Andrea, therefore, pursuing that work with the utmost diligence, like one who thought more of honour than of profit, after no long time completely finished the first three scenes and unveiled them. One was the scene of S. Filippo, now a friar, clothing the naked. In another he is shown rebuking certain gamesters, who blasphemed God and laughed at S. Filippo, mocking at his admonition, when suddenly there comes a lightning-flash from Heaven, which, striking a tree under the shade of which they were sheltering, kills two of them and throws the rest into an incredible panic. Some, with their hands to their heads, cast themselves forward in dismay; others, crying aloud in their terror, turn to flight; a woman, beside herself with fear at the sound of the thunder, is running away so naturally that she appears to be truly alive; and a horse, breaking loose amid this uproar and confusion, reveals with his leaps and fearsome movements what fear and terror are caused by things so sudden and so unexpected. In all this one can see how carefully Andrea looked to variety of incident in the representation of such events, with a forethought truly beautiful and most necessary for one who practises painting. In the third he painted the scene of S. Filippo delivering a woman from evil spirits, with all the most characteristic considerations that could be imagined in such an action. All these scenes brought extraordinary fame and honour to Andrea; and thus encouraged, he went on to paint two other scenes in the same cloister. On one wall is S. Filippo lying dead, with his friars about him making lamentation; and in addition there is a dead child, who, touching the bier on which S. Filippo lies, comes to life again, so that he is first seen dead, and then revived and restored to life, and all with a very beautiful, natural, and appropriate effect. In the last picture on that side he represented the friars placing the garments of S. Filippo on the heads of certain children; and there he made a portrait of Andrea della Robbia, the sculptor, in an old man clothed in red, who comes forward, stooping, with a staff in his hand. There, too, he portrayed Luca, his son; even as in the other scene mentioned above, in which S. Filippo lies dead, he made a portrait of another son of Andrea, named Girolamo, a sculptor and very much his friend, who died not long since in France. Having thus finished that side of the cloister, and considering that if the honour was great, the payment was small, Andrea resolved to give up the rest of the work, however much the friar might complain. But the latter would not release him from his bond without Andrea first promising that he would paint two other scenes, at his own leisure and convenience, however, and with an increase of payment; and thus they came to terms. [Illustration: THE ARRIVAL OF THE MAGI (_After the fresco by =Andrea del Sarto=. Florence: SS. Annunziata_) _Alinari_]