SARTO
479
SARUM
he began the fresco decoration of the httle cloister of
the Annunziata, connected with the Servite church
anfl convent at Florence. He depicted five scenes
from the life of St. Philip Benizi, General of the Ser-
vitcs; "His Charity to a Leper"; "The Smiting of the
Blasphemers"; "The Cure of the Woman Possessed
with a Devil"; "The Resurrection of Two Children
near the Tomb of the Saint"; "The Veneration of his
Relics". Later he added the "Adoration of the Magi"
(1511) and the "Nativity of the Virgin" (1514). In
1525, by way of farewell, he painted for this convent
the masterpiece, "The Madonna of the Sack", so
called because in it St. Joseph is represented leaning
against a sack. In 1514, in the cloister of the Scalzo,
he executed a series of ten frescoes, recounting the
history of St. John the Baptist. Four allegorical
figures. Faith, Hope, Charity, and Justice, complete
the decorative cycle. The in-
fluence of Albrecht Diirer has
been traced in several, but that
of Ghirlandajo has been recog-
nized in this as well as in the
preceding cycle, though here
Andrea displays a more origi-
nal bent. In Poggio's villa at
Cajano he painted the fresco
(1521), "Ca;sar receiving the
Tribute of the Animal World",
by way of complimenting the
zoological tastes of Lorenzo the
Magnificent. The work was
finished in 1582 by Al. Allori.
A beautifully executiul series
of figures, es{)erially those of
Sts. Agnes, Catherine, and
Margaret, were painted (1524)
in the cathedral of Pisa. His
last fresco, "The Last Supper",
was done for the refectory in the
convent of San Salvi, at the
gates of Florence. Here An-
drea drew his inspiration from
Leonardo da Vinci. The beau-
tiful work shows lively and
varied colouring, but lacks the
perfection of drawing and es-
pecially the dramatic quaUty of the
of Milan.
His principal pictures are: at the Pitti Palace, "The Annunciation" (1513); " Madonna with Sts. Francis and John the Evangelist" (1517); "Disputation con- cerning the Trinity" (1517), a very careful painting in which the artist "comes closest to intellectual ex- pression" (Burckhardt) ; "Descent from the Cross" (1524); "Madonna with four saints" (1524); "The Assumption " ( 1 526) , of which there are two variations ; at the Uffizi "Madonna of the Harpies, with St. Francis and St. John" (1517), so called because of the decorations on the pedestal on which the Blessed Vir- gin stands with the Infant Jesus in her arms; at the Museum of Berlin, "The Virgin with Saints" (1528); in the Dresden Gallery, "The Sacrifice of Abraham"; "The Marriage of St. Catherine"; at the Hermitage Museum, St. Petersburg, "Madonna between Sts. Catherine and Ehzabeth"; at the Museum of Vienna, "The Pieta" (1517); at the Louvre, "The Virgin with the Infant Jesus, St. Ehzabeth and St. John," which is an imitation of Raphael's "Madonna Canigiani"; "Charity". These two pictures were purchased by Francis I. According to Vasari, the King of France was charmed with his talent and induced him to come to Paris. His portrait of the dauphin and "Charity" must have been painted during his stay at the court. Obtaining permission to visit Florence, he departed, with money to collect works of art for Francis I; but, being of weak character and dom- inated by his wife, a beautiful and unscrupulous
Self-portrait op Andrea del Sarto
Uffizi Gallery, Florence
'Last Supper'
coquette, he squandered the money and did not re-
turn to Paris. He has left several portraits of himself
(Pitti Palace, Uffizi, and National (jall(>ry). Andrea
del Sarto owes much to Fra Bartolonimeo, borrowing
from him the architectural arrangement of his composi-
tions, as in "Charity" of the Louvre, where tri-
angle grouping is used. Andrea was above all a
colourist, "the greatest colourist of the sixteenth
century, in the region south of the Apennines"
(Burckhardt). In this also he resembles Bartolom-
meo but shows more care for chiaroscuro. Like
Leonardo da Vinci he excels in sfumato. His draw-
ings, many of which are preserved at the Uffizi and
the Louvre, are characterized by a melting softness
which recalls Correggio's delicate execution, but this
excessive love of colour led him to neglect the
superior beauty of expression; his pictures lack con-
viction and character. Not un-
'Icrstaiiding the true character
which each face should express,
lie usually confines himself to
ri]){"ating the same type of Ma-
'Idimas and Infant Christs, and
thus produces an effect of cold-
ness and artificiality.
Vasari, Le vile de' piu eccellenti piltori, ed. Milanesi, V (Florence, ISSO), .5-72; Reumont, Andrea del Siirlo (Leipzig, 1835); Crowe and Cavalcaselle, History of Painting in Italy, III (London, 1806), 542; Mantz, Gazette des Beaux Arts (1876), I, 465; (1877), L 38, 261, 338; Champlin, Cyclopedia of Painters and Paintings, IV (New York and London, 1888); Muntz, Hist, de I'art pendant la Re- naissance, III (Paris, 1895). 508-10; GtiNNEss, Andrea del Sarto (London, 1.S99): Knapp, Anilrea del Sarin (Biele- feld, 1907); Vtn.KTi, Andrea d.l Sarto m Michel, Hist, del Art, IV d'ariw, 1909),
382-so. Gaston Sortais.
Sarto, Giuseppe Melchi- ORKE. See Plus X, Pope.
Sarum Rite (more accu- rately Sarum Use), the man- ner of regulating the details of the Roman Liturgy that ob- tained in ])re-Kcforniation times in the south of England and was thence propagated over the greater part of Scotland and of Ireland. Other, though not very dissimilar Uses, those of York, Lincoln, Bangor, and Hereford, prevailed in the north of England and in Wales. The Christian Anglo-Saxons knew no other Liturgy than that of the Mother Church of Rome. Their celebrated Synod of Clovesho (747) lays down: "That in one and the same manner we all celebrate the Sacred Festivals pertaining to Our Lord's coming in the Flesh; and so in everything, in the way we confer Baptism, in our celebration of Mass, and in our manner of singing. All has to be done according to the pattern winch we have received in writing from the Roman Church" {Canon 13). — "That the Seven Canonical Hours be everywhere gone through with the fitting Psalmody and with the proper chant; and that no one presume to sing or to read aught save what custom admits, what comes down to us with the authority of Holy Scripture, and what the usage of the Roman Church allows to be sung or read" {Canon 15).
St. Osmund, a Norman nobleman, who came over to England with William the Conqueror, and was by him made Bishop of Sarum or Salisbury (1078), compiled the books corresponding to our Missal, Breviary, and Ritual, which revised and fixed the Anglo-Saxon readings of the Roman Rite. With these he appears very naturally to have incorporated certain liturgical traditions of his Norman fellow- countrymen, who, however, equally with the con- quered English, ever sought to do all things in
