About the same time the elder Bartolommeo Panciatichi, who was carrying on a great mercantile business in France, desiring to leave a memorial of himself in Lyons, ordered Baccio d' Agnolo to have a panel painted for him by Andrea, and to send it to him there; saying that he wanted the subject to be the Assumption of Our Lady, with the Apostles about the tomb. This work, then, Andrea carried almost to completion; but since the wood of the panel split apart several times, he would sometimes work at it, and sometimes leave it alone, so that at his death it remained not quite finished. Afterwards it was placed by the younger Bartolommeo Panciatichi in his house, as a work truly worthy of praise on account of the beautiful figures of the Apostles; not to speak of the Madonna, who is surrounded by a choir of little boys standing, while certain others are supporting her and bearing her upwards with extraordinary grace. And in the foreground of the panel, among the Apostles, is a portrait of Andrea, so natural that it seems to be alive. It is now at the villa of the Baroncelli, a little distance from Florence, in a small church built by Piero Salviati near his villa to do honour to the picture. At the head of the garden of the Servi, in two angles, Andrea painted two scenes of Christ's Vineyard, one showing the planting, staking, and binding of the vines, and then the husbandman summoning to the labour those who were standing idle, among whom is one who, being asked whether he wishes to join the work, sits rubbing his hands and pondering whether he will go among the other labourers, exactly as those idle fellows do who have but little mind to work. Even more beautiful is the other scene, wherein the same husbandman is causing them to be paid, while they murmur and complain, and one among them, who is counting over his money by himself, wholly intent on examining his share, seems absolutely alive, as also does the steward who is paying out the wages. These scenes are in chiaroscuro, and executed with extraordinary mastery in fresco. After them he painted a Pieta, coloured in fresco, which is very beautiful, in a niche at the head of a staircase in the noviciate of the same convent. He also painted another Pieta in a little picture in oils, in addition to a Nativity, for the room in that convent wherein the General, Angelo Aretino, once lived. The same master painted for Zanobi Bracci, who much desired to have some work by his hand, for one of his apartments, a picture of Our Lady, in which she is on her knees, leaning against a rock, and contemplating Christ, who lies on a heap of drapery and looks up at her, smiling; while a S. John, who stands there, is making a sign to the Madonna, as if to say that her Child is the true Son of God. Behind these figures is a S. Joseph with his head resting on his hands, which are lying on a rock; and he appears to be filled with joy at seeing the human race become divine through that Birth.