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His disciples were many, and one among them was Andrea del Sarto, who was a host in himself.
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.
Thus, while Florence was the most influential school of art in Italy, her greatest sons do not seem altogether to belong to her: Leonardo, a wanderer all his life, founds his school in Milan, and dies at last in France; Michelangelo becomes almost a Roman painter, the sculptor, the architect in paint of the Sistine Chapel; while Andrea del Sarto appears from the first as a foreigner, the one colourist of the school, only a Florentine in this, that much of his work is, as it were, monumental, composing itself really as with the Madonna delle Arpie or the great Madonna and Saints of the Pitti, for instance into statuesque groups, into sculpture.
This is Browning's interest in art, the interest in a living thing, the interest in a growing thing, the insatiable interest in how things are done. Every one who knows his admirable poems on painting "Fra Lippo Lippi" and "Andrea del Sarto" and "Pictor Ignotus" will remember how fully they deal with technicalities, how they are concerned with canvas, with oil, with a mess of colours.
Fine as the beak of a young beccaccia The campanile, the Duomo's fit ally, Shall soar up in gold full fifty braccia, Completing Florence, as Florence Italy. But I suppose that the monologues "Andrea del Sarto" and "Fra Lippo Lippi" would be considered the finest fruit of Browning's Florentine sojourn, as "Casa Guidi Windows" is of Mrs. Browning's.
In the next year, 1531, having learned in the meanwhile the ceremonies and offices of that Order, and studied the works of Andrea del Sarto that are in that place, he made what they call his profession; and in the year following, to the full satisfaction of those Fathers and the contentment of his relatives, he chanted his first Mass with much pomp and honour.
It is the absence and not only the absence, but the ignoring of the possibility of such analysis which tempts one to rebel against such phrases as those of Professor Gates: "the splendid and victorious womanhood of Titian's Madonnas," "the gentle and terrestrial grace of motherhood in those of Andrea del Sarto," the "sweetly ordered comeliness of Van Dyck's."
When I can have Titian, Rembrandt, Leonardo da Vinci, Andrea del Sarto, Raphael, and Rosa Bonheur around, I feel that I have good company and must be on my good behavior. If Corot, Reynolds, Leighton, Watts, and Landseer should be banished from my world I'd feel that I had suffered a great loss.
Secondly, a very great number of them made what must have been thought good fortunes in those days, while they were still young men. Some, like Andrea del Sarto, squandered their money and died in misery; one or two, like Fra Angelico, refused to receive money themselves for their work and handed over their earnings to a religious community.
Luca Pitti's pride Preliminary caution A terrace view A collection but not a gallery The personally-conducted Giorgione the superb Sustermans The "Madonna del Granduca" The "Madonna della Sedia" From Cimabue to Raphael Andrea del Sarto Two Popes and a bastard The ill-fated Ippolito The National Gallery Royal apartments "Pallas Subduing the Centaur" The Boboli Gardens.
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