In No. 1 the expression of muteness about the mouth of Zacharias, as he stands by the altar, is wonderfully given; you feel sure he could not speak if he would. The other figures are superfluous to the motive, though adding grandeur to the work as a whole. In composition Andrea differs widely from Fra Bartolommeo. The latter delighted in building up a single form, every figure in the whole picture adding its hue and weight to perfect this pyramid or circle. Andrea spreads his figures more widely; he likes a double composition, dividing his pictures into two separate groups, connected by one central figure, or divided entirely. This is seen in Nos. 3, 10 and 12, which are all double groupings, the last completely divided in the centre by a table and an archway behind it. Nos. 7 and 9 are pyramidal compositions. The _Preaching of S. John_ is one of the best works, and shows his most forcible style. S. John on a rock stands like a pillar in the centre, the hearers are dressed in the "lucco" (a Florentine cloak of the 15th century), the grouping following the lines of the landscape. At the back Jesus kneels on a rising ground. Vasari says the figures are from Albrecht Dürer, whose works had made a great impression on the southern world of art; but it is more probable that they only show his influence, for the dress and style are Florentine. No. 8, the _Baptism of the Gentiles_, is another of his best style, and is, in the drawing of the nude figures, almost Michelangelesque in power. This is one of his favourite "echo" subjects, a group in the background of _John answering the Pharisees _forming an echo to the principal subject. The muscular life of the spirited crowd of nude figures is beautifully contrasted by the graceful draped forms in the background. One of the baptized is the same child whom he had modelled in the _Madonna_ of S. Francisco. Nos. 4 and 5 are by Francia Bigio, and were done during Andrea's absence in France, showing that he had so far learned from his friend as almost to rival him in power. The subjects, although not scriptural, are conjecturally true. In the _Zacharias blessing John before he goes to the Desert_, the sitting figure of S. Elizabeth and the kneeling one of the child are very lovely; the action of Zacharias is not so well defined, the great force in the uplifted arm betokens anger more than blessing. The grouping follows the lines of a flight of steps in the background, and is triangular. The same form of composition is apparent in the next group (No. 5), only the lines form an angle receding from the one just mentioned. The Virgin is charmingly posed and draped, the children less pleasing.