Whether he was not treated with the deference to which he was accustomed, or whether failing health oppressed his spirits, his tone becomes more and more melancholy. A longing for home had seized him, and he implores the Marquis to send him a few lines of comfort, since he is now, as he always has been, the child of the House of Gonzaga, and will serve no other prince. Anxiety for his unfinished “Triumphs” is added to the solicitude which he feels for his absent family, and he entreats Francesco in the same breath to find his son Lodovico employment, and to take care that his “Triumphs” are not injured by rain coming in at the windows, since he considers them the best and most perfect of all his works. Francesco replied in the most friendly manner, promising to attend to his requests, and begging Andrea to be careful of his health, and to return as speedily as possible to complete the “Triumphs,” which he counts the greatest glory of Mantua and his own house. But the frescoes of the Belvedere Chapel were no small task, and Andrea had, as he complains, no assistant to help him in his labours. He found means, however, to express his dissatisfaction to the Pope one day by adding another Virtue to the figures which he had designed. The Pope, who frequently visited him when at work, asked him who the last Virtue might be. “That is Discretion,” said the painter; upon which the Pope, not to be outdone, returned promptly, “Put her in good company then, and add Patience.” Another version of the story, given by Ridolf, is that he added the figure of Ingratitude as an eighth to the seven deadly sins, saying that this was the blackest of all crimes. In the following June he writes more cheerfully, describing a singular visitor he has had in the person of Zizim, brother of the Sultan Bajazet, then a captive in the Vatican, and sending his portrait for Francesco’s amusement. Another six months passed, and the Marquis wrote again, this time in a very urgent strain, both to the Pope and Mantegna, saying that his marriage with Isabella of Este was to take place in January, and that Andrea’s presence was indispensable. The courier who brought the letter found the painter ill in bed and unable to move; so the wedding festivities had to be celebrated without him, and his return was delayed until the following summer, when the Pope at length dismissed him with a complimentary letter of thanks to the Marquis. Besides the small “Virgin” of the Uffizi, only one other work of Andrea’s Roman time is known to exist, a “Man of Sorrows, supported by Angels,” now in the Museum of Copenhagen, and, like the Brera Pietà, remarkable for the skill and knowledge displayed both in the drawing and distribution of light and shade. * * * * *