On the wall where the window is are two figures in fresco, on one side the Virgin, and on the other the Angel, who is bringing her the Annunciation, but so distorted, both the one and the other, that it is evident that, as I have said, that bizarre and fantastic brain was never content with anything. And in order to be able to do as he pleased in this, and to avoid having his attention distracted by anyone, all the time that he was executing this work he would never allow even the owner of the chapel himself to see it, insomuch that, having painted it after his own fancy, without any of his friends having been able to give him a single hint, when it was finally uncovered and seen, it amazed all Florence. For the same Lodovico he executed a picture of Our Lady in that same manner for his chamber, and in the head of a S. Mary Magdalene he made the portrait of a daughter of Lodovico, who was a very beautiful young woman. Near the Monastery of Boldrone, on the road that goes from there to Castello, and at the corner of another that climbs the hill and goes to Cercina (that is, at a distance of two miles from Florence), he painted in fresco in a shrine Christ Crucified, Our Lady weeping, S. John the Evangelist, S. Augustine, and S. Giuliano; all which figures, his caprice not being yet satisfied, and the German manner still pleasing him, are not very different from those that he executed at the Certosa. He did the same, also, in an altar-piece that he painted for the Nuns of S. Anna, at the Porta a S. Friano, in which altar-piece is Our Lady with the Child in her arms, and S. Anne behind her, with S. Peter, S. Benedict, and other Saints, and in the predella is a small scene with little figures, which represent the Signoria of Florence as it used to go in procession with trumpeters, pipers, mace-bearers, messengers, and ushers, with the rest of the household; and this he did because the commission for that altar-piece was given to him by the Captain and the household of the Palace.