DOI Page / Citation link:
https://doi.org/10.11588/diglit.61542#0380
326 ANDREA DEL SARTO [1486-
acquire the name of “ Andrea of the Gallows,” which
had been applied of old to Andrea del Castagno, he
announced that one of his apprentices would fulfil the
order, which he really executed himself, going back-
wards and forwards by night, and hiding behind a
hoarding when he was at work.
All through his later years, Vasari tells us, the
painter never ceased to look back with regret at the
time which he had spent in France, and made more
than one effort to recover the favour of King Francis.
The picture of the youthful Baptist, in the Pitti, was
intended to be sent as a gift to propitiate that
monarch, but was eventually bought by Ottaviano
de’ Medici. In 1529, however, Giovanni Battista della
Palla once more commissioned Andrea to paint a
picture for his master. This time the artist, anxious
to recover his old patron’s good graces, exerted
himself to the utmost, and produced his Sacrifice of
Isaac, a picture far finer in design and expression
than any work of his later years. But the siege inter-
vened, Giovanni Battista della Palla died in prison,
and the picture was never sent to France. After
Andrea’s death it was sold by his widow to Filippo
Strozzi, and, after changing hands repeatedly, was
placed in the Tribune of the Uffizi, in 1633. Seven
years afterwards it was exchanged for Correggio’s
Riposo, and passed with the chief treasures of the
Duke of Modena’s collection into the Dresden gallery.
The smaller replica of the picture at Madrid was
painted for Paolo di Terrarossa, who, filled with
admiration for the original design which he saw in
Andrea’s studio, anxiously inquired the price of a
small copy, and gladly gave the artist the trifling
acquire the name of “ Andrea of the Gallows,” which
had been applied of old to Andrea del Castagno, he
announced that one of his apprentices would fulfil the
order, which he really executed himself, going back-
wards and forwards by night, and hiding behind a
hoarding when he was at work.
All through his later years, Vasari tells us, the
painter never ceased to look back with regret at the
time which he had spent in France, and made more
than one effort to recover the favour of King Francis.
The picture of the youthful Baptist, in the Pitti, was
intended to be sent as a gift to propitiate that
monarch, but was eventually bought by Ottaviano
de’ Medici. In 1529, however, Giovanni Battista della
Palla once more commissioned Andrea to paint a
picture for his master. This time the artist, anxious
to recover his old patron’s good graces, exerted
himself to the utmost, and produced his Sacrifice of
Isaac, a picture far finer in design and expression
than any work of his later years. But the siege inter-
vened, Giovanni Battista della Palla died in prison,
and the picture was never sent to France. After
Andrea’s death it was sold by his widow to Filippo
Strozzi, and, after changing hands repeatedly, was
placed in the Tribune of the Uffizi, in 1633. Seven
years afterwards it was exchanged for Correggio’s
Riposo, and passed with the chief treasures of the
Duke of Modena’s collection into the Dresden gallery.
The smaller replica of the picture at Madrid was
painted for Paolo di Terrarossa, who, filled with
admiration for the original design which he saw in
Andrea’s studio, anxiously inquired the price of a
small copy, and gladly gave the artist the trifling