Page:The painters of Florence from the thirteenth to the sixteenth century (1915).djvu/321

1537] Napoleon. It is chiefly remarkable for the beauty and dignity of the saints who stand on either side of the Virgin's throne—the venerable bishop Nicholas and the chivalrous youth Giuliano with the Leonardesque face and flowing locks, clasping his hands and lifting his eyes to heaven. Both of these pictures were painted before 1508, and are mentioned by Albertini in his "Memorials."

In his latter years Lorenzo spent his time chiefly in repeating old subjects and executing small Madonnas for private chapels and oratories that were in great demand. In 1510, he painted the sadly-damaged altar-piece, now in the Church of S. Maria delle Grazie, for the hospital of the Ceppo at Pistoia, by order of the Master of the Florentine hospital, S. Maria Nuova. In 1523, he finished the figure of the Archangel Michael, in the Sacristy of the Duomo, and a year later was employed to restore certain tombs and monuments in the same church. Finally, in 1531, being seventy-two years old, and caring more for a quiet life than for riches or honours, the aged master retired to end his days in the hospital of S. Maria Nuova, a foundation closely associated with the convent of San Marco and the Piagnone artists, where Fra Bartolommeo painted his Last Judgment, and the miniaturist, Monte da Giovanni's brother, was organist. At the same time, Lorenzo made a will leaving certain sums to Andrea Verrocchio's niece Ginevra and a few other friends, and bequeathing the rest of his fortune to the hospital, on condition that he should receive a yearly allowance of 36 florins, which was to be continued after his death to his old servant Mona