has grown into his art, and made it even as herself; rich, monotonous in
beauty, calm, complete, without heart or spirit. But his has not been
always "the low-pulsed forthright craftsman's hand" it was then. He had
started on his way towards another goal than that. Nothing now is left
him to live for but his faultless hand and her faultless face--still and
full, suggestive of no change in the steady deep-lidded eyes and heavy
lovely lips without love or pudency or pity. Here among his sketches we
find it again and ever the same, crowned and clothed only with the
glory and the joy and the majesty of the flesh. When the luxurious and
subtle sense which serves the woman for a soul looks forth and speaks
plainest from those eyes and lips, she is sovereign and stately still;
there is in her beauty nothing common or unclean. We cannot but see her
for what she is; but her majestic face makes no appeal for homage or
forgiveness.

_Essays and Studies_ (London, 1875).

[Illustration: THE DANCE OF THE DAUGHTER OF HERODIAS.
_Andrea del Sarto._]

ADORATION OF THE MAGI

(_GENTILE DA FABRIANO_)

F.A. GRUYER

At the beginning of the Fifteenth Century, Gentile da Fabriano[4]
painted an _Adoration of the Magi_,[5] in which the faithful
representation of contemporary scenes is again found. The Virgin,
completely enveloped in a large blue cloak, is seated in front of the
stable, with her head piously inclined towards her Son whom she is
regarding with tender gaze. St. Joseph is at her side and behind her are
two young women who are holding and admiring the gifts offered to the
Saviour. The infant Jesus has laid his hand on the head of the oldest of
the Magi, who, prostrated, kisses his feet with devotion. The two other
Kings are much younger than the first one. They are presenting their
offerings to the Son of God, and are about to lay their crowns before
him. Then follows the retinue of these Magi; and in this throng, where
may be counted at least seventy figures on foot and on horseback, of all
ranks, of all ages, and of all sizes, it is easy to recognize a trace of
those popular festivals instituted in the preceding century. Despite
some slight Oriental disguises, one may easily recognize the bearing,
the general features, and the costumes of the Italy of the first years
of the Fifteenth Century. Gentile was also pleased to add to the "superb
chargers" mentioned by Lattuda, all kinds of animals, especially th