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The Chariot. The horse also subdued to draught Achilles' chariot in its first, and to be its last, simplicity. The face has probably been grand the figure is so still. Andrea's, I think by the flying drapery. The Lamb, with the symbol of Resurrection. Over the door: 'I am the door; by me, if any man enter in, etc.
His bird was much in Andrea's thoughts as he paced back and forth each night upon his beat and, gazing into the sky in his lookout for aeroplanes, he would strain his eyes for a speck that might resolve itself into Chico's wings. Possibly, he reasoned, the bird had not yet been made use of.
The house in Via Crocetta passed many years afterwards into the possession of another painter, Zuccheri, who embellished the studio front with reliefs in stone, representing the paraphernalia of an atelier; but it is Andrea's name which lives in the house, as his memory does in the hearts of the Florentine people, and his works in the cloisters of the Florentine churches.
In the Arrival of the Magi we find Andrea himself, the figure second from the right-hand side, pointing; while next to him, on the left, is his friend Jacopo Sansovino. The "Dead Man Restored to Life by S. Filippo" is Andrea's next best. Franciabigio did the scene of the Marriage of the Virgin, which contains another of his well-drawn boys on the steps.
But now, when Andrea's brother, Abbate di San Fruttuoso came to die, and it was known that he had left the Admiral much property close to Naples, the Pope, swearing that the estates of an ecclesiastic necessarily returned to the Church, claimed Andrea's inheritance. But the Admiral thought differently.
But between the boy and the bird had been established a bond that would never be broken. From that time on, Chico was his pigeon in every sense of the word, and, at Andrea's first call, the greedy bill would immediately appear.
Of these, No. 6 was the first executed, and it is probable that Francia Bigio assisted him, for it has not the finished drawing nor careful handling of any of Andrea's other frescoes. Possibly this is the cause of the partners never working together afterwards, each taking his own subjects and signing his own name.
Perhaps time would teach him to supply that want. Meanwhile there was plenty of work for the young artist, and when he set up his own studio with another young painter, he was at once invited to fresco the walls of the cloister of the Scalzo, or bare-footed friars. This was the happiest time of all Andrea's life.
I ask myself again and again, trying to put myself behind your eyes. She has nothing, at any rate, in common with the beauties we have down here, or with those my aunt bade me admire in London last May. The face has a strong Italian look, but not Italian of to-day. Do you remember the Ghirlandajo frescoes in Santa Maria Novella, or the side groups in Andrea's frescoes at the Annunziata?
Nos. 4 and 5 are by Francia Bigio, and were done during Andrea's absence in France, showing that he had so far learned from his friend as almost to rival him in power. The subjects, although not scriptural, are conjecturally true.
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