This work, which was very beautiful and more highly extolled than any other that was executed by Pietro in Perugia, is now held in great price by the men of that city in memory of so famous a craftsman of their own country. Afterwards, in the principal chapel of the Church of S. Agostino, the same man executed a large panel standing by itself and surrounded by a rich ornament, with S. John baptizing Christ on the front part, and on the back--that is, on the side that faces the choir--the Nativity of Christ, with certain saints in the upper parts, and in the predella many scenes wrought very diligently with little figures. And in the Chapel of S. Niccolo, in the said church, he painted a panel for Messer Benedetto Calera. After this, returning to Florence, he painted a S. Bernard on a panel for the Monks of Cestello, and in the chapter-house a Crucifix, the Madonna, S. Benedict, S. Bernard, and S. John. And in S. Domenico da Fiesole, in the second chapel on the right hand, he painted a panel containing Our Lady and three figures, among which is a S. Sebastian worthy of the highest praise. Now Pietro had done so much work, and he always had so many works in hand, that he would very often use the same subjects; and he had reduced the theory of his art to a manner so fixed, that he made all his figures with the same expression. By that time Michelagnolo Buonarroti had already come to the front, and Pietro greatly desired to see his figures, by reason of the praise bestowed on him by craftsmen; and seeing the greatness of his own name, which he had acquired in every place through so grand a beginning, being obscured, he was ever seeking to wound his fellow-workers with biting words. For this reason, besides certain insults aimed at him by the craftsmen, he had only himself to blame when Michelagnolo told him in public that he was a clumsy fool at his art. But Pietro being unable to swallow such an affront, they both appeared before the Tribunal of Eight, where Pietro came off with little honour. Meanwhile the Servite Friars of Florence, wishing to have the altar-piece of their high-altar painted by some famous master, had handed it over, by reason of the departure of Leonardo da Vinci, who had gone off to France, to Filippino; but he, when he had finished half of one of two panels that were to adorn the altar, passed from this life to the next; wherefore the friars, by reason of the faith that they had in Pietro, entrusted him with the whole work. In that panel, wherein he was painting the Deposition of Christ from the Cross, Filippino had finished the figures of Nicodemus that are taking Him down; and Pietro continued the lower part with the Swooning of the Madonna, and certain other figures. Now this work was to be composed of two panels, one facing towards the choir of the friars, and the other towards the body of the church, and the Deposition from the Cross was to be placed behind, facing the choir, with the Assumption of Our Lady in front;