After the partnership with his friend, he undertook to paint some frescoes independently, and that work earned for him the name of "Andrea senza Errori"--Andrea the Unerring. Then, as now, each artist had his own way of working, and Andrea's was perhaps the most difficult of all, yet the most genius-like. There were those, Michael Angelo for example, who laid in backgrounds for their paintings; but Andrea painted his subject upon the wet plaster, precisely as he meant it to be when finished. He was unlike the moody Michael Angelo; unlike the gentle Raphael; unlike the fastidious Van Dyck who came long afterward; he was hail-fellow-well-met among his associates, though often given over to dreaminess. He belonged to a jolly club named the "Kettle Club," literally, the Company of the Kettle; and to another called "The Trowel," both suggesting an all around good time and much good fellowship The members of these clubs were expected to contribute to their wonderful suppers, and Andrea on one occasion made a great temple, in imitation of the Baptistry, of jelly with columns of sausages, white birds and pigeons represented the choir and priests. Besides being "Andrew the Unerring," and a "Merry Andrew," he was also the "Tailor's Andrew," a man in short upon whom a nickname sat comfortably. He helped to make the history of the "Company of the Kettle," for he recited and probably composed a touching ballad called "The Battle of the Mice and the Frogs," which doubtless had its origin in a poem of Homer's. But all at once, in the midst of his gay careless life came his tragedy; he fell in love with a hatter's wife. This was quite bad enough, but worse was to come, for the hatter shortly died, and the widow was free to marry Andrea. After his marriage Andrea began painting a series of Madonnas, seemingly for no better purpose than to exhibit his wife's beauty over and over again. He lost his ambition and forgot everything but his love for this unworthy woman. She was entirely commonplace, incapable of inspiring true genius or honesty of purpose. A great art critic, Vasari, who was Andrea's pupil during this time, has written that the wife, Lucretia, was abominable in every way. A vixen, she tormented Andrea from morning till night with her bitter tongue. She did not love him in the least, but only what his money could buy for her, for she was extravagant, and drove the sensitive artist to his grave while she outlived him forty years. About the time of the artist's marriage he painted one fresco, "The Procession of the Magi," in which he placed a very splendid substitute for his wife, namely himself. Afterward he painted the Dead Christ which found its way to France and it laid the foundation for Andrea's wrongdoing. This picture was greatly admired by the King of France who above all else was a lover of art. Francis I. asked Andrea to go to his court, as he had commissions for him. He made Andrea a money offer and to court he went.