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N the palmiest days of art in Florence, one of its grand Dukes made known, by proclamation, that he designed to add to the statues which adorned his palace, a representation of Mary, the pardoned sinner, anointing the Saviour's feet, which she had washed with her penitent tears, and wiped with her flowing hair. The space of three years was allowed for the creation of a chef-d'œuvre. Three venerable sculptors were appointed judges. At the expiration of the allotted time, they were commissioned to visit the atelier of every artist, who notified them that he had a Mary to offer, and decide what statues were worthy of being sent to the ducal palace for further examination. There the final selection was to be made, by thirty-four judges. The sculptor whose chisel produced a marble Mary of superlative beauty was to receive the sum of £500 for his labor. But mere gold mattered little, compared to the honor of a triumph which opened a brilliant career to the successful aspirant.

Need we number the artists who were competitors for the invaluable distinction?