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.

He took a pupil with him, but he left his wife at home. At the court
of Francis I. he was received with great honours, and amid those new
and gracious surroundings, away from the tantalising charms of his
wife and her shrewish tongue, he began to have an honest ambition to
do great things. His work for France was undertaken with enthusiasm,
but no sooner was he settled and at peace, than the irrepressible wife
began to torment him with letters to return. Each letter distracted
him more and more, till he told the King in his despair, that he must
return home, but that he would come back to France and continue his
work, almost at once. Francis I., little suspecting the cause of
Andrea's uneasiness, gave him permission to go, and also a large sum
of money to spend upon certain fine works of art which he was to bring
back to France.

We can well believe that Andrea started back to his home with every
good intention; that he meant to appease his wife and also his own
longing to see her; to buy the King his pictures with the money
entrusted to him, and to return to France and finish his work; but,
alas, he no sooner got back to his wife than his virtuous purpose
fled. She wanted this; she wanted that--and especially she wanted a