"Andrea del Sarto" (also called "The Faultless Painter") is a poem by Robert Browning (1812–1889) published in his 1855 poetry collection, Men and Women. It is a dramatic monologue, a form of poetry for which he is famous, about the Italian painter Andrea del Sarto. Overview "Andrea del Sarto" is one of Browning's dramatic monologues that shows that Browning is trying to create art that allows for the body and the soul to both be portrayed rather than just the body or just the soul. The poem is in blank verse and mainly uses iambic pentameter. The poem was inspired by Andrea del Sarto, originally named Andrea d'Agnolo, a renaissance artist. The historical del Sarto was born in Florence, Italy on July 16, 1486 and died in Florence, Italy on September 29, 1530. Del Sarto was the pupil of Piero di Cosimo. del Sarto was influenced by Raphael, Leonardo da Vinci and Fra' Bartolommeo. He began to produce work in 1506. His work stems from traditional Quattrocento painting. Del Sarto was revered for his art; some called him Andrea senza errori, the unerring. In his poem, Browning cedes the paintings are free of errors, but that alone does not make a piece of art special or evocative. The poem is based on biographical material by Giorgio Vasari. Form Two thirds of Browning's poetic works are written in unrhymed pentameters. Browning is considered one of the foremost innovators of the dramatic monologue, though he was little known by contemporary Victorians. Critics of his time commented on his lack of rhyme scheme, known as blank verse. Browning is also known for his originality, dramatic style and fresh subject matter for the time, which complemented his lack of rhyme scheme. Browning places his reader in the scene through his use of temporal adverbs. The first line is an example, where the narrator suggests "But do not let us quarrel any more." “Any more” (as used here) is a temporal adverb which also functions as a subordinate progressive. This literary tactic puts the reader inside the action by allowing them to look both forwards and backwards in the situation. Browning creates an internal world for his reader by giving them insight into how the narrator interprets the whole scene, not just the words spoken: line four, "You turn your face, but does it bring your heart?" refers to how the narrator is interpreting Lucrezia's