ous men for Pandolfo Pandolfini; and a standard
to be borne in processions, which is held very beautiful, for the
Company of the Evangelist.

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, 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