670.] In a _Holy Family_ in the Louvre, S. Elizabeth's hand is painted across S. John, and shows the shadow underneath it, being grey at that part. Though more solid, he could not paint light over dark without injuring his brilliance of colour. Albertinelli, on the contrary, when he painted and repainted his _Annunciation_, washed out the under layer with essential oil before making his "pentimenti" or corrections, and in this way the thinness was kept. In Andrea's early style this thinness is apparent, especially in the Joseph series, painted for Pier Francesco Borgherini. Biadi classes Andrea's works in three styles. The first showing the influence of Piero di Cosimo, the second--to which the best works in the Servi cloisters belong--is a larger and more natural style, after the study of Michelangelo and Leonardo. The third is the natural development in his own practice of a perfect knowledge of art, and a just appreciation of nature. The _Birth of the Baptist_ and the _Cenacolo_, of San Salvi, belong to his last and greatest manner. In 1515 the Florentine artists were employed on more perishable works than frescoes. Leo X., the Medici Pope who had been elected in 1513, made his triumphal entry into Florence on the 3rd of September, 1515, on his way to meet Francis I. of France at Bologna. All the guilds and ranks of Florence vied with each other to make his reception as artistic as possible. He and his suite were obliged to stay three days in the Villa Gianfigliazzi at Marignolle while the triumphal preparations were being completed. The churches had temporary _façades_ of splendid architecture in fresco; arches were erected at the Porta Romana and Piazza San Felice, covered with historical paintings; Giuliano del Tasso adorned the Ponte Santa Trinità with statues; Antonio San Gallo made a temple on the Piazza della Signoria, and Baccio Bandinelli prepared a colossus in the Loggia dei Lanzi. Various decorations adorned other streets, and Andrea del Sarto surpassed them all with a _façade_ to the Duomo, painted in monochrome on wood. His friend Sansovino designed the architecture, and he painted the sculpture and adornments with such effect that the Pope declared no work in marble could have been finer. Andrea lent his talent to another kind of decorative art. The guild of merchants were desirous of inaugurating a festa for the day of S. Giovanni, and had ten chariots made from the model of the ancient Roman ones, to institute chariot races in the piazza. Andrea painted several of these with historical subjects, but they have long been lost. The chariot races were revived under the Grand Dukes, but not with any success. CHAPTER V. GOING TO FRANCE. A.D. 1518-1519.