Page:Vasari - Lives of the Most Excellent Painters, Sculptors, and Architects, volume 3.djvu/221

Rh Bracci caused Andrea to paint a picture for Monsignore di San Biause, 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. 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; 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