may have come to an evil
end. And for a German priest, who was his friend, he made a lifesize S.
Rocco of terra-cotta, very beautiful; which priest had it placed in the
Church of Battifolle, in the district of Arezzo. This was the last piece
of sculpture that Andrea executed.

He gave the design, also, for the steps ascending to the Vescovado of
Arezzo; and for the Madonna delle Lagrime, in the same city, he made the
design of a very beautiful ornament that was to be executed in marble,
with four figures, each four braccia high; but this work was carried no
farther, on account of the death of our Andrea. For he, having reached
the age of sixty-eight, and being a man who would never stay idle, set
to work to move some stakes from one place to another at his villa,
whereby he caught a chill; and in a few days, worn out by a continuous
fever, he died, in the year 1529.

The death of Andrea grieved his native place by reason of the honour
that he had brought it, and his sons and the women of his household, who
lost both their dearest one and their support. And not long ago Muzio
Camillo, one of the three aforesaid sons, who was displaying a most
beautiful intellect in the studies of learning and letters, followed
him, to the great loss of his family and displeasure of his friends.

Andrea, in addition to his profession of art, was truly a person of much
distinction, for he was wise in his discourse, and reasoned most
beautifully on every subject. He was prudent and regular in his every
action, much the friend of learned men, and a philosopher of great
natural gifts. He gave much attention to the study of cosmography, and
left to his family a number of drawings and writings on the subject of
distances and measurements. He was somewhat small in stature, but robust
and beautifully made. His hair was soft and long, his eyes light in
colour, his nose aquiline, and his skin pink and white; but he had a
slight impediment in his speech.

His disciples were the aforesaid Girolamo Lombardo, the Florentine
Simone Cioli, Domenico dal Monte Sansovino (who died soon after him),
and the Florentine Leonardo del Tasso, who made the S. Sebastian of
wood over his own tomb in S. Ambrogio at Florence, and the marble panel
of the Nuns of S. Chiara. A disciple of Andrea, likewise, was the
Florentine Jacopo Sansovino--so called after his master--of whom there
will be a long account in the proper place.

Architecture and sculpture, then, are