Ridolfo, like his father, regarded art rather as a means of livelihood than with any aesthetic feelings, and this is probably the reason of his never attaining true excellence. His "bottega" was really a shop where any one might order a work of art, or of artisanship, and he gave as much attention to painting a banner for a procession as to composing an altar-piece. He had a great many assistants, whom he called on for help in various undertakings. They assisted him to prepare the Medici Halls for the reception of Pope Leo X., and later for the marriages of Giuliano and Lorenzo, not disdaining to paint scenes for the dramas which were then given. He painted banners, and designed costumes for the processions of the "potenze," a festive company, the origin of which is uncertain, but dating certainly from the Middle Ages. Each quarter of the city had an emperor, lords, and dignitaries, each of whom carried his banner or emblazonment. Grand processions, tournaments, and feasts were held once a year, on S. John's Day, by the potenze. Having assisted at the triumphs and marriages of the Medici princes, he also furnished the funeral pomp and magnificence on the deaths of the brothers, that of Giuliano occurring in 1516, of Lorenzo 1519. Lucratively it answered his purpose; the Medici gave him great honour; he was well paid by them, and got the commission to decorate the Chapel of the Palazzo Vecchio--a very good specimen of his fresco painting, in which he never reached his father's excellence, although in oil he far surpassed him. The chapel is small; the groined roof is covered with emblematical designs on a blue ground, a Trinity in the midst with angels bearing symbols of the passions around. The apostles and evangelists surround this, and the principal wall has a larger fresco of the _Annunciation_--a rather conventional rendering. Commissions flowed in on him to such a degree, that although he had fifteen children, he lived to amass money and lands, to see his daughters well married, and his sons prosperous merchants trading to distant lands. He died on the 6th of June, 1561, and lies with his forefathers in the church of S. Maria Novella. ANDREA D'AGNOLO, CALLED ANDREA DEL SARTO. CHAPTER I. YOUTH AND EARLY WORKS. A.D. 1487-1511. Andrea Del Sarto is a curious instance of the vital power of art, which, like a flower forcing its way to the light through walls or rocks, will find expression in spite of obstacles. Andrea the painter, "senza errori," was an artist in spite of lowering home influences, of want of encouragement in his patrons--for his greatest works only brought the smallest remuneration--and even in spite of his own nature, which was material, wanting in high aims, and deficient in ideality; yet his name lives for ever as a great master, and his works rank close to those of the leaders of the Renaissance.