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sums of seven and ten lire at a time, and on December 12, 1511, the balance still due was to be paid in full.* In this year the Adoration of the Magi, on the opposite side of the court, was painted, and the beautiful fresco of the Nativity begun. Shortly after- wards, in the garden of the monks, he painted two frescoes in chiaroscuro of the Parable of the Vineyard. In one of these the husbandman calls the labourers to work in his vineyard, and while some obey, busy with spade and shovel, others hold back, idle and reluctant, and one, seated on the ground, rubs his hands together in querulous uncertainty as to whether it would be worth while to begin so late in the day. The second fresco shows the husbandman making payment at the end of the day's work, and the indignant labourer may be seen turning away, with angry gesture, impatient that "these last" have been made equal with him, who had borne the burden and heat of the day. The whole is instinct with life and feeling, while afar the day dies over the tranquil vine-clad hill. The wall upon which the first was painted fell in 1704 ; the latter was seen by Reumont as late as 1830, but no trace of it now remains, beyond a few stones which are preserved in the refectory of the Ogni Santi, upon which are seen the dim outline of the paymaster's shoulder, and the indignant labourer's outstretched arm a mutilated fragment indeed, but eloquent in curve and line.