The fancy took him, in order to show that he was able to make large figures--for he had been told that his manner was that of a miniaturist--to paint on panel, for the wall in which is the door of the choir, a figure of S. Mark the Evangelist, five braccia in height, and executed with very good draughtsmanship and supreme excellence. After this, Salvadore Billi, a Florentine merchant, on his return from Naples, having heard the fame of Fra Bartolommeo, and having seen his works, caused him to paint a panel-picture of Christ the Saviour, in allusion to his own name, with the four Evangelists round Him; wherein, at the foot, are also two little boys upholding the globe of the world, whose flesh, fresh and tender, is excellently painted, as is the whole work, in which there are likewise two prophets that are much extolled. This panel stands in the Nunziata at Florence, below the great organ, according to the wish of Salvadore; it is a very beautiful work, finished by Fra Bartolommeo with much lovingness and great perfection; and it is surrounded by an ornament of marble, all carved by the hand of Pietro Rosselli. Afterwards, having need of a change of air, the Prior at that time, who was his friend, sent him away to a monastery of his Order, wherein, while he stayed there, he combined the labour of his hands with the contemplation of death, with profit[16] both for his soul and for the convent. For S. Martino in Lucca he painted a panel wherein, at the feet of a Madonna, there is a little angel playing on a lute, together with S. Stephen and S. John; in which picture, executed with excellent draughtsmanship and colouring, he proved his ability. For S. Romano, likewise, he painted a panel on canvas of the Madonna della Misericordia, who is placed on a pedestal of stone, with some angels holding her mantle; and together with her he depicted a throng of people on some steps, some standing, others seated, and others kneeling, but all gazing at a figure of Christ on high, who is sending down lightnings and thunderbolts upon the people. Clearly did Fra Bartolommeo prove in this work how well he was able to manage the gradation of shadows and darks in painting, giving extraordinary relief to his figures, and showing a rare and excellent mastery over the difficulties of his art in colouring, drawing, and invention; and the work is as perfect as any that he ever made. For the same church he painted another panel, also on canvas, containing a Christ and S. Catherine the Martyr, together with a S. Catherine of Siena, rapt in ecstasy from the earth, a figure as good as any that could possibly be painted in that manner. [Illustration: GOD THE FATHER, WITH SS. MARY MAGDALEN AND CATHARINE (_After the painting by =Fra Bartolommeo di San Marco=. Lucca: Gallery, 12_) _Alinari_]