the attitude as well as the face of the Madonna; and as she contemplates the dead body of the Saviour, which does indeed appear to be in relief, and is in effect a true dead corpse, she causes so much compassion in the apostles San Pietro and San Paolo, that they stand as if bewildered and terrified, as they regard the Redeemer of the world lying dead in the bosom of his mother. The wonderful manner in which the emotions of these different persons are expressed might indeed alone suffice to prove the pleasure which Andrea found in the beauty and perfection of his art, and this picture has of a truth done more to procure a name for that Convent than all the buildings and other decorations, however costly, which have been undertaken there, although they are without doubt very magnificent and extraordinary.[1]
Having finished his work, Andrea continued, as the peril of the plague was not yet passed, to abide for some weeks in the same place, and the rather as he received so friendly a welcome, and found himself to be so well treated. During that time, and to the end that he might not remain idle, he painted a Visitation of Our Lady to St. Elizabeth; this is in the church on the right hand, and above a Presepio, having been executed over a small painting by an older master and as a finish to the same.[2] He likewise painted an exceedingly beautiful Head of Christ on a canvas of no great size; this is somewhat similar to that on the altar of the Nunziata, but is not so highly finished, although it may well be accounted among the better works which proceeded from the hands of this master. The Reverend Father Don Antonio, of Pisa, who is a friend not only of those who are eminent in our arts, but of all men of distinction in whatever kind, has
- ↑ For this picture, Biadi infonns us that Andrea received ninety gold ducats, as appears from a quittance given by him on the 8th October, 1528, to the Abbess of Luco, Donna Caterina della Casa. It was purchased from the Convent by the Grand Duke Pietro Leopoldo, and was for many years in the Tribune of the Uffizj, but is now in the Hall of Apollo, in the Pitti Palace. In the year 1811, it was engraved by Pietro Bettelini, after a drawing by Ermeni. It has been also engraved by C. Lasinio, by M. Esslinger, and by Pauquel and Förster, in the Tableau de la Galerie de Florence.
- ↑ This work was painted in a lunette, and in tempera. In the ytar 1818 it was restored by Luigi Scotti, and was then sold.—MaRseUi. See also the Supplement to Biadi, Notizie della Vila di Andrea del Sarto.
