next best. Franciabigio did the scene of the Marriage of the Virgin,
which contains another of his well-drawn boys on the steps. The injury
to this fresco--the disfigurement of Mary's face--was the work of
the painter himself, in a rage that the monks should have inspected
it before it was ready. Vasari is interesting on this work. He draws
attention to it as illustrating "Joseph's great faith in taking her,
his face expressing as much fear as joy". He also says that the blow
which the man is giving Joseph was part of the marriage ceremony at
that time in Florence.

Franciabigio, in spite of his action in the matter of this fresco,
seems to have been a very sweet-natured man, who painted rather to be
able to provide for his poor relations than from any stronger inner
impulse, and when he saw some works by Raphael gave up altogether,
as Verrocchio gave up after Leonardo matured. Franciabigio was a
few years older than Andrea, but died at the same age. Possibly it
was through watching his friend's domestic troubles that he remained
single, remarking that he who takes a wife endures strife. His most
charming work is that "Madonna of the Well" in the Uffizi, which
is reproduced in this volume. Franciabigio's master was Mariotto
Albertinelli, who had learned from Cosimo Rosselli, the teacher
of Piero di Cosimo, Andrea's master--another illustration of the
interdependence of Florentine artists.

One of the most attractive works in the courtyard must once have
been the "Adoration of the Shepherds" by Alessio Baldovinetti, at
the left of the entrance to the church. It is badly damaged and the
colour has gone, but one can see that the valley landscape, when it
was painted, was a dream of gaiety and happiness.

The particular treasure of the church is the extremely ornate chapel
of the Virgin, containing a picture of the Virgin displayed once a
year on the Feast of the Annunciation, March 25th, in the painting
of which the Virgin herself took part, descending from heaven for
that purpose. The artist thus divinely assisted was Pietro Cavallini,
a pupil of Giotto. The silver shrine for the picture was designed by
Michelozzo and was a beautiful thing before the canopy and all the
distressing accessories were added. It was made at the order of Piero
de' Medici, who was as fond of this church as his father Cosimo was
of S. Lorenzo. Michelozzo only designed it; the sculpture was done
by Pagno di Lapo Portigiani, whose Madonna is o