ther in a chapel in the same church; and likewise that one which is
in a little church above the Bernardino, beside the entrance to
Cestello. He painted a standard for the children of the Company of the
said Bernardino, and likewise that of the Company of S. Giorgio, on
which there is an Annunciation. For the aforesaid Nuns of S. Ambrogio he
painted the Chapel of the Miracle of the Sacrament, which is a passing
good work, and is held the best of his in Florence; in this he
counterfeited a procession on the piazza of that church, with the Bishop
bearing the Tabernacle of the said Miracle, accompanied by the clergy
and by an infinity of citizens and women in costumes of those times.
Here, among many others, is a portrait from life of Pico della
Mirandola, so excellently wrought that it appears not a portrait but a
living man. In the Church of S. Martino in Lucca, by the entrance into
the church through the lesser door of the principal facade, on the right
hand, he painted a scene of Nicodemus making the statue of the Holy
Cross, and then that statue being brought by sea in a boat and by land
to Lucca. In this work are many portraits, and in particular that of
Paolo Guinigi, which he copied from one done in clay by Jacopo della
Fonte when the latter made the tomb of Paolo's wife. In S. Marco at
Florence, in the Chapel of the Cloth Weavers, he painted a panel with
the Holy Cross in the middle, and, at the sides, S. Mark, S. John the
Evangelist, S. Antonino, Archbishop of Florence, and other figures.

Being afterwards summoned, with the other painters, to execute the work
that Pope Sixtus IV had undertaken in the Chapel of the Palace, he
laboured there in company with Sandro Botticelli, Domenico Ghirlandajo,
the Abbot of S. Clemente, Luca da Cortona, and Pietro Perugino, and
painted three scenes with his own hand, wherein he depicted the
Submersion of Pharaoh in the Red Sea, the Preaching of Christ to the
people on the shore of the Sea of Tiberias, and the Last Supper of the
Apostles with the Saviour. In this last scene he made an octagonal table
drawn in perspective, with the ceiling above it likewise octagonal, the
eight angles of which he foreshortened so well as to show that he had as
good a knowledge of this art as any of the others. It is said that the
Pope had offered a prize, which was to be given to the man who, in the
judgment of the Pontiff himself, should turn out to have done the best
work in these pictures. The