tom of the frame. He also
painted a picture for the monastery of S. Benedetto of the same order
of the Camaldoli, outside the Pinti gate, destroyed at the siege of
Florence in 1529. It represented the Coronation of Our Lady and
resembled the one he had previously done for the church of the
Angeli. It is now in the first cloister of the monastery of the
Angeli, on the right hand side in the chapel of the Alberti. At the
same time, and possibly before, he painted in fresco the chapel and
altar picture of the Ardinghelli in S. Trinita, Florence, which was
then much admired, and into this he introduced portraits of Dante and
Petrarch. In S. Piero Maggiore he painted the chapel of the
Fioravanti and in a chapel of S. Piero Scheraggio he did the altar
picture, while in the church of S. Trinita he further painted the
chapel of the Bartolini. In S. Jacopo sopra Arno a picture by his
hand may still be seen, executed with infinite diligence, after the
manner of the time. Also in the Certosa outside Florence he painted
some things with considerable skill, and in S. Michele at Pisa, a
monastery of his own order, he did some very fair pictures. In
Florence, in the church of the Romiti (Hermits), which also belonged
to the Camaldolines, and which is now in ruins as well as the
monastery, leaving nothing but its name Camaldoli to that part beyond
the Arno, he did a crucifix on a panel, besides many other things,
and a St John, which were considered very beautiful. At last he fell
sick of a cruel abscess, and after lingering for many months he died
at the age of fifty-five, and was honourably buried by the monks in
the chapter-house of their monastery as his virtues demanded.

Experience shows that in the course of time many shoots frequently
spring from a single germ owing to the diligence and ability of men,
and so it was in the monastery of the Angeli, where the monks had
always paid considerable attention to painting and design. Don
Lorenzo was not the only excellent artist among them, but men
distinguished in design flourished there for a long time both before
and after him. Thus I cannot possibly pass over in silence one Don
Jacopo of Florence, who flourished a long time before D. Lorenzo,
because as he was the best and most methodical of monks, so he was
the best writer of large letters who has ever existed before or
since, not only in Tuscany but in all Europe, as is clearly testified
not only by the twenty large choir books w