There are two portraits of Andrea del
Sarto in his youth; one in the Duke of Northumberland's collection
represents him as a young man with long hair, and a black cap, writing
at a table. It is painted in a soft, harmonious style, but not masterly
as regards chiaroscuro. It might be by Francia Bigio, as it has
something of the manner of his master, Albertinelli.
Another now in the Uffizi is a most life-like portrait of sombre
colouring, but not highly finished. Here we have the same black cap and
long hair; the dress is a painter's blouse of a blue-grey, which well
brings out the flesh tints. The face is intelligent, but not refined;
the clear dark eyes bespeak the artist spirit, but the full mobile
mouth tells the material nature of the man. In looking at this one can
solve the riddle of the dissonance between his art and his life. As a
young man Andrea was full of spirit; he loved lively society, and knew
almost all the young artists who lived very much as students now. They
met each other in the art schools, and dined and feasted together in
the wine shops.
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