rested upon her figure. With inexpressible grace, half kneeling, half
lying, she was stretched before an altar; one of the most striking, most
lovely, and picturesque objects in all nature. Her dress was of black
moreen, fitting tightly to her slender waist and beautifully-formed
arms, the skirts spreading around her like a Spanish robe; her long
light-colored hair was divided into two broad plaits, which, apparently
from their own weight, had escaped from under her veil, and flowed in
charming disorder down her back. One of her hands grasped the crucifix,
and her head rested gracefully upon the other. But, where shall I find
words to describe to you the angelic beauty of her countenance, in which
the charms of a seraph seemed displayed. The setting sun shone full
upon her face, and its golden beams seemed to surround it as with a
glory. Can you recall to your mind the Madonna of our Florentine
painter? She was here personified, even to those few deviations from
the studied costume which so powerfully, so irresistibly attracted me in
the picture."

With regard to the Madonna, of whom the prince spoke, the case is this:
Shortly after your departure he made the acquaintance of a Florentine
painter, who had been summoned to Venice to paint an altar-piece for
some church, the name of which I do not recollect. He had brought with
him three paintings, which had been intended for the gallery in the
Cornari palace. They consisted of a Madonna, a Heloise, and a Venus,
very lightly apparelled. All three were of great beauty; and, although
the subjects were quite different, they were so intrinsically equal that
it seemed almost impossible to determine which to prefer. The prince
alone did not hesitate for a moment. As soon as the pictures were
placed before him the Madonna absorbed his whole attention; in the two
others he admired the painter's genius; but in this he forgot the artist
and his art, his whole soul being absorbed in the contemplation of the
work. He was quite moved, and could scarcely tear himself away from it.
We could easily see by the artist's countenance that in his heart he
coincided with the prince's judgment; he obstinately refused to separate
the pictures, and demanded fifteen hundred zechins for the three. The
prince offered him half that sum for the Madonna alone, but in vain.
The artist insisted on his first demand, and who knows what might have
been the result if a ready purchaser had not stepped forward.