a little boy, full of life, who is warming himself at the fire,
with an old man resting in a very natural attitude on a couch, and
likewise some women carrying food to the mother who is in bed, with
movements truly lifelike and appropriate. And all these figures,
together with some little boys who are hovering in the air and
scattering flowers, are most carefully considered in their expressions,
their draperies, and every other respect, and so soft in colour, that
the figures appear to be of flesh and everything else rather real than
painted.

In the other scene Andrea painted the three Magi from the East, who,
guided by the Star, went to adore the Infant Jesus Christ. He
represented them dismounted, as though they were near their destination;
and that because there was only the space embracing the two doors to
separate them from the Nativity of Christ which may be seen there, by
the hand of Alesso Baldovinetti. In this scene Andrea painted the Court
of those three Kings coming behind them, with baggage, much equipment,
and many people following in their train, among whom, in a corner, are
three persons portrayed from life and wearing the Florentine dress, one
being Jacopo Sansovino, a full-length figure looking straight at the
spectator, while another, with an arm in foreshortening, who is leaning
against him and making a sign, is Andrea, the master of the work, and a
third head, seen in profile behind Jacopo, is that of Ajolle, the
musician. There are, in addition, some little boys who are climbing on
the walls, in order to be able to see the magnificent procession and the
fantastic animals that those three Kings have brought with them. This
scene is quite equal in excellence to that mentioned above; nay, in
both the one and the other he surpassed himself, not to speak of
Franciabigio, who also finished his.

At this same time Andrea painted for the Abbey of S. Godenzo, a benefice
belonging to the same friars, a panel which was held to be very well
executed. And for the Friars of S. Gallo he made a panel-picture of Our
Lady receiving the Annunciation from the Angel, wherein may be seen a
very pleasing harmony of colouring, while the heads of some Angels
accompanying Gabriel show a sweet gradation of tints and a perfectly
executed beauty of expression in their features; and the predella below
this picture was painted by Jacopo da Pontormo, who was a disciple of
Andrea at that time, and gave proofs at that early age t