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Her family were kept at his expense, her daughter loved as his own, and if she were haughty or exacting, he suffered with a Socratic patience, thinking life with her a privilege. It is to be supposed that a member of the societies of the Cauldron and the Trowel would appreciate good living. This love of good living, however, in the end shortened his life, according to Biadi.
This is supposed by the commentators of Vasari to be the altarpiece painted for Giovanni di Paolo Merciajo, but Biadi traces it through the possession of Antonio, son of Zanobi Bracci, to its present possessors. The mistake arises from Vasari often confusing the names Annunciations and Assumptions with Madonnas. A Holy Family, for Andrea Santini, which awakened great admiration in Florence.
The question of Andrea del Sarto's birth is a mooted one. Biadi dates it 1478, but the register he quotes is both vague and doubtful. He also tells a curious story of his Flemish origin.
Andrea's mode of life and love of good living did not conduce to his safety; he was taken ill suddenly, and gave himself up for lost. Neither Vasari nor Biadi says he was entirely deserted by his wife; they only hint that she came to his room as little as she could, having a great fear of the plague.
Biadi gives it entire; it seems a kind of satire on Rustici's tastes, with perhaps a hit at the government, and shows no lack of wit of rather unrefined style; but the authorship is not proved. Some say Ottaviano de Medici assisted Andrea in it.
Albertinelli, on the contrary, when he painted and repainted his Annunciation, washed out the under layer with essential oil before making his "pentimenti" or corrections, and in this way the thinness was kept. In Andrea's early style this thinness is apparent, especially in the Joseph series, painted for Pier Francesco Borgherini. Biadi classes Andrea's works in three styles.
This Lucrezia della Fede was the wife of a hatter who lived in Via San Gallo. Her husband dying after a short illness, Andrea del Sarto married her, and whatever were her faults, she retained his life-long love. Biadi and Reumont give the date 26th of December, 1512, as that of the death of her husband, but Signor Milanesi, from more authentic sources, proves it to have been in 1516.
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