Andrea del Sarto's title in Browning's eyes should be considered “the impeccable painter”. For del Sarto, capturing something beautiful is worth almost everything. But del Sarto finds himself trapped between two identities: that of a husband towards his wife and that of an artist towards his patrons. Andrea del Sarto recognizes that his work as a painter often distances him from his wife, but he also recognizes that his love for his wife has reduced his ability to paint subjects as they are. Of course, del Sarto himself presents only his version of the story, that of a man who tries to support his wife with his work; It would be interesting to see Lucrezia's side of the story. What is fascinating is that Del Sarto's worldview and explanation of his life, the narrative of his existence, appear to be totally sincere, but they are also in many ways deeply contradictory: resentful and loving, taking responsibility and conveying responsibility. In this sense, del Sarto's monologue is clearly a sincere worldview, but it is precisely the kind of view that a real person has: full of inaccuracies and conflicting self-images. One of the crucial clues to the meaning of the poem is the superlative that Andrea del Sarto earned: “Painter without defects”. Del Sarto interpreted this vision of himself as meaning that he managed to be technically perfect but emotionally limited, but that superlative does not seem to indicate only an impeccable technician. Del Sarto has apparently achieved notoriety in his lifetime, yet he is still dissatisfied with his work. In del Sarto's worldview, his wife made sure that he was only technically proficient, not emotionally proficient. But it's quite clear that Del Sarto is actually deeply emotional... a middle of paper... a loving husband and a strong man. Unfortunately, his real world isn't perfect, so he discovers that he's just a flawless but not great painter, a married husband to a woman who spends his money, and a man who can't stand up to his wife. It is indisputable that del Sarto honestly believes all these things. The fact that his beliefs are based on mutually contradictory components does not change the fact that this is clearly the statement of one man's worldview. Browning offers us the image of a man walking through his own self-image and invites the reader to share the uncertainty about Del Sarto. Without ever hearing from others, such as his colleagues, his patrons, and his wife, it is impossible to know the truth; the only thing we can know is what he thought of Sarto and what his vision of the world was, and this is enough to understand the man and his art.