But the Warden Bastiano, perceiving the slowness of the man, and wishing to bring the work to an end, allotted the three other panels to Giorgio Vasari of Arezzo, who finished two of them, those that are beside the door of the facade. In the one nearer the Campo Santo is Our Lady with the Child in her arms, with S. Martha caressing Him. There, also, on their knees, are S. Cecilia, S. Augustine, S. Joseph, and S. Guido the Hermit, and in the foreground a nude S. Jerome, with S. Luke the Evangelist, and some little boys uplifting a piece of drapery, and others holding flowers. In the other, by the wish of the Warden, he painted another Madonna with her Son in her arms, S. James the Martyr, S. Matthew, S. Sylvester the Pope, and S. Turpe the Chevalier. Having to paint the Madonna, and not wishing to repeat the same composition (although he had varied it much in other respects), he made her with Christ dead in her arms, and those saints as it were round a Deposition from the Cross; and on the crosses, planted on high and made of tree-trunks, are fixed two naked Thieves, surrounded by horses and ministers of the crucifixion, with Joseph, Nicodemus, and the Maries; all for the satisfaction of the Warden, who wished that in those new pictures there should be included all the saints that there had been in the past in the various dismantled chapels, in order to renew their memory in the new works. One picture was still wanting to complete the whole, and this was executed by Bronzino, who painted a nude Christ and eight saints. And in this manner were those chapels brought to completion, all of which Giovanni Antonio could have done with his own hand if he had not been so slow. And since Sogliani had won much favour with the Pisans, after the death of Andrea del Sarto he was commissioned to finish a panel for the Company of S. Francesco, which the said Andrea left only sketched; which panel is now in the building of that Company on the Piazza di S. Francesco at Pisa. The same master executed some rows of cloth-hangings for the Wardens of Works of the aforesaid Duomo, and many others in Florence, because he took pleasure in doing that sort of work, and above all in company with his friend Tommaso di Stefano, a painter of Florence.