cessive improvements, might therefore, and most probably did produce in him an opinion that his own most laboured pieces were far from being finished to that extent of beauty which he wished to give them; and these sentiments of them he might in all likelihood be frequently heard to declare. Comparing his productions, however, with those of other masters, they will be found, notwithstanding this assertion to the contrary, as eminent in this particular also, as for the more valuable qualities of composition, drawing, character, expression, and colouring.
About the same time with this of la Gioconda, he painted the portraits of a nobleman of Mantua, and of la Ginevra, a daughter of Americus Benci[1], much celebrated for her beauty; and is said to have finished a picture of Flora some years since remaining at Paris[2]; but this last Mariette discovered to be the work of Melzio, from the circumstance of finding, on a close inspection, the name of this last master written on it[3].
In the year 1503, he was elected by the Florentines to paint their council-chamber. The subject he chose for this, was the battle against Attila[4]; and he had already made some progress
