weeping, and a St Bernard adoring on his knees. On the inner wall of the church where the altar of Our Lady stands, he painted the Virgin with the child at her neck, which was considered a very beautiful figure, and did many other things for the church, painting above the choir Our Lady, St Mary Magdalene and St Bernard, very vivaciously. In the Pieve of Arezzo in the Chapel of St Bartholomew, he did a number of scenes from the life of that saint, and on the opposite side of the church, in the chapel of St Matthew, under the organ, which was painted by his master Jacopo di Casentino, besides many stories of that saint, which are meritorious, he did the four Evangelists in some medallions, in an original style, for above the bust and human limbs he gave St John the head of an eagle, St Mark the head of a lion, St Luke that of an ox, while only St Matthew has a human face, that is to say an angel's. Outside Arezzo, he decorated the church of S. Stefano, built by the Aretines upon many columns of granite and marble, to honour and preserve the names of several martyrs who were put to death by Julian the Apostate. Here he did a number of figures and scenes with great diligence and such a style of colouring that they were in a wonderfully fresh state of preservation when they were destroyed not many years ago. But the really remarkable piece of work in that place, besides the stories of St Stephen, in figures larger than life size, is the sight of Joseph, in the story of the Magi, beside himself with joy at the coming of those kings, and keenly watching the kings as they are opening the vessels of their treasures and are offering them to him. In the same church is a Madonna offering a rose to the Christ child, which was and is considered a most beautiful figure, and so highly reverenced by the Aretines that when the church of S. Stefano was pulled down, without sparing either pains or expense, they cut it out of the wall, ingeniously removed it and carried it into the city, depositing it in a small church in order to honour it, as they do, with the same devotion which they bestowed upon it at first. There is no wonder that the work inspired such reverence, for it is a natural characteristic of Spinello to endow his figures with a certain simple grace, partaking of modesty and holiness, so that his saints and particularly his Virgins breathe an indefinable sanctity and divinity which inspire men with devotion. This may be seen also in a Madonna which is on the side of the Albergetti, in one on an outside wall of the Pieve in Seteria, and in another of the same kind on the side of the canal. By Spinello's hand also is the descent of the Holy Spirit on the Apostles, on the wall of the hospital of S. Spirito, which is very fine, as are the two scenes below representing St Cosmo and St Damian cutting a healthy leg off a dead Moor to attach it to a man whose broken limb they have removed. In like manner the _Noli me