meo Panciatichi in his house, as a work truly worthy of praise
on account of the beautiful figures of the Apostles; not to speak of the
Madonna, who is surrounded by a choir of little boys standing, while
certain others are supporting her and bearing her upwards with
extraordinary grace. And in the foreground of the panel, among the
Apostles, is a portrait of Andrea, so natural that it seems to be alive.
It is now at the villa of the Baroncelli, a little distance from
Florence, in a small church built by Piero Salviati near his villa to do
honour to the picture.

At the head of the garden of the Servi, in two angles, Andrea painted
two scenes of Christ's Vineyard, one showing the planting, staking, and
binding of the vines, and then the husbandman summoning to the labour
those who were standing idle, among whom is one who, being asked
whether he wishes to join the work, sits rubbing his hands and pondering
whether he will go among the other labourers, exactly as those idle
fellows do who have but little mind to work. Even more beautiful is the
other scene, wherein the same husbandman is causing them to be paid,
while they murmur and complain, and one among them, who is counting over
his money by himself, wholly intent on examining his share, seems
absolutely alive, as also does the steward who is paying out the wages.
These scenes are in chiaroscuro, and executed with extraordinary mastery
in fresco. After them he painted a Pieta, coloured in fresco, which is
very beautiful, in a niche at the head of a staircase in the noviciate
of the same convent. He also painted another Pieta in a little picture
in oils, in addition to a Nativity, for the room in that convent wherein
the General, Angelo Aretino, once lived.

The same master painted for Zanobi Bracci, who much desired to have some
work by his hand, for one of his apartments, a picture of Our Lady, in
which she is on her knees, leaning against a rock, and contemplating
Christ, who lies on a heap of drapery and looks up at her, smiling;
while a S. John, who stands there, is making a sign to the Madonna, as
if to say that her Child is the true Son of God. Behind these figures is
a S. Joseph with his head resting on his hands, which are lying on a
rock; and he appears to be filled with joy at seeing the human race
become divine through that Birth.

Cardinal Giulio de' Medici having been commissioned by Pope Leo to see
to the adorning with stucco and paintings of the cei