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The first part of this paper is devoted to a summary and criticism of Jones's paper Andrea del Sarto's Kunst und der Einfluss seiner Gatin.1 Jones's analytic conclusions concerned the paintings of Andrea del Sarto's later years: these paintings are supposed to lack higher inspiration. The explanation—according to Jones—is that Andrea del Sarto clung too much to his wife, who had an evil character and dominated him completely. Jones explains del Sarto's dependence on his wife as based on unconscious homosexual conflicts. Christensen feels that Jones reached his conclusions from one-sided and biased information, that of Vasari, who deals with del Sarto in his 'Lives'. Christensen considers Vasari biased in his biography of del Sarto. Vasari worked during his younger years as an apprentice in del Sarto's shop and he may have had unpleasant experiences with del Sarto's wife during this time. The unfavorable evaluation of del Sarto's later art is not shared by modern art criticism which considers del Sarto a pioneer in painting and a forerunner of the baroque style. The author recognizes del Sarto's homosexual trends but finds that his mother fixation and his castration anxiety are more important factors in del Sarto's character and creation. One can easily see that the figures in del Sarto's paintings show an overabundance of drapery, behind which the person's body is hardly recognizable. It is striking to see how often del Sarto's figures carry