He painted likewise in fresco the Chapel of the Commune at the foot of the Palace, in the Piazza, representing there Our Lady with the Child in her arms, upheld by some little Angels, S. Ansano, S. Vittorio, S. Augustine, and S. James; and above this, in a triangular lunette, he painted a God the Father with some Angels about Him. From this work it is evident that when he executed it he was beginning, as it were, to have no more love for art, having lost that certain quality of excellence that he used to have in his better days, by means of which he gave a certain air of beauty to his heads, which made them graceful and lovely. And this is manifestly true, for some works that he executed long before this one have quite another grace and another manner, as may be seen above the Postierla, from a wall in fresco over the door of the Captain Lorenzo Mariscotti, where there is a Dead Christ in the lap of His Mother, who has a marvellous divinity and grace. In like manner, a picture in oils of Our Lady, which he painted for Messer Enea Savini della Costerella, is much extolled, and also a canvas that he executed for Assuero Rettori of S. Martino, in which is the Roman Lucrece stabbing herself, while she is held by her father and her husband, all painted with much beauty of attitude and marvellous grace in the heads. Finally, perceiving that the devotion of the people of Siena was all turned to the talents and excellent works of Domenico Beccafumi, and possessing neither house nor revenues in Siena, and having by that time consumed almost all his property and become old and poor, Giovanni Antonio departed from Siena almost in despair and went off to Volterra. And there, as his good fortune would have it, chancing upon Messer Lorenzo di Galeotto de' Medici, a rich and honoured nobleman, he proceeded to live under his protection, with the intention of staying there a long time. And so, dwelling in the house of that nobleman, he painted for him on a canvas the Chariot of the Sun, which, having been badly guided by Phaethon, is falling into the Po; but it is easy to see that he did that work to pass the time, and hurried through it by rule of thumb, without giving any thought to it, so entirely commonplace is it and so ill-considered. Then, having grown weary of living at Volterra and in the house of that nobleman, as one who was accustomed to being free, he departed and went off to Pisa, where, at the instance of Battista del Cervelliera, he executed two pictures for Messer Bastiano della Seta, the Warden of Works of the Duomo, which were placed in the recess behind the high-altar of that Duomo, beside those of Sogliani and Beccafumi. In one is the Dead Christ with Our Lady and the other Maries, and in the other Abraham sacrificing his son Isaac; but since these pictures did not succeed very well, the Warden, who had intended to make him paint some altar-pieces for the church, dismissed him, knowing that men who do