the expression of the countenance exhibits all that piety which was indeed peculiar to that holy man. The Saint is in the act of recommending to the mercy of Christ the Marchese Federigo, who is kneeling at his feet; this last-named figure is a portrait from the life, and is clothed in a long mantle, which is plaited and stiffened in accordance with the custom of that day, being furthermore adorned with an embroidery of white crosses, perhaps because he may then have been holding the office of General to the Venetians; before the Marquis is his first-born son, who was afterwards the Duke Federigo, but was then a most beautiful child: he has his hands joined in prayer.
On the other side of the picture is a figure of San Bernardino,[1] equal in excellence to that of San Francesco, and who is in like manner presenting to Christ the Cardinal Sigismondo Gonzaga, brother of the above-named Marchese. This also is a portrait from the life; the Cardinal wears the rochet and his robes as a prelate; he too is kneeling, and before him is the Signora Leonora, daughter of the Marquis Francesco, then a girl, but afterwards Duchess of Urbino. The whole work here described is considered most admirable by the best and most eminent artists. This master likewise painted a picture of San Sebastiano,[2] which was afterwards placed in the church of the Madonna delle Grazie, outside the city of Mantua: in the execution of this work he used extraordinary care, and painted many parts of it from the life. I find it related, that while Francesco was occupied witii this picture, the Marquis went one day to see him work, us he was accustomed frequently to do, when he remarked, “Now, Francesco, for this saint you will require to have a fine figure for your modelto which the painter replied, “I am taking that of a porter who has a very beautiful person, and whom I can bind to the stake as I best please for the purpose of making my work natural.” ‘‘ The limbs of your saint are nevertheless not true to the life,” rejoined the Marquis, ‘‘since they give no evidence of being drawn forcibly to the stake, nor does the figure express the fear proper to a man who is bound and about to be shot with arrows; but
