Lucrezia lived to a good old age, being nearly ninety when she died; she seems to have lived a very quiet life, and to have kept Andrea's paintings with great care, except a few only which she sold. The house in Via Crocetta passed many years afterwards into the possession of another painter, Zuccheri, who embellished the studio front with reliefs in stone, representing the paraphernalia of an atelier; but it is Andrea's name which lives in the house, as his memory does in the hearts of the Florentine people, and his works in the cloisters of the Florentine churches. The people of the city always seem to claim Del Sarto as especially their own. He is always _nostro pittore_, or _nostro maestro_-and indeed as a master of fresco he never was surpassed. In colouring he was in his way unique; in modelling, original and graceful; while the transparent clearness of his shadows and brilliant blending of tints in the lights render his handling incomparable. A little more refinement and aesthetic feeling would have placed him on a level with the great leaders of the Renaissance. CHAPTER VIII. SCHOLARS OF ANDREA DEL SARTO. Andrea's scholars were numerous, though only a few rose to any great eminence. Of these, JACOPO CARRUCCI, "da Pontormo" (born 1494, died 1557), was by far the most talented. Left an orphan at an early age, the charge of his sister devolved on him, and he placed her with a relation while he was pursuing his art training. He studied under a diversity of masters, including Leonardo da Vinci, Albertinelli, Piero di Cosimo; and finally, in 1512, he entered Andrea del Sarto's school, but did not stay long there either. Some say Andrea was jealous of his success; he, however, had generosity enough to praise and acknowledge his talent, and to show his appreciation by giving him important work to do in his own studio. Pontormo did the predella to Andrea's altar-piece of the _Annunciation_ for the convent of S. Gallo. His hand is to be seen also in several of his master's works. He drew public attention first by painting two figures of _Faith_ and _Charity_ on the escutcheon of the Medici for Andrea di Cosimo, who had obtained the commission, but did not feel equal to executing it. Michelangelo, on seeing these figures, prophesied great things for the youth, who was at that time only nineteen years of age. The people of Pontormo, his native town, were so proud of him, that they sent for him to emblazon the arms of Pope Leo over the gate of their city. He was next employed by one of the festal companies of the age, called the Company of the Diamond, to design cars, banners, and costumes for a triumphal procession in honour of Leo X.'s elevation to the papal chair; and he organised a very suggestive array of the ages of man, illustrated historically. He decorated the Papal Hall for Leo X.'s entrance, and later began to be employed on more serious and lasting works.