The while that he was working on this chapel, he also painted a panel, which was placed on the altar of S. Luca in S. Justina, and afterwards he wrought in fresco the arch that is over the door of S. Antonino, on which he wrote his name. In Verona he painted a panel for the altar of S. Cristofano and S. Antonio, and he made some figures at the corner of the Piazza della Paglía. In S. Maria in Organo, for the Monks of Monte Oliveto, he painted the panel of the high-altar, which is most beautiful, and likewise that of S. Zeno. And among other things that he wrought while living in Verona and sent to various places, one, which came into the hands of an Abbot of the Abbey of Fiesole, his friend and relative, was a picture containing a half-length Madonna with the Child in her arms, and certain heads of angels singing, wrought with admirable grace; which picture, now to be seen in the library of that place, has been held from that time to our own to be a rare thing.
Now, the while that he lived in Mantua, he had laboured much in the service of the Marquis Lodovico Gonzaga, and that lord, who always showed no little esteem and favour towards the talent of Andrea, caused him to paint a little panel for the Chapel of the Castle of Mantua; in which panel there are scenes with figures not very large but most beautiful. In the same place are many figures foreshortened from below upwards, which are greatly extolled, for although his treatment of the draperies was somewhat hard and precise, and his manner rather dry, yet everything there is seen to have been wrought with much art and diligence. For the same Marquis, in a hall of the Palace of S. Sebastiano in Mantua, he painted the Triumph of Cæsar, which is the best thing that he ever executed. In this work we see, grouped with most beautiful design in the triumph, the ornate and lovely car, the man who is vituperating the triumphant Cæsar, and the relatives, the perfumes, the incense, the sacrifices, the priests, the bulls crowned for the sacrifice, the prisoners, the booty won by the soldiers, the ranks of the squadrons, the elephants, the spoils, the victories, the cities and fortresses counterfeited in various cars, with an infinity of trophies borne on spears, and a variety of helmets and body-armour, head-dresses, and ornaments and vases innumerable; and in the multitude of spectators is a woman holding the hand of a boy, who, having pierced his foot with a thorn, is showing it, weeping, to his mother, in a graceful and very lifelike manner. Andrea, as I may have pointed out elsewhere, had a good and beautiful idea in this scene, for, having set the plane on which the figures stood higher than the level of the eye, he placed the feet of the foremost on the outer edge and outline of that plane, making the others recede inwards little by little, so that their feet and legs were lost to sight in the proportion required by the point of view; and so, too, with the spoils, vases, and other instruments and ornaments, of which he showed only the lower part, concealing the upper, as was required by the rules of perspective; which same consideration was also observed with much diligence by Andrea degli Impiccati[30] in the Last Supper, which is in the Refectory of S. Maria Nuova. Wherefore it is seen that in that age these able masters set about investigating with much subtlety, and imitating with great labour, the true properties of natural objects. And this whole work, to put it briefly, is as beautiful and as well wrought as it could be; so that if the Marquis loved Andrea before, he loved and honoured him much more ever afterwards.