“He arrived safely in Florence, enjoying the society of his beautiful wife, and that of his friends, with the sight of his native city, during several months; but when the period specified by the King, and that at which he ought to have returned, had come and passed, he found himself at the end, not only of his own money, but, what with building” (the “melancholy little house they built to be so gay with”) “indulging himself with various pleasures, and doing no work, of that belonging to the French monarch also, the whole of which he had consumed. He was, nevertheless, determined to return to France, but the prayers and tears of his wife had more power than his own necessities, or the faith which he had pledged to the King.” “And so for a pretty woman’s sake, was a great nature degraded. And out of sympathy with its impulses, broad, and deep, and tender as only the greatest can show, ‘Andrea del Sarto’, our great, sad poem, was written.” The monologue exhibits great perfection of finish. Its composition was occasioned, as Mr. Furnivall learned from the poet himself (see ‘Browning Society’s Papers’, Part II., p. 161), by the portrait of Andrea del Sarto and his wife, painted by himself, and now in the Pitti Palace, in Florence. Mr. Browning’s friend, and his wife’s friend, Mr. John Kenyon (the same to whom Mrs. Browning dedicated ‘Aurora Leigh’), had asked the poet to buy him a copy of Andrea del Sarto’s picture. None could be got, and so Mr. Browning put into a poem what the picture had said to himself, and sent it to Mr. Kenyon. It was certainly a worthy substitute. Fra Lippo Lippi.