Vasari,
"in his old age, a picture for the Compagnia of S. Girolamo, part of
which was paid for by Messer Niccolo Gamurrini, Doctor of Law, Master of
the Rolls, whom he portrayed from life in that picture, on his knees
before the Madonna, to whom he is presented by a S. Nicholas, also in
the said picture; there are besides, S. Donato and S. Stephen, and below
a nude S. Jerome, and a David who sings on a Psaltery; there are also
two Prophets, who appear, by the scrolls in their hands, to be
discussing the Conception."[76]

[Illustration: [_Gallery, Arezzo_

MADONNA, SAINTS, AND PROPHETS]

The commission was given to Luca by the Compagnia of S. Girolamo, on
September 19, 1519, and the price was to be one hundred broad gold
florins, to be shared by Messer Gamurrini and the Confraternity.

In this picture it is in the intention rather than the execution that we
shall find the vigour and strength which ended only with the painter's
life. Much still remains grand and impressive, but though it shows
considerable power, the actual work is not so good. The colour is
exceedingly dark, and full of harsh contrasts; the composition is
overcrowded, as in many of his later paintings; and the figure of David,
although nobly conceived, is awkward and ill-balanced. On the other
hand, the Virgin is as powerfully executed as ever, and so is the
earnest, white-haired Prophet at her feet. It seems to me that the
master has given his own features in this upturned face, with its
firmly-cut lips and square jaw, certainly much more real a person than
the apathetic kneeling Donor. After its removal from its original place
over the altar of the Confraternity, the picture was for several years
in Santa Croce, and, after the suppression of that convent in 1849,
removed to Santo Spirito, and from thence to the Gallery.

Very close to it in style, and probably painted at no distant date, is
the _predella_ owned by Mr Ludwig Mond. It has three stories--I.
Ahasuerus and Esther, II. and III. (with no legendary connection of
which I am aware) Scenes in the Life of S. Augustine. The first is the
finest. Ahasuerus, surrounded by his councillors, bends forward, and
touches with his sceptre the head of the kneeling Esther. His figure is
very like that of the David in the foregoing picture. On the right is a
fine back view of one of the characteristic swaggering soldiers in tight
striped clothes. The treatment is broad, but the drawing in parts is
somewh