‘The Tree of the Original Sin was represented in the centre of the painting, and at the roots thereof were placed nude figures of Adam and Eve bound, as being the first transgressors of God’s commands. To the principal branches there were also bound Abraham, Isaac, Jacob, Moses, Aaron, Joshua, David and the rest of the kings, law-givers, etc., according to their seniority, all fastened by both arms, excepting only Samuel and Saint John the Baptist, who are bound by one arm only, to intimate that they were sanctified before their birth. At the trunk of the tree, and with the lower part turning around it, is the Old Serpent, but the upper part of the form has the shape of Man, and the hands are confined behind the back; on his head is one foot of the glorious Virgin, which is trampling down the horns of the demon, while the other foot is fixed on a moon. Our Lady is clothed with the sun and crowned with twelve stars, being sustained in the air within a splendour of numerous angels, nude, and illuminated by the rays which proceed from the Madonna herself. These same rays, moreover, passing amidst the foliage of the tree, give light to the figures bound to the branches; nay, they seem to be gradually loosening their bonds, by the power and grace which they derive from her out of whom they proceed. In Heaven, meanwhile, that is, at the highest point of the picture, are two children bearing a scroll, on which are the following words: ‘“_Quos Eva culpa damnavit, Mariæ gratia solvit._”’[314] It was thus that Vasari united in one picture the two universal mothers, the physical and the spiritual, and his allegory was typical of the mysticism of his day, for he tells us that, being doubtful as to the due treatment of the subject, he and his patron, Messer Bindo, ‘took counsel with such of our common friends as were men of letters,’ and Vasari’s friends included the fine flower of Italian intellect. The picture, which is a good deal darkened by time, and less interesting than the description leads one to expect, is still in its original place in the Church of SS. Apostoli in Florence. In some pictures, particularly those showing the influence of Memling, an attendant angel holds the apple, holding it ready till the time shall come when the Infant Saviour, with growing consciousness of His mission, holds forth His hand to take it.