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Updated: May 31, 2025
In the Dresden Gallery is a work, Scenes from the Life of David, signed A. S., MDXXIII., and his monogram, a painting very much in the style of Andrea del Sarto's Life of Joseph. He had the commission from Gio Maria Benintendi in 1523. It is one of those curious pictures which have many scenes in one a style which militates greatly against artistic unity.
There is too large an intermixture of Andrea del Sarto's pictures in this gallery; everywhere you see them, cold, proper, and uncriticisable, looking so much like first-rate excellence, that you inevitably quarrel with your own taste for not admiring them. . . . .
Then I doze again: but presently the music steals into my sleep, and I see him as I saw him last standing in his pulpit, so calm and noble, and drawing the strong men as well as the weak women by his earnest persuasion; and after service he smiles upon me kindly, and says, "This is my wife, and the wife, who looks like the Madonna in that picture of Andrea Del Sarto's, which you liked so at the gallery, leads us to a little house buried in roses, looking upon a broad and lovely landscape," and Henry whispers to me as a beautiful boy bounds into the room, "Mrs.
Among Del Sarto's followers it will be enough to mention Franciabigio, Vasari's favourite in fresco painting, Rosso de' Rossi, who carried the Florentine manner into France, and Pontormo, the masterly painter of portraits.
Let us then place Lucrezia's character where it ought to stand in Andrea del Sarto's life as a powerful influence, lowering his moral nature, weaning him from his duties as a son and brother, by fixing all his care and affection on herself; she, however, not allowing her own family to be losers by her marriage, although causing him to slight his own.
Here also, on easels, are two portraits of Vallombrosan monks by Fra Bartolommeo, serene, and very sympathetically painted, which cause one to regret the deterioration in Italian ecclesiastic physiognomy; and Andrea del Sarto's two pretty angels, which one so often finds in reproduction, are here too.
A good copy of Del Sarto's John the Baptist hanging from the wall and two or three recent novels offered an intimation that she was now beyond shell frames and padded-leather editions. Miss Rutherford hobbled away to look after her ankle and to give orders for supper to the ranch cook. Conversation waned.
There is too large an intermixture of Andrea del Sarto's pictures in this gallery; everywhere you see them, cold, proper, and uncriticisable, looking so much like first-rate excellence, that you inevitably quarrel with your own taste for not admiring them. . . .
Moreover, the great masters frequently changed their methods and styles, so that one might be mistaken for another, and at times studied and copied each other. Andrea del Sarto's copy of Raphael's Leo Tenth passed undetected even by Giulio Romano, who had himself worked on the latter.
Titian's chalk-studies, Fra Bartolommeo's, so singularly akin to Andrea del Sarto's, Giorgione's pen-and-ink sketch for a Lucretia, are seen at once by their richness and blurred outlines to be the work of colourists. Signorelli's transcripts from the nude, remarkably similar to those of Michelangelo, reveal a sculptor rather than a painter.
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