Andrea painted her often, notably in the fresco of the "Nativity of the Virgin," to which we shall soon come at the Annunziata: a fine statuesque woman by no means unwilling to have the most popular artist in Florence as her slave.
Of the rest of Andrea's life I need say little.

He grew steadily in favour and was always busy; he met Michelangelo and admired him, and Michelangelo warned Raphael in Rome of a little fellow in Florence who would "make him sweat".

Browning, in his monologue, makes this remark of Michelangelo's, and the comparison between Andrea and Raphael that follows, the kernel of the poem.
Like Leonardo and Rustici, Andrea accepted, in 1518, an invitation from Francis I to visit Paris and once there began to paint for that royal patron.

But although his wife did not love him, she wanted him back, and in the midst of his success he returned, taking with him a large sum of money from Francis with which to buy for the king works of art in Italy.

That money he misapplied to his own extravagant ends, and although Francis took no punitive steps, the event cannot have improved either Andrea's position or his peace of mind; while it caused Francis to vow that he had done with Florentines.