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the Cloister of the Scalzo, and the Convent of S. Salvi. Of several hundred pictures by him, it is here possible to give forty-one only, but they have been chosen with care as being chiefly characteristic of his style. Hitherto the real greatness of del Sarto has been too little understood in its simplicity and frankness and naturalness ; and for the most part the public, who are not themselves artists, will always remain more or less ignorant of what is revealed in his vast field of colour and technique, where the laws of aerial perspective, the treatment of chiaroscuro, the maintenance of the central point of interest, are kept in such powerful equilibrium. It is too much the habit of the spectator to place himself before a work of art with the thought, " This pleases me," or "That does not please me." In so doing he covers himself with the shadow of his own personality, which, as a mountain, obscures his vision. It is far better to put such aside, and with psychic and intellectual effort to seek to follow where the artist leads. PREFACE vii If this is done another world opens ; another soul breathes ; laws of wider perspective reform the judg- ment and delight the sense. With Andrea, above all others, this attitude is necessary. The magnificent copies of the Scalzo frescoes, alluded