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he was, in a sense, under the influence of all who were great. He courted no rivalry, he employed no tricks, he feared no imputations of want of originality, but went directly to his goal, attaining, as was, alas, inevitable with his want of poetic idealism, the fault of faultlessness. In the Birth of St John the skilled hand of the artist has grown almost mechanical in its ease ; the grand attitude, the noble drapery, the perfect equipoise of composition well-nigh oppress by their very perfection ; and this last great fresco of the Scalzo series betrays the weakness as well as the strength of del Sarto. Taken as a whole, the Scalzo frescoes have been equalled by no other artist in Italy ; and, though dealing with a class of subject wholly different from the sublime conceptions of the Sistine chapel, they * " Et de avere, sino adl 24 di Giugnio 1526, fiorini otto larghi d'oro iu oro per la di pitura d'uno quadro ne nostro chiostro, e a mano che Vene dipitto la nativita di St Giovani, L. 56." (Archivio di Stato.) DURING THE PLAGUE 45 are not unworthy of being mentioned along with them as having, within their limit, attained their aim with a completeness unachieved by the more mag- nificent thinker. The technique of these works reveals the almost superhuman force of the artist, who within the limitations of chiaroscuro has here proved himself a