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Andrea painted her often, notably in the fresco of the "Nativity of the Virgin," to which we shall soon come at the Annunziata: a fine statuesque woman by no means unwilling to have the most popular artist in Florence as her slave. Of the rest of Andrea's life I need say little.
Andrea ventured timidly; "I mean real horses, not pretend ones like those on the top of St. Mark's?" "Horses!" he repeated, bursting into so loud a laugh that Maria shrank away, half frightened; "horses! Why, they're so old-fashioned that no one cares for them any more. They're quite too slow for the twentieth century!" Andrea's head swam horses old-fashioned!
But I, who was not nineteen, and the mirror of whose heart to pursue my metaphor was dulled, warped, and cracked with much ill-usage, grew sick of the boy's enthusiasm and the monotony of a conversation which I could divert into no other channel from that upon which it had been started by a little slip of a girl with hair of gold and sapphire eyes I use Andrea's words.
That money he misapplied to his own extravagant ends, and although Francis took no punitive steps, the event cannot have improved either Andrea's position or his peace of mind; while it caused Francis to vow that he had done with Florentines. Andrea died in 1531, of fever, nursed by no one, for his wife, fearing it might be the dreaded plague, kept away.
"The pledge of love renewed" the Captain went on in a loyal hastiness, but not without the sharpest pang "of Andrea's undying love for you." "Of Andrea's !" She stopped, presumably from excess of emotion. Her lips were parted in a wondering smile, her eyes danced merrily even while they questioned. "What in the world is it?" she asked again.
Her great brown eyes have thrown away the mist of sadness for a luminous wedding veil of joy, and she is Lillia, and by her side, erect, proud, glorious, with a lingering ray of light falling on his golden head, is her happy husband, Bero. They stand before the altar of St. Andrea's. "God bless you," says Mae aloud.
Tears blurred Andrea's sight as he hugged Chico close and with reiterated expressions of gratitude made his way down the hospital steps. The heart within his soldier's coat was pulsating with joy at the spontaneous words of praise and the assurance that Chico would not die. Anything else mattered little. Gently he laid the wounded pigeon in his nest, just as Maria came with his breakfast.
Albertinelli, on the contrary, when he painted and repainted his Annunciation, washed out the under layer with essential oil before making his "pentimenti" or corrections, and in this way the thinness was kept. In Andrea's early style this thinness is apparent, especially in the Joseph series, painted for Pier Francesco Borgherini. Biadi classes Andrea's works in three styles.
It will be well to speak of the whole set of frescoes in this place, for although they belong to different times and styles, they are a complete work, and might be taken almost as an epitome of Andrea's career; from the one above mentioned in which Piero de Cosimo's influence is apparent, to the Nos. 7 and 8, which very nearly approach Michelangelo's power and freedom.
In 1521 Bigio competed with Andrea and Pontormo, in the Medici Villa at Poggio a Cajano; Andrea's Casar receiving Tribute occupies one wall of the hall, and Francia Bigio's Triumph of Cicero another. The subjects were selected by the historian, Messer Paolo Giovio, Bishop of Nocera; it only remained for the artists to make the most of the chosen themes.
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