At the same time, and in the same church, he painted in colours the hour-dial above the principal door within the church, with four heads coloured in fresco at the corners. He wrought in terra-verde, also, the loggia that faces towards the west above the garden of the Monastery of the Angeli, painting below each arch a story of the acts of S. Benedict the Abbot, and of the most notable events of his life, up to his death. Here, among many most beautiful scenes, there is one wherein a monastery is destroyed by the agency of the Devil, while a friar is left dead below the stones and beams. No less notable is the terror of another monk, whose draperies, as he flies, cling round his nude form and flutter with most beautiful grace; whereby Paolo awakened the minds of the craftsmen so greatly, that they have ever afterwards followed that method. Very beautiful, also, is the figure of S. Benedict, the while that with dignity and devoutness, in the presence of his monks, he restores the dead friar to life. Finally, in all these stories there are features worthy of consideration, and above all in certain places where the very tiles of the roof, whether flat or round, are drawn in perspective. And in the death of S. Benedict, while his monks are performing his obsequies and bewailing him, there are some sick men and cripples, all most beautiful, who stand gazing on him; and it is noticeable, also, that among many loving and devout followers of that Saint there is an old monk with crutches under his arms, in whom there is seen a marvellous expression, with even a hope of being made whole. In this work there are no landscapes in colour, nor many buildings, nor difficult perspectives, but there is truly great design, with no little of the good. In many houses of Florence there are many pictures in perspective by the hand of the same man, for the adornment of couches, beds, and other little things; and in Gualfonda, in particular, on a terrace in the garden which once belonged to the Bartolini, there are four battle-scenes painted on wood by his hand, full of horses and armed men, with very beautiful costumes of those days; and among the men are portraits of Paolo Orsino, Ottobuono da Parma, Luca da Canale, and Carlo Malatesti, Lord of Rimini, all captains-general of those times. And these pictures, since they were spoilt and had suffered injury, were restored in our own day by the agency of Giuliano Bugiardini, who did them more harm than good.