PAINTERS AND ENGRAVERS.
thongh they were executed while he was still
young, and it was their excellence which gained
for him the title, ' Andrea senza Errori ' (Andrea
without faults). The ' Madonna del Sacco,'
painted over the entrance door, is one of his best
works. It has received its name from the sack of
com upon which St. Joseph reclines. This has
been well engraved by Raphael llorghen.
About the year 1516, a 'Dead Christ,' painted
by Andrea, came to tlie notice of Francis I. of
France, who commissioned the artist to execute
for him a ' Madonna,' and in 1518 Andrea was
induced to go to Paris. He was accompanied
by his pupil, Andrea Sjuazella. There he was
honoured, and royally treated by the king. He
painted amongst other works a ' Charity,' now in
the Louvre, and a ' Pieta,' now in the Belvedere
at Vienna. In 1519 Andrea was induced by his
wife Lucrezia del Fede, a beautiful woman, whom
he had married in 1512, to ask, in order thct he
might return to liis native country, leave of absence
from the king, who granted his request, and com-
missioned him to purchase works of art for him.
On his return to Florence, Andrea forgot his
engagements, and broke tlirough every bond of
honesty ; he had the imprudence to squander
away in the society of his friends and his impro-
vident wife, not only the liberal remuneration he
had received from Francis for his works, but also
the funds which had been confided to his trust for
the acquisition of objects of art. He executed
numerous works in the Scalzo and elsewhere in
Florence. But reduced at length to a state of
indigence and distress, and stung with the recol-
lection of his perfidy and ingratitude, he sank into
a despondency, which was increased by his jealousy
of his wife. He was ultimately abandoned by her
and the false friends with whom he had wasted
his substance, when his miseries were terminated
in the forty-fourth year of his age, by the plague
which visited Florence in 1531. His wife survived
him, her second husband, by forty years.
Aiidrea del Sarto possessed an extraordinary
talent of imitating and copying the works of
other masters, with an accuracy which sometimes
deceived even the painters themselves. Of this,
Vasari mentions a very remarkable instance of
which he was himself an eye-witness. Raphael
Had painted for the Cardinal Giulio de' Medici,
aftenvards Clement VII., the portrait of Leo X.,
seated between that prelate and Cardinal Rossi,
in which the drapery and background were
painted by Giulio Romano. Federigo II., Duke of
Mantua, passing through Florence to Rome, had
seen this picture, and had requested Clement VII.
to make him a present of it, when ihe Pope gave
directions to Ottaviano de' Medici to send the por-
trait to Mantua. Unwilling to deprive Florence
of 80 interesting a work of art, Ottaviano employed
Andrea del Sarto to paint an exact copy of it, which
was sent to the Duke of Mantua at the time when
Giulio Romano was in his service. No person
suspected the deception ; even Giulio was hamself
deceived, and was only convinced of the fact by
Vasari assuring him that he had seen it painted,
and by showing him the private mark of Andrea
del Sarto. This celebrated painter has been erro-
neously supposed to have etched a plate of the
' Holy Family,' in which the Virgin is represented
kneeling before the Infant Christ, with St. Joseph
and St. John ; it is inscribed Avdrea dd Sarto fatti
in Roma; though neatly executed, it is totally un-
worthy of the hand of this artist, and the inscrip-
tion most probably relates to the picture from
which it was designed.
Amongst Andrea's pupils may be mentioned Vasari, Jacopo da Pontormo, Domenico Puhgo, Giorgio Vasari, F. Salviati, and Squazella. The following is a Ust of several of his most important easel-pictures :
Berlin. Museum. Virgin and Saints {dated 1528). Dresden- Gallery. Sacrifice of Abraham. „ „ Marriage of St. Catherine. Florence. JTj^si. His own Portrait. „ „ St. Giacomo. „ „ Madonna ' di San Francesco' (dated 1517) — his masterpiece. Pitti Fa'. Dispate on the Holy Trinity. „ n n Deposition from the Cross. „ „ „ AjiXixa^&ton{iciththeAngel6abi~icI, followed by two other angels). „ „ „ Annunciation (a copy is in the Louvre), „ „ „ Assumption of the Virgin. „ „ „ Portraits (2) of himself. „ „ „ Xine other paintings. London. Nat. Gall. Holy Family. „ ,» », Portrait of himself {signed ictth motto- gram given above). ilailrid. Gallery Virgin and Child with St. Joseph and an angel. „ „ Portrait of his wife,Lucrezia del Fede. Paris. Louvre. Charity {signed and dated 1518). „ „ Holy Family. „ „ 'Koy YansWy {signed in full tcith the monogram ofAe crossed A). ViitTshg. Hermitage. Virgin and Infant, and St. Catherine. Vieana. Gallery. Pieta.
See— Gulness, H., ' Andrea del Sarto.' London: 1899. Reumont, A., ' Andrea del Sarto.' Leipsig : 1835. Crowe and Cavalcaselle, ' History of Painting in Italy' London : 1S66. Biadi, Lnigi, ^ Xotizie iuedite delta vita eC Andrea del Sarto.' Firenze: 1832. Breton, Ernest, ' Notice stir Andrea Vannucehi, dit Andrea del Sarto.' Paris: 1848. 'Gazette des Beam- Arts,' /or 1876 and 1877.
ANDREA DEL CASTAGNO. See CAsrAGNO.
ANDREA DI BERTHOLOTTI. See Bebtho- r.OTTI.
ANDREA DI CIONE. See Cione.
ANDRE. Di COSIMO. See Feltrini.
ANDREA Di LEONE. See Leone.
ANDREA DI LUIGI. See Alotigi.
ANDREAE, Tobias, who was born at Frankfort in 1823, studied under J. Becker, and then went to Munich, where he made the acquaintance of Rahl and Genelli. In 1853 he visited Italy, and painted landscapes, into which he occasionally introduced moonlight effects. Andreae died at Munich in 1873.
ANDREAE, T., is mentioned by Strutt as the engraver of a plate representing an emblem- atical subject, in which a woman is lying on the ground, in the front of the print, and another female is standing over her, holding in her hand a book, inscribed Giulio Cesare opera. It is slightly etched, in a very indifferent style, and is signed T. Andreas, inv. et/ec.
ANDRE-BARDON, Michel Fban(;ois, ar. historical painter and etcher, was bom at Aix, in Provence, in 1700. He himself signed his name Daxdee-Babdon, or D. Babdon, because his uncle, Louis Bardon, made him his heir on condition that he continued the name of Bardon ; but his real name was Andre, as the registers of the church of St. Madeleine testify. Michel Francois was destined by his parents for jurispmdence, and studied
