All these conceptions are truly very beautiful, and serve to show to others how great is the value of invention and of knowing how to express emotions in pictures; and this he remembered so well, that in those who are burying S. Stephen he made gestures so dolorous, and some faces so afflicted and broken with weeping, that it is scarcely possible to look at them without being moved. On the other side he painted the Birth of S. John the Baptist, the Preaching, the Baptism, the Feast of Herod, and the Beheading of the Saint. Here, in his countenance as he is preaching, there is seen the Divine Spirit; with various emotions in the multitude that is listening, joy and sorrow both in the women and in the men, who are all hanging intently on the teaching of S. John. In the Baptism are seen beauty and goodness; and, in the Feast of Herod, the majesty of the banquet, the dexterity of Herodias, the astonishment of the company, and their immeasurable grief when the severed head is presented in the charger. Round the banqueting-table are seen innumerable figures with very beautiful attitudes, and with good execution both in the draperies and in the expressions of the faces. Among these, with a mirror, he portrayed himself dressed in the black habit of a prelate; and he made a portrait of his disciple Fra Diamante among those who are bewailing S. Stephen. This work is in truth the most excellent of all his paintings, both for the reasons mentioned above, and because he made the figures somewhat larger than life, which encouraged those who came after him to give grandeur to their manner. So greatly was he esteemed for his excellent gifts, that many circumstances in his life that were worthy of blame were passed over in consideration of the eminence of his great talents. In this work he portrayed Messer Carlo, the natural son of Cosimo de' Medici, who was then Provost of that church, which received great benefactions from him and from his house.