that are there. Under each of these scenes he painted two medallions, and in each medallion a friar, to represent all the Generals who had ruled that congregation. And, since he had not their portraits from life, Mattaccio did most of the heads from fancy, and in some he portrayed old friars who were in the monastery at that time, and in the end he came to paint the head of the above-named Fra Domenico da Lecco, who was their General in those days, as has been related, and was causing him to execute that work. But, after some of those heads had lost the eyes, and others had been damaged, Fra Antonio Bentivogli, the Bolognese, caused them all to be removed, for good reasons. Now, while Mattaccio was executing these scenes, there had gone thither, to assume the habit of a monk, a Milanese nobleman, who had a yellow cloak trimmed with black cords, such as was worn at that time; and, after he had put on the monk's habit, the General gave that cloak to Mattaccio, who, by means of a mirror, painted a portrait of himself with it on his back in one of the scenes, wherein S. Benedict, still almost a child, miraculously puts together and mends the corn-measure, or rather, tub, of his nurse, which she had broken. At the feet of the portrait he painted a raven, an ape, and others of his animals. This work finished, he painted the story of the five loaves and two fishes, with other figures, in the Refectory of the Monastery of S. Anna, a seat of the same Order, distant five miles from Monte Oliveto; which work completed, he returned to Siena. There, at the Postierla, he painted in fresco the facade of the house of M. Agostino de' Bardi of Siena, in which were some things worthy of praise, but for the most part they have been consumed by time and the weather. [Illustration: THE MARRIAGE OF ALEXANDER AND ROXANA (_Detail, after the fresco by =Giovanni Antonio Bazzi [Il Sodoma]=. Rome: Villa Farnesina_) _Braun_]