Meanwhile, in the year 1515, the Florentines, learning that Pope Leo X. intended to favour them with a visit 12 prepared a great reception with arches, facades, temples, colossal statues, and other ornaments, more sumptuous than had ever been seen before, as the city was richer then in men of genius than it had ever been. At the S. Pier Gattolinigate Jacopo di Sandro made an arch full of scenes, assisted by Baccioda Montelupo. At S. Felice, in Piazza, Giuliano del Tasso made another, and at S. Trinita
Andrea del Sarto did some statues, a half-length Romulus and a Trajan column
in the Mercato Nuovo. On the Piazza de' Signori, Antonio, brother of Giuliano da S. Gallo, made an octagoilal temple, and Baccio Bandinell did a giant for the
loggia. Between the Badiaand the Podest palace an arch was set up by Granaccio and Aristoteleda S. Gallo; at the
corner of the Bischeri, II Rosso made another, beautifully designed with a variety of figures. But the best of all was a wooden facade to S. Maria del Fiore decorated by Andrea, with scenes in grisaille. The architecture of this and of some bas-reliefs and sculptures was by Jacopo Sansovino, so that the Pope‚considered it as fine as if it had been of marble. It was the invention of Lorenzo de' Medici, the Pope's father. On the piazza of S. Maria Novella, Jacopo made a horse like that at Rome, of great beauty. Countless ornaments also were made for the Pope's Hall in the via della Scala, the street being half full of beautiful bas-reliefs by many artists, but most designed by Baccio Bandinelli. Thus when Leo entered Florence on 3rd September that same year the decorations were considered the finest and the most extensive ever seen.
But to return to Andrea.
Andrea del Sarto soon completed another picture for the King of France, at his request, being a lovely Madonna, which was immediately sent, the merchants receiving four times as much as they had paid for it. About that time Pier Francesco Borgherini had employed Baccio d'Agnolo to make wooden arm-chairs, chests, seats and beds to furnish a room. In order to have pictures of corresponding excellence,
Andrea del Sarto employed Andrea to do some medium figures of the history of Joseph, 13 to compete with some beautiful ones by Granaccio: and Jacopo da Pontormo. By extraordinary efforts Andrea endeavoured to surpass these, and succeeded admirably, showing his ability in the variety of the circumstances which occur in the scenes. During the siege of Florence Giovanni Battista della Palia proposed to have them packed up to be sent to the King of France, but they were so firmly fixed that they could not be removed without destruction, and consequently they remain in the
same place, with an admirable Madonna. Andrea next did a head of Christ,
now kept by the Servite friars on the altar of the Nunziata. I do not think that the human intellect can imagine anything finer of its kind. In the chapel of the church outside the S. Gallo gate there were two other panels of Andrea, and many inferior to his. The friars, wishing to have another, induced the superior of the chapel to give it to Andrea. Beginning at once,
Andrea del Sarto made four figures standing, discussing the Trinity. 14 St. Augustine, of African appearance, dressed as a bishop, turns vehemently towards St. Peter Martyr, who is holding an open book, his mien and gesture most formidable, the head and figure being much admired. Next to him is St. Francis, holding a book in one hand, striking the other on his breast, his fervour apparently making utterance difficult. St. Laurence, as a young man, gives place to the authority of the others. Kneeling beneath are two figures, one a Magdalene with beautiful draperies. This is a portrait of his wife, for
Andrea del Sarto never painted a woman without using her as his model, and owing to this habit all the women's heads which
Andrea del Sarto did are alike. The last of the four figures was St. Sebastian, girl body, and turning his back, a life-like figure. Artists consider this his best work in oils, as the measurements of the figures are carefully observed, the expressions are suitable, the heads of the youths being soft and those of the old hard, with a medium state for those of middle age; in fact the picture is most beautiful in every detail. It is now in S. Jacopo Fra Fossi,
at the Alberti corner, with others by the same hand.- Andrea del Sarto oil paintings horse, Chinese oil painting - Andrea del Sarto oil painting Italian - Andrea del Sarto Bio, horse oil paintings by Chinese oil paintings horse shop of Italian horse oil painting Chinese of Sarto, Chinese oils.
While Andrea was just maintaining himself in Florence with these paintings, without improving his condition, the two pictures
Andrea del Sarto sent to King Francis in France were considered much ‚the best out of all that came from Rome, Venice and Lombardy. The king praised them greatly, and
Andrea del Sarto was told that Andrea would readily come to France to serve him. Accordingly, being paid the expenses of his journey, Andrea setout joyfully for France, 15taking with him his pupil Andrea Sguazzella. Arrived at the court, they were graciously welcomed by the king, and before
Andrea del Sarto had been a day there Andrea experienced the liberality and courtesy of that magnanimous king, receiving rich investments and money.
Andrea del Sarto then began to painting, and was so highly favoured by the king and court that
Andrea del Sarto seemed to have exchanged a very wretched condition for a most happy one.
Andrea del Sarto drew, among his first things, a portrait of the Dauphin, 16 then only a few months old, and took it to the king, receiving for it 300 gold crowns. Continuing,
Andrea del Sarto did a Charity 17 for the king, which was much admired and valued, as it deserved. The king gave him a large pension, and did everything to retain him, promising him that
Andrea del Sarto should lack nothing, for him was pleased with Andrea's quickness and his satisfaction with everything. Besides this, Andrea pleased the court, doing many paintings for them. If
Andrea del Sarto had considered his origin and the position to which Fortune had raised him, no doubt
Andrea del Sarto could have attained an honourable rank, not to speak of riches. But one day, as
Andrea del Sarto was doing a St. Jerome in penitence for the king's mother, some
letters arrived from his wife at Florence, and he began, for some cause or another, to think of returning.
Andrea del Sarto asked the king's permission to go, saying that Andrea
del Sarto would return when he had arranged some affairs, and that
Andrea del Sarto would bring back his wife, to enable him to live there more
comfortably, and that he would bring with him valuable paintings and sculptures. The king trusted him, and gave him money, while Andrea swore on the Gospels to return in a few months. Arrived in Florence, 18
Andrea del Sarto enjoyed his wife, his friends and the city for several months.
When the time for his return to France had passed, he found that in building 19 and pleasures, without working,
Andrea del Sarto had spent all his money and the king's also. But though
Andrea del Sarto wished to return, the tears and entreaties of his wife prevailed more than his own needs and his promise to the king. Francis became so angry at his faithlessness that
Andrea del Sarto for a long time looked askance at Florentine painters, and
Andrea del Sarto swore that if Andrea ever fell into his hands he would have more pain than pleasure, in spite of all his ability. Thus Andrea remained in Florence, fallen very low from his high station, and maintaining himself as best
Andrea del Sarto could.
When Andrea left for France the men of the Scalzo, believing
Andrea del Sarto would never return, had given the remainder of their cloistei'to Francia Kigio, who had already done two scenes there. When Andrea returned they induced him to take up the painting, and
Andrea del Sarto did four scenes in a row. The first is St. John before Herod; the second the banquet and the dancing of Herodias, 20 with excellent figures; the third is the beheading of John, the half-naked executioner being finely drawn, as are all the others; in the fourth Herodias is presenting the head, and some of the figures are in amazement. These scenes were for some time the
school of many youths, now excellent artists. At a vaulted corner
leading to the Ingesuati outside the Pinti gate Andrea did a Virgin seated in a tabernacle with the Child and a little St. John laughing, so perfectly done that its beauty and vivacity are highly valued. The head of the Virgin is a portrait of his wife. This tabernacle for its remarkable beauty was left standing when in 1530 the convent of the Jesuits and other beautiful buildings were destroyed during the siege of Florence.
At this time Francia Bartolommeo Panciatichi the elder was engaged in business in France, and wishing to leave a memorial of himself at Lyons,
Andrea del Sarto instructed Baccio d'Agnolo to get Andrea to do a panel of the Assumption 21 with the Apostles standing about. Andrea almost completed it, but as the wood‚split several times it was not entirely finished at his death. It was afterwards set up in the house of Bartolommeo Panciatichi the younger as a work truly admirable for the figures of the Apostles, as well as the Virgin, standing and surrounded by a choir of cherubs, some of whom are gracefully supporting her. At the bottom of the picture Andrea del Sarto has made a striking likeness of himself among the Apostles. This is now in the
villa of the Baroncelli, a little outside Florence, in a small church built to receive it by Piero Salviati near his villa. In two corners at the bottom of the
garden of the Servites, Andrea did two scenes of the Parable of the Vineyard, 22 the planting and laying out, and the husbandman asking for labourers among those standing idle, one of whom is seated and rubs his hands, debating whether
Andrea del Sarto shall go with the other workmen, like the loafers who have no relish for work. Much finer is the husbandman paying them, while they murmur and complain. Among them is an excellent figure of a man counting the money. These scenes are in grisaille, skillfully done in fresco. At the
top of a staircase in the noviciate of the same convent Andrea did a Pieta' in a niche, coloured in fresco, of great beauty.
Andrea del Sarto did another small Pieta and a Nativity in the chamber of Angelo Aretino, the general of the convent. For Zanobi Bracci, who greatly desired to have paintings of his,
Andrea del Sarto did for a chamber a Virgin kneeling against a rock and regarding Christ, who rests on some clothes and looks up smiling; St. John standing by points out to her the true Son of God. Behind them is Joseph, his headin his hands, which rest on a rock, his spirit irradiated at seeing the human race made divine by this birth. 23
When Cardinal Giulio de' Medici was commissioned by Pope Leo to have the vaulting of the Medici palace at Poggio a Cajano, between Pistoia and Florence, decorated with stucco and painting, the charge of the paintings and payments was entrusted to Ottaviano de' Medici the Magnificent, as one who understood such matters, and a patron of art like his predecessors, more fond than others of having his houses adorned with the paintings of the best artists.
Andrea del Sarto entrusted a third to Francia Bigio, a third to Andrea, and the rest to Jacopo da Pontormo. But in spite of Ottaviano's entreaties and supplies of money
Andrea del Sarto could not prevail upon them to finish the work. Andrea alone completed with great diligence a scene on a wall of Caesar receiving tribute of all the animals. The design for this is in our book, with many others by his hand, and it is the most finished painting in grisaille that Andrea ever did. In order to surpass Francia and Jacopo, Andrea took exceptional pains, making a magnificent perspective and some very difficult steps up to Caesar's seat. 24
Andrea del Sarto adorned this with appropriate statues, not satisfied with the variety of figures who are bringing the various animals. There is an Indian in a yellow tunic with a cage on his shoulders containing parrots, rarely drawn in perspective. Here also some are bringing Indian boars, lions, giraffes, leopards, wolves, apes and Moors, most divinely produced in fresco. On the steps
Andrea del Sarto made a dwarf seated, holding a chameleon in a box, the deformed figure being indescribably done in beautiful proportion. But the painting was left unfinished owing to the death of Pope Leo. Although Duke Alessandro de' Medici wanted Jacopoda Pontormo to finish it,
Andrea del Sarto could not prevail upon him to take it up. It is a pity that it is imperfect, as it is the finest hall in any villa in the world. Returning to Florence, Andrea did a half length girl body St. John the Baptist, of great beauty, for Giovan. Maria Benintendi, who afterwards gave it to Duke Cosimo.- Andrea del Sarto oil paintings horse, Chinese oil painting - Andrea del Sarto oil painting Italian - Andrea del Sarto Bio, horse oil paintings by Chinese oil paintings horse shop of Italian horse oil painting Chinese of Sarto, Chinese oils.
Whilst, these things were going on Andrea would sigh when he thought
of France, and if he had expected pardon no doubt
Andrea del Sarto would have gone back. He determined to bring his talents to help his fortune. Accordingly
Andrea del Sarto did a half-naked St. John the Baptist to send to the grand master of France, 25 in order that
Andrea del Sarto might restore him to the king's favour. For some reason
Andrea del Sarto did not send it, but sold it to Ottaviano de' Medici theMagnificent, who always valued him highly.
Andrea del Sarto also did two Madonnas for him in the same style, which remain in his house to this day. Not long after Zanobi Bracci got him to do a picture for Monsignore di S. Biause, 26 upon which
Andrea del Sarto devoted great service Andrea del Sarto hoped to re-enter.
Andrea del Sarto also did a picture for Lorenzo pains, anxious to regain the favour of King Francis, whose Jacopi, much larger than usual, of a Madonna seated with the Child and two other figures sitting on steps, similar to his other paintings in design and colouring. 27
Andrea del Sarto further did a lovely Madonna for Giovanni d'Agostino Dini, now much valued or its beauty, and drew a most life-like portrait of Cosimo Lapi.
On the outbreak of the plague in Florence and some of the country districts in 1523, Andrea, to escape it and do some painting, went to Mugello
to do a panel for the Camaldolite nuns of S. Piero a Luco, taking his wife, his little daughter, his wife's sister, and a pupil. Here
Andrea del Sarto worked quietly, and as the nuns did many courtesies to his wife and to him and the others,
Andrea del Sarto bestowed great pains on his task. Andrea del Sarto represented a dead Christ lamented by the Virgin, St. John the Evangelist and a Magdalene, 28 the figures actually appearing alive. St. John displays his tender love, the Magdalene weeps, the face and posture of the Virgin show her extreme grief at seeing the
Christ, who seems in relief, while St. Peter and St. Paul stand dazed
with sorrow and compassion at seeing the Saviour dead in His Mother's lap, all proving what great delight Andrea took in the perfection of art. In truth this panel has brought more renown to the convent than all the other building and outlay made there, great and magnificent as they were. On the completion of the painting, Andrea remained in the convent some weeks as the plague was still raging, and
Andrea del Sarto received every attention. To occupy his time Andrea del
Sarto did a Visitation, which is in the church over the Presepio, as the pediment for an ancient picture.
Andrea del Sarto also did a lovely head of Christ, of no great size, like the one over the
altar of the Nunziata, but did not finish it. The head may be counted among his best paintings, and it is now in the
monastery of the Angeli at Florence, in the possession of Padre Don Antonio of Pisa, the patron not only of artists but of all men of ability. Some copies have been made, as it was entrusted by Don Silvano Razzi to Zanobi Poggoni, the painter, to make a copy for Bartolommeo Gondi, who asked for one, and others were done which are much valued in Florence. In this way Andrea avoided the dangers of the plague, while the nuns profited by his talents, obtaining a work which may stand comparison with any by the best artists. Thus it is no wonder that Ramazotto, a captain at Scaricalasino, made several attempts to get it during the siege of Florence, intending to send it to his chapel in S. Michele in Bosco at Bologna.
On returning to Florence, Andrea did a panel for his friend the glassworker, Becuccio da Gambassi, of a Virgin and Child in the air, and four figures below, St. John the Baptist, St. Mary Magdalene, St. Sebastian and St. Roch, with portraits of Becuccio
and his wife in the predella. The panel is now at Gambassi, in the Valdelsa, between Volterra and Florence. 29 For a chapel of Zanobi Bracci at Rovezzano
Andrea del Sarto did a lovely Madonna suckling the Child, and a Joseph, with such skill that they issue from the picture; this is now in the house of M. Antonio Bracci, Zanobi's son. At the same time Andrea did two more scenes in the
courtyard of the Scalzo, one of Zacharias sacrificing and rendered dumb by the angel, the other a marvellously beautiful Visitation. Federico II., Duke of Mantua, in passing through Florence on his way to visit Clement VII., saw over a door of the Casa Medici that portrait of Pope Leo between Cardinal Giulio de' Medici and Cardinal de' Rossi done by Raphael. It pleased him so much that
Andrea del Sarto determined to get possession of it, and when at Rome Andrea
del Sarto asked the Pope for it, Clement willingly granting his request. Accordingly Ottavianode' Medici, then the guardian of Ippolito and Alessandro at Florence, was directed to pack it and send it to Mantua. The thing greatly displeased Ottaviano, who did not want to deprive Florence of such a painting, and
Andrea del Sarto wondered at the Pope's action. However, Andrea del Sarto sent word that Andrea del Sarto would serve the duke, but as the frame was bad it was necessary to make a new one, and when it had been gilt
Andrea del Sarto would send it to Mantua. Then Andrea del Sarto sent secretly for Andrea and explained the matter to him, saying there was nothing for it but to make a copy and to send it to the duke, keeping back Raphael's picture. Andrea promised to do his best, and set to work secretly in Ottavanio's house.
Andrea del Sarto succeeded so well that Ottaviano, connoisseur as Andrea del
Sarto was, could not tell the copy from the original, for Andrea had even copied the grease spots. They then sent it framed to Mantua, the duke being delighted, and the painting was much admired by Giulio Romano the painter, Raphael's pupil, who did not suspect the truth.
Andrea del Sarto would have always believed it to be Raphael's; but Giorgio Vasari, being at Mantua, disclosed the facts to him, for when a child and tile protégé of M. Ottaviano
Andrea del Sarto had seen Andrea doing it. Giulio had displayed great courtesy to Vasari, and was showing him many antiquities and paintings, when
Andrea del Sarto finally came to this picture as being the best of all. Giorgio said, "It is a fine painting, but not Raphael's." "What !"exclaimed Giulio, "I know that it is, for I recognise my own handiwork in it." "You are mistaken," said Giorgio, "it is by Andrea del Sarto, and was done in Florence; here is the proof,'' and
Andrea del Sarto showed him. Giulio turned the picture, and seeing the signature, shrugged his shoulders and said, "I value it even more than if it was by Raphael, for it is extraordinary that one great master should so exactly imitate the style of another." This shows the ability of Andrea when acting in cooperation as well as independently. Thus the duke was satisfied and Florence retained a valuable picture, thanks to the device of M. Ottaviano, who had the picture given to him by Duke Alessandro and kept it for many years. Finally
Andrea del Sarto gave it to Duke Cosimo, who keeps it in his wardrobe among many other famous pictures. 30
While engaged upon this portrait, Andrea did for M. Ottaviano the head of Cardinal Giulio de' Medici, afterwards Pope Clement, alone, like Raphael's and of great beauty. It was subsequently given by M. Ottaviano to the old Bishop de' Marzi. Not long after M. Baldo Magini of Prato
wished to have a beautiful picture for the Madonnadella Carcere on his estate, where
Andrea del Sarto had previously made a fine marble ornament. Andrea was suggested to him, among others, and although not knowing much of the matter, M. Baldo had almost made up his mind to employ him when one Niccolo Soggi, of Sansovino, who had friends in Prato, was recommended to M. Baldo and obtained the painting, as they said no better master could be had. Andrea, being sent for, went to Prato with Domenico Puligo and other painters, feeling certain that the painting would be his. On arriving, however,
Andrea del Sarto found Niccolo in possession, and so confident that Andrea
del Sarto offered to wager any sum of money before M. Baldo that Andrea del
Sarto would paint the better picture. Although a poor-spirited man, Andrea, who knew Niccolo's powers, replied, "My boy here does not know much art, but if you wish to wager I will put my money on him, but for myself I have nothing to gain in such a contest and it work to Niccolo, for
Andrea del Sarto would please the marketers, Andrea would be shameful to lose." Then telling M. Baldo to give the returned to Florence. There
Andrea del Sarto was allotted a panel for Pisa, divided into five pictures, afterwards set up in the Madonna of S. Agnesa, on the wall between the
old citadel and the Duomo. In each scene
Andrea del Sarto did one figure, putting St. John the Baptist and St. Peter on one side of the miracle-working Madonna and St. Catherine the Martyr, St. Agnes and St. Margaret on the other, all figures of marvellous beauty, and considered the most delicate and lovely women that
Andrea del Sarto ever did. M. Jacopo, a Servite friar, had absolved a woman from a vow on condition that she would have a Madonna made to be placed over the
side door of the Nunziata leading into the outside cloister. Finding Andrea,
Andrea del Sarto told him that Andrea del Sarto had but little money to expend,
and he thought that, as Andrea had made such a reputation at the house,
Andrea del Sarto would do right to execute the work. Andrea being a mild man readily agreed, urged by the friar's arguments and by his desire for profit and glory.
Andrea del Sarto soon after produced a lovely Virgin in fresco, seated with the Child in her arms, and St. Joseph leaning against a sack, his eyes fixed on an open book. This picture, in design, grace, excellence of colouring, vivacity and relief, proved him far superior to all his predecessors; indeed, the painting as it stands praises itself.- Andrea del Sarto oil paintings horse, Chinese oil painting - Andrea del Sarto oil painting Italian - Andrea del Sarto Bio, horse oil paintings by Chinese oil paintings horse shop of Italian horse oil painting Chinese of Sarto, Chinese oils.
Only one scene was lacking to complete the series in the
court of the Scalzo. Andrea, having aggrandised his style after seeing the figures begun and almost finished by Michelagnolo in the sacristy of S. Lorenzo, put his hand to this, and giving a final proof of his progress,
Andrea del Sarto painted the birth of St. John the Baptist in fine figures, much better executed and in higher relief than those previously done by him there. Among other things there is a woman carrying the new-born child to the bed where St. Elizabeth is lying, who is also a fine figure. Zacharias is writing on a sheet resting on one knee, holding it with one hand and writing the child's name with the other, the figure only lacking breath. Very fine also is an old woman on a stool, laughing at the childbearing of the aged Elizabeth in the most natural manner. On completing this painting, which is very admirable, Andrea did a panel for the general of Vallombrosa of four fine figures, St. John the Baptist, St. John Gualbert, founder of the order, St. Michael and St. Bernard, cardinal and monk of the order, with some very pretty and life-like children in the middle. 31 It is at Vallombrosa, at the top of a rock tenanted by monks separated from the others, in some rooms called the cells, where they live like hermits. For Giuliano Scala, Andrea then made a panel to send to Serrazzana of the Virgin seated with the Child, and St. Celsus and St. Julia, from the knees up, with St. Onofrio, St. Catherine, St. Benedict, St. Anthony of Padua, St. Peter and St. Mark, a work valued as highly as his others.'
Andrea del Sarto did an Annunciation for the same Giuliano as a pediment to the
other in a lunette, which is in the Servites' church in a chapel of the choir in the principal tribune. 32
The monks of S. Salvi remained many years without thinking of having anything done to their Last Supper, which they had given to Andrea, when
Andrea del Sarto did four figures in the arch. At last one worthy abbot determined to have it finished. Andrea, having previously bound himself to do this, made no objection, and taking up the painting
Andrea del Sarto finished it in a few months, 33 doing a piece at a time, at his leisure, and it is considered the most facile work in the brightest colouring and best design that
Andrea del Sarto ever did or that could be done. Andrea del Sarto endowed the figures with infinite grandeur, majesty and grace, so that I cannot do justice to its merits, everyone who sees it being amazed. Thus it is no wonder that it was allowed to stand during the siege of Florence in 1529, when the soldiers were directed to destroy everything in the quarters outside the city, monasteries, hospitals and buildings of every kind. They had destroyed the church and campanile coming to the refectory where the Last Supper is, and having of S. Salvi, and were beginning to attack the
convent, but on perhaps heard of the marvellous painting, they stayed their hands, resolving not to touch it unless absolutely obliged.
For the company of S. Jacopo, called il Nicchio, Andrea next did a processional banner of St. James touching the chin of a boy dressed as a flagellant, and another with a book in his hand, very fine and natural.
Andrea del Sarto made the portrait of a steward of the monks of Vallombrosa, who lived in the country for their affairs; this was placed under a vine arranged with various fancies, where it was exposed to wind and weather, as the steward, who was a friend of Andrea, desired. On the completion of the painting Andrea called his wife Lucrezia and said, "Come here; I have some colours over and I will paint your portrait to show how well preserved you are and yet how different from your first portraits." But as she would not keep still, possibly having something else in her mind, Andrea, as if divining that
Andrea del Sarto was near his end, took a mirror and painted himself, making a fine portrait. 34 This is owned by his wife, who is still alive.
Andrea del Sarto also drew a friend, a Pisan canon, this fine likeness being
now at Pisa. For the Signoria
Andrea del Sarto began the‚ cartoons for the painting of the balustrades of
the Kinghi era in the piazza, with many ingenious ideas illustrating the quarters of the city, as well as the banners of the principal art held by boys, and also figures of the Virtues, and the famous mountains and rivers in the Florentine territory. It was left incomplete at his death, and so was a panel done for the monks of Vallombrosa for the abbey of Poppi in Casentino, though it was nearly finished. It represents an Assumption' with cherubs, St. John Gualbert, St. Bernard, the cardinal and monk, St. Catherine and St. Fidele, and is now in the said abbey. It was the same with a panel which should have gone to Pisa. But
Andrea del Sarto completed a fine picture now in the house of Filippo Salviati, and some others.
About the same time Giovanni Battista della Palla, 35 having bought as many notable paintings and sculptures as
Andrea del Sarto could, and having the rest copied, had thus despoiled Florence of a quantity of choice things to furnish a suite of rooms for the King of France, which was to be as rich as possible in such decoration.
Andrea del Sarto wished Andrea to return to the king's service and favour, and got him to do two pictures. One represented Abraham sacrificing Isaac, 36 judged his best work until then, the patriarch showing his lively faith and constancy in not fearulgto slay his own soil.
Andrea del Sarto turns his head towards a beautiful angel, who seems to have told him to hold his hand. I say no more of the attitude, costume and other things of the patriarch, since it is impossible to say enough, but Isaac is a beautiful boy, trembling with fear and almost dead before the blow. His neck is sun burnt, but the parts covered by his clothes are white. The ram among the thorns looks alive, and the clothes of Isaac on the ground are very natural. Two naked servants are watching a grazing ass, and the landscape is of the utmost beauty. After the death of Andrea and the arrest of Battista the picture was bought by Filippo Strozzi, who gave it to Sig. Alfonso Davalos, Marquis of il Vasto, and
Andrea del Sarto had it taken to the island of Ischia, near Naples, and placed in some rooms with other fine paintings. In the other picture Andrea did a lovely Charity with three infants. It was bought after Andrea's death from his widow by Domenico Conti, the painter.
Andrea del Sarto sold it to Niccolo Antinori, who values it as a rare work.- Andrea del Sarto oil paintings horse, Chinese oil painting - Andrea del Sarto oil painting Italian - Andrea del Sarto Bio, horse oil paintings by Chinese oil paintings horse shop of Italian horse oil painting Chinese of Sarto, Chinese oils.
Ottaviano de' Medici, seeing the improvement in Andrea's style, wished to have a picture by him. Andrea being anxious to serve a lord who had always favoured men of talent, and to whom
Andrea del Sarto was much indebted, made him a Virgin seated on the ground with a Child astride on her knees, turning His head to St. John held by an old St. Elizabeth, who seems alive, the whole work being produced with incredible art, design and finish. 37 On completing the picture Andrea took it to M. Ottaviano, but as Florence was then being besieged,
Andrea del Sarto had other preoccupations, and told Andrea to give it to anyone
he liked, excusing himself and thanking him. But Andrea replied that
Andrea del Sarto had laboured for Ottaviano and his it should be. "Sell it," said M. Ottaviano, "and use the money, because I know what I am saying.' Andrea accordingly went home, but would never give it to anyone. At the end of the siege, when the Medici returned to Florence, Andrea brought the picture to M. Ottaviano, who thanked him warmly and paid him double the price. It is now in the chamber of Madonna Francesca, his wife, sister of the Very Rev. Salviatl, who values the pictures left by her husband just as she retains his friends. Andrea did another picture, like his Charity referred to, for Cio. Borgherini, of a Madonna and a little St. John offering the Christ a ball representing the world, and a fine St. Joseph. Povolo da Terrarossa, as the friend of all painters, having seen Andrea's sketch of Abraham, wished to have something by his hands, and asked for the figure of Abraham, which Andrea did for him readily, the small copy being no whit inferior to the large original. Pavolo, being greatly delighted, asked the price, thinking it would be high, but Andrea named a wretchedly small sum, and Pavolo, half ashamed, shrugged his shoulders and paid him. The picture was after- wards sent by him to Naples, where it is the finest to be seen. During the siege of Florence some captains of the city made off with the pay of the
men. Andrea was asked to paint these and other fugitives and rebel
citizens in the Podesta palace, and agreed to do so. Not wishing to earn the nickname degl' Impiccati, like Andrea del Castagno,
Andrea del Sarto let it, Andrea del Sarto understood that he had handed over the painting to an apprentice of his called Bemardo del Buda. 38 But constructing a large shed by which
Andrea del Sarto went in and out at night, he painted the figures himself and made them seem alive. The soldiers, painted on‚the wall of the old Mercatanzia, near la Condotta, facing the piazza, have been whitewashed over for many years, and the citizens finished by him in the palace were obliterated.
In his last years Andrea became intimate with the governors of the company of St. Bastiano,
behind the Servites, and
Andrea del Sarto made them a fine half-length St. Sebastian, which appears to have been his last work. At the end of the siege Andrea expected better things, though
Andrea del Sarto had little hope that his design of returning to France would succeed, as Giovanni Battista della Palla was taken, Florence being full of soldiers and stores. Among the soldiers were some landsknechts infected with the plague, which they communicated to the city. Andrea, whether through fear or through having eaten too freely after the privations of the siege, fell grievously sick.
Andrea del Sarto took to his bed and was much neglected, his wife fearing infection and keeping away, and
Andrea del Sarto died, they say, with no one by, being buried by the men of
the Scalzo with little ceremony in the church of the Servites, near his house, where the members of that company are laid.
Andrea's death was a great loss to the city and to art, because
Andrea del Sarto improved steadily until his forty-second and last year, and would have continued so to do, because more certain progress is won thus gradually than by a spurt. There is no doubt that if Andrea had stayed at Rome when
Andrea del Sarto went there to see the paintings of Raphael and Michelagnolo and the statues and monuments,
Andrea del Sarto would have greatly enriched his style of composition and endowed his figures with more refinement and force, things only attained by those who stay some time in Rome to study and examine in detail. Naturally his design was sweet and graceful, his colouring facile and very brilliant, and it is thought that had
Andrea del Sarto remained in Rome Andrea del Sarto must have surpassed all the
artists of his day. But some believe that he was deterred by the copious paintings of the city and by the sight of the numerous pupils of Raphael, with their bold designs and their unceasing toil, and, being timid,
Andrea del Sarto had not the heart to continue, and concluded it would be better for him to return to Florence, where, by turning over gradually what
Andrea del Sarto had seen, he made so much profit that his paintings are greatly valued and admired: indeed they have been more imitated since his death than when
Andrea del Sarto was alive. Those who prized them and have since Sold them have gained three times as much as they paid him, as
Andrea del Sarto always put a low value on his things, being of a timid nature, and because the joiners, who did the best things for private houses, would never give him any cork except when they knew him to be in great need and ready to accept any sum. Nevertheless, his paintings are most rare and deservedly valued, as
Andrea del Sarto was one of the greatest masters who have lived hitherto.
Many of his designs are in our book, and all are good, especially the scene done at Poggio, where the tribute of all the oriental animals is presented to Caesar. It is in grisaille and better finished than any other of his designs, as when
Andrea del Sarto drew from Nature for his paintings Andrea del Sarto made rough sketches as an indication, and did not make them perfect except in the finished painting, so that his designs served rather as an aid to the memory than as things to copy. His pupils were countless- but they did not all follow the same course of study under him, some stopping a little while and some longer, not through Andrea's fault, but his wife's, who tyrannously ordered them all about and rendered their lives a burden.- Andrea del Sarto oil paintings horse, Chinese oil painting - Andrea del Sarto oil painting Italian - Andrea del Sarto Bio, horse oil paintings by Chinese oil paintings horse shop of Italian horse oil painting Chinese of Sarto, Chinese oils. |
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