Not long after this, on the occasion of a festival, the friars wished that the scenes of Andrea, and likewise that of Francia, should be uncovered; and the night after Francia had finished his with the exception of the base, they were so rash and presumptuous as to uncover them, not thinking, in their ignorance of art, that Francia would want to retouch or otherwise change his figures. In the morning, both the painting of Francia and those of Andrea were open to view, and the news was brought to Francia that Andrea's works and his own had been uncovered; at which he felt such resentment, that he was like to die of it. Seized with anger against the friars on account of their presumption and the little respect that they had shown to him, he set off at his best speed and came up to the work; and then, climbing on to the staging, which had not yet been taken to pieces, although the painting had been uncovered, and seizing a mason's hammer that was there, he beat some of the women's heads to fragments, and destroyed that of the Madonna, and also tore almost completely away from the wall, plaster and all, a nude figure that is breaking a rod. Hearing the noise, the friars ran up, and, with the help of some laymen, seized his hands, to prevent him from destroying it completely. But, although in time they offered to give him double payment, he, on account of the hatred that he had conceived for them, would never restore it. By reason of the reverence felt by other painters both for him and for the work, they have refused to finish it; and so it remains, even in our own day, as a memorial of that event. This fresco is executed with such diligence and so much love, and it is so beautiful in its freshness, that Francia may be said to have worked better in fresco than any man of his time, and to have blended and harmonized his paintings in fresco better than any other, without needing to retouch the colours; wherefore he deserves to be much extolled both for this and for his other works. At Rovezzano, without the Porta alla Croce, near Florence, he painted a shrine with a Christ on the Cross and some saints; and in S. Giovannino, at the Porta a S. Piero Gattolini, he executed a Last Supper of the Apostles in fresco.