In certain chapels of the Church of the Servi in the said city he wrought three flat niches in fresco. In one of these, that of S. Giuliano, there are scenes from the life of that Saint, with a good number of figures, and a dog in foreshortening that was much extolled. Above this, in the chapel dedicated to S. Girolamo, he painted that Saint shaven and wasted away, with good design and great diligence. Over this he painted a Trinity, with a Crucifix so well foreshortened that Andrea deserves to be greatly extolled for it, seeing that he executed the foreshortenings with a much better and more modern manner than the others before him had shown; but this picture, having been afterwards covered with a panel by the family of the Montaguti, can no longer be seen. In the third, which is beside the one below the organ, and which was erected by Messer Orlando de' Medici, he painted Lazarus, Martha, and the Magdalene. For the Nuns of S. Giuliano, over their door, he made a Crucifix in fresco, with a Madonna, a S. Dominic, a S. Julian,[Pg 100] and a S. John; which picture, one of the best that Andrea ever made, is universally praised by all craftsmen.

In the Chapel of the Cavalcanti in S. Croce he painted a S. John the Baptist and a S. Francis, which are held to be very good figures. But what caused all the craftsmen to marvel was a very beautiful picture in fresco that he made at the head of the new cloister of the said convent, opposite to the door, of Christ being scourged at the Column, wherein he painted a loggia with columns in perspective, and groined vaulting with diminishing lines, and walls inlaid in a pattern of mandorle, with so much art and so much diligence, that he showed that he had no less knowledge of the difficulties of perspective than he had of design in painting. In the same scene there are beautiful and most animated attitudes in those who are scourging Christ, showing hatred and rage in their faces as clearly as Jesus Christ is showing patience and humility. In the body of Christ, which is bound tightly with ropes to the Column, it appears that Andrea tried to demonstrate the suffering of the flesh, while the Divinity concealed in that body maintains a certain noble splendour, which seems to be moving Pilate, who is seated among his councillors, to seek to find some means of liberating Him. In short, this picture is such that, if the little care that has been taken of it had not allowed it to be scratched and spoilt by children and simpletons, who have scratched all the heads and the arms and almost the entire persons of the Jews, as though they would thus take vengeance on them for the wrongs of Our Lord, it would certainly be the most beautiful of all the works of Andrea. And if Nature had given grace of colouring to this craftsman, even as she gave him invention and design, he would have been held truly marvellous.

In S. Maria del Fiore he painted the image of Niccolò da Tolentino on horseback; and while he was working at this a boy who was passing shook his ladder, whereupon he flew into such a rage, like the brutal man that he was, that he jumped down and ran after him as far as the Canto de' Pazzi. In the cemetery of S. Maria Nuova, also, below the Ossa, he painted a S. Andrew, which gave so much satisfaction that he was afterwards commissioned to paint the Last Supper of Christ with His[Pg 101] Apostles in the refectory, where the nurses and other attendants have their meals. Having acquired favour through this work with the house of Portinari and with the Director of the hospital, he was appointed to paint a part of the principal chapel, of which another part was allotted to Alesso Baldovinetti, and the third to the then greatly celebrated painter Domenico da Venezia, who had been summoned to Florence by reason of the new method that he knew of painting in oil. Now, while each of them applied himself to his part of the work, Andrea was very envious of Domenico, because, while knowing himself to be superior to the other in design, he was much displeased that the Venetian, although a foreigner, should be welcomed and entertained by the citizens; wherefore anger and disdain moved him so strongly, that he began to think whether he could not in one way or another remove him from his path. Andrea was no less crafty in dissimulation than he was excellent in painting, being cheerful of countenance at his pleasure, ready of speech, fiery in spirit, and as resolute in every bodily action as he was in mind; he felt towards others as he did towards Domenico, and, if he saw some error in the works of other craftsmen, he was wont to mark it secretly with his nail. And in his youth, when his works were criticized in any respect, he would give the critics to know by means of blows and insults that he was ever able and willing to take revenge in one way or another for any affront.

But let us say something of Domenico, before we come to the work of the said chapel. Before coming to Florence, Domenico had painted some pictures with much grace in the Sacristy of S. Maria at Loreto, in company with Piero della Francesca; which pictures, besides what he had wrought in other places (such as an apartment in the house of the Baglioni in Perugia, which is now in ruins), had made his fame known in Florence. Being summoned to that city, before doing anything else, he painted a Madonna in the midst of some saints, in fresco, in a shrine on the Canto de' Carnesecchi, at the corner of two streets, of which one leads to the new Piazza di S. Maria Novella and the other to the old. This work, being approved and greatly extolled by the citizens and by the craftsmen of those times, caused even greater disdain and envy to blaze[Pg 102] up in the accursed mind of Andrea against poor Domenico; wherefore Andrea, having determined to effect by deceit and treachery what he could not carry out openly without manifest peril to himself, pretended to be very much the friend of Domenico, who, being a good and affectionate fellow, fond of singing and devoted to playing on the lute, received him as a friend very willingly, thinking Andrea to be a clever and amusing person. And so, continuing this friendship, so true on one side and so false on the other, they would come together every night to make merry and to serenade their mistresses; and this gave great delight to Domenico, who, loving Andrea sincerely, taught him the method of colouring in oil, which as yet was not known in Tuscany.

Andrea, then (to take events in their due order), working on his wall in the Chapel of S. Maria Nuova, painted an Annunciation, which is held very beautiful, for in that work he painted the Angel in the air, which had never been done up to that time. But a much more beautiful work is held to be that wherein he made the Madonna ascending the steps of the Temple, on which he depicted many beggars, and one among them hitting another on the head with a pitcher; and not only that figure but all the others are wondrously beautiful, for he wrought them with much care and love, out of rivalry with Domenico. There is seen, also, in the middle of a square, an octagonal temple drawn in perspective, standing by itself and full of pilasters and niches, with the façade very richly adorned with figures painted to look like marble. Round the square are various very beautiful buildings; and on one side of these there falls the shadow of the temple, caused by the light of the sun—a beautiful conception, carried out with great ingenuity and art.

Maestro Domenico, on his part, painting in oil, represented Joachim visiting his consort S. Anna, and below this the Birth of Our Lady, wherein he depicted a very ornate chamber, and a boy beating very gracefully with a hammer on the door of the said chamber. Beneath this he painted the Marriage of the Virgin, with a good number of portraits from the life, among which are those of Messer Bernardetto de' Medici, Constable of the Florentines, wearing a large red barret-cap; Bernardo Guadagni, who was Gonfalonier; Folco Portinari, and others of that[Pg 103] family. He also painted a dwarf breaking a staff, very life-like, and some women wearing garments customary in those times, lovely and graceful beyond belief. But this work remained unfinished, for reasons that will be told below.

Meanwhile Andrea had painted in oil on his wall the Death of Our Lady, in which, both by reason of his rivalry with Domenico and in order to make himself known for the able master that he truly was, he wrought in foreshortening, with incredible diligence, a bier containing the dead Virgin, which appears to be three braccia in length, although it is not more than one and a half. Round her are the Apostles, wrought in such a manner, that, although there is seen in their faces their joy at seeing their Madonna borne to Heaven by Jesus Christ, there is also seen in them their bitter sorrow at being left on earth without her. Among the Apostles are some angels holding burning lights, with beautiful expressions in their faces, and so well executed that it is seen that he was as well able to manage oil-colours as his rival Domenico. In these pictures Andrea made portraits from life of Messer Rinaldo degli Albizzi, Puccio Pucci, and Falganaccio, who brought about the liberation of Cosimo de' Medici, together with Federigo Malevolti, who held the keys of the Alberghetto. In like manner he portrayed Messer Bernardo di Domenico della Volta, Director of that hospital, who is kneeling and appears to be alive; and in a medallion at the beginning of the work he painted himself with the face of Judas Iscariot, whom he resembled both in appearance and in deed.

Now Andrea, having carried this work very nearly to completion, being blinded by envy of the praises that he heard given to the talent of Domenico, determined to remove him from his path; and after having thought of many expedients, he put one of them into execution in the following manner. One summer evening, according to his custom, Domenico took his lute and went forth from S. Maria Nuova, leaving Andrea in his room drawing, for he had refused to accept the invitation to take his recreation with Domenico, under the pretext of having to do certain drawings of importance. Domenico therefore went to take his pleasure by himself, and Andrea set himself to wait for him in hiding[Pg 104] behind a street corner; and when Domenico, on his way home, came up to him, he crushed his lute and his stomach at one and the same time with certain pieces of lead, and then, thinking that he had not yet finished him off, beat him grievously on the head with the same weapons; and finally, leaving him on the ground, he returned to his room in S. Maria Nuova, where he put the door ajar and sat down to his drawing in the manner that he had been left by Domenico. Meanwhile an uproar had arisen, and the servants, hearing of the matter, ran to call Andrea and to give the bad news to the murderer and traitor himself, who, running to where the others were standing round Domenico, was not to be consoled, and kept crying out: "Alas, my brother! Alas, my brother!" Finally Domenico expired in his arms; nor could it be discovered, for all the diligence that was used, who had murdered him; and if Andrea had not revealed the truth in confession on his death-bed, it would not be known now.

In S. Miniato fra le Torri in Florence Andrea painted a panel containing the Assumption of Our Lady, with two figures; and in a shrine in the Nave a Lanchetta, without the Porta alla Croce, he painted a Madonna. In the house of the Carducci, now belonging to the Pandolfini, the same man depicted certain famous men, some from imagination and some portrayed from life, among whom are Filippo Spano degli Scolari, Dante, Petrarca, Boccaccio, and others. At Scarperia in Mugello, over the door of the Vicar's Palace, he painted a very beautiful nude figure of Charity, which has since been ruined. In the year 1478, when Giuliano de' Medici was killed and his brother Lorenzo wounded in S. Maria del Fiore by the family of the Pazzi and their adherents and fellow-conspirators, it was ordained by the Signoria that all those who had shared in the plot should be painted as traitors on the wall of the Palace of the Podestà. This work was offered to Andrea, and he, as a servant and debtor of the house of Medici, accepted it very willingly, and, taking it in hand, executed it so beautifully that it was a miracle. It would not be possible to express how much art and judgment were to be seen in those figures, which were for the most part portraits from life, and which were hung up by the feet in strange attitudes, all varied[Pg 105] and very beautiful. This work, which pleased the whole city and particularly all who had understanding in the art of painting, brought it about that from that time onwards he was called no longer Andrea dal Castagno but Andrea degl' Impiccati.[13]