In 1525 Andrea had a commission to draw cartoons for painting the balustrade of the Ringhiera--a kind of wide terrace in front of the Palazzo della Signoria, from which speeches were made to the populace. His designs were very beautiful and appropriate, the compartments being emblematical of the different quarters of the city; besides which were allegories of mountains, rivers, and virtues. The designs were left unfinished at his death, and the Ringhiera was never painted. In 1526-7 he worked at the fresco of the _Last Supper_, at S. Salvi, which was intended to have been done when he began the four saints there, in 1510, had not some misunderstanding between the rulers of the order prevented their continuation. [Footnote: Vasari's _Lives_, vol. iii. p. 224.] Even now he worked in a desultory manner, doing it bit by bit, but in the end producing a marvellous work. The refectory is a long vaulted hall, and the frescoed table, with its life-size figures, fills the whole arch of the wall opposite the door. One's natural impulse on entering it is to exclaim, "How life-like!" There is a great and living animation in the figures; the characters of the Apostles are written on their expressive faces. Judas is not placed away alone, as in many renderings of the subject, but is next to Christ, the contrast of the two faces being thus emphasized by proximity. S. Peter, though old, has all the vehemence and intensity of his character. Add to the feeling a brilliancy of colour of which Andrea alone had the secret, for without deep shadows, and keeping up the same intensity of tone throughout, he yet obtained great harmony and full relief where others would have produced a clash and flatness. Messrs. Crowe and Cavalcaselle say with justice, "From the contemplation of the _Cena_, at Milan, we should say that the painter is high bred; looking at that of S. Salvi, that he is accustomed to lowly company." [Footnote: _Hist. of Painting_, vol. iii. chap. xvii. p. 574.] But in some subjects a rugged strength is more important than a high refinement, and in the group of humble fishermen who formed the first church this is not out of place. If he could only have spiritualised Christ, nothing would be left to be desired. Andrea del Sarto was a member of a sacred company called the "Fraternità del Nicchio," for which he painted a standard to be carried in their processions. It is now in the Hall of the Old Masters in the Uffizi, and is a charming group of _S. James, with two children dressed in white surplices_--the habit of the company. The saint is caressing one, who kneels at his feet; the other has an open book in his hand. The draperies are especially graceful, and the expressions soft and pleasing.