There was wanting only one scene in the cloister of the Scalzo for it to be completely finished; wherefore Andrea, who had added grandeur to his manner after having seen the figures that Michelagnolo had begun and partly finished for the Sacristy of S. Lorenzo, set his hand to executing this last scene. In this, giving the final proof of his improvement, he painted the Birth of S. John the Baptist, with figures that were very beautiful and much better and stronger in relief than the others made by him before in the same place. Most beautiful, among others in this work, are a woman who is carrying the newborn babe to the bed on which lies S. Elizabeth, who is likewise a most lovely figure, and Zacharias, who is writing on a paper that he has placed on his knee, holding it with one hand and with the other writing the name of his son, and all with such vivacity, that he lacks nothing save the breath of life. Most beautiful, also, is an old woman who is seated on a stool, smiling with gladness at the delivery of the other aged woman, and revealing in her attitude and expression all that would be seen in a living person after such an event. Having finished that work, which is certainly well worthy of all praise, he painted for the General of Vallombrosa a panel-picture with four very lovely figures, S. John the Baptist, S. Giovanni Gualberto, founder of that Order, S. Michelagnolo, and S. Bernardo, a Cardinal and a monk of the Order, with some little boys in the centre that could not be more vivacious or more beautiful. This panel is at Vallombrosa, on the summit of a rocky height, where certain monks live in some rooms called "the cells," separated from the others, and leading as it were the lives of hermits. After this he was commissioned by Giuliano Scala to paint a panel-picture, which was to be sent to Serrazzana, of a Madonna seated with the Child in her arms, and two half-length figures from the knees upwards, S. Celso and S. Julia, with S. Onofrio, S. Catharine, S. Benedict, S. Anthony of Padua, S. Peter, and S. Mark; which panel was held to be equal to the other works of Andrea. And in the hands of Giuliano Scala, in place of the balance due to him of a sum of money that he had paid for the owners of that work, there remained a lunette containing an Annunciation, which was to go above the panel, to complete it; and it is now in his chapel in the great tribune round the choir of the Church of the Servi.