82. low-pulsed forthright craftsman’s hand: “Andrea del Sarto’s was, after all, but the ‘low-pulsed forthright craftsman’s hand’, and therefore his perfect art does not touch our hearts like that of Fra Bartolommeo, who occupies about the same position with regard to the great masters of the century as Andrea del Sarto. Fra Bartolommeo spoke from his heart. He was moved by the spirit, so to speak, to express his pure and holy thoughts in beautiful language, and the ideal that presented itself to his mind, and from which he, equally with Raphael, worked, approached almost as closely as Raphael’s to that abstract beauty after which they both longed. Andrea del Sarto had no such longing: he was content with the loveliness of earth. This he could understand and imitate in its fullest perfection, and therefore he troubled himself but little about the ‘wondrous paterne’ laid up in heaven. Many of his Madonnas have greater beauty, strictly speaking, than those of Bartolommeo, or even of Raphael; but we miss in them that mysterious spiritual loveliness that gives the latter their chief charm.” --Heaton’s History of Painting. 93. Morello: the highest of the spurs of the Apennines to the north of Florence. 96. Speak as they please, what does the mountain care?: it’s beyond their criticism. 105. The Urbinate: Raphael Santi, born 1483, in Urbino. Andrea sees in Raphael, whose technique was inferior to his own, his superior, as he reached above and through his art-- for it gives way. 106. George Vasari: see note under St. 9 of ‘Old Pictures in Florence’. 120. Nay, Love, you did give all I asked: it must be understood that his wife has replied with pique, to what he said in the two preceding lines. 129. by the future: when placed by, in comparison with, the future. 130. Agnolo: Michael Angelo (more correctly, Agnolo) Buonarotti. See note under St. 30 of ‘Old Pictures in Florence’. 146. For fear of chancing on the Paris lords: by reason of his breaking the faith he had pledged to Francis I. of France, and using for his own purposes, or his wife’s, the money with which the king had entrusted him to purchase works of art in Italy. 149-165. That Francis, that first time: he thinks with regret of the king and of his honored and inspiring stay at his court. 161. by those hearts: along with, by the aid of. 173. The triumph was. . .there: i.e., in your heart. 174. ere the triumph: in France. 177. Rafael did this, . . .was his wife: a remark ascribed to some critic. 198. If he spoke the truth: i.e., about himself. 199. What he: do you ask? 202. all I care for. . .is whether you’re. 209. Morello’s gone: its outlines are lost in the dusk. See v. 93. 218. That gold of his: see note to v. 146.