In S. Domenico, in the aforesaid Prato, there are two of his panels; and in the tramezzo[12] of the Church of S. Francesco there is a Madonna, in the removing of which from the place where it was at first, it was cut out from the wall on which it was painted, in order not to spoil it, and bound round with wood, and then transported to that wall of the church where it is still to be seen to-day. In a courtyard of the Ceppo of Francesco di Marco, over a well, there is a little panel by the hand of the same man, containing the portrait of the said Francesco di Marco, the creator and founder of that holy place. In the Pieve of the said township, on a little panel over the side-door as one ascends the steps, he painted the Death of S. Bernard, by the touch of whose bier many cripples are being restored to health. In this picture are friars bewailing the death of their master, and it is a marvellous thing to see the beautiful expression of the sadness of lamentation in the heads, counterfeited with great art and resemblance to nature. Here there are draperies in the form of friars' gowns with most beautiful folds, which deserve infinite praise for their good design, colouring, and composition; not to mention the grace and proportion that are seen in the said work, which was executed with the greatest delicacy by the hand of Fra Filippo. The Wardens of Works for the said Pieve, in order to have some memorial of him, commissioned him to paint the Chapel of the High-Altar in that place; and he gave great proof of his worth in that work, which, besides its general excellence and masterliness, contains most admirable draperies and heads. He made the figures therein larger than life, thus introducing to our modern craftsmen the method of giving grandeur to the manner of our own day. There are certain figures with garments little used in those times, whereby he began to incite the minds of men to depart from that simplicity which should be called rather old-fashioned than ancient. In the same work are the stories of S. Stephen (the titular Saint of the said Pieve), distributed over the wall on the right hand--namely, the Disputation, the Stoning, and the Death of that Protomartyr, in whose face, as he disputes with the Jews, Filippo depicted so much zeal and so much fervour, that it is a difficult thing to imagine it, and much more to express it; and in the faces and the various attitudes of the Jews he revealed their hatred, disdain, and anger at seeing themselves overcome by him. Even more clearly did he make manifest the brutality and rage of those who are slaying him with stones, which they have grasped, some large, some small, with a horrible gnashing of teeth, and with gestures wholly cruel and enraged. None the less, amid so terrible an onslaught, S. Stephen, raising his countenance with great calmness to Heaven, is seen making supplication to the Eternal Father with the warmest love and fervour for the very men who are slaying him.