of an English clown, nor the dogged sullenness of a German. He takes pleasure in your pleasure, and interests himself in the objects which are exciting your interest, in a manner at once gratifying to us and honourable to himself.
Of a later age is Poccetti, unnamed by Vasari, because, when he wrote, he had not painted the pictures which render him one of the most admirable fresco painters in the world: Florence is full of his works, and every one may be visited with pleasure and profit, for he depicts Nature in her truth and yet in her elegance;—if that word denotes the power of displaying in the demeanour and attitude, and countenances of men, their souls defecated of every meaner quality—dignified through unaffected self- forgetfulness—animated by charity—beaming with faith.—One of his most renowned works is a series of frescos in the cloister of the convent of the Santissima Annunziata: they represent the conversion, holy life, and death, of seven Florentine gentlemen, who dedicated themselves to religion under the name of Servi di Maria. The aspect and bearing of these holy men mark them as gentlemen in the best sense of the word. Men, “generous, brave, and gentle;” and, in addition, animated by earnest benevolence towards their fellow-creatures, and lively faith towards the divinity. Perhaps, however, the most
