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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
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