The first pictures of Paolo were in fresco, in an oblong niche painted in perspective, at the Hospital of Lelmo--namely, a figure of S. Anthony the Abbot, with S. Cosimo on one side and S. Damiano on the other. In the Annalena, a convent of nuns, he made two figures; and within the Church of S. Trinita, over the left-hand door, he painted stories of S. Francis in fresco--namely, the receiving of the Stigmata; the supporting of the Church, which he is upholding with his shoulders; and his conference with S. Dominic. In S. Maria Maggiore, also, in a chapel near the side-door which leads to S. Giovanni, where there are the panel and predella of Masaccio, he wrought an Annunciation in fresco, wherein he made a building worthy of consideration, which was something new and difficult in those times, seeing that it was the first possessing any beauty of manner which was seen by craftsmen, showing them with grace and proportion how to manage the receding of lines, and how to give so great an extent to a level space which is small and confined, that it appears far distant and large; and when to this, with judgment and grace, men can add shadows and lights by means of colours in their proper places, there is no doubt that they cause an illusion to the eye, so that it appears that the painting is real and in relief. And not being satisfied with this, he wished to demonstrate even greater difficulties in some columns, which, foreshortened in perspective, curve round and break the salient angle of the vaulting wherein are the four Evangelists; which was held something beautiful and difficult, and, in truth, in that branch of his profession Paolo was ingenious and able.