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Updated: June 12, 2025
In the works of Titian, Raffaelle, Lionardo da Vinci, Parmiggiano, Andrea del Sarto, the Caracci, Guido, &c., it holds also a high place; while it is rich in the works of the Flemish and Dutch masters.
He had asked advice of none, and had told no one what he meant to do, but the news of his marriage was soon noised abroad. 'Hast thou heard the news of young Andrea del Sarto? asked the people of Florence of one another. 'I fear he has dealt an evil blow at his own chances of success. One by one his friends left him, and many of his pupils deserted the studio.
Hitherto, I have had principally to record the errors of artists copying the external qualities of their great predecessors. It is refreshing to turn from the epigoni of the so-called Roman school to masters in whom the flame of the Renaissance still burned brightly. Andrea del Sarto, the pupil of Piero di Cosimo, but more nearly related in style to Fra Bartolommeo than to any other of the elder masters, was himself a contemporary of Raphael and Correggio. Yet he must be noticed here; because he gave new qualities to the art of Tuscany, and formed a tradition decisive for the subsequent history of Florentine painting. To make a just estimate of his achievement is a task of no small difficulty. The Italians called him "il pittore senza errori," or the faultless painter. What they meant by this must have been that in all the technical requirements of art, in drawing, composition, handling of fresco and oils, disposition of draperies, and feeling for light and shadow, he was above criticism. As a colourist he went further and produced more beautiful effects than any Florentine before him. His silver-grey harmonies and liquid blendings of hues cool, yet lustrous, have a charm peculiar to himself alone. We find the like nowhere else in Italy. And yet Andrea del Sarto cannot take rank among the greatest Renaissance painters. What he lacked was precisely the most precious gift inspiration, depth of emotion, energy of thought. We are apt to feel that even his best pictures were designed with a view to solving an aesthetic problem. Very few have the poetic charm belonging to the "S. John" of the Pitti or the "Madonna" of the Tribune. Beautiful as are many of his types, like the Magdalen in the large picture of the "Piet
In 1509 we may presumably date the partnership with Andrea del Sarto, that being about the time when they began to work together in the Scalzo. Francia Bigio painted some frescoes in the church of S. Giobbe, behind the Servite Monastery. A Visitation was in a tabernacle at the corner of the church, and subjects from Job's life on a pilaster within it: these have long ago disappeared.
There, among the works of many that he saw, the manner of Andrea del Sarto and of Jacopo da Pontormo pleased him more than that of all the others who had worked at painting in that city.
Browning's doctrine that aspiration towards what is higher is more to be valued in art than the attainment of what is lower is a leading motive in the admirable dramatic monologue placed in the lips of Andrea del Sarto, the faultless painter.
Asked to name the greatest makers of this beautiful Florence, the ordinary visitor would say Michelangelo, Giotto, Raphael, Donatello, the della Robbias, Ghirlandaio, and Andrea del Sarto: all before Brunelleschi, even if he named him at all. But this is wrong. Not even Michelangelo did so much for Florence as he.
And these include, not merely short poems like Meeting at Night, but long poems, such as Andrea del Sarto, Caliban on Setebos, and Childe Roland to the Dark Tower Came. This is the right kind of introduction to a great author. The poet is allowed as far as possible to be his own interpreter.
The world she hoped to plunge into on the following week was, in her imagination, composed of nothing but cathedrals and picture-galleries; and she could have wished that the picture-galleries might contain nothing but the labours of Botticelli and Andrea del Sarto.
Here we find forty-four examples of Murillo, sixty-four from Velasquez, sixty by Rubens, twenty-five from Paul Veronese, thirty-four from Tintoretto, and many from Andrea del Sarto, Titian, Vandyke, Goya, Ribera, and others of similar artistic fame, in such profusion as to be a constant source of surprise to the stranger.
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