After his death, the friars uncovered the work, and it was found that what he had done was most beautiful painting, for the reason that in the part where he represented Our Lady visiting S. Elizabeth, there are many women portrayed from life that are very beautiful, and painted with consummate grace. But it may be seen here that this man endured extraordinary labour in all the works that he produced, and that he was not able to execute them with that facility which nature and study are wont at times to give to him who delights in working and exercises his hand continually. And of the truth of this there is also a proof in the same Pace, in the Chapel of Agostino Chigi, where Raffaello had executed the Sibyls and Prophets; for Sebastiano, wishing to paint some things on the stone in the niche that remained to be painted below, in order to surpass Raffaello, caused it to be incrusted with peperino-stone, the joinings being filled in with fired stucco; but he spent so much time on cogitations that he left the wall bare, for, after it had remained thus for ten years, he died. It is true that a few portraits from life could be obtained with ease from Sebastiano, because he could finish these with more facility and promptitude; but it was quite otherwise with stories and other figures. To tell the truth, the painting of portraits from life was his proper vocation, as may be seen from the portrait of Marc' Antonio Colonna, which is so well executed that it seems to be alive, and also from those of Ferdinando, Marquis of Pescara, and of Signora Vittoria Colonna, which are very beautiful. He likewise made a portrait of Adrian VI when he first arrived in Rome, and one of Cardinal Hincfort. That Cardinal desired that Sebastiano should paint for him a chapel in S. Maria de Anima at Rome; but he kept putting him off from one day to another, and the Cardinal finally had it painted by the Fleming Michael, his compatriot, who painted there in fresco stories from the life of S. Barbara, imitating our Italian manner very well; and in the altar-piece he made a portrait of the same Cardinal. But returning to Sebastiano: he also took a portrait of Signor Federigo da Bozzolo, and one of a captain in armour, I know not who, which is in the possession of Giulio de' Nobili at Florence. He painted a woman in Roman dress, which is in the house of Luca Torrigiani; and Giovan Battista Cavalcanti has a head by the same master's hand, which is not completely finished. He executed a picture of Our Lady covering the Child with a piece of drapery, which was a rare work; and Cardinal Farnese now has it in his guardaroba. And he sketched, but did not carry to completion, a very beautiful altar-piece of S. Michael standing over a large figure of the Devil, which was to be sent to the King of France, who had previously received a picture by the hand of the same master.