Andrea Salai, or Salaino, was, from similar qualities, a great favourite with Vinci, who chose him according to the language of the times, as his _creato_, using him as a model for beautiful figures, both of a human and angelic cast. He instructed him, as we are told by Vasari, in matters pertaining to the art, and retouched his labours, which I think must gradually have changed their name; as a Salai is not now esteemed like a Vinci. There is a St. John the Baptist pointed out as his, elegant, but rather dry, in the archbishop's palace; a very animated portrait of a man, in the Aresi palace; with a few other pieces. His picture in the sacristy of S. Celso, is more particularly celebrated. It was drawn from the cartoon of Lionardo, executed at Florence, and so greatly applauded, that the citizens ran to behold it, as they would have done some great solemnity. Vasari calls it the cartoon of St. Anna, who, with the Virgin, is seen fondling the Holy Child, while the infant John the Baptist is playing with him. Subsequently, this cartoon rose into such repute, that when Francis I. invited Vinci to his court, he entreated that he would undertake the colouring; but the latter, says Vasari, according to his custom, amused him a long while with words. It appears, moreover, from a letter of P. Resta, inserted in the third volume of the Lettere Pittoriche, that Vinci formed three cartoons of his St. Anna, one of which was coloured by Salai. This artist admirably fulfilled the design of the inventor, in the taste of his well harmonised and low colours, in the agreeable character of his landscape, and in grand effect. In the same sacristy, opposite to it, was placed, for some time, a Holy Family by Raffaello, now removed to Vienna; nor did it shrink from such competition. A similar copy of the same cartoon was obtained from Vienna for our reigning sovereign, Ferdinand III. and now adorns the ducal gallery at Florence, likewise, perhaps, from the hand of Salai.