that he seems to lack
nothing save speech. This panel was removed from that place on
account of the siege, and placed for safety in the Sacristy of the
Badia of Florence. In S. Spirito in the same city, for Tanai de'
Nerli, he painted a panel with Our Lady, S. Martin, S. Nicholas, and
S. Catherine; with a panel in the Chapel of the Rucellai in S.
Pancrazio, and a Crucifix and two figures on a ground of gold in S.
Raffaello. In front of the Sacristy of S. Francesco, without the
Porta a S. Miniato, he made a God the Father, with a number of
children. At Palco, a seat of the Frati del Zoccolo, without Prato,
he painted a panel; and in the Audience Chamber of the Priori in
that territory he executed a little panel containing the Madonna, S.
Stephen, and S. John the Baptist, which has been much extolled. On
the Canto al Mercatale, also in Prato, in a shrine opposite to the
Nuns of S. Margherita, and near some houses belonging to them, he
painted in fresco a very beautiful Madonna, with a choir of
seraphim, on a ground of dazzling light. In this work, among other
things, he showed art and beautiful judgment in a dragon that is at
the feet of S. Margaret, which is so strange and horrible, that it
is revealed to us as a true fount of venom, fire, and death; and the
whole of the rest of the work is so fresh and vivacious in
colouring, that it deserves infinite praise.

He also wrought certain things in Lucca, particularly a panel in a
chapel of the Church of S. Ponziano, which belongs to the Monks of
Monte Oliveto; in the centre of which chapel there is a niche
containing a very beautiful S. Anthony in relief by the hand of
Andrea Sansovino, a most excellent sculptor. Being invited to go to
Hungary by King Matthias, Filippo refused, but made up for this by
painting two very beautiful panels for that King in Florence, and
sending them to him; and in one of these he made a portrait of the
King, taken from his likeness on medals. He also sent certain works
to Genoa; and beside the Chapel of the High-Altar in S. Domenico at
Bologna, on the left hand, he painted a S. Sebastian on a panel,
which was a thing worthy of much praise. For Tanai de' Nerli he
executed another panel in S. Salvadore, without Florence; and for
his friend Piero del Pugliese he painted a scene with little
figures, executed with so much art and diligence that when another
citizen besought him to make a second like it, he refused, saying
that it was not possible