keness of him
at that age, as may be seen even yet; and thus, by watching him paint
that work and others, he saw his method of colouring, although
afterwards, either by reason of the difficulty or from lack of
inclination, he did not pursue the use of colours, finding more
satisfaction in sculpture.

Andrea executed for Alessandro Corsini a picture of a Madonna seated on
the ground with a Child in her arms, surrounded by many little boys,
which was finished with beautiful art and with very pleasing colour; and
for a mercer, much his friend, who kept a shop in Rome, he made a most
beautiful head. Giovan Battista Puccini of Florence, likewise, taking
extraordinary pleasure in the manner of Andrea, commissioned him to
paint a picture of Our Lady for sending into France; but it proved to be
so fine that he kept it for himself, and would by no means send it.
However, having been asked, while transacting the affairs of his
business in France, to undertake to send choice paintings to that
country, he caused Andrea to paint a picture of a Dead Christ surrounded
by some Angels, who were supporting Him and contemplating with gestures
of sorrow and compassion their Maker sunk to such a pass through the
sins of the world. This work, when finished, gave such universal
satisfaction, that Andrea, urged by many entreaties, had it engraved in
Rome by the Venetian Agostino; but it did not succeed very well, and he
would never again give any of his works to be engraved. But to return to
the picture: it gave no less satisfaction in France, whither it was
sent, than it had done in Florence, insomuch that the King, kindled with
even greater desire to have works by Andrea, gave orders that he should
execute others; which was the reason that Andrea, encouraged by his
friends, resolved to go in a short time to France.

But meanwhile the Florentines, hearing in the year 1515 that Pope Leo X
wished to grace his native city with his presence, ordained for his
reception extraordinary festivities and a sumptuous and magnificent
spectacle, with so many arches, facades, temples, colossal figures, and
other statues and ornaments, that there had never been seen up to that
time anything richer, more gorgeous, or more beautiful; for there was
then flourishing in that city a greater abundance of fine and exalted
intellects than had ever been known at any other period. At the entrance
of the Porta di S. Piero Gattolini, Jacopo di Sandro, in company with
B