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Updated: June 12, 2025
But to return to Jacopo; he had not been many months in Florence when he was placed by Bernardo Vettori with Leonardo da Vinci, and shortly afterwards with Mariotto Albertinelli, then with Piero di Cosimo, and finally, in the year 1512, with Andrea del Sarto, with whom, likewise, he did not stay long, for the reason that, after Jacopo had executed the cartoons of the little arch for the Servites, of which there will be an account below, it appears that Andrea never again looked favourably upon him, whatever may have been the reason.
Artists haunt it; but the Parisian, the provincial, the globe trotter, gape once in their lives at Andrea del Sarto, Titian, Salvator Rosa, Murillo of course, and the rest of the mighty dead, and then ask with a yawn, "Where are the Crown Jewels?"
The architects of these cars were Raffaello delle Vivole, Il Carota the wood-carver, the painter Andrea di Cosimo, and Andrea del Sarto; those who arranged and prepared the dresses of the figures were Ser Piero da Vinci, the father of Leonardo, and Bernardino di Giordano, both men of beautiful ingenuity; and to Jacopo da Pontormo alone it fell to paint all the three cars, wherein he executed various scenes in chiaroscuro of the Transformations of the Gods into different forms, which are now in the possession of Pietro Paolo Galeotto, an excellent goldsmith.
Its completion was afterwards entrusted to his brother Aristotile, who, as will be told, had returned to Florence many and many a year before, after having amassed a large sum of money under the above-named Giuliano Leno, in the business that his brother had left him in Rome; with a part of which money Aristotile bought, at the persuasion of Luigi Alamanni and Zanobi Buondelmonte, who were much his friends, a site for a house behind the Convent of the Servites, near Andrea del Sarto, where, with the intention of taking a wife and living at leisure, he afterwards built a very commodious little house.
We can imagine the wit which sparkled round these strange tables, the jokes of the artists, the songs of the musicians. Andrea del Sarto is said to have recited an heroi-comic poem in six cantos called the "Battle of the frogs and mice."
GIORGIO VASARI, better known as the chronicler of the works of other artists than for the excellence of his own, was born at Arezzo, 1512 died at Florence, 1574. His father was a painter, and the family was connected by ties of relationship with Luca Signorelli of Cortona. Among the many masters under whom he studied was Andrea del Sarto.
Still more so is it the case with Andrea del Sarto, the man of genius whom critics love to despatch as a mediocrity, because his art, which is art altogether for the eyes, and in which he innovated more than any of his contemporaries, does not afford any excuse for the irrelevancies of ornamental criticism; with him the appearance of form and colour, acted upon by light, the relative values of which flesh and draperies consist with reference to the surrounding medium, all this becomes so evident a preoccupation and a basis for decorative effects, as to give certain of his works an almost startling air of being modern.
It does not, however, appear that the English king secured the services of men so distinguished as Lionardo da Vinci, II Rosso, Primaticcio, Del Sarto, and Cellini, who shed an artificial lustre on the Court of France.
But ideal beauty and harmony in coloring were still wanting, as well as freedom of the pencil. Then arose Da Vinci and Michael Angelo, who practised the immutable principles by which art could be advanced; and rapidly following in their steps, Fra Bartolommeo, Fra Angelico, Rossi, and Andrea del Sarto made the age an era in painting, until the art culminated in Raphael and Corregio and Titian.
Clement complied, but wishing to retain at any rate a semblance of the original, directed that the picture should be copied, and Andrea del Sarto was chosen for that task. The copy turned out to be so close that Gonzaga never obtained the original at all.
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