin in Florence who would bring the sweat to your brow if he chanced to be employed on the great undertakings entrusted to you ! " The fact of his visit to Rome cannot be affirmed with any certainty, and is only gathered incidentally, as, for instance, when Mariette speaks of having sixty landscape- sketches by him, and describes one as being of the