amaldoli,
which was outside the Porta a Pinti and was destroyed in 1529, in the
siege of Florence, Don Lorenzo painted a Coronation of Our Lady, even as
he had also done in the panel for his own Church of the Angeli; and this
panel, painted for S. Benedetto, is to-day in the first cloister of the
said Monastery of the Angeli, in the Chapel of the Alberti, on the right
hand. About the same time, or perchance before, in S. Trinita at
Florence, he painted in fresco the Chapel of the Ardinghelli, with its
panel, which was much praised at that time; and there he made from
nature the portraits of Dante and of Petrarca. In S. Piero Maggiore he
painted the Chapel of the Fioravanti, and the panel in a chapel in S.
Piero Scheraggio; and in the said Church of S. Trinita he painted the
Chapel of the Bartolini. In S. Jacopo Sopra Arno, also, there is seen a
panel by his hand, very well wrought and executed with infinite
diligence according to the manner of those times. In the Certosa without
Florence, likewise, he painted some pictures with good mastery; and in
S. Michele in Pisa, a monastery of his Order, he painted some panels
that are passing good. And in Florence, in the Church of the Romiti[5]
(also belonging to the Order of Camaldoli), which, being in ruins
together with the monastery, has to-day left no memory but the name to
that quarter on the other side of the Arno, which is called Camaldoli
from the name of that holy place, among other works, he painted a
Crucifix on panel, with a S. John, which were held very beautiful.
Finally, falling sick of a cruel imposthume, which kept him suffering
for many months, he died at the age of fifty-five, and was honourably
buried by his fellow-monks, as his virtues deserved, in the
chapter-house of their monastery.

[Footnote 5: Church of the Hermits.]

And because it often happens, as experience shows, that from one
single germ, with time and by means of the study and intelligence of
men, there spring up many, in the said Monastery of the Angeli, where in
former times the monks ever applied themselves to painting and to
design, not only was the said Don Lorenzo excellent among them, but many
men excellent in the matters of design also flourished there for a long
space of time, both before and after him. Wherefore it appears to me by
no means right to pass over in silence one Don Jacopo, a Florentine, who
lived long before the said Don Lorenzo, for the reason that, even as he
was a ve