The doorway to the Cloister of the Dead is topped by this artist's lunette of Joseph reading while resting on a large white sack. This artist shared his studio with sculptor Jacopo Sansovino, whose terracotta model of St. John he used for one painting. While this artist visited France, Franciabigio painted two scenes in a series of grisaille frescoes this artist did for a cloister of the Confraternity of St. John the Baptist, the Chiostro dello Scalzo. This artist of two
The doorway to the Cloister of the Dead is topped by this artist's lunette of Joseph reading while resting on a large white sack. This artist shared his studio with sculptor Jacopo Sansovino, whose terracotta model of St. John he used for one painting. While this artist visited France, Franciabigio painted two scenes in a series of grisaille frescoes this artist did for a cloister of the Confraternity of St. John the Baptist, the Chiostro dello Scalzo. This artist of two compositionally similar depictions of the Assumption, titled for (*) Passerini and Panciatichi, married the widowed Lucrezia del Fede. A painting by this artist shows two putti clutching Mary's legs as she stands on a pedestal adorned with sculptures of the title winged mythological figures. For 10 points, name this early Mannerist "faultless painter" of the Madonna of the Harpies.
The doorway to the Cloister of the Dead is topped by this artist's lunette of Joseph reading while resting on a large white sack.
Andrea del Sarto [accepted either underlined portion; accept Andrea d'Agnolo]