See also:

• ANDREA, GIOVANNI (1275-1348)

ANDREA DEL SARTO (1487-1531)  . This celebrated painter of the Florentine school was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in Gualfonda, See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence, in 1487, or perhaps 1486, his See also:

• FATHER

father Agnolo being a tailor (sarto) : hence the See also:

• NICKNAME

nickname by which the son is constantly designated . There were four other See also:

• CHILDREN, LAW RELATING TO

children . The See also:

• FAMILY

family, though of no distinction, can be traced back into the 14th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century . Vannucchi has since 1677 been constantly given as the surname—according to some See also:

• MODERN

modern writers, without any authority . It has recently been said that the true name is See also:

• ANDREA, GIOVANNI (1275-1348)

Andrea d'Agnolo di See also:

• FRANCESCO
• FRANCESCO, 210

Francesco di Luca di See also:

• PAOLO (GIROLAMO GASPARE)5 (1532-1600)

Paolo del Migliore . But this only gives, along with our painter's See also:

• CHRISTIAN
• CHRISTIAN, WILLIAM (1608-1663)

Christian name, the Christian names of his antecessors for five generations, and is in no way his own surname . In 1494 Andrea was' put to See also:

• WORK

work under a See also:

• GOLDSMITH
• GOLDSMITH, LEWIS (c. 1763–1846)
• GOLDSMITH, OLIVER (1728–1774)

goldsmith . This occupation he disliked . He took to See also:

• DRAWING

drawing from his See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master's See also:

• MODELS

models, and was soon transferred to a skilful woodcarver and inferior painter named Gian Barile, with whom he remained until 1498 . Barile, though a coarse-grained See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man enough, would not stand in the way of the See also:

• ADVANCEMENT

advancement of his promising See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil, so he recommended him to See also:

• PIERO (1443—1496)

Piero di Cosimo as draughtsman and colourist . Piero retained Andrea for some years, allowing him to study from the famous cartoons of Leonardo da See also:

• VINCI, LEONARDO (1690-173o)

Vinci and See also:

• MICHELANGELO (MICHELAGNIOLO BUONARROTI) (1475-1564)

Michelangelo .

Finally Andrea agreed with his friend See also:

• FRANCIABIGIO (1482–1525)

Franciabigio, who was somewhat his See also:

• SENIOR, NASSAU WILLIAM (1790-1864)

senior, that they would open a See also:

• JOINT (through Fr. from Lat. junctum, jungere, to join)

joint See also:

• SHOP

shop; at a date not precisely defined they took a lodging together in the Piazza del Grano . Their first work in See also:

• PARTNERSHIP (earlier forms, partener, parcener, from Late Lat. partionarius for partitionarius, from partitio, sharing, pars, part)

partnership may probably have been the " See also:

• BAPTISM

Baptism of See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ," for the Florentine Compagnia dello Scalzo, a performance of no See also:

• GREAT

great merit, the beginning of a See also:

• SERIES (a Latin word from serere, to join)

series, all the extant items of which are in monochrome See also:

• CHIAROSCURO (from the Ital. chiaro, Iight or brightness, and oscuro, darkness or shade)

chiaroscuro . Soon afterwards the partnership was dissolved . From 1509 to 1514 the brotherhood of the See also:

• SERVITES

Servites employed Andrea, as well as Franciabigio and Andrea Feltrini, the first-named undertaking in the See also:

• PORTICO (Ital. for " porch," Lat. porticus)

portico of the Annunziata three frescoes illustrating the See also:

• LIFE

life of the Servite See also:

• SAINT (lat. sanctus, " holy ")

saint Filippo Benizzi (d . 1285) . He executed them in a few months, being endowed by nature with remarkable readiness and certainty of See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand and unhesitating firmness in his work, although in the See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general See also:

• MOULD

mould of his mind he was timid and diffident . The subjects are the saint sharing his cloak with a leper, cursing some gamblers, and restoring a girl possessed with a See also:

• DEVIL (Gr. &a,3oXos, " slanderer," from &ctflisXX sty, to slander)

devil . The second and third See also:

• WORKS

works excel the first, and are impulsive and able performances . These paintings met with merited See also:

• APPLAUSE (Lat. applaudere, to strike upon, clap)

applause, and gained for their author the pre-eminent See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title " Andrea senza errori " (See also:

• ANDREW (Gr. 'AvBp4as, manly)
• ANDREW, JOHN ALBION (1818-1867)

Andrew the unerring)—the correctness of the contours being particularly admired . After these subjects the painter proceeded with two others—the See also:

• DEATH

death of S . Filippo and the children cured by touching his garment,—all the five works being completed before the See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close of 1510 . The youth of twenty-three was already in technique about the best See also:

• FRESCO (Ital. for cool, " fresh ")

fresco-painter of central See also:

• ITALY
• ITALY (Italia)

Italy, barely rivalled by See also:

• RAPHAEL (Hebrew smm, " God heals ")

Raphael, who was the See also:

• ELDER (0. Eng. ellarn; Ger. Holunder; Fr. sureau)
• ELDER (Gr. 1rpev(3iTepos)

elder by four years .

Michelangelo's Sixtine frescoes were then only in a preliminary See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage . Andrea always worked in the simplest, most typical and most trying method of fresco—that of See also:

• PAINTING

painting the thing once and for all, without any subsequent dry-touching . He now received many commissions . The brotherhood of the Servites engaged him to do two more frescoes in the Annunziata at a higher See also:

• PRICE
• PRICE, BARTHOLOMEW (1818–1898)
• PRICE, BONAMY (1807-1888)
• PRICE, RICHARD (1723-1791)

price; he also painted, towards 1512, an See also:

• ANNUNCIATION

Annunciation in the monastery of S . Gallo . The " Tailor's Andrew " appears to have been an easy-going plebeian, to whom a modest position in life and scanty gains were no grievances . As an artist he must have known his own value; but he probably rested content in the sense of his superlative See also:

• POWERS, HIRAM (1805-1873)

powers as an executant, and did not aspire to the See also:

• RANK (O.Fr. rant or rent, mod. rang, generally connected with the O.E. and O.H.G. bring, a ring)

rank of a great inventor or See also:

• LEADER, BENJAMIN WILLIAMS (1831– )

leader, for which, indeed, he had no vocation . He led a social sort of life among his compeers of the See also:

• ART

art, was intimate with the sculptor Rustici, and joined a See also:

• JOLLY (from O. Fr. jolif; Fr. joli, the French word is obscure in origin; it may be from late Lat. gaudivus, from gaudere, to rejoice, the change of d to 1 being paralleled by cigada and cigale, or from O. Norse jol, Eng. " yule," the northern festival of

jolly dining-See also:

• CLUB (connected with " clump ")

club at his See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house named the See also:

• COMPANY

Company of the See also:

• KETTLE, SIR RUPERT ALFRED (1817-1894)

Kettle, also a second club named the See also:

• TROWEL (Med. Eng. truel, O. Fr. truelle, Low Lat. truella, a variant of trulla, diminutive of trua, stirring spoon, ladle, Gr. ropbvrt, from the root tar, to turn round and round; cf. ropebs, borer)

Trowel . At one See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time, Franciabigio being then the chairman of the Kettle-men, Andrea recited, and is by some regarded as having composed, a comic epic, " The See also:

• BATTLE

Battle of the Frogs and Mice "—a rechauffe, as one may surmise, of the See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek See also:

• BATRACHOMYOMACHIA

Batrachomyomachia, popularly ascribed to See also:

• HOMER, WINSLOW (1836-191o)

Homer . He See also:

• FELL
• FELL, JOHN (1625-1686)

fell in love with Lucrezia (del Fede), wife of a hatter named Carlo See also:

• RECANATI

Recanati; the hatter dying opportunely, the tailor's son married het on the 26th of See also:

• DECEMBER (Lat. decent, ten)

December 1512 . She was a very handsome woman and has come down to us treated with great suavity in many a picture of her See also:

• LOVER, SAMUEL (1797-1868)

lover-See also:

• HUSBAND

husband, who constantly painted her as a Madonna and otherwise; and even in painting other See also:

• WOMEN

women he made them resemble Lucrezia in general type . She has been much less gently handled by See also:

• VASARI, GIORGIO (1511-1571)

Vasari and other biographers .

Vasari, who was at one time a pupil of Andrea, describes her as faithless, jealous, overbearing and vixenish with the apprentices . She lived to a great See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age, surviving her husband See also:

• FORTY

forty years . By 1514 Andrea had finished his last two frescoes in the See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

court of the Servites, than which none of his works was more admired—the " Nativity of the Virgin," which shows the See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence of Leonardo, Domenico See also:

• GHIRLANDAJO, DOMENICO (1449-1494)
• GHIRLANDAJO, RIDOLFO (1483-1560)

Ghirlandajo and Fra Bartolommeo, in effective See also:

• FUSION

fusion, and the " Procession of the Magi," intended as an amplification of a work by Baldovinetti; in this fresco is a portrait of Andrea himself . He also executed at some date a much-praised See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

head of Christ over the high See also:

• ALTAR (Lat. altare, from alias, high; some ancient etymological guesses are recorded by St Isidore of Seville in Etymologiae xv. 4)

altar . By See also:

• NOVEMBER (Lat. novem, nine)

November 1515 he had finished at the Scalzo the See also:

• ALLEGORY (iXXos, other, and ayopeuav, to speak)

allegory of See also:

• JUSTICE (Lat. justitia)

Justice, and the " Baptist See also:

• PREACHING (Fr. preecher, from Lat. praedicare, to proclaim)

preaching in the See also:

• DESERT

desert,"—followed in 1517 by " See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John baptizing," and other subjects . Before the end of 1516 a " Pieta " of his See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition, and afterwards a Madonna, were sent to the See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French court . These were received with applause; and the art-loving monarch See also:

• FRANCIS
• FRANCIS (FRarrcols) OF SALES, ST (1567-1622)
• FRANCIS (Lat. Franciscus, Ital. Francesco, Span. Francisco, Fr. Francois, Ger. Franz)
• FRANCIS, SIR PHILIP (174o-1818)

Francis I. suggested in 1518 that Andrea should come to See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris . He journeyed thither towards See also:

• JUNE

June of that See also:

• YEAR

year, along with his pupil Andrea Sguazzella, leaving his wife in Florence, and was very cordially received, and for the first and only time in his life was handsomely remunerated . Lucrezia, however, wrote urging his return to Italy . The See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

king assented, but only on the understanding that his See also:

• ABSENCE (Lat. absentia)

absence from See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France was to be See also:

• SHORT, FRANCIS JOB (1857– )

short; and he entrusted Andrea with a sum of See also:

• MONEY

money to be expended in purchasing works of art for his royal See also:

• PATRON

patron . The temptation of having a goodly amount of See also:

• PELF

pelf in hand proved too much for Andrea's virtue . He spent the king's money and some of his own in See also:

• BUILDING

building a house for himself in Florence .

This necessarily brought him into See also:

• BAD, BCD

bad odour with Francis, who refused to be appeased by some endeavours which the painter afterwards made to reingratiate himself . No serious See also:

• PUNISHMENT (from Lat. punire, to punish, from poena, punishment, Gr. 7rocvil)

punishment, however, and apparently no See also:

• GRAVE

grave loss of professional reputation befell the defaulter . In 1520 he resumed work in Florence, and executed the " Faith " and " Charity " in the See also:

• CLOISTER (Lat. claustrum; Fr. cloitre; Ital. chiostro; Span. claustro; Ger. Kloster)

cloister of the Scalzo . These were succeeded by the " See also:

• DANCE
• DANCE (Fr. danse; of obscure origin, connected with Old High Ger. danson, to stretch)

Dance of the Daughter of Herodias," the " See also:

• BEHEADING

Beheading of the Baptist," the " Presentation of his head to See also:

• HEROD
• HEROD (surnamed THE GREAT)

Herod," an allegory of See also:

• HOPE, ANTHONY
• HOPE, THOMAS (c. 1770-1831)

Hope, the " Apparition of the See also:

• ANGEL

Angel to See also:

• ZACHARIAS, ST

Zacharias " (1523), and the monochrome of the Visitation . This last was painted in the autumn of 1524, after Andrea had returned from Luco in Mugello,—to which See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place an outbreak of See also:

• PLAGUE (in Gr. Xotµos; in Lat. pestis, pestilentia)

plague in Florence had driven him, his wife, his step-daughter and other relatives . In 1525 he painted the very famous fresco named the " Madonna del Sacco, " a See also:

• LUNETTE (French diminutive of lune, moon)

lunette in the cloisters of the Servites; this picture (named after a See also:

• SACK

sack against which See also:

• JOSEPH
• JOSEPH, COMTE DE (1785-1870)
• JOSEPH, FATHER (FRANCOIS LECLERC DU TREMBLAY) (1577-1638)

Joseph is represented propped) is generally accounted his master-piece . His final work at the Scalzo was the " See also:

• BIRTH (a word common in various forms to Teutonic languages from the root of the verb " to bear ")

Birth of the Baptist " (1526), executed with some enhanced See also:

• ELEVATION

elevation of See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style after Andrea had been diligently studying Michelangelo's figures in the See also:

• SACRISTY (through Fr. sacrist-le, from med. Lat. sacristies or sacristina)

sacristy of S . Lorenzo . In the following year he completed at S . Salvi, near Florence, a celebrated " Last Supper," in which all the personages seem to be portraits . This also is a very See also:

• FINE

fine example of his style, though the conceptionof the subject is not exalted . It is the last monumental work of importance which Andrea del Sarto lived to execute .

He dwelt in Florence throughout the memorable See also:

• SIEGE (0. Fr. sege, siege, mod. siege, seat, ultimately from sedere, to sit, cf. Class. Lat. obsidium, a siege)

siege, 'which was soon followed by an infectious pestilence . He caught the malady, struggled against it with little or no tending from his wife, who held aloof, and he died, no one knowing much about it at the moment, on the 22nd of See also:

• JANUARY

January 1531, at the comparatively See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early age of forty-three . He was buried unceremoniously in the See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church of the Servites . Various portraits painted by Andrea are regarded as likenesses of himself, but this is not See also:

• FREE

free from some doubt . One is in See also:

• LONDON

London, in the See also:

• NATIONAL

National See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

Gallery, an admirable See also:

• HALF

half-figure, See also:

• PURCHASED

purchased in 1862 . Another is at See also:

• ALNWICK

Alnwick See also:

• CASTLE
• CASTLE (Lat. castellum, a fort, diminutive of castra, a camp; Fr. chateau and chdtel)

Castle, a See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young man about twenty years of age, with his See also:

• ELBOW

elbow on a table . Another at Panshanger may perhaps represent in reality his, pupil Domenico See also:

• CONTI, NICOLO
• CONTI, PRINCES OF

Conti . Another youthful portrait is in the Uffizi Gallery, and the Pitti Gallery contains more than one . Among his more renowned works not already specified are the following . The Virgin and See also:

• CHILD
• CHILD, FRANCIS JAMES (1825-1896)
• CHILD, L
• CHILD, LYDIA MARIA (1802-1880)
• CHILD, SIR FRANCIS (1642-1713)
• CHILD, SIR JOHN (d. 1690)
• CHILD, SIR JOSIAH (163o - 1699)

Child, with St Francis and St John the Evangelist and two angels, now in the Uffizi, painted for the church of S . Francesco in Florence; this is termed the " Madonna di S . Francesco," or " Madonna delle Arpie," from certain figures of See also:

• HARPIES (Gr. "Aplrvcar, older form 'Apiarucar, " swift robbers ")

harpies which are decoratively introduced, and is rated as Andrea's masterpiece in oil-painting .

The altar-piece in the Uffizi, painted for the monastery of S . Gallo, the " Fathers disputing on the See also:

• DOCTRINE

doctrine of the Trinity "—SS . See also:

• AUGUSTINE, SAINT (354-430)
• AUGUSTINE, SAINT (d. c.613)

Augustine, See also:

• DOMINIC, SAINT (1170-1221)

Dominic, Francis, See also:

• LAWRENCE
• LAWRENCE (LAURENTIUS, LORENZO), ST
• LAWRENCE, AMOS (1786—1852)
• LAWRENCE, AMOS ADAMS (1814–1886)
• LAWRENCE, GEORGE ALFRED (1827–1876)
• LAWRENCE, JOHN LAIRD MAIR LAWRENCE, 1ST BARON (1811-1879)
• LAWRENCE, SIR HENRY MONTGOMERY (1806–1857)
• LAWRENCE, SIR THOMAS (1769–1830)
• LAWRENCE, STRINGER (1697–1775)

Lawrence, See also:

• SEBASTIAN
• SEBASTIAN, ST

Sebastian and See also:

• MARY
• MARY (1457-1482)
• MARY (1496-1533)
• MARY, QUEEN OF SCOTS

Mary Magdalene—a very energetic work . Both these pictures are comparatively early—towards 1517 . The " Charity " now in the Louvre (perhaps the only painting which Andrea executed while in France) . The " Pieta," in the See also:

• BELVEDERE, or BELVIDERE (Ital. for " fair-view ")

Belvedere of See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna; this work, as well as the " Charity," shows a strong Michelangelesque influence . At See also:

• POGGIO (1380-1459)

Poggio a Caiano a celebrated fresco (1521) representing See also:

• JULIUS

Julius See also:

• CAESAR, GAIUS JULIUS (102—44 B.c.)
• CAESAR, SIR JULIUS (1557-1558-1636)

Caesar receiving See also:

• TRIBUTE (Lat. tributurn, a stated payment, contribution)

tribute, various figures bringing animals from See also:

• FOREIGN

foreign lands—a striking See also:

• PERSPECTIVE (Lat. peespicere, to see through)

perspective arrangement; it was See also:

• LEFT

left unfinished by Andrea and was completed by Alessandro See also:

• ALLORI, ALESSANDRO (1535—1607)

Allori . Two very remarkable paintings (1523) containing various incidents in the life of the See also:

• PATRIARCH (M.E. and O. Fr. patriarche, Lat. patriarcha, Gr. aarpuipxtis, from srarptu., clan, and apxil, rule)

patriarch Joseph, executed for the Borgherini family . In the Pitti Gallery two See also:

• SEPARATE

separate compositions of the " See also:

• ASSUMPTION, FEAST OF

Assumption of the Virgin," also a fine " Pieta." In the See also:

• MADRID

Madrid museum the " Virgin and Child," with Joseph, See also:

• ELIZABETH
• ELIZABETH (1533-1603)
• ELIZABETH (1596-1662)
• ELIZABETH (1635–1650)
• ELIZABETH [ AMELIE EUGENIE ] (1837—1898)
• ELIZABETH [1lisabeth Philippine Marie Helene of France] (1764—1794)
• ELIZABETH [PAULINE ELIZABETH OTTILIE LOUISE] (1843– )
• ELIZABETH [PETROVNA] (1709-1762), EMPRESS
• ELIZABETH, SAINT (1207-1231)

Elizabeth, the See also:

• INFANT (in early forms enfaunt, enfant, through the Fr. enfant, from Lat. infans, in, not, and fans, the present participle of fari, to speak)

infant Baptist and an See also:

• ARCHANGEL (ARCHANGELSK)
• ARCHANGEL (ARCHANGELSx)

Archangel . In the Louvre the " See also:

• HOLY

Holy Family," the Baptist pointing upwards . In See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin a portrait of his wife . In Panshanger a fine portrait named " Laura." The second picture in the National Gallery ascribed to Andrea, a " Holy Family," is by some critics regarded as the work rather of one of his scholars—we hardly know why .

A very noticeable incident in the life of Andrea del Sarto relates to the copy, which he produced in 1523, of the portrait See also:

• GROUP

group of See also:

• LEO
• LEO (THE LION)
• LEO, BROTHER (d. c. 1270)
• LEO, HEINRICH (1799-1878)
• LEO, JOHANNES (c. 1494-1552)
• LEO, LEONARDO (1694–1744)

Leo X. by Raphael; it is now in the See also:

• NAPLES
• NAPLES (Ital. Napoli, and Lat. Neapolis)
• NAPLES, KINGDOM OF

Naples Museum, the See also:

• ORIGINAL

original being in the Pitti Gallery . Ottaviano de' See also:

• MEDICI
• MEDICI, GIACOMO (1817-1882)

Medici, the owner of the original, was solicited by See also:

• FREDERICK
• FREDERICK (Mod. Ger. Friedrich; Ital. Federigo; Fr. Frederic and Federic; M.H.G. Friderich; O.H.G. Fridurih, " king or lord of peace," from O.H.G. fridu, A.S. frith, " peace," and rfh " rich," " a ruler," for derivation of which see HENRY)

Frederick II., See also:

• DUKE (corresponding to Fr. duc, Ital. duca, Ger. Herzog)

duke of See also:

• MANTUA (Ital. Mantova)

Mantua, to See also:

• PRESENT

present it to him . Unwilling to See also:

• PART

part with so great a pictorial See also:

• PRIZE, or PRIZE OF WAR (Fr. prise, from prendre, to take)

prize and unwilling also to disoblige the duke, Ottaviano got Andrea to make the copy, which was consigned to the duke as being the original . So deceptive was the See also:

• IMITATION (Lat. imitatio, from intitari, to imitate)

imitation that even Giulio Romano, who had himself manipulated the original to some extent, was completely taken in; and, on showing the supposed Raphael years afterwards to Vasari, who knew the facts, he could only be undeceived when a private See also:

• MARK
• MARK, CARL (1858– )
• MARK, GOSPEL OF ST
• MARK, ST

mark on the See also:

• CANVAS

canvas was named to him by Vasari and brought under his See also:

• EYE
• EYE (O. Eng. edge, Ger. Auge; derived from an Indo-European root also seen in Lat. oc-ulus, the organ of vision (q.v.)

eye . It was Michelangelo who had introduced Vasari in 1524 to Andrea's studio . He is said to have thought very highly of Andrea's powers, saying on one occasion to Raphael, " There is a little See also:

• FELLOW

fellow in Florence who will bring sweat to your brow if ever he is engaged in great works." Andrea had true pictorial style, a very high See also:

• STANDARD
• STANDARD, BATTLE OF THE

standard of correctness and an enviable See also:

• BALANCE (derived through the Fr. from the Late Lat. bilantia, an apparatus for weighing, from bi, two, and lanx, a dish or scale)

balance of executive endowments . The point of technique in which he excelled least was perhaps that of discriminating the varying textures of different See also:

• OBJECTS

objects and surfaces . There is not much elevation or ideality in his works—much more of reality . His chiaroscuro is not carried out according to strict See also:

• RULE

rule, but is adjusted to his liking for See also:

• HARMONY (Gr. dpµovia, a concord of musical sounds, dpA'ew to join; &plan midi (sc. TeXvil)

harmony of See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour and fused See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone and transparence; in fresco more especially his predilection for varied tints appears excessive . It may be broadly said that his See also:

• TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste in colouring was derived mainly from Fra Bartolommeo, and in See also:

• FORM (Lat. forma)

form from Michelangelo; and his style partakes of the Venetian and Lombard, as well as the Florentine and See also:

• ROMAN

Roman—some of his figures are even adapted from See also:

• ALBERT
• ALBERT (1490'1545)
• ALBERT (149o-1568)
• ALBERT (1522–1557)
• ALBERT (FRANCIS CHARLES AUGUSTUS ALBERT EMMANUEL) (1819—1861)
• ALBERT (FRIEDRICH RUDOLF ALBRECHT)
• ALBERT, FREDERICK AUGUSTUS
• ALBERT, MADAME (c. 2805—2846)

Albert See also:

• DURER, ALBRECHT (1471-1528)

Durer . In one way or other he continued improving to the last . In drawing from nature, his See also:

• HABIT (through the French from Lat. habitus, from habere, to have, hold, or, in a reflective sense, to be in a certain condition; in many of the English senses the French use habitude, not habit)

habit was to See also:

• SKETCH (directly adapted from Dutch schets, which was taken from Ital. schizzo, a rough draft, Lat. schedium, something hastily made, Gr. oxE&os, sudden, off-hand, axeb6v, near by; Ger. Skizze and Fr. esquisse are from the same source)

sketch very slightly, making only such a memorandum as sufficed to work from .

The scholars of Andrea were very numerous; but, according to Vasari, they were not wont to stay See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long, being domineered over by his wife; See also:

• PONTORMO, JACOPO DA (1494-1557)

Pontormo and Domenico Puligo may be mentioned . In this See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account of Andrea del Sarto we have followed the See also:

• MAIN (from the Aryan root which appears in " may " and " might," and Lat. magnus, great)
• MAIN (Lat. Moenus)

main lines of the narrative of See also:

• CROWE, EYRE EVANS (1799-1868)
• CROWE, SIR JOSEPH ARCHER (1828-1896)

Crowe and Cavalcaselle, supplemented by Vasari, See also:

• LANZI, LUIGI (1732–1810)

Lanzi and others . There are See also:

• BIOGRAPHIES

biographies by Biadi (1829), by von See also:

• REUMONT, ALFRED VON (1808-1887)

Reumont (1831), by Baumann (1878), and by See also:

• GUINNESS

Guinness (1899) . (W . M .