For the horse, see stanzas xiii.xiv.of the poem.] [Footnote 65: This poem is sometimes expounded as a sigh for the infinite, which no human love can satisfy.

But the simpler conception of it as expressing a love almost but not altogether complete seems the truer.] [Footnote 66: Browning's delight a few years later in modelling in clay was great.] [Footnote 67: Mrs Andrew Crosse, in her article, "John Kenyon and his Friends" (_Temple Bar Magazine_, April 1900), writes: "When the Brownings were living in Florence, Kenyon had begged them to procure for him a copy of the portrait in the Pitti of Andrea del Sarto and his wife.

Mr Browning was unable to get the copy made with any promise of satisfaction, and so wrote the exquisite poem of Andrea del Sarto--and sent it to Kenyon!"] [Footnote 68: The writer of this volume many years ago pointed out to Browning his transposition of the chronological places of Fra Lippo Lippi and Masaccio ("Hulking Tom") in the history of Italian art.
Browning vigorously maintained that he was in the right; but recent students do not support his contention.

At the same time an error in _Transcendentalism_, where Browning spoke of "Swedish Boehme," was indicated.

He acknowledged the error and altered the text to "German Boehme."] [Footnote 69: Browning maintained to Gavan Duffy that his treatment of the Cardinal was generous.].