Lives of the Most Excellent Painters, Sculptors, and Architects/Andrea del Sarto

by Giorgio Vasari

 

THE MOST EXCELLENT FLORENTINE PAINTER, ANDREA DEL SARTO.

[born 1488^[1]—died 1530]

At length then we have come, after having written the lives of many artists who have been distinguished, some for colouring, some for design, and some for invention; we have come, I say, to that of the truly excellent Andrea del Sarto,^[2] in whom art and nature combined to show all that may be done in painting, when design, colouring, and invention unite in one and the same person. Had this master possessed a somewhat bolder and more elevated mind, had he been as much distinguished for higher qualifications as he was for genius and depth of judgment in the art he practised, he would beyond all doubt, have been without an equal. But there was a certain timidity of mind, a sort of diffidence and want of force in his nature, which rendered it impossible that those evidences of ardour and animation, which are proper to the more exalted character, should ever appear in him; nor did he at any time display one particle of that elevation which, could it but have been added to the advantages wherewith he was endowed, would have rendered him a truly divine painter: wherefore the w^orks of Andrea are wanting in those ornaments of grandeur, richness, and force, which appear so conspicuously in those of many other masters. His figures are nevertheless well drawn, they are entirely free from errors, and perfect in all their proportions, and are for the most part simple and chaste: the expression of his heads is natural and graceful in women and children, while in youths and old men it is full of life and animation. The draperies of this master are beautiful to a marvel, and the nude figures are admirably executed, the drawing is simple, the colouring is most exquisite, nay, it is truly divine.

Andrea was born in Florence, in the year 1488, his father was a tailor, for which cause he was always called Andrea del Sarto^[3] by every one. Having attained the age of seven, he was taken from the reading and writing school, to be placed with a goldsmith, and while thus employed, was always more willing to occupy himself with drawing than with the use of the chisel, or of such tools as are used by the goldsmith to work in silver and gold. Now it chanced that Gian Barile, a Florentine painter, but one of a coarse and plebeian taste, had remarked the good manner which the child displayed in drawing, and took him to himself, making him abandon the art of the goldsmith and causing him to give his attention to that of painting. In this, Andrea accordingly began to occupy himself to his very great pleasure, and soon perceived with joy that nature had formed him for that vocation: in a very short space of time, therefore, he was seen to do such things with the colours, that Gian Barile and the other artists of the city, were struck with astonishment. After the lapse of three years, having been very zealous in his studies, he was found to have attained much skill in execution, and Gian Barile,^[4] perceiving that if the boy continued his endeavours, he 'would certainly make an extraordinary painter, spoke concerning him to Piero di Cosimo, 'who 'was then considered one of the best masters in Florence, and finally placed Andrea under his care. Full of anxiety to learn his art, the latter studied 'without ceasing, and his perpetual labour, conjoined with the natural endowments which proved him to be born a painter, produced so great an effect, that when handling the colours, he displayed a grace and facility which could scarcely have been surpassed by one who had used the same for fifty years.

Piero consequently soon conceived a very great affection for his disciple, and heard with indescribable pleasure that whenever Andrea had a little time to himself, more particularly on festival days, he spent the whole of it in drawing, with other young men, in the hall of the Pope, where was then the Cartoon of Michelagnolo, with that of Leonardo da Vinci, and that he there, although still but a youth, surpassed all the other students, natives as well as strangers, who were almost perpetually vicing with each other in that place.

But of all those whom he thus met, Franciabigio was the one whose character and conversation were most agreeable to Andrea del Sarto, and as the latter was equally acceptable to Franciabigio, they became friends; Andrea then confessed to Francia that he could no longer endure the eccentricity of Piero, who had now become old, and that he had therefore determined to seek an abode for himself. Now it chanced that Franciabigio was on the point of doing the same thing, being compelled thereto by the circumstance of his master, Mariotto Albertinelli, having abandoned the art of painting: hearing what Andrea said therefore, he told him that he also had to take a similar step, and remarked to his companion at the same time, that it would be for the benefit of both if they were to establish themselves together. They hired a dwelling accordingly, on the Piazza del Grano, and executed many works in company;^[5] among them, certain hangings or curtains wherewith to cover the pictures on the High Altar of the Church of the Servites, the commission for which they received from a Sacristan who was a near relation of Franciabigio.^[6] On one of these curtains they depicted an Annunciation of Our Lady; this was on the curtain suspended towards the choir, and on the other they executed a Deposition of Christ from the Cross, similar to that which is in the picture of the same church painted, as we have before observed, by Filippo and Pietro Perugino.^[7]

The members of the Company called that of the Barefooted Brothers, of San Giovanni Battista, were accustomed to as- . se mble at the end of the Via Larga in Florence, above the houses which belong to the illustrious Ottavianode’ Medici, and opposite to the garden of San Marco, in a building which had been erected at that time by several Florentine artists, who had there constructed, among other things, an outer court or quadrangle, the loggia whereof reposed on columns of no great height. Some of the members of that brotherhood, therefore, perceiving that Andrea was likely to become a most excellent painter, and being richer in spirit than in pocket, resolved that he should paint stories in fresco from the life of San Giovanni around that cloister, twelve compartments namely, executed in chiaro-scuro with terretta.^[8] Having set hand to this work accordingly, Andrea depicted the Baptism of Our Lord by San Giovanni in the first compartment,^[9] executing the same with so much care and in so good a manner, that he acquired credit, honour, and fame thereby to a remarkable degree; and great numbers of persons were thereby induced to require works from his hands, as esteeming him one who, with time, must needs arrive at the honourable eminence promised by his extraordinary commencement.

Among other works performed by Andrea at this time, and in his first manner, may be mentioned a picture which is now in the possession of Filippo Spini, by whom it is held in high veneration, in memory of so excellent an artist.^[10] Nor did any long time elapse after the completion of the above-mentioned works, before our artist received a comrnission from those Monks of the Order of Sant’ Agostino, who call themselves the Eremitani Osservanti, to paint a picture for one of the chapels in their church, which is situate beyond the gate of San Gallo; the subject being the Appearance of Christ to Mary Magdalene, in the form of the gardener. The colouring of this work is so good, there is so much softness, harmony, and delicacy, throughout the whole, that it caused Andrea to receive a commission for the execution of two others in the same church, as will be related hereafter; this picture of Christ appearing to Mary Magdalene is now in the chapel of San Jacopo-tra-fossi,^[11] near the Alberti, as are the two mentioned immediately after it.^[12]

After having completed these labours, Andrea and Franciabigio left the Piazza del Grano, and took new rooms in the Sapienza, near the convent of the Nunziata, from which circumstance it happened, that Andrea formed a friendship with Jacopo Sansovino, who was then a youth, and was studying sculpture in that place under Andrea Contucci, his master^[13] § nay, so close an intimacy and so great an affection was subsequently contracted by Jacopo and Andrea, for each other, that they were never separate night or day. The conversations of these young artists were, for the most part, respecting the difficulties of their art; wherefore, we have no reason to be surprised that both of them should ultimately attain to great excellence, as we are now to show that Andrea did, and as will be related in due time of Jacopo Sansovino, also.

In this same convent of the Servites, there was at that period a monk, acting as Sacristan, who had also the superintendence of the wax-lights sold there, and was called Fra Mariano del Canto alia Macine. This monk heard every one praising Andrea, and affirming that he was making most wonderful progress in the art of painting; he, therefore, set about contriving to gratify a wish of his own, at small cost. Attacking Andrea, who was a kind man and of mild manners, on the side of his honour, he accordingly proceeded to affect a great interest in him, and declared himself anxious to assist him, from motives of kindness, in a matter which could not but redound to the glory of the painter and would bring him great profit also, besides making him known in such a manner, that he would never more be poor or wanting in any thing.

Now, it had happened many years previously, that Alesso Baldovinetti had painted a Nativity of Christ, as I have before related,^[14] in the first cloister of the Servites, and on that side which joins the church of the Nunziata; while Cosimo Rosselli had commenced a story on the opposite side of the same cloister; the subject being San Filippo, who was the founder of' that Order of the Servites, receiving the Monastic Habit: but this work had not been completed by Cosimo, who died while still engaged with its execution. The sacristan, therefore, greatly desiring to have it finished, thought so to manage matters, that he might turn the emulation of Andrea and Franciabigio, who, from having been friends, had now become rivals in art, to his own account: his plan was to make each take a part of the work, when, as both would be incited by their rivalry in art to do their utmost, the sacristan expected to be the more effectually served, and at much diminished cost, while to them the labour would be increased in an equal proportion.

Having opened his mind to Andrea, he laboured hard to persuade him to undertake the office proposed, by pointing out to him that as the place was a public and much frequented one, he would thus make himself known, not only to the Florentines but to strangers, adding, that he ought, on that account, not to think of expecting any payment for his work, nay, rather, if he had not been invited to perform it, should have even begged permission to do so. Fra Mariano, furthermore, remarked, that if Andrea would not undertake the matter, there was Franciabigio, who had offered to accomplish the whole, for the purpose of making himself known, and was willing to leave the question of payment to him, the sacristan.

These considerations were well calculated to secure Andrea’s compliance, although he had but little mind on the whole to undertake such a charge; but the reference to Franciabigio effectually determined him, and he resolved to accept it, making an agreement in writing, to the effect that he was to have the whole, that none other might be permitted to intervene. The Monk having thus pledged him, gave him money to make the necessary preparations, requiring that he should first continue the representation of events from the life of San Filippo; but all that Andrea obtained from the sacristan was the sum of ten ducats for each picture, Fra Mariano declaring that he gave so much out of his own purse, and did all that he was doing, more for the advantage of Andrea himself than for the benefit or need of the Convent. The artist laboured, therefore, as one who thought more of his honour than of reward, and working with the utmost diligence^[15] in no long time he had completed three of the stories.

These three were given to public view accordingly,^[16] and in one of them Andrea was found to have depicted the circumstance of San Filippo clothing the naked, after he had taken the monastic habit. Another represented the same Saint when he was reproving certain gamesters; these men, blaspheming God and scorning the admonition of San Filippo, are making a mockery of his words, when suddenly there falls a lightning-flash from Heaven, which striking the tree under which they were seated, kills two of their number. All the rest are instantly seized with indescribable terror, some raising their hands to their heads, cast themselves in desperation to the earth, others seek safety in flight, with looks full of horror. Among these is a woman wild with the terror caused bj the sound of the thunder, and rushing along with so natural and life-like a movement, that she seems to be indeed alive. A horse, having torn himself loose in his flight, betrays the terror he feels at the outcries around him, by rearing aloft, and in all his movements gives evidence of the effect produced by the unexpected disturbance. The whole work, in short, proves the forethought with which Andrea considered all that the various circumstances of such an event as he was depicting required, and gives testimony of a care and diligence which is certainly most commendable, as well as needful to him who would exercise the art of painting. In the third of these pictures San Filippo delivers a woman from evil spirits, and this also is delienated with all those considerations which can be imagined as proper to the due representation of such an event; wherefore all these pictures obtained for Andrea very great honour and fame.

Encouraged by the praise he received, the artist continued his work, and in the same cloister he painted two other pictures.^[17] In one, San Filippo is seen lying dead, with the brethren of his order weeping around him; there is also a child, who having been dead, has been restored to life by touching the bier whereon the body of the saint is laid. The boy is first seen dead, and then resuscitated and restored to life, being painted in each case with much thought, and represented in a manner that could not be more truthful and natural than it is. In the last picture on that side, our artist depicted certain monks who are laying the vestments of San Filippo on the heads of some children, and in this work Andrea has given the portrait of the sculptor Andrea della Eobbia, represented as an old man clothed in red and much bent; he bears a staff in his hand.^[18] In the same picture is also the portrait of Luca,^[19] son of the above-named Andrea della Robbia, and in the painting of the death of San Filippo, which we have just described, there is that of Girolamo, who was also a son of the sculptor Andrea, and was an intimate friend of the painter. This Girolamo died no long time since in France.

The one side of the cloister was now completed, and as Andrea thought the reward too little, and considered the honour to be rated at too high a price, he determined to abandon the remainder of the undertaking; the monk complained bitterly at this, and would not set the artist free from the agreement he had made but on condition that the latter should paint two other stories, to be executed at his own leisure and convenience, with an increase of price, and so they remained of accord.^[20]

The paintings above described had caused Andrea to become better known; he consequently received commissions for numerous pictures and works of importance. Among others he obtained one from the General of the Monks of Vallombrosa, who desired to have a Last Supper painted on an arch of the ceiling and on the wall of the refectory in his convent of San Salvi, which is situate at some little distance from the gate of Santa Croce.^[21] In the vaulting of this refectory therefore, Andrea painted four figures, San Benedetto namely, with San Giovanni Gualberto, San Salvi the bishop, and San Bernardo degli Uberti of Florence, who was a brother of their order and a cardinal: in the centre of the same he depicted a circle having three aspects which yet represent one only, to signify the Trinity.^[22] All these pictures were executed admirably well for a work in fresco, and Andrea obtained from them the reputation of being, as in truth he was, a most excellent master in painting.

From the sculptor Baccio d’Agnolo, our artist received a commission to paint a small picture of the Annunciation in an angle of the steep descent which leads from Or San Michele to the Mercato Nuovo; this work is still to be seen, it is in fresco, but has not been much approved:^[23] now the latter circumstance may perhaps be accounted for by the fact that Andrea, who worked so well when he left himself to his natural powers, and did not place fetters on the endowments so richly imparted to him, had on this occasion, as it is said, imposed too heavy a restraint on his genius, thus doing injury to his work by an excess of care and study.

Of the many pictures which this artist painted for the city of Florence, it would lead me too far were I to discourse at length, I will therefore confine myself to remarks on those most distinguished. Among the best of these may be enumerated that which is now in an apartment of the house of Baccio Barbadori; the subject whereof is a full-length figure of Our Lady, with the divine Child in her arms, she is accompanied by Sant’ Anna and San Giuseppe; they are all painted in an admirable manner, and the work is held by Barbadori in the highest estimation;^[24] there is also one of great merit and in a similar manner, which is now in the possession of Lorenzo di Domenico Borghini. For Leonardo del Giocondo likewise, Andrea painted a figure of the Virgin which is at the present time in the hands of his son Piero di Leonardo del Giocondo.

Two pictures, neither of them of any great size, were painted by Andrea del Sarto for Carlo Ginori, and these were afterwards purchased by the Illustrious Ottaviano de’ Medici, who has one of them now at his beautiful villa of Campi, the other is in the apartment of the Signor Bernardetto, the worthy son of so noble a father, with many other modern paintings by the most eminent masters, all of which are highly prized by the Signor Bernardetto, who frequently gives proof of the honour and esteem in which he holds the labours of all meritorious artists, as he shows himself indeed in all his actions to be a truly generous and magnificent Signor.^[25]

Now it chanced that the sacristan of the Servites had given Franciabigio a commission to paint one of the stories still wanting in the cloister, whereof there has already been made mention more than once; but the latter had not yet finished the preparation of the ground for his work, when Andrea, dispirited by the apprehension of being surpassed by Franciabigio, who appeared to him to handle the colours in fresco more rapidly and with more ability than himself—Andrea, I say, prepared Cartoons for two stories, almost as in contention with the former, proposing to execute them immediately, in the angle situate between the side door of San Bastiano, and the smaller door which leads from the cloister into the Church of the Nunziata.^[26] The Cartoons were no sooner completed, therefore, than Andrea set himself to execute the work in fresco; in the first of his stories he represented the Birth of Our Lady, the composition exhibiting well proportioned figures, very gracefully disposed about a chamber, whither certain women, relations, and friends of Sant’ Anna have repaired to visit the latter, who is in her bed. These her visitors are grouped around the mother of the newly born Babe, and are clothed in such vestments as were customary at that time: others, who are of an inferior condition, stand about the fire; some are washing the Infant, while some of them are preparing the swathing bands, and others perform other services of similar kind. A child, who is warming itself at the fire, is depicted very naturally, and with much animation; an old man also who is reposing on a couch, is a figure of great merit, and the same may be said respecting each of the women who are taking food to the patient lying in her bed, the movements and actions of all being truly appropriate and most natural. There are, moreover, certain angels represented by children hovering in the air and scattering flowers, and these likewise give evidence of much thought and consideration, as well in their habiliments as in other respects, they are painted with so much softness that the flesh appears to be really living, and in all other respects they seem rather natural than merely feigned.^[27]

In the second picture, Andrea represented the three Magi from the East, who are led by the guiding star, and proceed to pay their adoration to the child Jesus. The master has represented them as having approached near to the place where he is to be found, and exhibits them as having, descended from their horses, an arrangement to which he was led by the fact that he had but so much space as included the width of two doors between his work and the Birth of Christ, which had been previously painted in that cloister by Alesso Baldovinetti. The kings are followed by their court, with carriages and baggage of various sorts, attended by numerous followers, three of whom are portraits taken from the life: the figures here alluded to wear the Florentine dress, they are depicted in one of the angles; the first is a full-length figure looking at the spectator, this is Jacopo Sansovino; the second, who is leaning on him and pointing forwards with one arm foreshortened, is Andrea himself, the master of the whole work; and the head, seen in profile behind Jacopo Sansovino, is that of the musician Ajolle.^[28]

In this picture there are boys climbing on the walls, the better to obtain a view of the magnificent show, and of the strange animals which form part of the train,, they are admirably painted, and in a word the whole story is equal in merit to that previously described; the master surpassed himself, indeed, to say nothing of Franciabigio, in them both; the latter also completing his work, to which we have alluded above.^[29]

About the same time Andrea del Sarto painted a picture for the abbey of San Godenzo, a benefice also belonging to the Servite monks; this work was considered to be very well done.^[30] For the monks of San Gallo he painted a picture of Our Lady receiving the Annunciation from the Angel;^[31] in this there is a pleasing harmony to be remarked in the colouring, certain heads of the angels by whom Gabriel is accompanied are painted with the most delicate softness, and the beauty of the expression is perfect. Beneath this picture was a predella executed by Jacopo da Pontormo, then a disciple of Andrea, who gave an indication at that early age of the admirable works which he afterwards produced in Florence, before he became what we may very properly call another and entirely difierent person,^[32] as will be related in his life.^[33]

At a somewhat later period Andrea painted a picture for Zanobi Girolami; the subject of this work, the figures in which are not very large, is the story of Joseph the son of Jacob; it was completed by the master with most unremitting care and diligence, for which cause it has been usual to consider this a very beautiful painting.^[34] No long time after having finished this work, he undertook one for the men of the Brotherhood called that of Santa Maria della Neve, who have their house behind that of the nuns of Sant’ Ambrosio; the picture is small, and the figures are three: Our Lady namely, with San Giovanni Battista, and Sant’ Ambrosio; when it was finished, the work was in due course of time fixed in its place on the altar of the above-named Brotherhood.^[35]

The abilities of Andrea had caused him, about this period of his life, to become known to Giovanni Gaddi, who was afterwards clerk of the chamber, and who, from his love to the arts of design, then kept Jacopo Sansovino in continual employment. The manner of Andrea del Sarto pleasing Giovanni, he commissioned the artist to paint a picture of the Virgin for him, and this proved to be a singularly beautiful painting, nay, it was considered to be the best that Andrea had then produced, partly because the latter had executed many beautiful and ingenious decorations, by way of frame work, around the picture.^[36]

For the merchant Giovanni di Paolo, this master painted another picture of the Madonna, which pleases all who behold it exceedingly, and is indeed a truly beautiful production:^[37] for Andrea Santini, he likewise painted a picture representing Our Lady, Jesus Christ, St. John, and St. Joseph, all executed with so much care, that in Florence they have ever been esteemed as works of the highest merit.^[38]

These various labours secured so great a name for Andrea in his native city, that among the many artists, old and young, who were then painting, he was accounted one of the best that handled pencil and colours. Our artist then found himself to be not only honoured and admired, but also in a condition, notwithstanding the really mean price that he accepted for his labours, which permitted him to render assistance to his family, while he still remained unoppressed for his own part, by those cares and anxieties which beset those who are compelled to live in poverty. But having fallen in love with a young woman whom on her becoming a widow he took for his wife, he found that he had enough to do for the remainder of his days, and was subsequently obliged to work much more laboriously than he had previously done; for in addition to the duties and liabilities which engagements of that kind are wont to bring with them, Andrea del Sarto found that he had brought on himself many others; he was now tormented by jealousy, now by one thing, now by another; but ever by some evil consequence of his new connection.^[39]

But to return to the works of this master: if these were very numerous, they were also very beautiful; in addition to those mentioned above, he painted a picture of Our Lady for the church of the nuns of San Francesco, whose Convent is in the Via Pentolini; he received the commission for this work from a monk of Santa Croce of the order of the Minorites, who was at that time Intendant for those nuns, and was a great lover of painting: the Madonna is standing upright on a pedestal of eight sides, and on each of the angles of this pedestal are figures of Harpies, seated in an attitude which is almost, as it were, one of adoration of the Virgin.^[40] Our Lady is holding the Divine Child with one arm; and the Infant, in a most exquisite attitude, has his arms round her neck, about which he is twining them most tenderly; with the other hand the Madonna holds a closed book, she is looking down on two nude figures of children, and these, while they support her in her position, serve at the same time as an ornament to the picture. On the right of the Virgin is San Francesco, extremely well painted, the countenance betokening all that simplicity and excellence by which that holy man is known to have been distinguished. The feet of the figures are also exceedingly beautiful, as are the draperies; and as regards the latter, it was one of Andrea’s excellencies that their flow was ever rich and ample, while he contrived, by a certain graceful and flexible turn of the forms, to cause the outlines of the nude figure to be discernible through or beneath them. On the left of Our Lady is San Giovanni Evangelista, depicted in a very fine manner as a youth, and in the act of writing the Gospel. Above these figures and the building wherein they are depicted, light transparent clouds are seen, and are so lightly and naturally represented that they appear to be really moving: this work is now considered among the best of Andrea’s productions, and is indeed one of singular and truly wonderful beauty.^[41] He painted another picture of Our Lady, for the Joiner Hizza, nor was this in any degree less remarkable for its excellence than are the other works of this master.^[42]

The Guild of the Merchants then determined to cause triumphal chariots of wood to be made, in the manner of the ancient Eomans, to the end that these vehicles might be drawn in procession on the morning of the festival of San Giovanni, instead of the canopies of cloth, with wax lights, which are borne by the different cities and fortresses in token of subjection and tribute, when they pass on that festival before the duke and the principal magistrates. Ten of these chariots were then prepared, and Andrea painted some of them in chiaro-scuro, others he decorated with stories depicted in oil, and these works were very highly commended.^[43] It had been proposed that some of the chariots here described should be made every year, until every city and town should possess its own (when they would certainly have made a magnificent addition to the pomp of that show); but since the year 1527, the preparation thereof has nevertheless been abandoned.

While Andrea was thus adorning his native city with these and other works, and at the same time adding daily to his own glory, the men of the confraternity called that of the Barefooted Brethren resolved that he should complete the work which he had formerly commenced in their cloister, where he had then depicted the Baptism of Christ. The master therefore, having recommenced his work with much good will, painted two other stories in that place, adding two very beautiful figures of Justice and Charity as ornaments to a door which opened into the house of the confraternity.^[44] In one of the stories now in question, the artist represented San Giovanni preaching to the people; the attitude of the Saint is full of power, his person is attenuated ag was proper to the life which he led; the air of the head and the expression of the countenance give evidence of inspiration and of the contemplative habits of his life. The variety and animation to be observed in the looks of his hearers are equally remarkable and admirable, some are standing as in amazement, and all are full of emotion as they receive: those new tidings and listen to a doctrine so remarkable, but which had never before been propounded to them.

But still more wonderfully was the genius of this master rendered manifest in the picture wherein he represented San Giovanni baptizing^[45] a vast concourse of people in the river; some of these figures are divesting themselves of their clothing, others are in the act of receiving the sacred rite; some wait unclothed until the saint shall have finished baptizing those who have gone before them, but in the attitudes of all, the utmost eagerness is apparent, and each one gives evidence of the earnest desire he feels, as he hastens forward to be washed from his sins. ‘The whole of these figures, moreover, are so admirably depicted in the before-mentioned chiaro-scuro, that they have all the appearance of the most animated and life-like statues in marble.

But I will not omit to mention, that while Andrea was. occupied with these and other pictures, there came out numerous engravings, executed on copper, by Albert Diirer, and that Andrea availed himself of these works, copying certain figures from them, and adapting them to his own purposes,^[46] a circumstance which has caused some to believe, not that it is wrong to avail one’s self dexterously of the meritorious performances of others, but that Andrea was not endowed with any great power of invention.^[47]

Now it happened at this time, that Baccio Bandinelli, who was then a very highly renowned artist in design, formed the wish to learn the art of painting in oil; wherefore, knowing that there was no one in Florence who understood the method of proceeding in that branch of art more perfectly than did Andrea del Sarto, he caused the latter to paint his portrait, which must have resembled him greatly at that age, as we may perceive even yet. By observing Andrea execute this and other works, therefore, Baccio obtained a knowledge of his mode of colouring, but he did not put the knowledge thus acquired into practice, either because of the difdculty which he found in doing so, or perhaps, because he was not sufficiently attracted by the art of painting; be this as it may, he betook himself again to sculpture, as being the art which he found to suit him the best.^[48]

For Alessandro Corsini, Andrea painted a picture of Children surrounding a figure of Our Lady, who is seated on the earth, with the divine Child in her arms. The whole is executed with much ability, and the colouring in particular is very pleasing.^[49] For a merchant who carried on his traffic in Borne, and who was Andrea’s particular friend, the latter also painted a head of the most exquisite beauty; and in like manner, for the Florentine, Giovanni Battista Puccini, whom the manner of Andrea pleased exceedingly, our artist painted a picture of the Virgin. This work Puccini had caused to be executed for the purpose of sending it into France; but finding it to be a most exquisite production, he could not resolve on parting with it, and kept it for himself.^[50] He was, nevertheless, so frequently commissioned to send fine paintings, by good masters, into France, where he had much traffic, that he soon gave Andrea another picture to paint, and the subject of this work was the Dead Christ surrounded by Angels, who support the body, and in very sorrowful attitudes are contemplating their Maker, reduced to that condition by the sins of the world.

When this work was completed, it received universal commendation; and Andrea, moved by the entreaties of many persons, who were admirers of the picture, consented to have it engraved in Kome by the Venetian Agostino;^[51] but the engraving was not a successful one, for which cause Andrea would never afterwards permit any of his works to be engraved. Returning to the picture itself, however, this gave no less satisfaction in France,^[52] whither it was sent, than it had done in Florence; and the King, conceiving the most earnest desire to possess other works by the same hand, gave orders to the intent, that the master should execute certain paintings for him; a circumstance which induced Andrea to form the design of proceeding at no distant time into France, and in this he was much encouraged by the persuasions of his friends.

But in the meantime, the Florentines, understanding that Pope Leo X. was minded to do his native city the grace and favour of showing himself therein, which he did in the year 1515;^[53] the Florentines, I say, commanded that most magnificent preparations should be made for the festivals which were to be arranged for the reception of His Holiness. A very sutnptuous array of ornaments, triumphal arches, temples, colossal statues, and other decorations, was accordingly made ready^ and the fronts of buildings were richly decorated, insomuch, tha,t the like had never before been seen, whether as regarded splendour, magnificence, or beauty; for at that time there was a greater number of distinguished men in Florence, and more men of genius were then flourishing there than had been known at any previous period. Jacopo di Sandro and Baccio di Montelupo constructed an arch, entirely covered with historical representations, before the gate of San Pietro Gattolini; another was erected at San Felicein-Piazza, by Giuliano del Tasso, who also prepared certain statues for Santa Trinità, with a half-length figure of Romulus, and the Column of Trajan^[54] for the Nuova Mercato;^[55] while Antonio, the brother of Giuliano da San Gallo, erected an Octangular Temple on the Piazza de’ Signori, and Baccio Bandinelli made a colossal figure for the Loggia. Between the Abbey and the Palace of the Podesta, an arch of triumph was constructed by Granaccio and Aristotele da San Gallo; and at the corner of the Bischeri, another was erected by II Rosso, whose work was much admired for the beauty of its order and the variety of the figures wherewith it was decorated.

But that which was esteemed the most beautiful of all, was the fagade erected before the Cathedral Church of Santa Maria del Fiore; this was of wood, so beautifully decorated in chiaro-scufo, by Andrea del Sarto, that nothing more admirable could possibly be desired; and as the architecture of this work was by Jacopo Sansovino,^[56] as were likewise certain historical representations in basso-rilievo, with numerous figures of sculpture in full relief, it was declared by the Pope to be so fine, that the edifice could not have been more beautiful, had it been in marble. The decoration here described had been invented while he yet lived, by Lorenzo de’ Medici, the father of Pope Leo X.^[57] The same Jacopo also prepared the figure of a Horse, on the Piazza Novella. It was in imitation of that in Rome, and was considered exceedingly beautiful. An immense variety of ornaments were likewise added to the Hall of the Pope, in the Via della Scala, and the full half of that street was also decorated with very beautiful stories, executed by the hands of many artists, but the greater part of them designed by Baccio Bandinelli. On the 3rd of September,^[58] then, in that year, it was that Pope Leo made his entry into Florence, and the preparations thus made for that occasion were adjudged to be the most magnificent, as well as the most beautiful, that ever had been made at any time for the reception of a prince.

But let us now return to Andrea: being again required to prepare another picture for the King of France, he finished one in a short time, wherein he represented a Madonna of extraordinary beauty; this was sent immediately into France, where the merchants received four times as much for the work as they had paid for it to the painter.^[59] Now it chanced that Pier Francesco Borgherini had at that time caused rich carvings in wood to be executed by Baccio d’Agnolo for the decoration of coffers, backs of chairs, seats of difi*erent forms, with a bedstead in walnut-wood, all of great beauty, and intended for the furnishing forth of an apartment. He therefore desired that the paintings thereof should be equal to and correspond with the rest of the ornaments. To that end, therefore, he commissioned Andrea del Sarto to paint the history of Joseph^[60] the son of Jacob, in figures of no great size, and these our artist was to execute in competition with Granaccio and Jacopo da Pontormo, who had produced certain paintings thete which are very beautiful;^[61] he set to work accordingly, with even more than his usual assiduity, making extraordinary efforts and expending a very large amount of time, to the end that his performance might surpass those of the before-mentioned masters; nor did the endeavours thus made fail to produce the result desired, seeing that the variety of circumstances which the facts of the story required him to represent, gave Andrea an opportunity of showing how much he could effect in the art of painting. At the siege of Florence, the beauty of these pictures caused Giovanni Battista della Palla to attempt their removal from the places wherein they were fixed, for the purpose of sending them to the King of France, but they were found to be so firmly fastened, that they could not be stirred without the destruction of the whole work, they were consequently suffered to remain, as was also a figure of Our Lady, which is held to be one of extraordinary beauty.

Shortly after having completed this undertaking, Andrea del Sarto painted a Head of Christ, which is now preserved by the Servite monks on the altar of the Annunciation; and this is so beautiful, that for my part I do not know whether the human imagination could possibly conceive any more admirable representation of the head of the Redeemer.^[62] In the Chapels of the church of San Gallo which is situate beyond the city gate; there were many other pictures besides the two painted by Andrea, but none of which were equal to those by his hand, wherefore as there was another about to be executed in the church, the monks induced the owner of the chapel wherein it was to be painted, to entrust the commission for the same to our artist. He commenced the work accordingly without delay, depicting therein four figures standing upright and holding a disputation respecting the Trinity; one of these represents Sant’ Agostino arrayed in the episcopal robes and with features of a character which is truly African; he is moving with impetuous action towards St. Peter the Martyr, who holds an open book aloft with earnest and haughty gestures; the head and figure of the latter have been much extolled.^[63] Near San Pietro stands San Francesco, who also bears a book with one hand, while, with the other pressed to his bosom, he seems to be pouring from his lips with the most fervid eloquence, his own impressions in regard to the subject of dispute, appearing to be struggling mightily meanwhile to repress the intensity of his emotions. San Lorenzo, being still very young, is listening to the discourse of the other Saints with the semblance of respectful attention, and appears to yield to the authority of his elders.

Beneath this group are two figures kneeling, one of whom, a Magdalen with most beautiful draperies, is the portrait of Andrea’s wife, indeed he rarely painted the countenance of a woman in any place that he did not avail himself of the features of his wife; and if at any time he took his model from any other face, there was always a resemblance to hers in the painting, not only because he had this woman constantly before him and depicted her so frequently, but also, and what is still more, because he had her lineaments engraven on his heart; it thus happens that almost all his female heads have a certain something which recalls that of his wife.

The second of the four^[64] figures is a San Sebastiano, he is entirely undraped, with his back turned to the spectator, and does not appear to be merely part of a painted surface, but rather seems to all who behold him to be in truth a living and breathing figure. This work, among all the many paintings in oil that were executed by Andrea, has ever been held by artists to be the best; the figures display much thought in their admirable proportions, and in a certain decorum and propriety manifest in the expression of their countenances; the heads of the young have the softness proper to their age; there is force and perhaps hardness in the old; while those of middle age exhibit a medium between both, and partake of the qualities of each. The work is in a word, most beautiful in all its parts; it is now in the church of San Jacopo-trafossi at the corner of the Alberti, with others by the hand of the same master.^[65]

While Andrea was thus labouring over these works in Florence poorly remunerated for his toils, living in wretched poverty and wholly incapable of raising himself from his depressed condition,^[66] the two pictures which he had sent into France, were obtaining much admiration from King Francis, and among the many others which had been despatched to him from Rome, Venice, and Lombardy, these had been adjudged to be by far the best. That monarch therefore, praising them very highly, was told that he might easily prevail on Andrea to visit France, when he might enter the service of His Majesty; this proposal was exceedingly agreeable to the king, who therefore gave orders that everything needful should be done for that purpose, and that a sum of money for the expenses of the journey, should be paid to Andrea in Florence. The latter gladly set forth on his W'ay to France accordingly,^[67] taking with him his scholar Andrea Sguazzella.^[68]

Having in due time arrived at the French court, they were received by the monarch very amicably and with many favours, even the first day of his arrival was marked to Andrea by proofs of that magnanimous sovereign’s liberality and courtesy, since he at once received not only a present of money, but the added gift of very rich and honourable vestments. He soon afterwards commenced his labours, rendering himself so acceptable to the king as well as to the whole court, and receiving so many proofs of good-will from all, that his departure from his native country soon appeared to our artist to have conducted him from the extreme of wretchedness to the summit of felicity. One of Andrea’s first works in France was the portrait of the Dauphin, the • son of the king, a child born but a few months previously, and still in his swathing bands;^[69] wherefore, having taken this painting to the king, he received in return three hundred ducats of gold.

Continuing his labours, he afterwards painted a figure of Charity for King Francis, this was considered an exceedingly beautiful picture, and was held by that monarch in all the estimation due to so admirable a work.^[70] From that time the king commanded that a very considerable income should be annually paid to Andrea, doing his utmost to induce the painter to remain contentedly at his court, and promising that he should never want for anything that he could desire; and this happened because the promptitude of Andrea in his works, and the easy character of the man, who was satisfied with everything around him, were both agreeable to King Francis; he gavewery great satisfaction to the whole court also, painting numerous pictures and executing various works of difierent kinds for the nobles.^[71]

And now, had Andrea del Sarto only reflected on all that he had escaped from, and duly weighed the advantageous character of that position to which fate had conducted him, I make no doubt but that, to say nothing of riches, he might have attained to great honours. But one day being employed on the figure of a St. Jerome^[72] doing penance, which he was painting for the mother of the king, there came to him certain letters from Florence; these were written to him by his wife,^[73] and from that time (whatever may have been the cause) he began to think of leaving France; he asked permission to that effect from the French king accordingly, saying that he desired to return to Florence, but that when he had arranged his affairs in that city, he would return without fail to his majesty: he added, that when he came back his wife should accompany him, to the end that he might remain in France the more quietly; and that he would bring with him pictures and sculptures of great value. The king, confiding in these promises, gave him money for the purchase of those pictures and sculptures, Andrea taking an oath on the gospels to return within the space of a few months, and that done he departed to his native city.

He arrived safely in Florence,^[74] enjoying the society of his beautiful wife and that of his friends, with the sight of his native city during several months; but when the period specified by the ting, and that at which he ought to have returned, had come and passed, he found himself at the end, not only of his own money, but what with building, indulging himself in various pleasures and doing no work, of that belonging to the French monarch also, the whole of which he had consumed. He was nevertheless determined to return to France, but the prayers and tears of his wife had more power than his own necessities, or the faith which he had pledged to the king: he remained therefore in Florence, and the French monarch was so greatly angered thereby, that for a long time after he would not look at the paintings of Florentine masters, and declared that if Andrea ever fell into his hands he would have no regard whatever to the distinction of his endowments, but would do him more harm than he had before done him good. Andrea del Sarto remained in Florence therefore, as we have said, and from a highly eminent position he sank to the very lowest, procuring a livelihood and passing his time as he best might.

When Andrea had left Florence for France, the Confraternity of the Barefooted Brethren, in the conviction that he would never return, had made over all the paintings still remaining unfinished in their cloister to Franciabigio, who had already completed two stories therein.^[75] But seeing that Andrea had returned to Florence, the brethren determined that he should resume his labours, and he painted four pictures accordingly in a consecutive series. In the first of these is St. John led before Herod; in the second is the Supper, and the Dance of Herodias, with figures grouped with much ability, and of highly appropriate character; in the third is the beheading of St. John, and in this work the principal executioner, who is partly undraped, is an admirably drawn figure, as indeed are all the others. In the fourth, Herodias holds the head of the Baptist, and in this picture certain figures, whose countenances express their surprise at what they behold, are painted with much thought and ability. These paintings were for some time the study and school of many young men who are now very eminent in our arts.^[76]

In a tabernacle which is outside the Pinti gate, at the corner where the road to the Ingesuati turns otF, there is a figure of the Virgin painted in fresco by Andrea del Sarto. Our Lady is seated with the Infant Christ in her arms: San Giovanni is in this work depicted as a child; he is smiling, and the figure is painted with admirable art, being finished so perfectly, that it has been greatly extolled for its beauty and animation. The head of Our Lady is a portrait taken from that of the artist’s wife; and the singular beauty of the painting in this tabernacle, which is of a truth surprisingly perfect, caused the latter to be retained in its place, when at the siege of Florence in 1530, the convent of the Ingesuati, with many other magnificent buildings, was razed to the ground.^[77]

In those days, the elder Bartolommeo Panciatichi carried on a large extent of traffic in France, and being desirous of leaving a memorial of himself in the French city of Lyons, he gave a commission to Baccio d’ Agnolo, to the intent that he should cause Andrea del Sarto to paint a picture for him, which Baccio was then to send to Lyons, where Bartolommeo Panciatichi then was; the subject chosen was the Assumption of Our Lady, with the Apostles standing around the tomb. This work Andrea executed almost to its conclusion, but did not entirely complete it; for as the wood which formed the panel became warped, and sprang in various places, he sometimes worked at it, and sometimes permitted it to remain untouched for a time; so that it was left unfinished at his death. It was, nevertheless, ultimately placed by the younger Bartolommeo Panciatichi in his house, as a work deserving the highest commendation, as well on account of the beauty to be perceived in the figures of the apostles, as of that which adorns the Madonna; she is surrounded by a choir of Angels, while others support and bear her onward with .singular grace of action. In the upper part of the picture^[78] is the portrait of Andrea himself, among the apostles; and this is drawn with such truth and nature, that it appears to be rather a living being than a mere painting. This picture is now in a villa belonging to the Baroncelli family, situate at a short distance from Florence, and in a small building close to the villa, which was erected to receive it by Piero Salviati.^[79]

At the upper part of the kitchen-garden which belongs to the Servite Monks, and in two angles of the wall, are two stories by Andrea, representing the Vineyard of Christ; showing it first, that is to say, when he is planting, binding, and training the vines, the husbandman appearing and summoning those to the labour who are standing idle around. Among the latter is one who, being asked if he also will take part in the work, has seated himself, and rubbing his hands, appears to be considering whether he should enter among those labourers or not, exactly in the way that those idle people do who have but little mind to work.^[80] The second of these pictures is much more beautiful. It represents the husbandman causing each labourer to receive his appointed hire, while those who are dissatisfied murmur and bemoan themselves. Among these labourers, one, who is counting his money apart, and seems deeply intent on examining the sum assigned to him, is a most life-like figure, as is the Steward from whom the labourers are receiving their hire.^[81] Both these pictures are in chiaro-scuro, and the fresco painting gives proof of extraordinary skill. Andrea afterwards painted a Pieta in a recess on the summit of a staircase in the Noviciate of the same Convent; this also is painted in fresco, and is very beautiful.^[82] There is besides another Pieta, a small picture in oil, by the same master, in a room formerly inhabited by Angelo of Arezzo, General of the Order, in the monastery in question, where there is moreover a Birth of Christ by Andrea del Sarto.^[83]

The same artist painted a picture of Our Lady, for one of the apartments in the house of Zanobi Bracci, who greatly desired to possess a work by his hand. The Madonna is in a kneeling position, and is leaning against a mass of rock, while fixedly contemplating the Infant Christ, who is lying on a heap of drapery, and looks smilingly up at the Virgin Mother. San Giovanni, who stands near, is making a sign to the Madonna as in allusion to the Saviour, and as one who would say, ‘‘ This is truly the Son of God.” Behind them is St. Joseph, leaning his head on his hands, which are supported by a rock, and seeming to be in a state of beatitude as he beholds the human race, rendered divine by that birth.^[84]

Pope Leo having commissioned the Cardinal Giulio de’ Medici to cause the ceiling of the Great Hall in the Poggio a Cajano, a palace and villa of the house of Medici, which is situate between Pistoja and Florence, to be decorated with stucco work and paintings, the charge of that business was committed to the illustrious Ottaviano de’ Medici, as was also that of paying the monies for the same; he being a person who, not degenerating from his ancestors, was well acquainted with matters of the kind. He was besides the friendly protector of our artists, and the promoter of all our arts, having more pleasure than most men in adorning his house with the works of the most eminent masters. The whole undertaking had been made over to Franciabigio, but Ottaviano now commanded that he should have one-third only, the other two-thirds being divided, and one of them being given to Andrea del Sarto, while the one still remaining was entrusted to Jacopo da Pontormo.

But whatever efforts Ottaviano made to forward this work —whatever sums of money he promised, and even paid to the artists, he could by no means accomplish the completion of the decorations. It is true that Andrea finished one façade with great assiduity, but this was all. The subject there represented, was Caesar receiving tribute of all kinds of animals^[85] The drawing for this picture is among those in our book, with many others by the same artist; it is in chiaro-scuro, and is the most carefully finished of any that Andrea ever executed.^[86] In this work the master, desiring to surpass Franciabigio and Jacopo, subjected himself to labours that were no longer usual, exhibiting a magnificent view of buildings in perspective, with a flight of steps exceedingly difficult and intricate in character, which formed the ascent to the Throne of Caesar. These steps he adorned with statues admirably arranged, not allowing himself to be satisfied with the rich and varied powers of invention which he had displayed in the great diversity of the figures by whom the difierent animals are borne or led forward. Among these is an Indian in a yellow cassock or tunic, and bearing on his back a cage, which is drawn in perspective, and is filled with parrots of extraordinary beauty; while others, equally rare, are on the outer side. The figures, who are leading Indian Goats, Lions, Giraffes, Panthers, Wolves, Lynxes, Apes, &c., many of whom are Moors, have also great merit, and are exceedingly well arranged; the fresco, in which they are all depicted, being a work of the very highest perfection.

On the steps that we have mentioned as making part of the painting just described, is a Dwarf who holds a box or case, wherein there is a Chameleon, so admirably well done, that it would not be possible to imagine the deformity of that 1 strange creature more correctly or more justly represented. But the whole work was not finished, as I have said; and I although when Pope Leo died the Duke Alessandro de’ Medici was very anxious to have it completed by Jacopo da Pontormo, yet he could never prevail on him to put a hand to it, a thing which is of a truth to be much lamented, and one that did great wrong to that building, which is one of the most beautiful halls that any villa in the world can boast.^[87]

On his return to Florence, Andrea del Sarto painted a half length and undraped figure of San Giovanni Battista; this picture, which was very beautiful, he executed for Giovanni Maria Benintendi, by whom it was afterwards presented to the Signor Duke Cosimo.^[88]

While his afiairs were going on in this manner, Andrea could not fail sometimes to think of his conduct in the matter of the French king, when he would sigh from his heart, and if he could have hoped to receive pardon for the fault he had committed, I make no doubt but that he would have returned to the service of that monarch. Nay, by way of trying how far fortune might be favourable to him, he determined to make an attempt, Tvhereby he should ascertain whether his abilities might not yet avail to restore him to favour. He consequently painted a figure of San Giovanni Battista, partially undraped, intending to despatch the same to France, to be presented to the Grand Master;^[89] yet, whatever the cause may have been I know not, but certain it is, that Andrea never sent it; he sold the picture, on the contrary, to the illustrious Ottaviano de’ Medici, by whom it was always held in high estimation to the end of his days. Our painter likewise executed two pictures of the Madonna for the same noble, and in a similar manner; these are now both in the palace of the latter.^[90]

No long time after these works were completed, Zanobi Bracci caused Andrea to paint a picture for Monsignore di San Biause,^[91] and this the painter completed with the utmost care, in the hope that it might contribute to regain for him the favour of King Francis, to whose service he would so gladly have returned. For Lorenzo Jacopi he likewise painted a picture of a much larger size than common; the subject chosen was Our Lady seated, with the Divine Child in her arms, she is accompanied by two other figures, seated near her on a slightly elevated estrade; this work, both as regards design and colouring, is similar to those before described.^[92] He also painted a picture of Our Lady for Giovanni d’ Agostino Dini, which is exceedingly beautiful, and is now held in the highest estimation;^[93] Andrea likewise executed a portrait of Cosimo Lupi from the life, and this is so natural that it appears to be alive.

In the year 1523 the plague appeared in Florence as well as in some parts of the surrounding country, when Andrea, desiring to withdraw himself from that peril, and at the same time wishing to continue his labours, was enabled by the intervention of Antonio Brancacci to repair to Mugello, there to paint a picture for the nuns of San Piero, of the order of Camaldoli, at Luco: he took with him his wife and her sister, with a step-daughter and one of his scholars. Remaining here therefore in quiet and safety, he set hand to the work, and as those venerable ladies were daily giving increasing proof of kindness and friendliness to his wife, himself, and the whole party, Andrea set himself with infinite devotion to the execution of that picture, wherein he represented the Dead Christ mourned over by Our Lady, San Giovanni Evangelista and Santa Maria Maddalena, all figures so full of life that they appear indeed to be endowed with soul and spirit. The tender alfection of San Giovanni is made manifest in his countenance, and the love of the Magdalen is rendered clearly obvious amidst the tears of her grief, while the extremity of sorrow is equally apparent in the attitude as well as the face of the Madonna; and as she contemplates the dead body of the Saviour, which does indeed appear to be in relief, and is in effect a true dead corpse, she causes so much compassion in the apostles San Pietro and San Paolo, that they stand as if bewildered and terrified, as they regard the Redeemer of the world lying dead in the bosom of his mother. The wonderful manner in which the emotions of these different persons are expressed might indeed alone suffice to prove the pleasure which Andrea found in the beauty and perfection of his art, and this picture has of a truth done more to procure a name for that Convent than all the buildings and other decorations, however costly, which have been undertaken there, although they are without doubt very magnificent and extraordinary.^[94]

Having finished his work, Andrea continued, as the peril of the plague was not yet passed, to abide for some weeks in the same place, and the rather as he received so friendly a welcome, and found himself to be so well treated. During that time, and to the end that he might not remain idle, he painted a Visitation of Our Lady to St. Elizabeth; this is in the church on the right hand, and above a Presepio, having been executed over a small painting by an older master and as a finish to the same.^[95] He likewise painted an exceedingly beautiful Head of Christ on a canvas of no great size; this is somewhat similar to that on the altar of the Nunziata, but is not so highly finished, although it may well be accounted among the better works which proceeded from the hands of this master. The Reverend Father Don Antonio, of Pisa, who is a friend not only of those who are eminent in our arts, but of all men of distinction in whatever kind, has this picture in his possession, and it is now in the monastery of the Angeli in Florence.^[96] There are several copies of this painting, seeing that Don Silvano Razzi, having entrusted it to the painter Zanobi Poggini, to the end that he might make a copy of it for Bartolommeo Gondi, who had requested to have one, some others, which are held in high estimation in Florence, were also made from the work.^[97]

In this manner Andrea passed the time while the plague was raging without danger, while the nuns of that convent obtained such a work from the talent of so distinguished a man, that it may well endure comparison with the best paintings executed in our times; wherefore it is not to bo wondered at if Ramazzotto, chief of the party of Scaricalasino,^[98] made all possible endeavours to obtain it during the siege of Florence, or that he should many times attempt to gain possession of the same, since he desired to send it to Bologna, where he proposed to place that work in his chapel in the church of San Michele in Bosco.^[99]

Having returned to Florence, Andrea del Sarto painted a picture for the worker in glass, Beccuccio da Gambassi, who was his intimate friend: the subject of this work was Our Lady represented in the heavens with the Divine Child in her arms; there are besides four figures beneath; San Giovanni Battista namely, Santa Maria Maddalena, San Sebastiano, and San Rocco.^[100] In the predella are this Beccuccio and his wife, taken from nature, and these figures are portraits of the most life-like truth: the picture is now at Gambassa, a fortified place in the Valdelsa, between Volterra and Florence. For Zanobi Bracci, Andrea painted an exceedingly beautiful picture of the Madonna with the Divine Infant at the breast; St. Joseph is also present: this work was destined for the villa which Zanobi had at Rovezzano, it is painted with infinite care, and the figures appear to be standing out from the picture, so extraordinary a degree of relief has the artist succeeded in imparting to them: it is now in the house of Messer Antonio Bracci, son of the above-named Zanobi.^[101]

About the same time, Andrea painted two additional stories in the cloister of the Barefooted Brethren, which we have before mentioned; in one of these he has represented Zacharias, who is offering sacrifice^ and is rendered dumb on the Angel appearing to him, and in the other is the Visitation of Our Lady, which is beautiful to a marvel.^[102]

Now it chanced that Federigo the 2nd, Duke of Mantua, when passing through Florence on his way to Rome, whither he was proceeding to offer his respects to Pope Clement VII., saw that portrait of Pope Leo, which represents the Pontiff between Cardinal Giulio de’ Medici and the Cardinal Rossi, and which had formerly been painted by the most excellent Raffaello da Urbino, over a door in the palace of the Medici^[103] wherefore, being infinitely pleased therewith, as a man who delighted greatly in fine paintings, he thought to make it his own, and thus when he found a good opportunity, he begged it as a gift from Pope Clement, who very courteously granted him that favour; orders were therefore sent to Florence to Ottaviano de’ Medici, under whose care and government were Ippolito and Alessandro, to the effect that it should be packed up and sent to Mantua.

But this command was exceedingly displeasing to Ottaviano, who was not willing to see Florence deprived of such a picture, and who marvelled much that the Pope should so readily have agreed to such a request. He replied, nevertheless, that he would not fail to do as the duke wished, but remarked that as the frame was in a very bad condition, he would have a new one made, and when it had been gilt he would send the picture in all safety to Mantua. Then Messer Ottaviano, having done this, “to save the goat and the cabbage,’’ as we say, sent secretly for Andrea del Sarto, and told him how the matter stood, adding that there was nothing for it but to make an exact copy, with all the care that could possibly be devised, and send that to the duke, retaining, but in the strictest secresy, the work which had been performed by the hand of Raffaello.

Andrea having thereupon given a promise to do the utmost that his skill and knowledge could effect, a panel of exactly similar size, and in all respects like that of the original work, was prepared; the master then laboured secretly at his task in the house of Messer Ottaviano, and ultimately acquitted himself in such a manner, that although Messer Ottaviano was profoundly versed in matters of art, yet when Andrea had finished his work, he did not know the one picture from the other; nor could he distinguish the true and original painting from the counterfeit; the resemblance having been further secured by the fact that our artist had copied even to the spots of dirt as they were to be seen on the work of RaphaeL After they had hidden the picture of the latter therefore, they sent the one executed by the hand of Andrea del Sarto, in a frame like that of the original, to Mantua, where the duke received it with extreme satisfaction. Even Giulio Romano, though a painter and the disciple of Raffaello, was deceived by the resemblance, and bestowed on it innumerable praises, without perceiving any thing of what had been done; nor would he have known the truth, on the contrary, he would have always believed the work to be that of Raphael; but when Giorgio Vasari arrived in Mantua, he who had been the favourite and 'protege of Ottaviano in his childhood, and had seen Andrea working on the picture, discovered and made known the whole affair. For as it chanced that Giulio, who conferred many kindnesses and favours on Vasari, was showing him the various antiquities and paintings belonging to the duke, this work of Raffaello was exhibited among the latter as the best of all that were to be seen there. Giorgio thereupon remarked, “The picture is a beautiful one without doubt, bat it is not by the hand of Raphael.” “How!” exclaimed Giulio, “not by his hand? do not I know the work, when I recognize the very strokes of the pencil that I did myself give to it while it was in course of execution?” “You are nevertheless in error and have forgotten them,” replied Giorgio, “for this was painted by Andrea del Sarto, and as a proof of what I say, there is a sign (and he described it to him) which was made in Florence, to the end that the one might be distinguished from the other, for when they were together it was not possible to say which was by Raphael and which by Andrea.” When Giulio heard this, he caused the picture to be turned round, and having discovered the counter-sign, he shrugged his shoulders, saying these words, “I esteem it no less than I should do if it were by the hand of Raphael, nay, rather much more, for it is a most amazing thing that one excellent master should have been capable of imitating the manner of another to such a degree, and should have found it possible to produce a work so exactly similar to the original.”^[104]

But enough of this, which yet suffices to show what the art of Andrea was, even when compared with that of so great a master; and we see besides that he was thereby enabled, in concert with the prudence and judgment of Messer Ottaviano, to satisfy the duke, while Florence was yet not deprived of so admirable a work. The latter was subsequently presented by the Duke Alessandro to Messer Ottaviano, who retained it many years in his possession, and finally made a gift thereof to the Duke Cosimo, who has it in his guardaroba with many other renowned pictures.^[105] A¥hile Andrea was occupied with the copy here in question, he likewise painted the bead of the Cardinal Giulio de’ Medici, who was afterwards Pope Clement, in a separate picture; this also is exceedingly beautiful, and exactly similar to that by Raphael in the picture of Pope Leo: it was ultimately presented by Messer Ottaviano to the old Bishop De’ Marzi. No long time after the completion of these works, it happened that Messer Baldo Magni,^[106] of Prato, desired to present a picture of beauty and value to the Madonna delle Carcere in his native city, where he had already caused a magnificent decoration in marble to be prepared by way of frame-work to the same: on this occasion, therefore, Andrea del Sarto was proposed to Messer Baldo, among many other painters, for the execution of the work;^[107] whereupon Messer Baldo, although not well acquainted with matters of the kind, felt more inclined to accept the services of Andrea than of any of the others, and had all but given him to understand that himself and no other artist should perform that work, when a certain Niccolo Soggi^[108] of Sansovino, who had some interest in Prato, was presented to Messer Baldo, and was so zealously supported by the assertions of his friends that no better master than he was could be found, that Messer Baldo, hearing him so much praised, entrusted him with the undertaking. Meanwhile the friends of Andrea, having sent for him, and he, supposing the work to be his own, repaired with Domenico Puligo, and other painters who were his associates, to Prato, but having arrived in that place they found that Niccolo Soggi had not only caused Messer Baldo to change his mind, but was also bold and shameless enough to say to Andrea, in the presence of Messer Baldo, that he would willingly bet any sum of money with him as to who should produce the best work in painting, the winner to receive the whole sum.

Andrea, who knew what Niccolo could do, though not often showing himself to have much spirit, did on that occasion reply to some purpose, saying, “I have here one of my young disciples, who has not been long studying our art, and if thou hast a mind to bet with him, I will lay down the money for him, but with myself thou shalt make no wager for any sum whatever, seeing that if I vanquish thee, that could not be any addition to my honour, whereas if thou shouldest conquer me it must be to my perpetual shame.” Having then told Messer Baldo that he would do well to give the work to Niccolo, since he would be sure to do it in such a manner as would please the people going to market, Andrea returned to Florence.

He then received a commission to paint a picture for Pistoja, and which was to be placed in a church dedicated to the Madonna, and called Sant’ Agnesa, which is situate close to the wall of that city, between the old citadel and the cathedral. This work was divided into five compartments, in each of which the master depicted a single figure, St. John the Baptist and St. Peter namely, who are placed one on each side of the Madonna of Sant’ Agnesa, which is one of those that work miracles; with St. Catherine the Martyr, St. Agnesa, and St. Margaret: the last named figures being so remarkable for their beauty, that they awaken astonishment in all who behold them, and are considered to be the most graceful and most admirable female figures ever painted by this master.^[109]

Now, it chanced that Messer Jacopo, a Monk of the Servites, had commanded a woman, whom he had absolved from a vow, to cause a figure of Our Lady to be painted over the side-door of the Nunziata, which leads into the cloister, by way of commutation: meeting with Andrea, therefore, the monk told him that having this money to spend and there being but little of it,^[110] he thought it would be well if he, who had already obtained so much reputation by the works which he had executed in that place, would undertake this also, rather than suffer it to be done by others: to which Andrea, who was a sufficiently obliging person, replied, that he would do it willingly, being moved partly by the persuasions of the Monk, partly by his wish for the payment, and partly by his hopes of fame. Shortly afterwards, therefore, he commenced the work accordingly, and painted a very beautiful Madonna in fresco; Our Lady is seated with the divine Child in her arms, and there is also a St. Joseph, who is leaning on a sack, and has his eyes fixed on an open book. This work is executed in such a manner, the drawing, the grace of the figures, the beauty of colouring, the life-like animation, and the force of the relief, are of such perfection, that the picture proves Andrea to have far excelled and surpassed all the painters who had laboured up to that time; the painting is of a truth so complete, that it speaks plainly for itself, and does not need praise from any other quarter to make it known as a most wonderful and extraordinary work.^[111]

There was now one story only required to complete the pictures in the cloister of the Barefooted Brethren; wherefore Andrea, whose manner had become enlarged from the circumstance of his having seen the figures commenced, and in part finished by Michelagnolo in the Sacristy of Lorenzo,^[112] Andrea, I say, resolved to set hand to this work also, wherein he gave the ultimate proof of that amelioration just alludedto. The subject chosen was the Birth of San Giovanni Battista; the figures are most beautiful, exhibiting much greater ability, and being in much finer relief, than those which had formerly been executed by Andrea in the same place. Among other most admirable figures in this work, may be distinguished that of a woman, who is bearing the newly-born babe towards the bed wherein is St. Elizabeth, and which is also very beautiful: the same may be said of Zachariah, who is writing on a piece of paper, which he has placed on his knee and is holding with one hand, while he inscribes the name of his son with the other; all which is done so naturally, that the figure seems to want nothing but the breath itself. Nor less admirable is the figure of an old woman, who is seated on a slightly elevated stool; she is smiling at the parturition of a mother already so far advanced in life as is St. Elizabeth; her attitude and expression exhibiting precisely such an appearance as would be made in actual life on the occurence of a similar event.^[113]

Having finished this work, which is certainly worthy of all praise, Andrea del Sarto painted a picture for the General of Vallombrosa, depicting therein four singularly beautiful figures, San Giovanni Battista namely, San Giovanni Gualberto, founder of the order, San Michele the archangel, and the Cardinal San Bernardo, who was a monk of their order; in the midst of these are certain children, which could not be more life-like nor more beautiful than they are. This picture is now at Vallombrosa, on the summit of a rocky mountain, whereon certain of the monks, separated from the rest, have made their abode in solitary dwellings or cells, almost after the manner of hermits.^[114]

From Giuliano Scala, Andrea received a commission to paint a picture, which was destined to be sent to Serrazzana. ^[115] The subject was a Virgin^[116] seated, with the Infant Christ in her arms, and two other figures in half-length, San Celso and Santa Giulia namely: Sant’ Onofrio, Santa Caterina, San Benedetto, Sant’ Anthony of Padua, San Piero, and San Marco, also form part of this picture, which is esteemed to be fully equal to the other works of our artist.^[117] There was beside a semi-circular painting, prepared as the completion of that above described, and destined to be placed over it, but this remained in the hands of Giuliano Scala, who retained it as security for a sum of money which he had advanced on account of those to whom it should have been sent; the subject of this last-mentioned work was the Annunciation, and it is now in a chapel belonging to the above-named Giuliano, which is situate near the choir in the principal tribune or apsis of the church of the Servites.^[118]

Many years had now elapsed since the monks of San Salvi had thought of having any progress made with the Last Supper, which they had commissioned Andrea to paint at the time when he executed the work before mentioned, that in the arch with the four figures namely. But there came at last an Abbot, who was a man of sense and judgment; by him therefore it was determined that the Last Supper should be completed; and Andrea, who had long before engaged to paint that picture, made no opposition. In a few months he set hand to it accordingly, working at it as he found himself inclined, and doing one part after another, but finishing it at length, and that in such a manner as to compel the acknowledgment of its excellence from all who beheld it.^[119] This work is indeed, as it is held to be, among the most animated, whether as regards design or colour, ever executed by the hand of our artist, nay, rather that could be effected by any hand; it gives proof of admirable facility, and the master has imparted grandeur, majesty, and grace to all the figures, insomuch that I know not what to say of this Supper that would not be too little, seeing it to be such that all wbo behold it are struck with astonishment.^[120] We are therefore not to be surprised if its excellence formed the safeguard of the building in the siege of Florence, in the year 1529, when that convent was suffered to remain standing while the soldiery and spoilers, by command of those who were ruling, destroyed all the suburbs, demolishing and razing to the ground all the monasteries, hospitals, and every other edifice situate without the walls. They were proceeding in truth to tear down a part of the Convent, having already ruined the church and Campanile or bell tower of San Salvi, and had arrived at the Refectory where this Last Supper is; but when the officer by whom they were led saw this work, having probably heard people speak of it, he would not permit so wonderful a painting to be destroyed, and, abandoning the place, determined that it should be injured no further, unless it should be found that nothing short of its total destruction would suffice.^[121]

For the brotherhood of San Jacopo, called 11 Nicchio, Andrea del Sarto afterwards painted a Banner to be carried in their processions; the subject chosen was San Jacopo, who is caressing a boy clothed in the habit of the Flagellants; there is also a second boy holding a book in his hand, and portrayed in a manner which is very natural and graceful.^[122] He likewise depicted the portrait of an Tntendant of the monks of Vallombrosa, who constantly made his abode in the country, for the purpose of attending to the affairs of his monastery; the picture was placed beneath an arbour of vines, around which the Intendant had arranged shady walks and many contrivances after his own fancy, but where it was somewhat exposed to wind and weather: so it was, nevertheless, that the Intendant, who was a friend of Andrea, would have it.

When Andrea had finished this work, he found that certain colours and other materials were left remaining, whereupon he took up a tile and calling his wife, Lucrezia, he said to her, “Come hither, wife, and since we have these colours left, I will take your portrait, that all may see how well you have preserved your good looks even at this time of your life, but also that it may be likewise seen to how great an extent your features have altered, and how widely different this portrait will therefore be from those made at an earlier period.” But the woman would not remain still, perhaps because she had other things in her head at the moment; and Andrea, as though almost divining that his end was near, took a mirror and drew his own portrait on that tile instead, executing the same so naturally and to such perfection, that one might almost believe him to be in life. This portrait is now in the possession of the above-named Madonna Lucrezia his wife, who still survives.^[123]

Andrea likewise painted the portrait of a certain Canon of Pisa who was a very intimate friend of his, and this likeness, which is a very life-like and beautiful one, is still in Pisa.^[124] He afterwards commenced the cartoons for the paintings with which, by command of the Signoria, the balustrades of the Ringhiera^[125] on the Piazza were to be decorated; and herein also he has displayed much fancy and power of invention, more particularly in the compartments appropriated to the various quarters of the city, and in the banners of the Capetudini,^[126] which last are supported by children; there are besides ornaments consisting of picturesque representations of the different virtues, with the mountains and most important rivers of the Florentine dominions. But this work thus begun, remained incomplete by reason of Andrea’s death, as was also the case with a picture which he had commenced for the monks of Vallombrosa at their Abbey of Poppi in Casentino, but which was all but finished. The subject of the last-mentioned work was an Assumption of Our Lady, who is surrounded by numerous angels in the forms of children; San Giovanni Gualberto, the cardinal San Bernardo, who, as it is said, was a monk of their order, Santa Caterina and San Fedele are beneath; this picture, unfinished as it is, is now in the above-named Abbey of Poppi.^[127]

There was also a picture, but not of any great size, which, when finished, was to have gone to Pisa, and which likewise remained incomplete at the death of Andrea.^[128] He also left a very beautiful picture that was entirely finished, in his house at the time of his death, with some others, but the first named is now in the possession of Filippo Salviati. It was about this time that Giovanni Battista della Palla,^[129] having bought up whatever paintings and sculptures of merit he could lay his hands on, had despoilEd. Flor.nce of an infinity of fine works without respect or consideration, causing all that he could not get into his possession to be copied; his purpose being to send them to the King of France, for whom a series of chambers, decorated in the richest manner possible, was then in course of preparation, these apartments being more especially to be adorned with ornaments of the kind just mentioned. This Giovanni Battista was very desirous that Andrea should return once more to the service of the French King, and therefore caused him to paint two pictures, in one of which the master depicted Abraham, who is on the point of sacrificing his son, and that with so much care, that he is judged never at any time to have accomplished a work of more perfect excellence. In the countenance of the Patriarch there is a beautiful expression of that lively faith and steadfast trust which render him willing to offer his only son without hesitation, and which gives him strength to slay the child with his own hand. He is in the act of turning his head towards a most beautiful angel, in the form of a boj, who appears to be commanding him to hold his hand.

I will not attempt further to describe the attitudes, the vestments, and other particulars relating to this figure of the Patriarch, since it would not be possible to do justice to the subject; I will therefore only remark that the tender and beautiful child, Isaac, wholly naked, is seen to be trembling with fear of the death prepared for him, and almost dead from terror, even without having received any blow. The neck of the boy is somewhat coloured by the effects of the sun’s heat; but all those parts which during the journey of three days may be supposed to have been covered with his clothing, are represented as of the most delicate fairness. The ram, which is caught in the thorn, is exceedingly natural, and the vestments of Isaac, which are lying on the ground, seem rather to be real than merely painted. There are certain servants also, undraped figures, who are guarding an ass, which is browsing near; with a landscape, which is so admirably depicted, that the very scene wherein the event took place could scarcely have been more beautiful, or in any way different from what is there beheld. This picture having been purchased on the death of Andrea, and when Battista Palla was made prisoner by Filippo Strozzi, was presented by the latter to the Signor Alphonso Davalos, Marchese del Vasto, who carried it to the island of Ischia, which is near Naples, and where he placed it in one of his apartments, together with other valuable paintings.^[130]

In the second picture, painted, as has been related, by command of Battista Palla, with intent to send it into France, was depicted a singularly beautiful figure of Charity, with three Children. This was bought from the wife of Andrea, after his death, by the painter Domenico Conti, who ultimately sold it to Niccolo Antinori, by whom it is prized as an admirable performance, which it certainly is.^[131]

About this time the illustrious Ottaviano de’ Medici, remarking how greatly Andrea had improved his manner, conceived a wish to possess a picture by his hand; wherefore Andrea, who was very anxious to please that noble, to w'hom he felt under great obligations, and by whom men of distinguished ability were always favoured;—Andrea, I say, moved by these incitements, painted a picture of Our Lady for the illustrious Ottaviano. Seated on the earth, the Madonna is enjoying the sports of the Infant Christ who is riding on her knees, while he turns his head back to a little San Giovanni; the latter supported by his mother, St. Elizabeth, an aged woman, painted in a manner so admirable and so natural, that she appears to be alive. Every other part of this painting is in like manner executed with a power and knowledge of art, a beauty of design, and a careful delicacy of finish, which render it a work of indescribable excellence.

When the picture was completed, Andrea took it to Messer Ottaviano, but the city of Florence being at that time besieged and surrounded on all sides by its enemies, Ottaviano, who was occupied with other matters, excused himself, and thanking the artist in the most friendly manner, told him that he might dispose of his work as he best could, seeing that he had himself affairs of so different a kind to attend to. Andrea made no other reply than these words: “The labour was undertaken for you, and to no other shall the work belong.” “Sell it,” replied Messer Ottaviano, “sell it, and use the money, for I know perfectly well what I am talking about.” But Andrea carried the picture back to his house, and notwithstanding all the applications that he received for it, which were many, would never part with the painting to any one. But when the siege was over, and the Medici had returned to Florence, he once more took the picture to Messer Ottaviano, who then received it most gladly, and, thanking Andrea very kindly, paid him double the price of his work. This is now in the apartment of his consort Madonna Francesca,^[132] the sister of the illustrions Salviati, by wliom the fine works in painting, left to her by Messer Ottaviano, are preserved and valued as they merit, and who in like manner esteems and seeks to retain as her own, the friends who were those of her husband.

Another picture by Andrea, is one almost exactly like that of the Charity above named, which he painted for Giovanni Borgherini; it represents the Madonna with the Divine Child, to whom an infant St. John, presents a globe, to signify the world, and a very beautiful head of Joseph.^[133]

Now it happened that Paolo da Terra Rossa had seen the sketch for the picture of Abraham about to sacrifice his son, and, being a friend to all painters, he desired to possess a work by the hand of its author; he therefore requested a copy of that painting from Andrea, who complied with much willingness, and performed his part in such a manner, that the copy in its minuteness is by no means •inferior to the large original. Greatly pleased with what he had obtained, Paolo inquired the price that he might pay for it, fully expecting that the picture would cost him what it was indeed worth; but Andrea demanded only such a wretched sum, that Paolo felt almost ashamed, and, shrugging his shoulders, paid him all he required.^[134] This work was afterwards sent by Paolo to Naples, and is there considered the best and most admirable picture in the place.

During the siege of Florence, certain leaders of the troops had fled the city, with the funds entrusted to them for the payment of their men: wherefore Andrea was called on to paint the effigies, not of these persons only, but of certain other citizens who had departed to join the enemy, on the palace of the Signoria, and on the open Piazza. He accepted the office accordingly, and said that he would do as was required, but, that he might not obtain the appellation of Andrea has been engraved, but not with any great success, by Andrea degl’ Impiccati,^[135] as Andrea dal Castagno had done, lie set about a report that the work was to be executed by one of his disciples, called Bernardo del Buda. But a large enclosure having been prepared, he glided within this shelter himself, secretly and by night, working at those figures with his own hand, and painting them in such sort, that they seemed to be there in life and reality, rather than in the mere colours of the painter. The soldiers thus exposed were depicted in the Piazza, on the front of the old Mercatanzia namely, near the Condotta, but they were covered over with whitewash many years since, that they might no longer be seen; the portraits of the citizens also, which Andrea painted entirely with his own hand on the palace of the Podesta, have in like manner been destroyed.^[136]

In the last years of his life, Andrea lived in much familiarity with some of those who governed in the Brotherhood of San Sebastiano, which has its abode behind the monastery of the Servites; he consequently painted for that Brotherhood a figure of San Sebastiano in half-length, which is so beautiful that it might well have been supposed likely to prove the last stroke of a pencil that he was to make.^[137] The siege of Florence was now at an end, and Andrea was in constant expectation of seeing matters take a more favourable turn, although he had but little hope of success for his attempt, as regarded his re-admission to the favour of the French King, seeing that Giovanni Battista Palla had even then been taken prisoner. But when Florence was filled by the soldiers of the camp, together with the stores of food that were then brought in, there came certain Lansquenets among the other corps of the soldiery, and some of these were infected with the plague; this caused no slight alarm in the city, and the terror thus awakened was quickly followed by the, pest itself, which those troops left behind them. Now whether anxiety respecting this misfortune affected the health of Andrea, or whether it were that, after the want and privations which he had suffered during the siege, he had committed some excess in eating; certain it is, that he one day felt seriously ill, and laid himself in his bed as one whose doom was pronounced: no remedy was found for his disease, nor were many cares bestowed on him, his wife withdrawing herself from him as much as she could, being moved by her fear of the pest. Thus he died, and as it is said, almost without any one being aware of it; and in the same manner was interred with few ceremonies by the men of the Barefooted Brotherhood in the church of the Servites, which was near to his house, and where it was the custom to bury all who belong to that Brotherhood.^[138]

The death of Andrea was a great loss to his native city and to the art he practised, seeing that up to the age of fortytwo, which he had attained,^[139] he had continually proceeded from one work to another with a constant amelioration of his manner, insomuch that the longer he had lived, the more he would have benefited his art: and much better is it to proceed thus, step by step, gradually but surely acquiring power, and advancing with a foot which becomes evermore stronger and firmer, towards the mastery of all difiiculties, than to attempt the compulsion of nature and genius by sudden efforts. Nor is it to be doubted that Andrea, if he had remained in Rome, when he went thither to see the works of Raffaello and Michelagnolo, and to examine the statues and ruins of that city,—had he then remained in Rome, I say, he would without doubt have greatly enriched his manner as regarded style of composition, and would eventually have attained the power of imparting a more elevated character and increased force to his figures, which are qualities that have never been perfectly acquired by any but those who have been for some time in Rome, studying and carefully labouring in presence of the marvels therein contained. Andrea del Sarto more particularly had received from nature so graceful and soft a manner in design, with a mode of colouring so life-like and easy, as well in fresco as in oil, that all were firmly persuaded of the success that must have attended him had he remained in Rome; nay, there are not wanting those who atfirm that he would in that case, without doubt, have surpassed all the artists of his time.^[140]

It is the opinion of some persons that Andrea was prevented from settling himself in Rome by the discouragement which the sight of the works executed there, whether in sculpture or painting, and ancient as well as modern, occasioned him, a feeling that was further increased by the numerous disciples of Raifaello^[141] and other young artists, whom he perceived to possess great power in design, and saw executing their works with a bold and firm hand which knew neither doubt nor difficulty. All this, timid as he was, deprived Andrea of courage to make trial of himself, it caused him to distrust his own powers, and he decided that for him it would be better to return to Florence, where, recalling with care and reflecting at his leisure on all that he had seen, he profited to such a degree that his works are, and ever have been, held in the highest estimation; nay, what is more, they have been more frequently copied and imitated since his death than while he lived; they are highly prized by those who possess them, and all who have been willing to sell them have received three times as much for the work as was paid for it to the artist, who never demanded more than a very sm*all price.

Two reasons may he given for the circumstances just alluded to; first, the timidity of disposition, which, as we have said, was natural to Andrea; and secondly, the fact that certain of the masters in wood-work, who at that time were most commonly employed to superintend the best works in the dwellings of the citizens, would never oblige their friends by giving Andrea any work to execute, unless they knew that he was at the time in very great need of money, when he would content himself with the meanest price. Be this as it may, these things do not deprive his paintings of their value, nor prevent them from being, as they are, most admirable. Nor do they affect the estimation in which they are held; very great account is made of them, and very deservedly, seeing that Andrea was certainly one of the greatest and best masters that the world has yet seen.

There are many drawings by Andrea del Sarto in our book, which are good, but that of the picture which he painted at Poggio may be particularly remarked, seeing that it is perfectly beautiful. The subject, as will be remembered, is the Presentation to Cassar, of Tribute, consisting of all sorts of animals brought from the East. This drawing, which is in chiaro-scuro, and a truly admirable work, is perhaps the most finished design ever executed by Andrea del Sarto; for when he drew the different objects from nature which he proposed to use in his works, it was his custom for the most part to sketch them but very slightly, since these few memoranda sufficed him, although, when the object in question was executed in the painting, he completed it to the utmost perfection. His drawings, therefore, were rather used as memorials to remind him of what he had seen, than as copies, to be imitated exactly for the representations depicted in his work.

The number of Andrea del Sarto’s disciples was very great, but they did not all pursue the same course of studies under his guidance, since some remained a shorter, and others a longer time with him; those who left him doing so not by his fault, but by that of his wife, who, refusing to pay due regard to any one, had respect to nothing but her own will; she treated all, therefore, with an arrogance of demeanour by which each was in turn offended. Among these disciples, then, were Jacopo da Pontormo and Andrea Sguazzella, the latter of whom remained constant to the manner of his master. By him there is a palace in France, at a short distance from Paris namely, which is very much extolled. Solosmeo; Pier Francesco di Jacopo di Sandro, who painted three pictures in the church of Santo Spirito, and Francesco Salviati, were likewise of the number, as was Giorgio Vasari, of Arezzo, a companion of Salviati, although he did not remain long with Andrea. The Florentine, Jacopo del Conte, was also one of Andrea’s disciples, and that Nannoccio,^[142] who is now in France, and in high credit with the Cardinal de Tournon, was another.

Jacopo, called Jacone, was not only the disciple but the friend of Andrea, of whose manner he was a zealous imitator. His master constantly availed himself of his assistance, even to the day of his death, as may be perceived in all his works, but more particularly in that executed for the Cavaliere Buondelmonti, on the Piazza of Santa Trinita.^[143]

The drawings of Andrea del Sarto, and other possessions relating to art which he left at his death, were inherited by Domenico Conti, who did not make any very distinguished progress in the art of painting. He is said to have been robbed one night of all the designs, cartoons, and other things which had belonged to Andrea; and this was done, as it is believed, by some who belonged to the same vocation, but w'ho those persons were has never been discovered.

Now this Domenico was not ungrateful for the benefits which he had received from his master, and being anxious, after his death, to render him all the honours which he had merited, he prevailed on Baffaello da Monte Lupo to make him a tolerably handsome monument in marble, which was built into the wall of the church of the Servites, with the following inscription, written by the very learned Messer

Piero Vettori, who was then very young:—

andrew. sartio
admirabilis. ingenii. pictori
ac. veteribus. illis
omnium. iudicio. comparando
dominicus. contes. discipulus.
pro. laboribus. in. se. instituendo. susceptis
grato. animo. posuit
vixit. ann. xlii.^[144] ob. ann. mdxxx.

But no long time after the erection of this monument, certain of the citizens who were superintendents of works in that church, acting in ignorance rather than as being the enemies of great names or honoured memories, and being displeased that the tablet had been erected without their permission, proceeded in such sort that it was removed from its position, nor has it as yet been put up in any other place.^[145] And herein it may be that fortune designed to teach us that the influences of the fates are powerful, not only over our lives, but even on our memory after death. The works and the name of Andrea shall nevertheless long continue to live, in despite of them; nay, these my writings shall, as I hope, preserve the remembrance of them through many centuries.

We conclude, then, with the opinion, that if Andrea displayed no great elevation of mind in the actions of his life, and contented himself with little, yet, it is not to be denied, that he manifested considerable elevation of genius in his art, or that he gave proof of infinite promptitude and ability in every kind of labour connected therewith; nor will any refuse to admit, that his works form a rich ornament to every place wherein they are found; nay, more, it is most certain that he conferred great benefits on his contemporaries in art, by the examples he left them in manner, design, and colouring; his works exhibiting fewer errors than those of any other Florentine; seeing that Andrea, as I have said before, understood the management of light and shade most perfectly, causing the objects depicted to take their due degree of prominence, or to retire within the shadows, with infinite ability, and painting his pictures with the utmost grace and animation. He likewise taught the method of working in fresco with perfect harmony, and without much retouching a secco^ which causes all his pictures in that manner to appear as if they were executed in a day; wherefore this master may serve as an example to the Tuscan artists on all occasions. He is entitled to the highest praise among the most eminent of their number, and well merits to receive the palm of honour.^[146]

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1. There is much discord among the authorities as to the period of Andrea’s birth; Della Valle and most of the later writers give it as above; Biadi only, Notizie inedite della Vita di Andrea del Sarto, Florence, 1829, is of a different opinion, and will have it to have taken place ten years earlier, but without adducing sufficient grounds for his opinion, as it appears to the present writer. For very minute details on this and other points, the reader is referred to the Life of Andrea, by Alfred Reumont, Leipzig, 1835.
2. The family name of Andrea was Vannucchio. According to some writers, his father Michelangelo Vannucchio was of Flemish origin, but fled his native land in consequence of an unhappy quarrel. He calls himself sometimes Andrea Vannucchi, sometimes Andrea d’ Agnolo or di Michelagnolo Vannucchio; and in a receipt given to the Abbess of Luco in 1528, he writes, “I. Andrea d’ Angiolo del Sarto.” See Reumont, ut supra.
3. Sarto and sartore are the Italian equivalents for “tailor;” the boy was thus called, the tailor’s Andrew.”
4. Della Valle, Lettere Sanesi, tom. iii. p. 324, -warns his readers that this Giovanni Barile is not to be confounded with the celebrated carver in wood of that name, who was invited to Rome by Raphael; the latter being a native of Siena, and though called Giovanni by Vasari, was in fact named Antonio.
5. There Ls a picture in the Dresden Gallery representing Bathsheba in the Bath, which is commonly enumerated among these works, but according to the German annotator, Förster, this is an error; he has, however, not assigned the grounds for his opinion, in which Reumont, who is usually well informed, does not support him.
6. These curtains have long been lost.
7. Now in the Florentine Academy of the Fine Arts.
8. These works have suffered greatly from time and maltreatment. They have also been much injured by unskilful restorers, but much care is now taken to secure what remains. Four of the original sketches in oil for these frescoes are in the Pinacotheca, Munich; the latter have been frequently engraved, by Crüger for example, in 1618; by Credi, in 1783; and at Florence, in 1836. See Pitture a fresco d'Andrea del Sarto, &c.
9. This bears the usual cipher of Andrea; the A intertwined with a V namely.
10. The subject of this picture is not known, nor is anything certain to be ascertained of its fate.
11. Where it still remains.
12. These paintings are now in the Pitti Palace.
13. See his life, ante 116, et seq.
14. See the Life of Alesso Baldovinetti, vol. i.
15. According to the Notizie delle cose memorabili della Chiesa de' Servi, in the Libro di Memorie, this work was commenced on the 16th of June, 1511.
16. These earlier works have suffered more than those painted by Andrea in the same place, at a later period. All are now secured from the weather by the care of the Grand Duke Leopold II., who caused the cloister to be closed in the year 1833, by means of glass windows, furnished with curtains. The whole series was engraved by Chiari, Florence, 1832-3.
17. The two pictures here described are in excellent preservation; the first is much admired for the beauty of its colouring, the second is equally distinguished for that of the composition.— Förster.
18. This work has been engraved by Chiari, by Tommasino, and by Scotto. The reader will find a good account of nearly all the engravings from the works of Andrea, in Biadi, Notizie inedite, &c.
19. This is Luca the younger, who executed the pavements of the Papal Loggie, as we have noticed in the Life of Luca della Robbia. See vol. i.
20. From the records of the Convent, we find that Andrea received fortytwo florins in addition to the ninety-eight accorded to him for the earlier works.—Masselli.
21. The paintings in the refectory of San Salvi are still in existence, and are now placed, like those in the Cloister of the Servites, under the care of the President of the Academy.
22. This mode of representing the Trinity was prohibited by Pope Urban VIII.
23. This fresco is in so grievous a condition that it may be considered almost totally lost.—Masselli. Borchi, in his Belezze di Firenze, affirms that in 1677 there were two angels in fresco, by Andrea, in a room of the same convent; but these also would now seem to have perished, or been whitened over.
24. Now in the possession of the Cavalier Pietro Pesaro, a patrician of Venice.—Ed. Flor., 1832-8.
25. Of these two paintings we know nothing more than that the one mentioned as in the apartment of Signor Bernardetto still retains its place; it represents the figure of Job. — Ed. Flor., 1832 -8.
26. These are the pictures of which mention has already been made. See ante, p. 188. They are still in good preservation, although somewhat injured by the cleaning and re-touching to which they were subjected during the last century. In 1833, when the Loggia was closed, as we have said, by means of glass windows, the paintings were cleaned with great care and intelligence by Domenico del Podesta, a very able and experienced artist; they have been engraved in outline by Alessandro Chiari. —Ibid.
27. One of the two female figures of the foreground, wearing the Florentine habit, is said to be the portrait of Andrea’s wife, Lucrezia del Fede; The work has been engraved by Antonio Perfetti, one of Raphael Morghen’s most distinguished pupils. The sketch of the group to the left is in the collection of drawings belonging to the Florentine gallery. —Förster.
28. Francesco Ajolle, of whose madrigals Baldinucci speaks with much admiration; he retired to France, and there lived with great honour till his death. —Ed. Flor., 1832. See also the life of Benvenuto Cellini, who likewise makes mention of this Francesco Ajolle.
29. This work has been engraved by C. Lasinio.
30. The author of the annotations to Borghini declares this picture to be in the Pitti Palace; and later authorities consider the work meant to be an Annunciation, which is in the Hall of Mars.
31. Now in the Pitti Palace, in the Hall of Jupiter namely. In the church of San Jacopo-tra-fossi, where the original formerly was, there is now only a copy by Ottavio Vannini, in the church, but it is a good one. In the Pitti Palace are three other pictures of the Annunciation, by Andrea del Sarto, See Biadi, Notizie, &c.
32. He became a very mediocre painter that is to say, after having promised to become one of high distinction. —Ed. Flor., 1832-8.
33. It will be found in the succeeding volume of the present work.
34. No authentic information respecting this painting can now be obtained.
35. The author of the Annotations to Borghini relates that this picture was presented to the Cardinal, Carlo de’ Medici, who on his part presented the Brotherhood with a purse of two hundred scudi, and an admirable copy of the work by Empoli, but the original and copy have now alike disappeared.
36. This work was some years since in the possession of the Gaddi-Poggi family in Florence. The picture was somewhat faded in some parts, and had much darkened all over, but was upon the whole in good preservation. See Reumont’s Life of Andrea, as before cited.
37. Biadi, who is followed by Reumont, believing this picture to be an Annunciation, although Vasari speaks only of a Madonna, declares it to be that in the Hall of Saturn, in the Pitti Palace; other writers maintain these commentators to be in error, and affirm that the work here in question is the Madonna with the Divine Child, which is in the room called that of the Education of Jupiter, in the same palace.
38. Della Valle informs us that this work came by purchase into the hands of the Signor Alessandro Curti-Lepri, who caused it to be engraved by Raphael Morghen.
39. In the first edition of Vasari, the history of Andrea’s marriage is given at greater length. Our author there says: “At that time there was a most beautiful girl in the Via di San Gallo, who was married to a capmaker, and who, though born of a poor and vicious father, carried about her as much pride and haughtiness as beauty and fascination. She delighted in trapping the hearts of men, and among others ensnared the unlucky Andrea, whose immoderate love for her soon caused him to neglect the studies demanded by his art, and in great measure to discontinue the assistance which he had given to his parents.
    “Now it chanced that a sudden and grievous illness seized the husband of this woman, who rose no more from his bed, but died thereof. Without taking counsel of his friends therefore; without regard to the dignity of his art or the consideration due to his genius, and to the eminence he had attained with so much labour; without a word, in short, to any of his kindred, Andrea took this Lucrezia di Baccio del Fede, such was the name of the woman, to be his wife; her beauty appearing to him to merit thus much at his hands, and his love for her having more influence over him than the glory and honour towards which he had begun to make such hopeful advances. But when this news became known in Florence, the respect and affection which his friends had previously borne to Andrea changed to contempt and disgust, since it appeared to them that the darkness of this disgrace had obscured for a time all the glory and renown obtained by his talents.
    “But he destroyed his own peace as well as estranged his friends by this act, seeing that he soon became jealous, and found that he had besides fallen into the hands of an artful woman, who made him do as she pleased in all things. He abandoned his own poor father and mother, for example, and adopted the father and sisters of his wife in their stead; insomuch that all who knew the facts, mourned over him, and he soon began to be as much avoided as he had previously been sought after. His disciples still remained with him, it is true, in the hope of learning something useful, yet there was not one of them, great or small, who was not maltreated by his wife, both by evil words and despiteful actions: none could escape her blows, but although Andrea lived in the midst of all that torment, he yet accounted it a high pleasure.” This description has all the more significance when we remember that Vasari was himself one of Andrea’s disciples. The name of the gentle lady thus attractively depicted by our author, was Lucrezia Becanati, according to Biadi; that of her husband, the “capmaker,” being Carlo Recanati.
40. This is considered to be a pure fancy of our author’s. The Harpies are merely the decoration of the pedestal, and are not intended by the painter to represent living beings, but merely lifeless figures carved in stone.
41. Now in the Tribune of the Florentine Gallery of the Uffizj, and accounted the best of Andrea’s easel pictures. In his first edition, Vasari tells us that the master received but a very small sum for its execution, more because he asked but little,” he further adds, ‘^than because the monk desired to spend his money sparingly.” The Prince Ferdinand de' Medici restored and embellished the church belonging to the Monks, in return for this painting, of which he gave them also a good copy, by Francesco Petrucci. On the pedestal is the inscription,—

    and. sār. flō. fāb.

    The picture has been engraved by P. Lasinio, by J. Felsing, and by Lorenzini.

42. No authentic information can now be obtained respecting this work.
43. These chariots have long been destroyed or lost.
44. The figures here described have suffered less than some of those in that cloister, but are far from being in good condition.
45. See Reumont, as before cited, for details respecting these pictures; ee first of which has been engraved by Langermayr, the second by Emilio Lapi.
46. Bottari remarks that he can discover but one figure borrowed by Andrea from Albert Direr, in all the works of the former; but the German commentator, Förster, points out two in the picture of St. John preaching to the people, as taken from the engravings of Albert,
47. The cartoons for the Preaching and the Baptism are still to be seen painted in oil in the Rinuccini Gallery in Florence.
48. In the life of Bandinelli this circumstance is related somewhat differently. Andrea is there said to have perceived the intention of Bandinelli, and to have proceeded in a manner so conftised and unusual, that the astute Baccio could not acquire any information whatever.
49. According to Bottari, this picture became the property of the Roman family of the Crescenzi, in the year 1613, when it was removed to the city ' of Rome, a copy only remaining in the Corsini palace at Florence. Later writers consider the original to be now in the Pinacoteca of Milan.
50. Authorities are not agreed as to which among the works of Andrea it is that is thus described as executed for Puccini; there is indeed, nothing satisfactory to be ascertained on the subject.
51. In the life of Marcantonio, Vasari tells us that Agostino himself repaired to Florence for the purpose of prevailing on Andrea to give him one of his works for engraving. The copper-plate of that here in question bears the monogram of Agostino, with the date 1516.
52. This picture is not in France, nor is it to be found mentioned in any list of the royal pictures there. — Bottari, Roman Edition of Vasari, 1759.
53. On his journey to Bologna that is to say; whither he was proceeding to hold a conference with Francis I. of France, after the siege of Marignano.
54. In the little book, De ingressu summi Pontificis Leonis X. Florentiam, Discripiio Paridis de Grassis civ. Bonon. Pisaur. episc. we read that twelve triumphant arches were erected in Florence, and that “inter arcum et arcum erant varies structures similes illis ques videntur in urbe Roma, videlicet Obeliscus sicut in Vaticano, Columna sicut in Campo Martio, etc.”
55. The new market.
56. Tommaso Temanza, in his Vita di Sansovino, Venice, 1752, describes this work as one in the modem Corinthian manner.
57. Lorenzo the Magnificent, though not then living, would appear to have been aware of his son’s proposed visit, and may thus have taken the part here attributed to him in the projection of the ceremonies to be observed at his reception. — Ed. Flor., 1832-8.
58. From the description, De Ingressu Summi Poniificis, &c., above named, we learn that it was not on the 3rd of September, but the 30th of November, in the year 1515.
59. This is believed to be one of the Holy Families now in the Louvre.— Ed. Flor., 1832.
60. These paintings are now in the Hall of Mars, in the Ducal Palace, Florence.— Ibid.
61. There are two of these pictures by Pontormo j tney are in the Uffizj, in the larger Hall of the Tuscan School.— Ibid.
62. It is still on the altar, as above-named, and is one of the best of Andrea’s works. It was engraved at Parma, by A. Dalco, in 1833.
63. This also is accounted to be one of the finest works of Andrea del Sarto, but was unhappily much injured, while still in the chiuch of San Gallo, by an inundation of the Amo, which happened in the year 1557. The expression in the heads of the two Saints above-named is truly admirable. See Bocchi, Bellezze di Firenze.
64. This evidently means the second of the two figures beneath the group of four, which has given its name of the Disputa to the painting, since the names of the four composing that group have been already given; Sant’ Agostino namely, with S. S. Pietro Martire, Francesco, and Lorenzo.
65. Now in the Pitti Palace, for which it was purchased on the suppression of the Monastery of San Jacopo, and in the ‘‘Hall of Saturn.” It has been engraved by Lorenzini, but riot in a very satisfactory manner. There is a copy of the work still remaining in the church of San Jacopo.
66. In the first edition of our author this paragraph commences as follows; Andrea now began to feel, not that the beauties of his wife had become wearisome, but that the mode of his life was an oppression to him; his error had become in part apparent to his perceptions; he saw that he could never lift himself from the earth; though perpetually toiling, he did so to no purpose. He had the father and all the sisters of his wife devouring every thing he gained, and though well-accustomed to that burthen, he could not be insensible to the weight thereof, and he finally became tired of the life he was leading. Knowing this, some friend, who still loved him, though more perhaps as an artist than as a man, advised him to change his dwelling, leaving his wife in some more secure abode for a time, that so he might at a future period receive her again, when they might live in a manner more creditable to him* He had hardly been brought to a conviction of his error, and to the persuasion that something should be done towards the discovery of a remedy, when such an occasion for re-instating himself was presented to him as he had never had before, since the time when he had taken a wife. The two pictures which he had sent into France,” &c., &c.
67. According to Biadi, as before cited, Notizie, &c., this happened towards the end of May, in the year 1518.
68. There is a Deposition from the Cross, by Andrea Sguazzella, in the gallery of the Louvre, which has been engraved by Vicus, with some few changes, and is called a work of Raphael.—Ed. Flor.y 1832 -8
69. Henry II., who was born on the 28th February, in the year 1518.
70. This figure of Charity is also in the Louvre, and bears the date 1518; according to Bottari this picture was removed from the panel to canvas by Picault, the wood having been found to be much worm-eaten.
71. The Louvre has now three, or, according to Leclanche, four pictures by Andrea; two Holy Families namely, the above-named Charity, and an Annunciation. Among its collection of drawings, M. Jeanron enumerates seven by Andrea del Sarto.
72. The St. Jerome must have been merely sketched; no intelligence can now be procured respecting it.— Bottari, Leclanche, and Jeanron.
73. In the first edition of our author, the circumstances of Andrea’s departure from France, and his return to Florence, are related as follows:— “One day he received a letter, after having had many others, from Lucrezia his wife, whom he had left disconsolate for his departure, although she wanted for nothing. Andrea had even ordered a house to be built for them behind the Nunziata, giving her hopes that he might return at any moment; yet as she could not give money to her kindred and connexions, as she had previously done, she vrrote -with bitter complaints to Andrea, declaring that she never ceased to weep, and was in perpetual affliction at his absence; dressing all this up with sweet words, well calculated to move the heart of the luckless man, who loved her but too well, she drove the poor soul half out of his wits; above all, when he read her assurance that if he did not return speedily, he would certainly find her dead. Moved by all this, he resolved to resume his chain, and preferred a life of wretchedness with her to the ease around him, and to all the glory which his art must have secured to him. He was then too so richly provided with handsome vestments by the liberality of the king and his nobles, and found himself so magnificently arrayed, that every hour seemed a thousand years to him, until he could go to show himself in his bravery to his beautiful wife. Taking the money which the king confided to him for the purchase of pictures, statues, and other fine things, he set off therefore, having first sworn on the gospels to return in a few months. Arrived happily in Florence, he lived joyously with his wife for some time, making large presents to her father and sisters, but doing nothing for his own parents, whom he would not even see, and who at the end of a certain period, ended their lives in great poverty and misery.”
74. In the year 1519. Andrea Sguazzella remained in France, and, painting in the style of his master, he there made his fortune.
75. They represent St. John receiving the benediction of his father, before his departure to the desert, and the same Saint, when he is met on the way by the child Jesus, with the Madonna and St. Joseph.
76. These paintings have suffered much in various ways, as we have said, see ante, p. 183, note. Del Migliore relates, that “a Frenchman, whether a madman, or moved by envy, 1 do not know, daubed them over with ink and bitumen.” The Imprisonment of St. John has been engraved by Lasinio, the Decapitation by Migliavacca, and Herodias bearing the Head by Morghen.
77. The fresco painting of this Tabernacle is destroyed, but there are several copies of it in Florence. One of these, attributed to Empoli, is in the western corridor of the Uffizj; there is another in the Corsini Palace. A repetition of this work, said to be entirely by the hand of Andrea del Sarto himself, is in the possession of the Marquis of Stafford. This has been engraved by Schiavonetti.
78. Not on the upper, but at the lower part of the picture. The portrait is in the figure of an Apostle kneeling, with his back towards the spectator, but the head turned in such a manner as to reveal the countenance. — Bottari,
79. Now in the Pitti Palace. It has been engraved by Lorenzini.
80. This work is entirely destroyed.
81. This picture also has suffered considerably, but some parts of it are still visible. There is a good copv of it in oil, in the possession of the Marchese Cappnni, in Florence, and Professor Ciampi has a sketch of it in chiaro-scuro. —Masselli and Förster.
82. Now in the Florentine Academy of the Fine Arts. In his first edition, Vasari tells us that Andrea painted this picture in return for a packet of wax-lights.—Masselli. It has been engraved by Francesco Zuccherelli.
83. This is believed to be in the Imperial Gallery of Vienna. It is engraved by Höfel, in the Gemäldesammlung des Belvedere, vol. i.
84. Now in the Pitti Palace. It has been engraved by Breviette, and by Cosimo Mogalli, but neither of these engravers has succeeded very well.
85. It still remains in tolerable preservation. Lanzi praises this work very i highly, but other writers speak less favourably of an effort “altogether fc different from Andrea’s natural manner.” See Reumont, as before cited.
86. The drawing here mentioned by Vasari passed at a later period into the collection of the French king, but had then received considerable injury. —Bottari.
87. This story was not completed by Andrea, but was afterwards finished’ by Alessandro Allori, nephew and disciple of Angelo Bronzino, by whom it is inscribed as follows:—Anno Domini, 1521, Andreas Sartius pingebat; et Anno Domini, 1580, Alexander Allorius sequehatur.”
88. There is a San Giovanni in the Pitti Palace, which may be that here mentioned, or it may be the one described immediately after, as sold to Ottaviano de’ Medici.—Ed. Flor., 1832-8.
89. Anne de Montmorency, Grand Master and Constable of France, under Francis I., distinguished by his love of splendour, more especially in architectural erections.—Bottari.
90. There is a half-length figure of St. John, said to be by Andrea del Sarto, in the collection of Mr. Rogers, Of the two Madonnas here mentioned, no information can now be obtained.
91. Jacques Beaune de Samblan9ay, Intendant of Finance under Francis I. Bottari rectifies the error of Vasari, in the Roman Edition of 1759, but in the first two editions of our author this name is written as in the text.
92. This picture was sold by a widow of the Jacopi family to the Duke of Mantua, for the sum of ten scudi. — Bottari.
93. It was purchased towards the end of the last century, by the Count TatitschefF of St. Petersburg.
94. For this picture, Biadi infonns us that Andrea received ninety gold ducats, as appears from a quittance given by him on the 8th October, 1528, to the Abbess of Luco, Donna Caterina della Casa. It was purchased from the Convent by the Grand Duke Pietro Leopoldo, and was for many years in the Tribune of the Uffizj, but is now in the Hall of Apollo, in the Pitti Palace. In the year 1811, it was engraved by Pietro Bettelini, after a drawing by Ermeni. It has been also engraved by C. Lasinio, by M. Esslinger, and by Pauquel and Förster, in the Tableau de la Galerie de Florence.
95. This work was painted in a lunette, and in tempera. In the ytar 1818 it was restored by Luigi Scotti, and was then sold.—MaRseUi. See also the Supplement to Biadi, Notizie della Vila di Andrea del Sarto.
96. No authentic information can now be obtained respecting it.— Ed. Flor., 1832-8.
97. There are in fact many, and in the hands of private individuals, all of whom believe themselves the possessors of original pictures.—Ibid.
98. Of this Ramazzotto some mention is made by Varchi, in the tenth book of his Storia.
99. Masini speaks of this chapel in his Bologna perlustrata.
100. Bottari assures us that the fourth Saint is not San’ Rocco, but Sant’Onofrio; but this is a question not difficult of determination, since Sant’Onofrio is represented as a man so worn and haggard that scarcely a vestige of humanity remains in his whole person, while San’ Rocco, the patron saint of prisoners and the sick, but more especially of those stricken with plague, is usually and most correctly depicted as a young man, or ono in the prime of life, and of delicate and refined, although somewhat emaciated appearance, when San Rocco has a coarse or robust figure; the painter has not given him his characteristic form. See Poetry of Sacred and Legendary Art. The picture is now in the Pitti Palace, and has been engraved by Lorenzini, but the predella is lost.
101. In a note to the edition of Vasari commenced at Leghorn in 1767, and continued at Florence in 1771, we find a minute description of this picture, which had even then disappeared from the house of the Bracci family.
102. See note §, p. 183.
103. See the life of Raphael, ante, p. 36.
104. According to a tradition which had been maintained to the time of the painter Gabbiani, by whom it was imparted to Bottari, the sign or mark made by Andrea del Sarto was his own name, written on the edge or in the thickness of the panel, and which was of course concealed by the frame.
105. It is now in the Pitti Palace. The copy made by Andrea is in the Museo Borbonico in Naples, the latter must have been executed about 1525, at which period Vasari was a disciple of Andrea’s, and was living in the house of Ottaviano de’ Medici.
106. Magini rather, and so written in the first edition of our author.
107. Andrea was proposed to Baldo Magini by Antonio da San Gallo.— Bottari.
108. The life of this artist follows.
109. From the year 1618 these pictures were in the Cathedral of Pisa, but “the incredible carelessness of those who ought to have taken care of them in past times, and the unpardonable audacity” of those who re-touched them in the last century, have inflicted no slight injuries on the figures, more especially on those of St. Peter and St. Paul. In 1835, the skilful restorer, Antonio Garagalli, relieved them from some of the wrongs they had suffered, and left the original painting in the condition to which time had reduced it, merely supplying certain parts which had scaled oft^ and doing this with the most scrupulous delicacy and exactitude.— Ed. Flor., 1832-8. These pictures were probably painted in 1527. See Reumont, as before cited.
110. The sum was ten crowns. See Biadi, Notizie, &c., p. 45.
111. We need scarcely remark that this work, called the Madonna del Sacco, has ever been considered one of the finest, if not the finest of Andrea’s fresco paintings. It is said to have suffered more by the injury received from the copyists, than from the action of time. In the year 1573 it was engraved by Zuccherelli, hut a much better engraving, the best, indeed, made from it since that time, is one by Raphael Morghen, in 1793; it has also been engraved in outline by Chiari. The engravings from this work now in the British Museum, will have rendered this work more familiar than those of this master usually are to the English reader.
112. Bottari observes on this passage, that Andrea had also profited by the study of the cartoon depicting the War of Pisa.
113. See ante, p. 183, note. This work, which was painted in the year 1525, has been engraved by A. Verico.— Förster.
114. It is now in the Florentine Academy of the Fine Arts, where the predella, with four small historical representations, will also be found. There was besides an Annunciation in the centre of the four stories of the predella, but this was obtained under the French domination, by a certain M. Charles Scitivaux,—Ed. Flor., 1832-8.
115. Sarzana, that is to say.
116. Lanzi tells us that the picture was made over to a private family in Genoa, and that the Domenican monks, to whom it had belonged, contented themselves with retaining a copy.
117. From the Genoese palace, alluded to in the preceding note, this work found its way to Paris, and was there purchased (from the Lafitte Collection) in 1838, for the Royal Gallery of Berlin, where it still remains in excellent preservation. For a circumstantial account of the same, see the Kunslblatt for 1838, No. 27.
118. Now in the Pitti Palace, in the Hall of Saturn, to which place it was removed from the Church of the Servites. It has been engraved by Domenico Picchianti.
119. his work has been engraved by Theodor Cruger, and in outline by Chiari. An engraving of the same had been commenced by Giovacchino Cantini, a scholar of Raphael Morghen; but the work, when nearly half completed, was interrupted by the death of the engraver.
120. In the first edition, Vasari tells us that the quarrels between the Monks, and the discredit into which the Convent had been thrown bv disputes between its Abbot and the General of the order had disinclined' Andrea to continue the paintings of their Refectory heie alluded to, he uot seeing a sutficient certainty of repayment.
121. Varchi relates the same thing. See the Storia, lib. x.
122. This work is now in the Florentine Gallery of the Uffizj, in the larger Hall of the Tuscan School, but it has suffered not a little from exposure to the winds and weather, while being borne in the processions. The picture has been engraved by P. Lasinio.
123. It is among the portraits of painters in the Florentine Gallery; hut is unhappily much injured and blackened. This work also has been engraved by P. Lasinio.
124. We can obtain no information as to the present place of this picture.
125. The Ringhiera is an enclosed space, a kind of loggia or platform, used in the manner of an exchange, for the transaction of business.
126. Bottari tells us that the word Capetudini was used to designate the assemblage of the Syndics or Consuls of the Guilds.
127. Now in the Pitti Palace. Various details respecting this picture, which cannot here find place, will be found in Benci, Lettere sul Casentino, See also the work of Reumont, as cited above.
128. It was finished by Antonio Sogliani, whose life follows, and is now in the cathedral of Pisa, It had previously belonged to the Brotherhood of the Stigmata, in the same city.
129. Giovanni Battista Palla, having taken part with the enemies of the Medici, fell into the hands of the latter, and ended his life miserably in the fortress of Pisa.
130. The praises bestowed on this work by Vasari, are declared by all competent authorities to be fully merited. There is a slight error in the description, there being but one servant, and not several, in charge of the ass. The picture, after many wanderings, had found its way once more to Florence, but was exchanged for a Correggio with the Duke of Modena. It was finally sold to Augustus II., King of Saxony, and is now at Dresden. Andrea made more than one replica of this work. Of these, Lyons possesses one, which is held by many to be the original work. Bottaxi tells us that it was engraved by Louis Surugue the elder.
131. Of this picture nothing more is known.
132. Now in the Pitti Palace (Hall of Apollo). This work, which is considered to he one of the most graceful of the Holy Families painted by Picchianti. There is a replica in the Brignole-Sale Palace in Genoa.
133. We have no information respecting this work. Baldinucci remarks that many of the oil paintings executed by Andrea for the Florentine citizens, had in his day begun to disappear from the city, having been sent into foreign lands, where they were sold for very large sums.
134. A most lame and impotent conclusion indeed, and one for which we would fain apologize to the reader, who was doubtless expecting to hear that at least this Paolo had “paid him double the amount,” rather than the miserable “all ” that he had required.
135. Andrea of the Gibbeted or Hanged. See Life of Andrea dal Castagno, vol. ii., p. 104, note ‡.
136. No trace of them is now to be seen, but certain studies for some of the figures are preserved in the collection of drawings in the Florentine Gallery.
137. Baldinucci, as well as Bottari, affirms that this work was in the Pitti Palace, and they maintain that it was engraved as belonging to that collection, by C. Mogalli; but it cannot now be found there, nor is there any one at present remaining who can remember to have seen it there. A very beautiful copy, or perhaps the original itself, according to the opinions of many, was purchased by Mr. Sanford at Florence, in the year 1832.
138. Andrea was buried beneath the pavement of the presbytery in the church of the Annunziata, on the left hand, and beneath the niche wherein is the statue of St. Peter. See Biadi, Notizie, &c., as previously cited.
139. This must be fifty-two and not forty-two, as is proved by the date of Andrea’s birth, which is well authenticated. See also p. 235, note *.
140. Of the many qualities that must have been imparted to Andrea del Sarto before he could have ventured to compete with the divine Raphael, this is not the place to speak. Vasari is manifestly in error on the point he has here mooted, but the estimation in which the powers of Andrea were held by Michael Angelo likewise, may be inferred from a remark of that master to Raphael, which we find cited in Bocchi, Bellezze di Firenze. “There is a bit of a mannikin in Florence,” observes Michael Angelo, “who, if he had chanced to be employed in great undertakings as you have happened to be, would compel you to look well about you.” How far the desire of Michael Angelo to mortify Raphael may have affected the remark thus made, we leave our readers to judge.
141. It would appear from these words that Raphael had died before the arrival of Andrea in Rome. Bottari disbelieves this assertion, but Lanzi upholds the credit and veracity of our author with perfect success. —See Storia Pittorica (English edition), vol. i., p. 155.
142. “From this list of Andrea’s disciples,” remarks Masselli, “we perceive that Sguazzella and Nannoccio are not one and the same person, as some writers affirm them to be.”
143. Vasari speaks at more length of Jacone, in the life of Bastiano da San Gallo, called Aristotele.
144. This is believed on good grounds to be an error: see page 231, note †. It should, without doubt, be fifty-two.— Ed. Flor. 1832 -8.
145. In the year 1606, a prior of the Servites caused a new monument to be erected to the memory of Andrea in the cloister of their monastery, between two of his own frescoes, those representing events from the life of St. Philip namely; a bust in marble was executed for this purpose by Giovanni Caccini, and an inscription was prepared, which is as follows:— Andreae Sartio Florentino pictori celeberrimo, qui cum hoc vestibulum pictura tantum non loquente decorasset, ac reliquis hujus venerabilis templi ornamenta eximia artis suae ornamenta adjunxisset, in Deiparam virginem religiose affectus, in eo recondi voluit Frater Laurentius hujus coenobii praefectus, hoc virtutis, illius et sui patrumque grati animi monumentum.p. mdcvi. —Förster.
146. In the life of Francesco Rustici which follows, Vasari gives further details respecting Andrea, and mentions the joyous societies of the Trowel and of the Kettle; before the last of which Andrea read a little heroicomic poem in imitation of the Batrachomyomachia of Homer, which will be found at the close of Biadi’s work so frequently cited, Notizie Inedite della Vita d’ Andrea del Sarto, raccolte da Manoscritti, e documenti autentici. Florence, 1830,