The _Madonna del Sacco_, over the door of the entrance to the church from the cloister, would seem to have been painted in the same year, 1514, judging from Biadi's extract from the MS. account books of the Servite Fathers existing in the archives, where is an entry "Giugno, 1514, ad Andrea del Sarto, per resto della Madonna del Sacco, lire 56." This term _resto_ (remainder) would imply a previous payment. The money was a thank-offering from a woman for having been absolved from a vow by one of the Servite priests. Like all his other frescoes of this church, Andrea only gained ten scudi for this masterpiece. The date of MDXXV. and the words "Quem genuit adoravit" on the pilasters of this work have led most writers to suppose it painted in that year; but it is probable they were added by a later hand. Biadi [Footnote: Biadi, _Notizie_, &c., p. 42 note.] says the letters are of the style of nearly two centuries later, that Andrea would have signed it, like all his other and works, with his monogram of the crossed A's (i.e. Andrea d' Agnolo). For charming soft harmonies of colour, simplicity, and grace of design, this surpasses all his other frescoes. The Madonna has an imposing grandeur of form, there is a boyish strength and moulding in the limbs of the child which is very expressive, the dignity of Joseph and majesty of the Virgin are not to be surpassed; and yet the whole is given in a space so cramped that all the figures have to be reclining or sitting. [Illustration of Monogram] After this Andrea returned to the Scalzo, the Barefoot Brothers offering better pay than the Servites. Here he did the allegory of _Justice_ and the _Sermon of S. John_ in monochrome. In these he took a fancy to retrograde his style, for they have the rugged force and angular form that recalls the more stern old Italian masters, or that Titan of northern art, Albrecht Dürer. Of his works in oil at this era we may class-- 1. The _Story of Joseph_, painted for Zanobi Girolami Bracci, which Borghini judges a beautiful picture. The figures were small, but the painting highly finished. It came afterwards into the possession of the Medici family. 2. A _Madonna_, with decorations and models surrounding it like a frame, was painted for Sansovino's patron, Giovanni Gaddi, afterwards clerk of the chamber to Ferdinand I. It was existing in the collection of the Gaddi Pozzi family in Borghini's time. 3. _Annunciation_, for Giovanni di Paolo Merciajo, now in the Hall of Saturn in the Pitti Palace. It is a pretty composition, the Virgin sitting, yet half kneeling, the angel on his knees before her. There is a yellowish light in the sky between two looped dark green curtains; the angel's yellow robe takes the light beautifully.