cross and candles.  In the centre is the bier with the corpse lying on it.  The body is opened and the crowd looks on in feverish though suppressed excitement.  St. Anthony is pointing towards the dead man:  and the crowd realises that the heart is absent—­ubi thesaurus ibi cor.  Numbers of people have dropped on to their knees, others kiss the ground where the saint stands.  There are signs of distress and apprehension on all sides.  Some children scuttle back to their parents; one of the mothers bends down to catch her child just as it is going to fall.  Two boys have climbed on to an altar or pedestal to get a better view:  one of them wears the peaked cap still worn by the undergraduates of Padova la dotta.  The whole scene is immensely dramatic and grim, without any frenzy or excess; and its solemn effect is enhanced by the reserve of the people in spite of their excitement.  The background is full of detail, largely obtained by the chisel:  one part of it, with the stairs, ladders and upper storey, resembles the Lille relief.  There are two important inscriptions, cut into the metal, to which reference will be made later.  The subject of the third relief (now placed on the retable and already getting dimmed by candle-grease) is the healing of the youth Leonardo, who kicked his mother and confessed to St. Anthony, who properly observed that so sinful a foot should be cut off.  The injunction was taken too literally, and the saint’s miraculous power replaced the severed limb.  Strictly speaking, this miracle takes place in the open air, for Donatello has introduced a rudimentary sun with most symmetrical rays, and half a dozen clouds which look like faults in the casting.  But the whole relief is framed by an architectural structure, some amphitheatre with the seats ranged like steps.  A balustrade runs all round the huge building, and a number of idlers standing about at the far end are reduced to insignificant proportions, thus giving distance and depth to the scene.  Leonardo lies on the ground in sad pain, and Anthony has just restored the foot.  The central group is not much animated, but two or three of the men’s heads are telling character-studies.  Donatello has concentrated his crowd into the centre:  at the sides the miracle passes unheeded.  A fat man is soliloquising with his hand reposing on an ample stomach:  a boy with a long stick and something like a knapsack on his back is attracting the attention of a young woman, who seems absorbed in watching the miracle:  her child tries to pull her along to go closer.  In the corner are some strange recumbent figures, almost classical in idea; and a tall woman completely veiled, with her face buried in her hands.  The last of the reliefs illustrates St. Anthony’s power over animals.  One Bovidilla, a sceptic, possessed a mule; the saint offered the consecrated wafer to the animal when starving, and Bovidilla was converted by the refusal of the animal to eat it.  The scene takes place within a church, which, so far as we see