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82. low-pulsed forthright craftsman’s hand: “Andrea del Sarto’s was, after all, but the ‘low-pulsed forthright craftsman’s hand’, and therefore his perfect art does not touch our hearts like that of Fra Bartolommeo, who occupies about the same position with regard to the great masters of the century as Andrea del Sarto. Fra Bartolommeo spoke from his heart. He was moved by the spirit, so to speak, to express his pure and holy thoughts in beautiful language, and the ideal that presented itself to his mind, and from which he, equally with Raphael, worked, approached almost as closely as Raphael’s to that abstract beauty after which they both longed. Andrea del Sarto had no such longing: he was content with the loveliness of earth. This he could understand and imitate in its fullest perfection, and therefore he troubled himself but little about the ‘wondrous paterne’ laid up in heaven. Many of his Madonnas have greater beauty, strictly speaking, than those of Bartolommeo, or even of Raphael; but we miss in them that mysterious spiritual loveliness that gives the latter their chief charm.” --Heaton’s History of Painting.