But finally, when death had come upon Raffaello, Pellegrino returned to Modena, where he executed many works; among others, he painted for a Confraternity of Flagellants a panel-picture in oils of S. John baptizing Christ, and another panel for the Church of the Servi, containing S. Cosimo and S. Damiano, with other figures. Afterwards, having taken a wife, he had a son, who was the cause of his death. For this son, having come to words with some companions, young men of Modena, killed one of them; the news of which being carried to Pellegrino, he, in order to help his son from falling into the hands of justice, set out to smuggle him away. But he had not gone far from his house, when he stumbled against the relatives of the dead youth, who were going about searching for the murderer; and they, confronting Pellegrino, who had no time to escape, and full of fury because they had not been able to catch his son, gave him so many wounds that they left him dead on the ground. This event was a great grief to the people of Modena, who knew that by the death of Pellegrino they had been robbed of a spirit truly excellent and rare. A contemporary of this craftsman was the Milanese Gaudenzio, a resolute, well-practised, and excellent painter, who made many works in fresco at Milan; and in particular, for the Frati della Passione, a most beautiful Last Supper, which remained unfinished by reason of his death. He also painted very well in oils, and there are many highly-esteemed works by his hand at Vercelli and Veralla. ANDREA DEL SARTO LIFE OF ANDREA DEL SARTO A MOST EXCELLENT PAINTER OF FLORENCE At length, after the Lives of many craftsmen who have been excellent, some in colouring, some in drawing, and others in invention, we have come to the most excellent Andrea del Sarto, in whose single person nature and art demonstrated all that painting can achieve by means of draughtsmanship, colouring, and invention, insomuch that, if Andrea had possessed a little more fire and boldness of spirit, to correspond to his profound genius and judgment in his art, without a doubt he would have had no equal. But a certain timidity of spirit and a sort of humility and simplicity in his nature made it impossible that there should be seen in him that glowing ardour and that boldness which, added to his other qualities, would have made him truly divine in painting; for which reason he lacked those adornments and that grandeur and abundance of manners which have been seen in many other painters. His figures, however, for all their simplicity and purity, are well conceived, free from errors, and absolutely perfect in every respect. The expressions of his heads, both in children and in women, are gracious and natural, and those of men, both young and old, admirable in their vivacity and animation; his draperies are beautiful to a marvel, and his nudes very well conceived. And although his drawing is simple, all that he coloured is rare and truly divine.