But I have never been able to understand the significance of this scene, although I know that Jacopo had wit enough for himself, and also associated with learned and lettered persons; I mean, what he could have intended to signify in that part where there is Christ on high, raising the dead, and below His feet is God the Father, who is creating Adam and Eve. Besides this, in one of the corners, where are the four Evangelists, nude, with books in their hands, it does not seem to me that in a single place did he give a thought to any order of composition, or measurement, or time, or variety in the heads, or diversity in the flesh-colours, or, in a word, to any rule, proportion, or law of perspective; for the whole work is full of nude figures with an order, design, invention, composition, colouring, and painting contrived after his own fashion, and with such melancholy and so little satisfaction for him who beholds the work, that I am determined, since I myself do not understand it, although I am a painter, to leave all who may see it to form their own judgment, for the reason that I believe that I would drive myself mad with it and would bury myself alive, even as it appears to me that Jacopo in the period of eleven years that he spent upon it sought to bury himself and all who might see the painting, among all those extraordinary figures. And although there may be seen in this work some bit of a torso with the back turned or facing to the front and some attachments of flanks, executed with marvellous care and great labour by Jacopo, who made finished models of clay in the round for almost all the figures, nevertheless the work as a whole is foreign to his manner, and, as it appears to almost every man, without proportion, the torsi for the most part being large and the legs and arms small, to say nothing of the heads, in which there is not a trace to be seen of that singular excellence and grace that he used to give to them, so greatly to the satisfaction of those who examine his other pictures. Wherefore it appears that in this work he paid no attention to anything save certain parts, and of the other more important parts he took no account whatever. In a word, whereas he had thought in this work to surpass all the paintings in the world of art, he failed by a great measure to equal his own works that he had executed in the past; whence it is evident that he who seeks to strive beyond his strength and, as it were, to force nature, ruins the good qualities with which he may have been liberally endowed by her. But what can we or ought we to do save have compassion upon him, seeing that the men of our arts are as much liable to error as others? And the good Homer, so it is said, even he sometimes nods; nor shall it ever be said that there is a single work of Jacopo's, however he may have striven to force his nature, in which there is not something good and worthy of praise.