him
to the art of painting. Andrea, beginning with much delight to practise
it, recognized that nature had created him for that profession; and in a
very short space of time, therefore, he was doing such things with
colours as filled Gian Barile and the other craftsmen in the city with
marvel. Now after three years, through continual study, he had acquired
an excellent mastery over his work, and Gian Barile saw that by
persisting in his studies the boy was likely to achieve an extraordinary
success. Having therefore spoken of him to Piero di Cosimo, who was held
at that time to be one of the best painters in Florence, he placed
Andrea with Piero. And Andrea, as one full of desire to learn, laboured
and studied without ceasing; while nature, which had created him to be a
painter, so wrought in him, that he handled and managed his colours with
as much grace as if he had been working for fifty years. Wherefore Piero
conceived an extraordinary love for him, feeling marvellous pleasure in
hearing that when Andrea had any time to himself, particularly on
feast-days, he would spend the whole day in company with other young
men, drawing in the Sala del Papa, wherein were the cartoons of
Michelagnolo and Leonardo da Vinci, and that, young as he was, he
surpassed all the other draughtsmen, both native and foreign, who were
always competing there with one another.

[Illustration: "NOLI ME TANGERE"

(_After the panel by =Andrea del Sarto=. Florence: Uffizi, 93_)

_Alinari_]

Among these young men, there was one who pleased Andrea more than any
other with his nature and conversation, namely, the painter
Franciabigio; and Franciabigio, likewise, was attracted by Andrea.
Having become friends, therefore, Andrea said to Franciabigio that he
could no longer endure the caprices of Piero, who was now old, and that
for this reason he wished to take a room for himself. Hearing this,
Franciabigio, who was obliged to do the same thing because his master
Mariotto Albertinelli had abandoned the art of painting, said to his
companion Andrea that he also was in need of a room, and that it would
be to the advantage of both of them if they were to join forces.
Having therefore taken a room on the Piazza del Grano, they executed
many works in company; among others, the curtains that cover the
panel-pictures on the high-altar of the Servi; for which they received
the commission from a sacristan very closely related to Franciabigio. On
one of th