4. _Madonna and Child_, in the "Hall of the Education of Jupiter" in the Pitti Palace, one of his most pleasing groups. This is supposed by the commentators of Vasari to be the altarpiece painted for Giovanni di Paolo Merciajo, but Biadi traces it through the possession of Antonio, son of Zanobi Bracci, to its present possessors. The mistake arises from Vasari often confusing the names Annunciations and Assumptions with Madonnas. 5. A _Holy Family_, for Andrea Santini, which awakened great admiration in Florence. It was in the possession of Signer Alessandro Curti Lepri, by whose permission Morghen's print was taken. 6. The _Head of our Saviour_, over the altar of the SS. Annunziata, ordered by the sacristan of the order. A magnificent head, full of grandeur and expression, and very clear in the flesh tints. Empoli made several copies of it. 7. The _Madonna di San Francesco_, Andrea's masterpiece among easel pictures. It was a commission from a monk of the order of "Minorites of Santa Croce," who was intendant of the nuns of S. Francesco, and advised them to employ Andrea. In grandiose simplicity this surpasses Albertinelli's _Visitation_, in soft gradations and rich mellowness of colour it equals Fra Bartolommeo at his best, for tenderness in the attitude of the child it is quite Raphaelesque. The Madonna is standing on a pedestal adorned with sculptured harpies. She holds the Divine Child in one arm; its little hands are twined tenderly round her neck, and it seems to be climbing closer to her. The two children at her feet give a suggestive triangular grouping, while the dignified figures of S. Francis and S. John the Evangelist form supports on each side, and rear up a pyramid of beauty. Rosini's term "soave" just expresses this picture, so fused and soft, rich yet transparent in the colouring. The olive-brown robe of one saint is balanced by the rich red of the other. In the Virgin, a deep blue and mellow orange are combined by a crimson bodice. The price paid to the painter for this was low because he asked little; but a century or two later, Ferdinando de' Medici, son of Cosmo III., spent 20,000 scudi to restore the church, and had a copy of the picture made in return for a gift of the original, which is now the gem of the Tribune in the Uffizi.