Thereupon Andrea, following the art of painting and devoting himself heart and soul to its studies, displayed very great intelligence in the difficulties of that art, above all in draughtsmanship. But he was not so successful in the colouring of his works, which he made somewhat crude and harsh, thus impairing to a great extent their excellence and grace, and depriving them, above all, of a certain quality of loveliness, which is not found in his colouring. He showed very great boldness in the movements of his figures and much vehemence in the heads both of men and of women, making them grave in aspect and excellent in draughtsmanship. There are works coloured in fresco, painted by his hand in his early youth, in the cloister of S. Miniato al Monte as one descends from the church to go into the convent, including a story of S. Miniato and S. Cresci leaving their father and mother. In S. Benedetto, a most beautiful monastery without the Porta a Pinti, both in a cloister and in the church, there were many pictures by the hand of Andrea, of which there is no need to make mention, since they were thrown to the ground in the siege of Florence. Within the city, in the first cloister of the Monastery of the Monks of the Angeli, opposite to the principal door, he painted the Crucifix that is still there to-day, with the Madonna, S. John, S. Benedict, and S. Romualdo; and at the head of the cloister, which is above the garden, he made another like it, only varying the heads and a few other details. In S. Trinita, beside the Chapel of Maestro Luca, he painted a S. Andrew. In a hall at Legnaia he painted many illustrious men for Pandolfo Pandolfini; and a standard to be borne in processions, which is held very beautiful, for the Company of the Evangelist. In certain chapels of the Church of the Servi in the said city he wrought three flat niches in fresco. In one of these, that of S. Giuliano, there are scenes from the life of that Saint, with a good number of figures, and a dog in foreshortening that was much extolled. Above this, in the chapel dedicated to S. Girolamo, he painted that Saint shaven and wasted away, with good design and great diligence. Over this he painted a Trinity, with a Crucifix so well foreshortened that Andrea deserves to be greatly extolled for it, seeing that he executed the foreshortenings with a much better and more modern manner than the others before him had shown; but this picture, having been afterwards covered with a panel by the family of the Montaguti, can no longer be seen. In the third, which is beside the one below the organ, and which was erected by Messer Orlando de' Medici, he painted Lazarus, Martha, and the Magdalene. For the Nuns of S. Giuliano, over their door, he made a Crucifix in fresco, with a Madonna, a S. Dominic, a S. Julian, and a S. John; which picture, one of the best that Andrea ever made, is universally praised by all craftsmen.